Unit-1 /f Art m Our Lives

SECTION 1 - ART

/· Unit-5 JI Composition ~
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38-39
lntroduct10n-What is Art? 5 What is Compos1t1on?
40-41
Understandmg Linec; 6 Ghat Scene
42-43
Underst,rndmg Colour 7 Riverscape

Light and Shade 8-9 Unit-6 lf Gesture Drawing ~

Per,;pect1ve 10-11 44-49
Human Gestures
Different Pr mting Tedrn1ques 12-13
Unit-7 Jt Portrait Study ~
Unit-2 JI Still Life Study
Man Portrait
50-51

Still Lite Using Ch.ircoal Pencil 14-15 52-53

Woman Portrait
Still Lite Using Dry Pnstel 16-17 54-57
Children Portraits
Still Life Using W.iter Colour 18-2 l 58-59
Old Man Portrait
Unit-3 H Nc1tur Stud} - Plants Unit-8 H Designmg (Ji
Tree Study 22-23 Cc1ll1graphy 60-61

River Bet ween rorcst 24-25 Logo Design 62-63

Umt-4 Jt Ncitur Study - Animals Unit-9 JI Painting @
and Bird5
Annnal Study 26-33 Indian Style Knlighat Pamtmg 64-65
Bird Study 34-37 Indian Style Maclhuhani Painting 66-67

SECTION 2 - CRAFT
E.1rthen Lamp Stand 68
Dry Arr,rngemcnt 69
Gl.1ss P:mHmg 70
Dccor,mve Mirror 71
Puppt?t Doll 72
M-Sf•al Pemlant 73
lee-Cream Sticks Lamp Shade 74
Spra} Paintmg 75
Practice Page 76-84
INT-RBBl1ETIElN-
WttAT IS AI-\T?
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llNBERSTANBINEi blNES I I

LINES
. • • . • • • g a fixed direction.
The visual element of line is the foundation of all drawing. Lme 1s the path followed by a point movmg a1on .
. . . . . nd thick or thin. 1n
A hne has length, width, tone and texture. Lines can be horizontal, vertical, diagonal, straight, curved, zig-zag a
ement and a range
an artwork, line can be used to suggest shape, pattern, form, structure, growth, depth, distance, rhyt h m, mov
of emotions.

Curved Lines
Vertical Lines Hon zontal Lines Zig-Zag Lines

TYPE OF LINES
• Lines are of two types:
Mechanical lines

Mechanical lines can be drawn using mechanical tool or instrument.

Spontaneous or Freehand lines

Spontaneous lines or Freehand lines can be drawn freely with hands without using any mechanical tool or instrument.

IMPORTANT USE OF LINE IN PENCIL SHADING

Ltnes are also used to give different strokes in pencil shading. Hatching and cross-hatching are some
of the most valuable tools for generating value and texture in a drawing. These techniques use
simple lines in various arrangements and densities.
Hatching

In hatching, rows of parallel lines drawn closely together.

Hatching
Cross-Hatching -
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In cross~hatching, lines overlap in two or more different directions. I

Cros5- Hatching
 tlNEE~STANEING EElbEIL1R
COLOUR
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Colour is the element of t th .
ar at is produced when light, striking an object, is reflected back to the eye.The three properties of colour are-
hue; the name given to the c0 1
.e. red, blue, green, yellow, etc., value; the darkness an d 11ghtness f
o a colour and ·mtens1ty;
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brightness or dullness of a colour.

COLOURS AND EMOTIONS

Colour is known to influence our state of well-being, how we feel, and how we enjoy life. Colour is used as a symbol in various cultures.
Different colours convey different messages.

For example, red is often used for stop signs or danger. At the same time, red is also frequently used in association with love. White variously
signifies purity, innocence, wisdom or death. Blue has similarly diverse meanings.

Colour creates emotions and mood in your drawing. Here isa chart showing colours and the emotions they evoke.

Red Orange Yellow Green Blue

Passionate Playful Happy Natural Serene 7

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Aggressive Energetic Friendly Stable Trustworthy

Important Cheap Warning Prosperous Inviting

Purple Pink Brown Black White

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Luxurious Feminine Clean
Mysterious Young Virtuous
Romantic Innocent Healthy
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⇒ Use red tones to set the scene can create a sense of love and desire. It ca n also imply a passion for a thing.

~ Using yellow in your drawing is a fantastic way to show a sense of joy.

c:::> Use blue when paired with a character's sad expression.

•• •
bl&HT ANB Stt-ABE
L ght ts very important to see colours and shapes. Without hght, our eyes are unable to see anything. In drawing too, light plays
an extreme Y important role. When you draw a rncle and want to give 1t a three-d1mens1onal . look, 1t can be on IY ac hieved when
you h ghl gh, certain areas and da-ken others to illustrate the reflection of light. It is the d1stribufon of hght that bnngs out th e
deptn and d1mens1on of forms to ou• drawings.

look at the g ven p·ccures. how ~he placement of light source affects every aspect of a drawing.

~oft light hard hght

VALUE SCALE OR GRAYSCALE

Values are the d, ff~rent shadts of grey between white and black. Value scale or grayscale is a scale in which an ideal wh,te is
plcJced at one Pnd and an ideal black at the other end. In between are eight steps of gradually increasing greys from lightest to
darkest grey. All thr:se steps stand for different conditions of light.
 AfRCT OF LIGHT ON IOlff Mll'l'S

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P&.l\SPEl:TIVE
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Perspective is the appearance of an object to human eye with respect to its location and size.
ONE POINT PERSPECTIVE

In one point perspective, there is only one vanishing point. This means if you draw
lines extending the edges of the objects that are parallel to each other, they will
converge at this one point on the horizon line. The vanishing point is always located
in the drawing itself, never outside the panel. The extensions of all lines that are
neither horizontal nor vertical will converge at the single vanishing point.

TWO POINT PERSPECTIVE

In two point perspective, there are two vanishing points instead of

VP
one and they are on the same horizon line, opposite to one another.
Not a single more point will locate inside the panel. Extensions of
the edges of all parallel objects that are neither horizontal nor
vertical will converge at one of these two points. The closer the two
VP

vanishing points are to each other, the more exaggerated the

perspective of the drawing.

THREE POINT PERSPECTIVE

In _three point perspective, the two vanishing points will be on the horizon, but the
third vanishing will be either high above or far below the horizon Ii d d.
. ne, epen mg
upon_whether you want the viewer to be looking up or down at the objects in the
drawing. The closer the third point is to the horizon line th
. , e more exaggerated the
perspective of the drawing. Horizon is always on the eye level.

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rEIISPEE flVI: ' , ', . s . Colour the picture on
The given picture is drawn using
. aII the to perspective . . • ing eac h perspective.
re-create it maintain
Observe the picture very carefully, try . your own.
I •••
DIFFERENT PRINTING TEeHNIEJ,L1ES I I

ETCHING
It is d prin tmaking technique in which prints are madP from .:i metc1I rlc1tr (usually
copper, zinc or steel), covered with a waxy ground. Lines arc drawn through llle
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ground, with a pointed etching needle and Is dipped in an acid (etching moderant).
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When the plate is immersed In nitric acid, the bare metal, exposed by the d wn lines,
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1s eroded leaving behind lines sunk into the plate The resist is removed and ink is ti
applied to the sunken lines. The plate 1s then placed against paper and passed t)
through a printing press with great pressure to transfer the ink from the recessed lines.
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LINOCUT
Metal plate Etching needles
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Etching moderant
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Linocut is a form of relief pri nting. A design is carved into a piece of linoleum inked
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with a brayer, and a print is made by placing a sheet of paper on top so th e ink is
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transferred to t he paper. Pressure is applied to get an even transfer of t he ink by
either runni ng t he linocut block and paper using the back of a wooden spoon. 'p
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Brayer Wooden spoon
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Unoleum

LITHOGRAPHY
It is print making technique made from a chemically treated, flat surface. An image is
drawn on a flat stone surface, using a greasy litho crayon or a greasy black ink
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(tusche). Li mestone is usually the preferred surface for fine art, but zinc and
aluminium plates are al so used. When the drawing 1s completed, it is fixed with a ~
mixt ure of gum arab1c and nitric acid to prevent the grease from spreading. The
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sur face is then moistened and inked, the ink adheres to the greasy drawing but repels
water and is transferred perfectly to paper. i)
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Limestone
Ll th o cr.:iyons Nitric acid

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ENGRA\Vl~G
l 11tu,,, mq •nh1h ~~s th1.' inC1::-k1n of ,'I clL'"t~)n C.)nto ., m01.11 ~111 f,lL~' by
m,,ldng g,l,O\r~"s u~ing ,, bum1. 0nl l' tlk" Imes 01 t in' d1 ,1wlnq h<Wl'
b~t'n cut out of tl'1t> LOP~'k'r, ch ~ plat~ is inked. Thl'n th t? surf,Kt' Is
\\> iPt'd d~an, lt>,n,ing only tht' inns,ons cont.1mi ng ink. l l1t' pl,He I,;
th ..."n p1essed on to paper t o p1oduc:e ,, pri nt of th 0 in1t,qt?. The
PJP~• picks up the 1mp1ession ot th e ink f1om th e g roove:., thui,
l.:0rnplet1ng th~ print.

Burlns Copper plate

Ink

FRESCO
It is a technique of mural painting in which colour
pigments (Sinopia) are rnixed solely with water and then
applied directly onto freshly laid lime-plaster. The liquid
paint is absorbed by the plaster and as the plaster dries,
the pigments are retained in the wall. Before paint Is
applied, the artist usually makes a preparatory drawing in
red chalk.

Lime p laster Red chalk

Slnop,a
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5t111 life is defined as a collection of Inanimate objects arranged together in a specific way,
U· h IPte the picture,
stn 9 c arcoal pencil, follow the given steps to bring out light, middle and dark tones to comp -

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FOR THE TEACHER

Ask students to discover some of the natural s.till life .obje~ .that appear in famous still life paintings throughout history.
Explore the symbolism and meaning of these obJects, with st1II life examples.

OBSERVE • Basic Shapes used • Light and Shades • Shading techniques

STlbb blFE l15IN&i ERY PASTEb , 11 t " cts as shown.
- t shading e11e
. . . • dr pastels. Try to bring ou
Follow the given steps to complete the still hfe picture using Y

NOTE : To mix dry pastels in first tone, use your finger. For final effect, use dry pastel instead of finger. Use fixative spray to make
the colours permanent.

OBSERVE • Basic Shapes used • Light and Shades

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, t. h d·ng effects as shown.
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Follow th e grven steps to complete the still Jjfe picture using water co Iours. Try to bring out s a J

NOTE : Allow the first layer of water colours to dry completely before adding second layer.

OBSERVE • Basic Shapes used • Textures of objects • Colours and tones

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I ff ts as shown.
h ding e ec
. ater colours. Try to bring out s a
Follow the given steps to complete the still life picture using w

NOTE : Allow the first layer of water colours to dry completely before adding second layer. Always use light colours first.

OBSERVE • Basic Shapes used • Textures of objects • Colours and tones