Scale Drawing Form 3 Exercise

[Trisha Quercioli]

Scaledrawing is part of our series of lessons to support revision on scale. You may find it helpful to start with the main scale lesson for a summary of what to expect, or use the step by step guides below for further detail on individual topics. Other lessons in this series include:

The units for the model are mixed up with the units for the real life distance. For example if we were calculating the distance of 10cm on a map with the scale ratio of 1cm:5km, \ 10 \times 5=50cm is stated whereas the correct solution would be 10 \times 5=50km.

Sometimes the units need to be converted so that you are working with the same units, making calculations much easier to comprehend. Make sure you know how to convert between different metric units. For example, the map scale is given as 1:25 \ 000 which means that 1cm on the map is equivalent to 25 \ 000cm in real life.

If the answer is asked to be written in kilometres, the real life value in centimetres must be divided by 100 \ 000 to get the same measurement in kilometres. 1:25 \ 000 = 1cm:0.25km

2. (a) The distance between two cities in an American State is 146.8km. The distance between the two cities on a map is 29.36cm. Calculate the scale ratio of the map to the actual distance in the form 1cm:nkm.

The document contains information about scale drawings and maps including:1) It provides examples of scale drawings with scales such as 1:2, 2:1, and 1:1/2. 2) It explains that scale is the ratio of the length of a side of the drawing to the corresponding length of the object.3) It discusses maps and plans, noting that a scale of 1:10,000 means 1cm on the map represents 10,000cm on the ground, and the ratio is the representative fraction.Read less

Light came into my paintings, together with depth and form. The things I painted started looking real. I also found that if the values were good, I could be as loose as I liked with the paint, and the picture would still work. In fact, the looser I painted, the better it looked.

Get yourself a colour isolator. A colour isolator is just a small, square piece of grey card with a hole in the middle. Make the piece of card about 5 centimetres along each side, with the hole about 2 centimetres along each side.

This step is important because it starts to tune your brain into seeing values as they really appear to you, and translating those values into drawing. It really helps you to begin overriding that powerful, labelling left brain.

I'm a (mostly) self-taught artist. I paint realism in oils, mostly still life. I share my work, my evolving process and what knowledge I've gained on my own learning journey here, in the hope that it might help you along on

yours.

PABLITO ESTE TEMA QUE ES TAN IMPORTANTE MIL GRACIAS SIEMPRE HABIA LUCHADO POR ENTENDER ACERCA D E ESTE TEMA PONDRE EN PRACTICA TUS CONSEJOSSERIA MUY BUENO QUE TU LO EXPICARA EN UNA VIDEO CONFERENCIA CON UN DIBUJO EN GRISES Y DESPUES PASAR EL MISMO DIBUJO A COLOR SERIA FABULOSO

Hi Paul, I find your lessons very valuable and right for didactic use and I am following costantly this blog. I am an italian painter and a teacher of drawing and painting in my atelier. I write a Blog on drawing and painting for italian people. I like very much this tutorial so I would like to translate it in italian and publish the article in Italian on circolodarti.com. Of course I will give the credits to you and will put links at your blog.

Many thanks for your attention and for the very interesting articles that you share.

I have appreciated all that you share so generously. I have thought seriously about signing up for your online teaching; 2 things stop me. I am not on Paypal, so could not send you $1 for first month. Oh, 3 things, as I live in USA. Also, I am a tapestry weaver, not painter, so only parts of class would apply.

P.S: here have more skulls that I drew: (I believe my progress is slow but steady. I hope to improve. This idea about a lifelong learning project is appealing to me) I know I should practice more traditional art, but my schedule is tight, so digital works for me.

Thanks, Paul! The Venetian artists of the Renaissance would begin their oil paintings by making a black-white-gray value equivalent on the canvas, which was then built up with color glazes. This post will be a big help! ?

Hi. I want to thank your blog. It is of great help to me. This very well explained.

Thank you very much

. I would like to ask you for the use of chroma.En a landscape, for example could I paint planes with different values and each value corresponding chromas develop?

Could I paint a complete picture, from foreground to background, with low chroma?

Look at almost any painting by Whistler to see how low chroma can still produce beautiful work if the values are handled well, and also many paintings by Sargent or Zorn. Zorn in particular often painted with a very limited palette.

The characteristics of the cast shadow are dependent on the intensity of the light source. A hard light will produce a cast shadow with a sharp edge, a soft light will produce a cast shadow with a more blurry edge.

The longer the cast shadow is from the object, the softer the edge of the shadow becomes. Notice how the cast shadow is darkest right underneath the sphere and then it gets lighter and lighter as it goes out further away from the light source.

Also a cast shadow behaves predictability when on a flat surface, but when there are other levels or surfaces in the shadows path, the shape can be altered depending on the surface over which it falls.

Once you understand the basics of how light behaves, it is quite encouraging to think that a small amount of information can give you the knowledge needed to convincingly portray the illusion of form with any subject.

Hi Sue, great have you onboard. So pleased you found the article easy to follow. Lighting can get a bit technical at times but can be so helpful to you painting success. Really hope this lesson can help you to achieve a painting you can be proud of!

Hello Wiil,

Your sphere has a very immediate weight and presence, which I am enjoying looking at. It is so good!! I shall give it a try as well. Appreciate your explanation of the light. Thank you!

Lynne

So please you found the article to be timely for you, the added complication of textures can appear to take away from the smooth sides of an object, but as long as you think about the underlying form of the subject you will be able to add texture, and more mark-making into your drawings yet still create a compelling realistic effect.

I have just taken some of my work to a gallery for constructive criticism and was told to work on my lighting. Your lesson comes at a most opportune time for me. Thanks so much. Looking forward to the next lesson.

Thank you for this great lesson about understanding light. this is just what I need. I am hoping to order the portrait lessons soon. Will you be giving a lesson on how, what angles to put light on a live model to start portrait practise

Hi Debbie, lovely to hear from you, and thanks for your kind words on the writing, I would say grammatically correct might be stretching it for me though! Really pleased found the article logical and easy to understand.

Cheers,

Will

Hello Will, good to hear from you with another great piece of advice. You are keeping me on my toes with such informative lessons. I really must get the pencils and sketch pad out to brush up on my sketching and shading. All the best with your portraits.

Shirley

Hello Will,

What a great lesson. I did not know about those subdivisions of shadows. And also how easily you explained the tricky parts! Everyone will agree that you are a great teacher besides being a great artist. You explained it simply. You have a nice penmanship too. As a reader it never seemed too informative or boring.

Hi Will,

This is very good explanations regarding light sources, shadow and reflection. Your explanation is superb, so simple and so clear. I really enjoy a lot and am looking forward to the second and the third parts. I appreciate very much your generosity, it helps me a lot to understand and looking forward to applying it in my painting. Nualnapa

I have used the periscope app one time in my life. There was a person drawing and we the observers were as present as if we had been in the room. I mention this because should you ever decide to hold a class where you taught about light and shadow I would like to be in attendance. Just a thought.

Hi Will,

Thank you so much for creating these wonderful tutorials. Your explanations are clear and easy to understand. And as a new painter it is wonderful to be able to learn online from a talented artist like yourself. I wish you great success and thank you sincerely for sharing your knowledge.

Cheers

Jane in Ottawa, Canada

I think I may be a bit late on this whole comment thing, but thank you so much for sharing your knowledge with those who need it! I really appreciate these guides, they help me on my journey through art. My teacher is sending my class to your guides for isolation homeschooling, and I find that it really helps me understand the wonderful world of realism artmaking. Thank you!

If you want to improve your drawing skills, then I believe it is important that you put in regular practice (daily if possible). In a previous post, I wrote about how I was doing daily gesture drawings. I have continued with this practice and it has greatly improved my instinctive drawing skills and understanding of the human form.

In this post, I discuss some other simple drawing exercises which you can do every day, no matter what your skill level is. These exercises do not require much time or resources, but you will improve if you stick to doing them regularly.

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