Syllabus and Study Materials 1

DAYALBAGH EDUCATIONAL INSTITUTE
DRAWING & PAINTING

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DPM30
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DPM40
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DPM50
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DPM60
COURSE TITLE
STILL LIFE (PRACTICAL)

RENDERING (PRACTICAL)
INTRODUCT. TO FUNDAMENTALS OF
ART
PORTRAIT STUDY (PRACTICAL)
HISTORY OF INDIAN PAINTING I
LANDSCAPE STUDY (PRACTICAL)
COPY FROM INDIAN MINIATURE
PAINTING
HISTORY OF INDIAN PAINTING II
LIFE STUDY (PRACTICAL)
COPY FROM INDIAN MINIATURE
PAINTING
HISTORY OF INDIAN PAINTING III
DESIGN FOR MURAL (PRACTICAL)
GRAPHICS I (PRACTICAL)
CREATIVE COMPOSITION I
(PRACTICAL)
PORTRAIT STUDY I (PRACTICAL)
HISTORY OF EUROPEAN PAINTING I
MURAL-WALL DECORATION
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24
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DPM60
2
DPM60
3
DPM60
4
DPM60
5
(PRACTICAL)
GRAPHICS II (PRACTICAL)
CREATIVE COMPOSITION II
(PRACTICAL)
PORTRAIT STUDY II (PRACTICAL)
HISTORY OF EUROPEAN PAINTING II
Course No.: DPM101, Course Title: STILL LIFE (PRACTICAL)

Class: B.A., Status of Course: MAJOR COURSE
Study of Objects: Geometrical Shapes, Simple House Hold Objects Vegs., Flowers.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
5) Sketching work 30 nos.
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Either oil or water or pastel color
(c) DURATION FOR END SEMESTER EXAM.: 5 hours in 2 sittings in one day.
Course No.: DPM102, Course Title: RENDERING (PRACTICAL)

Composition with the help of objects already studies in Course Number DPM101.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Either oil or water or pastel color
(c) DURATION FOR END SEMESTER EXAM: 5 Hours in 2 sittings in one day.
Course No.: DPM103, Course Title: INTRODUCT. OF FUNDAMENTALS OF ARTS Class: B.A., Status of Course:
MAJOR COURSE
UNIT 1
Simple Study: Definition and meaning of Arts.
UNIT 2
Six limbs of Indian painting (Shadang).
UNIT 3
Elements of Painting: Line, Form Colour, Tone, Texture, Space.
UNIT 4
Principles of Composition: Dominance, Harmony, Rhythm, Proportion, Unity & Balance.
UNIT 5
(a) Wall Painting (Method & Material) (b) Miniature Painting (Method & Material).
SUGGESTED READING:
ROOPANKAN: GK Agarwal
ROOPPRAD KALA KE MOOL ADHAAR: Sharma & Agarwal
CHITRAKALA KE CHHE ANGA: CL Jha
KALA KI PARAKH: KK Jaswani
CHITRAN VIDHAN: Sharma & Shotriya
KALA KA DARSHAN: Ram Chandra Shukla
KALA SIDDHANTA AUR PARAMPARA: Saxena & Sudhasaran
KALA VIVECHAN: Kumar Vimal
Course No.: DPM201, Course Title: PORTRAIT STUDY (PRACTICAL)

Portrait Study from Cast & Life Model.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Monochrome (Pencil & Charcoal)
(c) DURATION FOR END SEMESTER EXAM.: 5 Hours in 2 sitting in one day.

Composition with the help of Cast Model and line potrait already studied in the course Number DPM202.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Either Oil or Water or pastel color
(c) DURATION FOR END SEMESTER EXAM.: 5 Hours in 2 sitting in one day.
Course No.: DPM203, Course Title: HISTORY OF INDIAN PAINTING I

UNIT 1
Pre-historic Painting: Paintings of important Centres.
UNIT 2
Mohenjodaro and Harappa, Jogimara Cave.
UNIT 3
Cave Paintings of Ajanta, Bagh, Sigiriya.
UNIT 4
Cave Paintings of Badami, Sittanavasal.
UNIT 5
Pal and Apabhransh Schools.
SUGGESTED READINGS:
BHARAT KI CHITRAKALA: Raikrishna Das
BHARTIYA CHITRAKALA KA ITIHAAS: CL Jha
BHARTIYA CHITRAKALA KA AITIHASIC SANDARBH: Gopal Madhukar Chaturvedi
BHARTIYA CHITRAKALA KA SANKSHIPTA PARICHAYA: Vachaspati Garola
KALA AUR KALAM: GK Agarwal
BHARTIYA CHITRAKALA KA ITIHAAS: RA Agarwal
BHARTIYA CHITRAKALA KA ITIHAAS: Avinash Bahadur Verma
INDIAN PAINTINGS: Percy Brown
Course No.: DPM301, Course Title: LANDSCAPE STUDY (PRACTICAL)

Studies of nature and architectural motif from site:
1) Work 1
2) Work 2
3) Work 3
4) Work 4
5) Sketching work
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Either Oil or Water or pastel color
(c) DURATION FOR END SEMESTER EXAM: 5 Hours in 2 sittings in one day.
Composition with the help of nature and architectural motifs from the site already studied in the Course Number
DPM301.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
5) 30 Sketching work
NOTE: (a) SIZE: A1 size Drawing Sheet (b) MEDIUM: Either water or oil/ pastel color
(c) DURATION FOR END SEMESTER EXAM.: 5 Hours in 2 sittings in one day.
Course No.: DPM303, Title: COPY FROM INDIAN MINIATURE PAINTING
Copy from Indian Miniature Painting.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: Not less than A3 size Drawing Sheet (b) MEDIUM: Monochrome (Pencil & Tempera) (c) DURATION
FOR END SEMESTER EXAM.: 10 Hours in 4 sittings in two day.
Course No.: DPM304, Course Title: HISTORY OF INDIAN PAINTING II
UNIT 1
School of Miniature Paintings & their Important Kalams: Mewar, Udaipur, Nathduara, Merwar, Jodhpur, Bikaner.
UNIT 2
School of Miniature Paintings & their Important Kalams: Hadoti-Bundi, Kota, Bhundhat-Jaipur, Alwar.
UNIT 3
Mughal Origin (A): Babar, Humayun, and Akbar.
UNIT 4
Mughal Origin (B): Jahangir, Shahjahan & Aurangzeb.
UNIT 5
Pahari School & its Sub-schools: Basohli, Kangra and Garhwal.
SUGGESTED READINGS:
BHARAT KI CHITRAKALA: Raikrishna Das BHARTIYA CHITRAKALA KA ITIHAAS: CL Jha.
KALA AUR KALAM: GK Agarwal BHARTIYA CHITRAKALA KA ITIHAAS: Avinash Bahadur Verma.
KALA VILAS: RA Agarwal INDIAN PAINTINGS: Percy Brown.
BHARTIYA CHITRAKALA KA SANKCHHIPTA PARICHAYA: Vachaspati Mairola
Course No.: DPM401, Course Title: LIFE STUDY (PRACTICAL)
Study from full figure

1) Work 1
2) Work 2
3) Work 3
4) Work 4
5) 30 Sketching work NOTE: (a) SIZE: Not less than A1 size Drawing Sheet (b) MEDIUM: Monochrome (Pencil &
Charcoal) (c) DURATION FOR END SEMESTER EXAM.: 6 Hours in 2 sittings in one day.

Composition with the help of life study already studied in the Course Number DPM401.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A3 size Drawing Sheet (b) MEDIUM: Water colour-Tempera, (c) DURATION OF END SEMESTER
EXAM.: 6 hours in 2 sittings in one day.
Course No.: DPM403, Title: COPY FROM INDIAN MINIATURE PAINTING
1) Work 1
2) Work 2
NOTE: (a) SIZE: A1 size Drawing Sheet, (b) MEDIUM: Water Colour - Tempera,
(c) DURATION FOR END SEMESTER EXAM: 12 Hours in 4 sittings in two day.
Course No.: DPM404, Course Title: HISTORY OF INDIAN PAINTING III

UNIT 1
Company School and Raja Ravi Verma.
UNIT 2
Bengal School of Art- Abanindranath Tagore, Nandalal Bose, DP Roy Choudhry, Kshitindranath Mazumdar, K.
Venkatappa, AK Haldar.
UNIT 3
Modern trends Individual Artists: Jamini Roy, Gaganendranath Tagore, Rabindranath Tagore, Amrita Sher-Gill, Benode
Behari Mukherjee, Ramkinker Baij.
UNIT 4
Calcutta Artists Group (CAG)- Paritosh Sen, Gopal Ghosh, Progressive Artists Group (PAG)- K.H. Ara, F.N. Souza, M.F.
Husain, H.A. Gade, S.H. Raza, S.K. Bakre, K.K. Hebber, N.S. Bendre.
UNIT 5
Delhi Artists-Sailoz Mukharjee, K.S. Kulkarni, B.C. Sanyal, Ram Kumar, Madras Artist- K.C.S. Panikkar.
SUGGESTED READINGS:
BHARAT KI CHITRAKALA: Raikrishna Das BHARTIYA CHITRAKALA KA ITIHAAS: CL Jha.
KALA AUR KALAM: GK Agarwal BHARTIYA CHITRAKALA KA ITIHAAS: Avinash Bahadur Verma.
ABANINDRANATH TAGORE AND THE ART OF HIS TIMES: Jaya Appaswamy KALA VILAS: RA Agarwal
BHARTIYA CHITRAKALA: Shachirani Guttoo INDIA AND MODERN ART: WG Archer.
BHARTIYA CHITRAKALA KA SANKCHHIPTA PARICHAYA: Vachaspati Mairola INDIAN PAINTINGS: Percy Brown
Course No.: DPM501, Course Title: DESIGN FOR MURAL (PRACTICAL)

A) Design based on geomatrical forms with a significant relation with nature.

B) Creative composition based on a theme (figurative/non-figurative).
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet, (b) MEDIUM: Tempera/Oil Colour/any other material,
(c) DURATION FOR END SEMESTER EXAM: 12 Hours in 4 sittings in two days.
Course No.: DPM502, Course Title: GRAPHICS I (PRACTICAL)

Printing works through lino, wood cut, Collography, dry point, etching, lithography, on the basis of fine arts.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A3 size Drawing Sheet, (b) MEDIUM: Printing Ink
Course No.: DPM503, Course Title: CREATIVE COMPOSITION (Practical)
Creative composition made by the students or Portrait from Live model.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet, (b) MEDIUM: Either Oil or Water color
Course No.: DPM504, Course Title: PORTRAIT STUDY I (PRACTICAL)

Creative composition made by the students or Portrait from Live model.
1) Work 1
2) Work 2
3) Work 3
4) Work 4
NOTE: (a) SIZE: A1 size Drawing Sheet, (b) MEDIUM: Either Oil or Water color
Course No.: DPM505, Course Title: HISTORY OF EUROPEAN PAINTING I

UNIT 1
Pre-historic Painting & paintings of Important caves.
UNIT 2
Egypt: Art at the begining of Dynastic Period old Kingdom, Middle Kingdom, New Kingdom.
UNIT 3
Classical Art (Painting). Greek Vase painting and Roman Art.
UNIT 4
Early Christian and Byzentine painting.
UNIT 5
Romaneseque and Gothic Painting.
SUGGESTED READINGS:
EUROPE KI CHITRAKALA: Girraj Kishore Agarwal
EUROPEON PAINTING: Rajendra Bajpai.
MADHYAKALEEN EUROPE KA ITIHAAS: Gopal Madhukar Chaturvedi.
EUROPEON PAINTING: Kamboj.
THE PICTURE HISTORY OF PAINTING: HW Janson & Dora Jane Janson.
LANDMARKS OF THE WORLD'S ART: Paul Hamlyn.
DRAWING AND PAINTING

COURSE No. - BDP-101
UNIT 1 LESSON - 1
Still life Painting

INTRODUCTION:
Why Paint Still Life?
Still life painting has been an important part of expression since the15 th century.
Most of the great masters of visual art since that time have painted still - life using
such a great variety of subject matter and such a large number of techniques, thats
the study of their work would be simply fascinating.
The scope of the subject matter of still life painting is very wide;
No. 1- The artist has unlimited opportunity for creative self expression.
2- There are endless possibilities for design with the same
subject material.
3- Artists have complete freedom of choice in the selection of color combination.
This subject has been divided into five units:-
In the first unit, we will learn about Materials and medium used for still life material.
In the second, we will learn the different Elements of Painting.
In the third, we will study about the principle of Composition &Compositional

Process.
In the Fourth unit, we will learn still life with Pencil Demonstrations.
In the last and Fifth unit, we will learn still life with Color Demonstrations.
We now begin with lesson one:LESSON 1

Drawing is a vision on paper. More than that it is also an individual vision, tied with
individual perception, interest, observation, character, philosophy and a host of
other qualities all coming from one source.
The objectives of this Lesson therefore, are: 1. To learn about the different types of material which will we need for still life
painting.
2. To study what are the best uses of that material.
3. To know the possibilities and the limitations of the material.
The Different Types of Materials: - The variety of drawing material is
seemingly endless. The choice of drawing material is important for the art student.
In this section we intend to discuss the standard materials and a brief explanation of
their uses. The basic material used in the drawing exercises are:No. 1. Paper
2. Pencil
3. Charcoal
4. Pastels
5. Pen and Ink
6.
7.
Water colour
8.
Brushes
9.
a.
Oil Colour
Other Accessories which include:-
Drawing Board
b. Erasers
c.
Colour Palette
d. Masking Tape
e.
Clips and Board Pins
f.
A Bowl of water
g.
A piece of Cotton cloth

Self Check Question: -
1.
What are the basic materials we need for still life painting?
2.
Name the different accessories which are useful while working.

Well now talk about the different types of materials:The first is Paper: - Different types of paper are designed to be used with a wide
variety of materials. Students would do well to familiarize themselves with the
variety of papers that are manufactured specially for the purpose of drawing. These
come in many styles and qualities and may be chosen according to the requirement
of the medium to be used, for examplecartridge papers, Ivory paper, Hand made
paper, Pastel paper in different colours.
3.
Pencil: - Pencil is the most familiar drawing tool. There are different types of
pencils. These can be used for different types of work. For example- soft graphite
Pencil, Carbon Pencil etc. Standard drawing pencils are listed according to the
degree of hardness. Hard Pencils are referred to as H and range from 2H to 9H
(which is the hardest).
Soft pencils are refers to as B and range from 2B to 8B (which is the softest).
HB is the middle grade pencil. For drawing, we recommend the use of a soft lead
pencil that is 2B to 4B and for shading and applying dark shadows we recommend
the use of soft lead pencils that is from 6B to 8B.
How to hold a Pencil: - When people are taught to write, they develop habits of
holding a pen or Pencil. These habits may be appropriate for writing but are not
always appropriate for drawing. In most drawings the pencil may be held between
the thumb and fingers. In this way the hand can remain relaxed. The whole arm can
be used to make the drawing and not just the hand and wrist.
This is the second position in which the pencil is normally held. It is useful for
drawing and detailed drawing. For fine and controlled drawing, hold the pencil as
you would for drawing.
Self Check Questions:1.
Why is the knowledge of the different types of paper useful for students?
2.
How many types of papers are available in the market?
3.
Write the range of the soft pencil?
4.
What is the range for hard Pencil?
5.
For shading and dark shadows which type of Pencil do we used?
Now we move to next type of materialCharcoal: - There are different types of charcoal to be used for drawing. These areVine charcoal, compressed charcoal, powdered charcoal and charcoal pencils.
Each has specific uses, merits and problems.
Vine is the natural charcoal made from straight beech, bass, or willow twigs, which
have been Kin-fired until all the organic material is burned away and pure carbon
remains. Each stick is about 4 inches long and inches to inches wide. Vine is
manufactured in four degree of hardness, from soft to hard.
Compressed charcoal is made by powdering the vine charcoal and
compressing it with a binder. Sticks are either round like chalk, or square.
Compressed charcoal does not blend as easily as vine.
A Charcoal pencil is simply compressed charcoal in pencil form. There are
some limitations of uses of the charcoal pencils because only the point can be used
for drawing. Powdered charcoal, on the other hand, can be used for tracing or for
shading backgrounds.
Pastels: - Pastels are made from natural Pigment and required considerable skill to
be used. Pastels are manufactured in three different categories1. Dry pastel,
2. Oil pastel, and
3. Water color oil pastel.
Oil pastels are simply oil based and are softer than dry pastel. They are oilier
in consistency and do not blend as completely. Water color oil pastel gives the
water colour effect.
Pen and Ink: - You can work expressively and spontaneously in pen and ink. Lead
and quill pens have been used for drawing and writing for hundreds of years. These
Pens are used by artists and calligraphers because of the richness and character of
their lines. Steel pint pens, which were introduced in the 1800s, come in hundred of
styles widths.
Mechanical pens have a self-enclosed ink cartridge and do not require
constant dipping. There are many types of pens like felt tipped, fountain Pens and
ballpoint pens, Gel Pens etc.
Ink: - Inks available today may be transparent (all colours) or opaque and they
come in various colors and tints. Inks may be used directly or mixed with water to
produce graduated wash effects.
How many types of Charcoal are available?
2.
How is vine Charcoal derived?
3.
How many types of pastels are used for Painting?
4.
What is the quality of oil based pastel?
5.
What are the characteristics of mechanical pens?

As we come to the end of our lesson, we will take up a brief sum up:The choice of drawing material is important for an art student. In still life painting
we need different materials and for that we must have some knowledge of these
basic materials. These materials include paper, pencil, pastels, charcoal, Pen and
ink, Brushes and other accessories. Drawing material may be chosen According to
the requirement of the work.
This lesson ends with an assignment. You must try to complete assignments and
practice exercise.
Assignment no. 1:Why the knowledge of the material is useful of the drawing student? Write the name
of all the material used in still life Painting.
Home Assignment
1.
Explain the uses of any two materials which are useful for still
life painting.
Thank you very much for your time. And we will meet in the next lesson.
E-Learning UG course in Drawing & Painting
BDP101
Still life Painting

Unit 1 LESSON-II
In todays lesson, we will be talking about the different mediums used for still life painting.
And I hope, you all remember what we have taken up in lesson 1. In lesson 1, we had
talked about the different materials used for still life painting that is- the different kinds of
papers, brushes, pencils and other types.
Over the centuries, artists have always invented and used drawing mediums. The choice
of medium, offers many possibilities for developing different styles and techniques. The
most common mediums are water color medium, oil medium and dry medium. The only
qualification required for learning to paint is a desire and willingness to try. Dont you think
this is important? Unless you have desire to try and to learn, you will not be able to really
succeed. So, all that is required is the deep desire and a little patience. In this lesson we
will learn about the material and mediums for still life painting.
The objectives of this lesson, therefore, are:Number 1- To give complete knowledge of the different materials and Mediums.
Number 2- To understand the advantages and disadvantages of each medium.
For still life painting, we recommend the most common media which are water, oil and dry.
Through these mediums the student can study still life and also express himself or
herself with creativity. What is this mean? This means that it is the medium which
will give us the freedom to express our self in a best possible way.
BrushesFor coloring our work, we need brushes also. Painting brushes are flexible so
that with a certain amount of control nearly any type of line or texture can be
produced. There are many types of brushes such as: Flat Brushes and Round
brushes. Flat Brushes are made from Hog hair and sable hair and round brushes
are made from sable hair and synthetic hair also.
Water Color: - Through Water color a student can easily become familiar with the use of
color. Colors are transparent in nature and give a very smooth effect. Water color
can be used directly.
Oil Colors:Oil colors are one of the most exciting materials through which a students can
express his or her feelings creativity. Oil colors can be used thickly and thinly. Oil color also
provides the user greatest range of color choice.
We must also try to understand what the different accessories are with the help of which,
we paint. The other accessories which are an essential part of an artists equipments are:Number 1. Drawing Board.
2. Color Palette
3. Masking Tape
4. Clips and Board Pins
5 A Bowl of water
6. A piece of Cotton cloth. And
, finally an Eraser.
An eraser is meant to be used only to blend and soften pencil effects.
Drawing Board: - According to their paper size students must choose the Drawing Board
for firm support and stability. Boards are available in different types such as: - wooden or
ply wood drawing boards. Before starting the work on paper we can mount our paper on
the board. For this metal clasps can be used or masking tape or board pins. But you must
see that your paper is firmly attached to the drawing board.
Color Palette: - While working with colors you will need a color palette. The Color palette
should be big and clean. It should have sufficient space so that you can mix your colors
properly.
A Masking Tape is used for holding the paper down to the matting.
Clips and Board pins are also used for holding down paper on the board. They come in
many types like: round Board pins, metal clasps and any other types that you might find
that is convenient and not too expensive.
A Water Bowl is also needed to mix the color properly with water. The bowl should be big
and half filled with clean water, you can also use this water to clean your brushes as and
when they become dirty.
A small piece of Cotton Cloth will be very handy. While working with colors you might
need this cloth which should be clean and in a 12x12 inches size.
Self Assessment Questions :Fill up the blanks:1.
The Flat brushes are made from __________hair and

------------
hair too.
2.
Round brushes are made from__________hair and------------hair.
3.
Water colours are_________in nature.
4.
The colour palette should be____________and__________
5.
For cleaning the brushes and other accessories, we need a piece

of_____________.
Now, what is a medium? The Medium describes the additives which the artist uses with
a paint to make it behave differently. Such as water is added to make the paint run more
easily or turpentine is added to make a paint run better.
We will now study the use of water, oil and dry medium used for painting in a little
more detail.
The first- Water Medium: -In this medium water color and poster colors are commonly
used. The Water medium is so called because the adhesive that sticks the pigment
powder to the paper is soluble in water. The paint is a finely ground mixture of pigment,
water soluble gum, glycerin, and glucose. What do you think an advantage of water
medium? One of the great advantages of water medium is that it requires no complicated
equipments for painting out of doors, for instance. Your basic essentials are a box of paint,
a brush, paper and water. For the water medium we use the paper that has been specially
made for water color. This is because if the paper is too absorbent, the liquid will be
soaked in to the surface and if the paper is non-absorbent, the paint will run completely out
of control.So the choice of paper becomes important.
2nd- Oil Medium: - Painting in oil medium is one of the exiting ways of painting. As a
medium for a beginner it is perfect because it is very easy to correct what you have done
either by wiping it out or by painting over it. There is some disadvantage too in using the oil
medium because it does not dry completely for a very long time.
3. The Dry medium: - In this medium students can use dry pastels, oil pastels, pencil
colors, chalks and vex crayons. In this medium the color pigment is held together with the
use of a binder. It is formed in too long round strip. There is no need to add water or oil for
mixing the color. Because it is dry, there are no frustrations of waiting for the paper to dry.
We just pick up the colors and apply directly to the painting surface.
Class Assignment
1.
2.
Write the short notes on the accessories needed for still life painting.
What is medium? Discuss water medium in detail.
We close this lesson with two terminal questions.

Terminal Question:-_
1.
Write an essay on material and medium.
2.
Write the advantages and disadvantages of different medium.
Unit 2
Lesson 3
Element of Painting
Welcome, today we are going to talk about unit 2- the element of painting,
which consist of:Line
Form
Space
Value
Texture and
Color
In lesson third, we will learn about the line, form and space.
And in fourth lesson we will tell you about value, texture and color.
Lesson: 3
Today we will start about line function. This is the first element of drawing. This is an
important and necessary element of painting.
Objective:after going through this lesson, youll learn:
The meaning of line and its importance in art.
Kinds of line.
Basic line drawings.
A study of basic forms through line.
Methods of draw a line.

Introduction:Here we will learn how lines can be created. In how many types we can draw a line and
create a painting.
Whats line?
A long thin mark frequently made with a pencil is called line.
According to geometry line is an expression of distance between two dots.

.
- Lets see lots of Dots by which we can create a line.
..
But Art lines are different from Geometrical lines.

We draw geometrical lines with the help of geometrical tools like scale, compass etc.
Whereas Art lines are drawn by free hand without using any tools.
To draw a line with pencil, ink, pen will create a different effect and expression.
Here generally, we have two kinds of lines:
Simple line
Curved line
When we draw a line from one Point to decided direction that is known as a simple line.
.
And, when the direction gets continuous changes, then the line is known as acurved line.
Now, here we are going to learn about the different LINES & their RESPECTIVE
EFFECTS:-
Simple line shows hardness or can also show gravity.

______________________________________________
But in curved lines we have lots of effects and expressions like
When we draw a line with little turns or slight roundness, it gives effect of aesthetical effect,
liveliness, & smoothness.
B. When we draw it intensely curved line it shows
Power, Effectiveness and Activeness.
C. A multi-curved lines with less space creates Depression,
Mental imbalance, Dilemma & Struggle.
LINES AND DIRECTIONS

Horizontal line shows rest, peace.
Vertical line shows power, balance, determination, honesty, truth, hardness.
Conical lines shows speed, fight, fast.
Down wards lines shows peace, surrender.
Spirals lines shows rhythmic speed or rhythm in drawing.
Line which comes from one center or point shows effect of concentration, power and
expansion.
PERSEPECTIVE EFFECTS WITH LINES FUNCTION:In painting, different type of lines gives different perspective effectsLine is a two dimensional object but the way of used line can give effect of three
dimensional.
To show object near, the line should draw bold and dark
To show objects in distance, the lines should draw dim and thin.
To show gravity and other dimensions, conical lines are drawn in different ways.
And, from line-shading we can show the highlights, volume, texture and other details.
LINES AND ITS APPICATION:WEAK LINES: In drawing a line, if we dont apply equal pressure all around the lines
construction also if we are uncertain about the goal direction then due to this dilemma, we
draw a WEAK line. This line could be a vibrated line.
STRONG LINES: When we draw a line with force, and in a decided direction then such
lines appear to be a Strong line.
SOFT LINES: When a line is drawn with little curve, uneven darkness and with blur and
clear effects together, are known as Soft lines.
HARD LINES are equal from all the sides. It can be geometrical and conical.
LINES WITH SOFT EDGES ARE given effect of softness. When the paper is wet and we
draw line on it that comes light and it will not clear from the end that is soft line.
BROKEN LINE: when we draw a line on dry and uneven paper with darkness then line
edges will not come smooth. Thats calls broken line.
FORM
Now we will start learning about form, which is an important and second element of
painting.
OBJECTIVE
The meaning of form and its importance in art.
Kinds of form.
Basic form drawings.
A study of basic forms

INTRODUCTION:
Form is artists way of thinking and meaning of visualization.
Form refers to the shape of object as well as to the shape used in abstract
design.
Lines as much do not exist in nature but are tools invented by artist to indicate
form.
When working from nature we will learn to identify and presented what you see in
terms of simple forms
DIRRERENT TYPE OF FORM

Let us see, with only a small imagination most shapes found in nature could be fitted
comfortably into one of this structurethe rectangle, the cube, the circle or cylinder, triangle
and pyramid.
Any object can be seen as composed of the combinations of these basic shapes.
The hand can be seen as a block, a mountain as a pyramid or a triangle.
To draw accurately, however, details must be ignored in favor of the major shapes
that structure the form.
Once it is understood, you will find that you can draw anything.
The still life can be seen through a basic geometric format, such as a block,
cylinder; then reduce to simple pattern of structure forms.
Once basic forms have been established, texture, colour, and values may be
introduced with confidence.
SPACE
OBJECTIVE
The meaning of space and its importance in art.
Kinds of space.
Basic drawings to show space.

INTRODUCTION
The word space can mean different to a drawing. It can refer to the sense of three
dimensional space suggested within the confines on the paper or it can refer to the area
that separates one form from another on the picture plan.
Negative space:
An aspect of the second spatial delineation is often called negative space, inter-space or
background. The observation of this space is an essential tool for enabling us to see forms
objectively.
You are a beginner and you often identifies a familiar object without examine its shapes
and proportions carefully. Combine the awareness of the form with the accurate
observation of shape of surrounding space.
The multipulation of negative space is helpful, not only in rendering individual forms, but
also in establishing a relation between forms and in creating a composition.
Positive space:
The object which we draw is positive space.
ASSIGNMENTS
Do some gestural, constructional, contour and cross contour line drawing of different
objects.
Draw the basic forms and show the light and shadow effect on it.
Show a negative and positive space of your object drawing.

SUMMING UP
Line is an important element of painting by which you can create your drawing with
different effects. You can explore your idea of drawing by line.
A small imagination most shapes found in nature could be fitted comfortably into one of
this structure the rectangle, the cube, the circle or cylinder, triangle and pyramid. Any
object can be seen as composed of these basic shapes of combinations of variations of
them.
Space creates a balance in drawing. Space helps us to uniform the form on drawing sheet.
TERMINAL QUESTIONS
Define the types of line and their directions?
What do understand by simple and curved line?
How you will show lines function in your found object drawing?
Define the line and its application?
draw the different type of form?
How light and position change the nature of the forms?
What do understand by space? And show the negative and positive space of object.
DRAWING AND PAINTING DEPARTMENT
E-Learning U.G. Course in Drawing & Painting

COURSE NO. BDP101
UNIT III
LESSON-6 COMPOSITONAL PROCESS
Good Morning everybody

In the previous Lecture you have been taught about the basics of perspective and
proportion and I hope you must have understood it properly.
As an extension of the previous lecture, I will tell you about the compositional
process. It is important to study compositional process as it help in improving your
composition. This process involves certain ideas such as Design, Balance, Movement
and Structure.
Introduction:-As you all know that art has given wings for creativity to many and has been
expressed in various ways, whether through realistic art or Abstract art.
Various styles were prevalent even in the ancient period, among them Ajanta murals, Jain
manuscripts; Rajput and Mughal miniatures are still quite famous. The artist has been
expressing themselves through these various styles. By 20 thCentury only artist were able
to develop their individual style and started express themselves individually.
If we all are aware of the idea of creativity then, by using the elements of Art we may be
able to develop better sense of making compositions.
First of all you should know about the composition. What is composition? The simple
meaning of the composition is- arrangement of the elements of Art in an organized
manner. Now you will ask me what it means. For example like some times a picture with
impressive lines and good colour scheme fails to attract viewers. Why is it so? That means
a person have failed to arrange the elements in an organized manner.
Have a look at these pictures. The first picture is not

impressive due to lack of space because all the objects taken are big in size also they are
not arranged properly on the surface.
The next picture lacks simplicity as the forms are complicatedly overlapped.
The other one is not balanced as there is one big object on one side and a smaller object
on the other side of it.
In the last one, forms are not according to the canvas or paper as the figure may be
extraordinary large or small as compared to the size of the surface.
Here individual figures are not so important, but their importance lies when they are used
in a group, may be different in size, to make a composition.
Compositional Process:Creating a composition is quite a different activity from simple drawing what you
see. In this process you are concerned with arranging, designing and balancing.
To understand compositional process our first step is Design. What is Design?
In the study of design the artist uses the elements to create a composition. But how
the artist bring these elements together and arrange them upon the surface of a canvas or
paper that creates the Design.
We can say A design is the result of the application of the elements by using the
compositional principles, it is not only necessary to describe the forms, but also to place
and develop them in a pleasing manner that involves the viewer with the subject
construction and meaning of the picture.
Compositional Design:-
First step in the making of compositional design is to

arrange a group of objects. Our first concern is selecting, arranging and representing a still
life is to understand the relationship of forms in space. That is, if our object is placed
vertically than we must draw it vertically on the surface, and if it is placed horizontally than
we must draw it accordingly. This way, we will be able to produce our pictorial image
effectively.
Now by following the above idea you will make some compositional design.
In this way your attention to design will make your image more effective.
While making the compositional design there is some point which we should keep in
mind. They are balance, movement and structure.
Balance
What is balance and how it is achieved on a flat surface. Artist needs to create an
illusion of balance, referred to as Visual Balance.
In Visual balance, each area of the painting suggests a certain visual weight. This
visual weight appears through the design which we draw with the help of the element like
different type of lines, different shapes and the use of colours. For example- simple lines
appear lighter in weight than zigzag lines and warm colors such as yellow tend to expand
the area in size, where as cool colors like blue tend to contract an area. Also small shapes
appear lighter than big ones.
There are two types of balance

(a)
Symmetrical balance and
(b)
Asymmetrical balance
Now we should know little more about these two types of balance
Symmetrical Balance:-
Symmetrical balance can be described as having

equal weight on equal side of a centrally placed fulcrum. It may also be referred to as
formal balance.
It is possible to build a formal balance by arranging elements equally around a
central point.
Asymmetrical balance:-
In asymmetrical balance both sides of the central axis are not identical, yet appears the
same visual weight.
These two types of balance can be used effectively through

horizontally, vertically and radial balance.
Whenever balance is to be considered horizontally that is about the horizontal axis it is
called as horizontal balance. Further it may be

asymmetric below the central axis .
symmetric and
Whenever balance is to be considered vertically that is about the vertically axis it is called
as vertical balance. Further it may be symmetric and asymmetric.
Whenever every thing is arranged around a center it is called radial balance.
Imbalance:-
Now, how can we correct the problem of imbalance? Take

a drawing that appears to be imbalanced. Now to correct it, try out different techniques
such as darkening or lightening the group or adding values to the back ground.
In this picture the visual weights lies in the left side of the picture because the glass and
apple both are on the same side. But if we make the glass transparent than it balances
your picture. Because transparent and light shaded area visually weight less than an
opaque area.
If our foreground appears to be darker then you should

add some values to the background, so that our foreground and back ground visually
weighted equally.
Movement
Now we move to the next point which is movement.
Movement in composition means the flow of the viewers eye from one area to
another, and getting into the picture perceive it and getting out as well, should be a
pleasing experience.
If we see any picture, our eye movement is directed

by the use of perspective, directional lines or shapes, repeated values or colour patterns
through out the image area.
The primary function of the movement in composition is to encourage the viewer to
study the image until all its aspects are discovered and appreciated. Look at the picture.
In this picture the movement is shown by its directional lines which connecting the total
area and our eyes move from top to bottom.
Structure
In composition, structure refers to the organization of elements in the picture.
All structures, based on primary basic forms such as triangle squares circles,
rectangles etc, conveys the structure of the object.
Look at the picture and try to imagine the basic shapes of each object. You may
identify a small rectangle a glass, big rectangle in the tray or a circle in an apple.
You have seen that the structure of each object is made on the basis of basic
shapes.
To make the proper structure of each object, first we draw the basic shapes lightly
with soft pencil and then gradually build up proper structure over it, and darken the lines.
As you continue to draw and perceive and develop your design that will develop a
finer sense of the composition.
Summing Up
Now its time to conclude todays lecture. You have learned about the process of making an
effective composition. You have seen that our first concern in this regard is the
development of the total pictorial image. It is done through following various steps such as
principles of design, balance, movement and structure.
But still, this is my perception that there can be no hard and fast rules about what makes
an effective composition, but each student through study must come to an individual
understanding of the principles and problems involved.
In the end I have some Self Assessment Questions for you, they are
Self Assessment Questions:1.
What is composition?
2.
What do you understand by the term compositional process?
3.
What is design?
4.
What do you understand by Visual balance?
5.
What is symmetrical balance?
6.
How you describe the asymmetrical balance?
7.
Name two techniques to correct the problem of imbalance of your picture.
8.
What does movement means in pictorial image?
9.
What is the primary function of movement?
10.
What do you understand by basic shapes?
11.
How the basic shapes helps in improving the proper structure?
REFERENCES AND SUGGESTED READING
Foster, W- How to do still life- Walter Foster Publishing.
Foster, W- The art of drawing still life- Walter Foster Publishing.
M .David - A Guide to drawing
Simmons, Seymour &Marc, S.A .Winer- Drawing-the creative process
DRAWING
AND PAINTING DEPARTMENT

E-Learning U.G. Course in Drawing & Painting
COURSE NO. BDP101
UNIT III
LESSON-6 COMPOSITONAL PROCESS
Good Morning everybody

In the previous Lecture you have been taught about the basics of perspective and
proportion and I hope you must have understood it properly.
As an extension of the previous lecture, I will tell you about the compositional process. It is
important to study compositional process as it help in improving your composition. This
process involves certain ideas such as Design, Balance, Movement and Structure.
Introduction:-As you all know that art has given wings for creativity to many and has
been expressed in various ways, whether through realistic art or Abstract art.
Various styles were prevalent even in the ancient period, among them Ajanta murals, Jain
manuscripts; Rajput and Mughal miniatures are still quite famous. The artist has been
expressing themselves through these various styles. By 20th Century only artist were able
to develop their individual style and started express themselves individually.
If we all are aware of the idea of creativity then, by using the elements of Art we may be
able to develop better sense of making compositions.
First of all you should know about the composition. What is composition? The simple
meaning of the composition is- arrangement of the elements of Art in an organized
manner. Now you will ask me what it means. For example like some times a picture with
impressive lines and good colour scheme fails to attract viewers. Why is it so? That means
a person have failed to arrange the elements in an organized manner.
Have a look at these pictures. The first picture is not impressive due to lack of space
because all the objects taken are big in size also they are not arranged properly on the
surface.
The next picture lacks simplicity as the forms are complicatedly overlapped.
The other one is not balanced as there is one big object on one side and a smaller object
on the other side of it.
In the last one, forms are not according to the canvas or paper as the figure may be
extraordinary large or small as compared to the size of the surface.
Here individual figures are not so important, but their importance lies when they are used
in a group, may be different in size, to make a composition.
Compositional Process:Creating a composition is quite a different activity from simple drawing what you see. In
this process you are concerned with arranging, designing and balancing.
To understand compositional process our first step is Design. What is Design?
In the study of design the artist uses the elements to create a composition. But how the
artist bring these elements together and arrange them upon the surface of a canvas or
paper that creates the Design.
We can say A design is the result of the application of the elements by using the
compositional principles, it is not only necessary to describe the forms, but also to place
and develop them in a pleasing manner that involves the viewer with the subject
construction and meaning of the picture.
Compositional Design:First step in the making of compositional design is to arrange a group of objects. Our first
concern is selecting, arranging and representing a still life is to understand the relationship
of forms in space. That is, if our object is placed vertically than we must draw it vertically
on the surface, and if it is placed horizontally than we must draw it accordingly. This way,
we will be able to produce our pictorial image effectively.
Now by following the above idea you will make some compositional design.
In this way your attention to design will make your image more effective.
While making the compositional design there is some point which we should keep in mind.
They are balance, movement and structure.
Balance
What is balance and how it is achieved on a flat surface. Artist needs to create an illusion
of balance, referred to as Visual Balance.
In Visual balance, each area of the painting suggests a certain visual weight. This visual
weight appears through the design which we draw with the help of the element like
different type of lines, different shapes and the use of colours. For example- simple lines
appear lighter in weight than zigzag lines and warm colors such as yellow tend to expand
the area in size, where as cool colors like blue tend to contract an area. Also small shapes
appear lighter than big ones.
There are two types of balance
(a) Symmetrical balance and
(b) Asymmetrical balance
Now we should know little more about these two types of balance
Symmetrical Balance:Symmetrical balance can be described as having equal weight on equal side of a
centrally placed fulcrum. It may also be referred to as formal balance.
It is possible to build a formal balance by arranging elements equally around a central
point.
Asymmetrical balance:In asymmetrical balance both sides of the central axis are not identical, yet appears the
same visual weight.

These two types of balance can be used effectively through horizontally, vertically and
radial balance.
Whenever balance is to be considered horizontally that is about the horizontal axis it is
called as horizontal balance. Further it may be symmetric and asymmetric below the
central axis .
Whenever balance is to be considered vertically that is about the vertically axis it is called
as vertical balance. Further it may be symmetric and asymmetric.
Whenever every thing is arranged around a center it is called radial balance.
Imbalance:Now, how can we correct the problem of imbalance? Take a drawing that appears to be
imbalanced. Now to correct it, try out different techniques such as darkening or lightening
the group or adding values to the back ground.
In this picture the visual weights lies in the left side of the picture because the glass and
apple both are on the same side. But if we make the glass transparent than it balances
your picture. Because transparent and light shaded area visually weight less than an
opaque area.
If our foreground appears to be darker then you should add some values to the
background, so that our foreground and back ground visually weighted equally.
Movement
Now we move to the next point which is movement.
Movement in composition means the flow of the viewers eye from one area to another,
and getting into the picture perceive it and getting out as well, should be a pleasing
experience.
If we see any picture, our eye movement is directed by the use of perspective, directional
lines or shapes, repeated values or colour patterns through out the image area.
The primary function of the movement in composition is to encourage the viewer to study
the image until all its aspects are discovered and appreciated. Look at the picture.
In this picture the movement is shown by its directional lines which connecting the total
area and our eyes move from top to bottom.
Structure
In composition, structure refers to the organization of elements in the picture.
All structures, based on primary basic forms such as triangle squares circles, rectangles
etc, conveys the structure of the object.
Look at the picture and try to imagine the basic shapes of each object. You may identify a
small rectangle a glass, big rectangle in the tray or a circle in an apple.

You have seen that the structure of each object is made on the basis of basic shapes.
To make the proper structure of each object, first we draw the basic shapes lightly with soft
pencil and then gradually build up proper structure over it, and darken the lines.
As you continue to draw and perceive and develop your design that will develop a finer
sense of the composition.
Summing Up
Now its time to conclude todays lecture. You have learned about the process of making an
effective composition. You have seen that our first concern in this regard is the
development of the total pictorial image. It is done through following various steps such as
principles of design, balance, movement and structure.
But still, this is my perception that there can be no hard and fast rules about what makes
an effective composition, but each student through study must come to an individual
understanding of the principles and problems involved.
In the end I have some Self Assessment Questions for you, they are
Self Assessment Questions:1. What is composition?

2. What do you understand by the term compositional process?
3. What is design?
4. What do you understand by Visual balance?
5. What is symmetrical balance?
6. How you describe the asymmetrical balance?
7. Name two techniques to correct the problem of imbalance of your picture.
8. What does movement means in pictorial image?
9. What is the primary function of movement?
10. What do you understand by basic shapes?
11. How the basic shapes helps in improving the proper structure?
Foster, W- How to do still life- Walter Foster Publishing.
Foster, W- The art of drawing still life- Walter Foster Publishing.
M .David - A Guide to drawing
Simmons, Seymour &Marc, S.A .Winer- Drawing-the creative process
BDP101
Lesson-7
Finished Composition- Pencil Demonstration
When working from nature, the artists learn to identify and represent what he or she sees
in term of simple forms. with only a small stretch of the imagination, most shapes found in
nature could be fitted comfortably into one of these structures: the rectangle, the cube, the
circle or sphere, and pyramid.
any object can be seen as composed of these basic shaped or combinations or variations
of them.
the hand can be seen as a block, a mountain as a pyramid or triangle.
once it is understood, you will find that you can draw any thing. complicated still life can be
seen through a basic geometric format. the model in a different pose may be understood
first as a block, cylinder, or sphere; then reduce to simple patterns of structural forms with
appropriate shading before surface details are added.
once basic forms have been established, texture, colors and values may be introduced
with confidence.
BDP 101
Unit 4 Lesson 8
Composition- Pencil Demonstration
First of all we should know how to hold the pencil. The writing position is more commonly
used for sketching and shading.
See- [the demonstration]
Secondly you can use your index finger.
Second position is under palm; see the arm this type. Again we start shading.
Now we will use the Thumb for using the light tone.
Previously we used the index finger and now we are using thumb.
Now again you can also use a cloth around your index finger for shading.
Now we can use this charcoal powder also with a small piece of cloth.
Now we shade the paper in a dark tone and with the use of paper stick we do dark to light
tone. as well as we can mix up two joint section of lines with such shading technique.
Now by cutting the edge of the rubber with cutter like this- See- [the demonstration]
Now you can also feel the depth in this image.
For our drawing, first of all well use HB Pencil. Start with the gentle moves through the
pencil as well as deciding the area to work within the sheet.
This is light pencil drawing. We should start drawing the objects keeping in mind the real
image. the important thing to remember is- dont start work with dark lines lest you should
face real time difficulties during the shading.
Now start doing shading on envelope. first effort should be to shade light to dark. This
open face is shaded darker first. Well use 8B pencil here for shading. Gradually shade
the front area in such a manner that it creates a 3d depth. See- [the demonstration]
Take every corner within the shading.
Now start shading the Onion. Lets make its curvature and lining gently with smooth hand
strokes.
Remember, you should also draw the shade of the object on to the surface, If Any. It
eventually increases the statistics and shows the knowledge of the artist for his/her works.
Artist now is shading the bottom side of the garlic and parallel he is drawing the outline. it
is necessary to make the shade of the object on to the base, no matter how long it is, but
we should do this. so that perfection can be seen.
Also, we have to see the effect of one object on other objects.
While finishing the garlic, you should make its structure clear i.e. the curly line design on
the upper surface. These line kind of design is helping in differentiating Onion from Garlic.
The part of the garlic closer to light should be darker than rest of the part. The shading on
the base helps in understanding the position of the light.
Now, start shading the other area around the main objects that we have already drawn.
The purpose of shading the surrounding area is to differentiate the Negative space and the
Positive space. this also gives the emphasis to look at the centre where the main objects
exist.
Finally we start to give final touch to our composition. It consists of darkening the outer
surface of the objects. To give necessary depth to the view of object. And also to
manipulate the objects features according to the surroundings and the requirements.
Thank you.
BDP101_UNIT 5
Lesson 9
Welcome to the Still life painting demonstration.
In case of Still painting, this is to keep in mind that- whatever the Object we see or
perceive, are in their basic nature. For example: - Orange, Star fruit, Apple, Mango are in
circular or cylindrical in shapes.
Similarly, this Cattle is containing a cylindrical shape. This is to keep in mind that- we will
arrange and process them in a contrast.
During the arrangement of all the objects together, we are to remember that WHAT &
HOW would be their effect on each others quality and understanding & which object is
related to other?
It is also important to set the objects together according to their color tone.
It is also important to know and judge that- whatever object we use, we should always
keep the track of its own Texture and color with the background & foregrounds of
environment. This is important because the background & foreground and the color
shades plays a vital role while we emphasis on a particular area for shading,
highlighting, and if we use Transparent objects then the impact of other object on
transparent object is also important to notice.
Now for processing the objects on sheet with color, it is important to notice the condition of
drawing sheet. That is- if the drawing sheet is rough or smooth. We will select sheet
according to the choice. Here we are using CARTAGE SHEET.
We can use many types of style for adjusting the sheets for pining up the sheets on
drawing board. For example- we can use drawing pins and tapes for fixing the sheet. First
of all, we can wet the paper; it becomes easier to work on the drawing board.
Now we are going to process the taping on a sheet. For this purpose we will useGUM
TAPE as it becomes easier to work on the drawing sheet.
Now according to the size of the sheet, we will cut the tape with respective sides of sheets.
And then paste the tape over the sheet, covering equal portion of drawing board too.
Before applying the tape on the sheet, first of all, take a color plate & introduce little water
into the shallowest disc surface. Then dip partially the sticky side of tape for further
processing of better stickness on sheet as well as on the drawing board.
It is to keep in mind that water contents should not appear over the upper face of the tape,
lest you should damage the surface of the sheet anyhow.
This way of taping is necessary and important because of the fact that it wont let your
sheet move in either ways. This makes brush work and water color work quite healthy. But
in case the sheet is not properly taped from all the sides, then whenever you apply a force
on pencil, it will make the line darker than the requirement.
Before starting the work on sheet, one more time give some force on the tape so that it
can be assured that ALL SIDES ARE WELL STICKED & TAPED.
In case of Cartage sheet, it is much easier to paste the tape on it but in case ofHAND
MADE PAPER, it is required to push tape for more time on paper for better stick result as
handmade paper starts becoming harder as time passes by.
If we can prepare a good surface for painting then it is much easier to paint a good
drawing on the surface.
Now, there your sheet is ready for water color drawing but before starting the painting, it is
important to give a little time to sheet to get dry. This is also required for eliminating
the Shrinkness from the sheet.
For object painting, drawing is essential. In case of drawing, we concentrate on the
composition.
For composition of drawing, whatever the layout we will construct, will be done byHB
pencil. HB pencil is normally used for such purpose. There is a series of HB pencils
starting from HB, 2H, 4H, and 6H. Look at this pencil, it is 6H pencil. 4H, 6H pencils are
used in Mechanical drawing.
But in our case, we generally use 2B, 4B, 6B pencils that are Soft pencils for drawing.
Where B stands for BLACK.
For general purpose, we use HB pencil. Now I will let you know drawing through HB.
For color painting, it is required that the drawing should be done using a firm grip on
pencil. And always keep in mind the arrangement of objects.
The important thing to notice that we have to give a sharp watch on the sheet surface
through eyes as well as pencil. This is important because it defines the area of work. The
movement of hand should be firm and gentle.
As I have told earlier in the lesson that every object in this world exists in Cylindrical,
conical, square, circular in shape. We will draw our object keeping this fact in mind. This is
how we can get an idea how to arrange our objects on the sheet.
After knowing the area of work, layout of objects and their arrangement on sheet, we will
draw object using gentle hand pressure.
See how pressure on pencil is varying by me.
Draw object according to their proportions. The overlapping of objects to each other
according to their arrangement and background works as a mixingof different
objects to each other.
The background object affects the arrangement of object on the sheet too. For examplethe Folds of dapre used in background.
Now, we will process to fill colors in our drawing. It is to notice that I am making drawing
using gentle pressure on pencil and I will not give any detail about this painting. It
will be given when we will fill colors into it.
In case of Still painting, it is important to see the environmental colors too. Every color
here is different but each color affects its neighbor colors tone either directly or indirectly.
This blue background is not absolutely blue, it contains a shade of ochre color.
Now, we will remove the painting sheet from the drawing board. After completing the
painting, you must remove the painted sheet either from the edges of painted sheet or
from the edge of gum tape with the help of paper cutter. The tape which is sticking on the
painted sheet will be hidden after the framing.
Now you can decorate your wall with this painting.
I hope you have enjoyed with this demonstration.
Thank you very much.
BDP101_Unit 5
Lesson 10
Welcome again
In previous demonstration, you enjoyed still life painting with water color. Now I am going
to demonstrate still life painting with Oil pastel colors.
In case of Object painting, we should give a neat look at our color sheet too. On a color
sheet, we have to look at the environment; what kind of environment are we going to use.
We have to choose one of that sheets which fulfill the criteria because well have to leave
some part of sheet for the sake of background.
This is not necessary that we select only that color for sheet which one is in excess. This
depends on ones choice too.
In Pastel-color, we have to leave some parts of our used same color sheet without color.
That is why, generally, people take similar colored canvas which is in excess in
environment. So that extra un-painted part can be left in paper sheet.
Looking at the arrangements of the objects, we have to put them on the paper sheet in
same manner.
Considering the importance of the objects, front-face, mid-face, & background; we will
arrange them in the middle of the sheet.
We first of all, take the measure of background and then built other group of object
respectively and arrange them on the sheet.
Initially, we take a hint or guess that- how would our objects be arranged on the sheet. It is
important because we are not going to fill whole sheet with objects.
After arranging our object on paper sheet, we have to look at the drawing.
Now this is the DETAILED COMPOSITION.
Now I start drawing from here.
FIRST OF ALL, WE SHALL START WITHLANTERN. Observing THE OBJECT, WE
START HIGHLIGHTING DETAILS BY RUNNING BLACK PASTEL IN DARK TONE. BY
DOING THIS YOU CAN SEE THAT EVENTUALLY THE ACTUAL DRAWING OF
LANTERN IS COMING OUT AS WELL AS I AM DRAWING SMALL DETAILS OF
LANTERN. THE DARK PORTION OF LANTERN THAT IS THE DEPTH PORTIONS ARE
ALSO TAKEN IN OUR DRAWING.
NOW I AM GOING TO DRAW THE INK POT
NOW THE PEN WITH FEATHAR IS ALSO DRAWN WITH THE INK POT DRAWING. SO
THAT IT CAN BE APPEAR AS ITS ASSOCIATED PART.
NOW I AM GOING TO DRAW THE THIRD OBJECT WHICH IS A LETTER PAD. THIS
OBJECT IS IN RECTANGULAR FORM AND THE DEPTH PORTION IS ALSO
HIGHLIGHTING BY USING SHADING WITH FIRM HAND PRESSURE.
THE FORTH AND THE LAST OBJECT IS A RED ROSE. ITS DRAWING IS AS
IMPORTANT AS OTHERS.
THE DARK PORTION OF THE BACKGROUD IS ASLO FILLED BY USING PASTEL

STICK IN FLAT POSITION.
NOW FOR DRAWING LIGHT COLORED PORTION, I AM TAKING LIGHT PINK. AND
USING IT IN THE SAME FLAT MANNER AS DONE PREVIOUSLY FOR BACKGROUND.
IT IS ALSO A PART OF DRAWING IN WHICH WE DRAW DEPTH PORTION WITH
BLACK PASTEL COLOR OR DARK GRAY PASTEL COLOR
THIS IS CERELINE BLUE STICK & I AM FILLING CERELINE BLUE COLOR ON THE
LETTER PAD. HERE YOU CAN SEE THAT HOW I AM USING AND FILLING COLOR.
ALSO I AM USING WHITE AND LIGHT COLORS ON TO THE OBJECT.
HERE YOU CAN SEE THAT HOW I AM USING AND FILLING COLOR
THE ENVIRONMENTAL COLORS ALSO AFFECTS THE SHADE ON THE OBJECTS.
THAT IS WHY, I AM FILLING BLUE AND LIGHT LINK COLOR ON THE INK POT. NOW
FILL SEPIA COLOR IN OBJECTS KEEPING IN MIND THE ENVIRONMENTAL SHADES
ON THEM.
NOW FOR LANTERN, I AM USING BLACK COLOR STICK FOR COLORING THE
DEPTH AREA. NOTICE THAT I AM GIVING EXTRA PRESSURE ON STICK STOKES
FOR BEETER RESULTS OF SHADING.
WE USE STICK STOKES IN VARIOUS WAYS LIKE: - EITHER BY POINT PRESSURE
OR BY RUBBING AT REQUIRED AREA.THIS BECAUSE, IT HELPS IN CLEAR VIEW OF
DRAWN OBJECT. ALSO WE SHOULD HIGHLIGHT OUR BACKGROUND IN PARALLEL
TO OBJECTS BECAUSE WE CAN SEE THE ACTUAL REAL SCENE OF OBJECTS ON
SHEET.
HERE YOU CAN SEE THAT IN HOW MANY WAYS I AM USING THIS BLACK PASTEL
COLOR. THE DARK PORTION OF LANTERN THAT IS THE DEPTH PORTIONS ARE
ALSO TAKEN IN OUR DRAWING.HERE YOU CAN SEE THAT IN HOW MANY WAYS I
AM USING THIS BLACK PASTEL COLOR AND THE FOLDS OF DEPRE IS ALSO
CREATING & USING BY ME.
NOW I AM USING CERELINE BLUE AND FLASH TINT COLOR FOR HIGHLIGHTING
THE INK POT.ALSO I AM USING WHITE COLOR PASTEL FOR PREPARING THE
LABEL OF INK POT.
AGAIN USING LIGHT CERELINE BLUE COLOR, I AM FILLING COLORS ON THE
CHIMNEY OF LANTERN. ALSO HIGHLIGHTING THE DARK PORTION OF LANTERN
USING THIS COLOR AGAIN.
SOME TIME IT IS REQUIRED TO CUT-SHORT THE PASTEL STICK SO THAT IT IS
CONVENIENT TO USE IT IN FLAT POSITION.
THE DARK PORTION OF THE BACKGROUD IS ASLO FILLED BY USING PASTEL
STICK IN FLAT POSITION.
NOW FOR DRAWING LIGHT COLORED PORTION, I AM TAKING LIGHT PINK. AND
USING IT IN THE SAME FLAT MANNER AS DONE PREVIOUSLY FOR BACKGROUND.
NOW I AM HIGHLIGHTING THE LANTERN. FOR THIS I AM USING LIGHT BLUE
COLOR.
DURING THE OUTLINE WORK ON OBJECTS, WE SHOULD VARY THE HAND
PRESSURE PLACE BY PLACE.ALSO I AM USING WHITE AND LIGHT COLORS ON TO
THE OBJECT.
NOW I AM HIGHLIGHTING THE LETTER PAD. FOR THIS I AM USING LIGHT BLUE
COLOR AND THE DESIGN OF PAPERS WILL BE DONE THROUGH WHITE COLOR
PASTEL STICK.
LIGHT TINT COLOR IS USED FOR DRAWING THE FEATHER IN INK POT. FOR
CREATING THE CUT SET OF FEATHER, I AM USING BLACK COLOR AND DRAWING
FROM INSIDE OUT. HERE FOR HIGHLIGHTING THE FEATHER, I USE SHORT
STOKES.I AM USING LIGHT COLOR ON TO THE FEATHER.
IN RED ROSE, WE CAN SEE THE SHADES OF RED AND YELLOW. FOR THIS, I AM
USING RED COLOR FIRST AND THEN I AM FILLING YELLOW COLOR INTO IT. FOR
HIGHLIGHTING THE DARK TONES, I AM USING THE BROWN COLOR. THE DARKER
PORTION IS THEN FILLED USING LIGHT YELLOW PASTEL. THE LEAVES ARE THEN
FILLED WITH GREEN COLOR.
FOR SHOWING THE DEPTH, I AM USING BLACK COLOR TOO. HERE FOR
HIGHLIGHTING THE FEATHER, I USE SHORT STOKES. I AM USING LIGHT COLOR
ON TO THE FEATHER. NOW FILL SEPIA COLOR IN OBJECTS KEEPING IN MIND THE
ENVIRONMENTAL SHADES ON THEM.
BACKGROUND COLOR IS ALSO FILLED WITH GREEN PASTEL STICK AND USING IT
IN FLAT POSITION, WE CAN DRAW THE DEPRE ALSO.
If the object is OPAC then there is no need to fill two colors. We will fill one color on such
area.
For shading the objects, we generally use DARK GRAY or BLACK colors. We use this
color in CURVES & THICK area of an object in the same manner as was done in previous
demonstration.
Now after seeing the environmental & other surrounding colors, we will fill respective
colors on to the objects.
In still painting, we should always keep the track of effect of surrounding colors on each
other. It is as important as drawing colors.
For this purpose, we generally use LIGHT, DARK & MIDDLE colors respectively. In such
Colors, because of non-mixing property, existing colors are to be taken from surroundings.
This work is finished with Oil Pastel medium.
Thank you.
E-Learning UG course in Drawing & Painting

DRAWING & PAINTING DEPARTMENT, Faculty of Arts, Dayalbagh Educational
Institute.
COURSE NO. BDP102

Unit 1
Lesson 1
INTRODUCTION:
Why Paint Still Life?
Still life painting has been an important part of expression since the15 th century.
Most of the great masters of visual art since that time have painted still - life using
such a great variety of subject matter and such a large number of techniques, thats
the study of their work would be simply fascinating.
The scope of the subject matter of still life painting is very wide;
No. 1-The artist has unlimited opportunity for creative self expression.
2- There are endless possibilities for design with the same
material.
subject
3-Artists have complete freedom of choice in the selection of color

combination.
This subject has been divided into five units:
In the first unit, we will learn about Materials and medium used for still life material.
In the second, we will learn the different Elements of Painting.
In the third, we will study about the principle of Composition &Compositional
Process.
In the Fourth unit, we will learn still life with Pencil Demonstrations.
In the last and Fifth unit, we will learn still life with Color Demonstrations.
We now begin with lesson one:-
LESSON 1
Drawing is a vision on paper. More than that it is also an individual vision, tied with
individual perception, interest, observation, character, philosophy and a host of other
qualities all coming from one source.
The objectives of this Lesson therefore, are: 1.
To learn about the different types of material which will we need

for still life painting.
2.
To study what are the best uses of that material.
3.
To know the possibilities and the limitations of the material.
The Different Types of Materials: - The variety of drawing material is seemingly

endless. The choice of drawing material is important for the art student. In this section we
intend to discuss the standard materials and a brief explanation of their uses. The basic
material used in the drawing exercises are:No. 1. Paper
2. Pencil
3. Charcoal
4. Pastels
5. Pen and Ink
6.
Oil Colour
7.
8.
Water colour
Brushes
9.
OTHER ACCESSORIES WHICH INCLUDE:a.
Drawing Board
b. Erasers
c.
Colour Palette
d. Masking Tape
e.
Clips and Board Pins
f.
A Bowl of water
g.
A piece of Cotton cloth
Self Check Question: 1.
What are the basic materials we need for still life painting?
2.
Name the different accessories which are useful while working.
Well now talk about the different types of materials:The first is Paper: - Different types of paper are designed to be used with a wide variety of
materials. Students would do well to familiarize themselves with the variety of papers that are
manufactured specially for the purpose of drawing. These come in many styles and qualities
and may be chosen according to the requirement of the medium to be used, for examplecartridge papers, Ivory paper, Hand made paper, Pastel paper in different colours.
3.
Pencil: - Pencil is the most familiar drawing tool. There are different types of pencils.
These can be used for different types of work. For example- soft graphite Pencil, Carbon
Pencil etc. Standard drawing pencils are listed according to the degree of hardness. Hard
Pencils are referred to as H and range from 2H to 9H (which is the hardest).
Soft pencils are refers to as B and range from 2B to 8B (which is the softest). HB is the
middle grade pencil. For drawing, we recommend the use of a soft lead pencil that is 2B to
4B and for shading and applying dark shadows we recommend the use of soft lead pencils
that is from 6B to 8B.
How to hold a Pencil: - When people are taught to write, they develop habits of holding a
pen or Pencil. These habits may be appropriate for writing but are not always appropriate
for drawing. In most drawings the pencil may be held between the thumb and fingers. In
this way the hand can remain relaxed. The whole arm can be used to make the drawing
and not just the hand and wrist.
This is the second position in which the pencil is normally held. It is useful for drawing
and detailed drawing. For fine and controlled drawing, hold the pencil as you would for
drawing.
Why is the knowledge of the different types of paper useful for students?
2.
How many types of papers are available in the market?
3.
Write the range of the soft pencil?
4.
What is the range for hard Pencil?
5.
For shading and dark shadows which type of Pencil do we used?

Now we move to next type of material-
Charcoal: - There are different types of charcoal to be used for drawing. These are- Vine
charcoal, compressed charcoal, powdered charcoal and charcoal pencils. Each has
specific uses, merits and problems.
Vine is the natural charcoal made from straight beech, bass, or willow twigs, which have
been Kin-fired until all the organic material is burned away and pure carbon remains. Each
stick is about 4 inches long and inches to inches wide. Vine is manufactured in four
degree of hardness, from soft to hard.
Compressed charcoal is made by powdering the vine charcoal and compressing it
with a binder. Sticks are either round like chalk, or square. Compressed charcoal does not
blend as easily as vine.
A Charcoal pencil is simply compressed charcoal in pencil form. There are some
limitations of uses of the charcoal pencils because only the point can be used for drawing.
Powdered charcoal, on the other hand, can be used for tracing or for shading backgrounds.
Pastels: - Pastels are made from natural Pigment and required considerable skill to be
used. Pastels are manufactured in three different categories1. Dry pastel,
2. Oil pastel, and
3. Water color oil pastel.
Oil pastels are simply oil based and are softer than dry pastel. They are oilier in
consistency and do not blend as completely. Water color oil pastel gives the water colour
effect.
Pen and Ink: - You can work expressively and spontaneously in pen and ink. Lead and
quill pens have been used for drawing and writing for hundreds of years. These Pens are
used by artists and calligraphers because of the richness and character of their lines. Steel
pint pens, which were introduced in the 1800s, come in hundred of styles widths.
Mechanical pens have a self-enclosed ink cartridge and do not require constant
dipping. There are many types of pens like felt tipped, fountain Pens and ballpoint pens,
Gel Pens etc.
Ink: - Inks available today may be transparent (all colours) or opaque and they come in
various colors and tints. Inks may be used directly or mixed with water to produce
graduated wash effects.
How many types of Charcoal are available?
2.
How is vine Charcoal derived?
3.
How many types of pastels are used for Painting?
4.
What is the quality of oil based pastel?
5.
What are the characteristics of mechanical pens?
As we come to the end of our lesson, we will take up a brief sum up:The choice of drawing material is important for an art student. In still life painting we need
different materials and for that we must have some knowledge of these basic materials.
These materials include paper, pencil, pastels, charcoal, Pen and ink, Brushes and other
accessories. Drawing material may be chosen According to the requirement of the work.
This lesson ends with an assignment. You must try to complete assignments and practice
exercise.
Assignment no. 1:Why the knowledge of the material is useful of the drawing student? Write the name of all
the material used in still life Painting.
Home Assignment
1.
Explain the uses of any two materials which are useful for still
life painting.
Thank you very much for your time. And we will meet in the next lesson.
BDP102
LESSON-II
In todays lesson, we will be talking about the different mediums used for still life painting.
And I hope, you all remember what we have taken up in lesson 1. In lesson 1, we had
talked about the different materials used for still life painting that is- the different kinds of
papers, brushes, pencils and other types.
Over the centuries, artists have always invented and used drawing mediums. The choice
of medium, offers many possibilities for developing different styles and techniques. The
most common mediums are water color medium, oil medium and dry medium. The only
qualification required for learning to paint is a desire and willingness to try. Dont you think
this is important? Unless you have desire to try and to learn, you will not be able to really
succeed. So, all that is required is the deep desire and a little patience. In this lesson we
will learn about the material and mediums for still life painting.
The objectives of this lesson, therefore, are:Number 1- To give complete knowledge of the different materials and Mediums.
Number2- To understand the advantages and disadvantages of each medium.
For still life painting, we recommend the most common media which are water, oil and dry.
Through these mediums the student can study still life and also express himself or
herself with creativity. What is this mean? This means that it is the medium which
will give us the freedom to express our self in a best possible way.
BrushesFor coloring our work, we need brushes also. Painting brushes are flexible so
that with a certain amount of control nearly any type of line or texture can be
produced. There are many types of brushes such as: Flat Brushes and Round
brushes. Flat Brushes are made from Hog hair and sable hair and round brushes
are made from sable hair and synthetic hair also.
Water Color: - Through Water color a student can easily become familiar with the use of
color. Colors are transparent in nature and give a very smooth effect. Water color
can be used directly.
Oil Colors:Oil colors are one of the most exciting materials through which a students can
express his or her feelings creativity. Oil colors can be used thickly and thinly. Oil color also
provides the user greatest range of color choice.
We must also try to understand what the different accessories are with the help of which,
we paint. The other accessories which are an essential part of an artists equipments are:Number 1. Drawing Board.
2. Color Palette
3. Masking Tape
4. Clips and Board Pins
5 A Bowl of water
6. A piece of Cotton cloth. And
, finally an Eraser.
An eraser is meant to be used only to blend and soften pencil effects.
Drawing Board: - According to their paper size students must choose the Drawing Board
for firm support and stability. Boards are available in different types such as: - wooden or
ply wood drawing boards. Before starting the work on paper we can mount our paper on
the board. For this metal clasps can be used or masking tape or board pins. But you must
see that your paper is firmly attached to the drawing board.
Color Palette: - While working with colors you will need a color palette. The Color palette
should be big and clean. It should have sufficient space so that you can mix your colors
properly.
A Masking Tape is used for holding the paper down to the matting.
Clips and Board pins are also used for holding down paper on the board. They come in
many types like: round Board pins, metal clasps and any other types that you might find
that is convenient and not too expensive.
A Water Bowl is also needed to mix the color properly with water. The bowl should be big
and half filled with clean water, you can also use this water to clean your brushes as and
when they become dirty.
A small piece of Cotton Cloth will be very handy. While working with colors you might
need this cloth which should be clean and in a 12x12 inches size.
Self Assessment Questions :Fill up the blanks:1.
The Flat brushes are made from __________hair and

------------
hair too.
2.
Round brushes are made from__________hair and------------hair.
3.
Water colours are_________in nature.
4.
The colour palette should be____________and__________
5.
For cleaning the brushes and other accessories, we need a piece

of_____________.
Now, what is a medium? The Medium describes the additives which the artist uses with
a paint to make it behave differently. Such as water is added to make the paint run more
easily or turpentine is added to make a paint run better.
We will now study the use of water, oil and dry medium used for painting in a little
more detail.
The first- Water Medium: -In this medium water color and poster colors are commonly
used. The Water medium is so called because the adhesive that sticks the pigment
powder to the paper is soluble in water. The paint is a finely ground mixture of pigment,
water soluble gum, glycerin, and glucose. What do you think an advantage of water
medium? One of the great advantages of water medium is that it requires no complicated
equipments for painting out of doors, for instance. Your basic essentials are a box of paint,
a brush, paper and water. For the water medium we use the paper that has been specially
made for water color. This is because if the paper is too absorbent, the liquid will be
soaked in to the surface and if the paper is non-absorbent, the paint will run completely out
of control.So the choice of paper becomes important.
2nd- Oil Medium: - Painting in oil medium is one of the exiting ways of painting. As a
medium for a beginner it is perfect because it is very easy to correct what you have done
either by wiping it out or by painting over it. There is some disadvantage too in using the oil
medium because it does not dry completely for a very long time.
3. The Dry medium: - In this medium students can use dry pastels, oil pastels, pencil
colors, chalks and vex crayons. In this medium the color pigment is held together with the
use of a binder. It is formed in too long round strip. There is no need to add water or oil for
mixing the color. Because it is dry, there are no frustrations of waiting for the paper to dry.
We just pick up the colors and apply directly to the painting surface.
Class Assignment
1.
2.
Write the short notes on the accessories needed for still life painting.
What is medium? Discuss water medium in detail.
We close this lesson with two terminal questions.

Terminal Question:-_
1.
Write an essay on material and medium.
2.
Write the advantages and disadvantages of different medium.
Unit 2
Lesson 3
Element of Painting
Welcome, today we are going to talk about unit 2- the element of painting which consist
of:Line
Form
Space
Value
Texture and
Color
In lesson third, we will learn about the line, form and space.
And in fourth lesson we will tell you about value, texture and color.
Lesson: 3
Today we will start about line function. This is the first element of drawing. This is an
important and necessary element of painting.
Objective:after going through this lesson, youll learn:
The meaning of line and its importance in art.
Kinds of line.
Basic line drawings.
A study of basic forms through line.
Methods of draw a line.

Introduction:Here we will learn how lines can be created. In how many types we can draw a line an
d create a painting.
Whats line?
A long thin mark frequently made with a pencil is called line.
According to geometry line is an expression of distance between two dots.

.
- Lets see lots of Dots by which we can create a line.
..
But Art lines are different from Geometrical lines.

We draw geometrical lines with the help of geometrical tools like scale, compass etc.
Where as Art lines are draw by free hand without using any tools.
To draw a line with pencil, ink, pen will create a different effect and expression.
Here generally, we have two kinds of lines:
Simple line
Curved line
When we draw a line from one Point to decided direction that is known as a simple line.
.
And, when the direction gets continuous changes, then the line is known as acurved line.
Now, here we are going to learn about the different LINES & their RESPECTIVE
EFFECTS:-
Simple line shows hardness or can also show gravity.

______________________________________________
But in curved lines we have lots of effects and expressions like
When we draw a line with little turns or slight roundness, it gives effect of aesthetical effect,
liveliness, & smoothness.
B. When we draw it intensely curved line it shows
Power, Effectiveness and Activeness.
C. A multi-curved lines with less space creates Depression,
Mental imbalance, Dilemma & Struggle.
LINES AND DIRECTIONS
Horizontal line shows rest, peace.
Vertical line shows power, balance, determination, honesty, truth, hardness.
Conical lines shows speed, fight, fast.
Down wards lines shows peace, surrender.
Spirals lines shows rhythmic speed or rhythm in drawing.

Line which comes from one center or point shows effect of concentration, power and
expansion.
PERSEPECTIVE EFFECTS WITH LINES FUNCTION:In painting, different type of lines gives different perspective effectsLine is a two dimensional object but the way of used line can give effect of three
dimensional.
To show object near, the line should draw bold and dark
To show objects in distance, the lines should draw dim and thin.
To show gravity and other dimensions, conical lines are drawn in different ways.
And, from line-shading we can show the highlights, volume, texture and other details.
LINES AND ITS APPICATION:WEAK LINES: In drawing a line, if we dont apply equal pressure all around the lines
construction also if we are uncertain about the goal direction then due to this dilemma, we
draw a WEAK line. This line could be a vibrated line.
STRONG LINES: When we draw a line with force, and in a decided direction then such
lines appear to be a Strong line.
SOFT LINES: When a line is drawn with little curve, uneven darkness and with blur and
clear effects together, are known as Soft lines.
HARD LINES are equal from all the sides. It can be geometrical and conical.
LINES WITH SOFT EDGES ARE given effect of softness. When the paper is wet and we
draw line on it that comes light and it will not clear from the end that is soft line.
BROKEN LINE: when we draw a line on dry and uneven paper with darkness then line
edges will not come smooth. Thats calls broken line.
FORM
Now we will start learning about form, which is an important and second element of
painting.
OBJECTIVE
The meaning of form and its importance in art.
Kinds of form.
Basic form drawings.
A study of basic forms

INTRODUCTION:
Form is artists way of thinking and meaning of visualization.
Form refers to the shape of object as well as to the shape used in abstract
design.
Lines as much do not exist in nature but are tools invented by artist to indicate
form.
When working from nature we will learn to identify and presented what you see in
terms of simple forms
DIRRERENT TYPE OF FORM

Let us see, with only a small imagination most shapes found in nature could be fitted
comfortably into one of this structurethe rectangle, the cube, the circle or cylinder, triangle
and pyramid.
Any object can be seen as composed of the combinations of these basic shapes.
The hand can be seen as a block, a mountain as a pyramid or a triangle.
To draw accurately, however, details must be ignored in favor of the major shapes
that structure the form.
Once it is understood, you will find that you can draw anything.
The still life can be seen through a basic geometric format, such as a block,
cylinder; then reduce to simple pattern of structure forms.
Once basic forms have been established, texture, colour, and values may be
introduced with confidence.
SPACE
OBJECTIVE
The meaning of space and its importance in art.
Kinds of space.
Basic drawings to show space.

INTRODUCTION
The word space can mean different to a drawing. It can refer to the sense of three
dimensional space suggested within the confines on the paper or it can refer to the area
that separates one form from another on the picture plan.
Negative space:
An aspect of the second spatial delineation is often called negative space, inter-space or
background. The observation of this space is an essential tool for enabling us to see forms
objectively.
You are a beginner and you often identifies a familiar object without examine its shapes
and proportions carefully. Combine the awareness of the form with the accurate
observation of shape of surrounding space.
The multipulation of negative space is helpful, not only in rendering individual forms, but
also in establishing a relation between forms and in creating a composition.
Positive space:
The object which we draw is positive space.
ASSIGNMENTS
Do some gestural, constructional, contour and cross contour line drawing of different
objects.
Draw the basic forms and show the light and shadow effect on it.
Show a negative and positive space of your object drawing.

SUMMING UP
Line is an important element of painting by which you can create your drawing with
different effects. You can explore your idea of drawing by line.
A small imagination most shapes found in nature could be fitted comfortably into one of
this structure the rectangle, the cube, the circle or cylinder, triangle and pyramid. Any
object can be seen as composed of these basic shapes of combinations of variations of
them.
Space creates a balance in drawing. Space helps us to uniform the form on drawing sheet.
TERMINAL QUESTIONS
Define the types of line and their directions?
What do understand by simple and curved line?
How you will show lines function in your found object drawing?
Define the line and its application?
draw the different type of form?
How light and position change the nature of the forms?
What do understand by space? And show the negative and positive space of object.
E-Learning UG course in Drawing
& Painting
DRAWING & PAINTING DEPARTMENT, Faculty of Arts, Dayalbagh Educational

Institute.
COURSE NO. - BDP102
Lesson -4
VALUE
Welcome, lets start with the todays class which is value.
After going through this lesson you will be able to understand
The meaning of value and its importance in art.
Light and shadow role in value.
Basic drawings techniques with value.
A study of basic forms through value.
Methods of creating value in object.
INTRODUCTION
The purpose of this class is to learn value and their use in a work of art.
Value refers to the use of light and dark in a drawing. The changes in tone from black to
white are one of the main causes of determining the three dimensional nature in forms.
We recognize roundness in the modulated shadows. The gradual shifts from dark to
light on the surface of the cylindrical or shape, flatness in the delineated Shades planes,
and sharp value contrasts on the pyramid or cube.
It is quite possible to render accurate drawing of a three dimensional object using only
shadow and light, without the use of line.
However, it is generally helpful in the beginning to seek out simple value patterns to help
structure and organize more complex forms.
Form without line:
Now see, we will learn it through exercise:
Place an apple
Give a spot light on it from one side.
Then draw an apple carefully indicating all the gradations of light and shadow on it.
Again place a multisided form with four or more surfaces then draw the form showing the
various qualities of light that falls on each sides of the form.
Note, how this light changes slowly as it moves across the surface of each plane.
Through this exercise, you can learn the structure of value and can be applied in hundreds
of different situations.
Lights and shadow:
As you become more familiar with the shadow, you will recognize the role of value within
individual shadow in shapes.
Besides the basic flow of dark and light, there are three other distinctions that you should
be aware
1.
Highlight
2.
Reflected light and
3.
Cast shadow
The highlight:appears as a line or area of very bright light on the surface of a form. In
drawing, this highlight may be emphasized by erasing it. Highlight often suggests the most
forward moving part of the object.
Reflected light: appears on the edge of a shadowed from because of the reflection of light
area that comes directly from the source, and generally appears when a shadow is placed
next to another dark surface.
The use of reflected light helps to convey a sense of three dimensionality and sets the
form off from other dark areas around it.
Cast shadows:do not define the surface of a form. They are the dark shadow cast upon a
surface by an object that stands between the surface and the light source.
TEXTURE
Now we will start our 5th lesson in which we will learn about texture. The concept and
observation of the fifth primary element texture really cannot be separated from the
other elements line, form, value and space.
Objective:
The meaning of texture and its importance in art.
Characteristics of texture.
A study of basic forms with texture.
The classification of texture.
Methods of knowing texture.
INTRODUCTION
We are conscious not only of form, space, colour, dark and light, but also of tactile
qualities, a sense of feel surface, of roughness and smoothness, hardness and softness.
For instance, smoothness may suggest refinement, luxury; roughness tends to evoke
vigor, heartiness, crudity and careless finish.
TEXTURE: WHAT IS TEXTURE?
In the visual arts, texture means the surface appearances or character of objects which
is due to their physical appearance.
Every object has a textural quality and that textural quality show objects character and
effects.
Artist show that quality with visual effects.

When we see and touch the object then well get the experience of texture. It can be
hard or soft, thick, rough or smooth.
These hard, thick and rough textures have a different effect of light and shade and
smooth and soft texture has a different effects.
These qualities depend on objects material like: it can be wool, plastic, wood or a
ceramic or any other object
These differentiations of material give different textural effects on your object.
The knowledge of texture can be obtained through the following two ways:
1. TACTILE TEXTURE
2. VISUAL TEXTURE
TACTILE TEXTURE: Tactile texture is the actual 3D feel of a Texture. Tactile means
TOUC, WHEN WE FEEL HARDNESS AND SOFTNESS OF AN OBJECT BY
THE TOUCH THAT TACTILE TEXTURE.
VISUAL TEXTURE: when we feel hardness and softness of object to just see them in
drawing that will call visual texture or 2D texture.
Here we gave only illusion of the texture.
CLASSIFICATION OF TEXTURE
There are two types of textures1.
Found and Given
2.
Artificial
FOUND AND GIVEN: in this all textural surfaces come which created by man and nature.
Like: wood, stone and bottle texture.
ARTIFICIAL: when we covered a textural surface with other texture that will call artificial
texture. It can be of two types:1.
Copied Texture
2.
Imaginative and Created

COPIED TEXTURE: In this, when we draw a texture with the bases of model that called
copied texture; like when we draw a still life in which we have steel glass, glass bottle
and a wooden board. In this the original texture of paper or canvas will be covered. The
texture of still life drawing will become more important.
IMAGINATIVE AND CREATED: with the use of different art material and medium, we can
change the textural quality. The use of mixing water and oil colours, patch of thick colour
and any other textural medium can create a new and imaginary textural surface.
Here I am going to show you how we can achieve different types of textures with the help
of different materials.
The first type of texture is obtained by using favicol and colours. For that first of all we put
fevicol on the surface. Allow it to dry for some times. Now we can create different types of
texture using different thing like- using back tip of brush and by using comb. After that we
apply desirable colors on it. You can use wither poster color or inks, wax or water colors.
In this type of texture, water colors are put on the waxed surface. In this method surface
can be waxed in different type of texture.
Marbling
By using this technique, we can create beautiful texture. for this well require a big bowl
containing water and enamel colors. Now with the help of brush well put some drops of
colors in that bowl. You will find those drops of colors floating on the surface of water. Now
with the help of the brush we will try to spread the colors all through the surface of water.
Finally we will drop our sheet in the bowl and take it out immediately.
COLOUR
Color; Which is the most expressive element of painting.

Its potential as a drawing tool extends the artists creative possibilities in all directions
defining forms, establishing values, texture and space, stimulating the sense and emotions
unifying compositions.
OBJECTIVE
The meaning of colour
The kinds of colour
The nature of colour
The quality of colour

INTRODUCTION
Technically colour is composed of waves or impulses of light. If you have seen rainbow
or daylight through a prism or a rainbow, you absorb a spectrum of colour of hues violet,
blue, green yellow, orange and red.
Each colour is created by an impulse of a defining length; violet is the shortest, red is the
longest. Of these hues, red yellow and blue are designated primary colours. Primary
colors are basically pure hues and cannot be obtained by mixing together any other hues.
Green, orange and violet created by a mixture of these primary colours, are
calledsecondary colours.
Like,
RED + YELLOW = ORANGE.
YELLOW + BLUE = GREEN
RED + BLUE = VIOLET
The intermediate steps between six basic hues are called tertiary colors. Like between
blue and green is called blue-green. Between red and orange are red-orange. In this
combination the first is primary and then the secondary hue.
if the convention is reversed as orange and red; the implication is that the hue contains
good deal more than orange; good deal more orange than red.
Natural colours: for a surface as one color or another it must reflect some color waves
and absorb other. The exception of this rule is white; which absorb and reflected virtual
none and black; which absorb all color and reflect none. This black and white is called
natural colors.
Pigments used in drawing or painting are materials of either dry, semidry, or liquid
consistency, which contain chemicals to absorbs and reflect specific qualities of light.
A pigments closeness to pure colours is referred to as its saturation level. Tertiary hues
are colours dulled away from saturation by the introduction of complementary colours.
Colours have three qualities:
1. Hue
2. Value
3. Croma, intensity
1. Hue: the nature of colour is hue. Means red colour has nature of reddishness, yellow
colour has yellowish nature and blue colour has bluish nature.
2. Value: we can call it the darkness and the lightness of colour. Like; light red or dark red.
When we add white colour in red that decrease the value of red and if we add black colour
in red then the value of red will be increase. So addition of white and black can change the
value of colour.
3. Croma, intensity: that indicates the purity of colour. The purity of colour decreases and
increases the intensity. Can also give shininess and dullness of colour. When we add any
other colour into red the intensity of red will decrease and when we put pure red colour the
intensity of red will be increase.
Complementary refers to colours that, when added to another, red is the complement of
green because, by adding red to the blue yellow combination. The larger percentage of
the complementary colours used, the greater the neutralizing effect.
The natural brown is produced by a more or less equal mixture of

red, yellow and blue.
A slight increase in one of these colours changes quality of brown. For example, an
increase in yellow would produce a yellow brown, or ochre, an increase in red produces
sienna.
Gray produced by combining black and white, changes its

character through the introduction of primary colours.
If the complement is introduced to the colours in a relatively

small amount, the effect is to diminish the intensity (saturation) and perhaps to darken the
colour.
Individual hues have relative weights and sensual values as well as special
characteristic. For example:
Blue and green: considered cool colours appear to recede and rise when used in
relation to other colours.
Yellow and red are warm colours, which come forward, appear heavy, and give the
impression of heat.
These effects may be due to the colours wavelength or to our associations.
Blue with the cool, receding sky, yellow with the sun and red with fire.
These are the usual reactions and associations to colours; they are not rules for colours
usage.
Artists learn through study and experience, to manipulate colours to convey meaning
and mood to the viewer.
Many of these effects may go against the above mentioned principles and still creates
an effective, even natural image.
ASSIGNMENTS
Do a drawing of basic forms and create a value effect on this without using line.
Do a drawing of an object with high light, reflected light and cast shadow.
Take an object and make its textural drawing. You can choose found and given
textural object.
Create a textural drawing with new experiments and with your imagination.
Make a colour wheel of primary and secondary colours andNeutral colours.

Dilute your colour by adding water to lesson their brightness. Apply them to make a
series of circular shapes using each of the primary colours next to each other on the page.
Create a wheel to show quality of colours like hue, value and intensity.
Make a drawing in which you can show effect of colours like blue in sky, yellow in sun.
Take primary colour wheel and add white and adding black colour.
SUMMING UP
Simple value patterns can help the structure and organize more complex forms. Value
refers to the use of light and dark in a drawing.
The concept and observation of the fifth primary element texture really can not be
separated from the other element line, form, value and space. By that you can explore
your imagination and expression clearly
Colour serves a multitude of purposes in any given drawing establishing value

patterns, locating objects in space, describing surfaces, structuring compositions. Colour is
a most expressive element of painting by which we can extends the artists creative
possibilities in all directions.
TERMINAL QUESTIONS
Do a drawing with value and how you will create it with the help of light and shadow?
What do you understand by high light, reflected light and cast shadow?
What do you understand by texture?
Define the textural qualities of found and given textural object?
How you will create a new imaginary drawing with texture?
Create colour wheel showing primary, secondary and tertiary colours. And define the
quality of colour.
Drawing the Creative Process: Seymons3. Mark S.A.Winer
A Guide to Drawing: Daniel M. Mendelowitz
Art and visual perception: Arnheim, Rudolph
Visual thinking: Berkeley, calif
Language of Drawing: hill, Edward
Drawing: Mendelowitz, Daniel M
Rupankan: Giriraj kishore Agrawal
Kala Vilas: Arya Agrawal

GLOSSARY
Value: range of dark and light in a picture.
Tone: area of colour or value of a particular lightness or darkness.
Tonal drawing: drawing built primarily of areas of gray as opposed to a line drawing.
Tactile sensations: sensations from touching something. May be implied in a drawing

through textural indications.
Rendering
(Unit-3 Lesson 5 )
Todays program is about Rendering. Rendering is one the subject prescribed in the
syllabus of the university for the UG students. And before taking up the demonstration
further, I would like to make clear the notion about the Rendering.
Rendering literally means the presentation of something/ presentation by some artist, it
can apply to visual arts, it can apply to performing arts. So I said, it is a term with wider
cortication. A musician when rendering a Raga, for example, he uses the expression and
we appreciate it if we like. A dancer also while performing, he renders a particular mood
through the various Mudras of dance using a limps, using the facial expressions, using the
movements of the eye brows and the lips etc. because the beautiful rendering or rendering
of the lips was like this, rendering of the gesticulation or Mudras or movements was like
this. So in this way, what I want to make it clear that the turn has the wider cortication but
when we the student of visual arts, it is specifically in relation to the rendering of visual
forms.
Now, again, so far as our syllabus is concerned, it restricts itself to a particular reference to
still life. Though it may have a wider cortication within the field of visual arts. We can take
nature, we can use any object like tree, like plants, like flower or birds and animal or
anything. And with the help of daily measures, we can create new compositions. By
drawing the essential elements from the forms and giving them a new type of presentation
through combination, through simplification, through distortion or even picking up only the
elements out of that and re-structuring the whole thing, like that. So In this particular case,
here we are restricting ourselves to the present provision of the syllabus that is, it is taken
with the reference to rendering. as its parts by still life painting that would a group of
certain objects. So I dont have to explain the elements of the still life or its compositions.
To start with, we have taken a group of objects over here. Consisting the flask, we have a
plate, a cup, a rectangular object (a red Box) & the apple, a dark background. This is
arrange, I think keeping in mind, the basic principle of a good composition, constituting the
basic elements of their whatever form they have, like the circular, the cylindrical, the
rectangular, the spherical, like that. And combining them in such an order so, initial the
group itself presents a good composition.
Yes, I have must told you earlier that still life is only used to provide you some stimulus to
isthmus your thoughts especially about the visual effects of various objects that are before
you. From which we can go to their elements. When I talk of the elements, it may be
related to any particular object or group of objects. In this instance from the group of still
life that is before us, for example, I take the JAR (a flask is before us). It is a cylindrical
object & there are various components together which create an effect of jar. Now what we
do inRendering is, we go to the elements of this particular form. Now in this instance for
example, there is a cylindrical form before us. There is a lid, a round lid before us. It has its
width (for example like this). Now, I am not presenting the view as it is visible to me, I
mean the representational aspects of the objects that are before me. I am more concerned
about my transform perception of this thing. With my conscious knowledge about the
character of the object and its components. The moment I look at the lid, I know, the idea
comes to my mind, it is Round. It is necessary taking the form that is visible to me like an
ellipse showing its width (like that, not necessarily). My mind tells me, just as happen to a
child when he paints a house & he presents the picture of the house, his mind goes to the
interior of the house. He wants to show everything that not actually visible but still
conscious as he is. The inside, may be the bed, may be the table, may be somebody is
sitting over there, may be somebody is like that, and he may like to put all those things
visible even behind the wall. So this is how, sometimes, what we perceive through the
eyes is one thing. When somebody is painting the still life, they take the representational
aspects of it. The arrangements as it is visible, what we may say the realistically &
naturalistic forms. They analyze its form, they analyze its color, and they analyze the effect
of lights & shades, they analyze the color of the atmosphere and all that. They try to
analyze the difference between the background & the foreground. The tonalities, the ratio
& the proportions, the perspective all these things, the high levels and the related change
in their forms. So, actually, it is a study. When we study, we study from the actualities of
whatever is before us.
When we come to Rendering (in rendering) as I am telling you, our mind goes to the
elements, elements of the objects and the forms involved. In this particular face, for
example, I see, and I am conscious that it is a round disc like thing. It has width. (The
width may be like this or I may take the width like this also) of the lid when it may be on my
eye level.
The question is- what is after all rendering?
Now when we come to rendering, it means, we take up the elements from all these
objects. We separate them & after separating them or what we can say, we break the
forms into the various elements of the total objects or the group. We break them into its
various aspects; each component may be broken from the other. Their inter-relationship
can be disturbed. And it may be a group of different-different forms derived from this &
then we try to reassemble them in absolutely a new composition. That is, we want to
create some new pattern with the help of those elements that we borrow from the group of
objects before us.This is actually what we do in Rendering.
Now In this particular thing, for example, just to explain one thing, there is a plate behind.
Of course the plate behind is round. It has a wavy edge. Now I may put the two forms, the
roundness as well as the wavy edges together or separately.
We have a cup. The natural form of the cup before us (is like this) along with the handle.
But again, the cup has a border. Now I can break them. There is a handle, there is a round
hollow interior of the cup, and there is a border of it. We can break them, we can break it.
One piece makes one component; other component is the border area. Now, I can remove
it from this, or even If I break this one piece of this elliptical form, I may have one ellipse, a
part of this ellipse, I may break it, (for example like this) I can combine it (like this) or I may
combine it in another form (like this) & may be it is going (like this Or even it may be like
this) & another part of the component may come over here, that is, one form is overlapping
the other.
So there is various ways in which I can interpret them, break them, and reassemble them.
And I think the various permutation & combinations are there in which they can be
reassemble
I cannot prescribe any particular way; it is up to the persons concern, who, isRendering..
How he may conceive, how his imagination can go, how he may try to combine them. But
another thing like this, what I want to emphasis, is that it is not total freedom that you can
do each and any way. We have to observe the principles of pictorial compositions. I think,
as our students are very well concerned (as they may have already study this thing) when
we talk of the elements and the principles of a pictorial compositions, we talk of balance,
we talk of rhythm, we talk of rhythm unity, we talk of emphasis, we talk of texture, we talk
of color. So, these are the various principles as well as the elements of a pictorial
composition before us.
So, when I talk of the particular form (form is there), the form we use for creating the
pattern on the 2D surface inspired by the 3D object or group of object before us. This is
our limit. An important aspect of its that there are other parts of the elements, other
components viz. you call a elements of the pictorial composition. Like line, like forms, like
colors, like texture & space. (Now space, of course, is important but the space we are
exploiting with the all these things).
For I am not going to explain further because form means, the forms borrowed from the
objects that are before us. When we talk of the space, space means- The space is also
being restricted by their outlines as well as the space left outside, that what we call
a negative space. But it is not necessary in rendering to follow exactly the division of the
space according to what is before us. Because as I have told you in the beginning that we
have to re-create. So the space also can be managed, can be modified, can be
restructured according to our concept of a more attractive, beautiful composition.
One of the important elements is Texture. Now texture again, we should understand
because, the texture in itself is a quality of a particular surface. But here, we may borrow
the textural quality from that even sometime we may try to invent & create it from our own
mind, with the modified version of what we see. Holding it in state, you know the textural
(the texture) itself has got a great quality of creating a pattern in itself on the 2D surface.
To demonstrate only with few lines, take for an instance, a particular form is created with
the simple lines (like this). It is a rectangular form, but when by combining it with another
rectangular form, rectangular lines (or straight lines) but in a different pattern. Now without
creating two different forms (like this & like this); they are two different forms but simply the
use of mine lines in a different way, the Oblique and the Vertical. Now the suggestion of
these two forms has been created on the paper, blank paper.
Likewise, I may also use a different method of using the same lines. Take for example,
instead of this one set of lines; another set of lines. They are closer. Now here, the
intensity of the tones (or tonality) of the forms has been changed. They create an effect of
the similar tones, same intensity of tones. Here, the same lines that used slightly with the
difference create a different intensity of the two areas. In same way, it may be some
doodling without any particular design in mind (like this). Now that is a texture. It may be
with low pressure on my hand, I may create another, say, set of lines, very disorderly lines.
But the effect of the two is different. Now, it is up to me, because I can exploit the same
line in thousands and one ways. The question is- how am I going to use it in my creation?
Which I call a creation, (I think) the result of the Rendering.
These are, I think, the important things, likewise the designs on it; if the border has a
design; it has a form (like this), the red form is there, the white form is there with the
border. Now these forms can be broken and taken out of the stripes and put elsewhere to
create a new pattern.
I can take it from here and introduce a border over here, with the same pattern borrowing
from the cup and introducing it in between. Another thing, the group as it is apparent has
not been arranged, putting the object in random, in any way. They have some interrelationship when we arrange a still life. It is a group, it is not a simply a group of disorderly
arranged in a disorderly manner.
We are conscious that they have certain forms; we have to maintain a balance, we have to
award the symmetry as well as I think some (also) conscious effort to use the space.
Because I must be conscious of the effect that I am going to create by painting that still life
from the object on my paper.
What are the / how the spaces has been distributed. Now here I can see a diagonal
composition; not totally diagonal but I say the top and the edge of it is going down to the
other object is oblique. (Likewise there is a straight). So it is something like that, the total
group is like this (if I say). Now in this space, it is arranged like this. So I am conscious of
this space also, enclasp within this rectangle. Now this space has to be kept in mind, not
necessarily following the same thing but I have to use the space of my paper in my own
way with the help whatever the elementary images are created in my mind inspired by the
various components of the various objects of the still life. That is rendering.
So that restructuring the group of forms that are existing before me as a still life. That
restructuring is actually what we call the Rendering of still life.
Rendering
(Unit-3 Lesson 6)
Todays program is about Rendering. Rendering is one the subject prescribed in the
syllabus of the university for the UG students. And before taking up the demonstration
further, I would like to make clear the notion about the Rendering.
Rendering literally means the presentation of something/ presentation by some artist, it
can apply to visual arts, it can apply to performing arts. So I said, it is a term with wider
cortication. A musician when rendering a Raga, for example, he uses the expression and
we appreciate it if we like. A dancer also while performing, he renders a particular mood
through the various Mudras of dance using a limps, using the facial expressions, using the
movements of the eye brows and the lips etc. because the beautiful rendering or rendering
of the lips was like this, rendering of the gesticulation or Mudras or movements was like
this. So in this way, what I want to make it clear that the turn has the wider cortication but
when we the student of visual arts, it is specifically in relation to the rendering of visual
forms.
Now, again, so far as our syllabus is concerned, it restricts itself to a particular reference to
still life. Though it may have a wider cortication within the field of visual arts. We can take
nature, we can use any object like tree, like plants, like flower or birds and animal or
anything. And with the help of daily measures, we can create new compositions. By
drawing the essential elements from the forms and giving them a new type of presentation
through combination, through simplification, through distortion or even picking up only the
elements out of that and re-structuring the whole thing, like that. So In this particular case,
here we are restricting ourselves to the present provision of the syllabus that is, it is taken
with the reference to rendering. as its parts by still life painting that would a group of
certain objects. So I dont have to explain the elements of the still life or its compositions.
To start with, we have taken a group of objects over here. Consisting the flask, we have a
plate, a cup, a rectangular object (a red Box) & the apple, a dark background. This is
arrange, I think keeping in mind, the basic principle of a good composition, constituting the
basic elements of their whatever form they have, like the circular, the cylindrical, the
rectangular, the spherical, like that. And combining them in such an order so, initial the
group itself presents a good composition.
Yes, I have must told you earlier that still life is only used to provide you some stimulus to
isthmus your thoughts especially about the visual effects of various objects that are before
you. From which we can go to their elements. When I talk of the elements, it may be
related to any particular object or group of objects. In this instance from the group of still
life that is before us, for example, I take the JAR (a flask is before us). It is a cylindrical
object & there are various components together which create an effect of jar. Now what we
do inRendering is, we go to the elements of this particular form. Now in this instance for
example, there is a cylindrical form before us. There is a lid, a round lid before us. It has its
width (for example like this). Now, I am not presenting the view as it is visible to me, I
mean the representational aspects of the objects that are before me. I am more concerned
about my transform perception of this thing. With my conscious knowledge about the
character of the object and its components. The moment I look at the lid, I know, the idea
comes to my mind, it is Round. It is necessary taking the form that is visible to me like an
ellipse showing its width (like that, not necessarily). My mind tells me, just as happen to a
child when he paints a house & he presents the picture of the house, his mind goes to the
interior of the house. He wants to show everything that not actually visible but still
conscious as he is. The inside, may be the bed, may be the table, may be somebody is
sitting over there, may be somebody is like that, and he may like to put all those things
visible even behind the wall. So this is how, sometimes, what we perceive through the
eyes is one thing. When somebody is painting the still life, they take the representational
aspects of it. The arrangements as it is visible, what we may say the realistically &
naturalistic forms. They analyze its form, they analyze its color, and they analyze the effect
of lights & shades, they analyze the color of the atmosphere and all that. They try to
analyze the difference between the background & the foreground. The tonalities, the ratio
& the proportions, the perspective all these things, the high levels and the related change
in their forms. So, actually, it is a study. When we study, we study from the actualities of
whatever is before us.
When we come to Rendering (in rendering) as I am telling you, our mind goes to the
elements, elements of the objects and the forms involved. In this particular face, for
example, I see, and I am conscious that it is a round disc like thing. It has width. (The
width may be like this or I may take the width like this also) of the lid when it may be on my
eye level.
The question is- what is after all rendering?
Now when we come to rendering, it means, we take up the elements from all these
objects. We separate them & after separating them or what we can say, we break the
forms into the various elements of the total objects or the group. We break them into its
various aspects; each component may be broken from the other. Their inter-relationship
can be disturbed. And it may be a group of different-different forms derived from this &
then we try to reassemble them in absolutely a new composition. That is, we want to
create some new pattern with the help of those elements that we borrow from the group of
objects before us.This is actually what we do in Rendering.
Now In this particular thing, for example, just to explain one thing, there is a plate behind.
Of course the plate behind is round. It has a wavy edge. Now I may put the two forms, the
roundness as well as the wavy edges together or separately.
We have a cup. The natural form of the cup before us (is like this) along with the handle.
But again, the cup has a border. Now I can break them. There is a handle, there is a round
hollow interior of the cup, and there is a border of it. We can break them, we can break it.
One piece makes one component; other component is the border area. Now, I can remove
it from this, or even If I break this one piece of this elliptical form, I may have one ellipse, a
part of this ellipse, I may break it, (for example like this) I can combine it (like this) or I may
combine it in another form (like this) & may be it is going (like this Or even it may be like
this) & another part of the component may come over here, that is, one form is overlapping
the other.
So there is various ways in which I can interpret them, break them, and reassemble them.
And I think the various permutation & combinations are there in which they can be
reassemble
I cannot prescribe any particular way; it is up to the persons concern, who, isRendering..
How he may conceive, how his imagination can go, how he may try to combine them. But
another thing like this, what I want to emphasis, is that it is not total freedom that you can
do each and any way. We have to observe the principles of pictorial compositions. I think,
as our students are very well concerned (as they may have already study this thing) when
we talk of the elements and the principles of a pictorial compositions, we talk of balance,
we talk of rhythm, we talk of rhythm unity, we talk of emphasis, we talk of texture, we talk
of color. So, these are the various principles as well as the elements of a pictorial
composition before us.
So, when I talk of the particular form (form is there), the form we use for creating the
pattern on the 2D surface inspired by the 3D object or group of object before us. This is
our limit. An important aspect of its that there are other parts of the elements, other
components viz. you call a elements of the pictorial composition. Like line, like forms, like
colors, like texture & space. (Now space, of course, is important but the space we are
exploiting with the all these things).
For I am not going to explain further because form means, the forms borrowed from the
objects that are before us. When we talk of the space, space means- The space is also
being restricted by their outlines as well as the space left outside, that what we call
a negative space. But it is not necessary in rendering to follow exactly the division of the
space according to what is before us. Because as I have told you in the beginning that we
have to re-create. So the space also can be managed, can be modified, can be
restructured according to our concept of a more attractive, beautiful composition.
One of the important elements is Texture. Now texture again, we should understand
because, the texture in itself is a quality of a particular surface. But here, we may borrow
the textural quality from that even sometime we may try to invent & create it from our own
mind, with the modified version of what we see. Holding it in state, you know the textural
(the texture) itself has got a great quality of creating a pattern in itself on the 2D surface.
To demonstrate only with few lines, take for an instance, a particular form is created with
the simple lines (like this). It is a rectangular form, but when by combining it with another
rectangular form, rectangular lines (or straight lines) but in a different pattern. Now without
creating two different forms (like this & like this); they are two different forms but simply the
use of mine lines in a different way, the Oblique and the Vertical. Now the suggestion of
these two forms has been created on the paper, blank paper.
Likewise, I may also use a different method of using the same lines. Take for example,
instead of this one set of lines; another set of lines. They are closer. Now here, the
intensity of the tones (or tonality) of the forms has been changed. They create an effect of
the similar tones, same intensity of tones. Here, the same lines that used slightly with the
difference create a different intensity of the two areas. In same way, it may be some
doodling without any particular design in mind (like this). Now that is a texture. It may be
with low pressure on my hand, I may create another, say, set of lines, very disorderly lines.
But the effect of the two is different. Now, it is up to me, because I can exploit the same
line in thousands and one ways. The question is- how am I going to use it in my creation?
Which I call a creation, (I think) the result of the Rendering.
These are, I think, the important things, likewise the designs on it; if the border has a
design; it has a form (like this), the red form is there, the white form is there with the
border. Now these forms can be broken and taken out of the stripes and put elsewhere to
create a new pattern.
I can take it from here and introduce a border over here, with the same pattern borrowing
from the cup and introducing it in between. Another thing, the group as it is apparent has
not been arranged, putting the object in random, in any way. They have some interrelationship when we arrange a still life. It is a group, it is not a simply a group of disorderly
arranged in a disorderly manner.
We are conscious that they have certain forms; we have to maintain a balance, we have to
award the symmetry as well as I think some (also) conscious effort to use the space.
Because I must be conscious of the effect that I am going to create by painting that still life
from the object on my paper.
What are the / how the spaces has been distributed. Now here I can see a diagonal
composition; not totally diagonal but I say the top and the edge of it is going down to the
other object is oblique. (Likewise there is a straight). So it is something like that, the total
group is like this (if I say). Now in this space, it is arranged like this. So I am conscious of
this space also, enclasp within this rectangle. Now this space has to be kept in mind, not
necessarily following the same thing but I have to use the space of my paper in my own
way with the help whatever the elementary images are created in my mind inspired by the
various components of the various objects of the still life. That is rendering.
So that restructuring the group of forms that are existing before me as a still life. That
restructuring is actually what we call the Rendering of still life.
Rendering
(Unit-4Lesson 7 )
Good morning everybody,
Today, I am here to deliver a lecture on the topic Rendering.
During the rendering, I like to must tell you that what we need is a paper of any
dimensions. To start with, I personally use a pencil of any grade, but it should be of a soft
way (I should say), so that you can delineate the various form that you want to do.
Important thing is that you are going to painted with ink colors. And we use the colors, we
should know what colors we are going to use. And they are to be related to the still life
before us.
Now, here, for example- in the still life, I see the ochre colors, yellow ochre of a jar, the
brown, the white of the plate and the cup, the orange-red of the apple, the red of the box,
the red, blue white colors in the step of the design, and the green of the depre, they are
the important colors. So my composition would involve around these colors but another
thing I would like to explain that they should not keep restriction from me. When I want to
create a pattern, a design; design doesnt mean the decorated design, design means a
composition. When I say/ use the word design, it means a composition; an arrangement of
forms. So when I am going to use it for the sake of composition that is a creative use of
various forms on to the rectangular space of this paper.
I am free to introduce something for creating a better effect I my composition. And I can go
slightly outside this visual aspect of the object that is before us. So I can use my freedom
of introducing some additional forms. But they should to be correlated to the elements that
are I am using upon sheet.
Now to proceed, I try to first visualize, it is not necessary that immediately I start drawing
from that. I must watch the objects, the group of objects that is before me. I should try to
make an optical analysis of the various forms and the implied forms of the various objects.
As in the beginning, Ive told you, while demonstrating the various possibilities of a
particular forms like the Lid. I consciously know that it is a circular thing, but it is not; it
looks like an ellipse followed by two parallel lines. The Jar, it is vertically a cylindrical form.
But again, its surface is broken by the pattern created by this line. And also again by the
brown butt that is the handle, is vertically straight also. Then the projection of this nosel is
creating a different pattern. Now these are certain components of the total form of this Jar.
Likewise, its a cup, it has elliptical top, an elliptical bottom or half elliptical I should say. It
has got a strip of border with the pose of red, blue, white etc. & gray on the blue; bordered
with quite like lines, quite like figures breaking it. We have an apple; it has a textural
surface with red spots/red strips on the orange. We have a round circular plate, slightly pet
petalled, very soft tones of grace spot of cup light, pink over there. We have rectangular
box over there.
Now the question is that- how to use them? In how many ways, we can break the
components. Now, you may have your own way, I may have my own way, and third person
may have his own way or her own way. Till no set rule over it. Well I go with my own way,
one of my own ways (I should say). Now another thing, I am conscious of the flat surface
before me, within its limit I have to create the composition through rendering.
Now, the most prominent object is this Jar. Bottom is marked by the edges of the box
and the apple. These are the two extremities on the right and on the left. The left and right
vertical extremities means, the edge of the box and the handle of the Jar. These are my
limits. Within this I have to create. Now, taking for example, the prominent object is jar;
now not necessarily following the visual objective views of Jar. I, for example, create my
own pattern with it. Ill take a horizontal line; its lid is here/nosel is here. Because this curve
gives me a fine break of its and then this form is created over here. Its outline is marked
over here; I may use it as it is. Now this is one. I may not draw the whole Jar, but another
thing is, I have to break its visual forms. So,now the lid, for example, I take not in its
present eclectic form, I take the view taken from the top, a Circle (as if I will view it from
the top). So I use a circle over here. Now to give it an additional form, I use another width
of the lid. And I use it like this. I am leaving this thing, I dont know whether Ill continue or
break it. Now the handle is there, it is not necessary to draw a full width of it; I break it over
here intentionally. An important thing is that in rendering, the forms can overlap, what is not
visible there it can be visible over here. What is visible over there, we may make it invisible
over here.
Now take for instance, I have to create a pattern. Its not of abstract, not totally abstract but
abstraction is there. Now, here for example, if I do it, it will be almost like a drawing drawn
by a child, almost realistically though it is not realistic. But its not for me. Now, I take this
handle away from it. And I put it over here. And I bring down the lines, I dont know how to
use it but Ill decide afterwards. Now the edge, the vertical edge of the flask I draw. And
this may penetrate the circle and suggesting this remaining part of the jar; I have broken it,
taken a part of it there to this place and I leave it unfinished. Likewise I leave it unfinished
also. I may use it like this; I may use it in another way. Here too, the width of this curve is
visible, u may use it. I, for example, use it like this but here the remaining curve may go
like this, but Ill prefer to use it in reverse order that is bringing it downwards instead of
going it upwards.
Now then suggestion of this, not in continuity, I have to break this continuity of the line. & I
take another line draw over here. So this line is here; another line is here, third line-theyve
shifted, they have broken and put apart in a new arrangement. But at the back of my mind,
I am conscious of what is going to happen further.
Now take for instance the box, the position of the box is at bottom. It is in angular
position, diagonally lines are there; going from front to upwards and the parallel lines are
behind it. It is not necessary that I may use the angular positions; I can use their standing
position also. Because I have already the vertical lines and the horizontal lines (likely the
horizontal lines) of this flask, I wont like to use another horizontal line because that
creates a sort of monochronic effect. If There is too much of horizontality, too much of
verticality that certainly going to create a optically monotonous effect in your painting. So
we have to go for a variety means the lines must change, there must be a movement,
there must be a direction, there must be some rhythm, and there must be a breaking of the
symmetry. These are certain things that are going to interpret and the same time the unity
of the composition, there is a form must present a unified role. None of the form using this
has any individual significance. That is an important part of this composition. So, we
conscious that none of the forms should get isolated. So I slowly proceed.
Then, I come to the cup. How to put it? I know the eclipse of the cup is going beyond
this line into the body of this flask. I can of course, use it as such. I can use it as such. I
may project it and use the whole of it. Another point, I think question can come up in your
mind the viewer that here another important thing is that in still life they are related with
their ratio and proportion (relative ration and proportion). Here that relationship is not
necessarily to be followed. But at the same time, too much of arbitration isnt also
advisable.
The question is that how they are going to help me in better composition? With this
idea, I can avoid, I can ignore the relative proportion between the various objects. Now this
eclipse I have taken especially because of the use of curved lineswhich I used only here. I
have created this curve lines with a variety. There is curve goes upwards in a symmetrical
manner. I have broken that, I have brought down the curve downwards the rest of it but
also broken over here. So this curve linear line effect has to be balance my another cup.
So I have still decided to use this ecliptical form over here. Then supported by the circular
pattern of the plate as it is. I am not going to change it much because it is helping me keep
the balance over the use of paper. I have not decided what other modification Ill add to it.
But at the moment, it is being used as such.
Now then, the question of pattern. The pattern will help me to be used as such. Because
the use of white in this and the use of white in this; helped to break the monotony of white.
So I have decided to use it as such. And another thing is that the handle; I am not going to
modify as much because the handle also will help me to use a curved line on this side.
Because there are too many vertical lines over here, horizontal over here. So I finally
choose the curve lines by the use of this handle still use; how long, Ill decide afterwards.
Now the box has of course angular lines. There is no harm in using the angular lines. But
at the same time, I have to decide in what way I can create further breaking of various
forms; create new images. I can also use the superimposition of the form over the other or
what you can say the overlapping of the forms. That means, one form is visible even the
form behind it also visible through it, its a part of it. Here now, the apple is there, I think
there is a natural balance (balance figure, say), there is a circular form over here (2). We
can use another circular form over here and there. So that these forms can be balanced
over the surface of the paper.
Now take for an instance, I may use it but of course it may b another aspect of it; when my
eyes goes towards the apple, now it reminds me the idea of slicing it. Because when the
apple is before us for eating, we naturally try to use knife as slice it. So the apple means,
not only the whole apple, but apple also means the sliced up, cut into the pieces, a
particular piece is there. So this is what my conscious mind tells me. So I may use it as
such or I may break it and take away a part of it and put elsewhere or even before it. So
these are other things I can use. In that case, that will help me certainly the better way to
use the forms of apple instead a simply a round like figure over here. So what I do is, I
take the apple and I slice it well. It is all the same but then I take away a slice from it and
say it has been cut with a gap, showing its wide interior. And I put this slice over here. So
now, the monotonic of a round form over here has been broken by another particular semicircular form; of course co-related with it, taking a part of it and putting over here, it breaks
the continuity of the circular line and create another pattern by another semi-circular line
and horizontal line over here.
Likewise, these are only text to suggest that how we can break, we can re-create, we can
take away this and put elsewhere, this is up to us. We have to imagine. But here I am only
taking the simpler forms to complete my work in a limited period of time that is been
allotted to me. Now, there it is the box is just below it. Now the angular line can be of
course, because, we are so far using so many straight lines are there, we are using the
vertical lines, we are using the horizontal line over here, this is also near horizontal line
here of course the angularity of lines can help me to create a variety of direction or
movement through the lines. (So no harm), because I find the angularity of the line will be
used to fill many and I use this line over here. When I take this line over here, I may allow
the line of the plate to go and cut this form (like this). Though it is not visible but too much
emphasis on this straight line is broken by this line cutting it through and being visible
exactly.
Now these are the devices which, if you remember; you can see the visual of Picassos
paintings and some other abstract painters. They have been using this device of
overlapping thoughts, making visible what Is not visible. The invisibility is also visible
because the interest of creating a pattern over there that is important.
Now here for example, the angularity, I maintain the angularity with an emphasis bringing it
to the bottom because this space was empty, so I wanted/ I must cover it out. Now here, of
course either I use the straight parallel line like that but its not necessary that I must use
the straight parallel lines like that. I can exserate the visual perspective of this box. Or
even reverse the order. Now, According to the principle of the perspective- the farther
height of it should be smaller than the nearer height of the box. But I think if I want to
create a pattern, I may (say) change this line slightly modified. It is extending towards the
left. I may reverse the perspective by making it look longer and nearer edge looking
smaller. Something new, something different and something more effective, immediately
eye can shoot. So we have to go beyond the visual-optical experiences of the group of the
still life and object or the live forms that have been created over there.
I can take away this part and put elsewhere. There is a figure of four (4) I can use it
elsewhere. I may use this figure of 4 over here on the apple or on the Jar or on the plate or
over here. So, we break, I think, I didnt mean that we put it anywhere, but I visualize
where it will be better to put it so that I use it in a very effective way to create the interest in
the painting. This is the important thing.
So, in the back of my mind, those principles of rhythm, of balance, of unity, of emphasis or
of a contrast or of harmony. These principles are actively working at the back of my mind
and guiding me. So we shouldnt need to think that at random we can pick up anything and
put it anywhere. We can modify it any way.
Now, there are some principles guiding me and those principles helped me to create an
interesting pattern. I dont mean this is the final work on it. I have told you in the beginning
that there are 1001 ways of using the same object and the same group, same forms in a
great variety. Through permutation and combination, you can of course find out, in how
many 1001 ways you can use the same thing. So this is only the one way suggesting that
how we proceed.
Now, this for example- I must see the lines of this box must create a pattern and they must
cut. I dont want this monotony of this figure of the cup because it is too dominating on the
forefront that is I should say, the foreground of this still life group. So it must be broken. So
I can take this like this, I can take this going beyond it. Now this line as going to cut across
it, but I think more interesting will be to create a pattern, means I break it up to here, its
like this and beyond it, I take it below it. Ill remove this line of course, by using colors. This
line now comes over here. And this line of course, the bottom of the cup may come like
this. Now the bottom of the cup here may come like this. And here of course, how I am
going to deal with this; these two to be combined, I am yet to decide. I am not yet decided.
Because I must visualize, see the effect, see the possibility of creating some pattern.
For example- too much emphasis on the verticality, I must break that. How can I break
that, of course, is another question. Now well, one of the objects in this can help me in
taking a part of it from here and putting adding a part of before here. Now take for instance
a cup, not necessarily a vertical cup, it can be another cup, I may use it. Take for instancea part of it. Here I used the straight lines; here I used again the handle of the cup. I repeat
the form. Because they helped me in creating a pattern over here and break this verticality.
Let the ellipse go like this. Now these two things are combined in different ways.
This handle further goes beyond. It is not necessary to finished over here; it can go
beyond, as slightly/ gradually submerge into the surface over there into the colors of this
thing.
Now over here, these too have wavy effect, so lines of course; I can use the wavy effect of
it. Because it adds the variety and monotony of the circular regularity of the line. So these
wavy lines help me so I wanted to retain it and borrowing it from the character of the plate,
its edges (wavy edges) I retain this quite over here.
There are certain forms, well now here; Ill leave it to me deal afterwards while coloring.
Now this is a pattern, a pattern I should say basically derived from that. We have deviated.
We have not deviated fundamentally or totally. Now, this part also a slightly looks
unfinished. I would not like to use/ allow it to be use like that in flat surface. We have to
create a pattern. We have to use lid, we have the bottom (brown) that weve not yet used. I
think it is being better instead of using in a flat horizontal manner, it is better that we used
the curve of it whether it is already presentable from there. And let me add that thing to this
area slightly exculating the curve of the bottom. Well the bottom may be somewhere here.
And the book, this line is, of course, we break the parallel line of the bottom of this flask
over there. And I will again use another angular line over here because this will help me in
breaking the monotony of the curved line (too many curved lines) in this cluster. Of course,
we will use a little bit of distortion, distortion is not a good word as a matter of fact, it
means spoiling the natural image of something. When it is deliberate, there is a purpose;
the purpose is to create a more interesting effect by distorting. It can aim two things that
is one is: - to create an interesting pattern. Secondly: - it may also be used to express
something through the distortion that is the variation of the representational forms. So this
is the liberty of the artists or of the poets or of the musicians. They always while rendering
a particular raga or a dance form they use devices to make it more interesting by deviating
from something that is very familiar to us.
So artists here, the visual artists I mean, we also distort, I mean we differ from the natural
or objective view of the thing and transform them through distortion to create a new
pattern. When I use the word new pattern means A new beautiful thing. So it is another
aspect of the beauty; different from the beauty of the still life object that is before us. But it
is also beautiful.
So this is the sense in which we are often using the word distortion, not in a bad sense but
more creativity. The basic arrangement of the various forms is over here.
Rendering
(Unit4Lesson 8)
Good
morning
everybody,
Today, I am here to deliver a lecture on the topic Rendering.

During the rendering, I like to must tell you that what we need is a paper of any
dimensions. To start with, I personally use a pencil of any grade, but it should be of a soft
way (I should say), so that you can delineate the various form that you want to do.
Important thing is that you are going to painted with ink colors. And we use the colors, we
should know what colors we are going to use. And they are to be related to the still life
before us.
Now, here, for example- in the still life, I see the ochre colors, yellow ochre of a jar, the
brown, the white of the plate and the cup, the orange-red of the apple, the red of the box,
the red, blue white colors in the step of the design, and the green of the depre, they are
the important colors. So my composition would involve around these colors but another
thing I would like to explain that they should not keep restriction from me. When I want to
create a pattern, a design; design doesnt mean the decorated design, design means a
composition. When I say/ use the word design, it means a composition; an arrangement of
forms. So when I am going to use it for the sake of composition that is a creative use of
various forms on to the rectangular space of this paper.
I am free to introduce something for creating a better effect I my composition. And I can go
slightly outside this visual aspect of the object that is before us. So I can use my freedom
of introducing some additional forms. But they should to be correlated to the elements that
are I am using upon sheet.
Now to proceed, I try to first visualize, it is not necessary that immediately I start drawing
from that. I must watch the objects, the group of objects that is before me. I should try to
make an optical analysis of the various forms and the implied forms of the various objects.
As in the beginning, Ive told you, while demonstrating the various possibilities of a
particular forms like the Lid. I consciously know that it is a circular thing, but it is not; it
looks like an ellipse followed by two parallel lines. The Jar, it is vertically a cylindrical form.
But again, its surface is broken by the pattern created by this line. And also again by the
brown butt that is the handle, is vertically straight also. Then the projection of this nosel is
creating a different pattern. Now these are certain components of the total form of this Jar.
Likewise, its a cup, it has elliptical top, an elliptical bottom or half elliptical I should say. It
has got a strip of border with the pose of red, blue, white etc. & gray on the blue; bordered
with quite like lines, quite like figures breaking it. We have an apple; it has a textural
surface with red spots/red strips on the orange. We have a round circular plate, slightly pet
petalled, very soft tones of grace spot of cup light, pink over there. We have rectangular
box over there.
Now the question is that- how to use them? In how many ways, we can break the
components. Now, you may have your own way, I may have my own way, and third person
may have his own way or her own way. Till no set rule over it. Well I go with my own way,
one of my own ways (I should say). Now another thing, I am conscious of the flat surface
before me, within its limit I have to create the composition through rendering.
Now, the most prominent object is this Jar. Bottom is marked by the edges of the box
and the apple. These are the two extremities on the right and on the left. The left and right
vertical extremities means, the edge of the box and the handle of the Jar. These are my
limits. Within this I have to create. Now, taking for example, the prominent object is jar;
now not necessarily following the visual objective views of Jar. I, for example, create my
own pattern with it. Ill take a horizontal line; its lid is here/nosel is here. Because this curve
gives me a fine break of its and then this form is created over here. Its outline is marked
over here; I may use it as it is. Now this is one. I may not draw the whole Jar, but another
thing is, I have to break its visual forms. So,now the lid, for example, I take not in its
present eclectic form, I take the view taken from the top, a Circle (as if I will view it from
the top). So I use a circle over here. Now to give it an additional form, I use another width
of the lid. And I use it like this. I am leaving this thing, I dont know whether Ill continue or
break it. Now the handle is there, it is not necessary to draw a full width of it; I break it over
here intentionally. An important thing is that in rendering, the forms can overlap, what is not
visible there it can be visible over here. What is visible over there, we may make it invisible
over here.
Now take for instance, I have to create a pattern. Its not of abstract, not totally abstract but
abstraction is there. Now, here for example, if I do it, it will be almost like a drawing drawn
by a child, almost realistically though it is not realistic. But its not for me. Now, I take this
handle away from it. And I put it over here. And I bring down the lines, I dont know how to
use it but Ill decide afterwards. Now the edge, the vertical edge of the flask I draw. And
this may penetrate the circle and suggesting this remaining part of the jar; I have broken it,
taken a part of it there to this place and I leave it unfinished. Likewise I leave it unfinished
also. I may use it like this; I may use it in another way. Here too, the width of this curve is
visible, u may use it. I, for example, use it like this but here the remaining curve may go
like this, but Ill prefer to use it in reverse order that is bringing it downwards instead of
going it upwards.
Now then suggestion of this, not in continuity, I have to break this continuity of the line. & I
take another line draw over here. So this line is here; another line is here, third line-theyve
shifted, they have broken and put apart in a new arrangement. But at the back of my mind,
I am conscious of what is going to happen further.
Now take for instance the box, the position of the box is at bottom. It is in angular
position, diagonally lines are there; going from front to upwards and the parallel lines are
behind it. It is not necessary that I may use the angular positions; I can use their standing
position also. Because I have already the vertical lines and the horizontal lines (likely the
horizontal lines) of this flask, I wont like to use another horizontal line because that
creates a sort of monochronic effect. If There is too much of horizontality, too much of
verticality that certainly going to create a optically monotonous effect in your painting. So
we have to go for a variety means the lines must change, there must be a movement,
there must be a direction, there must be some rhythm, and there must be a breaking of the
symmetry. These are certain things that are going to interpret and the same time the unity
of the composition, there is a form must present a unified role. None of the form using this
has any individual significance. That is an important part of this composition. So, we
conscious that none of the forms should get isolated. So I slowly proceed.
Then, I come to the cup. How to put it? I know the eclipse of the cup is going beyond
this line into the body of this flask. I can of course, use it as such. I can use it as such. I
may project it and use the whole of it. Another point, I think question can come up in your
mind the viewer that here another important thing is that in still life they are related with
their ratio and proportion (relative ration and proportion). Here that relationship is not
necessarily to be followed. But at the same time, too much of arbitration isnt also
advisable.
The question is that how they are going to help me in better composition? With this
idea, I can avoid, I can ignore the relative proportion between the various objects. Now this
eclipse I have taken especially because of the use of curved lineswhich I used only here. I
have created this curve lines with a variety. There is curve goes upwards in a symmetrical
manner. I have broken that, I have brought down the curve downwards the rest of it but
also broken over here. So this curve linear line effect has to be balance my another cup.
So I have still decided to use this ecliptical form over here. Then supported by the circular
pattern of the plate as it is. I am not going to change it much because it is helping me keep
the balance over the use of paper. I have not decided what other modification Ill add to it.
But at the moment, it is being used as such.
Now then, the question of pattern. The pattern will help me to be used as such. Because
the use of white in this and the use of white in this; helped to break the monotony of white.
So I have decided to use it as such. And another thing is that the handle; I am not going to
modify as much because the handle also will help me to use a curved line on this side.
Because there are too many vertical lines over here, horizontal over here. So I finally
choose the curve lines by the use of this handle still use; how long, Ill decide afterwards.
Now the box has of course angular lines. There is no harm in using the angular lines. But
at the same time, I have to decide in what way I can create further breaking of various
forms; create new images. I can also use the superimposition of the form over the other or
what you can say the overlapping of the forms. That means, one form is visible even the
form behind it also visible through it, its a part of it. Here now, the apple is there, I think
there is a natural balance (balance figure, say), there is a circular form over here (2). We
can use another circular form over here and there. So that these forms can be balanced
over the surface of the paper.
Now take for an instance, I may use it but of course it may b another aspect of it; when my
eyes goes towards the apple, now it reminds me the idea of slicing it. Because when the
apple is before us for eating, we naturally try to use knife as slice it. So the apple means,
not only the whole apple, but apple also means the sliced up, cut into the pieces, a
particular piece is there. So this is what my conscious mind tells me. So I may use it as
such or I may break it and take away a part of it and put elsewhere or even before it. So
these are other things I can use. In that case, that will help me certainly the better way to
use the forms of apple instead a simply a round like figure over here. So what I do is, I
take the apple and I slice it well. It is all the same but then I take away a slice from it and
say it has been cut with a gap, showing its wide interior. And I put this slice over here. So
now, the monotonic of a round form over here has been broken by another particular semicircular form; of course co-related with it, taking a part of it and putting over here, it breaks
the continuity of the circular line and create another pattern by another semi-circular line
and horizontal line over here.
Likewise, these are only text to suggest that how we can break, we can re-create, we can
take away this and put elsewhere, this is up to us. We have to imagine. But here I am only
taking the simpler forms to complete my work in a limited period of time that is been
allotted to me. Now, there it is the box is just below it. Now the angular line can be of
course, because, we are so far using so many straight lines are there, we are using the
vertical lines, we are using the horizontal line over here, this is also near horizontal line
here of course the angularity of lines can help me to create a variety of direction or
movement through the lines. (So no harm), because I find the angularity of the line will be
used to fill many and I use this line over here. When I take this line over here, I may allow
the line of the plate to go and cut this form (like this). Though it is not visible but too much
emphasis on this straight line is broken by this line cutting it through and being visible
exactly.
Now these are the devices which, if you remember; you can see the visual of Picassos
paintings and some other abstract painters. They have been using this device of
overlapping thoughts, making visible what Is not visible. The invisibility is also visible
because the interest of creating a pattern over there that is important.
Now here for example, the angularity, I maintain the angularity with an emphasis bringing it
to the bottom because this space was empty, so I wanted/ I must cover it out. Now here, of
course either I use the straight parallel line like that but its not necessary that I must use
the straight parallel lines like that. I can exserate the visual perspective of this box. Or
even reverse the order. Now, According to the principle of the perspective- the farther
height of it should be smaller than the nearer height of the box. But I think if I want to
create a pattern, I may (say) change this line slightly modified. It is extending towards the
left. I may reverse the perspective by making it look longer and nearer edge looking
smaller. Something new, something different and something more effective, immediately
eye can shoot. So we have to go beyond the visual-optical experiences of the group of the
still life and object or the live forms that have been created over there.
I can take away this part and put elsewhere. There is a figure of four (4) I can use it
elsewhere. I may use this figure of 4 over here on the apple or on the Jar or on the plate or
over here. So, we break, I think, I didnt mean that we put it anywhere, but I visualize
where it will be better to put it so that I use it in a very effective way to create the interest in
the painting. This is the important thing.
So, in the back of my mind, those principles of rhythm, of balance, of unity, of emphasis or
of a contrast or of harmony. These principles are actively working at the back of my mind
and guiding me. So we shouldnt need to think that at random we can pick up anything and
put it anywhere. We can modify it any way.
Now, there are some principles guiding me and those principles helped me to create an
interesting pattern. I dont mean this is the final work on it. I have told you in the beginning
that there are 1001 ways of using the same object and the same group, same forms in a
great variety. Through permutation and combination, you can of course find out, in how
many 1001 ways you can use the same thing. So this is only the one way suggesting that
how we proceed.
Now, this for example- I must see the lines of this box must create a pattern and they must
cut. I dont want this monotony of this figure of the cup because it is too dominating on the
forefront that is I should say, the foreground of this still life group. So it must be broken. So
I can take this like this, I can take this going beyond it. Now this line as going to cut across
it, but I think more interesting will be to create a pattern, means I break it up to here, its
like this and beyond it, I take it below it. Ill remove this line of course, by using colors. This
line now comes over here. And this line of course, the bottom of the cup may come like
this. Now the bottom of the cup here may come like this. And here of course, how I am
going to deal with this; these two to be combined, I am yet to decide. I am not yet decided.
Because I must visualize, see the effect, see the possibility of creating some pattern.
For example- too much emphasis on the verticality, I must break that. How can I break
that, of course, is another question. Now well, one of the objects in this can help me in
taking a part of it from here and putting adding a part of before here. Now take for instance
a cup, not necessarily a vertical cup, it can be another cup, I may use it. Take for instancea part of it. Here I used the straight lines; here I used again the handle of the cup. I repeat
the form. Because they helped me in creating a pattern over here and break this verticality.
Let the ellipse go like this. Now these two things are combined in different ways.
This handle further goes beyond. It is not necessary to finished over here; it can go
beyond, as slightly/ gradually submerge into the surface over there into the colors of this
thing.
Now over here, these too have wavy effect, so lines of course; I can use the wavy effect of
it. Because it adds the variety and monotony of the circular regularity of the line. So these
wavy lines help me so I wanted to retain it and borrowing it from the character of the plate,
its edges (wavy edges) I retain this quite over here.
There are certain forms, well now here; Ill leave it to me deal afterwards while coloring.
Now this is a pattern, a pattern I should say basically derived from that. We have deviated.
We have not deviated fundamentally or totally. Now, this part also a slightly looks
unfinished. I would not like to use/ allow it to be use like that in flat surface. We have to
create a pattern. We have to use lid, we have the bottom (brown) that weve not yet used. I
think it is being better instead of using in a flat horizontal manner, it is better that we used
the curve of it whether it is already presentable from there. And let me add that thing to this
area slightly exculating the curve of the bottom. Well the bottom may be somewhere here.
And the book, this line is, of course, we break the parallel line of the bottom of this flask
over there. And I will again use another angular line over here because this will help me in
breaking the monotony of the curved line (too many curved lines) in this cluster. Of course,
we will use a little bit of distortion, distortion is not a good word as a matter of fact, it
means spoiling the natural image of something. When it is deliberate, there is a purpose;
the purpose is to create a more interesting effect by distorting. It can aim two things that
is one is: - to create an interesting pattern. Secondly: - it may also be used to express
something through the distortion that is the variation of the representational forms. So this
is the liberty of the artists or of the poets or of the musicians. They always while rendering
a particular raga or a dance form they use devices to make it more interesting by deviating
from something that is very familiar to us.
So artists here, the visual artists I mean, we also distort, I mean we differ from the natural
or objective view of the thing and transform them through distortion to create a new
pattern. When I use the word new pattern means A new beautiful thing. So it is another
aspect of the beauty; different from the beauty of the still life object that is before us. But it
is also beautiful.
So this is the sense in which we are often using the word distortion, not in a bad sense but
more creativity. The basic arrangement of the various forms is over here.
Rendering
(Unit-5 Lesson-9)
Now, Todays program is about Rendering. Rendering is a term with very wider cortication.
It can be applicable to any other field because rendering as a matter of fact, literally we
may say, it means Presentation.
Another important point I would like to tell that during the use of colors, I must know what
colors I must pick up first. Mostly colors are related to still life. For example- the Ochre is
there, now the Indian Yellow is there, Red is there, Orange is there, the Green is there and
for the darker tones we have of course, the use of Black, the Blue is also there and then
the Burnt Umber is also there.
These are the important colors that are, perhaps, I think I may be using them but I have
available to me the other shades, which (I may) if I need, Ill pick up from that. Another
important thing that generally the stress required to keeping in mind- when we put the
colors we should be conscious in what manner do we arrange them? We have to follow an
order; an order means I dont mean a set order. The question is some principal guides us
in arranging them.
You may have your own preference, I have my own preference but still every preference is
based on some order. Now here, for example- you will see Black is on this side and the
white is on this side. They are two extremes; from the lighter tones to darker tones (Left to
Right) that is one principle. Another is- the warmer color, the cooler color. Now this Red is
mistakenly has been put over there, it should have been there.
Now we have warm tones like- Yellow, Red. We have the cooler tones like- Blue and
Greens. But I prefer to put Blue over here and Brown also over here. Though Brown is a
warmer tone, it could have been kept here but its up to you how you find convenient in
handling them. But I prefer to use it closer to the Black because it is one the darkest color
after Black. So this is my preference. But there are no must about this art of preference.
One has to find his own way but it should be based on some principles so that youll find
convenience in handling them. Not like, at random, you put anyway; when I want to use
yellow, I look for the yellow (Now, for the next time when I want to use ochre). Now by
mistake I may put my hand on another color; orange or something like that (it shouldnt be
like that). They have to be in some order placed before me where I can conveniently use
them for my work.
So, somewhere I have to proceed. Now take, for instance, I do from here. It is better to (I
must) put colors in it; at the same time keeping in mind, what effect I am going to use it.
And I may change their tones; I may change their visual effect, I may change their intensity
of the colors. And also using consciously the other things like- cast shadows of other
pattern created through the effect of lights and shades. I must be conscious how effectively
I can use them but in a different way.
So, now to proceed, I, first of all would like to use this yellow ochre because yellow is the
color of this thing. I borrow this color from there. I prepare the color on the palette by using
color; mixing into the water. I must know how many colors I may use it, what is the
intensity of the tonality of the color that is also in my mind. And here, of course I may be
using the flat colors. Because my interest is in design; so, design means not decorated
design but a composition. So I proceed with flat color and I will think how I will use the
other tonalities or intensities of the colors or design on it or some other effects.
So I am taking the main dominating form of the flask and using its color. So, I am applying
flat colors over it. The surface- so, starting with this yellow ochre, the main body color of
the flask. I am not caring for the other lines because I can add colors over it afterwards.
Sometimes the surface creates problem for you. The surface doesnt catch the colors
easily and it helps me in this particular case. But even then I dont bother because these
white spots (small tile spots) well, thats creating your good texture effects, so I am not
bothered about it, so I continue. I can over paint also; I must add body color of to it and
proceed. You may see that small spots pieces and I am not bothered much about it, so I
continue.
I would like to add some more colors. Take a darker tint of it; I have added a little bit of this
burnt sienna and added to its yellow ochre. So in the subject as we see that the lower part
is slightly darker, I use it for having its different qualities.
You know variety of the area of space within the painting that also helps you in create
some interest in total composition. So this variety may be there because of the variety of
colors despite of the variety of forms already there. And then the textural effect may
change. Here I have a bigger spot of white but I dont bother; I would like to retain them.
When smaller areas are there, you should better to use the smaller brushes. If I want to
add intensity to this particular area by adding a little bit of darker color, well I must do that.
These colors are water soluble.
Artists some time face problems but we have to go with it and find how best we can exploit
it. So taking guidance from the effects of light and shades (now, I dont wish to show the
lights and shades) but the question is how can I use their effects for my own pictorial
quality of the painting or variations. Also, suggesting the charactering directly and on the
object. So I may work further but firstly the problem is of the body color and effects that I
am going to retain ultimately and help me in achieving the final results.
The tonalities have to be kept in mind, where to add the depth and for what purpose. So
sometime the depth is use to suggest the character of the particular part of the object; may
be lighted, may be the effects of the shades, shadow, and cast shadow and of course
another parts that we see over there is the lid. We have the lower part- the edge of the lid
is visible with darker brown and using the same (not exactly the same color) but of course
the darker shades of this burnt sienna using I am using here. Just to suggest this part of
the lid (I am not going further) I dont want to show the whole object but this way we left
unfinished and merge with the background over here afterwards.
I want to add a little bluish effect on it because I see the dust and all that have created an
effect of different color, so why dont we use it. So I mixed this color- a combination of
ochre and burnt sienna with blue. So I think you must see that I am facing some problem.
Its not because of any other thing but the surface I am using- the canvas prepared that is
not holding actually the colors in a smooth manner as it should have done here. But still,
any Artists may face some problem. You can see the white spots on there. Now I have
decided, because at this stage I cannot change the medium; I have decided to use this
white spots as a quality of the painting. So I proceed with it, in spite of these limitations
(You may also face it) so I am continuing to proceed with this (in spite the problem).
Now, I am coming to the white plate. So I am using the body color of the palate first; a
flat grayish white. In lighted area, I am using lighted effect. I have to be careful about the
outlines, the contours (Ive drawn already, explained already). I am running hard so that
the canvas may kept some colors and unbothered of this problem of white spots coming
up. Also, guided by the tonalities of the colors in the main object. So what we see in the
natural manner or the representational character of the object is not taboo. Because we
may use it, detailed part of it and modify it as per the pictorial limits of the rendered
painting.
So, this time I have used flat brush because it is helpful in applying stronger strokes so
that they can also penetrate the wholes of the canvas. And another important thing while
working- keeps an overall view of the painting in your mind or vision should keep on
moving all around, correlate colors and their intensity, their visual relationship, because
after all this is one painting, so that is very important. So I should not lose sight of overall
work.
Painting is just like a building, which you slowly build up. So, part by part shifted from blue
page to another; so, moreover, I am applying the colors to the surface closer to the other
which have already colored; because, it helps to judge their tonalities, their interrelations
etc.
Now, this form of the cup, lying in horizontal position; Ive invented, I am inspired by this
cups form but Ive created another form of the same cup over here to create a pattern.
This is the advantage provided to me in rendering, so we dont go by the representational
combination or effect that we see in the still life but we also, are guided by our own
imagination to draw the same thing. I prefer to paint the wall of it in one flat color; slightly
bluish, I use cerulean blue. I must retain the form of the handle as separate from the main
body of the cup. I use little light color over it so that it can be visible as a different thing.
Problems are faced by everybody, we should not afraid of it, we should try to find the ways
how to go with the problem and tackle it.
So, by perchance, sometime we discover new effects (visual effects).
The canvas is taking thick colors in a better way. I can take the white straight away from
the palate and apply it. I am not bothering of the design on the cup; see how can I use it
afterwards because these are opaque colors (we can create if want to use the design). I
may do it over this color that I have already implied on the surface and my colors are
brighter than that. Well the way I am using the brush is not the ideal way of using the brush
but it is because of the problem of the surface that sometime I am rubbing over the surface
in a wrong manner but I want to make the desired effect. So this is what we invent the way
we handle the problem and sometime go against the traditional way of our techniques and
manners.
So, now I will use this blue over here also because this helps me break the monotony of
gray added there. So over the color that I have already applied over here, I find this will
help me balance the use of blue, so taking to this side also.
Now, I come to the box that is over here, because this is an important color, important
form. So it can become very complicated, it can become more integrate but I think my
basic purpose is to explain the technique, to explain the approach to the working for
rendering (for your rendered painting) thats my purpose. I may not go to various other
details but the basic approach is there and thats what should be in our mind. I think, Red I
must use and at the same time there is golden color.
I am using this color- Red (it is scarlet) and I have added a little bit of orange; there is no
restriction, we have to find out what is the tint that you see, is the color that you want to
use. So we should mix the color accordingly and obtain the desirable tint for the shade of
the same color. Probably we may say that all are red but there are various shades of red.
Sometime contrasting colors balanced each other. Because of the intensity, the weight
they carry in their tone. In this case for example, we have- blue, light blue, light yellow
(ochre though it is). But of course, naturally, more intense color can be counter balanced
by another just opposite intense color; sometime we can use that effect. Some artist used
very intense colors but perfectly balanced. So, I have obtained the darker tone; we learn
by visualizing, by experimenting with this various combinations, mixing of different colors.
But conscious of the effect that we want to obtain, it should give you desired results.
You see, the color has changed and I see it is still more dull shade of the same color that
we are getting. I intentionally did it because the area of this is showing the thickness of the
box that I am painting; this form has to be different from the remaining other red areas.
And on the other side, this side is brighter because it is taking more light. It is the
opportunity to use a lighter tone of the same and the brighter tone of the same, so Ill
prefer to use a little bit of ochre mixed with this scarlet. You see, it is a some sort of dull
tone of the orange that I get through this. This is not orange but it looks like orange but a
very dull tone of it, a different variety.
Now, coming to the Apple. Now I am taking the ground color of apple; you know there are
red spot over it but beneath it you see some yellow. Now its a different yellow I am first
applying. This too much of yellow of jar, orange red is one of the, I think, dominating color
of the rendering that I find here but other colors will also be there. Here I find that the cups
color and form is slightly reflected and I think to break this too much domination of red, I
apply this little bit of grayish and yellow tone over here to suggest the cast shadow of the
cup and at the same time Ive obtain this form to break too much of red over here. This is
an excuse to bring a change, break the monotony or break the continuity of red.
Here to be seen that the reflection of the gray surface is taken from the deflection from the
plate. I can soften the effect, intensity of the red with the use of this color be over applied
over the lower form. Now you see the brightness of the red has gone. I must avoid too
much of red use in it, already red is here, so I keep it to the minimum; using it by applying
some stroke following the contour of the apple. It is just like a real representational form of
the apple but we have already, as Ive told you that I will not apply more colors. So, I used
this thick white over it. It has to be configure now the same color also has to be used at the
others part of the slices showing the inner pulp of the apple. We have another slice,
vertically arranged over the cup, fixed on its wall. As you some time find slices of lemon
fixed on the wall of glass of juice (or something like that) served in a hotel desk for a
beautiful effect they create. So we add some features what connected with it throughout
the memories of other experiences.
This structure of the jar (the part of this is over here), you know, I have taken a form
differently in balanced with it also taken the monotony of this too much of empty space. So
this is how, Ill try to do, this is the purpose. So I am applying only the brown color and then
the brown of the lid, the color, its intensity, its toner value, the depth & these things.
I am now treating the background because the effects of the forms of color used have to
go in a correlation with the background. I have taken the green as a background, I have
also taken the effect of the depth of this green that I see, created by the cast shadow or
lack of the light over there in some area. So they help in projecting the main group of still
life over there. Here, they are helping me in projecting this group of the recreated forms
together what you call or what we may call as rendering. White spots seen here and the
white spots seen in the background also. So its an overall textural effect we find. So even
in this rendering, the suggestion of the still life is very much there. So if the suggestion of
the still life is there then suggestion of certain other factors like background, foreground
and the feeling of space and depth that also goes with it.
Pictorial effect- that is the main thing, because mainly it is that pictorial effect that is
our purpose that is our guiding principle and the guiding goal. Here, for example, I have
used a little brighter tone of it because after all the lower area of the painting suggests the
area closer to you viewer so that feeling must be there, that feeling of space must be
there. So these are certain fundamental things- I think, we have to be conscious. What I
have done, or what I am doing is not actually the finished painting. But the process of
rendering that is what basic purpose of my work is over here today. And I am trying to
explain, demonstrate the various aspects of painting, total parts of the total surface.
The white wall, the grayish tones are there- I must use them. Likewise here too, I must
apply some color because too much of white over here will be disturbing. Now, I think, this
white contrasting with this green is adding to the intensity of green which is not very much
desirable to that extend as it is. So, a little treatment of this white surface with the grayish
tone, helping me in deducing the intensity of the green color. So this is how, without
touching green by the use of another color, we some time reduce or heighten the intensity
of another color.
Though it is not a very thin layer of skin, which is red or reddish. Now I must, of course,
using of another medium that is a sketch. Because I want a line and I must add it; so Ill
remarket. So, suggesting that this is not only a semi-circular form but it is a slice of apple.
So, darker tone of this I am using here. So, this also remarkets the border or contour. So,
we can use the devices, there is no restriction on using another medium to achieve a
desired pictorial effect that you have in your mind. Though normally we do in the same
medium and I would have wish to do it here, but because of the limitation, because of the
canvas is not catching the color properly; the smooth line might have be difficult. Here to,
for example, I can use the abstract pattern like this to break this monotony of blue. Of
course, it is inspired from there; the designs. They help in create the interest in the surface
over here or over here; so, they also differentiate between this and that. Likewise, here to,
for example- a fine line of the deflection of the apples top is there. Now this I can achieve
with this sketch pen. I would prefer the color with my brush but I know the limitation of the
brush movement. Now, here to, this is a divide between the skin of the apple and the
interior of the apple. I think it is to better use a little bit of darker tone so that we can better
appreciate the shape of the apple and the suggested slice of the apple through this. See,
now I am using this with a different type of treatment like criss-cross or doodling. Now they
create a textural effect like that but my basic purpose is just to give a bright red tonality to
apple itself also hidden the effect of slice side like that so it become clearer that apple has
been sliced and slice has been used elsewhere. So these are some devices- what I think,
you are suppose to understand from todays demonstration is whatever you do, what is the
purpose of that? This is an additional advantage of todays demonstration despite the
problem, how weve tackle them? And how to exploit the effect created by the problems to
our own pictorial acts that is important. At times, we may all face problem like that, even
the different problem. So this is very important and I think I am trying to proceed with the
same idea; now this blue for example. These are the devices that originate in our mind
(but actually not from our mind) from the necessity of the objects or the forms that we are
doing here. Now, for example, here to, I am using this pen to demark the areas and the
same thing I may do here. So, when I am doing this, many other things might be
happening in your mind that I should have done it like this; I would have done it like this. If
you feel, you should not afraid of doing that when you work yourself. But here, at the
movement, I am working with whatever I have before me.
I paint this figure over here of 4 (four) as it is because it is a different thing, a different
form one way. Also because breaking the monotony of the gray of the cup as well as this
also balancing. Well, you see some seeds over here when you fill up the area. Well
suggesting the actual slice of the apple. Sometime the representational features do help
us, I think, where ever we need defining the form a little better, we should not be afraid of
using this. Where ever I feel some clarity is required in some areas, I shouldnt be afraid of
using these devices. Though I wish, when you paint like this you may precede with brush
and the colors. It is only in case of emergency, when you face some problem as far as
here I had to, we have to take repose to such devices, and there is nothing wrong in it.
Because, ultimately as it goes- necessity is the mother of invention and nothing is final in
the world, so some time we are compel to go off the track; take up some new method, new
devices to tackle the problem. Thus we also discover the new ways, the new means. Now,
this is a sort of design I have created, because ultimately the flatness of it was not really
appealing. So, one has to work on himself/herself to find out, to discover some new ways,
new
means
and
new
method,
new
techniques.
I am creating a texture, not only a texture but also a different tonality to this grayish surface
of the plate. So this helps in during the projecting the other objects in defining the contour
of the other objects adding depth to it or adding a contrast in relation to other areas of it.
So that way this is quite helpful. For example- I may go over here, the space of the handle
if I want to project; you see- how this is projected with little addition of this tone. Its not
only helping me in projection to the handle but at the same time here you may see this
also helps me in giving the projection to the form of the apple. So these are the smaller
things but very important things, we can do or decided only at the end of the painting that
is while finishing.
Once I have taken this brush with the darker tone of green, well I use it just to give me a
better projection to the forms over here. But I dont give a flat and applying stroke in very
rough undecorated manner to create a textural quality as well as the depth to the subject
or painting I should say.
These effects- the suggestion of objects, the suggestion of depth, the suggestion of space,
the suggestion of intensity of lights and the intensity of colors with its all variations. But
they should be maintain along with the other basic purpose that the total design value of it
should go on increasing with whatever we do. So these are small things but important
things. Now by touching over here, I have made the contour soft. Now some time, it is
essential that a particular area; the softness of it gives a better effect. Now for example- Ill
explain, now this area of the cup that I showed tilled it horizontally, is in the background
and also in the dark background. It is behind the apple, now this area must reflect some
feel of the depth and in the darker area, naturally the contour become soft. So, this little
more touching with it making it softer, darker, and I think is helping me in receiving this
effect. The inner most area is supposed to be darker because ultimately the character has
to be shown.
Now, how you do it? Apply some color, apply some strokes or anything else you want to
do, it is up to you to decide.
Nothing is final, what I have explained or have done is not final. You may be even discover
your way yourself what your want to do. So this is actually you must keep in mindeverybody works, he has to work his own ways, he derived his own ways through the
experience of handling the forms, handling the colors and handling the tonalities, handling
the space. All these things, you know, youll have to learn yourself, discover yourself and
try to analyze what you do and find out what effect you have achieved. What is good in it,
may be sometime you may be dissatisfied, you may find some weakness is there,
something is lacking in the work but never be dishearted because when you next time do
another painting, you will certainly do better, certainly achieve better results and greater
success. And this is- what is my message to all of you viewers that dont get dishearted
whatever you face, try to make the best use of it and exploit it for better pictorial and
aesthetic effect in your work.
Wish you good luck.
Thank you.
Rendering
(Unit-5 Lesson-10)
Now, Todays program is about Rendering. Rendering is a term with very wider cortication.
It can be applicable to any other field because rendering as a matter of fact, literally we
may say, it means Presentation.
Another important point I would like to tell that during the use of colors, I must know what
colors I must pick up first. Mostly colors are related to still life. For example- the Ochre is
there, now the Indian Yellow is there, Red is there, Orange is there, the Green is there and
for the darker tones we have of course, the use of Black, the Blue is also there and then
the Burnt Umber is also there.
These are the important colors that are, perhaps, I think I may be using them but I have
available to me the other shades, which (I may) if I need, Ill pick up from that. Another
important thing that generally the stress required to keeping in mind- when we put the
colors we should be conscious in what manner do we arrange them? We have to follow an
order; an order means I dont mean a set order. The question is some principal guides us
in arranging them.
You may have your own preference, I have my own preference but still every preference is
based on some order. Now here, for example- you will see Black is on this side and the
white is on this side. They are two extremes; from the lighter tones to darker tones (Left to
Right) that is one principle. Another is- the warmer color, the cooler color. Now this Red is
mistakenly has been put over there, it should have been there.
Now we have warm tones like- Yellow, Red. We have the cooler tones like- Blue and
Greens. But I prefer to put Blue over here and Brown also over here. Though Brown is a
warmer tone, it could have been kept here but its up to you how you find convenient in
handling them. But I prefer to use it closer to the Black because it is one the darkest color
after Black. So this is my preference. But there are no must about this art of preference.
One has to find his own way but it should be based on some principles so that youll find
convenience in handling them. Not like, at random, you put anyway; when I want to use
yellow, I look for the yellow (Now, for the next time when I want to use ochre). Now by
mistake I may put my hand on another color; orange or something like that (it shouldnt be
like that). They have to be in some order placed before me where I can conveniently use
them for my work.
So, somewhere I have to proceed. Now take, for instance, I do from here. It is better to (I
must) put colors in it; at the same time keeping in mind, what effect I am going to use it.
And I may change their tones; I may change their visual effect, I may change their intensity
of the colors. And also using consciously the other things like- cast shadows of other
pattern created through the effect of lights and shades. I must be conscious how effectively
I can use them but in a different way.
So, now to proceed, I, first of all would like to use this yellow ochre because yellow is the
color of this thing. I borrow this color from there. I prepare the color on the palette by using
color; mixing into the water. I must know how many colors I may use it, what is the
intensity of the tonality of the color that is also in my mind. And here, of course I may be
using the flat colors. Because my interest is in design; so, design means not decorated
design but a composition. So I proceed with flat color and I will think how I will use the
other tonalities or intensities of the colors or design on it or some other effects.
So I am taking the main dominating form of the flask and using its color. So, I am applying
flat colors over it. The surface- so, starting with this yellow ochre, the main body color of
the flask. I am not caring for the other lines because I can add colors over it afterwards.
Sometimes the surface creates problem for you. The surface doesnt catch the colors
easily and it helps me in this particular case. But even then I dont bother because these
white spots (small tile spots) well, thats creating your good texture effects, so I am not
bothered about it, so I continue. I can over paint also; I must add body color of to it and
proceed. You may see that small spots pieces and I am not bothered much about it, so I
continue.
I would like to add some more colors. Take a darker tint of it; I have added a little bit of this
burnt sienna and added to its yellow ochre. So in the subject as we see that the lower part
is slightly darker, I use it for having its different qualities.
You know variety of the area of space within the painting that also helps you in create
some interest in total composition. So this variety may be there because of the variety of
colors despite of the variety of forms already there. And then the textural effect may
change. Here I have a bigger spot of white but I dont bother; I would like to retain them.
When smaller areas are there, you should better to use the smaller brushes. If I want to
add intensity to this particular area by adding a little bit of darker color, well I must do that.
These colors are water soluble.
Artists some time face problems but we have to go with it and find how best we can exploit
it. So taking guidance from the effects of light and shades (now, I dont wish to show the
lights and shades) but the question is how can I use their effects for my own pictorial
quality of the painting or variations. Also, suggesting the charactering directly and on the
object. So I may work further but firstly the problem is of the body color and effects that I
am going to retain ultimately and help me in achieving the final results.
The tonalities have to be kept in mind, where to add the depth and for what purpose. So
sometime the depth is use to suggest the character of the particular part of the object; may
be lighted, may be the effects of the shades, shadow, and cast shadow and of course
another parts that we see over there is the lid. We have the lower part- the edge of the lid
is visible with darker brown and using the same (not exactly the same color) but of course
the darker shades of this burnt sienna using I am using here. Just to suggest this part of
the lid (I am not going further) I dont want to show the whole object but this way we left
unfinished and merge with the background over here afterwards.
I want to add a little bluish effect on it because I see the dust and all that have created an
effect of different color, so why dont we use it. So I mixed this color- a combination of
ochre and burnt sienna with blue. So I think you must see that I am facing some problem.
Its not because of any other thing but the surface I am using- the canvas prepared that is
not holding actually the colors in a smooth manner as it should have done here. But still,
any Artists may face some problem. You can see the white spots on there. Now I have
decided, because at this stage I cannot change the medium; I have decided to use this
white spots as a quality of the painting. So I proceed with it, in spite of these limitations
(You may also face it) so I am continuing to proceed with this (in spite the problem).
Now, I am coming to the white plate. So I am using the body color of the palate first; a
flat grayish white. In lighted area, I am using lighted effect. I have to be careful about the
outlines, the contours (Ive drawn already, explained already). I am running hard so that
the canvas may kept some colors and unbothered of this problem of white spots coming
up. Also, guided by the tonalities of the colors in the main object. So what we see in the
natural manner or the representational character of the object is not taboo. Because we
may use it, detailed part of it and modify it as per the pictorial limits of the rendered
painting.
So, this time I have used flat brush because it is helpful in applying stronger strokes so
that they can also penetrate the wholes of the canvas. And another important thing while
working- keeps an overall view of the painting in your mind or vision should keep on
moving all around, correlate colors and their intensity, their visual relationship, because
after all this is one painting, so that is very important. So I should not lose sight of overall
work.
Painting is just like a building, which you slowly build up. So, part by part shifted from blue
page to another; so, moreover, I am applying the colors to the surface closer to the other
which have already colored; because, it helps to judge their tonalities, their interrelations
etc.
Now, this form of the cup, lying in horizontal position; Ive invented, I am inspired by this
cups form but Ive created another form of the same cup over here to create a pattern.
This is the advantage provided to me in rendering, so we dont go by the representational
combination or effect that we see in the still life but we also, are guided by our own
imagination to draw the same thing. I prefer to paint the wall of it in one flat color; slightly
bluish, I use cerulean blue. I must retain the form of the handle as separate from the main
body of the cup. I use little light color over it so that it can be visible as a different thing.
Problems are faced by everybody, we should not afraid of it, we should try to find the ways
how to go with the problem and tackle it.
So, by perchance, sometime we discover new effects (visual effects).
The canvas is taking thick colors in a better way. I can take the white straight away from
the palate and apply it. I am not bothering of the design on the cup; see how can I use it
afterwards because these are opaque colors (we can create if want to use the design). I
may do it over this color that I have already implied on the surface and my colors are
brighter than that. Well the way I am using the brush is not the ideal way of using the brush
but it is because of the problem of the surface that sometime I am rubbing over the surface
in a wrong manner but I want to make the desired effect. So this is what we invent the way
we handle the problem and sometime go against the traditional way of our techniques and
manners.
So, now I will use this blue over here also because this helps me break the monotony of
gray added there. So over the color that I have already applied over here, I find this will
help me balance the use of blue, so taking to this side also.
Now, I come to the box that is over here, because this is an important color, important
form. So it can become very complicated, it can become more integrate but I think my
basic purpose is to explain the technique, to explain the approach to the working for
rendering (for your rendered painting) thats my purpose. I may not go to various other
details but the basic approach is there and thats what should be in our mind. I think, Red I
must use and at the same time there is golden color.
I am using this color- Red (it is scarlet) and I have added a little bit of orange; there is no
restriction, we have to find out what is the tint that you see, is the color that you want to
use. So we should mix the color accordingly and obtain the desirable tint for the shade of
the same color. Probably we may say that all are red but there are various shades of red.
Sometime contrasting colors balanced each other. Because of the intensity, the weight
they carry in their tone. In this case for example, we have- blue, light blue, light yellow
(ochre though it is). But of course, naturally, more intense color can be counter balanced
by another just opposite intense color; sometime we can use that effect. Some artist used
very intense colors but perfectly balanced. So, I have obtained the darker tone; we learn
by visualizing, by experimenting with this various combinations, mixing of different colors.
But conscious of the effect that we want to obtain, it should give you desired results.
You see, the color has changed and I see it is still more dull shade of the same color that
we are getting. I intentionally did it because the area of this is showing the thickness of the
box that I am painting; this form has to be different from the remaining other red areas.
And on the other side, this side is brighter because it is taking more light. It is the
opportunity to use a lighter tone of the same and the brighter tone of the same, so Ill
prefer to use a little bit of ochre mixed with this scarlet. You see, it is a some sort of dull
tone of the orange that I get through this. This is not orange but it looks like orange but a
very dull tone of it, a different variety.
Now, coming to the Apple. Now I am taking the ground color of apple; you know there are
red spot over it but beneath it you see some yellow. Now its a different yellow I am first
applying. This too much of yellow of jar, orange red is one of the, I think, dominating color
of the rendering that I find here but other colors will also be there. Here I find that the cups
color and form is slightly reflected and I think to break this too much domination of red, I
apply this little bit of grayish and yellow tone over here to suggest the cast shadow of the
cup and at the same time Ive obtain this form to break too much of red over here. This is
an excuse to bring a change, break the monotony or break the continuity of red.
Here to be seen that the reflection of the gray surface is taken from the deflection from the
plate. I can soften the effect, intensity of the red with the use of this color be over applied
over the lower form. Now you see the brightness of the red has gone. I must avoid too
much of red use in it, already red is here, so I keep it to the minimum; using it by applying
some stroke following the contour of the apple. It is just like a real representational form of
the apple but we have already, as Ive told you that I will not apply more colors. So, I used
this thick white over it. It has to be configure now the same color also has to be used at the
others part of the slices showing the inner pulp of the apple. We have another slice,
vertically arranged over the cup, fixed on its wall. As you some time find slices of lemon
fixed on the wall of glass of juice (or something like that) served in a hotel desk for a
beautiful effect they create. So we add some features what connected with it throughout
the memories of other experiences.
This structure of the jar (the part of this is over here), you know, I have taken a form
differently in balanced with it also taken the monotony of this too much of empty space. So
this is how, Ill try to do, this is the purpose. So I am applying only the brown color and then
the brown of the lid, the color, its intensity, its toner value, the depth & these things.
I am now treating the background because the effects of the forms of color used have to
go in a correlation with the background. I have taken the green as a background, I have
also taken the effect of the depth of this green that I see, created by the cast shadow or
lack of the light over there in some area. So they help in projecting the main group of still
life over there. Here, they are helping me in projecting this group of the recreated forms
together what you call or what we may call as rendering. White spots seen here and the
white spots seen in the background also. So its an overall textural effect we find. So even
in this rendering, the suggestion of the still life is very much there. So if the suggestion of
the still life is there then suggestion of certain other factors like background, foreground
and the feeling of space and depth that also goes with it.
Pictorial effect- that is the main thing, because mainly it is that pictorial effect that is
our purpose that is our guiding principle and the guiding goal. Here, for example, I have
used a little brighter tone of it because after all the lower area of the painting suggests the
area closer to you viewer so that feeling must be there, that feeling of space must be
there. So these are certain fundamental things- I think, we have to be conscious. What I
have done, or what I am doing is not actually the finished painting. But the process of
rendering that is what basic purpose of my work is over here today. And I am trying to
explain, demonstrate the various aspects of painting, total parts of the total surface.
The white wall, the grayish tones are there- I must use them. Likewise here too, I must
apply some color because too much of white over here will be disturbing. Now, I think, this
white contrasting with this green is adding to the intensity of green which is not very much
desirable to that extend as it is. So, a little treatment of this white surface with the grayish
tone, helping me in deducing the intensity of the green color. So this is how, without
touching green by the use of another color, we some time reduce or heighten the intensity
of another color.
Though it is not a very thin layer of skin, which is red or reddish. Now I must, of course,
using of another medium that is a sketch. Because I want a line and I must add it; so Ill
remarket. So, suggesting that this is not only a semi-circular form but it is a slice of apple.
So, darker tone of this I am using here. So, this also remarkets the border or contour. So,
we can use the devices, there is no restriction on using another medium to achieve a
desired pictorial effect that you have in your mind. Though normally we do in the same
medium and I would have wish to do it here, but because of the limitation, because of the
canvas is not catching the color properly; the smooth line might have be difficult. Here to,
for example, I can use the abstract pattern like this to break this monotony of blue. Of
course, it is inspired from there; the designs. They help in create the interest in the surface
over here or over here; so, they also differentiate between this and that. Likewise, here to,
for example- a fine line of the deflection of the apples top is there. Now this I can achieve
with this sketch pen. I would prefer the color with my brush but I know the limitation of the
brush movement. Now, here to, this is a divide between the skin of the apple and the
interior of the apple. I think it is to better use a little bit of darker tone so that we can better
appreciate the shape of the apple and the suggested slice of the apple through this. See,
now I am using this with a different type of treatment like criss-cross or doodling. Now they
create a textural effect like that but my basic purpose is just to give a bright red tonality to
apple itself also hidden the effect of slice side like that so it become clearer that apple has
been sliced and slice has been used elsewhere. So these are some devices- what I think,
you are suppose to understand from todays demonstration is whatever you do, what is the
purpose of that? This is an additional advantage of todays demonstration despite the
problem, how weve tackle them? And how to exploit the effect created by the problems to
our own pictorial acts that is important. At times, we may all face problem like that, even
the different problem. So this is very important and I think I am trying to proceed with the
same idea; now this blue for example. These are the devices that originate in our mind
(but actually not from our mind) from the necessity of the objects or the forms that we are
doing here. Now, for example, here to, I am using this pen to demark the areas and the
same thing I may do here. So, when I am doing this, many other things might be
happening in your mind that I should have done it like this; I would have done it like this. If
you feel, you should not afraid of doing that when you work yourself. But here, at the
movement, I am working with whatever I have before me.
I paint this figure over here of 4 (four) as it is because it is a different thing, a different
form one way. Also because breaking the monotony of the gray of the cup as well as this
also balancing. Well, you see some seeds over here when you fill up the area. Well
suggesting the actual slice of the apple. Sometime the representational features do help
us, I think, where ever we need defining the form a little better, we should not be afraid of
using this. Where ever I feel some clarity is required in some areas, I shouldnt be afraid of
using these devices. Though I wish, when you paint like this you may precede with brush
and the colors. It is only in case of emergency, when you face some problem as far as
here I had to, we have to take repose to such devices, and there is nothing wrong in it.
Because, ultimately as it goes- necessity is the mother of invention and nothing is final in
the world, so some time we are compel to go off the track; take up some new method, new
devices to tackle the problem. Thus we also discover the new ways, the new means. Now,
this is a sort of design I have created, because ultimately the flatness of it was not really
appealing. So, one has to work on himself/herself to find out, to discover some new ways,
new
means
and
new
method,
new
techniques.
I am creating a texture, not only a texture but also a different tonality to this grayish surface
of the plate. So this helps in during the projecting the other objects in defining the contour
of the other objects adding depth to it or adding a contrast in relation to other areas of it.
So that way this is quite helpful. For example- I may go over here, the space of the handle
if I want to project; you see- how this is projected with little addition of this tone. Its not
only helping me in projection to the handle but at the same time here you may see this
also helps me in giving the projection to the form of the apple. So these are the smaller
things but very important things, we can do or decided only at the end of the painting that
is while finishing.
Once I have taken this brush with the darker tone of green, well I use it just to give me a
better projection to the forms over here. But I dont give a flat and applying stroke in very
rough undecorated manner to create a textural quality as well as the depth to the subject
or painting I should say.
These effects- the suggestion of objects, the suggestion of depth, the suggestion of space,
the suggestion of intensity of lights and the intensity of colors with its all variations. But
they should be maintain along with the other basic purpose that the total design value of it
should go on increasing with whatever we do. So these are small things but important
things. Now by touching over here, I have made the contour soft. Now some time, it is
essential that a particular area; the softness of it gives a better effect. Now for example- Ill
explain, now this area of the cup that I showed tilled it horizontally, is in the background
and also in the dark background. It is behind the apple, now this area must reflect some
feel of the depth and in the darker area, naturally the contour become soft. So, this little
more touching with it making it softer, darker, and I think is helping me in receiving this
effect. The inner most area is supposed to be darker because ultimately the character has
to be shown.
Now, how you do it? Apply some color, apply some strokes or anything else you want to
do, it is up to you to decide.
Nothing is final, what I have explained or have done is not final. You may be even discover
your way yourself what your want to do. So this is actually you must keep in mindeverybody works, he has to work his own ways, he derived his own ways through the
experience of handling the forms, handling the colors and handling the tonalities, handling
the space. All these things, you know, youll have to learn yourself, discover yourself and
try to analyze what you do and find out what effect you have achieved. What is good in it,
may be sometime you may be dissatisfied, you may find some weakness is there,
something is lacking in the work but never be dishearted because when you next time do
another painting, you will certainly do better, certainly achieve better results and greater
success. And this is- what is my message to all of you viewers that dont get dishearted
whatever you face, try to make the best use of it and exploit it for better pictorial and
aesthetic effect in your work.
Wish you good luck.
Thank you.
DRAWING AND PAINTING

BDP 103 UNIT 3 LESSON - 1
Meaning, definition of arts and its functions:See, arts is a complex human phenomenon. It has got variety of meanings. For some arts
may be the mode of expression, for some it may be the recording of time period, for some
it may be the utility and for some it may be the their astonishing mode of expression. There
are so many varieties of meanings; a varied meaning that has made the arts complex in
todays reference. Because in todays reference, after the post war period, art has passed
through such a complexities, where the human expression has got so much of varieties
that it really becomes difficult to understand it. Of course we experienced it but
understanding the art means that we got to pass through its language. And this is the
language we are talking about in this chapter.
INDIAN APPROACH TOWARDS ARTSIt is quite obvious that our Indian art is different than the west. Well talk about west later
on but let us talk about Indian arts.
See we have the traces of Indian arts right from the Indus valley, which are available to us.
Our scholars says that there references are in the Vedas about the arts expressions. But
we dont have the physical examples. The physical examples of arts are found only from
the Indus valley civilization which we see in- mohan-Judado and Huddappa etc.
Now you see in Indian arts, if we calculate the growth of Indian arts whether it may be
sculpture or it may be painting. Well unfortunately in Indus valley civilization we see very
few examples of painting and we can see the drawing and the delineations or rendering of
human figures or animal on seeds. But in major we dont find the painting there. But we
can trace out the quality available during the Indus valley period but slowly and gradually
when we move towards the Ajanta. And suddenly we come across such an arts which is
started initially with its archaic period and grew through classism and then added with the
examples like European Barokh means it is spreads out. And it crosses the limits of the
classism.
Now see, the total Ajanta proves that the Indian art is the art of line. Indian artists always
express through line. Line has become such an important phenomenon that he expresses
each and everything; the gestures, the human expressions, the costumes, the jewelry, the
varied persons. I mean he has expressed the entire world binding it in line, which is
completely unlike Europe. But in the Indian art weve taken care of colors also.
Now see, the line is very important in Indian art, you may see it in Ajanta or you may see
much before in Indus valley or you may see later on in mughal arts, rajasthani miniature
arts or pahadi miniatures and it is continuous till the degradation of British power in India.
See it is unfortunate that British rejected our Indian art. They said, We (Indians) do not
know what art is. And they opened 4 schools for arts in our country. One in north i.e. in
Lahore, other one in south i.e. Chennai (which was called Madras school of arts), third one
is in Bombay which is the west India (J. J. School of arts), and the fourth one is in Calcutta
(in east). So they opened four schools of arts and start giving coaching to Indian students
of western arts. (Well talk later about the western art.)
An Indian art was taught to the assistants by their teacher in the studios and the method
was very different. They were looking at the world; they were of course observing the world
but they were going through rigorous say, craftsmanship. And later on after coming
through the studio of their teachers, they would start expressed their own. And in India we
generated a kind of group styles also. There were very few individual styles; wed group
styles.
So the quality of Indian arts1.
The art of line.
2.
The art of colors.
3.
The art of expressions.

And our expression emerges from intuitions not of the observation of world only.
Intuition becomes most important. So lines, intuitions and color, these three
things met together and we created our own mode of expressions, our group
styles, from Ajanta, if you move towards the chain schools of paintings or in the
mural schools of paintings in south. And then moves towards the Pal schools of
art and after Pal school if you follow up to Mughal schools of paintings then
rajasthani varied schools of painting- Udaipur, Jaipur, Kota, Buddhi, Charawa
and Jodhpur, Kishangarh, devgarh. All these arts are different from there forms,
they are varied from there qualities but still they are the group styles. This way
the Indian art created its own way of drawing. And something like Chinese,
Japanese we had a very rich art form with different type of expressions,
completely unlike Europe.
Now we talk of European arts. The western approach towards art is from their
intellect not from the intuition like Indian arts. They very intellectually observed
the world, measure the world. They measure each and everything, they bother
of perspective; it may be linear or it may be Arial perspective. But they are
mainly concern about the form.
The Indian arts were concerned about line and the westerners are concerned
about the form. Form is so important for them. Then they paint what they see.
They always believe that what is existing in front of us. They never believed
their spiritualism or that kind of intuition that Indian painters were doing. If an
Indian painter were painting a Radha and Krishna, he would say that the image
of Radha and image of Krishna is in his mind and in his heart. And he is painting
with his heart and intuitions. But if a westerner painter is being asked to paint
Radha and Krishna, hell keep the model here and hell paint the model.
See, if I am a model who is doing a commercial work, it can never generate the
feelings of Radha in her. It will be a physical model, but that is what the western
art is. Right from the Greek period till beginning of impressionism what we see
is the art that people observed. You see the world and painted exactly as it is,
with very little variations, of course there were some variations. In classic period
they had different concept, in Barokh, they have different concept, in Rokoko
they got over all augmented in new classism. They came out with different
concept. There were different moves, undoubtedly but the main concern with
the western artists is- it is the art from intellect, it is the art from mind and it is
the art of form and it does not allow any kind of intuition to be done till the
chapter of modern art begins, we see it nearly Pigmati or Picasso; mainly from
Picasso from where cubism take birth.
Importance of arts:-
For human being, arts are very important. It may be visual arts, performing arts
or any kind of arts but they are such an important affair in the life. Suppose if
there is no color in the life, what would be the life? So you are not looking for the
shapes and forms anywhere and you are sleeping on a flat bed with nothing on
it or you are sitting and there is no trees, no plant, no colors, and no flowers,
see how the tragic life will be. So arts has become so important that it gives us
history, it gives us the picture of culture, it has become the mirror of human
expression in different period. so I believe that art is so important in life. People
who do not confess art or who do not look at art in his life, really have a very dry
life.
Expert comments:- I believe that art is produced from inside the men. and whenever
he experiences, it comes out. so as a matter of fact, the origin of art is inside the men
himself. it is created here; how it is created- there are many effects that are assembled in
heart and then it creates the image and it comes out.
Well, meaning of art has to do something with the human feelings. one feels inside, he
opens his mind. he either is spacing the world, he thinks or he paints or he sculpt. these
are the ways of expressing human beings. if you take up the history, you'll see, how we
have found in the earlier caves of those persons who knew nothing about arts even if they
created arts. in caves, a long history is there and artists is creating since that time. he was
experiencing wild animals fighting with them then trying to express them on the raw, dirty
and rough wall of the hills, caves. there are lots of examples of that in 5 or 10 thousands
year earlier.
well, we have paint very different than the westerns. you see west is trying to utilize the
visual experience that he has having from hills, , animal, men and so on. He'd
experiencing in a different way and he is trying to create in a 3-Dimensional way. Well
Indian arts is transformed. it is mostly 2-Dimensional. they have eliminated all the extra
element which are creating 3-Dimensional. of course there is something 3-Dimensional in
Ajanta paintings but that is very different than what western world has created. Even the
Gupta period, you see that all the sculptures that gives really very little realistic feeling yet
they standardized.
there is lots of difference in western world of art and Indian world of arts. we feel in a
different way and they feel in a different way, they go with study-face to face study, they go
for life sketch, they go for creating animal while they seeing animal and other thing. we
apply more imaginations and there is more creative instinct in Indian arts than the western
art that time.
just to motivate a person, just to move inside, you see- when we face a work of art, you
see we are so motivated from inside that we are lost for some time.
Importance of Arts:Man is a dead figure without art. if his heart doesn't beat then there is nothing. it gives
human feelings. art gives the human feelings. it is inside that thrums. Artist created through
two origin of arts1.
Mind
2.
Heart
these are two places where art is conceives. mind is a constructive in a scientific way that
arranges everything in order systematically. you discus on everything scientifically. but
inside, lots of things- the feeling is here, emotions are there. they create an image.
imagination is there. also effects are there. so art is a matter of conceiving inside. when
you start a work of art on a piece of canvas, on a piece of cloth or a piece of stone or in
anyway. then that is transformed into with a norms of art which helps him to create an
intelligent mind.
Hope you have enjoyed the discussion today. and would get something
academically on fine arts.
Unit 1
Lesson 2
Classification of Arts
See, while classifying arts, the scholars have divided into Fine art, Visual art, Plastic art,
performing art etc.
Let us take the example of Fine art first- see, up till the distinct integration of British Power
from India, when Britishers Had opened these four major school of Art in our country. I
mean in north east west and south. The art education was known as drawing and painting.
And that pattern was followed by most of school of art in the smaller state of the country.
Even the department of Drawing and painting were opened in most of the universities.
But later on, during 60s, Baroda faculty of fine art, used this terminology Fine Art first
time. And later on in Varanasi the faculty of visual art was opened.
The drawing and painting were limited in Drawing and painting only where as in Fine art,
the scholar had included the other disciplines connected to painting- Sculpture, ceramic,
art history etc and became fine arts. And later on the American terminology VISUAL ART
was adopted by many Universities as the faculty of Visual Arts.
Plastic Art- the plastic element of art which we discussing today as fundamental of arts.
This has emerge nearly before the second world war period in bauwas. In bauwas there is
an academy known as bauwas and dreslin in Germany. Where art education is
systematized. And later on many universities in America the art department concentrated
art education programme and they divided the system of teaching where the fundamental
of art was evolved which is common these days in our country. Even our country has
adopted these fundamental of arts in the art teaching programmes during the 60s.
And I think Baroda was first to initiated, later on J.J. School of Art initiated. then other
Universities and departments followed it.
Performing Art:- performing art of course is limited to dancing , theater (i mean to the
theatrical programme like drama, theater performances, dancers and music etc. )
Decorative Arts: - Decorative art is limited to craft side. There are many arts which are
connected to commercialism, the professionalism where artists creates art work for the
People for the utilities. That has been taken as decorative arts.
A decorative art includes the ceramics and even the architectural things and painting work
are there. But they are more re-productory in decorative art these days.
Art & Crafts
Folk Art
Expert Comment:Visual Art- Visual means as we experience through our visual course, that is the visual art.
What we see, what we experiences, what we feel inside, that is visual art.
Plastic art: - Plastic art and visual art, there is no difference. You see, plastic means
moldable. Which can be molded. Which can be transformed in to new form. So, plasticity
and visual art they are the same. There is no difference, names are changed.
Performing art: - performing art is more concerned with the stage art where dance, drama
etc activities are there. So performing art have different value, different face expressions
and different ways of experimentation.
Decorative art: - Decorative art is a part of visual arts (in all the arts). Whenever you want
to regret anything with certain decoration, which is decorative art. Thats not the different
field of art. Decorative is a part of visual art, performing art or may be a part of any art.
Where you see the sense of decoration.
Art & Craft: - well, there is name, Mr. John, who tried to unite them- art and craft.
He said that there is no difference between arts and crafts. But now a day, scholars have
separated them. In one way, craft is needed more human labor, it saved emotional
achievement. Well, when you are more concern with the hand training gesture in miniature
work, you go to very accurate line, sophisticated colors and figures are so smooth then drill
work is there. In all crafts, drill work is more needed than the intellectual sensibility which
comes from within. But in creative arts, the image is conceived inside the man, inside the
artist. And he is not much concern with much of decoration and much of craft and other
things. If he needs, (once you remembered that Prof. Bendre has said the craft is needed
where the artist want to project his inner sensibility in a proper way. If he is not able to
project his inner sensibility in a form then his brushes are useless.
So craft is needed here to project his inside image properly.
Folk & Art: - it is a particular sensibility of a person because I believe that art is present
inside every person right from tail age to this age. So folk art is more concerned with
certain people or area. So they have certain sensibility. So that is not craft. But there forms
are already conceived by other people and they are repeating their forms. There is any
labor but they are spontaneous. There is story inside the man.
Six Limbs of Indian Painting

SEE, MANY OF US MIGHT BE KNOWING THAT VATSAYAL IN HIS KAAMSUTRA HAD
WRITTEN A LOT ON ARTS ALSO; ON THE VISUAL ARTS, PERFORMING ARTS ETC.
AND WHILE HE WROTE IT, PANDIT YASHODHAR AT AAMER, ROUGHLY IN
8THCENTUARY COMMENTED ON THE BEAUTY OF THESE ARTS.
AND IN REFERENCE TO PAINTING, PANDIT YASHODHAR OF AAMER, HE INVENTED
APPRECIATION OF ARTS INTO SIX LIMBS OF INDIAN PAINTING.
SO IT IS IN PURELY REFERNCE IN INDIAN PAITING DONE BEFORE 8TH CENTUARY,
MIND IT.
SEE, WHEN WE TALK OF SIX LIMBS OF PAINTING, WE HAVE TO TALK PURELY IN
REFERENCE TO THE EARLIER TIME. AND WHEN WE SAY EARLIER TIME, WE MAY
INCLUDE MINIATURE PAINTING TRADITION IN IT. AND WHEN LOOKING AT THE
VISUAL, WE CAN ESTABILISH HOW THESE SIX LIMBS OF PAINTING ARE
COM=NNECTED TO OUR SYSTEM OF PAINTING.
SO THESE SIX LIMBS OF INDIAN PAINTNG ARE1.
RUPA BHED
2.
PRAMAN
3.
BHAV
4.
LAVANYA YOJNA
5.
SADRASHYA
6.
VARNIKA BHANG
Rupa bheda- means bheda (difference) between the Rupa (Form). Suppose, you are
painting a King, so king should look different to his ministers. Or king should look different
from his courtiers. So if you are drawing a figure of anybody, if you are drawing a parrot.
The parrot should not look like a crow. So you illustrate how forms should be differentiated;
the artists should be strongly trained to do this work.
If he understands the difference of form, then he is competent enough to paint a good
painting. That is Rupa Bheda. He should know the variation or difference of one form to
other form.
Praman- In English it is Proportion.
Now see, there are two kinds of proportions-
1.
Physical proportion
2.
Mental Proportion.
In physical proportion you should know how long this Man figure remain when he is talking
to female figure. Nayak is talking to a Nayika. Nayika should replace smaller than the
Nayak. Or if he is talking to a beggar then the beggar should be bending before him.
These are the thing where the proportions are very important. Suppose, if one is standing
before a tree, the tree has to be larger than the human figure. So that action is to be
understood, that proportion is to be understood.
So an artist should aware to draw a proportion with his intellectual mind. And at the same
time when we talk of mental proportion, then what has happened?
Which is very common in Indian painting. In Ajanta you must have seen Buddha while
coming to Yashodhara, for bagging the arms. He has been painted so huge vertically and
yashodhara is very smaller, this is to give a strong dominance to that proportion. This is
the mental proportion where artist want to stress on that particular figure and so this figure
is elongated bigger and yashodharas figure is smaller.
Bhav
Lavanya Yojna- is very close to decoration or you can say a painting is basically a design
so we are creating a design. While designing the thing, we should know the space
organization-where is to put what, one should know. So, artist known as perfect artist only
when he knows how to design. Suppose I am making a palace, so palace should not look
like a normal house, it should look like a palace. Corridor can have a well decorated
baranda, and the carpet should be very ornate. So that kind of Lavanya should be,
strongly commanded by artist then only he will be a strong artist.
Sadrashya- means a visual approach of a form. The character should look like the
character which has been painted by the artist. So the artist should be expert in drawing
the particular figure of that color.
Varnika Bhang- IN ENGLISH WE TRANSLATE IT AS PALETTE; THE COLORS. WHILE
YOU APPLY COLORS TO A SURFACE, TO A FIGURE OR TO A AREA, THE ARTIST
SHOULD BE ABLE TO UNDERSTAND WHICH OPPOSING? WHICH FORM IS
ENHANCING, WHICH FORM IT IS SUPPRESSING INSIDE. SO HE SHOULD BE WELL
AWARE OF HIS PALETTE. HWE SHOULD KNOW THE CHEMISTRY OF THE COLORS
PERFECTLY THAT ON PAPER IF HE IS USING THIS COLOR THEN HOW MUCH GUM
IS TO BE MIXED? WHICH BRUSH IS TO BE USED? SO HE SHOULD BE WELL AWRE
OF THE APPLICATION OF THE COLOR, THE CHEMISTRY OF THE COLOR AND THE
PSYCHOLOGY OF THE COLOR. AND OUR INDIAN MINIATURE PAINTERS HAVE
BEEN MASTERLY PAINTED AND THEY ARE SO PERFECT IN VARNIKA BHANG.
Expert comments:Vatsayan has commented on that but he did not give any example of art work that time.
Ajanta work is there, he did not comment on anything. These pyramids, these scales that
he is giving are just for the understanding of work of art or art of expression or aesthetics
of art. Nether nobody applies these limbs in Ajanta with visual art work of sculptures form
nor has somebody taken about that. These later critics lifted these words to the art book.
They have added into the fundamental. I believe they have nothing to do with the
fundamentals of arts. You may calculate these six limbs, may be for the application of arts
or for the aesthetic purpose. The art is beautiful and for the beauty of art are there to
assess how it is?
And yashodhara, who very late, in 13 centaury, asserted and explain all that but he is also
not comparative to any art that time, that time miniature art very much developed in India
but nobody talk about that.
1.
RUPA BHED means form. Variety of forms. Human forms, form of animal, form of a tree,
all the form that are viewing. So what we are viewing is not a form, how it is carried to the
painting or work.
2.
Praman means proportion; measurement. One hand is not so big and another hand is
not like; so proportion is concerning the body, nature etc.
3.
Bhav means emotions. Bhav means what an artist has felt, whether he is able to project
it into the art work. He has been properly projecting his art with his emotions.
4.
Lavanya Yojna- in work of art Lavanya means when a work is beautiful. Beautiful here
mean when the work is expressive. Whether it is concern with the sorrowful subject or
something like that. If his expression is very complete, it has created all the beauty of a
work of art. Making it beautiful, how the art should be attractive? Here, sometime the
sense of decoration also comes. Where the decorative art is separated in a different way.
When an artist assesses or examines his work, he has to add all of his devices to make
the work beautiful. When if its a picture of tragedy, this is a picture giving sorrow
experience. Yet it is beautiful.
5.
Sadrashya means similarity. If you are drawing a figure of a man, there should be a
similarity with that. If you are going for landscape study, you have to true about the view
that you are viewing or painting.
6.
Varnika bhang is more concerned with color statement; color art, color wheel i.e. palette.
Palette of painting, their combinations, their verifications. It is more concerned with color
wheel. What color you are putting with other color, adjacent color or tertiary color,
secondary color or so on.
Unit 2
Lesson 4
Six Limbs of Indian Painting
8THCENTUARY COMMENTED ON THE BEAUTY OF THESE ARTS.
SO IT IS IN PURELY REFERNCE IN INDIAN PAITING DONE BEFORE 8THCENTUARY,
MIND IT.
SO THESE SIX LIMBS OF INDIAN PAINTNG ARE1.
RUPA BHED
2.
PRAMAN
3.
BHAV
4.
LAVANYA YOJNA
5.
SADRASHYA
6.
VARNIKA BHANG
Rupa bheda- means bheda (difference) between the Rupa (Form). Suppose, you are
painting a King, so king should look different to his ministers. Or king should look different
from his courtiers. So if you are drawing a figure of anybody, if you are drawing a parrot.
The parrot should not look like a crow. So you illustrate how forms should be differentiated;
the artists should be strongly trained to do this work.
other form.
Praman- In English it is Proportion.
Now see, there are two kinds of proportions-
1.
Physical proportion
2.
Mental Proportion.
Bhav
Sadrashya- means a visual approach of a form. The character should look like the
character which has been painted by the artist. So the artist should be expert in drawing
the particular figure of that color.
Varnika Bhang- IN ENGLISH WE TRANSLATE IT AS PALETTE; THE COLORS. WHILE
YOU APPLY COLORS TO A SURFACE, TO A FIGURE OR TO A AREA, THE ARTIST
SHOULD BE ABLE TO UNDERSTAND WHICH OPPOSING? WHICH FORM IS
ENHANCING, WHICH FORM IT IS SUPPRESSING INSIDE. SO HE SHOULD BE WELL
AWARE OF HIS PALETTE. HWE SHOULD KNOW THE CHEMISTRY OF THE COLORS
PERFECTLY THAT ON PAPER IF HE IS USING THIS COLOR THEN HOW MUCH GUM
IS TO BE MIXED? WHICH BRUSH IS TO BE USED? SO HE SHOULD BE WELL AWRE
OF THE APPLICATION OF THE COLOR, THE CHEMISTRY OF THE COLOR AND THE
Expert comments:Vatsayan has commented on that but he did not give any example of art work that time.
assess how it is?
1.
RUPA BHED means form. Variety of forms. Human forms, form of animal, form of a
tree, all the form that are viewing. So what we are viewing is not a form, how it is carried to
the painting or work.
2.
Praman means proportion; measurement. One hand is not so big and another hand is
not like; so proportion is concerning the body, nature etc.
3.
Bhav means emotions. Bhav means what an artist has felt, whether he is able to project
it into the art work. He has been properly projecting his art with his emotions.
4.
Lavanya Yojna- in work of art Lavanya means when a work is beautiful. Beautiful here
mean when the work is expressive. Whether it is concern with the sorrowful subject or
something like that. If his expression is very complete, it has created all the beauty of a
work of art. Making it beautiful, how the art should be attractive? Here, sometime the
sense of decoration also comes. Where the decorative art is separated in a different way.
When an artist assesses or examines his work, he has to add all of his devices to make
the work beautiful. When if its a picture of tragedy, this is a picture giving sorrow
experience. Yet it is beautiful.
5.
6.
Varnika bhang is more concerned with color statement; color art, color wheel i.e.
palette. Palette of painting, their combinations, their verifications. It is more concerned with
color wheel. What color you are putting with other color, adjacent color or tertiary color,
Unit 3
Lesson 5
Element of Painting (Part A)
you know in part one we have included the line form and color so first we are talking about
line
Line- Normally you know a forms which join to points is called a line you know this is very
easy to say that this is a line but for an artist it's difficult to draw a line because we believe
that line doesn't has only a meeting of two points it is also has life.In painting we are
having open eyes and creating texture into the painting what for? See the texture are been
created in work of art to create dominance, to create balance, to enrich the form. There
could be several things. But the most important thing is that what kind of texture we are
achieving in a painting?
If you have seen the [Practical shown]
That kind of trompo oil is been achieved by these painters. but at the same time you can
touch the utensil line in the front, you can touch the back part of the picture. It is all on one
surface. So on one surface a kind of illusion is been created to create the texture. so i am
talking of that visual texture where there is a fallacy, there is a illusion by just creating a
carriscuero. Carriscuero means the technique of creating lights and shades. so through
carriscuero or lights and shades treatment the artist achieve the kind of texture. But it is
only visible, this cannot be felt. If I put my hand onto the picture, the color will be flat. But
there are artist who would creates the textures and you can feel it. Your hand rubbed, you
can feel decorations, you can feel most part of it; these kind of texture are there. And there
are artists who have created the paintings like sculptures in fiber, in acrylic. So the texture
could be achieved in so many different ways. in classes many time we discuss that there
are 3 kinds of texture. But Ill say that there is no end to create the texture. One should
know where to apply, how to apply that is much more important; whether this texture here
is relevant or not. It shouldnt be overdone. Now the kinds of texture which are generally
discussed that we say its an Imitated Texture; that i talked about, the Dutch painting. You
imitate an object to such an extent that it looks alike exactly. i can create a texture of
plastic on a surface, i paint a pot of plastic and i create such texture there by painting that
it imitate texture. Now there are textures which are found textures. Suppose I take a piece
of paper, I take a crayon and I just rub it on wire net and wire net texture comes on. In
childhood, you must have picked up a coin and you put the paper and you rub it and the
texture/the image of coin come there. So that kind of texture is known as copied
texture/derived texture. There is third texture which is Created texture. Now creative
texture is unlimited. You can mix solvent and create texture, you can throw things, you can
paste things, and you can go to endless things. This is the world where artists have
created such a huge variety of texture.
[Practical shown]
Texture is so important because it may give another great expression to your work of art.
Form- see, space is the most important element of work of art. Because entire work of art
exist in space. See, suppose an actor is on the space, and its space is entire space and its
apron and believe me, if he is in the apron of the stage and he is talking to the audience,
he is having some soliloquy. And some a character with white cloth or uneasy costume,
passes from there to other end. The space is broken; the space is here and another
character passes through there. So the space of stage has been cut down by another
character. And main character who is talking to you, who is having the soliloquy, he is
completely disturbed. So this is how the space works in work of art. similarly, in painting it
also works. suppose i have a space where everything is yellow, it completely painted all
four sides of the frame. now, i just splash few drops of red color on it, the entire space is
covered by the drops of color. and that become so strong, suppose if i would have used
yellow with little yellow ochre and i would have spread these drops there, it would not
disturbed the surface so much as i have dropped the red color on it. because the red color
is in the contrast and because of its contrast, it has covered its own space and suppose if
this form is diagonal then my eyes will move from here to there. so, you know what
happens, in a space whatever you put that start commanding its own space. Suppose, if
my figure is like this and i spread my hands like this, so what happens, because of the
axial of my both hands, the space of this side[right] and the space of this side[left] is
crossing the limits of the boundaries of the pictorial surface because the movement is
there. since i am standing, my body is vertical so i am crossing the space from top to
bottom. so top to bottom and left to right and right to left, i have covered this much of
space just standing in a picture like this.
[Practical shown]
COLOR:- That kind of trompo oil is been achieved by these painters. but at the same time
you can touch the utensil line in the front, you can touch the back part of the picture. It is
all on one surface. So on one surface a kind of illusion is been created to create the
texture. so i am talking of that visual texture where there is a fallacy, there is a illusion by
just creating a carriscuero. Carriscuero means the technique of creating lights and
shades. so through carriscuero or lights and shades treatment the artist achieve the kind
of texture. But it is only visible, this cannot be felt. If I put my hand onto the picture, the
color will be flat. But there are artist who would creates the textures and you can feel it.
Your hand rubbed, you can feel decorations, you can feel most part of it; these kind of
texture are there. And there are artists who have created the paintings like sculptures in
fiber, in acrylic. So the texture could be achieved in so many different ways. in classes
many time we discuss that there are 3 kinds of texture. But Ill say that there is no end to
create the texture. One should know where to apply, how to apply that is much more
important; whether this texture here is relevant or not. It shouldnt be overdone. Now the
kinds of texture which are generally discussed that we say its an Imitated Texture; that i
talked about, the Dutch painting. You imitate an object to such an extent that it looks alike
exactly. i can create a texture of plastic on a surface, i paint a pot of plastic and i create
such texture there by painting that it imitate texture. Now there are textures which are
found textures. Suppose I take a piece of paper, I take a crayon and I just rub it on wire net
and wire net texture comes on. In childhood, you must have picked up a coin and you put
the paper and you rub it and the texture/the image of coin come there. So that kind of
texture is known as copied texture/derived texture. There is third texture which is Created
texture. Now creative texture is unlimited. You can mix solvent and create texture, you can
throw things, you can paste things, and you can go to endless things. This is the world
where artists have created such a huge variety of texture.
see in color like I said it is only visible due to light so if you mixed it with paint, water, so
this pigment is highly saturated I have picked up the pigment, the red pigment this is much
saturated then if you have more pigment is higher and have less than pigment is lesser
and if you add darker part like black then it reduces its hue its value increase with the light
and value decrees with dark. the work of art as richer the work we do as much as with
colors.
Unit 3
Lesson 6
Element of Painting (Part B)
Tone- the next element of painting is tone. The tone again come be achieved by mixing a
solvent into it the darker tone and the lighter tone. This you mix more solvent, it becomes a
lighter tone and when saturation is there then it becomes a darker tone. So tone is equally
important in a painting.
[Practical shown]
Texture- Next point is texture. Broadly speaking, the texture is a tactile quality of a
surface. i close my eyes and rub my figure here and i feel that there is something like
cotton cloth. Sometime, I closed my eyes and moving my hand here and i can feel that
something like canvas or the wood. Similarly, i put my hands and closing my eyes on a
glass or water, i can feel water. So you can feel the texture of a surface even closing your
eyes. But in painting we cannot close our eyes.
In painting we are having open eyes and creating texture into the painting what for? See
the texture are been created in work of art to create dominance, to create balance, to
enrich the form. There could be several things. But the most important thing is that what
kind of texture we are achieving in a painting?
If you have seen the paintings of Dutch artists [Practical shown]
The artist like hallmeans (German) or Dutch artists, they have achieved the texture in a
painting so commendably that you are confused whether it is a mirror or a metal pot. You
feel like touching it. That kind of trompo oil is been achieved by these painters. but at the
same time you can touch the utensil line in the front, you can touch the back part of the
picture. It is all on one surface. So on one surface a kind of illusion is been created to
create the texture. so i am talking of that visual texture where there is a fallacy, there is a
illusion by just creating a carriscuero. Carriscuero means the technique of creating lights
and shades. so through carriscuero or lights and shades treatment the artist achieve the
kind of texture. But it is only visible, this cannot be felt. If I put my hand onto the picture,
the color will be flat. But there are artist who would creates the textures and you can feel it.
[Practical shown]
Space- see, space is the most important element of work of art. Because entire work of art
exist in space. See, suppose an actor is on the space, and its space is entire space and its
apron and believe me, if he is in the apron of the stage and he is talking to the audience,
he is having some soliloquy. And some a character with white cloth or uneasy costume,
passes from there to other end. The space is broken; the space is here and another
character passes through there. So the space of stage has been cut down by another
character. And main character who is talking to you, who is having the soliloquy, he is
completely disturbed. So this is how the space works in work of art. similarly, in painting it
also works. suppose i have a space where everything is yellow, it completely painted all
four sides of the frame. now, i just splash few drops of red color on it, the entire space is
covered by the drops of color. and that become so strong, suppose if i would have used
yellow with little yellow ochre and i would have spread these drops there, it would not
disturbed the surface so much as i have dropped the red color on it. because the red color
is in the contrast and because of its contrast, it has covered its own space and suppose if
this form is diagonal then my eyes will move from here to there. so, you know what
happens, in a space whatever you put that start commanding its own space. Suppose, if
my figure is like this and i spread my hands like this, so what happens, because of the
axial of my both hands, the space of this side[right] and the space of this side[left] is
crossing the limits of the boundaries of the pictorial surface because the movement is
there. since i am standing, my body is vertical so i am crossing the space from top to
bottom. so top to bottom and left to right and right to left, i have covered this much of
space just standing in a picture like this.
and suppose if my hands like this then that space
Lesson - 7 (Part A)
Principles of composition Lesson 7;
Dominance
Now we should be talking about those principles of work of art you know in compositions
the dominance is a point which is an important. now what is dominance. see on a pictorial
surface if I put anything there or stick there your eyes straight away go to this, to counter
balance that place I create some texture to the other side so the dominance is such a thing
which may come here which may not come here.
It is quite obvious that our Indian art is different than the west. Well talk about west later
on but let us talk about Indian arts.
See we have the traces of Indian arts right from the Indus valley, which are available to us.
Our scholars says that there references are in the Vedas about the arts expressions. But
we dont have the physical examples. The physical examples of arts are found only from
the Indus valley civilization which we see in- mohan-Judado and Huddappa etc.
Now you see in Indian arts, if we calculate the growth of Indian arts whether it may be
sculpture or it may be painting. Well unfortunately in Indus valley civilization we see very
few examples of painting and we can see the drawing and the delineations or rendering of
human figures or animal on seeds. But in major we dont find the painting there. But we
can trace out the quality available during the Indus valley period but slowly and gradually
when we move towards the Ajanta. And suddenly we come across such an arts which is
started initially with its archaic period and grew through classism and then added with the
examples like European Barokh means it is spreads out. And it crosses the limits of the
classism.
Now see, the total Ajanta proves that the Indian art is the art of line. Indian artists always
express through line. Line has become such an important phenomenon that he expresses
each and everything; the gestures, the human expressions, the costumes, the jewelry, the
varied persons. I mean he has expressed the entire world binding it in line, which is
completely unlike Europe. But in the Indian art weve taken care of colors also.
Now see, the line is very important in Indian art, you may see it in Ajanta or you may see
much before in Indus valley or you may see later on in mughal arts, rajasthani miniature
arts or pahadi miniatures and it is continuous till the degradation of British power in India.
See it is unfortunate that British rejected our Indian art. They said, We (Indians) do not
know what art is. And they opened 4 schools for arts in our country. One in north i.e. in
Lahore, other one in south i.e. Chennai (which was called Madras school of arts), third one
is in Bombay which is the west India (J. J. School of arts), and the fourth one is in Calcutta
(in east). So they opened four schools of arts and start giving coaching to Indian students
of western arts. (Well talk later about the western art.)
An Indian art was taught to the assistants by their teacher in the studios and the method
was very different. They were looking at the world; they were of course observing the world
but they were going through rigorous say, craftsmanship. And later on after coming
through the studio of their teachers, they would start expressed their own. And in India we
generated a kind of group styles also. There were very few individual styles; wed group
styles. color, these three things met together and we created our own mode of
expressions, our group styles, from Ajanta, if you move towards the chain schools of
paintings or in the mural schools of paintings in south. And then moves towards the Pal
schools of art and after Pal school if you follow up to Mughal schools of paintings then
rajasthani varied schools of painting- Udaipur, Jaipur, Kota, Buddhi, Charawa and Jodhpur,
Kishangarh, devgarh. All these arts are different from there forms, they are varied from
there qualities but still they are the group styles. This way the Indian art created its own
way of drawing. And something like Chinese, Japanese we had a very rich art form with
different type of expressions, completely unlike Europe. Now we talk of European arts. The
western approach towards art is from their intellect not from the intuition like Indian arts.
They very intellectually observed the world, measure the world. They measure each and
everything, they bother of perspective; it may be linear or it may be Arial perspective. But
they are mainly concern about the form. The Indian arts were concerned about line and
the westerners are concerned about the form. Form is so important for them. Then they
paint what they see. They always believe that what is existing in front of us. They never
believed their spiritualism or that kind of intuition that Indian painters were doing. If an
Indian painter were painting a Radha and Krishna, he would say that the image of Radha
and image of Krishna is in his mind and in his heart. And he is painting with his heart and
intuitions. But if a westerner painter is being asked to paint Radha and Krishna, hell keep
the model here and hell paint the model. See, if I am a model who is doing a commercial
work, it can never generate the feelings of Radha in her. It will be a physical model, but
that is what the western art is. Right from the Greek period till beginning of impressionism
what we see is the art that people observed. You see the world and painted exactly as it is,
with very little variations, of course there were some variations. In classic period they had
different concept, in Barokh, they have different concept, in Rokoko they got over all
augmented in new classism. They came out with different concept. There were different
moves, undoubtedly but the main concern with the western artists is- it is the art from
intellect, it is the art from mind and it is the art of form and it does not allow any kind of
intuition to be done till the chapter of modern art begins, we see it nearly Pigmati or
Picasso; mainly from Picasso from where cubism take birth.For human being, arts are very
important. It may be visual arts, performing arts or any kind of arts but they are such an
important affair in the life. Suppose if there is no color in the life, what would be the life? So
you are not looking for the shapes and forms anywhere and you are sleeping on a flat bed
with nothing on it or you are sitting and there is no trees, no plant, no colors, and no
flowers, see how the tragic life will be. So arts has become so important that it gives us
history, it gives us the picture of culture, it has become the mirror of human expression in
different period. so I believe that art is so important in life. People who do not confess art
or who do not look at art in his life, really have a very dry life.
Expert comments:- I believe that art is produced from inside the men. and whenever
he experiences, it comes out. so as a matter of fact, the origin of art is inside the men
himself. it is created here; how it is created- there are many effects that are assembled in
heart and then it creates the image and it comes out.
Well, meaning of art has to do something with the human feelings. one feels inside, he
opens his mind. he either is spacing the world, he thinks or he paints or he sculpt. these
are the ways of expressing human beings. if you take up the history, you'll see, how we
have found in the earlier caves of those persons who knew nothing about arts even if they
created arts. in caves, a long history is there and artists is creating since that time. he was
experiencing wild animals fighting with them then trying to express them on the raw, dirty
and rough wall of the hills, caves. there are lots of examples of that in 5 or 10 thousands
year earlier.
well, we have paint very different than the westerns. you see west is trying to utilize the
visual experience that he has having from hills, , animal, men and so on. He'd
experiencing in a different way and he is trying to create in a 3-Dimensional way. Well
Indian arts is transformed. it is mostly 2-Dimensional. they have eliminated all the extra
element which are creating 3-Dimensional. of course there is something 3-Dimensional in
Ajanta paintings but that is very different than what western world has created. Even the
Gupta period, you see that all the sculptures that gives really very little realistic feeling yet
they standardized.
there is lots of difference in western world of art and Indian world of arts.
Harmony: harmony is a total sum of all the things it would be desire suppose in this
corner. so harmony is a condition of colors.
Rythem: Rythem is very important because your eyes has to move according to line
according to the textures if one picture is giving weight on one site and Harmony is a total
weight of sum of arts.
Thank you ..!!!!!!
BDP 103
Lesson 8
8TH CENTUARY COMMENTED ON THE BEAUTY OF THESE ARTS.
SO IT IS IN PURELY REFERNCE IN INDIAN PAITING DONE BEFORE 8TH CENTUARY,
MIND IT.
means bead (difference) between the Rupa (Form). Suppose, you are painting a King, so
king should look different to his ministers. Or king should look different from his courtiers.
So if you are drawing a figure of anybody, if you are drawing a parrot. The parrot should
not look like a crow. So you illustrate how forms should be differentiated; the artists should
be strongly trained to do this work.
other form.
means a visual approach of a form. The character should look like the character which has
been painted by the artist. So the artist should be expert in drawing the particular figure of
that color.
IN ENGLISH WE TRANSLATE IT AS PALETTE; THE COLORS. WHILE YOU APPLY
COLORS TO A SURFACE, TO A FIGURE OR TO A AREA, THE ARTIST SHOULD BE
ABLE TO UNDERSTAND WHICH OPPOSING? WHICH FORM IS ENHANCING, WHICH
FORM IT IS SUPPRESSING INSIDE. SO HE SHOULD BE WELL AWARE OF HIS

PALETTE. HWE SHOULD KNOW THE CHEMISTRY OF THE COLORS PERFECTLY
THAT ON PAPER IF HE IS USING THIS COLOR THEN HOW MUCH GUM IS TO BE
MIXED? WHICH BRUSH IS TO BE USED? SO HE SHOULD BE WELL AWRE OF THE
APPLICATION OF THE COLOR, THE CHEMISTRY OF THE COLOR AND THE
Vatsayan has commented on that but he did not give any example of art work that time.
assess how it is?
RUPA BHED means form. Variety of forms. Human forms, form of animal, form of a tree,
all the form that are viewing. So what we are viewing is not a form, how it is carried to the
painting or work.
Praman means proportion; measurement. One hand is not so big and another hand is not
like; so proportion is concerning the body, nature etc.
Bhav means emotions. Bhav means what an artist has felt, whether he is able to project it
into the art work. He has been properly projecting his art with his emotions.
in work of art Lavanya means when a work is beautiful. Beautiful here mean when the
work is expressive. Whether it is concern with the sorrowful subject or something like that.
If his expression is very complete, it has created all the beauty of a work of art. Making it
beautiful, how the art should be attractive? Here, sometime the sense of decoration also
comes. Where the decorative art is separated in a different way. When an artist assesses
or examines his work, he has to add all of his devices to make the work beautiful. When if
its a picture of tragedy, this is a picture giving sorrow experience. Yet it is beautiful.
Varnika bhang is more concerned with color statement; color art, color wheel i.e. palette.
Palette of painting, their combinations, their verifications. It is more concerned with color
wheel. What color you are putting with other color, adjacent color or tertiary color,
Unit 5
Lesson 9
Material and Methods of Wall Painting
Wall painting could be divided into two forms1.
Fresco Painting
2.
Wall painting that we call Mural today.

When we talk of fresco painting, it has emerged from the word fresh. When the wall is
very fresh, when we just prepared the plaster on the wall. When it is fresh, the wall is being
painted with the pigment which does not have Gum as a binder. No, you dont mix any
gum with the pigment. You directly paint with the Mineral colors, earth colors and color
penetrates into the wall because it is wet. Since it is wet the color goes inside and makes a
thick layer of the pigment. After it dries, it becomes very strong and it does not fade in a
short time, it goes for a longer period.
So fresco has been very common in India as well as fresco was very common in Italy also
in western world.
Italian Fresco Painting:Indian Fresco Painting:Ajanta Fresco
Bagh Cave Fresco
Sittanavasal Cave Fresco
In Italy there are two kind f Fresco- one was Stucco and another was Beano.
The Stucco process is quite similar to our Indian method of fresco painting which is known
as Aala Geela process. Aala Geela is a rajasthani word Aala & Geela. Both word means
when it is wet. So, Aala Geela process is just similar to the stucco of Italian fresco
painting.
Now, how we do it?
Take lime, the lime dust, marble dust, gum, sand, yellow part of egg, the natural
colors/dies.
We have natural dye as Neil. Now, the Neil was grown in Afghanistan and the distance
part of Persia etc. so this is imported from that side.
So the mercury oxide the sindur which is borrowed from the inner part of Persia etc. but in
major we have been using the burnt sienna color which is red oxide. We have been using
khadiya which is white gypsum. Then we have been using Black, the kajal; I mean the
black powder, after burning the lamp we just use black color. Similarly we use yellow color,
yellow oxide. Then there are few processes of preparing few colors also.
For e.g. there is a chrome yellow color, which is known as Piyawadi. Now, there is a very
long process of preparing Piyawadi. The cow is fed with mango leaves in the beginning of
March, we have new mango leaves. These new leaves are being picked up and fed to the
cow. And they put a layer of yellow clay on a cloth and put in the pot and the urine of the
cow and the urine of the cow is taken up next day. And it is passes through the yellow clay
into the pot. And this pot is later on, the urine is boiled. And they boil it to a extend when it
becomes solid. Then it is left to dry. That is the Piyawadi process. It is very tedious process
because most of the time the urine gets spoiled and you dont get the color of your
intensity. But there are masters who did
it.
You see then in Mineral colors, we have one kind of mineral color we have Red oxide,
yellow oxide, gypsum etc. But then we have stone colors also. There are six- seven types
of stone colors through which we get red, we get green, we get yellow. so these stones are
equally important.
Mudra Siddhi: - This color is a stone color which is known as mudra siddhi. It gives tone
almost near yellow ochre. Mainly used in the faces and hands of the human figures.
Mansion Stone: - in Hindi we call it Narangi Bhaata. Again this is very hard stone which is
rubbed on the ground with little drops of water and when color is dries, it is then ready to
use.
Singh Ras Stone: - artists call it Hingloo. This is almost a rose madder kind of color. This
is again a stone color and artists apply the similar process of grinding it.
Hadtal: - this stone color gives chrome yellow color.
Gypsum: - also known as Khadiya. Used for the white tone. But this is comparatively
softer color. This is being rubbed easily. One has not to work hard like stone colors.
Indigo/Neil: - indigo is grown in the tree or through plantation. During the Mughal time, it
was brought from the Persia and Afghanistan. Now a day it is quite much available even in
the town because it is being uses in many medicines as well. This gives us very close to
the Persian color/Persia blue.
Rasod: - if your color is very strong and saturated, then you can mix this stone color; this
is known as Rasod. Rasod is being blended with water after rubbing it & then it could be
applied to the painting to dull, to reduce the hue of the colors.
And there is very tedious process of making these stones colors. You keep the colors,
rubbing on the stone for few days and the liquid that passes there is very slow process.
You cannot make hurry. The stone is very hard and you gone to rubbing it with little drops
of water and then liquid pass then you have to dry it. Then again, you have to rub it with
another stone then you filter it few times and the color is prepared.
Then you have tools- there is tool name Agate stone which is known as Hakeik stone. And
the color pigment which we required.
Some time we do use tracing paper also to trace our drawing, to transfer our drawing on to
the wall.
Now, how it is done? On a normal wall, we apply plaster of lime into 1/3 proportion; 3 is the
marble dust and 3 is the lime. And then lime is prepared, there is a process of preparing
lime. Lime is dipped with little water with milk in it (cow milk is used) and that to un-boiled;
the cow milk is added to water and it is being kept for three or four months. So the lime
becomes very smooth and silky. And this lime is mixed with the marble dust. The first layer
of marble dust and lime is plastered over the wall. Then we have pure lime, pure lime
which has been dipped in milk and water. Then the film of that lime is put there. Then we
used a stone known as Ghoti. Ghoti means burnish. This is very polished stone and with
this stone we just rubbed the entire wall delicately with stone.
After rubbing it, we start transferring our drawing through tracing paper. If it is big then we
put the nails through the drawing and when we pass the nails, there are pin holes, and
through this pin hole we just put in a cloth-charcoal or iron oxide powder and we just push
it into the entire paper and drawing, this way, transfer to wall. After removing this tracing
paper we just use brush onto the drawing and start filling the color. But mind it, in a day;
we prepare only that much of wall which we finish from the time of filling the color till the
end that we finish it up after filling all the color. Finishing the painting, and again we have
to rub it with agate stone or marble stone which is highly polished. We have to again rub it
and we have to apply coconut oil onto it. After applying coconut oil onto it, you cannot do
any paint, you cannot put any pigment. This is the process of fresco painting practice in
Rajasthan from the Mughal period known as Aala Geela.
Jaipuri Fresco
Vanasthali Fresco
Tempra Painting: - Another process of wall painting is the mural kind of painting, also
known as Tempra Painting. This has been also practice in Rajasthan. Here in this process,
we have marble dust and lime plaster is being done in 1/3 proportion. This is a rough kind
of wall with lots of texture of sand. And over this, we paint with the colors/pigment colors
mixed with the gum. This has been painted in so many areas, especially in Shekhawati
area. Most of the fresco has been painted in this Tempra process.
Shekhawati Fresco
The Egg Tempra Painting: - the third process which has been common in Europe was
The Egg Tempra Painting. In Egg Tempra process, instead of gum you use the yellow part
of Egg to mix it as a binder and you just paint n the plastered wall. It also stayed in much
longer period in comparison to our Tempra painting.
Mix Media Fresco Painting
Fresco and Stucco painting have the long life, very long life.
BDP103 Unit -5
Lesson 10
Materials and Methods
you see miniature painting has had a long tradition in our country and we should be well
aware what miniature painting is miniature does not mean by the format it's not mean by
size a miniature painting as bigger as this or much bigger even bigger than 10 feet in the
size in the width miniature painting there has been a tradition which came from the Persia,
Mugal introduce and it became very popular in Rajasthan and spread in the Hill area of
the india.
Next point is texture. Broadly speaking, the texture is a tactile quality of a surface. i close
my eyes and rub my figure here and i feel that there is something like cotton cloth.
Sometime, I closed my eyes and moving my hand here and i can feel that something like
canvas or the wood. Similarly, i put my hands and closing my eyes on a glass or water, i
can feel water. So you can feel the texture of a surface even closing your eyes. But in
painting we cannot close our eyes.
In painting we are having open eyes and creating texture into the painting what for? See
the texture are been created in work of art to create dominance, to create balance, to
enrich the form. There could be several things. But the most important thing is that what
kind of texture we are achieving in a painting?
If you have seen the paintings of Dutch artist
The artist like hallmeans (German) or Dutch artists, they have achieved the texture in a
painting so commendably that you are confused whether it is a mirror or a metal pot. You
feel like touching it. That kind of trompo oil is been achieved by these painters. but at the
same time you can touch the utensil line in the front, you can touch the back part of the
picture. It is all on one surface. So on one surface a kind of illusion is been created to
create the texture. so i am talking of that visual texture where there is a fallacy, there is a
illusion by just creating a carriscuero. Carriscuero means the technique of creating lights
and shades. so through carriscuero or lights and shades treatment the artist achieve the
kind of texture. But it is only visible, this cannot be felt. If I put my hand onto the picture,
the color will be flat. But there are artist who would creates the textures and you can feel it.
see, space is the most important element of work of art. Because entire work of art exist in
space. See, suppose an actor is on the space, and its space is entire space and its apron
and believe me, if he is in the apron of the stage and he is talking to the audience, he is
having some soliloquy. And some a character with white cloth or uneasy costume, passes
from there to other end. The space is broken; the space is here and another character
passes through there. So the space of stage has been cut down by another character. And
main character who is talking to you, who is having the soliloquy, he is completely
disturbed. So this is how the space works in work of art. similarly, in painting it also works.
suppose i have a space where everything is yellow, it completely painted all four sides of
the frame. now, i just splash few drops of red color on it, the entire space is covered by the
drops of color. and that become so strong, suppose if i would have used yellow with little
yellow ochre and i would have spread these drops there, it would not disturbed the surface
so much as i have dropped the red color on it. because the red color is in the contrast and
because of its contrast, it has covered its own space and suppose if this form is diagonal
then my eyes will move from here to there. so, you know what happens, in a space
whatever you put that start commanding its own space. Suppose, if my figure is like this
and i spread my hands like this, so what happens, because of the axial of my both hands,
the space of this side[right] and the space of this side[left] is crossing the limits of the
boundaries of the pictorial surface because the movement is there. since i am standing,
my body is vertical so i am crossing the space from top to bottom. so top to bottom and left
to right and right to left, i have covered this much of space just standing in a picture like
this.
and suppose if my hands like this then that space

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DAYALBAGH EDUCATIONAL INSTITUTE

DRAWING & PAINTING

STILL LIFE (PRACTICAL)

Course No.: DPM101, Course Title: STILL LIFE (PRACTICAL)

Course No.: DPM102, Course Title: RENDERING (PRACTICAL)

Course No.: DPM201, Course Title: PORTRAIT STUDY (PRACTICAL)

Course No.: DPM202, Course Title: RENDERING (PRACTICAL)

Course No.: DPM203, Course Title: HISTORY OF INDIAN PAINTING I

Course No.: DPM301, Course Title: LANDSCAPE STUDY (PRACTICAL)

Study from full figure

Course No.: DPM402, Course Title: RENDERING (PRACTICAL)

Course No.: DPM404, Course Title: HISTORY OF INDIAN PAINTING III

Course No.: DPM501, Course Title: DESIGN FOR MURAL (PRACTICAL)

A) Design based on geomatrical forms with a significant relation with nature.

Course No.: DPM502, Course Title: GRAPHICS I (PRACTICAL)

Course No.: DPM504, Course Title: PORTRAIT STUDY I (PRACTICAL)

Course No.: DPM505, Course Title: HISTORY OF EUROPEAN PAINTING I

DRAWING AND PAINTING

Still life Painting

In the second, we will learn the different Elements of Painting.

In the third, we will study about the principle of Composition &Compositional

We now begin with lesson one:LESSON 1

Other Accessories which include:-

Clips and Board Pins

A piece of Cotton cloth

Name the different accessories which are useful while working.

How many types of papers are available in the market?

Write the range of the soft pencil?

What is the range for hard Pencil?

For shading and dark shadows which type of Pencil do we used?

How many types of Charcoal are available?

How is vine Charcoal derived?

How many types of pastels are used for Painting?

What is the quality of oil based pastel?

What are the characteristics of mechanical pens?

E-Learning UG course in Drawing & Painting

Still life Painting

Self Assessment Questions :Fill up the blanks:1.

The Flat brushes are made from __________hair and

Round brushes are made from__________hair and------------hair.

Water colours are_________in nature.

The colour palette should be____________and__________

For cleaning the brushes and other accessories, we need a piece

We close this lesson with two terminal questions.

Write an essay on material and medium.

Write the advantages and disadvantages of different medium.

The meaning of line and its importance in art.

Basic line drawings.

A study of basic forms through line.

Methods of draw a line.

According to geometry line is an expression of distance between two dots.

But Art lines are different from Geometrical lines.

Simple line shows hardness or can also show gravity.

But in curved lines we have lots of effects and expressions like

LINES AND DIRECTIONS

The meaning of form and its importance in art.

Basic form drawings.

A study of basic forms

Form is artists way of thinking and meaning of visualization.

DIRRERENT TYPE OF FORM

The hand can be seen as a block, a mountain as a pyramid or a triangle.

The meaning of space and its importance in art.

Basic drawings to show space.

The colour palette should be__and