AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

AAAAAAAAA

GENAD401 APPLY ADVANCED ARTISTIC DRAWING

Competence

RQF Level: 4 Learning Hours

70
Credits: 7

Sector: ICT and Multimedia

Trade: Multimedia Production

Module Type: Specific

Curriculum: ICTMMP4001-TVET Level 3 in Multimedia Production

Copyright: © Rwanda TVET Board, 2023

Issue Date: May 2023

 Table of Contents
Table of Acronyms ..................................................................................................................................... 4
Learning Unit1: CREATE COMPOSITION..................................................................................................... 5
CHAPTER ONE: ADVANCED ARTISTIC DRAWING ....................................................................................... 5
1.0. Introduction ................................................................................................................................ 5
1.1. Definitions .................................................................................................................................. 5
1.2. File management, file organization and Layer Organization ..................................................... 6
1.2.1. File Management ................................................................................................................ 6
1.2.2. File Organization ................................................................................................................. 7
1.2.3. Layer Organization.............................................................................................................. 8
1.3. Determination of subject matter in Art ..................................................................................... 8
1.3.1. Introduction to subject matter ........................................................................................... 8
1.3.2. Description of elements and principles of art and design ............................................... 11
1.4. Identification of a drawing format ........................................................................................... 22
1.5. Establishing the focal point ...................................................................................................... 26
1.6. Determination of visual flow ................................................................................................... 31
1.7. Use of rule of thirds .................................................................................................................. 35
1.8. Use of balance and symmetry .................................................................................................. 36
1.9. Use of value and contrast......................................................................................................... 38
1.11. Composition evaluation .............................................................................................................. 41
Learning Unit2: PRODUCE GESTURE DRAWINGS ..................................................................................... 44
2.1. Introduction .................................................................................................................................. 44
2.1. Studying movement and poses ..................................................................................................... 45
2.2. Producing rough sketches ............................................................................................................. 47
2.3. Application of proportion ............................................................................................................. 50
2.4. Use of blocking-In.......................................................................................................................... 58
2.5. Creation of gesture drawing ......................................................................................................... 60
2.6. Refining sketches........................................................................................................................... 62
Learning Unit3: PRODUCE DIGITAL DRAWING ........................................................................................ 75
1. Introduction to digital drawing tools and software..................................................................... 75
3.2. Understanding digital brushes and settings ................................................................................. 82

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 2

 3.3. Using digital drawing techniques .................................................................................................. 84
3.4. Exploring colour theory and digital colouring .............................................................................. 86
3.5. Application of Layer management and non-destructive editing .................................................. 88
3.6. Rendering digital artwork ............................................................................................................. 90

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 3

 Table of Acronyms

RTB: Rwanda TVET Board

TVET: TECHNICAL and VOCATIONAL EDUCATION and TRAINING

ICT: Information and communication technology

RGB: Red Green Blue

CMYK: Cyan Magenta Yellow Key/Black

JPEG: Joint Photographic Experts Group

PNG: Portable Network Graphics

TIFF: Tagged Image File Format

AI: Adobe Illustrator

PSD: Photoshop Document

DPI: Dots Per Inch

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 4

 Learning Unit1: CREATE COMPOSITION

CHAPTER ONE: ADVANCED ARTISTIC DRAWING

1.0. Introduction
Advanced artistic drawing is a form of visual expression that uses basic techniques and discovers
the ways of creativity and skills. It includes a wide range of styles and mediums or means, from
pencil and charcoal to digital art. In this advanced stage, artists develop a deep understanding of
artistic principles such as composition, perspective, anatomy, and light and shadow. They push
the boundaries (limitations) of creativity and innovation, creating highly detailed and refined
artworks that may be realistic or abstract. Advanced artists often spend years honing (improving)
their skills, experimenting (testing, trying) with various tools and materials, and developing a
unique artistic artworks that can be portrait, landscape.

1.1. Definitions
Drawing is the act of creating a visual or graphic representation of objects, ideas, using various
tools and techniques, such as pencils, charcoal, ink, or digital software.

Art is a broad or wide term that encompasses or involves any human activity that produces
something aesthetically pleasing.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 5

 An artist is someone who creates art. Artists use their skills, creativity, and imagination to
produce works called artworks. Artists often develop a unique style and perspective that is
reflected in their creations.

Artwork is a single piece of art. It can be a drawing, painting, or any other type of art object.

Advance Drawingis the practice of drawing at a high level of skill and sophistication. Advanced
drawers have a deep understanding of drawing principles and techniques, and they are able to
create complex and realistic images.

1.2. File management, file organization and Layer Organization

File management, file organization and Layer Organization are essential for keeping your digital
files in order, making them accessible, and preventing data loss. Here are explanations of
concepts along with steps to effectively manage and organize your files:

1.2.1. File Management

A File management is the process of handling and controlling digital files on your computer or
other storage devices. It involves tasks like creating, storing, naming, copying, moving, and
deleting files. Effective file management helps you find and work with your files efficiently and
maintain a well-organized digital workspace.

Steps for Effective File Management:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 6

 1. Create a Folder Structure: Develop a logical and consistent system of folders and
subfolders to categorize your files. This structure should reproduce your needs, such as
project-based folders, client names, or file types.

2. Use Descriptive File Names: Give your files clear and meaningful names that indicate
their content.

3. Organize by Date: If date is relevant to your files (e.g., documents, photos, or projects),
consider using date-based folders, such as "2023," "Q3," or "January."

4. Backup Regularly: Regularly back up your files to external drives or cloud storage to
safeguard against data loss due to hardware failures or accidental deleting or formatting.

5. Clean regular: Periodically review your files and delete or archive any outdated or
unnecessary ones. This prevents your storage from becoming full.

6. Use Keywords and Tags: Add keywords or tags to your files to aid in searching and
categorization. For examples project name, client name, date, file type, topic, and
location.

1.2.2. File Organization

A File organization focuses on how files are arranged and classified within your file storage
structure. It involves the categorization and grouping of files to make them easier to find and
work with.

Steps for Effective File Organization:

1. Sort by File Type: Group similar file types together, such as images, documents,
spreadsheets, and videos. This simplifies access and management.

2. Use Subfolders: Within primary folders, create subfolders that categorize files more
specifically. For example, within a "Projects" folder, you might have subfolders for
individual projects.

3. File Naming Conventions: file namingcan include date formats, project codes, or other
identifiers.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 7

 4. Regular Maintenance: Keep your file organization up to date. Review, adjust, and
reorganize as needed. Delete or archive files that are no longer relevant.

1.2.3. Layer Organization

A Layer Organization in digital art and design refers to the arrangement and management of
various layers within a digital file, particularly in software like Adobe Photoshop or Illustrator.
Effective layer organization is essential for maintaining, controlling, making edits, and
reorganization the creative process.

Here are steps to organize layers:

1. Name Your Layers: Give each layer a name that reflects its content. For example,
"Background," "Character," or "Text."

2. Group Related Layers: Use layer groups to organize related layers into folders. This
helps maintain a structured order. For instance, you can create a folder for all the layers
related to a specific object or element.

3. Order Layers Logically: Arrange layers from the bottom to the top. This ensures that
elements are visually arranged in the correct order.

4. Color Code Layers: Some software allows you to assign colors to layers, making it
easier to identify and manage them, especially in complex compositions.

5. Lock and Hide Layers: Lock layers you don't want to edit or accidentally move. Hide
layers to reduce and focus on specific elements.

1.3. Determination of subject matter in Art

1.3.1. Introduction to subject matter
In art, the subject matter refers to the main theme, content, or focus of an artwork. It's what the
artist has chosen to depict or represent in the piece. For example, you are looking at a painting of
birds, and then the subject matter is the birds.

Description of subject matter

A description of the subject matter in a drawing is a brief explanation of what the drawing depicts
(represents). It should include the following information:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 8

  The main subject of the drawing (e.g., a person, an animal, an object, a landscape)

 Any other important elements in the drawing (e.g., the setting, the mood)

 The artist's intent (e.g., to create a realistic portrait, to capture the movement of a
dancer, to express a personal emotion)

Here is an example of a description of the subject matter in a drawing:

Subject: A portrait of a young girl

Other important elements: The girl is sitting in a chair, facing the viewer. She is long, dark hair
and big, brown eyes. She is wearing a white dress and a red hair. The mood is calm and peaceful.

Artist's intent: The artist created this portrait to capture the girl's sweet and innocent expression.
She also wanted to create a sense of peace and tranquility in the drawing.

Descriptions of the subject matter in drawings can be helpful for artists, and viewers. They can
help artists to clarify their intentions and to communicate their ideas to viewers. They can also
help viewers to appreciate the drawing on a deeper level.

Here are some other examples of descriptions of the subject matter in drawings:

 A drawing of a still life of fruit on a table

 A drawing of a forest landscape with a river running through it

 A drawing of a group of children playing in a park

 A drawing of a self-portrait of the artist

No matter what the subject matter is, a good description should be clear, concise, and
informative. It should help the reader to understand what the drawing is about and why the artist
created it.

Categories of subject matter

The categories of subject matter in drawing can be broadly divided into two groups:
representational and non-representational.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 9

 Representational drawing is a type of drawing that depicts (shows)real objects or scenes. It can
be used to create realistic or stylized drawings of people, places, and things. Common examples
of representational drawing include:

 Portraiture: Drawings of people's faces

 Figure drawing: Drawings of the human body

 Landscape drawing: Drawings of natural scenery

 Still life drawing: Drawings of inanimate objects

 Narrative drawing: Drawings that tell a story

Non-representational drawing is a type of drawing that does not depict real-world objects or
scenes. It can be used to create abstract drawings that are not meant to be representative of
anything in the real world. Common examples of non-representational drawing include:

 Abstract drawing: Drawings that use shapes, lines, and colors to create a sense of mood
or atmosphere

 Expressive drawing: Drawings that are used to express the artist's emotions or inner
thoughts

 Gesture drawing: Drawings that capture the movement and energy of a subject

Artists can choose to draw any subject matter that they are interested in or inspired by. There are
no rules or limits when it comes to drawing. The most important thing is to be creative and to
enjoy the process of drawing.

Here are some examples of different categories of subject matter in drawing:

 Animals: Dogs, cats, horses, birds, reptiles, fish, insects, etc.

 Architecture: Buildings, bridges, monuments, etc.

 Vehicles: Cars, trucks, trains, airplanes, etc.

 Nature: Landscapes, flowers, plants, trees, etc.

 People: Portraits, figure drawings, groups of people, etc.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 10

  Objects: Still life drawings, everyday objects, found objects, etc.

 Abstract: Shapes, lines, colors, textures, etc.

Artists can also combine different categories of subject matter in their drawings. For example, an
artist might draw a portrait of a person sitting in a landscape. Or, an artist might draw an abstract
drawing inspired by the shapes of a building.

1.3.2. Description of elements and principles of art and design

The elements of art are the visual tools that the artist uses to create a composition. These are line,
shape, form, texture, value, color, and space.

We have the 7 Elements of Art and Design

1. Lines

2. Shapes

3. Form

4. Texture

5. Value

6. Space

7. Colour

The elements of art are the visual tools that artists use to create a of work art.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 11

 1. Line

A line is an identifiable path created by a point moving in space. Line is one-dimensional and
can vary in width, direction and length.It is determined by two points in a two-dimensional
plane. It can be used to create shapes, patterns, and textures. It can also be used to convey
movement, direction, and emotion.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 12

 2. Shape

A Shape is any area enclosed in a line or is a line that is “closed”. They have
an interior (inside) and an exterior (outside). All shapes are two-dimensional,
meaning that they have only length and width. Shapes can be geometric (such
as squares, circles, triangles) or organic (irregular, freeform shapes found in
nature).

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 13

 3. Form

Form is a three-dimensional object that has height, width, and depth. It can be geometric, such
as a cube or sphere, or organic, such as a human figure or animal.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 14

 4. Texture

In art, "texture" is the surface quality of an object.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 15

 5. Value
In art, "value" refers to the relative lightness or darkness of a color or tone
within an artwork.

6. Space

Space refers to the two-dimensional or three-dimensional area in which

artworks exist and are created.

Two Types of Space:

 Positive Space: Positive space is the area occupied by the objects or

subjects in an artwork.
It refers to the shapes and forms that are the primary focus of the
composition.
 Negative Space: Negative space is the empty or unoccupied area
surrounding and between the objects or subjects.
It is often referred to as the background or the space between forms.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 16

 7. Colour

Color, often spelled as "color" in American English or "colour" in British

English.

Color is the visual element that has the strongest effect on our emotions. It is
the element we use to create the mood or atmosphere of an artwork.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 17

 Colour Components

1. Hue: Hue is the attribute that defines the type of colour, such as red,
blue, green, etc.
2. Saturation: Saturation refers to the intensity or purity of a colour.
3. Brightness (or Value): Brightness, also known as value, describes the
relative lightness or darkness of a colour.
Colour Models:

 RGB model: RGB Model (Red, Green, Blue): (used in digital media)
 CMYK model: CMYK Model (Cyan, Magenta, Yellow, Key/Black): (used in
printing)
Why Are the Elements of Art Important?
The elements of art are important for several reasons:

 First, and most importantly, a person or artist can't create art without
utilizing at least a few of them. It means that no elements, no art.
 Secondly, knowing what the elements of art are enables us
 To analyze what is going on in a particular piece of art
 To describe what an artist has done and
 To communicate our thoughts and findings using a common
language.

The principles of art

The principles of art represent how the artist uses the elements of art to create an effect and to
help convey the artist's intent. The principles of art and design are balance, contrast, emphasis,
movement, pattern, rhythm, and unity/variety. The use of these principles can help determine
whether a painting is successful, and whether or not the painting is finished.

The 7 principles of art and Design are

1. Balance
2. Contrast

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 18

 3. Emphasis(or Focus )
4. Movement
5. Pattern
6. Rhythm
7. Unity/Variety

1. Balance

Balance is the distribution of visual weightof objects, colors, texture, and space in a
composition. It can be achieved by creating a symmetrical composition, an asymmetrical
composition, or a racial composition.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 19

 Figure 1: Asymmetrical balance in art

2. Contrast

Contrast is the difference between two or more elements in a work of art. It can be created using
value, color, texture, and other elements. Contrast can be used to create interest, emphasis, and
depth.

Figure 2: Texture contrast in art

3. Emphasis (or Focus )

Emphasisis the part of the design that catches the viewer's attention. It is the focal point of a
composition. It can be used to create a focal point or to highlight an important element.

Figure 3: Emphasis using placement in art

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 20

 Why Is Emphasis Important?

Emphasis is used in art to attract the viewer's attention to a particular area or object. This is
typically the focal point or main subject of the artwork. For instance, in a portrait painting, the
artist usually wants you to see the person's face first. They will use techniques such as color,
contrast, and placement to make sure that this area is where your eye is attracted to first.

4. Movement

Movement is the sense of motion in a work of art. Movement is the result of using the elements
of art such that they move the viewer's eye around and within the image. Movement is the sense
of motion in a work of art. It can be created using diagonal lines, overlapping shapes, and other
elements. Movement can be used to create a sense of energy and excitement.

Figure 4: Movement using overlapping shapes in art

5. Pattern

Pattern is the uniform repetition of any of the elements of art or any combination
thereof. Anything can be turned into a pattern through repetition. Some classic patterns are
spirals, grids, weaves.

Figure 5: Pattern using shape in art

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 21

 6. Rhythm

Rhythm is the repetition of elements in a composition. It can be created by repeating lines,

shapes, colors, or values..

Figure 6: Rhythm in painting

7. Unity/Variety

Unity: allowing all the parts of the composition feel as if they belong together

Figure 7: Unity in painting

1.4. Identification of a drawing format

To identify a drawing format in art, you can look for the following characteristics:

 Line work: What type of line work is used in the drawing?

 Shading: How is shading and value created in the drawing? Are hatching, cross-hatching,
stippling, or washes used?

 Form: How are the forms of objects in the drawing rendered? Are they realistic and
detailed, or are they simplified and stylized?

 Perspective: Is perspective used in the drawing to create a sense of depth?

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 22

  Composition: How are the elements in the drawing arranged? Is the composition
balanced and harmonious, or is it dynamic and asymmetrical?

 Difference between drawing formats in drawing:

There are many different drawing formats in art, each with its own unique characteristics. Some
of the most common drawing formats include:

 Line drawing: A line drawing is a drawing that is created using only lines. Line
drawings can be used to create a variety of effects, from simple sketches to detailed
illustrations.

Figure 8: Line drawing in art

 Cross-contour drawing: Cross-contour drawing is a type of line drawing that uses

curved lines to define the forms of objects. Cross-contour drawing can be used to create a
sense of depth and realism in drawings.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 23

 Figure 9: Cross contour drawing in art

 Hatching and cross-hatching: Hatching and cross-hatching are techniques used to create
shading and value in drawings. Hatching is the use of parallel lines, while cross-hatching
is the use of intersecting lines.

Figure 10: Hatching and crosshatching in art

 Stippling: Stippling is a technique used to create shading and value in drawings using
dots. Stippling can be used to create a variety of effects, from soft and subtle shading to
bold and dramatic effects.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 24

 Figure 11: Stippling in art

 Gesture drawing: A gesture drawing is a quick and loose (movable) drawing that is used
to capture the movement and energy of a subject. Gesture drawings are often used to
create sketches for more finished works of art.

Figure 12: Gesture drawing in art

 Cartoon drawing: Cartoon drawing is a style of drawing that uses exaggerated features
and simplified forms to create funny images. Cartoon drawings can be found in
everything from comic books and animated films to political cartoons and editorial
illustrations.

Figure 13: Cartoon drawing in art

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 25

  Manga drawing: Manga drawing is a style of Japanese comic book illustration. Manga
drawings are characterized by their large eyes, expressive faces, and dynamic action
poses.

Figure 14: Manga drawing in art

1.5. Establishing the focal point

 Definition of focal point

A focal point is the most visually interesting area of a composition. It is the first thing that the
viewer's eye is drawn to. Artists use focal points to create a sense of visual unity and to guide the
viewer's eye through the composition.

 8 Ways to create a focal point

There are many different ways to create a focal point in a drawing. Some common methods
include:

1. Contrast
2. Size and scale
3. Placement
4. Details and focus
5. Color Intensity
6. Symbolic elements
7. Leading lines, and
8. Isolation.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 26

 Contrast
 Contrast is a way to create a focal point in your artwork is to use value contrast. This
means making the most important elements in your work stand out by making them
darker or lighter than the surrounding area. This can be a very effective way to draw
the viewer’s attention to a specific element and make it the focal point of the work.

Figure 15: Drawing of a white dove on a black background

 Use contrast in color to create a focal point. example1, a bright, saturated color will stand out
against more muted colors.Example2, you can also bring attention to a focus by making
elements a different color than the surrounding area.

Figure 16: Contrast in Color

 Texture contrast can be created by using different textures to create a visual contrast. This
can be done by using different materials, or by combining different textures in adjacent
areas.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 27

 Figure 17: Drawing of Contrast in Texture

Size and scale

Size and scale: Objects that are larger or smaller than their surroundings will naturally stand
out. This can be used to create a focal point in a photo by placing a large object in a small space
or a small object in a large space.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 28

 Figure 18: Size and scale focal point in art

Placement

 The placement of an object within the frame can also create a focal point. Objects that are
placed in the centre of the frame or at the intersections of thirds are more likely to draw
the viewer's eye.Place the focal point in the center of the drawing or near the center.

Figure 19: Drawing of a flower in the centre of a vase

Details and focus

Details and focus: Areas of a photo that are in sharp focus and well-lit are more likely to draw
the viewer's eye than areas that are out of focus or poorly lit. This can be used to create a focal
point by focusing on the most important element in the photo and blurring the background.

Figure 20: Details and focus focal point in art

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 29

 Color Intensity

 Use a brighter, more saturated color for the focal point than for the other elements in the
drawing.

Figure 21: Drawing of a bright yellow bird in a tree

Symbolic elements

 Use symbolic elements to create a focal point. For example, a dove is a symbol of
peace, and a rose is a symbol of love, church, hospital…

Figure 22: Drawing of a dove with an olive branch in its beak

Leading lines

Leading lines are lines that guide the viewer's eye through the photo and towards the focal
point. This can be achieved through the use of natural lines, such as a road or river, or man-made
lines, such as building.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 30

 Figure 23: Leading lines focal point in art

Isolation

Isolation: Isolating an object from its surroundings can also create a focal point. This can be done
by using a shallow depth of field to blur the background or by placing the object in a negative
space.

Figure 24: Isolation focal point in art

1.6. Determination of visual flow

 Definition of visual flow

Visual flow is the way that the viewer's eye moves through a drawing. It is created by the
arrangement of the elements in the drawing and by the use of various techniques, such as leading
lines, perspective, and color.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 31

  Here are 4 Ways to create / achieve visual flow
1. Leading Elements
2. Directional Lines
3. Visual Hierarchy
4. Perspective and Depth
Leading Elements: Leading elements are elements in the drawing that guide the
viewer's eye through the composition. They can be anything from lines and
shapes to people and objects. For example, a river flowing through a landscape.

Figure 25: Lines as Leading Elements in art

Directional Lines:Directional lines are lines that lead the viewer's eye in a
certain direction.

Here are examples of directional lines to guide the viewer's eye:

1. Rivers
2. Natural features
3. Roads

Rivers are a classic example of directional lines in photos. The way the river flows through the
landscape can lead the viewer's eye in a particular direction.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 32

 Natural features: Natural features, such as mountains and valleys, can also be used to create
directional lines in photos. The way the mountains rise up in the distance or the way the valley
stretches out can lead the viewer's eye on a journey.

Roads: Roads are another common example of directional lines in photos. The way the road
curves and stretches out into the distance can lead the viewer's eye on a journey.

Visual Hierarchy: Visual hierarchy is the arrangement of the elements in a

drawing in a way that creates a sense of importance. The most important
elements in the drawing should be the most visually prominent. This can be
achieved by using size, color, and placement.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 33

 Figure 26: Visual hierarchy in photo

Perspective and Depth: Perspective and depth are techniques that can be used to
create the illusion of space in a drawing. This can help to guide the viewer's eye
through the composition. For example, using perspective to make an object
appear smaller in the distance would create the illusion of depth.

Perspective refers to the way that objects appear to get smaller as they get further away. This is
caused by the way that light travels in straight lines.

Depth is the distance between the foreground, middle ground, and background of an image.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 34

 1.7. Use of rule of thirds
 Describing composition techniques

Describing composition techniques is the process of explaining how artists and photographers
arrange the elements in their work to create a sense of balance, harmony, and visual appeal.There
are many different composition techniques, but some of the most common include the rule of
thirds, leading lines, symmetry, asymmetry, and negative space.

 Describing rule of thirds

Rule of thirds is a composition technique that divides the image frame into nine equal parts using
two horizontal lines and two vertical lines. The four points of intersection of these lines are
considered to be the strongest points in the composition, and the subject of the image should be
placed on or near one of these points.

The rule of thirds is a simple but effective way to create a balanced and visually appealing
composition. It can be used in a variety of genres of photography, including portraiture,
landscape, and still life.

Here are examples of photos that use the rule of thirds:

Figure 27: photos using rule of thirds

 Draw using rule of thirds

To draw using the rule of thirds, follow these three steps:

1. Divide your drawing into thirds, both vertically and horizontally, using light pencil lines.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 35

 2. Place the important elements of your drawing at the intersections of these lines.

3. Experiment with different placements until you find a composition that you are happy
with.

Here are some examples of how to use the rule of thirds in different types of drawings:

 Portrait: Place the subject's eyes at the top intersection of the vertical lines.

 Landscape: Place the horizon line at the bottom intersection of the horizontal lines.

 Still life: Place the main object of the drawing at the center intersection of the lines.

The rule of thirds is a simple but effective composition technique that can help you to create
more visually appealing and interesting drawings.

The rule of thirds can also be used in drawing. To do this, simply divide your drawing paper into
nine equal parts using two horizontal lines and two vertical lines. Then, place the most important
elements of your drawing on or near one of the four points of intersection of these lines.

Here is an example of a drawing that uses the rule of thirds:

Figure 28: drawing using rule of thirds

1.8. Use of balance and symmetry

 Description of balance

Balance refers to the distribution of visual weight in a drawing. It is one of the most important
principles of composition, and it can be used to create a sense of stability, harmony, and order.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 36

  The most common five types of balance
1. Symmetrical Balance
2. Asymmetrical Balance
3. Radial Balance
4. Approximate Balance
5. Crystallographic Balance

Symmetrical balance

Symmetrical balance is achieved when the elements of a composition are mirrored around a
central axis. This type of balance creates a sense of order and harmony.

Figure 29: Symmetrical balance in art

Asymmetrical balance

Asymmetrical balance is achieved when the elements of a composition are not mirrored around a
central axis. This type of balance can be more dynamic and interesting than symmetrical
balance, but it is more difficult to achieve.

Figure 30: Asymmetrical balance in art

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 37

 Radial balance

Radial balance is achieved when the elements of a composition radiate out from a central
point. This type of balance is often used in nature photography, such as photos of flowers or
snowflakes.

Figure 31: Radial balance in art

Crystallographic balance

Crystallographic balance is a type of balance that is based on the symmetry patterns of crystals.

Figure 32: Crystallographic balance in art

1.9. Use of value and contrast

Value and contrast are two of the most important elements of art. Value refers to the lightness or
darkness of a color. It is one of the most important elements of art and photography, and it can be
used to create a sense of depth, mood, and atmosphere.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 38

  Describing value

Value in art is the lightness or darkness of a color. It is one of the seven elements of art, along
with line, shape, space, form, texture, and color.
Value can be used to create a variety of effects in art, including:
 Depth: By placing lighter values in the foreground and darker values in the
background, artists can create the illusion of depth.
 Mood: Value can be used to create a variety of moods in art, such as bright and dark
spaces.
 Focus: By using high contrast, artists can draw attention to the focal point of their image.
 Unity: Value can be used to create a sense of unity in an image by using similar values
throughout.

 Introducing value scale

A value scale in art is a grayscale that ranges from black at one end to white at the other end,
with different shades of gray in between. It is a tool that artists use to measure the lightness or
darkness of a color.
Here are some tips for introducing value scales in art:
 Start by creating a simple value scale using black, white, and a few shades of gray.
 Practice using the value scale to compare the lightness or darkness of different colors.
 Create value studies of your subjects before you start painting or drawing in color.
 Experiment with using different value schemes in your work to create different moods
and effects.
 Shading techniques
Shading techniques in art are used to create the illusion of depth, volume, and light and shadow
in a drawing or painting. There are a variety of different shading techniques that artists use, each
with its own unique effect.
Here are some of the most common shading techniques in art:
 Cross-hatching: Cross-hatching is a technique in which two or more sets of parallel lines
are drawn over each other to create a darker value.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 39

  Stippling: Stippling is a technique in which dots of different sizes are used to create a
range of values.

 Hatching: Hatching is a technique in which parallel lines are drawn to create a range of
values.

 Smudging: Smudging is a technique in which the artist uses their fingers or a tool to
blend the values together.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 40

 Here are some tips for using shading techniques in art:
 Consider the light source. When shading an object, it is important to consider the
direction of the light source. This will help you to create more realistic shadows and
highlights.
 Use a variety of values. Don't be afraid to use a variety of values in your shading. This
will help to create a sense of depth and realism in your work.
 Blend your values carefully. When blending your values, be careful not to over
blend. This can create a muddy or flat effect.
 Experiment with different techniques. There are many different shading techniques
available. Experiment with different techniques to see what works best for you and your
subject matter.

1.11. Composition evaluation

 Evaluating the use of the principles of art
Evaluating the use of the principles of art is the process of analyzing how an artist uses the seven
principles of art to create a composition. To evaluate the use of the 7 principles of art in a
composition, you can ask yourself the following questions:
 How does the artist use balance to create a sense of stability in the composition?
 How does the artist use contrast to create visual interest and emphasis?
 How does the artist use emphasis to draw the viewer's attention to the most important
elements in the composition?
 How does the artist use harmony to create a sense of unity and cohesion in the
composition?

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 41

  How does the artist use movement to create a sense of dynamism and flow in the
composition?
 How does the artist use pattern to create visual interest and rhythm in the composition?
 How does the artist use proportion to create a sense of balance and harmony in the
composition?

 Visual hierarchy
Visual hierarchy in art is the arrangement of elements in a composition in such a way that the
viewer's eye is drawn to the most important elements first. This can be achieved through the use
of size, color, contrast, placement, and other compositional techniques.
Artists use visual hierarchy to create a sense of focus and emphasis in their work. They want to
make sure that the viewer sees the most important elements in the composition first and then
explores the rest of the work at their own pace.
Here are some examples of visual hierarchy in art:
 A portrait painting of a person with a dark background.

The person's face is in focus and is the most visually dominant element in the painting. The dark
background creates a sense of mystery and helps to draw the viewer's eye to the subject.
 A landscape painting of a mountain range with a lake in the foreground.

The mountains are the most visually dominant element in the painting because they are larger
and more saturated in color than the lake. The lake creates a leading line that draws the viewer's
eye into the painting.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 42

  A still life painting of a bowl of fruit on a table. The bowl of fruit is the most visually
dominant element in the painting because it is brighter and more saturated in color than
the table. The bowl of fruit is also placed in the center of the frame, which further
emphasizes its importance.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 43

 Learning Unit2: PRODUCE GESTURE DRAWINGS
2.1. Introduction
Is gesture drawing for beginners?

Gesture drawing, or drawing simple models in pose, is perfect for beginners. The technique
should only take a few minutes, with drawings kept to a few lines outlining body form. It’s a
great way to practice drawing anatomy and to shape your understanding of the human body.

Gesture drawing is an easy method to practice, so you don’t have to worry too much about
making mistakes out of your shape.

Gesture drawing involves capturing the action, form and pose of a subject.

It is also a quick, loose sketch that captures the essential feeling, energy, movement, action, or
pose of a subject. By studying human anatomy, artists can gain a deeper understanding of how
the body works and how to represent it exactly in their drawings.

Gesture drawing practice is the basis (foundation/ beginning) for artists learning to draw the
human figure. It is the practice of drawing from life.

The purpose of gesture drawing is primarily to study human form and anatomy. It allows you
to explore the way the body moves and is connected.

The Benefits of Gesture Drawing, Here are some of the great benefits of gesture drawing:

1. It does not take up much time. All you need is a pen/pencil and a sketchbook. And the
poses can be as short time. So you can easily fit in gesture drawing in short intervals
during the day. You have to practice gesture drawing every morning for the past few
months. You actually find it to be a very relaxing start to the day.
2. You do not have to worry about making mistakes. You should not be doing any
erasing in gesture drawing. If you make a mistake, then just learn from it and move on to
the next drawing.
3. You will see noticeable improvements in your drawing within a relatively short
period of time. This is because you are working relatively fast and will encounter so

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 44

 many more problems than if you were just doing one large artwork. The more problems
you encounter, the more solutions you will develop.

2.1. Studying movement and poses

Studying movement and poses is an essential part of any artist's training. It helps you to develop
a strong eye for the human form and how it moves in space.

When you are studying movement, it is important to focus on these three key elements such as
line of action, using 3D forms to show human body parts and Human anatomy as described
below:

1. line of action

The line of action: The line of action is an imaginary line that runs through the center of mass of
the figure and represents its whole movement. The line of action can be straight, curved, or zig-
zagged, depending on the pose.

Use the line of action in your drawings to convey a logic of momentum and dynamism. A strong
line of action can tell a story even without detail.

Figure 33: Line of Action in Gesture Drawing

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 45

 2. 3D forms

Break down the human body into basic 3D shapes like spheres, cylinders, and cones. This
simplifies complex anatomy and helps you understand how body parts connect and move in
space.

Figure 34: 3D Forms Gesture Drawing

 Practice: Sketch basic shapes to represent different body parts in various poses. This
exercise strengthens your understanding of proportion and form.

 Combine: Gradually add details to your 3D shapes, blending them seamlessly to create a
realistic human figure in motion.

3. Human anatomy

Human anatomy is the study of the structure of the body. Often, you may be more interested in
functions of the body. Functions include digestion, respiration, circulation, and reproduction.

Figure 35: Regions of the human body

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 46

 Note this: Studying movement and poses is a continuous journey. Practice observing,
experimenting or trying, and refining your skills. Here are some additional steps:

 Reference photos: Use them as inspiration, not simply to copy. Analyze the line of
action, 3D forms, and anatomy in the photos to improve your understanding.

 Gesture drawing: Capture quick, loose sketches of figures in motion to focus on

capturing the essence or core of movement without getting down in details.

 Feedback: Seek evaluations from other artists or teachers to identify areas for
improvement and gain new perspectives.

Should I learn how to draw gesture or anatomy first?

Whether you draw gesture or anatomy first will depend on what you want to achieve and who is
giving you the advice. The best thing you can do is practice both as this will give you a well-
rounded understanding of the body’s movement and dynamism.

Both gesture and anatomy drawing are equally important in drawing and have a lot of important.
Practicing both will also help you to understand muscle form and the body’s proportions helping
you make your drawings more convincing.

2.2. Producing rough sketches

 Introduction to rough sketches

Definitions

A rough sketch is a quick, preliminary (initial), and informal drawings created at the early stages
of the creative process.

They're produced quickly and without much concern for composition or even aesthetics.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 47

 Figure 36: rough sketch example

Rough sketches are characterized by:

1. Loose Lines: Rough sketches are characterized by loose, gestural lines. Artists focus on
capturing the overall form rather than intricacies (details).

2. Simplicity (Effortlessness): Details are kept to a minimum. The emphasis is on

conveying the main idea or concept without getting down by intricacies.

3. Quick Execution: They are created swiftly (quickly) and are not meant to be polished or
refined.

Tools and Mediums:

1. Pencils and Paper: Traditional tools like pencils or charcoal on paper are commonly
used for rough sketches.

2. Digital Tablets: In digital art, rough sketches can be created using graphic tablets and
software like Photoshop or Procreate. This allows for easy editing and experimentation.

Note this, rough sketches are not about creating perfect artworks; they're about unlocking your
creative potential or possible artworks.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 48

  Producing rough sketches by construction lines

Producing rough sketches by construction lines is a technique for building a strong foundation
for your artwork, leading to more confident and dynamic sketching. It's about using temporary
guides to unlock your creative potential and bring your artistic vision to life.

To put it simply, constructional drawing is a process used when drawing an object that involves
breaking that object down into its simplest components, usually simple forms, then
reconstructing those components on the page.

Here's a breakdown of the key elements:

I. Producing rough sketches: This refers to creating quick, exploratory drawings that
capture the initial idea of your subject without worrying about perfection.
II. Construction lines: These are temporary lines drawn with a light touch, typically using
tools like pencils or charcoal. They help you to:

 Establish proportions: Center lines, median lines, and other guides ensure
symmetry and balance.

 Define forms: Basic geometric shapes like spheres, cylinders, and cones provide
the underlying structure for complex objects.

 Guide perspective: Lines can indicate depth and vanishing points, making three-
dimensional forms appear realistic.

 Capture movement: Lines of action suggest the direction and energy of your
subject's pose.

 Producing thumbnail drawings

A thumbnail is a small image or sketch serving as a guide or placeholder for a larger image.

Producing thumbnail drawings refers to the creation of small, quick, and simplified sketches
that serve as a preliminary (opening) stage in the artistic or design process.

Producing thumbnail drawings is a dynamic and engaging process that unlocks endless
possibilities.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 49

 The thumbnail sketch allows the artist to decide what his final output should look like. It helps to
eliminate the unimportant elements from the composition.

2.3. Application of proportion

 Introduction to proportion

Proportion in art is the relationship and balance between the different parts of a composition. It
involves ensuring that the sizes, shapes, and positions of elements within an artwork harmonize
and create a visually pleasing result.

When you are drawing, spend most of your time on measuring, comparing, re-measuring and re-
comparing. The more time you spend trying to improve the accuracy/correctness of your
drawing, the better you will “see”.

How to Draw with Correct Proportions

When you draw, it’s best to use as many measuring techniques as possible.
Application

1. Measure with Your Pencil

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 50

 2. Check Relationships between Objects on the Vertical and Horizontal Axis

3. Check Angles

4. Observe Negative Space

Measuring Proportion

Proportion can be measured using numerical methods or visual methods. Numerical methods
involve measuring the size and distance of elements in the drawing with a ruler or measuring
tape.

Finally, here are four points that will help us to get better at drawing day by day.

 Observation: Study anatomy, how people walk, their poses, the different types of
bodies… Create a reference gallery in your mind and, if possible, take pictures!

 Think in 3D: To understand a figure/shape, it is best to analyze it from different

perspectives.

 Research: Read about body parts, bones, muscles, functions, etc. From an artist’s point
of view is fine, you do not need to become a doctor! We are interested in the parts of
anatomy which affect the shapes and movements of the body.

 Draw, draw, and draw! Practice drawing the whole figure and conduct detailed studies
of some tough parts.

 Types of proportion

1. Golden Ratio:

 The golden ratio is a mathematical ratio found in nature and art. Artists use it to
create aesthetically pleasing and balanced compositions.

2. Rule of Thirds:

 The rule of thirds involves dividing the composition into a grid of nine equal parts
using two horizontal and two vertical lines. Key elements are then placed along
these lines or their intersections for a balanced and dynamic composition.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 51

 3. Dynamic Symmetry:

 Dynamic symmetry is a geometric principle that involves using rectangles and

specific proportions to create dynamic and harmonious compositions. It's often
applied in classical art and architecture.

 Human figure proportions drawing

Drawing human figure proportions accurately is essential for creating realistic and well-balanced
figurative/symbolic art.

1. Basic Body Proportions:

When drawing the human figure, understanding basic proportions is essential. This ratio helps
artists maintain realistic body proportions.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 52

 2. Loomis Method:

The Loomis Method is a drawing technique that uses grids to represent the human head from
various angles accurately. This technique was developed by the American Illustrator Andrew
Loomis in the 1940. The Loomis method is a popular approach for drawing the human figure. It
breaks down the body into simplified shapes and uses guidelines to establish proportions
accurately.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 53

 3. Gestalt Proportions:

Gestalt proportions focus on capturing the overall core and balance of the human figure rather
than precise measurements. It emphasizes the dynamic and expressive qualities of a pose.

 Types of foreshortening in drawing

Foreshortening Basic terms:

The horizon is the line for which the sky meets the land or water below. The height of the
horizon will affect the placement of the vanishing point(s) as well as the scene’s eye level.

The vanishing point is the place where parallel lines appear to come together in the distance. In
the picture, below, you can see how the parallel lines of the road traverse and visually merge to
create a single vanishing point on the horizon. A scene can have a limitless number of vanishing
points.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 54

 The ground plane is the horizontal surface below the horizon. It could be land or water. The
vanishing point created by the path’s parallel lines may not rest on the horizon and may appear
as if it’s on an inclined plane.

The orthogonal lines are lines which are directed to a vanishing point; the parallel lines of
railroad tracks, for example. The word “orthogonal” actually means right angle. It refers to right
angles formed by lines such as the corner of a cube shown in perspective.

In art, foreshortening is a method for painting or drawing objects so they appear to traverse in
three-dimensional space. Foreshortening is a fine art technique that captures how the eye
perceives objects or subjects receding in space.

Here are three types of foreshortening in drawing

One-Point Perspective:

Drawing in one point perspective is usually appropriate when the subject is viewed ‘front-on’
(such as when looking directly at the face of a cube or the wall of building) or when looking
directly down something long, like a road or railway track. It is popular drawing method with
architects and illustrators, especially when drawing room interiors.

Rules of perspective: true shapes, vanishing points and horizon lines

In one point perspective, surfaces that face the viewer appear as their true shape. They are
drawn using primarily horizontal and vertical lines, as illustrated by the diagram below:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 55

 The height of the building nearer to the viewer appears larger than the distant side. In addition to
the difference in heights, the length of the building along the perspective appears smaller.

It is possible to draw over photographs to identify vanishing points, horizon lines and true
shapes.

Key Points:

 Surfaces that face the viewer are drawn using their true shape

 Surfaces that travel away from the viewer converge towards a single vanishing point.

Two-Point Perspective:

Two-point perspective is an orientation in art which helps artists create the illusion of three
dimensions. Two-point perspective: Lines that converge/meet on two vanishing points. Two
point perspective uses two points placed on the horizon line. Two point perspective starts by
defining the horizon line.

This line theoretically represents the line that divides the sky from the ground. However, with
many perspective drawings, this line is implied and instead represents the eye-line or "line of
sight" of the viewer.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 56

 Once the horizon line has been established, the vanishing points are placed. The vanishing point
is defined as a point placed on the horizon line where objects begin to disappear because of
distance. A good way to think of the vanishing point is by imagining yourself standing on a
beach. Looking both directions, you can see endlessly down the beach. At some point, people on
the beach walking away from you will become progressively smaller until they completely
disappear at the horizon line.

Most commonly, two point perspective is used for drawing buildings or interiors, so this line
could be the corner of a building. This line is drawn in between the two vanishing points and can
cross over the horizon line.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 57

 Three-Point Perspective:

Three-point perspective drawing is a technique used in visual arts, particularly in drawing and
illustration, where three vanishing points are used to create the illusion of depth and space in a
two-dimensional image.

2.4. Use of blocking-In

 . Definition:

Blocking-in is an initial stage in the drawing process where the artist establishes the overall
structure, major forms, and proportions of the subject using simplified geometric shapes. This
foundational step provides a framework for the more detailed and refined stages of the drawing.

 Using Simple Geometric Shapes:

 Circles, Ovals, and Ellipses:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 58

  Circles and ovals are commonly used to represent the basic shapes of the
head and major joints. Ellipses are employed for indicating cylindrical
forms, such as arms and legs.

 Rectangles and Boxes:

 Rectangles and boxes are useful for constructing the torso and limbs. They
help define the direction and orientation of major body parts.

 Triangles:

 Triangles can be applied to suggest the angles of limbs or facial features.

They aid in determining the overall direction and alignment of different
elements.

 Establishing Major Forms and Proportions:

 Body Proportions:

 Blocking-in allows the artist to establish the proportions of the entire

figure. By using simplified shapes, artists can quickly assess the
relationships between the head, torso, arms, and legs.

 Facial Features:

 Geometric shapes help in placing and sizing facial features accurately. For
example, an oval might be used for the head, and smaller circles for the
placement of the eyes, nose, and mouth.

 Foreshortening:

 Blocking-in is crucial when dealing with foreshortening. Simplifying

complex forms into basic shapes aids in capturing the essence of
foreshortened limbs or objects.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 59

  Composition:

 Blocking-in is not limited to figures but can also be applied to establish the
major forms and proportions in the composition as a whole. It helps in
arranging elements and ensuring a balanced layout.

 Process:

 Start with Overall Shapes:

 Begin by loosely sketching the overall shapes of the subject using circles,
ovals, rectangles, or triangles.

 Refine and Adjust:

 Gradually refine the shapes and make adjustments to ensure accurate

proportions and alignment.

 Connect and Define:

 Connect the shapes to establish relationships and define major forms. This
might involve indicating the angles and directions of limbs or the overall
posture.

 Proceed to Detail:

 Once the blocking-in stage is satisfactory, proceed to add more detail,

refine contours, and enhance the drawing.

Note this, blocking-in is an essential step in the drawing process, serving as the groundwork for
accurate proportions and overall structure. It allows artists to approach complex subjects with
simplicity, providing a roadmap for the subsequent stages of the artwork.

2.5. Creation of gesture drawing

Gesture drawing is a dynamic and expressive technique that captures the movement, energy, and
overall essence of a subject. It involves quick, natural lines to convey the flow and rhythm.
Here's a guide to creating gesture drawings, emphasizing the establishment of the line of action
and key points:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 60

  Understanding Gesture Drawing:

Gesture drawing prioritizes the capture of the subject's movement and energy rather than precise
details. It's often used for figure drawing, but the technique can be applied to any subject with
movement.

Gestures can convey many emotions such as fear, anger, sadness and happiness. No wonder
they’re so difficult to draw!
The easiest way to learn how to draw anything is to first understand its proportions and bone
structure.

The easiest way to learn how to draw hands is to first understand its proportions and bone
structure.

Figure 37: Example of hands and its proportion

Establishing the Line of Action:

Definition:

 The line of action is an imaginary line that runs through the main axis of the
subject, capturing its overall movement and direction.

Steps:

 Begin with a quick observation of the subject's movement.

 Visualize an expressive line that represents the primary movement or direction of

the subject.

 Draw this line of action with bold, sweeping strokes.

 Emphasizing Key Points:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 61

 Definition:

 Key points are significant areas or features that contribute to the overall character
and movement of the subject. These points might include the head, shoulders,
hips, or any extremities that define the pose.

Steps:

 Identify the key points of the subject based on its movement and pose.

 Maintain a loose and gestural approach, focusing on the energy rather than
intricate details.

Purpose:

 Emphasizing key points adds emphasis to the critical areas that contribute to the
subject's character.

2.6. Refining sketches

Refining sketches involves adding detail, depth, and texture to bring the drawing to life. This
process includes describing textures and applying shading techniques to create a sense of form
and volume.

Here's a breakdown of describing textures and various shading techniques:

 Describing Textures:
 Definition:
 Textures refer to the surface quality of objects. Describing textures in a
sketch involves conveying the tactile feel of different materials.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 62

  Techniques:
 Hatching for Texture:
 Use parallel lines (hatching) to suggest smooth or uniform textures
like glass or metal.
 Stippling for Texture:
 Stippling involves creating texture with small dots. This technique
is effective for conveying rough or grainy surfaces, such as stone
or sand.
 Cross Hatching for Texture:
 Cross hatching (overlapping sets of parallel lines) ads complexity
to textures. It's suitable for depicting woven fabrics, foliage, or
intricate patterns.
 Varied Line Weight:
 Vary the weight and thickness of lines can imply different
textures. Bolder lines may suggest a rough surface, while lighter
lines can indicate a smoother texture.
 Directional Lines:
 Adjust the direction of your lines to match the texture. Horizontal
lines might represent smoothness, while diagonal lines could
suggest roughness.
 Shading Techniques:
Definition:
 Shading techniques are methods used to create the illusion of light and
shadow, enhancing the three-dimensional quality of a sketch.
Parallel Hatching:
 Description:
 Parallel hatching involves drawing closely spaced parallel lines
to create areas of shadow or darkness. The closer the lines, the
darker the shading.
Cross Hatching:
 Description:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 63

  Cross hatching involves layering sets of parallel lines at different
angles. This adds complexity to shading and is useful for
depicting form and texture.
Contour Hatching:
 Description:
 Contour hatching follows the contours or outlines of the subject.
It helps define the form and shape of an object or figure.
Stippling:
 Description:
 Stippling uses dots to create shading. Denser clusters of dots
create darker areas, while lighter areas have fewer dots. Stippling
is versatile for various textures.
Tick Hatching:
 Description:
 Tick hatching involves short, quick strokes or ticks. It's effective
for suggesting fur, grass, or fine details.
Woven Hatching:
 Description:
 Woven hatching combines sets of lines in a crisscross pattern,
creating a woven or textured appearance. It's suitable for fabrics
or surfaces with a pattern.
Scribbling:
 Description:
 Scribbling is a loose and spontaneous shading technique. While
seemingly chaotic, controlled scribbling can convey texture and
depth.
Blending:
 Description:
 Blending involves smudging or softening pencil or charcoal lines
to create smooth transitions between light and shadow. It works
well for realistic, soft textures.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 64

  Tips for Effective Texture and Shading:
 Observation:
 Observe real textures and study how light interacts with different
surfaces. Use this knowledge to inform your texture and shading
decisions.
 Experiment:
 Experiment with different combinations of hatching, cross hatching,
and stippling to find the right balance for various textures.
 Consider Lighting:
 Consider the direction and intensity of light sources in your drawing.
This will influence where shadows fall and how textures are
illuminated.
 Practice:
 Regular practice will improve your ability to convey textures and
apply shading techniques effectively.
Remember that refining sketches is a creative and iterative process. Experiment with different
textures and shading techniques to develop your unique style and enhance the visual impact of
your drawings.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 65

 PRACTICAL ACTIVITIES

ON HOLDING PENCIL:

A pencil should be held in that position which is best adapted for the particular work to be done;
certainly it can be held as when writing

Sometimes the pencil, being held between the thumb and first finger, and supported by the long
one, should pass along the first finger in an upward direction; sometimes it should pass under the
hand, held also by the other fingers, Otherwise it depends on the kind of work to be done.

PRACTICAL ACTIVITIES 2

ROUGH SKETCHES WITH PROPORTIONS

How to draw a face from the FRONT view (Loomis Method)

Drawing Tools
These are the tools we are going to use:
 A colored pencil for drawing construction lines
 A 4B graphite pencil for the finalized drawing.
 Sketchbook
If you don’t, feel free to use just a regular school pencil and eraser.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 66

 Draw Construction Lines for a Head in the Front View

Step1: The first step is to draw a circle.

The next step is to create a vertical line (called the middle line) and a horizontal line (called the
brow line) that runs through the very center of your circle.

Since the side of the human head is more flat, let’s cut off the sides of our circle. To cut off just
the right amount, split the vertical line (aka middle Line) into 6 equal spaces.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 67

 Draw a straight horizontal line through the top and bottom-most tick. Where each horizontal line
intersects with the circle, draw a straight vertical line:

You should now have a square within your circle. I can’t easily erase pencil crayon, so for now,
just imagine that the left and right sides of the circle are gone.

Determine Where each Facial Feature G

Extend the middle line down so we can mark where all his facial features go.
PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 68
 We already know where the eyebrows are going to go, so next, we’ll need to figure out the
placement of the hairline, nose, and chin. In the process of cutting off the sides of our circle,
we’ve actually created the hair line and nose line already.
For an average male face, all of these features will be spaced evenly apart, so to find the
boundary of the chin, take a measurement from hair to brow OR brow to nose to find the
distance between the nose and chin. Make a small tick to mark the spot:

Now we have 4 horizontal feature lines that are spaced evenly apart.

To complete our head shape, we’ll need to draw the jawline. Extend the sides of the head down a
little and then taper your pencil stroke in toward the chin. You can adjust the chin width based on
your preference. For older males, I like to make the chin very wide with sharper angles. For a
younger male with softer features, I like to draw the chin more narrow and smooth out the
corners.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 69

 Now we have a complete head shape!

But there are two more feature lines to draw – the eye line and lip line! The eye line is located
about 1/3 of the way down from brow to nose. And then between the nose and chin, there’s the
lip line. It looks like it’s halfway between the nose and chin, but it’s actually just a little closer to
the nose.

Time to Draw the Actual Facial Features

Let’s start adding his features now! Now that we’ve constructed the head shape and know where
each facial feature should go, let’s use these as guidelines to draw our details on top!

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 70

 Let’s draw his noses.

Let’s draw his eyebrows.

Let’s draw his eyes.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 71

 Let’s draw his mouth using small ticks

For his neck, draw it as thick as you’d like.

How to Draw Hair in the Front View

to draw his hair, you can use the hair line as a reference point, which will give him a
medium-sized forehead. Draw above or below the hair line to give him a larger or
smaller forehead.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 72

 Finally, erase unrelated lines to make final artwork as shown below:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 73

 PRACTICAL ACTIVITIES 3

How to draw a face from the SIDE view (Loomis Method)

Steps are the same as the Front View

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 74

 Learning Unit3: PRODUCE DIGITAL DRAWING
1. Introduction to digital drawing tools and software
Producing digital drawings involves creating visual art using digital tools and software. Here's an
overview of key elements in the world of digital art creation:

 Digital Drawing Tools:

1. Digital Drawing Tablet

A digital drawing tablet also known as graphics tablet is a device that allows artists to create
digital art using a stylus or pen tool. These tablets come in various sizes and configurations.
Some popular brands include Wacom, Huion, XP-Pen, and Apple (iPad Pro with Apple Pencil).
2. Styluses/Pens:

Styluses or pens are used with digital drawing tablets to create digital artwork. These pens often
come with pressure sensitivity, tilt recognition, and customizable buttons for additional
functionality. They emulate the feel of traditional drawing tools.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 75

  Digital Drawing Software:
1. Adobe Photoshop:
 Description: Adobe Photoshop is a versatile software widely used for digital art,
photo editing, and graphic design.
 Features:
 Extensive brush customization.
 Layer-based editing for advanced control.
 Supports various file formats.
 Comprehensive selection and masking tools.
2. Procreate:
 Description: Procreate is a popular drawing app designed for iPad, known for its
powerful features and user-friendly interface.
 Features:
 Intuitive gesture controls.
 Extensive brush library.
 Time-lapse recording of the drawing process.
 Support for high-resolution canvases.
3. Corel Painter:
 Description: Corel Painter is a digital art software that emulates traditional
painting techniques.
 Features:
 Extensive brush and texture options.
 Realistic natural media simulations.
 Customizable brushes and palettes.
 Support for various canvas textures.
4. Clip Studio Paint:
 Description: Clip Studio Paint is known for its focus on manga and comic
creation, but it's versatile for various digital art styles.
 Features:
 Specialized tools for comic creation.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 76

  3D modeling and drawing capabilities.
 Brush stabilization for smooth lines.
 Animation features for creating short clips.
5. Krita:
 Description: Krita is an open-source digital painting application with a strong
focus on illustration and concept art.
 Features:
 Customizable interface.
 Brush engines for natural media simulation.
 Animation and storyboard features.
 Support for PSD files and industry-standard color models.
6. Adobe Illustrator:
 Description: Adobe Illustrator is a vector graphics editor designed for creating
illustrations, logos, icons, and other scalable graphics.
 Features:
 Vector-based drawing for crisp, scalable artwork.
 Precision tools for paths and shapes.
 Integration with other Adobe Creative Cloud applications.
 Robust typography and text manipulation tools.

 Digital Drawing Workspace and Essential Tools

Interface Basics
The interface is broken into functional areas. The blank area in the middle is called the canvas
area. When you create or open a document, the canvas area will be filled with your working
document.
1. Workspace also known as Canvas
 The digital workspace is the area where artists create their drawings. It includes
the canvas size, resolution, and background color. Artists can customize these
settings based on their project requirements.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 77

 Creating a New Document When you launch Krita, most of the buttons and options will be
disabled. You will need to have a document open for these tools to be available. To create a new
document, go to the main menu and select File > New. Shortcut: Ctrl + N. A dialog will appear
and give you options to choose from.
In the New dialog, the left panel has different options on how to start.
 Recent Documents – Open a previously opened document.
 Create from Clipboard – Create a new document based off what is stored in your
clipboard data.
 Comic Template – Contains common templates for creating comics or manga.
 Design Templates – Contains film and web design templates.
 DSLR Templates – Contains common camera templates.
 Texture Templates – Contains templates used by texture artists.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 78

 For now, go to the Custom Document type. Leave all of the settings alone. We can change these
at any time. Click the Create button on the bottom right. You will see all of the buttons and
menus on the application become enabled. Before we go deeper with all of the buttons, let’s
learn how to move around the canvas.

The essential tools in any drawing software provide the fundamental functions necessary for
creating artwork. While the specific tools may vary slightly between different drawing
applications, here are some common and essential tools found in many digital drawing programs:
1. Toolbox
When Krita creates a document, it selects the Freehand Brush Tool by default. If you aren’t sure
what a tool is on the interface, you can hover over it and a tooltip will appear. The shortcut will
also appear in the tooltip if it exists. Don’t worry about understanding what all of these tools do
right now

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 79

 2. Brush Tool:
 Function: Used for freehand drawing and painting.
 Features: Variable brush sizes, opacity, and hardness. Some software may offer
additional brush dynamics like pressure sensitivity.
3. Eraser Tool:
 Function: Removes or erases parts of the drawing.
 Features: Variable eraser sizes and hardness. Some software allows erasing to
different layers or with specific blending modes.
4. Selection Tool:
 Function: Allows the selection of specific areas of the artwork.
 Features: Rectangular, elliptical, lasso, and magic wand selections.
Transformations like move, rotate, and scale are often available.
5. Fill Bucket Tool:
 Function: Fills a selected area with a color or pattern.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 80

  Features: Options for solid color, gradient, or pattern fills. Controllable tolerance
for more precise fills.
6. Text Tool:
 Function: Adds text to the artwork.
 Features: Font selection, size adjustments, color options, and text formatting
tools.
7. Pen Tool:
 Function: Creates precise paths and shapes.
 Features: Anchor points, Bezier curves, and the ability to create complex vector
shapes.
8. Zoom and Pan Tools:
 Function: Navigates and zooms in/out of the canvas.
 Features: Quick access to different zoom levels and the ability to pan across the
canvas.
9. Layers Palette:
 Function: Manages different layers within the artwork.
 Features: Create, delete, hide, and reorder layers. Adjust layer opacity and
blending modes.
10. Color Palette:

 Function: Selects and sets the drawing color.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 81
  Features: Access to a color wheel, swatches, and the ability to input color values.

3.2. Understanding digital brushes and settings

Digital brushes are a fundamental component of digital drawing, providing artists with a wide
range of tools to achieve various effects and styles.
 Different brush types and their properties, such as size, opacity, hardness, and flow

1. Size:
 Description: Controls the diameter of the brush. A larger size covers more area,
while a smaller size is suitable for finer details.
 Use: Adjusting brush size allows artists to work on different scales within a
drawing.
2. Opacity:
 Description: Determines the transparency of the brush strokes. Higher opacity
results in more opaque strokes, while lower opacity creates translucent or semi-
transparent strokes.
 Use: Varying opacity is useful for building up layers of color, creating subtle
blends, or achieving a more delicate touch.
3. Hardness:
 Description: Defines the edge sharpness of the brush. A hard brush has a clear,
defined edge, while a soft brush produces a more gradual transition.
 Use: Hard brushes are suitable for precise lines and details, while soft brushes
work well for blending and creating smooth gradients.
4. Flow:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 82

  Description: Controls the rate at which the color is applied as the brush is moved.
Higher flow results in a faster buildup of color, while lower flow produces a more
gradual application.
 Use: Flow is beneficial for controlling the intensity and buildup of color, allowing
for subtle or bold strokes.
 Customizing brushes and create their own brush presets
1. Adjusting Settings:
 Artists can customize brushes by adjusting the aforementioned properties.
Experimenting with size, opacity, hardness, and other settings allows for the
creation of brushes tailored to specific tasks.
2. Creating Brush Presets:
 Once a brush is customized, artists can save it as a preset for future use. This
enables quick access to preferred settings without the need to recreate the brush
from scratch.
3. Saving and Importing Textures:
 Customizing textures or importing external texture files allows artists to create
brushes with unique surface patterns. These textures can be saved and applied to
different brushes.
4. Naming and Organizing Presets:
 Assigning meaningful names to brush presets and organizing them into categories
simplifies the selection process. It ensures that artists can easily locate and use
their preferred brushes.
5. Sharing Presets:
 Many digital drawing software applications allow users to share brush presets.
Artists can exchange their custom brushes with others, fostering a sense of
community and creativity.
6. Experimenting and Iterating:
 Successful customization often involves experimentation and iteration. Artists can
continually refine their brushes based on their evolving artistic needs and
preferences.
7. Combining Techniques:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 83

  Artists can combine different customization techniques to create brushes that are
versatile and well-suited for specific artistic styles. This may involve adjusting
size dynamics, adding scattering effects, or incorporating dual brush settings.

3.3. Using digital drawing techniques

 Drawing techniques applicable to digital art, such as line work, shading, blending,
and texturing.
1. Line Work:
 Pressure Sensitivity:
 Pressure sensitivity (also commonly referred to as pen pressure, pen sensitivity,
etc.) refers to how your graphics tablet decides how thick or thin the lines you
draw are, based on how much force you put down on your stylus.
 Pen tablets typically support a range of 2048 to 8192 levels of pressure sensitivity,
meaning they can sense and differentiate the various pressure levels applied by
the stylus. By adjusting the pressure applied to the pen tip, users can achieve
varying line thicknesses and create shading effects while drawing.
 Stabilization:
 Many digital drawing applications offer stabilization features to smooth out shaky
lines. Adjust the stabilization settings to achieve clean and precise linework.
 Line Variations:
 Experiment with different brush types to create varied line styles. Use brushes
with texture, scatter, or shape dynamics for unique and expressive linework.
2. Shading:
 Layering:
 Use layers to separate different elements of your drawing. This allows for non-
destructive shading, making it easy to adjust and experiment.
 Brush Opacity:
 Adjust the opacity of your brush for subtle shading effects. Layer multiple strokes
with varying opacity to build up shading gradually.
 Hatching and Cross-Hatching:
 Apply hatching and cross-hatching techniques for shading. Vary the angle and
density of the lines to create different textures and tones.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 84

  Gradient Shading:
 Use gradient shading techniques for smooth transitions between light and shadow.
Experiment with different blending modes to achieve desired effects.

3. Blending:
 Soft Brushes:
 Employ soft brushes for blending colors seamlessly. Soft brushes are effective for
creating smooth transitions between different shades.
 Smudging Tools:
 Some digital drawing software includes smudging tools. Use these tools to gently
blend and soften edges for a painterly effect.
 Custom Brushes:
 Experiment with custom brushes that have built-in blending properties. These
brushes can simplify the blending process and add unique textures.
4. Texturing:
 Texture Brushes:
 Utilize brushes with textured patterns to add surface details and textures to your
artwork. Adjust the brush settings to control the intensity of the texture.
 Overlay Textures:
 Overlay external texture images onto your artwork. Adjust the blending modes
and opacity to integrate the texture seamlessly.
 Noise and Grain Effects:
 Introduce noise or grain effects to simulate traditional art materials. These effects
can add a tactile quality to digital artwork.
 Different effects and styles using digital brushes and layers.
1. Effects and Styles:
 Layer Effects:
 Explore layer effects such as gradients, and masks to add depth and atmosphere to
your artwork.
 Color Grading:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 85

  Experiment with color grading techniques to enhance the overall mood and tone
of your artwork. Adjust hues, saturation, and contrast as needed.
 Glow and Lighting Effects:
 Add glow and lighting effects to create emphasis and enhance certain elements of
your drawing. Experiment with layer styles to achieve different lighting effects.
 Combining Traditional and Digital Elements:
 Merge traditional art techniques with digital tools. Scan hand-drawn elements and
incorporate them into your digital artwork for a hybrid approach.
2. Digital Brushes and Layers:
 Custom Brush Sets:
 Create and organize custom brush sets for different purposes. Having a variety of
brushes at your disposal enhances your creative flexibility.
 Layer Blend Modes:
 Experiment with different layer blend modes to achieve interesting effects. Modes
like Multiply, Overlay, and Screen can significantly impact the appearance of
your layers.

3.4. Exploring colour theory and digital colouring

Color theory is a fundamental aspect of art that involves understanding how colors interact and
harmonize with each other. In digital art, applying color theory principles is crucial for creating
visually appealing and harmonious compositions. Here's an exploration of color theory and
digital coloring techniques:
 Principles of color theory
Color Harmony:
 Definition: Color harmony refers to the pleasing arrangement of colors in an
artwork. It involves the selection and combination of colors to create a balanced
and aesthetically pleasing composition.
 Application: Use color harmonies such as analogous (colors next to each other on
the color wheel), complementary (opposite colors on the wheel), and triadic (three
evenly spaced colors) to achieve visual balance.
Contrast:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 86

  Definition: Contrast involves the juxtaposition of different colors to create visual
interest and make elements stand out. It can be achieved through variations in
hue, value (lightness/darkness), and saturation.
 Application: Use high-contrast color combinations for emphasis and focal points.
Adjust contrast to guide the viewer's attention within the composition.
Color Psychology:
 Definition: Color psychology explores the emotional and psychological impact of
colors on individuals. Different colors evoke specific emotions and moods.
 Application: Consider the emotional context of your artwork. Warm colors like
red and yellow can convey energy and warmth, while cool colors like blue and
green may evoke calmness and tranquility.

 Digital coloring techniques

Flat Coloring:
 Description: Flat coloring involves applying solid color without shading or
highlighting. It creates a simple and stylized look.
 Application: Suitable for certain styles, such as comic art or graphic design. Flat
coloring can convey a bold and clean aesthetic.
Shading:
 Description: Shading adds depth and dimension to a digital artwork by
simulating the way light interacts with surfaces.
 Application: Experiment with different shading techniques, including cell
shading (distinct areas of light and shadow), soft shading (smooth transitions
between light and shadow), and line shading (using lines to define shadows).
Highlighting:
 Description: Highlights accentuate the brightest areas of an object or scene,
adding realism and dimension.
 Application: Place highlights on surfaces where light directly hits. Adjust the
intensity and color of highlights based on the light source and the material being
depicted.
Creating Texture with Colors:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 87

  Description: Simulating textures using colors involves using various color
patterns and techniques to convey the feel of different surfaces.
 Application: Experiment with stippling, cross-hatching, or textured brushes to
create the illusion of textures like fur, fabric, or metal. Adjust colors to mimic the
reflective properties of different materials.

3.5. Application of Layer management and non-destructive editing

Layer management is a crucial aspect of digital art creation, providing artists with the ability to
organize, control, and edit different elements within their compositions. Understanding the
concept of layers and leveraging non-destructive editing techniques empowers artists to work
more efficiently and make flexible adjustments. Here's an exploration of layer management and
non-destructive editing in digital art:
 Concept of layers and their importance in digital art
1. Definition of Layers:
 In digital art, layers are like transparent sheets stacked on top of each other. Each
layer can contain different elements, such as line art, colors, shading, and effects.
 In digital art, layers are virtual sheets that can contain different elements of an
artwork.
2. Importance:
 Separation of Elements: Layers allow artists to work on different components of
an artwork independently.
 Flexibility: Adjustments and modifications can be made to specific layers without
affecting the entire composition.
 Efficiency: Layering streamlines the editing process, making it easier to organize,
modify, and experiment with elements.
 Organizing and managing layers and using them for non-destructive editing
Organizing and Managing Layers:
1. Layer Naming:
 Assign meaningful names to layers to easily identify their content. This becomes
especially important as the number of layers increases.
2. Layer Grouping:

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 88

  Group related layers together to maintain a tidy and organized workspace. This is
particularly helpful when working on complex illustrations with multiple
elements.
3. Layer Ordering:
 Adjust the order of layers to control their visibility. Layers at the top of the stack
are more visible, while those at the bottom are obscured.
4. Color Labels:
 Use color labels to visually categorize layers. For example, assign a specific color
to layers related to the background, characters, or effects for quick identification.
5. Locking Layers:
 Lock layers to prevent accidental modifications. This is useful when a particular
element is finalized and doesn't require further editing.

Non-Destructive Editing with Layers:

1. Adjustment Layers:
 Apply adjustment layers for non-destructive changes to color, brightness, contrast,
and other attributes. These adjustments can be fine-tuned or removed at any time.
2. Smart Objects:
 Convert layers into smart objects to maintain the original quality of an image.
Smart objects preserve details and allow for non-destructive transformations.
3. Layer Masks:
 Use layer masks to selectively hide or reveal parts of a layer. Painting on a layer
mask with black or white allows for non-destructive editing of visibility.
4. Opacity and Fill:
 Adjust the opacity of a layer to control its transparency without permanently
altering the content. The fill property affects only the layer content, leaving layer
effects intact.
5. Blending Modes:
 Experiment with blending modes to create various effects without altering the
original layers. Blending modes control how pixels on one layer interact with
pixels on layers below.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 89

 6. Layer Styles:
 Apply layer styles for non-destructive effects like shadows, glows, and bevels.
Layer styles can be adjusted or removed without altering the underlying content.
7. Vector Layers:
 Utilize vector layers for scalable graphics. Vector graphics can be resized without
losing quality, providing a non-destructive approach to scaling.

3.6. Rendering digital artwork

Rendering digital artwork involves preparing and exporting your creations in a way that
maintains quality and usability. Understanding file formats and the exporting process is crucial
for sharing or printing your digital art. Here's an exploration of file formats and the exporting
process:
 File formats
1. Native Formats: Save the original work in the native format of the software (e.g., .PSD
for Adobe Photoshop, .CLIP for Clip Studio Paint) to retain layers and editing
capabilities.
2. Common Image Formats:
 JPEG (Joint Photographic Experts Group): Suitable for online sharing, but
may result in loss of quality due to compression.
 PNG (Portable Network Graphics): Preserves transparency and is suitable for
web use or images with sharp details. Is a Lossless compression, supports
transparency, making it ideal for web graphics and images with transparent
backgrounds
 TIFF (Tagged Image File Format): High-quality format, often used for printing,
with lossless compression.
 AI (Adobe Illustrator): Proprietary format used by Adobe Illustrator for vector
graphics. It preserves vector data, editable in Adobe Illustrator.

 Exporting artwork

1. Save As vs. Export

Save As: Use this option when saving the original project file (e.g., PSD).

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 90

 Export: Use this option to create a separate file for sharing or printing.
2. Resolution: Choose an appropriate resolution (DPI) for the intended use (e.g., 300 DPI
for print, lower for digital display).
3. Color Mode: Select the color mode based on the intended output (RGB for online use,
CMYK for print).
4. Background: Decide whether to include a background or use a transparent background,
especially for formats like PNG.
5. File Size: Balance image quality and file size, considering compression settings.
6. Versioning: Save different versions during the creation process to track progress and
experiment with variations.
Understanding layers and non-destructive editing is crucial for maintaining artistic flexibility and
making complex edits in digital art. Similarly, choosing the right file format and export settings
ensures that the final artwork meets its intended purpose, whether it's for online sharing or
professional printing.

PREPARED BY THEOGENE BAYAVUGIYIKI +250788989824 / +250722989824 91