”Art is the stored honey of the human soul.” – Theodore Dreiser
Before proceeding to the first lesson, take a moment to refresh your memory.
Revisit > Basic Design Descriptions and Shapes.
Our First Marks: Line, Plane, Tone
In the first building skill post, we introduced the method of building skills through small work explorations. We are going to start with the most basic building blocks of design—line, plane, and tone —and, in the second set of exercises, deepen our skills by adding the three primary shapes: circle, square, and triangle.
Basic elements are the framework of all art and design. Now it’s time to slow down and begin experimenting.
Each new task will include groups of three small works. Creating in sets and through repetition gives us enough practice to explore variations. As we proceed with this adventure, our creative neural pathways begin to wake up, and we start to imagine how simple changes can alter perception and strengthen visual storytelling.
Now that your supplies are ready to go, it’s time to choose three simple photos to use as a reference (or more).
Make sure the photos you select have a clear focal point and a background that is free of distractions. You might use only one image for this entire lesson, but it’s helpful to have additional options available in case you want to experiment with multiple images.
Here are four examples that are simple enough for the Line + Plane + Tone exercise variations. This lesson consists of five sets of three small works. You can choose from these example snapshots, or select from your own photo collection; to download just right-click image.
Qualities of Lines
Lines come in many forms, just like styles of artwork. Memorizing all the variations is helpful, but until an artist has hands-on experience, the knowledge remains unexpressed.
List of line variations:
- Thick to thin
- Vertical, horizontal, diagonal, curved
- Light to dark
- Broken, continuous, dotted, dashed
- Tonal differences
- Color variations, including hues and intensity
- Smooth to textured, rough, jagged, hairy
Repetition is king! So, in this first set of three small works, you’ll practice rendering a variety of line qualities in each work, keeping in mind how the line qualities interact with one another.
Then we’ll add additional basic elements as we progress, totaling fifteen works for this lesson.
Ask engaging questions while rendering and after each completion:
- Does the line quality build depth, create contrast, aid in perspective, or move the eye forward?
- Does it build a pattern, engage flow, or generate vibrational static?
- Does varying the line thickness change the relationship of the eye to nearby surfaces?
- Does color change the eye’s interest in exploring the whole surface or draw the eye to the focal point?
First Set of Three Small Works: Line
It’s time to grab your supplies and canvases! It’s your choice whether to do this exercise with tracing paper over the top of your chosen image or to work directly on the canvas.
For this exercise you’ll render three small works using only lines.
PRO TIP: Easy Tracing Method: Place tissue on the photo, and trace using a graphite pencil. Flip the tracing paper over, then use a graphic stick to cover the surface. Flip back over, place on canvas, and retrace with a ballpoint pen so you know which lines you’ve traced. Now you can start rendering.
You can also cover the canvas with a matte medium, press the tracing paper with the outlined image onto the surface, then cover it with additional matte medium, let it dry, and continue the exercise. Digital artists can work in layers on their devices.
Create a uniform time limit for each small task. Forty-five minutes to an hour is a good target. Once the initial set of three works is complete, take some time to review your artwork. What did you like? What did you love? What did you learn?
Adding the Next Element: Line + Plane
A plane consists of a solid, opaque color. Light doesn’t pass through a solid plane.
Experimenting with variations of opaque plane surfaces reveals how color moves the eye forward or backward, and how a hue can complement or offer contrast, create a focal point, or solidify a background.
An opaque field can distinguish a point of interest, or construct a negative-positive feature or theme. An entire work can start with a contrasting opaque background creating dramatic effects.
In the second set of three small works, render using line + plane, shaped surfaces. Create combinations in the medium of your choosing.
Again, take some time to appreciate your three artworks on their own. Then combine the two series and notice what you notice! How did the lines and planes interact? What did you like? What did you love? What did you learn?
Adding the Third Element: Line + Plane + Tone
A tonal color conveys to the eye a quality of transparency. The surface shape contains a visual effect projecting lightness.
The viewer is left with an impression that darker shapes might be slightly visible behind the hue, but not as light as a transparent surface. For now, don’t worry about adding texture to planes or tonal areas—we’ll add embellishments later!
Watercolors and washes are wonderful tonal mediums. Even house paint, ink, acrylic, and gouache washes work well to create tonal shapes. Lines can be used to lighten areas to create interesting shapes.
Render the third set of three small works with a combination of the three basic elements of line + plane + tone.
Remember, the elements do not have to be edge-to-edge; they can overlap. Play with contrast. Experiment with using the lines to add depth or define spaces.
If you choose to outline an element, notice how varying the line between dark and light, or thick and thin, can give the illusion of defining a space without outlining it. Perhaps the line is a series of small dashes with a space, followed by a longer line. A thick line may bring the eye closer, a thin could project distance.
Have fun developing a style, or learning a variety of ways to define spaces! This lessons repetitive practice will soon pay off. You are learning methods to refine or extend your personal style for future artwork.
Again, take some time to review your small works. Always ask: What did you like? What did you love? What did you learn?
Switching it Up: Line + Tone
Let’s eliminate the opaque element in this set’s exercise and use tonal shapes and lines to define spaces and add visual interest.
In the fourth set of three small works, render using just line + tone. The softer hues have a luminous quality.
Using lines that appear bold or darker shades can achieve the illusion of an opaque quality.
Notice how the line over the very soft tonal band and the slightly darker tonal shape on the composition’s base adds perspective.
Here, the flowers are painted in a wash style. Also the continuous darker lines above the flowers complete the framing sections. The very soft thin lines on the window panes enhance the sense of reflecting light.
After completing this set, take some time to review your work separately. Now add the set to the other nine works and view them together.
Begin moving your artwork around and notice how they relate to one another. You are developing a greater understanding of the first basic elements that make up all art compositions. Again, remember to ask: What did you like? What do you love? What did you learn?
Omitting the Lines: Plane and Tone
The simplicity of an artwork featuring softer tonal shapes and opaque planes can be very relaxing to the eye.
Color depth or a plane’s distinct visual statement can set up how the eye relates to the focal point, or the main subject of your composition.
To create the final set of three works, use only plane + tone shapes.
In this example, not only does the lighter band move the visual of the bottom elements forward, but the darker tones at the top act as a backdrop. The tonal quality and color variation in the middle is clearly the focal point. You can achieve definition and perspective without using lines.
In your examples, experiment with how color density changes the perspective. Remember how dull colors and bright colors help define the stage. Mixing 2 brights creates a hue with intensity that pops forward, whereas mixing 2 dull colors has the opposite effect. A mix of dulls and brights is useful for defining space that supports your focal point.
In this last set, remember to “change it up!” You are also building the skill to place your focal point subject wherever you want in your composition! Perhaps you want the top area to be the foreground, while the bottom fades into the background.
The Power of Reflection
“We do not learn from experience… we learn from reflecting on experience.” — John Dewey
Give yourself a big hug and pat on the back for completing the fifteen small works. Your commitment will pay off. I am excited to hear how your future artwork evolves. Leave me a comment, okay!
It’s time to make that hot cup of honey chamomile tea and reflect on the simplicity and elegance of your last set of three small works.
When you view all fifteen creations be sure and move them around. You will find so many relationships that pop! Plus, you’ll begin to identify new rendering skills to combine with your individual style.
You’ve also learned a valuable state of mind from which to view your work. Your inner creator responds deeply to heart-based learning. Asking questions like: What did you like? What did you love? What did you learn? will accelerate your learning and building new creative neural pathways!
In our next exercise, we’ll experiment with basic shapes, movement and direction, and get acquainted with four surface enrichments. Stay tuned!
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