Pancyprian Freehand Drawing key terms

The relative size relationship between parts of a subject and between each part and the whole. Checking widths against heights, or head length against total figure height, keeps a drawing believable.

A method of judging apparent size by holding a pencil at arm's length and marking a unit on it, then comparing other lengths to that unit while keeping the arm straight and the head still.

A vertical reference held or imagined through a point on the subject, used to check which features align above or below one another. It exposes tilts and misalignments in a drawing.

The shapes formed between and around the parts of a subject. Drawing these empty areas rather than the object itself helps correct proportion because the eye judges enclosed shapes more accurately.

The apparent compression of a form that recedes toward the viewer, so a limb pointing at the eye looks much shorter than its real length. It requires drawing what is seen, not what is known.

The checking of how edges, corners and landmarks line up horizontally, vertically or diagonally across a subject. Consistent alignment prevents parts from drifting out of place as a drawing develops.

A rapid, loose drawing that captures the action, weight and directional flow of a pose before detail is added. It establishes the underlying movement that later structure must support.

The single dominant curve or axis that runs through a figure or object and expresses its main movement. Finding it first gives a pose unity and prevents stiff, assembled-looking results.

Building a drawing from simple geometric volumes and axes that are then refined into accurate contour. It treats the subject as a structure in space rather than a flat outline.

The first stage of a drawing, in which the subject is placed on the page with light straight lines marking overall boundaries, main divisions and proportions. Detail is deliberately postponed.

The simplest straight-sided shape that encloses the whole subject or a major part of it. Comparing the drawing to this outer boundary quickly reveals proportion errors.

The flat outline of a form seen against its background, read as a single shape. A strong, recognisable silhouette is the foundation of clear composition and readable form.

The shape occupied by the subject itself, as distinct from the gaps around it. Judging positive and negative shapes together produces more accurate outlines.

The arrangement of light and dark masses in a composition considered as flat pattern, independent of modelling. Checking notan early shows whether the image reads clearly at a distance.

The relative lightness or darkness of a tone, judged against other tones in the same drawing. A controlled range of values creates form, depth and focus more than outline does.

An ordered strip of tones from white through greys to black, used as a reference for matching and comparing observed tones. It trains the eye to see subtle differences rather than only light and dark.

The organisation of a drawing into a few broad tonal families, such as light, middle and dark, before finer gradations are added. It keeps the image readable and prevents muddled greys.

The modelling of three-dimensional form through strong contrasts between light and shadow. It describes how light wraps a volume and how shadow shapes reveal its turning surfaces.

The darkest band of shadow on a rounded form, lying where the surface turns away from the light source. Its placement and shape describe the volume's curvature.

The boundary line where lit surface meets shadow on a form. Its softness or sharpness indicates whether the form turns gradually or abruptly.

The intermediate values on a form between the highlight and the shadow, describing the gradual turning of the surface. Halftones carry most of the information about curvature.

Light bounced from a nearby surface back into a shadow area, slightly lightening it. It is always darker than the lit side and helps separate a shadow from flat black.

The shadow a form throws onto another surface. Its shape, direction and edges record the light source's position and the distance between object and receiving surface.

The inherent lightness or darkness of a material or object, such as pale linen versus dark wool, independent of lighting. Distinguishing it from lighting prevents confusing texture with shadow.

The direction and quality of illumination falling on a subject, which determines where highlights, shadows and cast shadows fall. A single consistent source keeps modelling coherent.

The level of the viewer's eye, appearing as a horizontal line where parallel planes vanish. Its height on the page fixes whether we look up at, down on, or level with the subject.

The height of the observer's eyes relative to the subject, equivalent to the horizon line in linear perspective. Changing it changes how much of the top or underside of a form is visible.

The point on the horizon where receding parallel lines appear to converge. Correct use of one or more vanishing points gives convincing depth to boxes, streets and interiors.

The tendency of parallel lines receding into depth to draw closer together as they approach a vanishing point. It also describes the meeting of receding edges in observed form.

The apparent shrinking of equally sized objects as their distance from the viewer increases. Applying it consistently is essential for believable space and scale.

Placing one form in front of another so that it obscures part of the farther one. It is the simplest and strongest cue of depth in a drawing.

The weakening of contrast, detail and saturation in distant forms, which appear lighter and cooler. It separates planes of depth and prevents a drawing from looking flat.

A line drawn across a form that follows its surface curvature, like a wire wrapped around it. Such lines describe volume and can be used to build tone in the round.

A shading technique using sets of parallel lines to build value. Spacing, pressure and layering control darkness while the direction of strokes can follow the form.

Two or more sets of hatching lines laid over one another at differing angles to darken tone and suggest surface. Denser, more varied layering produces richer values.

The variation in thickness and pressure of drawn lines. Heavier lines can indicate nearness, shadow or emphasis, while lighter lines suggest distance or delicate edges.

The expressive character of a drawn line, including its speed, pressure, taper and continuity. Confident, varied lines convey form and energy; hesitant, uniform lines flatten a drawing.

A line describing the outer edge or a significant change of plane on a form. Sensitive contours vary in weight and respond to what lies beneath the surface.

The deliberate softening or breaking of an outline in places, contrasted with sharp edges elsewhere. It prevents a cut-out look and directs attention through the drawing.

The area of a composition that draws the eye first, usually through the strongest contrast, sharpest detail or placement. It gives the viewer a place to enter the image.

The deliberate strengthening of one element, such as contrast, size or detail, so it dominates others. It creates hierarchy and stops a composition reading as evenly busy.

The repetition and variation of shapes, lines or tones that leads the eye through a drawing. Rhythmic repetition creates unity without monotony.

The quality of a drawing whose parts feel connected and belonging to one whole. It is achieved through consistent handling of line, value, edges and repeated shapes.