BSEH Secondary Drawing cheat sheet

Contour lines define edges; cross-contour lines describe volume across a form.

Proportion: use a consistent unit (e.g., head length) to compare all parts; check with a pencil at arm's length.

Linear perspective: parallel lines converge at a vanishing point on the horizon; one-point for frontal planes, two-point for angled planes, three-point for verticals.

Foreshortening: objects receding in depth appear shorter along the axis of view; overlap and size decrease indicate depth.

Composition rules: rule of thirds places interest at intersections; avoid tangents where edges just touch.

Value structure: assign light, halftone, core shadow, reflected light, and cast shadow to describe form.

Atmospheric perspective: distant objects lose contrast and detail, shifting toward the background hue.

Gesture sketching: capture overall action in 30–60 seconds with loose lines before detail.

Natural objects (leaves, shells) follow growth patterns: spirals, radial symmetry, branching; man-made objects rely on geometric primitives.

Use negative space: draw the shapes around an object to correct its outline.

Sight-size drawing: position the drawing surface parallel to the subject plane to reduce distortion.

Construction lines: begin with light axes and basic volumes (box, cylinder, sphere) before refining contours.

Texture rendering: vary stroke direction, pressure, and spacing to suggest material (smooth metal vs. rough bark).

Light logic: a single light source creates a consistent shadow direction; cast shadow edges are sharper near the object.

Core shadow is the darkest band on the form, not the outline; reflected light sits within the shadow side.

Shading techniques: hatching (parallel lines), cross-hatching (intersecting), stippling (dots), and blending (smudge).

Texture in still life: use contrasting mark-making-smooth gradients for glass, broken strokes for fabric.

Value scale: 5–7 steps from white to black help control contrast; keep the lightest light and darkest dark adjacent for emphasis.

Composition of still life: group objects with varied heights, overlap, and a clear focal point; avoid equidistant spacing.

Standard figure proportion: adult is about 7.5–8 head lengths tall; midpoint of body is the pubic bone.

Head units: eyes sit halfway down the head; nose base halfway between eyes and chin; ear spans brow to nose base.

Gesture drawing: use an action line through the spine and limbs to convey movement; exaggerate the pose.

Weight-bearing leg: the hip rises on the supporting side; shoulders tilt opposite for balance (contrapposto).

Hand: palm is about the size of the face from chin to brow; fingers are roughly equal to palm length.

Foreshortened limbs: draw overlapping cylinders; the nearest end appears larger and hides the farther end.

Primary pigments: red, yellow, blue (traditional RYB); secondary: orange, green, violet; tertiary: mix adjacent primary and secondary.

Complementary colours sit opposite on the wheel; mixing them neutralizes (makes brown/grey).

Harmony schemes: analogous (adjacent hues), complementary (opposites), split-complementary (one hue plus two adjacent to its complement), triadic (three equidistant hues).

Colour mixing: tints add white, shades add black, tones add grey; opacity varies by medium (gouache opaque, watercolour transparent).

Warm colours (reds, oranges) advance; cool colours (blues, greens) recede-use for depth.

Simultaneous contrast: a colour appears different against different backgrounds; test mixtures on the final surface.

Ajanta caves (2nd century BCE–6th century CE) contain Buddhist murals using fresco-secco technique.

Mughal miniature painting: fine brushwork, flat perspective, and gold detailing; subjects include court scenes and nature.

Rajput and Pahari miniatures: bold colours, profile faces, and poetic themes (e.g., Rasikapriya, Baramasa).

Folk forms: Madhubani (Bihar) uses double outlines and natural dyes; Warli (Maharashtra) uses white rice paste on mud walls with geometric figures.

Kalamkari (Andhra Pradesh) is hand-painted or block-printed cotton with vegetable dyes; Pattachitra (Odisha) uses cloth-based scroll painting.

Tanjore (Thanjavur) painting: gold foil, gesso relief, and glass beads on wooden panels.

Elements: line, shape, form, space, value, colour, texture.

Principles: balance (symmetrical/asymmetrical), contrast, emphasis, movement, pattern, rhythm, unity, variety.

Ornament: repeating motifs (floral, geometric, calligraphic) create rhythm; use a grid or compass for symmetry.

Lettering: classify as serif, sans-serif, script, and decorative; maintain consistent stroke weight and spacing (kerning).

Guidelines for lettering: cap height, x-height, ascender, descender; use light construction lines.

Design unity: repeat a colour or shape to tie elements; avoid unrelated decorative elements.

Graphite grades: H (hard, light) to B (soft, dark); 2B is general sketching, 6B for deep shadows.

Charcoal: vine (soft, erasable) vs. compressed (darker, less erasable); fixative prevents smudging.

Paper weight: 90–140 gsm for sketching; 200+ gsm for wet media; textured surface holds charcoal.

Safe practice: keep solvents (turpentine, fixative) away from flames; use in ventilated areas; never ingest; wash hands after handling pigments.

Sharpening: use a craft knife or sharpener; cut away from the body; store blades safely.

Erasers: kneaded eraser lifts graphite without damage; plastic eraser for final cleanup; avoid excessive rubbing.