{"id":4301,"date":"2010-07-07T09:42:47","date_gmt":"2010-07-07T09:42:47","guid":{"rendered":"http:\/\/www.labri.fr\/perso\/barla\/blog\/?p=4301"},"modified":"2012-07-09T16:05:23","modified_gmt":"2012-07-09T16:05:23","slug":"scienti%ef%ac%81c-illustration","status":"publish","type":"post","link":"https:\/\/www.labri.fr\/perso\/barla\/blog\/?p=4301","title":{"rendered":"Scienti\ufb01c Illustration"},"content":{"rendered":"<p id=\"top\" \/><em>Phyllis Wood<\/em><\/p>\n<h2>Perspective<\/h2>\n<ul>\n<li>The atmosphere contains a suspension of moisture and dust, [producing an atmospheric perspective] which softens the de\ufb01nition and tonal values of an object in relative proportion to its distance from you &#8211; p.7<\/li>\n<li>Atmospheric perspective is utilized to create distance even in small specimens &#8211; p.7<\/li>\n<\/ul>\n<h2>Drawing<\/h2>\n<ul>\n<li>The goal of the scienti\ufb01c illustrator is to show the observer the same image that he had when he looks at the specimen. [&#8230;] Meticulous accuracy and aesthetics should be combined &#8211; p.8<\/li>\n<li>Differences between illustration and photography : photography records a subject accurately [while] the illustrator draws only what is necessary. He can omit extraneous detail &#8211; clarifying, emphasizing, and selecting the important parts. The artist can simplify or summarize the essence of a subject and can ghost in what is underneath or inside. [&#8230;] He can idealize, ignoring specimen variations &#8211; p.9<\/li>\n<li>While the camera establishes and documents the existence of a subject, the illustrator illuminates its essence &#8211; p.9<\/li>\n<li>Photographs can be a valuable aid in drawings, but when used as the only reference by an artist, the result may be \ufb02at or distorted &#8211; p.10<\/li>\n<li>To alter [shape] so that it is perfect would destroy the authenticity of a drawing, making it look arti\ufb01cial and mechanical &#8211; p.10<\/li>\n<li>An illustrator must see not just an individual specimen but one specimen in relation to many species in the broader context of an entire \ufb01eld. [However], if the drawing is to illustrate a unique prototype, the specimen must be drawn with every eccentricity in place &#8211; p.10<\/li>\n<li>As a scienti\ufb01c subject, [the depicted object] should be presented in a straightforward manner with no tricky angles to puzzle the viewer &#8211; p.12<\/li>\n<li>There are four factors that shape the interpretation of a specimen [&#8230;]. They are contour, texture, color and detail &#8211; p.14<\/li>\n<\/ul>\n<h2>Light and shadow<\/h2>\n<ul>\n<li>Light and shadow are interpreted by value relationships that de\ufb01ne a subject\u2019s shape and there are \ufb01ve basic value areas : highlight, intermediate, core dark, re\ufb02ected light and cast shadow &#8211; p.22-23<\/li>\n<li>The light and shading of the subject\u2019s general contour are the foundation upon which the shading of the other elements is built &#8211; p.24<\/li>\n<li>Surface texture or pattern is clearest and most easily de\ufb01ned in the intermediate-value area. In this area the light strikes the texture laterally and exhibits maximum contrast between dark and light. In the highlight area the light \ufb02oods the surface, in effect \ufb02attening it. The dark areas do not receive enough light for contrast &#8211; p.25<\/li>\n<li>A color pattern is most clearly de\ufb01ned in the intermediate-value area. In the highlight area, the bright light obliterates some of the color pattern, and in the dark shadows the values merge together &#8211; p.26<\/li>\n<li>The focal point of the drawing, the foreground, exhibits crisper contrasts &#8211; darker darks and lighter lights &#8211; and is more de\ufb01ned than the background and more distant parts of the drawing. If some less important parts of the specimen, however, also extend toward the viewer, think of the focal point of the drawing as in focus and the closer, less important parts of the drawing as out of focus and less clear &#8211; p.27<\/li>\n<li>The cast shadow helps to de\ufb01ne three elements : the shape of the subject, the shape of the shadowed surface, and the relationship between the subject and the surface &#8211; p.27<\/li>\n<li>Transluence is the characteristic of an object that can both be seen and seen through. [&#8230;] The top layer is seen clearly, while the underlying or inside part is muted and shows less contrast &#8211; p.28<\/li>\n<li>Cross\/break, cross\/pool convention : when one element of a drawing passes in front of another element, the distance between those two elements can be interpreted as a large space by separating or \u201dbreaking\u201d the far element &#8211; p.30<\/li>\n<\/ul>\n<h2>Black and white drawing<\/h2>\n<ul>\n<li>The purpose of black lines and stipples is to give the viewer an impression of various values of gray &#8211; p.33<\/li>\n<li>The reduction process improves the drawing by diminishing imperfections and by crisping up the lines and dots, making them appear as various values of gray &#8211; p.33<\/li>\n<li>Short line rendering is done with short, unweighted lines all slightly curved to retain an organic look. They consist of one, two, or three sets of equidistant parallel lines, all at oblique angles to each other. In the shadow area, there are more sets of longer lines. In the light areas, there are gradually fewer, shorter and then broken lines &#8211; p.46<\/li>\n<\/ul>\n<h2>Continuous tone<\/h2>\n<ul>\n<li>A wash is a variable combination of three elements : (1) the ground is the board or paper you are working on &#8211; it provides the light or luminosity in your rendering ; (2) water is the vehicle that carries the pigment and provides the wet or sparkly look characteristic of a wash drawing ; (3) pigment de\ufb01nes the shape by creating the dark values and shadows &#8211; p.48<\/li>\n<li>A resist [or mask] can be applied between washes, leaving one part of an area lighter than another. This method of isolating white areas produces crisp edges &#8211; p.53<\/li>\n<li>Carbon-dust : (1) values are indicated in line shading ; (2) the overall shape is established by \ufb02oating the dust on in several light layers ; (3) Lighter and darker values are \u201dpainted in\u201d &#8211; p.55-56<\/li>\n<li>While the pencil is at its best in rendering detail, the airbrush really shines in producing smoothed and graded areas of tone. These area are strokeless and brushless in quality and may be rendered very quickly &#8211; p.59<\/li>\n<li>Using the airbrush, start out with a lighter solution than desired and cover the area several times &#8211; p.60<\/li>\n<\/ul>\n<h2>Color<\/h2>\n<ul>\n<li>There are three general divisions in the use of color : natural color, which represents the true colors of the specimen ; symbolic color, which utilizes assigned or familiar colors for speci\ufb01c parts of the subject ; and design color, which is used as an aid to recognition &#8211; p.63<\/li>\n<li>Every color has \ufb01ve qualities : hue, the name of the color ; value, its place on the light-dark scale ; chroma, the purity of the color, or absence of white or pastel tendency ; brilliance, the vividness of or absence of black in a color ; and temperature, its warmth or coolness &#8211; p.65<\/li>\n<li>In general, warmth is on the orange side of the color wheel, including red and yellow ; coolness is on the blue side, surrounded by violet and green &#8211; p.65<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Phyllis Wood Perspective The atmosphere contains a suspension of moisture and dust, [producing an atmospheric perspective] which softens the de\ufb01nition and tonal values of an object in relative proportion to its distance from you &#8211; p.7 Atmospheric perspective is utilized to create distance even in small specimens &#8211; p.7 Drawing The goal of the scienti\ufb01c &#8230; <a title=\"Scienti\ufb01c Illustration\" class=\"read-more\" href=\"https:\/\/www.labri.fr\/perso\/barla\/blog\/?p=4301\" aria-label=\"Read more about Scienti\ufb01c Illustration\">Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[621],"tags":[],"class_list":["post-4301","post","type-post","status-publish","format-standard","hentry","category-books"],"_links":{"self":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/4301","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4301"}],"version-history":[{"count":3,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/4301\/revisions"}],"predecessor-version":[{"id":22861,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=\/wp\/v2\/posts\/4301\/revisions\/22861"}],"wp:attachment":[{"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4301"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4301"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.labri.fr\/perso\/barla\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4301"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}