Drawing

Here are some common software programs used for computer illustration:. Kayaks designed for Slalom canoeing have a hull for manouverability and since the early 1970's, low profile decks. See, for example, the computer illustrations of Peter Welleman. Besides being portable, inflatable kayaks generally are stable and easy to master, but they take more effort to paddle and are slower than traditional kayaks. Digital art is fast becoming one of the most popular means of illustration. They are made of hypalon (a kind of neoprene), pvc, or polyurethane coated cloth. Drawing may also be done on a computer. The pressure sounds low, almost always below 3 psi.

Great drawings in the 1900's have been created by Max Beckmann, Willem De Kooning, Jean Dubuffet, Arshile Gorky, Paul Klee, Oscar Kokoschka, Jules Pascin, Pablo Picasso, and Jackson Pollock. They can be inflated with foot pumps, a variety of hand pumps, or electric pumps. The masters of drawing during the 1800's included Paul Cézanne, Jacques Louis David, Edgar Degas, Theodore Gericault, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, and Vincent Van Gogh. Inflatable kayaks usually can be transported by hand using a carry bag. In the 1700's, great drawings were produced by Jean-Honoré Fragonard, Francisco Goya, Giovanni Battista Tiepolo, and Antoine Watteau. Another special type of kayak is the inflatable kayak. During the 1600's, Claude, Nicolas Poussin, Rembrandt, and Peter Paul Rubens created important drawings. Surf Skis were originally created for surf and are still used in surf races in countries such as New Zealand, Australia, South Africa.

Masters of drawing in the 1400's and 1500's included Leonardo da Vinci, Albrecht Dürer, Michelangelo, and Raphael. A highly specialized variant of flatwater racing kayak called a Surf Ski has an open cockpit and can be twenty-one feet long but only eighteen inches wide, requiring expert balance and paddling skill. Since that time, each century has produced artists who have created great drawings. Flatwater racing kayaks are closely related to flatwater racing canoes, and are usually paddled out of a common club or team, although it is rare for paddlers to compete in both canoes and kayaks. This art form first gained widespread popularity among European artists during the 1400's, when paper became generally available. In spite of this, these boats still require fairly large areas to turn. People have made drawings since prehistoric times. The rudder is controlled by the feet of the paddler (the foremost paddler in multiperson designs).

However a well-crafted study can be a piece of art onto itself, and many hours of careful work can go into completing a study. Due to their long length (a one person sprint kayak will be on the order of 17 feet long), sprint boats come equipped with a rudder to help with turning. Studies can be used to determine the appearance of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. These boats are raced at the Olympic level by both men and women, over courses of 200m, 500m and 1000m. A study is a draft drawing that is made in preparation for a planned final image. The most common types of flatwater racing kayaks (sometimes termed 'sprint boats') are K-1, K-2 and K-4. Objects placed in the background of the figure should appear properly placed wherever they can be viewed. The beam of a flatwater boat is typically barely wider than the hips of the person who paddles it, allowing for a very long and narrow shape to reduce drag.

The exterior is termed the negative space, and can be as important in the representation as the figure. They require a good level of expertise to paddle well, but are extremely fast in the hands of proficient users. When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. They are thin, extremely unstable, and expensive, with a competitive boat running in the $4000 range. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features. Flatwater racing kayaks are generally made out of lightweight materials, and as such, are somewhat weak; they are not intended for anything other than flat water on a relatively calm day. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. Most canoe/kayak clubs will offer indroductory instruction programs in recreational boats as a way to enter into the sport.[1].

The placement of the light sources can make a considerable difference in the type of message that is being presented. Using less expensive materials like polyethylene and including fewer options keep these boats inexpensive (USA$300–$800). The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. Compared to other kayaks recreational kayaks have a larger cockpit for easier entry and exit and a wider beam (27–30 inches) for more stability on the water; they are generally less than twelve feet in length and have limited cargo capacity. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating. Recreational kayaks are designed for the casual paddler interested in fishing, photography, or a peaceful paddle on a lake or flatwater stream; they presently make up the largest segment of kayak sales. The artist plans the placement of elements in the art in order to communicate ideas and feelings with the viewer. Elite waveski surfers are able to more closely imitate surfboard manouveres.

The composition of the image is an important element in producing an interesting work of artistic merit. Although the waveski utilises similar dynamics, in terms of paddling technique and surfing performance on the waves, construction can be very similar to surfboard designs. This will reproduce the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground. A variation on the closed cockpit surf kayak is an open cockpit design called a Waveski. Depth can also be portrayed by reducing the amount of contrast of more distant objects, and also by making the colors more pale. While typically seven or eight feet in length, competition surf kayaks can be nearly twelve feet long to increase both planing speed while on a wave and to provide faster paddling speed for catching waves. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Surf Kayaks are similar in design to whitewater kayaks, except they have a planing hull (flat side to side) to carve into a wave face, like a surfboard.

Depth can be portrayed through the use of texture. Ultra-low-volume kayaks that are designed to be paddled both on and below the surface of the water are used in Squirt Boating. Thus the back wheel of a cart will appear slightly smaller than the front wheel. In "freestyle" competition ("kayak rodeo"), whitewater kayakers use features of rapids to do tricks, typically while remaining in one place on the river. Objects of similar size should appear ever smaller the further they are from the viewer. Their speed comes from their ability to ride the crest of flowing river. Depth can also be portrayed by several techniques in addition to the perspective approach above. Whitewater boats, however, do not need inherent speed.

Convering the vertical lines to a point in the sky then produces a "three-point perspective". Whitewater kayaks are among the most maneuverable types made, however they are much slower than many other styles of boat. When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a "two-point perspective". The size usually ranges from 6 to 10 feet/2 to 3 metres long; the trend was toward the shorter boats, but this is now reversing slightly to longer boats of around 7 to 8 feet that can become airborne more easily. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures will all typically convert at a vanishing point. They are shorter than other types of kayaks. Typically this point of convergence will be along the horizon, as buildings are built level with the flat surface. Whitewater kayaks are generally made out of high impact plastic, usually polyethylene.

The parallel, straight edges of any object, whether a building or a table, will follow lines that eventually converge at infinity. Of all modern kayaks, they are closest relatives to the skin-and-frame boats of the past. Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Folding kayaks exhibit many of the same paddling characteristics as the original skin-and-frame vessels of the circumpolar north. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait. Folders are known for their durability, stability, and longevity: The Klepper Aerius I, a single-seater, has been used successfully for white-water kayaking, due to its durability and excellent manouvrability, while many Kleppers have been in frequent use for more than 20 years. This allows the artist to render more natural poses that do not appear artificially stiff. Many types have integral air sponsons inside the hull, making the kayaks virtually unsinkable.

A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. A folder is a modern kayak that uses a collapsible frame, of wood, aluminum or plastic, or a combination thereof, and a skin, of some sort of water-resistant and tough fabric. A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A special type of skin-on-frame kayak is the folding kayak, the direct descendant of the original Inuit kayak. The lines of the primitive shapes are removed and replaced by the final likeness. Lending maneuverability traits more adapted to the local environment. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. East Greenland kayaks appear similar to the West Greenland boat, but are often more snugly fitted to the boater and possess a steeper angle between gunwale and stem.

Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Possessing often fewer chines they are more angular in shape, the gunwales rising to a point at the bow and stern. When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. West Greenland kayaks are what most neo-traditional polymer boats are modeled after. The image on the paper is then scaled in reference to this frame. Their more rounded shape and high number of chines give them an almost Blimp-like appearance. A similar approach when using an easel is to mount a small, heavy paper frame through which the artist can view the scene. Baidarkas, from the Alaskan & Aleutian seas, and are a much older design.

A scaled version of these lines is drawn lightly on the paper, and the outlines of the significant features are copied onto the drawing. This spelling of the word kayak has evolved to be synonymous with “traditional kayak” and often encompasses three subcategories of boats separated by development local:. The image is subdivided into equally spaced horizontal and vertical lines. The Dutch were some of the first Europeans to take interest in the indigenous American boat design, spelling the name for these Inuit & Aleut boats, Qajaq. A grid can be used to produce a more accurate portrayal of a photograph. They are often the lightest kayaks, and traditionally made of drift wood pegged and or lashed together and seal skin stretched over it, as those were the easiest materials to source in the arctic regions. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. Often an umbrella term for several types of kayaks, Skin on Frame boats are primarily considered a more traditional boat in design, materials, construction, and technique.

Another form of measurement is to compare the relative sizes of different parts of the subject with each other. Greenland style boats are typically narrower, and are paddled with greenland paddles, typically wooden, long and narrow. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. For the Inuit, without modern floatation devices or cold water protection, being thrown into the freezing waters of the Arctic Ocean was almost certain death in any event. A straight drawing implement held horizontally or vertically can be used to measure the angles of different sides. This meant that what is now known as a 'wet exit' (getting out of a kayak that has overturned, righting it, and getting back in) was impossible, leading to the importance of the eskimo roll maneuvre, where the kayak is righted without leaving the cockpit. Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the actual subject. Because the user was sewn into the boat, it was almost like a piece of clothing, 'worn' by the boater.

Instead the shape of the structure is portrayed almost entirely through tones and shading, including contrast with the background. Kayaks were used to hunt on the coastal and open waters of the Arctic Ocean, usually with harpoons and lances, but also with bird hooks. Otherwise the image may resemble a paint-by-numbers figure from a coloring book. This measurement style confounded early European explorers who tried to duplicate the kayak because each kayak was a little different. In most drawing mediums, but especially in ink, realistic renditions of an object or structure avoid outlinining the form and features. The man would measure the frame for the kayak based on his forearm, and a typical kayak is about 19ft long. A light edge next to a dark background will stand out to the eye, and almost appear to float above the surface. The skin jacket of the hunter is then sewn into the skins of the kayak, to create a waterproof seal.

A similar effect can be achieved by drawing different tones in close proximity. Kayaks were originally built by the man who would use them (with substantial assistance from his wife, who would typically sew the skins). Thus a coarse texture placed next to a smoothly blended area will appear more notable. These first kayaks were constructed as a wooden frame covered by an animal skin such as seal skin. Texture can be made to appear more realistic when it is draw next to a contrasting texture. The word "kayak" means "man's boat". In addition to choosing a suitable paper, the type of drawing material and the drawing technique will result in different textures. Kayaks were originally developed by the Inuit, the indigenous peoples living in the Arctic regions of North America and Greenland.

There are a number of methods for producing texture in the picture. . The chamois cloth in particular is useful for creating smooth textures, and for removing material to lighten the tone. A special type of kayak using pedals allows the kayaker to propel the vessel with underwater "flippers" . When shading and blending is needed, the artist can employ a combination of a tortillon blending stump, chamois or soft tissue, and a specialized putty-rubber eraser. Most kayaks are rigid hulled, although folding kayaks that can be transported easily, and inflatable kayaks are not uncommon. This can only be done when drawing with a material such as graphite or charcoal that is not permanently attached once applied. There are, of course, many more elements of kayak design— see the external links for more information.

Blending uses an implement to move the drawing material on the paper so as to hide the original drawing strokes. Radical changes in design philosophy, however, have lead to whitewater kayaks with very flat hulls that allow them to sit on top of the water (planing hull) rather than in the water (displacement hull) like most other boats. Careful attention to reflected light, shadows, and highlights can result in a very realistic rendition of the image. Until recently, whitewater kayaks had very rounded hulls. Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Thus, sea kayaks, which are meant to be taken into open water and rough conditions, are generally narrower (22-25 inches) and less stable feeling than recreational kayaks, which are wider (26-30+ inches) and have a flatter hull shape. However the fixative spray typically uses chemicals that can negatively affect the respiratory system, so it should be employed in a well-ventilated area such as outdoors. The same boats that have lower primary stability will generally be easier to right once they are tipped too far in one direction.

This will hold loose material more firmly to the sheet and prevent it from smearing. Secondary stability refers to the ease of righting a kayak once it has been put off balance. Another method to preserve a section of the image is to apply a spray-on fixative to the surface. However, if one plans to take his or her kayak into rough water, secondary stability may be more important. This will protect the surface from receiving any stray marks before it is ready to be filled in. Although every kayak will have some amount of side-to-side rocking, a wide kayak normally feels less likely to capsize than a narrow one, and a flat-bottomed boat will feel more stable than one with a rounded or V-shaped hull. The shape of the area to be preserved is cut out of the frisket, and the resulting shape is then applied to the drawing surface. Primary stability refers to the feeling of "tippiness" one has when seated in the kayak on flat water.

A frisket can be used for this purpose. After directional stabilty, the next most important design difference among kayaks is the tradeoff between primary and secondary stability. Sometimes the artist will want to leave a section of the image blank while filling in the remainder of the picture. Similarly, although a whitewater boat may only be a few feet shorter than many recreational kayaks, because the whitewater boat is heavily rockered its waterline is far shorter and its maneuverability far greater. A right-handed artist will want to draw from left to right in order to avoid smearing the image. Although kayak hulls are not so extremely curved as a hoop, it is analogous to what happens when a kayak with rocker is sitting in the water: although the overall length of the boat may be 18 feet, the length at waterline may only be 16 feet. Typically a drawing will be filled in based on which hand the artist favors. When set on its edge on a table, only a small portion of that hoop touches the table.

When drawing hair, the lines of the sketch follow the direction of the hair growth. For example, imagine a hoop 30 inches in diameter. For best results the lines in a sketch are typically drawn to follow the contour curves of the surface, thus producing a depth effect. A heavily "rockered" boat curves more than a boat with little or no rocker, meaning that the effective waterline of the rockered boat is less than for a kayak with no rocker. Sketch drawings use similar techniques, although with pencils and drawing sticks continuous variations in tone can be achieved. A second design element that should be considered is rocker, or the curvature of the kayak from bow to stern. Finally stippling, or random placement of dots on a page, can also be used to produce a texture or shade. Although length is an important feature of directional stability, length alone is a poor basis for guessing at the maneuverability of a kayak.

Broken hatching, or lines with intermittent breaks, is used to form lighter tones, and by controlling the density of the breaks a graduation of tone can be achieved. The design of recreational kayaks is an attempt to compromise between tracking and maneuverability, while keeping costs reasonable; their length generally ranges from nine to fourteen feet. Cross-hatching uses hatching in two or more different directions to create a darker tone. These kayaks rarely exceed eight feet in length, and some specialized boats such as playboats may be only six feet long. Ink drawings typically use hatching, which consists of groups of parallel lines. Whitewater kayaks, which generally depend upon river current for their forward motion, are built quite short, to maximize maneuverability. The stroke of the drawing implement can be used to control the appearance of the image. Flat water racing kayaks, which are built for maximum speed and efficiency, may be over 20 feet in length.

The different drawing implements can be tried on practice sheets to see what type of pattern they create, and how to apply the implement in order to produce varying tones. Kayaks that are built to cover longer distances such as touring and sea kayaks are themselves longer, generally between 15 and 18 feet. Prior to working on an image, the artist will likely want to gain an understanding of how the various media will work. Longer boats also have a higher maximum non-planing hull speed, but the effect is largely offset by increased friction, and only becomes a significant factor at racing speeds. The use of an easel or slanted table reduces the distorting effects of perspective. A longer hull creates a smoother transition from the narrow bow to the widest part of the boat and so "cuts" through the water with less resistance much like a sharp knife cuts more easily than a dull one. Other tools that sometimes prove useful are tracing paper, a circle compass, ruler, frisket film, fixative, and drafting tape. As a general rule, a longer boat is faster while a shorter boat may be turned more quickly.

These include a pencil sharpener, sandpaper, kneaded eraser, blending stubs, and chamois. The first trade-off important to all kayaks is between directional stability ("tracking") and maneuverability. Various tools are routinely used in the process of drawing. The design of different types of kayak is largely a matter of two types of trade-offs. Tracing vellum is often used for experimenting on top of a pencil drawing, prior to committing a technique to the final page. Some sit-on-top boats are also called kayaks, as the paddler propels the boat with a double-ended paddle. Coldpressed watercolor paper is sometimes favored for ink drawing due to its texture. They come in one, two, and occasionally three person models.

Bristol board makes a hard surface that is especially good for ink or fine detailed graphite drawing. Modern kayaks are made of plastic, fiberglass, kevlar, carbon fiber, canvas, other fabrics, or wood. For pen and ink work, typing paper is often used for practice drawings, but heavier paper holds up better. These types may also be subdivided. Thus a more coarse material is useful for producing deeper contrast. In modern times kayaks have been further developed into several types including: whitewater, playboats, surfing, sea kayaks, flat-water racing, downriver racing, slalom, canoe polo and recreational. Smooth paper is good for rendering fine detail, but a more "toothy" paper will hold the drawing material better. This manoeuvre is known as an Eskimo Roll.

Papers can vary in texture, hue, acidity, and strength when wet. This stops water splashing over the boat from entering it, and makes it possible that, should the kayak (capsize), the kayak will not fill with water, and the paddler, with skill, can right the kayak again without taking on water. Paper comes in a variety of different sizes and qualities, ranging from newspaper grade for practice up to high quality and relatively expensive paper sometimes sold as individual sheets. The paddler sits in a hole in the cockpit which may be sealed off with a spray skirt (or spraydeck). Very rarely, artists have drawn with (usually decoded) invisible ink. The top of the kayak is covered with a deck. Watercolor pencils can be used dry like ordinary pencil, then moistened with a wet brush to get various painterly effects. The user or paddler sits down in the kayak with feet facing forward.

graphite, charcoal, pastel, Conté, silverpoint), or water-based (marker, pen and ink). A kayak is a type of small human-powered boat and is a covered variant of a canoe, it is often called a canoe in Great Britain and Ireland, typically used with a double-bladed paddle instead of a canoe's single bladed paddle. Most drawing media are either dry (e.g. The medium is the means by which ink, pigment, or color are delivered onto the drawing surface. automatic drawing, entoptic graphomania).

cartoons, caricatures), or abstract (e.g. sketches), highly stylized (e.g. traditional portraits), looser approximations of reality (e.g. They may be realistic to the point of lifelike resemblence (e.g.

All drawings are representational, depicting objects or scenes which the artist views, remembers, or imagines. In digital media, "drawing" often refers to the use of vector-based graphics programs, as distinguished from bitmap-based "painting" software, but this distinction is not universal. These distinctions are somewhat arbitrary and subject to change; some artists refer to fully-rendered pastel and colored-pencil compositions as "paintings", and in nineteenth century usage "drawing" also encompassed the use of watercolors. One standard for differentiating drawing from painting is that it does not permit the artist to mix colors before applying them; colors can only be blended on the drawing surface, usually by overlaying one upon the other or by putting them close enough together that the eye "mixes" them.

Etching is similar to drawing but differs in that the tool digs into the surface, which is then used to make prints on a separate surface. Drawing is generally considered distinct from painting, in which colored pigments are suspended in a liquid medium and usually applied with a brush. . An artist who excels in drawing is referred to as a draftsman or draughtsman.

The main techniques used in drawing are: line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. Digital tools which simulate the effects of these are also used. Common tools are graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, pastels, and markers. It generally involves making marks on a surface by applying pressure from a tool, or moving a tool across a surface.

Drawing is a means of making an image, using any of a wide variety of tools and techniques. The World Book Encyclopedia Volume 5, 1988, ISBN 0-7166-0089-7. World Book, Inc. Frank Lohan, Pen & Ink Techniques, Contemporary Books, 1978, ISBN 0-8092-7438-8.

Hillberry, Drawing Realistic Textures in Pencil, North Light Books, 1999, ISBN 0-89134-868-9. D. J. Leonardo da Vinci.

Eugeen Van Mieghem. Rembrandt. Andrew Loomis. Albrecht Dürer.

Maurits Cornelis Escher. Michelangelo Buonarroti. Open Canvas. The GIMP.

Microsoft Paint. Pixia. Corel Painter. Paint Shop Pro.

Adobe Illustrator. Adobe Photoshop.