HOW TO DRAW A CROISSANT
MODULE ONE.
Description.
This module involved the accurate analysis and measurement of a croissant in order to construct an array of drawings from elevation, plan, section, and orthographic perspectives.
OVERVIEW
Following rigorous photography of the subject, various pencil and fine liner weights were applied to create sketches with representational conventions. This demanded hatching and shading techniques to create a sense of 3-Dimensionality through depth. Essentially, the task required the most accurate representation of a tangible object in a 2-Dimensional realm.
PROCESS
A light box with surrounding white background was created and adorned by a key and fill light pointing towards the centrally-placed croissant. This setup allowed for the camera to penetrate the space in which the croissant rested, representing it realistically and in focus.
At the section markers, ‘A, B & C’, three parallel incisions were made down the width of the croissant, to give an indication of the croissant’s inner appearance, accompanying the outer plan, short elevation and long elevation.
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Photography.
Capturing in a lightbox.
The photographs were digitally edited to resemble the least deviation from accurate colouring, shadow, tone and saturation. Precise measurements were required for careful scaling and angling of images.
Sketches.
Using pencils of varied 'blackness' and 'hardness', the photographs were used as tracing tools whilst represented through hand-drawn sketches. Areas of dark tonal value were repeatedly hatched across, whilst lighter areas were treated with a very hard and fine pencil weight.
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Intricate attention to detail was maintained whilst applying cross hatching and shading techniques to evoke shadow and form.
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A heavy fine liner was used to mark the cross sections of the elevated section cuts.
Axonometric.
Once sketching the elevations, plan, and section perspectives, a setsquare was used to create a 45°C projection of the first section cut. By measuring a grid and projecting this across a diagonal axis, correlating measurement points to the new rulings.
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The sketch was then produced by looking at photographs from this angle and appropriating the effect of lighting on the form of the croissant in previous sketches.
As no direct tracing occurred, this sketch is the least accurate and deviates from the actual object.
This module required the detailed representation of the 3-Dimensional representation of texture, form and tonality of a croissant in a 2-Dimensional format. ​
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The most challenging component involved the appropriation of the axonometric projection as this relied on a less exact representational style and it was difficult to find the most appropriate tonal balance.
It was rewarding to pay close attention to intricate detail when sketching and repeating shadowing techniques to layer tone in certain areas and then paying attention to the depiction in its entirety later. I found that the most effective method of creating a realistic sketch was by using layering techniques instead of immediate harsh application of a very dark pencil. Through layering, the transitional spaces remained constant and a rounded form was achieved.