Drawing lines is the most fundamental method for defining objects in a two-dimensional medium. As illustrators, our daily work is so filled with lines that we easily take them for granted. It sometimes helps to go back to the basics before tackling more complex problems. So before we get into complex discussions of layers, blend modes, color holds, and other such insanity, let’s get back to basics and take some time to get to know our lines. This will be review for most everyone reading this, but we’ve got to start somewhere. The beginning is as good a place as any.
Borders and Objects
Lines come in two basic flavors; lines as borders and lines as objects. Let’s compare two drawings of a stalk of bamboo.
On the left, the lines define the borders of the shape, a visual representation of the separation between space and the bamboo. This is probably the most common use of lines in illustration, certainly the one most of us are familiar with.
On the right, the lines are themselves the shape. Each line represents a physical section of the stalk, its sections, and its leafs. This method is used in many zen ink drawings and water color.
Both techniques are very basic methods for visually defining objects in space. The first defines the border between the object and space, the second defines the silhouette of the object. Now that we’ve defined our object, let’s add some dimension.
The Shadow Knows
Shadows define an objects dimension in space. We can use a combination of lines as borders and lines as objects to help define the dimension of our object. Let’s take another look at our stalk of bamboo.
Oh look! A panda!
This is an extreme example of what’s known as chiaroscuro, a bold contrast between light and dark. The thin lines represent the border of the object while the thick black areas are the shadows. This extreme contrast between light and dark defines a light source coming from the top left of our bamboo and ads a measure of depth. Frank Miller uses this technique masterfully throughout Sin City.
A far more subtle approach to adding dimension is cross hatching.
In this technique, shadows are rendered with thin lines that intersect each other. This helps define the roundness of an object.
She’s So Heavy
Besides defining dimension, lines can also define the character of an object through a line’s thickness known as “line weight.” Light lines are thin, heavy lines are thick. Here’s a kaiju!
The lines have the same weight giving the drawing a very mechanical feel. This is perfect for animation where the character comes to life through motion, but as a stand alone drawing, it feels very deliberate. Rapidographs are perfect for this style of line work as well as fine tip liners like Pigma Microns or Copic Fine Liners. Let’s try again.
The lines now have different weight giving the drawing more personality. The lines are thinner towards the ends and thicker towards the middle. Varying the weight of the lines give them a sense of motion and spontaneity missing from the more mechanical approach. This style of line work is well suited or comic and cartoon illustration. Brushes and flexible nibs, also known as crow quills or calligraphy nibs, are great for this style of line work.
A combination of both techniques can help separate foreground and background shapes without the use of shadows.
The thicker outline around Wanda, Manpower, and the dwagon (a little Erfworld self promotion here) brings them forward in space and pushes the ruins into the background.
It’s All in the Line
Understanding the various ways lines can be used to define objects in a two dimensional medium can help strengthen your black and white illustrations. Tone and color can be used to further enhance your object definition, but a strong foundation goes a long way to creating illustrations that communicate instantly and effectively.
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