Ok! Whew! Hopefully if you are reading this you have gotten as far as drawing the basic structure and outline of the acanthus leaf as I have outlined in the last three posts. Give yourself a pat on the back! This is NOT a simple form! In fact, it's quite a complex form, but it is very important to understand these basics before we move on to the next step, which is where the fun starts.
So far what we've been doing is the mechanics of the leaf- it's outline, structure, and form. Next up is filling in the details; the leaf tips, the eyelets, and the profile of the leaf, leading into the shading of the form to clarify its form. Even if you are planning to finalize this design in a three-dimensional output, it is very important that you understand all the aspects of that form via drawing before you start
The profile of the leaf we have been working on thus far is fairly simple, so that we may learn the shape without dealing with too many bends and twists. Seen in profile, the leaf, as rendered below (from Page's book), would be almost flat, with a slight curve under at the bottom. In a horizontal section it appears like a bird's wings, as in the top part of the illustration here.
We had left off on the last post with an outlined leaf that had begun to be broken down into the smaller leaflet divisions. Here is a good example, again from Page, that shows the further division, which is based on the same method that was used for the larger divisions, though becoming more irregular and asymmetrical as it gets smaller and smaller. One important thing to notice is how the end of each leaflet flows into the main part of the leaf, which then flows down and into the stem channels to the base of the leaf. See how all those parallel lines converge as they descend the leaf?
One last detail I will point out is in the eyelet and the ridge that it creates. In Page's example seen here, there is a stylized rhythmic notching of the ridge that can be found in many examples from historical models. There is also a "skirt" of leaves around the large eyelet on the left side of the leaf, again something that is seen quite often in ornamental work. The skirt protrudes from the rib, catching light and emphasizing the eyelet's darkness. I will show more examples of these stylizations later, but for now perhaps you can work on your drawing of the whole leaf (if you have actually started one!) and see if you can get it close to the example
Next up: Variations on a theme
So far what we've been doing is the mechanics of the leaf- it's outline, structure, and form. Next up is filling in the details; the leaf tips, the eyelets, and the profile of the leaf, leading into the shading of the form to clarify its form. Even if you are planning to finalize this design in a three-dimensional output, it is very important that you understand all the aspects of that form via drawing before you start
The profile of the leaf we have been working on thus far is fairly simple, so that we may learn the shape without dealing with too many bends and twists. Seen in profile, the leaf, as rendered below (from Page's book), would be almost flat, with a slight curve under at the bottom. In a horizontal section it appears like a bird's wings, as in the top part of the illustration here.
One last detail I will point out is in the eyelet and the ridge that it creates. In Page's example seen here, there is a stylized rhythmic notching of the ridge that can be found in many examples from historical models. There is also a "skirt" of leaves around the large eyelet on the left side of the leaf, again something that is seen quite often in ornamental work. The skirt protrudes from the rib, catching light and emphasizing the eyelet's darkness. I will show more examples of these stylizations later, but for now perhaps you can work on your drawing of the whole leaf (if you have actually started one!) and see if you can get it close to the example
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