Drawspace Guide To Getting Started With Drawing

Ideal for homeschooling and
self-directed learning!
DRAWING
BOOK 1: GETTING STARTED
Brenda Hoddinott
Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated
120 pages and more

than 230 illustrations!
► Choose the right drawing supplies
► Set up a place to draw
► Make a portfolio and viewfinder frame
► 10 fun exercises and projects
Flesch-Kincaid Grade Level: 6.84

Flesch reading ease score: 74.7
Brenda Hoddinott
Artist, illustrator, art educator, curriculum designer, forensic
artist (retired), owner of Drawspace.com, and author of Drawing
for Dummies, The Complete Idiot’s Guide to Drawing People
Illustrated, and Drawing Book 1: Getting Started.
**********************************************************************
Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. With
the help of learn-to-draw books, she developed good drawing skills by the age of 16.
In 1982 Brenda left her well established career as a portraitist, graphic designer, and
forensic artist, to move to Nova Scotia with her family. In addition to resuming the various
facets of her art career, she began learning to paint in oils. From 1988 to 1994, Brenda
began exhibiting her paintings and drawings in provincial and regional art exhibitions and
competitions. She was honored with more than twenty prestigious visual art awards during
these six years.
Brenda and her partner John live in the suburbs of Halifax, Nova Scotia with their two SPCA
rescue dogs, Timber (Huskador) and Katie (Rottbeagle). Their blended family includes five
adult children and two grandchildren.
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I
DRAWING
BOOK 1
GETTING STARTED
by Brenda Hoddinott
Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated
Published by Drawspace.com, Halifax, NS, Canada

II
This book is dedicated to my

loving partner, John Percy.
Copyright © 2009 Brenda Hoddinott

All rights reserved. No part of this electronic book shall be reproduced by any method or means, electronically sent or
transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted
by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written permission of
Brenda Hoddinott.
This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide
helpful and informative material on all aspects of the subject matter, specifically the basics of drawing. Brenda Hoddinott
and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is
incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of
the contents of this book.
Publisher: Drawspace.com, Halifax, NS, Canada
Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott
Editor: Suzanne Beaton

Brenda Hoddinott can be contacted at brenda@drawspace.com or through her website at http://www.drawspace.com.
III
CONTENTS
*****************************************************************
Introduction .................................................................1
Look into this Book ..................................................................................3
Sizing up the sidebars ................................................................................3
ArtSpeak ....................................................................................................................3
Info Tidbit ....................................................................................................................3
Warning! ....................................................................................................................4
Tip! ............................................................................................................................4
Art Quote ...................................................................................................................4
Eyeing action icons ....................................................................................4
Shaping up with exercises ..........................................................................................4
Step-by-step projects .................................................................................................4
Action sidebar numbers and letters .............................................................................4
A few words on illustrations ........................................................................5
Insights into the Parts .............................................................................6
Part 1: Get Ready! .....................................................................................6
Part 2: Get Set! ..........................................................................................6
Part 3: Go Draw! ........................................................................................6
How to Use this Book ..............................................................................6
Part 1: Get Ready! ......................................................7

Chapter 1: Welcome to Drawing ...................................................9
A Brief History of Drawing .....................................................................11
In the time of the caveman .......................................................................11
The birth of classical art ...........................................................................12
Remembering the Renaissance ................................................................13
The Inside Scoop on Drawing ................................................................14
Drawing is an action word ........................................................................15
YOU can draw! .........................................................................................15
IV Welcome to Drawing Book 1: Getting Started
Chapter 2: Getting a Grasp on Graphite and Grades ...................17

Traveling Back in Time with Graphite ....................................................17
How the “lead” pencil got its name ...........................................................18
The link between graphite and sheep .......................................................19
Making the Grade ...................................................................................19
Hard is light .............................................................................................21
Soft is dark ..............................................................................................22
Combining soft and hard grades ...............................................................23
Finding out your grade .............................................................................24
Chapter 3: More Drawing Mediums ..............................................25

Picking out Proper Pencils ....................................................................26
Wood-encased pencils .............................................................................28
Graphite pencils .......................................................................................................27
Charcoal pencils .......................................................................................................27
Other fun pencil mediums ........................................................................29
Mechanical pencils ...................................................................................................29
Woodless graphite pencils ........................................................................................29
Sticks and Stones (oops!) Powders ......................................................31
Chapter 4: Sketchbooks and Drawing Papers .............................33

Check up on Tooth (without a Dentist!) .................................................34
The surface of a smooth tooth ..................................................................35
Big smile for a medium tooth ....................................................................36
Textures on a rough tooth .........................................................................37
Sketchbooks and Papers .......................................................................38
Softcover, hardcover, or sheets? ..............................................................39
Weighing in on paper ...............................................................................39
Larger is not always better .......................................................................40
Chapter 5: Adding to the Basics ..................................................41

Tools for Erasing ....................................................................................41
Vinyl erasers ............................................................................................41
Kneaded erasers ......................................................................................42
Sharpening your Mediums .....................................................................43
Pencil sharpeners ....................................................................................43
Contents V
Sandpaper blocks and sheets ..................................................................43

A Few Extras ..........................................................................................44
Stuff you can’t do without .........................................................................44
Pencil case ...............................................................................................................44
Portfolio ....................................................................................................................44
Ruler ........................................................................................................................44
Viewfinder frame .......................................................................................................45
Nice to have, but not necessary ...............................................................45
Display boards ..........................................................................................................46
Spray fixative ...........................................................................................................46
Manikins ...................................................................................................................46
Part 2: Get Set! .................................................47

Chapter 6: Setting up For Drawing ..............................................49
A Comfy Place to Sit and Draw ..............................................................49
Choosing a drawing surface .....................................................................50
Shedding light on your art ........................................................................50
Good Posture First! ................................................................................51
How NOT to sit! ........................................................................................52
Sitting correctly ........................................................................................52
Putting Together a Portable Studio .......................................................53
Chapter 7: Making a List, Portfolio, and Viewfinder Frame ........55

Action 7A: The Shopping List ................................................................55
Must have ................................................................................................55
Nice to have .............................................................................................56
Supplies for making a portfolio .................................................................57
Supplies for making a viewfinder frame ....................................................57
Supplies for a portable studio ...................................................................57
Action 7B: Making a Portfolio ................................................................57
Deciding on a size ....................................................................................58
Option 1: Using one large sheet of board .................................................58
Option 2: Using two pieces of board .........................................................61
Adding ties and final touches ...................................................................62
Action 7C: Making a Viewfinder Frame .................................................63
VI Welcome to Drawing Book 1: Getting Started
Chapter 8: Give Yourself a Helping Hand ....................................65

Holding your Mediums ...........................................................................65
Becoming a Natural ...............................................................................67
Leonardo the lefty ....................................................................................67
Finding your natural hand movement ........................................................68
Rotating your paper as you draw ..............................................................68
Part 3: Go Draw! ...............................................69

Chapter 9: Putting your Supplies to Work ...................................71
Action 9A: Sketching a Self-Portrait .....................................................71
Action 9B: Creating Values with Squirkles ...........................................72
Action 9C: Playing with Pencils ............................................................76
Action 9D: Playing with Erasers ............................................................77
Action 9E: Drawing Shapes by Rotating Your Paper ............................80
Part 1: Circular shape ..............................................................................81
Part 2: Straight-sided shape .....................................................................84
Part 3: Circle ............................................................................................88
Just for fun! ..............................................................................................90
Action 9F: Framing with a Viewfinder ...................................................91
Three steps for framing a view .................................................................92
Create a sketch by framing your view .......................................................93
Chapter 10: Three Simple Drawings ............................................95

Action 10A: Drawing a Caveperson .......................................................95
Action 10B: A Realistic Eye ...................................................................99
Action 10C: Mugly Wigglebottom ........................................................103
Outlining Mugly with neat lines ...............................................................104
Squirkling shading for Mugly ..................................................................108
Glossary ............................................................................................115
Foreword by Robert A. Roughley VII
Foreword
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I have known Brenda Hoddinott for many years.

It was during a difficult life transition that she
provided me with the gift of encouragement
to explore my creative self-awareness. Until
that point, I didn’t believe that I was creative
or artistic. My perception of art and creativity
was limited by my perfectionist ideals of what
defined “artistic ability”. However, with patience
(and a sense of humor), Brenda played a pivotal
role in helping me reconnect with my artist
within.
When Brenda first approached me to write the forward for this, her third
book; Drawing Book 1: Getting Started – the first in a series for homeschooling
families and self-directed learners, I was filled with joy. Not only because she
asked me, but because I had been eagerly awaiting the completion of this
learning resource.
For many, including those who learn outside the boundaries of traditional and
prescribed learning environments, access to quality learning and teaching
materials is limited. Many of the existing resources on the market are written
and published without careful attention to the learning needs of the intended
audience.
As an educator with graduate training and expertise in curriculum and
instructional design, I believe that Brenda Hoddinott has not only responded
to, but has exceeded the expectations of her audience with this invaluable
arts-based curriculum. Blending expertise with encouragement, Brenda’s
lesson plans and instructions accommodate a wide range of learning styles,
abilities, and skill levels. Most notably, her genuine and compassionate nature
extends to her teaching of art and drawing, as she leads students on a journey
of self-discovery through self-directed learning.
For the past fifteen years, my own journey has taken me into the field of
education. The integration of my training has allowed me to participate in
many roles: learner, teacher, mentor, and advocate. As a learner, I pursued
undergraduate degrees in music and elementary and adult education.
VIII Welcome to Drawing Book 1: Getting Started
My graduate work focused on educational and curriculum studies, and

counseling psychology. As I transitioned from learner to teacher, I worked with
children from kindergarten to grade six, with a focus in special education. Later
in my career, I became a consultant for change in curriculum development and
inclusive education.
My current positions have merged my credentials and focus into three main
areas: teacher development (teaching professionals how to teach), reflective
practice, and inclusive education. And now, after years of study, I have the
pleasure of putting my academic “stamp of approval” in the front pages of this
very unique and thorough approach to art education.
In my various personal and professional roles, I have learned, unlearned, and
relearned the importance of creativity and artistic expression in marking
our developmental milestones and other life transitions. As an educator
and co-learner with students of all ages, abilities, self-identities, and
worldviews, I have noticed the eﬀect of inclusive and purposeful curriculum
in the emergence of the creative self. As a counseling practitioner, I have
witnessed the long-term, negative implications resulting from the demise or
discontinuation of arts-based education in traditional and homeschooling
settings.
As human beings, we possess the intentions of creativity, but are far too often
limited by the influence of those who fear the unlimited possibilities that
come from creative thinking. Someone once said, “What we learn from others
becomes our own through reflection”. I encourage readers, learners, and
practitioners to build upon this quotation and consider that what one sees in
their own self-reflection is the core of one’s creative identity.
Each chapter of this book represents a stage in the development and
awareness of one’s artistic self. Through her gentle and supportive directions,
unique humor, and detailed visual illustrations, Brenda joins her learners as
they discover their creative talents. It is my hope that you find this experience
just as enlightening as you explore, discover, (or even rediscover!) your own
artist within.
Robert A. Roughley
B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of Calgary
Instructor, Teaching and Learning Centre, University of Calgary
Introduction 1
Introduction
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YOU can learn to draw!

ArtSpeak All you need is some
vision and a way to hold
a drawing medium.
ArtSpeak is a fun word
used to describe the This book tells you about
vocabulary of art. drawing supplies, and
shows you how to use
Drawing (verb) refers to them. Several simple
the process of applying exercises and projects
a medium to a surface help you warm up your
to create an image Figure 01: A hand is drawing a drawing hand.
(Figure 01). cartoon.
I also discuss how to set
Drawing (noun) is an Figure up a practical place to
image created on a 02: A draw indoors. In addition,
drawing surface with a cartoon
drawing
you find out what to pack
drawing medium (Figure
is created in a portable studio so
02).
with a you can comfortably
pencil.
Vision is the ability to draw outdoors.
see.
In this introduction, you
Medium refers to any Figure 03: A regular find out about each
drawing tool (anything from pencil with a medium part of this book and
inside a wooden
a pencil to the burnt end of
holder is a very
all the different types of
a stick) used to make marks popular drawing tool. sidebars. You are also
on a surface. introduced to several art
related words and terms.
Sidebar is a box of text (some have illustrations)
that provides additional information about a topic. Finally, I explain the very
This sidebar is called ArtSpeak, and it provides best way to work through
you with definitions of art words and terms. this book.
Pencil refers to a broad category of drawing tools So, sit back and relax as
that have the medium inside a holder (Figure 03). I tell you about this book
and how to use it.
2 Welcome to Drawing Book 1: Getting Started
ArtSpeak TIP!
Illustration is an image (such as a drawing) that is Save all your sketches and
used to help explain text. drawings!
Icon is an image (such as a drawing) used to Someday, you may want to
identify a specific task or information. ArtSpeak look back on your early works
sidebars are identified by a cartoon icon of Albert to see how much you’ve
Einstein. improved.
Text refers to the words I created the drawings in
used in writing. Figures 07 and 08 when I was
around 14. Luckily, my parents
Sketch (noun) is a
had saved them for me.
simple drawing of the
important parts of a
subject. A sketch is
usually done quickly
with simple lines (Figure
04) and (or) shading
(Figure 05).
Sketch (verb) refers to Figure 04: Simple sketch
of a seated man.
the process of doing a
sketch.
Shading (noun) refers
to the various values
within a drawing that
Figure 07: A family living in a log
make images appear house in the forest.
three-dimensional.
Shading (verb) is the
process of adding
values to a drawing.
Values are the different
shades of gray you
Figure 05: Shading is
make when adding added to the same sketch.
shading to a drawing.
Figure 06: Five values from light to dark. Figure 08: Little girl with a doll.
Introduction 3
Look into this

ArtSpeak
Book
In this section, I tell you about, and
Shape refers to the outward outline of a three- show you how to identify the various
dimensional object. sidebars, icons, exercises, projects,
and illustrations in this book.
Figure 09:
Shading transforms
the shape of a
simple circle into Sizing up the
the planet Earth.
sidebars
Classical drawing refers to the drawing
Scattered throughout this book, you
methods invented by ancient Greeks and
find five different sidebars (identified
Romans for creating realistic drawings (called
with circle-shaped icons) that are
realism). Classical drawing was later enhanced
filled with useful information.
by the great artists of the Renaissance.
Realism is a ArtSpeak
way of drawing
in which living ArtSpeak sidebars (Figure 12) define
beings and the drawing words and terms in this
objects are book, so you can better understand
drawn as they what you read.
appear in real
life. The artist Info Tidbit
tries to draw
what he or Info Tidbit sidebars (Figure 13)
she sees as provide tidbits of information about
realistically as art-related subjects, such as the
possible. history of art.
Renaissance Figure 10: I used classical

drawing methods to copy a work
(from the Figure 12: ArtSpeak
created by Leonardo da Vinci
French word during the Renaissance. icon is a cartoon of
for “rebirth”) Albert Einstein’s face.
refers to the
changes within
European
culture from
the early
twelfth century
to the late Figure 13: Info
Tidbit icon is a simple
sixteenth Figure 11: A lifelike drawing of
flower rendered with
century. an eye is an example of realism.
classical drawing
techniques.
Warning! Figure 14: Warning

icon is a scared-
Better safe than sorry! Protect your drawings looking cartoon face
(or yourself) from potential dangers by with a nose shaped
following the advice in these sidebars (Figure like an exclamation
mark.
14).
Tip!
A tip can be more than the pointy end of a Figure 15: Tip icon
stick! The tips inside these sidebars (Figure is a cartoon face on a
15) can save you time, energy, and frustration light bulb.
by telling you easier ways to do some tasks
or how to take better care of your supplies.
Art Quote
Quotes about art (Figure 16) provide insights Figure 16: Art Quote
into the creative minds of well-known artists. icon is an adorable
cartoon called a
Wooly Woo.
Eying action icons

In Chapters 7, 9, and 10, you find several action
icons. Some ask you to make something and Figure 17:
others ask you to gather your drawing supplies Exercises
and draw. are
identified by
an icon of a
Shaping up with exercises boy doing
exercises.
Wherever you see the icon in Figure 17, you find
an exercise designed to help you make or use
drawing supplies. In addition, an exercise icon
may ask you to do a simple sketch or drawing.
Step-by-step projects
When you see the icon in Figure 18, it’s time to
complete a step-by-step project. Projects usually
take more time than exercises. Each has two or
Figure 18: Step-by-step projects are
more illustrated instructions to help guide you.
identified with a hand holding a pencil.
Action sidebar numbers and letters

As you know, an action icon identifies either an exercise or project. Each exercise and
project can be identified by the number of the chapter in which it appears. A letter identifies
its order within the chapter.
Introduction 5
For example, the
first action sidebar in
► AC T I ON 7 A ◄ Chapter 7 is marked
7A (A is the first letter
of the alphabet). As
Figure 19: The first exercise in Chapter 7 helps you
make out a shopping list for buying drawing supplies. you can tell by the
icon (Figure 19), this
one is an exercise.
The number and
letter 10C (C being
► AC T I ON 1 0 C ◄ the third letter of the
alphabet) identifies
the third action in
Figure 20: Action 10C takes you step-by-step
Chapter 10. The icon
through the process of drawing a cartoon puppy
named Mugly Wigglebottom. identifies a project.
A few words on illustrations

You are not expected to draw all the illustrations in this book! Most drawings are intended to
illustrate and help you understand the topics being discussed.
As an added bonus, you may
become inspired by examining
the skills you are working to
achieve.
For example, maybe one of
your artistic goals is to draw
realistic animals (check out
Figure 21).
Each illustration in this book is
marked with a number based
on its placement within a
chapter.
For example, the first illustration
in Chapter 1 (a drawing of
mountains on page 9) is marked
Figure 101.
Likewise, the fourth illustration
in Chapter 6 (a cartoon artist
practicing his drawing skills on
page 50) is marked Figure 604. Figure 21: A challenging drawing of a Shih Tzu who goes by the name
of Panda. Do you happen to know the name of a good orthodontist?
Insights into the parts

In this section, you find out what’s inside each of the three parts of this book.
Part 1: Get Ready!

Sit back and relax as I tell you about the drawing supplies you need to complete the
exercises and projects in this book.
Part 2: Get Set!

In this part, I help you set up a comfortable place to draw. You find out about proper lighting,
ideal drawing surfaces, good posture for drawing, and various ways to hold your pencil. You
also have the option of making an artist’s portfolio and viewfinder frame.
Part 3: Go Draw!
The first two parts of this book prepare you for the activities in this part. Nine fun exercises
and projects challenge you to put your drawing supplies to work as you learn several basic
drawing skills and techniques.
How to Use this Book

This book is designed to be read in order - from beginning to end. However, human nature
being what it is, I offer the two following options:
Plan A
Slowly work through the entire book in sequence, doing each exercise along the way.
Each new piece of information, skill, or technique prepares you for the next. If an exercise
or project is too difficult, go back and try it again (and again if you need to), until you are
happy with the results. By the time you reach the end of the book, you’ll be ready for
Drawing Book 2: Lines and Spaces.
Plan B
Read through this book in no particular order. Enjoy the illustrations and try your hand at
the various exercises and projects that appeal to you. You will encounter a few challenges
with terminology (this is why you have a glossary in the back of the book), and some
projects beyond your current skill level. When you begin to feel totally overwhelmed and
frustrated, go back to plan A and work through the book from beginning to end!
Part 1: Get Ready! 7
PART 1
GET READY!
► Simple history of drawing
► Process of learning to draw
► Fun history of graphite
► Grades of graphite
► Differences between B and H grades
► How grades affect the look of drawings
► Graphite and charcoal drawing mediums
► Wood-encased, mechanical, and woodless pencils
► Drawing powders and sticks
► Textures, sizes, and weights of drawing papers
► How to select and protect the tooth of paper
► Vinyl and kneaded erasers
► Pencil sharpeners and sandpaper
► Pencil case, portfolio, viewfinder frame, and ruler
► Manikins, display boards, and spray fixative
8 Drawing Book 1: Getting Started
Chapter 1: Welcome to Drawing 9
Chapter
1
Welcome to Drawing
*****************************************************************
On a simple sheet of drawing paper, the tallest trees on earth grow toward the sky. In
another drawing, ogres and trolls are chasing one another through a dark, magical forest.
How about a snow dragon dancing with polar bears and penguins? Or stone faces standing
guard over a river valley in another galaxy far away?
How many stone faces can you find in the drawing in Figure 101? Figures 102 and 103
show you a couple just to get you started.
Figure 101: You won’t find this scene anywhere on planet Earth. I wonder if any other life forms besides stone faces live here?
In this chapter,
you learn 32,000
years of art history
by reading a
thousand words.
(Obviously, a very
shortened version
of history!)
You also find
out the real truth
behind the silly
gossip that you
Figure 102: Imagine yourself strolling Figure 103: See the face of a regal need a magical
peacefully along this path, unaware of the male warrior gazing toward the right. talent to become
creature with the huge open mouth waiting Can you find his nose, mouth, chin, an artist.
for lunch to walk by. and an eye?
ArtSpeak
Portfolio is a case in which artists store (or History is a written record of the past;
carry) drawings and papers to protect them mostly about the lives and activities of
from damage. human beings and their environments.
For example, historians (people who study
and write about history) have documented that
Figure 104: Leonardo da Vinci was born
In Action 7B in Italy in the year 1452.
in Chapter 7, I
show you how to
Archaeologist is a
make a simple
portfolio. person who studies
ancient peoples
Prehistoric describes the period in time before by finding and
language was used to write and record history. documenting the
things they left behind.
(As an aside, many
archeologists have
excellent drawing
skills.)
Figure 105:
Prehistoric
humans drew Figure 106: A drawing of
pictures like an old arrowhead that looks
these on the similar to some that were
walls of caves. discovered by archeologists.
A Brief History of Drawing

Drawing is a universally understood language; a form of communication that is free of
such rules as correct spelling or proper grammar. This section offers a brief background
on drawing - from the cave drawings of prehistoric humans, to the masterpieces of the
Renaissance.
In the time Figure 107:

Copies of
of the prehistoric
cave
caveman drawings
created by
cavemen (or
Artists have been
cavewomen).
drawing for at least
32,000 years.
Archaeologists
have discovered Figure
many of their 108:
drawings on the Drawing
based on
walls of caves. an actual
prehistoric
The drawings
drawing
in Figure 107 discovered
are similar to on a stone in
prehistoric Africa.
drawings found on
the walls of caves in
France.
These drawings tell us a lot about ArtSpeak
how prehistoric humans lived.
In other words, the drawings
recorded their stories without Style refers to an artist’s approach to his or her
spoken language or written own art. An artist’s style may be based on his or
words. her personal preferences and art education.
During prehistoric times in Africa, For example, realism is a well-known style.
drawings of simple human figures
(Figure 108) were added to burial Technique is a well-known method (such as
stones. a specific way to do shading) that is used to
accomplish a particular activity or task.
You can try your hand at drawing
For example, more than one shading technique may be
a human figure the way some
suitable for a specific drawing. Hence, an artist’s choice of a
prehistoric people did, in Action shading technique (or techniques) is generally based on his
10A in Chapter 10. or her skill level and what works best to capture the subject.
ArtSpeak
Mural is a drawing or painting on a wall, ceiling, or other Mummy portrait is a painting of

large surface. a man, woman, or child that was
discovered attached to the face
Murals have been discovered on the walls of prehistoric caves and
inside ancient Egyptian tombs. of a burial mummy. Many date
back to the Roman occupation
Fresco is an artwork painted on a thin layer of plaster of Egypt.
that covers a wall or ceiling. The drawing in Figure 110 is copied
from a mummy portrait that was
Frescos that date back more than 3500 years have been discovered
discovered in Egypt.
in Greece. The ceiling of the Sistine Chapel (in Rome) is also a
fresco that was painted by Michelangelo between 1508 and 1512.
Visual art refers to artworks
Sculpture is a three-dimensional artwork that is made of (such as drawings, paintings,
a material such as bronze, rock, or marble. and sculptures) that can be
appreciated by the sense of
Sculptor is an artist who creates sculptures. sight.
A very well-known sculptor of the Renaissance was Michelangelo, For example, all the drawings in this
and one of his most famous sculptures is the Statue of David. book are considered visual art.
The birth of classical art

Long before the Renaissance, ancient
Greek and Roman artists created
realistic artworks of nature, animals,
and people. The discovery of several of
these artworks helps us understand the
styles and techniques of the artists, as
well as how people lived during these
times.
Archeologists have found the remnants
of murals and frescos painted on walls of
buildings in ancient Greece and Rome.
Many show major deterioration, but
others are remarkably well preserved.
Figure 109 is a drawing of an antelope,
copied from a fresco that had been
buried under volcanic ash in Greece for
more than 3500 years. Figure 109: The smoothly flowing lines of this drawing
capture an antelope as it appeared on an ancient fresco.
In addition to murals, frescos,

coins, and pottery; several
breathtaking, realistic sculptures
and paintings of people have
survived the ravages of time.
One of my favorite ancient
paintings is a mummy portrait of
a young man, possibly a Roman
soldier (Figure 110). I couldn’t
resist the challenge of drawing
someone who lived more than
2,000 years ago.
The unknown artist used classical
techniques to make the face
appear three-dimensional.
Figure 110: My goal was to create a

drawing that looked like the ancient painting.
I decided to include the flaws of the old
wooden panels on which it was painted.
Remembering the
Renaissance
The beginning of the Renaissance is identified by the very popular rebirth of classical
drawing throughout Europe. During this time, classical drawing techniques were greatly
improved and many new techniques were born.
Throughout the Renaissance, art students were encouraged to study and practice
the techniques of the most highly skilled artists (called “masters”). Some of the more
dedicated art students experimented with new ways of drawing and ended up creating new
techniques. Hence, many students of the masters eventually became masters themselves.
Between 1480 and 1527, during the time known as the High Renaissance, many very
famous artists (called “great masters”) further developed drawing as the most important of
all visual arts. Great masters, such as Leonardo da Vinci, Michelangelo, Hans Holbein, and
Albrecht Dürer, created the most magnificent masterpieces our world has ever known.
Even today, students of art all over the world are still learning from the masters of the
Renaissance. Classical drawing techniques are considered the foundation of all visual arts
including painting, sculpture, and digital art.
Figures 111 and 112 demonstrate classical drawing techniques from the High Renaissance.
Figure 111: This classical drawing of a youth is Figure 112: Classical drawing
copied from a work by Michelangelo. techniques are used in a drawing
of a young girl (based on a
drawing by Leonardo da Vinci).
The Inside
Scoop on
Drawing
Throughout the process
of learning to draw, you
automatically learn to
observe, appreciate, and
better understand the world
around you. As your drawing
abilities become stronger,
creativity is also enhanced.
Check out the artist’s model
and compare him to the
Figure 113: An artist uses his creativity to make a few drawing (Figure 113).
changes to the body of the model in his drawing.
Drawing is an action word

Music students can’t learn to play piano by reading a music book without actually applying
their knowledge to the action of playing a piano. People who expect to know how to ski
after reading a book on skiing are not going to have any success until they actually go
skiing. Both of these activities require some sort of action in order to be learned.
Drawing is also an action word. The process of reading this and every other art book from
cover to cover cannot improve your drawing skills. You need to actually draw to achieve
strong skills. In other words, you must put your knowledge into practice!
YOU can draw!

Drawing is an easily acquired skill that everyone can learn. All you need is some vision and
a way to hold a drawing tool. Talent is nothing more than a word that describes the process
in which you accept your ability to become a good artist. Simply put, learning to draw does
not require a magical force to have been born within you.
The closest relatives of drawing are printing and writing. Just as you learned to draw the
letters of the alphabet, you can also learn to draw objects, people, and other subjects.
Drawing provides a way for you to
document how you see the world.
Being able to draw also allows you Figure 114:
to take up other visual arts (such as A photo
digital art and painting) more easily of a horse
than people who cannot draw. in a field
as viewed
You can also learn to draw from your through
the legs
imagination. With a little creative of another
thought, artists can even change horse.
what they see
in the real world
into something
completely
different!
Compare my
reference photo
in Figure 114 to
the drawing in
Figure 115.
Figure 115: The horse has

magically turned into a unicorn!
Info Tidbit ArtSpeak
Developing your own style Underdrawing is a loosely rendered

sketch that is created as a guide for a
To develop a personal style of your own, you final drawing (or painting).
first need to learn as many techniques as
possible. The techniques that you like best Figure 116 shows an underdrawing of a horse.
help determine your unique style.
My drawing techniques reveal that I have
been a student of the masters for most of my
life. For instance, Leonardo da Vinci often My sketch of a horse’s head (Figure
used the technique of doing an underdrawing 116) demonstrates the classical
with metalpoint (refer to definition on page technique of lightly rendering an
18) before beginning a drawing or painting. underdrawing before beginning a final
drawing (Figure 117).
Figure 116:
A very faint
underdrawing
identifies the
basic shapes
of a horse’s
head.
Figure 117:
The style I
use to draw a
horse’s head
is similar to
the styles of
the drawings
of the masters
demonstrated
in Figures 111
and 112.
Strong drawing skills eventually come to everyone who works hard. Always take joy in your
good drawings, and learn from those that you don’t like.
You CAN draw! With lots of patience and hard work, you can become as good as you can
imagine.
Chapter 2: Getting a Grasp on Graphite and Grades 17
Chapter
2
Getting a Grasp on Graphite
and Grades
*****************************************************************
Something called “graphite” is the best friend of many artists who love to draw. In this
chapter, I share a little bit of fun information about graphite and its history.
You also learn about the grades

of graphite. (When it comes to
graphite, a B grade is not better
than an H!)
ArtSpeak
In addition, you examine drawings
rendered with different grades of
graphite to give you an idea of how Graphite is a soft black form of opaque (non-
B and H pencils affect the look of transparent) carbon found in nature. It is often
drawings. mixed with clay to make various types of drawing
tools for artists.
Clay is a naturally occurring material that
Traveling Back becomes hardened when dried.
Grade refers to the softness or hardness of
in Time with the mixture used in the manufacture of drawing
mediums.
Graphite
In this section, you discover a few
fascinating tidbits about the history
of graphite.
Some graphite drawings created
hundreds of years ago are still
Figure 201: The base value of five different grades of
around today. Hence, graphite has graphite.
survived the test of time.
Another great thing about graphite is its ability

to be erased. Therefore, many mistakes can be
fixed. ArtSpeak
Stylus (sometimes
How the “lead” pencil got called leadpoint or
its name metalpoint) refers to a
thin metal stick used
Before the discovery of graphite, ancient artists for drawing. Styluses
made drawings with long, thin rods (referred to made of lead have
as “styluses”). Styluses were made from a soft been traced back to
metal, such as lead, and so they became known ancient Rome.
as “leadpoint”.
During the
A stylus worked by leaving a thin deposit of Renaissance, styluses
metal on the surface of paper, producing a fine were also made from
gray line. silver, gold, or copper.
Some styluses had a fine point at one end and a
Figure 202: The earliest
blunter point at the opposite end so artists could stylus was a thin metal stick
draw both thin and thick lines. made of lead.
Leadpoint is considered the

ancestor of the modern graphite
pencil. The term “lead pencil” is
often incorrectly used to describe
graphite pencils that are made of
graphite and clay (and contain no WARNING!
lead whatsoever).
On the other hand, graphite pencils Stay away from poor-quality
do produce a warm-toned gray line graphite!
that looks very similar to the marks
made by leadpoint. When most people think of drawing, an ordinary
graphite pencil comes to mind (like the ones used
During the Renaissance, the by schoolchildren). However, a word of caution:
masters created many beautiful these pencils are not designed for drawing!
intricate drawings with only a
stylus. Inexpensive graphite may work well for writing,
but can scratch your drawing paper instead of
Artists also used styluses to do going on smoothly.
underdrawings for more detailed
drawings (and paintings). Professional drawing pencils are made with a
higher quality mixture of graphite and clay and
When you look closely at old make marks that flow more smoothly.
drawings, you can often find a
few of the faint lines from the On the downside, they are usually more
underdrawings. expensive than pencils made for writing.
The link between graphite and sheep

Graphite was discovered in England somewhere between 1500 and 1560. Farmers are
thought to be the first people who found a practical use for graphite. They used a lump of
graphite to mark their sheep so they could easily identify their flocks. Check out the cartoon
drawing of a sheep in Figure 203.
News of the discovery of graphite
soon traveled far and wide
throughout the known world,
and graphite quickly became a
valuable drawing medium within
artistic communities.
Artists often sharpened a chunk
of graphite into a point and set
it into a metal holder. These
sharpened chunks became the
very first graphite pencils!
Making the
Grade
As you now know, graphite
pencils are made with a mixture
of graphite and clay. Graphite is Figure 203: A cartoon sheep proudly displays
very black and soft and makes a big “X” marked on her wool with graphite.
dark marks. Clay is hard and
makes light marks.
To make shopping a little easier, pencils are labeled with a number-letter code depending
on the amounts of graphite and clay in the mixture. For example, a 6B pencil has more
graphite than clay and makes very dark marks. A 2H pencil has less graphite and therefore
makes very light marks.
Many art supply stores carry a broad range of grades. An HB grade is in the middle and
can be called either an H or a B (Figure 204).
Figure 204: A computer-generated image shows the base value of 17 different grades of graphite.
Trying to draw with 17 different pencils can

be a nightmare! Besides, some grades
make almost identical marks.
Artists can draw a full range of values
(Figure 205) with only five grades of
graphite: 2H, HB, 2B, 4B, and 6B.
For example, the advanced drawing of a
replica of a medieval dagger (Figure 206) is
drawn with only these five grades.
Whenever you draw, your goal is to choose
whichever grades of pencils can best give
you the results you want.
For drawings needing a softer touch, you
Figure 205:
may prefer to use mostly H grades. On the A range of
other hand, B grades may work better for different
drawing subjects needing a darker, bolder values can
approach. be created
by each of
And more often than not, a combination of these five
B and H grades is a perfect choice. grades of
graphite.
Figure 206: A realistic drawing of a dagger is created with 2H, HB, 2B, 4B and 6B grades of pencils.
Hard is light
Hard pencils can’t make very dark values. However, they can create light to medium marks
(Figure 207) that work well for some drawings.
Figure 207: Values

created with four
H pencils (HB is
considered the
darkest hard pencil).
As a rule, hard (H) pencils:

► Have a hard, brittle medium ArtSpeak
► Make light to medium marks
► Wear down slowly Pupil of an eye is the tiny, dark, circular
part of an eye that adjusts its size under
► Need very little sharpening
different lighting conditions.
► Create very thin to medium-width
lines Figure 208:
An arrow
The lines made by H pencils are points to the
mostly thin and delicate; hence, pupil of an
eye.
they work best for small to medium
drawings (unless, of course, you have
lots of patience).
The drawing in Figure 209 is
almost completely rendered
with four different grades of TIP!
hard pencils.
Always lay your graphite pencils somewhere safe

so they don’t fall!
Info Tidbit
Graphite is quite fragile - especially the softer grades.
When a pencil falls to the floor, the graphite inside the
The word pencil comes from core breaks, and the pencil becomes very difficult to
the Latin word pencillus (which sharpen. Small pieces of broken graphite can jam up
means “little tail”). the inside of the sharpener.
I used a 2B (soft) pencil for only a few dark accents, Figure 209: This drawing of
such as the pupils of his eyes and tiny sections of a friend (Christopher Church)
playing a violin took more than a
the darkest shadows.
month to complete with 6H, 4H,
2H, HB, and 2B pencils.
Soft is dark
B pencils tend to “B” soft, and can make very dark marks because they have more
graphite than clay. However, by pressing very gently with B pencils, you can also create
light and medium values. Figure 210 shows the base value of four B grades of graphite.
Figure 210:
Values created
with four B pencils
(HB is the lightest
B pencil).
Generally speaking, B grades of

pencils:
► Have a soft medium
► Make light, medium, and
dark marks
► Wear down quickly
► Need to be sharpened
frequently
► Can make thin to thick lines
The darker marks Figure 211: Loosely rendered sketch of

a side-on view of a young man.
created by B pencils are
ideal for loosely rendered
sketches on medium to
large sheets of paper.
Check out the sketch of
the young man (Figure
211) created with only 2B
and 4B pencils.
If you are patient, and
don’t mind constantly
sharpening their points,
B pencils can also
work well for rendering
detailed subjects on
small sheets of paper. Figure
212:
B pencils were used for Drawing
the small drawing of a of a peach
peach in Figure 212. using HB,
2B, 4B,
and 6B
pencils.
Combining
soft and hard
grades
Info Tidbit
When you draw a subject
with lots of light and dark
values, you may need to My favorite brands of graphite pencils are made in Germany,
use both B and H grades and are sold under the names Staedtler and Faber-Castell.
of pencils.
And what animal

could show you a
combination of B and
H pencils better than
a zebra (Figure 213)?
The white stripes are
shaded with 2H, HB,
and 2B, and the black
stripes are drawn with
HB, 2B, 4B, and 6B.
Figure 213: A drawing of a baby

zebra (named Spot) is created with
both H and B grades of graphite.
Finding out
your grade
When you go to an
art store, expect
to be surprised by
how many different
brands of pencils
are available.
Figure 214: Professional pencils often look identical, even

At first glance,
different
though the grades are different (Figure 214).
grades of
But don’t be fooled! The grade of the graphite
drawing
pencils may is written somewhere on the wood part of each
all look the pencil (Look closely at Figure 215).
same.
Figure 215:
Can you see
the grade
written on
these three
brands of
pencils?
Chapter 3: More Drawing Mediums 25
Chapter
3
More Drawing Mediums
*****************************************************************
In addition to graphite pencils, you need to

begin learning to draw with mediums that are
specifically designed for artists. As with most ArtSpeak
activities, the better the tools, the happier you
are with the outcomes.
Charcoal is a drawing medium
In this chapter, I tell you about a few popular made from burnt organic
drawing mediums. I show you what each looks material (such as wood). As
like, and the kind of marks it makes. with graphite, charcoal comes in
various grades.
Charcoal pencils have a thin
cylindrical stick of compressed
charcoal inside a wooden
casing.
Charcoal sticks are made by
compressing powdered charcoal
into round or rectangular sticks.
Figure 302: A few different types of

charcoal that are designed for drawing.
Figure 301: Shopping for drawing mediums is a big challenge when
you have to choose from so many different types.
ArtSpeak
Drawing stick (1) is made by

compressing and shaping a medium
(such as graphite or charcoal) into a
cylindrical or rectangular chunk.
Woodless pencil (2) is a thick cylindrical
stick of graphite wrapped in a vinyl
casing.
Mechanical pencil (3) has an internal
mechanism that pushes a thin graphite
lead, from the tiny tube inside the holder,
through the tip.
Wood-encased pencil (4) (better known Figure 303: Four types of drawing tools: (1) sticks, (2) woodless
as a regular pencil) has a thin cylindrical pencil, (3) mechanical pencils, and (4) wood-encased pencils.
stick of graphite or charcoal inside a
wooden casing. Figure 304:
Pencils last
Sandpaper block is an artist’s tool with longer if you
sharpen only
tear-off sheets of fine sandpaper used to their points on
sharpen the points of pencils. a sandpaper
block.
Picking out Proper Pencils

In this section, I discuss three types of drawing pencils: wood-encased, mechanical, and
woodless. Several drawings invite you to compare the abilities of these pencils.
Wood-encased pencils
Art Quote
Graphite pencils are ideal for either
simple, loosely rendered drawings or very
complicated, intricate drawings on small to
medium-sized surfaces. Every child is an artist. The
problem is how to remain an
Charcoal pencils are fantastic for medium to artist once he (she) grows up.
large drawings on large sheets of paper.
Pablo Picasso
Graphite pencils
Graphite pencils are a favorite
Figure 305: drawing tool of many artists.
Most art
supply stores Some artists prefer to draw
carry a huge with a slightly worn-down
selection of pencil point (Figure 306).
professional-
quality, Others constantly sharpen the
wood-encased
drawing
graphite points to make thin
pencils. marks (Figure 307).
Figure 306: Marks

made with the
worn-down points
of graphite pencils.
Figure 307: Thin

lines drawn with
freshly sharpened
graphite pencils.
The drawing in Figure 308 was

created with graphite pencils.
The pencil points were slightly
worn down to shade the eyes.
A sandpaper block kept the
pencil points nice and sharp to
do the scraggly feathers.
You can sharpen the points
of regular pencils with a
pencil sharpener, some fine
sandpaper, or a sandpaper
block.
Charcoal pencils
Charcoal pencils are a lot
more messy than graphite, but
(thanks to the wooden holder)
less messy than sticks of
Figure 308: Cartoon drawing of an emu is created with regular pencils. charcoal.
Wonderful black marks can be made

with charcoal (Figure 310), which is
much softer than graphite.
Hard grades of charcoal can be
carefully sharpened in a pencil
sharpener with an oversized
opening. If you want thin lines, you
need to keep the point sharpened
with a sandpaper block.
Figure 309: Most charcoal pencils are a little thicker
than graphite pencils.
Soft grades of charcoal
simply crumble and break
when you try to sharpen
them in a pencil sharpener.
A heavy-duty utility knife
works best for cutting away
some of the wood so you
can sharpen the exposed
charcoal with a sandpaper
block.
Charcoal is fun to work with
and is ideal for drawing
anything - including people,
scenery, and objects. Check
out the charcoal drawing in
Figure 311.
Figure 310: Various marks made by a charcoal pencil.
WARNING!
Utility knives are VERY dangerous!
Utility knives are as sharp as razors! One small slip of the knife can cause permanent damage
to your hand or fingers. They should only be used by responsible adults who are handy with
tools.
So, if you don’t want to “draw blood,” ask someone to help you sharpen charcoal pencils. (And,
remember to tell that person to be very careful!)
You may even want to completely stay away from charcoal pencils and use charcoal sticks
instead. They are a little messier, but can do everything a pencil can do (and more).
Figure 311: A
loosely rendered
Other fun pencil
charcoal sketch of
Christopher Church
mediums
playing his violin. Two other types of pencil
mediums that are well worth
having are: mechanical
pencils (they never need
sharpening) and woodless
pencils.
Mechanical pencils
Mechanical pencils (Figure
312) are a super alternative
to pencils that need to be
sharpened constantly.
The marks they make stay
approximately the same size,
even after hours of drawing.
A professional-quality
mechanical pencil designed
for drawing is expensive;
but in the long run, it tends
to be more economical than
constantly buying wood-
encased pencils.
When well cared for, a
mechanical pencil can last a
very long time; I have several
Figure 312: that are more than 15 years
A sampling of
mechanical pencils.
old.
TIP!
Purchase only professional-quality mechanical pencils

You can find inexpensive novelty mechanical pencils in many stores. However, professional mechanical
pencils that are designed for drawing can only be found in art supply stores. Most are expensive, but
they tend to last much longer than the department store variety.
Mechanical pencils come in different sizes. A 0.5 mm is the most popular size and works
best for drawing on small to medium-sized sheets of paper. A 0.7 mm is a great choice for
sketching loosely or drawing on a large surface (or both).
A mechanical pencil can be loaded with
leads of different grades ranging from very
hard to soft. (However, you should load
only one grade at a time.) Leads of the
same grade are sold in a single package,
so, you may have to buy a package of
each of the grades you want to use.
Woodless graphite pencils

Obviously, woodless pencils do not have
a wooden casing! A thick rod of graphite
is surrounded by a thin (usually vinyl)
casing; hence, your hands stay clean as
you work.
Woodless pencils rarely need to be
sharpened in a pencil sharpener. A few
strokes on sandpaper and the points are
sharp!
They can make lots of different marks
(Figure 314), and are great for subjects
needing wider, bolder strokes than regular
pencils. When the points are sharpened,
they can also make very thin lines (Figure
315).
Figure 313: Drawing of an unusual glass bottle

completely rendered with 0.5 mm mechanical
pencils and various grades of leads.
TIP!
Before you buy leads for a mechanical

pencil, check the size!
Read the label on each package of leads
you want to buy, to make sure they are
the right size for your mechanical pencil.
For example, 0.7 mm leads are too big to
fit through the pointed end of a 0.5 mm
mechanical pencil.
Figure 314: Marks made with a woodless pencil.
Sticks
and
Stones
(oops!)
Powders
Graphite and
charcoal sticks are
not considered
pencils, but they are
well worth having.
Both are messy, but
lots of fun!
For instance, you
can rub a charcoal
or graphite stick
on sandpaper to
make powdered
charcoal or graphite
(Figure 316). Then,
you simply dip
your finger into the
powder and draw!
Or, (if messy isn’t
your style) you may
Figure 315: A wood-encased graphite pencil worked well for creating three prefer to wrap your
sketches of my grandson, Brandon. finger in a piece of
paper towel first.
Sticks are great for rendering any

subject, and especially for medium to
large sketches and drawings.
Surprisingly, charcoal and graphite
sticks are one of the few art
mediums that work well when
broken!
The crisp edges of broken pieces are
fantastic for rendering thin, strong
Figure 316: Drawing powder can be made from graphite or lines. The flat ends and sides can be
charcoal sticks. used for broad strokes (Figure 317).
You can use a charcoal

stick, charcoal powder, and a
charcoal pencil in the same
sketch.
In addition, you can combine
Figure a graphite stick and graphite
317: A powder with various graphite
small
sample of
pencils to create a drawing.
marks you
However, charcoal and
can make
with a stick. graphite do not usually play
(or work) well together. Try to
combine graphite and charcoal
in a drawing and you can see
what I mean!
Use either graphite or charcoal
mediums in a drawing - but not
Figure both together.
318:
Various
You can also use erasers to
marks draw with either charcoal or
created graphite (Figures 318 and
by erasing 319). You simply apply some
sections of powder to the paper’s surface
a layer of
charcoal.
and erase sections to create
an image.
Figure
319: A
winter
scene
created with
charcoal
pencils,
powder,
and sticks,
as well as
erasers.
Chapter 4: Sketchbooks and Drawing Papers 33
Chapter
4
Sketchbooks and Drawing
Papers
*****************************************************************
Picking out drawing paper is a scary task for even the most experienced artists. To further
confuse artists, almost every store with an arts or crafts department carries some type of
drawing paper. Some papers are great for drawing and others are not.
In this chapter, I tell you about the textures, sizes, and weights of various drawing papers
so you can make wise choices when you go shopping. You examine artworks done on
different papers to give you an idea of how a paper can affect the look of a drawing. I also
explain how artists (not dentists) protect the tooth of paper.
ArtSpeak
Tooth refers to the surface texture of paper. Paper with a smooth tooth is flat and silky; medium tooth
has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks.
Figures 401 to 403 show you highly magnified views of shading with a 6B pencil on papers with a
smooth, medium, and rough tooth.
Figure
Figure 402: Figure
401: Printer Drawing 403:
paper with paper with Watercolor
a smooth a medium paper with a
tooth. tooth. rough tooth.
Info Tidbit ArtSpeak
Drawing Papers during the Texture refers to the surface detail of an

Renaissance object. The type of texture can be identified
with vision, a sense of touch, and a general
knowledge of the object.
Shopping for drawing papers is no doubt
a challenge. However, can you imagine
Figure 304: Short fur
having to make your own drawing paper? (as on cats) is soft and
silky.
During the Renaissance, drawing papers
were handmade. This time-consuming
process included the following seven
basic steps:
1. Materials such as plants, vegetable
matter, and rags were chopped up
into fibers.
2. Water was then added to create a
soupy mixture.
3. The mixture was scooped up with
a screen and placed into a wooden
mold. Figure 306: A single
Figure 305: A child’s drop of liquid can
4. The mold was shaken until most knit sweater is bumpy appear so shiny that it
of the water drained through the and soft. almost sparkles.
screen, leaving a flattened layer of
fibers.
5. Flattened sheets of fibers were
stacked into a pile with a layer of
woolen cloth or felt in between each.
Check up on Tooth
6. Most of the remaining moisture was
squeezed out by pressing down on (without a Dentist!)
the stack.
The more tooth a paper has, the rougher
7. The sheets of paper were then hung it feels. Some artists like smooth drawing
to dry. paper, others prefer very rough paper, and
many prefer paper that is somewhere in
When completely dry, the paper was between.
usually coated with a substance (such as
In this section, I discuss the tooth of three
a gelatin mixture) to make it suitable for
common types of paper. I also show you
drawing.
how a paper’s tooth can influence the look
of a drawing.
The surface of a smooth tooth

The surface of smooth tooth papers (that are designed specifically for artists), feels
relatively even and silky, but is not shiny. Artists who prefer drawing highly detailed subjects
often choose papers with a smooth tooth.
The realistic drawing of a cat in Figure 407 was rendered with graphite on a professional-
quality, smooth watercolor paper.
Figure
407: A
detailed
drawing
of Bill the
cat on
smooth
paper.
His
beautiful
coat of
striped
fur looks
very soft.
Big smile for

a medium TIP!
tooth
Medium tooth papers Stay away from papers with a glossy surface!
are ideal for most
Smooth drawing paper is wonderful, but glossy paper is just
drawing subjects.
plain awful. Glossy paper is toothless, and therefore too
They work beautifully smooth for graphite or charcoal to properly stick to it.
for creating a full range
of values and lots of
different textures.
Many
sketchbooks
have paper
with a
medium
tooth and
are a
fantastic
choice for
beginners.
Figure 408: Sketchbook

paper with a medium tooth
is perfect for capturing
the texture of an owl’s
feathers.
ArtSpeak WARNING!
Acid-free refers to a high-quality and Stay away from acid!
long-lasting paper that has had the
acid removed from the pulp in the Don’t be fooled by cheap imitations of good-
papermaking process. quality drawing paper. Before you buy a
sketchbook, look for a label that says the
Drawings can be ruined when
paper is acid-free. Just because the cover of
papers with acid deteriorate and turn
a sketchbook says it’s suitable for drawing
yellow. Drawing books and papers
doesn’t mean it’s acid-free.
often have labels that tell you the
paper is acid-free.
Hot pressed refers to a paper that
is pressed through hot cylinders
during its manufacture. Many smooth
watercolor papers are hot pressed. Art Quote
Hardcover refers to a durable type
of book cover that is made from a
thick and unbendable material. He (or she) who works with his hands is a
laborer.
He who works with his hands and his
head is a craftsman.
He who works with his hands and his
head and his heart is an artist.
Saint Francis of Assisi
Textures on a rough
Figure 409: A hardcover sketchbook
tooth
protects your papers and drawings Rough paper is terrible for tiny detailed
from being wrinkled.
drawings, but ideal for sketching on large
sheets of paper. Fun patterns and textures
Softcover describes a flexible
often appear when the peaks of the paper
book cover that is usually made of
grab the graphite, and some craters show
paper. Softcover sketchbooks are
through as white.
inexpensive, however, you need to
handle them carefully so the paper The peaks and craters of rough watercolor
doesn’t wrinkle. paper helped create the wonderful textured
shading in Figures 410 and 411.
Figure 410:
The bumpy,
jagged textures
of trees are
captured on
watercolor paper
with a rough
tooth.
Info Tidbit
My favorite drawing paper is

Arches, 100% cotton, acid-
free, hot pressed watercolor
paper with a 140 lb weight.
The surface works
beautifully for most drawing
Figure 411: A media and all subjects. As
close-up view an extra perk, this paper
shows how is similar to that used by
rough paper can
help render the
the masters during the late
texture of a tree Renaissance.
trunk.
Sketchbooks and Papers

Art supply stores sell individual sheets of papers that are designed specifically for drawing.
A sketchbook has several sheets of drawing paper in a book format.
The quality, size, and weight of paper, are much more important than whether you purchase
individual sheets or a sketchbook (or both).
Softcover, hardcover, or
sheets? TIP!
Even though softcover sketchbooks are
relatively inexpensive, the paper can be easily
Always take good care of a
wrinkled and damaged. Softcover sketchbooks
paper’s tooth!
have to be carefully stored on a flat surface.
The tooth of any paper can be
A hardcover sketchbook is much more durable,
easily destroyed by pressing
and protects the paper inside. As an extra
too hard on its surface with your
perk, the hard cover provides a solid surface
pencil.
on which to work when you’re away from your
desk or table. If your shading begins to look
shiny, the tooth is flattened beyond
Individual sheets of drawing paper need to be
repair. Additional shading will no
stored on a flat surface inside a hard-sided
longer hold fast to the paper’s
portfolio.
surface.
So, remember to apply only a little
Weighing in on paper bit of pressure to your pencil when
you draw.
The “weight” of paper describes the thickness
Avoid pressing too hard when you
of individual sheets of paper. Thin paper
want darker shading - switch to a
weighs very little, but is easily torn and
softer B pencil instead.
damaged. Thick paper is more durable than
thin because it weighs more.
For example, inexpensive,
everyday printer paper has a 20
lb (75 g/m²) weight and therefore
is too thin (and too smooth) for
drawing.
Heavy Arches drawing paper has
a 140 lb (300 g/m²) weight and is
perfect for drawing masterpieces.
However, it’s much too expensive
for everyday use.
A professional-quality paper for
everyday use should have at
least a 50 lb (260 g/m²) weight.
The weight of a paper is usually
marked on the packaging or front
cover. You can also feel the paper
to make sure it’s thick.
Figure 412: A small sampling of drawing papers and sketchbooks.
Larger is not
always better
Choose a sketchbook or drawing
papers in a size that is easy to
transport when you travel.
However, stay away from
sketchbooks under 9 by 12 inches
or your drawing options become
too limited.
On the other hand, most large
sketchbooks (over 16 by 20 inches)
are softcover. Hence, if you prefer
making large drawings, you need
to store the sketchbook on a large,
hard surface to prevent the paper
from bending.
Individual sheets of paper (Figure
413) come in many sizes. A really
big sheet can be cut down into Figure 413: A large sheet of drawing paper can be
smaller sheets. Some types are attached to a drawing board with clamps.
inexpensive and others can be
quite costly.
Info Tidbit
TIP! Are you tired of reading yet?

Keep going - by the end of Chapter 6, you’ll
Check before you buy! know all you need to know about drawing
supplies.
Check out art supply, stationery,
and department stores in your In Chapter 7, I give you a checklist so you know
community to find out what types exactly what you need to buy (or find at home).
of drawing paper are available.
In Chapter 9, you finally have a chance to pick
Then, you can select the best up a pencil and begin drawing!
type of paper for your needs (and
budget!).
Chapter 5: Adding to the Basics 41
Chapter
5
Adding to the Basics
*****************************************************************
In addition to pencils and paper,

you need to have a few other
drawing supplies, such as
pencil sharpeners and erasers.
In this chapter, I tell you about
the supplies that work best for
drawing, and the ones you should
avoid.
I also suggest a few extra items to
consider adding to your shopping
list. For example, manikins are
certainly not necessary for learning
how to draw; however, they do
provide a fun way to strengthen
your visual and drawing skills.
Figure 501: A few more art supplies: (1) pencil
cases, (2) a metal ruler, (3) manikins, (4) a small
knife for cutting paper; and (5) spray fixative.
Tools for Erasing

In this section, you find out about two types of art erasers that are very gentle to the surface
of your paper: vinyl and kneaded. Erasers that are designed specifically for artists can be
purchased in an art supply store.
Vinyl erasers
Vinyl erasers (Figure 502) have many practical uses. They can erase small or large sections
of drawings, as well as pull out (erase) light sections from a layer of graphite or charcoal. To
erase tiny details or draw thin lines, you can use the sharp edge of a regular block eraser. (If
the edges of your vinyl eraser are worn, a sharp knife can be used to cut off the end.)
Kneaded
Figure 502:
erasers
Three popular Kneaded erasers (Figure
types of vinyl
erasers: (1)
503) are a real joy! They don’t
regular blocks, leave annoying eraser crumbs
(2) eraser on your paper, and can easily
wheel, and (3) be molded into a point or
pencil erasers wedge for erasing.
and refills.
You can also use a kneaded
eraser to carefully pat or
gently rub a section of a
drawing to lighten lines or
values.
Figure 503:
Kneaded The drawing of a sphere in
erasers are Figure 504 was created with
simple boring the help of both vinyl and
blocks until
you begin kneaded erasers.
molding and
stretching
First of all, I covered my paper
them. with a layer of charcoal. Then,
I pulled out light values with
a kneaded eraser. The sharp
edge of a vinyl eraser created
the brightest whites. Dark
TIP! shadows and crisp outlines
were added with a charcoal
pencil.
To clean a kneaded eraser, you simply stretch and
reshape it (also known as “kneading”) several times. In Chapter 9, I show you how
However, kneaded erasers eventually get too dirty to to draw with your kneaded
work well, so pick up some extras. eraser (Action 9D: Playing
with Erasers).
Figure 504: With the help of erasers, a three-dimensional sphere seems to come out of the dark.
Sharpening your
Mediums WARNING!
Pencil sharpeners and sandpaper
(blocks or sheets) are a must for The wrong eraser can ruin
keeping your mediums (also called your drawings!
media) in shape.
Stay away from erasers that are colored
Lots of different stores carry sharpeners (especially the pink ones) or very hard (such
- especially if they carry school supplies. as those on the ends of some pencils).
Sandpaper blocks are more difficult to
find; art supply stores are your best bet.
As for sheets of sandpaper,
check out a building supplies
store or a department store with a
hardware department. Make sure
the surface is a fine grade (look
for anything that falls between
100-180 grit).
Figure
505: Four
of my
Pencil sharpeners favorite
pencil
sharpeners.
If you use any type of pencil
media, you need a pencil
sharpener.
Stay away from toy sharpeners, and battery-operated or expensive sharpeners. Instead,
choose a simple, sturdy, hand-held (preferably metal) pencil sharpener. The best ones
have two openings: a small one for regular graphite pencils and a large one for oversized
pencils.
The sharpeners in Figure 505 last a very long time; especially those for which you can
purchase replacement blades (available at most art supply stores).
Sandpaper blocks and sheets

Sandpaper preserves the wooden sections of your pencils that could otherwise get quickly
eaten up by your sharpener. Sandpaper sharpens just the exposed sections of medium
instead of both the wood and the medium.
Sandpaper blocks have sheets of fine sandpaper attached to a wooden base. You simply
hold the wooden handle as you sharpen your pencil point on the sandpaper. When the top
sheet of sandpaper becomes worn and dirty, you simply tear it off, throw it away, and use
the next sheet. Sandpaper blocks are not expensive, so pick up more than one.
A Few Extras
Have fun wandering through art supply stores! TIP!
However, resist the temptation to pick up a
bunch of stuff you really don’t need and may
never use. You don’t need to spend a lot of You can make a sanding tool
money on supplies to learn how to draw well. similar to an artist’s sandpaper
block. Cut sheets of fine
sandpaper into long, narrow
pieces, and use a heavy-duty
Stuff you can’t do without stapler to hold them together at
In this section, I discuss four more necessities: one end.
pencil case, portfolio, ruler, and viewfinder frame.
(In Chapter 7 you find step-by-step instructions
for making a portfolio and viewfinder frame.)
Pencil case WARNING!

A container for storing your pencils, erasers,
and other smaller drawing supplies is essential
- especially if you have small children or pets in Keep your drawing
your home. (I have two large dogs who consider supplies, small children,
pencils and erasers to be chew toys!) and pets safe!
Always put your supplies away
In addition, if you keep everything together in a container when you are
in one place, you can avoid the frustration of done drawing.
always searching for misplaced items.
Portfolio
Drawings stored in a pile on a shelf (or anywhere that’s dusty or within direct sunlight) can
be damaged easily. A hard-sided portfolio can protect your drawing paper and completed
drawings from becoming wrinkled, damaged, or destroyed.
You can buy many types of wonderful portfolios in art supply stores, however, many tend to
be very expensive (especially those made of leather).
Ruler
At some point in your life, you may have tried using something like the edge of a book as a
ruler. I speak from experience when I say this is not a great idea! A good-quality ruler does
a far better job and is much easier to use (plus, it has measurement guidelines).
A ruler comes in handy for outlining drawing spaces, and as a guide for cutting straight
pieces of drawing paper. An all-metal ruler with raised edges may be a little more
expensive, but can last a lifetime with proper care. Metal rulers are easy to clean, and their
raised edges protect your drawings from being smudged as you draw lines.
ArtSpeak
Viewfinder frame is an adjustable, Composition refers to the arrangement of the various

see-through rectangle or square parts of your drawing subject within the borders of a
that allows you to look at a drawing drawing space.
subject from various viewpoints.
Drawing space (also called a drawing surface or
a drawing format) is the area in which you render a
drawing within a specific perimeter. It can be the shape
of a sheet of paper
itself, or a shape you
outline on your paper,
such as a square,
rectangle, or circle.
Figure 507: Drawing of

a spider within a square
Figure 506: A simple viewfinder frame. drawing space.
Viewfinder frame
Beginners to drawing often include too many
objects in their drawings. A viewfinder frame
helps you visually weed out boring stuff in a
scene, so you can draw only the exciting parts.
As you adjust its size, you can remove most of
the clutter and unnecessary objects from your
view. In doing so, you can choose an ideal
composition for a drawing.
Small ones are great for planning compositions
from photos. Large viewfinder frames are ideal
for finding a composition when you are outside Figure 508: A section of a
trying to choose a drawing subject. cartoon face is viewed through the
opening of a viewfinder frame.
Nice to have, but not necessary

Before you go shopping for additional drawing supplies, a manikin, display board, and
spray fixative should be the top three items on your list.
Display boards
Bulletin or display boards (I especially love the metal ones with magnets) are relatively
inexpensive and provide display space for your drawings. You can even choose a wall in
your home (or use your fridge) for an ongoing exhibition of your work.
Spray fixative
A spray fixative that is designed for graphite and charcoal can protect your completed
drawings from being accidentally smudged. However, before you use a spray fixative, keep
the following in mind:
► Spray only in a well-ventilated area (such as
outdoors).
► Make sure you read the directions carefully. WARNING!
► Two or three thin coats are better than one
thick coat (less is more!).
Don’t use spray fixative
on your unfinished
Manikins drawings!
Often made of wood, manikins are wonderful You can’t erase problem areas
models: they don’t move, require no bathroom after your drawing has been
breaks, and don’t talk your ears off! Manikins can sprayed.
be manipulated into numerous poses and viewed
from any angle.
In addition to
female and
male figures,
you can also
purchase
animals.
Figure 509: A simple sketch of

a figure is created with the help
of a manikin.
Part 2: Get Set! 47
PART 2
GET SET!
► Ideal surfaces on which to draw
► Proper lighting for drawing
► Good posture for sitting to draw
► What to pack in a portable studio
► Creating your shopping list
► Make an artist’s portfolio
► Construct a simple viewfinder frame
► Three ways to hold your drawing medium
► Discover your natural hand movement
Chapter 6: Setting up for Drawing 49
Chapter
6
Setting up for Drawing
*****************************************************************
In this chapter, I tell you

about drawing surfaces and
lighting that work well for ArtSpeak
creating art in your home.
In addition, I show you
how to sit comfortably for Drafting desk
drawing, and properly hold (or drafting Figure 601: A
your pencils as you work. table) is an simple drawing
adjustable of a drafting desk
I also tell you how to pack worktable with
(and chair) that
up a portable drawing kit so is adjusted for
a slanted top drawing.
you can take your love of (Figure 601).
drawing wherever you go.
When assembling your Drawing board
drawing supplies, be sure is a portable, Figure
to check around your lightweight, 602: A
home; you may already smooth surface sketch
have many of these items. (often made of of a
wood) used for horse is
attached
sketching and to a
drawing (Figure drawing
A Comfy 602). board
with a
Place to Sit Clips (usually
clip.
made of metal)
and Draw can be used to
attach sheets
Your special artistic place Figure 603: A
of paper to a
in your home should be as popular type of clip
drawing board
relaxing, peaceful, and free is called a Boston
(Figure 603). Bulldog.
of distractions as possible.
Choosing a
drawing surface
You can easily find a surface
on which you can comfortably
draw. Consider such options as
a table, desk, drafting desk, or
drawing board.
An adjustable sloped table
or drafting desk is a fantastic
choice. Another option is to
prop up a drawing board at
an angle on a regular table or
desk.
Many art stores sell different
types of inexpensive drawing
boards in various sizes.
Figure 604: An artist is sketching on paper that
Drawing papers can be held in is attached to a drawing board with a clip.
place with either clips or tape.
Art supply stores usually carry
large clips and special tapes for
attaching paper to a drawing
board. Masking tapes designed TIP!
for painting the interiors of
homes, also work fairly well.
Some types of tapes can damage your paper.
Experiment with your tape on a small piece of
drawing paper to find out if it can be safely removed.
Shedding light on
your art
To prevent your eyes from
becoming tired or strained,
always make sure you have Info Tidbit
good lighting.
Consider a natural light source A drawing board is easy to make (if you know an
from a window in the daytime adult who is handy with a saw).
and from a lamp for evenings
and overcast days. Simply cut a piece of thin, smoothly finished plywood,
Plexiglas, or another sturdy product to a size
A flexible-neck study lamp is slightly larger than your favorite drawing paper. Use
designed to focus light directly sandpaper to sand it until its surface and edges are
on your drawing surface (Figure very smooth.
605).
An ideal lamp mimics

natural daylight, so,
read the packaging
carefully before you
buy!
Also, check out the
cost of replacement
bulbs; some types can
cost almost as much
as (or more than) the
lamp itself.
Figure 605: An artist sits

comfortably at a drafting
desk with an attached
lamp shedding light on his
drawing.
Art Quote WARNING!
I don’t think people are born Don’t attempt large drawings on

artists; I think it comes from a a flat (horizontal) surface!
mixture of your surroundings,
the people you meet, and luck. Instead, use something to prop up your
sketchbook or paper so your drawing surface is
Francis Bacon
sloped.
When you create large drawings on a flat
surface (such as a table or desk), the top
of your paper is farther away from you than
Good Posture the bottom. As a result, you can end up with
all sorts of problems trying to draw accurate
First! proportions. For example, if you are drawing
a figure, his or her head may end up too big
Sitting correctly (and eating your for the body. Unfortunately, you usually find
vegetables) is very important; not this out the hard way - after your drawing is
just for your health, but also for complete.
improving your drawing skills.
Good posture and a comfortable, adjustable chair can prevent your muscles from becoming
strained and sore. Arrange your chair and drawing surface so you can easily move your
hand, arm, shoulder, and upper body as you draw.
How NOT to sit!

Many people do not sit up straight. They hunch or lean over too much, and twist their
bodies into all sorts of positions that place their back out of proper alignment (Figure 606).
Figure 606: How NOT to sit!

You become uncomfortable
very quickly when you are not
sitting properly.
TIP! Sitting correctly

Most drafting tables and some office chairs have
height adjustments. You can also position your
To prevent cramping and chair closer or farther away from your table.
repetitive movement injuries,
move your fingers and wrist as Refer to Figure 607 and arrange your table and
little as possible when you draw. chair until you can:
You should be moving your ► Sit up straight with your feet flat on the floor
lower and upper arm (and (or on a raised surface such as a footstool).
sometimes your shoulder and
► Distribute your body weight evenly on both
upper body as well).
hips.
If you absolutely have to move
► Bend your knees at a right angle.
your fingers and wrist (for
example, to draw tiny details), ► See your drawing clearly without bending
take a break every ten minutes your lower back.
to relax your hand and wrist.
► Comfortably rest your lower arm on the table.
Once you are used to sitting

correctly, you can fully focus
on drawing.
Putting
Together
a Portable
Studio
In this section, I suggest
practical supplies for bringing
your love of drawing on any
type of excursion, such as to
a local park or a picnic at the
beach.
Learning to draw is learning to
see! The more you practice -
the faster your skills improve!
Figure 607: A cartoon artist shows you how to sit Doing sketches on a regular
properly at a drafting desk. basis trains your brain to see
as an artist (a fun way to see
the world).
A very thorough visual
examination of your drawing
subject imprints its image
into your mind. You can then
draw what you see in your
sketchbook - often with only a
few simple lines.
For example, sometimes all
you need is a wiggly line to
capture a section of land.
Figure 608 shows a simple
sketch of the lake behind my
home.
You should keep a few
Figure 608: Simple lines capture a sky, hills, a lake, drawing materials packed and
trees, and a few plants. ready to travel.
When you feel like drawing outdoors, you can just grab your portable studio and go.
First of all, you need something in which to carry your art materials. A backpack or fabric
bag with handles is great. Select something large enough to hold everything you need.
Naturally, you need a surface on which to draw. You can bring a drawing board, paper, and
clips (or tape). A hardcover sketchbook is a great alternative to sheets of paper; its hard
cover serves as a drawing surface.
Add a pencil case filled with pencils, erasers, sandpaper blocks, and a pencil sharpener.
Here’s a list of additional things you may want to bring along:
► A viewfinder frame.
► Your portfolio (if you use sheets of drawing paper).
► Plastic bags to protect your drawings (and you) in case of rain.
► Beverages and snacks.
► Wipes or paper towels for clean-up (especially if you use charcoal).
► A small camera to take photos of inspirational scenes and objects.
► Depending on where you go, you may need bug repellent.
► Oh, and don’t forget your sunscreen and a hat!
Save all your sketches! By

Art Quote examining your older sketches, you
can measure how much your skills
have advanced.
When we speak of Nature it is wrong to
forget that we are ourselves a part of In addition, as your creativity and
Nature. artistic vision improves, you may look
back on your early works with a new
We ought to view ourselves with the appreciation.
same curiosity and openness with which
we study a tree, the sky or a thought, For example, a face may be hidden
because we too are linked to the entire within a sketch of an old log.
universe. (Remember the stone faces hidden
in Figure 101 in Chapter 1.)
Henri Matisse
Chapter 7: Making a List, Portfolio, and Viewfinder Frame 55
Chapter
7
Making a List, Portfolio,
and Viewfinder Frame
*****************************************************************
In this chapter, your first exercise is to make a shopping list and buy your drawing supplies.
You then follow step-by-step illustrated instructions to make a portfolio and viewfinder
frame. (I show you how to use a viewfinder frame in Action 9F in Chapter 9.)
► AC T I O N 7 A ◄
The Shopping List

Goal: Write out a shopping list so you can go
shopping for your supplies.
Supplies needed: Paper and pencil (or pen).
The following lists are guides for making your
own shopping list.
Must have Figure 701: Shopping for art

supplies.
Plan to purchase (or find around your home)
the items on this list first:
► Sketchbook with medium tooth, acid-free paper: 9 by 12 inches (or larger)
► Package of inexpensive sheets of paper (printer/copy paper works well)
► Regular vinyl eraser

► Kneaded eraser
► Pencil case
► 2H, HB, 2B, 4B, and 6B wood-encased pencils
► Sturdy handheld pencil sharpener
► Sandpaper blocks or sheets of fine-grit sandpaper
► Drawing surface, such as a drafting desk, or table with a drawing board
► Lamp
► Metal ruler
► Metal clips (if you plan to use a drawing board)
► Comfortable chair
► Portfolio case (for storing your completed drawings)
► Viewfinder frame
(Supplies for making a portfolio and viewfinder frame are on the next page.)
Nice to have
As your skills improve and you have extra money, you can shop for items from
this list:
► Wooden manikins
► Bulletin or display board
► Spray fixative
TIP!
► Mechanical pencils with 2H, HB, and
2B leads When buying matboard
or cardboard to make a
► A selection of good-quality drawing viewfinder frame, stay with
papers neutral rather than bright
colors.
► Camera
When using a brightly
► Hardcover sketchbook
colored viewfinder frame,
► Graphite sticks and woodless pencils your eye is grabbed by the
loud color, making it hard
► Pencil-type vinyl eraser to concentrate on the view
inside.
Supplies for making a portfolio

If you (or someone else) plan to make a portfolio, you need the following:
► Roll of wide tape (duct tape is great and comes in lots of fun colors)
► Heavy-duty, sharp utility knife
► Straight edge or long ruler with a metal edge
► Sharp tool (such as a scratch awl or a large nail) for punching holes for ties.
► Strong string, thin rope, or shoelaces (long enough to tie the portfolio closed
in three places)
► Acid-free cardboard or matboard (usually offered in a wide selection of colors
at framing and art supply stores)
► Drawing supplies for adding a design (optional)
Supplies for making a viewfinder frame

Besides acid-free board, a utility knife, and a ruler, you also need two large paper
clips.
Supplies for a portable studio

You need a second set of basic drawing supplies, as well as some of the extra
items suggested on Page 54.
► AC T I O N 7 B ◄
Making a
Portfolio
Goal: Make and design your Figure
very own unique portfolio. 702: A
homemade
portfolio.
Gather your supplies on a large, flat surface that can’t be damaged with a sharp
knife.
For example, cutting the board on the dining room table may not be the best
idea! You may want to ask an adult for help.
Deciding on a size
The finished size of your portfolio needs to be a little larger than your largest
sheet of drawing paper. When choosing board, you can use either one large
sheet or two smaller pieces.
One large folded sheet of board makes a slightly stronger portfolio than two
smaller pieces - especially along the bottom. If you decide on one large sheet,
take into account that you need to fold it in half. In other words, the finished
portfolio will be half the size of your board.
If you buy two pieces (one for each side), each needs to be the finished size.
Suggested portfolio sizes include:
► 16 by 20 inches (one sheet at least 32 by 20 inches, or two pieces
at 16 by 20 inches each).
► 20 by 30 inches (one sheet at least 40 by 30 inches, or two pieces
at 20 by 30 inches each).
Option 1: Using one

large sheet of board
TIP!
1. Trim the large piece of board to the
overall size you want.
Some boards (such as
Measure the board first - it may not matboard) are colored on one
need to be trimmed. Refer back to side and white on the other.
the previous section for suggested
Hence, you may want the
sizes. Keep in mind that it needs
colored side facing outward on
to be folded in half (peek ahead to
your portfolio.
Figure 703).
If your board is the same color
If your board is already the size you
on both sides, simply ignore
want, go to step 2.
references to color.
2. Place your large sheet of board The colored side in the

(colored side facing up) on a flat illustrations is shown as gray.
surface.
3. Measure the board and mark the center points along the width.
For example, if your board is 32 by 20 inches, the middle points are at 16
inches. If your board is 40 by 30 inches, the center points need to be at 20
inches. Use a ruler to measure, and an HB pencil to mark the points.
4. Use a long ruler or straight edge to draw a straight line along the points.
Use an HB pencil. This line shows you where you later score (slightly cut) the
board (Figure 703).
5. Add wide tape

to all four
edges of the
large board.
Figure 703: A straight

line is drawn down the
center of the board, and
the edges are made
strong with wide tape.
6. Measure, and then mark the halfway distances of the sides and top of
each half with a dot (to mark where the ties go).
See Figure 704. The sides have one dot. The top and bottom edges have
two, and each is halfway between the edge and the center line.
7. Use a
sharp tool
to punch
holes where
each of the
six dots is
marked.
Figure 704: Dots mark

the spots where the ties
attach.
8. With your knife and a

straight edge, cut very
slightly (sometimes TIP!
referred to as
“scoring”) along the
straight line on the If you accidentally end up with two pieces,
colored side. all is not lost.
Be very careful; if you Simply continue on and follow the
cut too deeply into the instructions for working with two pieces
board, you’ll have two instead of one.
pieces of board instead
of one scored piece.
9. Gently fold the large

Figure 705: Portfolio
sheet of board inward
is folded along the score
along the scored line. line, and the inner fold line
section is reinforced with
The colored side should wide tape.
now be on the outside.
10. Open the portfolio and

tape over the inside
center seam.
To make this seam super
strong, use two strips of
tape (Figure 705).
11. With the portfolio

closed, tape over the
scored seam at the
bottom.
The basic construction of
the portfolio is complete
(Figure 706).
12. Continue on to the

Adding ties and final
touches section on
page 62.
Figure 706: The bottom edge of portfolio (the folded edge)

has been reinforced with strong tape.
Option 2: Using two pieces of board

1. Using wide tape, reinforce all but one long edge of each piece of board.
2. Place the boards colored side up so the two wide edges that are not
taped (the bottom of the portfolio) are close together.
3. Measure, and then mark dots at the halfway distances of the sides and
top of each piece of board.
These dots show you where to punch holes for the ties (Figure 707). Do
not mark dots on the sides without tape. These sides are the bottom of your
portfolio.
4. Use a sharp
tool to punch
holes where
the dots are
marked.
You end up with
three holes on
each piece of
board.
5. Butt the
bottoms of
each piece of Figure 707: Three sides of each piece are reinforced with wide tape; the
board tightly holes for the ties are marked and then punched with a sharp tool.
together on a
flat surface.
The inside
surfaces should
now be facing
you (Figure 708).
6. Tape both
pieces together.
To make the
seam super
strong, use two
strips of tape
(Figure 708).
Figure 708: The boards are butted together and then taped together with
wide tape.
7. Fold the portfolio so the

colored sides are on the
outside.
See Figure 709. The holes for
ties should line up on the top
and sides.
8. Use at least two strips of

wide tape to reinforce the
bottom edge on the outside.
Figure 709: The bottom edge of the portfolio is

Adding ties and reinforced with strong tape.
final touches
In this section, you finish your portfolio by adding ties. You have the option of
decorating either one side or both with creative designs.
1. Tie a knot in the end of each tie.

Figure
Refer to Figure 710. Each of the six 710: A knot
ties needs to be between 12 to 16 is tied on
inches long. one end of
a shoelace.
If you use shoelaces, you may get
away with using half for each tie (if
they are long). If using a half, tie
the knot in the end that has been
cut. If you use a full shoelace for
each tie, it doesn’t matter on which
Figure
end you tie a knot.
711: The
laces are
2. Thread a tie through each of the threaded
six holes from the inside. through the
holes from
Refer to Figure 711. The end with the inside
toward the
the knot needs to be on the inside. outside.
If the hole is bigger than the knot,
you can tie additional knots on
top of the first so the end won’t go
through the hole.
3. Use wide tape to secure the Figure 712:

Wide tape
knotted ends of the ties to the covers the
inside (Figure 712). knotted ends
4. Close the portfolio.

Figure 713 shows
the outside of an
undecorated portfolio.
5. Add a design or
Figure 713:
drawing to the sides
The portfolio
of your portfolio. awaits a spiffy
Decorating your design.
portfolio is completely
optional. You may
prefer to use it as is.
The portfolio in
Figure 714 has a
drawing of daisies
on the front. You can
probably think of
oodles of other ideas
to decorate your
portfolio.
Place your drawing
paper and drawings
inside and tie the ties.
Figure 714: A drawing of daisies graces one side of a

portfolio case.
► AC T I O N 7 C ◄
Making a
Viewfinder Frame Figure
Goal: Make a viewfinder frame. 715: A
homemade
Set up your supplies on a flat space that viewfinder
is adult-approved. frame.
Consider making
several viewfinder
frames in different
sizes.
Smaller ones are
great for planning
compositions from
photos.
Bigger ones are Figure 716: Each L-shaped piece of matboard needs to be
ideal for finding a cut perfectly square. This means that the corners should form a
composition when ninety-degree angle (also known as a right angle).
you are outside trying
to choose a subject.
Figure 717: Two L-shaped

1. Use a ruler and
pieces of matboard are joined
a utility knife to with paper clips so the inside
cut two identical becomes either a square or
L-shaped pieces rectangle.
of cardboard any
size you want.
Again, don’t be
afraid to ask for
Figure 718: A close-
help using a knife.
up view of my grandson
(Brandon) is selected with
Refer to Figure
the help of a viewfinder
716. When frame.
choosing a size,
keep in mind that
the wider your
frame, the more
you can block
distracting and
unwanted objects
from your view.
2. Use two large

paper clips to
join the two
pieces together
to form a frame.
Refer to Figures
717 and 718.
Chapter 8: Give Yourself a Helping Hand 65
Chapter
8
Give Yourself a Helping
Hand
*****************************************************************
Moving your drawing hand naturally and rotating your paper as you work can improve
your artistic outcomes. In this chapter, you discover how these simple actions can quickly
advance your current drawing skills.
Holding Your Mediums

The way you hold your drawing mediums can affect the look of your drawings. If you move
only your fingers and wrist, your lines may end up looking shaky and rigid.
Creating smoothly flowing lines requires broad, gentle movements of your whole arm.
Adjust your chair and table until you can easily move your hand, arm, shoulder, and upper
body as you draw.
Choosing the most
comfortable way to hold
your medium depends ArtSpeak
on the following:
► Your choice of
medium Straight line provides the
shortest connection between
► Whether your any two points. Straight lines
drawing surface is can be drawn in any direction.
flat, vertical, or on an
angle Figure 801: Several straight
lines that are drawn in six
► The size of your different directions.
drawing paper
Figure 802 illustrates how

most people hold their pencil
when first beginning to write
and draw. (Remember to
move your arm rather than
just your fingers and wrist.)
This method is ideal for
creating small drawings on a
flat or sloped surface.
Figure 802: Holding a pencil in the most familiar and traditional manner.
The second way of holding

a pencil (Figure 803) is great
for rendering a medium to
large sketch (or drawing) on
a sloped or vertical surface.
This method requires
movement from your
Figure arm, and sometimes your
803: How
shoulder and upper body as
to hold a
pencil when well.
you are
creating The method shown in Figure
big, bold 804 requires movement
sketches. from your arm and shoulder,
and is ideal for holding
pencils or sticks of graphite
and charcoal.
You can hold your pencil this
way when you work on a
sloped or vertical surface.
Experiment with each of
Figure the three ways to hold your
804: An drawing mediums. You
ideal way to
hold various may find a couple of these
types of methods a little awkward at
drawing first, but with practice you do
mediums for get used to them.
sketching.
Chapter 8: Give Yourself a Helping Hand 67
Becoming a
Natural
As discussed in the previous section,
you can choose from three different
ways to hold your pencil. The next
logical step is to find the most natural
way to move your pencil as you draw.
Many aspiring artists simply jump
into drawing without taking the
time to discover their natural hand
movement.
As a matter of fact, most people don’t
even know they have one!
This section explores the natural hand
movement of Leonardo da Vinci, and
helps you find and use yours.
Leonardo the lefty

You can tell a lot about artists by Figure 805: This drawing of an old man (including the marks
and age spots on the paper) is copied from a drawing by
examining their art.
Leonardo.
Recently, I took the time to check
out some of Leonardo da Vinci’s
drawings. I found myself in awe of his
shading lines - mostly drawn at the
same angle.
I used a graphite pencil to render a
study of one of Leonardo’s pen-and-
ink drawings. Figure 805 shows my
drawing of an old man’s face.
Leonardo’s shading lines appear to be
rendered from the upper left to lower
right, and from the lower right to the
upper left. Examine the close-up view
of the shading lines in Figure 806).
Figure 806: I turned this drawing sideways as I worked so

I could imitate Leonardo’s lines with my own natural hand
movement.
Finding your
natural hand
movement
You natural hand movement
may not be the same as either
Leonardo’s or mine.
Try your hand at drawing sets
of slanted straight lines in your
sketchbook (Figure 807). Pay
attention to how you make these
lines. Use many different ways of
moving your pencil or changing
the slant of your lines. Some will
feel comfortable and others will
feel awkward. Figure 807: A sketchbook page has
lines that slant in many directions.
However, there will be one motion that
feels the most comfortable. This is
your natural hand movement, and you
should try to use it to your advantage
whenever possible. Info Tidbit
Many experts claim that Leonardo da Vinci

Rotating your paper was left-handed because of the way he
as you draw drew straight lines (slanted from the upper
left to lower right). This is the natural hand
Professional artists have many secret movement of many left-handed artists.
ways to make sure their drawings
turn out well. In addition to using their Right-handed artists (like me) often draw
natural hand movement, they often lines from the upper right to the lower left.
rotate their paper.
You should rotate your drawing paper as

you work to take full advantage of your
natural hand movement. Remembering
to always rotate your paper takes lots of Art Quote
practice. But, before you know it, you are
rotating your paper all the time without even
thinking about it. The artist ought first to exercise
his hand by copying drawings
In Action 9E in Chapter 9, you can try your
from the hand of a good master.
hand at drawing shapes by rotating your
paper. Leonardo da Vinci
Part 3: Go Draw! 69
PART 3
GO DRAW!
► Action 9A: Sketching a Self-Portrait
► Action 9B: Creating Values with Squirkles
► Action 9C: Playing with Pencils
► Action 9D: Playing with Erasers
► Action 9E: Drawing Shapes by Rotating Your Paper
► Action 9F: Framing with a Viewfinder
► Action 10A: Drawing a Caveperson
► Action 10B: A Realistic Eye
► Action 10C: Mugly Wigglebottom
Chapter 9: Putting Your Supplies to Work 71
Chapter
9
Putting Your Supplies
to Work
*****************************************************************
Finally! Time to draw!

In this chapter, you complete a few
exercises and projects designed to teach
TIP!
you how to use your supplies. You also
discover how to use a few basic drawing
Always sharpen your pencils before
techniques.
you begin a drawing project.
► AC T I ON 9 A ◄
Sketching a Self-Portrait
Goal: Document your current drawing skills by drawing yourself.
Supplies needed: Paper, erasers, a 2B pencil, and a mirror.
Set yourself up for drawing where you can clearly see your reflection in a mirror.
Draw a portrait of yourself as realistically as possible.
When you’re finished, sign your name, write the date on the back, put your
drawing away in a safe place, and give yourself a big hug!
ArtSpeak
Squirkling is a simple shading Figure

technique in which randomly 901:
drawn curved lines (called Squirkling
“squirkles”) create values. is great for
drawing
Squirkling is ideal for simple wool on
drawings by beginners (Figure a cartoon
901), as well as highly realistic sheep.
works by professional artists
(Figure 902).
Figure 902: Advanced
Value scale is a range of different values
drawing of a tiny section of
that are drawn in order from light to dark or a phone that is completely
from dark to light (Refer to Figure 903). rendered with squirkles.
► AC T I ON 9 B ◄
Creating Values
with Squirkles
Goal: Find out the base value of Figure 903: A value scale created with squirkles.
each of your five grades of graphite Each grade of pencil has a different base value.
pencils.
Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils.
What do you get when you cross squiggles with circles? You get Squirkles!
Squirkling is a simple method of shading that uses randomly drawn curved lines
to create values. I chose this name based on the method of mixing squiggles with
circles to create shading. Many of my students from the past three decades are
very familiar with this word!
In this project, you create five different values with five grades of pencils.
Don’t press too hard or too softly with your pencil. Apply a medium amount of
pressure. Allow your pencils to do most of the work.
1. Draw a rectangle that is 2 inches high by ten inches long, and divide it
into five squares that are each 2 by 2 inches.
Surprise! Math is a very important part of drawing! But don’t grumble yet - I’ll
be introducing the various math skills very gently.
Figure 904: I used a ruler to outline a drawing space that is 2 by 10 inches (divided into five squares).
2. Mark the grade of one of your pencils under each square.
Figure 905: Each square is marked with a grade of pencil from the lightest (on the left) to the darkest.
3. In the first square, use a 2H pencil

to scribble (squirkle) curved TIP!
lines that twist and bend in many
directions.
Take your time!
Refer to Figures 906 and 907. Your
goal is to create a light value. Work very slowly and closely
watch your line as it curves
If you see a very large white space around within this square.
(the white of your paper), draw a Small squirkles make much
curved line through it so it becomes smoother values than large
two small spaces. If a section has a ones.
lot of lines, don’t add any more.
Accuracy is much more
The white spaces can be many important than speed. Speed
different shapes, but they should be increases with lots of practice.
approximately the same size.
Figures 906 and 907: A 2H

makes a very light value.
Try squinting your eyes a little to see the

squirkles as a value.
4. Use the same method to draw squirkles in each of the other four
squares.
Refer to Figures 907 to 915. Use an HB pencil in the second square; a 2B in
the third; a 4B in the fourth; and a 6B in the fifth.
Figures 908 and 909: A slightly darker

value is created by an HB Pencil.
If you make a value that looks too light,

you can simply add a few extra squirkling
lines to make it slightly darker.
Figures 910 and 911: The middle

value is made with a 2B pencil.
Make sure that each new value you draw

is slightly darker than the previous one.
Figures 912
and 913: A 4B
grade of pencil
makes a dark
value.
Figure 914:
The darkest
value is drawn
with a 6B.
Figure 915: A value scale of five

different values.
You have completed a value scale from light (on the left) to dark (on the right).
Prop up your drawing and stand a few feet away. Can you see five different
values from light (on the left) to dark (on the right)?
5. Draw another value scale from dark (on the left) to light (on the right).
Refer to Figure 916. When you’re done, pat yourself on the back ten times.
Figure 916: A value scale from dark to light.

► AC T I O N 9 C ◄
Playing with
Pencils
Figure 917: Many different values of lines can
Goal: Draw three sets of lines be made with only five grades of pencils.
with each of your five pencils.
Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils.
As you know from Action 9B, each grade of pencil makes a different base value.
However, did you know that each grade on its own can make several values?
In this project I show you how to create light, medium, and dark lines with each of
your pencils. To do this, you simply vary the pressure you apply to your pencil.
1. Use a 2H pencil to draw a light, medium, and dark set of three straight
lines (nine lines in total).
► Set of three light lines: Apply very little pressure to your pencil.
► Set of three medium lines: Use a medium amount of pressure.
► Set of three dark lines: Press firmly with your pencil.
Remember to rotate your paper so you can use your natural hand movement.
Art Quote
What we call creative work

ought not to be called work at
all, because it isn’t.
I imagine that Thomas Edison
never did a day’s work in his last
fifty years.
Stephen B. Leacock
Figure 918: Three different values of lines
made with a 2H grade of pencil.
2. Use the same technique to draw three different lines with each of your
other four pencils (Figure 919).
Figure 919: Fifteen sets of lines result in a wide range of different values.
Congratulations! You now have a better idea of how artists make several
different values with only one pencil.
Put one finger on the tip of your nose and walk seven steps in a straight line.
► AC T I O N 9 D ◄
Figure 920:
Lines and shapes
WARNING!
created with This project
erasers.
is very
messy!
Stay away from
Playing with Erasers light-colored
carpets or fabrics.
Goal: Draw lines and shapes with an eraser
Cover your
instead of a pencil.
drawing surface
Supplies needed: Heavy white drawing paper with paper or
with a medium tooth, a 2B or 4B charcoal stick, plastic before you
2B or 4B charcoal pencil, vinyl eraser, kneaded begin.
eraser, and paper towels.
ArtSpeak
Blending is the process

of gently rubbing Figure 921: A
shading with a blending section of shading
tool (such as a facial before it is blended.
tissue or paper towel)
to evenly distribute the
Figure 922: The
drawing medium over same shading after
sections of the surface it was blended with
of drawing paper. a facial tissue.
Most artists are familiar with drawing dark values on a light surface. However,
as you will soon see, you can also draw light values on a dark surface by using
an eraser (or erasers). In this section, you experiment with two different types of
erasers as drawing tools.
1. Use the side of a charcoal stick to smoothly fill in a section of your

paper.
Gently does it! Don’t press hard with the charcoal. The charcoal needs to sit
on the top of the paper’s tooth – not flatten it! In real life, my section is 6 by 3
inches – but larger is even better!
2. Use a piece of paper towel to VERY GENTLY blend the whole surface.
Don’t apply
too much
pressure, or
you’ll grind
the charcoal
into the paper
so much that
it won’t erase
(thereby
defeating the
whole purpose
of this project).
Figure 923: A section of my paper is filled in with charcoal and then very
gently blended.
3. Use your erasers however you wish to experiment with pulling light
values from the darkened drawing surface.
For a few ideas refer to Figures 924 and 925.
Figures 924
and 925: A
few lines, dots,
and shapes are
pulled out of the
charcoal with the
edges of vinyl
erasers, and
kneaded erasers
molded into
various shapes.
Info Tidbit
Thomas Edison is best

known as an inventor
(he helped invent many
wonderful items such as
the light bulb and motion
picture camera).
However, did you know that
he could draw well? He
often sketched his ideas
and drew diagrams of the
inventions on which he
worked.
4. Use your imagination and the same process to create more drawings.
You can also use your charcoal pencil to draw more details after the white
sections are erased (Figure 926).
TIP!
Completed charcoal drawings should

always be sprayed with a fixative so they
don’t smudge too badly.
Art Quote
Genius is one percent inspiration,

ninety-nine percent perspiration.
Thomas Edison
Figure 926: I used a charcoal

When you’re done, go wash the charcoal off pencil to add a few dark lines to
your face, and put a big smile on your face! my eraser drawing.
► AC T I ON 9 E ◄
Drawing Shapes by Rotating Your

Paper
Goal: Draw three different
shapes by rotating your paper
and using your natural hand
movement.
Supplies needed: Paper, a 2B
graphite pencil, vinyl eraser, Figure 927: Three shapes created by using my natural
and kneaded eraser. hand movement and rotating my paper.
You find two illustrations beside each

step; one for righties and the other
for lefties. To help you remember TIP!
which drawing is which, the lefty one
is on the left and the righty one is on
the right. Don’t worry about copying my
drawings exactly!
Just take your time and do your
Part 1: Circular best.
shape It’s more important to get used to
Your goal in this section is to draw a rotating your paper so you can use
shape using only curved lines. your natural hand movement.
1. Write
the word
“TOP”
at the
top of
your
paper
so you
don’t
get lost.
2. Draw
the first Figure 928L Figure 928R
part
of the
shape
(Figure
928).
3. Rotate
your
paper
so the
word
“TOP”
is on
the side
(Figure
929). Figure 929L Figure 929R
4. Draw
the
second
part
of the
shape
(Figure
930).
Figure 930L Figure 930R
5. Rotate
your
paper
until
the
word
“TOP”
is on
the
bottom
(Figure
931).
6. Draw
the
third
part
of the
shape
(Figure
932).

7. Rotate
your
paper
until
the
word
“TOP”
is on
the
other
side
(Figure
933). Figure 933L Figure 933R
8. Draw
the
final
part
of the
shape
(Figure
934).
9. Rotate your paper until the word “TOP” is on the top again.
Examine your drawing of a circular shape while patting yourself on the head
and standing on one foot.
Then, compare
my final lefty and
righty drawings
(Figure 935).
When placed side
by side, they are
mirror images of
one another.

Part 2: Straight-
sided shape Info Tidbit
In this section, you draw a ten-sided
shape with straight lines. To help In Drawing Book 2: Lines and
keep you on track, I have numbered Spaces, I show you how to draw
each line (Figure 936). very straight lines freehand
Righties and lefties draw the exact (without a ruler).
same shape this time (rather than
mirror images). However, you still
need to turn your paper in different
directions as you work.
Again, righty illustrations are on the
right and lefty ones are on the left.
1. Write the word “TOP” at the

top of your paper, and refer to
Figure 937 as you draw lines 1
and 2.
Before you begin, locate lines 1
and 2 in Figure 936.
Make sure you leave lots of room
on your paper for the other eight
lines that outline this shape.
Lefty’s need to rotate their paper
for this step and righties don’t. Figure 936: The lines are numbered in the
order in which you draw them.

3. Rotate your paper and draw line 3 (Figure 938).
Figure 938L
Figure 938R
4. Rotate your paper again and draw line 4 (Figure 939).
Figure 939R
Figure 939L
5. Complete your drawing of the straight-sided shape by following along

with figures 940 to 943.
By now you know how to follow along with illustrations to complete a drawing.
Take your time and refer back to Figure 936 if you get lost.
Figure 940L
Figure 940R
Figure 941R
Figure 941L
Art Quote
“When I was a boy of 14, my father was so ignorant I could hardly stand to have
the old man around. But when I got to be 21, I was astonished at how much the
old man had learned in seven years.”
Mark Twain
Figure 942R
Figure 942L
Figure 943R
Figure 943L
Rotate your paper until your Figure 944:

shape is right-side-up again If this shape
was part of a
(Figure 944).
familiar object,
Then stand up and wiggle what would it
be? Try looking
your whole body! at it sideways,
slanted, and
upside-down.
Part 3: Circle
TIP! Most artists consider
circles to be the most
difficult shape to draw.
A square can help you draw a better circle!
In this section, you try
1. Use a ruler to measure and draw a square on your hand at drawing
your paper (Figure 945). a circle. You may be
quite surprised by how
2. Measure and then mark a small dot (or line) at
well you do with help
the halfway point of each of the four sides.
from your new skills -
Your circle should only touch the sides of the using your natural hand
square at each of these four marks. movement and rotating
your paper.
1. Follow along with

Figures 946 to 950
to draw a circle.
You may prefer
Figure 945: to draw a circle
When you without drawing the
want a really square first. If so,
good-looking
circle, try simply ignore the
drawing square outlines in
it inside a the illustrations.
square.

Figure 948L
Figure 948R
Figure 949R
Figure 949L
2. Erase your square outline (if you drew

it).
Stand up and turn around in a circle three
times.
Just for fun!

So, now you have three very boring shapes
(Figure 951). How can you make them more
interesting? Easy! Turn them into something Figure 950
or somebody.
A few lines and squirkles (and an
imagination) gave my shapes a
little personality (Figure 952).
Have fun transforming your
shapes into something more
interesting. You can turn each
shape around in any direction. Figure 951
Figure
952: As
a child,
I spent
many hours
drawing
random
shapes
and giving
them faces
(as well as
noses, ears,
hair, and
hats).
Challenge: Draw three more shapes: one with curved lines, another with straight
lines, and a circle. Remember to use your natural hand movement and rotate
your paper as you draw. Then, use your imagination to turn each into something
or somebody.
ArtSpeak
Drawing from life refers to the process of drawing from

an actual person, animal, or scene, rather than from a
photograph or computer image.
Landscape format (sometimes called a horizontal format)
is a rectangular drawing space that is rotated so the two
longer sides are at the top and bottom (Figure 953).
Portrait format (sometimes called a vertical format) is a
rectangular drawing space that is rotated so the two shorter
sides are at the top and bottom (Figure 954).
Figure 954: A portrait

Figure 953: A fun drawing of a format works well for this
cartoon snake fits nicely into a drawing of a giraffe.
landscape format.
► AC T I ON 9 F ◄
Framing with a
Viewfinder
Goal: Use a viewfinder frame to choose a
composition from a photograph, then set up a
drawing space, and draw what you see inside
the borders of the frame.
Supplies needed: Photograph, viewfinder
frame, ruler, drawing paper, pencils, erasers, and Figure 956: Fishing shacks viewed
pencil sharpener. through a viewfinder frame.
Info Tidbit
Unfortunately, I was unable to

put any actual scenes into this
book (grin).
Hence, this project (and
many others) are based on
photographs.
However, keep in mind that
the basic process for using a
viewfinder frame with a photo
is almost identical to viewing
drawing subjects from life.
Three steps for

framing a view
To give you an idea of how a
viewfinder frame works, I have
broken down the process into
three basic steps (refer to Figure
957):
1. I choose a photo that I really
like. It’s a landscape format,
and I want to draw the fishing
shacks in a portrait format.
2. I adjust the two parts of the
viewfinder frame until I find a
portrait format that I like.
3. I draw what I see inside the
frame. (I decided not to draw
the boat on the right.)
Figure 957: Working with a viewfinder frame includes:

(1) choosing a photo, (2) deciding on a composition, and (3)
drawing what you see inside the frame’s opening.
Create a sketch
by framing your TIP!
view
Choose a photo that you really like!
1. Choose a photograph.
Make sure your subject is something that
If you want to draw from looks like it might be fun to draw. You may
a valuable or cherished become bored with a subject that doesn’t
photo, scan and print a appeal to you.
copy rather than work
from the original. Make sure the photo isn’t fuzzy, out of focus,
or in really bright light or dark shadows. You
Better still - take a photo can’t draw something you can’t see.
of something simple that
you want to draw and
then print it.
2. Place your viewfinder frame on

top of the photo and choose the
section you want to draw.
Continuously adjust both sections
of the viewfinder frame until Figure
the part you want to draw is 958: Photo
completely in view. I took of a
fun duck-
Remember, you can choose either shaped
a square, vertical, or horizontal candle that
drawing format. I wanted to
draw.
Use a pen or pencil
to mark small dots
on the photo inside
the four corners of
the frame.
Check out the small
dots marked in blue
in Figure 959. Figure
959: The
Remove the section of
viewfinder frame, the photo
and use a ruler to that I want
to draw
connect the dots to
is framed
outline a square or inside a
rectangle (Figure viewfinder
960). frame.
ArtSpeak
Cast shadow is a dark section on a

surface adjacent to (beside) an object
(or living being) that receives little or
no direct light.
Examine the cast shadow (cast by the duck

candle) on the surface of the table in the lower
right of Figure 960.
A fun part of being an artist is that

you can decide to change what you Figure 960: The section of the photo that I want
to draw is outlined.
see in a photo before you draw.
For example, I decided to not
include the edge of the table, the
background clutter, or the cast
shadow in my drawing.
3. Draw your subject with any

medium and in any way you want.
First of all, decide if you want to
leave out something that you see in
your photo.
Then, outline a drawing space on
your paper that is the same shape
and proportions as the outlined
section of your photo.
For example, if the outline on your
photo is 2 by 3 inches, you can
make a larger drawing by using a Figure 961: I decided to do a simple line
drawing of the duck-shaped candle.
drawing format that is 4 by 6 inches
(twice the size), or 6 by 9 inches
(three times the size of the original).
When you are done, quack like a duck as you flap your arms like wings!
Chapter 10: Three Simple Drawings 95
Chapter
10
Three Simple Drawings
*****************************************************************
This chapter presents three fun projects that put your new drawing skills into action. The
first challenges you to draw several shapes with curved lines; the second encourages you
to put your squirkling skills into action to draw the pupil of an eye; and the third takes you
through the entire process of drawing - from sketching lines to adding shading.
Remember to rotate your paper so you can use your natural hand movement. Be patient
with yourself; drawing lines and shapes freehand requires lots of practice before you can
do it well.
► AC T I ON 1 0 A ◄
Drawing a
Caveperson
Goal: Draw a human figure that looks like a
prehistoric cave drawing.
Supplies needed: Paper, erasers, ruler, and Figure
a 2B pencil. 1001: A
simple
In this project, you use curved lines to draw drawing of a
a body; then add a head, two arms and two caveperson.
legs; and finally draw hands and feet.
1. Use a ruler to draw a rectangular drawing space that is approximately

3 inches wide by 5.5 inches long.
2. Draw a partial oval-shape (Figure 1002) as the main section of the body
(called a torso).
Plan where to draw the torso on your paper so you leave room for a head,
arms, and legs. For example, the whole torso fits into the top half of the
drawing space. Also, if you look closely, the torso is a little closer to the left
side of the rectangle than the right.
3. Add a head and neck (Figure 1003).
Figure 1002 Figure 1003
4. Draw the upper part of the arms (Figure 1004).
5. Draw the lower sections of the arms and the hands (Figure 1005).
The upper part of the body is finished - the torso, head, arms, and hands all fit
nicely into the upper half of your drawing space.
Art Quote Info Tidbit
“The way to learn to do things is to do Long before people

things. learned to write, they used
bones or sticks dipped into
The way to learn a trade is to work at it.
paint to draw their stories
Success teaches how to succeed. on the walls of caves.
Begin with the determination to succeed, Their paint was often

and the work is half done already.” made from plants or
Henry Ford
animal blood.
2. Add the upper legs and knees Figure 1006

(Figure 1006).
3. Draw the lower parts of the

legs and the feet (Figure 1007).
Figure 1007
Challenge: Use your imagination to

create other prehistoric drawings.
For instance, you can draw animals,
hunters with bows, or people
dancing around a fire. Refer to
Figure 1008 for ideas.
Figure 1008: Five prehistoric cave drawings.

ArtSpeak
Iris (1) is the colored circular part of an eyeball

surrounding the pupil (2) (defined on page 21).
Highlight (3) is the brightest area where light
bounces off the surface of the eye.
Upper eyelid (4) is a
movable fold of skin that
opens and closes to
protect the eyeball.
Eyeball (also called the Figure 1009: The parts of an
white of the eye) is the eye include the: iris (1), pupil (2),
entire spherical section of highlight (3), upper eyelid (4), and
white of the eye (5).
an eye that is protected
inside an opening in the
skull (Figure 1010). Figure 1010: A drawing of an eyeball with
an iris (1), pupil (2), and highlight (3).
► AC T I ON 1 0 B ◄
A Realistic Eye
Goal: Lightly sketch the shapes of an iris,
pupil, and highlight and add shading with
squirkles.
Supplies needed: Paper, HB, 2B, and
6B pencils, kneaded and vinyl erasers,
sandpaper block, and a pencil sharpener.
Figure 1011: Simple drawing of a pupil, an
In this project, you focus on the highlight,
iris, a highlight, and the edge of the upper
pupil, and iris, as well as the edge of the eyelid.
upper eyelid.
1. Use an HB pencil to lightly sketch a circular shape as the iris of an eye.

Refer to Figure 1012. Remember to press very lightly.
2. Sketch a small circular shape in the upper left section of the iris (Figure
1013).
This is the highlight. Its location indicates that a light is shining on the eye
from the upper left.
3. Use a curved line (almost a circle) to draw the pupil of the eye (Figure
1014).
This curved line begins and ends at the highlight.
Figure 1012 Figure 1013 Figure 1014
4. Add a slightly curved line cutting through the upper section of the iris
(Figure 1015).
This line represents the lower edge of the upper eyelid. The upper sections
of irises are usually hidden under the upper eyelid (represented by a simple
curved line).
5. Use your kneaded eraser to gently erase the section of the iris above the
edge of the upper eyelid (Figure 1016).

ArtSpeak
Shadow refers to any dark area where direct light

from a light source is blocked (or partially blocked)
by an object or living being.
Shadows can be on the surface of an object or
living being (1), or on a surface that is adjacent to
an object or living being (called a cast shadow) (2).
Figure 1017: A light source from the upper left creates a

shadow (1) on the lower right surface of an egg, as well as
a cast shadow (2) on the surface on which the egg sits.
6. Add a few tiny

squirkles to the iris
with an HB pencil
(Figure 1018).
Press very gently on
your pencil to keep the
lines light.
The more uneven you
draw the squirkles, the
better the shading of the
eye will look.
Figure 1018: The overall value of the iris is light, and lots
Therefore, make sure of white paper is showing through.
your squirkle lines curve
in all different directions.
Also, some lines need to have large curves and others should be smaller.
7. Use freshly sharpened HB and 2B pencils to shade in the dark values of

the iris (Figure 1019).
Press firmly with an HB pencil to add slightly darker shading around the
edges of the iris (especially next to the edge of the eyelid).
Press gently with a 2B pencil to make the shading closest to the edge of the
upper eyelid even darker. The upper section of an iris is often in the shadow
of the upper eyelid.
8. Add the darkest

shading of the iris
(Figure 1020).
Use your 2B pencil
again, and this time
press firmly (but not
too hard) to make the
outer edges of the
iris and the shadow
under the upper eyelid
darker.
Figure 1019: The shading is darker in the upper section of At this point, you
the iris and around its edges. Some of the light shading is still
showing around the lower section of the pupil.
should see very few
white spaces still
showing in these
sections.
9. Use a 6B pencil and

squirkles to fill in the
pupil (Figure 1020).
Make sure your pencil
is freshly sharpened.
Naturally, the highlight
is left white.
10. Use your vinyl

eraser to clean up
Figure 1020: The darkest shading in the iris is directly
below the edge of the upper eyelid. The darkest shading
any smudges or
of all is in the pupil. fingerprints on your
drawing paper.
Now, sit comfortably in your chair and relax your eyes as follows:
1. Rub your hands together quickly until the palms of your hands feel warm.
2. Close your eyes lightly.
3. Cover each of your eyes gently with the palm of a hand (the section close
to your wrist).
4. Place your fingers lightly on your forehead.
5. Relax your body and stay in this position for two minutes.
ArtSpeak
Symmetry in drawing is a balanced

arrangement of lines, shapes, and (or)
values on opposite sides of a center line Figure
(which is often imaginary). 1021: The
wings in this
Many drawing subjects, such as vases drawing are
and frontal views of faces, look more symmetrical;
believable when drawn the same on both each is a
mirror image
sides. In other words, both sides need to of the other.
be symmetrical.
Line of symmetry is a
line (real or imaginary)
down the center of a
drawing (or section of a
drawing), dividing it in
half.
On each side of a line
Figure 1022: A line of symmetry Figure 1023: The center of a drawing of
of symmetry is a mirror (shown in blue) identifies the center wings that do not touch is marked with a
image of the other side. point of wings that touch. line of symmetry.
► AC T I ON 1 0 C ◄
Mugly Wigglebottom
Goal: Use a line of symmetry to outline
a cartoon and then add shading with
squirkles.
Supplies needed: Paper, 2H, HB, 2B, 4B,
and 6B pencils, kneaded and vinyl erasers,
sandpaper block, and a pencil sharpener.
In this project, simple illustrated instructions
guide you through the process of drawing Figure 1024: Mugley’s nose, face,
an adorable puppy. and ears are symmetrical.
TIP!
Protect your drawing as you work!

Always place a piece of clean paper under your hand as you draw. Each time you work
on a new section, remember to move your paper so it’s always under your hand. This
prevents you from smudging your drawing.
Outlining Mugly with neat lines

In this section, your goal is to use a line of symmetry to draw Mugly’s head, ears,
and facial features proportionately correct. Keep your pencils sharpened so your
lines stay crisp and thin.
1. Use your ruler and an HB pencil to outline a square drawing space.

Mine is 4 by 4 inches, but feel free to make your drawing space larger.
2. Draw a very
faint line of Figure 1025
symmetry
down the
center of your
page.
Refer to Figure
1025. Measure
carefully!
My line of
symmetry is
two inches
from each side
of my drawing
space.
A line of
symmetry
helps you
draw both
sides of Mugly
symmetrical.
3. Use an HB Figure 1026

pencil to
sketch a wide
oval as the
lower section
of Mugly’s head
(also called a
muzzle) (Figure
1026).
His nose and
mouth need to
fit inside this
oval. Leave lots
of space above
and on the sides
for the top of his
head and ears.
Both sides of
his muzzle are
approximately
the same size
and shape. You
can use a ruler
to measure
Figure 1027
distances if you
want.
4. Draw a smaller
oval (his nose)
inside the large
one (Figure
1027).
5. Add a tiny
circle below
his nose as his
mouth.
His mouth is
slightly to the
right of the line
of symmetry
(just to give him
a little extra
personality).
6. Add two curved Figure 1028

lines as the
sides of the
upper part
of his head
(Figure 1028).
Take note
that these
lines are also
symmetrical.
Pay close
attention to
where each
line begins and
ends.
7. Draw another
curved line as
the top of his
head (Figure
1029).
His very long
ears will extend
above this line Figure 1029
and below the
lower edge of
his chin.
Examine the
reflection of
your drawing in
a mirror to help
locate problem
areas. Seeing
his head in
reverse gives
you a brand new
perspective on
its symmetry.
Erase and
redraw any
sections with
which you are
not happy.
8. Draw his long Figure 1030

floppy ears
(Figures 1030
and 1031).
Continue
referring to your
line of symmetry
to keep his ears
symmetrical.
Figure 1031
9. Draw his eyes

(Figures 1032
and 1033).
His eyes are
upside-down
U-shapes with
circles inside.
Figure 1032
You may prefer to turn your

drawing paper upside-down
to draw his eyes.
Compare your drawing
to Figure 1033 and make
any changes you feel are
needed.
Figure 1033
Use your vinyl or

kneaded eraser
to carefully erase
your line of
symmetry.
Redraw any
sections that were
accidently erased.
Squirkling shading for Mugly

In this section, your goal is to add shading and texture to Mugly with squirkles.
10. Draw a value scale to use as a shading guide (Figure 1034).

Refer to Action 9B on page 72. You may have room in an upper or lower
corner of the same sheet you are using for drawing Mugly. If not, draw the
value scale on a separate sheet of paper.
Number each value from 1 to 5 and mark the grades of the pencils used.
Figure 1034
11. Use a 1-2H Figure 1035

value
(Figure
1034) to
add the
shading
you see
in Figures
1035 to
1038.
Do not
rush your
shading.
Draw the
squirkles
very
carefully
and slowly.
Assume a
direct light
source is
shining
from the
upper left.
Therefore, Figure 1036
the overall
shading
on the left
needs to
be slightly
lighter than
on the right.
Use your
imagination
to think
of Mugly
as three-
dimensional
to help
you decide
which
areas are in
shadow.
When your Figure 1037

shading skills
become
strong, your
speed will
increase all
by itself.
Before you
add shading
to the nose,
take note of
the locations
of the
squirkles.
Very light
squirkles are
all around
the edges
of the nose
except for a
section in the
upper right
that is left
white. Figure 1038
A few extra
squirkles
are added
to the nose
over a small
section of
the first layer
to create
a crescent
shape in the
lower left.
As you soon
discover, this
shadow area
on the nose
becomes
even darker
when you
switch to a
darker pencil.
11. Use a 2-HB Figure 1039

value
to add
medium
values
(Figures
1039 to
1042).
Begin with
the ear on
the left.
Leave
the inner
sections
of shading
light.
Only add
medium
values over
those light
values that
are closest
to the
Figure 1040
edges of
the various
shapes.
Don’t miss
the dark
shadows
cast from
his ears
onto his
upper
head.
In Figure
1040, the
highlights
of the eyes
are outlined
so you
remember
to leave
them white.
Medium Figure 1041

values
are added
along the
edges of
the lower
section
of his
muzzle,
and the
tiny round
opening
that is his
mouth
(Figure
1041).
The Figure 1042

crescent
shape of
the nose
becomes
darker
when
you add
middle
values
(Figure
1042).
11. Add shading to his eyes and the darkest shadow sections of his fur.
Refer to Figures 1043 to 1046. Use 3-2B and 4-4B values to add shading to
his eyes. Use value 3-2B for the dark shading on the outer edges of his left
ear and upper head.
If you want, you can shade Mugly’s eyes the same as in Project 10B: A
Realistic Eye.
Also, refer to
the close-up Figure 1043
view in Figure
1044.
Feel free to
outline the
pupil before
you begin
shading the
eyes.
Figure 1044
Additional dark Figure 1045

values are added
to tiny sections of
his fur and nose
in the darkest
shadow sections.
Don’t miss the
shadow on his
lower face cast by
his nose (Figure
1046).
12. Use a
5-6B value to
make the mouth
and the pupils of
his eyes a little
darker.
Collect all the

drawings you Figure 1046
completed as
you worked
through this
book.
Sign your name
and write the
date completed
on the back of
each.
Put all your
drawings away
in a safe place.
Then, gather
your drawing
supplies and
create more
drawings of
subjects you
enjoy!
Glossary 115
Glossary
*****************************************************************
This glossary provides definitions of most of the art-related words and terms used
throughout this book. Knowing the meanings of these words allows you to better
understand the text. Hence, your drawing experiences become more enjoyable, and less
frustrating!
Acid-free (Page 37) refers to a high- Charcoal (Page 25) is a drawing

quality and long-lasting paper that has medium made from burnt organic material
had the acid removed from the pulp in the (such as wood). As with graphite, charcoal
papermaking process. Drawings can be comes in various grades.
ruined when papers with acid deteriorate
and turn yellow. Drawing books and Charcoal pencils (Page 25) have
papers often have labels that tell you the a thin cylindrical stick of compressed
paper is acid-free. charcoal inside a wooden casing.
Archaeologist (Page 10) is a person Charcoal sticks (Page 25) are made
who studies ancient peoples by finding by compressing powdered charcoal into
and documenting the things they left round or rectangular sticks.
behind. (As an aside, many archeologists
have excellent drawing skills.)
Classical drawing (Page 3) refers to
the drawing methods invented by ancient
ArtSpeak (Page 1) is a fun word Greeks and Romans for creating realistic
used to describe the vocabulary of art. drawings (called realism). Classical
ArtSpeak sidebars help you understand drawing was later enhanced by the great
the meanings of drawing words and terms artists of the Renaissance.
that appear in the exercises and projects
in this book.
Clay (Page 17) is a naturally occurring
material that becomes hardened when
Blending (Page 78) is the process of dried. For example, clay is mixed with
gently rubbing shading with a blending graphite to make graphite drawing
tool (such as a facial tissue or paper mediums.
towel) to evenly distribute the drawing
medium over sections of the surface of
Clips (Page 49) (usually made of metal)
can be used to attach sheets of paper to a
drawing paper.
drawing board.
Cast shadow (Page 94) is a dark
section on a surface adjacent to (beside)
Composition (Page 45) refers to the
arrangement of the various parts of your
an object (or living being) that receives
drawing subject within the borders of a
little or no direct light.
drawing space.
Curved line is created when a straight Eyeball (Page 99) (also called the white
line curves or bends. Curved lines can be of the eye) is the entire spherical section
drawn in any direction and be any length. of an eye that is safely protected within an
opening in the skull.
Drafting desk (Page 49) (or drafting
table) is an adjustable worktable with a Figure (Page 1) is a diagram or picture
slanted top. that illustrates text. For example, the first
figure in this book (Figure 01) is a drawing
Drawing (noun) (Page 1) is an image of a hand sketching a cartoon.
created on a drawing surface with a
drawing medium. Figure (Page 11) refers to the body of a
human being.
Drawing (verb) (Page 1) refers to
the process of applying a medium to a Fresco (Page 12) is an artwork painted
surface to create an image. on a thin layer of plaster that covers a
wall or ceiling. For example, frescoes that
Drawing board (Page 49) is a date back more than 3500 years have
portable, lightweight, smooth surface been discovered in Greece. The ceiling
used to support an artist’s sketchbook or of the Sistine Chapel (in Rome) is also a
drawing paper. fresco that was painted by Michelangelo
between 1508 and 1512.
Drawing from life (Page 91) refers
to the process of drawing from an actual Grade (Page 17) refers to the softness
person, animal, or scene, rather than a or hardness of the mixture used in the
photograph or computer image. manufacture of drawing mediums.
Drawing powder (Page 31) refers to Graphite (Page 17) is a soft black form
tiny loose particles of a drawing medium of opaque (non-transparent) carbon found
that have been broken down from a solid in nature. It is often mixed with clay to
into a powder. For example, drawing make various types of drawing tools for
powder can be made by using coarse artists.
sandpaper to wear away sections of
graphite and charcoal sticks. Hardcover (Page 37) refers to a
durable type of book cover that is made
Drawing space (Page 45) (also called from a thick and unbendable material.
a drawing surface or a drawing format) is The hard cover protects your papers and
the area in which you render a drawing drawings from being wrinkled.
within a specific perimeter. It can be the
shape of a sheet of paper itself, or a Highlight (Page 99) is the brightest
shape you outline on your paper, such as area where light bounces off the surface
a square, rectangle, or circle. of the eye.
Drawing stick (Page 26) is a drawing

tool that is made by compressing and
shaping a medium (such as graphite or
charcoal) into a round or rectangular
chunk.
Glossary 117
History (Page 10) is a written record Leadpoint (Page 18) (also called a
of the past; mostly about the lives and stylus) is a thin metal stick made of lead
activities of human beings and their and used for drawing.
environments. For example, historians
(people who study and write about history) Line of symmetry (Page 103) is a
have documented that Leonardo da Vinci line (real or imaginary) down the center
was born in Italy in the year 1452. of a drawing (or section of a drawing),
dividing it in half. On each side of a line of
Hot pressed (Page 37) refers to symmetry is a mirror image of the other
a paper that is pressed through hot side.
cylinders during its manufacture. Many
smooth watercolor papers are hot Manikin (Page 41) is a model of a figure
pressed. or animal (often made of wood) that is
used for learning how to draw. Most
Icon (Page 2) is a visual image (such as manikins have bendable joints so they
a drawing) used to identify a specific task can be manipulated into various poses.
or information. For example, in this book
ArtSpeak sidebars are identified with a Master (Page 13) refers to someone
circular, cartoon icon of Albert Einstein. who is an expert in a specific profession
or area of study. For example, Leonardo
Illustration (Page 2) is an image (such da Vinci was a master of painting and
as a drawing or photograph) that is used drawing.
to enhance the reader’s understanding of
text and (or) make text more interesting. Mechanical pencil (Page 26) is
Some books (such as a picture book) a drawing tool that has an internal
have only illustrations and no text. mechanism that pushes a thin graphite
Others have mostly illustrations and a lead, from the tiny tube inside the holder,
small amount of text to describe each through the tip.
illustration.
Media (Page 43) (also called mediums)
Iris (Page 99) is the colored circular part refers to more than one drawing medium.
of an eyeball surrounding the pupil.
Medium (Page 1) refers to a drawing
Kneaded eraser (Page 42) is an tool (anything from a pencil to the burnt
artist’s tool made of a grey or white pliable end of a stick) used to make marks on a
material that can be shaped by hand for surface.
accurate erasing. Kneaded erasers are
designed to absorb and pick up particles Metalpoint (Page 18) is a thin stick
of graphite and charcoal without leaving used for drawing and made from a type of
behind eraser crumbs. They do not wear metal.
away like other types of erasers, but can
become too dirty to work properly. Mummy portrait (Page 12) is an
ancient painting of a man, woman, or child
Landscape format (Page 91) that was attached to the face of a burial
(sometimes called a vertical format) is a mummy. Many date back to the Roman
rectangular drawing space that is rotated occupation of Egypt.
so the two longer sides are at the top and
bottom.
Mural (Page 12) is a drawing or Renaissance (Page 3) (from the

painting on a wall, ceiling, or other large French word for rebirth) refers to the
surface. For example, murals have been changes within European culture from the
discovered on the walls of prehistoric early twelfth century to the late sixteenth
caves and inside ancient Egyptian tombs. century.
Pencil (Page 1) refers to a broad Render (Page 3) describes the process

category of drawing tools that have a of making something happen. For
medium inside a holder. For example, example, the process of drawing a turtle
a regular pencil (also called a wood- can also be referred to as rendering a
encased pencil) has a medium encased drawing of a turtle.
inside a wooden cylinder. On the other
hand, a mechanical pencil holds Right angle (Page 64) is created when
replaceable thin cylindrical sticks of a horizontal straight line meets a vertical
medium that are manually loaded into a straight line at a ninety-degree angle.
tiny tube inside a holder.
Sandpaper block (Page 26) is an
Portfolio (Page 10) is a case in which artist’s tool with tear-off sheets of fine
artists store (or carry) drawings and sandpaper used to sharpen the points of
papers to protect them from damage. pencils.
Portrait format (Page 91) (sometimes Score (Page 59) is the process of cutting
called a horizontal format) is a rectangular very slightly into a thin object (such as
drawing space that is rotated so the two cardboard or heavy paper) so as to fold it
shorter sides are at the top and bottom. evenly.
Prehistoric (Page 10) describes the Sculptor (Page 12) is an artist who
period in time before written language was creates sculptures. For example, a very
used to record history. Many prehistoric well-known sculptor of the Renaissance
humans drew pictures on the walls of was Michelangelo, and one of his most
caves instead. famous sculptures is the statue of David.
Pupil of an eye (Page 21) is the tiny, Sculpture (Page 12) is a three-
dark circular-shaped part of an eye that dimensional artwork that is made of a
adjusts its size under different lighting material such as bronze, rock, or marble.
conditions.
Self-portrait (Page 71) is a drawing or
Realism (Page 3) is a way of drawing painting an artist creates using his or her
in which living beings and objects are own face and (or) body as a model. A self
drawn as they appear in real life. The portrait is usually rendered by memory or
artist tries to draw what he or she sees as by drawing his or her reflection in a mirror.
realistically as possible.
Shading (noun) (Page 2) refers to the
Regular pencil (Page 1) (also called various values within a drawing that make
a wood-encased pencil) has a drawing images appear three-dimensional.
medium encased inside a cylindrical
wooden casing. Shading (verb) (Page 2) is the process
of adding values to a drawing.
Glossary 119
Shadow (Page 101) refers to any dark Straight line (Page 65) provides the
area where direct light from a light source shortest connection between any two
is blocked (or partially blocked) by an points. Straight lines can be drawn in any
object or living being. Shadows can be on direction.
the surface of an object or living being, or
on a surface that is adjacent to an object Style (Page 11) refers to an artist’s
or living being (called a cast shadow). approach to his or her own art. An artist’s
style may be based on his or her personal
Shape (Page 3) refers to the outward preferences and art education. For
outline of a three-dimensional object. example, realism is a well-known style.
Sidebar (Page 1) is a box of text (some Stylus (Page 18) (sometimes called
have illustrations) that provides additional leadpoint or metalpoint) refers to a thin
information about a topic. In this book, metal stick used for drawing. Styluses
a sidebar called ArtSpeak provides you made of lead have been traced back to
with definitions of art words and terms. ancient Rome. During the Renaissance,
styluses were also made from silver, gold,
Sketch (noun) (Page 2) is a simple or copper.
drawing of the important parts of a
subject. A sketch is usually done quickly Subject (Page 11) refers to whatever
with simple lines and (or) shading. an artist chooses to draw. For example,
popular drawing subjects include people,
Sketch (verb) (Page 2) refers to the animals, objects, flowers, and scenery.
process of doing a sketch.
Symmetry (Page 103) is a balanced
Softcover (Page 37) describes a arrangement of lines, shapes, and (or)
flexible book cover that is usually made values on opposite sides of a center
of paper. Softcover sketchbooks are line (the center line is often imaginary).
inexpensive, however, you need to Each side provides a mirror image of
handle them carefully so the paper the other. In other words, both sides are
doesn’t wrinkle. symmetrical. Many drawing subjects, such
as vases and frontal views of faces, look
Spray fixative (Page 41) is a
more believable when drawn the same on
transparent coating sprayed onto an
both sides.
artwork to help the medium adhere to the
paper, so the drawing doesn’t smudge. Talent (Page 10) refers to the process
of self-discovery during which you realize
Squirkling (Page 72) is a simple
that you have the interest and motivation
shading technique in which randomly
needed to become exceptional in a
drawn curved lines (called “squirkles”)
specific area. To find out what a talented
create values. Squirkling is ideal for
person looks like, go look in a mirror! With
simple drawings by beginners as well
commitment, patience, and dedication,
as highly realistic works by professional
you can turn your talent into a skill.
artists.
Technique (Page 11) is a well known Viewfinder frame (Page 45) is an

method (such as a specific way to do adjustable, see-through rectangular or
shading) that is used to accomplish a square frame that allows you to look at a
particular activity or task. For example, drawing subject from various viewpoints.
more than one shading technique may be It’s an invaluable tool for planning
suitable for a specific drawing. Hence, an a composition, and can be used for
artist’s selection of a shading technique portraits, figures, landscapes, or any other
is generally based on his or her skill drawing subject.
level, and what works best to capture the
subject. Vinyl eraser (Page 41) is soft, non-
abrasive artist’s tool that erases graphite
Text (Page 2) refers to the words used in and charcoal more cleanly than a regular
writing. pink eraser (which has been known to
make holes in paper and ruin drawings).
Texture (Page 34) refers to the surface
detail of an object. The type of texture can Vision (Page 1) is the ability to see.
be identified with vision, a sense of touch,
and a general knowledge of the object. Visual art (Page 12) refers to artworks
(such as drawings, paintings, and
Tooth (Page 33) refers to the surface sculptures) that can be appreciated by
texture of paper. Paper with a smooth the sense of sight. For example, all the
tooth is flat and silky; medium tooth has a drawings in this book are considered
slightly uneven texture; and rough tooth is visual art.
bumpy with lots of craters and peaks.
Wood-encased pencil (Page 26)
Underdrawing (Page 16) is a loosely (better known as a regular pencil) has
rendered sketch that is created as a guide a thin cylindrical stick of graphite or
for a final drawing (or painting). charcoal inside a wooden casing.
Upper eyelid (Page 99) is a movable Woodless pencil (Page 26) is a thick
fold of skin that opens and closes to cylindrical stick of graphite wrapped in a
protect the eyeball. vinyl casing.
Value scale (Page 72) is a range of
different values that are drawn in order
from light to dark or from dark to light.
Values (Page 2) are the different shades

of gray made when adding shading to a
drawing.
In this book:
► Simple history of drawing
► Process of learning to draw
► Fun history of graphite
► Grades of graphite
► Differences between B and H grades
► How grades affect the look of drawings
► Graphite and charcoal drawing mediums
► Wood-encased, mechanical, and woodless pencils
► Drawing powders and sticks
► Textures, sizes, and weights of drawing papers
► How to select and protect the tooth of paper
► Vinyl and kneaded erasers
► Pencil sharpeners and sandpaper
► Pencil case, portfolio, viewfinder frame, and ruler
► Manikins, display boards, and spray fixative
► Ideal surfaces on which to draw
► Proper lighting for drawing
► Good posture for sitting to draw
► What to pack in a portable studio
► Supplies to add to your shopping list
► Make an artist’s portfolio
► Construct a simple viewfinder frame
► Three ways to hold your medium as you draw
► Discover your natural hand movement
► Action 9A: Sketching a Self-Portrait
► Action 9B: Creating Values with Squirkles
► Action 9C: Playing with Pencils
► Action 9D: Playing with Erasers
► Action 9E: Drawing Shapes by Rotating Your Paper
► Action 9F: Framing with a Viewfinder
► Action 10A: Drawing a Caveperson
► Action 10B: A Realistic Eye
► Action 10C: Mugly Wigglebottom
$20.00 (U.S.)
Drawing Book 1: Getting

Started is the first in a series
of instructional books for
homeschooling families and self-
directed learners.
“My current positions have merged my

credentials and focus into three main areas:
teacher development (teaching professionals
how to teach), reflective practice, and inclusive
education. And now, after years of study, I
have the pleasure of putting my academic
“stamp of approval” in the front pages of this
very unique and thorough approach to art
education.”
Robert A. Roughley
B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of
Calgary
Instructor, Teaching and Learning Centre, University of Calgary
My philosophy on teaching art is to focus

primarily on the enjoyment aspects while
gently introducing the technical and academic.
Hence, in creating a passion for the subject
matter, the quest for knowledge also becomes
enjoyable.
Brenda Hoddinott
Art educator, visual artist, forensic artist (retired), illustrator,
author of Drawing for Dummies, The Complete Idiot’s Guide
to Drawing People, and Drawing Book 1: Getting Started, and
owner of Drawspace.com.
Published by
http://www.drawspace.com

Drawspace Guide To Getting Started With Drawing

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Drawspace Guide To Getting Started With Drawing

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Ideal for homeschooling and

120 pages and more

Flesch-Kincaid Grade Level: 6.84

Published by Drawspace.com, Halifax, NS, Canada

This book is dedicated to my

Copyright © 2009 Brenda Hoddinott

Publisher: Drawspace.com, Halifax, NS, Canada

Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott

Editor: Suzanne Beaton

Part 1: Get Ready! ......................................................7

Chapter 2: Getting a Grasp on Graphite and Grades ...................17

Chapter 3: More Drawing Mediums ..............................................25

Sticks and Stones (oops!) Powders ......................................................31

Chapter 4: Sketchbooks and Drawing Papers .............................33

Chapter 5: Adding to the Basics ..................................................41

Sandpaper blocks and sheets ..................................................................43

Part 2: Get Set! .................................................47

Chapter 7: Making a List, Portfolio, and Viewfinder Frame ........55

Chapter 8: Give Yourself a Helping Hand ....................................65

Part 3: Go Draw! ...............................................69

Chapter 10: Three Simple Drawings ............................................95

I have known Brenda Hoddinott for many years.

My graduate work focused on educational and curriculum studies, and

YOU can learn to draw!

Look into this

Renaissance Figure 10: I used classical

Warning! Figure 14: Warning

Eying action icons

Action sidebar numbers and letters

A few words on illustrations

Insights into the parts

Part 1: Get Ready!

Part 2: Get Set!

How to Use this Book

A Brief History of Drawing

In the time Figure 107:

Mural is a drawing or painting on a wall, ceiling, or other Mummy portrait is a painting of

The birth of classical art

In addition to murals, frescos,

Figure 110: My goal was to create a

Drawing is an action word

YOU can draw!

Figure 115: The horse has

Info Tidbit ArtSpeak

Developing your own style Underdrawing is a loosely rendered

You also learn about the grades

Another great thing about graphite is its ability

Leadpoint is considered the

The link between graphite and sheep

Trying to draw with 17 different pencils can

Figure 207: Values

As a rule, hard (H) pencils:

Always lay your graphite pencils somewhere safe

Generally speaking, B grades of

The darker marks Figure 211: Loosely rendered sketch of

And what animal

Figure 213: A drawing of a baby

Figure 214: Professional pencils often look identical, even

In addition to graphite pencils, you need to

Figure 302: A few different types of

Drawing stick (1) is made by

Picking out Proper Pencils

Figure 306: Marks