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Sketch Book for the Artist (Gnv64)

Sketch Book for the Artist (Gnv64)

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Published by Buddy Pondrom

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Published by: Buddy Pondrom on Apr 21, 2012
Copyright:Attribution Non-commercial


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  • Foreword
  • Drawing Books and Papers
  • Posture and Grip
  • Documentaries
  • Presence and Mood
  • Movement
  • Icon and Design
  • Pen and Ink
  • Drawing With Ink
  • Capturing Character
  • Sleeping Dogs
  • Turtles
  • Dry Birds
  • Botanical Studies
  • Jeweled Gardens
  • Fast Trees
  • Graphite and Erasers
  • Cropping and Composition
  • Negative Space
  • Fig Tree
  • Master Builders
  • The Order of Sound
  • Future Fictions
  • Pathways of Sight
  • Single-Point Perspective
  • Creating an Imaginary Space
  • Still Life
  • Instruments of Vision
  • Bench Marks
  • Light and Illusions
  • Further Illusions
  • How to Draw Ellipses
  • Tonality
  • Drawing with Wire
  • Artifacts and Fictions
  • Postures and Poses
  • Choreographs
  • Passion
  • Quick Poses
  • Hands and Feet
  • Charcoal Hands
  • Phrasing Contours
  • The Visual Detective
  • La Specola
  • Poise
  • Anatomies
  • Revelations
  • Self-Portraits
  • Self Portrait
  • Silver Point
  • Head and Neck
  • Essential Observations
  • Drawing Portraits
  • Castings
  • Cloth and Drapery
  • Character Costumes
  • Femmes Fatales
  • Colored Materials
  • Study and Design
  • The Structure of Costume
  • Textures and.Patterns
  • Posture Carving
  • Projections
  • Magnetic Fields
  • The Human Condition
  • Disposable Pens
  • The Travel Journal
  • Catching the Moment
  • Crossings
  • Air in Motion
  • Storms
  • Nature Profiles
  • Charcoal
  • Landscapes
  • Drawing in the Round
  • Cloudburst
  • Notes of Force
  • Mountains
  • Marks of Influence
  • Hauntings
  • Convolutions
  • Brushes
  • Brush Marks
  • Monsters
  • Goya's Monsters
  • Consumed
  • Glossary
  • Index
  • Acknowledgments

UNCONSCIOUSLY WE ASSESS spatial relationships all the time

to guide ourselves through the world. But how often do we

look at the air between things; shapes of air cut out and

defined by the physicality of our environment? When we

look into the branches of a tree, do we see myriad distinct

and unique shapes of daylight or do we just see branches?

Why as artists should we look at the air?

Every space in a picture has a shape, position, tone, and

a role to play. Viewers appreciating a finished image may

not see shapes of space, but if the artist does, their subject

and composition will become more real, unified, dynamic,

and engaging. Negative space is the simple key to getting

positive shape right; a foundation stone in picture-making.

Unfamiliar shapes of negative space reveal the real shape of

a positive subject. Looking at negative space overrides the

problem of drawing what you know, rather than what you

see in front of you. It is an astonishingly simple device

that many artists use and I strongly recommend.

The drawing opposite is of the uppermost leaves of

a potted fig tree. In following this class, you will need a

similar large-leaved plant, a sharp HB pencil, an eraser,

and a fresh page in your drawing book. Remember that

plants do move! Therefore it is best to complete your

drawing in one sitting if possible.


Arrange your plant and paper so you can look back and forth by barely
moving your head; this ensures a consistent view.The box opposite isolates an
area, which is shown in the three steps below. Follow these from left to right
and see how I began with one complete shape between two parts of a leaf,
erasing and adjusting lines until itlooked right, then added a second shape, third,
fourth, and so on. In your own version, remember to draw only space, not
leaves. It helps to start at the center and map outward.

Draw a complete shape

Map outward from the center

Erase and adjust linesuntil correct



Spaces between leaves

Here I drew only spaces, adding one to
another until the leaves were revealed.
Besides looking at negative space, there
are two other useful things to do when
a drawing feels wrong but you cannot see
why: look at it in a mirror or turn it upside

Either view will immediately reveal

errors and suggest changes.



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