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FUN WITH A PENCIL
ALSO BY ANDREW LOOMIS
Figure Drawing for All ItŽs Worth
Creative Illustration
Drawing the Head and Hands
Three-Dimensional Drawing
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Who am I? Oh, just one of AndyŽs little funny folk.
But IŽm important! He gave me a job. IŽm the spirit
of the book, by jeeminy, big nose and all. I represent
all the blue in here. My right name would be Basic
Form, but thatŽs much too high-sounding. He thinks
that name would scare you away. So he just calls me
"Professor BlookŽŽ and lets it go at that. Now, IŽve got
a few interesting things to tell you.
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A METHOD OF CHECKING
The blue lines in the diagram above are our same construction lines.
They may be done on tracing paper over any face. You can thus quickly
find a feature that has been incorrectly placed. You can also •findŒ the
ball and plane position in a photographic head this way. Whether you
are building or tearing down, the method applies.
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ØÛÎÛ ÉÛ ÙÑÿ
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ëë
ÉÛ ÍÌßÎÌ ÑÒ ÌØÛ Ú×ÙËÎÛ
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¬¸±®±«¹¸´§ º¿³·´·¿® ©·¬¸ ¬¸» ³±ª»³»²¬ ±º »¿½¸ °¿®¬ò
ëê
ÜÑÑØ×ÒÕËÍ ÓÑÊÛÍ ßÞÑËÌò ÍÌËÜÇ ÌØÛ ÚÎßÓÛÉÑÎÕ
ëé
ÐËÎÐÑÍÛÔÇ ÑÚÚ ÞßÔßÒÝÛ
ëè
ÜÑ ÍÑÓÛ ÑÚ ÌØÛÍÛ
ëç
ÌÎÇ ÌØÛÍÛô ÌØÛÒ ×ÒÊÛÒÌ ÍÑÓÛ ÑÚ ÇÑËÎ
êð
ÞË×ÔÜ×ÒÙ ÑÒ ÌØÛ ÚÎßÓÛÉÑÎÕ
êï
ÞË×ÔÜ×ÒÙ ÑÒ ÌØÛ ÚÎßÓÛÉÑÎÕ
êî
A WAY TO SET UP THE ACTION
Take any jointed doll if possible, one jointed at the
waist. This fellow was a plain wooden art-store man-
nikin. In order to make him exist for you as some-
thing more than wooden chunks, I dolled him up, with
paint, putty, and a bit of hair from the bathroom rug.
Then I got busy with my candid camera. He is a queer-
looking little guy, a sort of cross between Groucho
Marx and a cigar-store Indian; but he is made of parts,
and it is the appearance of these parts in action that
we are interested in. In this way Doohinkus Manni-
kin is better than a live model. The black lines on
him help you his bulk, just as they do on the ball.
Take some of these poses. Start by drawing the frame-
work in the approximate action. It is not important
that you maintain the same proportions, and you can
substitute any head. Change him to suit yourself, but
watch the positions of the parts carefully. Build on
each part as you it. Note whether lines at joints curve
up or down, how the part is tipped toward or away
from you, you can exaggerate the action of the hips
and shoulders, as those actions were quite limited in
the mannikin. You can also, if you wish, render the
light and shadow on the parts.
Ì®¿½·²¹ ¬¸»-»ô ±® ½±°§·²¹ ©·¬¸±«¬ ¾«·´¼·²¹ô ©·´´ ¼±
§±« ²± ¹±±¼. But if you will •buildŒ a dozen or so,
you will be able to set up figures of your own, in al-
most any action. The correct assembling of the parts
of the figure is much more important than actual
knowledge of the bones and muscles. You cannot put
clothes on your figures properly without knowing the
action of under the clothes, and the flexing and pull-
ing of the material over them from one part to an-
other.
Pages 66 and 67 will show how to go about it.
êí
ÜÑÑØ×ÒÕËÍ ÓßÒÒ×Õ×Ò ÍØÑÉÍ ÇÑË ÌØÛ ÐßÎÌÍ ×Ò ßÝÌ×ÑÒ
êì
ÞË×ÔÜ Ú×ÙËÎÛÍ ÚÎÑÓ ÌØÛÍÛ
ÍÌßÎÌ É×ÌØ ÌØÛ ÚÎßÓÛÉÑÎÕ
êë
ßÚÌÛÎ ÜÎßÉ×ÒÙ ÌØÛÍÛô ÌÎÇ ÍÑÓÛ ÑÚ ÇÑËÎ
êê
HOW YOU USE THE DOOHINKUS POSES
Here is the way to go about the preceding poses. I have chosen figure
No. 8 at random. First, it is a good idea to know what the normal
figure is like. You neednŽt draw this unless you are interested. The
bottom figures illustrate how the exaggerated is based on the normal.
êé
1UST PLAY WITH THE FIGURES
The main idea is to enjoy yourself. Some day you may just
put clothes right over the framework. But it is better always
to sketch in the figure. Do not follow the photos literally. Do
a lot of inventing, I wish I had more space here, but perhaps
these will give you a working basis.
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ÌØÛ ÍË×Ì
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ÌØÛ ÜÎÛÍÍ
éð
ØÑÉ ÌÑ ÜÎßÉ ß ØßÌ ÝÑÎÎÛÝÌÔÇ
éï
ÚÎÛßÕ ØßÌÍ
éî
ÌØÛ ØßÒÜ
éí
ÚÛÛÌ
éì
ÒÑÉ ÉÛ ÞË×ÔÜ ÌØÛ Ú×ÙËÎÛ ßÒÜ ÐËÌ ÑÒ ÍÑÓÛ ÝÔÑÌØÛÍ
éë
ÛÈÐÛÎ×ÓÛÒÌ ÑÒ ÚÛÔ×È ÌØÛ ×ÝÛ
éê
ÌÎ×ÝÕ ÍÌËÚÚ
éé
ÌÎ×ÝÕ
éè
ÒÑÉ ØßÊÛ ÍÑÓÛ ÚËÒ
éç
ÌÎÇ ÌÑ ÉÑÎÕ ÑËÌ ÌØÛ ÝÑÒÍÌÎËÝÌ×ÑÒ ÇÑËÎÍÛÔÚ
èð
ÛÈÐÛÎ×ÓÛÒÌ É×ÌØ ÌØÛÍÛ
èï
×ŽÓ ÐËÌÌ×ÒÙ ÇÑË ÑÒ ÇÑËÎ ÑÉÒ
èî
ÌØÛÍÛ ÑËÙØÌ ÌÑ ÞÛ ×ÒÌÛÎÛÍÌ×ÒÙ
èí
ÞË×ÔÜ ÌØÛÓ ËÐå ÜÑÒŽÌ ÖËÍÌ ÝÑÐÇ
èì
ÒÑÉ ÔÛÌŽÍ Ó×È ËÐ ÌØÛ ÎßÝÛÍ
èë
ÇÑË ÝßÒ ÜÎßÉ ÌØÛÓ ßÔÔ ÞÇ ÑËÎ ÓÛÌØÑÜÍ
èê
ßÔÍÑ ÌØÛÍÛ
èé
ßÓÑÒÙ ËÍ ÓÑÎÌßÔÍ
èè
ÜÑÉÒ ÑÒ ÌØÛ ÚßÎÓ
èç
ÉØÛÒ ÇÑË ßÒÜ × ÉÛÎÛ ÇÑËÒÙô ÓßÙÙ×Û
çð
ßÒÒßÞÛÔÔÛ
çï
ÖËÍÌ ÒßÌËÎßÔÔÇ ßÌØÔÛÌ×Ý
çî
ÊßÓÐÍ
çí
ßÒÜ ÓÑÎÛ ÊßÓÐÍ
çì
FORESHORTENING
Unless one has a sound method of building,
foreshortening is very difficult. In the figure at the
right, the parts resemble the Doohinkus photos. If
you think of the figure as sections fitted together,
foreshortening takes
fully as we built the head in Part One. Think of
solids
Below, we obtain foreshortening by projecting a pro-
file into a front view, or the reverse, as we did with
the head. Establish the desired tilt and position of
the parts, then by parallel lines build the other posi-
tion of the figure so that all important points coin-
cide. When the figure is close, increase the parts
that are closest and diminish the parts that are away
from you. I did not do this, fearing it might confuse
you. I personally prefer the method at the top, us-
ing the eye, but often a difficult problem can be
worked out easily this way, and it is well to know
how.
çë
THUS ENDETH PART TWO
HereŽs Gas House Nellie back with us, and what a
wallop! SheŽs here to show you thereŽs no foolinŽ
about those little Doohinkuses, You can get more
real stuff into your figures in two minutes this way
than in two days of trying to horse around with the
finished drawing that has not been planned out. If
Nellie isnŽt really slamming this guy, IŽm a
Chinaman. I can almost hear it.
çê
ÒÑÉ ÌØßÌ ×ŽÊÛ ÙÑÌ ßÔÔ ÑÚ ÇÑËô ÉØßÌ ÌÑ ÜÑÿ
çé
ÐßÎÌ ÌØÎÛÛ ß ÉÑÎÔÜ ÚÑÎ ÇÑËÎ Ú×ÙËÎÛÍ ÌÑ Ô×ÊÛ ×Ò
çè
ÐÛÎÍÐÛÝÌ×ÊÛ
çç
ØÑÉ ÌÑ ÛÍÌßÞÔ×ÍØ Ú×ÙËÎÛÍ ÑÒ ÌØÛ ÙÎÑËÒÜ
ïðð
ÐÛÎÍÐÛÝÌ×ÊÛ ×Ò ÌØÛ Ú×ÙËÎÛ
ïðï
ÝÑÓÓÑÒ ÚßËÔÌÍ
ïðî
ÚËÎÒ×ÌËÎÛ
ïðí
HOW TO PRO1ECT FURNITURE ONTO THE GROUND PLANE
Here is an excellent method for building furniture and figures on a ground plane. It
is simpler
ïðì
ÞË×ÔÜ×ÒÙ ßÒ ×ÒÌÛÎ×ÑÎ ÚÎÑÓ ß ÙÎÑËÒÜ ÐÔßÒó×
ïðë
ÞË×ÔÜ×ÒÙ ßÒ ×ÒÌÛÎ×ÑÎ ÚÎÑÓ ß ÙÎÑËÒÜ ÐÔßÒó××
ïðê
ÞË×ÔÜ×ÒÙ ßÒ ×ÒÌÛÎ×ÑÎ ÚÎÑÓ ß ÙÎÑËÒÜ ÐÔßÒó×××
ïðé
ÞË×ÔÜ×ÒÙ ßÒ ×ÒÌÛÎ×ÑÎ ÚÎÑÓ ß ÙÎÑËÒÜ ÐÔßÒó×Ê
And here is the finished drawing. ItŽs fun to try inking in some of your
pencil drawings. Get a bottle of waterproof black drawing ink. You
can get a box of school water colors, also, and get still more fun out
of it. Knowing just what is the correct perspective helps so much to
give that solid, finished, and professional look. This procedure opens
up a whole world for the little figures you have learned to draw. It is
worth while to see what you can do with this method. It offers a possi-
bility of setting some work, besides the thrill of doing it. Now we shall
take up a new subject.
ÞÛÜÌ×ÓÛ
ïðè
Rays of light travel in straight lines. From any spot, the middle ray, the •per-
pendicular to source,Πwould meet the earth and pass through its center. At the
point directly under the source we establish the point DL, meaning •direction of
light.Œ S will mean •sourceŒ at the top of the perpendicular,
From the farthest limit of the shadow to DL, then up to the source and back to the
shadow, forms a triangle. The third corner of the triangle will be called At, mean-
ing •angle of light.Œ DL may be the vanishing point of the shadow or the base from
which it proceeds outward.
Ô×ÙØÌ ßÒÜ ÍØßÜÑÉæ ÌØÛ ÐÎ×ÒÝ×ÐÔÛ
ïðç
ß Í×ÓÐÔ×Ú×ÛÜ ÓÛÌØÑÜ ÚÑÎ ÙÎÑËÒÜ ÍØßÜÑÉÍ
ïïð
Ô×ÙØÌ ßÒÜ ÍØßÜÑÉ
ïïï
Ô×ÙØÌ ßÒÜ ÍØßÜÑÉ
ïïî
Ô×ÙØÌ ßÒÜ ÍØßÜÑÉ
ïïí
THE LAST HILL
I have a chosen a problem here that would be very difficult without some under-
standing of the fundamentals given in Part Three. By the use of perspective, to-
gether with the effect of light and shadow, we create the illusion of space, form, and
a quality of existence.
This drawing may have the •feelŒ of having been sketched from life, because of the
fundamental principles applied to it. However, it was done from the imagination,
without any copy, simply to show you the possibilities.
It is a great storehouse of material. By all means, draw from that great source. Do
not just copy. •BuildŒ with what you observe for yourself to be true. Try to get the
individual quality of each thing you draw. It is that quality that makes the artist
interesting.
ïïì
Ì×ÓÛŽÍ ËÐô ÚÑÔÕÍò ÉÛ ÙÑÌÌß ÙÑò •ÞÇò
ïïë
THE AUTHORŽS CORNER
I guess all you folks will forgive me for reserving a tiny
corner of the book as my own. Everything must eventu-
ally come to an end, and so with this book, my first effort
of this kind. It has been a concentrated effort. At times I
have seen the daylight fade and come back again with-
out sleep. IŽll never tell anybody the actual time it took
me to make these (it seems) thousands of drawings. IŽm
sure he would not believe me. IŽm dreadfully tired but
immensely happy. It has been intensely interesting, for I
have retraced the ground of years ago. It has carried me
back to the first struggle for knowledge that might earn
me a living. It has reminded me of the early drawings
which so often came back.
How simple it all might have been, had I in the beginning
been able to assemble these working principles, put them
in order, and work with them as I do now. But they were
bits of knowledge plucked out of the air like bits of fluff
from a seed pod. Only a few within your grasp, just a
few to take root and flourish. Strangely, the simplest facts
always are the latest in being understood. And when they
are. Their utter simplicity is the best reason for their
acceptance, even at the cost of having to sweep out the
pet theories and ideas accumulated over half a lifetime.
At best, how do I know that IŽm any more right now than
in my student days? The answer is that of the con-
valescent who has suffered and got well again. Lack of
knowledge can be greater torture than the effort of ac-
quiring it. I know only that I am happier in my work than
I was then. It has gained publication in places that once
seemed hopeless for me. I can approach the work with
peace of mind and confidence boon of experience. This
book is an effort to transplant that peace of mind to some
few thousand others who otherwise must fall victims to
the selfsame devices which contrive to make before they
can make even a meager start.
ïïê
ÉØÛÒ ßÔÔ ×Í Íß×Ü ßÒÜ ÜÑÒÛô ÒßÌËÎÛ ×Í ÇÑËÎ
ÞÛÍÌ ×ÒÍÌÎËÝÌÑÎ
ïïé
ÔÛßÎÒ ÌÑ ÜÎßÉ ÚÎÑÓ Ô×ÚÛ
ïïè
ïïç
I can think of no field of endeavor so sadly lacking in simple
organization of its working principles. Nothing quite so hap-
hazard, hit-or-miss, as the whole field of artistic endeavor. I
am not a cartoonist, but I choose caricature for the beginner:
principally because there is fun in it, and from the start I
want him to feel a little of the creative joy he is entitled to.
When artists begin to compile and set down their combined
experience, give freely and humbly what little they can add,
as do the other sciences, then art may have some chance to
reestablish itself in the hearts of everyday people even against
the mechanical perfection of the camera; even in a period of
social adjustment and financial depression. The mental de-
pression of our era weighs heavier on our race and future
than do our dollars or lack of them. A little joy from the in-
side must be welcome to almost anybody. Perhaps my book is
a step in that direction.
Yes, folks, IŽm tired, but IŽm happy. My little job, feeble as it
may be, is done. I wait as breathlessly to see how you will like
it as 1 ever waited for the verdict of any art editor or director.
IŽd give many more sleepless hours just to feel with you that
first thrill of having created
even if it be mere lines of a pencil. YouŽll get to love those
little folks you draw, even if they are a bit unwieldy and only
a little bit human.
ïîð
ïîï
ïîî