Ete ee RC Cea Clg drawing a wide variety Ce at steual|The Art of Basic DrawingTOOLS AND MATERIALS Dee ate ice sinensis ac ts itsell. Even when you write or print your name, you are sciually drawing! Hf you organize the Hines, you ean make shapes and when you carry that a bit further and add dark and tight shading, your drawings begin to take on a three-dimensional form and look more realistic. One of the great things about drav- ing is that you can do it anywhere, and the materials are very inexpensive. You da get what you pay for. though, s0 purchase the bess you ean aifore! at the time, and upgrade your supplies whenever possible. Although anytlning tat will make a cnsrk eam be used for some type of drawing, youl want to make certain, vour magnificent efforts will Last and mot face over time. Here are some of the materials that will get you off to a good stan. ‘Sketch Pads Convert bound ‘aning pas comets aide sare ofs2e, exes, . ats, re nang. hay repo ang formating lek stetches and when ting a os You can use a large set ‘book in the ti eying ot a ting orake asm sre wth outer recoding cukimpressions shen youtae. Smaat fo medium ‘ran prs tear Gntichscabed he Froth soon mes ene Work Station iis gone to et parr ava tat as godin en naa - oom for yout wrk and ay ou your tole Of couse an ene cor wth ch gn ‘Soe ns orang abode. Bully ral tere es lac oy wind for rsa lahing When crawingat ig ou can use asof wae igh ub naa coo white Rares: rth tht you have bth Warm awh ancl iS) He Artists Erasers ‘enoace rear i 3 rust ttcan be farmed siralwedpes end pots loremove asin ery tiyareas. gases ‘vege orleger ae ‘hey rave ene nes colt Nether ease wildanage heaps sericea Drawing Papers fos aheaworis of ar sng Sole sts! ering poser is bak ney aro Srliben avenge of {ec teres mba gain (pat ant prmeh, rreeum yan cl press ane igh tery roost The a react sacestherros vera te ist edu fomare ontmalas god sce fora santo erent ‘rang teciues teas Tertilons Fee pare stumps" canbe used 0 end anc con smal seat whore Your tagera ass ta0 ae Youean as se he sidesto qa bled ge become diysixpy 2 hm m3, at ‘hee eat asc ‘Charcoal Papers Cr al paper andi ae sho arabe ins rarely oftetes. Sone tne rlace anes we ate ronorced wey can tse them enhance te tity rive. ey ngs scaled eat nes ae sete sean venting daving oper td mat aot Yee the sete rsh tringpencte See he boc page 7) Blades Come insert of shapts ‘nd ies and areas Intecharged. But ec fut aos ae as shay a clot ‘este inj deans, hoe poe a come a evar foes wich Canad deh andveuatGATHERING THE Basics You dont need a lot of supplies wo start; you can begin enjoying drawing with just a #2 or an HB pencil, sharpener, a vinyl eraser and any pigce of paper. You can always add more pencil, cfaarcoal, ortillons, and such lacer. When shopping for pene, notice that they are labeled with letters anc) nuuribers; these ind come the degree of lead sofiness, Pencils with B leads are softer than ones with H leads, and so they make darker strokes. An HB {s in between, which makes it very versatile anda good beginners two}, The cham at right shows a variety of craving tools and the kind of strokes that are aebieved with cach one, As you expand your peneil supply, practice shaping different points and creating different effects with each by varying the pressure you pitt on the pencil, The more comfortable your drawings will be! ju are with your tools, the better ‘ADDING ON Unless you ready have a drawing tble, you will probably want to purchase a drawing board. 11 doce have to be expensive just dividual sheets of draw ing paper, Consider getting ane with a cut-out handle, especially if you want to draw ouidoors, & you ean easily carry it with you. get one large enough to accommodlate Spray Fe Nfs sete” adewing ard poets Rom smn Some wists mad ‘ain aiveon peal ang case eds 0 epee shading and tote sore deatovalas Homer aati nn nel fr chartl davis Fates alain cans rin tts, ut you ees mou tomer us ted Mate ‘Spry cans ar more anni an thy ah 3 ao sry ne more evn coverage WB A 48 wits a sharp point proces expe and ors 008 cn wih «aun pit yeuess mae igh iee fines ar shee i en, tins Fa forwicr ros ue the shat onto 4B. Alas, Sat hte prc is reat sce eee but P= selec gece ssl ama tie este. Charcoal 48 teat s08, soi es dak mare stra eae ie ae even sto 2 thy eae 9 oe Lumby reskueon the pe Sore ets use wit chao etis er birding ad eben rs he dane, —— ———— ‘Cont6 Crayon oF Pencil cantciayone nts tom very Frnekaoln iy. Once tae ony Hc hee, 93. sanguine sik, ut sae bl in wide aes ele! secs. Beau iS ater slab ca be ered SHARPENING YOUR DRAWING IMPLEMENTS A Utlty Katte con 20 wide fom ctr pes (held un oft tn are pote bh oe- rary penal sharpen Hod he ale a 3a anges the perc shat and avo: sharpes an fem 7k aking fot ile wo nd gait ea ie. ‘A Sandpaper Block wily hone be ad ne fy ape you we, wi a 3nd cen saree epg the mare cook Tale he euler en nou gers wien stapenirgobeeathe shape ev. Rough Papers wos forsmscthing he pe pine tpn with sancpaper Taleo ‘peat ay toceateaveryine pester seal dra ‘git ptr o get lth eed whe han ing to sharpen the led hyPERSPECTIVE rawing is actually quite simple; just sketch the shapes and masses you see. Sketch loosely and freely—if you discover something wrong with the shapes, you can refer to the rules of perspective below to make corrections. Your drawings dont need lo be tight and precise as far as geometric perspective goes, bu they should be within the boundaries of these rules for a restistie yal of the subje Practice is the only way w improve your drawing skills and 1 polish your hand-eye relationships. ts « good idea to sketch, everything you see and keep all your drawings in a sketchbook so you can track the improvement. (See page 12 for more on. skeiching and keeping a sketchbook.) Following are a few exer: cises to introduce the baste clements of drawing in perspective Begin with the one-point exercise. ‘One-Point PERSPECTIVE In one-point perspective, the fave of a box is the closest part to tbe viewer, and itis parallel to she borizon line (eye level) ‘The bottom, top, and sides of the face are parallel to the pie ture plane, 1. Dron ghorzontal ie ae abe tee tee" orb oe" Bran a box ben ‘Wis 2. Now law ag guideline fe he op rigntcorertaspot one norzon ie Race cot there and abel VP ers ing coi Aside ines at othe weve 5 Men eau ating ram thot are 8 nan thn ores Norco ine to ‘etal the back the B, Fay arte a ies stan, tt a ‘lian dna pec bo nee pan perspective. Tisboe may become a book, 2 hes a bln. ete, FINDING THE ProPpeR PEAK AND ANGLE OF A ROOF fromeaee toca 2. Flee cen ef he face by drwina gana nos on daw aerial ine upward throug he center Make a fre ao Regt ‘Two-POINT PERSPECTIVE In uvo-poine perspective, the corner of the box is closest 10 the viewer, and two VPs are needed. Nothing is parallel 16 the horizon line in this view. The vertical lines are parallel, to the sides of the picture plane, ve tt ‘Stabs the ron tne Gee “One Poin. et and then pat ot label hen VP ran ave= ‘cline tat represent comer ofthe bon clones ta the viene 2 Da guides tener fromthe op and te keto ofthe vere ne row no mote vera Tne forthe bck ofthe des 2. Uw wo neste We 2s ‘sow t eae tn topo the Boe. Now darker alte ies and you will hae cma pert x nwo serge 4 singe vane Fin caw aie art soe oft wot ndge: then raw te ack oft rot. Tha ano ines wil oat ot ted YPcnmenere intheseyBasic Forms “There are four basic forms you should know: the cube, the cone, the cylinder, and the sphere, Each of these forms can be an ex cellent guide for beginning a complex drawing or painting. Be- low are some examples of these forms in simple use. DUAO CCreavine Deetn wiTk SHADING To create the illusion of depth when the shapes are viewed straight on, shading must be added. Shading ereates different values and gives the illusion of depth and form. The exam. ples below show a cone, a cylinder, and sphere in both the Tine stage and with shading for depth, Evupses An ellipse a ciele viewed at an angle Looking acrass the face of a citcle, itis foreshortencd, and we see an ellipse. The axis of the ellipse is constant, anc itis represented as 4 straight centerline throuigh the longest part of the ellipse The height is constant to the height of the circle, Here isthe sequence we might see ina spinning coin, Notice ease fees VPs t0 stapes ares he lies. FORESMORTENING ‘As defined in Webster's dictionary, to foreshorien is “to repre sent the lines (of an object) as shorter than they actually are sn order to give the lluston of proper relative size, in accor * Here are a few dance with the principles of perspeetive, ‘examples of foreshortening to practice. tual with} owahteedd casrsiaons ition new only et soune Gude th oh al id ots taepiclre nent by butsbegvconnes eldest Ted fr usec eal ples lo us late ey as ie WE OR wh oS a Te nt is oars Th stele ir lsu ech te gp a ake owe eco al Gains si ste pte mt ne Seliaeconeencieee ps enced erly Croanecsomvmgacesny / ‘cima / / wr, Shady VP w ihe gt alee, loner, semen 6 ee te ‘shape oie stadew il cdots occasWARMING UP Date eat and really sce what ig in front of you, you'te hallway there already—the rest is technique sind practice. Warm up by sketch- ing a lew basic three-dimensional forms—spheves, evlinders, cones, and cubes. Gee page 18 for more on basic shapes and ‘heir corresponaling forms.) Gather some objects from around your home to use as references, or study the examples here, An hy the way fel free to puta translucent piece of parer over these drawings and trace them. Its not cheating—its good practice. Starring Our Loosety Tegin by holding the pencil loosely ip the underhand position (See page 18.) Then, using your whole arm, not just your wrist, rake 2 series of loose cireular strokes, just to get the feel ‘of the pene and to free your arm. (If you use only your wrist and hand, your sketches may appear stifor forced.) Practice drawing freely by moving your shoulder and orm to make loose, andor strokes on « picee of serap paper. Keep your geip relaxed 50 your hand does not get tied or cramped, and make your lines bold and smooth, Now start doodling—senibble a hunch of loose shapes without worrying about drawing perfees lines. You can always refine them later ‘Roughing tn Uiehiy Steen tn geno Shap of ainy peas reghly neat ingine shaded rss. ‘Aso looea he shape of the shacon the abe throw and use yor vhost shading here. Eaperinert by sing ae ferertypes of pret 1,20, change pressor ou pea, andsce what ier nes you eatBtockine In A Simpte Composition Now loosely sketch an assortment of shapes in a simple stil if, (See Chapter 2 for amore indepth coverage of drawing sill lifes.) Collect objects that ty of sizes and shapes —large and sinall, tall and short, spherical and rectangular — and post them together in an interesting arrangement, Then start blocking in the shapes using sharp HB pencil. Remem- ber to use your whole arm ancl to work ing up ls, The more ee drawing this way: the mare {quickly your eye will learn 19 see whats really there Measucing Up ie ys shige shapes mabe si youesabsn she ene apetons. When ding si ine tn Rs way toate sgh tne varies etic. Dow en guidelines to mate ‘hebeigh a ea je and cop your shes within ‘Time's up Youcan cso hs Decy hy raghing ct the bts eg elas and eels. Thematic the sages ad en ase trellisSTARTING WITH SKETCHES etching isa wonderful method of quickly capiuring an npression of a subject. Depending on the peneil lead and technique wed, you can swiftly reeord a variety of shapes, tex tures, moods, and actions. For example, dark, bold steaks, can indicate strength anal solidity lighter, more feathered strokes can convey a sense ofcelicaey; anc long. sweeping strokes can sug- gest movement. (See the examples below fora few common sketching techniques.) Some artists often make careful sketches to use as reference for more polished drawings later on, but loose sketches are also a valuable method of practice and a means of artistic expression, as the examples on these pages show. You right want to experiment with different strokes and sketching styles. With each new exercise, your hand will become quicker and more skilled. Using circular Strokes Lose, ua oes ae great Fo uchly recording simple ses rf ‘shows tis samp "meas shapes of th oes and Indah adams ay he bjs dor pay ateton oe ong detals aha ot. ates row muchlonserther nese ‘ampared the eames her he atenteok arate Scribbling Fre. tbe ines can sls be used a capture the gee Sones feet uch leds. seeps or och. Use aso Bead ec ha broad pt sez he bates ofthe oud them rush Suble ina suggestion shadows, ‘ory ei your eel em the Gouin pape Nee how this tectiga efectely cays tie ula guay fhe cious Using Wide, Bold Strokes thc ‘tho is used orceatierveush ‘exes a dap shadows, making ‘ecel fr subjects sen 3 flings naa utente Fer he ‘crample, ie the side #28 pee, vac the rez nthe lead and ‘hanging the pencl alee aduce ‘sieeve ths andes tng line wns Tis ceaesthe ‘ens frm andough tte cd study sub, tomcat oe oes ad some arc eee. ‘Sketching for Reference Matesial Hews as earnpe ofushe ‘source feferene frame cetiaerwing, Use se eat sickest rece a8 ‘npression ofthe lowers gral shape beep os ght od ei ae the cate rate othe subject The eth sketch a2 ite othe moe ly renee Maer abeConveying Moverwent show nowrenna easing. eed oatha viewers Rndeding Wave Action icky etch a ume, vem long, fing stoke tice ead mate tappearasithe caja sroagun. dcunycrsienays.intheesarples the atcingmotenent of he ces, ans make Hg eebed Lest the mae rancor ong th aoa nese the deen of everort—ul yu pes sekes shoud a etior the nar ees a Foams Ain te rams, you toes rele allybemadein the cpposte ecto, Press-dowr athe begining ofeach stokete get tape fn thecectioropposte the roverent ote wave Ako set na ew meande ron nein yourncl ot the end otaper of Noe how these inescavey the rglnes inte fren todo. he sew mere ped wae a aus pada omc tin weer adhe ag and owing Waveney che, andieedes FOCUSING ON THE NEGATIVE SPACE ‘Sometines is eaierto draw the area around an objectinstoad of drawing spaces, Yu" find that when you craw the negative shapes around an object, ‘the object itcell The ico around and beneean objects scaled the “nagathe: _youte alo creating the edges ofthe aac a the sam time. The examples space.” (The actua objects are the “postive space." IFan abject appeas to be below ee simple demonstrations of how to craw negative space. Select some too complex crf you ae having vouble “Seeing” it tr focusing onthe nagar objets in your hore ad ple ther ina group, oF go ousice and lok at a tivespacensead ifs it wl ake some effot, but you squint your eyes, chp of ees ora group of buldings. Ty sketching the negate space, and ‘youll able ra blur the detail so you sea anly the nezathe and pasiine notice how the abject seam o emerge most magical Wom the shadows! Filing te int to wth cht enc Ming inte mgsive spaces ston the Sithowatting This and of res ea tie moe competed then te fence, bt ‘at Dort dryness draw reshapes suncunaigtnem and then il avrgshetene te negative spacer mplfed imménee, Thera snopes Inthe stapes mit sid ota so ead perl Once you establsntne tape of he betwaer hr uns and amongthe branche feared a eeu which adds ‘ere, th sketch at by 24g some ight shang on the ais ‘reat ea aires othe caw,LEARNING TO SEE Mites seston king tay i Drawing wit Contin ine bj instead of drawing what they actualy ee, hey wrasioree sant es rae das wat they think they se, Try drawing someting you know yest epee stick well, sch a your habd, without looking at Chances are your Fe fap coimineey finished drawing wort lok as reli as you expected. Thats resales because you dew what you ink your hand looks ke stead, meee you need vo forget sbout all your preconceptions and lea io the acts yey apg daw only what you realy se infront of you (or Ina phot), dnt rst To great exeree for ulning your eye ta se are contaut drawing nd gestore drowing hissing tectngue fete ap- tunsthe subet PENCILING THE ConToURS Lovcontour drawing, pick a starting yoinc on your subject and then draw only the contours—or outlines—of the shapes you see, Because you're not looking at your paper, you're training your hand to draw the hnes exactly as your eye sees them. Try doing, some contour drawings of your own; you might he surprised at how well you're able to capture the subjects a \ 4 Drawing “Blind” The conow drawing sbovecan ba mate wee ocaxon Aly leon wr ane spew you sr your nad. The eine a he eh non eagle cf» ind contour era, wore you ean mm mht Ieotieg tyour per een ons be a ite stores, bts ey ou! a ng contr drawing same of hee! ways of making sue yute tly ang oni wnat ous, ote aba sts sad on oe ‘ds Jor mites, ‘atl hon ce yon ee find rans fro mene ting you ed Tolle the mesial age Drawing Children Sy ara yur ee tooizene ext sathatyeucondrew seb yu ca fess caput cion ofthis hd Teanga hen | ree othe barDRAWING GESTURE AND ACTION Another way to train vour eye to see the essential elements of a subject—and tratn your hand to record them rapidly—is through gesture drawing, Instead of rendering the contours, gesture draw {ngs establish the movement of a figure, First determine the main thrust of the movement, from the head, down the spine, znd through the legs; this i the line of action, or action ine. Then briefly skeich the general shapes othe figure around this line “These quick sketches are great for practicing drawing figures in action and sharpening your powers of observation. (See pages 1344137 for more on drawing people in action.) ‘Studying Repeated Action croup spss pride reat poorly pacing as tur crauings Sor sae ths essen. cause he yo: hep opeating he tn, os can csene ech meverant sa) an agp tn your memory og sroughtoskecht cova { sat natn scree wheat oti Ss rn olan ‘\ Then sketch in the placernent ,\ Seo \. Ssemmncs py Soe Working Quckly Tocapue the scion scent or very quiet, thot ncuing eset suggestion of eat. you eatin cower line, dont Stop toes; ra ove "Drawings Group in Motion Orc you comple seis gsi range, you edn combine tern sene of Feepe ation kame ae soneMEASURING WITH A PENCIL these to your paper. You can measure your subject with just about anything (for example, your thumb). Using a pencil isa very easy rawing the correct proportions —the size relationships between different parts of an object—is easier if you Tearn 10 take messurements directly from your subject and then «cansfer and accurate way to take measurements, as shown below. Measuring Width (lace oe ye a ald out yourar wth your pene seeoned ‘aoa between your ingen line up the tip of your perc hoe sie othe susie Move your thambral own the pel ut tat eunes he capo ie of yoursebec. west point of your sabe ‘Adding Up the Numbers Aryouveceatesthe basic recanl sighe ales’and west measuteens of thesebjct shth the a's gene shape win the tangle Keep the shape spl and ad tals ater. ing Helght Unig th same xed, weasiethe stance sensen ‘mapping Out Elements sons you stayin he same son wit your am exes a fl ah, ow fon toe adcna ensure, ich a the eo fot hee rich bein rportinn heres othe ba. ‘Transferring Measurements arte lensholyour enti meesrement on your pee: yeu a tomar ‘he stjec nlp each measuenen! 2 wo thee youester thangs hs en mesinenet, Soucin fom abocsteina you" set at wok en de Ntp ou draw your abject using canec propria, ‘correcting Calculations vnc piowessirgtion 2 buslestape toa wale dead ostine rawng ‘ake measuremensteforeaplyng any marks to keep our daning i roporton DRAWING WHat You SEE Window Outline Exercise Totsnyoureye end bran observe stern oa of window nd cet ali fae 0 ar ls tt rasable mane. you ro your head you ine wi re enger conespond scarey wt the subject, sty ‘oteeDistit Portable Window Create aporabiewirdow fier a pee oii ce, nhc ralabea your oct harinave tore. rye se nk ie exert Irdocrs wap you understans nowt reprauce ‘echaensing angles and cues ef your shee. Ina Windew Drawing re act aged ova the sera he loses pars of abet to appear ‘ough ager naar tat Fhe sy. Tec ‘bea tPeut conant to mastec bute window drawing show above, Simplest process.DRAWING WITH A GRID Ame effective way to Jearn how to draw what you see is the grid method. The viewing grid shown below is an open, famelike deviee divided with string into several seetions of the same size. This tool helps you breck down the scene into small ‘Step One Fin the exc cece’ athe a's viewfinder included inthis. Youn ‘lap nake esi cordon sn Cu eet cut othe ene of alee of ‘ard he cc cetera ios of he ule earl and ake aval {eto he cus order pwn lcs sing the hse hata 28 ‘na veneay edie yur vena pit nto foareqieeton. ‘Step Thee Hold carbo da ams leah and sew hae te scene at sxjctyou nate en Yourst kop thei yor headin am pion forthe drat the dang. 5c make youself cortetane Fon the stat. manageable pants, giving you clues as to where your subject should be placed on the paper. grid stand will held it steady and in the same place for you. ‘Step Two Use er anda pencio tity daw he same sie ror roponienaty large salon) yt the same number a squares on aplece ef drwins pap. To raw alergr or sel gully ar did each menses bythe sare rambes, ‘only norte ‘Sep Four wit oeye ded, dsenve your subj thaugh the git and ale at what rine cutscene ho gies. Thon cael astro posto Tego Your drawing pipes ‘Step Five tow rar youve pteathese mportatreeerce ois, you can beg fil Inte nes behon-te pits. wane sein at ee, oki ase out gd and tig wit te shae win he rid nes Step Six oop droning, square by sore rue studying te abot rough me unt the ouings amp The erse themes, a au wl hve an accurate Tie caw of our sabe.BEGINNING WITH BASIC SHAPES fA nyone can draw just about any hing by simply breaking (Creating Forms sere jown the subject into the few busic shapes: circles, rectan-_ MESevamastani how gles, squares, and triangles. By drawing an outline round the Sayan ta basic shapes of your subject, you've drawn its shape, But your eipeesshow he backs olthe ce ince, subject also has depth and dimension. oF form. As you learned) tte on pages 9-10, the corresponding forms of the buske shapes are Srpysoomeing tw — spheres, cylinders, cubes, and cones. For example, ball anda squares wpa ines, grapefruit are spheres, a jar and a uve trunk ase cylinders, a box ow teshads esetorms leshomm on gop a) and a building are cubes, and a pine tree and a funnel are cones. Thats all there is to the first step of every drasving: sketching the Sphere in shapes and developing the forms. After tt, it essentially just connecting and refining the lines ancl adding clea Combining Shapes Vee sr ‘example of begga rang ‘wen base shpes Star by rang ‘eh ie of ston e989 then auld up tne shapes othe cox td the eich th spe ols, feos nrtanles are ara, \ \ Dating om one [1] seiner oon tar msn cnt ‘San besues omy tas tag tr ory hae fon Percent Moron bres ove betas On tosh interiors nee, \ wo ne ogre oa be ae ‘Notice that the subjects are - 7 drawing, the subject shoulé appear three-d mensional. fo finish the Sebeicgeowsace ral seevnar besser oe ened ie sooo HOLDING YouR DRAWING PENCIL Rese tndoand itm pion dra rit ne pnts Mig Te wri pir hea cere, Soayursmin watt ninco.” iayrneeysetatsien Sogn. dipeth non etsh slane ‘cacntanoaieysuioaonagron — tagimyon car amotfipce detent elton beal etter pa Scmeantoycentonneriiestie tame Recapenae'tpanct marge” yumm nepapedenem Tcdwcinsoyinsvounesroutesin’ — taduhrmvectapotooysotonakt‘tiogitepon pi yout mar weet wean cron‘SEEING THE SHAPES AND FORMS Now tai your eye und hand by practiving drawing objects around you. Set up simple still he-—Hike the one on page 11 or the arrangement below—and look forthe basie shapes in each object. Try drassing from pho- tographs, oF copy the drawings on this page Dont be afta t tackle» complex subject ‘once you've reduced it to simple shapes, you can draw anything! STEP ONE Besinwehseunes dd acc and then ae Mipsestathe gases = thal Neti at te ae STEP ONE Even. acatplon nm sch as Hs Forcast dea you bgin wh te most asi shapesyouse.Mtisstage grove al the deli ne dan nl squees and recone These re 2epl saw nt st the fol rielines ich vou eaneate wher your dranin i rit, rem ity and done wry a tat wi eve. Tats hou raking pve clean comers. tootherexarple faving hous Ss STEPTWO New oasan pelt byl hee {one bette eh, ec lta spats ain a fa ines oF ne sicesof the bck prio “hetap an ston eit eves fm, STEP TWo Using thse busi shapes sould, stat ain mare souarts ad eecarles fot the head lighis buns, an ie Sat 9 Cevlp te fin the wished th aed Es ae se Ina esa nes place dan Hane and e ide dea, STEP TAREE Frlyrapretne tines othe a and aoe and they ound the book pine nd thecorerol the page. Dee G yu apy iyo dans, ‘asa te tl ces, sre yur deving compe STEP THREE Orce you hove lth mor shapes nd forms alshed en ound ene nd rallringhe das te conform to he cas design. Yow guletnes ae 2 in place het, betas fa step. yon can cea up teeing hy easing he atraneous nes.2 DEVELOPING FoRM tell us even more about a form than its outline does, Values are the lights, darks, andl all the shades in between that make up an object, In pencil drawing, the values range trom white to grays to black, and its the range of values in shading and highlighting that gives « three-dimensionsl look 1 a awo- dimensional drawing, Focus on building dimension in your drawings by modeling forms with lights and darks Sketching the ‘Shapes Fist hy Sketenthe es shape fens angular wedge \ ol eheese Laying in Values ere lights emi om te eto ‘he cont sedans ltt ih Ligne shade he mide vais or tesien of tre enter, nd pace the darts aluss nots whore the ight does it Adding Shadows ‘osk sabunchot gages ie ‘eoupeepters Sou coe lace al the Sted areas ofthe grapes om sha> ts) othe sees tht ae oppose ne Fre sour Then cap sso ck in the acon na he sane thran oF are arate end ote surovndgsir Face eas sta. DRawinG Cast SHADOWS {est shadows ae imgortant in drawing fortwo reasons First, they anchor the image 50 it coosr't soem tobe Roatng nai Second, they acd visual iteresi and hep tink objects togethet Wher éreving&cest ‘shadow, heey a mind tats shape wil depend onthe ight source as ella onthe shape of the objet casting Fr example, as shown below, a sphere casts aroun or eliptcal ado ona smooth suface, depending on the angle ofthe ght source. Fhe length ofthe shacow ‘alto affected: the lower te light source, the longer the shadow wz : Sg, steiign (OD Vy UNDERSTANDING LishT AuD Snapows To develop a three-cimensional form, you need to know where to place the light, dark, and medium values of your subject. ‘This will all depencl on yout light source, The angle, distance, and intensity of the light will alee: both the stuadows onan object (called “form shadows") and the shadows the object throws on other surfaces (called “east shadows”; see the box above). You might want to practice drawing form and cast shad. ows on a variety of round and angular objects, lighting them witha bright, direct lamp so the highliphts and shadows will, be strong and welldelined. wighighing ‘of yourpaportorthe bwghst hiebbets 0 “rete them bring them outwith oo easer ‘or paling them on wih ve gouaene, Shading Shaisin:ho rile valueless (panes wis couple of Sx srokesusing te sie ef asf ead peck The cease te pre sre on your pene or te Sect ats, sd ave the paper wnice forthe etsUsing Photographs Mary arbssater daw fom phot teens, see Teyrnay pte “aerate cee Sng ethan sy Coprega patio BUILDING DIMENSION Some artists often sketch with a single HB pencil but they rarely render a complete deawing with one, Instead they change pencils depending on wick values they are applying, using hard leads sich as Hand HB for light areas and a soft 2B lead for darker areas, You ean also nuke very dak areas by ineveasing peal pressured hearing down harder for dhe darkest values. Build darkness by shading in layers—the more layers you apply, the darker the area becomes, Most of your shading can be done with the side of the pencil in an under: hand position, but you ean ad leas with tae point i the ‘srting position, See 8) ‘Shading Consetently you nove only net source. make sive that allthe abies ae ‘xing oe See Sina athe sharon alerted in the eppent direcon. yours thee sa pur diwigvor toe tolinsbla, Setting to Know Your Subject (ch, “hunb™ ‘etches ae nabs or dselping 3 dang. You can lee nam te lay wh Ee ping format, a ero iment youn anarenzemert ou he These en Fisted diewines by any reas, so you as hee rem righ. ho ge alahed ater —eneye eat tbe changGOWGANP=TAESRaie2 INTRODUCTION TO STILL LIFES Still life drawings offer a great opportunity to learn and pra variety of drawing skills, including developing form, applying shading, and using perspective, Suill life compositions traditionally depict « carefully arranged grouping of a number of household objects, such as fruit, vegetables, glassware, or pottery—all of ‘whieh offer a wide range of textures, sizes, and shapes. But you dont have to restrict yourself to traditio 1 items; use your artistic license to get as creative as you want! The following lessons will guide you through the basics of drawing still lifes, from designing the composition to blocking in the basic shapes and adding the final details for depth and texture 2FRU IT AN D N UTS By WILLIAM F. POWELL tudy your subject closely, and Lightly sketch ihe simple shapes. a (Notice, for example, that the pear is made up of two cireles— a fone large and one small.) Once the basie shapes are drawn, begin shading with sttokes that are consistent with the subjects! rounded forms, as shown in the inal drawings Drawing the Pear Sia win two ces are see real laces wre and the wale dap Begin shins withstiaa candy is, avn th ight areas “etunas, nen ahenaang a tate eee Canes me acina I crmeting sera ‘dor sks ne Drawing the Poach fir ru the goer shapes in sep. Thonn wep pce zie lines forthe test of the it andthe cot onthe sie Bein shai te sen ofthe peat ih org. oot stokes ing ou curve sure fn tp 3. Use aarp 28 ance ceaethe cask poms onthe pt nthe regatartxtunean these Fish ‘th ines stating tawararom tne aed ne top ol hesDrawing the Cherry. ota chor ty Bch ery inthe ou shape and these, sh acombiratin af 2 he iderationta the ste. Then beg ight shading Insta 3. corte sacing ate chery appa moat Use tei aaacaces erste ree 3) shading or smears that night hae ten nthe heh lias Ten inthe darker aes ing orappn5 slates charge stake cecon sieht ge te "lus of heecnens nal formotne sina, Water Drops Detal use ne aw cecons ow are a= gid fr hating the hey ecoting cor ea gt ae he ater 4095 ae tae isd them epg the (alos so 1 2 A Ka Pools of Water Detall Ski hs uti shane of pot ol wate it sor sab, nyu wi ‘ocho Shao sty, abd cet highs wih 2 reads Rendering the Chestnuts To daw ese cess use acl andi intersecting limestone e care spe atps send 2 Then lave some gues fries instep 3 Shade te cantante srg 0a a kes hat me longleaf ‘nase sees Seng ect frm and essinees, al 208 Uys on tn sce Mae (he cantar ake pat he ra oem 5STRAWBERRIES orwiuan F Poweut ine arta i ce th oan wang onan 8 — J the middle and bottom in step 3, and scatter a 1 P “ seed pattern over the berry’ surface in step + Once the seeds are in, shade around them, Drawing Guldetines Oro «pron te sane it oper own stare te bernsheping etl is Sec ate m and thee densa fr. hh A t a ing hit an ing La wines Mietseneetsenoneert am v* srt nso bh eh od An dovePINEAPPLE oy wisn Powe i iPI N ECO NE avwiuiame Powe ‘ompare the highly textured surface patern of the pinecone with the stawberry and pineapple on pages 26-27. Using an 1B pencil, postion the pinecone with light guidelines in step 1. ‘Then indicate the tee trunk and pine needles in step 2, and ad 4 grid for the patiern on the pinecone a = Establishing Detai Dian the shes of mes ke sees wi change wero Stach for * ne end ofthe cone tote eter Insts 4 ben hang the cre en suroundng | she sar pane objects Make the cat sbacew appear allow the cur oh tee 05 Working with Negative Space Devios the goes Instea sy cioingtne eet spaces isa fet nda pe veces cage: yas, mine shacons ‘etncen ther. By has ‘roand the mgative pes the grass shapes vl azonateaty emerge ‘rom ne wate the pepe (seepage forrereon regatve space)DEVELOPING DETAILSCAN D LE LI GHT By WILLIAM F. PoweLL with HB and poinibrushes were arranged on s tables then a quick sketch was made to check the composition, as showa ia step 1 his drawing Bris and 20 pencils, The pewter-and-glass candlestick, painting, Developing Shape and Form hn step 2, pace the guidelines o your sec Segeiang wt colin te tapas ey 3a ‘he tk teas rater than atthe some ein.FLO RAL AR RANG EM E NT BY WILLIAM F. POWELL NNN EELi QU I D AN D G LASS By WILLIAM F. POWELL his drawing was done on Brisiotbosrd with a plate (smooth) finish, Use an HB pencil for most of the work and 2 28 for the dark shadows, A. flat sketch pencil is good for creating the back- ground texture Developing the Background Use re fated ss ‘Stein pene ore backgroud, king he Bch urd de than the «st shoes Net ke ates {ihe se cv tt an be oan ae 8 end Placing ighlights Us the arowstelow ac anuise Ibratedng omenbera keep te per dean whore eu want our ees hts These gles he sugges ligt coming nought fas ste, cestings transparenook Finalizing Mighights and Shadows Use he nshed Atawing.a your gue or completing ats nd dai, peek smudges ecidertlygetin the hghligts ot * ‘hreaded tases. Then ue sharp pointed HB. aan desisROSE WITH WATERDROPS sywnuaws Powe.SIM PLE FLOWE RS By WILLIAM F. POWELL his morning glory and gardenia are great flowers for learning a few simple shading techniques called “hatch- ing” and “erosshatching,” Hatch strokes are parallel dicgonal lines; place them close together for dark shadows, and space them farther zpart for lighter valves. Cross-hatch stokes are rade by frst drawing haich strokes and then overkapping ther with hatch strokes that are angled in the opposite direc tuon. Exaimples of both strokes ate show tn the box atthe hottom of the page ‘Step One Lookcintiy — Morning ameoallsnape t= ‘on sctch polygon withthe pn ofan HB pene fem ‘histhee que view, ypu canst heels hat reat fron me cene’, aataehin Sv earees lines place hem. Then rouge he eas ‘ah me! bese, ‘Step Two Nea icon mecuned outlines the owe aes usig the puceline fr lacs met Youcan also charge ‘hepressu fe genct ionshepapetovary the ne man, eng ie sonality Then adhe Stamens thcener. aT en Siem etendane recat moieeere — \ Sees enceas oe Sete ugh tes Beck nan Ieg'rptn he rl Reworshapeane ‘nd petal ong fr leaves. then deterine Uh sc spe emt ta and begin ei Incecn sang ate center oo garden, ‘Step One the gardenia Candee ‘sa ie mote conpiated todeawthantteroring son bayou can stil Sort te ave way fh ae ~ \ Step Two Ze youcrou coh eft petal shapes, ey arta atetion‘o ne they veya io thai orportons ter sleraatorenps—haw sipenenis compared th the thes and compared sb the Foner ase whe Acctly epoucing "hepa ofthe eas Is oe ofthe mast pat ‘anceararts of dawg lower erate Shapes sin rere outnes Step Three Asn, ‘sng the sea la pintofan MB pene Shade the petals rd holezes, rating yout ‘eke fw tee thonot he canes. Lt the pele ene of xh pea stones the line apts and ighe=ns, sre deepen the sha os wth oven Sokes inthe paste Breton ated css: rtcing mth he pie 28 peek. . éFLORAL BOUQUET ay wnuame poweu you look carefully. you will see that although the roses resea ‘ble one another, each one has unique features, just as people do. If you make sure your drawing rellects these differences, your roses wont look like carbon copies of one another. Stop Ome los as yu dé fersingleroues, beg by awngtrebanstapes he mewn an prs. aackn ony tees ard afew nar etal shapes, witout pet tingid nthe dss Thorsten the tere andthe shape ofthe pe, Thee ft ines re serey pines tor evloping the deine, soheepthestotessinee adver Si. ‘Step Two ore yore Step Three Now terme Step Four sovviaes ssid pt Stevemnnmn Cf Seer sad ty Sete bea doen rch mcrgiae SV A) sha a! ipestowe Speen sapere Serene ee Seti ee oe sneer saison st Sronee eerie Shecnaneeat te cringe ap oe Snag peso neseue eae Sonnets Serco ciara ie cohen grtin dw Sa Horne es Sai payee ingame crane Sioes anes ‘Seventh it Ootataeat aia troup inaong ene ‘Mesgeotte sie Basen atte fewer et ans fsa edu poset caeTu LI P S BY WILLIAM F. POWELL Te classes of tulips with diff aio 7 fX \ ays \ \ nen Ned aol. so \ Cire, * ( o Axe more TK = . en y : , CaN oN (\ \ \) |CAR NAT I oO N BY WILLIAM F. POWELL arnation varieties range from deep red to bicolored 1 white 71 very showy and easy to grow in most gardens. “They ave also fun and challenging to draw because of their many overlaying, petals. Shade them solid, variegated, or with a light or dark esge at the endl of each petal wae Replicating Patterns and Shapes Thr vin sone ‘sho te cole patterns ye of zraton Sep + hes tesa haps roy thintt fewer fort, beg rang ra aul curved peta shapes. ce they ane nlc, sta the tome. ff / bcs / 1 set Establishing the Basic Shapes Deep he oa ape of hese onl Sem an See ep crair bnete ove dens ste be Inge ig aa spi, 2PE oO NY By WILLIAM F. POWELL Paser™ single- and double-flowered varieties. They are a showy flower and make fine subjects for flower drawings stokes le he pil nd Z p> Developing the Peony This exis should be cow on vellum ih it bse. Or hs ure shading recuces it mee test than the sate late 3 Fri Besa the excise by crowing and positioning the mao ower b's nse step, bein shady tepals ad suounding eve. Stat shag in aest Into and seb he bukgrooe patos, D OGWOO D By WILLIAM F. POWELL here ate dilferent varieties of dagwond. Below is an oriental American flonrig Aygo type called the “ost dogwood,” ancl at the right is the American flowering dogwood. Both of their flowers vary from pare white to delicate pink. Follow the steps closely to draw them, Kowa dag _ aa \ pis, ir "J x 7 2 f Ko eA x Pw ‘lies \ Seine? sig omeR EGAL Li LY BY WILLIAM F. POWELL ilies are very fragrant, and the plans «an grow up t0 8 feet tall. Use the aA sep below to develop the flower, which | you can attach to the main ster when ‘drawing the entire plant, ss shown at the bottom ofthe page.PR I M ROS E By WILLIAM F. POWELLH I BISCUS BY WILLIAM F. POWELL Poti nao ant tte don ati heir cos Sack Ws, Sean, wee ct sus Bd oat Discs and purples Some ave mult- or bicolored. The example Bawa rity here is single lowered variety. one ow sani ovaries. Oe Planning Your Drawing fen ohh Nic as at of etal, \ Ise feat to dia Steps ean upto the Dishes dain mest lowe cosy teeth wos out th exercise Sap tenons the ova mass etal Secor and basic certer fhe Rowe Corie the sie of fac Bowe gat nation the whooping ca i ‘Shading defore ssi the pease te 2, 55 saheethe shang fla how este peal Sighty “epee Ad tbe deta he Romer eaten and lckin he ste ndHYBRID TEA ROSE By WILLIAM F. POWELL yr tea roses have lage blossoms with greatly varying + colors. When deavving rose petals, think of eaeh fitting {nto its oxvn place tm the overall shape: this helps position thes / ‘correctly. Bogin lightly with aw HB pene, ancl use plate-finish —/ \ isto board \ ~ | | TH Making choices The iockin steps he sane \ saat: yu dai fiat drag, \ ere gh etn oe carly ade for N \ ‘hating se tee of a28 pend an lend wthFLORIBUNDA ROSE eywiuame Powe oribanea raises ly flower more freely than hybrid tea roses and grow in groups of blossoms. The petal arrangement in these roses i involved; but by studying it closely, you'll see an t overlapping, swirling pattern Drawing the Rose Us burt cnt 3 preety on ltrs rite bord (ute the aya aa ofthe rose nassin sie Once this isda, diame swine peal an. el tng ihe ener pes bt place step Us ihe as nstep5belog raat coer he wae crops, Tey sald x 2 3 2 AN \ » > \ « ‘ > I oS AS 5 zm The down shaig tines illo ‘eal of the ke sree and ¥ theater get voir Os clea to pl oe hgh,CHRYSANTHEMUMS evwiname Powe ie two varieties of chrysanthemum co this page ate the pompon and the Japanese anemone, The pompon chrysan- themum produces flowers one to two inches aeross that are more buttonlike than the larger, more globular types, The Japanese anemone grows four inches (oF mote across and produces flowers with irregular outlines that, in some cases, resemble forms of anemone sea life. Follow the steps for each flower type, Uuying 0 capcure the attitude and person. ality of each flower and petal formation 1S hest to draw this exercise on plate- finisit Bristol board using both HB and 26 pencils, Smooth bond paper aso provides a good drawing surface sei ines hy Tang, dying Heeoder Chesed Seeing the Shapes doer chrysanthemum roc les ore bulb ners The petal ‘arnganent i chatergng te da Devo the rang outing with 38 porl, hen dan itor ‘cing bachgcunéurga Mt shee ancl wth randoo rates me oy resis Drawing Petals Fis ihe aa hen cerning the Patel Wort on the caster, ‘iad slewing exe pefslta be oversee by me ‘ pres one. stp 2 shows ‘sto! the petal nplce 2 ‘Applying Shading & et stich enc sbeafor shai the bow rion he Ibert tat changes 2 \ leas, sete comer fhe len idan the une and nda ering. Tree a ‘he peson may cee ‘ ‘more oersing seco, leno some ars usa tet han ishing the of is ate ecge, a chou abo we ou saneBEARDED IRIS By WILLIAM F, POWELL he bearded iris i probally the mast Deautiful of the iris varieties. [1s col- fom deep purples to blues, avenders, and whites. Some flowers have 2 sehen, gh eolaned poi ih da og There AA Hea Ts ah cp / J / — y tS + / Fr ‘ / 7} My me impair tele eerie Cy inset Wendngad scenes. (= \p saat sansa real ‘Derken shadowed crews uning the paint af e 28 | i } ft - Using Guidelines Sips above) shows the locke foraside view the ids ubeeas step fel) Shove Sorta sine Whicher! you chem a re ou! intial cutie shapes it ad se hem 4 genera sud or ame log tt gacetl carves of ns ower ets ¥ Gil ln Mocha oe phi ding an uted Sait Tle your pln ‘hiado sve canton tineW/ : 2 Drawing the Petals Sich te rg reso tal; ey ae ecesay er sears snasng eel tho chads in tage, ii he good eae ist Ther make male fons ayer by arg ation es agate” eer elas se Re ide for WB ea ery igh sing wih seth, oon ‘ok cuer emer ection ae drawn. Tose tal suaces peer even sates, lend ther ih 2 he mare der v8 ftom ne dig take, ee cee. 30g td snp pas he rowing oe ae a at Focusing on Detalls 7s Pat couing sue Irs but te no move fl than he previout ‘range us Nas mere wean staag Sips. ‘One ag, mus re da the eve tyoutot the owes befor anonstieg ay sang. ‘Dark shading une he ett es the J” ‘oman yw and tie she ‘Adding Shading and Highlights 1s iawing was ‘neonates sal board using, 28, ne ist stats perils reat igh by moter arene fraser no asharp edge, “rong” wh in he sae “recnonas he shearsSTILL LIFE COMPOSITION BY WILLIAM F. POWELL (ane se nt cmp iy ania elements of a drawing mm such a way that they make an eye pleasing, harmonious seene. Its easy to do once you have a few guidelines o follow The most important shings to keep in mind ate: (1) choosing @ format that fits the subject, (2) establishing 2 center of interest and a Line of direction that carries the viewers cyeinto and around the picture, and (3) creating a sense of depth by overlapping objects, varying the values, and placing elements on different planes. Like everything else, the more you study and practice forming pleasing compositions, the better youl hecome. AnraNaine a STILL LiFe Composing still lifes isa great experience because you select the lighting, you place the elements where you like, and the objects, dont move! Begin by choosing the items to include, and then try different groupings, lighting, and backgrounds. Test out the Composing with Photos Usvericcampsens ey “hsthepen”—mast arrangements in small, quick thumbnails, ike the ones shown sree planned nth cies speicalyseecte an arenged in an appealing below. These studies are invaluable for working out the best pos: fer lc nab al sible composition. SELECTING A FORMAT ‘Step One fom your mbna sates, chose a horzntl arma Noe tt he ‘reo sft of corte focal pit wer ead ents yor ye wae eee ound ‘te rls cauing, when mould make reg composon hen shy Back nthe Bee ‘shapes wth most loose cela, using your whole seep tenes ee Morizontal Format tho “ianéscape*tornat sa tationl ore, pret er ‘rawingndoo or outer scene Hee a in xy good conooson the ova ing vegetables lead the viewer ey afv'd the ptr ane toned he fea oint—the rer. Een he lectern ports the way the itr anid toward the focal pin Vertical Format ins por” format the carol eps a Feito te camposton and coumeralonce ‘he arcof vegetables inthe reroune ‘he tp ofthe hood of gaan the ange af ts beans ead tne ewe" no ‘be compotion and ewatd he oad point Inthe bckgrourd, one sug ‘esti o racows ae cant ete re ot cee defined This adiste he upnard Tow fthe “entre commoson ond Kesteven ‘rsatietionFocueed onthe ueen. Stop Two Host fine the shan othe serous lemons 8 Kesing une ry light old creating er cies. Then, singe sie ofan HB perl. ben nica ‘he cat shadows, az wellas some oth det on he Leen,‘sat shading sme ote tel pepper and the ot ‘Stop Five when you ae iste doclonng pt, idl, a cok ales, wea 2B pei for he darks vss in tha cas shadows Whe ates loses tote objects asting he chadond), cyREFLECTIONS AND LACE BY WILLIAM F. POWELL he shiny surface of a highly polished, silver creamer & perfeet for learning to render ceflective surfaces, For this exercise, use plate-finish Bristol board, HB and 2B pencils, and a kneacles eraser riolded into a point. Begin by lightly ‘drawing in the hasie shapes of the egg, and creamer. Step One feznty ty orking nar Dake ‘shape the egg andthe cea Cort e007 tose reat sep ul ye happy wn he shapes andthe compotion Step Three ats saze,smosth the shading onthe egg and reams ih apap su. Then sty howe aes inthe eens sre the lee wrinkles orc tenses back into aatpatter. Begin dewng the lace a tern sing neo he metho dese othe onposite pate. os mi fe find bet for ou te arowngs nthe met espe pls, Comba ss you ee art ‘rite on Bey might inpeera eeies, mean i Step Two Ore nes ont tre ein ace, exabien he are forthe ce and ad gh ching tothe ane utes. pon thereon ofthe ace and eg othe rear fs suce Bei ightytuding he nse usec autaesct ne ceone, eepng is ir he the rsd snot as eevee shir. The tart ighly shading te easel.‘Step Four lo the slowing, alae atest tothe refececinuge hecaue they ae ky to sucesily ‘etn the ects, teresting the ges pstion Inthe tectonis carpe dilettante ac Desvon ont abe becausa i neocon wo ou thebacksice cheers Foot and Spout Details Tees wo close-up dawines ‘show sien theese Sut art These 26a 2 shiny 3 the unde bo. esas hme ish / by blending te ees and ming the concave shadow Hh pattems deer and sare The donne ave sow to apenas arcing lace a+ stad along wl sie shadows as wha mest ofthe ols Make the leah ter Youcan 8 gucenes ‘ean nale and then shade ise hem et) oryou can forepour darter than those eed athe carps, bt ke che het ha he lgmiyshoo he shapecteach nate igh ihe way yu are avis th esatve, ate aos othe crm Ae hs palinary shading competed, liso stots Sse page 3) Once the pf sealed age oer the recs hare you see ark andl gh sete on he ace,Et BOTTLE AN D B READ By WILLIAM F. POWELL his exenvise was drawn on vellum-finish Bristol bord with aan HB pencil, Vellum finish has « bit more “tooth” than the smoother plate finish does, resulting in datker pencil marks. Paying Attention to Detail jo ve cae xan eo, he ns cow te dstoreduin ive, tiene eaten hy the Bt "Ws never eres ai rant mike cae observation See ths nde cate natura rvs dauegs, chic _ : ‘Composition desir ») Lig sete the wine ol, red ea. nie tang ape inate poring tas L \ fi he = ne x Sis Connie ee theses sep ) thes nate he pce at ) emer ns Z me a Oe hess Se A See Pai Hahah ta Shades hy tecetaliy chen vith pec Newaed Shoes with iors Sagal stokes, se vet! srkeson the Sides ofthe citing bond‘Gass Detail eden 3CJHskep TER eS INTRODUCTION TO ANIMALS The myriad breeds and species of animals that exist throughout the world offer endless possibilities for drawing subjects. Whether its an adorable puppy, a slithering snake, or a galloping horse, an animal subject provides a wide range of shapes, lines, and textures 40 challenge and inspire you. And drawing animals isnt difficult at all—just follow the simple, step-by-step instructions in the follow- ing lessons. As you learn to draw by starting with hasic shapes and progressing through finished renderings, you'll also discover various shading techniques and finishing touches that will bring your ani- ‘mal drawings to life. And with just a little practi you'll be able to create your own artwork featuring all your favorite animal subjects. ss6 D RAWI N G AN | MALS By MicHact BUTKUS asin a aa risiet any hours at the 200 with your skeichpad, studying their movements, their body. ‘Studying the Head ven king the ed pay sei lenin tote gills went stincve farts. Emphasize fuctutes, and thelr esat sexe wes. (See pages B6-87 for more an drawing animals from Thera, apeted maze an life.) And because peneil is such a versatile tool, you can they ied eyes, dng lame, cred eyes. 0 casily sketch a rough-coated goat or finely stroke a smooth- Inaired deer, OF course. you don't have to go to the z00 to find models; try eopying the crawings here, or find a wildlife book for reference, and draw the animals that appeal to you. is a took pose on” cra then as. coma ine fom mererneaecuneg bach where they atachas tebe. Working Out the Structures daw he al by rake sare the proportions are earc. agin by lacie ces rhe ri sider withers, at hance, Tense the boy ites. guider te other part the reck (hom shoul Fea ng re at hou te same gas he ty ite, 2b he hac aug he as Lng DRAWING FUR AND HAIR Wiss ie ‘Smooth Coat Shsioihe Rough Coat Using he undercae wih heslde ofa side your pc shad Dune Band pekautren- Several decions With your Ao ceatas th ashe peri use dernt tes He pera. ardvations pressures. Developing Markings sis: 4 tawingthistiebysttcing aE nd refing hr genoa : shapes ar then outing te Log Hair Nokewary Short Hair Use ir 18 \ kings wihasharp peed Stokes inthe dein the_wrnae shot evelaolng iri Wy Hi Thensate inte pts hit groms iegthe pcd sees ting the pene a : ‘ at th ound MB, raking sitheendofesthstrokn.— theordtotaper Ihe ps. our sakes eter ie neste bn aes, ath ante spt sndbetwee the,Maxine Your Susjecr Unique Before you hegin drawing any animal subject, ask yourself what iv is that makes that animal distinct from all thers, For example sheep, horses, and giraffes all have hooves and a sitnilar hody structure, but a bighorn sheep has curled horns and a shaggy coat, a horse has a smooth coat and a single-toe hoof, and a giraffe has an clongated neck and legs and boldly patterned ‘markings, Focusing on these distinguishing characteristics will make your deawings believable and lifelike ‘creating a Portrait 1a cazure is ose eres cus on i fates he arg os 1s wie ae, ped ear ond stor ceeRooe al Sisgue nis ese hems sheep oothe let othe ste on he aposte ose Use 2 hap pitied pence te uti end deta, arte aside re ea shacks. Then w backove ihe hale ng wi he pt to aceeaete tums sce, avin gags white snp sat lsc Ing Hale Tbe be etre of tgs cone 3803p lang ry stoves one ody Ten sty endl one es and under. Focusing on Feet Hoss hae sol single Ines eters pale shoo or dather mints ve i lowe) haves. te ha th hrs Isang site rae han he pate ar atthe af toes ae nt prety yrmetia. ‘Showing Action baring hom picts of smashes youstuy her movemen reich bythe camera Focus Gr the ahrpanes ofthe lesan et, ad surat he rdeying muscles rag the diecton of yur stichesDOBERMAN PINSCHER eri tavonarn ‘cberman Pinschers are known for their sleek, dark coats. When drawing the shiny coat, he sure to the direction that the hair grows, a this will ‘a more realistic appearance, x ‘Step Three Nex erase any vicina hat ae 9 erger noes, en beg pach it. roar ines rade pot Shere esas te india ner evalu changes he cot She a ial er a These es ill asa map ore shine ‘Rid, adjust he oun of ee, Nec and eck 6 ‘homsmere contoured appearance, Then th yes and \ ‘ese fing ne x gules nay ree tect \ ln tthe maze ‘Stop ne vic sarp Hi pre lek ne Boxy shape the Doberman’ ea and cles nth quick sgh ‘ies Ben lise sage, you wot asta ‘seme dine son and fxn, whch you bud upon 2 ecw progress ‘Step Four forthe cors St a bein with srl dakhatch mas toesabieh he tty ese ste a tefo Then nthe darko he ‘yes and yeh ons and ‘Step Five Now ito he ecg dks Fist cate sane waphte dst by nab tina igh rm af ‘peal ener shot on sondpper Then peu he grep a with armed svsenreat ne tp o ne Stee oncing ump ant etate into dark teas one das fr and net oak mz, dcop, blero eae sot geeators aes hee values meet.G R EAT DAN E By WILLIAM F. POWELL (Gone tec de senate ier ‘enormous size (they can reach 40 inches tall atthe shoulder) may be slightly intimidating, they ate actually very gentle and z HN affectionate. especially with children. ‘ ‘Developing the Shape insepsand2, sean Hs perl to lek nthe cee oge ‘head, Notice the droopy lips and eyelids, which give the subject a pleading expression, In \ x toe te shanty shag wh 48 pent bing ote om an ctu Se a ee c % ™ sfivehe nates Tew shang ile te costa sont agence Coe > Dy* Es