Scribd Logo
Upload

Welcome to Scribd!

  • Draw Now PDF

    Uploaded by

    Ernesto Nadlor
    9 views78 pages

    Original Title

    draw_now.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    9 views78 pages

    Draw Now PDF

    Uploaded by

    Ernesto Nadlor

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 78
    Jit - Wi y @|N OW. ana | 80 easy exercises efor beginners Ruth Glenn Little About the Author Honored by, among others, the Hawaii Watercolor Society the Nosthwest Watercolor Society and the University of Guam Isa Center of the Aets, Ruth Glenn Little is. self ‘aught artist from northwestern Nebraska. Without the advantage of formal art edu cation, Ruth jumped at dhe chance at a six-week class with Torn Berger: She found adalitional inspiration from reading every art book she could get her hands on, including one about Winslow Homer, after which she decided to follow Homer's advice that earning to paint is accomplished by simply painting, Sharing her arc with others has taken Ruth all over the world-—to Indonesia, Aus- tralia, New Zealand, Guam, Hawaii and the island of Yap in the Federated States of Micronesia, In Yap she was an instructor with the Yap Seate Department of Edluca~ tion, where she trained illustrators for textbooks written by local educators inthe four Languages of Yap, These would be the first books for schools ro teach students 10 read and write in their own languages. ‘Tobe near her mother, Ruth now lives in Grand Junction, Colorada, where she continues ro draw and paint. She teaches drawing and watercolor at Colorado Mountain College and at the Tilman M, Bishop Unified Technic pus of Mesa State College, and she holds several workshops and classes at her home studio, Her work was aceepted into the Art for the Parks Traveling Exhibit, and she was.a 2004 Are fo the Parks Mini 100 finalise. You can contact Ruth via her website at wwwveruthglennlitle cor. Education Cam- Draw How 30 Easy Exercises for Beginners. Copyright © 2005 by uth Gionn Lil. Pinion Singapore. Al gts reserved, No par of his book may bo reproduced inary frm or by any electronic or macharieal means incing or ‘mafon storage and reine sits without permssan in wing tom the put litho, xbapt by recewer who ray quo be passages ina view Published bby Noah ght Books; an imprint of FHW Pubtieaons Inc, 4700 Eat Ganth Road, Cacrnat, Oho, 45236 (800) 2680963, Feat con (Othe tine North Lit Books ar sell rm your kaa book Store art supp tne or Arete ho publish Metric Conversion Chart — © many oy RMN. 1 10 08 os or tesa bie ai. on rary of congress etaosingin Pubtiation Bata Ceritore hes o tan Race Tots feat Cerne mos Thow te? 30 enous bpena/ FG Ltin-ete, Carian Tea oa am avs Wars 0° becuse ton ese i (Garett c0veosone pot: pape ane ores ae (Sei-10. 158120950 gtk ak moe Sr Canton ‘opines a8 Deeg etme [Toe ae s al Bx Moves Sa Ft 108 eae Ee Saves 08 Se ears shire 3 ded by Morac Pounds Kogane cas Designed by Wendy Dinning geen Pounds 22 Proton yt Beso oe Gane ma Pestctoncre rte by har ie one ee 00s aaada 268 28 aa sas aggyeas whit ga bag § 3 HW g2 35 8 : giiqebebids: : i WG ae Create Gesture Draw i Draw From Lite 20. Drawing Techniques: Tonal Blending 21. Drawing Techniques: Random Line 22 Drawing Techniques: Hatching 23 Drawing Techniques: Crosshaichng 24. Drawing Techniques: Poinilism 25 How to Plan Your Drawings: Facal Point 26 Howto Plan Your Drawings: Counterpoints 27 Howto Plan Your Drawings: Line 28 How to Plan Your Drawings: Space 29 How to Plan Your Drawings: Planes, AD Use Value to Direct the Viewer's Eye P@SaeaapsRef2eeR INTRODUCTION DRAWING IS THE PREREQUISITE FOR EVERY MEDIUM AND GENRE OF ART. Students beginning in ‘watercolor, oi, pastel or acrylics often don’t realize the importance of drawing untl faced with a blank piece of paper. Itis deceiving to watch an experianced artist paint without drawing. Everything in art begins with drawing. This book wil introduce to you a series of exercises that, if practiced, will help you discover and master your own drawing talents ‘To leam to draw, you need a few things: motivation, discipline, time commitment and pencils and paper. You ‘eorrowraits ‘Graphite on hot precved watereoler papa 117314" 28em-x 380m) do not need to be perfect. Your frst drawings will nat be masterpieces. But you need to be wiling to try, and you need to be wiling to make mistakes. Mistakes are often ‘your best teachers. This exercise sequence progresses from holding @ pencil and drawing a line to developing a ‘composition for a final rendering, You'll eam observation skils, eye-hand coordination and how to create dimensional line, accurate proportions, value and texture. Most impar- tant, you'll eam to draw with confidence. There are no shortcuts, though. You'll benefit most if you master each ‘exercise before moving on. Don't skip exercises or you'l miss information vital to the process and to your drawing, This book is designed to work in two parts. Pat ‘one introduces you to the drawing process, a series of steps you will go through each time you create a new drawing. As you become proficient at basic drawing skils in this process, you'll be ready to move on to Part Two, techniques and exercises that teach you the best way to plan your drawings. You'lllean about composition: the ‘organization of line, space, contrast, value, planes, shapes ‘and texture and haw to explore your options using thumb- rail sketches, ‘As you complete the exercises, the mystique sur- rounding what it takes to become an artist will disappear. ‘Youll refute the old adage that artists are “just born” with their abilities. You'll understand that with motivation, disci ‘and commitment, you can become an aris. Let's begin! Poi cw SEN Cie tal drawing process ‘Ths DRANG PROGESS is a series of steps you'll follow whenever you Set out to create a drawing, Bach ‘exorciso in this book builds upon the last one, presenting a new oon: ‘cept or technique to help you mas- ter this process, drawings! ‘As'you complete the exercises, be sure to save all your drawings. Many times, you'll re-use old draw- ings in new exercises. Besides, ‘you'll want to look back to see how far you've progressed! Drawing Supplies “To draw, all you really need isa pencil and paper. A sharpener and an eraser help, too, Buran introduction to art supplies and tips for using them opens doors ro even more skills and inspi- ration, The next few pages offer an overview of usta few of the tools available. Be careful though; shopping for art supplies ‘can become addict Graphite Graphite is the substance commonly known as peneil lead. I's inside the standard pencil and is classified as hard or soft, iden- tifed hy a letter—H for hard, B for soft—and a number that dlesignates the degree of hardness or sofmess. For the hard ‘erades, 10H signifies the hardest; the mamber decreases as the hardiness decreases, Softer grades are numbered softest (9B) 10 down to less sot B and HIB the grade berween hard and soft. Harder grades produce lighter values and softer grades pro- duce darker values. Application of harder grades proxtuces a more even coverage filing the tooth of the paper bur as the grade becomes softer coverage of the paper's tooth is nor filed and white areas of the indentations remain. Graphite is shaped for specific uses; below are some common forms. BZ What you need to begin You can find the basic drawing tools ppenei, paper, sharpener and eraser= almost anywhere, Rectangular-shaped lead creates loose, broad strokes + Drawing and sketching pencils encased in wood are nor: mally made with high-quality graphite that is graded wich more accuracy and is smoother than pencils not intended for drawing * Sketching pencils are rectangular graphite sticks encased in wood. Originally used by carpenters, they provide “options for wide strokes. Wioodless pencils are solid sticks encased in a protective lacquer coating that strengthens the stick and keeps your hands free of graphite as you draw. You can sharpen them in a regular pencil sharpener or shape them using a sanding pad. They allow you to use wide strokes and to cover large areas more evenly, smoothly and quickly than wood-encased pencils. Graphite sticks with no casing are 3° (Sem) 10 4" (10m) longs are square, rectangular or rounds are available in soft, medium or hard grades and by the piece or box. Also useful for large areas and bold strokes, you ean sharpen them with sanding pads. Water-soluble sketching pencils are graced as light, medium or dark and are made with graphite that di solves when you apply water, Use a regular pencil sharp- ener to sharpen these wood-encased pencils. A sketch made with water-soluble sketching pencils converts easily into a value study using a watercolor brush and clear ‘water to create graded values from the lines of the drawing, You can create finished drawings with pencils | created this drawing away from my stucio with wo mechanical pencis (0.48 and an HB) anda kneaded case. Graphite works wol for devel cing light mile and dark valves ‘quiy and easly. A kneaded eraser lows you to soften exiges and rete highlights |ereatod the fn faves behind the ‘Tower caled a nunu ("decoraion” in Yapese), by frst applying dark values along the edge, then raging out ‘eather eathe stokes wih a soft ‘clutch eraser {see page 14) sharpened vn a handheld sharpener. Dawoloping _your skills with graphite and eraser techy ‘nae auch as these will enable you to ‘create smooth gradual transitons and Coie deta and texture reaksticaly sEFER Graphite on tworpiy hot pressed rag paper 98! (adem: Sem) Mechanical Pencils A mechanical pencil is especially practical because the diameter cof the tip is consistent and it stays sharp all the time, eliminar- ing the need for a sharpener. A cllutch holds the kead in the pencil, Mechanisal pencils come in ewo styles: one with a clutch inside and the other, called a lead holder, with a clutch con the outside. Mechanical pencils wih the clutch inside use leads of cifer- ent diameters—.3mm, Smm, 7mm, and Smm—in grades from 6H to 6B. The clutch release is located either at the eraser end or as a button on the side. You insert graphite sticks into the barrel through the opening under the eraser and feed one stick through the tip by “licking” the clutch. When a graphite sti becomes t00 short for the clutch to grip, hold the elutes ‘open to-remove the small piece, Some mechanical pencils have refillable eraser at the end of the barrel firted with a cleaning for use if graphite jams in the tip. [3 useful to have on hand several mechanical pencils in dif ferent sizes with different grades of graphite. Using pencils of different colors or styles and labeling them according co size and grade makes finding the right peneil ar the right time quick and easy, Lead holders (mechanical pencils with the sturch on the our- side} take larger leads—from 'ée® (2mm) co Hie" (Sram) in diameter—and are available in grades from 6H ro 6B, You insert the lead ineo the tip while holding the clutch open. You can shape the tips to a tapered point using a sharpence made specifically For the lead holder, or you can create wedge or chisel points with a sandpaper pad. After sharpening a lead holder's graphite stick, powdery grains of graphite may flake off and smear on your deawing, To prevent this, use a point cleaner or soft loth to dust off the tip before continuing to draw: ‘Mechanical pene (uth onthe isi) ‘Youll need a special sharpener to sharpen the larger graphite in the lead holder Mechanical pencils provide consistency and convenience |used mechanical pencis af fie clfeent grades to create this drawing, The main advantage of mechanical pencils over other types of pencils is the consistent tip. You dont need fokeep a handful of shaypened pon- Gils orto stop to sharpan al the tne in orcor to maintain a working tip. You never end up trying to craw witha shart stub, and you don't need pencil extenders. You also get consistent line width, The ony disacarr tage to mechanical pencis is that you have to become accustomed to feeding the graphite as you draw. Once you get wsed ta this thaugh, becomes automatic and doesnt infomupt your concentration er progress my SunrLoweR Graphite on archiva 1104, (235gem) cardstock BY 11 (22em 4 26¢m) Pencil Sharpeners ‘The types of pencils you have will determine what sort of sharpener you need. A pencil sharpener may be srank style, handheld, hartery operated or electric. Special sharpeners with settings to sharpen points to diferent degrees are available for pencils of various shapes and diameters. The shavings recept- -cle size, mount style (wall, freestanding or handheld), the options for inserting a pencil into the sharpener, and the work- table layour are all cansiderationss when making a purchase, look for ease and efficiency of shaspening. A kane is useful for sharpening flat points or rectangular sketching pencils, and you can use a sandpaper pad (available at art stores) fo refine the tip to create a wedge, blunt oF sharp point. ‘Two types of sharpeners work for flat-poine pencils. One uses two receptacles and keeps the graphite in the rectan gular shape and the ather has one reoepracte thar changes the rectangular-shaped graphite into a round tip. Erasers Erasers are essential ro drawing, not only for the purpose of removing mistakes, but also as a drawing tool. Art stores sell special eraser templates to help you make precise erasures Many different erasces are available and new types appear all the time. These are some good erasers to start with, Pencil sharpeners ‘The ype of sharpener you use depends on your drawing tools and your ‘Personal referencns. As you experiment wih awn took ask your at supplier foe shazpener recommendations. 14 * Kneaded erasers are made pliable and ready t0 g0 by stretching, Folding and restretching, You can easily shape a freshly kneaded eraser to pick up media in confined areas, t0 pick out highlights ar to.clean smudges. Once your kneaded eraser becomes dirty clean it by stretching, and restretching it to release the medium until che light gray color of the eraser returns. * Rudbber or plastie erasers do not seratch, smudge o ‘crumble when lager areas are erased, though the pressure used when the graphite mark was eneated will influence erasing results, Using excessive pressure with rubber or plastic erasers may compress and change the surface of your paper. Use these erasers only with durable papers. + Manual clutch or stick erasers have a plastic clutch ‘encasement with a refillable eraser stick. Several manufac- turers make different styles of clutch erasers that vary i density, softness and diameter The eraser stick can be removed from the clich casing and sharpened to a pointed: tip with a metal hand sharpener for precise erasures Eraser template A template wal help you complete detailed erasures and protect your drawing Different erasers serve different needs kneaded erasers are useful fe recovering ight areas: clean rubber or Plastic erasers are good! for lage areas; stck and electric erasers are goed for smal areas o indvical ns. Blending Supplies Stumps, torilions, chamois and old brushes are useful tools for blending, bue you ean use just abour anything as a blending, tool. Try household items such as cotton swabs, cotton balls, cloth scraps and rissue. Here are some standard items you should be able to find in any art supply store or department. © Stamps are rolls of compressed saft paper that are pointed like a pencil on both ends, so you can use one end to bbl! darker values and keep the other end cleaner for blending lighter values. They range in diameter from 1"(Gem) to "(3mm). Once you've used a stump t0 blend, you ean use the tip asa drawing tool, filing in lighter values with the leftover medium or you can clean and reshape the tip with a sanding pad. * Tortillians, soft paper tightly wound into a penciblike form, are less durable but also less expensive than stamps. Because they're so inexpensive, you can afford to use a different tortion ta blend each value to keep gradation ‘Sanding pad, tortillion and stump consistent. Usea black, felr-tip pen to mark each tortllion with the grade or value so you can easily identify it as. you work, *# Chamois, suedlelike leather, used over the finger or the ‘end of a pencil isan efficient blending or cleaning tool. Normally used with charcoal and Conté crayon, its also good for graphite. Iris more efficient than a stump when working in large areas and especially on rough paper when you're trying to achieve smooth value gradation, * Used, flat, shorthaired brushes, especially oil brushes with stiff bristles, make great blending tools. Brush tips hold their shape when blending, whereas both tortlions and stumps lose their tips eventually, Gut and shape brushes, and use them to define texture, soften exiges oF reduce a heavy applisation, Use the residue of the medium built up in the bristfes to extend your tones, 15 Drawing Papers Drawing papers are made from natural fiber andl come in ‘many varieties. They differ in these basic characteristics + tooth surface rexcure + rveight thickness or density + strengil> erasability and resilience + archival quality or acid-free rating fer content and peo- cessing for pH-ncutral or acid-free quality Paper tooth is categorized as smooth, medium oF rough. The cleawing papers you choose depenc! on wat drawing tool you're using, Papers with a medium to rough tooth work best for most «drawings, though ink or feletip pens work best on smooth paper. Paper weéght is labeled as light, medium or heavy, or as a specific weight. Drawing papers have 80-Ib.(170gsm) to 140 1b, (300gsm) weights. Heavier papers are often classified as wor, three- or fourply. Graphite on newsprint or manila Use pencils with a lange ameter vhon working on this sof, thin paper. While you cat erase or rework very much with these inexpensive papers, youre granted feo ‘dom to explore with repeated sketches and studios. Graphite on medium-weight ‘sketchbook paper Many craving pads ‘and sketchbooks ave this drawing paper. Graphite pen- cetrates the pape’ porous, textured surface, making it sificult to erase. ee Strength refers to a paper's ability to take eraser abuse. Irs determined by the fiber used to: make the paper and the amount of sizing used in making it. Sizing is a gelatinous mix- ture both added to paper for substance and body and applied to the surface of the paper. I closes the pores of the paper to create a smooth, serong and durable surface that ear hold up to erasing and reworking. Strong papers have a sized surface that is durable for erasing and eework. Soft papers have less siting, with a soft oe velvetlike surface. ‘Newsprint and manila are soft, thin papers thae are not able to cake eraser abuse, Use newsprint or other soft papers for practice, when you won't need to worry about erasing. ‘You can switch to stronger papers once you begin to create final drawings. For any drawing that you want to keep, use archival-uality paper that's acid free or has neutral pH. Amwork on this paper remains free of discoloring, spotting or yellowing, Papers such as newsprint or manila, which is made from wood pulp, are not acid free. They are kss expensive but rum yellow and become brite and sketches—anything you're not concerned about keeping. Become acquainted with different papers as you explore ‘mediums and find what papers work best for you. age. These papers are useful for studies Graphite on smooth Paper Hea brit paper comes in Graphite on rough char- smooth or velum suaces. coal paper While the velum surface has The rough suface of charcoal abit more tooth, both sufaces paper daesn' accept much fine are great for blending erasing otal x0'tisbestforsheiches and rework Thisis my fist and studies. Bod, heavy strokes of adhere well on this surface. choice for fal rendenng. Sketchbooks You will find an unlimited variety of choices for sketchbooks. Choose the one with the right papes size, cover and binding style for you. Spiral-bound books are practical to use open and fae when drawing. Multimedia paper isa wise choice for sketchbook paper and peeforated pages will allow you ro neatly rip out drawings you'd like to revise or save, Carry small sketchbooks at all times in your pocket, pu ‘backpack or ear. Draw in them all the times sketching every day will help you to draw confidently. You'll create valuable journals, and reach everyday benchmarks. These drawings ean be inspirations for furure drawings and paintings. To preserve your reactions and inspirations, keep notes listing interesting information along with your drawings Make thumbnail sketches—small 2" x 3" (Sem x Sem) sketches—to rest compositions and explore possibilities quickly. Don't worry about quality in your sketchbook. Focus on ‘quantity, practice and ideas. Sketching may be intimidating as ‘you begin, but itis esenrial as you develop as an artist. eet up excess dust Pencils and erasers make a lot of cust, That excess will smudge and sinear your drawing if you don't sweep it away. Makeup brushes are great for removing excess dust ftom your drawing, as well as from your drawing tools and erasers. 7 @)\' THE DRAW ING PROCESS ‘The most important ingredient in your drawing success is. practice, Like scales for music or stretches before a run, drawing exercises work best if practiced every day. All you realy need for this is a pencil and paper; however, you may ‘want some additional items in your toolbox. Look through ‘he list of helpful materials on this page. You can find many of the items in almost any store; you'll ind others anywhere that art supplies are sold. Get those pencils ready! petal materials 5 x7" (13cm x 18cm} sketchbook 9° #12" (23cm x 30cm) sketchbook Primer writing tablet fined, like the ones used! in pri- mary schoo!) Drawing pad with heavy paper ‘Three Smm mechanical pencils 4B, 2Band HB lead for mechanical pencils, ‘and HB woodess graphite sticks White stick clutch eraser ‘White rubber eraser Knaaded exasoe ‘Twoblending stumps ‘Soft brush to keep your drawing surface free fom pencil dust and eraser residue (makeup brushes ‘work weal) ‘Graphed ruler ‘Three-ring nevetook ‘Plastic pencil bag fora three-ringed notebook {to pro- (MICHAELS DAILY PRACTICE ‘Graphite on archival 1104, (295g) cardstock BA 11" (220m x 28em) tect pencil tp) A sevap of old denim or heavy fabric (to clean erasers) How to Use Your Pencil Using your drawing tool properly involves three main Factors: posture, sitting position and how you hold the tool. Using good posture while drawing will allow you to draw: fot long periods of time without getting tired or cramped. Good posture will also give you better range of motion with your peneil, so sit up straight! Drawing is supposed to be fun and relaxing, not painful. ‘There are two sitting positions that work wel for drawing ‘Onc is to sit directly infront of your work with your arm rest= ing on the table. The other is to sit with your legs parallel ro the table with your arm resting by your work. Both these relaved positions will allow your arm, wrist and! fingers to funtion as a single unit with the freedom to: make short strokes or long anes swith follow-through. As you begin to work ike this, you'll dis- ‘cover you have unlimited flow as you draw, Using only your fingers or wrist ro move your peneil ssunts your drawing strokes and prevents follow-through. You need a deliberate gripand stable hand and arm to achieve control of your pencil pressure and flow: Holding your pencil properly will allow you to take full advantage ofits potential. Grip your peneil with your thumbs and forefinger an inch (Jem) or more above the tip. Allow the pencil to rest on your middle finger. Use a relaxed grip; don't hole om too rightly. This wa adjust the angle of the pencil to make different types of lines, and you can adjust the pressure of your strokes to ereate soft, delicate lines oF bold, strong ones, you Try this for added pressure contro! Held the pene iaganally through the palm of yourhand with your first finger fat against the top of the perc as a pressure gauge fr ke intonsty and width. Canirol Ine character with the shape of your lec tp (at, angled or pointed and pressure variation, This wil foros yout use your fingers, wrist and arm as.a unit draw now! 1 Wein the tacitona grip, la pace with straight lines difference? Use the tradi tional grip for most drawing ‘The most common ‘method of holding a penal or penis to gipitabove the tip, bretireen the thn sand Fst finger, and with he penci rest ing on the inside of the mide fing. 1 Vs tho tational grip an the stability trick, fll another page ‘with straight lines. Can you feel 44 3 Ty this stability trick tor details Hol yur litle niger st against the paper surface to sabe ‘and guide your hand wine drawing etal otlines Using the pressure control method. filanother pagewith | lines, Use continucus long lines to practice increasing and decreas ing the pressure, Warm-Ups Now that you've leamed to pay attention to your posture sit ting position and the way you hold your pencil, you're ready to move on with some warm-ups, Doing warm-ups daily will help you focus and practice the correct posture, grip and hand motions, and lead you to consistency of line quality, size, shape, spacing and intensity. Begin each drawing session with these warm-ups. You can use any paper with lines, though a primer tablet works especially well as a guide for height contral and stroke spacing, Strive for graceful strokes that swing in and out as you begin and end, At first, your results might be clumsy and teneven, With practice, your hand will become more relaxed, you'll hold the pencil with a less intense grip and your strokes, ‘will become more even. Draw connected circles and up-and-down strokes slowly and then quick, Stive for ‘smooth, even shapes aid consistent spacing. ‘As you develop more control create numbers and leters using the eonnected circles and up and down strokes. Always begin with simple warm-ups. t draw now! | 4 Draw soveratines of connected Citcles. Maintain consistent spac sng, pressure and hight strokes. 1p Repeat the process using up-and dk gp Dewrlowrs ane numbers using | ' nected citeles, then use up- } } and-down stokes i Create Lines That Show Confidence Line expresses and communicates a response to an image. The Don’t do-this lines of a drawing indicare an artis’s security and confidence. Strate nese thi AAs you begin to draw anniery may cause seratchy lines, These n@indeat an atts we often accepted as sker uncertainty, Create are often accepted as sketching, However, they indicate insecu- — U"O ity and lack of commitmen deliberate, strong rity and lack of commitment. — ‘Take control of your drawing anxiety! Place your pencil on the paper and deaw with deliberate action. There are no mis rakes, only learning opportunities Gain confidence with line Gain confidence with curves ‘St correcty and use your fingers, wrist and Draw series of cites wih frm strokes. I you finlines ofyourcrces ‘arm as.a unto create lines, Make strokes dont low and you feel uncertain about strokes, doa sovies of warmup with pressure varied from ight to heswy. Draw exercises page 20) ad try again. line beginning with heavy prescure, then lesson the pressure and quichy it as you ‘complet the stroke Practice true object outlines ‘Once your ines begin to shaw more conf ‘dence, start looking at objects and drawing ‘exnety the Ines you ese. Ths sealed drawing 2 contour fine or the object's true outing. takes practice to draw what ie actualy there _and not what you think should be there. Defi ing what you realy soe rather than an unexcit ing ine dososbing what you think you should 6 illelp you overcome a major obstacle to drawing ealstical draw now! [1 De ooverattines beginning 9 Withoutling your pencils you | T with heavy pressure then essen- | “draw, creates series of circles, ing the preesure and quickly ite Vary the pressure of your szokos ing as you complete the stroke. for the cicles Do several contour drawings of ‘objects around you. Make your lines deliberate, not scratchy! Create Lines That Show Dimension ‘Once you've begun drawing lines that represent what you see, ‘You can Jearn to create volume with this very easy exercise you're on your way to creating drawings that have dimension. using simple lines. Before you begin, gather three picces of You can add simple, dimensional lines to your contour line to paper. Roll one, fold another into a triangle and fold the third produce the impression of volume, intoa square, Create dimension in two steps 1 Draw a curved ine that fons back andor 2 Draw dimensional nas down rom the edge of each curve. 1 2 Create dimension with simple lines range the rolled paper, tangle paper and square paper in front of you so that you can early see them, 1 Create a line to malch the edge of ach shape. 2 Draw a line fom tha top a the shape fut about an inch and a ha (dem) ancl ther anther to match the angle ofthe ledge ofthe shape. 3 Gonnect the matching angle to the orginal shape with another straight line atthe bottom. / 4 Inside the shape, connect the edges 1 with straight nes to define the volume ofthe shaped papar 22 Dimensional lines describe form alt pat of this crewing urinished so you could get anidea a its pro- ‘gression. If you look closely you can see the riginal contour Ine along the cast shadaw on the lett The eimensional lines position and separate the ewes and radishes, You can indicate the nature of shapes and their relationships using dimensional nes to describe forms that verap, Graphite on lightweight bone paper 2 11" (220m = 2Bemt draw now! ee Co | ar Two Srers exercise several ; tines and your paper props. Mold = | a napkin, atea towel, an open book { ‘times until you can do it with- : the paper into more complicated ‘ ot a stack of books as you improve. } | outehinna. | shapes and do the exercise again } Create Blind Contour Drawings You learned about contour lines in exercise 3 as you peacticed true object outlines (called contour lines). This exercise takes, you one step further in learning how to draw what you se. When you create a blind contour drawing, you deaw while looking only at the su This isthe most important building block to your drawing edu- cation because it forces you to pay attention to what the sub- jects of your drawings actually look like, and not what you think they should look like. The purpose of blind contour drawing isto develop observational skill, eye-hand coord tion and image memory. Skillful observation isthe ability to ject, not even peeking at your paper. First draw an image from memory Visuaze an mage in your mind and éraw a simple sketch ofthe outine or contour from memory wihout locking at arying except your paper. ya Create a blind contour drawing Before you begin to draw, feel the edges of the paper wile you look at the image. Touch yaur pene to the top, bottom and sides ofthe paper tobecome fariliar with the size you plan to draw, Focus on the subject. Place the pencil on the paper and draw only ‘the contour of he mage. Do not lit the pene or look atthe paper. Keep your eyes and your pencil moving together. Draw as if you wore folow ing an ant crawling over the image's profile, Record every projection, crevice, and distinguishing fine. Pause al each change af drection to help synchronize your eye andl hand maton. 24 really see what is there, the deeails and character of the subject. Fye-hand coordination isthe ability wo draw or translate onto paper what you sce. And image memory is the ability t0 remember what you see so-you ean dravw it From memory to pet ro know your subject by creating at leas three blind contour drawings. Begin cach new drawing at different place on the subject so the image remains fresh. Keep your eye and pencil ‘moving at the same rate, defining every change of direetion in the contour and indicating placement for shapes inside. Every time you egin a new drawing, you'll first w: £ Find an image todraw Find an actual image Cr photo similar to the subject you just drew and olow the inetrtione below to create a bind con tour drawing, Remember, look only at the subject, not the drawing, Peeking at the drawing in progress wall brea your Gon- centration and hinder your image-memary development ‘Once you look at the drawing in progress, the image of the drawing becomes more dominant in your image memory than the image of the subject. Complete the drawing and then look at the results: gz “— =e | ~ fh Start each blind contour at a ’ - different point t PA Create at least three blind contour drawings of : your subject. Each time you start a new ona, : i begin drawing at a different place on the con- BN os : tour so tke image remains fresh and you dor’ f —al_ L er = repeal your previous drawing. Add indicator The lines to grve information about the shapes insida the contour and mark where lines inside the contour begin and end, such as the lime at thee duck's bill Develop some inside lines = < ae Once you've done three or mare blind contour i : : drawings of a subject's outside lines, turn your ' val attention to the lines inside the subject. It won't 2 ot . be disruptive at this point to look at your paper. -* Choose a place to begin, place the pencil on fx, : your drawing and use the indicators you placed ae : =“! duning your blind contour drawings to create ‘ lines insade the contour while glancing back and forth between your subpest and your paper, draw now! 1 Complete at least three blind con- 9 Using the same imace, doa few 3 Choose one of your blind contour hour chawings of the same image. more blind contour drawings, this drawings to develop a bit more. i time inserting inclicator lines in ' Begin adding inside lines using the contour to mark where lines ! the indicators and looking back inside the contour begin and encl. 1 and forth between your drawing i ancl your subject. Build Details Into Your BI (Once you've completed several blind contour drawings of your subject, you can begin looking at your paper when you draw the same subject again because you will have built some image memory. The blind contour drawing is similar toa jigsaw puz- ale border because it helps identity “pieces” to be placed inside. The indicator lines you add to the blind contour drawing pro- Vide clues for the details you'll add later. You can continue co clefine your subject by creating an expressive contour drawing, ind Contour Drawings that describes the change from highlight to shadow using lighter stroke pressure to define hightights and gradually increasing pressure to define the change ta darker shadows, ‘Choose your best blind contour drawing for this exercise and follow the instructions to:build more details. Begin to identify and draw dimensional lines to-establish shapes inside the contour. Reference photo or subject (Contnus te lately observe your subject as you fin the deta on your bind contour drawer Add detail Look closo¥y atthe deseripive ines within {your subject's contour. Focus on texture and ‘darks and lights. Draw without thinking about the outcome. Remember, you can look at your paper now. Just be sure you look back at your Z subject ten, Define the darks and lights Use ight pressure on your pencil to produces a thin, delicate ine to suggest highights. Grad aly increase pressure to make heavier, bolder lines to define shadows Practice Drawing a Group of Random Objects oo, i Begin with blind contours Begin your second blind contour from a different Your blind comtour drawings should give you familiarity with your sub- point jects and their relationships to each other. Blind contour drawings af Always start each blind contour drawing from different paint on the sub- groups of objects bike ihis will give you a better idea of their placenent ject to prevent repeating lines, The second blind contour drawing 1s on the page and in relationship to each other than df you toed to draw almost always less accurate than the first. Once you've sean the first each abect individually. drawing you'll probably want to comirel the line to make it better, but this almos! never works out. Don't be discouraged, though, as this is nonnal: ~ your next drawings will improve. if > = | t : \ {i e — ; r ‘ ) F Dr EY SS Be a. ji a, y I om 7 ; . ~ es draw now! Create a sermes of blind contour drawings. concentrating on the overall outside aige of a qraup of three or more items from your drawing toolbox, your kitchen of your bathroom. 9 Using the same group of items, create another drawing. This time create an expressive contour iden- tifving light and shadow areas. Lise less pressure to define the highlights and gradually increase the pressure for darker values and shaclows. Don't forget to include indicator lines. Blind contour drawings lead you to details Your blind contour drawings will surprise you wilh their accuracy as you begin to add detail and dimensional lines. Ignore any mis- placed lines and just draw new ones. You're improving your eye-hand coordination and observation skills. 3 Continue the expressive contour drawing. Use the indicator and expressive lines you created as Quidies as you place dimensional lines to separate and define the individual shapes of the items in the grouping. 27 aah aed Draw in Perspective: Foreshortening Objects in the background appear smaller than those in the Once you've created several contour drawings you'll bea foreground. This means that the part of your subject that’sclos- to understand that the od shape of your contour drawings est to you will appear langee tha the other parts. The sides of a inseludes the foreshortened shapes of your subjects. The indicator subject pointed toward you will appear shorter than they really and expressive contour lines provide clues for you to establish are, 2 phenomenon called foreshortening. Your inclination the foreshortened shape within the contour. Resist the temptation when drawing is to craw those sides aut to make them as long to draw what you think you know about your subject. Instead, as you know they are. draw shapes by comparing size relationships in what you sce. Create blind contours. Fond a subject thal roqures foreshortoning and ‘ereate blind contour drawings. Be eure to use ‘ncicator lines in your drawings to mark every ‘negulaty and dimensional ine of the contour, Correct foreshortening on a con- tour drawing ‘Choose one ofthe contour drawings to begin to study and fllin dota cimensional Ines, Pay particular attention fo the indicator lines you placed in your blind contour dravings. Make ‘adjustments wihout congem for odd ar out ‘of place lines, Focus onthe Ines you see that describe the volume ofthe foreshertened image. Save this image to reuse ox exerci9e 10, 28 ‘Choose a different angle ‘Choose another view of the same ‘subject to continue cbsowations and blind contour drawings. draw now! Create a series of blind contour diawings using an image that reqquires foreehortening Choose bind contour drawing 0 gj Adis the dimensional ines of further develop. ‘Complete more blind contour drawings Do two o tree bind contour drawings from afferent view of the ‘same subject Look for areas that might require foreshortening. Some- ‘times cniy a portion of your eubject requires fereshortering, Make: sepa ‘ate contour studies of each area, Notice how the fl contaur shape of the duck’s head and bill are foreshortened in the picture, The bill and ‘head are pointed toward us, 0 they appear foreshortaned. The body is ‘broads, 50 it has litte foreshortening. Dimensional ines inthe craw ing wil make the volume and depth al the duck apparent. Make detailed blind contour drawings Do some bind contour drawings ofthe areas of your subject that require foreshostenng, then choose one drawing to develo, You can look at your paper, bul remember tolook back to your subject often Create a detailed contour drawing ofthe fveshortened areas, Glance between your cawing and subject and define what you actualy se. Pay attention tothe shapes of light and shadow inside the contour that tablish volume as lines define the depth and dimension the foreshorvened areas on your drawing until they are correct Draw in Perspective: Ellipses ‘When you look at a cylindrical shape, such asa ean from the side, form atthe top docs not appear round anymore; it becomes an ellipse. An ellipse isa foreshortened circle. ‘Once you begin looking for elipses you'll see them everywhere. To draw realistic elliptical object, keep in mind these ewo rules: * Circular or rounded forms with, volume are made up af a progres: Look for a series of ellipses ‘Anytime you lodk ala crewlar abet from any angle other than straight on, the circle becomes an elipee, A cylnder such asthis cone is relly a series ofelipses. sive series of ellipses, each different from the other because of the view= ing angle, * Ellipses are seretched-out circles, and should be symmetrical. They should always be the same shape con both sides if folded in half Elipses widen as the distance from eye level increases \ et bik th an tp iro sith pa fle omits ene you toast thebotiom you week at ep ot ner eon ilaie aioe ic cia ened tom Bo sida, tha eel copa reise e tac oconn st ope The echo hatmes pwd rere taskh ae Spheres and eylindare are ig relate to your oye love. The farther above {fotrns of the same basi shape the elise your eye levels, the wider the the circle, When you connect clipe appears and the closer you are to soe two circles with straight lines, ire the pariect nee you have created a cylinder A circle with volume is @ sphere ‘An ellipse at eye level is almost flat ‘Anelipse appears more stretched out the clover your view comes to eye level Draw ellipses Draw a sori of lipeos with savera cing, SO {hid totes a symmetrcal shape. Once you 4 OLA ‘can do this, youllbe able to draw all sorts of ge ‘agee al oti epee y 30 Find ellipses in everyday items ‘Lock around the house for objects made up of lipsoe. Once you've mastered craving elipues with thid strokes, ty your hand at drawings of abjecis mace up of elipses. Make sure your ellipses are symmetrical ‘A grouping of cay Rowerpots makes a great subject to study lint! shapes. [chew a sri of bind contours, exaggerating the indcater Ines to show the position of each mage, then drew ancthorenpressive contour with indicator ines to dently the ight source ancl use asa gui 0 Separate the ovtapping shapes. | crew astra ine (ighty so that could ease it easly ‘trough the middle oF each pol to make sure my oipses were symmetiel draw now! 1 Practice drawing ellipses: ‘ 2 Find as many objects containing 3 Concentrating on their ellipses, until wou feel sure thet they’ 1 © ctipsesias you can, {Ob ectice drawing the elliptical ook eymmetical ! objects you found 31 Discover Negative Space Space is classified in two ways: positive and negative, You're used to cancentrating on the positive or named space, oF the object you're drawing. Negative space isthe the area around ‘that object, the 1nnamed empty space that isn't your subject. Just as creating positive space allows the negative space to appear, defining che negative space allows the positive space woappear. Sometimes the most effective way to make the correct render- ing ofa subject sto focus on the shapes ofthe space around the subject rather than on the subject ise, Define the negative space and allow the subject’ shape, or the positive space, ro appear. Look for negative spaces in your subjects. Looking for negative space means looking for shapes around the subject. Tha shaded areas in the pictures can be considered negative space. Notice the V-shape by the duck's neck and the rectangle in the wagon handle. Adjust your drawing based on studies of negative space ‘ter evaliating the negative space around the ‘duck, | sousted the ines on my fourth ine ‘contour crawing before beginning to work ona. ‘inal rondorng. draw now! 4 ber cnet th subjects you used forablind contour drawing. Shade tn the negative space you see around the subject {9 Cobo the contour rawrings you did on that subject, Make adjustments based on the nega: tive space you discovered gg Bind some hetographs you'd ke to dra, Practioe first shading, i then drawing, not the main sab- ject, but the negative space around it. As you see negative } and positive space notice that one i defines the other. t You've completed your contour drawrings, but something looks ‘wrong. Chances are, your proportions are off, Here are two: pla mathods to correct them, © Using a s* Gmum) qraphed ruler, measure the length of Your subject, then measure the height. Make sure your drawing has the sare ratio of length to height as the sul ject. The ratio for the duck is throe to one (81 or 3" (Bem) Jong to 1° (Gem) high), So if the ducte is 6* (15cm) ong, the eight should be 2° (6cm).ITenlarge the duck to 8 (23cm) in length, the height should be 3° (acm), ‘= To measure the image using a pencil, hold the pencil next to a specific portion of the image, marking the distance with your thumb. Then use your pencil to chack the size relationships horizontally and vertically. My thumb marks the measurement from the beak to back of the neck in the ‘Photo, Compared to the length of the duck, i's one-third of the length of the image. It's important to keep these size relationships constant. If ‘your subject's height is one-third ofits width, your drawing should reflect that. You can also use a proportion wheel. avail~ able in the drafting deparment of art supply stores, to make: ‘sure your proportions are constant. ‘Cheek proportions with ruler. Discover Value Vadue is the relative lightness or darkness of a shade and is used to establish volume, dimension and even texture in a drawing. The ability to identify value changes and create them in your drawings is one of the most important drawing skills. The use of value ina drawing describes the effects of light and shadow: Light and shadow communicate the volume, dimension, depth rface texture of an object; therefore value communicates those elements in an image. A value scale shows the progression from black to white. You can achie value changes with a single pencil or a combi \WALUE SCALE ww A, Mellie wa Misi‘ Sebueehs canoe a iiiidldlld anche oo idee rerneress ut a Experiment with value Lots of variables affect the values you'l be able to achieve, The type of ‘mediuen {pencils c¢ charcoal) you use, the grade (hardness oF softness), ‘and the densiy and pressure of appication determine wh youl get. (Chart your medium and pencil grades using ight, mecium and heavy pressure. Koop in mind that diferent paper suraces produce diferent results a3 well, nation of tools, Pencils, graphite sticks and charcoal sticks are produced in degrees from hard ta soft, Harder grades produce lighter values. They also are less likely to blend or smear, but they will scar and dent paper if you apply too much pressure, Softer grades create darker values with less pressure but do not penetrate the tooth (hill and valleys) of the paper as well as, harder grades. Blending the softer grade strokes fils the paper tooth for smooth transitions, Softer grades smear more easily and are more difficult to erase than hard grades, MECHANICAL PENCHS fy? abide: Allee Mi lla sa shadows indicate depth ‘Value describes your drawing subject ‘Value contrast develops volume. Without values ths image would be ‘only a fat cutina. | used a 4H pencl to define the intial shapes, folowed by an HB penci ta add preliminary shapes of shadows and to initiate the layers of feathers and texture. The softer grades of 26 and 48 were used to erase the darker values. Value contrasts enhance tha projecting shapes while preserving the light areas inthe crawing. Remember, the ‘Shapes inthe frontal your drawing gain depth when you pay attention to shapes inthe back, Light values contrast ‘eth the dark and mie = ‘ues of the tre with tha dark texture ofthe bare pple on top, The creuiar brushetroke natural forms the protruding knotholas inthe toe trunk Some othe stokes on the ee have ‘boon identified for you. Can you ind any more? draw now! 1 ‘Create a drawing of a cylinder using athee-stap value sea, and blending the values wath a brush Blend with a brush [A cnc (Bom) brush proves a consistent tp fora controled blend in Jong narraw areas (use flowing strokes). Tumed sideways, the brush produces ether @ smooth gradation ora textured effect. You can also ‘modify or soten the edges of strokes with brushes, sOwaina vate sudycfsaves, |g Use pone anda ath cham ‘Soften edges and create smooth: ‘is to make a light-value, blended, ‘racations with a selection of the ven hase Adc datker valuesto | household blending tooisistedion that blended graphite tocrenina | page 42. teweured surince mich asbrices, | hair or tree bark. ‘ Use Value to Create Texture Sometimes the main distinguishing feature between objects is, their textures, Texture appears as you add value to define light and shadows irs all about contrasts berween lights and darks, As you increase the shadows and highlights, the texte and details of your subject will narurally emenge. Always shad in the hasic shape of the image before adding texnure detail _ Texture emerges with shadow 1 Draw a bind contour of a simple subject. such as these peanuts 2 Add darks and lights to the contour shapes, 9 To define the texture, dently the texture pattem and add darker values to areas tha indent or recede to project the relged pat tems. Use a sharpened eraser sick or a hoeaded eraser to sahen the edges ofthe dark texture and ‘aint highights. Simple techniques create complex drawings Tha bee on the flowers was developed the same way as the study ofthe peanuts, The Contrasts ofvalue—lght against dark andl dark against ligh-distinguish and project the bee: and sett apar from the flowers. ‘Concentrate on the shadows, shading from dark to light. ‘Then establish the character of the surface rexture of each, image by looking for the darks, If you lose the highlights in the midst of adding and blending values, you can always recapture them with a kneaded eraser, Focus on your subject to capture: subrle differences important co define its form. Texture distinguishes one shape from another ‘Mary times, basic shapes become dit ferent objects mainly because of the texture of their surfaces. The apple and the bear face share the basic shape of the circle: the textures oftheir suraces dine them, Notice Paw the value of light and shadow in gach ckawing cre ‘ales the ilusion of volume; frm is ‘maintained as texture is added with more values. EXERCISE 15 ‘Shade the blind contour drawing ‘Once you've crested your blind contour drawing, shade the mass forms “with hhc srokos using a ighter pencil such as a'2H, Concern your sot only wih sight variations in value t this print. Go over the shadow _roas alitie more and leave the highight areas white Your subject's form takes shape with increased contrasts ‘As youincrease the contrast, the dimensional fon of your subject naluraly oceura. The final stage of drawing focuses on deals such as the nciidua fs of woo! Remember notto begin with the details but to gradually work up ‘other, 46 With darker pencils, develop the basic shapes and values Poston the overlapping shapes, shacing what is behind with values that Contrast with the ighter projecting shapes, Begin with large areas, auch 18 the rea sheep, then dently and shade inthe postion of each leg. (Once you establish basic receding and projecting areas, begin shading the shacows that define the woo tuts, Define the projecting teardrop shapes by creating shadows. behind them. Notice how the value-con trasts bag to create cimension Texture differentiates between similar shapes ‘eature communicates the nature ofa subject. The two trees in the ‘drawings above are involves placing another set af hatched lines across the initial set of hatched lines, The width and spacing of the crossharched lines creates a value gradation ro define light and shaclow on the subject as well as volume and dimension, Almost any medium sworks well with this technique. | “TECHNICAL PEN OR FEL-TIP PEM (FINE POwRT) Create value scales with crosshatching ‘Gathor various drawing tools, including poncis of diferent grades. ‘Crosshatching doesn't cal fr any blending. You don't have o use the ‘same tools used forthe illustration above, jutt be sure you have a variety, Bogin with single pencil and make @ smooth vale transition from dark to ight Repeat ths unt you've created a smocth transition lke the ane show with the darkest dark and ightest ight. Change tools and repeat the process. Begin with a copy of your contour drawing Got out a copy ofthe contour drawing or drawings you created for exorcise 20, Use crosshatching to define the volume form, depicting the value changes from highlight to shadow, Use crosshatching to limit detall Ceosshatching simpliies value studies and lin its deta lowing you to take amore general view of your subject. used only one size pen tp for ths per-anctink version ofthe cat This Placed imitations on my control ofthe value transitions and produced harder edges. For more refined andl gradual valse gradations, use several cifferent pen sizes. Use crosshatching to enhance detail Using @ 3mm mechanical pencil with HB, graphite lowed me to increase the detain the buttery. The fine tp andlight vale is ‘enc proved enabled me to create sot ‘edges th short, crosshatohed strokes, For dark values and deta, simply added cross- hatched layers unt built up the corect tones. ‘Try using one pen only Atocnical pen of onl one size creates a coarse version ofthe rose, Notice how much: harsher the petals appeas Potts quality paper ‘Since you never know when you'll come up with a drawing yoo want, to keep, it's best to use archival ‘quality paper all the time. This: paper is acid-free, and when proper ly cared for, doesn't yellow, become: brittle or spot with age. Gather several different pencils for the most flexibility ‘Crocehalchng with drent grades of graphite lead gies you even more lly to create vaio ‘radation. used saver! diferent rade and tp clamters to emphasize the old cas weathered surface and cea a sottookng drawing. Drawing Techniques: Pointillism Pointilisin uses dors to establish values. Dots placed close together create dark values; dors thar are widely spread pro= duce light values. Technical pens felt-tip pens are most effec tive for this technique, but you can use almost any medium, including, pencils. When you use technical or fele-ip pens or «even brushes with ink, the sizeof the tip will determine the size ‘ofthe dors and your values, Staller tips tend to procluce a more refined drawing that has greater detail and value gradation, Begin with a copy of your ‘contour drawing ‘Get out the contour deaning o drawings ‘yu created fr exer ‘68020, Youcan place the dots over she contour draning You can even begin ding val wih ‘oral blording in Create value scales with pointillism enc, Use into Gather diferent crawing 00s including markers and some pencis of __plsoe dos over that

    You might also like