D R AW IN G MA D E EA S Y

A HE LPFU L B OOK FOR

YO U N G A R T IS T S

TH E W AY TO B E G IN A N D F IN IS H YO U R S K E T C H E S

C L E A R LY S H O W N S T E P BY S T E P

B Y

E °
G °
L U TZ

NE W YO RK

CH A R L E S S C R IB N E R S S ONS
’

1 9 3 5
 COPYR IG H T 1 9 2 1 , ,
B Y

CHAR LE S S CR IB NE R S SON S
’

Prin t ed in t h e U n i ed St a t e o f A meri a
t s c

A ll r ight r e e r ved N par t f t hi boo k

s s . 0 o s

ma y b e r epr o d u ed m y fo r m wi t h ut
c an o

t he pe r mi o f Ch ar le S r ib e r S o ns
’
ss i n o s c n s

3 73 7?
e o n-t

T HR U S H

C O N TE N TS

Thrush

P arrakeets

Thin g s needed for drawin g

Drawing curves with the he l p of a series of dots 1 2, 1 3

M aking desi gn s based on a sq u are and with th e he l p of the compa s ses 14, 1 5

Drawing desi gns with the compasses and with a circ l e as a fo u ndation 1 6, 1 7

B rer Fox
’

To p , radis h C hristmas tree

,

C amp fire

I ndi an tent

G l ass fish bowl

C herri es tea pot fan etc

,
-

, , .

”
z lo b e

B al l oon
8 CON TE N TS

fl
D rawing l e a v e s m ap l e and oak

Butterflies 28 ,

B e es c l over
,

R esemblances

M o rning gl ory narcissus

-

P ansies

B uttercups and daisies

Ja ck in the pulpit
- - -

Fuchsia

R abbits 3 8, 3 9

Owl s hea d
’

Duck and penguin

Swallows

G oose , duck

S tork , heron

R unnin g dog and monkey

E le phants

Drawing a pig with a sin gl e l ine and with the eye s close d

C at and mice

C at and mouse
 C ON TE N TS 9
l

B ir d snail tortoise an d fish

, , ,

S quirrel , flicker chipm u nk thr u sh

, ,

P rairi e -
d ogs

Buffal o

In structions for drawin g horses

S ta nd ing ho rs e

H o rse s in mov e men t 5 8, 5 9

H ouse s

S ail bo at , tug b oat

Oc e an l ife

Sai l boa ts

Dolls

Mor e doll s t o dr aw

Babies 66, 6 7

L ittl e H ollanders 6 8 , 69

Drawi ng faces in profi l e

I
R oun d face

R ectangular features

w i thin an e l lipse
10 CON TEN TS

S in gl e -
l ine action fi gures

S i ngle -
line action fi gu res 79 to 83

Automobi l es

Ai rplan es

L ocomotive and car

An easy lesso n i n perspective in rai l way trains

D rawin g lan d scapes 88 to 91

A n aid i n drawi ng ovals

P a tterns for shiel ds and ornaments

T o draw a n ellipse

L an dscap e sketch

PARRAKEETS
 PENC IL
CO MPAS S ES
T R IA N G LE

LEA D PEN C ILS OF A

M EDIU M G RA DE PA D O F
S C R IB B LING PA PER

S A N D PA PER
B LO C K F OOT -
RUL E

T H IN G S N E E D E D FO R D RA W IN G

A le ad pencil a nd a pa d o f scribbling paper is ab o ut all you ne e d in

-

copyin g m ost o f th e p ictures in thi s b ook A so ft rubber for .

e rasi ng w o ul d b e goo d t o have to o You m ight als o get a

, .

smal l wooden tri an gl e a foot ru l e an d compasse s wi t h a pen

, ,

ci l point
-
. These few tool s are th e m o d est representative s o f
the acc urate i nstrume nt s that i n vent o rs eng i neers an d a rchi
, ,

te e t s use in planning th e things that we use every day The .

h ouse you live in the v ehi cle i n whi ch you ride an d the
, ,

machi nes t h at m a ke th e man y thing s y o u wear an d use wer e

l fi r s t p l ann e d and d r awn o ut wi th th e aid of divi d ers com p a s s es , ,

rulers an d o ther d r awi ng i nstruments

, .

P oint th e l ead o f your p encil o n a b loc k of san dpaper No d oubt .

yo u will w an t a water co l o r b ox-

I t i s a g ood thing t o h av e
.
,

b ut y ou ca n get lot s of enj oym ent in coloring y o ur d rawing s

W it h c r a y n
.
o s .
12 D R A W IN G MA D E EA S Y

A . N ot in t h i s an gula r w ay B . B ut l ike t h i s , in o n e c o n t in uous fl

owin g cur ve .

D RA W IN G CU R " ES W ITH TH E HE LP OF A SE R IE S
OF D OT S

In th e obj ects about u s that we think of as be aut iful i t i s n t always

’
,

th eir color that attracts or holds ou r atte nt io n I t i s v e ry .

o ft e n another matter ; namely their for m o r outline F o r , .

ins t an ce in a vase the g ently c u rving line s of t h e for m pl ease

, ,

as m uch a s the color o f the m ateri al In fl ow e rs l eav es and .

, ,

shells th e outlines that defin e th e s hap es del i ght th e eye as

,

w ell as th e v aried col o rs .

T he diagram s o n the opposite pag e are to suggest e xer ci se s in d r aw

in g th a t will help you to appr e ciate be auty i n line a s well as
have yo u un derst an d th e imp o rt an ce of thi nking while d r aw
in g M ak e a serie s o f s cattere d d o ts as sh own
. B e sure and .

have th e dot s a t different distan ces apart N ow if we t ak e .

,

t he fi rst example wi th the d o t s m arked 1 2 3 and 4 : w e

, , , , ,

s tart our line at th e l s t d ot c ont inu e i t t o t he 2d and th en t o

, ,

the 3 d and endin g at the 4 t h

, The ide a is to make an easy
.

flowing curved line from the first dot to the l ast There m ust " .

b e n o break o r angular turning I n doing this try to for g et .

,

th e pencil point and think only o f a curve d li ne th a t y ou ar e

-

im agining as alr e a dy m arke d o n the paper g oi ng thr o ugh th e

dots .

t
If you keep y our eye o n th e p encil an d wa ch i t as you d r aw the —
wron g way— the li ne wi l l b e like that i n D iagram A above , ,

an gular and wanting i n b eauty .

14 D RA W IN G MAD E EA S Y

fl
MA K IN G D E S IG N S BA SED A SQU A RE AND
W ITH THE HE L P OF THE C O MPA SSE S

"
S ome t hin gs abo ut g eome tr y a r e e p l ained above in a w ay t ha t m
do ub t wi ll i mpre ss you Ther e wi ll be no excuse n ow of n o t
.
, ,
'

kn owing the nam e s of the d i e r e n t p a rt s of a c i rcl e .

T he fi rst thing to do i n m aking the desi gn s on the other pa g e i s t c

c o nstruct a squ a re Th is c an v ery e asily b e m ade wi th the
.

fo ot rul e an d tr i an gle Wi t h t he foot rul e m ea sur e o ff t h e

.

sid es of th e squ ar e of e q ual l engt h and wi th the triangle get

,

th e corner s ex ac tl y ri ght an gl ed
-
.

T he fi rst sev en de si gns ar e made by placin g th e poin t of the c om

passes in c o rner s as shown in B
,
In F i gur e 8 you have four oth er
.

"
poi n t s t o s et your c om p asses wi th w h ich t o d r a
,
m
: d e s gn s
m o
i .
DR A W IN G MA DE E A S Y 15
16 DR A W IN G MA DE EAS Y

A CUTE A NG LE og mgg
PARALLEL LINES NGLE

RIDGE
RO O I
ELLIPS E WHEEL IN PERSPEC?
TRIANGLE

DRAW ING

S IC KLE CRESCENT
INTERS ECTING CIRCLES
S PIRA L SNAILS SH

S imila r for ms in t h in gs an d in ge om et ri cal fi gur es .

D RA W IN G D E S IG N S W IT H TH E COM PA S SE S A N D W IT H
A C IR CLE A S A F OU N D A T ION

D raw a circle w i th the pen cil com p asse s a s s ho wn in A on th e ,

opposit e page K eep the l e gs o f th e com pass e s whe n yo u h ave

.
,

complete d the circle at the s ame distanc e ap a rt a s they were

"
,

— —
"
when d escribing i t Now this distan ce th e r a d i us if marke d
.

o ff aroun d the circumference of th e circle will g o ex a ctl y s i

‘

t im e s a s i n B
, T urn ba c k t o page 1 4 a gain to b e r em in d e d ,
.
,

” a
b y glanci n g a t i ts picture o f th e me ani n g o f radius
, nd
“

T hi s d i vi d i n g o f a c i rcle in t o s i "
p a rts by marki n g the ra d ius or

circum fe r en ce i s an unalterabl e l aw and i f y ou find t h ,

does no t c ome out this way on your fi r s t att empt it s in p i ;

, ,

m e ans th a t yo u m u s t try a g ain When you hav e draw " .

n umb er o f ci rcle s a nd worked c a reful ly i n gettin g t h e p c

,

eq u all y mark ed y ou will hav e found at ions fo r d rawi n g

,
’

fi gur e s and de si gn s on th e remai nde r o f the p a ge Fi gur .

e

is a h exago n or si x sid e d plan e whil e b el ow i t Figure 4

,
-
, , ,
"
tri an gle o r pl an e wi th thre e an gl e s an d th ree si d es
,
.

T h e se de signs as w ell as th ose o n pag e 1 5 mad e within a s q u:

, ,

m ay be bri ghte ned up wi th th e col ored crayon s .

1g DR A W IN G M A D E E A S Y

Th e first th in g in d r aw in g is t o u nd erstand th e fo r m o f th a t wh ich

we wish to picture .S ome obj ects are s o o dd ly for m e d an d
full of detail that we must stop first and g ive a few m i nute s t o
s tu d y their form and the meaning of the detail But t l L l .
"
”
a re other things of simpler form and so e a sier to d raw
, . h e

pictures on the s e two pages for instance

, .I t i s very quic k l '

gr a sped by the eye that their gen eral o utline s are boun ce r
by triang l e s
. I f then a triangl e is d rawn fi r s t as indicat ed
, , ,
5

the first fi gure o f e ach exampl e th e r es t of t he d r awi n g ca n

,

p roceede d with v e ry q uickly .

20 DR A W IN G M A D E E A S Y

C A MP F IRE

H e r e a r e two mo r e subj ects that are very e asy t o d r a w if t hei r

—
char a cteristic fo rms trian gl es— are first indicated .

I t i s no t intended that the dotted l ines in the dia g rams a r e t o be

copied by you as d o tted l ines Dotted lines in these example s
.
,

a n d in the diagrams throughout the book m er e ly repr esen t

,

construction l ines that are to be marked fai n tly .

In g o ing on with your drawing by followin g the less o n a s indi

c at e d above , it is well to keep constant l y i n mind that it i s
th e comp l eted sketch; as i n Figur e 4 th a t you a r e e nd e v o r
,
a
i ng t o copy
.
 DR A W IN G MA DE EA S Y 21

INDIAN T ENT

“ M M W»
l / M was 5 "
r . L:

I t is ve ry quickly u n d erst o o d a t t h e fi r s t gl an ce th a t t he R ed
, ,

I ndia n s tent has a trian g ular o utlin e

’
.

T he c on struction lines which you h a v e mar k e d fain tl y as s ug

, ,

geste d on the prece d i n g page nee d not be eras ed in complet i ng

,

th e sk etc h. Wh en y o u have copi ed th e la nds cape place i n ,

t h e d istance a hor s e or a b uffalo , Farther on in the b gp k

.

a re pages w i th pictures showin g you how to procee d i n pi ct

uring such subj ects You noticed of co u rse while you wer e
.
, ,

d rawing this picture that the flap o f the tent a n d th e op e n

,

i ng a r e bo th tri angular .
 G LA S S F IS H
B OW L

Ci rcle s a r e m a de fi r st in s t arting the s ubj e c t s on t h e se p a g es .

W h e r e the form is cle a rly a c i rcl e the fish b owl above for
, ,

ins t anc e use t r; compas s e s But i n picturing the cherr ie s

,
’
.
,

th e toy dog o
,
r
e radish
w d raw t h
,
e l fr h a n d
c i r c e s e e -
.
 DR A W IN G MA DE E A S Y 23

C HERRIES

TEA C U P
-

RA DIS
 G LO B E

T h e terrestr i al g lobe picture d on this pa g e re q u i re s so m e v ery

careful wo rk with the compasses For the m iddle line of the
.

eq u a t o r and t h e central line of the support use the ruler In

"
.

a subj ect s uch as this wh e r e the lines a re unmistakab l y

,

s trai g ht use a ruler

, .
 MA PLE LEA F
A ND
M A DLE S E E D

D RA W IN G L EA "
ES

D urin g the summ e r y o u will fin d many leaves that can serve as

patt e rns for drawing The o ak an d the maple leaf are g iven
.

here a s examp l es .

If yo u try in your first lines i n copying one of these leaves to

, ,

ma rk the way the outline goes in and o u t yo u wi ll not g et

,

along very wel l . The best p l an is to b l ock o ut the entire

sp a c e that the leaf tak es up and then d raw the ri b s and after
, ,

th a t t h e outline
.

t b o
B e sure a nd d raw other leaf forms -
s e that you fi nd i n the woods
, ,

or on plants . Before you b e g t o sketch them

.
,g ive some
attention to their gen eral fo rm and mark that first The
.

little detai l s are then much easier to put in their pro per places .
 B U TTE R F L IE S

Making p i ctur es o f butterflies is not difficult . You wi ll s e e on

pages 29 an d 3 0 the p r o gressive steps by which five different
kind s a re p i cture d . I n eac h ca s e i t is the last fi gure of e a ch
se r i es of d iagra m s that yo u ar e str i vin g t o c o p y An d F i gur e 1
.
,

i n e a ch case, shows the first lines that you put o n the pap e r .

I t is als o p o s sible t o d raw butterflies in the way su gg ested for

‘

d r a wi ng leaves ; that is marking out at the be g i nning th e

,

wh o le space that the subj ect takes up .

B ut the fi ve simple com bi nations of lines groupe d above are so

, ,

expressive of o ur subj ects that m arking the m first m ake s a

,

very go od way t o start picturin g the five butterflies

"
.

'

N o tice how one of these butterflies in it s construction lines rese m

, ,

bles the letter Y while two others suggest the l e tt e r

, .
DR A W IN G MAD E EAS Y 29

B U T T E RF L IE S
 DR A W IN G MA DE E A S Y 31

B EE S

The series of diagra m s on the to p of th i s page s h ow h o w to g o

about makin g pictures of bees .

The c l over b l ossom and leaves are blocke d out fi rst in l i g htly
marked lines as indicated in Figure 1
, C ontin u e with th e
.

work and when you have finished it as s hown in Fi gure 3

, , ,

you may sketch a bee resting l i g htly on top of th e c l over blo s

som . That is the way yo u often see bees when the y a re g a th
ering honey in the s u mmertime A nd reme mb er t o i ndic a t e
.

one flying to th e hive with his g athered ho n ey and p o llen .

32 DR A W IN G M A D E E A S Y

T h e en gr av ing abov e shows us the res e m b lance b etwe e n a m orning

gl o ry an d a funnel a n d the likene ss o f a narcissus to a cup
,

and saucer .

No w the i d e a of show i ng these comparis o n s i s to help yo u un d er

,

stan d the forms of these flowers A s you know it is a great

.
,

h elp in drawing to understand thorou g hly the form of th e

p articular obj ect that we ar e drawing Take the morning .

glory for i nstance ; b y k eeping in mind its striking resemb l ance

,

t o a funnel a v ery simple thing t o picture we ar e abl e t o

, ,

vi su al iz e i t i n s i mple lines and s o sketch it easily .

And in the n arc i ssus ; if y o u d o n ot all o w the m inor di vi s i ons t o

bo th er you b ut se e at once the rese mblanc e t o a cup and
,

saucer you will know how to go about the work of drawing

,

wi th much mo re facility That is you wi l l p l an as your

.
,

s tart so m e form like a cup and its saucer as shown i n ,

Figur e 2 of the n arcissus dia g ra m s on the opposite page .

T he pictur es o f bees an d butterflies that you now know how to

make wi ll b e goo d t o combine with the flower sketches that
you w i ll l earn t o d r aw fr om th e l esson s on th e five followi n g
p age s .
34 DR A W IN G M A D E E A S Y

PA NS IE
?

T he si x d iagr am s above sh ow how to draw the o u t l ines of a p an sy ,

a nd the fiye varied pattern ed pansies b elow gi v a hint for

-
e
'

fin is h ing w it h t h e pencil or crayons .

T he picturin g o f buttercups and d a isies is explaine d o m e o p p o s i t e

r

pa ge .
In beginning to draw the J ack in the pulpit p i cture d abo ve th e
- - -

"
i mportant line for you to consider i s the one repre s e n ti n g t he
c e ntre o f the flower or its a is
, M arking this lightly and
.
,

alway s keeping it in mind as you draw helps t o place pro p

,

erly other parts or details of the subj ect .

T hi s flower which you may find early in the s pring gr o win g in

, ,

mo i st places in the woods is a cousin t o the large white call a

,

lily of the conservatory .

S ke tching the fuchsia is also ma d e easier b y n oting t h e ce n tr a l

i ma g ined lines th at g o throug h the open flower an d t h e b u d .
DR A W IN G MA DE E A S Y 37

F U C H S IA
38 DR A W IN G MA DE E A S Y

R A BB IT S

H e re are four rabbits that will very patiently pose for you while
you sketch them .

I t d o e s nft matter which one of them you begin on as the mod e of ,

proced u re in each case is the same in marking an elliptical o r ,

oval form as the first stroke of your pencil

, .

In drawing one of these rabbits keep your eye and mind m ost of
,

the time on his pict u re as shown above b u t g lance from ti m e

, ,

to time at the series of diagrams to see the p r o gr e s s w e ma n

ne r that you fo ll ow to complete his pictu re .
DR A W IN G MA DE E A S Y 39
40 DR A W IN G MA DE E A S Y

OW L .

Owls are very obli g ing and friendly models . When you go to the
Zo o do not fail to try your hand at sketchin g them .I t wi l l
n ot be at all difficu lt for your owl mod el will most likely keep
,

ve ry sti ll and on l y b l ink his eyes

.
 D R A W IN G MA DE EA S Y 41

l l

lines faintly an d get the m as r o u nd as po s sib l e ,

free hand .
42 DR A W IN G MA DE E A S Y

DU CK AND PEN G U IN

Other birds at the Zo o that sometimes keep q u iet long enough

for you to sketch are the ducks geese and cranes
‘

, , Often
.

they rest themselves on one leg and stay that way for some
tim e
. Drawin g a bird in this position is not so easy as it
seems P ict u rin g him balanced on one leg and not as if he
.
,

were topp l ing over is a matter of careful considerati o n of

,

what pencil strokes to put down at the start .

44 DR A W IN G MA DE E A S Y

G O OS E

DU C K .
 D R A W IN G MA DE E A S Y 45

HERO N

S TO R K
.
46 DR A W IN G MA DE E A S Y

T h e k i nd of el e p h ant th a t one c ommon ly s ee s a t the Zoo is t he

I n d ia n e l eph ant H e h as a thick set b o dy an d sm all ea rs
.
-

'
.

Som et im e s ho wev e r we see the A fric an el e ph an t

, , Yo u will
.

kno w o ne of th i s kind a t on c e b y his h ug e ears The e ar s l ook .

,

espec ially whe n the eleph ant mo ve s the m like larg e fan s ,
.

Th e r e are o ther u nli k e n e s se s b etween thes e two eleph an t s b ut ,

t his di ffer e nce i n th e si z e o f th e e ar is t h e p ri ncipal o n e .

Th e r e a re sh o wn on the op posi t e p ag e t he p r o gr e s sive s t eps in

mak in g pictur e s o f these two eleph an ts .

T o d r aw the running do g p i cture d above fi r s t c ons tru c t tw o squ a r es

,

s ide by side in dicate d b y do tte d lines an d the n mark a fi r m

, ,

curv ed l i n e as i n Figure 1
, Wh e n yo u have procee d e d as fa r
.

a s the ne xt step dr awin g t he b ody you will h ave some re s em

, ,

bl an c e t o t h e co mplete s k etch sh ow n b y Figure 5 An o d d .

w ay is g i ve n b el o w of d rawi ng the d ro ll face of a m o nkey by

mak in g a circl e and th e n a small e r o n e int e rse ct in g i t b el o w .
DR A W IN G MADE E A S Y 4 7
 D RA W IN G A P IG W IT H A S IN G LE L IN E
A N D W ITH TH E E YE S CL OSE D

H e r e we have t h e picture of a pig in a simple o utlin e I t is a c o p y

.

fo r y o u t o fo llow But yo u are to make yo ur d rawing i n a

.

pe cul ia r mann er ; th a t i s with the eyes cl os e d o r no t looking

, ,

a t the paper a n d in on e u nbrok en line

, N o w d r awing in th i s
.
,

way by which t he inner vision only is u s e d th e att e nt ion is

, ,

c alle d to on e great fa ct ab o ut d rawing I t is th i s :

.

Drawing is first a m atter of the mind and the n

o nly secondly a thin g of pencil and paper .

When yo u are trying this little exercise of drawing a pig with th e

eye s close d an d with o ut lifting the pencil fro m the paper s o as ,

t o get o ne continuous line you are force d to h ol d and keep in

yo ur mind the picture o f a pig You can und e rstan d then th a t
.

alth o ugh we need pencil b rushes and paints in picture mak

, ,

i ng the fi rst thin g needed is an idea or an ima g e in the min d

,

o f that which we wish to portray

On t he opposite page are two types of pigs ; the one is of a so m e
what s q uare character in his outline while the o ther i s a j olly
,

r o un d fat one .

Dia gram s 2 an d 3 o f the pig o f a s q u are charact e r are goo d

, ,

exam ple s o f th e b l o cking o ut me thod in d rawing

-
.
50 DR A W IN G MA DE E A S Y

AND MIC E.

drawing the v ery m uch s urprise d cat with the b o l d b l ack m ouse
in front of her the picture o n the opposite page— a vertical
—
,

or up and down l ine going through the ce n tres of the two

- -

forms with which the drawin g is started helps to keep th ese

anima l s in their correct positions .

i s plain to be seen that the ri g ht way of be g inning to d raw a

mouse is to make a simple form that gives a g enera l idea of his

body as the mere addition of a cur l icue for a tail at once gives
,

a fairly goo d portrait of a mouse .

the e at on this pa g e were to turn around all the mice woul d

,

s camper away . That is a good way to draw th em . Try it.

 B IR D , S N A IL , T OR T O ISE , A ND F IS H

A fter school days co m es vacation time when you will spe n d m any
-

happy hours in the woods and fields B u t do not wit h all

.

yo u r outdoor play ne gl ect drawin g G ood subj ects to sketch

.

wi l l most l ike l y come your way A tortoise that during a

.
,

ramble m ay cross your path wi ll make an easy subj ect t o

,

d raw The shell suggests an inverte d cup

. .

The flicker as yo u will notice has two toes in front and tw o point
, ,

ing b a ckwar d Notice how he uses his t ai l feather s to s u p p o rt

.

hi m self as h e t aps t h e tr e e trunk .

 DR A W IN G M A DE E A S Y 53

S QU I93 1 1
5 1
.

C HIPM U N K

T H RU S H
F U C K ER
.
54 DR A W IN G MA DE E A S Y

P R A IR IE -
DO G S

Yo u c an l e arn t o d raw a b uffal o i n a s t and ing position by following

th e series of diagr a ms o n the page opp o site The cri n kly ma ss
.

’
of the buffalo s head is rather har d t o represent i n lines wit h
a lea d pencil
-
.The pr oper tool would b e a brush fille d wi t h
color with which you could paint quickly the large m ass of
hair and g et the out l ine soft and woo ll y as it really is i n nature
,
.

Ho wever you wi l l l earn somethin g by trying to do the best

,

you can in fo l lowin g the lesson on the pa g e A fterwar d y o u .

m ay paint his picture with a brush an d co l or .

T h e prairie dogs rea ll y haven t very strongly d efined char a cter

-
’
.

S o m e character they have of course but it i s merely th a t

, ,

they a re fat little bodies The simple outlines at the top sh o w

.

what you are to draw first to indicate this charact er .

D R A W IN G MA D E E A S Y 55

B uff al o .
The engravin g s on this and the three fo l lowing pages show y o u h o w
to make pictures of horses .

In the first lesson you start your s k etch with a square

, Draw it .

free hand ; that is without the ai d o f ruler o r triangle

-

, M ake .

it as acc u rately as possib l e and then divide it into two parts

b y a line across it j u st above the midd l e N o w in one corner
.
,

mark a triang l e pointin g ob l iq u e l y u pward and another tri

an gle slan tin g downward The exact proced u re is shown
.

above A ll the lines that you have been markin g so far sho uld
.

be ma d e faint l y as they are on l y const uct ion lines The

,
r
.

lesson is contin u ed in the fi v e dia g rams on the next page

"
.

The other horses series B C D and E on the followin g pa g es a re

, , , , , ,
1

to be drawn step by step as shown in the dia g rams

, .
 DR A W IN G MADE E A S Y 57

—0

S t a n d in g H o r s e .

Draw this horse as he appears harnessed to a vehic l e .

 H o r s es in M ove m e n t .

While drawing these hor s es keep the gener al proportion s in m in d

, ,

as illustrated by the four diagrams on page 5 6 .

60 DR A W IN G MA DE EA S Y

On this page are two les

sons in drawing houses that
have a little of the w h im s i
cal ab o ut the way that we
go about in picturing them

"
.

I n on e c as e a start is
m a d e by m arki n g a
turned upside down Th e.

picture soon becom es a

tent an d then a house when
a chimney is adde d In .

the other case a house is

built pictorially by p r o gr e s
sive steps that be g in by
the drawing o f a loz e nge
shaped design .

There is n o n ee d to hes i
tate wh e n a b out to sketc h
the sailboat illustrated on
the opposite p a ge A tr i .

an g le q u ickly drawn gives

, ,

the idea of a sail at once ,

and with th e addition of a

line fo r th e m ast an d a n in
d ica t io n of the hull we ,

have th e p icture al most

complete d T h e tugboa t is
.

ma d e by s k etching wi t h ,

strict re g ar d t o their pro

portions the hu l l and then
,

the s m oke stack These ar e

-
.

the two most conspicuou s

parts and so it is g oo d t o
,

in d icate them at once .

 DR A W IN G MADE E A S Y 61

T U G B O AT
S EA G U LL

F LY IN G
'
F IS l l -

C R A B

F IS H S EA HO RS E

fl
SE A G U L L ,
FL Y IN G F IS H , C RA B , S TA R F IS H , S E A H O R S E

A few forms of ocean l ife are portrayed here I f y o u have not be e n

.

so fortunate as to have seen these creatures in life at the s e a

m

shore or in aquariums you are at least familiar with th e m

, ,

through pictures or specimens in museums S e e h o w every l ne

. i

in the yin g fi s h d iagrams expresses spee d in flying

-
.
 D O LLS

H e r e are so m e intere s ting subj e cts t o d r aw T he fi r s t fi gur e in

.

—
each series a circle for the he ad an d a s im ple o utline for t h e
—
body and limbs are to be sketched with carefu l thou g ht with
regard t o the proportions . N otice that the eyes are p l ac ed i n
the lower half of the circ l e . To he l p you p l ace them properly
draw a l ine across the middle of the circl e befor e you be g in to
draw the face .

A fter you h a ve copie d the do lls a s they a r e p i cture d here see how
,

much imagi nation yo u h ave by cl o thi n g th em i n some o ther

style o f dre ss
.
 DR A W IN G MADE E A S Y 65

MO RE DO LLS
TO D R AW
When d r awin g th e bab y with the sunbonnet o r th e one wi t h t he
,

c ap beg in by m aking a ci rcle for the head and an apron l ike

,
-

fo r m un d erne a th it M ark your first lines l i g ht l y and h a v e

.

the he a d o ne fourth th e e nt i re height of the fi gure

-
. Dr awing
—
the h e ad o f a fi gure j ust fo ur t ime s the he ight a s i f di vi ding it
-
is c alle d getting a fi gur e i n the proport i on o f fo ur hea d s .

This is the right proportion i n which t o dr aw pictur es of v er y

youn g chil d r e n s uch a s th ose on thes e two p a ges .
 $0

LITTLE HOLLANDERS

I
- M } c li
p - “ I f

He re again parallel dotte d l ines cross the diagram s t o show yo u

,

t h e proper proportions in wh ich t o draw these L itt l e H o ll and

e rs But on these pa g es the fig ures are drawn in five heads
. .
 D R A W IN G MADE EA S Y 69

LITTLE HOLLANDERS

“ C
a
J
"
-
1
J - fi

The b abies o n precedin g pa g es were drawn fo u r heads hi g h ; th e

pictures on these pa g es are drawn five heads high because
they repr e s en t o l d er chil d ren .
70 DR A W IN G M A D E E A S Y

"
D r awing the side iew of a face is shown above I n Fi gu re 1
.
,

up and down line is divided into three eq u a l parts

- -
A s this
.

is the fou ndation for the sketch g et it acc u rate l y m arked

, .

N o tice that in Figure 3 the mouth comes at abo u t one third o f

,
-

that division .

On the opp o site pag e are two lessons in drawing pr o file faces b y
si m ple easy ways
,
.
72 DR A W IN G M A D E E A S Y

B OYS F A CE S

The first step that you take i n

starting o ut to draw one of the boys ’

faces is to make an ova l l ike for m -

and d raw the cross l ines through its

-

centre . The line going acr o ss marks

off the part of the head in which
you place the l ineaments or lines ,

that determine the drawing of the

face . The up and down l ine helps
- -

in gettin g the lines evenly placed .

A t the top of the opposite pa g e

i s a face that will be easy to draw ,

as the way to go about making it is

shown by the seven diagrams The .

fo u r faces with different expressions

"
may be drawn in the same step b y -

step process as that shown for the

face with the placid countenance .

The lower dia g rams A B C an d , , , ,

D g ive the essential l ines for the

,

expression s d epicted above them .

C ompare the lines that make up

the expression of th e first face th e ,

smi l in g one with the l ines of expres

,

sion of t h e l ast one th e seriou s ,

countenance One set of lin e s a r e

.

c urved and pleasin g whi l e th e o t l e r

,
i

set is ch aracteriz ed by an gu l ar ity

and severity .
DR A W IN G MA DE E A S Y 73

E "
P R E S S IO NS
74 DR A W IN G MA DE E A S Y

Wh e ne ver yo u feel in a playfu l mood and w i sh m ak e pictures

to
of droll looking faces ther e is no harm at all i n d oing s o Only
-
.

avoid making ru d e an d ugly c a ric a tu res

.
In these character s k etche s n ot i ce h ow the pecul i arit ies of featur e

of a ny particular face repe a t themselves i n th a t face .

78 D R A W IN G MA DE E A S Y

Pr opor t ions He ad B ody

‘‘
5

and Ne ck

S IN G L E L IN E -
A C T ION F IG U RE S

An oval l i ke outlin e fo r the hea d a r o ughly drawn oblong for th e

-

b o dy and four lines for the limbs are the few ele m ents nee d e d
,

to draw these fi gures Th e li mb lines ca n e nd in m arkings t o

.

re s e mble h an d s an d feet
A few pages b ac k b abies were pictur ed in t h e pr o p o rti on o f four
he ads an d so m e L ittle H o ll anders in five hea d s
, Now these .

little action fi gures are planned to be six heads hi g h The .

d i a gr am at t h e top on the left shows this S tudy this dia g ram .

car e fully an d for the sake of practice make many sketches of

, , ,

the si mple stan d ing figure When you have d one this and
.

bec o me fam il i ar with the relative prop o rtions of the figure ,

stu dy an d d r a w t h e pictur e s showing the m in acti o n on the

foll owing pa g es .

N o te how ba l an c e is m aintained by the bulk of the figur e b eing

distributed equa ll y on each side of a vertica l l ine B u t in .

falling you wil l see a l ar g e part of the fi gu re is on one side of

, ,

this v e rtical line I n a slow walk the figure seems nearly

.

bala n ced but in ru nning it is picture d as fallin g forwar d

,
.

Wh en you ar e uncertain as to which line to mark first in any of

these pictures study the particular pictur e an d find the l ine
,

that expresses the movement best K e e p th a t li n e in m in d as .

you draw .
 D R A W IN G MA DE E A S Y 79

B a la nce Fa l l i ng Wa l K in g Run n i ri g
‘

The slant of the b ody an d the way th e lines of the limbs are marke d
determine the de g ree of any action . But the p l acing on o f
th e h ea d an d g ettin g its proper ti l t is j u st as important
, , .

This m ean s tho u ght before marking the d irection o f th e short

s e n t in g the ne c k
a .
80 DR A W IN G MA DE E A S Y

Y o u can m ake m any mo r e sketch es th an those picture d here U s e

.

this way of working for making pictures of th e m any act i viti es

of yo ur play h o urs .
Watch your c ompan ions a t wo rk and a t
;
p l ay and see th e attitu d es th at the y t ak e
.
i en you draw these little fi g ures in action try to i ma g i ne yo u rse l f
as go ing thr o ug h the partic ul ar action that yo u are tryin g to
sketch . I t he l ps w onderfull y .

i dy mt
“
m en t i f : t h e observation of the action of fi gures in th e
i r ld .
82 DR A W IN G MA DE E A S Y
 A UT O M O B ILES

Two auto mob i l e s a r e p i cture d abo v e the w a y they lo ok whe n

passing by on the roa d . The wheels i n this case are circles ; in
sketching them use the compasses if you wish
, , . I f the auto
m obiles were goin g in some other direction instead of passing
directly before yo u the whee l s wo ul d present q u ite anoth er
,

appearance to your eye They would take on the form of a n

.

ellipse an d wou ld nee d to b e drawn free hand -

.

When y ou draw the airplanes notice the slant of the lin es t h at d e

,

fine the wings Certain groups of t h ese line s go t o an invis i

.

ble point in t h e d istance The art i st spe ak s of the m as lines

.

g o i n g off in per s p e ctive t owar d a v ani sh i ng p

A IR P LA N ES

FLY IN G
B OAT TYPE
86 DR A W IN G MA DE E A S Y

L OCO M O T I E " A ND CA R

There is no obj ection

drawing the constru
,
m
copying the pict u r e above to a ruler for
ction lines nor of
, Lu gl e
,

to us e w it h
,

the r u ler in gettin g the ri g ht an g les correctl y

,
.
DR A W IN G MA DE EA S Y 87

L ES S O N
" IN
P E RS PE C T I E
 D R A W IN G L A N D S CAP E S

H ere we have a few landscapes t o

study and draw I t is as important for you
.

to stu dy them as it is for you to make

copies of them There are altogether ten
.

pictures fa l ling into three g ro u ps

, Take .

the g ro u p on these two pages ; note that

they are a ll founded on the simp l e arrange
ment of l ines shown by the diagram on
this page These l ines serve three pur
.

poses : for one they aid if sketched in

, ,

fi rst in drawing the various parts of the picture in their

,

proper p l aces ; second l y they l ink the parts of the pict u re

,

t o gether so that it has a sense of comp l eteness ; and third l y , ,

they g ive the picture some interestin g lines to attract and

hold the attention of the eye .

The other gro u ps of pict u res on the two fo ll owin g pa g es have

, ,

a little more comp l icated p l an or s cheme of arran g ement

, .

But by markin g a rectan gl e and then the leadin g l ines as ,

shown the picture makin g g oes on very rapid l y

,
-
.

C olor you r landscapes if yo u wish with the crayons or water

, , ,

col o r paints
.
DR A W IN G MADE E A S Y 89
90 DR A W IN G MA DE E A S Y
92 DR A W IN G MA DE EA S Y

AN AI D I N D RA W IN G O " ALS

An o val has an outline like an egg with one end ro u nder and fu ller
,

than the other N o do u bt when you have tried to draw an

.
,

o val yo u have found it difficult to g et it even l y shaped with ,

the outline firmly marke d One way in which you may d raw
.

an o val is to cut a pattern out first and then use this pattern
b y placing it against your sketching paper a n d tracing the
out l ine by runnin g the pencil around t h e ed g e .

T he way to make an ova l pattern for tracin g is exp l ained above .

R oughly
sketch an oval on a sheet of paper .

Fold the paper so that the fold goes throu g h the long m iddle
line of the oval .

3 C ut out the oval through the fol d ed paper with a pair of

.
, ,

scissors C ut with a fi rm steady han d so as to get it an

.
, ,

even curve .

Open the paper and yo u wi ll have an oval patt e rn with

, ,

both sides even .

On the opposite page are a n u mber of desi g ns of shields l eaf ,

designs and ornaments which can be made in the same way

,

as the oval That is first sketching ou t the intended desi g n

.
,

as accurately as possible and then cuttin g it o u t when t h e

,

paper has been folded .

94 D R A W IN G MAD E EA S Y

TO D RA W A N E LL IP SE

T h e r e is impo rt an t d i ffer ence be t ween an e ll ipse and a n o v al .

In an oval th e ful ness of the t wo e n ds is no t t he sam e wh i l e ,

in an ell i p se t he two ends ar e e x a ctl y ali ke .

When yo u d r aw a wh ee l i n an y o ther positi on b ut one di rectl y

befo r e yo u give i t t he fo rm o f a n ellipse Turn bac k t o the
, .

en gr avin g on pa g e 1 6 and see the c om pari s o n between a wheel

,

in a side view an d an ell i p se .

F i gur es I and I I of t he en gr avi n g abo v e sh o w yo u how to go

abo ut d r awin g an e ll ip s e

"
.

"
T o de t e rmine the pl ace s fo r the p i n s and th e s i z e o f t h e loo p
I . T ak e t he penci l co m pass e s a n d fi the legs so that they
m e asur e t he di stan ce fro m A to B This is one half of
.
-

t he l o ng cen tral lin e o f th e el l ipse Now place the

.

poi nt a t 1 and ha v e th e p encil point cr o ss the lon g

"
-

l ine a t 2 and 3 .

. S t i ck pins in t o the pape r a t poin ts 1 2 and 3 an d t ie a

, , ,

s trin g ar o u nd t h e m Take out pi n 1 an d rep l ace it

.
,

wi th the poi nt of th e p e nc i l an d th en p rocee d with

,

t h e proble m as i n Figure I I .