HOW TO cma: DRAW by Scott Robertson with Thomas Bertling designstudio aDEDICATION This book i for those with @ passion for drawing ond learning, Never stop! Step-by-step videos are an integral part of the How To Draw educational experiancel Use a tmortphone of tablet fo open @ GR Reader opp ond scan this QR code. It links to the Design Studio Press imagerecognition app needed to play the videos. Download the DSP app, scan Scot's photograph fom page 008 and an introductory video wil load, All of the pages inthis book tha ink to educotional videos have @ "play buton* ot the botom, the iss No smartphone or tablet? No worries. Go to page 206, ype in the URL on any computer fo gain access to the entice links lis Copyright © 2013 Design Studio Press. Al Rights Resorvod Alton ond artwork in his book are copyright © 2013 Scot Roberton, Thomas Bering unless done by one o heir former shidlnts or as noted throughout the book. No parts of his book may be reproduced or transmit in any form or by ony means, elacronic or mechanical, rcluding photocopying, xerogrophy, and videography recording without writen petmision om the publsher, Design Stic Press Copy Editors: Maliaso Kent, Eriko G. Being, Heather K, Dennis, Jasco Hoffmann | Graphic Design: Cecilio Zo Pblhed by Design StudioPress ‘Address: 8577 Higuoo Sree, Cuvor City CA 90232 | Website: wwwdosignsusiopress.com | E-mall ifoSdesignstudiopres cm Printed in China | Fit Edson, Noverber 2013 987654321 of Congress Control Number: 1013949944 | Mardeover ISBN-13: 979-199949273:5 | Paperback ISBN-1INTRODUCTION | pace 008 TABLE OF CONTENTS charter 01 Drawing Materials and Skills | racto10 012 013 14 015 016 017 018 019 Harter 02 Perspective Terminology | nct m0 022 023 024 026 027 030 032 033 034 036 046, 048 os 050 051 053 054 057 058 081 062 068 Choosing Your Drawing Moterials Choosing Pens and Popes The Croft of Drawing Practicing Freehand Skoight Lines XYZ Coordinate System Practicing Freehand Smooth Curves Practicing Freehand Elipsos Drawing an Ellipse on the Minor Axis Defining the Perspoctive by he Viewing Position Cone of Vision - COV Finding Vanishing Points on the Picture Plane Physical Parallel Lines Converge to @ Common Vanishing Point Horizon line Relative 1 Position cuaerer 03 Perspective Drawing Techniques | rctore Division and Multiplication of Dimensions in Perspective ‘Muliplying and Dividing Rectangles Dividing into Odd-Numbered Proportions Mirroing in Perspective Mirroring Tiled Planes ‘Mircoring Rotated, Tiled Planes Mirtoring 2D Curves ‘Mirsoring 6 2D Curve on 0 Tiled Surface ‘Mircoring 3D Curves in Perspective: The 2Curve Combo Perspecve Grid Types Perspective Grid Construction Diagonal Vanishing Point, Station Point Method 2Foint Grid Construction with Vanishing Points on the Page Rotated 2Point Grids with Same Sized Squores Transferring Scale in Perspective ‘The Brewer Method: Constructing @ Grid with Vanishing Points off the Page Creating @ Grid of Squores, without Diagonal Vanishing Points ‘When to Use a ComputerGenerated Underlay ‘Orher Benefits and Ways to Use an Underlay Not Al Perspective Grids Are Created Equal Assembly and Exploded Views Scot Roberton | thonas Bvlng | OW TO DRAW 005warren 05 Ellipses and Rotations | rct 70 - o72 073 = o7a 07a o7s / 076 o78 079 | Pace 108 108 no 112 ns 16 ng 120 124 126 128 130 132 133 137 142 146 Scot Reberhon | Thomas ering | HOW TO DRAW Ellipse Basics ond Terminology Placing @ Cicl in Perspective or Drawing Elipes Creating @ Cube Using Elipsos sein Elipses Hingiag ond Rotating Flaps ond Doors Subdividing lipsos Shortcuts to Dividing Elipses Placing o Cirle on a Sloped Suface Planning Before Perspective Orthographie Views, o.k.0. Oxhogonal Views or Draft Views Transferring o Side View into Perspective Puting I All Together: XZ Section Drawing Extending the Sections 2Cuve Combo Cuting Volumes, Adding Rodi ond Fillets Wrapping Grophies Detailing and Sculpting Surfaces More Tips for Modifying Complex Volumes Contour lines, Overlapping and line Weight XYZ Section Drawing Applied Photo Undetioy Site Planning| Thumbnail Skeiching Non Photo Blve, Then Ink Scifi Exvironment Step-by-Step Warp Thot Grid wih o Wide-Angle lens! ‘Ouidoor Environment Skelch Step-by-Step Airplone Anatomy Visuel Research Drawing from Observation Loose Concept Sketching "Paper Plane” Ideation "Paper Plane” Perspective Grid Drawing @ Paper Plane, Stepby Step Using © 3D Underlay Finol Airplone Drawing Stepby-Stepciveree 09 Drawing Wheeled Vehicles | rots 154 Visuol Reseorch 157 Have an idea or a Goal Before Stating to Sketch 160 Some Basics on Vehicle Packaging and Architechie 164 Flexing Your Creativity 166 Grids, Grids, Grids! 169. Drawing a Side View in Perspective 170 Drawing a Stlzed Side View in Perspective 174 Basie Body Seulpting 175 Drawing the Windshield ond Greenhouse 176 Wheel Wells, Wheels and Tires in Perspective 178 Common Avtomotive Lines 180 Car Drawing Construction, Stopby Step Grid 186 Vehicle Sketching with a Wide-Angle Lens chavree 10 Sketching Styles and Mediums | pices 190 Ballpoint Pen 191 Copic Marker + Ballpoint Pen 192 Graphite Pencil 193 Colored Pencil 194 Pilot HITEC Pen on Newsprint 195. Copic Marker + Pilot HITEC Pen 196 Non-Photo Blue Colored Pencil + Marker + Brush Pen 197 Pentel Pocket Brush Pen 198 Copie Marker + Pen + Govache 199 Govache on llusration Board 200 Toned Paper + Mixed Media 201 Digitol: Sketchbook PRO Glossary | rat Index | pact 203, Additional Resources | pact 208 Video Links | pact 208 Bios | pact 207 Special Thanks | rxce208 Scot Rbertion | Thomas Barking | MOW TO BRAM~ f INTRODUCTION oe t Drawing is elmost @ magicol power, it enables you to communicate in a different way than spoken or writen language. Perspective drawing lets you convey how things work ond how they look. You can inspite others with something os simple as o pen ond o napkin! When | created Design Studio Pros this isthe first book | aver intended to write. Well DSP urned 10 years old this past March. With 55 other books ckeady in prin, s0 much fr Plan A! Finally, wih the help of my good friend ond longtime coteacher, Thomas Bering, | bring yeu the drowing knowhow I've taught fr over 1B years in my own workshops ond at Art Center College of Design, Organizing this book was like @ sport where you train for years in corder to compete at a high level for a few seconds, We combed through ever a decadeand-ahalf of demos end lectures to formulate the pages we now present to you. ‘Once you master these manageable perspectivedrawing exercises, you will have the knowledge lo sketch anything fom your imagination, fo thnk like a designer and draw things the world has never seen! Books ore great for looking ot beautifully printed reproductions of original drawings and reading about the thoughts ond methods bbohind those drawings, but video might be even better for step-by- step demonstrations. For that reason, many pages ofthis book link to online tutorials. Check out page 004 for a full explanation of how io ‘use the Design Studio Prese app. Almost! ll ofus drew when we were kids and some of us never sopped, ‘While ittokes practice to master the techniques inthis book, i's worth the effort. Humans have boon drawing for over 40,000 years s0 you're ‘about to acquire one of the oldest foxms oF communication. Jump in ‘and do the basic exercises a the beginning of his book with passion, ‘As you moster these ancient kills, pass along the knowledge ond teach ‘others the wonders of perspective drawing rom their imagination. lors drow! See Rebectfen May 31, 2013 los Angeles, California 00 statement 80 10 we @In this chapter you will learn cbout all the basic tools needed to get started with drawing, There are two colegories: materials ond skills, Its important to know how to pick the right materils for the job at hand. As the topic and intent ofthe sketch changes, so will he mater als needed. Quick loose sketches require a good flow of ink to paper ‘ond sometimes strokes should be very light o find "happy accidents” in the drawing. Tight drawings need a lat of attention. Optimally, one pen is used to generate varying thicknesses of lines. To achieve the best workflow, match diferent kinds of paper to differen pens. When you Find your favorite pen, make sure to buy several! Sometimes that beloved pen goes out of production way too fos CHAPTER DRAWING MATERIALS AND SKILLS Ol Building up mechonical drawing sil ie an important factor in eve ‘ating great drawings. It might seem simple, to draw o straight line, clipse or curve, But thece skill must become ingrained in muscle memory $0 that concentration can be spent on constuction versus thinking about how to create the lines in the constuction. Also, these skills wil help create clean drawings that can be done quickly ond passed along the production line easly. Not having to use multiple tools will ako speed up the drawing process Building muscle memory tokes time and practice, so be patient! Toke (on the exercises one at « time, and soon your skill will improve. Scot Rabson | Thomas Baring | WOW TO RAW O11CHOOSING YOUR DRAWING MATERIALS In the beginning, © lot of money does net need 10 be spent on moterials. All tht is realy needed are pens, paper ond a few basic tools. Brand names don't matter much, sole’ get into the criteria for choosing materials Basic tools 1. Circle template A circle template is quite sell to clean vp circles, especially in side views. A.composs is nice to have, but the circle template is fastr to use. 2. Swooy The sweeps plcured above coniain the mos! commonly skeiched ‘utomotive curves. But de ' rely on them to dictate your design ‘Always draw your lines freehand and then use the sweeps to clean them up, 3. Cotton pad, paper towel or tissue To avoid ink globs on the page, dab the bellpoin pen Frequently on Scot Roberton | Thomas Bang | WOW TO DRAW I spacing divider spacing divider ise supethandy tool thot divides any nce into even segments ope 5. Straightedge Jse.a saightedge to construct grids for underlays 6. Ellipse temp! Useelipeetemplatestoclean upellipsesAlvinor Pickett are recommended brands since they work for mos sitvalions, A good set of eli o guides is ‘on investment, but worthwhile because it wl ast decades.Pens Paper 1 CHOOSING PENS AND PAPER Mach the pen tothe paper in ordar to create drawings with diferent line weights. Ideally, you want to be able to draw both construction lines and contour lies without switching your drawing too int pens When choosing @ bellpoint pen, te! it on the paper that you plon to use most frequently to see how much ink builds up on the tip as mmuhiple lines ore skelched. A pen thot can sketch of least 10 lines without forming an ink glob on the tip is best. No erasing! Being able to erate is not an advontage in this style ef drawing. There ‘are so many intertecing construction lines that i is neely impossible to erase anything without disrupting these valuable shortcuts that help to explain your drawing. Plus, erasing slows down the drawing process a lot ‘So whot can be done when erasing is not possible? Drow lightly. W's as simple as that, Sure, some lines might be incorrect, bu! you can clean Up the drawing later with an overlay Refer to the lost chapter of this book, poge 188, for examples of combinations of matariols used for various types of drawings. Choose {paper that works well with your preferred drawing tool. A rougher paper will be able to produce both thin ond thick lines with faster flowing bellpoint pens Types of pope Try mony comblanions of pens ond paper until fvote is found inning frm cheap copier pope apoio popes wl werk There oreo coupe of specily papers tht work wal with markers os well os pes. Be auare tht there are mo sides fo these popers: one ies woxed ond he other aw. Alwoys draw on ova side. The waxed side is thre t prevent markers rm bleeding trough to the next poge ond ifs ribo draw on wih marks Softnoss of the Drawing Surf This is not referring to the paper isell, but how itis used. Drawing (on soft surface enables the best line qualily. Do not work on a hard surface with a single piece of paper! Hove ot least 15 pages under o drawing to get the best line quality possible. Working with underlays Look for paper that is transparent enough so than an underlay con show through, but not so transparent that the table shows through when you present your drawings. ‘Scot oben | Thomas Bering | MOW TO DRAW 013THE CRAFT OF DRAWING Drawing requires fll concentration! Intaly you'll spend most of your ‘energy on craftsmanship and construction and very lle on design. The more craftsmanship and construction skils become muscle memory, the more design can become the focus. The first step inthis Set up a workspace RE a ' po egal Learn to draw one straight line 018 Scorfobrson | Thomas Sein | HOW TO DRAW process is to practice the basic craft of drawing lines: straight lines,