Famous Artists Course Famous Artists Schools, Inc., Westport, Connecticut Form —the basis of drawing — tex Albert Dorne Fred Ludekens Norman Rockwell AlPorker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helck George Giusti Austin Briggs Harold Von Schmidtenon Fomows Aris Course Form —the basis of drawingorm isthe shape and structure of anything, os distinguished from the material of which its med. Form [Every objet that exists anywhere — from 4 mouse 19a mount “has form. This form has tree dimensions — height, width, land depth eas structure, and i occupies space ts s0 appar tent you ean even “fel” i before you touch it When you reach foram apple. you instinctively know your hand must go around its form in oner to pick i up. You don't have to pick up a box turn ie this way oF that, to kaow it has sles, 2 back, top and bottom. Form is something you se and you fe Tl the same in picture. Any piture you make of an object unt be 8 convincing Musion of real form. Vou must draw 3m ‘object wo thatthe person looking a it senses that there is more there than meets the eye, He mat, n fact, be given a feeling of traetolife fonn even thongh he see only onesie ofthe object. Tn the last lewon we started you out on the fundamentals of using dhe four baie mediums. It was a long lesson, but we did rot expect you tomaster itll xt once. Actually, isa handbook fon the mediums, and you should turn back toit again and again fll through your Course. Now, however, it i time 10 take the next big step — to learn how to draw form convincingly ‘Starting with this Teson we are going t0 show you how to do, this, We are going to teach you the principles of drawing objects Sorthey look solid abi they teal existed. You il be shown how tormake them look near and farce away, andl how to cent ate their fors by the proper use of light and shade. When you lndersand these principles of form drawing and are able to apply them you will hive taken 2 giant step forward toward ‘eating the iason of lielke objects on paper. ‘fore showing you how to draw form we want to give you a fresh point of view about objects in reality and objects in pie tures. wil help you to acquie a sense of form — to fil your pletuses with the feling of thiee dimensions, particularly the tlimension of depeh Form in depth Your crewing paper oF ilusation board isa fat, wodimen: sional surface Te extends up and down andl from sde to side. “However, the real thing that you want to picture on Your paper Ihave another dimension ~ depth. They go back into space and ‘mast have root eo exit in space. When You draw these objects yom have to draw their three dimensions on a twoslimensional Fhrface —in other words, you have to show depth on a drawing ‘utface that fas no depth of its own, “To drave depth, you must Feel depth, Suppose, for example, you want to mike a drawing of a television set. ‘The reals is Seube in form, of certain depth and width. The form of the fet occupies space — it has bulk and substance that you can fee. And so, when you draw the se, you must suggest this form ‘extending back into the space of your picture, You don't draw 2 flat outline, but a convincing Huson of real form in depth Teneath the shading and texture of all good pices fies this {orm in depth, True, tis sometimes hard to sce because, when swe are beginners, we tend ta concentrate on the obvious. We Tespont top quickly to the surface appearances the smoothness for toughness of things he lights and the darks. But all of thee ¢ sare only part ofthe fina stages of picture making. Before these deuils an be put down on paper correctly the basic form of the objects themselves mut be felt ad drawn in depth Four basic forms Long ago, gited and perceptive artists observed that every ob ject cam be reduced 0 one of four basi forms — oF modifications And combinations of these. They found dhat any object, no mat ter how complicated ie may seem at Gist glance, has a basic Structure that is made up of apere, a cube, a cone a lind, fr some combination of tse forms, Tf you can learn to draw ‘these fris you can draw anything you can se or imagine "You will find the four basic forms all around you, once you leatn to look for them. Look closely at 2 Christmas tree or 2 carota you wil see that it e Barially a cone. A matchbox Ania trailer ruck ate similar in their eubelke form. A drinking fliseand can are cylinders. A ball and an orange are spheres ‘We live among forms ike these. We sit on them, drive ther, aun eat them. But we are usually more conscious ofa hous, for ‘namiple as house than asa cube. The ats who has learned to see everything ae form, thinks just the oder way. To im the house is fist a cube, one of the four basi forms. He is aware of the height, wideh, and depth of this form, of the space it occ pies. He doei’t begin by rsring the surface appearance — the windows and the reac of the details — this procedure, inthe end Sell give ian a house cha looks thin and unreal. Instead he fis dras a cube to start and then adds the many details that make it look like the actual building. His bouse is slid and Convincing becate he recognized and drew the solid basic form 48 the foundation of his house By now you have some ea of why i xo important tha you learn to draw the basic forms well, In one shape or another, singly or in combination, you will be interpreting the sphere the cube, the cone, and the eylinder in every draseing you make, ‘Because the principles of form drawing are the foundation of alle, this les is ne ofthe cornersiones of your art taining, From now on we will constantly remind you ofthe importance ‘af form, and we hope you wil always be conscious of i through ‘out your career as an artist. Naturally, we don't expect you to master these principles in one lesion. You won’ appreciate their full value until you understand and fel them choroughly, Then you will fist realize how profoundly they are influencing your thinking and helping you to improve your drawing. ‘When sensing fren becomes second nature to you you willbe thinking like an arti We ug you, therelore, wo beep the basic {orm constantly in mine and apply them to every object you ate going to pot on a drawing surface. Te is equally important tha you lenys feel the solid form as you draw it. With sincere land consiant practice you will develop a rel enue of form — a. Kind of sixth sense that will prove invaluable co you because it will enable you o pt things down convincingly on paper. And this as all arate Knove wel, x the one thing in your art that will give your pictures their grextest conviction, and you, the Anist your greatest sadsfacton | vw cylinder Cube ConeFomous Arias Coun Form — the basis of drawing anon 2 How to draw the The pictures above show dramatically how different the real foray of an object is from a lat shape or outline. As you Took atthe large photograph, you Know at once that {he objec in the lef han a teal apple because it oc pies real space in the palm of the hand and the fingers Ivrap around ad back of its sphere form, By contrast the paper entout ia thin shape pinched beeween the thumb End the forefinger. Aihongh it may have the outline of a veal apply you cannot mistake & for one because it Tacks form in'depth. To be able to draw a convincing ilsson of form you rut understand is structure in depth, Carefully sty the dtcedimensional frm of everything Yu see, rather than just its ovtlne The best way to-make sure your pictures will ook real and convincing i to we the method we eal “drawing hrough.” In “drawing through” you actually construct the object with your pencil —you draw its form inside and at ers assume, for example, that you want to draw a box. From were you are sting you cam ee only the 1p and wo sides ofthe actual box. However, you draw not ‘nly the top and there two sides, but you also sketch in the bottom, the font the Back a the other two sides — ust ax though the box were tunsparent and you could ‘ally se every pare af Ie Ti your box i resting on table, be sure that you draw fas though it Ie must not appear tobe floating inthe llusion of real form sir or sunk in a ole in the table. To make it rst solidly fn the tabletop, fit draw the bottom ofthe box inthe Correct postion on the able, then draw the ses ad 1p, Because you have actually constructed the box from th round up. it will hive theedimensional form and will Took as though iti really resting on the cable. Here's a practical idea that wll help you study forms and day the through accurately. Get some transparent for hollow objects and examine their stuctore. By taking the drawer out of « wooden matchbox, you cn see what the inside of 2 cube Tooke like. A drinking glass will fable you to study the cylinder, glass funnel the con, & atansparent ball the sphere No matter what you draw, make it a practice o fist sich in the basic form a5 though it were transparent. ven if one object standing in feone of another so that ‘much of the object ia back is hidden, you should draw both objects through completely. This enables you to set" each stile in is correct position on the table and make it look solid and convincing. I you disregard this Tule, both objects may appear at lopsided, or sem to ‘ecuipy the sme space in your drawing, Day by day, ar you study and practice "drawing through” and constructing baste forms, it wil Become a less conscious act. Before you know it, you will be ere ating the illusion of teal threedimensional form. Until that time comes, always think of the construction of the Forms and "draw them through,Every object has « basic form ‘Every object in existence can be reed wo either a sphere 2 cube, a cone, 1 cylinder ~ oF some combination of these simple ‘base forms For proof of this principle, look atthe pictures of ‘oanmon objects on thee pages, and the basic forms they are made up of "Not every one of the base forms we seein an object is “per fect.” The basic cone in ene object may not have a. tip, the colinder im another may curve or taper, the sire: may look tore like an egg. But, broadly speaking you can find these basic forms in everything i you look for them. ‘Reducing an objec to its asi forms makes teaser co draw Get its base Forms down on paper. and you have already drawn the greater part of it All that remains to be dose is make the form more aecorate and add details, textore, oF light and shade. Sphereaa Fomovs Art's Cour Form—the basis of drawing cylinder Esiorocn ce Drawing the basic forms Below we show you a simple procedure for drawing forms so ook sli and three dimensional. In each case the form {hroogh” so that it relly appears to exist in space, lar pt in tase they ‘Sphere is, dow snl par th, nesen ee caus As Coun Form —the basis of drawingtenon Fomavs Ariss Cours Form —the basis of drawing Combining the basic forms Look around you at home, work, or play o see for yourself shat very abjec can be reduced to the for baie forms cone, cube, Sjlinder and sphere, Ar these drawings clearly show, you will {End the basic forme Beneath the details and surface texture of even highly complicated objects ‘Actually, most objects are combinations of ewo oF more basic forms, Such combinations are ey for you vo seein bars, stoves for trucks where the forms ae ail regular and simple. But they tte not s cay to sein objects lke clonds, hill, trees and ele pant, where the forms are complicated and ieregular. How- fever, the forms ate sill shere, although somewhat modified, "Avan atti, you must learn to se through surface details or irregularities, recognize the basi orm, an dra i. Begin today to train your eve wo see the base structure of the thing You are Tooking st. Fill the pages of your sketchbook with drawings similar wo these, of objects you sce everywhere, stesing thelr base form and strucure ‘Remember that these should be form drawings ~Reep them five and simple, Resist any temptation you may fel to concen irate on details Te will bog you down! Fine thingy must come and right now al of your interest shouldbe asned at ea jing how to\draw basic form to the very best of your ability ran hy mo (oe sinserseeen easeAes Fomous Arts Coune 10 Form —the basis of drawing Light and shade “The illustrations on these two pages show you ways 10 us light and shade on your drawings, After you have constructed the form sounall by drawing ic through, you erase your construction Tines and accentuate the form with Hight and darks. Frequently in thls Course we wil talk about light and shadow planes, By this we mean the sides of setions ofa form that ate Individealy struck by light or are in shade. ‘Thee planes can be vertical or horizontal, diagonal or curved. ‘There may be many oF fee “To get 9 wolid grasp of light and shadow planes, you show study them on real abject. Set pon a table 3 fev simple things ome books, a pice of frit, and bowls oF jugs and light them with an ordinary floor or table Tamyp (the light source). ‘Avoid using any objects with extremely shiny or dark surfaces teense they will noe demonstrate our point as suecesully 35 jects wth dull surtaces, “Move either the objects or the light around so that its rays ‘Mhuminate chem from diferent angles and directions Each time you do this there will be a different eer of light and shadow. Squint your eyes and notice the clear separation between the light planes an shadow planes, “As you sly such a aetp, visualize youre fist drawing each ofthese forms throug fr acurate proportion and constvction, then ang the tones fo Hight an shadow to creat a fll eect of realism, Alter this, turn your attention tothe eet of bright lights on cotter things around you ~ Sure, buildings, tees, animals, et ‘You will see planes or patterns of light and shade that reveal the form a sharply as tho illusrated here. On dull days or in subdued light the patterns of light and shade will not be 30 pronounced and yo will have & look harder for them ~ but they will be dere just che same, "ny your drawings, you may use light and shade to reveal and emphasize form, asin the pictures on these pages. But, before {ow ada your tones and sadows, make suze your basic drawing, eorreily constructed, The we of light and shade will help make a good basi draving more cavincing, but i wll not save 1 poor one, The baste drawing must beable co stand by itll it orp duucicred sienna |enon Fomove Aris Coune N Form —the basis of drawing Avoid these errors ‘Use light and shadow to give form and structure to your pic- tures and make them more convincing. In almost every case it is the abjece that is important, not the shadows. Don't let acc ental shadow effects desoy oF camouflage the form. Here are tome common errors you should avoid Anco ig Tp poe he ne “hei ht fe ap he mh ronson cot ead enftng show: The hoy hd nd te Soe Baya2 Vea. Solid forms make good pictures (On these pages we show you how ewo great illustrators, Harokd Von Sehtdt and Peter Hele, apply the principles of drawing. solid form in making profesional pictures. They use these pre CGples to draw not just the simple forms of a few manmade ‘objects, but anything they want to put in their illustrations from a car to coudbust, from x horse toa house. Tn both illustrations the form look slid and wel constructed, because in the preliminary sage each artist dhought ofthe ob jects in ters of their basic form and “drew them through” to be sue they would look convincing. As each artist painted he inctively strewed solid form because with experience and tie this has become second nature to him ~ just a8 someday will become second nature to You, ‘Dlenacgt te vse foe orn STE aan nd oe hg om more p it ‘he mrs dade fp ad ln oe nde oe Thea, by hl Bt a "ake rng spr fom ofthe met‘eon Fomous Ariss Course 4 Form —the basis of drawing 2 rec wn yl Creating the illusion of form in space ‘Asan artist you face an exiting challenge every time you take up your pencil, pen o brush, You have to ceate the illusion of Solid form on fla drawing srfae. Real forms exist in three Gimensions but your drawing paper has only tw. Herein where che beginner often runt into rouble, Because his paper is a, he is kely to dra hie objects looking fat, ike the apple silhouete we saw some pages Back. Or if he draws the objects solidly, one form may run into the next —it will not Appeat toe in ack of or next tot as the real things are "You will be able to avoid these mistakes if you realire that every form needs spc in which to exist. A form takes wp space fd i surround! by space —and you must suggest this space, forthe ilusion of i, in every astation you make. Tn your pictues, you must be able to show that form ex tends backward and forward snd up and down in apace. Dra Ing the form through will help you do thi, However, when there ate several objects in che same picture, you have to do Something more. You must not only draw che objects solidly — You must clearly show the relationships of one to the other. You Have to show which fore are nearest, which are furthest, and hve close together they are, Within your picture there must be room for cach of he objects fo exist just the way they do in ality Furthermore, tere has to be a sense of space extending round these objects and beyond them in every direction ‘Carefully study the photographs and drawings on thee two pages They have been planned to sharpen your sensitivity to Space — to make you keenly aware that every form, regardless of {tse or shape, exits in and is surrounded by space. Then you Jl be ready Tor the Instruction we are going to give you about how to capture the feling of form in space in your pictresLesion Fomoor hts Coune 16 Form —the basis of drawingAeon 92 Famous Arist Cours Form — the basis of drawing WVFamous Aris Course Form — the basis of drawing eon yD 18 Objects look different from different positions Every object looks diffrent when you view it from a diferent position or viewpoint, Therlore, to draw forms accurately, you Fave to take your viewpoint into account. You must draw forms fs you actually se them from where you stand or sit ‘Drawing objects on a fat surface as they actually appear to the eye is known ae drawing in perspective. Ina typieal perspec: tive drawing these objects appear t recede in the distance and YELIVEL EW «few dp tp o el, ond “caw nn crite es = sents et ns sive the effect of depth. Here we are going to show you the basic ules of perspetive, ad how to apply them in your drawings. ‘Les ae by seeing exactly what happens tothe appearance of objects when we Tonk at them fom diferent positions. We al these positions eye levels or viewpoints We Use models of the four basic forms for our demonstration but you can get the seme elec with any imple object you have at hand, rt ou on te plano ath he be ad te oe Sachets ic is aa he te eh nro ah crt sei Ane reForm in perspective (On the lst page you lermed that forms look different depend ing upon the postion oF viewpoint from which you se them. As you change your eye level, You change your view of objects “This is one ofthe baste principes of pempetive, ‘The next few pages contain photograph and drawings which early demonstrate the few other baie principles of perspective which you should know, These principles, ike the fire one, are easy to understand. There is nothing complicated about them. Just apply the point illustrated by thee ptures to the objects you see sound you and you will oon lem the important things you need to know to draw pctres that havea real sense of form and depth. AlLof the rules of perspective are based on one simple obser vation: The farther an object pattof an abject is from your fen the amaller i appears, Everything conforms 1 this prin ple. We could replace the bales of hay in the photograph with people or houses snd they, too, would sppeat to diminish in texarly the sime way. Since the whole objecs appears smaller 3 it gee farther from the eye, any part of the objet also seems taller The height, with, and Thickness of exh form decrease ‘proportionately ‘You ean se this effect of distance for yourself by looking lovin a street lined with houses, tres and telephone pote. Each pert of each hows seems smaller ab the house is farther ava. ‘With distance, the poles decrese in height and thicknes, too “The trunks of the tees and their branches ako become smaller As these objects and their parts appear to decrease, the die tance oF apace between then also seems emaller, Now, a8 you fee this apparent decreise of sie with distance, you become {wate that the objects diminish in an obvious direction toward 4 definite level or height in the picture. This level is known as "hn these pictures the horizon canbe seen where the sky meets the ground. This level at which sky and eareh meet i the most emmon frm of natural horion but ic is aot always the level of the te horizon. ‘The we horizon i always dhe level of your fowin-eyesand will change each tne you move to a higher of Tower positon. The tre horizon i sraght out infront of your ‘yer and ona level with them if you lok straight shead without roving your hetd wp oF down. Wherever sky and water meet, you see « tue horton, obj ote 9 Ifyou stand in a room snd your eyes ate 5Y4 feet from the ‘oor, that height is your eye level, nd the harzon for the room Even though your view of a natural horizon is party or com pletely blocked by «ill or building, you should sil be aeare ‘6F the horizon in front of yo and beyond these objets. ‘The photograph of the plowed feld demonstrates one other pine, Parallel lines dat ate horizontal of level sll appear to ‘converge toward and mect ata definite point in the dlwance ‘This point is called the vanishing point, 1 ison the horizon oF ie level, though it may be at any point on that horizon. ‘Stnd at one end of s long table and Took toward the other end and you will observe thatthe lines that form each side con verge toward and come together ata vanishing point. You see the same eect by looking down a erect, a hall rag, cofee table or a bowling alley. ‘This convergence is easier to see in tong lines, uti takes place with all level parallel Lines regard: les of their length. Take 3 laok about you to prove thistenon Famous Aris Cours 20 Form—the basis of drawing Porspective with one vanishing point <7 Om the last page we leaned that level parallel | fines which go ack dno depth all appest 10 +x i fouerge ward a sngle vanishing pot on the feraon or eye level We call thie effet perspec tie with one vanishing pint, oF one point Per ee Specive Whether we ar looking down «stich —- Of rand track oF 8 coridr, or along. any finer rectangular objec, the eect i the sme | ‘The tne slong th sides seem to converge Sar Dt pil nS “The other Line, along the front or back, which are actually at right angles to the sides, do not Converge, ‘They remain parallel to each other find to the top and ottom borders of dhe picture. Pineau Hfsmbers of your Faculty. As an ip God on ond ni onepi pepeeven feos Artis Coure 22 Form — the basis of drawing Perspective with two vanishing points Now, instead of looking direcly down the rilroad twacks or straight ahead atthe far end of a room or Corridor, lets do our viewing at an angle ~ look at the comer ofa house ora oon. From this viewpoint ve se that all the parallel lines appear to come to- ether as they go back into apace. The Tines which trere parallel to the top and botiom borders of the plese. now converge toward second. vanishing point. Both vanishing points are on the horizon or tye level drawing made from this viewpoint Called 3 eo poine perspective drawing. ‘Usually, when we draw a direct view of 3 eoemer, ‘oh vanishing points will be outside the picture area, fas they ae in the examples on these pages. However, in a less direct view of 4 corner, one ofthe vanishing points may be inside the picure area, h allel LE tn 2 srg eg r ‘rord town yng oh xe Vews Th tn of i ne oe ita et nel cel orf ot 1 ang poston he tees “yn toa he vider Se Ce eet ey peveon 9 Fomous Artists Coune Form — the basis of drawing 23The prablem— iraw this in proportion, The 24Lesson Feomous Arts Course Form — the basis of drawing Proportion (ne ofthe fst things you will become aware of in your draw- ings fs dhe ned to contol the proportions of your forms. You may understand very clearly dhat these objects have = solid turer an that they exis n depth, but even with this under Standing you may sll find se hard to make them look real or fonvincing. One ofthe biggest reasons for this is weakres in Aawing proportions accurately. "To improve your control of proportions, ake a very lose look atthe things you ate drawing before you sezually put penll to paper For example if yon ane drawing a building, study 1 care Tally. Ask yoursell: What are it overall proportion? Is it higher than ii wide? Docs it seem aquare? How much root area can T see, in comparison to the walls) When you have Acide on thew major proportions win your attention to the Sve and shape of daors, windows, ete, Fist, tablish the pro portion of the largest masses, then the next largest and soon. [Sve your decisions on the details il last, You will nd thatthe fetaly fall esily ino place once you have drawn the basic Structure of the object and given it the right proportions, ‘See — Observe— Remembertexan MAD) Fanon ins Cou 26 Form — the basis of drawing The flat shape helps to show form A good cornmeal illustration should communicate quickly. Ie should tell the viewer ac once what itis all about. He shouldn't have to chink about i or parle it out "To make your pictures deliver their message fast, you must present an ideuufying view of your subject, 20 that ther forms are easy to Fecognize: Asa rule, his wil be a view that shows their most character ise Features clearly and sharply ~often in outline or silhouete “To understand thie more fully, ake in your hand some simple object like a erat pitcher. Slowly tr it 10 you sce it from every angle Sp RT ‘Observe Irom which view you cam best eit shape Ie wil undoubt. SSoO LN A ela eee ee caly be the view that shows the pitcher's mose pial eatures— the dni Kade en tore ates one oh pouring lip aed the handle — in sllhowete, This willbe the best view he the Sop i bo ies ae oo for making a god, clear drawing of the plcher ‘With any other abject, you will nd the best view by studying the object from every angle until you se its mon characteristic features in tutlne or silhouette: It wil often help to ook at the object through hhalfclosed eyes. This eliminates the details and solid form and allows, you to ee the wodimensional shape, If this Bat shape is interesting nd quickly tells what the abject is then the form can be even more ineresting when diay in ts ful three dimensions. Tt vt necessary 10 show all of an object to identily it, Sometimes thisis neither desitable nor posible. Bur the part you do show should bea tpleal and characterise part, It showld enable the vewer’s mind io Hl in the missing parts— the parts he does not see. tirana uy ond chy co see\ How to draw form— step by step Profesional artists al fallow much the same procedure in dating form. They work on the big shapes frst and add che details last ‘On these pages we show you this proce dure uep by sep wih some simple draw ings. Each step it bined on one ofthe prin fiples of form drawing we have stressed throughout this leon “The fae step alas sto alee the right point of view ~ to begin with an outline or Silhouette tht help etl the forms Neat, establish 2 proportions of the largest objects —then the salle ones. At this early stage, don try to draw slid foram — just sketch inthe big gene "Now, sty the objects and bi down to thle basi forme the eslinders, ‘bes, spheres and cones they are made of Draw the forms through to the other side shapes mk them so they appear to exist in space. Alo, be sre you leave the corec space between the dierent objects Finally, a your light and shadow tones to accentate the for ad thus strengthen the illusion of three dimensional sold frm. id only then, add the details. K's to draw details, and you may be | | | | | | | | | | | tempred to sip ahendl and work on them at | ao | | | | | | | | | | | | | ‘an sin ontop oath the. nearer stage. Resist temptation. Your picture wil turn out mich bet First things frac and save the detail for Ls. ae You learn to draw by drawingPerea, netcw_— Form in perspective Here is painting in which the design ot composition is built around the very {hings we have been discussing ~ form and space. The two trans erosing at right fngles are sol forms moving through spage ~one locomotive traveling across the space of the bridge, the other through the space of the massive arch. Helck mates dramatic use ofthe laws of perspective in dis picture. The lower train seems to tush out ofthe distance and into the foreground, its form getting "ro make a painting like this, Helek Ast worked out the sue, placement and proportion ofthe big forms then proceeded ta careful form drawing ofthe detail.a Arranging forms in space — o& ging ee {Robert Fawcett)asen Fomous Ais Couse 32 Form-—the basis of drawing Common drawing errors and how to avoid them Sy this page of “do's and dons” carefully Ie shows you some typical stent mistakes inform drawing ad how you cam avoid them. Keep these points i tind whenever you plan or draw a pete, Constract your forms accurately and solidly — so they [ctully sem to exist in space Remember: The better your form ‘awing is the more convincing your Gnished pieture will be, abe mee form ly entre ‘Sit Yor ob gl he ot Soe ee ‘Wien doing ay aie! ov at rhe fr 4 ropa iFAMOUS ARTISTS COURSE ‘Student Work Leeson 2 Form--the basis of drawing HOW 10 PRACTICE AND PREPARE FOR THIS LESSON ‘The purpose of this lesson se (2) to point out to you that everything has fom, and (2) to show you how to reste the illusion of thie fora in your dravings. To be sure you understand how to raw fora try these practice suggestions: 1, Begin by sketching in ponci1 many simple, Fontlior objects -- your furniture, Kitchen utensils, nearby butldings, trees, ete. De sure you “draw through” and reduce each object to its basic form. Remesber, you are looking for the Dig eimple forms =- to skip the details for now. 2, light and shade is essential to emphasize form in Graving. Study pages 10 and 2 and be ‘sure to follow the practice suggestions described fon page 10. 3, Your drawings should be correctly proportioned a6 well ss solidly constructed. Check the height, width and thickness of each thing you drav. When you have several objects in one drawing, comare ‘them carefully and be sure the size of each one looks right im relation to the others. Pages 2k ‘and 25 chow you whst to do ani what 9 avoid, 4, You should be able to create the {11usion of three-dimeneional space or dapth -- make the solid forms in your pictures appear to have zoom in vhich to exist. You can leara to do ‘this by studying pages 14 and 15 ond making dravings like those you see on page 15. 5. Study pages 18 throwh 23 and make perspec Give dravings of various subjects, interiors and exteriors with one and tvo vanishing points. 6. The right choice of shape or silhouette ts Amportant because the subject of your drawings, mst ve quickly recognizable. ‘Take some fan- AMiar objects and study then from different’ positions. Then select a view that scons both Clear and interesting to drav. Make other ravings in which you put two or three objects ‘together in such a vay that each one is recog~ nizable even though they fom @ single unified shape Like the church and tree on page 27. ‘NUE ASSIGIMENS YOU ARE JO SEND IN FOR CRITICISM ASSIOWGNE 1, Make a pencil drawing of s barn ni silo. ¥ake this draving in a spaco 8 inches igh by 11 inches wide on a piece of white 11 x Lisinch visualizing paper. ake the bar and iio quite large, as if you vere viewing them from near by rather than far avay. Draw the barn o that two sides are visible, Both bam ‘and silo showd appear to be in a good state of repair. Do not dray old buildings which fave falling apart or have sagging or broken roofs or valls. You may include haystacks, ‘trees, or other forme appropriate to the e¢t= ting. Your first step should be to make @ careful construction drawing in pencil. Model all forms so that they appear solid. Separate the Light and shadow planes. Avoid direct, front Hist Mehting or light from behind the objects. A good light direction for this picture vould ‘be from ebove and slightly to one side. In- clude es much detail as you feel necessary, but reneaher that too much detail will tend to des- ‘roy the appearance of solidity. Your drawing should be carried to about the seme degree of finish es Step 3 on page 29. Merk thie drawing ASSIOWOENT 1. ASSIOMMNT 2. Make @ rendering of the sane sub= Jeot dn waah or opaque, ‘Trace your pencil dravings of the barn and silo onto a sheet of 11 x lleinch tiiustration board, using the method deceived in the aseignuent for Tesson 1, You need Just the essentials of your pencil draving == enowgh to guide you in your rendering. Then go ahead and render the pleture in the nedius of your choice. Before you begin your rendering, review the sec ‘ion on wash or opaque in Tesson 1, depending on which medium you gelect. Be sure that you use contrasting Light and shefow tones to chow up ‘the planes and forms. You will have the most. success with this painting 4f you've carefully worked out your construction and Lighting in your previous pencil drawing. Mark thie draving -- ASSIGN 2. Jm criticizing this lesson, your instructor will ‘be looking for these things in your work: How yell you understand the principles of “drawing through" to create the 11- Iuston of solid form in spac sow well you can control the propor- ‘tions of the things in your pleture. How effectively you use light and shade to strengthen the feeling of form in your objects. --liow well you understand and apply the principles of perspective to your arawving. iow well you heve used the medium. (ver, please)Student work -- Lesson 2 cuho2-¢ Page 2 PORTANT: Be sure to letter your name, address a ant, number neatly at the lower iefe-hand corner of each assignnent. In the lower right — corner, place the lesson number and sscigment number, | (You shold do thie with eash of the ‘aseignuents you send ine) Your lesson carton should contain: Ascignment 1 Assignment 2 1 Retum shipping 1abel filled out completely Natl thie carton to: AVOUS ARTISTS COURSE, WESTEORT, COM.