TTaIWald “ae a THE © OMPLETE Comese | behTranaiated! trom tha Spanish by Mara Constanza Guemén and ‘Olga Martin Library of Congress-in-Publication Data Available 2466 097 5 1 Published in 2003 by Stering Publishing Co., Inc 387 Park Avenue South, New York. NY 10016 Crginaily published in Spain in 2002 under the ttle Furciarnertos del Dibujo Avtistico by Parramén Ediciones. §. A londa de ‘Sant Pere 5, 4th Flaor, Barcelona, Spain 08010 Copyright © 2002 by Parramon Ediciones, S. A Engh Transtaton © 2003 by Stertng Publishing Co,, Inc. Distruted in Canada by Storing Publishing a Canadian Manda Group, Suto 105 ‘Toronto, Ontario, Canada MBK SE? Distributed in Great Brtan by Chrysalis Books ‘64 Brewery Road, London, England N7 ONT DDistibuted in Australia by Caprica Link (Austrata) Pay Lic PO. Box 704, Windsor, Australia NSW 2756 Printed in Spars All rights reserved Stating ISBN 1-4027-0932-3 ne‘A Linear Landscape: Controliing the Stroke, 94A THEME: SELECTION AND COMPOSITION, 96 Factors In Selecting a Theme, 98 ‘Composition and Blocking In Shadows, 100 Using Perspective in the Preliminary Outline Sketch, 104 Calculating Proportions, 108 Drawing with Gnds, 112 ‘The “Lorrain Method" Marmery in the Composition, 114 Point of View: Transformations in the Model, 116 ‘Composing Outline Sketches: Balancing the image, 118 Balance and Riythm: A Visteal Order. 120. LIGHT AND ATMOSPHERE, 124 - ‘Tonal Techniques, 126 ‘Shading, 128 How to Shade: Staine, Tones, and Hatchings, 132 How to Control the Quality of a Shading, 134 [Dividing Areas: Controling Shadows, 136 ‘The Importance of Tonal Gradation, 138 ‘Tonal Backgrounds: Drawing on Colored Paper, 140 ‘Contrasts and Volume Ettects, 142 [Blocking In.and Modeling, 144 Light and Ambiance: Iitzrinating the Atmosphere, 148 ‘Chigrosoure; Maximum Contrasts between Light ‘and Shadow, 160 Blending Techniques, 152 ‘Stumata: Smooth Contours, 154 How to Use-a Paper's Texture. 158, ‘Correcting without Erasing, 158 Depth Effects In Drawing, 160 Perspective: Basic Notions, 162 Drawing with Atmosphere Perspective, 168: ‘The Coulisse Ettect: Successive Planes, 170 ‘A Contrasted Foreground, 172 COLOR DRAWING, 174 Colored Pencil and Pastel Drawing, 175 Conventional Techniques with Pastels, 178 How to Mix Colors, 182 Colored Pencil Techniques, 184 Mixing with Hatching: The Optical Etfects of Cotor, 186 Feathering and Whitening Techniques, 188 Scratching and Spratfita, 190 STEP BY STEP, 192 Drawing a Nude, 194 A Stil-ife with Sanguine, 198 Erasure Technique; Drawing Highlights, 200 A Landscape on Gray Papi. 202 ‘An Interkar with the White-on-iVhite Technique, 204 ‘The “Throe Color” Technique; Drawing with Pictorial Gualities, 208 ‘The Blending Stump Technique’ Just a Blurred Stain, 212 A Landscape with Chalk Powder, 214 ‘Sketching wittia Charcoal Pencil, 216 ‘A Stil-Hle with Chiaroscuro Effects. 218: White Chalk Highlights: An Explosion of Light, 222 ALandseape with Graphite, 224 ‘A Flower with Abundant Water, Fluidity, and Sinuasity, 226, ‘An Interior Patio in Wash, 228 ‘A Rural Landscape in Washes and Line, 230 Metal Point Drawing: Texture and Hatching, 234 ‘The Rood Pen and Its Effects, 236 Drawing on Colored Paper with White and Black Inks, 228 ‘AStill- fa with Colored Inks, 240 CControling the Line: Hatching, 242 ‘4 Dog with Colored Pencits, 246 A Girl in Watercolor, 248 ‘The Dry Pastel Technique on a Tonal Background, 250 ‘An Urban View with Oil Pastels on a Tonal Background, 252 Index, 254Introduction training the Artist's eye Doawirg stows us to representa three-dmensional mage on a cne- dimensional surface by using basic elements of form such as composi- tion, propartion, and volume etact, Drawing is tha fundamental basis for all types of artistic works, Sculpture, painting, architecture, ancl even film and photography use drawing as the intial medium to con- ceptualize, understand, and develop the various. components that will Work together in the final project, Drawing is many tmes.an original work in itself, giving us the ability to reproduce Gur surroundings and ‘enwironments. |AS is the €a8e for any art form. drawing can be learned: itis not a. special talent that only a few possess. Like writing, which begins with letters that form words, which in turn form phrases, drawing begins. with a succession of points that form lines, which create shapes, shades, and stains, The secret of any drawing dass not ie in one's abit- ity to apply a certain technique, but rather in one's ability to learn how to observe and analyze a theme, create the drawing's outline, arrange its composition, and calculate its proportions. Therefore, training the artist's eye is the first step in any artistic work. The trained eyo pre- cédes the drawing and helps create what may be called a drawing of the drawing that is based on a set of both abstract and schematic apr proaches {0 better understand a model, establish a relationship be- ‘tween the seemingly disorderly gesture and the clarity of the structure, Since we aro aware that the lack of this basic knowledge is the ‘greatest obstacte a beginning artist may encounter, this book is intomday. ed to provide all the necessary information needed to begin drawing. We explain clearly and methodically each of the processes and tech- niques that professional artists. often apply instinctively. in addition to . - these, you wl find information about other Important aspects, such as ‘ training the hard, controling the stroke, composition, and volume at {fects offered by various mediums, tools, andi materials I is essential to understand and master these basic lessons in arder to draw confident, hare Aish Compositin ant sinucire arathe basis af anyUrheberrechilich geschiitztes Materialfriction. [D_. . elieve it or not, but just a bit of friction Will start you on your drawing course. When a paper's surface (s scratched with any pigment medium panicles are left behind ‘These particles leave an intense, yet delicate stroke. A simple touch with your finger and the stroke wil vanish as charcoal dust. Due to its delicate properties, charcoal is the ideal medium to begin drawing with, since mistakes can be easily comected. ‘Although an artist has considerable amount of freedom regarding how he or she chooses to apply various techniques, the inherent characteristics of mediums and materals and how they are Used cannot be ignored and must be learned. Anyone interested in drawing and in obtaining the most benefit from a given material should know and follow its “rules.” Each tool and material gives specific and unique results that no other medium can duplicateOraphite: line, G— The-shape ofa granite stick’s point and how itis positioned ‘on tha paper aro essontiain controfing 2 sroke'= qual: Different effects can bo obtained with (A) a sharp Point, (8) a Gta pownt oF) tha S109 of the paint. control, and properties Ghaptite is one of the most popular drawing mediums among both art students and professionals. Compared to other media, itis durable and very easy to handle. Graphite is the most immediate, versatile, and sensitive Grawing medium that is suitable for quick sketches as well as for detalked Work. Graphite is fragile, ily, and soft to the touch, and corns in several forms: sticks, pencils, and powder. It can be used on almost any kind of sur- face. Due to its olly texture, its marks are permanent and do not require a f- al fixative, although in some cases it might be advisable to do so. When Used for shading, graphite has a smooth, velvety appearance, which can appear sharper and moee intense when the point is pressed directly against the paper. The artist has great line control with graphite, since it can be erased and redrawn as many times as necessary. Itis.@ good idea to expedient with graphite sticks and ‘poncis that have diferent cegrees of harahess he praphte sticks below have various degrees of hardness. The-hardest tks produce @ sot stroke and are commoniy used in praimnary sketches. The sohest “Sticks provide a thicker, mora nfense stroke and are used for sketches wih movement and tonal properties.-Grapnte sticks come n aiferent sizes and various degrees of hardness. Above are rectareer graphite: sticks. FLAT GRAPHITE STICKS Some types of graphite sticks, such as fat Sticks, are used for large-scale works in which large areas need to-be shaded. They alsa create intense strokes. Flat graphite sticks do not have -a point and are many times drawn on their flat side. Since graphite sticks are not covered in wood or plastic, thelr point configuration is not limited, which means you can draw a large ‘variety of strokes. ‘When held on ther tat sie. graphite sticks are used for crawing wide ‘strokes and for shading sarge areas, & , a % ‘When holt upright, tho = graphite stick’s point ‘createsa thin and ‘intense stroke, Here you can see.a sample of the strokes arcteflects that can be ootaned trom fat graptite sticks: (4) near srokes with the Rat site, (ringlets weth the point nad uaright (0) wil strokes withthe fet sic, anc (DY wade strokes vith the point.Mechanical pencils aro very \ convenient ta use since they can ba camed around easly Lae pares, rafts come ia de rerige of sof and harct fonds, (DEGREES OF HARDNESS The various possibilities of a stroko's intensity depend on the graphite stick or pencil's hard- ‘ness. Ths variztion in hardness allows us to.use Night and car fines to create light oF dark shad ing, & number and Netter, engraved onto the pr ‘i's side, indicates its hardness. Pencils with the letter H have hard leads and make thin, light lines ‘that are commonly used in technical drawing, Pencils with the letter 8 have soft leads ane ‘make strong, dark lines. The number that 8¢- ‘companies the letter also indicates the pencils hardness or softness; the higher the number, the harder or softer the leads it, A good selection to bbogin wth is: $B, 38, 8, and HB, Artists usually ‘use the softer leads because they create intense lines, which makes shading much easier. His ‘iso a good idea to have sore mechanical pencils, so that you have different options to ‘choose trom, Elaborate tinea pure work ean be actieved wet grote parcis. Drave firm strokes with a wer: haspened point. Since fone (shading hatching, cross: hatching! is net bum up inihese types of drawings, ‘isa good ida to havea selection of pencds with Use very 80m pence various Gegress of harchess ih order to obta ciferent _srokes wih cliterant vaes, ” eseeeyee GHAAAAGGROAE AYLINE QUALITY 1M you need to draw wide strokes, we recom- mend using flat graphite sticks. Combining graphite stick and pencil produces fascinating resutts. The graphite pencil gives you a lot of control ofthe line nd! its tone, while the graphite stick's width enables you to cover large areas quickly. Hard leads are used for the detailed ar- (eas. and for the intial shading, while softer iaads. aro used to accentuate tha darker areas. Many artists combine pencils wrth gitferent degrees of hardness to create complex drawings with lines and strokes. ‘Soft pencts aftow you to create continuo gradations (Blond ihm gractations wath your gers or with a banging stump order to exwate an atmosotanc effect: Loak at the diferent shadiogs m the rawr below. The combination of dtterert strokes give variety and aot fo the werk= '‘Gharcoatis one of ne oldest and simplest means of drawing. Because it is carbonized willow branches, charcoal makes a strong and intense black ; £ stroke. The basic difference between graphite and charcoal is that charcoal is dry and graphite is oly. Because charcoal is dry. it dons not stick to the paper vory woll, which means you havo a considerable amount of control ‘aver it and can correct mistakes-easily: Just running your finger over char- ‘coal will erase It; be careful though, because doing so will alsa create gray tones. Blowing on chercoal will lessen the stroke or the shading’s contrast. Charcoal: the oldest medium TONE ‘Ono of the best qualities of charcoal is that it is the oasiost madium for ‘shading, which creates tone. Tone is the degree of lightness or darkness of -a.color—with charcoal the tonal range runs from black to white. With a tle iy £ practice, there is nothing thats more pleasing or fun than making quick l/\ -smuriges, reapplying them, erasing. etc, with charcoal, Because of its ver- J i ‘satiity, charcoal is an ideal medium for beginners, since t allows for correc ~ tions and for the treatment gf a variety of themes without requiring too much \, attention to detal. r Aisveryeasy to canine fp rv So lagotes ores, virar,ana fT frases chatcont ‘ia pt c ij aN ‘Above are somo ¢ Ng Pe ‘examples of chareaal \ strokes: (4) wh the Se Sick on wn tne pont held uit? anc eS (C) wan me stick be on : e300, Above ary strokes made by rotating the harcow! stick whe crewing,wall alow you to create abnost any cesred artact. ‘Above ace natural charcoal sticks, which Charcoal wil come off the paper with the ae very fragile and brits Natural sticks Ughtest touch, Bro moro expensive than comprassad charcoal sticks, ‘Sines charcoal does nat stick to the pager vary wel, it can beerased easily However, even when the Partctes are removed, parts of tha strokes remain visible, Charcoal alows you fo skotch or outing quickly, using the stock's point or ts side interchangeably.Dragging the chercoa! stick on is side produces wide strokes. USING CHARCOAL Charcoal can be used in many different ways. ‘The way the stick is held determines a stroke's effect. For example, holding the point horizental= ly or onan angle will create different ines. Also, by turing the point or varying the pressure you place on the charcoal stick will produce elther soft, delicate strokes or bold and intense strokes. Soft charcoal is more granulated and therefore adheres better to the paper than hard charcoal, Which is batter for detail and line work singe it does not erase as easily, Charcoal ckawings no langer hava to be temporary works. Spray featives allow charcoal fo remain on the naper and retain ts classic and nabs reputation,STROKES AND EFFECTS yoy hold tne chareos! stick like @ pene, the strokes will be neater and more controlled by ‘your hand movements. Ifyou drag the stick on its side over the paper, the stroke wil be thin and solid. With the charcoal stick held transversely {onits sido in an upright position), you are abe to create shacings that are as wide a8 the charcoal stick. Drawn with one continuous hand move- ment, trenaverse strokes become lateral ength- wise) strokes. To the nght are te basic eects that can be acheved by mastanng the use of charcoat (A) even shading, (B) diferent strokes and intensities, (Chblencing, and (D) gradation. By loaring these Jour skits, you wil be able o draw ary shape and master any tonal aftect, 9 (Charcoal allows for an (nital schematic approach fo a there wiinout reying an a lot otetone Lechniques with charcoal Ain anist must be much more courageous when using charcoal than when working with a pencil. Charcoal calls for Grawing complete, whole forms instead of bringing out deta! In a.work, which is why this madium is mare ettactiva for large-scale drawings. Appropriately combining different strokes wil allow you to draw seemingly complex shapes. DRAWING WITH STROKES Compressed charcoal pencils are the best medium for draw- ing strokes. These pencils are very useful for small-scale works in which lines prevail over stains. Intense charcoal strokes add greater expressiveness and intensity to a drawing than those produced by graphite. Shadings begin with small strokes, their intensity depending on the dark areas, Pressing the charcoal pencil harder against the paper wil create darker shaded areas. a cx Charo! pent strokes ‘can be blended, ust thay ‘re ocs mateabio thn ‘charcoal stick etre, Abore are some basic blending fects with chercos “Stick, You can see how wolatie this drawing rneckurn ks. ‘Siriaiy natiting your fnger ora blending stump over a ‘smudge oF siake wil quoky blond # (A. and 6. Teatest the plabity of charcoal sticks, craw a ine ora ‘ero (C1). rag a pgynent naise the orco wit your Jngertp to obtan a very base shacing efect (C2). Ts (can become a tana! treatment by blending the charcoal {oment on the paper's Surtace wih your hare with ablondeg shire (03 and CA _- &~»you need to crow neatly defined ‘shapes, eut the eared shapa out of 8 piece of paper arc uselitas a stencil ny Charcoal drawings are built up by superimposing many juxtaposed lines on top af one another, which are later erased and corected as the work progresses. This accumulation of erased lines, or “ghost lines,” produces an intoresting tonal affect ‘on the background. Mary times these lines add Lnear charcoal strokes produce strong, axprossiva more emotion and variety to the drawing. A oflects,Iis enpartant ta kia i ated tha Kd OF 900d outline of an object is one that is intense strokes that you wil aoa in each arwe in order to and fer. create Getintion andt contrast,2 ‘'SFUMATO. ‘Charcoal enables us to create a drawing simply iby blending strokes, which gives the drawing an atmospheric effect. This technique is called sfu- ‘mato. Lightly blend the charcoal strokes when using the sfumato technique s0 that you retain the paper's texture, The only problem with this: technique is that due to the absence of defined lines and strokes. which give pictorial effects, the ‘drawing could appear artificial, (hn these two sequences you can sae how an atmospheric effect can be created just by running your hand or a piece of cloth over the charcoal strokes. The ‘malloabilfy of this modeum enabies you to mnacsty tha surface several times, ‘Sturnate is used to create pictorial andl ‘atmosphere effects.USING A PAPER'S TEXTURE TO YOUR ADVANTAGE (One of the most interesting characteristics in charcoal drawing is how well it adjusts to a paper's texture. If you draw on a highly textured sheet, the strokes will have a granulated appearance, an even semitone elfect that will make the drawing more interesting. The rougher the paper, the more intense the strokes will be, given that the sheet will hold the charcoal particles. Tha [pressure you apply on the stick will determine the darkness or ightness of the drawing. in the clwhoet areas, The sides ofthe walls and comers are shaded wan fored gradatons Interesting tonal fects ‘Compressed eharcout stots ard natural ‘harcoa! stk osfor sila effets, but ‘comprassed sticks give ‘more intense anct contrasted strokes Even shading & usid for tha was af tha house,NAN NDNA DI NNNG artists’ Chalks: warm and opaque We appearance and consistency of artists" chalks, also called conté crayons, are similar ta those of pastels, but they are harder and more cclly, Artists’ chalks have a warm and opaque ap- pearance and offer the same blending possibill- ties as charcoal. However, chalks are more stable and can be used alang with charcoal and with compressed charcoal pencils. COLOR VARIETY Strictly and traditionally speaking, artists’ chalks are limited to the following colors: white, black, sepia, bistre (dark-brown), and sanguine (red- brown). Their color tones pertactly balance each other and make then especialy suitable for monochrome drawings, which relie on harmonic shadings and gradations. Artists’ chalks are idea! for medium-toned and dark-colored papers, Artists! chaks are available in various colors and are perfect for creating blended shackes. Thor bost resus ara soon when appled on medium: toned. neutral-colored paper:Shading with the fat side ofthe chan DING Blending the sinactes with ‘Being that antsts" chalks are soft, they blend Tee: ‘oasiy and croate beautiful color combinations by ‘either rubbing the strokes with your finger, a piece of cloth, or a blending stump, Because ‘they are less powdery than charcoal, they can be “mixed by laying one color over ancther, allowing ‘the colors underneath to show through. This. technique will enable you to find different values of gray tones more easily—it needed, the two: ‘tones can then be blended by lightly rubbing the ‘strokes with your fingertip. Directly mixing two colors. Thera are two ways to intensity chalk tones: (1) increase the pressure on the chalk stick or (2) direct moxng, which 5 fo caw Over a previously laef down color ant (press until both Colors are blended into a mexaxt cote. The blenating stun lends two shades into a ‘smooth color transition,EFFECTS WITH ARTISTS! CHALK Since artists’ chalk is more delicate than char- Cal, the strokes it produces are slightly fess in- tense and much subtler. Like charcoal, you can Use the whole chalk stick to draw, laawing Shades and strokes are combined to create forms: is strokes that can be easily modified and blended. best to bexgn practeang with simple subjects or mods. Before beginning to draw, break the chalk stick to the desired size. Then, begin to make strokes, holding the stick lengthwise. Use the point to Graw the cutie of the model. Finally. run your finger over the contours to blend the strokes. re ‘As you can s00, chaik stmkas cover the papor more encely han charcoal. Ta the right is (A) shang, [Bt Intense strokes, (C) gradations, and (Dh white chai : cuttings on dark shading. e D Whon erawang with chats, ‘important to maintain a continuous: siroke and fo ary the pasion of the s1ck on ihe paper.For the best res ony chak on colored paper: 41..When drawing with chalk. begin by outlining the tonal areas. Here, shaciing was completed with the fat side of the stick in an abstract manner, 2, Litte by lit, the initial shape is completed Until the dorsal profile of the female figure can be distinguished. '3. The best technique to use when drawing with Chalkis to apply continuous shades with the stick held lengthwise, then to combine them with Intense linear strokes.Sanguine: a a classic medium Arrvong artists" chatks and chatk ponets, san- guine, dus to its unique characteristics, is the most commonly used color, Somewhere be- tween brown and terracotta red, sanguine is made of iron oxide and endures as a favorite and classic medium among artists. The popu- Fanty of sanguing is due to its warmth and sen- sitivity to the paper's texture. in combination with other mediums, sanguine is at its best, Sanguine offers a huge variety ot drawing treatments: 1A) naturalist, wh set shacirg, (8) structural wth th ‘tick hold longttnse, (6) hatching, enc! (2) expressionist, wi lively humied stokes.BETTER WITH STICKS Like artists’ chalks, sanguine combines the best of pencil and charcoal in that it produces line and also texture in a single stroke. It is better to work ‘wth sanguine sticks than with sanguina pencils, since the sticks offer a broader, more dramatic stroke than pencils, Like charcoal sticks, you can ‘draw lines with the end or cover large areas with, ‘the flat side of the sanguine stick. Sanguine, fhe charoost and chats, comesin sticks, which are weed for medium to large scaled drawings. Familiarize yourself wth sanguine sticks by creating ciforont atfects on various textures and papers. Above are examples of (1) a sanguine stick shading, (2) sanguine perc! shading, (3) sanguine stick shading, (3) ‘Sanguine stick shading an raugh paper, (5) sanguine Perel hatching, and (6) sanguee pene crass-raiching,= DRAWING LINES AND STOKES sinatee In order to achieve the best stroke or line from @ Sanguine stick, draw a.continuous line without ting the point from the paper. =a and vary the art seers fede Wises ist ean ‘same with a sanguine stick not ‘sensitivity to texture, sa kel Gn used ©n very rough papers because the strokes will be fragmented. Ais6, try 10 joned areas. Loan to craw in a sitgle stroke, bray iting tho ‘sanguine stick tom the paper. Modify the line's wish and quality by tuming the stick or varying the arnoent of sure you ay Pl SEP ee ae Nn CARRE: ny eens ne S oe LR‘Sanguine is also availabie as eo (or mechanical pence, ido! for smal-scale works or for those int which ine and texture comerate. ‘Sanguine panel fs easy 10 control and offers arch variety of tonal gradabors, as ca be sen in tis landscape sketch. A tay good landscape crawing can be achieved By iterating betweon three or four valves (tones) of sanguine. The contrast among the caterer! planes increases the lect of death. les MaterialM the lending stump: _ many possibilities B vrencing stumo is made trom a so" paper tet that is double-ended and pointed, Its used for rubbing and blending. Blending stumps come in different degrees of thickness. Use the point for darker tones and the blunt end for lignter tones. BLENDING STROKES ‘Bionging stumps are very usetul tools for the ‘artist because, as the name suggests, they allow us to transform the drawing through the use of ‘Soft gradations and blendad shadings. Blending allows you nat only to integrate strokes but also ‘to eliminate the white areas within them. When ‘tha tones are graciated, a perfect representation ‘of the object's volume can be achieved. The blending stump can be held in any manner; however, using it excessively wil reduce a ‘stroke's vibrancy, Blencing olbses the paper tooth compiotaly, tuning an rrequer shading Bioncing the strokes with a blending stamp gives vole toa fue and safer the tanstion betwen Kant sand dorkPabbing ito sturre ora stoke or hatching wil ‘smooth fone wansitons. When, after blencing (nna dark araa, you move toward a ightar ‘area, clean the aturip (on a seperate piece of clean paper, 0 That you do not arty the crawing oF tha (tis a.good ea to have. sovoral bonding stumps af various wiaths. This wil alow you fo work vith efferent colors and with tage or smal areas, atthe sere wma,To daw wan @ bioncing stip, start by Then saturata the ekamp's end wan the Draw strokes on the paper, The rubbing the charcoal sick with ough sad chavecal powder mere charcoal on tha slum, the ager to make charcoal pone. ‘more intense the stokes wal ba : me, “ORE DRAWING WITH A BLENDING STUMP: ie Blending stumps can also be used as drawing tools. To do so, rub the ° stump's point in charcoal powder until it becomes saturated. Then, draw with the blending stump. For darker tones place more pigment onto the point, less pigment for fighter tones. The final result is a smooth crewing without defined lines. ‘There arg two basic blending techniques with the stump: (1) use tha point for intense strokes: of profiles and (2) use the wide, blunt end for wide aregs. Your hand movements should follow the direction of the model's texture. Hf working on an undefined background or plane, use circular movements. Your hand can aso be very usetul fo ‘blond, shadio ant stan. The upper part ofthe pais eal for applying wide stains with even tones, whereas the dngerts ‘are normally used to blond an shacke Blending stumps give an evanescent, atmospnenc offoct fo ony drawing. Since iis an effect fochrigue, the drawings do not require a high degree of defiion.With soft strokes and without 2 great dal of tonal ‘contrast, a blending stump wil produce a arawing wet (C. Son shacing the mumnated strvet arvas (0. Erasures:for mora grapic eftocts E Intenso hatching on the church ball tower Gross-hatahing on the building's fagac G.ntense tones in blended dark arvasErasers provi artista with a icin creative ‘eraser can be used toclean an area, blend a .a-darker color, or draw erasures on top of previously laid colors, EFFECTS FROM AN ERASER ‘The eraser offers a wide variaty of effects, all of which are not particularly ‘complex. For instance, with the tip of the eraser held at a slant, wide strokes ‘can be obtained; if held upright, you will create fine strokes. ‘The eraser can also be used 5 a drawing tool in itself, a medium to. produce line and tone quality. With charcoal, you obtain different tones of ‘whiter the erasure mark will be on the paper. When lightly rubbed over a tone, a light blend is created. the Craser: a very versatile tool How you hold tha erase: the amount of pressure you \axort on tho eraser andthe your holt your hand wil it ‘contre! the evaser marks,PRACTICING YOUR STROKES In order to practice and observe the different effects an eraser offers, cover @ paper with the fat side of a charcoal stick. Than make different ‘eraser marks, alternating the position of your hand and the pressure you exert on it to see the results. Senter to graghito pened wark, diferent hatching ‘combinations with a mechanical eraser prowl an ‘teresting variety of shacing and textures, (A frwadabie eraser wil gve you an interesting range of effects, (ypes of eraser Soft erasers ava tho best for grape pened works and kneacable erasers 270 idea! for charcoal works,Given that charcoal drawings rely on erasers, ‘more than graphite drawings, itis extremely im- Partant that you know how to use them corractly, ‘Whon used with charcoal, the eraser allows you to add details and introduce light areas. Hard erasers damage the paper surface and smudge much more than kneadable erasors. Preferably, vse soft, malleable erasers when working with chalks and charcoal. Kneadable putty erasers are particularly convenient because whan tha tip gets dirty, it can be turned inward and roused. Asi6e fom beng used to make white marks, erasers 880 make excellent Blending tools. Wit the eraser yoxa can 00 fend centours anal work on stains and tonal vales, ging the rang a rove pictoviat1. This sequence follows the ‘eraser technique. First, white marks are made on an even- ‘shaded background. +2. Strokes with a graphite stick -are added to the light areas: these strokes will finish outlining the ‘shape of the pitcher and fruit. 3. Finally, the light areas are shaded and gradated, giving ‘volume to the objects. Abways clean the eraser before resesing at Simply ni ton a ‘cloan proce of papercolored \/encils: a love for cetails ‘Cored pencis are clean, practical. and easy to camy around, which make them an ideal medi- tum for drawing outdoors. Colored pencil lead is made of pigment, a filing —usually chalk, talc, or kaoin—and an agglutinant, usually a celuiose um. Colored penis are handled just like reqular pencils, but offer a less oily, smoother, and glossy finish. Colored pencils alow you to work with the Precision of a graphite pencil, while at the same time adding color to a drawing, They are soft enough to create delicate shadings and can be sharpened to draw intense and inear strokes. Coiored pencits are pert far optical eiing. (Colored pencis can be purchased as single pencils or inbaxed sets, nts Dook, we oxexd Artists" gusty colored pencisOPTICAL MIXING The most significant characteristic of colored pencils is the subtie optical blends that they pro- duce. This medium relies on the rich intensities of color tones and an the ability to mix colors. To optical mix, a lighter color is placed on top of a darker color. The resuit is a glaze—a colored film that gives the etfect of mixture. Remember to al- ways put down the darker color first and the lighter ones on top. Light tones cover less and allow the base color (the darker color) 16 be visi- blo, which is necessary In order to achieve a thoroughly mixed coior, The colored pene hampered pont a produce N as wa There are several kinds cf colored pencis. whos cléferences reside n their kad compositons. Although percentages vary a wany penci's pigment is ted wath kacte (a type OF cay) and me. ON -omnTon and are avalabe n Pere softest alow you to color the and soft ad FINE AND THICK Leaps: There are two types af colored penci leads availe able: 3.5 mm, which are used for special works that require a fot of dotail, and 4 mm, which are thicker and ideal for wide and intense lines. and strokes. ‘Soft and wide leads. are recommended whan you are contrast nice poveeequce, Th proce wis Ines, which sr eolored backgrcurd. ij fWATER-SOLUBLE COLORED PENCILS Also called watercolor pencils, water-soluble colored pencil leads are made ‘with coloring pigments that are agolutinated with waxes and varnishes. ‘They havea soluble ingredient which enables them to dissolve when water is added. Watercclor pencits were created for graphic designers and illustra- tors, and only recently have they been incorporated into the Fine Arts. Even ‘though watercolor penclis combine two techniques into-one, they are; nonattieloss, considered a mixed-media technique. [Drawing with watercolor pencils is just ike drawing with contention pencils. Because of their waxy composition, conventional pencils do not dissolve when they come in contact with water; they resist it. Watercolor pencils, on the other hand, explode with color when water is added. Hatch- ing wil vanish after a wash is applied, but hard strokes will still be visible. Additional colors and details can be added after the wash dries. If you add them while the paper is still damp, they rill blend into the paper. pigment cissoves, creating a stan that ‘brings washes and strokes togetherastels: drawing or painting? Considering pastels encompass both drawing and painting prop forties, it fs GiFicult to ink this madium exclusively ta only one of these two disciplines. This dichotomy is due to the fact that pastels allow for a wide variety of techniques, from lines to strokes, ike these drawn with chalk, to blends and tonal gradations, which re- semble pictorial effects of gouache and oil paint. Therefore, al- though pastel is applied like the previous drawing mediums wehave studied, thelr chromatic richness, blending effects, gradations, and tone mixtures place them in a category of their own. Pastel work is commonly used to introduce painting techniques to art students. ‘There are two types of pastels: soft and cil, ‘SOFT PASTELS ‘There are three basic ways to draw with pastels: (1) dragging the pastel lengthwise over tne paper, (2) with the point, and (3) with your fingers. When dragging the pastel. the quality and intensity of the stroke depends entirely on the amount of pressure applied. The mare pressure, the more saturated and opaque the colar will be. A pastels opacity allows for an easy application of light colors aver ‘darker ens, With the edges of the stick, the artist can draw fine lings, for detailing, o¢ thick strokes, for covering large areas. Finally, since soft pastel sticks crumble easily, you can apply the powder onto the paper with your finger and create a more diffused color stain, Thara fs 2 wide rango oF soft pastes to choose from, af of which gue a drawing arrich, chromatic, arc pictorial frist,: Opaste’s have an oly texture and provide stroke that is more-erpressive, although hess ‘matoable, than som pastas Om PASTELS: Drawing with the pont wil give you intense, chromatic strokes and ines. il pastels are a relatively new invention and have become ex: tremely popular among artists, given their abilty to-praduce color sketches and finely detailed works. Oil pastels are Small sticks, similar to those of traditional pastels, but containing a combina- thon of animal fat or wax pigments. Due to an oily aggiutinate, oil ‘pastels are softer, stronger, and less brite than soft pastels rocder to mix tho Color strokes with the wax the artst may en 9 sovert uN 38 epantina. Who rubbing th color stroke wn @ carr piece of paper on whicn soWent nas bes acted. the wax wal fssoive producing rarsiicon washes. A pastels opacity alows you to bud up ‘coor and mix colors by laying a ightor ‘color over a crker one ‘Because sof pastels are very brite and maleable, you can make nice ‘Blends easily with your fngersMIXING COLORS WITH OIL PASTELS White soft pastels are known for their velvety tex ture, oil pastels give bold, intense strokes. Im ‘ages created with of pastels are flexible enough to be worked on; howaver, start with ight strokes and lines in the first working phases because ‘erasing is not easy. Unlike paints and inks, both ‘il and son pastels do not cover the paper very well, unless heavily applied, Hatching and cross- ‘hatching are also suitable for the whole range of pastels. For broad effects made with side ‘strokes, you can overlay colors more directly by ‘simply placing one stroke over anotnor, OM pas- ‘els cannot be blended by rubbing, but the color ‘can be “melted” with turpentine or white spirits, Another advantage of using oil pastels is that ‘they do not need to be fixed, so you can bulld up layers of color without worrying that the top layer ‘wil fal off, One popular technique with cil pastelissgraffto, in which one layer of color is ‘scratched away to reveal another below. This can bbe dione with soft pastels, but the frst layer of col- ‘or will have ta be fixed— tis a itle more difficutt ‘and the effect is not a8 good as with od pastel. ar One at of tis crawing was mace wat chy _Fastols fet) and tho other rat was mac tn ol pastos tight Hore you can som how these io media nsspond fo (A) bring ict. (8) _saffto (cuttng away ports ofa surface layer toexpose a cferant colored background (C) blarcing, (D} scumbéng. (E) mpasto hice opheation of clon, (F gradations, (G) water ortupenine diston. and HH) supermmpostion ctinterse strokes. These effects are next to the otnming, shown separately andi with eitereet colors. ‘Simple memes can ‘be interprotod wth) bright eolors you want an element to contrast mith the background, work on a cerk-toned background, using ‘dul, blended colors.different Clrawing papers: different characteristics Tnracation to a theme technique, and medium, Paper is also.a major protagonist in a drawing, ‘The drawing’s final result wil vary considerably depending on its color and whether it is smooth, rough, thick, or thin, CHOOSING PAPER ACCORDING ‘To THE MEDIUM Each medium requires a particular type of paper, ‘Smooth-grained papers, with an extremely fina ‘tooth, are hot pressed and come in a wide range ‘of greys that maximize the quality of blends when working with graphite pencils. Fine papers are also suitable for detall grawing with colored Pencils, Medium-grained papers are appropriate for charcoal and chalk work because they retain the charcoal and chalk particles. Laid paper is ‘traditionally used for charcoal work. its texture enables the artist to draw Muidly and blend shadings.Sineoth-grained paper wih Sn teth #8 more appropriate for graphite oF olored pened drawings and Yor making sketches. ‘COLORED PAPER ‘There are many brands of high-quality colored papers available. In order to create a vibrant ‘effect, you should choose a paper color that ‘contrasts with the dominant color of the drawing ‘YOU are about to start, To achiave a harmonious, effect, choose the closest color to the dominant Color of the drawing. Colored papers are avalt= able commercially in a wide range of textures; ‘therefore, you should remember the effect that ot only the color but also the surface will have on the materials. In addition, colored papers allow for white chalk outlines. PAPER WEIGHT AND TOOTH The heavier the paper, the thicker and more re~ sistant it will be. tt is easy ta perforate very fine paper with the point of the pencil when drawing: therefore, low weight papers should be used with special care. Fine tooth papers show a pencils varying gradations, allowing for the creation of ‘shadings and for clear, high quality lines, Rough paper, instead, breaks lines and strokes, giving & discontinuous and fragmented look. This type of Paper also allows for rugged shadings, which give the drawing.a much more atmospheric ef- fect. Pigment particles remain fixed to rough pa- per, in the groaves of the granulated surface, like smaill color specks. This effect allows for the re- flection of the light of the paper, which gives the colors more translucence, Laid paper is radttonaty sod for charcoal work. ry A paper's tooth and texture determine the Mal result of 8 crawing, Mecum-grained and rough watercolor paper provi ‘more energetic shasings to the drewing. Tha modem texture offoved by Basix pape is idea! for almost al of the dry techniques.& liquid tacteiuine5 brushes and inks. | rawino with brushes is the first step towards drawing with iquid techniques. in principle, ‘working with washes: and strokes is very simple: you just add water to a color witha brush. Whether you are an exparionced artist ernot, you wil see thatthe effects offered by the beush and quillpen dawing techniques are closely related to those of drawing. This creative medium allows you to combine line with areas of color and tone, It can be used in mono- ‘chrome or in multicolored drawings. Experiment with different pens. Try an old quill pen, a modem fountain en, ballpoints, or technical pens. Once you are familiar with al the possibiities this medium offers, you ean begin your study of color and its techniques."9 fact that tho wash is watercolor or ink, this technique is inti- ‘drawing. Wash is a simple technique. It consists of loading p brush and laying it on the paper with various amounts id media, we must leam the basics of the monachrame wash. . the Vash: a range of tones ‘Tho brushstrokes, or gradations, created with wash are extremely spontaneous. ‘Supecmpesing several washes wal result a larker tones. Masterng the brush sand wash meciurn wal produce sensual ‘daweings that can bo qucky rendered. corove Bra wea, May soy down on mie paper Then sod water to the tial stain, cragging the bash and ‘extending ine wash, The move the wach i extended, the broader tha tonal _gradaton vel be ‘TONE VARIATIONS ‘The tone of a wash depends entirely on the amount of water added to the color on the palette. The smalier the amount of water ‘added to the color, the darker and more ‘opaque it will laok and vice versa. More watery colors are tha lightest and most transparent; this makes it easy to imply that white does not exist in the wash technique. To make whate marks with Wash, run the tp of the chy beast ever the dao area: the brsh Pais wi mmaciatoly absorb part of the cole, (ts easter to create gradations on Prewousy aampored papier, howover, tit rakes it harder fo control the color because M wil spread,When working wih washes, fis always a (900d idea to havo a iece of cloth handy to remowa any excess wate: ths wal keep the stroke from spreacsng ail ver the paper ancl losing precision, Practice making tonal pradtatons in ord 10 00 tho rch shadings that washes can offer EXTENDING THE WASH Wash allows for wide and rich tonal gradations. In order to create these gradations you should stain the paper with @ very saturated and intense -color, wash the brush with water, and then dis= ‘solve the color over the paper, Asit slides, the ‘color expands through the dampened area, since the water on the paper transports the color, As ‘you extend the color, tha tane turns lighter, The more times you repeat this operation, the lighter the tones of the gradation will becom AVERY SIMPLE METHOD The best way to learn how to extend a wash is through practice, Start with a very simple exam- ble: a pear. After making the pencil drawing, the first step will be to outline the fruit with the tip of the brush, with a constant and continuous brush- stroke. Then, apply a very light wash in the inner area of the pear, leaving a small white space. This space will be the reflection, Before the wash {5 dry, add @ second wash, with. a much more in- tense tone. When painting aver the damp sur- face, the tones will mix rapidly. Squeeze the brush aid help distribute the tones with very light brushstrokes, 3. Finally, add new colors to better define the light and shadow effect on the fruit 1. This simple example shows the easy execution ‘of a wash drawing. First, draw the outline of a pear. 2. Then, with very diluted washes, begin to stain the inner section, extending the color of the intial outine,| ‘Wash dhaming enables the artist 0 devaiop a rich variety of tones. Tora juntapostion, feontrast, and gradations are furcamantal to apcromtiatay represent he various planes within @ landscape, which his caso sa succession roots wath a chal per {ithe upper part of tho drawing, Notice how tte tones complement each ‘other i the orawngBrushstroke allows for rapid strokes with ether a fern or wavy line (A, B, (©), Washes and various Kinds of tonal effects can baapplied, which range ‘rom gradations to ary bash appscations 1D, E, FG. Th wasn, itis very important to be able to manipulate the brush conectly being that itis the mest common drawing tool for liquid techniques. Al~ though wash is classified as a drawing technique, the brushstroke is the main medium used to create stains. values, and strokes. Due to the rapid absorption of the brust, no other medium can compete with it, The brush expresses movement, light, and atmosphere; however, the artist needs to rely on his or her repertoire of techniques and ability since wash cannot be corrected and the addition of too many lines wil create confusion, all of which will damage the end resultLINE WITH WASH Among the watercolor techniques, linear wash iS ‘closer to drawing than painting because it has the same characteristics of drawing: mono- ‘chrome: value: and the combination of strokes, Jines, and shapes. Through wash you can come to. truly drawing-ike understanding of tha mod- ‘el, alternating the brush stain and the line, Be- ‘cause ofits purely drawing-related character, the ‘wash enables you, besides applying chiaroscuro, to outline the volume of shapes from the direc- tion of the stroke on the darkest areas. § yd Itispecessary to havea vanoty of brustes mn cexder to achieve diverse brushstroko offects FROM LIGHT TO DARK Brush drawing begins froma completely trans~ Parent background in which the value work is al- ways made from light to dark; this means that the tonal additions should always be made te tho lighter tones, and not vice versa. Therefore, itis extremely important to establish from the very beginning the work areas of the Orawing. This al- lows you ta obtain an exact measure of the gray tones that correspond to each area. you practice making strokes with the brusitan a Gemp background, the ines wal expand, producing Interesting pctoral eftscts (i, f Jk Washes on a damp surface produce atmaspheric fomes, useful when painting rary or foggy landscapes (5 LM), The same application of wash over a ay surface wil produce mare intensa strokes, whare the paper's tooth wit remain visite (M The brush enabies you to craaia the efetion of a dark sihouette from a single sian, as well a5 10 outine the contour of the shapes trom broken anf loose strokes,Inks: strokes and effects The stoke is the basis of drawing. From this simple gesture on the paper, volume will be constructed by modeling the shape, caressing the paper with the medium, or simply by drawing the shapes with a clean and direct stroke, Ht wash, as explained before, allows fer tha location of the various planes of the model according to their tonal values, drawing with a brush helps to make the object's outline stand out against the background by Creating contrast. Back Inde ink .4 mare interse bleok than black watercalor, has greater tonal richness, and expands more easiy (A, B,C) When arawing witha brush, shining fram ines to stains epends only.an the hand movernent and the amount ‘ 5 c of prossure placed on the hars 0. EF G, H) ‘Aline and round brush offers an interesting stroke range. Supenmposing fastchings of afierent colors creates bright and colorful effects (J (Qnee you understand the bask principles of wash and ioam to handle the brush, you wil be able to produce ineresting skevones by combining washes and = strokes.‘THE BRUSHSTROKE ‘The brush is a very flexible drawing medium and Is easier to handle than the quill pen, You cart move brushes very rapidly and fiuity. you vary the pressure on the tip a3 you draw, you can’ achieve lines of varying widths in a single stroke. ‘You can easily shitt direction by bending and rounding comers, where pencils and quill pens would fail to do #0. A round sable brush in good condition transmits stroke, chythm, and modeling Inone stroke. In brush drawing you may use one or, at the ‘most, two colors. If more tones are used there will be mixes on the paper, which will produce ‘mingling of the shape outline, This limitation in the use of color is compensated by the tonal variations deriving from a “higher or lower” dis~ solution of colar in the water. Dittront strobe passihities achieved through shifting pressure and incinaton of the hairs aganst the paper: (AA tne brashstroke with tne brush’s end, (B)A wide brushstroke by pressing hardor on the paper (OVA wider truststioke if you fatten tne hars against me paper (D)A sightly damp brush anpled n short and raped strokes wil give the toxture affect of a broken line. your work. swones a ‘bt of tick cob, the strokas wal rovoa! ho paper's gran. The ‘brush wilt ow easly and wil ieave:a pranuiteg ang discontinuous trace,NN ‘QUILL PEN STROKES ‘The quill pen makes. a fine and clean line. which can be used to outline any ob- ject’s form in a drawing. But if you want to shade and give texture and volume to an object without using a wash, you will need to use the white of the paper and ‘diferent strokes. Each type of hatching, depending on the proximity and shape ‘of the lines, wil create various shades of gray. You need only a simple theme in. ‘order to bulid up volume and texture. The qui pam andl read en ofr various stoke poss sccording fo the poston of the hand. Here are sore exampies Wie begin with cross-hatching an an angie. ane of te most haracterisic etlacts of qull-pem dteming (A) The classic nguag shading can aso ba drawn win the quit pan, although using this medium wat result ma mara 4 Uunatabla and imequie ine. Youmay shift the stroke pressure in order to vary the Ine's win (Cp Tho grastest advantage ofthis modu is that you can go from fe and sensual ines to frrn and intense strokes, Ho Aceh 4 the ones shownn (D) ————_—_—_—$— ——_—$———— ——— Lee ——— — OO c ° On the rift sete of tis page are varus samples ofa cul pen end rk crwng: (1) para, 2)209709 _ hating (3) sat hatching. 8) curved shatchng, (5) cross- hhatcnng, anc (6) spat shadinget When ine aroas ov absaliee white are combined wth A saturatod eon ‘tense strokes, a strong, cour contrast is made sod to amprasine betwoen the dterinated areas and the shadow areas. the essenta! ines or the saci areas ‘eMooth contours, inorder to shit the stroke intensity, lute the mk with a Ifo be of water thts wal alow you to combine intense strokes with sof gray stroves Baath and euil pon ik drawing roqure:a Sutite Tha direction of tha ies shouid atways folow treatment. Tha wtate of the paper roprasents the fight the object's volene (on an object.(Combined with other media, washes, whether made with watercolor or with ink, allow for countless effects, which may make the drawing more aes~ ‘thoticaly interesting, In these next pages you will be introduced to some of the most common effects that drawing professionals use to create texture. \/ashes: effects and techniques ( APPLYING SGRAFFITO: Sgrattno is applied ty Soratfito creates white marks or strokes on dark ‘seratoning lines on top of backgrounds. This operation should be done on tho was while tis std recently painted area, while the watercolor is. wat. Stil wet, There are two ways to “open” these ‘white strokes, One is seraiching strongly and firmly, using the edge af a brush handle; the other way is to use the tip of a razor blade or cutter. The strokes made with a razor blade will be deeper, thinner, and more intense. Sat pradews the richest textures, Sprmaw sat on re wot ach are wat a sow minutos unt you srlicneishenid ‘TEXTURE EFFECTS WITH SALT Ht you paint a regular, mid-lone wash and. while it is stil wet, sprnke alte bit of cooking salt aver ft, you will 808, as the wash dries, the grains of salt absorb the pigment and produce interesting, light blended stains. Once the paper surface is 1 order to apply @ sass, fon ne brush wath completely dry, you can easily shake off the salt ‘rai aroun of water witieave aan; brite, and grains, eBscontinvous trace, which wil gue an intevesting ature eect ta your crewing,‘After agpiyng the wash youmay see that, while the paper absorbs tne colo, the ware strokes resist anki become loarty vsbia, prockiciy an inerasting off ‘Make white marks with wax or an of pastal. The wax al rosie the wash, 'SMEARING OR SCRUBBING ‘Also known as the dry-brush technique, this technique consists of using a brush saturated ‘with color and a litle water, to produce a rough texture when applied to the paper. The dry-brush technique is perfect for making contrasts and for representing the rough texture of certain objects. WAX RESISTS you draw with an oil pastel or with wax, you will be able to preserve a series of thin Ines on tha [paper's surtace. Aerwards, you can cover them with washes and the waxes will resist tha water: Tvs crawing uses wax resists Wo give texture tothe lage ered to the tree trunks.Urheberrechilich geschiitztes Materialprofessional stroke. 0 | ne of the main challenges for the beginner iS CraWING tong and continuous lines with just one stroke. People ‘who do nat draw regularly have the habit of drawing in a static manner, placing thew hand firmly on the paper, the same way they write, The hand of a person who draws should not rest on the paper, but in- ) stead should mave and slide, brushing over and caressing the paper, . ‘The secret to:a professional stroke lies in the mobility of the hand and the iy forearm, trying to make them work together as a whole. To be successtul in drawing, its fundamental to acquire the ability to draw: continuaus lines with- ‘out lifting the pencil from tha paper, to know how to hold a pencil, to train the movements of the hand, and to master the basic strokes. Learning all of these skills will allow you to obtain the most {rom texture effects and wil give expressiveness to your drawings.ofS raining the hand Te render a craning spontaneously and with a variety of strokes, you need to train your hand movements. You must also learn the different ways to hold a pencil and how to control the amount of pressure you exert on it. DETAILS For precision and detail work, hold the pencil as you do for writing, but a bit higher towards the end. Holding the pencil this way gives mobility to your hand and flexibility to your fingers. “iE There are threo basic forms of hating: a ihe? wove achine graph ofbets wth the stick inside your hand for ‘shacing (B) holsng tha panes fry to exort more pressure, are (G) hoe {he penct.as you wouty for writing:SKETCHING ‘Sketching is the form associated most often with a rough craft oF a quick sketch. tis also the phase in which the drawing is first tried, espe- cially when working in relatively large sizes, By having the paint of the pencil slanted you will ac- quire faint strokes that are easy to erase. MASTERING THE STROKE ‘Any drawing beginner should investigate and be- come familiar with the variety of strokes before starting to work, Youean do this using the same pencil lead, the sharpened point (for fine strokes), or the side of the point {for wider strokes). Simpie linear drawing is the most diff ult approach because the artist has to create {ones and textures in the madel without {10 shading or tonal gradation. in the hands of a skilful artist, the mere line is capable of depicting almost all the visual effects that a drawing can present, In the following pages are some practi- cal exercises for you to practice making strokes. ‘Mastering hand movements, fines, loops, spirals, circles, and ovals will start you on your way to becoming an artist. PW ossniN CREP OOCR ((CROSS-HATCHING (Cross-hatching consists of a series of paraol lines crossing each other at an angle. These lines can be straight and systematic, or freer and im= Precise, The closer the lines are, the darker tho shading, which will allow for different shade tonalities in the same drawing. Cross-hatching = /J/4/ does not have to be done with straight ines.ony. By crossing curved or wavy lines, or doodies, you can achieve a wide variety of effects, DRAWING LOOPS With a slight slanting of the pencil, draw several loops swiftly. as if cracking a whip. If you do a gradation with loops without lifting the pencil from the paper, you will have spiral strokes. Vary the Pressure The intensty ad Qualty of thai can bo changed ant controfed acorn to the hardness of the panel, Naw sharp is, and the amount of pressure you apo, SHADING WITH SPIRALS ‘Some of the most interesting shadings and gra- dations are those made with small circles or spi- ‘als. Just draw small spirals, resting the point of tho pencil sightly slanted on the paper and tum- ing the pencil as if cracking a whip. Filing all the space gradually and controlling the amaunt of pressure on the pencil will produce a honoge- neous shading.Clutomatic drawing The most interesting works in any artist's port- folio are usually faund not in his or her finished drawings, but in his or her sketchbooks. Artists express tamselves in thelr sketches, ragistering in them the most immediate impressions of the world that surrounds ther. oodles and random hatching are strokes ‘made in a quick and hesitant manner. These are strokes that the artist makes auomatically and Intuitively, a8 an exercise in expression. Artists Usually tum to this technique when they have oniy a few minutes to make a note, to practice a loose, spontaneous stroke— with no academic concerns =or when they want to give the draw= Ing a more expressive effect. ‘Anists use doodling as a form of shorthand to Include information in their sketchbooks: it should be developed in.an intuitive, putting foro~ ‘most the spontaneous aspect of expression. 2. Add nevr strokes {athe previous ones, this time varying the prossure and the ‘width of the fine to startestablishing several values and the forms that stand ous the most ‘3. Finally, you can try shading—one or two tones Wil be sufficient, The drawing must not be Completely finished: it should remain somewhat sketched and imarecise. To gan competence in dooding. craw this view in only ‘wo mhutes, Thes process is very used for crawing rates trom tf 4. First, start with a quick, seemingly ‘isorganized and somewhat abstract, doodiing, ‘To establish the first compastion lines you should study the made, and draw swiftly and a bit unconsciously.