Table of Contents

1 Line
1.1 Characteristics of different lines and presentation
techniques
1.2 Basic training methods for lines
1.3 Combinatorial training of lines
2 Perspective
2.1 Basics of Perspective
2.2 Techniques for the representation of perspective
2.3 Training methods for perspective
3 Sketching and Light and Shadow
3.1 Basics of sketching
3.2 Basics of Light and Shadow
3.3 Techniques of sketching and light and shadow
representation
4-body block
4.1 Basics of the body block
4.2 Representation techniques of the body block
5 framing and composition
5.1 Method of framing
5.2 Composition Techniques
6 Rhythm and Rhyme
6.1 Constituent elements of the picture
6.2 Rhythm and Rhyme Expression Techniques
7 Representation of different materials
7.1 Rocks
7.2 Wood
7.3 Cloth
7.4 Gross
8 Performance of common elements
8.1 Plants
8.2 Water
8.3 Transportation
9 Performance of characters
9.1 Performance of the head
 9.2 Performance of the eye
9.3 Performance of the nose
9.4 Performance of the mouth
9.5 Performance of the ear
9.6 Performance of hair
9.7 Old man reading newspaper
10 Architectural Landscape Case Studies
10.1 Villa in the mountains
10.2 Hui-style architecture
10.3 Jiangnan Water Village
10.4 Venice Water City
10.5 View of the village head
11 Natural Landscape Case Study
11.1 The Dangerous Peaks of the Yellow Mountains
11.2 Grassland scenery
11.3 Gold Coast
12 Integrated Scenario Case Studies
12.1 Breakfast Stalls
12.2 Street performers
12.3 Man reading a newspaper in a cafe

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appreciation

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 Executive summary
This is a pen drawing tutorial. The book is practical and easy
to learn, and provides a comprehensive explanation and
analysis of pen drawing expression techniques. The book
begins with an introduction to pre-drawing instructions,
chapters 1-6 explain line, perspective, sketching and light
and shadow, body block, framing and composition, rhythm
and rhyme, chapter 7 explains the performance of different
materials, chapter 8 explains the performance of common
elements, chapter 9 explains the performance of the figure,
chapters 10-12 are case studies of architectural landscapes,
natural landscapes and integrated scenes. The book is rich
in case studies and thorough explanations, dissecting and
summarizing the expression techniques of pen drawing for
readers. In addition, the book is equipped with instructional
videos, which allow readers to easily master the essentials
of pen drawing.
This book is suitable for drawing enthusiasts, beginners in
pen drawing to read and study, and also as a drawing
textbook for art colleges.

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 recommend
Pen drawing is a simple type of painting and a unique
artistic appeal. No matter what type of drawing one learns,
it requires strong conviction and strong self-control on the
part of the drawer. This pen drawing tutorial reflects the
author's persistent learning spirit and attitude. This book is
a great learning and reference tool. For those who draw, the
most important thing is to "execute the brush" and to "be
persistent". I hope that Yuan Xu will produce more and
better works in the future, and I also hope that you will gain
something from studying this book.
--signed author, senior architect
To appreciate a pen painting work, we mainly observe from
the layout, level and details of the picture, and feel the
inner world of the painter through the work. Yuan Xu's works
are elegant, chic and meaningful, and this is related to his
personal character. As the saying goes, "a painting is like a
person", and this is the truth.
--Young Pen Painter 
Yuan Xu has an extremely strong creative ability, and his
pen paintings are free and spontaneous. From his works, we
can see the skillful application of point, line and surface, and
the artistic treatment of black, white and gray. The use of
expressive techniques such as contrast of light and dark and
contrast of reality and illusion make his pen paintings have
a strong artistic influence.
--Young Pen Painter

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 preamble
This is a comprehensive tutorial on the techniques of pen
drawing representation. The book starts from pre-drawing
instructions, explains line, perspective, sketching and light,
body block, framing and composition, rhythm and rhyme,
then explains different materials, common elements and
character expression, followed by examples of different
themes. In addition, the important points and all cases in
the book are accompanied by instructional videos, which will
make it easier for you to learn.
The tools used in pen drawing are relatively homogeneous,
and the techniques that can be used are somewhat limited.
Pen drawing requires a certain level of drawing skills and
modeling ability. I do not emphasize too much on the style
of drawing when explaining the cases, as I think the style is
determined by the painter's perception of the object and his
own level. The cases in this book present a wide range of
styles, some rough and some delicate, which are all a result
of my understanding and expression of the drawing object.
This book lists a large number of case studies, which we
hope will help you to improve your painting and find a
suitable path for your painting. "There is a path of study and
diligence, and there is no end to the sea of learning." Let's
step into a new journey together.

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 Instructions before painting 
 
 
 
 
 
 
 
 
 
 
The tools used to draw pen drawings are relatively simple
compared to those used to draw other types of drawings,
including brushes, drawing paper and ink. The following will
list some of the tools commonly used by the author in
preparation for learning to draw in subsequent chapters.
Must have brushes
Fountain pens (including ink-bag pens) are generally used to
draw fountain pen drawings. Fountain pens can be divided
into art pens and ordinary fountain pens, art pens have a
curved nib and ordinary fountain pens have a straight nib.
Different nibs produce different results, so it is
recommended that you have one of each.
When selecting a fountain pen, you can choose according to
your financial situation and preferences. A good pen
generally has the characteristics of sufficient water storage,
even water discharge and good nib flexibility. Of course, we
may also use some other pens as auxiliary tools when
drawing, the author commonly used markers and syringe
pens, mainly for the embellishment of the picture.
prompt
When we buy a fountain pen, the first thing to do is to feel
its weight, drawing with a long time, if the pen is heavy,
drawing will not be smooth; then judge the comfort of the
pen barrel which can be judged in the first time you get the
pen; then you can casually draw on paper, feel the friction
between the nib and the paper and the effect of the pen's
water.

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Artwork fountain pens
A fine art pen can draw lines of different thicknesses
depending on the degree of tilt of the nib, and can be used
to express the rhythm of the picture. When the nib is held
upright, the contact surface between the nib and the paper
is smaller and the lines drawn will be thinner, which can be
used when drawing fine lines and portraying details; when
the nib is held flat, the contact surface between the nib and
the paper is larger and the lines drawn will be thicker, which
can be used when drawing the contour lines of objects. And
so on, as the angle of the pen tip changes, the thickness of
the line will also change.

Ordinary fountain pen

The ordinary fountain pen mentioned here refers to the
straight-tipped fountain pen, which is more widely used.
Unlike an artist's pen, an ordinary fountain pen produces a
thick and thin line, and is generally used when drawing
more subdued or realistic images.

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markers
Markers have two tips, one pointed and the other thick. The
pointed tip has a softer texture and produces smoother ink,
and is often used to show the darker parts of a picture. The
coarse tip is mostly used to emphasize the structure of the
object or to show large blocks of color of the object.

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syringe pen
The body of the syringe pen is round and tubular, and the
syringe pen can draw even lines. When drawing lines, you
should try to keep the nib perpendicular to the paper
surface to ensure that the syringe pen is smooth and draws
evenly thick and thin lines. After using the syringe pen, you
should put on the cap in time to avoid the ink at the tip of
the pen from drying out.

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Must have drawing paper
Pen drawing does not require a lot of paper, as long as the
paper is flat and can absorb ink quickly. Given that there are
so many kinds of drawing papers on the market, here are a
few of the more commonly used ones, mainly including
sketching paper, sketching paper, white cardboard,
watercolor paper and vellum.

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sketchpad
Sketch paper is a paper often used for drawing pencil
drawings. The front side of sketch paper is rougher and the
back side is smoother. Usually, we choose to use the back
side for pen drawing, because the back side is more delicate
and the brush is more smooth. When choosing sketching
paper, try to choose paper that is tough, has a flat surface,
has a fine texture and is less prone to linting.

prompt
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Sketching paper and watercolor paper are commonly
available in sizes 32, 16, 8, 4 and 2, with larger numbers
representing smaller sizes. In daily practice, it is
recommended that beginners use 16- or 8-opening paper to
control the entire picture. The sizes of sketching paper and
white cardboard are commonly A3, A4 and A2, and it is
recommended to bring A4 sketching paper when you go out
sketching.
quick sketch paper
Sketch paper is essential when we are out sketching and
often comes in the form of a sketchbook. When choosing a
sketchbook, it is important to consider its size and
thickness. Most of the author's sketchbooks are A3 in size,
while A4 sketchbooks are used when drawing small objects,
and 4-page sketchbooks or 2-page sheets of sketch paper
are used when drawing large scenes. When you go out
sketching, it is recommended to bring a thinner sketchbook.

white paper
White cardstock has a smoother surface, the paper is
thicker and does not lint easily and performs well. When
drawing some works with smoother lines, white cardboard is
usually used.
watercolor paper
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Watercolor paper is generally thicker and more expensive
compared to other papers, but is of better quality. When
painting large scenes, the author will use 2-part watercolor
paper. Watercolor paper can be divided into 3 categories
according to texture: fine-grain watercolor paper, medium-
grain watercolor paper and coarse-grain watercolor paper.
The surface of watercolor paper has texture, which will
affect the smoothness of the lines, especially the coarse-
grained watercolor paper, which is not easy to show the
smoothness. Therefore, the author usually chooses to paint
on the smooth back side of watercolor paper, and the effect
of the painting is similar to that of painting on sketch paper.

kraft paper
Vellum has a hard texture and is usually a yellowish-brown
color. Because vellum itself has color, after painting black
ink on it, the contrast of the color will be reduced and there
will be a softer feeling. The author will use vellum for
painting when showing some special effects.

Essential Ink
There are many types of inks on the market, and the ones
that are generally used more often when drawing fountain
pen drawings are carbon ink, non-carbon ink and waterproof
ink. When you pick the ink, you can choose according to
your own habits of use. In addition, different kinds of ink
should not be mixed, otherwise it will easily produce
precipitation and clog the nib.

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carbon ink
Carbon inks are highly concentrated, darker and shiny, but if
left unused for long periods of time they will settle and tend
to clog the nib.

Waterproof ink
Waterproof ink is a specially processed ink that is not easily
haloed by water after drying. Waterproof inks are often used
when painting fountain pen pastels. The color of waterproof
ink is slightly lighter than carbon ink, so it is recommended
that readers who like to draw fountain pen light colors
choose waterproof ink.

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Non-Carbon Ink
Non-carbon inks do not settle or clog the nib and are very
smooth to use, but the colors are slightly lighter than carbon
inks.

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Other tools
When drawing a pen drawing, the drawer should have some
modeling ability and sketching skills. For beginners, it is
difficult to draw a complete pen drawing, so when you are
just starting out with pen drawing, you can use a pencil to
draw a sketch first, and if you make a mistake you can also
erase it with an eraser, and then use the pen to carve in
depth after the sketch is done.
(lead) pencil
Commonly used pencils are regular pencils and automatic
pencils. There are grades of pencils, usually indicated as HB,
2B, 6B, etc. The more backward represents the softer the
pencil and the darker the color. When using pencils, do not
use too much force, otherwise the lines will not be easily
erased and will leave a very obvious mark, which will affect
the later drawing effect.
rubber
Commonly used erasers are ordinary erasers and plastic
erasers. Plastic erasers cannot erase the picture very clean,
but can reduce the color, and not easily damage the paper.
In the use of erasers, should not be in the same place
repeatedly erase, or will damage the paper.

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Drawing Positions
When drawing pencil drawings, the focus is on the hand and
arm working together, and the body should be naturally
relaxed. When drawing some large images, the arm and
elbow will push harder and the arm will be more tired. We
recommend you to find a comfortable fulcrum for your arm
so that the painting will be in better condition.
Beginners like to pinch the tip of the pen when drawing,
thinking that this will make the lines more accurate. In fact,
you cannot draw with your fingers too close to the tip of the
pen, otherwise the lines will be stiff and the pen will obscure
your view, making it difficult to see the point of the stroke.
When actually drawing, you can make the grip of the pen
lean up a bit, so that the pen tip can move more, making it
easier to draw vivid lines, and it is also good for observing
the overall picture. When carving details, the force is mostly
concentrated on the wrist, relying on the strength of the
wrist to line up the lines.

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 | Chapter 1 |
streak

In a painting, line is the most basic element and the most

important one. By varying the zigzag, length, thickness and
interlacing of lines, a vivid work can be portrayed. When
practicing drawing lines, pay more attention to the
expressiveness of the lines so that the picture will appear
rich.

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1.1 Characteristics of different lines and
presentation techniques
 
 
When drawing pen drawings, line practice is very important,
requiring fine, accurate lines that show a sense of layering.
The following is an explanation of the characteristics of
different lines and techniques of expression.
1.1.1 Horizontal lines
Horizontal lines are the straight lines we often use, and
there are long and short ones. Long horizontal lines are
generally used to shape the structure of the object, and
short horizontal lines are generally used to portray the
details of the object.
Make the pen at an angle of 45° to the paper, and draw a
long horizontal line by bringing the elbow to move the hand,
which in turn moves the pen down in a horizontal direction.
Try to keep your elbow as horizontal as possible when you
move it, so that the line drawn will be straighter. Also, be
careful not to block the tip of the pen with your hand so that
the field of view is more open and the line drawn will be
longer.

When drawing lines in other directions, you can also refer to

the way of drawing horizontal lines and flexibly change the
direction, length and thickness of the lines, etc., so as to
show different picture effects.
The picture on the right is a nature landscape, in which the
water surface is basically represented by horizontal lines,
which simulate the reflection of objects on the water surface
through the variation of line length and the combination
with lines of different directions, thus showing the texture of
the water surface and creating the atmosphere of the
picture.

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Short horizontal lines can be drawn by making the pen at an
angle of 45° to the paper, with the elbow stationary and the
wrist firing, driving the hand and drawing down in a
horizontal direction. The lines drawn in this way are hard
and expressive.

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1.1.2 Vertical lines
The vertical line is generally used for modeling, but also for
the portrayal of light and dark, and can be used to show the
relationship between the large light and dark of the object.
The drawing of a vertical line is roughly the same as that of
a horizontal line, but note that the position of the hand and
pen are different. When drawing a vertical line, a long
vertical line can be drawn by relying on the strength of the
elbow to bring the hand and draw in the vertical direction; a
short vertical line can be drawn by relying on the strength of
the wrist to bring the hand and draw in the vertical
direction.

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prompt
When you first start drawing vertical lines, the strength of
your hand is not very easy to control and the lines you draw
may be curved. So, practice more on a regular basis to find
the skills to draw vertical lines.
The picture on the right is an architectural landscape, with
the distant woods shown essentially in vertical lines, pulling
apart the layers of the distant scene by the sparseness of
the lines.

1.1.3 Slash
Slanted lines are mainly used to shape the structure of an
object. When drawing diagonal lines, they are usually drawn
from the top right to the bottom left or from the bottom left
to the top right. When drawing long diagonal lines, the line
can be drawn with the help of the elbow; when drawing
short diagonal lines, the line can be drawn with the help of
the wrist.

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The image below is a still life sketch in which the
background is shown with diagonal lines in different
directions. Here, the main function of the diagonal lines is to
represent the background in order to draw out the spatial
layers of the picture.

1.1.4 cm line
The centimeter line is a specific length of line in
centimeters. At the beginning stage, we are not very good
at controlling the lines, so we can practice drawing the
centimeter line more often to strengthen our ability to
control the lines. The figure below shows the centimeter line
on the left, from 1 cm to 2 cm, to 3 cm, and so on; the figure
on the right is shown with the centimeter line.

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When drawing centimeter lines, it is important to pay
attention to the proportional relationship between lines.
Remembering the proportions of the lines will help us a lot
in drawing afterwards. The figure below is a set of drawings
that use centimeter lines to show the changes of body
blocks and space. In the beginning stage, we can practice
drawing centimeter lines to show the proportion,
perspective and spatial relationship of the picture.

1.1.5 Control lines

Control lines are similar to centimeter lines. When drawing
the darker parts of an object, lines of equal length need to
be aligned, and these aligned lines are control lines. When
drawing control lines, a range of lengths is usually set, such
as the distance from A to B, and then lines are placed
between A and B. The position and angle of the line
between A and B can be adjusted at will to enhance the
flexibility of the line.

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The picture below shows a corner of the building, the
engraving is not in-depth, mainly to show you the effect of
using control lines in the actual drawing. When practicing
drawing control lines, do not just draw a set of lines, but
draw according to the actual drawing object.

Below are two partial architectural drawings with shadows

and dark surfaces lined up basically with control lines. The
control lines are very useful in representing a regular and
uniformly shaped dark surface and projection.
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1.1.6 Two-point threading
Two-point threading, as the name implies, is the joining of
two fixed points by a straight line. The purpose of drawing
this type of line is to train the accuracy of the line direction,
as it is easy to draw the line crooked at the beginning stage.
When drawing a two-point threading line, identify the two
points first and then connect them with a line. Once you
have mastered the drawing of a two-point threading line,
you can identify a few more points and connect these points
in a series of two-point threading lines to give a more
accurate line direction.

The picture on the right is an architectural landscape work

in which the large structure of the building is represented by
two-point threading. As you can see, two-point threading
can help us to quickly represent the block relationship and
morphological structure of a building.

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1.1.7 Rays
Rays are similar to rays in mathematics, but different from
rays in mathematics. A ray in math has an end point on only
one side, and the side without the end point can be
extended indefinitely. Drawing rays in drawing means that
the pen pauses on the paper, then draws quickly in one
direction, and finally closes up naturally so that the line
forms a deep end and a light end.

Here are two representations with rays and their basic

brushwork. When drawing a melon, use rays with curves to
show the grain, drawing from the ends toward the center,
which creates a natural white space in the center. When
drawing a ginkgo leaf, draw long rays toward the outside,
centered on the joint between the leaf and the petiole, and
then line up short lines from the edge of the leaf toward the
inside, creating a strong inner and weak outer texture
effect.
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prompt
All the lines in the picture below are arranged in 360° from a
single point, creating a highly decorative picture effect. This
method helps us to practice lines from all angles and
strengthen our ability to control them.

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1.1.8 Crossed lines 
This section focuses on cross lines, which are formed by
combining multiple groups of lines. When showing a single
group of lines, you only need to pay attention to whether
the lines are arranged neatly with each other; but when
showing cross lines, you need to pay attention to the
neatness between lines and groups, as well as the overall
effect of the picture.
The intersecting line is the basic form of expression for
shaping the form of an object. When portraying the
relationship between light and dark of objects, dealing with
transitions and details, basically cross lines are used to
express. When lining up the lines, we should pay attention
to the interspersed, sparse and rhythmic changes between
the lines and arrange the lines neatly.

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Here are different ways to show crosshatching. When
drawing cross lines, it is important to make them sparse and
dense. In practice, you are also free to change the angle,
length and combination of lines to show a more interesting
picture effect.

The picture on the right is a nature landscape, shown mainly

with crosshatching. Notice the effect of the light side, the
gray side and the dark side of the mountain. The light side
is basically composed of lines arranged at similar angles;
the gray side increases the angle of line arrangement on the
basis of the light side, and a sense of texture similar to a
mesh appears; the lines on the dark side are arranged more
finely, but always remain uncluttered. This makes the
picture neater, and the light and dark sides are clearly
distinguished.
1.1.9 Plant lines
When drawing plants, it is common to use some folding lines
to represent their outline, using a stroke similar to the
writing of the characters "bow" and "several", these folding
lines are called plant lines. There are various forms of plant
lines, including right-angle plant lines and round-angle plant
lines.
Don't hesitate when drawing plant lines, keep the lines
flowing, pay more attention to the changes in bump, size
and sparseness between groups of plants, and observe
more of the plants themselves. Plant lines are very good to
draw, but it is harder to show the feeling of vibrant plants
and requires more practice.

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prompt
The shape of the plant line is mainly determined by the
undulating state of the plant outline. Plant lines are
generally used to express the outer contours of the plant, so
the aesthetics of the lines determine the aesthetics of the
plant.
The picture on the right is a nature landscape painting that
uses a variety of plant lines to represent, with different plant
lines representing the morphological characteristics of
different plants. As you can see from the picture, the plant
lines can represent both the outline of the plant, the light
and darkness of the plant, and the texture of the plant in
various forms.

1.1.10 Jitter line

When we want to show some more relaxed and casual lines,
the hand will shake unnaturally and the lines will change.
Shaking lines are very expressive and have a feeling of
softness and strength. Appropriate use of shaking lines can
make the whole picture effect more vivid.
When drawing a shaky line, the starting line is usually
straighter and the falling line is more curved. You can draw
with your hands to find the feeling of drawing shaky lines,
but there is no need to do too much practice, as deliberate
practice will cause the shaky lines to look very stiff.

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The image below is an architectural landscape painting that
uses a lot of dithered lines to accentuate the rhythm of the
image. Note that the more dithered lines used in the picture
is not the better, but should be used in conjunction with the
effect of the picture, too many dithered lines will make the
picture look messy.

1.1.11 Curves
Curves are the more flexible and vivid elements in a
drawing. Curves have a certain degree of curvature, and the
accuracy of curvature is difficult to grasp, so you must be
confident, decisive and bold when drawing curves. If the
curve is drawn crooked, it is not advisable to trace it
repeatedly, otherwise it will further spoil the effect of the
picture, and it is recommended to choose to cover the
crooked curve at a later stage. There is no fixed standard for
drawing curves, as long as the lines are drawn naturally and
vividly.
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The image on the right is a nature landscape work in which
the clouds are shown mainly in curves. The light and
darkness of the clouds are clearly delineated, and the three-
dimensionality and light and shadow of the clouds are
shaped by a large number of short curves.

1.1.12 Random lines

A random line, as the name suggests, is a line that is
applied spontaneously. It is usually used at the end of a
picture to decorate it. The line is more free and flexible than
the curve. We can use the brush freely on the paper and
change the straightness and angle of the line at will. When
drawing random lines, we should pay attention to the
interplay between lines, sparse and dense, and the
relationship between reality and reality.

prompt
The use of random lines is generally determined by the
effect of the picture or the mood at the time of drawing, and
the lines are more random and unrestrained.
The image below is an architectural landscape work in which
the ground part of the picture is basically represented by
random lines, combined with some point elements to
enhance the interest of the picture and accentuate the
tension of the picture.

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1.2 Basic training methods for lines
 
 
The most fundamental way to draw good lines is to
accumulate them. Here are some tips that I hope will help
you improve your ability to express your lines.
  Point 1: Keep the lines flowing. The most important thing
to keep in mind when drawing lines is fluidity, so that the
lines drawn are expressive. When we practice drawing lines,
we can paint randomly and let our hands relax before we
practice drawing lines in different expressions.

  Point 2: Be sure of your strokes. Never draw the same line

back and forth, otherwise you will easily make the line dull
and affect the picture.

  Point 3: Avoid unnecessary joints. When a broken line

occurs, do not draw repeatedly at the original point,
otherwise joints will easily appear; you should draw at a
small distance apart to maintain the continuity of the line.

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  Point 4: Don't mess up the lines. When drawing
multiple sets of lines, if one of them is drawn in a messy
manner, it will affect the tone of the whole picture. Even
when drawing random lines, it is important to achieve order
in the chaos.

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1.3 Combinatorial training of lines
 
 
We often use variations in the length, thickness, sparseness
and direction of arrangement of lines to form various
combinations of lines. This section focuses on ways to train
combinations of lines so that you can draw a variety of lines
skillfully. When drawing combined lines, it is not about how
beautifully a single group of lines can be combined, but
about understanding and comparing the effect of the picture
formed by multiple lines crossing and combining with each
other.
There is no fixed standard for how the lines should be
combined, so you can change the form of the lines as you
practice to create more original images.

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 | Chapter 2 |
examine by fluoroscopy (i.e. X-ray)

Readers who are new to drawing may not quite understand

what perspective is. In fact, perspective is the visual science
of studying an object behind through a transparent plane.
Applying the principle of perspective to drawing is the
process of constructing three-dimensional space through
two-dimensional drawings. We can use simple lines to
express the spatial position, outline and projection of an
object according to the principle of perspective, to show the
three-dimensional sense of the object and make the drawing
more realistic.

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2.1 Basics of Perspective
 
 
Perspective is a method or technique for depicting the
spatial relationships of an object on a flat or curved surface,
primarily using lines to represent the space, contours,
position and light/shadow relationships of an object. There
are generally 3 states of human observation of objects,
namely shape, color and volume. The further the distance,
the smaller the effect presented by the object and the less
saturated and blurred the color is, corresponding exactly to
the 3 states of perspective we commonly use.
2.1.1 Linear Perspective
Linear perspective is one of the most popular methods of
perspective expression, commonly known as "large near
and small far". Linear perspective means that objects
appear to shrink and distort as they get farther away. As you
can see, in the picture below, the size of the tree is different
due to its position.
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2.1.2 Invisible Perspective
When we look at some distant objects, we always see them
less clearly than close objects, and this is invisible
perspective at work. Invisible perspective refers to the
effect that objects are blurred to different degrees
depending on their distance. This method of perspective is
not often mentioned, but it is used in many places, and
almost every painting involves invisible perspective. In the
picture below, the mountain is far away, so it has been
blurred.

Here are some extended explanations of perspective based

on the author's own drawing experience.
close to the truth and far from the truth
Usually, we enhance the portrayal of the foreground or mid-
ground and bokeh the distant view. You can understand the
bokeh as blurring the outline, simple portrayal and other
expressions. As you can see, most of the "real" areas in the
right picture are characterized by strong contrast between
light and dark, obvious turning of the body and rich details,
etc. The "fuzzy" areas are represented by blurred outlines,
and the farthest tree is treated as a large block.
strong in the near and weak in the far

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Another point that can be drawn from "near reality and far
emptiness" is "near strength and far weakness". "Near
strong and far weak" is an expression technique we often
use when dealing with the rhythm of the picture. Nearby
objects are clearly illuminated, with strong contrast between
light and dark, and distinct body blocks; distant objects are
reflected by various kinds of ambient light, with even
distribution of surface light, weaker contrast between light
and dark, and weaker contrast between body blocks, and
almost no details can be seen. There are many buildings in
the picture on the right, and the processing has subjectively
strengthened the buildings in front and weakened most of
the buildings behind, thus giving the whole picture a
stronger sense of space.

prompt
The strength and weakness of "near and far" here refers to
the strength and weakness of the spatial relationship, and
the strength and weakness of the subjective treatment, that
is, according to the relationship between the main and
secondary aspects of the picture.
2.1.3 Color Perspective
Color perspective refers to the phenomenon that colors
change depending on the distance and the effect of the
atmosphere. The image below shows a city square. The
buildings in the foreground are shown in warm colors with
high saturation, while the dark side and the distant buildings
are shown in cool colors and warm colors with low
saturation, pulling apart the spatial level of the image
through strong color contrast. In the representation of the
sky, the contrast between warm and cold is also used to
shape the volume and pull apart the layers, creating the
atmosphere of the picture.

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2.2 Techniques for the representation of
perspective
 
 
The main focus of what is covered in this section is the
presentation techniques of linear perspective. The theory of
pure perspective is very involved, so some of the more
important points are selected here for explanation. Linear
perspective is mainly divided into one-point perspective,
two-point perspective and three-point perspective. Before
formally explaining the techniques of perspective, let's
understand some terminology.
  Sight level: In the perspective system, the sight level is a
horizontal straight line, flush with the height of the human
eye.
  Median: A vertical line between the eyes, perpendicular to
the visual horizon.
  Centroid: The point of intersection of the horizon and the
central axis.
Extinction point: The vanishing point of an object's
perspective. The extinction point can move on the horizon
and the median.

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prompt
The entire model framework of perspective is analogous to
the coordinate axes in mathematics.
2.2.1 One Point Perspective
One-point perspective is also called parallel perspective. In
one-point perspective, the object is on a horizontal line and
remains parallel to the horizon, with the lines of perspective
all intersecting at the extinction point. Note that the
extinction point of a one-point perspective coincides with
the center point.

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If the object is above the horizon, its bottom side can be
seen; conversely, its top side can be seen. If the object is on
the side of the central axis, its side can be seen.

In the case of a rectangular body, for example, the closer

the central axis is to the object, the smaller the sides of the
object and the less exaggerated the deformation;
conversely, the larger the sides of the object and the more
exaggerated the deformation.

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When using a little perspective representation technique,
you can practice with a rectangular or square body to
facilitate our better understanding of spatial relationships
and grasp the correctness of perspective. When drawing,
you can draw the front of the rectangular or square body
first, and then the sides. At the beginning, you can create a
perspective axis and draw some auxiliary lines to draw the
figure with the help of the auxiliary lines, after you become
proficient, you can no longer use the axis and auxiliary lines.

prompt
When you first start practicing the technique of using
perspective, it is common to draw the perspective
backwards and in the wrong proportion.

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In the standard one-point perspective, all perspective lines
should intersect at one point, but many times we will
encounter situations where the drawing object is not regular
or the perspective is too standard, at this time we can turn
the extinction point from a point into a small surface. This
can prevent the object in the picture from being overly
deformed, and also facilitate our grasp of the perspective
relationship.

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Once you have mastered the laws of perspective for a single
three-dimensional figure, you can begin to draw
combinations of three-dimensional figures. When drawing
combinations, it is important to pay attention not only to the
changes in perspective of the individual three-dimensional
figures themselves, but also to compare the changes in
perspective between the three-dimensional figures,
between the lines, and between the faces, and to consider
whether the lines perpendicular to all the three-dimensional
figures can intersect at one point.

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Case: Small town architecture
One-point perspective is mostly used to show some narrow
spaces, using the changes of lines and light and dark to
open up the spatial level of the picture. The following is an
example of an architectural scene, to explain the
performance technique of a little perspective. Here will not
be too much portrayal of the object, the main performance
is the building block, to avoid too many skills to interfere
with our learning of perspective. In this case, the structural
lines of the building, the stones on the ground and the
shape of the building are the key to pull apart the spatial
level of the picture, and all the lines are expressed
according to the principle of one-point perspective.

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01 Determine the position of the subject in the picture. The
main concern here is to determine the position of the
contour line at the base of the building in relation to the
sight level, and the position of the vertical line of the
building in relation to the central axis, with attention to the
proportional relationship of each structure.

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02 Draw the blocks of the building according to the principle
of one-point perspective. Repeatedly confirm each line
perpendicular to the picture so that these lines intersect at
a point or a small surface. Use the lines to divide the walls
of the building on the left and right sides, and divide several
large blocks to enhance the effect of one-point perspective
in the picture.

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03 Determine the broad light and dark relationships of the
street scene, noting that the dark areas are mostly
concentrated on the dark side of the building with the
projection. The shape of the projection here is drawn based
on the structure of the building itself, so follow a bit of
perspective when drawing the edge lines of the projection
as well.

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04 Draw the doors and windows with attention to
perspective relationships. When drawing, you can relax a
bit, you don't have to be too formal, the perspective is just
generally correct, as long as the space looks comfortable, it
won't detract from the picture.

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05 Add some decorative lines to the building and then draw
out the stone path to enhance the spaciousness of the
image.
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2.2.2 Two-point perspective
Two-point perspective, also known as angular perspective, is
an extension of one-point perspective. In two-point
perspective, the perpendicular lines of the object are
parallel to the central axis, and the other lines intersect at
the extinction points on either side of the central axis. Note
that there are two extinction points in two-point perspective.

When the entire object is above the horizon, the bottom side
of the object can be seen; conversely, the top side of the
object can be seen.
The closer to the extinction point, the greater the change in
perspective of the object and the more exaggerated the
perspective. When we want to show some special
perspective, we can use the method of two-point
perspective to show it.

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When representing a one-point perspective, the front-most
face of the square can be drawn first; but when representing
a two-point perspective, only the front-most line of the
square can be determined. When drawing a square in two-
point perspective, you can draw the front-most line of the
object, then pull some auxiliary lines and connect them to
the extinguishing point, then draw the two sides according
to the scale of the square, then pull auxiliary lines according
to the points at the top of the sides, and finally draw the top
surface. Note that the top surface is made by intersecting
the auxiliary lines.

prompt
When representing a two-point perspective, note that the
extinction points are on either side of the central axis and
that both extinction points are on the horizon. If the
extinction points are not on the same horizon, then the
drawn object will be unstable.
Two-point perspective has a corresponding training style as
does one-point perspective. The two-point perspective is
more difficult to train than the one-point perspective, but
the focus of training is also on mastering the relationship
between objects. Since two-point perspective is more
difficult to represent, you can draw a group of squares first,
and then draw more groups when you become proficient to
make it less difficult to draw.

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Case in point: the old restaurant down the
street
Here is an example of a single building to explain the
presentation technique of two-point perspective. The
building in this case is relatively large, and the extinction
point is relatively far away, which is beyond the scope of the
picture. However, you should have the concept of extinction
point in mind when drawing the concrete, to avoid distorting
the building. Here will not be too much portrayal of the
object, showing the main large relationship can be.

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01 Determine the front-most vertical line of the building,
then draw the contour lines according to the perspective
and the proportions of the building itself. Here they are
drawn more generally, mainly to highlight the role of
perspective in the picture.

02 Divide the interior area with a straight line, noting that

both the line and the surface here will be divided in a way
that follows the principle of large near and small far.

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03 Draw small structures in the divided area, drawing
windows, walls, etc. There are many lines to show in this
step, but still follow the principles of perspective.

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04 Show the light and darkness of the object according to
the changes in structure and light and shadow, taking care
to follow the principle of near real and far imaginary. When a
painting comes to an end, it may focus more on technique
and rhythm, etc., but it is all expressed on the basis of
following the principles of perspective.

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2.2.3 Three-point perspective
Three-point perspective has an additional perspective
variation on top of two-point perspective, and has three
extinction points, two of which are on the horizon and one
on the central axis. Three-point perspective is mostly used
for the representation of objects in elevation or top view
angles.

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As we can see in the diagram below, the farther the object
is from the central axis, the greater the tilt of the line on the
object that represents the perpendicular to the bottom
surface. In the actual drawing, the extinction point will not
show up on the screen. The actual extinction point may be
much further out of the picture.
OceanofPDF.com
When representing a one-point perspective, the front-most
face of the rectangle can be drawn first; when representing
a two-point perspective, the front-most line of the rectangle
can be determined first; when representing a three-point
perspective, only the front-most point of the rectangle can
be determined. When drawing a rectangular body in three-
point perspective, you can first draw an axis to determine
the position of the frontmost point of the rectangular body,
and then draw auxiliary lines from this point to the three
extinction points; then draw the frontmost line according to
the scale of the rectangular body (here the line is parallel to
the central axis); then draw auxiliary lines according to the
line already drawn to the extinction points; and finally draw
the face next to the rectangular body according to its scale.

Case: Office building

In paintings, three-point perspective is used relatively
rarely, but when showing some tall buildings, three-point
perspective is often used to highlight the sense of space in
the picture. Here is an example of a building in elevation to
explain the expression technique of three-point perspective.
01 Draw the general structure of the building roughly using
squares and straight lines, with attention to changes in
perspective relationships.
02 Divide the smaller structures of the building on the basis
of the larger structures, and then determine the division of
the body blocks on the front and sides of the building. Note
that the principle of three-point perspective is followed in
representing these large structures.

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03 Draw windows and some details on the basis of the
larger structure, which needs to be represented using a
combination of real and imaginary, strong and weak.

04 The whole building is gradually faded from top to bottom,

showing the visual effect of strong top and weak bottom.
You can refer to the method of lining up the lines in the
figure when you draw the concrete to carve.

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OceanofPDF.com
2.3 Training methods for perspective
 
 
You have already learned about the 3 states of linear
perspective, namely, one-point perspective, two-point
perspective and three-point perspective. This section
explains how to train perspective, so that you can master
the principles and expression techniques of perspective
more flexibly.
2.3.1 Letter-based perspective training
The 1st way to train in perspective is to use the principles of
perspective to draw letters. The structure of letters is
relatively simple, so it is easier to learn from letters first
(numbers are similar in structure to letters and are drawn in
a similar way). Here is an example of how to train
perspective, using the letter A as an example.

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01 Draw the letter A in lines. for practice, you can draw a
square to aid in the drawing, and then draw the letter A
inside the square.

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02 Determine the position of the letter A. Here imagine the
letter as being below the horizon. First grasp the perspective
of the square in which the square is located, and then show
the perspective of the letter A based on the perspective of
the square.
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03 Draw the turning side of the letter A using a line drawing
to distinguish the different sides.

prompt
The above demonstrates how to draw a single letter below
the horizon, but you can also draw letters above the horizon
according to this method.
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The above is a way to show a little perspective with the
letters as the main focus. You can follow the above method
to draw other letters to strengthen your memory. We can
draw not only single letters, but also letter combinations,
and also some simple squares and triangles etc. as
decoration to enhance the interest of the picture.

prompt
You can practice using different lines to show perspective
relationships, you can use horizontal lines, vertical lines and
dithering lines, etc. to feel the effect of different lines.
2.3.2 Perspective training with Chinese
characters as the main focus
Most Chinese characters have a more complex structure
than letters, so there is more to show and more difficult to
draw. When working with Chinese characters for perspective
training, we can likewise use the square as an aid to
practice.
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01 Draw the steel characters in a square. Note that when
drawing such characters with a large number of strokes, it is
important to sort out the interspersed relationship between
the strokes, otherwise it will affect the perspective
relationship.
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02 Draw the square in which the square is located, and then
draw the perspective lines of the steel lettering based on
the perspective of the square. The perspective line of the
square is important here because the perspective line of the
steel font is all based on the perspective line of the square.
If the perspective line of the square is drawn wrong, the
perspective line of the font will also be wrong. You have to
go over and over each line you draw, and the more you
measure up front, the smoother the drawing will be later.

03 Arrange the lines according to the direction of the turn of

the glyph to show the turning relationship between the
faces.
prompt
The above example of letters and Chinese characters has
explained the training method of one point perspective, you
can also use this method to master the expression of two
point perspective and three point perspective.

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OceanofPDF.com
 | Chapter 3 |
Sketch and Light

When training in sketching, it is important to deal with the

relationship between light and shadow of objects in order to
make a rich, realistic and expressive picture. Expressing the
texture, texture, material, reality and contrast of an object
all involve the knowledge of light and shadow. This chapter
focuses on the knowledge of sketching and light and
shadow in pen drawing.

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3.1 Basics of sketching
 
 
When it comes to sketching, it is natural to mention light
and shadow. Sketching needs to be expressed through the
relationship between light and shadow. It is difficult to form
a complete work with mere structure, we need to show the
different layers of the picture, such as light and shadow,
material and reality. Here are some basics about sketching
for you.
3.1.1 The three major facets
Objects are divided into bright, gray and dark surfaces, or
the three major surfaces, when exposed to light. In the case
of a sphere, for example, the three major surfaces show the
most basic large relationship after the sphere is illuminated.
The contrasting relationship between the three major
surfaces is also called the light-gray-dark relationship or the
light-dark contrast relationship.

glossy
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The bright side is strongly lit and lighter in color, and is the
area on the object closest to the light source. In principle,
the bright side is mostly the light-receiving side of the
object.

gray surface
The area around the bright side of the sphere becomes less
angular and less strongly lit, and the color here is darker
than the bright side. The gray side is the part of the body
that turns and transitions between light and dark, but is still
a lighted part overall.
prompt

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The gray side is still the lighted part, so it is not very
different in color from the bright side and has a lot of detail
that can be brought out clearly because it is less lighted. In
most cases, the gray side is the main part of the object. We
will talk about how to show the gray side later, so you can
keep an eye out for it.
dark side
The dark side is the backlit side. The dark side is very dark
and creates a strong contrasting effect with the light side.

prompt
The large light and dark relationships of objects will be
mentioned several times later in this book, mostly in
reference to the contrasting relationship between the light,
gray and dark sides of an object. The dark side is relative, it
has some contrast with the light side, and sometimes the
dark side is not dark, but can still contrast with the light
side.
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3.1.2 Five major keys
The five major tones are forms of expression that continue
to build on the three major facets. The three major surfaces
show the relationship between light and dark, while the five
major tones are the five basic black and white layers used
to specifically represent the three-dimensionality of an
object.
The five major tones are highlights, midtones, light and dark
junction lines, reflections and projections, which are
arranged in order of light and dark from the light side to the
dark side.

high gloss
A highlight is the brightest part of a lighted object, showing
the part of the object that directly reflects the light source.
Objects of every material have highlights, especially
materials such as glass and stainless steel, where the shape
of the highlights is more pronounced. When showing the
highlights of an object, we usually use white space.

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prompt
In order to keep the picture from looking dirty, highlights are
mostly shown in white, but sometimes other picture effects
are shown in white, so it is important to be clear about the
purpose of white space when drawing specifically.
intermodal
The mid-tones are also part of the lighted part, which itself
has rich black and white layers. Generally speaking, we will
show more mid-tones when shaping the structure of the
object and deeper portrayal of the object. Different positions
of the object are subject to different light conditions, so the
middle tone of the object can be divided into three levels:
light gray, medium gray and dark gray.
The light gray side meets the light side and is generally not
deeply etched; the medium gray side meets the light gray
side and is used to show the texture and material of the
object, etc.; the dark gray side meets the dark side and
forms a more natural transition with the dark side.
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prompt
In general, objects will have 3 levels: light gray surface,
medium gray surface and dark gray surface, except for
some special objects (such as glass and stainless steel),
which are affected by ambient light to show some special
texture effects.
bright and dark line
The light-dark junction line is the darkest part of the dark
area, it is located at the most prominent part of the object
and is the beginning of the backward turn of the body block.

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prompt
A light-dark junction line is a terminological expression. A
light-dark junction line is not a line, but a surface.
The light-dark junction line, although the darkest part of the
color, also changes with the light, so the light-dark junction
line itself has layers of variation.

reflective
A reflection is the part of an object's backlight that is
affected by reflected light from other objects or the
environment in which the object is located. The reflection
and the light-dark boundary line together form the dark side
of the object. Because the reflection is on the same surface
as the light-dark junction line, the color difference between
the reflection and the light-dark junction line is not too
great, and the reflection is slightly brighter than the light-
dark junction line.

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prompt
When portraying objects, there is generally no relatively
clear line of demarcation between the highlights, midtones,
light and dark junction lines, and reflections of the five
major tones. There are exceptions, of course, such as when
drawing a square-like object, where the effect of contrasting
light and dark sides is emphasized.
projection
The highlights, midtones, light and dark junction lines and
reflections mentioned earlier are all variations of light and
dark on the object itself. The projection is not on the object,
but is attached to other objects and has some association
with them.

When representing the projection of an object, the following

4 points need to be taken into account.
The first point is that the projection is affected by the
intensity of light and the direction of the light source. If the
light is strong, the color contrast of the projection will be
strong; if the light is weak, the color contrast of the
projection will be weak. In addition, the direction of the light
source will affect the direction of the projection.

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The second point is that the projection is affected by
the object itself. The projection generally changes with the
undulation of the edges of the object.

The third point is that the projection is affected by the

undulation of the surface it is on. If the surface is flat, the
shape of the projection is flat; if the surface is undulating,
the shape of the projection is also undulating.

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  Point 4, the further away from the object, the lighter the
projection; the closer to the object, the darker the
projection.

When drawing the projection of an object, you need to go

through the above factors so that the projection drawn will
be more vivid and natural.
This section focuses on the three main facets and five major
tones in sketching. The theoretical content is generally
boring to learn, but you must study it carefully to help you
clarify the basic logic of drawing. This theoretical knowledge
is important whether you are drawing pencil drawings or
other types of drawing.

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3.2 Basics of Light and Shadow
 
 
A painting cannot be shaped and expressed without light
and shadow. Light and shadow itself has various forms of
expression, such as top light, front and side light, front light
and back light. This section takes a sphere as an example to
explain its performance effect under different light and
shadow.
3.2.1 Top light
Top light is light that hits from the top of an object and sits
on top of a bright surface.

When showing the bright side, it is important to note that

the bright side receives more light. Here a white space is
used to show the bright side of the sphere, the white bright
side forms a strong contrasting effect with the black
background, and the whole picture has a forward extending
effect.

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When showing the dark side, note that the dark side is less
lighted and the local bright colors are reflective. The
background is mainly dark gray, slightly lighter than the
color of the dark side. The color contrast between the
background and the dark side is small, the contrast is weak,
the demarcation is relatively blurred, and the whole picture
has the effect of going backwards.

prompt
The dark side here is darker than the background to clarify
the spatial relationship of the spheres and to make the
background more airy.
When representing the first half of the projection, note that
this is where the color contrast is strongest and is the
darkest area of the projection. When representing the
middle part of the projection, note that the closer you are to
the object, the darker the color of the projection; the further
you are from the object, the lighter the color of the
projection. When representing the second half of the
projection, it is not advisable to draw it too solidly, so that it
blends naturally with the background, and to draw the
dividing line more faintly.

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prompt
The projection is shown here in different states at different
positions, and it is important to note that front solidity and
back weakness are common methods of projection
representation.
3.2.2 Front and side lighting
Front side light is light coming from the left or right side of
the object, and the object is in a state where it is half lighted
and half backlit. In this state, the projection of the object is
stretched out.

prompt
In principle, the projection is infinitely extended, but the
farther the projection is from the object, the more faint the
shape and the lighter the color. So up to a certain distance,
the projection and the background will blend together.
When showing the glossy side, note that the glossy side is
directly exposed to light, so it will usually be shown with
large areas of white space.

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When representing the gray side, pay attention to the
transition of colors. The layers of the gray surface are
changing from the light side to the light-dark border line.

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When representing the light-dark junction line, note that its
color will change from darker to lighter, mainly because the
lower part of the light-dark junction line is reflected by the
ground light and will be brighter.

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When showing reflections, note that the lower half of the
object is closer to the ground, so the darker parts of the
object are affected and the reflections are more varied.

When representing a projection, note that this is a projection

in front and side light, and the contrast between reality and
reality will be a bit stronger than in other light, as one end
of the projection will blend in with the background.

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3.2.3 Frontal light
Frontal light is light from the front, and almost all parts of
the object that can be seen will be illuminated. In a frontal
light environment, the basic tone of the object is bright and
gray, with little to no light/dark boundary line visible.

When representing bright surfaces be aware that the

several surfaces seen are affected by the light and produce
different color changes. The image below uses transitions
between faces to distinguish light and dark and to create a
sense of dimensionality.

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When representing the gray faces, pay attention to the color
transitions between the faces. As you can see, the 3 faces of
the square in the image below are different colors, and
there are color variations on the same face.

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When representing the projection, note that most of the
projection is obscured by the square and very little of the
projection can be seen, but the color of the junction line
between the object and the ground is usually weighted to
indicate the projection in order to make the object appear
more stable in the frame.

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3.2.4 Backlighting
Backlighting is light coming from directly behind an object.
A backlit object is mostly in the dark, with only a few bright
and gray surfaces visible.
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prompt
To better illustrate the point about backlighting, set the
picture so that the light hits from the top of the back so that
the layers of light and shadow will be richer.
Be careful when showing the bright side, in the backlighting
environment, this part is the only bright side, you can leave
white to show the contrast between light and dark in the
picture.

prompt
Most of the bright surfaces here are shown with white
space. In the specific drawing, the bright side can also be
carved, but not too much.
When showing a gray surface, use a row of lines to carve it.
This creates a strong contrast with the dark background and
gives a stronger sense of light. Here the gray surface is
relatively few and varied, and it is not etched in detail in
order to enhance the sense of light or the contrast effect
between light and dark.
OceanofPDF.com
prompt
The gray side is very small and is used here mainly as a
transition between the light side and the dark side. Both the
bright and gray sides are small enough that the backlighting
will have a stronger effect.
In the performance of the light and dark junction line, pay
attention to the light and dark junction line is the darkest
area on the object, but should not be carved too much,
otherwise it is difficult to show the details of the object.

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prompt
The light-dark junction line is important to show, but it is not
usually portrayed too much. Its role is to make light and
dark transitions, not to show detail.
When representing reflections, pay attention to the blending
of the edges of the object with the background. Each place
where the background and the object are close to each
other has a different variation of falsity and strength.

When representing a projection, the closer to the light

source, the darker the projection; the further away from the
light source, the lighter the projection.

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prompt
The explanation above focuses on the portrayal of the
object itself, here is a specific talk about the drawing of the
background. We commonly use the following 3 methods of
background representation.
Type 1: Representation of the background by means of rows
of lines. Try this method of representation if the subject is
darker or if the etching itself is more complex.

Type 2: Bokeh the background. If both the subject and the

background are rich, you can bokeh the background in order
to highlight the subject.

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Type 3: Make the background have a strong contrasting
relationship with the subject. This is the method we used
earlier when drawing the sphere. This background may
seem like a lot to portray, but the principle is simple - make
the background contrast with the subject.
OceanofPDF.com
3.3 Techniques of sketching and light and
shadow representation
 
 
The previous in-depth study of the basics of sketching and
light and shadow, focusing more on theoretical learning, this
section will take different painting objects as examples for
you to explain the specific performance skills of sketching
and light and shadow. The cases in this section are mainly in
the traditional realistic style, the drawing method is more
general, mainly focusing on the expression of light and
shadow, three-dimensional sense and the practice of
brushwork.
3.3.1 Drawing of Geometric Bodies
Geometry is simple in structure and easy to draw, making it
perfect as a training object for introductory sketching and
light and shadow. It is important to draw as a whole, which
means not only the whole of the picture, but also the whole
of each drawing object block, and it is perfect to use
geometry as a training object. Later on, when drawing other
cases, there will be many references to using geometry as a
method of representation. In this section, we will use
geometry as an example to explain the expression
technique of the change of light and darkness and the
change of reality and illusion of objects in the light.
cuboid
Â- Pre-painting analysis
This case focuses on the drawing of a rectangular body. The
subject in the picture is a rectangle, and the three major
sides, dark side, gray side and light side, have clear
transitions under the light. You can pay more attention to
the real and imaginary relationship and contrast relationship
of these three sides. The area of the background in the
picture is relatively large, but it all revolves around the
performance of the subject, so when drawing, you should
grasp the contrasting relationship between the subject and
the background.

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◎ Drawing steps
01 Draw the outline of a rectangular body with attention to
the proportions and perspective of the rectangular body.

02 Distinguish between light and dark or large light and

dark relationships, identify the location and shape of
projections, and distinguish between lighted and backlit
areas with simple rows of lines.

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03 Draw the background. The background can be
represented by lining up the lines, without emphasizing the
changes in light and dark for now. The reason for drawing
the background is to highlight the lighted part of the picture.

04 In-depth shaping. When drawing the dark areas and

projections, do not just press the dark color, you need to
distinguish the dark areas and projections according to the
contrasting relationship between the strong front and the
weak back; when drawing the light and dark junction lines
and reflections, pay attention to the light and dark junction
lines and reflections are integrated, do not need to draw too
much; when drawing the background, the closer to the
bright side, the darker the color, the other areas do not
need to draw too much.

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05 Line up the rectangle in one direction according to its
structure, indicating the grey side to shape the rectangle in
three dimensions. Then darken the dark areas a bit. Next
draw the background without carving too much.
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06 Carve the grey side, crosshatching the vertical and
horizontal lines so that the lines remain more in front and
less in back. Then darken the overall background to
highlight the bright side.

07 Tidy up the shape of the background slightly to enhance

the sense of form. The background on the right blends
partially with the projection in the distance and can be
etched a little fainter to emphasize the sense of space.

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prompt
When you get to this point in the drawing, note that the
dark side of the rectangle, the projection and the
background are more subtle and varied in their fictional
relationship.
08 Line up a few groups of lines on the light side and a few
groups of lines on the gray side so that the relationship
between the three major sides has basically been
established. The light, grey and dark sides of the rectangle
nearer are stronger and the space extends forward; the
light, grey and dark sides of the rectangle farther away are
weaker and the space recedes backwards.

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09 Overall adjustment. Use lines to enhance the transition
between the gray side and the background, diminishing the
contrast. Then use lines to deepen the background next to
the projection so that the background transitions from dark
to light gray, diminishing the color contrast of the
background itself.

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geometric combination
Â- Pre-painting analysis
This case focuses on the drawing of geometry combinations.
There are two subjects in this case, one is a square and the
other is a cylinder. The square is in the front of the picture
and the cylinder is in the back, so the square is portrayed
more than the cylinder. The overall color contrast of the
square is more pronounced than the cylinder, and the
shadows cast on the cylinder are what connect the square
to the cylinder.
◎ Drawing steps
01 Outline the shape. When outlining the shape, it is
important to pay attention not only to the changes in
perspective of the individual geometry itself, but also to the
position between the two geometries and the overall
perspective relationship.

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02 Draw dark areas, projections, and backgrounds in a lined-
up manner, distinguishing the light and dark sides of the
object. Note that the shadows of the cylinder should be
represented by curved lines to facilitate shaping the form.
The point of this step is to distinguish the general
relationship of the picture without too much detail.

03 Enrich the dark areas, projections and background. The

dark areas of the square and cylinder do not need to be
overdrawn; the main focus here is on the transition between
light and dark and the contrast between reality and reality.
OceanofPDF.com
prompt
Determining the big relationships is always an important
step in drawing. When determining the big relationships, we
have to start with the whole, so that no matter where we
stop in the drawing, the whole picture is more complete.
04 In-depth engraving. Pay attention to the representation
of lines in the picture, especially the rows of lines on the
cylinder. The direction of the lines should echo the
undulations of the object's surface. The lines were more
generalized when the large relationships were shown
before; here they are more detailed.

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05 Continue to delve into the grey side of the square and
cylinder, still paying attention to the contrasting relationship
between the grey, light and dark sides. The cylinder is more
rounded, and the transition between the light and gray sides
is more natural. Here the cylinder is bright in front and gray
in the back, which is convenient to pull the spatial level of
the picture. Note that the lines in this step should not be
drawn too much or too messy, and if you are not sure, do
not put down the brush.

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06 Arrange several groups of thin lines on the bright side of
the square and one group of lines on the gray side of the
cylinder to differentiate it from the bright side of the square
and to open up the spatial level of the picture.
prompt
Because the background is dark, the grey areas are weaker
against the background and the space naturally recedes
backwards.
07 Finish drawing the background using the line up method,
taking care to have more lines up and less lines down. The
background on the right is close to the projection of the
object, so a few more sets of lines are drawn here to allow
for a better transition to the distant projection and to
enhance the spaciousness of the image.

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08 Darken the background further to make the background
contrast more strongly with the light side of the geometry,
making the light side of the geometry appear whiter. Then
press the darker parts of the geometry with the projection a
bit to give the geometry a stronger contrast between the
large light and dark relationships.
OceanofPDF.com
Here are some other geometric works, both single and
combined. You can analyze their light and shadow structures
according to the above methods and summarize the laws of
light and shadow changes.

3.3.2 Drawing of still life

This section provides an explanation of drawing still life. Still
lifes come in a variety of forms, and light and shadow are
not as pronounced as in geometry, requiring a deeper
understanding of the structure of the object. In addition, this
section will explain the use of the brush.
pears
Â- Pre-painting analysis
This case focuses on the representation technique of a pear.
The shape of a pear, if summarized in geometry, resembles
a squashed sphere. So, when expressing the big
relationship, we can handle it with the help of sphere's
expression method. In the representation of the picture,
each group of lines is clear, so you should go to pay more
attention to the way the author uses the lines. The part of
the pear tip should be a long, curved cylinder in principle,
but here its light and darkness are ignored, and only its
reality is expressed, so that the picture will have a different
flavor.

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prompt
The surface of the pear has a certain amount of undulation
and variation, so a variety of methods were used to carve
the specific representation.
◎ Drawing steps
01 Outlining the shape. Readers with less modeling skills
can start by outlining the shape of the pear in pencil, using
intermittent lines to draw light and dark divisions and
projections.

prompt
The lines here are more relaxed, but that doesn't mean you
can draw them as you please, you still have to make sure
the shape is accurate.
02 Showing large light and dark relationships with lining up.
Pay more attention to the way the lines are lined up in the
picture here. The shape of the light and dark junction line of
the pear is not a full arc, it has zigzag variations.
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03 Darken the darker areas, noting the change in the light
and dark junction lines. The ends of the light and dark
junction lines are darker and the middle is slightly lighter.
The color of the projection is darker on the right and lighter
on the left. Use the line method to show the gray surface,
pay more attention to the white space on the gray surface,
and be more careful with the brush, because the change
here depends only on the change of the line to show.

04 The upper end of the pear has some twists and turns, so
use a line to clarify the relationship between light and dark,
and transition from gray to light side. When carving the
upper end of the pear, you have to think more about how to
show the three-dimensionality of the pear with the least
amount of lines. Here the brushwork is important.

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05 Line up several sets of lines on the right half that
represent the individual turning surfaces, taking care to
leave the middle of the lines white to show the highlights.
Draw the pear tip by lining up the lines.

06 Deepen the ends of the pear light and dark junction lines
to enhance the contrast between the light and dark junction
lines and the background. Then deepen the projection in
front so that the reflections will appear brighter and the
image will be more airy.

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still life combination
Â- Pre-painting analysis
This case explains the drawing of a still life combination.
The subject in the picture is a pumpkin, which resembles a
flattened cylinder and has an uneven surface. The
treatment of the big relationship can be done in the same
way as the representation of a cylinder. The specific drawing
of the cloth and fruit in the front will not talk too much, the
focus of this case is on the performance of the combination
of objects.
◎ Drawing steps
01 Outline the shape. In this case, there are many objects to
portray, so pay attention to the position and proportion of
each object when outlining the shape. Each object is tilted
at a certain angle, and the dynamics of the object should be
grasped. In this case, the cloth is relatively more
complicated to draw, but basically it is also expressed in a
large surface, so pay more attention to the twist and turn of
the cloth when drawing.

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02 Distinguish between the lighted and backlit sides of an
object by lining them up. Note that it is important to clarify
the relationship of the pumpkin's transitions.
OceanofPDF.com
prompt
The pumpkin itself is more bumpy and undulating and
varied, so its darker parts are chunky and you need to pay
more attention to them.
03 Draw the background by lining up the lines, the closer to
the bright side of the object, the darker the background; the
further away from the bright side of the object, the lighter
the background. After drawing the background, the big light
effect is basically out. You can check the picture when you
draw to this step to see if the performance is in place.

04 Deeply delineate the dark areas and projections of the

object, paying more attention to the relationship between
reality and light and dark contrast of the object. The dark
parts of the pumpkin are partly light and dark junction lines,
partly reflections, and partly projections. Follow the turns of
the cloth and use lines to outline the light and dark
relationships of the cloth.

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05 Deep drawing. Start with the tip of the melon, which uses
fewer lines, but the relationship between the light, grey and
dark sides remains well-defined. Then draw the gray side,
paying attention to the direction of the lines and the white
space. Next, use a small number of lines to draw the light
side.

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06 The pear is further back in the picture and is not the
focus of the picture presentation, so it is sufficient to show
its large relationship.

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07 The lemon in the front is not very round and resembles a
polyhedron, so when drawing it, follow it directly to the
polyhedron. Deepen the darker parts of the lemon first to
enhance the contrast of the larger relationships. Then use a
long line to distinguish the light side, the gray side and the
dark side. Then weaken the transition between the gray and
the light side and leave the light side white. Finally, deepen
the color of the projection to strengthen the contrast
between light and dark.

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prompt
The projection here is partly on the cloth, so the projection
on the ground is darker and the projection on the cloth is
lighter; the two projections should be distinguished.
08 Carve the background. Darken the background to make
the brighter side of the object stand out more. Because of
the subtle changes in the pumpkin's use of lines and white
space, this area has a strong light atmosphere with little
variation in the background color, but also a variation in
fiction.
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09 The bright side is etched with rows of lines, and a few
white spaces in the frame give the cloth a fuller look.

prompt
Here's an analysis of the relationship between the rise and
fall of the cloth. Note that whether the light side turns to the
gray side or the gray side turns to the dark side, there
should be varying degrees of white space. This approach is
similar to the drawing of a square, where the three main
sides of the square are in clear contrast, and the turning
surfaces are shown more often with changes in shape or
contrasts of light and dark.
10 Draw the ground in front of you using a row of lines to
make it blend more naturally with the objects in front of you.
Then deepen the color of the darker parts of the pumpkin to
enhance the contrast between the pumpkin and the
background and make the subject more dynamic. Then
darken the rest of the picture to varying degrees.

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Here are some other still life works, both singular and
combined, so feel free to choose when copying. When
drawing these still lifes, the emphasis is on the practice of
brushwork, shaping of light and shade, and the treatment of
light and dark.

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 | Chapter 4 |
body block

The body block is the key to solving the basic modeling

problems of drawing. When we study the block, we will use
some representative objects as examples to explain the
laws of expression of shape and volume, and then learn how
to draw other objects by example.

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4.1 Basics of the body block
 
 
A big problem that many readers have when learning to
draw is shaping. Sometimes, the drawing comes out well
and the lines are infectious, but you will always be told that
the shape is inaccurate. That's because, we unconsciously
ignore a very important drawing element - the body block -
when we draw. Next, we will explain the knowledge point of
body block to solve the problem of drawing shape from the
root.
4.1.1 The concept of a body block
Picasso has a famous set of paintings called The
Metamorphosis Process of a Cow. A cow is transformed into
a concise and generalized line drawing through several
steps of the master painter. From realistic decomposition to
block, then to geometry, and finally to a few lines, this
process is "deconstruction".

In painting, we can adopt Picasso's way of deconstructing

the bull to deconstruct the painting object. Of course, we do
not need to deconstruct so thoroughly, it is enough to
deconstruct the painting object to the layer of the body
block. When we depict an object, we first go to analyze its
shape and proportions, and we can roughly determine the
length and width proportions of the object. Then analyze the
inherent elements of the object and think about what
important and minor elements the object has, etc. Through
observation, analysis and generalization, we can summarize
the depicted object in a simple way. For example, the most
basic form of a book is a rectangle, the most basic form of a
water glass is a column, etc. The object depicted is
extracted from the tedious details and variations of light and
shadow through pure geometry or irregular shape, which is
the body of the object.

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prompt
The process of generalizing the body block is a process of
breaking down, breaking up and reorganizing objects. By
learning and deducing about the body block, we can solve
most stylistic problems.
Here's how the body blocks of some objects look compared
to the finished image.

4.1.2 The three main characteristics of the

body block
As mentioned earlier the block is a way to summarize the
form of an object, it directly shows the most essential form
of the object, so the block is concise. When summarizing the
object form, it is important to pay attention to the three
main characteristics of the block itself, namely, large
structure, large light and shadow, and ignoring all details.
These three main characteristics do not exist independently,
but are interconnected.
macrostructure
When generalizing the blocks of an object, we first analyze
the shape, proportions, and interpolation relationships of the
object; this process of generalization is the process of
breaking down the larger structure. By analyzing the large
structure, we can clearly understand the form, structure,
space, and interpolation relationship of the object, etc.

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In the figure below, the basic form of the building is made
up of several squares of different sizes. When grouping the
blocks, pay attention to the proportions and perspective
relationships between each square, etc.

The blocks of natural landscapes are generally irregular, and

when summarizing them, they need to be summarized with
the help of irregular shapes, and moreover, the division of
shapes and the hierarchy of the space before and after
should be considered.

great light and shadow

Big light and shadow, also known as big light and dark, is
similar to the five major tones in sketching. Big Light and
Shadow is built on the basis of Big Structure. In the Grand
Structure stage, the relationships of the object's form,
proportions, interpolation and perspective are already
expressed. In the Big Light and Shadow stage, the light,
dark, and projection of the object are represented,
depending on how the object is lit.
The relationship between face and shadow is important
when representing large light and shadow in architectural
landscape subjects. The building in the picture below shows
the relationship between light and shadow on the basis of a
large structure, with a clear contrast between the light side,
dark side and projection of the building and a strong
perspective. When portraying, pay attention to the color and
size contrast between faces and surfaces, and determine
the location of the light source to show the light and
darkness of the object. In the case of diffuse light, add a
light source subjectively and imagine the effect of light and
dark changes of the object under the light.

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When representing large light and shadow in natural
landscape subjects, more attention needs to be paid to the
distinction between light and dark surfaces. At this stage, it
is important not only to summarize the relationship between
light and shadow, but also to outline the inherent color of
the object. For natural landscape subjects, the contrast
between black, white and grey in the picture is very crucial.
In the picture below, the large light and shadow of the
mountain peaks are similar to the large structure with the
addition of many irregular shapes, so it is important to
summarize the shape of the dark parts when dealing with
the large light and shadow relationship to enhance the
sense of form of the picture.
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When showing the large light and shadow of animal
subjects, the structure should be the main focus and the
light and shadow should be supplemented. The small animal
in the picture below shows only the light, dark and
projection except for the depiction of the basic five senses,
no need to emphasize the hair and other details, just use
lines to indicate the turning lines and some structural lines.

Ignore all the details

The body block state extracts only the most basic form of
the object and is largely devoid of detail. Many beginners
tend to be obsessed with details and ignore the relationship
of the object as a whole. Therefore, body block training can
fundamentally develop a sense of the whole in our painting.

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4.2 Representation techniques of the body
block
 
 
This section focuses on the technique of deconstructing the
expression of the body block. The process of drawing a body
block is like peeling an onion, one layer of material, one
layer of contrast, one layer of light and shadow, and one
layer of body block, layer by layer, the surface elements are
peeled off to find the most essential form of the object. A
complete work will incorporate a variety of techniques for
expression, such as subtle contrasts of light and shadow
and fine lining. But most of these effects are only expressed
at the stage when a piece is almost complete. The block is
the foundation of the "house" before these effects are
completed.
We can roughly divide the painting into four major steps,
from the expression of body block structure, perspective,
interpolation and proportion, to the expression of sketching
relationship, light and shadow relationship, black, white and
grey contrast and point-line contrast, to the expression of
material, texture and inherent color, and finally to the
artistic expression of brushwork and picture, etc. In this
order layer by layer the object to be depicted is expressed.

4.2.1 Large structure phase

As the saying goes, "It's hard to draw the bones of a dragon
and a tiger." It is the point that supports the structure of the
object and the line that holds up the surface of the object.
The following is an explanation of the skills of large
structures.
01 Find a few key structural points that hold up the object,
mostly the endpoints of the most prominent parts of the
object. When looking for key structural points, it is important
to note that only the points that are connected and can
roughly summarize the surface of the object are structural
points.

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prompt
Some objects are structured at right angles, and the right
angle points are the structure points. However, some
objects are curved, and if the curvature is not large, the
lines can be extended and the point where the lines
intersect is the structure point.

02 Connect the found structural points with straight lines.

When connecting the structural points, pay attention to the
perspective relationship between the lines. You can draw a
line and clarify the relationship of this line to other lines to
ensure that the perspective relationship is correct. This
stage can be tedious, but when this repeated comparison
becomes an unconscious act, our ability to control the
structure and perspective of the object improves.
In the large structure stage, there are no too strict
requirements for the representation of lines, but it is
important to show an accurate perspective relationship.

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prompt
In general, the shape of an object can be summarized with
straight lines. However, there are objects that are curved, so
it is important to be flexible with the use of lines when
connecting structural points.

4.2.2 Big light and shadow stage

The performance of great light and shadow is built on the
foundation of great structure. Only the techniques of
expression of light and dark are explained here, and other
contents are not explained in depth. While clarifying the
relationship between light and dark objects, it is also
important to pay attention to the expression of the shapes
of light and dark sides, as this can enhance the sense of
form of the picture to a certain extent.
01 Determine the main light source. Generally when
representing architectural landscape subjects, the main light
source mostly defaults to sunlight. On cloudy days, we have
to actively set the position and intensity of the main light
source. The direction of the main light source determines
the location of the light side, dark side and projection of the
object.

prompt
The angle of the main light source determines the size of
the object's lighted surface, and thus the size of the dark
side and projection. The strength of the main light source
affects the contrast between light and dark in the picture. In
the large light phase, only large light and dark contrasts are
sought to be clear, without much detail portrayal, so the
effect is not significant.

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02 Based on the characteristics of the main light source, the
shape of the dark side and projection is outlined on the
basis of the larger structure.

prompt
At this stage, the expression of the object's form is
important, and the size and shape of the object will affect
the sense of form in the picture.
03 Line up the dark areas and projections. Be careful not to
destroy the shapes determined in the previous step and to
keep the lines regular and not too messy, as this will affect
the later engraving, so be patient while drawing.
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4.2.3 Comparison of body block diagrams
with the finished diagram
Compare and contrast the body block diagram with the
finished diagram and analyze what are the differences
between them. The body block drawing uses some fine lines
to show the structure of the whole building, and uses light
and dark contrast to distinguish the light and dark sides,
which enhances the three-dimensional and spatial sense of
the building. In the finished drawing, the spatial sense of the
picture is enhanced, and there are more auxiliary decorative
elements, such as plants, etc., the light and shadow are
more delicately drawn, and the materials are reflected, all
these effects are added on the basis of the body block
drawing. Familiarity with the body block drawing method
can fundamentally solve the problem of modeling.

As shown below, the block diagram differs significantly from

the finished drawing. In the block diagram, fine lines have
been used to show the structure of the whole building, and
light and dark contrasts have been used to distinguish the
light and dark sides of the object. In the finished drawing,
more supporting scenery has been added, with elements
such as stones, grass and tiles in the close up, and a large
number of plants in the middle and far up, while the wood
grain and glass of the objects have been portrayed.
The biggest difference between the body block drawing and
the finished drawing is the detailing of the bright side and
the expression of the matching scene. The bright side
mainly reflects the expression of the material and texture.
The darker parts are darker and will overwhelm the picture,
so there is no need to do too much painting in order to
better express the space.
The focus of the expression of the body block is different for
different objects, some may focus on the expression of light
and darkness, others may focus on the expression of light
and shadow. To some extent, the body block determines the
tone of the finished picture. Below are some examples of
body block training, they are not complicated to draw, but
you should consider more about the shape of the object, the
relationship between light and dark, the turning and
contrasting relationship of the body block, etc. when
copying, and learn with a purpose, so that the progress will
be faster.

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 | Chapter 5 |
framing and composition

This chapter explains what you need to know about framing

and composition in pen drawing. The content of the framing
depends on the way we observe the object, and the
composition determines the way we arrange the elements
of the picture, both of which directly affect the content of
the picture. When framing, it is important not to "move"
what you see directly into the picture, and to observe and
think carefully when composing.

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5.1 Method of framing
 
 
This section focuses on framing. When drawing, we should
first observe the object we are drawing, and then plan the
picture specifically to determine what the specific picture
will be. This specific content of the painting is the content of
framing. The following author summarizes some specific
methods of framing.
5.1.1 Locking the Fun Center
The center of interest referred to here is the focal point of
the picture, which can be distributed anywhere in the frame.
Once the center of interest is identified, the other elements
around it are weakened. The purpose of weakening other
elements is to make the surrounding secondary elements
contrast strongly with the center of interest, thus
highlighting the center of interest.
In the image below, the top half of the castle is the
characteristic structures such as the roof and windows,
which are the center of interest of the image. The castle
itself is the main subject of the picture, and again the parts
such as the walls have been weakened to accentuate the
centre of interest. In order to emphasize the centrality of the
castle, not many secondary elements are painted, and only
some trees are painted to set off the majesty of the castle.
With too many layers of secondary elements, the grandeur
of the castle is diminished.
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In the image on the right, the close up view shows only the
body of two large, thick trees, with little detail portrayed;
the white space in the lower part of the trunk is the key to
directing the eye. The brighter area in the center of the
picture is used as a distant view, with less portrayal and a
large block, which basically does not show the specific form
of the object. The role of the distant view here is to pull
apart the spatial level of the picture. Both the close and
distant views are represented by bright colors, and the
middle view is represented by heavy colors. The mid-field is
divided into many layers, which on the one hand opens up
the spatial level of the picture, and on the other hand
enriches the details of the picture, the most important
contents of the picture are in the mid-field part.

In the image on the right, the stone bridge is backed by a

large dark wooded area, contrasting with the brightly
colored stone bridge and the water. The interesting center
of the image is the stone bridge and the water, and the
shape and lightness of the stone bridge itself is the highlight
of the image. The image is gradated from right to left with
large blocks, and the gradation also serves to highlight the
center of interest.

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5.1.2 Finding commonalities in picture
elements
When the painting object does not have a particularly
prominent center of interest, we can use the method of
extending the viewer's line of sight to determine the content
of the picture. In the specific performance, in order to make
the picture more tense, we should look for some
commonalities of the picture elements, such as common
light and shadow and common perspective. Using this
commonality, then according to the content of the picture
performance to distinguish the level of distant, medium and
close view, from which the visual center is selected.
The picture on the right shows a corner of the water town of
Jiangnan. Each of the buildings here is distinctive, and if
they were all portrayed in detail, the picture would not have
a sense of hierarchy. These buildings are all on the same
side of the river bank, and the perspective is the same,
which is the key point we need to grasp. You can use the
contrast between strength and weakness and reality to
shape the picture based on perspective, and subjectively
determine the visual center of the picture.
In the picture on the right, the buildings are all lighted to the
same degree, allowing the eye to follow the dark side of the
buildings. Although there are many light sides in the picture,
they do not do much to shape the sense of space in the
picture, so a lot of details are added to the representation of
the dark sides as a way to enrich the picture. The visual
center of the image is also on the dark side.

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5.2 Composition Techniques
 
 
The framing determines the content of the picture, and
composition can help us rationalize the way of arranging the
content of the framing. We commonly use a variety of
composition forms, such as vertical composition,
symmetrical composition, triangular composition and
diagonal composition. The following author has summarized
some composition techniques.
5.2.1 Dominated by the main elements of
the picture
Composition is generally influenced by the main element of
the picture. When the subject element occupies a large area
of the picture, its own form is the key to the composition.
The main element may be vertical, tilted and upside down,
and these characteristics should be taken into account when
composing the picture before planning the rest of the
picture. The outline of the main element plays a part in
dominating the form of the picture and guiding the viewer's
eye.
The image below is a vertical composition with a towering
building in the center of the frame, the direction of the
building dictating the way the composition is drawn.

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The image below is a symmetrical composition with a
triangular peak dividing the image into two parts, the outer
contours of the triangle reinforcing the stability of the
mountain. 3 main lines guide the viewer's eye and
accentuate the mountain's grandeur.

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The image on the right is a work with a radioactive
composition in which the main element of the picture emits
outward from the ground in a fan-shaped form. The main
element is in the center of the picture, which is very stable,
and the effect of the picture is enriched by the hard lines.
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The image on the right is a diagonal composition with both
ends of the dead tree on the diagonal, giving the image a
certain sense of movement.

5.2.2 Dominated by the direction of the

extension of the line of sight
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When there are more elements in the picture, the influence
of the main element on the composition is weaker and we
can determine the main element of the picture subjectively.
In composition, the elements in the picture are often
arranged in the direction of the extension of the line of
sight. Our line of sight can pass through the front of the
picture and extend out of the picture without being blocked.
The image below is a triangular composition with the 3 main
elements of the image arranged at different ends of the
triangle.

The image below is a horizontal composition with the

dominant elements of the image arranged on a horizontal
line with the line of sight extending horizontally from the
center to the ends.

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The image below is a C-shaped composition with the line of
sight running similar to a letter C. The line of sight extends
from the nearer stone to the farthest stone.

The image below is an S-shaped composition with the line of

sight going similar to a letter S. The line of sight extends
from the front part of the grass backwards to the center of
the vision.

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5.2.3 Dominated by the outline of the
picture
If the picture is full and we cannot make adjustments to the
position of the elements in the picture, we can shape the
outer contours of the picture to approximate a geometric
shape to give the picture some integrity.
The image on the right is a similar horizontal composition in
which the elements are arranged on a horizontal line and
the outer outline of the image resembles a rectangle, which
makes for a more stable image.
The image below is a triangular composition that boils down
the entire outer outline of the image, making the simple
image more flavorful.

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The image below is a rectangular composition with no clear
subject, highlighting the scene and giving the impression as
if one is slowly walking from the edge of the frame into the
painting.
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 | Chapter 6 |
Rhythm and Rhyme

A painting has many forms of expression, it can be painted

neatly or casually, and the content of the picture can be
more or less. But a good work must have its own
characteristics of expression, which is the rhythm and
rhyme of the picture. In order to express the rhythm and
rhythm of the picture, we must first understand the
composition elements of the picture.

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6.1 Constituent elements of the picture
 
 
Readers who have studied design should be familiar with
the word "composition", and there are corresponding
composition methods in painting, which determine the
beauty of the picture. This section focuses on two points of
composition: one is the knowledge of penmanship, i.e.,
point, line and surface; the other is the knowledge of color
processing, i.e., black, white and gray. These two ways are
the more common ways we use for composition.
6.1.1 Point, line and surface
Point, line and surface are the 3 most basic expression
techniques. Point, line and surface here refer to the point
element, line element and surface element in the work,
which is an abstraction of the painting object.
More prominent in the image on the right is the use of the
point element (the water droplets around the bird of prey).
These water droplets serve to enrich the image and give it
more decorative elements; secondly, they enhance the
sense of movement in the image, as these water droplets
look like they are shaking off when the wings are flapping,
suggesting that action is taking place.

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The trees in the close up view on the right are the visual
center of the image and are the most heavily etched. There
are many layers in the close up view, all of which are
represented by lines.

The engraving on the right focuses on the treatment of the

branches. The branches are partially represented by lines of
different thicknesses, and the entire canopy is entirely
represented by line elements. A small number of point
elements are also added to enrich the visual effect of the
picture.

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The above analysis of different images gives an idea of the
role of dots, lines and surfaces in the image. No matter
which element is used, it can show a good-looking picture
effect. In the expression of the dotted line surface, we
abstract the shape of the painting object itself, thus
producing a certain decorative effect. Of course, the use of
point line surface needs to be dependent on certain objects,
when the painting object cannot be abstractly processed,
we can subjectively use some expressions to portray, such
as adding point elements, line elements or surface elements
and other methods.
prompt
Subjectively adding point elements, line elements and
surface elements is not as good as adding more, but still
needs to be determined in relation to the effect of the
image.
6.1.2 Black and white grey
We generally understand black, white and grey to mean
subjective processing of the colors of the picture, leaving
only the 3 colors of black, white and grey, so that the
picture achieves unity and strong contrast. Black here refers
to the heavy color or black; white refers to the light color or
white; gray refers to the gray of the picture, such as light
gray, medium gray and dark gray, etc. The following is a
concrete example to explain the use of black, white and
grey in the picture.
prompt
The definition of gray is broader here, and you have to go
more into comparing the colors of the images when it comes
to specific representations.
In the picture on the right, the light colored fluff on the
parrot belongs to the white level of the picture. Although the
relationship between light and gray is also reflected in the
light color, the overall color of the fluff is not very different
and contrasts with the color of the wings, which appear to
be light in color and smooth in texture. The wings belong to
the gray level of the image. Although the wings are small,
they are on either side of the light colored feathers on the
abdomen, and the color of the wings belongs to the heavy
color in the picture. The head belongs to the black level of
the picture and is the focal point of the whole picture. The
overall color of this image is brighter, so this part is very
prominent in the image.

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The picture on the right uses white space (e.g., white space
in the grass, white space on the roof of the house and white
space in the sky) to show the layers of white in the picture,
making the contrast between black and white and gray
stronger and the picture more artistic. The dark side of the
house, the hills in the distance and the grass in the close up
belong to the grey level. Of course, the gray here is also
divided into different layers. The trees are the highest point
and the visual center of the image, and here the color of the
trees has been deepened to make them stand out from the
image. These heavy colors both hold down the image and
pull apart the spatial layers of the image, which is the
finishing touch to the image.
The black in the image on the right is mainly in the stone.
Here the inherent color of the stone is deepened to give it a
strong contrast with the white of the flowing water. Here the
flowing water is left white, and although the lines show the
lightness and darkness of the flowing water, the color still
appears light against the surrounding dark stones.

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These are the uses of black, white and grey in actual
painting. From this we can know that black, white and grey
has been subjectively processed for the more intense
images, by planning the colors in the picture to give the
effect of black, white and grey separation.

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6.2 Rhythm and Rhyme Expression
Techniques
 
 
This section focuses on the rhythm and rhyme of the picture
and specifically explores the expressive techniques of the
picture. This section will list several common expressive
techniques, such as contrast of sparseness, contrast of
intensity, contrast of reality, contrast of size, and contrast of
movement and stillness. There is no strict distinction
between these expressions, and there is a certain
correlation between them. There is no need to distinguish
them too clearly when you study them, as the effect of the
picture will come out once the state of the picture is
grasped.
6.2.1 Sparse and dense contrast
In the process of painting, if a certain element accounts for
a relatively large and repeated appearance, we have to deal
with it subjectively, and the specific expression technique is
sparse contrast. When using sparse contrast, you can select
a key point in the picture for detailed portrayal, and simply
portray the other elements.
In the image below, the contrast between sparseness and
density is mainly seen in the treatment of the stones. The
stones close to the visual center, each of which is a different
shape and size, are more heavily carved and detailed. The
stones and other elements farther away from the visual
center are not as well carved and have a lot of white space.

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In the image below, the branches in the top half are the
visual center of the image; the middle part has fewer
branches and is the most airy part of the image; the bottom
half has a denser distribution of trees, but not many layers.
This allows for a better spatial layering of the image. The
branches in the middle of the bush are denser, and the
branches around them are sparser.

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From the above, we can know that using the method of
sparse and dense contrast can distinguish the main and
secondary aspects of the picture. Of course, when
distinguishing the large sparse relationship in the picture,
you should also pay attention to the local sparse
relationship, so that the local performance is more layered.
6.2.2 Intensity contrast
When working with large blocks of color or gradient
elements, you can use the method of contrasting intensities
and shades, changing the color of the picture by overlaying
lines. When drawing a still life, we would draw a solid-
colored background in rows of lines and use the intensity of
the colors to indicate the effect of the gradient.
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In the picture on the right, the background color in the
upper part is thicker, contrasting with the lighter color of the
plaster body, making it stand out more in the picture; the
background color in the lower part is lighter, contrasting
with the gray side of the plaster body, making the transition
of the plaster body more clear. When the object is treated
with a large area of solid color, the transition between
intensity and shade is more natural, which makes it easier
to give the picture a sense of space.

The background in the image below originally showed a

large wooded area and distant mountains, but was grouped
into a large, heavily colored surface in order to highlight the
stone bridge and flowing water in front of it. The change in
intensity throughout the face is transitioned from left to
right, and the outline of the heavy color is outlined to
highlight the details. The further to the right, the lighter the
color, the further the space is pushed. The change in
background color intensity also shows the change in fidelity
throughout the background.
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When dealing with the distant scene in the image below, a
strong and light contrast is used to show the color blocks as
they get lighter the further back you go. By using this
approach to the distant view, it ensures a contrast in the
levels of the distant space without making the distant view
look too abrupt.
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We can know from the above that when dealing with
backgrounds, distant scenes or images with large repetitive
elements, the areas with strong colors lean forward and the
areas with light colors lean back. When dealing with large
areas of color, we can enrich the details by local color
differences so that the picture is not empty.
6.2.3 Contrast between reality and fiction
The contrast between reality and imagination is an
important way to open up the spatial level of the picture
and emphasize the priority of the picture. The contrast
between real and imaginary contains a lot of knowledge
points, and the contrast between sparse and dense and
contrast between thick and thin that we talked about before
is largely connected with the contrast between real and
imaginary, which also reflects from the side that the
expression technique of contrast between real and
imaginary can be shown through a variety of techniques.
The contrast between reality and reality dominated by
brushwork
Stroke-driven contrast between reality and imagination
refers to the variation of brushwork and line to express the
reality and imagination of the picture.
In the picture on the right, when dealing with the distant
tiles, they are shown with a large area of white space,
leaving only a few lines as transitions and embellishments;
when dealing with the nearer tiles, there is more incising
and more variation in brushwork, and the further back, the
fewer lines and less variation; when dealing with the wood
and other materials in the front part, both the
representation of light and darkness and the detailing are
more obvious.
Light and dark dominated by contrast between reality and
reality
Light and dark-dominated vignette contrast refers to the
effect of showing the contrast between light and dark
through light and dark changes. The light side is more solid
and more portrayed; the dark side is more vague and less
portrayed.
In the image on the right, the dark side is more faint, and
although there are variations in color, they are distinguished
in the form of faces; the light side is more solid, the visual
center of the whole image, and needs to be portrayed in
detail.

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Strength-driven contrast between reality and reality
Strength-driven fictional contrast is achieved by detailing
the visual center and weakening surrounding objects when
dealing with large, similar bodies (such as rocks, woods, and
buildings).
In the image on the right, the stone in the visual center is
more three-dimensional, with clear variations in light and
darkness and details. The surrounding stones are less well
carved, some with only a few lines to show the general
change in light and darkness of the stones and the turning
of the body blocks.

6.2.4 Size comparison

Size contrast is a way to dramatize a bland image. At its
core, it is the exaggeration of two objects that are not very
different, so that one of them appears taller and the other
smaller. Size contrast can be used when we are painting
mountains, buildings, or when we want to specialize an
element of the picture.
There are two common ways to compare sizes.
The first way of size contrast is similar to the use of the
principle of near large and far small in perspective, but of
course it is more of a subjective treatment, reducing the
secondary object and enlarging the primary object to form a
strong and weak contrast relationship, thus highlighting the
subject.

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In the image below, although the distant mountains are
portrayed, the overall size of the distant mountains is
smaller and less conspicuous, which accentuates the main
peaks. The main mountain is larger and dominates the
picture, and it is portrayed in detail.

The second way in which size is contrasted is between

different objects. This contrast is a subjective and artistic
treatment.
The building in the image on the right has been represented
normally, but the figures in the image have been reduced in
size. The image itself is shown using an elevated
perspective, which, combined with the strong size contrast,
makes the building appear more majestic.

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6.2.5 Dynamic and static comparison
Contrast is a common way to liven up a picture. If the image
is too regular, we can use other elements to "break" the
effect of the image. There are two common ways of
contrasting motion.
The first way of contrast between motion and static is to use
different methods of expression to pull apart the picture in
order to form a contrast between motion and static, such as
large versus small, many versus few, square versus round
and curved versus straight.
In the image below, the curved lines are used to represent
the clouds, enhancing the sense of movement in the image.
The curved lines of the clouds contrast with the straight
lines of the buildings. The buildings are also well portrayed,
with the buildings themselves being smoother and the
picture overall more regular. The water ripples on the
surface of the water also enhance the motion of the image.

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The second way of motion contrast is to use elements such
as dots and lines in the picture to enhance the motion of the
picture. The decorative elements such as dots, lines and
surfaces are vivid in themselves and can form a strong
contrast with the main subject of the picture, thus
enhancing the contrast of movement in the picture.
In the image below, the mountains are the most stable and
quiet element in the picture, and although they are large
and carefully carved, they are not vividly represented.
Decorative elements such as birds of prey and the moon are
added to the sky, allowing them to exist in the form of dots
to enliven the atmosphere of the picture. The performance
of these decorative elements should also follow the principle
of sparse and dense contrast to make the picture more
durable.

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 | Chapter 7 |
Performance of different materials

This chapter mainly explains the performance of different

materials, with several cases to help you understand and
master the points of different materials drawing. On a daily
basis, we should observe more about the materials of
different objects and analyze their different performance
effects.

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7.1 Rocks
 
 
Stones are often present as a supporting scene in pencil
drawings. There are many types of stones, such as fluorite,
pebbles and wood fossils; and a variety of shapes, such as
square, round and irregular shapes. The following is an
explanation of stone drawing.
7.1.1 Characterization of the stone
The stones do not have a standard shape, so when drawing,
the main purpose is to show the light and darkness of the
stones and shape the three-dimensionality of the stones
through different brush strokes, and also to show the
rhythm of the picture with the help of line changes.
Stones of different shapes
In specific paintings, single stones are often used as an
embellishing element of the picture, and sometimes piles of
jumbled stones are used as the dominant element of the
picture. When the stone exists in block form, the state it
generally exhibits is characterized by distinct transitions and
a strong sense of three-dimensionality.
Â- Monoliths
The single stone here refers to a common single stone,
which can be large or small, round or square. In the specific
painting, the method of representing single stones is
basically the same.

prompt
When drawing a stone, you need to pay attention to the
characteristic "stone with three faces". The term "stone with
three faces" means that an irregular stone is understood as
a polyhedron with multiple turning surfaces, but there are
three main turning surfaces: a left-to-back surface, a right-
to-back surface, and a top-to-back surface. Multiple turning
surfaces are connected to form the entire stone.

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The "three faces of the stone" are the large relationships in
the stone's block transitions, while the three large faces
shown are divided into other smaller blocks. "This is the
basis of our understanding of the structure of the stone. The
stone itself has many variations and is very rich in the
expression of brushwork. In general, the stone can be
expressed with the help of changes in light and shade, so it
is also possible to understand the "three sides of the stone"
as the light side, the gray side and the dark side of the
stone itself, so that the three sides have a clearer turn.

Â- Combination stones
Combined stones are made up of a combination of
individual stones, each in a different position. When drawing
a combination of stones, you should not only pay attention
to the portrayal of the stones themselves, but also grasp the
contrast between different stones in the picture, the space
and the relationship between reality and reality of the whole
picture.
In dealing with the front and back levels of the stones in the
right image, the techniques of contrast between strength
and weakness and between reality and fiction are used. The
distant stones are present as large blocks and outlines,
distanced from the stones in the visual center, and with a
more relaxed brush. The focus here is not on modelling the
stones, but on dealing with the relationship between them.

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Ornamental Stones
Ornamental stones are generally based on strange stones
and rockeries, which have different forms and styles. When
drawing ornamental rocks, you need to pay special attention
to the expression of the outer contour of the stone, which is
where the main characteristics of ornamental rocks can be
reflected. Show the unevenness of the stone surface
according to the light, and then choose the appropriate
brush method.

The rockery and strange rocks in the picture below are

relatively common ornamental stones, and the focus of the
carving is on the treatment of the outline. When dealing
with the internal details, it is important to show a uniform
relationship between light and dark and a large undulating
structure, to simplify the details, and to show the hardness
of the stone through the zigzag changes in the lines.
7.1.2 Drawing of combined stone blocks 
Combined stones consist of different single stones, and
when drawing them, it is important to pay attention to the
differences between the stones in different positions, and
also to grasp the contrast between the different stones in
the picture and the contrast of the whole picture.

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Pre-Painting Analysis
This case is drawn with a pile of stones. The visual center of
the image is in the lower center section, which has more
detailed and varied carving of the stones. The surrounding
stones are more simply carved, and the lines are gradually
reduced and the bodies become weaker. This case is treated
with a strong contrast between reality and fiction, with the
stone blocks in the visual center having a clear turn in body
and the distant stones existing only in outline form. The
brushwork is relaxed throughout, and the image appears
more dynamic.

Drawing steps
01 Draw from the visual center, outlining the stone with
lines. The outline of the stone shows both the shape of the
edges of the stone and the turning lines of the stone.
02 Draw some more stones. Divide each stone as a large
face, distinguishing the size and position of each stone in
relation to each other, etc., and draw the turning lines for
the body blocks of the stones.

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03 The darkest color in the image is in the visual center.
Show the projection of the stone in the visual center, then
draw the dark side of the stone.

04 Draw out the dark sides of the surrounding stones. The

stones that have been drawn here are the main ones in the
picture, so when showing their dark sides also draw their
important transitions, using rows of lines to show them.

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05 Deeply carving the gray surface. The gray surface is the
turning surface of the stone in the lighted part, so the brush
is not too much and the color is not too heavy, and the
focus of the carving is the turning of the stone body block.

06 Treating the bright side of the stone. When dealing with

the bright side of a stone, follow the undulations of the
stone itself, using rows of lines to show the undulating
structure of the stone's surface. The brushwork here is more
casual, mainly shaping the structure of the stone itself.

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07 Draw the distant stones in the same way. When drawing
the distant stones, the brushwork is more casual and less
incised, and the volume of the stones can be expressed in a
few strokes. Deepen the color of the projection of the stone
in the center of the vision, and use random lines to show the
ground and enhance the contrast between the ground and
the stone.

7.1.3 Drawing of stone walls

This case draws a crumbling stone wall. The whole picture is
more elaborate in the handling of the reality and the fiction,
which is something you need to pay attention to when
drawing the stone material. You can't paint the picture all
over, otherwise the picture will not breathe and look dull.
Pre-Painting Analysis
When drawing the stone wall in the picture, most of the
short lines are used to represent it, and these short lines are
thick and thin, rich in variation; when dealing with the
surrounding grass, only the thick lines are used to simply
outline the grass, allowing the grass to contrast with the
stone wall.

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Drawing steps
01 Use straight lines to outline the outer contours and
structure of the stone wall. In order to be able to show the
relaxed and flexible state of the picture, the lines used here
are rather random. When typing, it is important to grasp the
proportional relationship and the sloping form of the stone
wall.

02 The dark parts of the doorway and window openings are

the darkest parts of the entire stone wall, and should be
shown in heavy colors with a little variation. When drawing
up to this step, you can leave the dark level changes aside
for now, these dark parts are the most important parts that
hold down the picture.
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prompt
When there are a lot of dark areas in the picture, you should
consider the level of darkness first, if the level of darkness is
not clear, the picture will look dull. But when there are few
dark areas in the picture, you don't need to consider the
dark level change, just press the dark color directly.
03 Divide the main stone on the high wall on the left with a
straight line, being careful not to overdraw it.

04 Draw out the stones on the low wall on the right. Note
the large fictional relationship throughout the stone wall,
with the stones mostly concentrated around the doorway.

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05 Use a thick pen or the thick tip of an artist's pen to draw
the gaps in the stone wall. Then draw the projection of the
short wall on the right according to the direction of the light
source, taking care not to blacken it all to keep the airiness
of the picture. When drawing the edges of the projection,
the shape of the grass was borrowed to represent the
undulating changes in the projection. Just draw the
surrounding grass and simply outline the shape of the grass.

06 Use short lines to show the light and dark relationships of

the stones. Carve from the doorway toward the perimeter.
The area carved is not large, but be sure to pay attention to
the contrast between the light, gray and dark surfaces.
When drawing the stone wall on the left, focus on the
texture of the stone; when drawing the stone wall on the
right, focus on the light and dark relationship of the stone.

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07 Add more stones to the left stone wall to make the
distribution of the stones more harmonious; then work on
the dark side to enhance the sense of three-dimensionality.
Add some slight details to the darker part of the right stone
wall, taking care not to paint all over and not to destroy the
integrity of the dark side.

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7.2 Wood
 
 
In pen drawing, wood is usually used as a separate object
for portrayal, or sometimes as a decorative element to set
the mood of the picture. When representing the wood
material, different brushwork can be used to express its
texture and volume.
7.2.1 Characterization of wood
The use of wood in pen drawing will give a natural, antique
look. The picture below shows the trunk of a dead tree,
using short lines to show the light and darkness of the trunk
and the texture of the wood through the shape of the trunk.
Some branches are also added on both sides of the trunk,
and these branches can enhance the atmosphere of the
picture.

The figure below shows 3 wooden stakes, the blocks of

these 3 stakes can be seen as 3 cylinders. The material is
expressed mainly through the texture of the large stake in
the middle. The detail of the small stakes on both sides is
reduced to bring out the atmosphere of the picture. When
drawing the large stump in the middle, the upper part of the
bark is mainly carved. After the bark falls off, a large area of
light-colored wood is exposed, and lines are used to show
the material and light-dark relationship of the wood. The
jagged edges of the bark are the key to reflecting the
texture of the bark, while the rest of the tree is represented
by dark lines.

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7.2.2 Drawing of dead wood
When showing dead wood, note that one end of the wood is
decaying and has a tattered look.
Pre-Painting Analysis
This case is a drawing of a dead wood. The dead wood is
drawn using a row of lines that are both long and short,
thick and thin. The focal area of the picture is the right end
of the dead wood, and the secondary area is the
surrounding bark. The difficulty in drawing this picture lies in
the expression of the layers of the right end of the dead
wood. The scattered wood grain is richly layered with subtle
changes, but when you look closely at the carving of the
dead wood there is actually not much, so you should pay
special attention to the reflection of the line layers when
carving, and use the least amount of lines to show the most
changes.
Drawing steps
01 Draw the basic shape of the dead wood. Here it is drawn
in groups, using lines to distinguish the areas.

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02 Starting with the darker parts, draw the darkest color
first, with each line almost following the direction of the
wood grain.

03 Carve the rest of the wood in the direction of the grain in

a grouped pattern. The closer to the right end, the darker
the color, the more lines used, and the more variation; the
further away from the right end, the brighter the color, the
fewer lines used, and the less variation.

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04 Carve the left side of the dead wood in the direction of
the wood grain, there is not much detail to be carved, just
distinguish the big level relationship. Draw the projection of
the dead wood according to the relationship between light
and dark, because the dark part of the dead wood itself is
darker, so you can make the projection brighter. Deepen the
color of the bark where it touches the dead wood slightly to
open up the relationship between the front and back.

05 When drawing the bark, line up the tree according to its

body block turns, working from right to left with
progressively fewer lines and leaving the middle section
white. Then deepen the projection of the bark on the dead
wood using cross-hatched lines, while deepening the color
of the gray side of the dead wood. Next, draw the larger
cracks in the bark with thick lines, paying attention to the
variation in thickness and sparseness of the crack lines.

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06 Adjust the image. Press the gray side of the lower half of
the deadwood slightly darker. Note that the right end of the
dead wood is darker and more incised; the middle is
brighter and less incised; the bark is darker and more lines
are used. Use thick lines to draw the undulating changes in
the wood grain, and then draw some small dots to decorate
the picture.
7.2.3 Drawing of rotten wood blocks
When drawing rotten wood blocks, the texture is expressed
by different methods of lining them up. The focus of this
case is on the portrayal of the wood texture, and it is a good
way to learn how to use different lines to show the slight
variations in the object.

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Pre-Painting Analysis
This case illustrates an oddly shaped block of wood. The left
part of the block has rotted away, leaving jagged mouths.
Here is one of the more exciting parts of the image, with
more line variation and subtle changes in light and
darkness. The middle part of the block reflects the material
of the wood, with subtle variations in light and dark. The
right side of the wood block has less variation and is mainly
represented by lining up the lines. The dark part of the
upper right corner of the picture is less engraved, mainly
showing the big relationship; the dark part of the lower left
corner extends from the focal area on the left to the bottom
of the picture, and this part is more engraved and more
varied. A variety of lines appear in the picture, long and
short lines, straight lines and curves, etc., which can
strengthen our training of brushwork.

Drawing steps
01 Draw from the opening of the wood block, where there is
the most variation, and you can draw the light and dark
sides together. When drawing specifically, pay attention to
the larger relationship from the part to the whole. The
opening is drawn in a straight line to simulate the fine wood
grain, slowly extending backwards in a curve.

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prompt
The lines here should not only show the texture of the wood
material, but also the changes in light and darkness of the
picture, so when drawing, you should consider not only the
direction of the wood grain, but also the number of lines,
which affects the changes in light and darkness.
02 The opening has more lines and more detail, which can
be drawn in groups. The groups of wood grain here are all
different, some brighter, some darker, some with a lot of
variation in detail. The overall color to the left of the wood
block is darker, creating a strong contrast of light and dark
with the surrounding area.
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03 Extend from the top to the right. The lines here are
almost all curved, taking care to distinguish the light and
dark relationships of the wood blocks.

04 Continue drawing to the lower right. A closer look at the

direction of the lines shows that this step is still drawn in a
grouping method. The lower right area is drawn in a more
general way, using different cross lines drawn to divide the
body blocks.

05 Darken a few dark areas of the opening to create a three-

dimensional look to the wood block. Then draw the darker
part of the lower left side of the block.
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06 The dark area in the upper right corner is not the focus of
the representation, it is enough to show the relationship of
the body block. The dark area in the lower left corner is the
most important dark area of the whole wood block, it is
related to the overall contrast between light and dark in the
picture. The middle area has a few spots of wood grain, use
a thick line to press the color deeper to enhance the sense
of three-dimensional. Darken the bottom half and use thick
lines to show the large grain.
07 Draw the bright side of the wood block using rows of thin
lines, paying attention to the sparse relationship. Then draw
the more subtle details on the light side. Next, darken the
entire lower half of the dark side, using lines to show the
transition of the darker parts.

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7.3 Cloth
 
 
There are many types of cloth, but not many depictions of
cloth in pen drawings. There are, of course, a few works in
which cloth is depicted as a separate object, but the
emphasis in the representation is on the expression of the
larger relationship and not too much depiction.
7.3.1 Characterization of cloth
When drawing the cloth, two points are usually taken into
account: one is to focus on the volume of the cloth for the
engraving, and the other is to focus on the decorative
patterns on the cloth for the engraving. The former focuses
on the representation of light and darkness and the
expression of spatial relationships, while the latter focuses
on the use of decorative elements such as dots, lines and
surfaces.
Expression of volume
The volume of the cloth mainly relies on the change of light
and dark and brushwork to express, when drawing will give
more consideration to the spatial level, weakening other
elements to open up the spatial level of the picture. In the
picture below, the pillow at the back is far away from the
light source, so its color is gray, and its own contrast
between light and dark is also weak, forming a contrast
between light and dark with the scarf in front, which opens
up the spatial level of the picture. The threads at the two
ends of the scarf are the decorative elements of the picture,
and the level of the threads themselves indirectly affect the
level of the cloth.

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prompt
When expressing the three-dimensional sense of the object,
always maintain a strong contrast between the light side,
gray side and dark side. Although the turns of the cloth are
more rounded, in the specific drawing is generally used to
shape the three-dimensional sense of straight lines,
remember "better square than round".
The image below uses the method of lining up the lines to
shape the cloth in three dimensions. The upper part of the
cloth is at the farther end of the picture and is to be
represented in gray. The further forward the object is, the
stronger the contrast between light and dark and the more
it is portrayed; the further back the object is, the weaker the
contrast between light and dark and the less it is portrayed.

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Expression of the pattern
The pattern of the cloth is mainly drawn in the way of point
and line, and there should not be too much light and dark
engraving, otherwise it will weaken the decorative effect of
point and line with black and white and grey. The right
picture focuses on the use of point elements and line
elements, whether it is the portrayal of the volume of the
cloth or the treatment of space, all with the help of the
contrast between points and lines to achieve.

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In the picture on the right, there are more types of cloth
used for the garments, and in the expression of the overall
atmosphere of the picture, it is expressed in black and white
and gray; in the portrayal of details, it is achieved through
the combination of line elements and surface elements.
When portraying the jacket, more attention is paid to the
expression of the body block, and the change of lines is
used to strengthen the light and darkness and express the
volume; when portraying the sweater and scarf, the
portrayal of light and darkness and volume is much
reduced, and the main use of line elements and surface
elements is for decoration.

7.3.2 Drawing of the draped cloth

When drawing a draped cloth, it is important to find the
turning surface of each cloth fold so that the three-
dimensional feeling of the cloth can be expressed. Although
there are not many elements in the picture, it is still
important to show the squeezed state between the body
blocks and the spatial relationship between the front and
back.
Pre-Painting Analysis
This case is drawn with a piece of cloth resting on a shelf. To
highlight the cloth, the shelf is directly simplified and
represented by a few lines. When drawing the cloth, the
main representation is the cloth folds. These cloth folds
have different forms, but there is a certain pattern, i.e., they
are mainly strips and have more rounded turns. There are a
lot of cloth folds in the picture, and generally can be drawn
in groups, each fold as a group, and then distinguish the
spatial hierarchy between the group and the group, mostly
with crossed lines.

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prompt
It is important to observe the way the lines are used in the
picture, i.e. to observe the direction of the lines, the length
and sparseness of the relationship between the lines, and
the form of the lines crossing each other.
Drawing steps
01 Use lines to outline each layer of cloth. Note here that
the cloth is striped but not a rectangle, so each line should
be at an angle and not parallel. Pay more attention to the
change in shape of the top surface of the cloth, which
indirectly affects the relationship between the front and
back of each layer.

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02 Draw the projection of the cloth by lining up the lines.
Note the depiction of the shape of the projection, which
depends on the undulation of the cloth, and the size of the
projection can indirectly suggest the state of the undulation
of the cloth surface.
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03 Find a few folds with large turns and line them up from
the dark side to the gray side, paying attention to the
direction of the line alignment and the curvature of the folds
as they change. When first carving, the lines basically follow
the undulations of the surface of the cloth, which makes it
easier to quickly shape the volume of the cloth.

04 Find the darker areas in the lower half of the cloth and
draw along the undulations of the surface using a row of
lines. Some surfaces have small but important transitions,
so each one should be carefully etched, taking care to
deepen the dark areas and maintain the contrast between
the large relationships of light and dark.

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05 Use short lines to show the darker parts of the cloth in
the top half. This part of the cloth is relatively flat, so there
is not much variation in the lines, but attention needs to be
paid to the handling of the white space between the faces.
The bottom half of the cloth is more undulating, but the
overall color will be slightly gray because of its backward
position. Use a long line to line up the entire cloth in the
direction of the turn, pulling apart the front and back layers.

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06 Push from the front to the back and "sandwich" a bright
side with two grey sides. Pay more attention to the direction
of the row of lines, which indirectly suggests the direction of
the fabric pattern.

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07 The distinction between the layers of the cloth at the
back is not clear and the sense of three-dimensionality is
relatively weak. As a whole, the front cloth is brighter in
color and uses lines to shape volume; the back cloth is
darker in color and less three-dimensional, so that it can
contrast with the front cloth and pull apart the spatial
layers.

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7.3.3 Drawing of a folded cloth
The cloth itself is without change of form, but when folded it
creates a different form. When drawing folded cloth, we
have to master the skills of representing its volume and
space.
Pre-Painting Analysis
This case draws a piece of cloth that is folded on a flat
surface. The areas of the cloth are squeezed against each
other, creating various forms of folds. The focus of this case
is on the form of the folds and their relationship to each
other. In the expression of brushwork, two gray surfaces are
used to "sandwich" a bright surface; in the treatment of
space, the method of contrasting light and dark in front and
back is used.
Drawing steps

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01 Use lines to outline the cloth, showing the state of
extrusion between the folds, the direction of the cloth, etc.

02 Initially determine the relationship between the large

light and dark, and draw the dark side and projection of the
fabric folds using the row of lines. Pay more attention to the
direction of the lines in the picture, the direction of the row
of lines suggests the direction of the cloth folds.

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03 Enhance the contrast between light and dark. Deepen
the color of the projected parts, because this is a white
cloth, so the dark side cannot be too dark, but a certain
amount of heavy color is needed in the picture, so you can
only deepen the color of the projection. When drawing the
projections, pay attention to the color contrast of the
different projections.

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04 Line up on the dark side, noting that the dark side here is
a separate side. Then line up from the dark side to the light
side.

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05 The cloth against the front is rounder and fuller, and its
volume is shown by lining it up. Then draw the grey side of
the cloth folds to distinguish the light, grey and dark sides.

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06 The more varied part of this step is the projection.
Deepen the projection first to set the stage for carving the
brighter side later. Then draw the far side of the cloth using
the line up method. Next draw the bulkier cloths in the front.
The lining up here is more regular overall, with each set of
lines being a separate block.

07 Use a thin line to draw the bright side of the fold, using
the entire bright side as one large light block and leaving
the folds of the fold white, because here two gray sides are
used to "sandwich" a bright side to show the volume of the
cloth.

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7.4 Gross
 
 
There are two general types of hair, one is the hair of
animals and the other is industrial products. Hair is a
frequent element when drawing animals and some tweed
type products. There are short hairs and long hairs. When
portraying short hairs, the focus is on the variation of the
brushwork, simulating the effect of hair through short lines;
when portraying long hairs, the focus is on a generalized
treatment in a grouped manner. The focus of hair carving is
on the use of lines, which can only be used in combination
with specific objects.
7.4.1 Gross characterization
Hair is different from other materials, so here is an analysis
of the techniques used to represent hair and tweed products
on animals.
The parrot in the picture on the right will at first glance
appear to be poorly etched, but a closer look reveals a lot of
variation in it. In carving the feathers, short and thin lines
were used to show them. These feathers are all different,
and the brushwork used is different. The head feathers are
short and dense and should be drawn from the dark side,
then short lines are used to show the light and dark junction
lines and the grey side, followed by dots and short lines to
show the light side. When showing the bright side of the
wings, the white space is directly carried out; when showing
the feathers on the gray side, the shape is first outlined, and
then the blocks are distinguished with fine lines; when
showing the larger pieces of feathers, the outline of the
feathers is first drawn with lines, and then the relationship
between the face and the surface is distinguished with rows
of lines; when showing the feathers on the abdomen, the
long lines are directly used because the feathers are longer.
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This parrot in the picture on the right has very dense and
thick feathers. The short downy feathers on the head are
carved with rows of short lines, using the small changes
between the lines to shape the volume; when showing the
short feathers on the wings, the shape of the feathers are
first summarized with lines, and then the texture of the
feathers is shown with rows of lines; when showing the long
feathers, they are mostly shown with blocks, first outlining
the shape of the feathers with lines, then distinguishing the
blocks on both sides of the feathers, and then refining the
blocks with lines.

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The monkey's head in the image below has longer, more
regular hair, which is represented here with long lines. When
drawing the long lines, pay attention to the staggering of
the lines and use the crossed lines to show the layers. When
drawing the hair on the monkey's head, you should draw it
according to the direction of the outline of the monkey's
head.
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The grey side of the blanket in the picture below is shown in
rows of lines, but with the bright side and the intermittent
short lines around the edges, the lines here reflect a certain
sense of texture. The dark side is drawn in the same way as
the grey side, here in long rows, the lines are arranged not
to shape the block, but to show a sense of texture, echoing
the effect of the grey side.

The critter in the picture on the right is covered in fur, but

not much of it needs to be carved. When showing the hair,
the lines all follow the structure. When drawing the dense
short hairs on the head, the texture of the hairs is shown
mainly by lining them up.
prompt
When carving hairs, we need to pay attention to the
following 3 points.
Point 1, the hair has a certain attachment to the object, it
goes according to the structure of the object, and the hair
texture of such objects is generally not strong.

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Point 2, both long and short hairs, are generally represented
using a row of lines, using lines to shape the texture of the
hairs.
Point 3, the small short lines on the edges of the object are
the key to creating the texture of the hair, and a few strokes
have the effect of highlighting it.
7.4.2 Drawing of blankets
When drawing a blanket, the focus is on showing the
variations in the light, grey and dark sides of the blanket
and therefore needs to be shown through different
brushwork. The exercise in this case focuses on brushwork.
Pre-Painting Analysis
This case draws a blanket. The outline of the blanket is not
well defined and is intermittently connected with short lines
and dots. The left side of the blanket is brighter, the middle
and right side are darker, and the middle part is the focus of
the picture. The whole picture is basically made up of
crossed lines, and the use of lines is more relaxed and
elaborate.
Drawing steps
01 Outline the blanket intermittently with short lines, do not
join the lines, just make it look like one line overall. Also,
there is a variation in the direction each line is arranged,
and they suggest a change in the ebb and flow of the
blanket in the area where they are located.

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02 Start carving from the darker areas. The entire blanket is
relatively flat, so the dark side has no definite shape, and
the dark side is mainly represented by overlapping cross
lines. When you draw the area with folds, change the
direction of the lines to reflect the turning relationship of the
blanket.

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03 Draw all the gray surfaces in the picture, noting that the
direction of the lines changes with the undulation of the
blanket.
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04 Deepen the dark areas to give stability to the whole
picture, and enhance the processing and layering of the
transitions.

prompt
Because each line here represents a hair, and the direction
of the line represents the direction of the hair's extension,
the lines near the glossy and marginal parts are more
flexible and more elaborate.
7.4.3 Drawing of parrots 
Although birds come in different forms, the general method
of drawing them is the same. Here we will use a parrot as an
example to explain how to represent long hair, short hair
and fluffy hair, etc. Parrots may seem difficult to draw, but it
is much easier if we draw it as a composite representation
of different brushstrokes.
Pre-Painting Analysis
This case is drawn of a parrot. This parrot is all hair except
for the beak, eyes and skin tissue around the eyes, and
these hairs are of different lengths and thicknesses. The
different hairs are represented by lining them up. In
addition, when drawing the parrot, attention should be paid
to the portrayal of light and shadow. Only in this way can
the whole picture be represented with both reality and
strength.

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Drawing steps
01 Outline the parrot's beak with lines. The beak is the most
conspicuous part of the parrot's head, so pay attention to
the variation in thickness and length of the upper and lower
parts of the beak as you draw.

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02 Use short lines to outline the body of the parrot and
distinguish the different areas of the parrot's body to set the
stage for later detailed carving.

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03 Carve the beak. Use short lines to draw the brighter
upper part of the beak, with the lines all extending along the
rise and fall of the beak. The lower half of the beak is darker
to accentuate the heaviness of the beak.

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04 Draw the eyes, taking care to allow for highlights. The
skin around the eye has small folds which are spread
outwards around the eye and can be represented by thin
lines. However, the folds of skin should not be overdrawn,
and only the highlights are drawn in the figure.

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05 Draw the fine vellus hairs in groups. The lines around the
skin do not need to be drawn too densely; the further down
the line, the longer and denser the villi become and the
darker they become.

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06 Draw down in the direction of the fuzz. Draw a few thick
lines to distinguish the general layers; then draw the fuzz in
rows of thin lines. You don't have to draw as much detail
here as you did in the fleece section above, just draw down
in the direction of the fleece.

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07 Draw the hairs on the top of the eye. The general trend
of the hairs here is to go from the beak upwards and then
backwards, which is the general direction of the lines.

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08 Draw the hair on the front of the head. The head feathers
have more variation in the rise and fall, so there is more
direction and variation in the lines. The front hairs have less
variation, but the further back the feathers go the longer
they get and small areas of darker surfaces will appear.
09 Leave a small amount of hair white and show everything
else in heavier and denser lines.

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10 Draw the feathers on the back. The feathers start to
grow from the back and slowly get to the wings. Use curved
lines to show the shape of the feathers, then draw the
shorter feathers in rows.

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11 The larger feathers on the wings will be divided into two
sides. Use lines to clarify the direction of each feather to set
the stage for more detailed carving later.

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12 Line up the feathers starting from the light and dark
junction lines and working outwards to clarify the
relationship between each piece.

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13 Carve the long feathers. Distinguish between the two
sides of the feather; the further down the feather, the less it
is carved and the less three-dimensional it becomes.

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prompt
The reason for lining up from the light and dark junction
lines is to identify the darkest areas of the picture first, so
that the lighter sides can be better represented. The dark
side can be left white for a while. If there is more detail on
the light side, you can just generalize the dark side in a
large block; if there is not much detail on the light side, you
can make some changes on the dark side.
14 Darken the overall color of the dark side of the parrot's
back. There is not much variation on the dark side, but show
the area where the left and right wings meet.

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15 Darken the beak and the darker side of the head feathers
to give a clearer turn to the body block and a more
pronounced black and white and grey relationship to the
overall image.

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 | Chapter 8 |
Performance of common elements

This chapter starts with the drawing of plants, gradually

changes the objects, increases the difficulty of drawing, and
explains the performance techniques of different objects.
This chapter is very necessary to learn, and you should
practice it a lot.

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8.1 Plants
 
 
In pen drawing, plants are often present as supporting
scenery. When drawing trees, attention is paid to the
drawing of the crown blocks; when drawing potted plants,
attention is paid to the characteristics of the leaves and
stems of the plants; when drawing flowers, attention is paid
to the delicate representation of the petals.
8.1.1 Trees
This is explained here as an example of a tree. Trees are
usually taller, with a separate main trunk and a clear
distinction between the crown and trunk. In the
representation of trees, it is not necessary to over-draw the
trunk, but more on the crown. When drawing the canopy,
first distinguish the body blocks with dark, gray and light
colors, and then draw them in a grouping method.
Pre-Painting Analysis
This case is drawn as a tree. The tree canopy can be divided
into 3 large groups according to the way the blocks are
drawn in groups, and the top two groups are divided into 4
subgroups. Each block in turn has a contrasting relationship
between the three main sides: light, grey and dark. The
trunk part of the tree is not much portrayed or contrasted,
the focus of the portrayal is on the crown.

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Drawing steps
01 Determine the location and thickness of the main trunk,
then draw some small branches at different locations on the
trunk that extend to the left and right.

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prompt
As mentioned earlier when explaining the drawing of stones,
"stones are divided into three sides", so when drawing trees,
we should pay attention to "trees are divided into four
branches", which is a common method of drawing trees.
First of all, you have to determine the position, thickness
and extension of the main trunk, which determines the
dynamics and extension of the tree itself. The secondary
branches are distributed on the left and right sides of the
main trunk and arise at different locations on the main
trunk, with the branches getting thinner as you go up the
tree. Next, the other branches are divided on the secondary
trunk, gradually moving from large to small, from thick to
thin, and then carved in detail. This is how to draw a "tree
with four branches". This method is difficult and requires
more practice to make the tree vivid.
02 Determine the grouping of the canopy based on the
location of the main trunk. Start by outlining the canopy
with plant lines, then draw some branches on part of the
trunk to connect the canopy to the trunk.

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03 Use lines to define the dark side of the canopy section,
and then lay out the dark side in rows to distinguish the
large light and dark relationships of the canopy. Be careful
when lining up the lines that there is some variation in the
shape and alignment of the dark side.

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04 Use thick lines to show the light and dark relationship
between the trunk and branches, the upper part of the
thinner branches are in the shadow of the canopy, and can
be directly represented by thick lines. The lower the trunk is
thicker, the more light it receives, and some of the brighter
side of the trunk is exposed, which can be directly left white.
This step is mainly to clarify the relationship between the
trunk and the dark side of the crown, to avoid confusion
later in the carving.

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05 Carve from the dark side of the canopy to the light side.
Distinguish the shape of the canopy first, then deepen the
color at the junction of the dark side and the light side.

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06 Show the light and darkness and texture of the trunk part
of the tree. The trunk is not the focus of the painting, so
there is no need to paint too much.

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07 Group the upper part of the canopy and divide the larger
group into smaller groups to portray the details of the
canopy and show the brighter side and shadows of the
canopy.

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08 Draw the shape of the gray surface. The gray surface is
not large and is distributed in blocks over the lighted areas.
When drawing the gray surface, darken the dark side
appropriately.

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09 Draw a projection based on the light and dark
relationship of the tree, using simple lines to represent it,
without outlining specific shapes. Draw some dots around
the crown of the tree to represent the falling leaves.

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There are many types and shapes of trees, and only the
drawing of trees has been explained above. When drawing
other trees, we can use the same method to represent
them. Here are some other works on trees that you can
practice on your own to reinforce the knowledge taught in
this section.

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8.1.2 Potted plants
The drawing of potted plants is explained here. The drawing
of potted plants focuses on the details, such as the carving
of the leaves and stems of the plant. When drawing potted
plants, it is important to deal with the hierarchical
relationship between the leaves of the plant.
Pre-Painting Analysis
This case is drawn with an orchid potted plant. The leaves of
the orchid are long and curved downward, with an overall
scattered shape.

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Drawing steps
01 Start by outlining the shape of the pot opening of the
flower pot. Then draw out a few small leaves. Next draw the
leaf that is furthest forward. The leaf in front is extended
forward, so you can see that its front resembles a distorted
triangle.

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02 Draw out several other major leaves. As you draw them,
pay attention to the direction and height of the leaf growth.

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03 Draw a few more leaves, paying attention to the shading
relationship between the leaves. The leaves on either side
can enrich the picture, pay attention to the direction of their
growth when drawing. The middle leaves are more
backward and longer, pay attention to the interspersed
relationship between the leaves when drawing them.

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04 Continue drawing the leaves. At this point the added
leaves are interspersed between multiple leaves, so you
need to clarify the relationship between the leaves before
adding them. Look at the current picture, each leaf is in a
different position and growing in a different direction, so
that the picture is richer.

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05 Use a thick line to draw the darker side of the leaves to
give the plant a three-dimensional look. Then use a thick
line to draw the darkest part of the color on the pot.

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prompt
Each leaf should be represented in its entirety, even if the
obscured parts are drawn and not omitted.
06 Just use simple lines to indicate the dark side of the pot,
showing the general light/dark relationship. Then use denser
lines to weigh down the leaves, allowing the leaves that
lean back to recede. Then use thinner lines to show the
edges of some of the leaves.

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07 Draw the pattern of the leaves in the direction of their
growth. Then deepen the color of the more backward leaves
to give them a more distinct layer.

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08 Deepen the color of the right leaf according to the light
and shadow, so that the overall color of the right leaf is a bit
darker and contrasts with the left leaf. Also, draw a few
more darker leaves to pull back the spatial layers of the
image.

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The above explains how to draw a potted plant. This method
of drawing is suitable for showing objects with more leaves
and smaller plants. Here are some other potted plants that
you can practice on your own to reinforce this part.

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8.1.3 Flowers 
This section focuses on how to draw flowers. When drawing
flowers, pay attention to the changes of light and dark.
There are too many types of flowers to list, so here is an
example of a common sunflower to draw.
Pre-Painting Analysis
This case is drawn with two sunflowers. In the
representation of light and shadow, because the light in the
picture is played from top to bottom, the bright surface is
mostly concentrated in the upper part, but because the
petals themselves have a certain angle, the petals in the
upper part near the light source have a large backlight
surface, and the petals below are bright except for the
projection of the sunflower seeds. In the representation of
the shape, the sunflower seed in the middle is round as a
whole, and the surrounding petals are irregularly oval or
diamond-shaped, with a dispersion distribution from the
center of the circle outward. Although there are more layers
of petals, the method of expression is basically the same,
and attention should be paid to the processing of the layers
between petals.

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Drawing steps
01 Draw the overall outline of the sunflower seed part, and
then draw the petals around it. When drawing the petals, do
not draw them one by one, but spread them out from side to
side so that the petals will appear vivid and natural.

02 Draw the rest of the petals in the same way. Here there
are large and small petals, front and back, loose and tight,
always to achieve contrast so that the petals don't look dull.

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prompt
No pencil was used to assist in the drawing, so many
dashed lines were used in drawing the petals. The dotted
lines just indicate the general shape of the petals, so even if
you draw them wrong you can adjust them again.
03 Draw the sunflower leaning back in the same way. When
drawing the sunflower leaning back, a lot of dashed lines
were used to indicate the shape of the petals.

04 Follow the light and shadow to draw the dark side of the
petals and sunflower seed parts. Here some of the petals
have a larger dark side and some have a smaller dark side,
both of which are represented by lining up the lines.

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05 Use the same method to draw the dark side of the petals
of the back flower and the projection of the petals of the
front flower. Then darken the gaps between the petals with
a thick line. This step is mainly to show the large light and
dark relationship of the sunflower.

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06 Carve the dark side and deepen the projection to give a
stronger sense of light and dimension.

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07 The sunflower seed part is darker in the picture, so use a
row of lines to press this part darker and distinguish
between black and white and gray.

08 Repeat the detail of the sunflower seed part with short

lines and spread out from the center to the surroundings,
taking care to have both heavy and light colors as you work.
Press further to darken the sunflower seed part to give
layers of variation to the heavy colors as well.

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09 Carve the sunflower seed part of the other sunflower in
the same way, paying attention to the contrast in color, with
rich detail in the sunflower seed part of the front flower and
less detail in the sunflower seed part of the back flower.

10 Carve the petals. The upper part of the petal has a large
number of dark sides, lined up with a fine line following the
petal's path. There is a lot of variation in the petals towards
the front and less variation in the petals towards the back.

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11 Carve the lower half of the front flower, lining up the
petals from the dark side to the light side in the direction of
their growth. Here the petals themselves have a richer
variation of light and dark, and the back petals are darker
than the front petals.

12 Although each petal is different, they are drawn in a

similar way, so pay attention to the details of each petal as
you draw them.

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13 Draw the flowers behind. In principle, the method of
drawing the flowers at the back is basically the same as that
of the flowers at the front, but the light and shadows are
different, and the light and dark sides of the flowers at the
back have a little more contrast with the backlight.

14 Adjust the details to show the layers of the flower. Clarify

the hierarchy of the flowers themselves and enhance the
projection to make the darker side more integral and lighter.
Then clarify the hierarchy of the front and back flowers. The
middle and bottom half of the back flowers are further back
and receive less light, so use a thin line to carve and
diminish the contrast of the flowers, thus contrasting better
with the front flowers.

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Flowers come in many different shapes and sizes, but the
specifics of how to draw them are pretty much the same, so
you will have to be flexible and apply the points covered in
this section. Here are some other works on flowers that you
can practice on your own to consolidate the content of this
part.

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8.2 Water
 
 
Water is a common landscape we see in natural scenery.
Water is invisible and colorless, so it is difficult to represent
water alone, so it needs to be dependent on other elements
for expression, such as the reflection of objects.
8.2.1 Calm water
A calm water surface is like a mirror; it reflects objects on
the ground very well. The closer the object is to the water,
the clearer the reflection in the water; the farther the object
is from the water, the more blurred the reflection in the
water.
Pre-Painting Analysis
This case draws a calm water surface. When drawing the
calm water surface, you need to draw the reflection in the
water. The visual center of the picture is the woods and
mountains on the ground, with white clouds as the accent
elements in the picture. The water surface is relatively
large, mainly to open up the spatial level of the picture and
make it appear more open.

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Drawing steps
01 Determine the location of the water. The shore is a white
sandy beach and behind the beach is a wooded area, draw
the outline of a few major trees.

02 Draw a wooded area behind the beach. After the trees

are distant mountains, outline them with lines.

03 Line up some short lines below the trees as a transitional

part of the trees to the beach. Then press out the dark side
of the trees with a heavy color and define the light and
shadow relationship.
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04 Line up some lines on the bright side of the trees,
leaning back to indicate the smaller trees directly with
blocks of color, allowing them to recede and highlight the
layers of trees. Outline the shape of the reflection based on
the shape of the trees, the shapes don't have to be
identical. Then draw the reflection of the trees by lining
them up. The trees are dark, so the reflection of the trees in
the water is also dark.

05 Outline the distant woods and process them as a single

surface. Then deepen the color of the front woods to create
a contrast of light and dark with the distant woods.

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06 Deepen the color of the reflection of the woods in the
water, taking care to deepen selectively to pull out certain
layers. Outline the reflection of the distant woods, lighter in
color due to the distance. The woods themselves have more
variation in shape, and after outlining the shapes, lay them
out in rows of lines.

prompt
The reflection in the water reflects the change in color of the
objects on the ground, and it follows the color of the objects
on the ground.
07 Draw the mountain in the distance, using the sparseness
of the lines to show the rise and fall of the mountain. The
mountain on the left is in front of the woods, so it is drawn
in a more general way, and the mountain on the right
stands on its own, so it shows a little detail.
OceanofPDF.com
08 Draw the reflection of the mountain. The mountain is
farther away, so its reflection in the water is also blurred.
The reflection here will not have a change in shape, but will
mainly reflect the general undulation of the distant
mountains. Use a long horizontal line to follow the general
trend of the mountain, and the whole reflection is
represented by a row of lines.

09 Draw the clouds in the sky with curved and other

dynamic lines to contrast with the calmness of the distant
mountains, woods and water, creating a strong contrast of
movement and stillness. Use sparse, short lines to draw the
reflection of the clouds in the water, giving the reflection a
contrast between reality and fiction.
OceanofPDF.com
When dealing with the reflections on the water surface, use
a combination of real and imaginary methods. After learning
how to draw a calm water surface, you can learn more
about the variation of real and imaginary reflections on the
water surface by example. Here are some other works about
calm water surface, you can practice by yourself to
consolidate the content of this part.

8.2.2 Waves
This section focuses on how to draw waves. Waves are
different from water patterns: water patterns are the slight
texture of the water surface and do not change much in
shape; waves change the inherent shape of the water and
make waves.
Pre-Painting Analysis
This case is drawn at the moment when the waves are
about to go down. The picture consists of four major parts:
first, the wave part, in the representation of the wave, the
way to leave white, with short curves to shape the three-
dimensional sense of the wave; second, the water below the
wave, there is a part of the water in the projection of the
wave, in the picture of the overall darker color, there are
also stars in the middle of the reflection; third, the body of
water above the wave, they are more rounded, similar to a
large convex mirror, there will be a certain refractive effect;
fourth is the water in the distance, which overall pulls apart
the spatial level of the picture.

Drawing steps

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01 Draw the outline of the wave. The outline of the wave
represents the size of the wave, with the larger wave on the
left and the smaller wave on the right. The shape of the
water above the waves is more rounded and therefore
flatter.

02 Use some broken lines to show the falling trend of the

sea, and then outline the shape of the dark part of the
wave.

03 Arrange the lines with the trend of the sea, leaving the
back part of the sea white to indicate reflections and the
front part of the sea white as well to indicate the bright side.
Then draw the water beneath the waves by lining up the
lines, with the direction of the lines varying with the trend of
the water.
04 Refine the water beneath the waves. You should pay
more attention to the way the lines are used in the drawing
and pay attention to the interspersed relationship between
the lines. When drawing the brighter areas deepen the
darker side to keep the difference in color.

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05 Carve the shadows of the waves. The projection of the
wave on the left has the darkest color, gradually
transitioning to the right and overall deepening the color of
the water on the right to set off the white of the wave.

prompt
Although the overall color of the water on the right is
deepened, you can still see the contrast between light and
dark, and there is a color change from left to right under the
waves.
06 Draw the ripples with short lines following the path of the
sea, noting that the lines here are of varying lengths.

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07 Deepen the color of the turn to enhance the three-
dimensionality of the seawater. The right half of the sea is
farther away and less three-dimensional.

08 Deepen the color of the wave projection to make the

outline of the wave more visible, which also accentuates the
three-dimensional feel of the wave. Draw the water in the
distance by lining up the lines, leaving the appropriate white
space to give the ripples a richer form.

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09 Draw the water farther out with a row of lines, weakening
the edge sections.

10 Show the volume of the wave on the left with a short

line, which is thinner and sparser here.
OceanofPDF.com
As you can see from this case, the presentation of the lines
is important when portraying the waves, and the alignment
and thickness of the lines will affect the presentation of the
waves. Here are some other works that show the waves with
more variations of lines, so you can practice on your own to
consolidate the content of this part.

8.2.3 Stacked water

Stacked water is a common landscape we see in natural
scenes, where water flows down the edges of the rocks and
lands on the lower water, creating small waves. When
painting specifically, elements such as rocks and waves are
also portrayed.
Pre-Painting Analysis
This case draws superimposed water, but there is more
portrayal of the rocks. When drawing the stones, the most
important thing is to clarify their black and white gray
relationship; when drawing the flowing water, it is mostly
represented by leaving white space and using less lines;
when drawing the waves, it is enough to outline only their
general shape.
Drawing steps
01 Draw the main stones in front. Outline the shape of the
stones, reserving the middle stack for the water and using
lines to roughly indicate the flow of water.

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prompt
The method used here is to draw in groups, with each layer
of stacked water as a group. Because there is a certain
height difference between the stacked water, it is sufficient
to draw the water flow in the specific performance.
02 Draw the area in the middle with the stones and the
water flowing. Use lines to roughly indicate a simple light
and dark relationship, distinguishing the lines of the stones
from the water flow, while paying attention to the contrast
in size between the stones. Each layer of water flow meets
and merges and is separated at the next layer of stones;
this alignment does not need to be drawn, but its state
should be shown.

03 Draw the area behind the rocks and the water flow, the
lines here will look messy as there is not too much emphasis
on light and dark and black and white and grey, you can
refer to the final finished result. The focus of this step is on
the movement of the water.

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04 Carve the dark side of the stones, using lines to
distinguish the light and dark relationship of each stone. The
dark side of the main stones is darker, the dark side of the
secondary stones is weaker, and the later stones are left
directly white. The focus of this step is to determine the
relationship between the fiction and strength of the stones.

05 The use of arcs to indicate the course of the water flow is

mainly reflected in the turning of the water flow, allowing
the top side of the flow to be separated from the side.
OceanofPDF.com
06 Carving the stone. Represent the stone according to the
relationship between light and dark, focusing on shaping the
stone in three dimensions.

prompt
If you want to show the gray and light sides of the stone,
you can deepen the dark side first to ensure a clear contrast
between light and dark.
07 Continue carving the stone. Throughout the picture, the
stones are represented in a way that the middle is solid and
the ends are weak, the front is strong and the back is weak.
Both the solidity and the strength here are reflected in the
amount of lines.
OceanofPDF.com
08 Carve the distant stone. There are more stones in the
upper left, so it is important to separate its body blocks and
then show the hierarchy when drawing it, followed by
drawing the stones behind it in a row to form a strong and
contrasting relationship with the stones in front.

09 Deepen the color of the distant stones to clarify the black

and white gray relationship between the stones behind and
the flowing water, and to enhance the three-dimensionality
of the stones in front.

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10 Carve the surface of the water and the rocks. The water
surface is dark in the image to set off the whiteness of the
waves. A few heavy colors on the water surface show the
reflection of the stones, which here have no specific shape
and are indicated by a set of heavy lines. The overall
deepening of the color of the stones so that the white of the
water flows in strong contrast to the black of the stones
gives them a more uniform color.

Although this case shows stacked water, the stacked water

is very little carved and is represented by only a few well-
defined lines, the most carved being the rocks. Therefore,
when drawing the stacked water, you need to use other
objects to represent it. Here are some other works on
stacked water that you can practice more to consolidate this
part.
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prompt
Below are two paintings showing waterfalls, which are an
extension of the stacked water. They are painted in the
same way as the stacked water, using contrasting black and
white and gray relationships to shape the picture. The
waterfall is the equivalent of a large stacked water, with a
larger current and bigger waves.

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8.3 Transportation
 
 
In pen drawing, vehicles are often present as supporting
scenery, such as boats and cars. This section focuses on the
drawing of boats and cars. When drawing these types of
subjects, it is sufficient to show their body blocks and then
to slightly detail and shade them.
8.3.1 Vessels
Boats are a common element when representing water
scenes. Boats can be used as a decorative accent element
to add some life to the whole scene.
Pre-Painting Analysis
This case illustrates a boat resting on a beach. The hull itself
is inclined, so the stern is high up and the whole boat is
triangular in shape. The hull itself is not much portrayed,
but mainly the treatment of light and dark relationships. The
decorations such as the mast and canvas affect the rhythm
of the picture, and when portraying it, the spatial level of
the picture is pulled apart and the subject is highlighted
through the contrast of light and dark, thick and thin, and
the contrast of real and imaginary.

Drawing steps
01 The stern section is forward, so you can draw the side of
the stern first, and you need to pay attention to the length
and width ratio of the stern when drawing.
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02 Use lines to quickly outline the shape of the hull.
Although the ship itself has many details, at this point it is
only necessary to show the larger structure of the hull.

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03 Draw out several of the more visible masts on the hull,
which are the main ornaments.

04 Outline the shape of the canvas on the mast with a line,

while specifying the location, length and alignment of
several major masts.

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05 Show the relationship between light and dark. The dark
areas are concentrated on the bow and stern sections of the
boat, and then the tires on the side of the boat are painted
and differentiated between lighted and backlit effects. The
tires are also an important accent element in the picture.

06 There is a small canopy at the top of the stern, which is

in a backlit position, so it can be directly represented by a
heavy color. There are small structures in the dark side of
the bow and stern, which need to be prepped to show their
shape and deepen the color of their projection to show the
layers of the dark side. The sides of the boat are made of a
patchwork of planks, and the material will be shown later,
so just use intermittent lines to show its movement first.

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07 Draw the projection of the canvas in the middle of the
hull, then use a short line to draw the grey side of the stern
section. There is a canopy over the bow, which can be
treated as a face due to its distant location. Then draw the
projection of the mast that is leaning forward.

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08 Starting with the bright side of the stern, draw the wood
grain of the bright side with short lines. The lines here are
intermittent, more left and less right, so as to show the
rhythm.

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09 Use random lines to outline a few strokes on the mast to
indicate the rope. Then draw a few more masts at the bow
to show the depth of the boat. Next deepen the grey side of
the stern to highlight the bright side.

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10 Darken the color of the projection of the boat, noting the
variation in the lines, with the left line more faint and the
right line more solid, and the lines extending outward from
the projection to show a slightly undulating ground.

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As you can see by the previous examples, although the boat
is shown, it is some of the decorations or other elements on
the boat that are most portrayed, allowing the boat to exist
as a large body block. This allows for some contrast and
enhances the rhythm of the image. Here are some other
works on boats, each with its own characteristics, which you
can practice on your own to consolidate this part.

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8.3.2 Automobiles
Cars are often used as a supporting element in the human
landscape. As the saying goes, "A car is a square box of
iron." This saying accounts for the relationship of the bulk of
most cars. Of course, their body block is not a standard
rectangle, but rather an extension and deformation of the
rectangle. When representing a car, the focus is still on the
shape, and the shape of the car determines the formality of
the image. If the car has a distinctive shape, more effort
should be put into the shape when portraying it. If the car
itself has an ordinary shape, you need to add other
elements, such as light and shadow or decorative patterns,
when carving.
Pre-Painting Analysis
This case draws a vintage bus, its shape is very common, its
basic block is a rectangular body. In the specific drawing,
you need to pay attention to the treatment of the window
glass, through the heavy color of the windows and the
change of reality to increase the interest of the picture.
Some decorations are added to the bright side of the
picture, and these decorations enhance the effect of the
dotted lines of the picture through certain shapes.

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Drawing steps
01 Draw the body of the bus in proportion to the length,
width and height of the bus itself, paying attention to the
perspective of the two lines on the bottom, which determine
the perspective of the bus.

02 The rectangular body is the large structure of the body

part. Draw the roof of the car on top of the rectangular
body, the roof part is a small rectangular body. Then use
long lines to divide the sides and front of the body and draw
the general shape of the windows and doors.

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03 Continue to divide the other small areas. Add the mirrors
to the sides of the front end, then draw the trim lines and
lights for the lower half of the front end, then divide the
doors on the side of the body with straight lines.

04
OceanofPDF.com
The 3 doors, front, middle and back, are the key to showing
the reality of the picture. Use lines to outline the shape of
the front door, paying attention to the relationship between
the top solid and the bottom virtual. Then simply draw the
middle door of the car. Next, leave the back door white. The
bus has more wheels and a more complicated structure.
Here you can draw the outer outline of the wheels first, and
then follow the direction of the light to outline the outline of
the bus projection.

05 Determine the relationship between the large light and

dark. Use vertical lines to show the windows, stippling the
areas to determine the big light and dark relationship. Then
draw the projection of the bus, with denser lines near the
car and sparser lines away from the car. Then draw the
shadows and dark sides of the wheel parts, and then draw
the light and dark relationships of the doors, paying
attention to the contrast between reality and fiction.
OceanofPDF.com
06 Carve the dark side. Deepen the color of some areas of
the window to give variation to the dark side. Light and
darken and vignette the front, middle and back doors,
deepening the color of the projections to enhance the
contrast between light and shadow.

prompt
The bus itself doesn't have much detail, but small variations
of light and dark in the dark areas enrich the image.
07 shows the light and dark relationship between the roof
and the front of the car. The roof is on the dark side and the
body blocks are grouped by simple rows of lines.
OceanofPDF.com
08 Engraving decorative elements. The structure and light
and darkness of the car itself has been adequately
expressed, but it still looks monotonous. Here the image is
enriched by adding some symbolic and textual elements on
the side of the carriage, which are present in the form of
dots, lines and surfaces. In addition, some nail elements
have been added to emphasize the mechanical feel.

As we can see from the above, the presentation of lines is

important when drawing cars. Here are some other works on
cars that you can practice on your own to consolidate this
part.

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 | Chapter 9 |
portrayal

If you want to draw the figure well, you must first

understand the characteristics of the figure. This chapter
focuses on the characteristics of each part of the character,
and then explains the character expression techniques with
specific cases. Later in this chapter, we will also explain a
relatively simple character expression technique, which only
focuses on the local character drawing and is not too
difficult.

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9.1 Performance of the head
 
 
When representing a character, the head is important to
portray. Everyone's head is different, and the head can
reflect the external characteristics of the character. Before
showing the head, you need to have a clear understanding
of the head of the character. Here is a specific
understanding of the characteristics of the head, and
through specific examples to learn the performance
techniques of the head.
9.1.1 Characterization of the head
When portraying the head, the study of the skull and body
mass is essential. If you look at the head in layers, the
outermost layer is the skin and fat, which are the
embodiment of the texture of the figure's head; inward are
the layers of muscle fibers, which allow for various
expressions; and further inward are the bones, which are
the key to the structure of the head, to which various soft
tissues such as muscles are attached.
skulls
The skull does not need to be drawn, but we need to
understand some of the turning points and proportional
relationships of the skull. Here are two different views of the
skull with the important skeletal and structural points
marked out. You can write down these skeletal and
structural points to know exactly where they are and their
form.

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body block
The structure of the head itself is complex and difficult to
summarize in one particularly simple and clear shape, so it
is generally summarized as a polyhedron. When
representing the body of the head, more attention is paid to
the transitive relationship between the faces.

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9.1.2 Drawing of young men's heads
The head portrait is portrayed with emphasis on the five
senses. Use body blocks to show the face to highlight the
five senses; use large blocks of color to show the hair to
distinguish the black and white and gray levels of the
picture.
Pre-Painting Analysis
This case draws the head of a young male. In terms of
presentation, the volume of the head is expressed through
light and shadow, and the details are mostly concentrated
on the five senses. In the subsequent content will explain
the details of the five senses, this case will mainly explain
the overall head drawing method.
Drawing steps
01 Outline the head with simple, well-defined lines, paying
attention to the proportions of the features to the face.

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prompt
When drawing a portrait of a person in profile, the variation
of the five senses is very subtle, and you may get the angle
of the five senses wrong if you are not careful, so you need
to understand in detail the structure of the five senses and
how they are represented at different angles.
02 Determine the direction of the light source and draw the
larger structure of the head, then identify the key turning
surfaces based on the direction of the skeletal and muscular
body blocks.

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prompt
When drawing a headshot, every part of the process
involves knowledge of the skull, muscles and five senses, so
they need to be carefully depicted.
03 Determine the relationship between light and dark. The
focus here is on the five senses, which are the most
prominent and important part of the portrait.

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04 Use a row of lines to group the dark sides of the face and
neck into one large dark side. Then use a small number of
lines to draw out the clothes.

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prompt
This step clearly distinguishes the large light and dark
relationships and the black and white and gray relationships
of the entire picture.
05 Deeply delineate the darker side to bring out the focus.
There is not much detail in the hair itself, just show the big
relationship. Then portray the five features, emphasizing the
contrast between reality and strength. Next draw out the
clothes, paying attention to the change in color on the left
and right sides of the clothes.
06

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In-depth portrayal of the five senses. The drawing of the five
senses will be talked about later, so here is only a brief
explanation. When portraying the eyes, note that the eyes
are the most important point of the five senses and the
center of the picture, and it has the most details; when
portraying the nose, note that the nose is the most
prominent of the five senses, and the focus is to show a
sense of three-dimensionality; when portraying the mouth,
the focus is also to show a sense of three-dimensionality;
when portraying the ears, note that the ears will often be
shown in a large block method.

07 Draw the dark side of the face and neck. Note that the
neck is in the projection and is darker than the face. The
dark side of the face and neck is also the large dark side of
the entire image, but this large dark side is rich in detail and
reflects the volume of the bones and muscles. Without these
details, the figure's face would appear flat and featureless.

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08 Carve the hair, being careful not to draw the lines too
stiffly to reflect the fluffiness of the hair, and then adjust the
detail in the rest of the hair.

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9.2 Performance of the eye
 
 
The eyes are particularly prominent among the five senses
and best express the emotions of the figure. When drawing
portraits, the focus is also placed on the portrayal of the
eyes. Showing the features of the eyes can highlight the
temperament of the character and add to the picture.
9.2.1 Characterization of the eye
Let us first analyze the structure of the eye. The eye
consists of four main parts: first, the eyeball, which includes
the eyeball and the white of the eye; second, the eye
socket, in which the eye is set, with a prominent brow bone
in the upper part of the eye socket and an orbit on the side;
third, the eyelid, the mass of soft tissue that wraps around
the eye and the eye socket; and fourth, the eyebrow, which
is the hair on the human face above the eye, whose volume
is influenced by the bones of the eye.

From the diagram of the eye's turning line, we can see the
direction of the large turn on the outside of the eye, which is
the turning surface we need to show when drawing the eye
body block.
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9.2.2 Drawing of the side eyes
The structure of the eye is relatively complex, with various
muscles and bones interspersed. You can understand the
eye as a block, and master the technique of representing
the eye through strong contrast of reality and volume.
Pre-Painting Analysis
This case shows a pair of female eyes drawn to show
roundness and fullness. The overall lines used are relatively
simple and general to create the texture of the skin. The
eyebrows and eyelashes are the finishing touches and the
most vivid parts of the picture, and are more heavily etched.

Drawing steps
01 Draw the outline of the eye, which is shaped like a
pentagon.

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02 Draw the eyes and eyelids. Use broken lines to draw the
general outline of the eyelid, then use lines to show where
the eyebrows are located.

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03 Draw the nose bone according to perspective, then draw
the outline of the right eye. Note that the right eye is
partially obscured by the nose.

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04 Draw the pupil, taking care to leave the highlights. Then
trace over the edges of the eyelids, drawing the projection
to show the thickness of the eyelids. Draw some of the
eyebrows.

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05 Showing the relationship between light and dark on the
inside of the eye sockets. The eye socket is the darkest part
of the picture, but in this case it is weakened so that there
are no particularly obvious lines of light and dark transitions
in the eye socket. Carve the eye and upper eyelid.

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06 The right eye is in the dark, weighting down its color by
lining it up. Then draw the left eye, lining it up along the
contour of the upper eyelid. Next, show the light and dark
relationship of the lower eyelid with a small amount of line,
distinguishing the turning structure of the lower eyelid.

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07 Carve the sockets of the left eye and the right eye,
drawing the eye bags. Then use lines to show the turning
surface of the nose root.

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08 Line up from the root of the nose towards the brow bone,
noting that the entire left side of the brow bone is on the
light side and has less dimension. Then carve the outer
corner of the left eye. Next, simply line the brow bone with
the eye socket and draw the brow with a short line.

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09 Deepen the color in and around the right eye to create a
strong contrast with the white of the nasal bone. Then draw
the lashes in curved lines.

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prompt
When drawing lashes, pay more attention to the state of
distribution of the lashes, showing the variation in their
length and thickness.

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9.3 Performance of the nose
 
 
The nose is the most prominent part of a figure head and an
important part that affects the harmony of the five senses.
The nose is supported by bone and cartilage and covered
with skin, and it is important to create a sense of dimension
when portraying the nose.
9.3.1 Characterization of the nose
The shape of the nose resembles a trapezoid, with four most
basic blocks, namely a front, two sides and a bottom.

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The base of the nose is attached to the middle of the upper
lip. The nose consists of the nasal root, bridge, septum,
nasal muscles, nose, nasal wings and nostrils.

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Here's a specific analysis of the turning face of the nose.
The front and side of the nose are the two sides with a large
turn. The side of the nose has two outward projections; the
upper part is the septum and the lower part is the nasal
wing. The nose can be viewed as a polyhedron, and it is the
fullest part of the entire nose in terms of volume. The nose
has a more pronounced turn and is divided into the front,
side and bottom sides, which accentuates the three-
dimensional nature of the nose.

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9.3.2 Drawing of the half side nose
The nose has many small structures, but each face is
complete, so it can be represented by means of a body
block. The nose can be represented in frontal, half-sided and
full-sided angles, with little variation in each angle and
commonality in expression, making it less difficult to draw.
Pre-Painting Analysis
This case is drawn with a semi-sideways nose. The root of
the nose is concave downward and darker, the sides are
darker in the eye sockets, and the entire front of the nose is
on the same lighted side as the sides. The sides are darker
overall due to the body block turning, with only the septum
position being brighter. When drawing the front of the nose,
different lines are used to show the bridge of the nose and
the body of the nose.

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Drawing steps
01 Draw the outer contour of the nose. This shows a semi-
side view of the nose, where the rise and fall of the nasal
bones and nose head influence the course of the nose
contour line.

02 Draw the base of the nose based on the structure of the

nose and wings. Each small arc here represents a turn in the
bottom of the nose.

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03 Draw the rest of the nose, then draw the shape of the
projection. The shape of the projection is influenced by the
orbicularis oris and the human middle, which appear
irregular.

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04 Draw the dark side by lining up the lines to distinguish
the large light and dark relationship of the nose.

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05 Carve the dark side. Deepen the color of the dark side of
the eye sockets, then draw the gray side of the nose root by
lining it up, followed by the dark side of the nose.

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06 Line up along the structure of the nose, showing the
turning relationship between the front and the side of the
nose.
prompt
The side of the nose here is also part of the lighted surface,
so it doesn't need to be etched too much.

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07 Show the nasal bone with lines, then deepen the nose
with rows of lines to highlight the volume of the nose and
leave the highlights of the nose out.

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08 Carving the glossy side. Each set of lines on the glossy
side is well defined, and you should analyze the movement
and role of each set of lines more.
prompt
When portraying the bright side, always distinguish between
the front and the side of the nose.

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09 Deepen the dark side to enhance the contrast between
light and dark. Then deepen the color of the side of the nose
so that the nose and the nose can be better highlighted.
Next, draw the nose and the bridge of the nose with a row of
lines, paying attention to the three-dimensional shape.

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9.4 Performance of the mouth
 
 
The mouth expresses the emotions of a character and is
often used in conjunction with expressions when drawing.
The shape of the mouth varies from person to person, and
the differences are mainly in the thickness and shape of the
lips. Although the thickness and shape of each person's
mouth is different, the structure of its composition and the
pattern of structural transitions are the same.
9.4.1 Characterization of the mouth
The mouth is affected by the teeth and the orbicularis oris
muscle, which is raised forward. When drawing the mouth, it
is important to show the volume of the upper and lower lips.
The orbicularis oris muscle has different light and dark
transitions in different locations and is key to showing the
volume of the entire mouth.

The mouth consists of three main parts: first, the upper lip,
which has a raised lip bead in the middle, similar to a
sphere, turning to the sides; second, the lower lip, which
resembles an irregular rectangle with a thicker middle part
of the lower lip and raised parts on the sides; and third, the
orbicularis oris muscle, the volume and turning of which is
the key to forming the body mass of the mouth.

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9.4.2 Drawing of the frontal mouth
The mouth on the front is symmetrical from left to right, but
you should also pay attention to the variation in detail
between the left and right parts when drawing it specifically.
When drawing the mouth, it is important to not only draw
the lips, but also to show the muscles in the outer ring of
the lips.
Pre-Painting Analysis
This case draws the frontal mouth. The frontal mouth has
two major dark sides, the dark side and projection of the
upper lip, and the dark side of the muscle below the lower
lip, both of which are key to showing the volume of the
mouth. There is a small side around each of the two corners
of the mouth, they are the turning surfaces of the upper
part of the mouth.

Drawing steps
01 Draw the outline of the upper part of the upper lip, then
draw the lip bead.

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02 Complete the outline of the upper lip by turning the body
block to show it.

03 Draw the lower lip. Use a few lines to summarize the

approximate position of the lower lip, then complete the
shape of the lower lip with discontinuous lines.

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04 Represents the structure of the mouth, with lines
outlining the turning surface.

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05 Draw the dark side by lining up the lines to distinguish
between light and dark.

06 Deeply etch the dark side. Deepen the color of the

projected portion, then emphasize the light and dark
junction lines to give variation to the dark side. Draw out the
dark side around the corners of the mouth.
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07 Line up with the structural alignment of the lips to show
the body block turn of the lips.

08 The color of the upper lip is usually darker than the lower
lip, deepen the color of the upper lip by lining it up. Then
use lines to show the orbicularis oris muscle.

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09 Show the volume of the upper and lower lips, using some
small short lines to show the tiny turning surfaces. Then
draw the bright side of the upper part of the mouth by lining
up the lines.
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9.5 Performance of the ear
 
 
When drawing the ear, many times a semicircle is used
instead, but we also need to understand the characteristics
of the ear and master the ear presentation techniques so
that we can show the three-dimensionality of the head and
make the structure of the head more refined and
reasonable.
9.5.1 Characterization of the ear
The structure of the ear is more complex and has more
twists and turns. When drawing the ear specifically, draw
the key areas of the outer ear wheel, inner ear wheel, ear
lobe, ear screen and opposite ear screen, and defocus the
rest.

When drawing the ear, the focus of representation is on the

outer and inner ear whorls. Also, show the thickness of the
ear screen, the opposite ear screen and the earlobe.
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9.5.2 Drawing of the side ears
The ears are positioned at the sides of the skull. When
drawing the ears, they are mostly represented by drawing
body blocks and are not portrayed too much. The shape of
the ears is similar from person to person, but subtle
differences will accentuate the character's features.
Pre-Painting Analysis
This case is drawn with the ear on the side. As you can see
in the drawing on the right, the ear has a very strong
contrast between light and dark. The brightest part is
concentrated in the upper part of the outer ear wheel, while
the inner ear wheel, the opposite ear screen and the earlobe
are obscured by the outer ear wheel, and the area of
shadow is larger and less varied. The focus of this drawing is
to show the structure of the ear and the relationship
between light and dark through the changes in light and
shadow.

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Drawing steps
01 The general outline of the ear is outlined, and the ear
screen is deliberately emphasized here.

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02 Outline the structure of the rest of the ear, which is the
basis for the light and dark representation.

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03 Lay out all the dark sides with uniform, neat lines without
having to show the variations in the dark areas.

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04 Darken the dark side to maintain a strong contrast
between light and dark. Distinguish the dark side from the
projection in the heavy colors, then reinforce the light and
dark junction lines.

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05 Use two dark sides to "sandwich" a light side to create
the volume of the inner ear wheel, taking care to leave
white space. Show some details of the outer earwheel, ear
screen and earlobe.

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06 Leave the bright side of the upper part of the outer ear
wheel white. When working with the lower part of the outer
ear wheel, pay attention to the white part of the outer ear
wheel. When working with the earlobe and the opposite ear
screen, think of them as spheres. Continue carving the ear
screen.

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07 Use short lines to show the light and dark relationship of
the upper part of the outer ear wheel, paying attention to
the white part. Then deepen the whole dark side of the ear
to make the dark side more uniform.

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9.6 Performance of hair
 
 
In Chapter 7, we mentioned the technique of hair-like
materials, and hair is also a hair-like material, so we should
use the same grouping method to draw hair in order to draw
a stronger sense of three-dimensional hair.
9.6.1 Characterization of hair
Hair is attached to the scalp, so the representation of the
head is particularly important when drawing hair. Hair has a
certain shape, and to show the different hairstyle features, it
is important to portray the hair in groups. When drawing
hair, it is important to keep the lines smooth, especially
when dealing with some messy hair, to achieve order in the
chaos.

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9.6.2 Drawing of short hair
When drawing hair, you can refer to the points in Chapter 7
on drawing hair-like materials, mainly through changes in
brushwork and changes in the light and darkness of the
head.
Pre-Painting Analysis
This case is drawn with a short hair. The hair is divided into
two groups: the left hair is the main object of portrayal, with
more details; the right hair is half on the light side and half
on the dark side, the part that shows the whole hair volume.
In the specific painting, you need to draw the big structure
of the hair first, then divide the big light and dark
relationship, and then divide into groups for detailed
portrayal.

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Drawing steps
01 Outline the outer contours of the hair. The outer contour
line has some rise and fall with the structure of the skull.

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prompt
The outer contours of the hair, whether long or short, are
largely influenced by the structure of the skull, and the body
of the hair is closely related to the skull.
02 Draw the hair grouping trend lines and the light and dark
structure of the turning lines to show the structure of the
hair.

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03 Draw out the light and dark relationships of the hair.
When showing the turning side of the hair, the color should
be darker; when showing the grouping of the hair, the color
should be lighter.

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04 Deeper carving. Darken the dark side and white out the
light side; then draw the grey side using a line up method,
following the hair's path to shape the volume, with light and
dark changes in each group.

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05 Deepen the color of the dark side of the hair on the right,
which is created by the turning of the skull body block. Then
deepen the color of the dark side of the hair on the left,
which needs to show the turning side because the hair is
going backwards.

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06 Deepen the color of the hair on the right by lining up
short lines. The short lines here are not evenly spaced to
reflect the tiny undulations of the hair.

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07 Deepen the color of the hair on the left by lining it up
with short lines. The hair on the left has a lot of grouping on
its own, and the most prominent grouping has brighter
raised sections.

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08 Add some hair strands to the edges of the hair to give it
a more vivid presentation. Then press the shadows of the
hair a bit to enhance the hair's dimension.

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9.7 Old man reading newspaper
 
 
There are not many elements to be portrayed in a full-body
portrait, but mainly the structure and dynamics of the
human body. When expressing the face and features of a
full-body portrait, lines can be used to express the
expression of the figure.
Pre-Painting Analysis
This case shows an old man sitting on a high stool reading a
newspaper. The face of the figure is minimally drawn
because it is shown from the side, and the focus is on the
upper half of the figure. One of the legs is on the light side
and one of the legs is on the dark side. The difficulty of this
case is to use a variety of lines to express the three-
dimensional sense of the upper body, to shape the sense of
hierarchy through the variation of line thickness, and to use
some thin and short lines to emphasize the transitions of
the body block.

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Drawing steps
01 Outline the figure's hat, then draw the eyes, nose, ears
and glasses, followed by the collar in a refined line.

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prompt
This case is drawn in a similar way to sketching, with a high
demand for simple, precise lines, especially when
representing key parts of the figure.
02 Complete the figure's features, then draw the light and
dark relationships of the cheeks, followed by deepening the
hair so that it contrasts strongly with the collar.

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03 Follow the back to outline the edge lines of the dress.
The edge line here is constantly changing, the left sleeve is
more frayed where it meets the body of the garment, so
there are more lines and you need to pay attention to the
thickness of the lines. Draw the outline of the backrest of
the stool.

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prompt
The edge lines of the dress are drawn with an artisan pen,
so the lines have a stronger sense of intensity. If drawn with
a regular pen, the sense of strength is diminished and the
contrast between the thickness of the lines is not as strong.
04 Complete the drawing of the left sleeve and the lower
part of the top. The garment is squeezed by the backrest of
the stool, which creates a part of the dark side and more
folds in the garment.

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05 Draw the hands and newspaper, then use rows of thin
lines to draw the turning surfaces of the back, waist and
arms.

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06 Draw the stool top, as well as the figure's hips and
thighs. The hips and thighs will be partially distorted by the
compression of the stool surface.

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07 Draw the figure's lower legs, then draw the stool legs.
Defocus the lower part of the stool leg. Then simply show
the volume and light/dark relationship of the figure's legs.

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08 Treat the shoe to a heavy color to stabilize the image.
Then draw the right leg in the dark side using a row of lines,
noting the variation of the darker top and lighter bottom.

09 Continue to deepen the color of the right leg in the dark

side to make the spatial layers of the image more obvious.
Then show the light and dark relationship of the stool legs.
Next draw the stitching of the top and pants. Then draw the
decorative pattern on the back.

prompt
The difficulty of figure sketching lies in modelling, which
requires us to understand the structure of the human body
and the laws of human dynamics, etc., which can only be
mastered through long time accumulation.

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 | Chapter 10 |
Architectural Landscape Case
Studies

In this chapter, you will learn how to draw architectural

landscapes. Through the study of this chapter, you can
understand the characteristics and drawing methods of
different buildings. In the portrayal of the main body, more
attention will be paid to the expression of the block, turning
and interpolation relationship; in the portrayal of the
supporting scenery, the spatial level of the picture will be
opened up through the techniques of contrast between
strength and weakness and contrast between reality and
emptiness to strengthen the sense of hierarchy of the
picture in order to better set off the main body.
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10.1 Villa in the mountains
 
 
This case is drawn as a villa in the mountains. The shape
and structure of this villa are relatively simple and not very
difficult to draw. There are two methods commonly used in
the representation of modern architecture. One is to
represent a certain building alone and simply draw the
surrounding scenery to pursue the majestic feeling of the
building itself. The second is to combine the building with
the supporting scenery, shaping a large spatial scene, the
proportion of the building in the picture is small, the focus is
to show the relationship between the building and the
environment. This case focuses on the second method of
expression, which includes the portrayal of the building
itself and also takes care of the portrayal of the surrounding
environment.

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10.1.1 Pre-picture analysis
  Key points: This case mainly uses the contrast of light and
dark to shape the space of the picture and express the
structure of the building. The expression of lines and the
handling of the relationship between reality and reality are
the main points of drawing in this case.
  Difficulty in drawing: The dead tree in the close up is the
more vivid part of the whole picture. If the dead tree is not
represented properly, the whole picture will look boring. The
slope of the mountain in front of the building takes up about
1/4 of the picture, so it is important to show the layering of
the slope of the mountain, so that the slope of the mountain
does not look so dull in the picture.

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  Expression Technique: Using the method of crossed lines
to express the picture, you should pay attention to the way
of drawing to different stages of the use of lines.

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10.1.2 Drawing steps
Determine the shape of the subject of the picture
01 The structure of the building in this case is relatively
simple, mainly divided into two main parts, front and back.
The front part of the building is drawn according to the
perspective, then the back part is drawn, and the doors and
windows are divided by lines. The building is standing on a
slope of a mountain, so you need to draw this slope for later
drawing. Be careful not to misrepresent the perspective of
the front part of the building.

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02 The dead tree in the front is the most vividly expressed
part of the whole picture. The curved branches contrast with
the straight building edge lines, and it is important to grasp
the form of the dead tree when drawing it. Firstly, you have
to define the approximate position of the dead tree and
draw the main branches. Then use the line method to draw
out the dark side and projection of the building, paying
attention to the direction of the line arrangement and the
direction of the light source. Next, use the line method to
depict the dark side of the main branches of the dead tree,
paying attention to the sparseness of the lines. The
treatment of the dead tree in the picture is constantly
changing, and the line variations are very rich, so the dead
tree is the most difficult area to draw in this case.

Determining the Great Light-Dark Relationship

03 Draw the dark areas and projections of the slope based
on light and shadow relationships. Although the slope of the
mountain is large, it is not the main scene, so there will not
be a lot of variation in light and darkness. Darken the dark
parts of the building, taking care to differentiate between
the dark parts and the projection, and to create some
contrast between the dark parts in front and behind the
building. Use thick lines to draw the branches of the dead
tree, paying attention to the way the lines are arranged.

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prompt
In this case, the building and the slope are treated as
surface elements, the whole trunk of the dead tree is
treated as line elements, and then some point elements are
added locally as accents, which gives a reasonable
distribution of point, line and surface elements in the
picture.
04 Draw the wood grain on the front part of the building.
Then draw the mirror image of the tree on the glass, noting
that the mirror image has a darker and lighter color. Next
deepen the color of the shadows on the inside of the house
and draw the shadows of the leaves on the inside of the
house. The interior of the house is the most inward facing
and can be treated as a gray surface with lines on the sides
for transition. Deepen the color of the shadows of the
building, diminishing them in order from the top right to the
bottom left. This step is more expressive but not too
difficult, and you can basically do no wrong by controlling
the shades of color and the way the lines are arranged when
drawing.
Mapping slopes and plants

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05 Darken the darker areas of the slope to create a strong
contrasting effect of light and dark. Line up the small
structure of the slope, focusing on the gray side. Pay
attention to the direction of line alignment and color shades
in the picture, and leave the bright parts white for a while.

06 Outline the general shape of the tree on the right side of

the building. Then simply line up a group of lines. Next
outline the body block in lines, with more sets of lines for
the tree in front and a simple etching for the tree behind.

Mapping the vision, mid-term check

07 The background behind the building is relatively empty,
so you can draw more trees, but without going into too
much detail. Sketch the shape of a few main trees, then line
up the trees, followed by some lines to shape the volume of
the trees, paying attention to the primary and secondary
relationship of these trees, and then draw the distant trees
with the line up method.
08 By this point, the broad light and dark relationships in
the picture have largely been established, and some parts
of the picture have moved into the deeper stages of
delineation. Check the picture and note the logical
relationship of space in the picture to see if the spatial
layers can be pulled apart. The darkest area in the whole
picture is the trunk of the dead tree.

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Portraying architecture
09 Use short lines to imitate the texture of the wood grain
on the building. The edges of the entire building opening are
on the gray side and receive light between them, so draw
them with rows of lines as well, paying attention to the way
they are lined up. Draw the darker parts of the mirror image
of the tree on the glass and accent them with point
elements.

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10 Treat the side of the building as a bright surface, noting
that the lines fade from top to bottom and right to left.

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11 Treat the distant building as a gray surface, using short
lines and dots for the etching. Then draw the mirror image
of the plants on the windows of the distant building and the
texture of the glass. Next show the projection of the tree on
the bright and grey side of the building to reinforce the
connection between the tree and the building. Then the
grey side at the very front of the whole building is deepened
to distinguish the black and white grey relationship.

Refinement of dead trees and slopes

12 Draw the branches of the dead tree. Here you should
remember the method of drawing "the tree is divided into
four branches", and pay attention to the direction of growth
of the branches and the contrast of the sparseness of the
branches. When drawing the twigs, basically use short lines,
but do not draw too much; then add point elements around
the branches to represent the falling leaves.

13 Make simple rows on the bright side of the slope, noting

that these lines are of different lengths and thicknesses,
while leaving appropriate white space to show their volume.
Adjustment screen
14 In the adjustment phase there is generally no need for
too much delineation; compare and think more before you
write. Add a few sets of branches to make the upper part of
the image flatter. Then add a few sets of lines on the
brighter side of the lower part of the trunk to give more
detail. Next deepen the color of the building and the
projection. Then unify the projection of the plant and
building on the left.

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prompt
In the final stage of adjustment, these points need to be
noted. One is to see if any of the large blocks and details
have been destroyed, and to overwrite some of the
previously drawn details for the overall effect of the picture.
Two is to see whether the visual center is prominent
enough, if not, you should find a way to strengthen the
visual center or weaken the surrounding elements. Third,
see if the spatial level before and after is pulled apart. The
fourth is to see if the picture is stable and if the dominant
element in the picture can hold down the picture. These are
basically the elements to observe in the final adjustment
stage, but it is more important to compare and contrast
more, think more, and move less.
10.1.3 Post-drawing summary
This case is basically represented by drawing cross lines. In
terms of line expression, there are light and heavy lines, so
the picture has light and dark, imaginary and real; it is
mentioned several times in the steps to pay attention to the
line arrangement direction and sparse relationship, when
less lines are used, the line arrangement direction will
largely affect the undulating state of the object. You can try
the effect of different sparse and dense lines.

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When breaking down other people's works in the early stage
of painting, you may be more interested in studying other
people's expression techniques; in the middle stage of
painting, you may pay more attention to other people's
painting steps and the logical relationship of the picture,
etc.; in the late stage of painting, you need to understand
other people's painting thinking and painting concepts, etc.
Here are some other works about architectural landscape,
you can practice on your own to consolidate your knowledge
on this part.

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10.2 Hui-style architecture
 
 
This case draws the emblematic architecture. Huizhou-style
architecture has its own characteristics and cultural
connotations, and has its own unique techniques in the way
of expression. In this section, we take the alley with horse
head wall as an example to explain the main points and
methods of drawing Hui-style architecture. When drawing
traditional architecture, besides showing the structure and
perspective relationship of the building itself, etc., you
should also pay attention to the expression of the cultural
connotation of the building itself and the shaping of the
historical atmosphere.

10.2.1 Pre-Painting Analysis

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  Key points: The structure of the building in this case is
relatively simple, and the main body is a horse head wall. It
is the key point of this case to show the rich effect of the
picture with the simple subject. This case is mainly to show
the contrast between light and dark, and the distribution of
light and dark in the picture is also the key point of this
painting.

  Difficulty: There are a lot of dark parts in the whole

picture, so it is necessary to make the dark parts vary when
drawing. When drawing, you need to draw the structure
while showing the light and dark, and try to draw it in place
at once.
  Expression Technique: This case is mainly represented by
using the contrasting techniques of strong light and dark
and strong vignette.

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10.2.2 Drawing steps
Drawing the main body
01 Draw the tiles on the wall in the close up on the left side
of the picture. Determine the direction of extension of the
tile and the small structure inside, and then draw according
to the light and dark. Pay attention to the variation of solid
and void, the closer to the edge of the picture, the thinner
the lines. Next outline the shape of the tiles, noting the
overlapping relationship and changes in light and darkness
of the tiles themselves.

02 Draw the sloping roof following the course of the tiles,

noting the variation in the solidity and thickness of the lines.
Then draw the corner of the horse-head wall, paying
attention to the perspective relationship of the wall. The
wall is curved, so you can't make a mistake in the big
perspective. Next, draw the dark part of the wall. After you
have almost achieved the major light and dark relationship,
draw the middle part of the horse head wall according to the
perspective relationship and follow the major structure.

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03 Draw the distant eaves corner, paying attention to
grasping the overall perspective relationship, and then
showing the large light and dark relationship. At this point,
the middle raised eaves corner is the main subject, and its
light and dark pairs are stronger, while the light and dark
pairs of the distant eaves corner are weaker.

04 The shadows of the horse-head wall are drawn with

vertical lines according to the direction of the light source.
Due to the stronger light, the shape of the shadows is more
obvious, although it is still important to note that there is a
certain difference between the shadows and the darker
parts of the eaves corners, which are slightly brighter than
the eaves corners. Then draw the shadow of the next wall
according to the perspective relationship, here the shadow
is brighter than the shadow of the horse-head wall, the lines
are more sparse and fade away to the front.
05 Use long lines to outline the horse head wall. This is the
brightest part of the picture, so be careful when drawing it.
Then draw the outline of the door. Next draw the dark part
of the door and other structures on the wall to enrich the
picture.

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prompt
Think about the method of representation before you draw
it. For example, the bottom part of the wall in the drawing is
dark, and is represented using a row of lines, which is
portrayed as a large gray surface. This step simply outlines
its outline with intermittent lines, which facilitates the
vignetting process later. To determine the presentation in
advance, there are two methods here: first, a lot of trial and
error, which is less efficient but often leads to other gains;
second, a lot of viewing of other people's work and studying
their presentation methods, which is a little more directional
but still needs to be verified through a lot of practice.
portray the whole
06 Draw the structure of the building on the right based on
the perspective relationships and the scale of the building
itself. Draw the large block first, then refine the two eaves in
the close up view.
prompt
When drawing such old buildings, they are usually not
strictly in perspective, they are all angled so that the picture
effect will be more vivid and interesting.
07 Draw the dark parts and projections of the building on
the right. Note the shapes of the dark parts and projections
of the building. The projections, walls, base of the walls and
eaves are all different colors, so compare them as you draw.
The dark areas disappearing forward do not need to be
drawn too much, just let the lines disappear naturally.

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08 Draw the bottom of the wall on the left side of the horse
head wall, and just show it by lining it up. At this point, the
general light/dark relationship of the picture is established.
Most of the horse head wall on the right side is in the dark,
so the first thing to work on is the dark areas, giving them a
uniform and subtle variation in color to darken them.

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prompt
Before portraying the darker parts, it should be clear to
everyone that even with all the detail in the darker parts,
the darker parts are always a unified surface.
09 Enhance the contrast between the light and dark of the
projection so that the wall on the right in the far field is
spaced out from the wall in the close field. Then deepen the
color of the projection of the eaves on the wall on the right
and the color of the projection of the wall on the ground on
the right. Next, deepen the color of the door in the dark and
slightly darken the door in the far distance. Then paint some
small details on the wall and deepen the color of the
projection to enhance the contrast between light and dark.
10 Draw the pavement. Here the pavement is outlined into
3 large blocks and drawn in rows, taking care that the lines
are heavy in the front and light in the back, with more in the
front and less in the back. Here the pavement is drawn
darker in the front but still much lighter in color compared to
the projection.

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11 Darken the bottom of the wall on the left side of the
horse head wall. At this point, the bright side is pretty much
painted. Observe carefully the direction of the lines in the
picture, especially the lines between the wall and the
ground. The performance of the wall is based on vertical
lines, and the performance of the ground is based on
horizontal lines, which is a more practical way of expression.

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portraying details
12 Starting from the main body of the picture, carve the
details of the horse-head wall on the left. Here it is shown by
short horizontal lines crossing each other with short vertical
lines, in order to show the subtle undulating changes in the
wall, which should not be overly engraved.

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13 Carve the bright side of the left-hand wall by lining up
the lines. Line the white portion of the horse head wall with
several sets of short lines, paying attention to the cross
relationship of the lines and the white space between them.
Leave the water pipe white, then deepen the darker areas to
set off the white of the wall. You can turn the brush tip
upside down when drawing, so that the effect will be more
delicate.

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14 A shallow layer of lines on the bright side of the distant
building sets the space back.

15 Deepen the overall color of the dark areas, so that the

contrast between light and dark is stronger. Note that the
dark areas are not a "dead" black, but also show some
detail.
OceanofPDF.com
Adjustment screen
16 Use cross-hatching to carve through the darker areas
that show more thinly. Then the darkest parts of the dark
areas are further deepened to give more variation in the
dark areas. To ensure uniformity throughout the dark areas,
the dark areas are deepened uniformly with diagonal rows
of lines. Then add the wires to make the whole picture effect
more vivid.
OceanofPDF.com
prompt
If you feel that the treatment of a certain surface in the
picture is not uniform enough, you can unify the picture by
using uniform techniques, such as uniform hues, uniform
brightness and uniform lines. The technique used here is to
unify the lines, and the current picture is dominated by
vertical lines, so I chose to add diagonal lines, so that the
picture will be more detailed and airy.
10.2.3 Post-drawing summary
Through the study of this case, we can summarize the
following 3 points.
  Point 1: When drawing a relatively simple object, how do
you make the picture look fuller and have a richer effect?
When the object represented is simple, the whole picture is
actually difficult to handle. Here I recommend you a way to
exaggerate the technique of expression. For example, this
case is to enrich the picture by strengthening the contrast
between light and dark and reality. Of course, other ways
can also be used, such as showing the contrast between
lines and lines with the help of the shape of the building, or
strengthening the contrast of materials, enlarging the
texture elements in the picture and processing them
deliberately to form a more interesting visual center.
  Point 2, how should large dark areas be represented?
When dealing with large dark areas, you can deal with them
by enhancing the contrast. Contrast can solve many
problems. For example, when dealing with the dark part of
the wall in this case, lines are used as a transition to create
a color difference; when dealing with the spatial relationship
between the front and back, the method of strong virtual
and real contrast is used to pull apart the spatial level of the
picture and make the whole dark part more vivid.
  Point 3: How quickly can I get the process in place when
carving up the picture?
It is difficult to put the picture in place, here we recommend
two small methods: one is to portray more of the visual
center, and gradually reduce the portrayal from the visual
center outward, with even less portrayal of the edge places.
If you really can't grasp it, you can leave the edges empty,
and then deal with them later according to the effect of the
picture. Second, more sketches, which will allow us to try
more ways of painting in less time, and give us some
preconception of the effect of the picture. The sketches are
simply in place and not etched.
Here are some other pieces on old buildings that you can
practice on your own to reinforce the content of this section.

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OceanofPDF.com
10.3 Jiangnan Water Village
 
 
This case draws a scene of the water village in the south of
the river. This kind of building is more moody, with ancient
characteristics, and with the performance of water, the
whole picture is very vivid. We should pay more attention to
the method of expression of the structure when drawing.

10.3.1 Pre-Painting Analysis

The main point of drawing: Jiangnan water town is a
relatively common subject in pen drawing. This case can be
understood as a combination of architecture and water,
which is also the main point of this case.
  Difficulties: The most difficult part of painting a subject
like the waterfront is the water. The water itself is difficult to
draw, and at the same time to be associated with the
building, drawing will be more difficult. This case involves
the handling of different materials such as tiles, wood,
stones and water, so it is important to grasp the method of
portraying different materials when drawing.
  Expression Technique: In this case, a lot of short lines are
used for inscription, both in the treatment of light and dark,
and in the expression of the material. Therefore, the
composition of the whole work is very simple, but the effect
of the picture is very rich.

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10.3.2 Drawing steps
Determine the shape of the building and stone bridge in the
close up
01 Determine the position and perspective relationship of
the eaves corners of the main building. Outline and draw
some tile shapes and the structure of the eaves. Then follow
the structure of the building by drawing the wall with the
small eaves at the bottom right. Note that the corner of the
wall here is turned and the shingles of the front eaves are
larger than the shingles of the back eaves.

02 Draw down the structure of the building. Most of the

ancient buildings are wooden structures, so show the
patchwork relationship between the wooden blocks here as
well. Then draw the windows, the awning and braces
sticking out, and draw the small building on the left. Next,
draw the bottom of the building where it touches the water
and determine the size of the stone wall. Then draw the
large windows of the small building on the left, noting the
perspective and turning relationship of the large windows.
Finally, determine the position of the stone bridge and the
general structural relationship based on the perspective
relationship.

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03 Sketch the outline of the stone bridge. Instead of drawing
the entire stone bridge here, only a portion of it is drawn,
allowing it to slowly transition out of the frame. Then simply
outline the structure of the small house behind the stone
bridge, without drawing it too detailed. Also, when drawing
the stone bridge, do not draw the wrong perspective of the
bridge hole.

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Portraying the subject
04 Determine the large light and dark relationship between
the main building and the stone bridge in the close up view.
The main building in the front uses more lines and the
overall darker color; the stone bridge in the distance and
the local part further away use less lines and the overall
darker color is lighter. The eaves are left white to pave the
way for a deeper portrayal later on.

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05 Darken the darker parts of the building, including the
corners, to distinguish the bright side from the gray side.
Then use simple rows of lines to indicate the bright side of
the awning and enhance the sense of texture.
OceanofPDF.com
06 Before carving any object, show its dark areas. Carve the
building on the left. Here the dark part of the large window
is treated as a face, and note that the dark part of the large
window is varied. Then outline the shape of the large
window and the details on the large window. In principle, the
large window in front should be shown more richly than the
large window in the back, all of which are reflected here as
variations in the lines. In dealing with the several boards
under the large windows, note the variation of line. Then
draw the stones, using short lines to distinguish them from
the wooden blocks. Next draw the shingles, paying attention
to the sparse relationship as you draw them.

07 Treat the main building. The structure of the building is

subdivided to enhance the contrast between the light and
dark parts of the eaves corners. When drawing the dark
parts of the eaves corners, there are still some light parts
present, which can be indicated by vertical lines. Then use
short lines to show the tiles, taking care that the color of the
tiles is not darker than the dark areas and projections.

08 Show the wood grain material of the building. Use long

straight lines and dithered lines to represent the wood grain
of the upper part of the building. Then use short lines to
show the wood grain of the lower part of the building, and
decorate it with some point elements to enrich the picture.
Then use short lines to portray the details of the other parts.
Note that the darker color of the corner turnings is to echo
the heavy color of the shingles next to them to highlight the
white in the middle of the building.

09 Carve down the structure of the building, deepening the

darker parts of the window and showing the lighter parts of
the awning. Use vertical lines to show the wall below the
window and show other details. When drawing, observe the
direction of the rows of lines in the picture more often.

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10 Draw the lower half of the building on the far right. This
is near the edge of the frame, so you don't need to draw
much, just get the light and dark relationships and materials
in place. Note that the lines are rather loose when drawing
the tiles.

11 Draw upwards along the structure of the building,

without carving too much near the edge of the frame.

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12 Draw the stones on the stone bridge and below the
building, paying attention to the sparse relationship of the
lines to emphasize the three-dimensional and historical feel
of the stones.

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Drawing the middle view
13 Dealing with mid-views. The buildings in the mid-ground
are mainly large structures, and it is sufficient to draw the
general outline. When drawing the mid-ground, compare its
scale and perspective with the near-ground.

14 The darker parts of the mid-ground do not need to be

overdrawn, and the material is simply expressed by lining
up the tiles in relation to the turn of the body. Note the
sparse arrangement of the tiles in the mid-ground, which
fade from lower left to upper right.
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15 Slightly deepen the darker parts of the bridge hole, lining
up a layer of lines on top of the larger light and dark. Then
draw the body structure of the small house in the distance.

Drawing water and vistas

16 Use vertical lines to locate the reflections of some
buildings on the water, then line up a layer of lines against
the outline of the bottom of the buildings. Next, find the
reflections of the buildings, stone bridges and other major
objects, and simply darken the reflections. The lines used
here are more flexible, and the further out you go, the more
casual the lines become. When drawing the water surface, it
is generally important not to draw too figuratively,
otherwise it will affect the main and secondary relationship
of the whole picture.

17 Starting from the bottom of the building, line up the

water surface and paint it uniformly. Note that not all of the
water surface is darkened here, either, but just use lines to
transition where the articulation is not natural. The water
surface is not the main part of the picture, so you don't
need to paint it too realistically.
18 Draw the outline of plants and the outline of buildings in
a distant view.

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Adjustment screen
19 The dark side of the bridge cavity was adjusted to make
the image more uniform so that the spatial relationship is
also clearer. Then the dark and light parts of the main
building were adjusted to make the articulation between the
wood grain more natural and the layers richer. Then adjust
the awning to deepen the color of the gray surface and give
the image a stronger sense of space.

10.3.3 Post-drawing summary

As mentioned earlier, this case can be understood as a
combination of architecture and water for drawing. When
dealing with the building, the expression of light and
darkness and the material are the main focus; when dealing
with the water, only the reflection of the building is drawn,
and the edge line connecting the water and the building is
the focus of the water expression. This case is not very
difficult to portray, and the picture is relatively solid. We
must pay attention to the use of strong and weak
contrasting techniques when drawing water country class
subjects, if the area of water is larger, then the building
should be drawn less, and vice versa.
Here are some other works on the subject of the waterfront
that you can practice on your own to reinforce this section.

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OceanofPDF.com
10.4 Venice Water City
 
 
This case draws the scene of Venice water city. Compared
with the water town in the south of the Yangtze River, the
architectural style of the Venice water city is European, so
the specific way of drawing is different and creates a
different atmosphere in the picture.

10.4.1 Pre-Painting Analysis

  Drawing points: This case mainly shows the buildings on
both sides of the river. When drawing the buildings on the
left, they can be grouped into a large dark surface; when
drawing the buildings on the right, the method of contrast
between reality and fiction can be used. The river in the
middle is crowded by several boats, and the main purpose
in the treatment of the boats is to use size contrast to pull
apart the spatial level of the picture to form a strong depth.

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Difficulty in drawing: The difficulty in drawing this case is
focused on the representation of the building. When
portraying the building, not much detail is shown, and it is
mainly handled by light and dark contrast and body block
portrayal. Finding the main portrayal points of the building is
the key to drawing this work well, otherwise the picture will
look empty and not show the atmosphere of the picture. In
addition, when expressing the atmosphere of the picture,
we should not only rely on the buildings, but also on the
ships and people in the middle.

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  Expression Technique: The whole picture is expressed by
the method of strong light and dark contrast, with a large
dark surface on the left and a large light surface on the
right. In the representation of the boats, the front boat
pushes the space backward by leaving a lot of white space
to attract the viewer's eyes; in the representation of the
buildings, the representation method of front solid and back
void and light solid and dark void is used, which can make
the distant buildings backward.

10.4.2 Drawing steps

Defining the look
01 Draw the general structure and light and dark
relationships of the ships, leaning forward to be larger and
in contrast to the ships behind.

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02 Draw the reflection of the boat and the people in the
boat, then darken the bow section of the boat. Draw the
general structure of the bridge.

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03 Draw the structure of the building on both sides, taking
care to grasp the perspective relationship. Then use straight
lines to outline the structure of the door and window, note
that the door and window have a certain thickness, you
need to show the thickness.

Determining the Great Light-Dark Relationship

04 Crimp the dark side of the bridge cavity and enhance the
contrast between light and dark and fiction in the lower part
of the building. Then draw out the fence on the bridge,
noting that there is a little white space in the middle of the
fence. Next, deepen the color of the building on the left.

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05 The dark side of the building on the right is mostly
concentrated in the location of doors and windows,
indicated by lines and blocks of color, paying attention to
the contrast between reality and fiction.
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06 Carve the building on the right side, paying attention to
the brick wall material.

Drawing the Vision

07 Draw the structure of the building in the distance view
and deepen the color of the dark side of the building. Carve
the details of the building in the distant view.

08 Carve the water with heavy colors, paying attention to

the contrast between light and dark surfaces, as well as the
changes in light and dark on the dark side.

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Adjustment screen
09 Darken the dark side of the building on the left, add a
few figures on the bridge, and then show the light and dark
relationship between the foremost boat and the middle
boat.

10.4.3 Post-drawing summary

In drawing this case, the main purpose is to show the
relationship between the front and back space of the virtual
and strong and weak with lines, and the building is
weakened, which can better emphasize the contrast of light
and dark in the picture.
Here are some other works on water features with
compositions and expressions that are basically the same as
the examples, so you can practice them on your own to
consolidate the content of this section.
OceanofPDF.com
OceanofPDF.com
10.5 View of the village head
 
 
This case draws a village in the mountains, showing objects
such as stone bridges, water, large trees and buildings. The
main part is in the mid-ground, and the near-ground part is
the stone extending from the mid-ground, which is less
carved, so the focus of this case is on the mid-ground and
far-ground.

10.5.1 Pre-Painting Analysis

  Key points: In this case, the stone bridge, the water
surface and the tree are the main objects. When drawing
the water surface, the expression is relatively realistic; when
drawing the stone bridge, the main portrayal is the side,
leaving the top surface white; when drawing the tree,
because the tree occupies a large area of the picture, so the
expression is more flexible.

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Difficulties in drawing : There are three difficulties in
drawing this case. One is the performance of the water
surface, there are ripples on the water surface and the
reflection of the stone bridge, to blend them together
naturally. The second is the treatment of the tree, the tree is
the visual center of the upper part of the picture, the
branches are staggered, uneven, some leaves are in groups,
some are in pieces, need to distinguish the relationship
between sparse and dense. Third is the performance of the
shadow part of the picture, the shadow is mainly reflected in
the dark side of the stone bridge, the reflection of the water
and the projection of the tree, to distinguish the relationship
between the dark side.
Expression Technique : The main expression technique in
this case is the contrast between light and dark. The middle
part of the scene is mostly on the dark side, with fewer light
sides, yet the contrast between light and dark is strong. The
distant view, as a gray surface, is partly in the dark part, but
not much. The spatial hierarchy is mainly expressed by the
strong light and dark contrast technique between the
middle and distant scenes.
OceanofPDF.com
10.5.2 Drawing steps
Determine the shape of the close up and medium shot
01 Draw the shapes of the stones and stone bridge with
relaxed lines to show the larger structural relationships.

02 Outline the side of the stone bridge and leave the bright
side in place, then draw the rough outline of the trunk,
branches and leaves of the large tree. There are more
branches here, so you will need to clarify the relationship
between the front and back of the branches and the
interspersed relationship when drawing.

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Determining the Great Light-Dark Relationship
03 Think of tree trunks as special cylinders and draw them
as they rise and fall. Then draw the stones, paying attention
to their structure and spatial relationships.

04 Weight the main part of the trunk with black, especially

the branch part, paying attention to the front and back of
the branches.
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05 Darken the rocks and the darker parts of the canopy.
With a smaller canopy, you can use lines to indicate the
leaves, which will give variation in the darker parts of the
canopy. Then deepen the color of the tree trunks that lean
back based on the lightness and projection of the canopy to
pull back the spatial layers.

06 Draw the stone next to the large tree, indicating the turn
of the stone by the direction of the lines. Because the stone
here is not the main subject, it does not need to be drawn in
too much detail. Note that the stone in front uses fewer
lines, and the stone near the tree uses more lines and more
detail.

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07 Draw the side of the stone bridge with a short line,
leaving the bright side white. Then deepen the color of the
shadows of the stones on the right. Then add more darkness
to the bridge hole, taking care to show the airiness.

08 Just refine the stone on the left to show the light and
dark relationship.

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09 Carve the large tree. Draw the trunk and branches in
rows of lines and refine the bright side of the canopy so that
the canopy acts as a heavy color in the image.

prompt
The large tree is portrayed more here, mainly to distinguish
the branches from the trunk back to front.
10 Roughly outline the reflection in the water, using
horizontal lines to define the shape of the reflection, and
then use vertical lines to distinguish the light and dark
relationships of the reflection.

prompt
The reflection is darker compared to the side and sides of
the stone bridge, and it is the key to distinguishing these
darker parts.
11 Observe which parts of the picture are not shown enough
and can be emphasized a little more. Draw out the nearer
house on the right to show some detail.
OceanofPDF.com
Drawing buildings such as houses and plants
12 The buildings of the houses in the picture are essentially
in large blocks, with projections and dark areas drawn
according to light and shadow relationships, and the light
sides left white.

13 The pavilion in the picture is a key object to portray. First

outline the basic form of the pavilion, then draw the large
light and dark relationships using line drawing, followed by
the tree behind the pavilion. Note that the projection of the
pavilion on the wall should be distinguished from the
surrounding wall.
14 Outline the plant with curves, then draw the darker parts
of the plant based on light and shadow relationships,
followed by the lighter side using line drawing.

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15 Draw out the other buildings and plants in the distant
view, being careful not to draw more than necessary, point
to point.
prompt
The distant scenes are not much portrayed, but it is still
important to determine their relationships such as light and
dark and body turnings when drawing them specifically and
not to omit them.

16 The bright side of the house building is drawn with rows

of horizontal lines, weakening the contrast of the house
itself. At the same time, the sparseness of the lines in this
section contrasts with the denseness of the lines in the mid-
ground, further pulling back the spatial level of the picture.
OceanofPDF.com
Carve the water and check the picture
17 Lay a layer of lines directly in line with the outline of the
reflection, paying attention to the white space on the water
surface and the way the lines are arranged. Then add more
color to the reflection of the bridge cave, pulling back the
spatial layers of the water, while reinforcing the formality of
the cave. Then draw out some ripples. Finally, weaken the
shape of the ripples by lining up the horizontal lines to give
the water a more subtle change.
18 Return to the whole and look at the image to see where
it is not represented properly. The large trees, stone bridge
and water in the mid-ground form a darker coloured area,
and the distant scene as a whole is set back as a grey.

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Adjustment screen
19 There are more layers of rocks under the tree, here the
rocks closer to the trunk are grouped into the shadow of the
tree, weakening the rocks and further pulling the spatial
layers of the image. More small leaves and branches were
added to the canopy section to make the large tree appear
bushier. Then an overall layer of lines were lined up in the
distance to make the distance more unified and allow the
space to recede backwards. Then darken the side of the
stone bridge and the projection of the water to make the
darker layers more distinct and contrasting.

10.5.3 Post-drawing summary

In drawing this case, a dark front and light back treatment
was used. The dark tree in the front and the water surface
enclose an area, and the gray in the middle passes through
it to enhance the sense of space. It is difficult to draw the
tree, especially the trunk. When drawing the tree, the main
purpose is to show the hierarchy through the relationship
between the light and dark of the trunk and the thickness of
the branches.

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Here are some other rural subjects, again through the use of
light and dark contrast, that you can practice on your own
to reinforce this section.

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 | Chapter 11 |
Natural Landscape Case Study

This chapter explains the drawing of natural landscapes.

Unlike architectural landscapes, natural landscapes are
larger and more detailed in their treatment of space,
requiring us to control the effect of the overall picture when
drawing specifically. When drawing natural landscapes, the
main focus is on the overall picture, and individual objects
are generally not portrayed in great detail. In addition, it is
important to weigh the contrasts within each object, such as
light and dark contrasts, color contrasts, and strength and
weakness contrasts.

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11.1 The Dangerous Peaks of the Yellow
Mountains
 
 
This case is a painting of the dangerous peaks of the Yellow
Mountains, with objects such as mountains, vegetation and
birds of prey. Mountains are often found in Chinese
paintings, with their tall, precipitous features and sweeping
views of the mountains, while elements such as birds and
the moon add a bit of interest to the picture.

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11.1.1 Pre-Painting Analysis
  Drawing points: The main mountain in this case is more
majestic, with more details and many small turns and ups
and downs, so when drawing it, you need to put its majestic
features in place. When dealing with the spatial level, pay
attention to the strong contrast between the main mountain
and the surrounding hills, and the clear distinction between
reality and fiction, and the need to pull the spatial level of
the whole picture.

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  Difficulties: When expressing the mountain peaks, you
need to show their three-dimensionality and details, to
achieve clear layers and strong contrast, and also pay
attention to the whole picture of the relationship between
reality and fiction.

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  Expression Technique: When portraying the main
mountain, use the method of grouping body blocks for
expression, treat the whole mountain as a polyhedron,
group it on the polyhedron, and so on; when expressing the
surrounding mountains, use the method of light and dark
contrast for expression, in order to pull apart the spatial
level; when dealing with the main structure of the main
mountain and the embellished part, use the artwork pen,
which can enhance the interest of the picture; when
expressing the mountain When the details of the peaks and
the relationship between light and dark are used, the
ordinary pen can form a certain contrast with the
performance effect of the art pen.

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11.1.2 Drawing steps
Draw the main peaks and determine their large light and
dark relationships
01 Find a more interesting point to start drawing, drawing
the body block first and not carving out the details.

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prompt
This case uses a partial-to-whole carving approach, so the
body blocks will also be carved from small to large when
drawn.
02 Draw down the mountain peaks, taking care to
distinguish between light and dark. Draw the dark areas in a
line, taking care not to draw them too regularly.

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prompt
There is no absolute standard shape for a mountain peak,
and some readers may be overwhelmed when it comes to
the specific representation. Each set of lines drawn here is
showing the undulation of the mountain, and eventually
multiple sets of lines will come together to form a single
peak. Therefore, it is not necessary to deliberately seek to
draw like a mountain at the beginning, but to analyze the
different blocks of the mountain, and then to shape the
whole mountain when the blocks are almost drawn.
03 Draw along the light and dark of the peaks to the left.
Here a generalized approach is used to represent the peaks,
with few lines.

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04 Carving the dark areas. The darker parts of the mountain
peaks are divided into many smaller pieces, each with a
different method of lining up and variations of light and
dark. The dark side can be left in chunks for now and
adjusted later as needed.

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05 Draw the bright side on the right. Draw the bright side
based on the undulations of the peak, without carving out
specific details yet. The entire peak now resembles a
triangle, and it is important to capture the morphological
features of the peak.

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06 Draw the rest of the main mountain peak. The basic
outline and structure of the main peak is now drawn, with
the dark side of the peak on the left and the light side of the
peak on the right.

Portraying a close up scene

OceanofPDF.com
07 Carve the bright side, paying attention to the size and
form of the stones. Divide the mountain with vertical lines to
reflect the small undulating state, and then enhance the
undulating state of the stones with rows of lines.
prompt
When you get to this point in the drawing, you can
summarize and conclude the method of carving for yourself
and not simply imitate it.

08 Carve from top to bottom to make the darker areas more

uniform and the transition to the grey side more natural.
Use lines to show the angular features of the stone, taking
care not to overdo the bright side.

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09 Carve the bright side of the stone and show the turn of
the stone, taking care not to overdraw it.

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10 Refine the mountain in front by lining it up, then draw
the top part of the mountain behind it. Note that the top of
the mountain is further back and shows more regularity.

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11 Carve the mountain behind it. Because it is on the bright
side, the contrast on the body is relatively weak. Weaken
the line of demarcation between the two mountains so that
the mountains in front and behind are connected a little
more naturally. Although the same mountain has different
levels of variation, the levels should not be distinguished
from each other too clearly.

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Drawing the middle view
12 Draw the mountains in the mid-ground, or take the
grouping method, and pay attention to not too much. The
mountains in the close-up are mainly represented by the
method of leaving white space, so here the dark side of the
middle scene has been strengthened to enhance the
contrast between light and dark, and at the same time, the
spatial level of the picture has been opened up.

Drawing the Vision

13 Sketch the outline of the distant mountains, then carve
them in groups, but without carving too much, to show the
body of the mountain.
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14 The transition of the distant mountains is summarized
according to the relationship between light and dark,
gradually diminishing from top to bottom, with the white
space below giving the image a greater sense of space.

15 Use curves to summarize the outline of the mountains

further away, and then use rows of lines to show the
undulations and changes in light and darkness. Where the
lines are lined up, they represent the recessed dark areas,
and where the white space is left, the raised light areas;
each line here plays its own role.

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Adjusting the screen and adding details
16 Adjust the color contrast of the image. Deepen the color
of the lower half of the main mountain in front of you to
make the mountain more stable in the frame. Then deepen
the color of the mid-ground so that it acts as a gray surface,
which creates a strong contrast with the white space left in
the front mountains and also pulls the spatial level of the
image. Next, the darker parts of the distant mountains in
the left half are grouped together in a row of lines to make
the transitions more obvious. The distant mountain on the
right is close to the bright side of the main peak, so it is
treated as a gray side, which can form a strong contrast
with the white space of the main peak, thus opening up the
spatial level of the picture and highlighting the main
subject.
17 Use thick lines to draw the vegetation on the hill, which
can be used as an accent element in the picture. The
vegetation mostly grows in the gaps between the rocks, so
take care to show it in place.

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prompt
The embellished elements should not be painted too much,
but should be portrayed in relation to the reality and
sparseness of the whole picture, otherwise the whole picture
will look airless.
18 Add weight to the color of the main mountain peaks to
give them a stronger contrast of light and gray. Then add
the moon and flying bird elements to make the image more
vivid and to add some interest.

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11.1.3 Post-drawing summary
The biggest difficulty in drawing this case was the handling
of the hierarchy. Here two methods were used to pull apart
the layers. The first is to use the strength of the mountains
themselves to pull apart the layers: the main peaks have
more layers and are more drawn; the mountains in the
middle and distant views have fewer layers and are less
drawn. The second is the use of heavy elements to pull
apart the layers: the main mountain has more embellished
elements and more variation; the mountains in the middle
and distant views have fewer embellished elements and less
variation.

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Here are some other pieces on mountains that you can
practice on your own to reinforce this section.

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11.2 Grassland scenery
 
 
This case draws a grassland, showing objects such as yurts,
woods, meadows and mountains. The whole picture shows a
large space and a lot of content. When dealing with a large
scene, we should pay attention to the distinction of levels.

11.2.1 Pre-Painting Analysis

  Drawing points: There are many objects represented in
this case, which need to be processed through the method
of strong and weak contrast to create a strong depth. The
first half of the picture is the grassland, which is not much
carved, and the characteristics of the prairie are mainly
expressed through the change of lines. When expressing the
prairie, the brushwork is all very relaxed, and you need to
pay more attention to it.
  Difficulty in drawing: The meadow, woods and distant
mountains are themselves layered and should be varied in
their specific treatment. When dealing with the cooking
smoke, the first half is relatively solid, and the second half
gradually becomes faint. The smoke is one of the highlights
of the picture, and it is also a difficult area to draw.

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  Expression Technique: When dealing with the grassland in
the near scene, use relaxed lines for expression; when
dealing with the woods and the distant mountains, use black
and white gray with the contrast between reality and reality
for expression. You can treat the woods as a dark block, and
use different shades of color to represent the distant
mountains, in order to pull apart the black and white gray
levels of the picture. Also, note that each color block of the
distant mountain itself has a contrast between reality and
fiction.

11.2.2 Drawing steps

Drawing the main body
01 Determine the location and size of the yurt. The yurt
itself is a relatively simple shape, somewhat like a
combination of a cylinder and a cone.
OceanofPDF.com
02 To complete the yurt, you don't have to stick to its shape
and draw out details like chimneys and haystacks. The
whole yurt will end up as one big body block. Draw out the
horizon line. Note that from here on you should pay more
attention to the way the lines are represented in the picture.

03 Show the light and dark relationship of the yurt, and pay
attention to the vividness of the lines. Then, use a line to
show the undulating state of the ground. The undulating
state of the ground will affect the details in the back, so pay
more attention when drawing.

Drawing close up
04 The cooking smoke is the highlight of the picture and is
represented mainly by curves. The cooking smoke itself has
volume, and each line drawn here is meant to show the
volume of the cooking smoke. Therefore, it is important to
clarify the volume of the cooking smoke first, so as to avoid
the appearance of extra lines that will affect the effect of
the picture.
prompt

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The drawing of cooking smoke is actually similar to the
drawing of clouds and thick fog. When we draw such
objects, we should pay attention to: first, the representation
of volume, second, the variation of lines, and third, the
treatment of reality and fiction.
05 Draw the outline of the grassland in the close up using
short lines, paying attention to the direction in which the
lines are aligned and with subtle variations in each group of
short lines.

06 Show the light and dark sides of the grassland by lining

up short lines, with the dense lines indicating the dark side
and the sparse areas indicating the light side.

07 Draw the grass in front. The grass is more heavily etched

in the darker areas, which are varied in color. The lighter
side of the grass is shown in whiteout, which is shaped
similar to the number 3, and meanders to allow the space to
recede backwards better.

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Drawing the middle view
08 Drawing the woods. The trees near the yurt are more
varied and detailed in their portrayal. First outline the tree,
then draw the dark areas according to the spatial
relationship between the front and back of the tree, then
deepen the tree with a row of lines so that the woods act as
a dark block. The woods are the heavy color in the picture,
and there is more variation. Notice the way the cooking
smoke is combined with the woods, the yurt and the
cooking smoke are brighter against the dark woods.

09 Draw the tree on the left. First outline the shape of the
tree, noting the variation in shape. Then draw the dark part
of the tree, distinguishing the light and dark relationship
with the transitions. Next, weigh down the image with a line
and draw the projection of the tree.

10 Draw the outline of the woods in the distance. Then lay it

out in rows of lines, noting the tiny variations in the woods,
with the colors darker on top and lighter on the bottom.
Next emphasize the main trees with heavy colors, being
careful not to draw too heavy blocks of color here or they
will not be distinguishable from the rest of the trees.

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11 Darken the right half of the image to give some formality
to the edges of the right half, leaving the bright side still
white.

Drawing the Vision

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12 Draw a distant scene. The distant mountains and woods
are in the form of blocks of color, so pay attention to the
shapes and shades of color of the blocks, as well as some
contrast with the colors in the close up.

13 Draw the distant mountains. Although the distant

mountains are darker at the top and lighter at the bottom,
the overall color is gray.
prompt
When painting the distant mountains, you can adjust other
parts of the picture to suit your needs, mainly by
aggravating the dark areas to give more contrast between
light and dark and black and white and grey.

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14 Draw the mountains further away. The distant mountains
are large and mostly on the lighted side, so pay attention to
the changes in light and dark when drawing them. When
drawing distant mountains, the lines are thin, and if you
show them with thick lines, you will not be able to pull out
the spatial layers of the picture.

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15 Darken the mid-ground trees to make the distinction
between close, mid-ground and far-ground more obvious,
then outline the cloud shape. The clouds are drawn in much
the same way as the cooking smoke, but note that here
they are further away and weaker in volume.

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16 Draw the larger clouds, then draw the others in rows,
noting the variation in sparseness of the lines.

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17 Further refinement of the sky and additional details.

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Adjustment screen
18 Back to the larger relationship, deal with the bright side
of the grass in front to give it a little more variety. Then add
a few more trees in the mid-ground to give the woods a
clearer direction of extension and more continuity. Then
color differentiate a few large blocks of color in the far field
to make the layers a little more distinct.
OceanofPDF.com
11.2.3 Post-drawing summary
The dark woods in the middle played a big role in drawing
this case. Without the dark woods, the picture would be
unstable and the gray in the close up would not be able to
pull away from the gray in the distance. It is necessary and
practical to enhance the contrast between black and white
and gray when dealing with the larger relationships of the
picture. The cooking smoke in the picture is painted in the
same way as the clouds, but the performance is different.
The fictional relationship of the cooking smoke is clearer,
while the clouds are in a more distant position with more
lines and need to be vignetted.
Here are some other pieces on the prairie that you can
practice on your own to reinforce this section.

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11.3 Gold Coast
 
 
This case draws the Gold Coast, and the objects represented
are the coast, the reef, the waves and the sky. The coast
belongs to the large scene, the focus of drawing large
scenes is to shape the atmosphere of the large scene, so
the details and focus in the picture are concentrated to the
close and middle parts, and the distant and sky are
generalized.

11.3.1 Pre-Painting Analysis

  Drawing points: This case is more focused on the
performance of black, white and gray, the reef in dark
colors, the waves in light gray, the calm sea in the distance
in white, the two sides of the sky in gray.
  Drawing difficulties: The visual center of this case is the
reef, which is dark in the front and light in the back. When
drawing it, you need to treat it as a dark color block, but not
draw it too heavy. When drawing the waves in the close up,
it is important to show the movement of the waves. Also,
pay attention to the color contrast of the whole picture.

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  Expression Technique: In the processing of space, not only
the front and back level relationship is strengthened through
the contrast of strength and weakness, but also the spatial
level of the picture is opened up through the change of
lines. The near and middle scenes are the visual center of
the picture, and also the main body of the picture. The lines
in this part are relatively regular and detailed, while the
expression of the sea and sky in the distant scene is much
more general. When drawing this case, a partial approach
was adopted, starting from the main reef, outlining the
shape of the reef, clarifying the relationship between light
and dark, then delving deeper, followed by the surrounding
waves, and then the distant scene.

11.3.2 Drawing steps

Defining the look
01 Outline the reef with a short line, then use a row of lines
to distinguish between light and dark. Draw the general
outline of the wave.
Carve the reef and draw the flowing water in the close up

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02 Carve the reef in depth, noting the contrast between
light and dark on the dark side as well. The grey side of the
reef was drawn using a line drawing to outline the reef's
alignment and the shape of the dark side. The reef is
handled with different lines for representation, but not
overly etched. The general outline of the flowing water in
the close up view is drawn.

Carving of running water, waves and sea

03 Carve running water and waves, using the sparseness of
the lines to show changes in light and darkness.

04 Draw the reflection of the reef in the distance, the waves

in front of it and the sea in the distance. Use line drawing to
weight the overall reef and then line up the more rocky
areas of the reef, using groups of lines to group the small
turning structures of the rocks to make the reef more
complete.
Drawing the Sky

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05 The clouds in the sky are drawn using cross-hatching.
The clouds are generally seen in white, but some heavy
colors are used to show the clouds because of its thickness
and volume when it is specifically portrayed.

Adjustment screen
06 Deepen the color of the sea beneath the white clouds by
lining up the lines, and then deepen the color of the dark
side of the reef with thick lines to enhance the three-
dimensionality of the rocks.

11.3.3 Post-drawing summary

In drawing this case, both in the representation of the waves
and in the representation of the reef, it is treated in the way
of generalized shapes. The difficulty in this case lies in the
carving of the reef. When drawing it, you need to draw the
large blocks of the reef, then draw the smaller blocks, and
then carve the parts.

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Drawing natural landscapes may seem difficult, but once
you have mastered certain methods, it is easy to draw
them. Here are some other works on the coast that you can
practice on your own to reinforce this section.

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 | Chapter 12 |
Integrated Scenario Case Studies

This chapter explains the drawing of a composite scene.

Integrated scenes are character-based, with some
environmental elements attached, and represent a scenario
through contrast of light and dark, reality and strength.
Therefore, when drawing, you should not only pay attention
to the portrayal of the characters themselves, but also to
the performance of the scene. When drawing a scene, a
vivid and interesting picture can be depicted through the
expression of brushwork, the contrast of light and dark and
the embodiment of rhythm.

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12.1 Breakfast Stalls
 
 
This case draws a scene of a common breakfast stand on
the street. When drawing this type of subject, it is important
to express not only the characters but also the atmosphere
of the scene. In the presentation of the scene, there are not
many lines, and a refined line can enhance the excitement
of the scene.

12.1.1 Pre-Painting Analysis

  Drawing points: The subject of the image is the back of a
woman. The woman is busy making breakfast and the table
in front of her is cluttered with food utensils. The point of
drawing in this case is how to show the volume of the figure
with a small amount of lines.

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  Difficulties: There are a lot of clutter on the table, so when
drawing it, you should clarify the size of the clutter, the
spatial relationship between the front and back, and the
contrast between strength and weakness. The hot air from
the pot makes the picture more vivid, so you should not use
too many lines when drawing, just show its volume.
  Expression Technique: In the representation of characters,
the sense of movement is expressed through the thickness
of the lines; in the representation of the space of the scene,
the details of the scene are portrayed through the contrast
between the strength and weakness of the front and back.

prompt
Scenes with a strong sense of life are generally cluttered,
and it is important to sort out the picture when drawing it.
12.1.2 Drawing steps
Drawing people
01 Outline the figure's head and shoulders with lines, taking
care to make decisive strokes.
prompt
The figure's back is drawn here, so the shape of the head
outline is largely influenced by the rise and fall of the hair.
OceanofPDF.com
02 Draw the ties of the apron. Then, using the ties of the
apron as a divider, outline the top half of the dress, followed
by drawing the bottom half of the dress and the exposed
apron. The lower part of the dress wraps around the hips
and thighs and should be reflected by the outline of the
dress.
OceanofPDF.com
03 Draw the turning surfaces of the garment using rows of
thin lines to distinguish the block structure of the garment.

04 Draw the legs and feet, noting that the folds in the pants
are mostly concentrated at the ankles and popliteal folds.

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05 Carve the pants. Since the upper part of the pants is in
the projection of the dress, just press the weight directly.
Then draw the bottom half of the pants with a thick line.
Next draw the projection of the feet to make the figure look
more stable in the frame.

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06 Complete the hair, then draw the sleeves on the arms
and the objects held in the hands.
prompt
When showing a character, it doesn't matter what the
character is holding in his or her hand, it's important to
show the state of holding the object.

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Portraying scenes
07 Outline the front table and then draw the items on the
table, noting that they are all different sizes and shapes.

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08 Simply outline the shape of the other items placed on the
lower level of the table, noting the contrast between the
size and shape of the items.

09 Add a darker color to the edge of the table. Then fill in

the two empty layers underneath the table with lines to
allow the space to go backwards.

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10 Draw the rest of the items on the table. The shape of the
items here is simple, mainly to highlight the sense of space.

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11 Add a small stool to the left of the large table. Then place
a basket on the small stool to create a size contrast with the
large table and a sparse contrast with the other items.

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12 Draw the floor. Use lines to make a connection between
the figure and the table, and indicate the front and back of
the space by the thickness of the lines.

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Creating an atmosphere
13 Add a small table to the top left of the table and add
some items to the small table. Then use curves to show the
hot air wafting from the steamer, you need to draw the lines
a little thinner. Also note that the further you move away
from the picture, the less heat and the weaker the volume.

12.1.3 Post-drawing summary

In the expression of scenes with a strong atmosphere of life,
the main body of the picture is the characters, but the
characters are not much portrayed, and are mostly
expressed by sketching. In the performance of the picture,
the contrast between black and white is fully utilized to pull
apart the spatial level, and the contrast between the
thickness of the lines is used to show the body turning.
Here are some other pieces of life-like scenes that you can
practice on your own to reinforce the content of this section.

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OceanofPDF.com
12.2 Street performers
 
 
This case is drawn of a man playing a guitar on the street.
The figure is surrounded by some other buildings, and there
are more elements in the picture. When we draw this kind of
scene, we need to distinguish the main and secondary of
the picture, and then make the strong and weak and
realistic performance according to the main and secondary
of the picture, so as to pull apart the spatial level of the
picture.

12.2.1 Pre-Painting Analysis

The main character in the picture is the focus of the
portrayal, and the distant buildings are the key to pulling
the spatial level of the picture, which also needs to be well
represented.
Difficulty in drawing : The representation of the character's
dynamics and the shaping of the volume are the difficulties
in this case.
OceanofPDF.com
  Expression Technique: In the representation of characters,
the method of strong light and shadow is used to express
their three-dimensional sense; in the representation of
scenes, the method of strong and weak contrast is used to
express their spatial sense.

12.2.2 Drawing steps

Drawing the head and hat of the figure
01 Outline the figure's head and hat. Because the figure's
head is tilted slightly, you can see the underside of the chin.

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02 Use rows of small short lines and crosses to draw out the
features and dark areas, noting that the dark area of the
chin is key to showing the volume of the head.

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Drawing Characters and Guitars
03 Outline the shoulders, right arm and chest with fluid
lines.

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04 Draw the right arm in its entirety, noting that the folds of
clothing on the arm are mostly concentrated in the armpit
and elbow. Then draw the guitar held in your arms, noting
the relationship between the position of the hand and the
guitar.

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05 Draw the projection of the hand and right arm on the
guitar. Then draw the fretboard of the guitar. Next draw the
right leg of the figure, taking care to draw out the folds of
the clothing.

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06 Draw the left leg of the figure and complete the left half
of the upper body.

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07 Draw out the T-shirt inside the jacket, pulling apart the
top half of the figure by contrasting the colors.
prompt
Usually when painting clothes, the colors of adjacent clothes
are handled through the contrast of black and white and
gray.

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08 Draw out the headstock of the guitar, noting that this is
the focal area of the guitar. Then press the color of the left
thigh darker to set off the volume of the guitar. Next draw
the shoes, just show them the same way you would draw a
body block.

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Portraying scenes
09 Draw the chair, separating the structure of the chair from
the light and dark relationships. Then draw the pillar behind
the figure, noting that the shadows are darker near the
figure.

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10 Draw other items around the figure to balance the
picture.

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11 Strengthen the connection between the figure and the
surrounding scene by creating a connection to the objects
on the left through the projection of the figure, and then
pulling back the spatial hierarchy through the changing lines
of the ground.

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prompt
The image as a whole at this point resembles a triangle, and
the composition is more formal.
Carving the Vision
12 Outline the distant plants, then simply draw the outline
and body of the distant buildings.

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13 Use some lines to indicate the large light and dark
relationships in the distance, and then carve the scene to
pull back the spatial layers of the image. Add some details.

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Adjustment screen
14 Weight up the color of the figure's shadows, then group
the guitar, backpack, and lamp post into shadows to give
the figure a stronger connection to the surrounding objects.

12.2.3 Post-drawing summary

When representing the characters in this case, the structure
and outline of the characters are outlined with refined lines,
and the volume is shaped by light and shadow; when
representing the scene, the space before and after is
combined with light and dark contrast. When drawing such
street scenes, it is important to not only portray the subject,
but also to represent the scene well and create the
atmosphere of the picture.

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The image on the right is a piece of artwork similar to the
presentation used in this case, so you can practice it on
your own to reinforce the content of this section.

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12.3 Man reading a newspaper in a cafe
 
 
This case illustrates a man reading a newspaper in an old-
fashioned cafe. In terms of composition and presentation,
this case does not follow the conventional way of
presentation. The whole image has a retro feel with a strong
sense of atmosphere, mainly through the change of layers.

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12.3.1 Pre-Painting Analysis
  Drawing points: The main point of drawing in this case is
the treatment of space. Use lines with simple changes of
light and dark to show the figure, grouping the bar behind
the figure and the cabinet in the distance into a heavy color
block to highlight the figure. The large white area in the
background pushes the space further away.

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  Difficulty in drawing: In drawing the figure, not many lines
are used, but it is difficult to draw, requiring accurate
proportions of the form; in drawing the cabinet, there are
many details in the large area of dark color, and these
details need to be expressed in place.
  Expression techniques: mainly through the change of light
and shadow to express the spatial level, mainly through the
contrast between reality and reality to express the
atmosphere of the picture.

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12.3.2 Drawing steps
Define the overall look
01 Outline and structure the upper half of the figure's body
with a fine line, being careful not to draw the head too large.
Draw the newspaper in the figure's hand.

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02 Draw the top half of the figure in its entirety and draw
the folds of the dress and the bottom half of the figure. The
legs do not need to be portrayed much. Draw the upper part
of the chair and complete the outline of the newspaper.
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03 Draw the bottom half of the chairs, the bar with the
cabinet behind it, and then draw the items placed on the
bar and cabinet. Although these items will be vignetted in
post, it is important to show them in the early stages as
well.

Determining the Great Light-Dark Relationship

04 Show the light and dark relationship of the cabinet, then
draw the projection of the bar, followed by the volume of
the cabinet. Note the variation of the cabinet's reality and
fiction.

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05 Show the relationship between light and dark in a
newspaper. Use lines to shape the body blocks of the
figures. The upper half of the figure is portrayed in more
detail and the lower half is more generalized.

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06 Bring out the light and dark sides of the legs, then draw
the projection of the figure on the bar by lining it up,
followed by drawing the dark side of the chair to emphasize
its formality.

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in depth
07 Darken the color of the figure projection, then detail the
items placed on the cabinet to show its three-
dimensionality.

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08 Darken the figure's hair and legs, then deepen the
background and bar to highlight the figure.

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Adjustment screen
09 Deepen the color of the dark side of the figure and
simply draw the pattern on the newspaper to enrich the
details of the picture. Then deepen the color of the cabinet
in the distance.

12.3.3 Post-drawing summary

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When drawing this case, it has been portrayed around the
atmosphere of the picture, with not really much specific
detail shown. The character is the center of the picture, and
the surrounding cabinets and bar create contrast and
connection with the character, which is the focus of the
portrayal in this case.
The scene shown on the right is similar to the one shown in
this case. The composition and presentation are the same,
and the contrast between the scene and the people is also
borrowed to create the atmosphere. You can practice on
your own to consolidate the contents of this part.

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