com Drawspace Guide to Getting Started With Drawing

Ideal for homeschooling and self-directed learning!

DRAWING BOOK 1: GETTING STARTED Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated

120 pages and more than 230 illustrations! ►

Choose the right drawing supplies

►

Set up a place to draw

►

Make a portfolio and viewfinder frame

►

10 fun exercises and projects

Flesch-Kincaid Grade Level: 6.84 Flesch reading ease score: 74.7

Brenda Hoddinott Artist, illustrator, art educator educator,, curriculum designer designer,, forensic artist (retired), owner of Drawspace.c Drawspace.com, om, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Drawing Book 1: Getting Started. ************************************* ****************** ************************************** ********************************* **************

Born in St. John’s, Newfoundland, Brenda grew gr ew up in the small town of Corner Brook. With the help of learn-to-draw books, she developed good drawing skills by the age of 16. In 1982 Brenda left her well established career as a portraitist, graphic designer, and forensic artist, to move to Nova Scotia with her family. In addition to resuming the various facets of her art career, she began learning to paint in oils. From 1988 to 1994, Brenda began exhibiting her paintings and drawings in provincial and regional art exhibitions and competitions. She was honored with more than twenty prestigious visual art awards during these six years. Brenda and her partner John live in the t he suburbs of Halifax, Nova Scotia with their t heir two SPCA rescue dogs, Timber (Huskador) and Katie (Rottbeagle). Their blended family includes five adult children and two grandchildren.

************************************* ****************** ************************************** ********************************* **************

Brenda Hoddinott Artist, illustrator, art educator educator,, curriculum designer designer,, forensic artist (retired), owner of Drawspace.c Drawspace.com, om, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Drawing Book 1: Getting Started. ************************************* ****************** ************************************** ********************************* **************

Born in St. John’s, Newfoundland, Brenda grew gr ew up in the small town of Corner Brook. With the help of learn-to-draw books, she developed good drawing skills by the age of 16. In 1982 Brenda left her well established career as a portraitist, graphic designer, and forensic artist, to move to Nova Scotia with her family. In addition to resuming the various facets of her art career, she began learning to paint in oils. From 1988 to 1994, Brenda began exhibiting her paintings and drawings in provincial and regional art exhibitions and competitions. She was honored with more than twenty prestigious visual art awards during these six years. Brenda and her partner John live in the t he suburbs of Halifax, Nova Scotia with their t heir two SPCA rescue dogs, Timber (Huskador) and Katie (Rottbeagle). Their blended family includes five adult children and two grandchildren.

************************************* ****************** ************************************** ********************************* **************

I

DRAWING BOOK 1

GETTING STARTED by Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated

Published by Drawspace.com, Halifax, NS, Canada

II

This book is dedicated to my loving partner, John Percy.

Copyright © 2009 Brenda Hoddinott All rights reserved. No part of this electronic book shall be reproduced by any method or means, electronically sent or transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written permission of Brenda Hoddinott. This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter, speci fically the basics of drawing. Brenda Hoddinott and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of the contents of this book.

Publisher: Drawspace.com, Halifax, NS, Canada Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott Editor: Suzanne Beaton Brenda Hoddinott can be contacted at [email protected] or through her website at http://www.drawspace.com.

III

CONTENTS *****************************************************************

Introduction ................................................................. 1 Look into this Book ..................................................................................3 Sizing up the sidebars ................................................................................3 ArtSpeak ....................................................................................................................3 Info Tidbit ....................................................................................................................3 Warning! ....................................................................................................................4 Tip! ............................................................................................................................4 Art Quote ...................................................................................................................4 Eyeing action icons ....................................................................................4 Shaping up with exercises ..........................................................................................4 Step-by-step projects .................................................................................................4 Action sidebar numbers and letters .............................................................................4 A few words on illustrations ........................................................................5

Insights into the Parts ............................................................................. 6 Part 1: Get Ready! .....................................................................................6 Part 2: Get Set! ..........................................................................................6 Part 3: Go Draw! ........................................................................................6

How to Use this Book ..............................................................................6

Part 1: Get Ready! ...................................................... 7 Chapter 1: Welcome to Drawing ...................................................9 A Brief History of Drawing .....................................................................11 In the time of the caveman .......................................................................11 The birth of classical art ...........................................................................12 Remembering the Renaissance ................................................................13

The Inside Scoop on Drawing ................................................................14 Drawing is an action word ........................................................................15 YOU can draw! .........................................................................................15

IV

Welcome to Drawing Book 1: Getting Started

Chapter 2: Getting a Grasp on Graphite and Grades ...................17 Traveling Back in Time with Graphite ....................................................17 How the “lead” pencil got its name ...........................................................18 The link between graphite and sheep .......................................................19

Making the Grade ...................................................................................19 Hard is light .............................................................................................21 Soft is dark ..............................................................................................22 Combining soft and hard grades ...............................................................23 Finding out your grade .............................................................................24

Chapter 3: More Drawing Mediums ..............................................25 Picking out Proper Pencils ....................................................................26 Wood-encased pencils .............................................................................28 Graphite pencils .......................................................................................................27 Charcoal pen cils .......................................................................................................27 Other fun pencil mediums ........................................................................29 Mechanical pencils ...................................................................................................29 Woodless graphite pencils ........................................................................................29

Sticks and Stones (oops!) Powders ......................................................31

Chapter 4: Sketchbooks and Drawing Papers .............................33 Check up on Tooth (without a Dentist!) .................................................34 The surface of a smooth tooth ..................................................................35 Big smile for a medium tooth ....................................................................36 Textures on a rough tooth .........................................................................37

Sketchbooks and Papers .......................................................................38 Softcover, hardcover, or sheets? ..............................................................39 Weighing in on paper ...............................................................................39 Larger is not always better .......................................................................40

Chapter 5: Adding to the Basics ..................................................41 Tools for Erasing ....................................................................................41 Vinyl erasers ............................................................................................41 Kneaded erasers ......................................................................................42

Sharpening your Mediums .....................................................................43 Pencil sharpeners ....................................................................................43

Contents

Sandpaper blocks and sheets ..................................................................43

A Few Extras ..........................................................................................44 Stuff you can’t do without .........................................................................44 Pencil case ...............................................................................................................44 Portfolio ....................................................................................................................44 Ruler ........................................................................................................................44 Viewfinder frame .......................................................................................................45 Nice to have, but not necessary ...............................................................45 Display board s ..........................................................................................................46 Spray fixative ...........................................................................................................46 Manikins ...................................................................................................................46

Part 2: Get Set! .................................................47 Chapter 6: Setting up For Drawing ..............................................49 A Comfy Place to Sit and Draw ..............................................................49 Choosing a drawing surface .....................................................................50 Shedding light on your art ........................................................................50

Good Posture First! ................................................................................51 How NOT to sit! ........................................................................................52 Sitting correctly ........................................................................................52

Putting Together a Portable Studio .......................................................53

Chapter 7: Making a List, Portfolio, and Viewfinder Frame ........55 Action 7A: The Shopping List ................................................................55 Must have ................................................................................................55 Nice to have .............................................................................................56 Supplies for making a portfolio .................................................................57 Supplies for making a vi ewfinder frame ....................................................57 Supplies for a portable studio ...................................................................57

Action 7B: Making a Portfolio ................................................................57 Deciding on a size ....................................................................................58 Option 1: Using one large sheet of board .................................................58 Option 2: Using two pieces of board .........................................................61 Adding ties and final touches ...................................................................62

Action 7C: Making a Viewfinder Frame .................................................63

V

VI


Chapter 8: Give Yourself a Helping Hand ....................................65 Holding your Mediums ...........................................................................65 Becoming a Natural ...............................................................................67 Leonardo the lefty ....................................................................................67 Finding your natural hand movement ........................................................68 Rotating your paper as you draw ..............................................................68

Part 3: Go Draw! ...............................................69 Chapter 9: Putting your Supplies to Work ...................................71 Action 9A: Sketching a Self-Portrait .....................................................71 Action 9B: Creating Values with Squirkles ...........................................72 Action 9C: Playing with Pencils ............................................................76 Action 9D: Playing with Erasers ............................................................77 Action 9E: Drawing Shapes by Rotating Your Paper ............................80 Part 1: Circular shape ..............................................................................81 Part 2: Straight-sided shape .....................................................................84 Part 3: Circle ............................................................................................88 Just for fun! ..............................................................................................90

Action 9F: Framing with a Viewfinder ...................................................91 Three steps for framing a view .................................................................92 Create a sketch by framing your view .......................................................93

Chapter 10: Three Simple Drawings ............................................95 Action 10A: Drawing a Caveperson .......................................................95 Action 10B: A Realistic Eye ...................................................................99 Action 10C: Mugly Wigglebottom ........................................................103 Outlining Mugly with neat lines ...............................................................104 Squirkling shading for Mugly ..................................................................108

Glossary ............................................................................................115

Foreword by Robert A. Roughley

Foreword *****************************************************************

I have known Brenda Hoddinott for many years. It was during a dificult life transition that she provided me with the gift of encouragement to explore my creative self-awareness. Until that point, I didn’t believe that I was creative or artistic. My perception of art and creativity was limited by my perfectionist ideals of what deined “artistic ability”. However, with patience (and a sense of humor), Brenda played a pivotal role in helping me reconnect with my artist within. When Brenda irst approached me to write the forward for this, her third book; Drawing Book 1: Getting Started – the irst in a series for homeschooling families and self-directed learners, I was illed with joy. Not only because she asked me, but because I had been eagerly awaiting the completion of this learning resource. For many, including those who learn outside the boundaries of traditional and prescribed learning environments, access to quality learning and teaching materials is limited. Many of the existing resources on the market are written and published without careful attention to the learning needs of the intended audience. As an educator with graduate training and expertise in curriculum and instructional design, I believe that Brenda Hoddinott has not only responded to, but has exceeded the expectations of her audience with this invaluable arts-based curriculum. Blending expertise with encouragement, Brenda’s lesson plans and instructions accommodate a wide range of learning styles, abilities, and skill levels. Most notably, her genuine and compassionate nature extends to her teaching of art and drawing, as she leads students on a journey of self-discovery through self-directed learning. For the past ifteen years, my own journey has taken me into the ield of education. The integration of my training has allowed me to participate in many roles: learner, teacher, mentor, and advocate. As a learner, I pursued undergraduate degrees in music and elementary and adult education.

VII

VIII


My graduate work focused on educational and curriculum studies, and counseling psychology. As I transitioned from learner to teacher, I worked with children from kindergarten to grade six, with a focus in special education. Later in my career, I became a consultant for change in curriculum development and inclusive education. My current positions have merged my credentials and focus into three main areas: teacher development (teaching professionals how to teach), relective practice, and inclusive education. And now, after years of study, I have the pleasure of putting my academic “stamp of approval” in the front pages of this very unique and thorough approach to art education. In my various personal and professional roles, I have learned, unlearned, and relearned the importance of creativity and artistic expression in marking our developmental milestones and other life transitions. As an educator and co-learner with students of all ages, abilities, self-identities, and worldviews, I have noticed the effect of inclusive and purposeful curriculum in the emergence of the creative self. As a counseling practitioner, I have witnessed the long-term, negative implications resulting from the demise or discontinuation of arts-based education in traditional and home schooling settings. As human beings, we possess the intentions of creativity, but are far too often limited by the inluence of those who fear the unlimited possibilities that come from creative thinking. Someone once said, “What we learn from others becomes our own through relection”. I encourage readers, learners, and practitioners to build upon this quotation and consider that wh at one sees in their own self-relection is the core of one’s creative identity. Each chapter of this book represents a stage in the development and awareness of one’s artistic self. Through her gentle and supportive directions, unique humor, and detailed visual illustrations, Brenda joins her learners as they discover their creative talents. It is my hope that you ind this experience just as enlightening as you explore, discover, (or even rediscover!) your own artist within.

Robert A. Roughley B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of Calgary Instructor, Teaching and Learning Centre, University of Calgary

Introduction

Introduction *****************************************************************

YOU can learn to draw! All you need is some vision and a way to hold a drawing medium.

ArtSpeak ArtSpeak is a fun word used to describe the vocabulary of art. Drawing (verb) refers to the process of applying a medium to a surface to create an image (Figure 01).

Figure 01: A hand is drawing a cartoon.

Drawing (noun) is an image created on a drawing surface with a drawing medium (Figure 02).

Figure 02: A cartoon drawing is created with a pencil.

Vision is the ability to see. Medium refers to any drawing tool (anything from a pencil to the burnt end of a stick) used to make marks on a surface.

Figure 03: A regular pencil with a medium inside a wooden holder is a very popular drawing tool.

Sidebar is a box of text (some have illustrations) that provides additional information about a topic. This sidebar is called ArtSpeak, and it provides you with definitions of art words and terms. Pencil refers to a broad category of drawing tools that have the medium inside a holder (Figure 03).

This book tells you about drawing supplies, and shows you how to use them. Several simple exercises and projects help you warm up your drawing hand. I also discuss how to set up a practical place to draw indoors. In addition, you find out what to pack in a portable studio so you can comfortably draw outdoors. In this introduction, you find out about each part of this book and all the different types of sidebars. You are also introduced to several art related words and terms. Finally, I explain the very best way to work through this book. So, sit back and relax as I tell you about this book and how to use it.

1

2


ArtSpeak

TIP!

Illustration is an image (such as a drawing) that is used to help explain text.

Save all your sketches and drawings!

Icon is an image (such as a drawing) used to identify a specific task or information. ArtSpeak sidebars are identified by a cartoon icon of Albert Einstein.

Someday, you may want to look back on your early works to see how much you’ve improved.

Text refers to the words used in writing.

I created the drawings in Figures 07 and 08 when I was around 14. Luckily, my parents had saved them for me.

Sketch (noun) is a simple drawing of the important parts of a subject. A sketch is usually done quickly with simple lines (Figure 04) and (or) shading (Figure 05). Sketch (verb) refers to the process of doing a sketch.

Figure 04: Simple sketch of a seated man.

Shading (noun) refers to the various values within a drawing that make images appear three-dimensional.

Figure 07: A family living in a log house in the forest.

Shading (verb) is the process of adding values to a drawing. Values are the different shades of gray you make when adding shading to a drawing.

Figure 05: Shading is added to the same sketch.

Figure 06: Five values from light to dark.

Figure 08: Little girl with a doll.

Introduction

ArtSpeak Shape refers to the outward outline of a threedimensional object.

Look into this Book In this section, I tell you about, and show you how to identify the various sidebars, icons, exercises, projects, and illustrations in this book.

Figure 09: Shading transforms the shape of a simple circle into the planet Earth.

Classical drawing refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings (called realism). Classical drawing was later enhanced by the great artists of the Renaissance.

Scattered throughout this book, you find five different sidebars (identi fied with circle-shaped icons) that are filled with useful information.

ArtSpeak

Realism is a way of drawing in which living beings and objects are drawn as they appear in real life. The artist tries to draw what he or she sees as realistically as possible. Renaissance (from the French word for “rebirth”) refers to the changes within European culture from the early twelfth century to the late sixteenth century.

Sizing up the sidebars

ArtSpeak sidebars (Figure 12) de fine the drawing words and terms in this book, so you can better understand what you read.

Info Tidbit Info Tidbit sidebars (Figure 13) provide tidbits of information about art-related subjects, such as the history of art. Figure 10: I used classical drawing methods to copy a work created by Leonardo da Vinci during the Renaissance.

Figure 12: ArtSpeak icon is a cartoon of Albert Einstein’s face.

Figure 13: Info Figure 11: A lifelike drawing of an eye is an example of realism.

Tidbit icon is a simple flower rendered with classical drawing techniques.

3

4


Warning!

Figure 14: Warning icon is a scaredlooking cartoon face with a nose shaped like an exclamation mark.

Better safe than sorry! Protect your drawings (or yourself) from potential dangers by following the advice in these sidebars (Figure 14).

Tip! A tip can be more than the pointy end of a stick! The tips inside these sidebars (Figure 15) can save you time, energy, and frustration by telling you easier ways to do some tasks or how to take better care of your supplies.

Figure 15: Tip icon is a cartoon face on a light bulb.

Art Quote Quotes about art (Figure 16) provide insights into the creative minds of well-known artists.

Figure 16: Art Quote icon is an adorable cartoon called a Wooly Woo.

Eying action icons In Chapters 7, 9, and 10, you find several action icons. Some ask you to make something and others ask you to gather your drawing supplies and draw.

Shaping up with exercises Wherever you see the icon in Figure 17, you find an exercise designed to help you make or use drawing supplies. In addition, an exercise icon may ask you to do a simple sketch or drawing.

Figure 17: Exercises are identified by an icon of a boy doing exercises.

Step-by-step projects When you see the icon in Figure 18, it’s time to complete a step-by-step project. Projects usually take more time than exercises. Each has two or more illustrated instructions to help guide you.

Figure 18: Step-by-step projects are identified with a hand holding a pencil.

Action sidebar numbers and letters As you know, an action icon identi fies either an exercise or project. Each exercise and project can be identi fied by the number of the chapter in which it appears. A letter identi fies its order within the chapter.

Introduction

► ACTION

7A ◄

Figure 19: The first exercise in Chapter 7 helps you make out a shopping list for buying drawing supplies.

► ACTION

10C ◄

Figure 20: Action 10C takes you step-by-step through the process of drawing a cartoon puppy named Mugly Wigglebottom.

For example, the first action sidebar in Chapter 7 is marked 7A (A is the first letter of the alphabet). As you can tell by the icon (Figure 19), this one is an exercise. The number and letter 10C (C being the third letter of the alphabet) identi fies the third action in Chapter 10. The icon identi fies a project.

A few words on illustrations You are not expected to draw all the illustrations in this book! Most drawings are intended to illustrate and help you understand the topics being discussed. As an added bonus, you may become inspired by examining the skills you are working to achieve. For example, maybe one of your artistic goals is to draw realistic animals (check out Figure 21). Each illustration in this book is marked with a number based on its placement within a chapter. For example, the first illustration in Chapter 1 (a drawing of mountains on page 9) is marked Figure 101. Likewise, the fourth illustration in Chapter 6 (a cartoon artist practicing his drawing skills on page 50) is marked Figure 604.

Figure 21: A challenging drawing of a Shih Tzu who goes by the name of Panda. Do you happen to know the name of a good orthodontist?

5

6


Insights into the parts In this section, you find out what’s inside each of the three parts of this book.

Part 1: Get Ready! Sit back and relax as I tell you about the drawing supplies you need to complete the exercises and projects in this book.

Part 2: Get Set! In this part, I help you set up a comfortable place to draw. You find out about proper lighting, ideal drawing surfaces, good posture for drawing, and various ways to hold your pencil. You also have the option of making an artist’s portfolio and view finder frame.

Part 3: Go Draw! The first two parts of this book prepare you for the activities in this part. Nine fun exercises and projects challenge you to put your drawing supplies to work as you learn several basic drawing skills and techniques.

How to Use this Book This book is designed to be read in order - from beginning to end. However, human nature being what it is, I offer the two following options:

Plan A Slowly work through the entire book in sequence, doing each exercise along the way. Each new piece of information, skill, or technique prepares you for the next. If an exercise or project is too dif ficult, go back and try it again (and again if you need to), until you are happy with the results. By the time you reach the end of the book, you’ll be ready for Drawing Book 2: Lines and Spaces.

Plan B Read through this book in no particular order. Enjoy the illustrations and try your hand at the various exercises and projects that appeal to you. You will encounter a few challenges with terminology (this is why you have a glossary in the back of the book), and some projects beyond your current skill level. When you begin to feel totally overwhelmed and frustrated, go back to plan A and work through the book from beginning to end!

Part 1: Get Ready!

PART 1 GET READY! ►

Simple history of drawing

►

Process of learning to draw

►

Fun history of graphite

►

Grades of graphite

►

Differences between B and H grades

►

How grades affect the look of drawings

►

Graphite and charcoal drawing mediums

►

Wood-encased, mechanical, and woodless pencils

►

Drawing powders and sticks

►

Textures, sizes, and weights of drawing papers

►

How to select and protect the tooth of paper

►

Vinyl and kneaded erasers

►

Pencil sharpeners and sandpaper

►

Pencil case, portfolio, view finder frame, and ruler

►

Manikins, display boards, and spray fixative

7

8

Drawing Book 1: Getting Started

Chapter 1: Welcome to Drawing

1

Chapter

Welcome to Drawing *****************************************************************

On a simple sheet of drawing paper, the tallest trees on earth grow toward the sky. In another drawing, ogres and trolls are chasing one another through a dark, magical forest. How about a snow dragon dancing with polar bears and penguins? Or stone faces standing guard over a river valley in another galaxy far away? How many stone faces can you find in the drawing in Figure 101? Figures 102 and 103 show you a couple just to get you started.

Figure 101: You won’t find this scene anywhere on planet Earth. I wonder if any other life forms besides stone faces live here?

9

10


In this chapter, you learn 32,000 years of art history by reading a thousand words. (Obviously, a very shortened version of history!)

Figure 102: Imagine yourself strolling

Figure 103: See the face of a regal

peacefully along this path, unaware of the creature with the huge open mouth waiting for lunch to walk by.

male warrior gazing toward the right. Can you find his nose, mouth, chin, and an eye?

You also find out the real truth behind the silly gossip that you need a magical talent to become an artist.

ArtSpeak Portfolio is a case in which artists store (or carry) drawings and papers to protect them from damage.

Figure 104: In Action 7B in Chapter 7, I show you how to make a simple portfolio.

Prehistoric describes the period in time before language was used to write and record history.

Figure 105: Prehistoric humans drew pictures like these on the walls of caves.

History is a written record of the past; mostly about the lives and activities of human beings and their environments. For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

Archaeologist is a person who studies ancient peoples by finding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.) Figure 106: A drawing of an old arrowhead that looks similar to some that were discovered by archeologists.


A Brief History of Drawing Drawing is a universally understood language; a form of communication that is free of such rules as correct spelling or proper grammar. This section offers a brief background on drawing - from the cave drawings of prehistoric humans, to the masterpieces of the Renaissance.

In the time of the caveman Artists have been drawing for at least 32,000 years. Archaeologists have discovered many of their drawings on the walls of caves. The drawings in Figure 107 are similar to prehistoric drawings found on the walls of caves in France. These drawings tell us a lot about how prehistoric humans lived. In other words, the drawings recorded their stories without spoken language or written words. During prehistoric times in Africa, drawings of simple human figures (Figure 108) were added to burial stones. You can try your hand at drawing a human figure the way some prehistoric people did, in Action 10A in Chapter 10.

Figure 107: Copies of prehistoric cave drawings created by cavemen (or cavewomen).

Figure 108: Drawing based on an actual prehistoric drawing discovered on a stone in Africa.

ArtSpeak Style refers to an artist’s approach to his or her own art. An artist’s style may be based on his or her personal preferences and art education. For example, realism is a well-known style.

Technique is a well-known method (such as a specific way to do shading) that is used to accomplish a particular activity or task. For example, more than one shading technique may be suitable for a speci fic drawing. Hence, an artist’s choice of a shading technique (or techniques) is generally based on his or her skill level and what works best to capture the subject.

11

12


ArtSpeak Mural is a drawing or painting on a wall, ceiling, or other large surface. Murals have been discovered on the walls of prehistoric caves and inside ancient Egyptian tombs.

Fresco is an artwork painted on a thin layer of plaster that covers a wall or ceiling. Frescos that date back more than 3500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

Mummy portrait is a painting of a man, woman, or child that was discovered attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt. The drawing in Figure 110 is copied from a mummy portrait that was discovered in Egypt.

Sculptor is an artist who creates sculptures.

Visual art refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight.

A very well-known sculptor of the Renaissance was Michelangelo, and one of his most famous sculptures is the Statue of David.

For example, all the drawings in this book are considered visual art.

Sculpture is a three-dimensional artwork that is made of a material such as bronze, rock, or marble.

The birth of classical art Long before the Renaissance, ancient Greek and Roman artists created realistic artworks of nature, animals, and people. The discovery of several of these artworks helps us understand the styles and techniques of the artists, as well as how people lived during these times. Archeologists have found the remnants of murals and frescos painted on walls of buildings in ancient Greece and Rome. Many show major deterioration, but others are remarkably well preserved. Figure 109 is a drawing of an antelope, copied from a fresco that had been buried under volcanic ash in Greece for more than 3500 years.

Figure 109: The smoothly flowing lines of this drawing capture an antelope as it appeared on an ancient fresco.


In addition to murals, frescos, coins, and pottery; several breathtaking, realistic sculptures and paintings of people have survived the ravages of time. One of my favorite ancient paintings is a mummy portrait of a young man, possibly a Roman soldier (Figure 110). I couldn’t resist the challenge of drawing someone who lived more than 2,000 years ago. The unknown artist used classical techniques to make the face appear three-dimensional.

Figure 110: My goal was to create a drawing that looked like the ancient painting. I decided to include the flaws of the old wooden panels on which it was painted.

Remembering the Renaissance The beginning of the Renaissance is identi fied by the very popular rebirth of classical drawing throughout Europe. During this time, classical drawing techniques were greatly improved and many new techniques were born. Throughout the Renaissance, art students were encouraged to study and practice the techniques of the most highly skilled artists (called “masters”). Some of the more dedicated art students experimented with new ways of drawing and ended up creating new techniques. Hence, many students of the masters eventually became masters themselves. Between 1480 and 1527, during the time known as the High Renaissance, many very famous artists (called “great masters”) further developed drawing as the most important of all visual arts. Great masters, such as Leonardo da Vinci, Michelangelo, Hans Holbein, and Albrecht Dürer, created the most magni ficent masterpieces our world has ever known. Even today, students of art all over the world are still learning from the masters of the Renaissance. Classical drawing techniques are considered the foundation of all visual arts including painting, sculpture, and digital art. Figures 111 and 112 demonstrate classical drawing techniques from the High Renaissance.

13

14


Figure 111: This classical drawing of a youth is copied from a work by Michelangelo.

Figure 112: Classical drawing techniques are used in a drawing of a young girl (based on a drawing by Leonardo da Vinci).

The Inside Scoop on Drawing Throughout the process of learning to draw, you automatically learn to observe, appreciate, and better understand the world around you. As your drawing abilities become stronger, creativity is also enhanced.

Figure 113: An artist uses his creativity to make a few changes to the body of the model in his drawing.

Check out the artist’s model and compare him to the drawing (Figure 113).


Drawing is an action word Music students can’t learn to play piano by reading a music book without actually applying their knowledge to the action of playing a piano. People who expect to know how to ski after reading a book on skiing are not going to have any success until they actually go skiing. Both of these activities require some sort of action in order to be learned. Drawing is also an action word. The process of reading this and every other art book from cover to cover cannot improve your drawing skills. You need to actually draw to achieve strong skills. In other words, you must put your knowledge into practice!

YOU can draw! Drawing is an easily acquired skill that everyone can learn. All you need is some vision and a way to hold a drawing tool. Talent is nothing more than a word that describes the process in which you accept your ability to become a good artist. Simply put, learning to draw does not require a magical force to have been born within you. The closest relatives of drawing are printing and writing. Just as you learned to draw the letters of the alphabet, you can also learn to draw objects, people, and other subjects. Drawing provides a way for you to document how you see the world. Being able to draw also allows you to take up other visual arts (such as digital art and painting) more easily than people who cannot draw. You can also learn to draw from your imagination. With a little creative thought, artists can even change what they see in the real world into something completely different! Compare my reference photo in Figure 114 to the drawing in Figure 115.

Figure 115: The horse has magically turned into a unicorn!

Figure 114: A photo of a horse in a field as viewed through the legs of another horse.

15

16


ArtSpeak

Info Tidbit Developing your own style

Underdrawing is a loosely rendered sketch that is created as a guide for a final drawing (or painting).

To develop a personal style of your own, you first need to learn as many techniques as possible. The techniques that you like best help determine your unique style.

Figure 116 shows an underdrawing of a horse.

My drawing techniques reveal that I have been a student of the masters for most of my life. For instance, Leonardo da Vinci often used the technique of doing an underdrawing with metalpoint (refer to definition on page 18) before beginning a drawing or painting.

My sketch of a horse’s head (Figure 116) demonstrates the classical technique of lightly rendering an underdrawing before beginning a final drawing (Figure 117).

Figure 116: A very faint underdrawing identifies the basic shapes of a horse’s head.

Figure 117: The style I use to draw a horse’s head is similar to the styles of the drawings of the masters demonstrated in Figures 111 and 112.

Strong drawing skills eventually come to everyone who works hard. Always take joy in your good drawings, and learn from those that you don’t like. You CAN draw! With lots of patience and hard work, you can become as good as you can imagine.

Chapter 2: Getting a Grasp on Graphite and Grades

2

Chapter

Getting a Grasp on Graphite and Grades *****************************************************************

Something called “graphite” is the best friend of many artists who love to draw. In this chapter, I share a little bit of fun information about graphite and its history. You also learn about the grades of graphite. (When it comes to graphite, a B grade is not better than an H!) In addition, you examine drawings rendered with different grades of graphite to give you an idea of how B and H pencils affect the look of drawings.

Traveling Back in Time with Graphite

ArtSpeak Graphite is a soft black form of opaque (nontransparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists. Clay is a naturally occurring material that becomes hardened when dried. Grade refers to the softness or hardness of the mixture used in the manufacture of drawing mediums.

In this section, you discover a few fascinating tidbits about the history of graphite. Some graphite drawings created hundreds of years ago are still around today. Hence, graphite has survived the test of time.

Figure 201: The base value of five different grades of graphite.

17

18


Another great thing about graphite is its ability to be erased. Therefore, many mistakes can be fixed.

ArtSpeak

How the “lead” pencil got its name Before the discovery of graphite, ancient artists made drawings with long, thin rods (referred to as “styluses”). Styluses were made from a soft metal, such as lead, and so they became known as “leadpoint”. A stylus worked by leaving a thin deposit of metal on the surface of paper, producing a fine gray line. Some styluses had a fine point at one end and a blunter point at the opposite end so artists could draw both thin and thick lines. Leadpoint is considered the ancestor of the modern graphite pencil. The term “lead pencil” is often incorrectly used to describe graphite pencils that are made of graphite and clay (and contain no lead whatsoever). On the other hand, graphite pencils do produce a warm-toned gray line that looks very similar to the marks made by leadpoint. During the Renaissance, the masters created many beautiful intricate drawings with only a stylus. Artists also used styluses to do underdrawings for more detailed drawings (and paintings). When you look closely at old drawings, you can often find a few of the faint lines from the underdrawings.

Stylus (sometimes called leadpoint or metalpoint ) refers to a thin metal stick used for drawing. Styluses made of lead have been traced back to ancient Rome.

During the Renaissance, styluses were also made from silver, gold, or copper. Figure 202: The earliest stylus was a thin metal stick made of lead.

WARNING! Stay away from poor-quality graphite! When most people think of drawing, an ordinary graphite pencil comes to mind (like the ones used by schoolchildren). However, a word of caution: these pencils are not designed for drawing! Inexpensive graphite may work well for writing, but can scratch your drawing paper instead of going on smoothly. Professional drawing pencils are made with a higher quality mixture of graphite and clay and make marks that flow more smoothly. On the downside, they are usually more expensive than pencils made for writing.


The link between graphite and sheep Graphite was discovered in England somewhere between 1500 and 1560. Farmers are thought to be the first people who found a practical use for graphite. They used a lump of graphite to mark their sheep so they could easily identify their flocks. Check out the cartoon drawing of a sheep in Figure 203. News of the discovery of graphite soon traveled far and wide throughout the known world, and graphite quickly became a valuable drawing medium within artistic communities. Artists often sharpened a chunk of graphite into a point and set it into a metal holder. These sharpened chunks became the very first graphite pencils!

Making the Grade As you now know, graphite pencils are made with a mixture of graphite and clay. Graphite is very black and soft and makes dark marks. Clay is hard and makes light marks.

Figure 203: A cartoon sheep proudly displays a big “X” marked on her wool with graphite.

To make shopping a little easier, pencils are labeled with a number-letter code depending on the amounts of graphite and clay in the mixture. For example, a 6B pencil has more graphite than clay and makes very dark marks. A 2H pencil has less graphite and therefore makes very light marks. Many art supply stores carry a broad range of grades. An HB grade is in the middle and can be called either an H or a B (Figure 204).

Figure 204: A computer-generated image shows the base value of 17 different grades of graphite.

19

20


Trying to draw with 17 different pencils can be a nightmare! Besides, some grades make almost identical marks. Artists can draw a full range of values (Figure 205) with only five grades of graphite: 2H, HB, 2B, 4B, and 6B. For example, the advanced drawing of a replica of a medieval dagger (Figure 206) is drawn with only these five grades. Whenever you draw, your goal is to choose whichever grades of pencils can best give you the results you want. For drawings needing a softer touch, you may prefer to use mostly H grades. On the other hand, B grades may work better for drawing subjects needing a darker, bolder approach. And more often than not, a combination of B and H grades is a perfect choice.

Figure 206: A realistic drawing of a dagger is created with 2H, HB, 2B, 4B and 6B grades of pencils.

Figure 205: A range of different values can be created by each of these five grades of graphite.


Hard is light Hard pencils can’t make very dark values. However, they can create light to medium marks (Figure 207) that work well for some drawings.

Figure 207: Values created with four H pencils (HB is considered the darkest hard pencil).

As a rule, hard (H) pencils: ►

Have a hard, brittle medium

►

Make light to medium marks

►

Wear down slowly

►

Need very little sharpening

►

Create very thin to medium-width lines

The lines made by H pencils are mostly thin and delicate; hence, they work best for small to medium drawings (unless, of course, you have lots of patience). The drawing in Figure 209 is almost completely rendered with four different grades of hard pencils.

ArtSpeak Pupil of an eye is the tiny, dark, circular part of an eye that adjusts its size under different lighting conditions. Figure 208: An arrow points to the pupil of an eye.

TIP! Always lay your graphite pencils somewhere safe so they don’t fall!

Info Tidbit The word pencil comes from the Latin word pencillus (which means “little tail”).

Graphite is quite fragile - especially the softer grades. When a pencil falls to the floor, the graphite inside the core breaks, and the pencil becomes very dif ficult to sharpen. Small pieces of broken graphite can jam up the inside of the sharpener.

21

22


I used a 2B (soft) pencil for only a few dark accents, such as the pupils of his eyes and tiny sections of the darkest shadows.

Figure 209: This drawing of a friend (Christopher Church) playing a violin took more than a month to complete with 6H, 4H, 2H, HB, and 2B pencils.

Soft is dark B pencils tend to “B” soft, and can make very dark marks because they have more graphite than clay. However, by pressing very gently with B pencils, you can also create light and medium values. Figure 210 shows the base value of four B grades of graphite.

Figure 210: Values created with four B pencils (HB is the lightest B pencil).


Generally speaking, B grades of pencils: ►

Have a soft medium

►

Make light, medium, and dark marks

►

Wear down quickly

►

Need to be sharpened frequently

►

Can make thin to thick lines

The darker marks created by B pencils are ideal for loosely rendered sketches on medium to large sheets of paper.

Figure 211: Loosely rendered sketch of a side-on view of a young man.

Check out the sketch of the young man (Figure 211) created with only 2B and 4B pencils. If you are patient, and don’t mind constantly sharpening their points, B pencils can also work well for rendering detailed subjects on small sheets of paper.

Figure 212:

B pencils were used for the small drawing of a peach in Figure 212.

Combining soft and hard grades When you draw a subject with lots of light and dark values, you may need to use both B and H grades of pencils.

Drawing of a peach using HB, 2B, 4B, and 6B pencils.

Info Tidbit My favorite brands of graphite pencils are made in Germany, and are sold under the names Staedtler and Faber-Castell.

23

24


And what animal could show you a combination of B and H pencils better than a zebra (Figure 213)? The white stripes are shaded with 2H, HB, and 2B, and the black stripes are drawn with HB, 2B, 4B, and 6B.

Figure 213: A drawing of a baby zebra (named Spot) is created with both H and B grades of graphite.

Finding out your grade When you go to an art store, expect to be surprised by how many different brands of pencils are available.

Figure 214: At first glance, different grades of drawing pencils may all look the same.

Professional pencils often look identical, even though the grades are different (Figure 214). But don’t be fooled! The grade of the graphite is written somewhere on the wood part of each pencil (Look closely at Figure 215).

Figure 215: Can you see the grade written on these three brands of pencils?

Chapter 3: More Drawing Mediums

3

Chapter

More Drawing Mediums *****************************************************************

In addition to graphite pencils, you need to begin learning to draw with mediums that are speci fically designed for artists. As with most activities, the better the tools, the happier you are with the outcomes. In this chapter, I tell you about a few popular drawing mediums. I show you what each looks like, and the kind of marks it makes.

ArtSpeak Charcoal is a drawing medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades. Charcoal pencils have a thin cylindrical stick of compressed charcoal inside a wooden casing. Charcoal sticks are made by compressing powdered charcoal into round or rectangular sticks.

Figure 302: A few different types of Figure 301: Shopping for drawing mediums is a big challenge when you have to choose from so many different types.

charcoal that are designed for drawing.

25

26


ArtSpeak Drawing stick (1) is made by compressing and shaping a medium (such as graphite or charcoal) into a cylindrical or rectangular chunk. Woodless pencil (2) is a thick cylindrical stick of graphite wrapped in a vinyl casing. Mechanical pencil (3) has an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip. Wood-encased pencil (4) (better known as a regular pencil ) has a thin cylindrical stick of graphite or charcoal inside a wooden casing.

Figure 303: Four types of drawing tools: (1) sticks, (2) woodless pencil, (3) mechanical pencils, and (4) wood-encased pencils.

Sandpaper block is an artist’s tool with tear-off sheets of fine sandpaper used to sharpen the points of pencils.

Figure 304: Pencils last longer if you sharpen only their points on a sandpaper block.

Picking out Proper Pencils In this section, I discuss three types of drawing pencils: wood-encased, mechanical, and woodless. Several drawings invite you to compare the abilities of these pencils.

Wood-encased pencils Graphite pencils are ideal for either simple, loosely rendered drawings or very complicated, intricate drawings on small to medium-sized surfaces. Charcoal pencils are fantastic for medium to large drawings on large sheets of paper.

Art Quote

Every child is an artist. The problem is how to remain an artist once he (she) grows up. Pablo Picasso


Graphite pencils Graphite pencils are a favorite drawing tool of many artists.

Figure 305: Most art

Some artists prefer to draw with a slightly worn-down pencil point (Figure 306).

supply stores carry a huge selection of professionalquality, wood-encased drawing pencils.

Others constantly sharpen the graphite points to make thin marks (Figure 307).

Figure 306: Marks made with the worn-down points of graphite pencils.

Figure 307: Thin lines drawn with freshly sharpened graphite pencils.

The drawing in Figure 308 was created with graphite pencils. The pencil points were slightly worn down to shade the eyes. A sandpaper block kept the pencil points nice and sharp to do the scraggly feathers. You can sharpen the points of regular pencils with a pencil sharpener, some fine sandpaper, or a sandpaper block.

Charcoal pencils

Figure 308: Cartoon drawing of an emu is created with regular pencils.

Charcoal pencils are a lot more messy than graphite, but (thanks to the wooden holder) less messy than sticks of charcoal.

27

28


Wonderful black marks can be made with charcoal (Figure 310), which is much softer than graphite. Hard grades of charcoal can be carefully sharpened in a pencil sharpener with an oversized opening. If you want thin lines, you need to keep the point sharpened with a sandpaper block.

Figure 309: Most charcoal pencils are a little thicker than graphite pencils.

Soft grades of charcoal simply crumble and break when you try to sharpen them in a pencil sharpener. A heavy-duty utility knife works best for cutting away some of the wood so you can sharpen the exposed charcoal with a sandpaper block. Charcoal is fun to work with and is ideal for drawing anything - including people, scenery, and objects. Check out the charcoal drawing in Figure 311.

Figure 310: Various marks made by a charcoal pencil.

WARNING! Utility knives are VERY dangerous! Utility knives are as sharp as razors! One small slip of the knife can cause permanent damage to your hand or fingers. They should only be used by responsible adults who are handy with tools. So, if you don’t want to “draw blood,” ask someone to help you sharpen charcoal pencils. (And, remember to tell that person to be very careful!) You may even want to completely stay away from charcoal pencils and use charcoal sticks instead. They are a little messier, but can do everything a pencil can do (and more).


Figure 311: A loosely rendered charcoal sketch of Christopher Church playing his violin.

Other fun pencil mediums Two other types of pencil mediums that are well worth having are: mechanical pencils (they never need sharpening) and woodless pencils.

Mechanical pencils Mechanical pencils (Figure 312) are a super alternative to pencils that need to be sharpened constantly. The marks they make stay approximately the same size, even after hours of drawing. A professional-quality mechanical pencil designed for drawing is expensive; but in the long run, it tends to be more economical than constantly buying woodencased pencils. When well cared for, a mechanical pencil can last a very long time; I have several that are more than 15 years old.

Figure 312: A sampling of mechanical pencils.

TIP! Purchase only professional-quality mechanical pencils You can find inexpensive novelty mechanical pencils in many stores. However, professional mechanical pencils that are designed for drawing can only be found in art supply stores. Most are expensive, but they tend to last much longer than the department store variety.

29

30


Mechanical pencils come in different sizes. A 0.5 mm is the most popular size and works best for drawing on small to medium-sized sheets of paper. A 0.7 mm is a great choice for sketching loosely or drawing on a large surface (or both). A mechanical pencil can be loaded with leads of different grades ranging from very hard to soft. (However, you should load only one grade at a time.) Leads of the same grade are sold in a single package, so, you may have to buy a package of each of the grades you want to use.

Woodless graphite pencils Obviously, woodless pencils do not have a wooden casing! A thick rod of graphite is surrounded by a thin (usually vinyl) casing; hence, your hands stay clean as you work. Woodless pencils rarely need to be sharpened in a pencil sharpener. A few strokes on sandpaper and the points are sharp! They can make lots of different marks (Figure 314), and are great for subjects needing wider, bolder strokes than regular pencils. When the points are sharpened, they can also make very thin lines (Figure 315). Figure 313: Drawing of an unusual glass bottle completely rendered with 0.5 mm mechanical pencils and various grades of leads.

TIP! Before you buy leads for a mechanical pencil, check the size! Read the label on each package of leads you want to buy, to make sure they are the right size for your mechanical pencil. For example, 0.7 mm leads are too big to fit through the pointed end of a 0.5 mm mechanical pencil. Figure 314: Marks made with a woodless pencil.


Sticks and Stones (oops!) Powders Graphite and charcoal sticks are not considered pencils, but they are well worth having. Both are messy, but lots of fun! For instance, you can rub a charcoal or graphite stick on sandpaper to make powdered charcoal or graphite (Figure 316). Then, you simply dip your finger into the powder and draw!

Figure 315: A wood-encased graphite pencil worked well for creating three sketches of my grandson, Brandon.

Or, (if messy isn’t your style) you may prefer to wrap your finger in a piece of paper towel first. Sticks are great for rendering any subject, and especially for medium to large sketches and drawings. Surprisingly, charcoal and graphite sticks are one of the few art mediums that work well when broken!

Figure 316: Drawing powder can be made from graphite or charcoal sticks.

The crisp edges of broken pieces are fantastic for rendering thin, strong lines. The flat ends and sides can be used for broad strokes (Figure 317).

31

32


You can use a charcoal stick, charcoal powder, and a charcoal pencil in the same sketch. Figure 317: A small sample of marks you can make with a stick.

Figure 318: Various marks created by erasing sections of a layer of charcoal.

Figure 319: A winter scene created with charcoal pencils, powder, and sticks, as well as erasers.

In addition, you can combine a graphite stick and graphite powder with various graphite pencils to create a drawing. However, charcoal and graphite do not usually play (or work) well together. Try to combine graphite and charcoal in a drawing and you can see what I mean! Use either graphite or charcoal mediums in a drawing - but not both together. You can also use erasers to draw with either charcoal or graphite (Figures 318 and 319). You simply apply some powder to the paper’s surface and erase sections to create an image.

Chapter 4: Sketchbooks and Drawing Papers

Chapter

4

Sketchbooks and Drawing Papers *****************************************************************

Picking out drawing paper is a scary task for even the most experienced artists. To further confuse artists, almost every store with an arts or crafts department carries some type of drawing paper. Some papers are great for drawing and others are not. In this chapter, I tell you about the textures, sizes, and weights of various drawing papers so you can make wise choices when you go shopping. You examine artworks done on different papers to give you an idea of how a paper can affect the look of a drawing. I also explain how artists (not dentists) protect the tooth of paper.

ArtSpeak Tooth refers to the surface texture of paper. Paper with a smooth tooth is flat and silky; medium tooth has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks.

Figures 401 to 403 show you highly magni fied views of shading with a 6B pencil on papers with a smooth, medium, and rough tooth.

Figure 401: Printer paper with a smooth tooth.

Figure 402: Drawing paper with a medium tooth.

Figure 403: Watercolor paper with a rough tooth.

33

34


Info Tidbit Drawing Papers during the Renaissance Shopping for drawing papers is no doubt a challenge. However, can you imagine having to make your own drawing paper?

ArtSpeak Texture refers to the surface detail of an object. The type of texture can be identified with vision, a sense of touch, and a general knowledge of the object. Figure 304: Short fur (as on cats) is soft and silky.

During the Renaissance, drawing papers were handmade. This time-consuming process included the following seven basic steps: 1. Materials such as plants, vegetable matter, and rags were chopped up into fibers. 2. Water was then added to create a soupy mixture. 3. The mixture was scooped up with a screen and placed into a wooden mold. 4. The mold was shaken until most of the water drained through the screen, leaving a flattened layer of fibers. 5. Flattened sheets of fibers were stacked into a pile with a layer of woolen cloth or felt in between each. 6. Most of the remaining moisture was squeezed out by pressing down on the stack. 7. The sheets of paper were then hung to dry. When completely dry, the paper was usually coated with a substance (such as a gelatin mixture) to make it suitable for drawing.

Figure 306: A single Figure 305: A child’s knit sweater is bumpy and soft.

drop of liquid can appear so shiny that it almost sparkles.

Check up on Tooth (without a Dentist!) The more tooth a paper has, the rougher it feels. Some artists like smooth drawing paper, others prefer very rough paper, and many prefer paper that is somewhere in between. In this section, I discuss the tooth of three common types of paper. I also show you how a paper’s tooth can in fluence the look of a drawing.


The surface of a smooth tooth The surface of smooth tooth papers (that are designed speci fically for artists), feels relatively even and silky, but is not shiny. Artists who prefer drawing highly detailed subjects often choose papers with a smooth tooth. The realistic drawing of a cat in Figure 407 was rendered with graphite on a professionalquality, smooth watercolor paper.

Figure 407: A detailed drawing of Bill the cat on smooth paper. His beautiful coat of striped fur looks very soft.

35

36


Big smile for a medium tooth Medium tooth papers are ideal for most drawing subjects. They work beautifully for creating a full range of values and lots of different textures. Many sketchbooks have paper with a medium tooth and are a fantastic choice for beginners.

Figure 408: Sketchbook paper with a medium tooth is perfect for capturing the texture of an owl’s feathers.

TIP! Stay away from papers with a glossy surface! Smooth drawing paper is wonderful, but glossy paper is just plain awful. Glossy paper is toothless, and therefore too smooth for graphite or charcoal to properly stick to it.


ArtSpeak Acid-free refers to a high-quality and long-lasting paper that has had the acid removed from the pulp in the papermaking process.

Drawings can be ruined when papers with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free. Hot pressed refers to a paper that is pressed through hot cylinders during its manufacture. Many smooth watercolor papers are hot pressed. Hardcover refers to a durable type of book cover that is made from a thick and unbendable material.

WARNING! Stay away from acid! Don’t be fooled by cheap imitations of goodquality drawing paper. Before you buy a sketchbook, look for a label that says the paper is acid-free. Just because the cover of a sketchbook says it’s suitable for drawing doesn’t mean it’s acid-free.

Art Quote

He (or she) who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist. Saint Francis of Assisi

Figure 409: A hardcover sketchbook protects your papers and drawings from being wrinkled.

Softcover describes a flexible book cover that is usually made of paper. Softcover sketchbooks are inexpensive, however, you need to handle them carefully so the paper doesn’t wrinkle.

Textures on a rough tooth Rough paper is terrible for tiny detailed drawings, but ideal for sketching on large sheets of paper. Fun patterns and textures often appear when the peaks of the paper grab the graphite, and some craters show through as white. The peaks and craters of rough watercolor paper helped create the wonderful textured shading in Figures 410 and 411.

37

38


Figure 410: The bumpy, jagged textures of trees are captured on watercolor paper with a rough tooth.

Info Tidbit My favorite drawing paper is Arches, 100% cotton, acidfree, hot pressed watercolor paper with a 140 lb weight.

Figure 411: A close-up view shows how rough paper can help render the texture of a tree trunk.

The surface works beautifully for most drawing media and all subjects. As an extra perk, this paper is similar to that used by the masters during the late Renaissance.

Sketchbooks and Papers Art supply stores sell individual sheets of papers that are designed speci fically for drawing. A sketchbook has several sheets of drawing paper in a book format. The quality, size, and weight of paper, are much more important than whether you purchase individual sheets or a sketchbook (or both).


Softcover, hardcover, or sheets? Even though softcover sketchbooks are relatively inexpensive, the paper can be easily wrinkled and damaged. Softcover sketchbooks have to be carefully stored on a flat surface. A hardcover sketchbook is much more durable, and protects the paper inside. As an extra perk, the hard cover provides a solid surface on which to work when you’re away from your desk or table. Individual sheets of drawing paper need to be stored on a flat surface inside a hard-sided portfolio.

TIP! Always take good care of a paper’s tooth! The tooth of any paper can be easily destroyed by pressing too hard on its surface with your pencil. If your shading begins to look shiny, the tooth is flattened beyond repair. Additional shading will no longer hold fast to the paper’s surface. So, remember to apply only a little bit of pressure to your pencil when you draw.

Weighing in on paper The “weight” of paper describes the thickness of individual sheets of paper. Thin paper weighs very little, but is easily torn and damaged. Thick paper is more durable than thin because it weighs more.

Avoid pressing too hard when you want darker shading - switch to a softer B pencil instead.

For example, inexpensive, everyday printer paper has a 20 lb (75 g/m²) weight and therefore is too thin (and too smooth) for drawing. Heavy Arches drawing paper has a 140 lb (300 g/m²) weight and is perfect for drawing masterpieces. However, it’s much too expensive for everyday use. A professional-quality paper for everyday use should have at least a 50 lb (260 g/m²) weight. The weight of a paper is usually marked on the packaging or front cover. You can also feel the paper to make sure it’s thick. Figure 412: A small sampling of drawing papers and sketchbooks.

39

40


Larger is not always better Choose a sketchbook or drawing papers in a size that is easy to transport when you travel. However, stay away from sketchbooks under 9 by 12 inches or your drawing options become too limited. On the other hand, most large sketchbooks (over 16 by 20 inches) are softcover. Hence, if you prefer making large drawings, you need to store the sketchbook on a large, hard surface to prevent the paper from bending. Individual sheets of paper (Figure 413) come in many sizes. A really big sheet can be cut down into smaller sheets. Some types are inexpensive and others can be quite costly.

Figure 413: A large sheet of drawing paper can be attached to a drawing board with clamps.

Info Tidbit TIP! Check before you buy! Check out art supply, stationery, and department stores in your community to find out what types of drawing paper are available. Then, you can select the best type of paper for your needs (and budget!).

Are you tired of reading yet? Keep going - by the end of Chapter 6, you’ll know all you need to know about drawing supplies. In Chapter 7, I give you a checklist so you know exactly what you need to buy (or find at home). In Chapter 9, you finally have a chance to pick up a pencil and begin drawing!

Chapter 5: Adding to the Basics

Chapter

5

Adding to the Basics *****************************************************************

In addition to pencils and paper, you need to have a few other drawing supplies, such as pencil sharpeners and erasers. In this chapter, I tell you about the supplies that work best for drawing, and the ones you should avoid. I also suggest a few extra items to consider adding to your shopping list. For example, manikins are certainly not necessary for learning how to draw; however, they do provide a fun way to strengthen your visual and drawing skills.

Figure 501: A few more art supplies: (1) pencil cases, (2) a metal ruler, (3) manikins, (4) a small knife for cutting paper; and (5) spray fixative.

Tools for Erasing In this section, you find out about two types of art erasers that are very gentle to the surface of your paper: vinyl and kneaded. Erasers that are designed speci fically for artists can be purchased in an art supply store.

Vinyl erasers Vinyl erasers (Figure 502) have many practical uses. They can erase small or large sections of drawings, as well as pull out (erase) light sections from a layer of graphite or charcoal. To erase tiny details or draw thin lines, you can use the sharp edge of a regular block eraser. (If the edges of your vinyl eraser are worn, a sharp knife can be used to cut off the end.)

41

42


Kneaded erasers

Figure 502: Three popular types of vinyl erasers: (1) regular blocks, (2) eraser wheel, and (3) pencil erasers and refills.

Kneaded erasers (Figure 503) are a real joy! They don’t leave annoying eraser crumbs on your paper, and can easily be molded into a point or wedge for erasing. You can also use a kneaded eraser to carefully pat or gently rub a section of a drawing to lighten lines or values.

Figure 503:

The drawing of a sphere in Figure 504 was created with the help of both vinyl and kneaded erasers.

Kneaded erasers are simple boring blocks until you begin molding and stretching them.

TIP! To clean a kneaded eraser, you simply stretch and reshape it (also known as “kneading”) several times. However, kneaded erasers eventually get too dirty to work well, so pick up some extras.

First of all, I covered my paper with a layer of charcoal. Then, I pulled out light values with a kneaded eraser. The sharp edge of a vinyl eraser created the brightest whites. Dark shadows and crisp outlines were added with a charcoal pencil. In Chapter 9, I show you how to draw with your kneaded eraser (Action 9D: Playing with Erasers).

Figure 504: With the help of erasers, a three-dimensional sphere seems to come out of the dark.


Sharpening your Mediums Pencil sharpeners and sandpaper (blocks or sheets) are a must for keeping your mediums (also called media) in shape. Lots of different stores carry sharpeners - especially if they carry school supplies. Sandpaper blocks are more dif ficult to find; art supply stores are your best bet.

WARNING! The wrong eraser can ruin your drawings! Stay away from erasers that are colored (especially the pink ones) or very hard (such as those on the ends of some pencils).

As for sheets of sandpaper, check out a building supplies store or a department store with a hardware department. Make sure the surface is a fine grade (look for anything that falls between 100-180 grit).

Pencil sharpeners If you use any type of pencil media, you need a pencil sharpener.

Figure 505: Four of my favorite pencil sharpeners.

Stay away from toy sharpeners, and battery-operated or expensive sharpeners. Instead, choose a simple, sturdy, hand-held (preferably metal) pencil sharpener. The best ones have two openings: a small one for regular graphite pencils and a large one for oversized pencils. The sharpeners in Figure 505 last a very long time; especially those for which you can purchase replacement blades (available at most art supply stores).

Sandpaper blocks and sheets Sandpaper preserves the wooden sections of your pencils that could otherwise get quickly eaten up by your sharpener. Sandpaper sharpens just the exposed sections of medium instead of both the wood and the medium. Sandpaper blocks have sheets of fine sandpaper attached to a wooden base. You simply hold the wooden handle as you sharpen your pencil point on the sandpaper. When the top sheet of sandpaper becomes worn and dirty, you simply tear it off, throw it away, and use the next sheet. Sandpaper blocks are not expensive, so pick up more than one.

43

44


A Few Extras Have fun wandering through art supply stores! However, resist the temptation to pick up a bunch of stuff you really don’t need and may never use. You don’t need to spend a lot of money on supplies to learn how to draw well.

Stuff you can’t do without In this section, I discuss four more necessities: pencil case, portfolio, ruler, and view finder frame. (In Chapter 7 you find step-by-step instructions for making a portfolio and view finder frame.)

Pencil case A container for storing your pencils, erasers, and other smaller drawing supplies is essential - especially if you have small children or pets in your home. (I have two large dogs who consider pencils and erasers to be chew toys!) In addition, if you keep everything together in one place, you can avoid the frustration of always searching for misplaced items.

TIP! You can make a sanding tool similar to an artist’s sandpaper block. Cut sheets of fine sandpaper into long, narrow pieces, and use a heavy-duty stapler to hold them together at one end.

WARNING! Keep your drawing supplies, small children, and pets safe! Always put your supplies away in a container when you are done drawing.

Portfolio Drawings stored in a pile on a shelf (or anywhere that’s dusty or within direct sunlight) can be damaged easily. A hard-sided portfolio can protect your drawing paper and completed drawings from becoming wrinkled, damaged, or destroyed. You can buy many types of wonderful portfolios in art supply stores, however, many tend to be very expensive (especially those made of leather).

Ruler At some point in your life, you may have tried using something like the edge of a book as a ruler. I speak from experience when I say this is not a great idea! A good-quality ruler does a far better job and is much easier to use (plus, it has measurement guidelines). A ruler comes in handy for outlining drawing spaces, and as a guide for cutting straight pieces of drawing paper. An all-metal ruler with raised edges may be a little more expensive, but can last a lifetime with proper care. Metal rulers are easy to clean, and their raised edges protect your drawings from being smudged as you draw lines.


ArtSpeak View fi nder frame is an adjustable, see-through rectangle or square that allows you to look at a drawing subject from various viewpoints.

Composition refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space. Drawing space (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specific perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

Figure 507: Drawing of Figure 506: A simple view finder frame.

a spider within a square drawing space.

Viewfinder frame Beginners to drawing often include too many objects in their drawings. A view finder frame helps you visually weed out boring stuff in a scene, so you can draw only the exciting parts. As you adjust its size, you can remove most of the clutter and unnecessary objects from your view. In doing so, you can choose an ideal composition for a drawing. Small ones are great for planning compositions from photos. Large view finder frames are ideal for finding a composition when you are outside trying to choose a drawing subject.

Figure 508: A section of a cartoon face is viewed through the opening of a view finder frame.

Nice to have, but not necessary Before you go shopping for additional drawing supplies, a manikin, display board, and spray fixative should be the top three items on your list.

45

46


Display boards Bulletin or display boards (I especially love the metal ones with magnets) are relatively inexpensive and provide display space for your drawings. You can even choose a wall in your home (or use your fridge) for an ongoing exhibition of your work.

Spray fixative A spray fixative that is designed for graphite and charcoal can protect your completed drawings from being accidentally smudged. However, before you use a spray fixative, keep the following in mind: ►

Spray only in a well-ventilated area (such as outdoors).

►

Make sure you read the directions carefully.

►

Two or three thin coats are better than one thick coat (less is more!).

Manikins Often made of wood, manikins are wonderful models: they don’t move, require no bathroom breaks, and don’t talk your ears off! Manikins can be manipulated into numerous poses and viewed from any angle. In addition to female and male figures, you can also purchase animals.

Figure 509: A simple sketch of a figure is created with the help of a manikin.

WARNING! Don’t use spray fixative on your unfinished drawings! You can’t erase problem areas after your drawing has been sprayed.

Part 2: Get Set!

PART 2 GET SET! ►

Ideal surfaces on which to draw

►

Proper lighting for drawing

►

Good posture for sitting to draw

►

What to pack in a portable studio

►

Creating your shopping list

►

Make an artist’s portfolio

►

Construct a simple view finder frame

►

Three ways to hold your drawing medium

►

Discover your natural hand movement

47

48


Chapter 6: Setting up for Drawing

Chapter

6

Setting up for Drawing *****************************************************************

In this chapter, I tell you about drawing surfaces and lighting that work well for creating art in your home. In addition, I show you how to sit comfortably for drawing, and properly hold your pencils as you work. I also tell you how to pack up a portable drawing kit so you can take your love of drawing wherever you go. When assembling your drawing supplies, be sure to check around your home; you may already have many of these items.

A Comfy Place to Sit and Draw Your special artistic place in your home should be as relaxing, peaceful, and free of distractions as possible.

ArtSpeak Drafting desk (or drafting table) is an adjustable worktable with a slanted top (Figure 601). Drawing board is a portable, lightweight, smooth surface (often made of wood) used for sketching and drawing (Figure 602). Clips (usually made of metal) can be used to attach sheets of paper to a drawing board (Figure 603).

Figure 601: A simple drawing of a drafting desk (and chair) that is adjusted for drawing.

Figure 602: A sketch of a horse is attached to a drawing board with a clip.

Figure 603: A popular type of clip is called a Boston Bulldog.

49

50


Choosing a drawing surface You can easily find a surface on which you can comfortably draw. Consider such options as a table, desk, drafting desk, or drawing board. An adjustable sloped table or drafting desk is a fantastic choice. Another option is to prop up a drawing board at an angle on a regular table or desk. Many art stores sell different types of inexpensive drawing boards in various sizes. Drawing papers can be held in place with either clips or tape. Art supply stores usually carry large clips and special tapes for attaching paper to a drawing board. Masking tapes designed for painting the interiors of homes, also work fairly well.

Shedding light on your art To prevent your eyes from becoming tired or strained, always make sure you have good lighting. Consider a natural light source from a window in the daytime and from a lamp for evenings and overcast days. A flexible-neck study lamp is designed to focus light directly on your drawing surface (Figure 605).

Figure 604: An artist is sketching on paper that is attached to a drawing board with a clip.

TIP! Some types of tapes can damage your paper. Experiment with your tape on a small piece of drawing paper to find out if it can be safely removed.

Info Tidbit A drawing board is easy to make (if you know an adult who is handy with a saw). Simply cut a piece of thin, smoothly finished plywood, Plexiglas, or another sturdy product to a size slightly larger than your favorite drawing paper. Use sandpaper to sand it until its surface and edges are very smooth.


An ideal lamp mimics natural daylight, so, read the packaging carefully before you buy! Also, check out the cost of replacement bulbs; some types can cost almost as much as (or more than) the lamp itself.

Figure 605: An artist sits comfortably at a drafting desk with an attached lamp shedding light on his drawing.

Art Quote

I don’t think people are born artists; I think it comes from a mixture of your surroundings, the people you meet, and luck. Francis Bacon

Good Posture First! Sitting correctly (and eating your vegetables) is very important; not just for your health, but also for improving your drawing skills.

WARNING! Don’t attempt large drawings on a flat (horizontal) surface! Instead, use something to prop up your sketchbook or paper so your drawing surface is sloped. When you create large drawings on a flat surface (such as a table or desk), the top of your paper is farther away from you than the bottom. As a result, you can end up with all sorts of problems trying to draw accurate proportions. For example, if you are drawing a figure, his or her head may end up too big for the body. Unfortunately, you usually find this out the hard way - after your drawing is complete.

51

52


Good posture and a comfortable, adjustable chair can prevent your muscles from becoming strained and sore. Arrange your chair and drawing surface so you can easily move your hand, arm, shoulder, and upper body as you draw.

How NOT to sit! Many people do not sit up straight. They hunch or lean over too much, and twist their bodies into all sorts of positions that place their back out of proper alignment (Figure 606).

Figure 606: How NOT to sit! You become uncomfortable very quickly when you are not sitting properly.

TIP! To prevent cramping and repetitive movement injuries, move your fingers and wrist as little as possible when you draw. You should be moving your lower and upper arm (and sometimes your shoulder and upper body as well). If you absolutely have to move your fingers and wrist (for example, to draw tiny details), take a break every ten minutes to relax your hand and wrist.

Sitting correctly Most drafting tables and some of fice chairs have height adjustments. You can also position your chair closer or farther away from your table. Refer to Figure 607 and arrange your table and chair until you can: ►

Sit up straight with your feet flat on the floor (or on a raised surface such as a footstool).

►

Distribute your body weight evenly on both hips.

►

Bend your knees at a right angle.

►

See your drawing clearly without bending your lower back.

►

Comfortably rest your lower arm on the table.


Once you are used to sitting correctly, you can fully focus on drawing.

Putting Together a Portable Studio In this section, I suggest practical supplies for bringing your love of drawing on any type of excursion, such as to a local park or a picnic at the beach. Learning to draw is learning to see! The more you practice the faster your skills improve! Figure 607: A cartoon artist shows you how to sit properly at a drafting desk.

Doing sketches on a regular basis trains your brain to see as an artist (a fun way to see the world). A very thorough visual examination of your drawing subject imprints its image into your mind. You can then draw what you see in your sketchbook - often with only a few simple lines. For example, sometimes all you need is a wiggly line to capture a section of land. Figure 608 shows a simple sketch of the lake behind my home.

Figure 608: Simple lines capture a sky, hills, a lake, trees, and a few plants.

You should keep a few drawing materials packed and ready to travel.

53

54


When you feel like drawing outdoors, you can just grab your portable studio and go. First of all, you need something in which to carry your art materials. A backpack or fabric bag with handles is great. Select something large enough to hold everything you need. Naturally, you need a surface on which to draw. You can bring a drawing board, paper, and clips (or tape). A hardcover sketchbook is a great alternative to sheets of paper; its hard cover serves as a drawing surface. Add a pencil case filled with pencils, erasers, sandpaper blocks, and a pencil sharpener. Here’s a list of additional things you may want to bring along: ►

A viewfinder frame.

►

Your portfolio (if you use sheets of drawing paper).

►

Plastic bags to protect your drawings (and you) in case of rain.

►

Beverages and snacks.

►

Wipes or paper towels for clean-up (especially if you use charcoal).

►

A small camera to take photos of inspirational scenes and objects.

►

Depending on where you go, you may need bug repellent.

►

Oh, and don’t forget your sunscreen and a hat!

Art Quote

When we speak of Nature it is wrong to forget that we are ourselves a part of Nature. We ought to view ourselves with w ith the same curiosity and openness with which we study a tree, the sky or a thought, because we too are linked to the entire universe. Henri Matisse

Save all your sketches! By examining your older sketches, you can measure how much your skills have advanced. In addition, as your creativity and artistic vision improves, you may look back on your early works with a new appreciation. For example, a face may be hidden within a sketch of an old log. (Remember the stone faces hidden in Figure 101 in Chapter 1.)

Chapter 7: Making a List, Portfolio, and Viewfinder Frame

Chapter

7

Making a List, Portfolio, and Viewfinder Frame *****************************************************************

In this chapter, your first exercise is to make a shopping list and buy your drawing supplies. You then follow step-by-step illustrated instructions to make a portfolio and view finder frame. (I show you how to use a view finder frame in Action 9F in Chapter 9.)

► ACTION

7A ◄

The Shopping List Goal: Write out a shopping list so you can go shopping for your supplies. Supplies needed: Paper and pencil (or pen). The following lists are guides for making your own shopping list.

Must have

Figure 701: Shopping for art supplies.

Plan to purchase (or find around your home) the items on this list first: ►

Sketchbook with medium tooth, acid-free paper: 9 by 12 inches (or larger)

►

Package of inexpensive sheets of paper (printer/copy paper works well)

55

56


►

Regular vinyl eraser

►

Kneaded eraser

►

Pencil case

►

2H, HB, 2B, 4B, and 6B wood-encased pencils

►

Sturdy handheld pencil sharpener

►

Sandpaper blocks or sheets of fine-grit sandpaper

►

Drawing surface, such as a drafting desk, or table with a drawing board

►

Lamp

►

Metal ruler

►

Metal clips (if you plan to use a drawing board)

►

Comfortable chair

►

Portfolio case (for storing your completed drawings)

►

Viewfinder frame

(Supplies for making a portfolio and view finder frame are on the next page.)

Nice to have As your skills improve and you have extra money, you can shop for items from this list: ►

Wooden manikins

►

Bulletin or display board

►

Spray fixative

►

Mechanical pencils with 2H, HB, and 2B leads

►

A selection of good-quality drawing papers

►

Camera

►

Hardcover sketchbook

►

Graphite sticks and woodless pencils

►

Pencil-type vinyl eraser

TIP! When buying matboard or cardboard to make a viewfinder frame, stay with neutral rather than bright colors. When using a brightly colored viewfinder frame, your eye is grabbed by the loud color, making it hard to concentrate on the view inside.


Supplies for making a portfolio If you (or someone else) plan to make a portfolio, you need the following: ►

Roll of wide tape (duct tape is great and comes in lots of fun colors)

►

Heavy-duty, sharp utility knife

►

Straight edge or long ruler with a metal edge

►

Sharp tool (such as a scratch awl or a large nail) for punching holes for ties.

►

Strong string, thin rope, or shoelaces (long enough to tie the portfolio closed in three places)

►

Acid-free cardboard or matboard (usually offered in a wide selection of colors at framing and art supply stores)

►

Drawing supplies for adding a design (optional)

Supplies for making a viewfinder frame Besides acid-free board, a utility knife, and a ruler, you also need two large paper clips.

Supplies for a portable studio You need a second set of basic drawing supplies, as well as some of the extra items suggested on Page 54.

► ACTION

7B ◄

Making a Portfolio Goal: Make and design your very own unique portfolio.

Figure 702: A homemade portfolio.

57

58


Gather your supplies on a large, flat surface that can’t be damaged with a sharp knife. For example, cutting the board on the dining room table may not be the best idea! You may want to ask an adult for help.

Deciding on a size The finished size of your portfolio needs to be a little larger than your largest sheet of drawing paper. When choosing board, you can use either one large sheet or two smaller pieces. One large folded sheet of board makes a slightly stronger portfolio than two smaller pieces - especially along the bottom. If you decide on one large sheet, take into account that you need to fold it in half. In other words, the finished portfolio will be half the size of your board. If you buy two pieces (one for each side), each needs to be the

finished

size.

Suggested portfolio sizes include: ►

16 by 20 inches (one sheet at least 32 by 20 inches, or two pieces at 16 by 20 inches each).

►

20 by 30 inches (one sheet at least 40 by 30 inches, or two pieces at 20 by 30 inches each).

Option 1: Using one large sheet of board 1. Trim the large piece of board to the overall size you want. Measure the board first - it may not need to be trimmed. Refer back to the previous section for suggested sizes. Keep in mind that it needs to be folded in half (peek ahead to Figure 703). If your board is already the size you want, go to step 2. 2. Place your large sheet of board (colored side facing up) on a flat surface.

TIP! Some boards (such as matboard) are colored on one side and white on the other. Hence, you may want the colored side facing outward on your portfolio. If your board is the same color on both sides, simply ignore references to color. The colored side in the illustrations is shown as gray.


3. Measure the board and mark the center points along the width. For example, if your board is 32 by 20 inches, the middle points are at 16 inches. If your board is 40 by 30 inches, the center points need to be at 20 inches. Use a ruler to measure, and an HB pencil to mark the points. 4. Use a long ruler or straight edge to draw a straight line along the points. Use an HB pencil. This line shows you where you later score (slightly cut) the board (Figure 703). 5. Add wide tape to all four edges of the large board.

Figure 703: A straight line is drawn down the center of the board, and the edges are made strong with wide tape.

6. Measure, and then mark the halfway distances of the sides and top of each half with a dot (to mark where the ties go). See Figure 704. The sides have one dot. The top and bottom edges have two, and each is halfway between the edge and the center line. 7. Use a sharp tool to punch holes where each of the six dots is marked.

Figure 704: Dots mark the spots where the ties attach.

59

60


8.

With your knife and a straight edge, cut very slightly (sometimes referred to as “scoring”) along the straight line on the colored side. Be very careful; if you cut too deeply into the board, you’ll have two pieces of board instead of one scored piece.

9.

Gently fold the large sheet of board inward along the scored line. The colored side should now be on the outside.

TIP! If you accidentally end up with two pieces, all is not lost. Simply continue on and follow the instructions for working with two pieces instead of one.

Figure 705: Portfolio is folded along the score line, and the inner fold line section is reinforced with wide tape.

10. Open the portfolio and tape over the inside center seam. To make this seam super strong, use two strips of tape (Figure 705). 11. With the portfolio closed, tape over the scored seam at the bottom. The basic construction of the portfolio is complete (Figure 706). 12. Continue on to the Adding ties and fi nal touches section on page 62.

Figure 706: The bottom edge of portfolio (the folded edge) has been reinforced with strong tape.


Option 2: Using two pieces of board 1. Using wide tape, reinforce all but one long edge of each piece of board. 2. Place the boards colored side up so the two wide edges that are not taped (the bottom of the portfolio) are close together. 3. Measure, and then mark dots at the halfway distances of the sides and top of each piece of board. These dots show you where to punch holes for the ties (Figure 707). Do not mark dots on the sides without tape. These sides are the bottom of your portfolio. 4. Use a sharp tool to punch holes where the dots are marked. You end up with three holes on each piece of board. 5. Butt the bottoms of each piece of board tightly together on a flat surface.

Figure 707: Three sides of each piece are reinforced with wide tape; the holes for the ties are marked and then punched with a sharp tool.

The inside surfaces should now be facing you (Figure 708). 6. Tape both pieces together. To make the seam super strong, use two strips of tape (Figure 708). Figure 708: The boards are butted together and then taped together with wide tape.

61

62


7. Fold the portfolio so the colored sides are on the outside. See Figure 709. The holes for ties should line up on the top and sides. 8. Use at least two strips of wide tape to reinforce the bottom edge on the outside.

Adding ties and final touches

Figure 709: The bottom edge of the portfolio is reinforced with strong tape.

In this section, you finish your portfolio by adding ties. You have the option of decorating either one side or both with creative designs. 1. Tie a knot in the end of each tie. Refer to Figure 710. Each of the six ties needs to be between 12 to 16 inches long. If you use shoelaces, you may get away with using half for each tie (if they are long). If using a half, tie the knot in the end that has been cut. If you use a full shoelace for each tie, it doesn’t matter on which end you tie a knot. 2. Thread a tie through each of the six holes from the inside. Refer to Figure 711. The end with the knot needs to be on the inside.

Figure 710: A knot is tied on one end of a shoelace.

Figure 711: The laces are threaded through the holes from the inside toward the outside.

If the hole is bigger than the knot, you can tie additional knots on top of the first so the end won’t go through the hole. 3. Use wide tape to secure the knotted ends of the ties to the inside (Figure 712).

Figure 712: Wide tape covers the knotted ends


4. Close the portfolio. Figure 713 shows the outside of an undecorated portfolio. 5. Add a design or drawing to the sides of your portfolio.

Figure 713: The portfolio awaits a spiffy design.

Decorating your portfolio is completely optional. You may prefer to use it as is. The portfolio in Figure 714 has a drawing of daisies on the front. You can probably think of oodles of other ideas to decorate your portfolio. Place your drawing paper and drawings inside and tie the ties.

Figure 714: A drawing of daisies graces one side of a portfolio case.

► ACTION

Making a Viewfinder Frame

7C ◄

Goal: Make a view finder frame.

Figure 715: A

Set up your supplies on a flat space that is adult-approved.

homemade viewfinder frame.

63

64


Consider making several view finder frames in different sizes. Smaller ones are great for planning compositions from photos. Bigger ones are ideal for finding a composition when you are outside trying to choose a subject. 1. Use a ruler and a utility knife to cut two identical L-shaped pieces of cardboard any size you want. Again, don’t be afraid to ask for help using a knife. Refer to Figure 716. When choosing a size, keep in mind that the wider your frame, the more you can block distracting and unwanted objects from your view. 2. Use two large paper clips to join the two pieces together to form a frame. Refer to Figures 717 and 718.

Figure 716: Each L-shaped piece of matboard needs to be cut perfectly square. This means that the corners should form a ninety-degree angle (also known as a right angle).

Figure 717: Two L-shaped pieces of matboard are joined with paper clips so the inside becomes either a square or rectangle.

Figure 718: A closeup view of my grandson (Brandon) is selected with the help of a view finder frame.

Chapter 8: Give Yourself a Helping Hand

Chapter

8

Give Yourself a Helping Hand *****************************************************************

Moving your drawing hand naturally and rotating your paper as you work can improve your artistic outcomes. In this chapter, you discover how these simple actions can quickly advance your current drawing skills.

Holding Your Mediums The way you hold your drawing mediums can affect the look of your drawings. If you move only your fingers and wrist, your lines may end up looking shaky and rigid. Creating smoothly flowing lines requires broad, gentle movements of your whole arm. Adjust your chair and table until you can easily move your hand, arm, shoulder, and upper body as you draw. Choosing the most comfortable way to hold your medium depends on the following: ►

►

►

Your choice of medium Whether your drawing surface is flat, vertical, or on an angle The size of your drawing paper

ArtSpeak Straight line provides the shortest connection between any two points. Straight lines can be drawn in any direction. Figure 801: Several straight lines that are drawn in six different directions.

65

66


Figure 802 illustrates how most people hold their pencil when first beginning to write and draw. (Remember to move your arm rather than just your fingers and wrist.) This method is ideal for creating small drawings on a flat or sloped surface.

Figure 802: Holding a pencil in the most familiar and traditional manner.

The second way of holding a pencil (Figure 803) is great for rendering a medium to large sketch (or drawing) on a sloped or vertical surface.

Figure 803: How to hold a pencil when you are creating big, bold sketches.

This method requires movement from your arm, and sometimes your shoulder and upper body as well. The method shown in Figure 804 requires movement from your arm and shoulder, and is ideal for holding pencils or sticks of graphite and charcoal. You can hold your pencil this way when you work on a sloped or vertical surface.

Figure 804: An ideal way to hold various types of drawing mediums for sketching.

Experiment with each of the three ways to hold your drawing mediums. You may find a couple of these methods a little awkward at first, but with practice you do get used to them.

Chapter 8: Give Yourself a Helping Hand

Becoming a Natural As discussed in the previous section, you can choose from three different ways to hold your pencil. The next logical step is to find the most natural way to move your pencil as you draw. Many aspiring artists simply jump into drawing without taking the time to discover their natural hand movement. As a matter of fact, most people don’t even know they have one! This section explores the natural hand movement of Leonardo da Vinci, and helps you find and use yours.

Leonardo the lefty You can tell a lot about artists by examining their art.

Figure 805: This drawing of an old man (including the marks and age spots on the paper) is copied from a drawing by Leonardo.

Recently, I took the time to check out some of Leonardo da Vinci’s drawings. I found myself in awe of his shading lines - mostly drawn at the same angle. I used a graphite pencil to render a study of one of Leonardo’s pen-andink drawings. Figure 805 shows my drawing of an old man’s face. Leonardo’s shading lines appear to be rendered from the upper left to lower right, and from the lower right to the upper left. Examine the close-up view of the shading lines in Figure 806).

Figure 806: I turned this drawing sideways as I worked so I could imitate Leonardo’s lines with my own natural hand movement.

67

68


Finding your natural hand movement You natural hand movement may not be the same as either Leonardo’s or mine. Try your hand at drawing sets of slanted straight lines in your sketchbook (Figure 807). Pay attention to how you make these lines. Use many different ways of moving your pencil or changing the slant of your lines. Some will feel comfortable and others will feel awkward. However, there will be one motion that feels the most comfortable. This is your natural hand movement, and you should try to use it to your advantage whenever possible.

Rotating your paper as you draw Professional artists have many secret ways to make sure their drawings turn out well. In addition to using their natural hand movement, they often rotate their paper. You should rotate your drawing paper as you work to take full advantage of your natural hand movement. Remembering to always rotate your paper takes lots of practice. But, before you know it, you are rotating your paper all the time without even thinking about it. In Action 9E in Chapter 9, you can try your hand at drawing shapes by rotating your paper.

Figure 807: A sketchbook page has lines that slant in many directions.

Info Tidbit Many experts claim that Leonardo da Vinci was left-handed because of the way he drew straight lines (slanted from the upper left to lower right). This is the natural hand movement of many left-handed artists. Right-handed artists (like me) often draw lines from the upper right to the lower left.

Art Quote

The artist ought f irst to exercise his hand by copying drawings from the hand of a good master. Leonardo da Vinci

Part 3: Go Draw!

PART 3 GO DRAW! ►

Action 9A: Sketching a Self-Portrait

►

Action 9B: Creating Values with Squirkles

►

Action 9C: Playing with Pencils

►

Action 9D: Playing with Erasers

►

Action 9E: Drawing Shapes by Rotating Your Paper

►

Action 9F: Framing with a Viewfinder

►

Action 10A: Drawing a Caveperson

►

Action 10B: A Realistic Eye

►

Action 10C: Mugly Wigglebottom

69

70


Chapter 9: Putting Your Supplies to Work

Chapter

9

Putting Your Supplies to Work *****************************************************************

Finally! Time to draw! In this chapter, you complete a few exercises and projects designed to teach you how to use your supplies. You also discover how to use a few basic drawing techniques.

TIP! Always sharpen your pencils before you begin a drawing project.

► ACTION

9A ◄

Sketching a Self-Portrait Goal: Document your current drawing skills by drawing yourself. Supplies needed: Paper, erasers, a 2B pencil, and a mirror. Set yourself up for drawing where you can clearly see your re flection in a mirror. Draw a portrait of yourself as realistically as possible. When you’re finished, sign your name, write the date on the back, put your drawing away in a safe place, and give yourself a big hug!

71

72


ArtSpeak Squirkling is a simple shading technique in which randomly drawn curved lines (called “squirkles”) create values.

Figure 901: Squirkling is great for drawing wool on a cartoon sheep.

Squirkling is ideal for simple drawings by beginners (Figure 901), as well as highly realistic works by professional artists (Figure 902).

Figure 902: Advanced

Value scale is a range of different values that are drawn in order from light to dark or from dark to light (Refer to Figure 903).

drawing of a tiny section of a phone that is completely rendered with squirkles.

► ACTION

9B ◄

Creating Values with Squirkles Goal: Find out the base value of each of your five grades of graphite pencils.

Figure 903: A value scale created with squirkles. Each grade of pencil has a different base value.

Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils. What do you get when you cross squiggles with circles? You get Squirkles! Squirkling is a simple method of shading that uses randomly drawn curved lines to create values. I chose this name based on the method of mixing squiggles with circles to create shading. Many of my students from the past three decades are very familiar with this word! In this project, you create five different values with five grades of pencils. Don’t press too hard or too softly with your pencil. Apply a medium amount of pressure. Allow your pencils to do most of the work.


1. Draw a rectangle that is 2 inches high by ten inches long, and divide it into five squares that are each 2 by 2 inches. Surprise! Math is a very important part of drawing! But don’t grumble yet - I’ll be introducing the various math skills very gently.

Figure 904: I used a ruler to outline a drawing space that is 2 by 10 inches (divided into five squares).

2. Mark the grade of one of your pencils under each square.

Figure 905: Each square is marked with a grade of pencil from the lightest (on the left) to the darkest.

3. In the first square, use a 2H pencil to scribble (squirkle) curved lines that twist and bend in many directions. Refer to Figures 906 and 907. Your goal is to create a light value. If you see a very large white space (the white of your paper), draw a curved line through it so it becomes two small spaces. If a section has a lot of lines, don’t add any more. The white spaces can be many different shapes, but they should be approximately the same size.

TIP! Take your time! Work very slowly and closely watch your line as it curves around within this square. Small squirkles make much smoother values than large ones. Accuracy is much more important than speed. Speed increases with lots of practice.

73

74


Figures 906 and 907: A 2H makes a very light value.

Try squinting your eyes a little to see the squirkles as a value.

4. Use the same method to draw squirkles in each of the other four squares. Refer to Figures 907 to 915. Use an HB pencil in the second square; a 2B in the third; a 4B in the fourth; and a 6B in the fifth.

Figures 908 and 909: A slightly darker value is created by an HB Pencil.

If you make a value that looks too light, you can simply add a few extra squirkling lines to make it slightly darker.

Figures 910 and 911: The middle value is made with a 2B pencil.

Make sure that each new value you draw is slightly darker than the previous one.


Figures 912 and 913: A 4B grade of pencil makes a dark value.

Figure 914: The darkest value is drawn with a 6B.

Figure 915: A value scale of five different values.

You have completed a value scale from light (on the left) to dark (on the right). Prop up your drawing and stand a few feet away. Can you see values from light (on the left) to dark (on the right)?

five

different

5. Draw another value scale from dark (on the left) to light (on the right). Refer to Figure 916. When you’re done, pat yourself on the back ten times.

Figure 916: A value scale from dark to light.

75

76


► ACTION

9C ◄

Playing with Pencils Goal: Draw three sets of lines with each of your five pencils.

Figure 917: Many different values of lines can be made with only five grades of pencils.

Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils. As you know from Action 9B, each grade of pencil makes a different base value. However, did you know that each grade on its own can make several values? In this project I show you how to create light, medium, and dark lines with each of your pencils. To do this, you simply vary the pressure you apply to your pencil. 1. Use a 2H pencil to draw a light, medium, and dark set of three straight lines (nine lines in total). ►

Set of three light lines: Apply very little pressure to your pencil.

►

Set of three medium lines: Use a medium amount of pressure.

►

Set of three dark lines: Press firmly with your pencil.

Remember to rotate your paper so you can use your natural hand movement.

Art Quote

What we call creative work ought not to be called work at all, because it isn’t. I imagine that Thomas Edison never did a day’s work in his last f ifty ifty years. Figure 918: Three different values of lines made with a 2H grade of pencil.

Stephen B. Leacock


2. Use the same technique to draw three different lines with each of your other four pencils (Figure 919).

Figure 919: Fifteen sets of lines result in a wide range of different values.

Congratulations! You now have a better idea of how artists make several different values with only one pencil. Put one finger on the tip of your nose and walk seven steps in a straight line.

► ACTION

Figure 920: Lines and shapes created with erasers.

Playing with Erasers Goal: Draw lines and shapes with an eraser instead of a pencil. Supplies needed: Heavy white drawing paper with a medium tooth, a 2B or 4B charcoal stick, 2B or 4B charcoal pencil, vinyl eraser, kneaded eraser, and paper towels.

9D ◄

WARNING! This project is very messy! Stay away from light-colored carpets or fabrics. Cover your drawing surface with paper or plastic before you begin.

77

78


ArtSpeak Blending is the process of gently rubbing shading with a blending tool (such as a facial tissue or paper towel) to evenly distribute the drawing medium over sections of the surface of drawing paper.

Figure 921: A section of shading before it is blended.

Figure 922: The same shading after it was blended with a facial tissue.

Most artists are familiar with drawing dark values on a light surface. However, as you will soon see, you can also draw light values on a dark surface by using an eraser (or erasers). In this section, you experiment with two different types of erasers as drawing tools. 1. Use the side of a charcoal stick to smoothly paper.

fill

in a section of your

Gently does it! Don’t press hard with the charcoal. The charcoal needs to sit on the top of the paper’s tooth – not flatten it! In real life, my section is 6 by 3 inches – but larger is even better! 2. Use a piece of paper towel to VERY GENTLY blend the whole surface. Don’t apply too much pressure, or you’ll grind the charcoal into the paper so much that it won’t erase (thereby defeating the whole purpose of this project). Figure 923: A section of my paper is filled in with charcoal and then very gently blended.


3. Use your erasers however you wish to experiment with pulling light values from the darkened drawing surface. For a few ideas refer to Figures 924 and 925.

Figures 924 and 925: A few lines, dots, and shapes are pulled out of the charcoal with the edges of vinyl erasers, and kneaded erasers molded into various shapes.

Info Tidbit Thomas Edison is best known as an inventor (he helped invent many wonderful items such as the light bulb and motion picture camera). However, did you know that he could draw well? He often sketched his ideas and drew diagrams of the inventions on which he worked.

4. Use your imagination and the same process to create more drawings. You can also use your charcoal pencil to draw more details after the white sections are erased (Figure 926).

79

80


TIP! Completed charcoal drawings should always be sprayed with a fixative so they don’t smudge too badly.

Art Quote

Genius is one percent inspiration, ninety-nine percent perspiration. Thomas Edison

When you’re done, go wash the charcoal off your face, and put a big smile on your face!

► ACTION

Figure 926: I used a charcoal pencil to add a few dark lines to my eraser drawing.

9E ◄

Drawing Shapes by Rotating Your Paper Goal: Draw three different shapes by rotating your paper and using your natural hand movement. Supplies needed: Paper, a 2B graphite pencil, vinyl eraser, and kneaded eraser.

Figure 927: Three shapes created by using my natural hand movement and rotating my paper.


You find two illustrations beside each step; one for righties and the other for lefties. To help you remember which drawing is which, the lefty one is on the left and the righty one is on the right.

TIP! Don’t worry about copying my drawings exactly! Just take your time and do your best.

Part 1: Circular shape Your goal in this section is to draw a shape using only curved lines.

It’s more important to get used to rotating your paper so you can use your natural hand movement.

1. Write the word “TOP” at the top of your paper so you don’t get lost. 2. Draw the first part of the shape (Figure 928). 3. Rotate your paper so the word “TOP” is on the side (Figure 929).

Figure 928L

Figure 929L

Figure 928R

Figure 929R

81

82


4. Draw the second part of the shape (Figure 930).

Figure 930L

Figure 930R

5. Rotate your paper until the word “TOP” is on the bottom (Figure 931). Figure 931L

Figure 931R

Figure 932L

Figure 932R

6. Draw the third part of the shape (Figure 932).


7. Rotate your paper until the word “TOP” is on the other side (Figure 933).

Figure 933L

Figure 933R

Figure 934L

Figure 934R

8. Draw the final part of the shape (Figure 934).

9. Rotate your paper until the word “TOP” is on the top again. Examine your drawing of a circular shape while patting yourself on the head and standing on one foot. Then, compare my final lefty and righty drawings (Figure 935). When placed side by side, they are mirror images of one another.

Figure 935L

Figure 935R

83

84


Part 2: Straightsided shape In this section, you draw a ten-sided shape with straight lines. To help keep you on track, I have numbered each line (Figure 936). Righties and lefties draw the exact same shape this time (rather than mirror images). However, you still need to turn your paper in different directions as you work.

Info Tidbit In Drawing Book 2: Lines and Spaces, I show you how to draw very straight lines freehand (without a ruler).

Again, righty illustrations are on the right and lefty ones are on the left. 1. Write the word “TOP” at the top of your paper, and refer to Figure 937 as you draw lines 1 and 2. Before you begin, locate lines 1 and 2 in Figure 936. Make sure you leave lots of room on your paper for the other eight lines that outline this shape. Lefty’s need to rotate their paper for this step and righties don’t.

Figure 937L

Figure 936: The lines are numbered in the order in which you draw them.

Figure 937R


3. Rotate your paper and draw line 3 (Figure 938).

Figure 938L Figure 938R

4. Rotate your paper again and draw line 4 (Figure 939).

Figure 939R Figure 939L

5. Complete your drawing of the straight-sided shape by following along with figures 940 to 943. By now you know how to follow along with illustrations to complete a drawing. Take your time and refer back to Figure 936 if you get lost.

85

86



Figure 941R Figure 941L

Art Quote

“When I was a boy of 14, my father was so ignorant I could hardly stand to have the old man around. But when I got to be 21, I was astonished at how much the old man had learned in seven years.” Mark Twain


Figure 942L

Figure 942R

Figure 943R

Figure 943L

Rotate your paper until your shape is right-side-up again (Figure 944). Then stand up and wiggle your whole body!

Figure 944: If this shape was part of a familiar object, what would it be? Try looking at it sideways, slanted, and upside-down.

87

88


Part 3: Circle TIP!

Most artists consider circles to be the most dif ficult shape to draw.

A square can help you draw a better circle! 1. Use a ruler to measure and draw a square on your paper (Figure 945). 2. Measure and then mark a small dot (or line) at the halfway point of each of the four sides. Your circle should only touch the sides of the square at each of these four marks.

In this section, you try your hand at drawing a circle. You may be quite surprised by how well you do with help from your new skills using your natural hand movement and rotating your paper. 1. Follow along with Figures 946 to 950 to draw a circle.

Figure 945: When you want a really good-looking circle, try drawing it inside a square.

Figure 946L

You may prefer to draw a circle without drawing the square first. If so, simply ignore the square outlines in the illustrations.

Figure 946R


Figure 947L

Figure 947R


Figure 949L

Figure 949R

89

90


2. Erase your square outline (if you drew it). Stand up and turn around in a circle three times.

Just for fun! So, now you have three very boring shapes (Figure 951). How can you make them more interesting? Easy! Turn them into something or somebody.

Figure 950

A few lines and squirkles (and an imagination) gave my shapes a little personality (Figure 952). Have fun transforming your shapes into something more interesting. You can turn each shape around in any direction.

Figure 951

Figure 952: As a child, I spent many hours drawing random shapes and giving them faces (as well as noses, ears, hair, and hats).

Challenge: Draw three more shapes: one with curved lines, another with straight lines, and a circle. Remember to use your natural hand movement and rotate your paper as you draw. Then, use your imagination to turn each into something or somebody.


ArtSpeak Drawing from life refers to the process of drawing from an actual person, animal, or scene, rather than from a photograph or computer image. Landscape format (sometimes called a horizontal format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom (Figure 953). Portrait format (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom (Figure 954).

Figure 953: A fun drawing of a cartoon snake fits nicely into a landscape format.

Figure 954: A portrait format works well for this drawing of a giraffe.

► ACTION

9F ◄

Framing with a Viewfinder Goal: Use a viewfinder frame to choose a composition from a photograph, then set up a drawing space, and draw what you see inside the borders of the frame. Supplies needed: Photograph, view finder frame, ruler, drawing paper, pencils, erasers, and pencil sharpener.

Figure 956: Fishing shacks viewed through a viewfinder frame.

91

92


Info Tidbit Unfortunately, I was unable to put any actual scenes into this book (grin). Hence, this project (and many others) are based on photographs. However, keep in mind that the basic process for using a viewfinder frame with a photo is almost identical to viewing drawing subjects from life.

Three steps for framing a view To give you an idea of how a viewfinder frame works, I have broken down the process into three basic steps (refer to Figure 957): 1. I choose a photo that I really like. It’s a landscape format, and I want to draw the fishing shacks in a portrait format. 2. I adjust the two parts of the viewfinder frame until I find a portrait format that I like. 3. I draw what I see inside the frame. (I decided not to draw the boat on the right.)

Figure 957: Working with a view finder frame includes: (1) choosing a photo, (2) deciding on a composition, and (3) drawing what you see inside the frame’s opening.


Create a sketch by framing your view

TIP! Choose a photo that you really like!

1. Choose a photograph. If you want to draw from a valuable or cherished photo, scan and print a copy rather than work from the original. Better still - take a photo of something simple that you want to draw and then print it.

Make sure your subject is something that looks like it might be fun to draw. You may become bored with a subject that doesn’t appeal to you. Make sure the photo isn’t fuzzy, out of focus, or in really bright light or dark shadows. You can’t draw something you can’t see.

2. Place your view finder frame on top of the photo and choose the section you want to draw. Continuously adjust both sections of the viewfinder frame until the part you want to draw is completely in view. Remember, you can choose either a square, vertical, or horizontal drawing format.

Figure 958: Photo I took of a fun duckshaped candle that I wanted to draw.

Use a pen or pencil to mark small dots on the photo inside the four corners of the frame. Check out the small dots marked in blue in Figure 959. Remove the viewfinder frame, and use a ruler to connect the dots to outline a square or rectangle (Figure 960).

Figure 959: The section of the photo that I want to draw is framed inside a viewfinder frame.

93

94


ArtSpeak Cast shadow is a dark section on a surface adjacent to (beside) an object (or living being) that receives little or no direct light. Examine the cast shadow (cast by the duck candle) on the surface of the table in the lower right of Figure 960.

A fun part of being an artist is that you can decide to change what you see in a photo before you draw.

Figure 960: The section of the photo that I want to draw is outlined.

For example, I decided to not include the edge of the table, the background clutter, or the cast shadow in my drawing. 3. Draw your subject with any medium and in any way you want. First of all, decide if you want to leave out something that you see in your photo. Then, outline a drawing space on your paper that is the same shape and proportions as the outlined section of your photo. For example, if the outline on your photo is 2 by 3 inches, you can make a larger drawing by using a drawing format that is 4 by 6 inches (twice the size), or 6 by 9 inches (three times the size of the original).

Figure 961: I decided to do a simple line drawing of the duck-shaped candle.

When you are done, quack like a duck as you

flap

your arms like wings!

Chapter 10: Three Simple Drawings

10

Chapter

Three Simple Drawings *****************************************************************

This chapter presents three fun projects that put your new drawing skills into action. The first challenges you to draw several shapes with curved lines; the second encourages you to put your squirkling skills into action to draw the pupil of an eye; and the third takes you through the entire process of drawing - from sketching lines to adding shading. Remember to rotate your paper so you can use your natural hand movement. Be patient with yourself; drawing lines and shapes freehand requires lots of practice before you can do it well.

► ACTION

10A ◄

Drawing a Caveperson Goal: Draw a human figure that looks like a prehistoric cave drawing. Supplies needed: Paper, erasers, ruler, and a 2B pencil. In this project, you use curved lines to draw a body; then add a head, two arms and two legs; and finally draw hands and feet.

Figure 1001: A simple drawing of a caveperson.

1. Use a ruler to draw a rectangular drawing space that is approximately 3 inches wide by 5.5 inches long.

95

96


2. Draw a partial oval-shape (Figure 1002) as the main section of the body (called a torso). Plan where to draw the torso on your paper so you leave room for a head, arms, and legs. For example, the whole torso fits into the top half of the drawing space. Also, if you look closely, the torso is a little closer to the left side of the rectangle than the right. 3. Add a head and neck (Figure 1003).

Figure 1002

Figure 1003

4. Draw the upper part of the arms (Figure 1004). 5. Draw the lower sections of the arms and the hands (Figure 1005). The upper part of the body is finished - the torso, head, arms, and hands all nicely into the upper half of your drawing space.

fit


Figure 1004

Art Quote

“The way to learn to do things is to do things. The way to learn a trade is to work at it. Success teaches how to succeed. Begin with the determination to succeed, and the work is half done already.” Henry Ford

Figure 1005

Info Tidbit

Long before people learned to write, they used bones or sticks dipped into paint to draw their stories on the walls of caves. Their paint was often made from plants or animal blood.

97

98


2. Add the upper legs and knees (Figure 1006). 3. Draw the lower parts of the legs and the feet (Figure 1007).

Figure 1007

Challenge: Use your imagination to create other prehistoric drawings. For instance, you can draw animals, hunters with bows, or people dancing around a fire. Refer to Figure 1008 for ideas.

Figure 1008: Five prehistoric cave drawings.

Figure 1006


ArtSpeak Iris (1) is the colored circular part of an eyeball surrounding the pupil (2) (de fined on page 21). Highlight (3) is the brightest area where light bounces off the surface of the eye. Upper eyelid (4) is a movable fold of skin that opens and closes to protect the eyeball. Eyeball (also called the white of the eye) is the entire spherical section of an eye that is protected inside an opening in the skull (Figure 1010).

Figure 1009: The parts of an eye include the: iris (1), pupil (2), highlight (3), upper eyelid (4), and white of the eye (5). Figure 1010: A drawing of an eyeball with an iris (1), pupil (2), and highlight (3).

► ACTION

10B ◄

A Realistic Eye Goal: Lightly sketch the shapes of an iris, pupil, and highlight and add shading with squirkles. Supplies needed: Paper, HB, 2B, and 6B pencils, kneaded and vinyl erasers, sandpaper block, and a pencil sharpener. In this project, you focus on the highlight, pupil, and iris, as well as the edge of the upper eyelid.

Figure 1011: Simple drawing of a pupil, an iris, a highlight, and the edge of the upper eyelid.

1. Use an HB pencil to lightly sketch a circular shape as the iris of an eye. Refer to Figure 1012. Remember to press very lightly.

99

100


2. Sketch a small circular shape in the upper left section of the iris (Figure 1013). This is the highlight. Its location indicates that a light is shining on the eye from the upper left. 3. Use a curved line (almost a circle) to draw the pupil of the eye (Figure 1014). This curved line begins and ends at the highlight.

Figure 1012

Figure 1013

Figure 1014

4. Add a slightly curved line cutting through the upper section of the iris (Figure 1015). This line represents the lower edge of the upper eyelid. The upper sections of irises are usually hidden under the upper eyelid (represented by a simple curved line). 5. Use your kneaded eraser to gently erase the section of the iris above the edge of the upper eyelid (Figure 1016).

Figure 1015

Figure 1016


ArtSpeak Shadow refers to any dark area where direct light from a light source is blocked (or partially blocked) by an object or living being.

Shadows can be on the surface of an object or living being (1), or on a surface that is adjacent to an object or living being (called a cast shadow) (2). Figure 1017: A light source from the upper left creates a shadow (1) on the lower right surface of an egg, as well as a cast shadow (2) on the surface on which the egg sits.

6. Add a few tiny squirkles to the iris with an HB pencil (Figure 1018). Press very gently on your pencil to keep the lines light. The more uneven you draw the squirkles, the better the shading of the eye will look. Therefore, make sure your squirkle lines curve in all different directions.

Figure 1018: The overall value of the iris is light, and lots of white paper is showing through.

Also, some lines need to have large curves and others should be smaller. 7. Use freshly sharpened HB and 2B pencils to shade in the dark values of the iris (Figure 1019). Press firmly with an HB pencil to add slightly darker shading around the edges of the iris (especially next to the edge of the eyelid). Press gently with a 2B pencil to make the shading closest to the edge of the upper eyelid even darker. The upper section of an iris is often in the shadow of the upper eyelid.

101

102


8.

Add the darkest shading of the iris (Figure 1020). Use your 2B pencil again, and this time press firmly (but not too hard) to make the outer edges of the iris and the shadow under the upper eyelid darker.

Figure 1019: The shading is darker in the upper section of the iris and around its edges. Some of the light shading is still showing around the lower section of the pupil.

At this point, you should see very few white spaces still showing in these sections. 9. Use a 6B pencil and squirkles to fill in the pupil (Figure 1020). Make sure your pencil is freshly sharpened. Naturally, the highlight is left white.

Figure 1020: The darkest shading in the iris is directly below the edge of the upper eyelid. The darkest shading of all is in the pupil.

10. Use your vinyl eraser to clean up any smudges or fingerprints on your drawing paper.

Now, sit comfortably in your chair and relax your eyes as follows: 1. Rub your hands together quickly until the palms of your hands feel warm. 2. Close your eyes lightly. 3. Cover each of your eyes gently with the palm of a hand (the section close to your wrist). 4. Place your fingers lightly on your forehead. 5. Relax your body and stay in this position for two minutes.


ArtSpeak Symmetry in drawing is a balanced arrangement of lines, shapes, and (or) values on opposite sides of a center line (which is often imaginary).

Figure 1021: The wings in this drawing are symmetrical; each is a mirror image of the other.

Many drawing subjects, such as vases and frontal views of faces, look more believable when drawn the same on both sides. In other words, both sides need to be symmetrical. Line of symmetry is a line (real or imaginary) down the center of a drawing (or section of a drawing), dividing it in half.

On each side of a line of symmetry is a mirror image of the other side.

Figure 1022: A line of symmetry

Figure 1023: The center of a drawing of

(shown in blue) identi fies the center point of wings that touch.

wings that do not touch is marked with a line of symmetry.

► ACTION

10C ◄

Mugly Wigglebottom Goal: Use a line of symmetry to outline a cartoon and then add shading with squirkles. Supplies needed: Paper, 2H, HB, 2B, 4B, and 6B pencils, kneaded and vinyl erasers, sandpaper block, and a pencil sharpener. In this project, simple illustrated instructions guide you through the process of drawing an adorable puppy.

Figure 1024: Mugley’s nose, face, and ears are symmetrical.

103

104


TIP! Protect your drawing as you work! Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing.

Outlining Mugly with neat lines In this section, your goal is to use a line of symmetry to draw Mugly’s head, ears, and facial features proportionately correct. Keep your pencils sharpened so your lines stay crisp and thin. 1. Use your ruler and an HB pencil to outline a square drawing space. Mine is 4 by 4 inches, but feel free to make your drawing space larger. 2. Draw a very faint line of symmetry down the center of your page. Refer to Figure 1025. Measure carefully! My line of symmetry is two inches from each side of my drawing space. A line of symmetry helps you draw both sides of Mugly symmetrical.

Figure 1025


3. Use an HB pencil to sketch a wide oval as the lower section of Mugly’s head (also called a muzzle) (Figure 1026).

Figure 1026

His nose and mouth need to fit inside this oval. Leave lots of space above and on the sides for the top of his head and ears. Both sides of his muzzle are approximately the same size and shape. You can use a ruler to measure distances if you want. 4. Draw a smaller oval (his nose) inside the large one (Figure 1027). 5. Add a tiny circle below his nose as his mouth. His mouth is slightly to the right of the line of symmetry (just to give him a little extra personality).

Figure 1027

105

106


6. Add two curved lines as the sides of the upper part of his head (Figure 1028).

Figure 1028

Take note that these lines are also symmetrical. Pay close attention to where each line begins and ends. 7. Draw another curved line as the top of his head (Figure 1029). His very long ears will extend above this line and below the lower edge of his chin. Examine the reflection of your drawing in a mirror to help locate problem areas. Seeing his head in reverse gives you a brand new perspective on its symmetry. Erase and redraw any sections with which you are not happy.

Figure 1029


8. Draw his long floppy ears (Figures 1030 and 1031).

Figure 1030

Continue referring to your line of symmetry to keep his ears symmetrical.

Figure 1031

9. Draw his eyes (Figures 1032 and 1033). His eyes are upside-down U-shapes with circles inside.

Figure 1032

You may prefer to turn your drawing paper upside-down to draw his eyes. Compare your drawing to Figure 1033 and make any changes you feel are needed.

107

108


Figure 1033

Use your vinyl or kneaded eraser to carefully erase your line of symmetry. Redraw any sections that were accidently erased.

Squirkling shading for Mugly In this section, your goal is to add shading and texture to Mugly with squirkles. 10. Draw a value scale to use as a shading guide (Figure 1034). Refer to Action 9B on page 72. You may have room in an upper or lower corner of the same sheet you are using for drawing Mugly. If not, draw the value scale on a separate sheet of paper. Number each value from 1 to 5 and mark the grades of the pencils used.

Figure 1034


11. Use a 1-2H value (Figure 1034) to add the shading you see in Figures 1035 to 1038.

Figure 1035

Do not rush your shading. Draw the squirkles very carefully and slowly. Assume a direct light source is shining from the upper left. Therefore, the overall shading on the left needs to be slightly lighter than on the right. Use your imagination to think of Mugly as threedimensional to help you decide which areas are in shadow.

Figure 1036

109

110


When your shading skills become strong, your speed will increase all by itself.

Figure 1037

Before you add shading to the nose, take note of the locations of the squirkles. Very light squirkles are all around the edges of the nose except for a section in the upper right that is left white. A few extra squirkles are added to the nose over a small section of the first layer to create a crescent shape in the lower left. As you soon discover, this shadow area on the nose becomes even darker when you switch to a darker pencil.

Figure 1038


11. Use a 2-HB value to add medium values (Figures 1039 to 1042).

Figure 1039

Begin with the ear on the left. Leave the inner sections of shading light. Only add medium values over those light values that are closest to the edges of the various shapes. Don’t miss the dark shadows cast from his ears onto his upper head. In Figure 1040, the highlights of the eyes are outlined so you remember to leave them white.

Figure 1040

111

112


Medium values are added along the edges of the lower section of his muzzle, and the tiny round opening that is his mouth (Figure 1041).

The crescent shape of the nose becomes darker when you add middle values (Figure 1042).

Figure 1041

Figure 1042


11. Add shading to his eyes and the darkest shadow sections of his fur. Refer to Figures 1043 to 1046. Use 3-2B and 4-4B values to add shading to his eyes. Use value 3-2B for the dark shading on the outer edges of his left ear and upper head. If you want, you can shade Mugly’s eyes the same as in Project 10B: A Realistic Eye. Also, refer to the close-up view in Figure 1044.

Figure 1043

Feel free to outline the pupil before you begin shading the eyes.

Figure 1044

113

114


Additional dark values are added to tiny sections of his fur and nose in the darkest shadow sections.

Figure 1045

Don’t miss the shadow on his lower face cast by his nose (Figure 1046). 12. Use a 5-6B value to make the mouth and the pupils of his eyes a little darker.

Collect all the drawings you completed as you worked through this book. Sign your name and write the date completed on the back of each. Put all your drawings away in a safe place. Then, gather your drawing supplies and create more drawings of subjects you enjoy!

Figure 1046

Glossary

Glossary *****************************************************************

This glossary provides de finitions of most of the art-related words and terms used throughout this book. Knowing the meanings of these words allows you to better understand the text. Hence, your drawing experiences become more enjoyable, and less frustrating!

Acid-free (Page 37) refers to a high-

Charcoal (Page 25) is a drawing

quality and long-lasting paper that has had the acid removed from the pulp in the papermaking process. Drawings can be ruined when papers with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free.

medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades.

Archaeologist (Page 10) is a person

Charcoal sticks (Page 25) are made

who studies ancient peoples by finding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.)

ArtSpeak (Page 1) is a fun word used to describe the vocabulary of art. ArtSpeak sidebars help you understand the meanings of drawing words and terms that appear in the exercises and projects in this book.

Blending (Page 78) is the process of gently rubbing shading with a blending tool (such as a facial tissue or paper towel) to evenly distribute the drawing medium over sections of the surface of drawing paper.

Cast shadow (Page 94) is a dark section on a surface adjacent to (beside) an object (or living being) that receives little or no direct light.

Charcoal pencils (Page 25) have a thin cylindrical stick of compressed charcoal inside a wooden casing.

by compressing powdered charcoal into round or rectangular sticks.

Classical drawing (Page 3) refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings (called realism). Classical drawing was later enhanced by the great artists of the Renaissance.

Clay (Page 17) is a naturally occurring material that becomes hardened when dried. For example, clay is mixed with graphite to make graphite drawing mediums.

Clips (Page 49) (usually made of metal) can be used to attach sheets of paper to a drawing board.

Composition (Page 45) refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space.

115

116


Curved line is created when a straight

Eyeball (Page 99) (also called the white

line curves or bends. Curved lines can be drawn in any direction and be any length.

of the eye) is the entire spherical section of an eye that is safely protected within an opening in the skull.

Drafting desk (Page 49) (or drafting table) is an adjustable worktable with a slanted top.

Drawing (noun) (Page 1) is an image created on a drawing surface with a drawing medium.

Drawing (verb) (Page 1) refers to the process of applying a medium to a surface to create an image.

Drawing board (Page 49) is a portable, lightweight, smooth surface used to support an artist’s sketchbook or drawing paper.

Drawing from life (Page 91) refers

Figure (Page 1) is a diagram or picture that illustrates text. For example, the first figure in this book (Figure 01) is a drawing of a hand sketching a cartoon.

Figure (Page 11) refers to the body of a human being.

Fresco (Page 12) is an artwork painted on a thin layer of plaster that covers a wall or ceiling. For example, frescoes that date back more than 3500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

to the process of drawing from an actual person, animal, or scene, rather than a photograph or computer image.

Grade (Page 17) refers to the softness

Drawing powder (Page 31) refers to

Graphite (Page 17) is a soft black form

tiny loose particles of a drawing medium that have been broken down from a solid into a powder. For example, drawing powder can be made by using coarse sandpaper to wear away sections of graphite and charcoal sticks.

Drawing space (Page 45) (also called a drawing surface or a drawing format ) is the area in which you render a drawing within a speci fic perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

Drawing stick (Page 26) is a drawing tool that is made by compressing and shaping a medium (such as graphite or charcoal) into a round or rectangular chunk.

or hardness of the mixture used in the manufacture of drawing mediums.

of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists.

Hardcover (Page 37) refers to a durable type of book cover that is made from a thick and unbendable material. The hard cover protects your papers and drawings from being wrinkled.

Highlight (Page 99) is the brightest area where light bounces off the surface of the eye.

Glossary

History (Page 10) is a written record

Leadpoint (Page 18) (also called a

of the past; mostly about the lives and activities of human beings and their environments. For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

stylus) is a thin metal stick made of lead and used for drawing.

Hot pressed (Page 37) refers to a paper that is pressed through hot cylinders during its manufacture. Many smooth watercolor papers are hot pressed.

Icon (Page 2) is a visual image (such as a drawing) used to identify a speci fic task or information. For example, in this book ArtSpeak sidebars are identi fied with a circular, cartoon icon of Albert Einstein.

Illustration (Page 2) is an image (such as a drawing or photograph) that is used to enhance the reader’s understanding of text and (or) make text more interesting. Some books (such as a picture book) have only illustrations and no text. Others have mostly illustrations and a small amount of text to describe each illustration.

Iris (Page 99) is the colored circular part of an eyeball surrounding the pupil.

Kneaded eraser (Page 42) is an artist’s tool made of a grey or white pliable material that can be shaped by hand for accurate erasing. Kneaded erasers are designed to absorb and pick up particles of graphite and charcoal without leaving behind eraser crumbs. They do not wear away like other types of erasers, but can become too dirty to work properly.

Landscape format (Page 91) (sometimes called a vertical format ) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom.

Line of symmetry (Page 103) is a line (real or imaginary) down the center of a drawing (or section of a drawing), dividing it in half. On each side of a line of symmetry is a mirror image of the other side.

Manikin (Page 41) is a model of a figure or animal (often made of wood) that is used for learning how to draw. Most manikins have bendable joints so they can be manipulated into various poses.

Master (Page 13) refers to someone who is an expert in a speci fic profession or area of study. For example, Leonardo da Vinci was a master of painting and drawing.

Mechanical pencil (Page 26) is a drawing tool that has an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip.

Media (Page 43) (also called mediums) refers to more than one drawing medium.

Medium (Page 1) refers to a drawing tool (anything from a pencil to the burnt end of a stick) used to make marks on a surface.

Metalpoint (Page 18) is a thin stick used for drawing and made from a type of metal.

Mummy portrait (Page 12) is an ancient painting of a man, woman, or child that was attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

117

118


Mural (Page 12) is a drawing or

Renaissance (Page 3) (from the

painting on a wall, ceiling, or other large surface. For example, murals have been discovered on the walls of prehistoric caves and inside ancient Egyptian tombs.

French word for rebirth) refers to the changes within European culture from the early twelfth century to the late sixteenth century.

Pencil (Page 1) refers to a broad

Render (Page 3) describes the process

category of drawing tools that have a medium inside a holder. For example, a regular pencil (also called a wood- encased pencil ) has a medium encased inside a wooden cylinder. On the other hand, a mechanical pencil holds replaceable thin cylindrical sticks of medium that are manually loaded into a tiny tube inside a holder.

of making something happen. For example, the process of drawing a turtle can also be referred to as rendering a drawing of a turtle .

Portfolio (Page 10) is a case in which artists store (or carry) drawings and papers to protect them from damage.

artist’s tool with tear-off sheets of fine sandpaper used to sharpen the points of pencils.

Portrait format (Page 91) (sometimes

Score (Page 59) is the process of cutting

Right angle (Page 64) is created when a horizontal straight line meets a vertical straight line at a ninety-degree angle.

Sandpaper block (Page 26) is an

called a horizontal format ) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom.

very slightly into a thin object (such as cardboard or heavy paper) so as to fold it evenly.

Prehistoric (Page 10) describes the

Sculptor (Page 12) is an artist who

period in time before written language was used to record history. Many prehistoric humans drew pictures on the walls of caves instead.

creates sculptures. For example, a very well-known sculptor of the Renaissance was Michelangelo, and one of his most famous sculptures is the statue of David.

Pupil of an eye (Page 21) is the tiny,

Sculpture (Page 12) is a three-

dark circular-shaped part of an eye that adjusts its size under different lighting conditions.

dimensional artwork that is made of a material such as bronze, rock, or marble.

Realism (Page 3) is a way of drawing

painting an artist creates using his or her own face and (or) body as a model. A self portrait is usually rendered by memory or by drawing his or her re flection in a mirror.

in which living beings and objects are drawn as they appear in real life. The artist tries to draw what he or she sees as realistically as possible.

Regular pencil (Page 1) (also called a wood-encased pencil ) has a drawing medium encased inside a cylindrical wooden casing.

Self-portrait (Page 71) is a drawing or

Shading (noun) (Page 2) refers to the various values within a drawing that make images appear three-dimensional.

Shading (verb) (Page 2) is the process of adding values to a drawing.

Glossary

Shadow (Page 101) refers to any dark

Straight line (Page 65) provides the

area where direct light from a light source is blocked (or partially blocked) by an object or living being. Shadows can be on the surface of an object or living being, or on a surface that is adjacent to an object or living being (called a cast shadow ).

shortest connection between any two points. Straight lines can be drawn in any direction.

Style (Page 11) refers to an artist’s

outline of a three-dimensional object.

approach to his or her own art. An artist’s style may be based on his or her personal preferences and art education. For example, realism is a well-known style.

Sidebar (Page 1) is a box of text (some

Stylus (Page 18) (sometimes called

have illustrations) that provides additional information about a topic. In this book, a sidebar called ArtSpeak provides you with definitions of art words and terms.

leadpoint or metalpoint ) refers to a thin metal stick used for drawing. Styluses made of lead have been traced back to ancient Rome. During the Renaissance, styluses were also made from silver, gold, or copper.

Shape (Page 3) refers to the outward

Sketch (noun) (Page 2) is a simple drawing of the important parts of a subject. A sketch is usually done quickly with simple lines and (or) shading.

Sketch (verb) (Page 2) refers to the process of doing a sketch.

Softcover (Page 37) describes a flexible

book cover that is usually made of paper. Softcover sketchbooks are inexpensive, however, you need to handle them carefully so the paper doesn’t wrinkle.

Spray fixative (Page 41) is a transparent coating sprayed onto an artwork to help the medium adhere to the paper, so the drawing doesn’t smudge.

Squirkling (Page 72) is a simple shading technique in which randomly drawn curved lines (called “squirkles”) create values. Squirkling is ideal for simple drawings by beginners as well as highly realistic works by professional artists.

Subject (Page 11) refers to whatever an artist chooses to draw. For example, popular drawing subjects include people, animals, objects, flowers, and scenery.

Symmetry (Page 103) is a balanced arrangement of lines, shapes, and (or) values on opposite sides of a center line (the center line is often imaginary). Each side provides a mirror image of the other. In other words, both sides are symmetrical. Many drawing subjects, such as vases and frontal views of faces, look more believable when drawn the same on both sides.

Talent (Page 10) refers to the process of self-discovery during which you realize that you have the interest and motivation needed to become exceptional in a speci fic area. To find out what a talented person looks like, go look in a mirror! With commitment, patience, and dedication, you can turn your talent into a skill.

119

120


Technique (Page 11) is a well known

Viewfinder frame (Page 45) is an

method (such as a speci fic way to do shading) that is used to accomplish a particular activity or task. For example, more than one shading technique may be suitable for a speci fic drawing. Hence, an artist’s selection of a shading technique is generally based on his or her skill level, and what works best to capture the subject.

adjustable, see-through rectangular or square frame that allows you to look at a drawing subject from various viewpoints. It’s an invaluable tool for planning a composition, and can be used for portraits, figures, landscapes, or any other drawing subject.

Text (Page 2) refers to the words used in writing.

Texture (Page 34) refers to the surface detail of an object. The type of texture can be identified with vision, a sense of touch, and a general knowledge of the object.

Tooth (Page 33) refers to the surface texture of paper. Paper with a smooth tooth is flat and silky; medium tooth has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks.

Underdrawing (Page 16) is a loosely

Vinyl eraser (Page 41) is soft, nonabrasive artist’s tool that erases graphite and charcoal more cleanly than a regular pink eraser (which has been known to make holes in paper and ruin drawings).

Vision (Page 1) is the ability to see. Visual art (Page 12) refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight. For example, all the drawings in this book are considered visual art.

Wood-encased pencil (Page 26)

rendered sketch that is created as a guide for a final drawing (or painting).

(better known as a regular pencil ) has a thin cylindrical stick of graphite or charcoal inside a wooden casing.

Upper eyelid (Page 99) is a movable

Woodless pencil (Page 26) is a thick

fold of skin that opens and closes to protect the eyeball.

Value scale (Page 72) is a range of different values that are drawn in order from light to dark or from dark to light.

Values (Page 2) are the different shades of gray made when adding shading to a drawing.

cylindrical stick of graphite wrapped in a vinyl casing.

In this book: ►

Simple history of drawing

►

Process of learning to draw

►

Fun history of graphite

►

Grades of graphite

►

Differences between B and H grades

►

How grades affect the look of drawings

►

Graphite and charcoal drawing mediums

►

Wood-encased, mechanical, and woodless pencils

►

Drawing powders and sticks

►

Textures, sizes, and weights of drawing papers

►

How to select and protect the tooth of paper

►

Vinyl and kneaded erasers

►

Pencil sharpeners and sandpaper

►

Pencil case, portfolio, view finder frame, and ruler

►

Manikins, display boards, and spray fixative

►

Ideal surfaces on which to draw

►

Proper lighting for drawing

►

Good posture for sitting to draw

►

What to pack in a portable studio

►

Supplies to add to your shopping list

►

Make an artist’s portfolio

►

Construct a simple view finder frame

►

Three ways to hold your medium as you draw

►

Discover your natural hand movement

►

Action 9A: Sketching a Self-Portrait

►

Action 9B: Creating Values with Squirkles

►

Action 9C: Playing with Pencils

►

Action 9D: Playing with Erasers

►

Action 9E: Drawing Shapes by Rotating Your Paper

►

Action 9F: Framing with a Viewfinder

►

Action 10A: Drawing a Caveperson

►

Action 10B: A Realistic Eye

►

Action 10C: Mugly Wigglebottom

com Drawspace Guide to Getting Started With Drawing

Recommend Documents