Y

The illustration of the Virgin Mary shows her wearing the typical medieval costume of a long dress with a heavy flowing cloak, in the powerful combination of red and blue. The red - representing Christ's Passion - is tonally particularly vibrant and the blue - associated with the Mother of God as the 'Stella Maris' or Star of the Sea - is a deep azure. The short, closely fitting tunic in this composition (after Tamara de Lempicka) seems to be a device to draw attention to the young woman...

T

This view - drawn in coloured pencils - is from a position on the raised decking immediately outside my own back door. We can see a bit of the Mediterranean pine and fig tree in one corner, my studio summerhouse and the potting shed. I put the garden chairs on the lawn just to give the scene a point of focus. Your garden or backyard doesn't have to be particularly interesting or shown when the weather is good to make a worthwhile drawing or painting.

R Drawings In Pencil Step By Step

6 Placing these objects close together, well below my eye- level, I get a repeated pattern of circular, cylindrical shapes, with the light behind them bouncing off the light surface they are standing on. Notice the arrows showing the direction of the light which means that all the shadows are facing the viewer. Draw a sketchy outline of your arrangement before starting on your finished drawing. 7 When you begin to draw these, you will realize that the light colour of each of the objects, and...

The human figure

Drawing the human figure in colour provides certain obstacles for you to conquer before you become really proficient. One major fact is that coloration of the human body encompasses a wide spectrum. There are few truly strong colours in the human skin range, but a host of very subtle tones. Apart from obvious differences in skin colour between various races, the complexion of each human being reflects any number of hues, according to whether you are looking at that particular individual in the...

Info

9 Next you have to place the figures into the scene. The first thing was to put the couple together on the towel with the sunshade on the left side of the picture. On the other beach towel, which is strongly coloured, I placed the young woman. She has no need for the shade as she is building up her tan, and she has a sunhat to keep off the hottest sun. Behind her I set the young man with the beach ball so that the lounging man appears to be calling to him. Behind him is the uncertain man...

Significant colours

Sometimes colour in a picture turns out totally different from the way that you meant it to be. But many great artists work very hard on their colour schemes and don't just arrive at them by accident. It is worth taking a closer look at some of their work before we close, although you have seen quite a number of examples already. This approach differs from the previous sections, where we have looked at the construction of a particular scene. Here, I will present you with a picture by an artist...

U

When it comes to reproducing moving figures, there is always the same problem. How much do you show clearly and how much should the drawing be blurred in some way to make it convey movement The question may be approached in two ways. You can either hope that your drawing is dynamic enough to hold up as a moving image, even if everything in it is crystal sharp and clear, or you can bring in some distortions and fuzzy edges to give an impression of movement, as if you have taken a photograph with...

Massrsrokss

The practice of composing a landscape is partly done for you by the area you happen to be painting in , and partly a matter for your own taste and discrimination in what effect you want your landscape to have. It is possible to adjust the landscape that you see in front of you, by moving your position a little or by leaving out parts of the scene, or even moving them around a little. Many artists do this, but you have to be careful that the results will all hang together.

Composition and colour

Composition is always the hardest and yet the most interesting part of picture-making, once you have mastered the basics of drawing everything else. When you are only concerned with form and tone the problem is difficult enough but, when you come to add colour, it introduces a new element that will make a huge difference to your final design. Here some of the things that you will have to take into consideration. Some artists use colour as a medium in its own right and subject all their...

C r

U Monet is one of the great S colourists of all time and he wasn't afraid to lay on the colour with abandon, producing work such as this sunset over the church of San Giorgio Maggiore in Venice. This is a pretty dramatic sight at any time but when it is blazing with the colours of the setting sun it really becomes almost overstated. How can you do your own version of this sort of sight Well, to start with you don't need to rush off to Venice you can look around your own area for a building that...

Cga

We generally use the frontal view of the face as the easiest way to get a good likeness and it is probably the best view for your first attempt at drawing the head. It shows you the eyes and mouth at their most recognizable, however, it is not the easiest way to draw the nose. Nor is it necessarily the most interesting method for portrait purposes. The profile is straightforward enough to draw in most parts, although some people have difficulty with the eyes at this angle. The most favoured...

Dst

When you come to produce a picture with a number of figures in it, you will need to have some sort of theme or idea about how they are all going to fit together into the scene. It could be totally abstract in that it would only be a group of figures arranged in a format with no particular reason for being there. But usually there is more fun in choosing a theme to put your figures together in a more natural and narrative way. option the perennial holiday beach scene, which most of us have had...

Landscape

Actively searching for a landscape to draw may seem a rather artificial approach - there are landscapes everywhere we look -but you need an area with qualities that you find attractive. Before you start rushing around in search of a good view, consider the area you are working in and adapt your ideas to make the most of a particular environment. The first and most essential step is to compose your picture. As shown earlier in the book, this can be done with the use of a framing device made from...

Portraits

Portrait drawing is frequently the type of drawing that people would most like to be able to do, so that they can make reasonable likenesses of their friends and relatives. The first important thing is to understand the structure of the head. Without attention to its general shape, you will not be able to make a very convincing portrait, or even a caricature. When people start drawing the human head there is a tendency to concentrate on the face of the sitter, and it is often drawn larger in...

Kwn

The first stage requires a fairly loose brown line drawing on the grey-brown paper and then filling in some of the more obvious shadow areas, including, this time, the cast shadow on the table. Keep the strokes loose and light in touch. You can now begin on the other colours. I put in the blue edge to the bowl and then the basic yellow of the bananas and the yellow and green of the apples. Next, I drew the pattern on the plate and also the very light areas on it. I then deepened the shadows on...

Chw

These two nudes are drawn in different styles but both in the medium of pen and ink. The first is a copy of a Picasso ink drawing and I've tried to follow the method he used, giving a similar emphasis to the line. The second is drawn more heavily and I've added some colour washes to give a more spatial effect to the figure. The contrast between a simple line drawing and the addition of washes of colour shows how much even limited colour can achieve.

Kgd

When you begin to draw portraits, you may find after a few minutes of posing that people's faces tend to adopt a fixed stare and often a rather bored expression. This is why, in previous times, professional portrait painters used to employ musicians to keep their sitters amused, so that they would not find the business too tedious. Some painters rely on their talent for interesting conversation to keep their sitters lively, but you can see how that might be difficult. So, one thing you can do...