Gestural Drawing

There are many ways to translate the observed on to paper without being representative. Gestural drawing does not set out to create a facsimile of the object, but tries instead to suggest its essential feeling it is concerned _The thickness and weight of the outer lines suggest solidity of form. with the process of drawing itself as much as the subject depicted. Perhaps the best analogy is to visualize describing the object with your hands as you talk your gestures are akin to those you make...

Poses And Papers

Using a colored ground allows you to use the paper as the base color for the skin, and then to add light as well as dark tone to build and accentuate the forms. Standing poses make a strong - almost monumental - vertical statement, while reclining poses tend to create more interesting negative spaces between the limbs and torso. Using a colored ground allows you to use the paper as the base color for the skin, and then to add light as well as dark tone to build and accentuate the forms....

Erasers And Sharpeners

Graphite qualities Vigorous directional marks made with a dark soft graphite stick appear sooty and soft-edged, yet still convey tremendous energy the graphite medium infuses interest into this otherwise static still life. Erasers of soft putty or hard plastic are not just for rubbing out your mistakes, but are drawing tools in themselves. Sharpeners or craft knives will give your graphite a fine drawing edge Graphite qualities Vigorous directional marks made with a dark soft graphite stick...

Shadow And Tone

There's no rule to state that you must draw an object's shadow if it is omitted, the result is a flat, graphic description. But the shadow cast by an object will help create a sense of context, framing its edges and grounding it within the surroundings. Shadows also set out new areas of space within the drawing for example, the area beneath a table or an armchair. A full range of tonal values, from clear, bright highlights to dense shadow, produces a drawing with plenty of surface interest and...

Co Cd

The classic scene, the city, and the imagined paradise all provide rich inspiration. Perspective (from the Latin word for to see) is a formal system for representing three-dimensional objects on a flat surface in a way that appears natural to the viewer. It is an illusion in which objects are drawn ever-smaller as their distance from the observer increases, and straight-edged objects are distorted according to geometric principles to make them appear realistically three dimensional.

Types Of Paper

Light, smooth papers are well-suited to delicate, detailed pencil work, but when working with mixed media, tonal graphite, or inks, it pays to choose a thicker ground. This will absorb any dampness, preventing buckling and wrinkling, and can be worked and erased more vigorously. Paper weight is expressed as weight (grams) per unit area (square meter) standard watercolor paper is around 300 gsm (grams per square meter) compared with office paper, which is 80 gsm. Heavy art papers With a toothec...

Info

Carefully examine the photograph and begin mapping out the framework of the drawing's background using the light burnt ocher pastel pencil. Place the wall in the top center of the drawing - its position will determine the scale and composition of the foreground objects. Acid-free cream textured pastel paper Light burnt ocher, deep terracotta, sienna, and burnt umber chalk pastel pencils Dark terracotta, sienna, and ocher pastel sticks

Internal Frames

Take some time to study a scene before establishing your viewpoint. Natural frames such as a doorway, window, a gap in foliage, or even a shadow cast by an object will launch the eye on an imaginary journey to the back of the drawing. Reference points objects encountered along this journey establish successive planes within the drawing. The space beyond an open door is a clear cue to explore beyond the foremost plane of this drawing. Three further planes established by the table, the column,...

Color As Subject

Recessive Skin Color

For pre-Renaissance artists, color was used to ascribe spiritual value to a subject prized pigments, such as ultramarine, vermillion, and gold were used not for decorative effect, but to directly reflect God's glory. This highly symbolic use of color created its own order within the work. Many recent artists too have focused on color as the subject of their work a notable example is the American artist Mark Rothko, whose non-representational color compositions are charged with emotion....

Reworkingthe Past

Drawings are left unfinished or unresolved for a variety of reasons. A good learning exercise is to revisit old work with a fresh critical eye, appraise its strengths and weaknesses, and inject it with new life by adding collage elements, new colors, or textures. Drawings with a strong structural foundation and interesting composition make ideal subjects for reworking. This pastel and ink drawing was mapped out but never completed Reinforcing the tonal areas and brightening the color with the...

Points Of View

The use of perspective is best demonstrated with simple rectangular blocks. The front face or edge of the block is drawn first its other lines are then added so that they recede from the viewer and gradually approach one another just as they seem to do when you look at a real object. If extended beyond the object these receding lines eventually meet at vanishing points. Lines of construction Horizon _ One-point perspective is used to show forms that are face-on to the viewer there is a single...

Color Choice

In conceptual drawings, colors can be far removed from those found in the natural world. choose your palette to convey mood or to explore pattern rather than to represent reality. 6 Work around the outlines of the flowers, but don't be too concerned if you cross the edges the overlying colors of the flowers will create a glow around the boundary lines. 7 Bring out the cubic forms that you have already established within the hexagons. Add denser shading to the left-hand faces of the cubes, while...

Materials Atthe Ready

Gather together your research notes and sketches, and lay out all the materials you are likely to need for your drawing session. You may find that the ritual of laying out your tools will help to focus your mind on the job in hand. Your drawing tools should be sharp and clean keep them close at hand, organized by type so that pastel pencils are separated from graphite, for example. Clips or tape hold the paper securely to the drawing board Scrap paper laid over work prevents unwanted smudging...

Cutting And Recomposing

Left Right Brain Illusion

Existing images can be combined and collaged to create interesting new visual descriptions that are far more than the sum of their parts. This approach works well with contrasting pairs of drawings the opposition of lively and colorful, and static and linear, for example. Two old drawings of very different styles - one abstract in energetic ink and shellac, and one figurative charcoal - are chosen to create the new work. Two old drawings of very different styles - one abstract in energetic ink...

1

Develop the outlines of the pink flowers with the magenta crayon. Examine the structure of the petals, the shapes created at their junctions, and which parts of each flower lie in front of other parts. Allow the drawing to run away with itself - one line should guide the next. Form and strength of line creates a sense of depth.

Quick Draw

Ink Over Pencil Underdrawing

Pencil underdrawing is not needed when working with ink and brush while it may improve accuracy, it compromises speed and spontaneity. Wipe the brush to reduce its ink load and add tone to the model's back. Create an uneven texture by using the side of the brush here and in the hair. Fill the black tone of the chair and the deep shadows under the arm with heavier strokes. Use the tip of the brush to indicate the presence of the chair legs there's no need to draw them in detail - indeed this...

Anatomy And Form

Faces Drawing Illusion

An understanding of the body's structure is essential if you are to give full expression to its spirit. Studying anatomy in books and sketching models informs you about the construction of the body, its proportions, and how the muscles, tendons, and skeleton direct and control the body. There is no need to memorize the position of every muscle and bone, but you should be familiar with key physical landmarks that will assist your work the vocabulary of life drawing. The angle of the pelvic bone...

Girl in a party dress

This playfully expressive study of a standing figure is more decorative than analytical because it employs colored pencil on a colored background, rather than stark black on white. The focus of the drawing is the surface of the boldly-patterned dress and the pose of the model color is used nonrepresentationally to emphasize the subject. Colored pencil allows very fine, delicate work a degree of precision in mark making that creates a drawing that could not have been achieved using heavier...

Relationships Between Objects

Objects For Drawing With Curtain

When preparing to work with a group of still-life objects you should experiment with different arrangements. The relationships between forms are defined both by the placement of objects and the negative space between them these factors will influence the emotional pitch of the drawing. Compare the two drawings below in the first, your eye is led backward through the spaces between the stones in the second, it gravitates toward the central structure. This drawing in colored pencil possesses a...

Posing The Model

Drawing Manga Head Possess

Reject poses that do not possess enough dynamism. Reject poses that do not possess enough dynamism. Ask your model to shift weight on to one leg, or to stretch out her arms and hands - anything that creates tension in the pose and defines harmonious areas of negative space. Make quick sketches of possible poses and select one to develop. Plain white cartridge paper choose a relatively cheap paper because this project demands several repetitions Drawing with a brush Quick, gestural drawing...

Cutting A Mount

Art Deco Buildings Norwich

Cutting your own mounts is relatively simple, but requires a little practice and good tools. You will need a cutting mat, a steel ruler, and a specialized cutter with its blade at a 45 angle. Window mount The beveled edge of the cardboard mount creates a step into the drawing. By taking this step, the viewer becomes complicit in the illusion. The mount tightens the presentation and keeps the glass of the frame away from the drawn surface. The drawing is trapped by the mount edge. The natural...

Pastel And Pen Marks

Composition Shading

Rolling a pastel stick across the paper leaves an uneven, almost organic mark, very well suited to drawing natural forms. Pushing a pastel across the surface leaves a tapered mark that can imply recession into the distance away from the point of origin. Cross-hatching with an ink pen creates an even yet lively tonal surface. Repeated passes can represent the densest shadows. Rolling a pastel stick across the paper leaves an uneven, almost organic mark, very well suited to drawing natural forms....

Different Media

Images Descriptive Illusions

Every medium has its own qualities for example, colored pencil makes delicate marks, while ink and brush creates fluid, gestural lines. Clarify your intentions before deciding upon your media do you want to make a drawing that is analytical, emotional, allusive, or descriptive However, trust your intuition there's nothing to stop you making an emotionally-charged image in pen and ink. Colored pencil - used for this study of Brussels sprouts drawn centrally on toned paper - allows for fine...

Reallife Perspective

Perspective Renaissance

In some drawings, the vanishing points may be off the page construction lines may still help with building the image. Vanishing points only occur if parallel lines are present in a scene. Many natural scenes have no - or only weak - parallel lines. Geometric perspective as used today was developed in Italy in the early 1400s, when Renaissance artist Filippo Brunelleschi painted the outlines of buildings on to mirrors, and observed that all the lines converged on the horizon. Before this...

Reflection And Translucency

Metallic Objects And Their Reflections

Glass and metallic objects especially those with curved surfaces have complex interactions with light and their surroundings. Space becomes distorted, so don't trust your assumptions concentrate and closely examine the subject. Always begin with an accurate outline of the form you need to be sure that proportions and outlines are all correct before shading. Glass and metal objects are defined by the way in which they reflect and refract light, rather than by their surface color or texture....

Workshop

LONDON, NEW YORK, MELBOURNE, MUNICH, DELHI Project Editor Kathryn Wilkinson Project Art Editor Anna Plucinska Production Editor Sharon McGoldrick Managing Editor Julie Oughton Managing Art Editor Christine Keilty Production Controller Linda Dare US Editor Meg Leder Photography Andy Crawford Produced for Dorling Kindersley by Art Editors Rebecca Johns, Paul Reid Project Editor Marek Walisiewicz First American Edition, 2007 Published in the United States by DK Publishing 375 Hudson Street New...

Scale Issues

Drawings smaller than A3 11.7x16.5 in size can comfortably be completed while you are seated at a desk larger drawings should be made standing, with the paper attached to an easel or a wall. This will enable you to reach all parts of the drawn area without stretching, giving you full control over the marks you make, and also eliminate any distortion introduced by the low viewing perspective when drawing seated. Drawings of buildings are vulnerable to distortion caused by the working position....