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The Colored Pencil Course

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accuracy in drawing, 111, 128, 179 aerial perspective, 102, 270-271, 278 Alberti, Leon Battista, 72 anatomical awareness, 204-205, 232 angles cast drawing, 175-176 finding, preparing to draw, 46-47 planar rendering, 156 two-point perspective, 96, 98-99 animated models. See modeling armature, 125 artificial light, 22, 24, 35 artistic intent, 121 art stores, 29

art supplies, purchasing, 29 B

background. See foreground and background ball-point pens, 121-122, 138

barn, two-point perspective demonstration, 104-113

blending tools, 17

block in cast drawing, 175, 187 defined, 278 human figure, 231 still life setup blocks. See geometric forms and shapes blurred vision with squinting, 50 brown paper, charcoal and chalk on, 218 Brunelleschi, Filippo, 72 buying art supplies, 29

cast drawing. See also human figure; portraits demonstration copy of a head, 153, 174-183 gallery, 184-189

museum subjects to copy, 169-173 tradition of, 168 centerlines of face, 175 chalk, white, 17, 184, 252-253 chamois cloth, 17, 62 charcoal cast drawing, 174-183 described, 16 grades of, 174-178, 181 human figure, 249-253 line drawing, 125 palm fronds, 138-139 portrait, 214-217 charcoal paper, 19 cityscapes as landscape, 271, 276 one-point perspective, 93 two-point perspective, 98, 101, 102, 115 clouds, 268-269

color, with pastels, of human figure, 248-258 comparison, as measurement tool, 45

complex forms. See planar rendering of complex forms composition, thumbnail sketches, 264-265 cone of vision, 75, 278 construction of grid, 129 of viewfinder, 262 construction lines (guidelines) defined, 278 figure drawing, 236-239 two-point perspective, 104-105 conté crayons, 17, 125 continuous line drawing, 121-122, 138 contrapposto, 171, 173, 278 Corot, Jean-Baptiste-Camille, 266-267, 270 cross-sections of form, 150-151, 278 cubes in space, 78, 80, 98-100

darkest darks. See also tonal range with charcoal, 174 keyed drawing, 58, 178, 217 shadows, 61, 179 da Vinci, Leonardo, 120 daylight, 23, 24 daylight bulbs, 24

deer skull, planar rendering of, 150-151, 163

Degas, Edgar, 206, 210

della Robbia, Luca, 168, 189

del Sarto, Andrea, 200-201, 233, 235

demonstrations cast drawing, 174-183 figure drawing, 249-253 light and shadow, 50-52, 56-65 one-point perspective, 82-87 planar rendering of complex forms, 154-163 portraits, 214-217 preparing to draw, 32, 35, 44-47 two-point perspective, 104-113 details in drawing, 112-113 drawing. See also specific topics preparing for, 32-47 studio environment, 20-29 tools for, 16-17 drawing boards, 17, 105 drawing tools, 16-17 dynamism cast drawing, 170, 188 continuous line drawing, 121-122, 138 defined, 278

human figures, 125, 244, 245, 258 landscapes, 274 line drawing, 142 marks of spontaneity, 38-43

easels, 24, 26-27 edges, 63, 65 ellipses, 81, 83 environment, studio, 20-29

erasure, kneaded blotting, line drawing, 135-136 drawing tools, 16-17 of grid, 134

human figure, 37, 250-252 tonal range, 60-63

toned paper, 36-37, 170, 214, 248, 257 eye, as facial feature, 207, 211 eye level defined, 74 ellipse, 81

establishing, 32-34, 76

eye-level stick, 99

one-point perspective, 74, 76-78

three-dimensional space, 79-80

tonal range and one-point perspective, 82

two-point perspective, 98-100

facets, 148-149, 279. See also planar rendering of complex forms facial features. See also cast drawing; portraits eye, 207, 211 mouth, 209-210, 213 nose, 208, 212 field of vision, 75, 278 figure drawing. See human figure fixatives, 16 folding easels, 26 foreground and background cast drawing, 177, 181, 184, 188 cityscapes, 271 landscapes, 269, 271, 275 one-point perspective, 77, 80 portrait, 196, 222

two-point perspective, 105, 112, 271, 275 foreshortening, 211, 239-243, 278 French easels, 26

gallery of drawings figure drawing, 254-259 geometric drawings, 164-165 for inspiration, 8-13 landscapes, 274-277 light and shadow, 66-71 line drawing, 140-145 one-point perspective, 88-93 plaster cast drawings, 184-189 portrait, 218-225 tonal range, 66-71 two-point perspective, 114-117 geometric forms and shapes. See also planar rendering of complex forms cast drawing after sculpture of a head, 175-177 figures, 231-233 hands, 233

human figure, 230, 231, 251, 254 landscapes, 268 line drawings, 127

nose, 212

one-point perspective, 82 planar rendering, 157-158 portraits, 194-203 positive and negative, 131 shadows, 51

sketching shape and features, 175 trees, 272-273 two-point perspective, 96 "V" framing device, 247 gesture defined, 278 figure drawing, 244-247 landscapes, 263 line drawing, 132 palm fronds, 139 planar rendering, 156 trees, 106-107 graphite pencils described, 16 graphite marks, 38-43 toning, 36-37 graphite powder, 36-37 gray tones. See also tonal range for gentle light, 12, 13 high-keyed, 105, 108 human figure, 232, 234 landscapes, 270 portraits, 54-55 tonal scale, 53 Greek sculpture, 170, 172, 187 grid for line drawing, 128-132, 134, 156 perspective, 80 ground plane, 75 guidelines defined, 278

figure drawing, 236-239

two-point perspective, 104-105

half tones cast drawing after sculptures, 180, 184, 185 human figure, 255 one-point perspective still life, 85 tonal range, 62-63, 85 hands, 152

hardness of graphite pencils (H), 16 hatched lines, 124 HB pencils, 156, 172, 173 heads. See portraits high-keyed drawing, 105, 108. See also keyed drawing high-relief sculpture, cast drawing after, 189 horizon lines defined, 74, 278 foreshortening, 240-241 landscapes, 268-269 one-point perspective, 74, 76-78, 82 two-point perspective, 96-97, 98-99

horses, 122

human figure. See also cast drawing anatomical considerations, 232 color, with pastels, 248-258 demonstration back study, 249-253 foreshortening, 240-243 gallery, 254-259 gesture of the pose, 244-247 guidelines, 236-239 light reveals form, 229-234

museum subjects and old masters to copy, 169-173, 230-235 setting up the model, 228

inspirational gallery of drawings, 8-13

Internet stores, for art supplies, 29

irregular objects in still life, line drawing, 126-139

keyed drawing cast drawing, 178 darkest darks, 58, 178, 217 high-keyed drawing, 105 lightest lights, 58, 84, 178, 180, 217 one-point perspective still life, 84 portraits, 217, 225 two-point perspective still life, 105 kneaded erasers, 17. See also erasure, kneaded landscapes aerial perspective, 270-271 demonstration of barn, 104-113 gallery, 274-277 gesture, 263

linear perspective, 268-269 planes, and light source, 267 structure of, 266 thumbnail sketch, 264-265 trees, 272-273 viewfinder, 262 light and shadow. See also keyed drawing cast drawings, 184, 185

demonstration still life of vase and grapes, 50-52, 56-65

form revealed, figure drawing, 230-235

gallery, 66-71

landscapes, 267

peephole, 59

planar rendering, 160-163 portraits, 194-203 reflected light, 64

revealed form in figure drawing, 229-234

squinting, 50-52, 58

still life arrangement, 56-57

texture, 58, 65

tonal range, 53-65

trees, 272-273

two-point perspective, 104, 108-111 lightest lights. See also tonal range with eraser, 60 half-tones, 180

keyed drawing, 58, 84, 178, 180, 217 in landscapes, 267

lighting artificial light, 22, 24, 35

cast drawing, 182

human figure, 229

natural light, 23, 24, 35

one-point perspective, 82

planar rendering of complex forms, 155

preparing to draw, 35

still life, 56

studio environment, 22-24 lightness, overstatement of, 64 linear perspective, 268-269, 278 line drawing completion, 137

continuous motion, 121-122, 138 defined, 278

demonstration still life of palm fronds, 126-139

gesture of still life, 132

graphite marks, 38-43

grid for, 128-132, 134, 156

human figure drawing, 234, 244-247

introduction to, 120-125

light and shadow, 140-145

mapping, 133-137

organic form still life (irregular objects), 126-139 positive and negative shapes, 131 style development, 120-121 lips and mouth, 209-210, 213 live models. See modeling

mapping, 133-137, 158, 278 masking tape, for models' pose, 228 measurement cast drawing, 175-176, 186 foreshortening, 240-243 planar rendering, 156 positioning and process, 44-45 preparing to draw, 44-47 proportion determination, 44-45, 175 two-point perspective, 104 metal easels, 27

Metropolitan Museum of Art, NY, 169-173 Michelangelo, 8, 187, 243 mirrors in the studio, 28 modeling defined, 278

human figure, 228, 249-253 lighting the model, 229 overmodeling, 113, 179, 203, 278 portrait, 214-217

Monet, Claude, 269, 270

motion and movement. See dynamism mouth, 209-210, 213

museum subjects, 169-173, 230-235

natural light, 23, 24, 35 negative and positive shapes, 131 newsprint paper, 18 nose, 208, 212

old masters and museum subjects, 169-173, 230-235 one-point perspective demonstration still life, 82-87 described, 74-75 determination of, 78-79 ellipse, 81

in everyday life, 76-77 gallery, 88-93 perspective grid, 80 tonal range, 82-87 versus two-point perspective, 96 online stores, for art supplies, 29 organic form still life, line drawing, 126-139 overmodeling, 113, 179, 203, 278 overstatement of lightness, 64

palm and deer skull still life, 154-163 palm frond still life, 126-139 paper rolls, 18, 40-43 papers toned, 36-37, 170, 214, 248, 257 types of, 18-19 parallel lines, 76-77, 96 pastels, 248-253 peephole technique, 59, 86, 279 pencils, 16-17, 36-43, 122 pencil sharpeners, 17

perspective. See also one-point perspective; two-point perspective aerial, 102, 270-271, 278 diagrams for, 114-117 grid for, 80 linear, 268-269, 278 three-point, 101, 279 planar, defined, 279 planar rendering of complex forms cast drawing, 176 cross-sections of form, 150-151 demonstration still life, palm and deer skull, 154-163 demonstration still life, palm fronds, 126-139 facets of form, 148-149 gallery, 164-165 hands, 233

hands and head,152-153

human figures, 231 lighting, 155

material preparation, 154 mouth, 213 nose, 208, 212 portraits, 194-203 subject, choice of, 154

plane defined, 279 ground plane, 75 human figures, 152-153 landscapes, 267 portraits, 194-203 plaster cast, 279. See also cast drawing portraits allure of, 192-193

anatomical considerations, 204-205 defined, 279

demonstration of young man, 214-217 facial features, 206-213 gallery, 218-225 geometric forms, 194-203 gray tones, 54-55 planes, 194-203 three-dimensions, 194-205 tonal range, 54-55 posing, 214, 228, 234 positive and negative shapes, 131 posture, 214, 234, 244 Poussin, Nicolas, 230 preparing to draw angles, finding, 46-47

arrangement of subject, 32-34

demonstration still life of vase and grapes, 32, 35, 44-47

eye-level establishment, 32-34

lighting, 35

marks of spontaneity, 38-43 measurement, 44-47 planar rendering of complex forms, 154 proportions, determining, 44-45 tone the paper, 36-37 printmaking paper, 19 proportions, determining, 44-45, 175 purchasing art supplies, 29

rapid pencil drawing, 122 razor knife, 17, 36 realism, 111

rectangular forms. See geometric forms and shapes reductive drawing. See tonal range reflected light, 64 reflections, 140

remembering the models' pose, 228 removal of grid, 134 Renaissance sculptures, 168

rhythm in line drawing, 127, 135, 145

Roman sculpture, 171, 173

rougher surface papers, 18

Rubens, Peter Paul, 142, 232, 234, 235, 242, 268-269

Sanguine conté crayons, 17 scale defined, 268

hardness, graphite pencils, 16 landscapes, 262, 268, 275 measuring, 44, 45, 46, 82 of tonal values, 53, 58, 59, 85 sculptures, drawing. See cast drawing searching line, 123 setup. See also still life block in, 132 defined, 279 lighting, 22, 24, 35 model for figure drawing, 228 shading stumps (tortillons), 17, 62 shadows. See light and shadow shapes. See geometric forms and shapes size of forms, 84-86 sketch books, 18, 259 softness of graphite pencils (B), 16 spine, awareness of, 232, 244 spontaneity, marks of, 38-43 squinting, 50-52, 58

step back from drawing, 52, 86, 113, 179, 216 still life defined, 56, 279 light and shadow, 56-57 line drawing, 126-139 one-point perspective, 82-87 planar rendering of complex forms, 154-163 preparing to draw, 32, 35, 44-47 tonal range, 58-63 straight-edge or ruler grid construction, 129-130 one-point perspective, 74, 82 two-point perspective, 97, 100, 104-105, 110 vanishing point, 78, 82 straight lines, 118 studio environment, 20-29 subjects for drawing. See also specific topics museum subjects, 169-173, 230-235 preparing to draw, 32-34

table easels, 27

teeth and mouth, 209-210, 213

texture, 58, 65, 133-134

three-dimensions, 79-80, 240-243. See also specific topics three-point perspective, 101, 279 thumbnail sketch, 264-265, 279

Tiepolo, Giovanni Battista, 240-241

tonal range. See also erasure, kneaded; gray tones; keyed drawing cast drawing, 174-183 developing, 58-63 half tones, 62-63 human figure, 249-253 light and shadow, 53-65 line drawing, 120, 136 one-point perspective, 82-87 peephole, 59 portraits, 53, 194-203 reflected light, 64 tonal values, scale of, 53, 58, 59, 85 tone, defined, 279 toned paper cast drawing, 170 human figure, 248, 257 portraits, 214 preparing to draw, 36-37 tools for drawing, 16-17 topography of objects, 65 tortillions, 17, 62

tradition of plaster cast drawing, 168 trees, 106-107, 272-273

triangular forms. See geometric forms and shapes two-point perspective cubes in space, 98-100 defined, 94, 279 demonstration of barn, 104-113 in everyday life, 102-103 gallery, 114-117

versus one-point perspective, 96 versus three-point perspective, 101 vanishing points, 96-97

upside down, viewing drawing, 28 V

vanishing points defined, 74, 279 landscapes, 268-269 one-point perspective, 82 parallel lines, 76-77 three-dimensional space, 79-80 tonal range, 82

two-point perspective, 96-97, 105 vantage points defined, 74, 279 one-point perspective, 82 three-dimensional space, 79-80 three-point perspective, 101 tonal range, 82 two-point perspective, 97, 99 Velazquez de Silva, Diego, 194-195

vertical lines foreshortening, 240-241 one-point perspective, 74, 76-78 three-point perspective, 101 "V" framing device, 247 viewer point defined, 74, 279 one-point perspective, 82 three-dimensional space, 79-80 tonal range, 82 viewfinder for landscapes, 262 vine charcoal, 16 vision, field of, 75, 278

walk-around space, 25 watercolor paper, 19 water soluble graphite pencils, 16 Web-based stores, for art supplies, 29 white chalk, 17, 184, 252-253 willow charcoal, 16 wooden easels, 27 workable fixative, 16

Zuccaro, Taddeo, 231, 239

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