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Pen Sketching Techniques

pen is »re. The l-short of idraw amlines ded.

3 position sr axis.

¡he overall ou can then glc at will in :t, with the ! you attach sories and iference you can draw t at will.

More on Drawing Imaginary Machines

Try drawing a more advanced machine. First, give shape to the forms deciding on your composition.

As for angles try a low angle, which makes visual direction of colossal, powerful, and domineering sensations easier. By arranging the composition a bit on the slanted side, a slightly larger drawing can be produced.

By slanting the drawing, a larger area of space can be occupied.

When viewing large frames up close, it is a little difficult 1o tell if the design is off or riot. By looking at the page many times from a distance, it is easier to understand the overall layout and you can check your work. Finally, turn the page over, hold it to the light and view it.

Slanting Lines For Tracing

Consider the __

unseen areas too.

Then, place the tracing paper under the picture and draw only the areas that are visible as seen through the light box.

j lay the tracing paper over the picture and taw tne unseen areas.

Then, place the tracing paper under the picture and draw only the areas that are visible as seen through the light box.

j lay the tracing paper over the picture and taw tne unseen areas.

added too many lines, go over them with an

. eraser tidying up the workspace.

If we've said it once, we've said it one hundred times, when doing outlines, soundly think out the unseen areas. With complex objects, it there are too many lines in the I outlined drawing everything black, first, place a piece of thin I tracing paper over the ■ page. Then, draw the I unseen areas separately I on the tracing paper. Next, place the tracing paper under the page and using a light box trace the seen areas. If you don't have a light box, you can draw with a blue pencil.

added too many lines, go over them with an

. eraser tidying up the workspace.

For little items like in the drawing on the right

For little items like in the drawing on the right

Set up the area that will act as a yardstick.

While aligning the perspective, set tte centerline and the unseen area.

Set up the area that will act as a yardstick.

Next, consider the lines that will give shape to the three-dimensional figure.

p j § .-I . 11«»<1 j- c r uemeriines ror uunsJiterlng the solidity.

p j § .-I . 11«»<1 j- c r uemeriines ror uunsJiterlng the solidity.

While aligning the perspective, set tte centerline and the unseen area.

No matter how easy the item may seem, be sure and soundly think it through. The tlow ofths kind of drawing can be applied to most materials.

0 Tidy up the shape and finish off with outlining.

Then, pen in the inking and add black. The pens used here are: a G-pen for the machine and a round pen for the buildings. The key point here is the destroyed sections of the building.

In order to draw realistic destruction scenes, It is necessary to know something about the structure of the destroyed objects and consider what kind of reaction will occur when a certain force is applied.

0 Tidy up the shape and finish off with outlining.

Attach tones. The key point in this drawing is the way the clouds are toried.

each of the independent parts.

© © Do a layering effect with the third tone page. 61

Attach tones. The key point in this drawing is the way the clouds are toried.

© © Do a layering effect with the third tone page. 61

Q Using a Letraset 61 tone and the like, attached one page of a 10% deep tone by thinking of each cloud as independent from the others. Outline them with a blue pencil and etch in detail with the flat part of a cutter.

each of the independent parts.

Handling Transparent Areas

O After attaching the tones, draw the inner outlining with white.

0 Next, attach a white tone to complete the work.

Spattering

Checkpoint

This drawing uses the same gradation tone in a layering effect.

0 Go for a gradation effect when spatter/ng the white.

•After attaching the tone, put the finishing touches on the work with some spattering.

@ First, use masking tape to cover unwanted areas. While there is special paper available on the market for this type of work, in this case the back of a tone sheet is used and spray glue is applied.

€) Apply as little glue as possible. If you don't, the tone peels off and the page will get wet. If you apply too much glue, wipe it off with a tissue paper.

Checkpoint

This drawing uses the same gradation tone in a layering effect.

0 Go for a gradation effect when spatter/ng the white.

• Cut out the area that you ivant to be spattered with v^iite.

• Cut out the area that you ivant to be spattered with v^iite.

Use perspective here.

Expressing Small Props

The most difficult part about drawing small props is probably the comparison and contrast with human figures. Apply the same design methods that you have been using up until now. One thing to be careful of is the size of the props. While it does depend on the build of the character, try to draw small props a bit on the large side. You may notice that you have drawn the prop on the small side making it look cheap and flimsy ruining the drawing you have worked so hard to create. This is a common mistake so be careful.

Use perspective here.

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