Learn The Art Of Sketching
Freehand Sketching An Introduction
Learn to sketch by working through these quick, simple lessons. This Learn to Sketch course will help you learn to draw what you see and develop your skills.
Start by loosely sketching a pot and the placement of four values of color. 1. Start by loosely sketching a circular rose shape about 3 or 4 in diameter. Use the 1 2 or 3 4 brush and a very thin mixture of your rose color and painting medium to loosely block in the basic shape of the flower.
There are two types of sketching life drawing, (i.e., you sketch what you see) or recall sketching (i.e sketching from memory). Sketching is a very complicated interactive process between the eyes and the hands. In the course of transforming real images into symbols, one goes through three distinct stages object identification, shape simplification, and finally image recording. Keep in mind that this is an oversimplified analysis of the sketching process. What really goes on in your mind and how you graphically express an image are complex and beyond our understanding. Sketching is a gradual learning process. You must learn how to draw before you can sketch. It is like learning how to walk before you can run. Being able to draw precisely. carefully, and realistically is a necessary discipline before attempting Life drawing sets up the fundamentals of sketching. It is an exercise for your eyes, hands, and the entire linkage system. Life drawing not only...
Sketching and drawing are two different things. A sketch is a work in progress. You may sketch to observe your subject matter or to resolve questions regarding a drawing you are working on. A sketch may help you understand the values of a subject, or gain more understanding of the subject's structure, proportions and placement of its compositional elements. Sketches like these may progress toward a more finished drawing. On the other hand, (no pun intended ) drawing is an activity that is begun with the intention of producing a finished piece of art. With these definitions in mind, recognize that there are times to begin a drawing with a sketch and there are times to begin a sketch without any intention of refining it into a finished drawing. As a beginner, if you are trying to do more drawings than sketches, then you may be putting too much pressure on yourself. Loosen up and enjoy learning four different approaches to sketching and drawing structural line sketching, value sketching,...
The second bit of advice a beginning artist usually gets is draw from life . And it is excellent advice After all, if you can't draw what is right in front of you, you certainly won't be able to draw what you see in your imagination either. But the advice is a bit short, and will usually leave the artist behind unsure of what to do next. This chapter will help you to get started by explaining some different sketching methods you can use.
One of the most intriguing techniques in marker sketching is called mixing, or blending. It takes advantage of the transparent nature of markers by blending different colors one on top of the other to create new colors and to produce new effects. For example, mixing and blending different shades of green on a tree canopy produces a more realistic appearance. Likewise, lighter spots on dark blue water tend to capture the sparkles and reflective nature of the water's surface. Plain marker strokes can look flat and dull when applied evenly, but mixing and blending will bring out the three-dimensional quality of the sketch. However, this process can be risky, with often unpredictable results that are difficult to control. The risk lies in the unpredictability. Since mixing is often done halfway into the sketching process, errors of this kind are irreversible and can jeopardize the entire sketch. The only and most effective way to learn this technique is by trial and error, through which...
The secondary level of visual interpretation involves subject matter and meaning. These are identifiable components of the image and are located in all three levels of our visual field foreground, middle-ground. and background. The position of the viewer determines the degree of complexity of the image and the extent of juxtapositioning. It also determines the size of the picture and controls the perspective. It is important to learn how to see these components as individual units as well as a totality. The ability to dissect a scene visually and put it back together in a simplified fashion is the key to the technique of sketching.
Although the effect of marker sketching is quite similar to that of watercolor, the two media are actually quite different in nature and application. Markers strive for instant effect. The colors are premixed and come ready to use. The result is bright, loud, and perhaps pungent both to the eyes and the nose. On the other hand, watercolor must be mixed it takes time to achieve the desired effect it is light, quiet, and reserved. However, despite the differences in style and personality between these two media, watercolor and markers can complement and support each other. Markers are used routinely to supplement watercolor and to increase the intensity of its color effect. Fine-line markers are often used instead of ink pen to create the line-drawing base for watercolor application.
Sketching records a three-dimensional scene onto a two-dimensional surface. Before the image is drawn, it must be temporarily captured on a hypothetical plane called the picture frame. This function is very similar to that of the camera, in which the image is recorded on film in less than a second. The picture frame is used to determine the size of the sketch and the amount of the coverage. It frames those objects that you want to sketch and blocks out the undesirable ones (Figure a). The opening of the picture frame should be proportional to the paper used Empty slide mounts are very convenient tools for framing purposes. Simply hold the mount in front of you and move it back and forth to determine how much you want to sketch. If the frame is closer to the object, the amount of coverage is reduced and the size of the object is increased On the other hand, if the frame is closer to you. the amount of coverage increases and the size of ob jects becomes smaller (Figure b) Most...
Bird's-eye views are among the most frequently used perspectives for special effects in sketching. The behavior of the horizontal parallel lines is the same as in ordinary perspectives. However, the vertical parallel lines can be drawn either parallel or converging to a point below (Figure a) or above (Figure b) the horizon line This shift of parallelism exaggerates the scale and extends the sense of height. This technique is often used to sketch tall objects such as highrises or monuments.
Kevin Lynch, in his book Image of the City (MIT Press, 1961). described edges, landmarks, nodes, and paths as the prime visual attractions of the city. Seeing in sketching is quite similar. The three major categories in formal perception are Original size 20 x 28 inches Medium thin felt-tip markers on watercolor paper Technique line sketching
The application of the wide-nib marker to sketching is similar to the use of pastels and oil-painting brushes all have a premeasured applicator. It is this characteristic that makes markers unique. Rather than simply using them to fill in areas, a task that can be done with many other color media, this characteristic should be creatively exploited.
Since sketching records visual experience, the art of seeing and the things we see are indeed the crucial factors in sketching. Learning to see is the most important step in learning about life drawing. Since the sketching process records visual experience, the art of seeing and the things we see are indeed crucial factors. Most of our visual experiences have to do with a perceived message. People endow the objects they see with a certain meaning, which is factual and utilitarian. For example, observers may identify a door as a door that leads to a restaurant a house, as a courthouse. Seeing in sketching should precede such facts. First of all, you should be aware of the juxtapositioning of objects, the changing of colors, the variation in contour and light quality, and the liveliness of lines and edges. Before interpreting the meaning of the things you see, first appreciate the proportion, scale, texture, and composition of the entire image. This is called aesthetic seeing, or formal...
Sketch beyond the four borders of the sheet. Allow the lines to flow and extend beyond the page. The most unconstruc-tive habit in sketching is to confine yourself within a fixed border. Marker movement should be fast and precise. Avoid hesitation, which can cause bleeding and uneven line width. Let the marker rotate freely at your fingertip. Acquire a good sense of scale, proportion, and perspective. and other skills will come automatically with practice.
The style and quality of markers are constantly improving. Henry C. Pitz, in his book Sketching with the Felt-tip Pen (1959), referred to the felt-tip pen as the new tool. At that time it was a new invention and was certainly a novelty to artists. The marker has since evolved into one of the most popular drawing media, replacing pen. pencil, and other color media. It is widely used for a number of good reasons it is simple to work with it dries fast and it usually does not smudge it comes in numerous pre-mixed colors and a variety of tip designs its nib is often soft and penetrating and, above all. the marker is convenient. The marker should be looked upon as a unique medium. It is neither pen nor pencil and should not be used as such. It has a unique tip that responds to pressure, surface conditions, and fluid characteristics. These features make markers excellent sketching tools. Therefore an intimate understanding of their characteristics is vital to successful sketching.
When I begin a sketching program I almost always start by drawing only in side views. The point of early sketch work is for the designer to 'find' many ideas in a short space of time. By sketching in side view (and usually reasonably small) I can generate many pages of ideas very quickly. This is mostly down to the fact that you need to think about perspective very little, and can therefore concentrate on thinking about ideas. Almost the only element of perspective visible in these drawings is the way that you can see the far side wheels. This is due to the fact that in 1 -point perspective the only convergence lines that actually converge are those moving towards or away from the viewer. Whilst you are producing the side views you will want to work out what is happening at the front and rear of the vehicle. To do this without resorting to a simple front or rear view, you will now have to begin sketching in two-point perspective. For these early sketches however you will not want to...
When sketching or doodling your ideas, you can draw the simplest and roughest kind of sketch just to remind yourself later of what you were thinking at that moment. These stick figure sketches act as a handy reminder so that you can reference that filing cabinet between your ears later on. The point is just to get something down quickly.
Clutch pencil - provides a very soft point (fine or thick) for sketching. Standard thick black pencil, known for many years as Black Beauty. Aqua sketching pencil - these work like a pencil but can be used like watercolour washes when exposed to water. Aqua sketching pencil 14
In our proposed sequence of figure sketching, we have so far discussed two stages of the notational order (1) the torso masses, and (2) the legs. Now we propose the third factor in this sequence the arms are third in importance in the sketching order. While movements of the arms do not cause major shifts of the torso or displacement of the legs, the arms are capable of great versatility of movement which cannot be equaled by the other members. No matter how they move, whether singly or together, parallel or in opposition, it is important, in sketching them, to see them as a unit, a bracketed or yoked pair of correlated members. Earlier, we spoke of the structure rhythm of the double underarm curve. This, together with tapered cylinder forms, is a rudimentary description of the arm. To this description, we will add the armature bracket, the connecting yoke of the linked arms.
I happen to like taking my tablet PC to the various coffee shops in town, sitting down, plugging in my iPod, and sketching away (or at this particular moment, writing a book). That doesn't mean my nomadic style works for everyone you might find the idea of working anyplace but at home revolting. It all boils down to the first tip in this chapter Find the place you feel your most creative. When you've done that and you have the best equipment to help you achieve that, the next thing to do is make sure you have a comfortable workspace. Not only will it help you mentally stay focused on your work, but physically, it could help you prevent any kind of repetitive-stress injuries.
You may have noticed that, throughout the entire book, head shapes like ovals or circles have both a horizontal and vertical line drawn across them. These lines are known as the center guidelines and can help you place the facial features in a symmetrical manner. The placement of these lines changes depending on the way you position the character and the angle from which you draw the head. Center guidelines are important don't skip the step of sketching them onto your basic head shapes from the beginning.
For those concerned with freehand perspective it provides all the important principles, insights and shortcuts necessary for effective drawing and life sketching. It must be emphasized, though, that for the beginner these principles will have little value unless they are tested and experienced. This means continually observing perspective phenomena in real life and more important constantly sketching variations of each. As in swimming, golfing or piano playing, proficiency is achieved only by total involvement.
A circle drawn in perspective becomes an ellipse because it follows the same principles as other shapes drawn in linear perspective. An ellipse can be made by first sketching a square in perspective. The lines of the square will be used as the boundaries for the ellipse, because both a circle and a square are equally as wide as they are tall.
Sketching the character's head from this angle adds visual interest to the drawing while allowing the reader to look past the character in the foreground and see the character in the background effectively. It also adds a sense of realism, because this is actually what you would see if you were standing behind the character with his back to you it allows the reader to be more a part of the cartoon. Small things like drawing the character's head at the correct angle add up to better storytelling.
Words are clumsy with respect to transmitting information about an engineering artefact. Perhaps a chair or a table could be described without too much difficulty but for anything very much more complex, words become inadequate. Hence, the expression, 'a picture says a thousand words' Painting or sketching can certainly convey visual information. However, it is also open to artistic interpretation and licence. Ancient pictures of kings and queens often did more credit to them than was justified Several paintings by Constable of the Dedworth area show the church at different locations because it adds to the artistic balance. Three-dimensional models can certainly be made of engineering artefacts and structures. Indeed, the use of rapid prototyping for the construction of feasibility models is a fast-growing industry. Clay and plastic models have been around for years and mock-ups of new engineering designs for style-based design give the designer a new level of understanding and...
In views of real life, and therefore in realistic pictures, the eye level (horizon line) is rarely visible, and vanishing points virtually never are. Yet the full significance of these concepts must be clearly understood. Working with an awareness of them and actually sketching them in temporarily are perspective drawing prerequisites.
On the other hand, when sketching and drawing outdoors, you'll want more freedom. Try to move not only your wrist, but the whole arm, giving the mobility and the sweep needed for working on large sheets of paper. The bottom photo shows how to hold your pencil to get your whole arm in motion. Hold your pencil like this when sketching or drawing outdoors. This position gives you more freedom, enabling you to move your whole arm. I started this drawing by holding the charcoal pencils in the manner for doing quick sketching. About two-thirds from finishing, I changed my position holding the pencil for tightly detailed work. This drawing was executed holding the pencil for quick sketching. What caught my eye was the pattern of darks and lights in the woods and on the rocks with the reflections in the water. It did not take me long to realize that I had a bonanza of material for future drawings.
But more important, he can choose to introduce radical innovations of form, To do this, at least experimentally, the artist must approach his drawing with a new order of form. He must give up certain uncritical conventions and preconceived notions of figure drawing. For instance, he must put aside starting the figure by sketching in the head. He must give this up, firmly. According to the method which I propose, the torso, above any other form, is of primary importance. With this premise, let us initiate the new order of form and assert the opening rule. . .
One of the most fundamental principles in the comics industry is that good writing always trumps bad art. Basically, you can spend all the time in the world drawing your comics and sketching your characters in all sorts of elaborate and wonderful ways, but unless you can come up with innovative and fresh ideas, write well, have good comic timing, and have something funny to say, you're bound for the trash heap of history.
This handy guide provides numerous insights and shortcuts to drawing and sketching effectively. Describing mandatory skills for beginning and advanced students, the text covers such subjects as diminution, foreshortening, convergence, shade and shadow, and other visual principles of perspective drawing.
Maybe you're like me, and you're raring to use your mouse or drawing tablet and start sketching away with the different tools Manga Studio offers. However, you may prefer to get your hands dirty with graphite and or ink, and you'd simply like to know how to import your scanned work into Manga Studio. The following sections show you how to import your work from a scanner or from an electronic art file.
The first thing we must do before sketching is make a series of marks indicating the measurements to which we can refer throughout the entire sketching phase. One surefire way to begin your drawing is to find the line of the shoulders and the head. It is usually easier to draw from the top down. From there we will work downward through the body, drawing synthetic shapes on a standing surface, paying special attention to the vertical lines. We should look for directions and rhythms and see them as abstract forms.
When it comes to the study of under-sketching rather than underpainting, scientific emphasis switches to infrared reflectography. X-rays are scarcely able to make any distinction between a plain chalk ground (Fig. C.6) and one only slightly altered by addition of a thin sketch line in charcoal and bone black. But infrared radiation of wavelengths around 2.0 microns, having penetrated the upper paint layers, in particular the pigment, will be reflected at the level of the sketch and by virtue of their contrast will sharply distinguish between the whiteness of the ground and the darkness of the sketching medium. Then, although the human eye does not see the infrared image reflected from the un-dersketching, it is able to see that image once it has been converted to a visible one using a vidicon television system (Figure C.7). Infrared reflectography may facilitate the localization of retouchings, damaged areas, etc., and has therefore been used as an aid in the restoration of paintings....
You can use your sketching technique on just about anything now, so scout out some appealing objects from around your home that are not symmetrical. It's important to work with your small sketchbook (6 x 8 or 8 x 10 ) now, because on large surfaces, beginners tend to attempt large, time-consuming pieces the size of the paper seems to call up the big project, requiring lots of time and diligence. But remember, sketching calls for setting down quick impressions. You don't have to see geometric shapes in everything. The idea is to generalize the shape you see in order to begin sketching it. If it translates into a triangular sort of shape, then you've got a handle on something. However, most of the time you'll find a general no-name shape to begin with, because that's the way the organic world happens to look. exercise sketching irregular forms 4 Add a few significant details as many as needed to suggest the rest without losing the original, informal quality of a sketch. The searching...
The inspiration for this charming Sunflower Fairy came from the artists young niece, who was photographed sitting in a tree. Children make wonderful subjects as they are so relaxed and supple in their positions, and sketching them from a series of photographs is the easy way to go about it. Don't ask them to pose candid shots look
You can hardly see clearly anything else but this small object that everything round it fades off into ever-growing imprecision. If we are really desirous of painting the appearance of things, why is this effect not always reproduced in all pictures In our perspective we assume a motionless monocular view-point, and then deliberately paint, all over the surface of the canvas, detail just as ' finished up ' as though the eye (and consequently the point of sight) were exactly opposite each point of the canvas in turn. We are hopelessly in contradiction with ourselves. Then notice that not only are objects to the right and left of the object we are looking at fixedly (which becomes thus the point of sight) seen indistinctly, but that low horizontal lines, such as that of the near edge of the table on which it may be placed, have a distinct tendency to curve upwards indeed all lines whether vertical, horizontal, or inclined, seem to tend to arrange themselves in a circular way round the...
Materials for sketching outdoors If I am sketching with a ballpoint pen, 1 also have a piece of paper tissue to wipe the point when the ink builds up on it. This can otherwise be deposited on to the drawing as a blob. All the equipment you will need for drawing trees elastic bands for sketching outdoors, a craft knife for sharpening pencils, a paper rubbing stump (tortillon), pencils, an impressing tool (a clutch pencil wiih a small nail held in it), putty and plastic erasers, paper tissue for wiping ballpoint pens, tracing paper, paper and sketchpads. The familiar ballpoint pen is excellent for sketching work. Not being able to remove errors will make you more positive in your drawing Use some plain photocopier paper to do some simple trials. Remove excess ink from around the ball frequently, using paper tissue. Consider all drawing as a process of making marks. These marks should be designed or arranged to give the viewer of the work the illusion that they are looking at a...
Canada only.) (29509-5) Bridgman's Life Drawing, George B. Bridgman. (22710-3) Constructive Anatomy, George B. Bridgman. (21104-5) Drawing the Draped Figure, George B. Bridgman. (41802-2)) Animal Sketching, Alexander Calder. (20129-5) Chinese Painting Techniques, Alison Stilwell Cameron. (40708-X) Carlson's Guide to Landscape Painting, John F. Carlson. (22927-0) Pattern Design, Archibald H. Christie. (22221-7) The Artistic Anatomy of Trees, Rex Vicat Cole. (21475-3) Perspective for Artists, Rex Vicat Cole. (22487-2) Art Students' Anatomy, Edmond J. Farris. (20744-7) Abstract Design and How to Create It, Amor Fenn. (27673-2) Painting Materials A Short Encyclopedia, Rutherford J. Gettens and
Tighten the features slightly, by sketching his pearly white teeth, the descriptive folds that denote the rugged cheekbones, brow, and confident eyes. (Be sure to include his charming chin scar.) Also, lightly outline the shapes of the darks (shadows) and lights (highlights) that define Solo. The light and the dark are easier to see and to define, if you first break them down into simple shapes that fit together like the pieces of a puzzle.
You can hold up the viewfinder with one hand and view your subject through it while sketching the landscape on your paper with the other hand (b). By bending your arm, you can zoom in or out to either crop your subject closely or to allow a lot of space around the objects that you would like to draw.
In the next step I have moved to a razorpoint fineline black ink pen and put down more deliberate lines to clarify the design. I use the pencil lines underneath as a rough guide and look to see what is working and what is not - for example, I decided to fix the right rear corner perspective a bit. This step might take longer than the first step of sketching in lines with pencil because you have to take a little more care to get the lines right as there is no erasing from this point forward. This step adds black with a common Sharpie marker, getting tighter areas may require a finer pen. Now that we have both white and black on the paper, we can see the car much clearer as the complete range in values is now represented. Unless the car paint itself is supposed to look black, I only apply black ink to shadow, tire, and glass areas. The sharp contrast of black butted up against white on the glass helps the mind read the surface as something that is very shiny and different from the...
In all three of these sketches, the sky was first shaded, then stomped. I used an HB graphite pencil on a sheet of Strathmore sketching paper. All were executed with the same pencil, demonstrating what you can accomplish with one pencil, varying the pressure as you work.
Drawing a classic cartoon body begins with sketching a basic shape, either a circle or an oval, and building on it. Classic cartoon characters are often kids, and in real life, kids often have disproportionately large heads. In the world of comics you always exaggerate the obvious when caricaturing your subject, so in this section I show you how to start with a large circle for the head to make your character come to life. The key to sketching your drawings is to be loose and not too structured, because you're just beginning the process. You just want to get a nice feel for the overall character you don't have to draw a perfect geometrical shape. 5. Draw the legs coming down from the square by sketching two vertical lines straight down for each leg.
Papers for sketching and drawing vary in size, weight, surface texture (usually referred to as tooth) and content. They may also be categorized as either sketch or drawing paper. When choosing drawing paper, always choose an acid-free paper, or the paper may yellow over time. Sketch paper, as the name implies, is for sketching and usually has a paper weight of 50 to 70 lbs. (105gsm to 150gsm). Drawing paper, which is for more finished art, usually comes in 90-lb. (190gsm) weight. A small 6 x 4 (15cm x 10cm) pocket sketch pad is great for quick studies and ideas, while larger sketch pads are obviously needed for bigger Sketching and Drawing Paper Sketching and Drawing Paper
Your job is to create many and varied ideas in a short space of time, and to do so in a way that others can see and understand your thinking. A good sketching technique can fulfil both of these. When practicing to sketch it can be very hard at first to know when to stop, and subsequently every drawing becomes a time consuming rendering. It is important to learn not to be overly 'precious' when sketching. By doing so you will produce more and improve much faster. This tutorial aims to show a good technique for working out ideas in both a fast and readable manner. To be able to produce sketches which read as 3D objects, a basic understanding of perspective is required. For this reason the tutorial begins by giving a brief overview of the rules of one and two point perspective, including wheel ellipses. It then talks through three examples, all using different perspective viewpoints. Each one shows how to build a sketch from a blank page, through the rough line work, and finally simple...
Towns cities and villages provide architectural subjects for painters that offer variety and interest but it is often
There are some new considerations that apply to the subjects in this chapter. Perching on a draughty street corner to sketch a market stall with a constant tide of moving people and the inevitable smells and noise of road traffic is a verv different situation from sitting in the spiritual solitude of a Tuscan hilltop cloister and painting in shade and comfort, or even sitting on the seashore and sketching the fishermen's sheds as seagulls screech and swoop above the lapping waves. I will, therefore, offer some words of advice regarding the practicalities of painting street life.
The base of all figure drawings the feet. Practice copying these foot positions. Visit the sculpture gallery of your local museum with your sketchbook in hand and start sketching the feet of the statues. Try sketching the feet of one statue from different eye levels or views to see how the foot changes as you change your orientation.
Under its true aspect such a drawing as that drawn by Euphronios and reproduced on p. 89, without at least sketching in the mind-cast which dictated its making, and the differences which exist between such a mind-cast and that of England. But perhaps it will be better to leave these pages a little incomplete in this respect and to refer the reader, whom the subject may interest, to the fuller treatment of it in Relation in Art while I content myself here by asking him to meditate on these words from The Works and Days of Hesiod They know not, unhappy ones, by how much the half is preferable to the whole, and what riches lie in the mallow and the asphodel.
So, if you're a digital artist and getting bogged down with lack of creativity, try going analog for a little while. Conversely, if you're a traditional artist and happen to have a drawing tablet you'd normally use for color or tone work, why not try to do some sketching right on the computer Drawing on a different medium may be just the thing to break you out of the artistic doldrums.
While I always promote developing an 'eye' for the lines of buildings through sketching, rather than laboriously and technically constructing perspective, it is important to understand the principles that underpin our ways of translating three dimensions onto a flat sheet of paper. Perspective is a method of creating a sense of visual order from the complexity of the world we see around us. It is based upon a system of converiiinti lines. In the main illustration on the opposite page. I have left all the perspective lines showing. If those converging lines were to be continued to the left, they would eventually meet at a single point on a line that corresponds with your eye level and the horizon (see the small annotated illustration). The reality is. however, that you will hardly ever see a horizon line, except at sea or in vast open countryside (where few buildings are to be found). It is best, therefore, to practise sketching with the knowledge that all the lines that you draw on...
You'll probably be using a pencil to do light sketching and then inking over the light sketch with either a pen or brush and ink. With that in mind, I suggest you use a pencil that isn't too dark when applied to the paper and that you can easily erase after you've inked your line art.
Now that you have the physics of creating colors down, what do you do when you want black and white in your painting You can buy tubes of black and white paint, but in transparent watercolor painting, you traditionally include white by using the white of the watercolor paper. The best way to achieve white is by carefully painting around the area you want to remain white. Because you must save the whites, you need to plan paintings by sketching where white will go. Another way to save white is to use masking fluid. (Chapter 7 talks about planning your painting Chapter 4 tells you how to use masking fluid and talks more about keeping white in your paintings.)
Flowers are mostly circular and oval, but look at the general shape of the flower before you begin sketching the simplified shape. (See more on drawing in Chapter 8.) Reduce the complexity of the flower to simple geometric forms. For example, trumpet flowers are a circle attached to a cone or triangle shape. When you have all the general shapes in, then you can go back and refine the details.
Finding the right spot to place your lettering depends on how busy or complicated the art is. The more text you have, the less available space remains for the art. However, sometimes you can't avoid using a lot of text in this case, just be sure to leave plenty of space when you're sketching so you don't have to erase any art later.
This sketchbook should accompany you wherever you go. Get in the habit of sketching everything around you it's a wonderful way to start training your eyes to see. Every sketch does not have to be a masterpiece, but wait till you see the difference from day one to the day you reach the last page.
For an added semblance of reality to your animal drawings, try fitting your subjects into the type of landscape that they might normally inhabit. This means that you need some pictorial references to draw upon. Alternatively, do what the famous French painter Henri 'Le Douanier' Rousseau did, which was to create a magical jungle habitat that never existed in real life but was a product of his sketching sessions amid the lush greenery of the Jardin des Plantes in Paris - the equivalent of Kew Gardens in London.
A boat can add just the right touch to a landscape. You might try sketching a fishing trawler overflowing with fish, just back from a day at sea, or a canoe tucked against the shore, waves lapping at its side. As an experiment, leave the humans out of the picture (also because we won't be discussing how to draw them until Chapters 21 and 22) you'll find that human-made things without the men can make your drawing come alive in surprising ways.
To the student with untrained eye the lines of an over-skirt, panier, and puft seem very confusing, but after studying and drawing the three figures G, H, and I, the literal meaning of the lines will be understood, and the student will be able to use this knowledge to great advantage when sketching from a costume.
Your characters, like everyone else, need a place to live and hang out. Before you actually start sketching, select the setting for your strip. The setting includes major elements like the background and surrounding environment in which your characters coexist. Designing the right setting goes a long way toward creating your strip's overall look. The setting should complement the characters, reinforce the theme, and reflect your style.
The camera can be a tool, just like a brush or pen. You can use its ability to record detail as a means of sorting out the visual qualities of your ideas. Begin by first sketching your intentions, then when you feel confident with an idea, use the camera on location or in fixed lighting to build up your knowledge of the subject.
All cartoon characters need a place to live, so what better place to start your sketching than with their dwelling You can find all sorts of great stuff to draw and caricature in a house. Depending on your cartoon, these items can be interesting background objects, or you can make them actual characters. For instance, just picture your cartoon with a toothbrush and toilet brush taking center stage This section takes a look at how to draw a few common household items.
When working from life it is always useful to study the model thoroughly by sketching the head in various positions and from different viewpoints. This allows you to evaluate the overall somatic aspect and choose the pose and attitude which most faithfully and effectively represent the physiognomic features and the 'character' of the subject.
Before beginning the study of the figure, it is a good idea to carry out exercises to loosen the hand, in order to get rid of any tension or apprehension. Sketch a number of lines, concentric curves, spirals, hatching and cross-hatching until you feel a sense of relaxation both emotionally and physically. These exercises also serve to relax the excessive rigidity common in the wrist of the inexperienced artist. During this phase use various grades of pencils that will allow you to sketch lines of varying thicknesses. Get used to measuring out the pressure of the hand on the paper by sketching some lines with the finest of strokes and others with more incisive ones. By the systematic study of the drawings presented in this book, the student will find useful support in his training, which will lead him or her to practise at a professional level. We would advise you to work through the book consistently without missing out chapters. Typical exercises to do for each section are to copy...
Notice the basic shape created in the area between the spine of the scapula and the neck. By sketching this form as a guide, you'll be abie to more accurately draw the back. Notice the basic shape created in the area between the spine of the scapula and the neck. By sketching this form as a guide, you'll be abie to more accurately draw the back.
Try to point out his most distinctive characteristics. Keep them in mind, or even write them down if you like. Caricature is no different than any other kind of drawing. It is very important to build up from the guides and keep your sketching loose. Steps 1-8 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.
The carpenter's pencil is another wonderful sketching tool to use in conjunction with the regular pencils. As seen in these sketches, values are indicated with simple, broad strokes. Add darks by pressing the lead harder. I added a Der-went carpenter's pencil (4B) to the second sketch (far right) for additional blacks.
These sketches of a tree and fence show two ways of rendering a subject with angular lines. In the sketch at left, the pencil is held in the position for sketching outdoors. As you build the tone, the preliminary lines disappear, and your darks and lights emerge an excellent method for outdoor sketching. The righthand sketch is a more decorative type of angular rendering, but one must be careful not to let the line pattern distract from the picture.
The grid is a series of equally-spaced, horizontal and vertical, parallel lines which form squares (fig 2-13). Use the grid as a guide in sketching the subject's forms in proportion. Plot points of intersection on the grid much like you would do on a map. A step-by-step explanation follows.
Try filling your sketchbook with manikin figures drawn from your imagination and from reference. Figure Artist can be a valuable tool because you can set up the figure in a number of poses and create sketches of it. Try sketching the same pose from different angles. A big advantage that Figure Artist has over photographs for figure reference is that you can set up a figure and then look at it from any angle. The manikin is a very useful tool for the figure artist. With it, you can quickly (and in most cases, accurately) sketch and build up ideas for your drawings. Working with a manikin helps you draw better from reference because it builds confidence in figure drawing. One of the reasons why beginning figure artists experience problems sketching the figure is that they are afraid that they will draw something wrong. By learning how to draw the manikin, the artist can overcome that fear and focus instead on learning to draw the figure well.
I found that sketching the horizontal and vertical center lines lightly on the paper, so they could be erased later, helped me a lot in placing my subject in the intended position, not cockeyed. Place your level at a corner to capture negative-space shapes above the level. Look down at a doorway. Place your level under the point where wall and doorjamb meet. The angle of the walls will be seen above the level. Hold your level in two hands, rather than twist it to adapt to the shape. Try sketching these angles. It usually takes some remeasuring and practice, so just keep at it. Place your level at a corner to capture negative-space shapes above the level. Look down at a doorway. Place your level under the point where wall and doorjamb meet. The angle of the walls will be seen above the level. Hold your level in two hands, rather than twist it to adapt to the shape. Try sketching these angles. It usually takes some remeasuring and practice, so just keep at it. between your vertical and...
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.
For the purposes of figure sketching, a small writing pad with unlined paper, about 23 cm x 12.5cm (9in x 5in), is quite adequate indeed any small book with blank pages will do. It is not necessary to have expensive, high-quality paper for this purpose - in fact, it could even work to your disadvantage, because you might begin to feel that it was a little too precious to be 'wasted' on quick sketches and notes. You have to be prepared to be profligate with your sketchbook pages, and you won't do that if you're worrying about the cost. A number of different formats of hard-covered notebooks with unlined pages are currently available at modest prices. I regularly make use of three types one is about 15cm x 10cm (6in x 4in) and fits easily into a pocket the second is about 23cm x 15cm (9in x 6in) and the third, about 30cm x 20cm (12in x 8in), I stow in a bag when travelling (I find bus and railway stations perfect places for figure sketching).
When you have had some experience in drawing the human figure from life and have assimilated the basic information about the body's structure and operation, the prospect of creating imaginative figure drawings without a model becomes far less daunting. A great amount of information about human anatomy and movement is learned in the process of drawing the posed studio model and from sketching people as they go about their daily lives, but this is not the sole purpose of such exercises. Knowledge gained in this way is absorbed at an intuitive level, and as such contributes to the stock of experience available to feed your imagination and give scope to the expressive possibilities of your work. The human form is so subtle, its range of movement so wide and its expressiveness so profound that no artist can claim to have explored all its vast potential. Drawing from life keeps your mind open and liberates your imagination. If your work is to remain honest and alive and free from slick...
Our aim is not to make engineering or drafting renderings, even when your sketching results in more accurate depictions. Drawing doesn't require that level of precision. Instead, a convincing representation that isn't jarring is the goal. Observe with sighting as an aid draw, evaluate, then use the measurement tools at your disposal to fix what needs fixing. If you tie yourself up in endless testing and retesting each time, you may squeeze the fun out of sketching. You've used your sketching line to search for shape and solution rather than declaring an absolute final line. Sketching has its own soft, fluid quality that reflects the time spent in discovering shapes. While it's a tool for increasing your accuracy in drawing symmetrical and assymetrical objects, it's a joy to do and behold on its own. Sketching to find accuracy actually lets your body relax far more than when you do contour drawing. The lines are loose your body gets to move more with the sketching line as you flow...
Nobody's perfect every artist makes mistakes. And most cartoonists change their mind at least once when they're sketching out an idea. The more you draw, the more you'll change your mind. When you do make a mistake or change your mind, don't panic. Although the easiest and fastest way to deal with a change is to start over with a fresh piece of paper, you're probably not interested in killing a small rainforest while sketching, right You don't have to throw your sketch away and start from scratch. Most mistakes usually have an easy solution.
Holding the charcoal can be very different to holding a pencil. The charcoal medium is usually used with speed and lends itself to a more sketching approach to drawing. It is not usually used for detailed drawings and is used more broadly as an expression of our observations. So therefore, the way we approach a charcoal drawing can be very different to how we would usually do a pencil drawing. When we are doing a pencil drawing we tend only to use hand and wrist movement, but when doing a charcoal drawing, we almost always tend to use our hand, wrist and arm as well in the action of the drawing.
Begin by sketching the tulips with thinned Mauve on the small round brush. Paint the background with the 1 brush and criss-cross strokes using various mixtures of painting medium, Blue, Green, Turquoise and White. Create the mottled effect by spraying the background with paint thinner.
T T Then painting peoples' homes we are not only recording the V V architectural structure and details of the building, but also sketching an aspect of somebody's life, noticing the eccentricities and personalised features that make a house into someone's home. Do not forget, too, the reality of the trappings of our age, such as the motor car. I will often include cars and vans, even traffic meters when they clearly form part of the composition. Obviously, we as artists have a choice to make as to whether or not they will enhance the visual quality of our pictures, but I do not always choose to move a parked car (artistically ) just because I am focussing on painting or sketching somebody's home. It might be the householder's car, and as such, probably deserves to be part of the picture.
Before going into the field to make * sketch, it is essential ou become familiar with the different lines used in drawing, the less difficulty you will have m sketching from nature. The first effort will be to get control of the hand and pencil, or pen, which is the leading essential in learning to write or draw. Secondly, a right understanding of the straight and cuno lines used cannot be dispensed with. A neglect of these first principles, and the want of a thorough drilling by an experienced teacher, in our educational institutions, is the leading difficulty in the aihancenient of students in these branches, and has often been a subject of comment. In making a sketch from nature, the artist must choose a position that will command the best v iew of the scene about to be placed on paper, and from a standpoint that will secure the leading objects in the landscape before you. Begin by sketching those objects neartsf you first. The reasons will be shown hereafter. In this work I did...
All of the Bob Ross Floral brushes are pure, natural bristle brushes and have been specially designed to work with Bob Ross Soft Oil Colors. They are made of pure, soft but stable bristles. These brushes are very important to this technique of floral painting, I have tried to limit the number of brushes used in this book to basically the Floral 1 2 brush and the Floral filbert brush. As you progress, and begin your own experimentation, you may wish to add the 3 4 and the small round brush to your collection. The 3 4 brush can be used to apply background mediums and colors or to paint very large flowers. It is especially good for painting large double-wide tapered leaves, such as those in the Iris painting. The small round brush is great for intricate sketching and adding important small details.
Drawing freehand allows us to verify the precision of the drawing's proportions during the early sketching phases. When drawing freehand, the pencil should be held vertically with the arm extended before the figure, with the fingertip at one end and the thumb measuring at the other. This will help you confirm the proportional relationships of the real model. Froni these measurements we can draw by transferring those proportions onto the paper. Once the sketch is done, we once again place the, pencil over it to make sure that the proportional relationships between the different parts of the model are correct.
To make a sketch directly from the dress seems a very difficult problem to the inexperienced art student and it would be if an attempt were made to draw it as one would draw a flower or a vase. But if the student has thoroughly mastered all previous lessons and applies them as this lesson is studied, she will have no difficulty in sketching any costume in a short space of time. In sketching a dress directly from the model, proceed as follows
Most flat scanners are designed to read images up to 872 x 14 , so if your drawings are larger than that, you'll have to scan them in sections. The process may be unwieldy and the results, less-than-desirable reproductions of your drawings. If you've been doing a lot of your sketching on the road, though, you probably did so in a small enough sketchbook.
Windows and doors give more clues to the human element than most other parts of a building, and it is often this that is most interesting to artists. The intricacies of the decorative ironwork on this door study were a challenge to record and needed considerable sketching with a pencil before I set about working in paint. But the appeal was not so much the difficulty of the
The watercolour painting (right) is by Victor Hugo, the French 19th century novelist. While out sketching he often rubbed substances such as cofffee grounds and cigar ash into the surface. He also used a type of pencil which produced soluble marks to deepen and dramatize the tonal effect. However these techniques should be used with caution as they can destroy the surface of your work.
For illustrators working on editorial jobs, the first stage of creating visuals must come quickly. Start to visualise ideas through sketching, mapping, doodling and drawing. Record initial thoughts and ideas and make notes or lists as a useful starting point. Carrying a small notebook and pen or pencil will help as not all ideas and concepts come to those at their desks, they may start to formulate on the bus. in the supermarket or at the cinema.
Some artists collect data by doing sketches on location. Then they take the information back to the studio where they can do their painting under controlled lighting and in comfort. You can sketch with your camera, but there's no replacement for studying a subject and sketching it with watercolor and paper. Your hand, eye, and brain learn so much more this way. A camera over- and underexposes light and distorts proportions. Watercolor is a perfect way to record the colors, shapes, and angles you see.
A piece of charcoal and to imitate the external appearance of such a drawing,- especially to imitate its seeming carelessness of detail, its apparent lack of precision we see that kind of work produced by dozens any afternoon in the sketching class of the Acad mie de la Grande Chaumi re in Paris. The only trouble is that precisely these delicacies of observation and noting are invariably omitted. Follow the arm up to the wrist, the ulnar end is marked, while the diagonal direction of the mass of the extensors of the thumb is suggested by the upward bend of the upper line of the shadow tracing. People often forget that in the human species the thumb lies normally in a plane at right angles to that of the fingers. It also does so in the movement of the ha d in the present drawing remark with what excessive refinement the thick charcoal line, that appears so coarse, really establishes the thumb plane seen in acute foreshortening. Place your own hand in the same position and examine it...
If all you need is something to make rough sketches then the ordinary HB pencil (perhaps with a rubber at the end) will serve, but for anything more than this you should obtain some of proper draughtsman 's quality. These are made by Royal Sovereign, Venus, Faber-Castell, Staedtler and others. The 'lead' (really graphite) is compounded to give a very uniform and black line. They are available in grades from about 6B to 9H. Tastes differ, but for what it is worth I use grade B for sketching, H for hand sketches, 2H and 3H for detail drawings, and 4H and 6H for design work -the harder grade for such things as centrelines and the softer for outlines. For dimensions and lettering H or2H are used.
When sketching arms, think of them as tubes, or cylinders (see Figure 7-18). Although arms are divided into upper and lower sections, with the bend at the elbow, cartoon characters typically don't have overly detailed arms with lots of muscle tone and definition. Keeping the arms simple doesn't distract from your overall character design.
Denis John-Naylor creates wonderful drawings of trees and their leaves and seeds. Here he describes the techniques he uses, such as shaping the pencil end to make the right mark, building up a pattern of lights and darks, sketching in pencil or ballpoint pen, measuring angles and proportions, impressing grooves and lifting out tone with a putty eraser. Four demonstrations show how to use these techniques to create tree drawings, from a detailed study of oak leaves to a huge sequoia. Sketching trees