draw better sample

8/10/2019 Draw Better Sample

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Learn o Draw wih Confidence

Dominique Audette


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978-1-929565-40-5

All drawings copyrigh by he auhor.

2013 Brynmorgen PressBrunswick, Maine 04011

Dominique Audete Illusraion & ex

im McCreigh Design & Layou

Jay McCreigh Ediing

All righs reserved. No par of his publicaion may be repro-duced or ransmited in any form or by any means, elecronicor mechanical, including phoocopying, recording, or anysorage and rerieval sysem excep by a reviewer who wisheso quoe brief passages in connecion wih a review writen forinclusion in a magazine, newspaper, web posing, or broadcas.

Draw Beter

by Dominique Audete

Brynmorgen Press


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CONCEPS

Geomeric Solids 6 Orhographic Projecion 10

Perspecive 12

Ligh & Shadow 20

APPLICAIONS

Cubes & Boxes 34 Prisms 44

Pyramids 48

Curves 52

Ovals 58

Ellipses 60

Cylinders 65 Domes 82

Cones 88

Ribbons 93

COMBINAIONS 97

SPECIAL CASES 109

ECHNIQUE 117

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3

4

2

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INTRODUCTION

Te goal o his book is o allow anyone o improve heir skills in draw-ing. Beginners will learn he basic conceps o drawing and hen beable o apply hese ideas o simple projecs. Inermediae drafspeoplewill find new challenges and insighs. Troughou he book, everydayobjecs are used o demonsrae specific echniques. Par One presensbasic conceps o drawing, while Par wo suggess some drawing proj-ecs based on hese conceps. Every projec is is presened wih sep-

by-sep drawings ha visually explain he consrucion o he objec.Undersanding ha he people who use his book are visual learners,images are he primary componen here, wih ex kep o a minimum.

CONCEPTS

Draw Betersysemaically presens undamenal conceps, saringwih he idea ha even complicaed shapes can be reduced o basicgeomeric orms such as spheres, boxes, and cones. A descripion o or-hographic projecion eaches how o visualize an objec in space. Tis

sandard echnique allows us o imagine an objec rom all angles, andquickly provides a summary o he inormaion ha will be used o makea finished drawing. From here we move on o perspecive, a rick haallows us o make a wo-dimensional image mimic a hree-dimensionalrealiy. Te final concep is he addiion o shading o enhance conrasand increase he sense o volume wihin a drawing.


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1


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Basics:Any objec can be reduced o a geomeric shape, as illusraed wih hese common objecs.

Light bulb

Layout circles and rectangles. Draw two curves by following

he circles. Add the screw as shown,

using diagonals in he smalllrecangle.

Cup

Draw a rectangle and twoconcenric circles as shown.

Taper the base of the cup. Round the corners and erase

a par o he larger circle.

Earthenware pot Draw two long triangles, one

inside he oher. Cut the triangle as shown to

creae he lip o he po. Erase most of the triangles to

leave he shape o he po.


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7

Spinning Top

Draw a circle with a rectanglea he op and a riangle ahe base.

Connect the circle to theriangle where he woshapes mee (blue dos).

Round the edges of the rect-angle and add ornamenaion.

Watering can

Complex objects can beconsruced wih a group ogeomeric orms. Here circles,recangles and riangles are

needed. Use the small circles to guide

he lines ha connec hehandle o he body.

Use theoverlapping triangleso orm he spou.

Lamp Circles, rectangles, and a

riangle are organized wihin alarge square or his lamp.

Cut the large circle horizontallyand draw lines on boh sideso he iniial riangle lines ogive mass o he arm o helamp.

Add details.


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Brush

Draw two rectangles, two circlesand a riangle, as shown.

Draw the shape of the handleand use he circles o conneche handle o he brush. Hori-zonal lines represen deails in

he errule (he meal par ohe brush).

Draw vertical lines to representhe brisles and srech heriangle wih random curves oindicae fluid pain.

Teapot

Draw a primary circle wih smallercircles and ovals around i. Tesewill be used o deermine helocaion and shape o he handleand spou.

Use he small geomeric ormso inorm he shapes andransiions beween pars, asshown in blue.

Connec he spou o he bodyo he eapo and add deails..

Advanced:Te concep is he same for more complex forms, which migh require more shapes o consruc.


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Traditional Chinese Figurine

Draw rectangles and triangles tosar he orm.

Add other geometric shapesand curves o locae deails suchas he ha, ace, shoulders, handsand robe.

Complete the drawing by add-ing deails and indicaionso shading.

Classical Building

Draw geometric solids asshowna circle, a riangle andrecangles.

Draw additional lines along theroo and add a small circle andrecangles o indicae a door.

Draw vertical lines for the col-umns and curves on he dome.

Use the center of the small circleand he corners o he largesquare o define he oulines oa saircase.

Complete the drawingwih shading.


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10

Orhographic projecion refers o a single drawing ha shows severalviews of an objecypically he op, fron, and side views. In addiiono providing deailed informaion abou he objec, i also helps usundersand where o place lighs and shadows.

Side view: Projec all dimensionshorizonally rom he ron view.

From he op view, projec inorma-ion horizonally, hen redirec heprojecors verically using he 45

line. Tese projecors inersechose rom he ron view o define

he ouline o he cup. Usually,hree views are enough

o depic an objec.

Imagine an objec placed inside a ransparen box. Each ace o he objec is parallel o hesuraces o he box and visible hrough i. Now imagine

he oulines o he objec drawn on he aces o he box,each ace showing wha is direcly in ron o i.

Te box can beunolded o show all he

sides o he box a he sameimea wo-dimensional view show-

ing many views o he objec.

Tis approach is called heOrhographic Projecion.

Te word orhographiccomes rom he Greekorhos, meaning sraighand graphia, meaning wriing.

Fron view: Draw heoulines o he cup.

Top view:Projec alldimensions up rom heron view, using dashed

lines o depic hiddeneaures. Te lines used

or projecion are calledprojecors.

45line


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11

Fron View

Chair

Imagine a chair inside a glassbox, hen imagine racing heshapes o he chair ono eachglass panel, shown here in blue.

Fron view:Draw he oulineso he chair, ron legs, hicknesso he sea and he back.

Side view:Draw projecorsrom he ron view, includinghe hickness o he sea.

Top view:Projec all dimen-sions up rom he ron andside views.

Side View

op View

As shown, he side view dimensionsneed o be ben a 90 on he seg-men a 45 o complee he op view.


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BasicsPerspecive is a drawing echnique ha allows ahree-dimensional objec o be reproduced on pa-per as he observer sees i in space wih a life-likeappearance. o say i anoher way, he op, fron,and side views (orhographic projecion), can allbe seen in he same image. Te conceps underly-

ing perspecive provide an undersanding of hemechanisms ha make i work. We will begin wiha series of exercises ha illusrae hese conceps,creaing drawings of surfaces(i.e., fla planes) andvolumes(e.g., boxes) ha will hen be sliced anddivided as needed o make oher shapes.

One Vanishing PointPerspecive drawing ha uses jus one vanishing poin is goodor a simple objec and gives he appearance o disance.

Start with a rectangle (A). Draw a horizon linea he op o he page o represen

he eye level o he observer. Place a vanishing poinon his line. For now, he locaion o his poin can berandom.

Draw vanishing linesrom each corner o he vanishing

poin (B). Draw a second square, further along, touching each of

he vanishing lines (C).

Boxes o any size can be made his way,depending o he size o he firs recangleand he disance o he second recangle.

vanishingpoin

A B C

horizon line

vanishing line

Te vanishingpoin can be inhe middle o hepage. When heboxes are abovehe vanishing

poin, i appearsha he observeris below he box.


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One or Two Vanishing Points?

Use one vanishing point when an object presents a plane facing the front. One-poin perspecive is a good way o ge sared in perspecive drawing, bu i can

be used or every objec in every posiion. In drawings A and B below, the houses seem to be represented correctly becausehe ron o he house is acing he observer. In he drawing labeled C we sar o seesome disorion. In D, he disorion is clearly visible because i is impossible o seehe ron ace o he house, represened wih angles a 90, and he side o he houseon he same drawing. Te drawing a he botom looks more naural. When a roncorner is acing he viewer, wo-poin perspecive should be used. Tis presens heron and he side o he house a an angle as hey will appear in realiy.

A B C D

horizon line

horizon line

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One-PoinPerspecive

wo-PoinPerspecive


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Using a ruler, draw two vanishing lines that cross from therigh side o he lef poin and vice versa. Tey mee ahe poin D o complee he surace ABCD .

Highlight these l ines (or erase the vanishing lines, whichare no longer needed) and he resul is a square orrecangular plane shown in perspecive.

Basics: QuadrilaeralTe mos basic form drawn in perspeciveis a recangle as seen from a fron edge.

Draw the horizon line at the top of the page andplace he vanishing poins a he ends o i. Te lefvanishing poin will be called LVPand he righ one RVP.

Place the point A below the horizon line. is point rep-resens he botom corner o he quadrilaeral.

From this point, run a vanishing line toward LVPandanoher oward RVP. o depic he objec realisically,angle A o he corner ormed by he firs wo vanishinglines should be greaer han 90.

horizon line

vanishing line

vanishing line

vanishing line

LVP

LVP

LVP

RVP

RVP

A

A

D

Make two marks on the angled lines, shown here asB and C. Te dimensions are arbirary. Tese will become

he ouside corners o he resuling recangle (echnicallycalled a quadrilaeral).

B

B

C

C

RVP

horizon line


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RVPPoin of View:o creae differen shapes,change he locaion o he wo side poins(B & C). o change he angle o v iewing, placehe botom poin o any quadrilaeral closer orurher rom he horizon line. o change he viewas i seen rom below, place he quadrilaeralabove he horizon line.

Couner example: When he angle A is oonarrow he resul is an unrealisic disored look.o creae a more believable perspecive, placehe wo vanishing poins ar apar and keeppoin A relaively close o he horizon line.

Square:o accuraely depic a perec square, locaehe poin A equidisan rom he wo vanishing poinsand he wo side poins (B) and (C) equidisan rom he

botom poin. Tis should auomaically place he uppercrossing poin (D) direcly above he botom poin.

D

A

A

B

B

C

C

A

less han 90

horizon line

horizon line

horizon line

vanishing line

LVP


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From he inersecion wih hediagonal, draw a line owardhe lef vanishing poin. Te woinerior lines are now equidisanrom he cener.

Sar wih a quadrilaeral, hen drawhe diagonals corner o corner.Draw a line ha connecs he iner-secion o he diagonals wih herigh vanishing poin.

Te figure can also be divided inhe oher direcion, creaing ourequal pars.

Each par can also be divided.Tere is no limi o he numbero subdivisions.

Finding

Centerlines

Dividing

Symmetrically

Choose any poin on he quadrila-eral and draw a line rom here ohe lef vanishing poin.

A he inersecion o he vanish-ing line wih a diagonal (A), drawanoher line oward he righvanishing poin.

Perspecive drawings, by definiion, play games wihmeasuremen. Pars ha in realiy are of equal lengh aredrawn as unequal, which is wha makes hem appear oexis in space. o make measuremens wihin hisinvened space, we use diagonals.

A

QuadrilateralswithinQuadrilaterals

Using his echnique, any numbero smaller quadrilaerals can becreaed wihin he original.

and redirec hese vanishinglines unil hey mee he diagonals.

Choose a locaion or he firs cor-ner o he smaller quadrilaeral andrun wo vanishing lines unil heymee he diagonals


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Boxes can be creaed in oher shapesand dimensions by changing he pro-porions o he quadrilaeral and helengh o he vericals.

From Planes to Boxes

o draw a volume rom asurace, sar wih a quadri-laeral, hen draw vericalsrom each corner.

Deermine he heigh o he box bymarking a poin on he ron edge(arrow). Draw lines rom his poin ohe lef and righ vanishing poinso esablish he op o he box.

Using he diagonals o heprevious exercise, draw lineso boh vanishing poins.

Draw diagonals on he lef side o a boxo deermine he cener poin. Using hispoin, draw a verical line (AB), and romhe op and botom o his line, conneco he vanishing poins.

Draw diagonals on he righ side ohe box and proceed he same way,using he lef vanishing poin.

Bisecting Boxes

B

A

o make he inerior box slice all he wayhrough he larger box, draw diagonals

on he opposie ace. Draw a vericalrom he place where he vanishing linemees he diagonal (arrow).

InternalBoxes

o draw a box wihin a box, creaediagonals as above, draw wo

verical lines, and rom he op andbotom o hose, draw lines o helef vanishing poin.

Draw lines rom each corner o herigh vanishing poin. Deermine

he deph o he inerior box wih averical (A), hen draw a line o helef vanishing poin.

A

:

vanishing poins


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Boxes are imporan because hey provide a srucure for oher forms.

Draw diagonals on he opand botom o he boxhen connec he poinswih smooh curves.

Draw verical lines oconnec he ouer poinso he wo ellipses oorm a cylinder.

o make a cone, creae anellipse on he base o abox, hen connec he ouerpoins o he inersecion ohe op diagonals.

Cylinders & Cones

Complex Forms

A square box seen rom heop would conain a circle haouches he midpoin o eacho he our sides.

In each o hese orms, he preliminary drawing in he upper corner showshow amiliar geomeric orms were used o consruc complex orms.

: &


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Adding ligh and shadow o he ouline of an objec helps o give i volume. Tismakes he drawing more lifelike and herefore more effecive. Ligh and shadowgo hand in handeach one exiss hrough is conras wih he oher.

Ligh and shadow are so imporan in a draw-ing ha hey can almos depic an objec evenwihou oulines. In his example or insance, heshadow is sufficien o recognize he objec.

When boh ligh and shadow are rep-resened he objec comes o lie. Tiseffec is so powerul ha oulines are noabsoluely necessary or simple objecs.

In he same way, ligh alone can ofendescribe an objec. Ligh is rendered herewih whie pencil on colored paper.

&:

When we sar including shadows, i

is helpul o use pencils o differen

hardness. Draw he oulines wih a

hard graphie pencil (e.g. 4H) and de-

pic he shadows wih a sofer graph-

ie such as HB or 2B. Because he 4H

graphie is hard, i will no blend whenhe sump is used o spread he sofer

graphie in a gradaion. Tis means ha

he oulines will say in place.

Tip:


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Te placemen of he lighsourcemus creae sufficienconras o emphasize heobjec. Placing he sourcebehind he objec usuallycreaes he bes environ-men or his ligh/darkdynamic o occur.

Te source and qualiy of ligh affecs objecs and should be considered in every drawing.

An arificial lighsource, a ligh bulbor insance, projecsdivergen raysoward an objec.

Naural ligho he sun is pro-jeced in parallel rays oward anobjec. Tis naural source willbe used in his book. I is easiero pinpoin areas o ligh andshadow on objecs wih nauralraher han wih arificial ligh.

Drawings require ha we choosea direcionrom which heligh is coming. In general, i isacceped pracice o place heligh source above and o helef o he objec, bu he rayscan come rom any direcion, asshown here.

Form shadowoccurson he suraces awayrom he ligh source,ha is, in areas he lighrays canno reach. Moreon page 25.

Ligh zonesare suracesha are sruck direcly byhe ligh rays. Te rays srikehe objec a precise loca-ions o creae hese zones.Elsewhere, he rays miss heobjec, leaving shadow.

Te highlighis he pre-cise locaion o a ligh zonewhere he ligh srikes heobjec direcly, ha is, a a90 angle o he surace.Tis is he mos brighly liarea o an objec.

Refleced lighis ligh habounces back rom neigh-boring suraces ono heshadow side o he objec.

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Te formal definiion of a cas shadow is he shaded area producedwhen a raised non-ransparen objec blocks he ligh from srikinghe surface on which i lies or an adjacen surface. Or simply, Whenyou block light, you create shadow.In drawing, shadows help uscommunicae he size and solidness of objecs.

A skech o he profile helps o envisionwhere he cas shadows will all. In a hree-quarer view,

he ligh rays (A) and heir races (B)are inegraed ino one single view. Te casshadow is darker han he orm shadow.

B

B

B

A

A

Te op view has an over-head view wih a profile.

Te cas shadow in he op view is depicedhe same way as a orm shadow on complexshapes, using he rays (A) and heir races (B)wih wo separae drawings.


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: Te cas shadow is shown on he op view using he same procedureas he Form Shadow on a Complex Shape, page 26.

On he op view, draw races oneach side o he box o locae heedges o he cas shadow.

Te heigh of he ligh source above he objecdeermines he lengh of he shadow.

Tese wo skeches show he same inormaionconveyed above, his ime in hree-quarer view.

An overhead view wih a profileprovides placemen deails.

Use he ray rom he drawing ahe righ o deermine he lengho he cas shadow.

We know ha he shadows we cas a midday areshorer han hose we cas in he morning and evening.

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ray

rays

race

rays(in he air)

ray

race

races(on he ground)


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: &A cas shadow is influenced by he heigh and direcion of he ligh source. Teligh rays and heir races on he ground are inegraed ino one single view.

Place he ligh source (A) a he upper lef, andprojec a ray hrough he upper poin o he rod.Te ray deermines he lengh o he cas shadow.Place he oo o he source (B) by dropping a veri-cal rom he ligh source on he ground, and projeca race hrough he lower poin o he rod. Te ooo he ligh source deermines he direcion o hecas shadow. Te meeing poin (C) o he ray andis race deermine he ar end o he cas shadow.

A A

B B

C

C

E

D

Rod Surface

Drawing he shadow cas bya surace is similar o he rodexample. Place he ligh source a Aas beore and projec a line hrough he op edge o hesurace. Drop a line rom A and projec a line rom herehrough he lower corner o he surace o find poin (C).Draw a line ha is parallel o he firs one (AC), his one go-ing hrough D. Tey will mee a he poin (E) o deerminehe shape and lengh o he cas shadow.

In his example, he ligh source is no a a righ angle o hebox so he shadow is cas oward he viewer. Sar as beoreo locae he main shadow, hen projec a line rom A o heop corners o he volume o locae poins B and C. Darken

he cas shadow zone and give i very sharp edges. Noeha he orm shadow on he volume is ligher and smooh-er han he cas shadow.

Here he ligh source is somewha near he viewer,off o he lef. Noice how his increases he dramaicimpac. Te process is he same as beore: darken hecas shadow and give i sharp edges. Again, he orm

shadow is ligher and smooher han he cas shadow.

A

B

C

C

23

Volume


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Shorcu o Make a Cas Shadow for a Complex Shape

will develop a casshadow in a recessed shape.Sliding he shee oracing paper awayrom he ligh source

Te area beween he originalfigure and he reposiioned onecorresponds o he shadow zone.Te resul shows he objec asraised up and casing a shadow.

3. Slide he racing paper sheeowardhe ligh source andcopy he complex curves.

2. Reproduce he drawingon racing paper.

Te shape of a cas shadow always mirrors he form ha generaesieven a form wih a complex and irregular shape. Here is a simpleway o draw he cas shadow of a complex shape.

1. Draw a complex curveon a piece o paper.

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o help visualize where he ormshadow occurs on an objec,skech a op view o he objec(op row). Indicae he direciono ligh wih an arrow, (as shown

in blue). On fla planes (seen inhe box and pyramid), he lighalls evenly on he surace acinghe ligh. On curved orms such asa cylinder, cone and sphere, heligh gradually ades o shadows,again indicaed by he shorhando arrows. Tese skeches providemaps ha help deermine where

he shadows will all.

For fla suraces, use a uniormgray o indicae shadows. ocreae he gradiaion as ligh allsacross a curved surace, use acardboard sump o spread hegraphie dus o he pencil lines.Noe ha on rounded suraces,

he shadow doesn ouch heedges o he shape because hoseareas are illuminaed by lighreflecing off he surroundingsuraces.

As shown here, he ligh alling on he ops o hese objecs ismore inense because we are ollowing he convenion hahe ligh comes rom above and o he lef o he objec. Forexample, he op o he cube is ligher han is side.

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When working oncolored paper, high-lighs are added. Inhis case, i is a circleo whie, moved o-ward he ligh source.

Someimes he op view is insuffi-cien o pinpoin he shadow zones,such as in a volumeric objec likehis donu. In hese cases, a side

view should be used. On he opview, projec a ligh ray hrough hecener o he ar edge. Te ray (A)idenifies he locaion o he shadowzone, bu no is exen.

Projec a side view (B) by creainglines perpendicular o he ligh ray.Te effec is like cuting he donu inhal hen geting down o eye level o

see where he ligh his.

Mark where he ligh will hi he objec.A he areas marked C, he rays srikehe curves. Te areas marked D indicaewhere he ligh no longer ouches he

objec, i.e., he shadow zone. Carry hisinormaion down he arrows o indicaewhere shadows will all on he objec.

Tis shows he original op viewand below i, a new drawingha uses he shadow placemeninormaion gained in he preced-ing skeches. Shading is done wih asof pencil and a sump.

Adding a Form Shadow o a Complex Shape

Tis example shows a process ha clarifies heshape and cross secion of an objec, regisers heangle of illuminaion, and hen follows hroughwih shading and highlighs. Tis process will beused frequenly hroughou he res of his book,so i will be helpful o sudy i here.

ray B

C

C

D

D

:

ray

A

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