drawspace.com drawspace guide to getting started with drawing

DRAWING

Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated

120 pages and more than 230 illustrations!► Choose the right drawing supplies► Set up a place to draw► Make a portfolio and viewfi nder frame► 10 fun exercises and projects

Flesch-Kincaid Grade Level: 6.84

Flesch reading ease score: 74.7

Ideal for homeschooling and self-directed learning!

BOOK 1: GETTING STARTED

Brenda HoddinottArtist, illustrator, art educator, curriculum designer, forensic artist (retired), owner of Drawspace.com, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Drawing Book 1: Getting Started.

Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. With the help of learn-to-draw books, she developed good drawing skills by the age of 16.

In 1982 Brenda left her well established career as a portraitist, graphic designer, and forensic artist, to move to Nova Scotia with her family. In addition to resuming the various facets of her art career, she began learning to paint in oils. From 1988 to 1994, Brenda began exhibiting her paintings and drawings in provincial and regional art exhibitions and competitions. She was honored with more than twenty prestigious visual art awards during these six years.

Brenda and her partner John live in the suburbs of Halifax, Nova Scotia with their two SPCA rescue dogs, Timber (Huskador) and Katie (Rottbeagle). Their blended family includes fi ve adult children and two grandchildren.

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I

DRAWING BOOK 1

by Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated

GETTING STARTED

Published by Drawspace.com, Halifax, NS, Canada

Copyright © 2009 Brenda HoddinottAll rights reserved. No part of this electronic book shall be reproduced by any method or means, electronically sent or

transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written permission of

Brenda Hoddinott.

This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter, specifi cally the basics of drawing. Brenda Hoddinott and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is

incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of the contents of this book.

Publisher: Drawspace.com, Halifax, NS, Canada

Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott

Editor: Suzanne BeatonBrenda Hoddinott can be contacted at [email protected] or through her website at http://www.drawspace.com.

This book is dedicated to my loving partner, John Percy.

II

CONTENTS*****************************************************************

Introduction .................................................................1Look into this Book ..................................................................................3

Sizing up the sidebars ................................................................................3ArtSpeak ....................................................................................................................3 Info Tidbit ....................................................................................................................3Warning! ....................................................................................................................4Tip! ............................................................................................................................4Art Quote ...................................................................................................................4

Eyeing action icons ....................................................................................4Shaping up with exercises ..........................................................................................4Step-by-step projects .................................................................................................4Action sidebar numbers and letters .............................................................................4

A few words on illustrations ........................................................................5

Insights into the Parts .............................................................................6Part 1: Get Ready! .....................................................................................6Part 2: Get Set! ..........................................................................................6Part 3: Go Draw! ........................................................................................6

How to Use this Book ..............................................................................6

Part 1: Get Ready! ......................................................7

Chapter 1: Welcome to Drawing ...................................................9A Brief History of Drawing .....................................................................11

In the time of the caveman .......................................................................11The birth of classical art ...........................................................................12Remembering the Renaissance ................................................................13

The Inside Scoop on Drawing ................................................................14Drawing is an action word ........................................................................15YOU can draw! .........................................................................................15

III

Chapter 2: Getting a Grasp on Graphite and Grades ...................17Traveling Back in Time with Graphite ....................................................17

How the “lead” pencil got its name ...........................................................18The link between graphite and sheep .......................................................19

Making the Grade ...................................................................................19Hard is light .............................................................................................21Soft is dark ..............................................................................................22Combining soft and hard grades ...............................................................23Finding out your grade .............................................................................24

Chapter 3: More Drawing Mediums ..............................................25 Picking out Proper Pencils ....................................................................26

Wood-encased pencils .............................................................................28Graphite pencils .......................................................................................................27Charcoal pencils .......................................................................................................27

Other fun pencil mediums ........................................................................29Mechanical pencils ...................................................................................................29Woodless graphite pencils ........................................................................................29

Sticks and Stones (oops!) Powders ......................................................31

Chapter 4: Sketchbooks and Drawing Papers .............................33Check up on Tooth (without a Dentist!) .................................................34

The surface of a smooth tooth ..................................................................35Big smile for a medium tooth ....................................................................36Textures on a rough tooth .........................................................................37

Sketchbooks and Papers .......................................................................38Softcover, hardcover, or sheets? ..............................................................39Weighing in on paper ...............................................................................39Larger is not always better .......................................................................40

Chapter 5: Adding to the Basics ..................................................41Tools for Erasing ....................................................................................41

Vinyl erasers ............................................................................................41Kneaded erasers ......................................................................................42

Sharpening your Mediums .....................................................................43Pencil sharpeners ....................................................................................43

IV Welcome to Drawing Book 1: Getting Started

Sandpaper blocks and sheets ..................................................................43

A Few Extras ..........................................................................................44Stuff you can’t do without .........................................................................44

Pencil case ...............................................................................................................44Portfolio ....................................................................................................................44Ruler ........................................................................................................................44Viewfinder frame .......................................................................................................45

Nice to have, but not necessary ...............................................................45Display boards ..........................................................................................................46Spray fixative ...........................................................................................................46Manikins ...................................................................................................................46

Part 2: Get Set! .................................................47

Chapter 6: Setting up For Drawing ..............................................49A Comfy Place to Sit and Draw ..............................................................49

Choosing a drawing surface .....................................................................50Shedding light on your art ........................................................................50

Good Posture First! ................................................................................51How NOT to sit! ........................................................................................52Sitting correctly ........................................................................................52

Putting Together a Portable Studio .......................................................53

Chapter 7: Making a List, Portfolio, and Viewfinder Frame ........55Action 7A: The Shopping List ................................................................55

Must have ................................................................................................55Nice to have .............................................................................................56Supplies for making a portfolio .................................................................57Supplies for making a viewfinder frame ....................................................57Supplies for a portable studio ...................................................................57

Action 7B: Making a Portfolio ................................................................57Deciding on a size ....................................................................................58Option 1: Using one large sheet of board .................................................58Option 2: Using two pieces of board .........................................................61Adding ties and final touches ...................................................................62

Action 7C: Making a Viewfinder Frame .................................................63

VContents

Chapter 8: Give Yourself a Helping Hand ....................................65Holding your Mediums ...........................................................................65Becoming a Natural ...............................................................................67

Leonardo the lefty ....................................................................................67Finding your natural hand movement ........................................................68Rotating your paper as you draw ..............................................................68

Part 3: Go Draw! ...............................................69

Chapter 9: Putting your Supplies to Work ...................................71Action 9A: Sketching a Self-Portrait .....................................................71Action 9B: Creating Values with Squirkles ...........................................72Action 9C: Playing with Pencils ............................................................76Action 9D: Playing with Erasers ............................................................77Action 9E: Drawing Shapes by Rotating Your Paper ............................80

Part 1: Circular shape ..............................................................................81Part 2: Straight-sided shape .....................................................................84Part 3: Circle ............................................................................................88Just for fun! ..............................................................................................90

Action 9F: Framing with a Viewfinder ...................................................91Three steps for framing a view .................................................................92Create a sketch by framing your view .......................................................93

Chapter 10: Three Simple Drawings ............................................95Action 10A: Drawing a Caveperson .......................................................95Action 10B: A Realistic Eye ...................................................................99Action 10C: Mugly Wigglebottom ........................................................103

Outlining Mugly with neat lines ...............................................................104Squirkling shading for Mugly ..................................................................108

Glossary ............................................................................................115

VI Welcome to Drawing Book 1: Getting Started

VIIForeword by Robert A. Roughley

Foreword

When Brenda first approached me to write the forward for this, her third book; Drawing Book 1: Getting Started – the first in a series for homeschooling families and self-directed learners, I was filled with joy. Not only because she asked me, but because I had been eagerly awaiting the completion of this learning resource.

For many, including those who learn outside the boundaries of traditional and prescribed learning environments, access to quality learning and teaching materials is limited. Many of the existing resources on the market are written and published without careful attention to the learning needs of the intended audience.

As an educator with graduate training and expertise in curriculum and instructional design, I believe that Brenda Hoddinott has not only responded to, but has exceeded the expectations of her audience with this invaluable arts-based curriculum. Blending expertise with encouragement, Brenda’s lesson plans and instructions accommodate a wide range of learning styles, abilities, and skill levels. Most notably, her genuine and compassionate nature extends to her teaching of art and drawing, as she leads students on a journey of self-discovery through self-directed learning.

For the past fifteen years, my own journey has taken me into the field of education. The integration of my training has allowed me to participate in many roles: learner, teacher, mentor, and advocate. As a learner, I pursued undergraduate degrees in music and elementary and adult education.

I have known Brenda Hoddinott for many years. It was during a difficult life transition that she provided me with the gift of encouragement to explore my creative self-awareness. Until that point, I didn’t believe that I was creative or artistic. My perception of art and creativity was limited by my perfectionist ideals of what defined “artistic ability”. However, with patience (and a sense of humor), Brenda played a pivotal role in helping me reconnect with my artist within.

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My graduate work focused on educational and curriculum studies, and counseling psychology. As I transitioned from learner to teacher, I worked with children from kindergarten to grade six, with a focus in special education. Later in my career, I became a consultant for change in curriculum development and inclusive education.

My current positions have merged my credentials and focus into three main areas: teacher development (teaching professionals how to teach), reflective practice, and inclusive education. And now, after years of study, I have the pleasure of putting my academic “stamp of approval” in the front pages of this very unique and thorough approach to art education.

In my various personal and professional roles, I have learned, unlearned, and relearned the importance of creativity and artistic expression in marking our developmental milestones and other life transitions. As an educator and co-learner with students of all ages, abilities, self-identities, and worldviews, I have noticed the eff ect of inclusive and purposeful curriculum in the emergence of the creative self. As a counseling practitioner, I have witnessed the long-term, negative implications resulting from the demise or discontinuation of arts-based education in traditional and homeschooling settings.

As human beings, we possess the intentions of creativity, but are far too often limited by the influence of those who fear the unlimited possibilities that come from creative thinking. Someone once said, “What we learn from others becomes our own through reflection”. I encourage readers, learners, and practitioners to build upon this quotation and consider that what one sees in their own self-reflection is the core of one’s creative identity.

Each chapter of this book represents a stage in the development and awareness of one’s artistic self. Through her gentle and supportive directions, unique humor, and detailed visual illustrations, Brenda joins her learners as they discover their creative talents. It is my hope that you find this experience just as enlightening as you explore, discover, (or even rediscover!) your own artist within.

Robert A. RoughleyB.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of CalgaryInstructor, Teaching and Learning Centre, University of Calgary

VIII Welcome to Drawing Book 1: Getting Started

Introduction*****************************************************************

YOU can learn to draw! All you need is some vision and a way to hold a drawing medium.

This book tells you about drawing supplies, and shows you how to use them. Several simple exercises and projects help you warm up your drawing hand.

I also discuss how to set up a practical place to draw indoors. In addition, you fi nd out what to pack in a portable studio so you can comfortably draw outdoors.

In this introduction, you fi nd out about each part of this book and all the different types of sidebars. You are also introduced to several art related words and terms.

Finally, I explain the very best way to work through this book.

So, sit back and relax as I tell you about this book and how to use it.

Figure 02: A cartoon drawing is created with a pencil.

ArtSpeak

ArtSpeak is a fun word used to describe the vocabulary of art.

Drawing (verb) refers to the process of applying a medium to a surface to create an image (Figure 01).

Drawing (noun) is an image created on a drawing surface with a drawing medium (Figure 02).

Vision is the ability to see.

1Introduction 1Introduction

Figure 03: A regular pencil with a medium

inside a wooden holder is a very

popular drawing tool.

Medium refers to any drawing tool (anything from a pencil to the burnt end of a stick) used to make marks on a surface.

Figure 01: A hand is drawing a cartoon.

Sidebar is a box of text (some have illustrations) that provides additional information about a topic. This sidebar is called ArtSpeak, and it provides you with defi nitions of art words and terms.

Pencil refers to a broad category of drawing tools that have the medium inside a holder (Figure 03).

2 2

ArtSpeak

Illustration is an image (such as a drawing) that is used to help explain text.

Icon is an image (such as a drawing) used to identify a specifi c task or information. ArtSpeak sidebars are identifi ed by a cartoon icon of Albert Einstein.

Figure 04: Simple sketch of a seated man.

Figure 05: Shading is added to the same sketch.

Text refers to the words used in writing.

Sketch (noun) is a simple drawing of the important parts of a subject. A sketch is usually done quickly with simple lines (Figure 04) and (or) shading (Figure 05).

Sketch (verb) refers to the process of doing a sketch.

Shading (noun) refers to the various values within a drawing that make images appear three-dimensional.

Shading (verb) is the process of adding values to a drawing.

Values are the different shades of gray you make when adding shading to a drawing.

Save all your sketches and drawings!

Someday, you may want to look back on your early works to see how much you’ve improved.

I created the drawings in Figures 07 and 08 when I was around 14. Luckily, my parents had saved them for me.

T IP !T I P !

Welcome to Drawing Book 1: Getting Started

Figure 06: Five values from light to dark.

Figure 07: A family living in a log house in the forest.

Figure 08: Little girl with a doll.

3Introduction 3Introduction

Look into this BookIn this section, I tell you about, and show you how to identify the various sidebars, icons, exercises, projects, and illustrations in this book.

Sizing up the sidebarsScattered throughout this book, you fi nd fi ve different sidebars (identifi ed with circle-shaped icons) that are fi lled with useful information.

ArtSpeak

ArtSpeak sidebars (Figure 12) defi ne the drawing words and terms in this book, so you can better understand what you read.

Info Tidbit

Info Tidbit sidebars (Figure 13) provide tidbits of information about art-related subjects, such as the history of art.

Figure 13: Info Tidbit icon is a simple fl ower rendered with classical drawing techniques.

Figure 12: ArtSpeak icon is a cartoon of

Albert Einstein’s face.

ArtSpeak

Shape refers to the outward outline of a three-dimensional object.

Figure 09: Shading transforms the shape of a simple circle into the planet Earth.

Figure 11: A lifelike drawing of an eye is an example of realism.

Figure 10: I used classical drawing methods to copy a work created by Leonardo da Vinci during the Renaissance.

Classical drawing refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings (called realism). Classical drawing was later enhanced by the great artists of the Renaissance.

Realism is a way of drawing in which living beings and objects are drawn as they appear in real life. The artist tries to draw what he or she sees as realistically as possible.

Renaissance (from the French word for “rebirth”) refers to the changes within European culture from the early twelfth century to the late sixteenth century.

4 4

Figure 17: Exercises are identifi ed by an icon of a boy doing exercises.

Figure 18: Step-by-step projects are identifi ed with a hand holding a pencil.

Warning!

Better safe than sorry! Protect your drawings (or yourself) from potential dangers by following the advice in these sidebars (Figure 14).

Tip!

A tip can be more than the pointy end of a stick! The tips inside these sidebars (Figure 15) can save you time, energy, and frustration by telling you easier ways to do some tasks or how to take better care of your supplies.

Art Quote

Quotes about art (Figure 16) provide insights into the creative minds of well-known artists.

Eying action icons


Figure 15: Tip icon is a cartoon face on a

light bulb.

Figure 14: Warning icon is a scared-looking cartoon face with a nose shaped like an exclamation mark.

Figure 16: Art Quote icon is an adorable cartoon called a Wooly Woo.

In Chapters 7, 9, and 10, you fi nd several action icons. Some ask you to make something and others ask you to gather your drawing supplies and draw.

Shaping up with exercises

Wherever you see the icon in Figure 17, you fi nd an exercise designed to help you make or use drawing supplies. In addition, an exercise icon may ask you to do a simple sketch or drawing.

Step-by-step projects

When you see the icon in Figure 18, it’s time to complete a step-by-step project. Projects usually take more time than exercises. Each has two or more illustrated instructions to help guide you.

Action sidebar numbers and letters

As you know, an action icon identifi es either an exercise or project. Each exercise and project can be identifi ed by the number of the chapter in which it appears. A letter identifi es its order within the chapter.

5Introduction

Figure 21: A challenging drawing of a Shih Tzu who goes by the name of Panda. Do you happen to know the name of a good orthodontist?

A few words on illustrations You are not expected to draw all the illustrations in this book! Most drawings are intended to illustrate and help you understand the topics being discussed.

As an added bonus, you may become inspired by examining the skills you are working to achieve.

For example, maybe one of your artistic goals is to draw realistic animals (check out Figure 21).

Each illustration in this book is marked with a number based on its placement within a chapter.

For example, the fi rst illustration in Chapter 1 (a drawing of mountains on page 9) is marked Figure 101.

Likewise, the fourth illustration in Chapter 6 (a cartoon artist practicing his drawing skills on page 50) is marked Figure 604.

►ACTION 7A◄

Figure 19: The fi rst exercise in Chapter 7 helps you make out a shopping list for buying drawing supplies.

►ACTION 10C◄Figure 20: Action 10C takes you step-by-step through the process of drawing a cartoon puppy named Mugly Wigglebottom.

For example, the fi rst action sidebar in Chapter 7 is marked 7A (A is the fi rst letter of the alphabet). As you can tell by the icon (Figure 19), this one is an exercise.

The number and letter 10C (C being the third letter of the alphabet) identifi es the third action in Chapter 10. The icon identifi es a project.

6 6

Insights into the parts In this section, you fi nd out what’s inside each of the three parts of this book.

Part 1: Get Ready!

Sit back and relax as I tell you about the drawing supplies you need to complete the exercises and projects in this book.

Part 2: Get Set!

In this part, I help you set up a comfortable place to draw. You fi nd out about proper lighting, ideal drawing surfaces, good posture for drawing, and various ways to hold your pencil. You also have the option of making an artist’s portfolio and viewfi nder frame.

Part 3: Go Draw!

The fi rst two parts of this book prepare you for the activities in this part. Nine fun exercises and projects challenge you to put your drawing supplies to work as you learn several basic drawing skills and techniques.

How to Use this BookThis book is designed to be read in order - from beginning to end. However, human nature being what it is, I offer the two following options:

Plan A

Slowly work through the entire book in sequence, doing each exercise along the way. Each new piece of information, skill, or technique prepares you for the next. If an exercise or project is too diffi cult, go back and try it again (and again if you need to), until you are happy with the results. By the time you reach the end of the book, you’ll be ready for Drawing Book 2: Lines and Spaces.

Plan B

Read through this book in no particular order. Enjoy the illustrations and try your hand at the various exercises and projects that appeal to you. You will encounter a few challenges with terminology (this is why you have a glossary in the back of the book), and some projects beyond your current skill level. When you begin to feel totally overwhelmed and frustrated, go back to plan A and work through the book from beginning to end!


7Part 1: Get Ready!

GET READY!► Simple history of drawing► Process of learning to draw► Fun history of graphite ► Grades of graphite► Differences between B and H grades ► How grades affect the look of drawings► Graphite and charcoal drawing mediums► Wood-encased, mechanical, and woodless pencils► Drawing powders and sticks► Textures, sizes, and weights of drawing papers► How to select and protect the tooth of paper ► Vinyl and kneaded erasers► Pencil sharpeners and sandpaper► Pencil case, portfolio, viewfi nder frame, and ruler► Manikins, display boards, and spray fi xative

PART 1

8 Drawing Book 1: Getting Started

1Welcome to Drawing

Chapter

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Chapter 1: Welcome to Drawing 9

Figure 101: You won’t fi nd this scene anywhere on planet Earth. I wonder if any other life forms besides stone faces live here?

On a simple sheet of drawing paper, the tallest trees on earth grow toward the sky. In another drawing, ogres and trolls are chasing one another through a dark, magical forest. How about a snow dragon dancing with polar bears and penguins? Or stone faces standing guard over a river valley in another galaxy far away?

How many stone faces can you fi nd in the drawing in Figure 101? Figures 102 and 103 show you a couple just to get you started.

Figure 102: Imagine yourself strolling peacefully along this path, unaware of the creature with the huge open mouth waiting for lunch to walk by.

Figure 103: See the face of a regal male warrior gazing toward the right. Can you fi nd his nose, mouth, chin, and an eye?

In this chapter, you learn 32,000 years of art history by reading a thousand words. (Obviously, a very shortened version of history!)

You also fi nd out the real truth behind the silly gossip that you need a magical talent to become an artist.

ArtSpeak

Figure 104: In Action 7B in Chapter 7, I show you how to make a simple portfolio.

Portfolio is a case in which artists store (or carry) drawings and papers to protect them from damage.

Figure 105: Prehistoric humans drew pictures like these on the walls of caves.

Figure 106: A drawing of an old arrowhead that looks

similar to some that were discovered by archeologists.

Prehistoric describes the period in time before language was used to write and record history.

History is a written record of the past; mostly about the lives and activities of human beings and their environments.

For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

Archaeologist is a person who studies ancient peoples by fi nding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.)


11 11

Figure 107: Copies of prehistoric cave drawings created by cavemen (or cavewomen).

A Brief History of DrawingDrawing is a universally understood language; a form of communication that is free of such rules as correct spelling or proper grammar. This section offers a brief background on drawing - from the cave drawings of prehistoric humans, to the masterpieces of the Renaissance.

Chapter 1: Welcome to Drawing

Figure 108:

Drawing based on an actual

prehistoric drawing

discovered on a stone in

Africa.

Style refers to an artist’s approach to his or her own art. An artist’s style may be based on his or her personal preferences and art education.

For example, realism is a well-known style.

Technique is a well-known method (such as a specifi c way to do shading) that is used to accomplish a particular activity or task.

For example, more than one shading technique may be suitable for a specifi c drawing. Hence, an artist’s choice of a shading technique (or techniques) is generally based on his or her skill level and what works best to capture the subject.

ArtSpeak

In the time of the cavemanArtists have been drawing for at least 32,000 years.

Archaeologists have discovered many of their drawings on the walls of caves.

The drawings in Figure 107 are similar to prehistoric drawings found on

These drawings tell us a lot about how prehistoric humans lived. In other words, the drawings recorded their stories without spoken language or written words.

During prehistoric times in Africa, drawings of simple human fi gures (Figure 108) were added to burial stones.

You can try your hand at drawing a human fi gure the way some prehistoric people did, in Action 10A in Chapter 10.

the walls of caves in France.

ArtSpeak

Mural is a drawing or painting on a wall, ceiling, or other large surface.

Murals have been discovered on the walls of prehistoric caves and inside ancient Egyptian tombs.

Fresco is an artwork painted on a thin layer of plaster that covers a wall or ceiling.

Frescos that date back more than 3500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

Sculpture is a three-dimensional artwork that is made of a material such as bronze, rock, or marble.

Sculptor is an artist who creates sculptures.

A very well-known sculptor of the Renaissance was Michelangelo, and one of his most famous sculptures is the Statue of David.

Mummy portrait is a painting of a man, woman, or child that was discovered attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

The drawing in Figure 110 is copied from a mummy portrait that was discovered in Egypt.

Visual art refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight.

For example, all the drawings in this book are considered visual art.

The birth of classical art

Figure 109: The smoothly fl owing lines of this drawing capture an antelope as it appeared on an ancient fresco.

Long before the Renaissance, ancient Greek and Roman artists created realistic artworks of nature, animals, and people. The discovery of several of these artworks helps us understand the styles and techniques of the artists, as well as how people lived during these times.

Archeologists have found the remnants of murals and frescos painted on walls of buildings in ancient Greece and Rome. Many show major deterioration, but others are remarkably well preserved.

Figure 109 is a drawing of an antelope, copied from a fresco that had been buried under volcanic ash in Greece for more than 3500 years.


13Chapter 1: Welcome to Drawing

In addition to murals, frescos, coins, and pottery; several breathtaking, realistic sculptures and paintings of people have survived the ravages of time.

One of my favorite ancient paintings is a mummy portrait of a young man, possibly a Roman soldier (Figure 110). I couldn’t resist the challenge of drawing someone who lived more than 2,000 years ago.

The unknown artist used classical techniques to make the face appear three-dimensional.

Figure 110: My goal was to create a drawing that looked like the ancient painting.

I decided to include the fl aws of the old wooden panels on which it was painted.

Remembering the RenaissanceThe beginning of the Renaissance is identifi ed by the very popular rebirth of classical drawing throughout Europe. During this time, classical drawing techniques were greatly improved and many new techniques were born.

Throughout the Renaissance, art students were encouraged to study and practice the techniques of the most highly skilled artists (called “masters”). Some of the more dedicated art students experimented with new ways of drawing and ended up creating new techniques. Hence, many students of the masters eventually became masters themselves.

Between 1480 and 1527, during the time known as the High Renaissance, many very famous artists (called “great masters”) further developed drawing as the most important of all visual arts. Great masters, such as Leonardo da Vinci, Michelangelo, Hans Holbein, and Albrecht Dürer, created the most magnifi cent masterpieces our world has ever known.

Even today, students of art all over the world are still learning from the masters of the Renaissance. Classical drawing techniques are considered the foundation of all visual arts including painting, sculpture, and digital art.

Figures 111 and 112 demonstrate classical drawing techniques from the High Renaissance.

The Inside Scoop on DrawingThroughout the process of learning to draw, you automatically learn to observe, appreciate, and better understand the world around you. As your drawing abilities become stronger, creativity is also enhanced.

Check out the artist’s model and compare him to the drawing (Figure 113).Figure 113: An artist uses his creativity to make a few

changes to the body of the model in his drawing.

Figure 112: Classical drawing techniques are used in a drawing

of a young girl (based on a drawing by Leonardo da Vinci).

Figure 111: This classical drawing of a youth is copied from a work by Michelangelo.


15Chapter 1: Welcome to Drawing

Drawing provides a way for you to document how you see the world. Being able to draw also allows you to take up other visual arts (such as digital art and painting) more easily than people who cannot draw.

You can also learn to draw from your imagination. With a little creative thought, artists can even change

Drawing is an action wordMusic students can’t learn to play piano by reading a music book without actually applying their knowledge to the action of playing a piano. People who expect to know how to ski after reading a book on skiing are not going to have any success until they actually go skiing. Both of these activities require some sort of action in order to be learned.

Drawing is also an action word. The process of reading this and every other art book from cover to cover cannot improve your drawing skills. You need to actually draw to achieve strong skills. In other words, you must put your knowledge into practice!

YOU can draw!Drawing is an easily acquired skill that everyone can learn. All you need is some vision and a way to hold a drawing tool. Talent is nothing more than a word that describes the process in which you accept your ability to become a good artist. Simply put, learning to draw does not require a magical force to have been born within you.

The closest relatives of drawing are printing and writing. Just as you learned to draw the letters of the alphabet, you can also learn to draw objects, people, and other subjects.

Figure 115: The horse has magically turned into a unicorn!

Figure 114: A photo of a horse in a fi eld as viewed through the legs of another horse.

what they see in the real world into something completely different!

Compare my reference photo in Figure 114 to the drawing in Figure 115.

My sketch of a horse’s head (Figure 116) demonstrates the classical technique of lightly rendering an underdrawing before beginning a fi nal drawing (Figure 117).

Figure 117: The style I

use to draw a horse’s head

is similar to the styles of

the drawings of the masters demonstrated in Figures 111

and 112.

ArtSpeak

Underdrawing is a loosely rendered sketch that is created as a guide for a fi nal drawing (or painting).

Figure 116 shows an underdrawing of a horse.

Info Tidbit

Developing your own style

To develop a personal style of your own, you fi rst need to learn as many techniques as possible. The techniques that you like best help determine your unique style.

My drawing techniques reveal that I have been a student of the masters for most of my life. For instance, Leonardo da Vinci often used the technique of doing an underdrawing with metalpoint (refer to defi nition on page 18) before beginning a drawing or painting.

Strong drawing skills eventually come to everyone who works hard. Always take joy in your good drawings, and learn from those that you don’t like.

You CAN draw! With lots of patience and hard work, you can become as good as you can imagine.

Figure 116: A very faint underdrawing identifi es the basic shapes of a horse’s head.


17

2Getting a Grasp on Graphite and Grades

Chapter

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17Chapter 2: Getting a Grasp on Graphite and Grades

ArtSpeak

Graphite is a soft black form of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists.

Clay is a naturally occurring material that becomes hardened when dried.

Grade refers to the softness or hardness of the mixture used in the manufacture of drawing mediums.

Figure 201: The base value of fi ve different grades of graphite.

Something called “graphite” is the best friend of many artists who love to draw. In this chapter, I share a little bit of fun information about graphite and its history.

You also learn about the grades of graphite. (When it comes to graphite, a B grade is not better than an H!)

In addition, you examine drawings rendered with different grades of graphite to give you an idea of how B and H pencils affect the look of drawings.

Traveling Back in Time with GraphiteIn this section, you discover a few fascinating tidbits about the history of graphite.

Some graphite drawings created hundreds of years ago are still around today. Hence, graphite has survived the test of time.

ArtSpeak

Stylus (sometimes called leadpoint or metalpoint) refers to a thin metal stick used for drawing. Styluses made of lead have been traced back to ancient Rome.

During the Renaissance, styluses were also made from silver, gold, or copper.

Figure 202: The earliest stylus was a thin metal stick

made of lead.

WARNING!

Stay away from poor-quality graphite!

When most people think of drawing, an ordinary graphite pencil comes to mind (like the ones used by schoolchildren). However, a word of caution: these pencils are not designed for drawing!

Inexpensive graphite may work well for writing, but can scratch your drawing paper instead of going on smoothly.

Professional drawing pencils are made with a higher quality mixture of graphite and clay and make marks that fl ow more smoothly.

On the downside, they are usually more expensive than pencils made for writing.

Another great thing about graphite is its ability to be erased. Therefore, many mistakes can be fi xed.

How the “lead” pencil got its nameBefore the discovery of graphite, ancient artists made drawings with long, thin rods (referred to as “styluses”). Styluses were made from a soft metal, such as lead, and so they became known as “leadpoint”.

A stylus worked by leaving a thin deposit of metal on the surface of paper, producing a fi ne gray line.

Some styluses had a fi ne point at one end and a blunter point at the opposite end so artists could draw both thin and thick lines.

Leadpoint is considered the ancestor of the modern graphite pencil. The term “lead pencil” is often incorrectly used to describe graphite pencils that are made of graphite and clay (and contain no lead whatsoever).

On the other hand, graphite pencils do produce a warm-toned gray line that looks very similar to the marks made by leadpoint.

During the Renaissance, the masters created many beautiful intricate drawings with only a stylus.

Artists also used styluses to do underdrawings for more detailed drawings (and paintings).

When you look closely at old drawings, you can often fi nd a few of the faint lines from the underdrawings.


19 19Chapter 2: Getting a Grasp on Graphite and Grades

The link between graphite and sheepGraphite was discovered in England somewhere between 1500 and 1560. Farmers are thought to be the fi rst people who found a practical use for graphite. They used a lump of graphite to mark their sheep so they could easily identify their fl ocks. Check out the cartoon drawing of a sheep in Figure 203.

News of the discovery of graphite soon traveled far and wide throughout the known world, and graphite quickly became a valuable drawing medium within artistic communities.

Artists often sharpened a chunk of graphite into a point and set it into a metal holder. These sharpened chunks became the very fi rst graphite pencils!

Making the Grade As you now know, graphite pencils are made with a mixture of graphite and clay. Graphite is very black and soft and makes dark marks. Clay is hard and makes light marks.

Figure 203: A cartoon sheep proudly displays a big “X” marked on her wool with graphite.

To make shopping a little easier, pencils are labeled with a number-letter code depending on the amounts of graphite and clay in the mixture. For example, a 6B pencil has more graphite than clay and makes very dark marks. A 2H pencil has less graphite and therefore makes very light marks.

Many art supply stores carry a broad range of grades. An HB grade is in the middle and can be called either an H or a B (Figure 204).

Figure 204: A computer-generated image shows the base value of 17 different grades of graphite.

Trying to draw with 17 different pencils can be a nightmare! Besides, some grades make almost identical marks.

Artists can draw a full range of values (Figure 205) with only fi ve grades of graphite: 2H, HB, 2B, 4B, and 6B.

For example, the advanced drawing of a replica of a medieval dagger (Figure 206) is drawn with only these fi ve grades.

Whenever you draw, your goal is to choose whichever grades of pencils can best give you the results you want.

For drawings needing a softer touch, you may prefer to use mostly H grades. On the other hand, B grades may work better for drawing subjects needing a darker, bolder approach.

And more often than not, a combination of B and H grades is a perfect choice.

Figure 205:A range of different values can be created by each of these fi ve grades of graphite.

Figure 206: A realistic drawing of a dagger is created with 2H, HB, 2B, 4B and 6B grades of pencils.



Figure 207: Values created with four H pencils (HB is considered the

darkest hard pencil).

ArtSpeak

Pupil of an eye is the tiny, dark, circular part of an eye that adjusts its size under different lighting conditions.

Hard is lightHard pencils can’t make very dark values. However, they can create light to medium marks (Figure 207) that work well for some drawings.

Info Tidbit

The word pencil comes from the Latin word pencillus (which means “little tail”).

Always lay your graphite pencils somewhere safe so they don’t fall!

Graphite is quite fragile - especially the softer grades.

When a pencil falls to the fl oor, the graphite inside the core breaks, and the pencil becomes very diffi cult to sharpen. Small pieces of broken graphite can jam up the inside of the sharpener.

T IP !T I P !

As a rule, hard (H) pencils:

► Have a hard, brittle medium

► Make light to medium marks

► Wear down slowly

► Need very little sharpening

► Create very thin to medium-width lines

The lines made by H pencils are mostly thin and delicate; hence, they work best for small to medium drawings (unless, of course, you have lots of patience).

Figure 208: An arrow

points to the pupil of an

eye.

The drawing in Figure 209 is almost completely rendered with four different grades of hard pencils.

Figure 209: This drawing of a friend (Christopher Church)

playing a violin took more than a month to complete with 6H, 4H,

2H, HB, and 2B pencils.

Figure 210:Values created

with four B pencils (HB is the lightest

B pencil).

Soft is darkB pencils tend to “B” soft, and can make very dark marks because they have more graphite than clay. However, by pressing very gently with B pencils, you can also create light and medium values. Figure 210 shows the base value of four B grades of graphite.

I used a 2B (soft) pencil for only a few dark accents, such as the pupils of his eyes and tiny sections of the darkest shadows.


Generally speaking, B grades of pencils:

► Have a soft medium

► Make light, medium, and dark marks

► Wear down quickly

► Need to be sharpened frequently

► Can make thin to thick lines


Figure 211: Loosely rendered sketch of a side-on view of a young man.

Figure 212: Drawing of a peach using HB, 2B, 4B, and 6B pencils.

The darker marks created by B pencils are ideal for loosely rendered sketches on medium to large sheets of paper.

Check out the sketch of the young man (Figure 211) created with only 2B and 4B pencils.

If you are patient, and don’t mind constantly sharpening their points, B pencils can also work well for rendering detailed subjects on small sheets of paper.

B pencils were used for the small drawing of a peach in Figure 212.

Combining soft and hard gradesWhen you draw a subject with lots of light and dark values, you may need to use both B and H grades of pencils.

Info Tidbit

My favorite brands of graphite pencils are made in Germany, and are sold under the names Staedtler and Faber-Castell.

Figure 214: At fi rst glance, different grades of drawing pencils may all look the same.

Figure 215: Can you see the grade written on these three brands of pencils?

Finding out your gradeWhen you go to an art store, expect to be surprised by how many different brands of pencils are available.

Figure 213: A drawing of a baby zebra (named Spot) is created with

both H and B grades of graphite.

And what animal could show you a combination of B and H pencils better than a zebra (Figure 213)?

The white stripes are shaded with 2H, HB, and 2B, and the black stripes are drawn with HB, 2B, 4B, and 6B.

Professional pencils often look identical, even though the grades are different (Figure 214).

But don’t be fooled! The grade of the graphite is written somewhere on the wood part of each pencil (Look closely at Figure 215).


3More Drawing Mediums

Chapter

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Chapter 3: More Drawing Mediums 25

In addition to graphite pencils, you need to begin learning to draw with mediums that are specifi cally designed for artists. As with most activities, the better the tools, the happier you are with the outcomes.

In this chapter, I tell you about a few popular drawing mediums. I show you what each looks like, and the kind of marks it makes.

ArtSpeak

Figure 301: Shopping for drawing mediums is a big challenge when you have to choose from so many different types.

Charcoal is a drawing medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades.

Charcoal pencils have a thin cylindrical stick of compressed charcoal inside a wooden casing.

Charcoal sticks are made by compressing powdered charcoal into round or rectangular sticks.

Figure 302: A few different types of charcoal that are designed for drawing.

Every child is an artist. The problem is how to remain an artist once he (she) grows up.

Pablo Picasso

Art Quote

ArtSpeak

Figure 303: Four types of drawing tools: (1) sticks, (2) woodless pencil, (3) mechanical pencils, and (4) wood-encased pencils.

Drawing stick (1) is made by compressing and shaping a medium (such as graphite or charcoal) into a cylindrical or rectangular chunk.

Woodless pencil (2) is a thick cylindrical stick of graphite wrapped in a vinyl casing.

Mechanical pencil (3) has an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip.

Wood-encased pencil (4) (better known as a regular pencil) has a thin cylindrical stick of graphite or charcoal inside a wooden casing.

Picking out Proper Pencils In this section, I discuss three types of drawing pencils: wood-encased, mechanical, and woodless. Several drawings invite you to compare the abilities of these pencils.

Figure 304: Pencils last longer if you sharpen only their points on a sandpaper block.

Sandpaper block is an artist’s tool with tear-off sheets of fi ne sandpaper used to sharpen the points of pencils.

Wood-encased pencilsGraphite pencils are ideal for either simple, loosely rendered drawings or very complicated, intricate drawings on small to medium-sized surfaces.

Charcoal pencils are fantastic for medium to large drawings on large sheets of paper.


27

Graphite pencils

Graphite pencils are a favorite drawing tool of many artists.

Some artists prefer to draw with a slightly worn-down pencil point (Figure 306).

Others constantly sharpen the graphite points to make thin marks (Figure 307).

Figure 305:Most art

supply stores carry a huge selection of

professional-quality,

wood-encased drawing pencils.

Figure 306: Marks made with the worn-down points of graphite pencils.

The drawing in Figure 308 was created with graphite pencils. The pencil points were slightly worn down to shade the eyes. A sandpaper block kept the pencil points nice and sharp to do the scraggly feathers.

You can sharpen the points of regular pencils with a pencil sharpener, some fi ne sandpaper, or a sandpaper block.

Charcoal pencils

Charcoal pencils are a lot more messy than graphite, but (thanks to the wooden holder) less messy than sticks of charcoal.

Figure 307: Thin lines drawn with

freshly sharpened graphite pencils.

Figure 308: Cartoon drawing of an emu is created with regular pencils.

Chapter 3: More Drawing Mediums

Wonderful black marks can be made with charcoal (Figure 310), which is much softer than graphite.

Hard grades of charcoal can be carefully sharpened in a pencil sharpener with an oversized opening. If you want thin lines, you need to keep the point sharpened with a sandpaper block. Figure 309: Most charcoal pencils are a little thicker

than graphite pencils.

WARNING!

Utility knives are VERY dangerous!

Utility knives are as sharp as razors! One small slip of the knife can cause permanent damage to your hand or fi ngers. They should only be used by responsible adults who are handy with tools.

So, if you don’t want to “draw blood,” ask someone to help you sharpen charcoal pencils. (And, remember to tell that person to be very careful!)

You may even want to completely stay away from charcoal pencils and use charcoal sticks instead. They are a little messier, but can do everything a pencil can do (and more).

Soft grades of charcoal simply crumble and break when you try to sharpen them in a pencil sharpener.

A heavy-duty utility knife works best for cutting away some of the wood so you can sharpen the exposed charcoal with a sandpaper block.

Charcoal is fun to work with and is ideal for drawing anything - including people, scenery, and objects. Check out the charcoal drawing in Figure 311.

Figure 310: Various marks made by a charcoal pencil.


Other fun pencil mediumsTwo other types of pencil mediums that are well worth having are: mechanical pencils (they never need sharpening) and woodless pencils.

Mechanical pencils

Mechanical pencils (Figure 312) are a super alternative to pencils that need to be sharpened constantly.

The marks they make stay approximately the same size, even after hours of drawing.

A professional-quality mechanical pencil designed for drawing is expensive; but in the long run, it tends to be more economical than constantly buying wood-encased pencils.

When well cared for, a mechanical pencil can last a very long time; I have several that are more than 15 years old.

29

Figure 311: A loosely rendered charcoal sketch of Christopher Church playing his violin.

Figure 312:A sampling of

mechanical pencils.

T IP !T I P !


Purchase only professional-quality mechanical pencils

You can fi nd inexpensive novelty mechanical pencils in many stores. However, professional mechanical pencils that are designed for drawing can only be found in art supply stores. Most are expensive, but they tend to last much longer than the department store variety.

Mechanical pencils come in different sizes. A 0.5 mm is the most popular size and works best for drawing on small to medium-sized sheets of paper. A 0.7 mm is a great choice for sketching loosely or drawing on a large surface (or both).

Figure 313: Drawing of an unusual glass bottle completely rendered with 0.5 mm mechanical

pencils and various grades of leads.

T IP !T I P !

Before you buy leads for a mechanical pencil, check the size!

Read the label on each package of leads you want to buy, to make sure they are the right size for your mechanical pencil. For example, 0.7 mm leads are too big to fi t through the pointed end of a 0.5 mm mechanical pencil.

Figure 314: Marks made with a woodless pencil.

A mechanical pencil can be loaded with leads of different grades ranging from very hard to soft. (However, you should load only one grade at a time.) Leads of the same grade are sold in a single package, so, you may have to buy a package of each of the grades you want to use.

Woodless graphite pencils

Obviously, woodless pencils do not have a wooden casing! A thick rod of graphite is surrounded by a thin (usually vinyl) casing; hence, your hands stay clean as you work.

Woodless pencils rarely need to be sharpened in a pencil sharpener. A few strokes on sandpaper and the points are sharp!

They can make lots of different marks (Figure 314), and are great for subjects needing wider, bolder strokes than regular pencils. When the points are sharpened, they can also make very thin lines (Figure 315).


31

Figure 315: A wood-encased graphite pencil worked well for creating three sketches of my grandson, Brandon.

Sticks and Stones (oops!) PowdersGraphite and charcoal sticks are not considered pencils, but they are well worth having. Both are messy, but lots of fun!

For instance, you can rub a charcoal or graphite stick on sandpaper to make powdered charcoal or graphite (Figure 316). Then, you simply dip your fi nger into the powder and draw!

Or, (if messy isn’t your style) you may prefer to wrap your fi nger in a piece of paper towel fi rst.


Sticks are great for rendering any subject, and especially for medium to large sketches and drawings.

Surprisingly, charcoal and graphite sticks are one of the few art mediums that work well when broken!

The crisp edges of broken pieces are fantastic for rendering thin, strong lines. The fl at ends and sides can be used for broad strokes (Figure 317).

Figure 316: Drawing powder can be made from graphite or charcoal sticks.

You can use a charcoal stick, charcoal powder, and a charcoal pencil in the same sketch.

In addition, you can combine a graphite stick and graphite powder with various graphite pencils to create a drawing.

However, charcoal and graphite do not usually play (or work) well together. Try to combine graphite and charcoal in a drawing and you can see what I mean!

Use either graphite or charcoal mediums in a drawing - but not both together.

You can also use erasers to draw with either charcoal or graphite (Figures 318 and 319). You simply apply some powder to the paper’s surface and erase sections to create an image.

Figure 318:

Various marks

created by erasing sections of

a layer of charcoal.

Figure 319: A winter scene

created with charcoal pencils, powder,

and sticks, as well as

erasers.

Figure 317: A

small sample of marks you can make

with a stick.


4Sketchbooks and Drawing Papers

Chapter

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Chapter 4: Sketchbooks and Drawing Papers 33

Picking out drawing paper is a scary task for even the most experienced artists. To further confuse artists, almost every store with an arts or crafts department carries some type of drawing paper. Some papers are great for drawing and others are not.

In this chapter, I tell you about the textures, sizes, and weights of various drawing papers so you can make wise choices when you go shopping. You examine artworks done on different papers to give you an idea of how a paper can affect the look of a drawing. I also explain how artists (not dentists) protect the tooth of paper.

ArtSpeak

Tooth refers to the surface texture of paper. Paper with a smooth tooth is fl at and silky; medium tooth has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks.

Figures 401 to 403 show you highly magnifi ed views of shading with a 6B pencil on papers with a smooth, medium, and rough tooth.

Figure 401: Printer paper with a smooth tooth.

Figure 403: Watercolor paper with a rough tooth.

Figure 402: Drawing paper with a medium tooth.

Info Tidbit

Drawing Papers during the Renaissance

Shopping for drawing papers is no doubt a challenge. However, can you imagine having to make your own drawing paper?

During the Renaissance, drawing papers were handmade. This time-consuming process included the following seven basic steps:

Materials such as plants, vegetable matter, and rags were chopped up into fi bers.

Water was then added to create a soupy mixture.

The mixture was scooped up with a screen and placed into a wooden mold.

The mold was shaken until most of the water drained through the screen, leaving a fl attened layer of fi bers.

Flattened sheets of fi bers were stacked into a pile with a layer of woolen cloth or felt in between each.

Most of the remaining moisture was squeezed out by pressing down on the stack.

The sheets of paper were then hung to dry.

When completely dry, the paper was usually coated with a substance (such as a gelatin mixture) to make it suitable for drawing.

1.

2.

3.

4.

5.

6.

7.

ArtSpeak

Texture refers to the surface detail of an object. The type of texture can be identifi ed with vision, a sense of touch, and a general knowledge of the object.

Figure 304: Short fur (as on cats) is soft and silky.

Figure 306: A single drop of liquid can appear so shiny that it almost sparkles.

Figure 305: A child’s knit sweater is bumpy and soft.

Check up on Tooth (without a Dentist!)The more tooth a paper has, the rougher it feels. Some artists like smooth drawing paper, others prefer very rough paper, and many prefer paper that is somewhere in between.

In this section, I discuss the tooth of three common types of paper. I also show you how a paper’s tooth can infl uence the look of a drawing.


The surface of a smooth toothThe surface of smooth tooth papers (that are designed specifi cally for artists), feels relatively even and silky, but is not shiny. Artists who prefer drawing highly detailed subjects often choose papers with a smooth tooth.

The realistic drawing of a cat in Figure 407 was rendered with graphite on a professional-quality, smooth watercolor paper.

Figure 407: A

detailed drawing

of Bill the cat on

smooth paper.

His beautiful

coat of striped

fur looks very soft.


36

Big smile for a medium toothMedium tooth papers are ideal for most drawing subjects.

They work beautifully for creating a full range of values and lots of different textures.

Figure 408: Sketchbook paper with a medium tooth

is perfect for capturing the texture of an owl’s

feathers.

Many sketchbooks have paper with a medium tooth and are a fantastic choice for beginners.

Drawing Book 1: Getting Started

T IP !T I P !

Stay away from papers with a glossy surface!

Smooth drawing paper is wonderful, but glossy paper is just plain awful. Glossy paper is toothless, and therefore too smooth for graphite or charcoal to properly stick to it.

Textures on a rough toothRough paper is terrible for tiny detailed drawings, but ideal for sketching on large sheets of paper. Fun patterns and textures often appear when the peaks of the paper grab the graphite, and some craters show through as white.

The peaks and craters of rough watercolor paper helped create the wonderful textured shading in Figures 410 and 411.


ArtSpeak

Acid-free refers to a high-quality and long-lasting paper that has had the acid removed from the pulp in the papermaking process. Drawings can be ruined when papers with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free.

Hot pressed refers to a paper that is pressed through hot cylinders during its manufacture. Many smooth watercolor papers are hot pressed.

Hardcover refers to a durable type of book cover that is made from a thick and unbendable material. He (or she) who works with his hands is a

laborer.

He who works with his hands and his head is a craftsman.

He who works with his hands and his head and his heart is an artist.

Saint Francis of Assisi

Art Quote

Figure 409: A hardcover sketchbook protects your papers and drawings from being wrinkled.

Softcover describes a fl exible book cover that is usually made of paper. Softcover sketchbooks are inexpensive, however, you need to handle them carefully so the paper doesn’t wrinkle.

WARNING!

Stay away from acid!

Don’t be fooled by cheap imitations of good-quality drawing paper. Before you buy a sketchbook, look for a label that says the paper is acid-free. Just because the cover of a sketchbook says it’s suitable for drawing doesn’t mean it’s acid-free.

Sketchbooks and PapersArt supply stores sell individual sheets of papers that are designed specifi cally for drawing. A sketchbook has several sheets of drawing paper in a book format.

The quality, size, and weight of paper, are much more important than whether you purchase individual sheets or a sketchbook (or both).

Figure 411: A close-up view

shows how rough paper can

help render the texture of a tree

trunk.

Figure 410:The bumpy,

jagged textures of trees are captured on

watercolor paper with a rough

tooth.


Info Tidbit

My favorite drawing paper is Arches, 100% cotton, acid-free, hot pressed watercolor paper with a 140 lb weight. The surface works beautifully for most drawing media and all subjects. As an extra perk, this paper is similar to that used by the masters during the late Renaissance.

Softcover, hardcover, or sheets?Even though softcover sketchbooks are relatively inexpensive, the paper can be easily wrinkled and damaged. Softcover sketchbooks have to be carefully stored on a fl at surface.

A hardcover sketchbook is much more durable, and protects the paper inside. As an extra perk, the hard cover provides a solid surface on which to work when you’re away from your desk or table.

Individual sheets of drawing paper need to be stored on a fl at surface inside a hard-sided portfolio.

Weighing in on paperThe “weight” of paper describes the thickness of individual sheets of paper. Thin paper weighs very little, but is easily torn and damaged. Thick paper is more durable than thin because it weighs more.

Figure 412: A small sampling of drawing papers and sketchbooks.


T IP !T I P !

Always take good care of a paper’s tooth!

The tooth of any paper can be easily destroyed by pressing too hard on its surface with your pencil.

If your shading begins to look shiny, the tooth is fl attened beyond repair. Additional shading will no longer hold fast to the paper’s surface.

So, remember to apply only a little bit of pressure to your pencil when you draw.

Avoid pressing too hard when you want darker shading - switch to a softer B pencil instead.

For example, inexpensive, everyday printer paper has a 20 lb (75 g/m²) weight and therefore is too thin (and too smooth) for drawing.

Heavy Arches drawing paper has a 140 lb (300 g/m²) weight and is perfect for drawing masterpieces. However, it’s much too expensive for everyday use.

A professional-quality paper for everyday use should have at least a 50 lb (260 g/m²) weight.

The weight of a paper is usually marked on the packaging or front cover. You can also feel the paper to make sure it’s thick.

Info Tidbit

Are you tired of reading yet?

Keep going - by the end of Chapter 6, you’ll know all you need to know about drawing supplies.

In Chapter 7, I give you a checklist so you know exactly what you need to buy (or fi nd at home).

In Chapter 9, you fi nally have a chance to pick up a pencil and begin drawing!

Larger is not always betterChoose a sketchbook or drawing papers in a size that is easy to transport when you travel.

However, stay away from sketchbooks under 9 by 12 inches or your drawing options become too limited.

On the other hand, most large sketchbooks (over 16 by 20 inches) are softcover. Hence, if you prefer making large drawings, you need to store the sketchbook on a large, hard surface to prevent the paper from bending.

Individual sheets of paper (Figure 413) come in many sizes. A really big sheet can be cut down into smaller sheets. Some types are inexpensive and others can be quite costly.


Figure 413: A large sheet of drawing paper can be attached to a drawing board with clamps.

T IP !T I P !

Check before you buy!

Check out art supply, stationery, and department stores in your community to fi nd out what types of drawing paper are available.

Then, you can select the best type of paper for your needs (and budget!).

41

5Adding to the Basics

Chapter

*****************************************************************

Chapter 5: Adding to the Basics

In addition to pencils and paper, you need to have a few other drawing supplies, such as pencil sharpeners and erasers. In this chapter, I tell you about the supplies that work best for drawing, and the ones you should avoid.

I also suggest a few extra items to consider adding to your shopping list. For example, manikins are certainly not necessary for learning how to draw; however, they do provide a fun way to strengthen your visual and drawing skills.

Figure 501: A few more art supplies: (1) pencil cases, (2) a metal ruler, (3) manikins, (4) a small

knife for cutting paper; and (5) spray fi xative.

Tools for ErasingIn this section, you fi nd out about two types of art erasers that are very gentle to the surface of your paper: vinyl and kneaded. Erasers that are designed specifi cally for artists can be purchased in an art supply store.

Vinyl erasersVinyl erasers (Figure 502) have many practical uses. They can erase small or large sections of drawings, as well as pull out (erase) light sections from a layer of graphite or charcoal. To erase tiny details or draw thin lines, you can use the sharp edge of a regular block eraser. (If the edges of your vinyl eraser are worn, a sharp knife can be used to cut off the end.)

Kneaded erasersKneaded erasers (Figure 503) are a real joy! They don’t leave annoying eraser crumbs on your paper, and can easily be molded into a point or wedge for erasing.

You can also use a kneaded eraser to carefully pat or gently rub a section of a drawing to lighten lines or values.

The drawing of a sphere in Figure 504 was created with the help of both vinyl and kneaded erasers.

First of all, I covered my paper with a layer of charcoal. Then, I pulled out light values with a kneaded eraser. The sharp edge of a vinyl eraser created the brightest whites. Dark shadows and crisp outlines were added with a charcoal pencil.

In Chapter 9, I show you how to draw with your kneaded eraser (Action 9D: Playing with Erasers).

Figure 502: Three popular types of vinyl

erasers: (1) regular blocks,

(2) eraser wheel, and (3) pencil erasers

and refi lls.

Figure 503: Kneaded

erasers are simple boring

blocks until you begin

molding and stretching

them.

Figure 504: With the help of erasers, a three-dimensional sphere seems to come out of the dark.

42

T IP !T I P !

To clean a kneaded eraser, you simply stretch and reshape it (also known as “kneading”) several times. However, kneaded erasers eventually get too dirty to work well, so pick up some extras.


Sharpening your MediumsPencil sharpeners and sandpaper (blocks or sheets) are a must for keeping your mediums (also called media) in shape.

Lots of different stores carry sharpeners - especially if they carry school supplies. Sandpaper blocks are more diffi cult to fi nd; art supply stores are your best bet.

As for sheets of sandpaper, check out a building supplies store or a department store with a hardware department. Make sure the surface is a fi ne grade (look for anything that falls between 100-180 grit). Figure

505: Four of my favorite pencil sharpeners.

43Chapter 5: Adding to the Basics

WARNING!

The wrong eraser can ruin your drawings!

Stay away from erasers that are colored (especially the pink ones) or very hard (such as those on the ends of some pencils).

Stay away from toy sharpeners, and battery-operated or expensive sharpeners. Instead, choose a simple, sturdy, hand-held (preferably metal) pencil sharpener. The best ones have two openings: a small one for regular graphite pencils and a large one for oversized pencils.

The sharpeners in Figure 505 last a very long time; especially those for which you can purchase replacement blades (available at most art supply stores).

Sandpaper blocks and sheetsSandpaper preserves the wooden sections of your pencils that could otherwise get quickly eaten up by your sharpener. Sandpaper sharpens just the exposed sections of medium instead of both the wood and the medium.

Sandpaper blocks have sheets of fi ne sandpaper attached to a wooden base. You simply hold the wooden handle as you sharpen your pencil point on the sandpaper. When the top sheet of sandpaper becomes worn and dirty, you simply tear it off, throw it away, and use the next sheet. Sandpaper blocks are not expensive, so pick up more than one.

Pencil sharpenersIf you use any type of pencil media, you need a pencil sharpener.

A Few ExtrasHave fun wandering through art supply stores! However, resist the temptation to pick up a bunch of stuff you really don’t need and may never use. You don’t need to spend a lot of money on supplies to learn how to draw well.

Stuff you can’t do withoutIn this section, I discuss four more necessities: pencil case, portfolio, ruler, and viewfi nder frame. (In Chapter 7 you fi nd step-by-step instructions for making a portfolio and viewfi nder frame.)

Pencil case

A container for storing your pencils, erasers, and other smaller drawing supplies is essential - especially if you have small children or pets in your home. (I have two large dogs who consider pencils and erasers to be chew toys!)

In addition, if you keep everything together in one place, you can avoid the frustration of always searching for misplaced items.

Portfolio

Drawings stored in a pile on a shelf (or anywhere that’s dusty or within direct sunlight) can be damaged easily. A hard-sided portfolio can protect your drawing paper and completed drawings from becoming wrinkled, damaged, or destroyed.

You can buy many types of wonderful portfolios in art supply stores, however, many tend to be very expensive (especially those made of leather).

Ruler

At some point in your life, you may have tried using something like the edge of a book as a ruler. I speak from experience when I say this is not a great idea! A good-quality ruler does a far better job and is much easier to use (plus, it has measurement guidelines).

A ruler comes in handy for outlining drawing spaces, and as a guide for cutting straight pieces of drawing paper. An all-metal ruler with raised edges may be a little more expensive, but can last a lifetime with proper care. Metal rulers are easy to clean, and their raised edges protect your drawings from being smudged as you draw lines.

44

T IP !T I P !

You can make a sanding tool similar to an artist’s sandpaper block. Cut sheets of fi ne sandpaper into long, narrow pieces, and use a heavy-duty stapler to hold them together at one end.

WARNING!

Keep your drawing supplies, small children,

and pets safe!

Always put your supplies away in a container when you are done drawing.


ArtSpeak

Viewfi nder frame is an adjustable, see-through rectangle or square that allows you to look at a drawing subject from various viewpoints.

Figure 506: A simple viewfi nder frame.

Figure 507: Drawing of a spider within a square

drawing space.

Viewfinder frame

Beginners to drawing often include too many objects in their drawings. A viewfi nder frame helps you visually weed out boring stuff in a scene, so you can draw only the exciting parts.

As you adjust its size, you can remove most of the clutter and unnecessary objects from your view. In doing so, you can choose an ideal composition for a drawing.

Small ones are great for planning compositions from photos. Large viewfi nder frames are ideal for fi nding a composition when you are outside trying to choose a drawing subject.

45Chapter 5: Adding to the Basics

Figure 508: A section of a cartoon face is viewed through the

opening of a viewfi nder frame.

Nice to have, but not necessaryBefore you go shopping for additional drawing supplies, a manikin, display board, and spray fi xative should be the top three items on your list.

Composition refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space.

Drawing space (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specifi c perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

► Spray only in a well-ventilated area (such asoutdoors).

► Make sure you read the directions carefully.

► Two or three thin coats are better than onethick coat (less is more!).

Manikins

Often made of wood, manikins are wonderful models: they don’t move, require no bathroom breaks, and don’t talk your ears off! Manikins can be manipulated into numerous poses and viewed from any angle.

46

Display boards

Bulletin or display boards (I especially love the metal ones with magnets) are relatively inexpensive and provide display space for your drawings. You can even choose a wall in your home (or use your fridge) for an ongoing exhibition of your work.

Spray fixative

A spray fi xative that is designed for graphite and charcoal can protect your completed drawings from being accidentally smudged. However, before you use a spray fi xative, keep the following in mind:

Figure 509: A simple sketch of a fi gure is created with the help

of a manikin.

WARNING!

Don’t use spray fixative on your unfinished

drawings!

You can’t erase problem areas after your drawing has been sprayed.

In addition to female and male fi gures, you can also purchase animals.


47Part 2: Get Set!

GET SET!► Ideal surfaces on which to draw► Proper lighting for drawing► Good posture for sitting to draw► What to pack in a portable studio► Creating your shopping list► Make an artist’s portfolio► Construct a simple viewfi nder frame► Three ways to hold your drawing medium ► Discover your natural hand movement

PART 2

49

6Setting up for Drawing

Chapter

*****************************************************************

Chapter 6: Setting up for Drawing

In this chapter, I tell you about drawing surfaces and lighting that work well for creating art in your home. In addition, I show you how to sit comfortably for drawing, and properly hold your pencils as you work.

I also tell you how to pack up a portable drawing kit so you can take your love of drawing wherever you go.

When assembling your drawing supplies, be sure to check around your home; you may already have many of these items.

A Comfy Place to Sit and DrawYour special artistic place in your home should be as relaxing, peaceful, and free of distractions as possible.

ArtSpeak

Drafting desk (or drafting table) is an adjustable worktable with a slanted top (Figure 601).

Drawing board is a portable, lightweight, smooth surface (often made of wood) used for sketching and drawing (Figure 602).

Clips (usually made of metal) can be used to attach sheets of paper to a drawing board (Figure 603).

Figure 601: A simple drawing of a drafting desk (and chair) that is adjusted for drawing.

Figure 602: A sketch of a horse is attached to a drawing board with a clip.

Figure 603: A popular type of clip is called a Boston Bulldog.

Figure 604: An artist is sketching on paper that is attached to a drawing board with a clip.

50

Choosing a drawing surfaceYou can easily fi nd a surface on which you can comfortably draw. Consider such options as a table, desk, drafting desk, or drawing board.

An adjustable sloped table or drafting desk is a fantastic choice. Another option is to prop up a drawing board at an angle on a regular table or desk.

Many art stores sell different types of inexpensive drawing boards in various sizes.

Drawing papers can be held in place with either clips or tape. Art supply stores usually carry large clips and special tapes for attaching paper to a drawing board. Masking tapes designed for painting the interiors of homes, also work fairly well.

Shedding light on your art To prevent your eyes from becoming tired or strained, always make sure you have good lighting.

Consider a natural light source from a window in the daytime and from a lamp for evenings and overcast days.

A fl exible-neck study lamp is designed to focus light directly on your drawing surface (Figure 605).


T IP !T I P !

Some types of tapes can damage your paper. Experiment with your tape on a small piece of drawing paper to fi nd out if it can be safely removed.

Info Tidbit

A drawing board is easy to make (if you know an adult who is handy with a saw).

Simply cut a piece of thin, smoothly fi nished plywood, Plexiglas, or another sturdy product to a size slightly larger than your favorite drawing paper. Use sandpaper to sand it until its surface and edges are very smooth.

An ideal lamp mimics natural daylight, so, read the packaging carefully before you buy!

Also, check out the cost of replacement bulbs; some types can cost almost as much as (or more than) the lamp itself.

Figure 605: An artist sits comfortably at a drafting

desk with an attached lamp shedding light on his

drawing.

51Chapter 6: Setting up for Drawing

WARNING!

Don’t attempt large drawings on a flat (horizontal) surface!

Instead, use something to prop up your sketchbook or paper so your drawing surface is sloped.

When you create large drawings on a fl at surface (such as a table or desk), the top of your paper is farther away from you than the bottom. As a result, you can end up with all sorts of problems trying to draw accurate proportions. For example, if you are drawing a fi gure, his or her head may end up too big for the body. Unfortunately, you usually fi nd this out the hard way - after your drawing is complete.

Art Quote

I don’t think people are born artists; I think it comes from a mixture of your surroundings, the people you meet, and luck.

Francis Bacon

Good Posture First!Sitting correctly (and eating your vegetables) is very important; not just for your health, but also for improving your drawing skills.

Figure 606: How NOT to sit! You become uncomfortable very quickly when you are not sitting properly.

52

Good posture and a comfortable, adjustable chair can prevent your muscles from becoming strained and sore. Arrange your chair and drawing surface so you can easily move your hand, arm, shoulder, and upper body as you draw.

How NOT to sit! Many people do not sit up straight. They hunch or lean over too much, and twist their bodies into all sorts of positions that place their back out of proper alignment (Figure 606).

Sitting correctlyMost drafting tables and some offi ce chairs have height adjustments. You can also position your chair closer or farther away from your table.

Refer to Figure 607 and arrange your table and chair until you can:

► Sit up straight with your feet fl at on the fl oor (or on a raised surface such as a footstool).

► Distribute your body weight evenly on both hips.

► Bend your knees at a right angle.

► See your drawing clearly without bending your lower back.

► Comfortably rest your lower arm on the table.


T IP !T I P !

To prevent cramping and repetitive movement injuries, move your fi ngers and wrist as little as possible when you draw.

You should be moving your lower and upper arm (and sometimes your shoulder and upper body as well).

If you absolutely have to move your fi ngers and wrist (for example, to draw tiny details), take a break every ten minutes to relax your hand and wrist.

Figure 607: A cartoon artist shows you how to sit properly at a drafting desk.

53Chapter 6: Setting up for Drawing

Once you are used to sitting correctly, you can fully focus on drawing.

Putting Together a Portable Studio In this section, I suggest practical supplies for bringing your love of drawing on any type of excursion, such as to a local park or a picnic at the beach.

Learning to draw is learning to see! The more you practice - the faster your skills improve!

Doing sketches on a regular basis trains your brain to see as an artist (a fun way to see the world).

A very thorough visual examination of your drawing subject imprints its image into your mind. You can then draw what you see in your sketchbook - often with only a few simple lines.

For example, sometimes all you need is a wiggly line to capture a section of land.

Figure 608 shows a simple sketch of the lake behind my home.

You should keep a few drawing materials packed and ready to travel.

Figure 608: Simple lines capture a sky, hills, a lake, trees, and a few plants.

When you feel like drawing outdoors, you can just grab your portable studio and go.

First of all, you need something in which to carry your art materials. A backpack or fabric bag with handles is great. Select something large enough to hold everything you need.

Naturally, you need a surface on which to draw. You can bring a drawing board, paper, and clips (or tape). A hardcover sketchbook is a great alternative to sheets of paper; its hard cover serves as a drawing surface.

Add a pencil case fi lled with pencils, erasers, sandpaper blocks, and a pencil sharpener.

Here’s a list of additional things you may want to bring along:

► A viewfi nder frame.

► Your portfolio (if you use sheets of drawing paper).

► Plastic bags to protect your drawings (and you) in case of rain.

► Beverages and snacks.

► Wipes or paper towels for clean-up (especially if you use charcoal).

► A small camera to take photos of inspirational scenes and objects.

► Depending on where you go, you may need bug repellent.

► Oh, and don’t forget your sunscreen and a hat!

Save all your sketches! By examining your older sketches, you can measure how much your skills have advanced.

In addition, as your creativity and artistic vision improves, you may look back on your early works with a new appreciation.

For example, a face may be hidden within a sketch of an old log. (Remember the stone faces hidden in Figure 101 in Chapter 1.)

When we speak of Nature it is wrong to forget that we are ourselves a part of

Nature.

We ought to view ourselves with the same curiosity and openness with which

we study a tree, the sky or a thought, because we too are linked to the entire

universe.

Henri Matisse

Art Quote


55

7Making a List, Portfolio, and Viewfinder Frame

Chapter

*****************************************************************

Chapter 7: Making a List, Portfolio, and Viewfinder Frame

In this chapter, your fi rst exercise is to make a shopping list and buy your drawing supplies. You then follow step-by-step illustrated instructions to make a portfolio and viewfi nder frame. (I show you how to use a viewfi nder frame in Action 9F in Chapter 9.)

►ACTION 7A◄

The Shopping ListGoal: Write out a shopping list so you can go shopping for your supplies.

Supplies needed: Paper and pencil (or pen).

The following lists are guides for making your own shopping list.

Must havePlan to purchase (or fi nd around your home) the items on this list fi rst:

Figure 701: Shopping for art supplies.

► Sketchbook with medium tooth, acid-free paper: 9 by 12 inches (or larger)

► Package of inexpensive sheets of paper (printer/copy paper works well)

► Regular vinyl eraser

► Kneaded eraser

► Pencil case

► 2H, HB, 2B, 4B, and 6B wood-encased pencils

► Sturdy handheld pencil sharpener

► Sandpaper blocks or sheets of fi ne-grit sandpaper

► Drawing surface, such as a drafting desk, or table with a drawing board

► Lamp

► Metal ruler

► Metal clips (if you plan to use a drawing board)

► Comfortable chair

► Portfolio case (for storing your completed drawings)

► Viewfi nder frame

(Supplies for making a portfolio and viewfi nder frame are on the next page.)

Nice to haveAs your skills improve and you have extra money, you can shop for items from this list:

T IP !T I P !

When buying matboard or cardboard to make a viewfi nder frame, stay with neutral rather than bright colors.

When using a brightly colored viewfi nder frame, your eye is grabbed by the loud color, making it hard to concentrate on the view inside.

► Wooden manikins

► Bulletin or display board

► Spray fi xative

► Mechanical pencils with 2H, HB, and 2B leads

► A selection of good-quality drawing papers

► Camera

► Hardcover sketchbook

► Graphite sticks and woodless pencils

► Pencil-type vinyl eraser


57Chapter 7: Making a List, Portfolio, and Viewfinder Frame

Supplies for making a portfolioIf you (or someone else) plan to make a portfolio, you need the following:

► Roll of wide tape (duct tape is great and comes in lots of fun colors)

► Heavy-duty, sharp utility knife

► Straight edge or long ruler with a metal edge

► Sharp tool (such as a scratch awl or a large nail) for punching holes for ties.

► Strong string, thin rope, or shoelaces (long enough to tie the portfolio closed in three places)

► Acid-free cardboard or matboard (usually offered in a wide selection of colors at framing and art supply stores)

► Drawing supplies for adding a design (optional)

Supplies for making a viewfinder frameBesides acid-free board, a utility knife, and a ruler, you also need two large paper clips.

Supplies for a portable studioYou need a second set of basic drawing supplies, as well as some of the extra items suggested on Page 54.

►ACTION 7B◄

Making a PortfolioGoal: Make and design your very own unique portfolio.

Figure 702: A homemade portfolio.


Gather your supplies on a large, fl at surface that can’t be damaged with a sharp knife.

For example, cutting the board on the dining room table may not be the best idea! You may want to ask an adult for help.

Deciding on a sizeThe fi nished size of your portfolio needs to be a little larger than your largest sheet of drawing paper. When choosing board, you can use either one large sheet or two smaller pieces.

One large folded sheet of board makes a slightly stronger portfolio than two smaller pieces - especially along the bottom. If you decide on one large sheet, take into account that you need to fold it in half. In other words, the fi nished portfolio will be half the size of your board.

If you buy two pieces (one for each side), each needs to be the fi nished size.

Suggested portfolio sizes include:

► 16 by 20 inches (one sheet at least 32 by 20 inches, or two piecesat 16 by 20 inches each).

► 20 by 30 inches (one sheet at least 40 by 30 inches, or two pieces at 20 by 30 inches each).

T IP !T I P !

Some boards (such as matboard) are colored on one side and white on the other.

Hence, you may want the colored side facing outward on your portfolio.

If your board is the same color on both sides, simply ignore references to color.

The colored side in the illustrations is shown as gray.

Option 1: Using one large sheet of board

1. Trim the large piece of board to the overall size you want.

Measure the board fi rst - it may not need to be trimmed. Refer back to the previous section for suggested sizes. Keep in mind that it needs to be folded in half (peek ahead to Figure 703).

If your board is already the size you want, go to step 2.

2. Place your large sheet of board (colored side facing up) on a fl at surface.


3. Measure the board and mark the center points along the width.

For example, if your board is 32 by 20 inches, the middle points are at 16 inches. If your board is 40 by 30 inches, the center points need to be at 20 inches. Use a ruler to measure, and an HB pencil to mark the points.

4. Use a long ruler or straight edge to draw a straight line along the points.

Use an HB pencil. This line shows you where you later score (slightly cut) the board (Figure 703).

5. Add wide tape to all four edges of the large board.

Figure 703: A straight line is drawn down the

center of the board, and the edges are made

strong with wide tape.

6. Measure, and then mark the halfway distances of the sides and top of each half with a dot (to mark where the ties go).

See Figure 704. The sides have one dot. The top and bottom edges have two, and each is halfway between the edge and the center line.

7. Use a sharp tool to punch holes where each of the six dots is marked.

Figure 704: Dots mark the spots where the ties

attach.


8. With your knife and a straight edge, cut veryslightly (sometimes referred to as “scoring”) along the straight line on the colored side.

Be very careful; if you cut too deeply into the board, you’ll have two pieces of board instead of one scored piece.

9. Gently fold the large sheet of board inwardalong the scored line.

The colored side should now be on the outside.

10. Open the portfolio and tape over the insidecenter seam.

To make this seam super strong, use two strips of tape (Figure 705).

11. With the portfolioclosed, tape over thescored seam at the bottom.

The basic construction of the portfolio is complete (Figure 706).

12. Continue on to the Adding ties and fi naltouches section onpage 62.

T IP !T I P !

If you accidentally end up with two pieces, all is not lost.

Simply continue on and follow the instructions for working with two pieces instead of one.

Figure 705: Portfolio is folded along the score

line, and the inner fold line section is reinforced with

wide tape.

Figure 706: The bottom edge of portfolio (the folded edge) has been reinforced with strong tape.


Option 2: Using two pieces of board

1. Using wide tape, reinforce all but one long edge of each piece of board.

2. Place the boards colored side up so the two wide edges that are not taped (the bottom of the portfolio) are close together.

3. Measure, and then mark dots at the halfway distances of the sides and top of each piece of board.

These dots show you where to punch holes for the ties (Figure 707). Do not mark dots on the sides without tape. These sides are the bottom of your portfolio.

4. Use a sharp tool to punch holes where the dots are marked.

You end up with three holes on each piece of board.

5. Butt the bottoms of each piece of board tightly together on a fl at surface.

The inside surfaces should now be facing you (Figure 708).

6. Tape both pieces together.

To make the seam super strong, use two strips of tape (Figure 708).

Figure 707: Three sides of each piece are reinforced with wide tape; the holes for the ties are marked and then punched with a sharp tool.

Figure 708: The boards are butted together and then taped together with wide tape.


7. Fold the portfolio so the colored sides are on the outside.

See Figure 709. The holes for ties should line up on the top and sides.

8. Use at least two strips of wide tape to reinforce the bottom edge on the outside.

Adding ties and final touches

Figure 709: The bottom edge of the portfolio is reinforced with strong tape.

In this section, you fi nish your portfolio by adding ties. You have the option of decorating either one side or both with creative designs.

Tie a knot in the end of each tie.1.Figure 710: A knot is tied on one end of a shoelace.

Figure 712: Wide tape covers the knotted ends

Figure 711: The laces are threaded through the holes from the inside toward the outside.

Refer to Figure 710. Each of the six ties needs to be between 12 to 16 inches long.

If you use shoelaces, you may get away with using half for each tie (if they are long). If using a half, tie the knot in the end that has been cut. If you use a full shoelace for each tie, it doesn’t matter on which end you tie a knot.

2. Thread a tie through each of the six holes from the inside.

Refer to Figure 711. The end with the knot needs to be on the inside.

If the hole is bigger than the knot, you can tie additional knots on top of the fi rst so the end won’t go through the hole.

3. Use wide tape to secure the knotted ends of the ties to the inside (Figure 712).


Figure 713: The portfolio awaits a spiffy design.

4. Close the portfolio.

Figure 713 shows the outside of an undecorated portfolio.

5. Add a design or drawing to the sides of your portfolio.

Decorating your portfolio is completely optional. You may prefer to use it as is.

The portfolio in Figure 714 has a drawing of daisies on the front. You can probably think of oodles of other ideas to decorate your portfolio.

Place your drawing paper and drawings inside and tie the ties.

Figure 714: A drawing of daisies graces one side of a portfolio case.

Making a Viewfinder FrameGoal: Make a viewfi nder frame.

Set up your supplies on a fl at space that is adult-approved.

Figure 715: A homemade viewfi nder frame.

►ACTION 7C◄

Figure 716: Each L-shaped piece of matboard needs to be cut perfectly square. This means that the corners should form a

ninety-degree angle (also known as a right angle).

Figure 717: Two L-shaped pieces of matboard are joined with paper clips so the inside becomes either a square or rectangle.

Consider making several viewfi nder frames in different sizes.

Smaller ones are great for planning compositions from photos.

Bigger ones are ideal for fi nding a composition when you are outside trying to choose a subject.

Use a ruler and a utility knife to cut two identical L-shaped pieces of cardboard any size you want.

Again, don’t be afraid to ask for help using a knife.

Refer to Figure 716. When choosing a size, keep in mind that the wider your frame, the more you can block distracting and unwanted objects from your view.

2. Use two large paper clips to join the two pieces together to form a frame.

Refer to Figures 717 and 718.

1.

Figure 718: A close-up view of my grandson

(Brandon) is selected with the help of a viewfi nder

frame.


65Chapter 8: Give Yourself a Helping Hand

8Give Yourself a Helping Hand

Chapter

*****************************************************************

Moving your drawing hand naturally and rotating your paper as you work can improve your artistic outcomes. In this chapter, you discover how these simple actions can quickly advance your current drawing skills.

Holding Your MediumsThe way you hold your drawing mediums can affect the look of your drawings. If you move only your fi ngers and wrist, your lines may end up looking shaky and rigid.

Creating smoothly fl owing lines requires broad, gentle movements of your whole arm. Adjust your chair and table until you can easily move your hand, arm, shoulder, and upper body as you draw.

Choosing the most comfortable way to hold your medium depends on the following:

► Your choice of medium

► Whether your drawing surface is fl at, vertical, or on an angle

► The size of your drawing paper

ArtSpeak

Straight line provides the shortest connection between any two points. Straight lines can be drawn in any direction.

Figure 801: Several straight lines that are drawn in six

different directions.

Figure 802 illustrates how most people hold their pencil when fi rst beginning to write and draw. (Remember to move your arm rather than just your fi ngers and wrist.)

This method is ideal for creating small drawings on a fl at or sloped surface.


Figure 804: An

ideal way to hold various

types of drawing

mediums for sketching.

Figure 803: How

to hold a pencil when

you are creating big, bold

sketches.

Figure 802: Holding a pencil in the most familiar and traditional manner.

The second way of holding a pencil (Figure 803) is great for rendering a medium to large sketch (or drawing) on a sloped or vertical surface.

This method requires movement from your arm, and sometimes your shoulder and upper body as well.

The method shown in Figure 804 requires movement from your arm and shoulder, and is ideal for holding pencils or sticks of graphite and charcoal.

You can hold your pencil this way when you work on a sloped or vertical surface.

Experiment with each of the three ways to hold your drawing mediums. You may fi nd a couple of these methods a little awkward at fi rst, but with practice you do get used to them.

67Chapter 8: Give Yourself a Helping Hand

Figure 805: This drawing of an old man (including the marks and age spots on the paper) is copied from a drawing by Leonardo.

Becoming a Natural As discussed in the previous section, you can choose from three different ways to hold your pencil. The next logical step is to fi nd the most natural way to move your pencil as you draw.

Many aspiring artists simply jump into drawing without taking the time to discover their natural hand movement.

As a matter of fact, most people don’t even know they have one!

This section explores the natural hand movement of Leonardo da Vinci, and helps you fi nd and use yours.

Leonardo the leftyYou can tell a lot about artists by examining their art.

Recently, I took the time to check out some of Leonardo da Vinci’s drawings. I found myself in awe of his shading lines - mostly drawn at the same angle.

I used a graphite pencil to render a study of one of Leonardo’s pen-and-ink drawings. Figure 805 shows my drawing of an old man’s face.

Leonardo’s shading lines appear to be rendered from the upper left to lower right, and from the lower right to the upper left. Examine the close-up view of the shading lines in Figure 806).

Figure 806: I turned this drawing sideways as I worked so I could imitate Leonardo’s lines with my own natural hand movement.

Finding your natural hand movementYou natural hand movement may not be the same as either Leonardo’s or mine.

Try your hand at drawing sets of slanted straight lines in your sketchbook (Figure 807). Pay attention to how you make these lines. Use many different ways of moving your pencil or changing the slant of your lines. Some will feel comfortable and others will feel awkward. Figure 807: A sketchbook page has

lines that slant in many directions.


However, there will be one motion that feels the most comfortable. This is your natural hand movement, and you should try to use it to your advantage whenever possible.

Rotating your paper as you drawProfessional artists have many secret ways to make sure their drawings turn out well. In addition to using their natural hand movement, they often rotate their paper.

Info Tidbit

Many experts claim that Leonardo da Vinci was left-handed because of the way he drew straight lines (slanted from the upper left to lower right). This is the natural hand movement of many left-handed artists.

Right-handed artists (like me) often draw lines from the upper right to the lower left.

Art Quote

The artist ought first to exercise his hand by copying drawings

from the hand of a good master.

Leonardo da Vinci

You should rotate your drawing paper as you work to take full advantage of your natural hand movement. Remembering to always rotate your paper takes lots of practice. But, before you know it, you are rotating your paper all the time without even thinking about it.

In Action 9E in Chapter 9, you can try your hand at drawing shapes by rotating your paper.

69Part 3: Go Draw!

GO DRAW!► Action 9A: Sketching a Self-Portrait► Action 9B: Creating Values with Squirkles► Action 9C: Playing with Pencils► Action 9D: Playing with Erasers► Action 9E: Drawing Shapes by Rotating Your Paper► Action 9F: Framing with a Viewfinder ► Action 10A: Drawing a Caveperson► Action 10B: A Realistic Eye► Action 10C: Mugly Wigglebottom

PART 3

71Chapter 9: Putting Your Supplies to Work

9Putting Your Supplies to Work

Chapter

*****************************************************************

Finally! Time to draw!

In this chapter, you complete a few exercises and projects designed to teach you how to use your supplies. You also discover how to use a few basic drawing techniques.

T IP !T I P !

Always sharpen your pencils before you begin a drawing project.

►ACTION 9A◄

Sketching a Self-PortraitGoal: Document your current drawing skills by drawing yourself.

Supplies needed: Paper, erasers, a 2B pencil, and a mirror.

Set yourself up for drawing where you can clearly see your refl ection in a mirror. Draw a portrait of yourself as realistically as possible.

When you’re fi nished, sign your name, write the date on the back, put your drawing away in a safe place, and give yourself a big hug!

►ACTION 9B◄

Creating Values with SquirklesGoal: Find out the base value of each of your fi ve grades of graphite


ArtSpeak

Squirkling is a simple shading technique in which randomly drawn curved lines (called “squirkles”) create values. Squirkling is ideal for simple drawings by beginners (Figure 901), as well as highly realistic works by professional artists (Figure 902).

Figure 902: Advanced drawing of a tiny section of a phone that is completely

rendered with squirkles.

Figure 901: Squirkling is great for drawing wool on a cartoon sheep.

Figure 903: A value scale created with squirkles. Each grade of pencil has a different base value.

pencils.

Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils.

What do you get when you cross squiggles with circles? You get Squirkles! Squirkling is a simple method of shading that uses randomly drawn curved lines to create values. I chose this name based on the method of mixing squiggles with circles to create shading. Many of my students from the past three decades are very familiar with this word!

In this project, you create fi ve different values with fi ve grades of pencils.

Don’t press too hard or too softly with your pencil. Apply a medium amount of pressure. Allow your pencils to do most of the work.

Value scale is a range of different values that are drawn in order from light to dark or from dark to light (Refer to Figure 903).


1. Draw a rectangle that is 2 inches high by ten inches long, and divide it into fi ve squares that are each 2 by 2 inches.

Surprise! Math is a very important part of drawing! But don’t grumble yet - I’ll be introducing the various math skills very gently.

3. In the fi rst square, use a 2H pencil to scribble (squirkle) curved lines that twist and bend in many directions.

Refer to Figures 906 and 907. Your goal is to create a light value.

If you see a very large white space (the white of your paper), draw a curved line through it so it becomes two small spaces. If a section has a lot of lines, don’t add any more.

The white spaces can be many different shapes, but they should be approximately the same size.

Figure 904: I used a ruler to outline a drawing space that is 2 by 10 inches (divided into fi ve squares).

Figure 905: Each square is marked with a grade of pencil from the lightest (on the left) to the darkest.

2. Mark the grade of one of your pencils under each square.

T IP !T I P !

Take your time!

Work very slowly and closely watch your line as it curves around within this square. Small squirkles make much smoother values than large ones.

Accuracy is much more important than speed. Speed increases with lots of practice.


4. Use the same method to draw squirkles in each of the other four squares.

Refer to Figures 907 to 915. Use an HB pencil in the second square; a 2B in the third; a 4B in the fourth; and a 6B in the fi fth.

Figures 906 and 907: A 2H makes a very light value.

Figures 910 and 911: The middle value is made with a 2B pencil.

Figures 908 and 909: A slightly darker value is created by an HB Pencil.

If you make a value that looks too light, you can simply add a few extra squirkling lines to make it slightly darker.

Make sure that each new value you draw is slightly darker than the previous one.

Try squinting your eyes a little to see the squirkles as a value.


Figure 914: The darkest

value is drawn with a 6B.

Figures 912 and 913: A 4B grade of pencil makes a dark value.

You have completed a value scale from light (on the left) to dark (on the right).

Prop up your drawing and stand a few feet away. Can you see fi ve different values from light (on the left) to dark (on the right)?

5. Draw another value scale from dark (on the left) to light (on the right).

Refer to Figure 916. When you’re done, pat yourself on the back ten times.

Figure 915: A value scale of fi ve different values.

Figure 916: A value scale from dark to light.

Figure 918: Three different values of lines made with a 2H grade of pencil.


►ACTION 9C◄

Playing with PencilsGoal: Draw three sets of lines with each of your fi ve pencils.

Figure 917: Many different values of lines can be made with only fi ve grades of pencils.

Supplies needed: Paper and 2H, HB, 2B, 4B, and 6B graphite pencils.

As you know from Action 9B, each grade of pencil makes a different base value. However, did you know that each grade on its own can make several values?

In this project I show you how to create light, medium, and dark lines with each of your pencils. To do this, you simply vary the pressure you apply to your pencil.

1. Use a 2H pencil to draw a light, medium, and dark set of three straight lines (nine lines in total).

► Set of three light lines: Apply very little pressure to your pencil.

► Set of three medium lines: Use a medium amount of pressure.

► Set of three dark lines: Press fi rmly with your pencil.

Remember to rotate your paper so you can use your natural hand movement.

Art Quote

What we call creative work ought not to be called work at

all, because it isn’t.

I imagine that Thomas Edison never did a day’s work in his last

fifty years.

Stephen B. Leacock

Playing with ErasersGoal: Draw lines and shapes with an eraser instead of a pencil.

Supplies needed: Heavy white drawing paper with a medium tooth, a 2B or 4B charcoal stick, 2B or 4B charcoal pencil, vinyl eraser, kneaded eraser, and paper towels.


Figure 919: Fifteen sets of lines result in a wide range of different values.

2. Use the same technique to draw three different lines with each of your other four pencils (Figure 919).

Congratulations! You now have a better idea of how artists make several different values with only one pencil.

Put one fi nger on the tip of your nose and walk seven steps in a straight line.

►ACTION 9D◄

Figure 920: Lines and shapes created with erasers.

WARNING!This project

is very messy!

Stay away from light-colored carpets or fabrics. Cover your drawing surface with paper or plastic before you begin.


ArtSpeak

Blending is the process of gently rubbing shading with a blending tool (such as a facial tissue or paper towel) to evenly distribute the drawing medium over sections of the surface of drawing paper.

Figure 921: A section of shading before it is blended.

Figure 922: The same shading after it was blended with a facial tissue.

Most artists are familiar with drawing dark values on a light surface. However, as you will soon see, you can also draw light values on a dark surface by using an eraser (or erasers). In this section, you experiment with two different types of erasers as drawing tools.

1. Use the side of a charcoal stick to smoothly fi ll in a section of your paper.

Gently does it! Don’t press hard with the charcoal. The charcoal needs to sit on the top of the paper’s tooth – not fl atten it! In real life, my section is 6 by 3 inches – but larger is even better!

2. Use a piece of paper towel to VERY GENTLY blend the whole surface.

Figure 923: A section of my paper is fi lled in with charcoal and then very gently blended.

Don’t apply too much pressure, or you’ll grind the charcoal into the paper so much that it won’t erase (thereby defeating the whole purpose of this project).


3. Use your erasers however you wish to experiment with pulling light values from the darkened drawing surface.

For a few ideas refer to Figures 924 and 925.

Figures 924 and 925: A few lines, dots, and shapes are pulled out of the charcoal with the edges of vinyl erasers, and kneaded erasers molded into various shapes.

Info Tidbit

Thomas Edison is best known as an inventor (he helped invent many wonderful items such as the light bulb and motion picture camera).

However, did you know that he could draw well? He often sketched his ideas and drew diagrams of the inventions on which he worked.

4. Use your imagination and the same process to create more drawings.

You can also use your charcoal pencil to draw more details after the white sections are erased (Figure 926).


Figure 926: I used a charcoal pencil to add a few dark lines to

my eraser drawing.When you’re done, go wash the charcoal off your face, and put a big smile on your face!

T IP !T I P !

Completed charcoal drawings should always be sprayed with a fi xative so they don’t smudge too badly.

Art Quote

Genius is one percent inspiration, ninety-nine percent perspiration.

Thomas Edison

►ACTION 9E◄

Drawing Shapes by Rotating Your PaperGoal: Draw three different shapes by rotating your paper and using your natural hand movement.

Supplies needed: Paper, a 2B graphite pencil, vinyl eraser, and kneaded eraser.

Figure 927: Three shapes created by using my natural hand movement and rotating my paper.


You fi nd two illustrations beside each step; one for righties and the other for lefties. To help you remember which drawing is which, the lefty one is on the left and the righty one is on the right.

Part 1: Circular shapeYour goal in this section is to draw a shape using only curved lines.

Figure 928RFigure 928L

1. Write the word “TOP” at the top of your paper so you don’t get lost.

2. Draw the fi rst part of the shape (Figure 928).

3. Rotate your paper so the word “TOP” is on the side (Figure 929). Figure 929RFigure 929L

T IP !T I P !

Don’t worry about copying my drawings exactly!

Just take your time and do your best.

It’s more important to get used to rotating your paper so you can use your natural hand movement.


Figure 930R

Figure 931R

Figure 932R

4. Draw the second part of the shape (Figure 930).

5. Rotate your paper until the word “TOP” is on the bottom (Figure 931).

6. Draw the third part of the shape (Figure 932).

Figure 930L

Figure 931L

Figure 932L


Figure 934R

Figure 935R

Figure 933R

7. Rotate your paper until the word “TOP” is on the other side (Figure 933).

8. Draw the fi nal part of the shape (Figure 934).

Figure 933L

Figure 934L

Figure 935L

9. Rotate your paper until the word “TOP” is on the top again.

Examine your drawing of a circular shape while patting yourself on the head and standing on one foot.

Then, compare my fi nal lefty and righty drawings (Figure 935).

When placed side by side, they are mirror images of one another.

Part 2: Straight-sided shapeIn this section, you draw a ten-sided shape with straight lines. To help keep you on track, I have numbered each line (Figure 936).

Righties and lefties draw the exact same shape this time (rather than mirror images). However, you still need to turn your paper in different directions as you work.

Again, righty illustrations are on the right and lefty ones are on the left.

1. Write the word “TOP” at the top of your paper, and refer to Figure 937 as you draw lines 1 and 2.

Before you begin, locate lines 1 and 2 in Figure 936.

Make sure you leave lots of room on your paper for the other eight lines that outline this shape.

Lefty’s need to rotate their paper for this step and righties don’t.


Figure 936: The lines are numbered in the order in which you draw them.

Figure 937L Figure 937R

Info Tidbit

In Drawing Book 2: Lines and Spaces, I show you how to draw very straight lines freehand (without a ruler).


3. Rotate your paper and draw line 3 (Figure 938).

5. Complete your drawing of the straight-sided shape by following along with fi gures 940 to 943.

By now you know how to follow along with illustrations to complete a drawing. Take your time and refer back to Figure 936 if you get lost.

4. Rotate your paper again and draw line 4 (Figure 939).

Figure 938LFigure 938R



Figure 940L

Figure 940R

Figure 941L

Figure 941R

Art Quote

“When I was a boy of 14, my father was so ignorant I could hardly stand to have the old man around. But when I got to be 21, I was astonished at how much the

old man had learned in seven years.” Mark Twain



Figure 943L

Figure 943R

Rotate your paper until your shape is right-side-up again (Figure 944).

Then stand up and wiggle your whole body!

Figure 944: If this shape was part of a familiar object, what would it be? Try looking at it sideways, slanted, and upside-down.


Part 3: CircleMost artists consider circles to be the most diffi cult shape to draw.

In this section, you try your hand at drawing a circle. You may be quite surprised by how well you do with help from your new skills - using your natural hand movement and rotating your paper.

1. Follow along with Figures 946 to 950 to draw a circle.

You may prefer to draw a circle without drawing the square fi rst. If so, simply ignore the square outlines in the illustrations.

T IP !T I P !

A square can help you draw a better circle!

Use a ruler to measure and draw a square on your paper (Figure 945).

Measure and then mark a small dot (or line) at the halfway point of each of the four sides.

Your circle should only touch the sides of the square at each of these four marks.

1.

2.

Figure 945: When you want a really good-looking circle, try drawing it inside a square.

Figure 946L Figure 946R


Figure 947R

Figure 948R

Figure 949R

Figure 947L

Figure 948L

Figure 949L


2. Erase your square outline (if you drew it).

Stand up and turn around in a circle three times.

Just for fun!So, now you have three very boring shapes (Figure 951). How can you make them more interesting? Easy! Turn them into something or somebody.

Figure 951

Figure 950

A few lines and squirkles (and an imagination) gave my shapes a little personality (Figure 952).

Have fun transforming your shapes into something more interesting. You can turn each shape around in any direction.

Challenge: Draw three more shapes: one with curved lines, another with straight lines, and a circle. Remember to use your natural hand movement and rotate your paper as you draw. Then, use your imagination to turn each into something or somebody.

Figure 952: As a child, I spent

many hours drawing random shapes

and giving them faces (as well as

noses, ears, hair, and

hats).

►ACTION 9F◄

Framing with a ViewfinderGoal: Use a viewfi nder frame to choose a composition from a photograph, then set up a drawing space, and draw what you see inside the borders of the frame.

Supplies needed: Photograph, viewfi nder frame, ruler, drawing paper, pencils, erasers, and pencil sharpener.

Figure 956: Fishing shacks viewed through a viewfi nder frame.

ArtSpeak

Drawing from life refers to the process of drawing from an actual person, animal, or scene, rather than from a photograph or computer image.

Landscape format (sometimes called a horizontal format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom (Figure 953).

Portrait format (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom (Figure 954).

Figure 953: A fun drawing of a cartoon snake fi ts nicely into a landscape format.

Figure 954: A portrait format works well for this

drawing of a giraffe.


Figure 957: Working with a viewfi nder frame includes: (1) choosing a photo, (2) deciding on a composition, and (3) drawing what you see inside the frame’s opening.

Info Tidbit

Unfortunately, I was unable to put any actual scenes into this book (grin).

Hence, this project (and many others) are based on photographs.

However, keep in mind that the basic process for using a viewfi nder frame with a photo is almost identical to viewing drawing subjects from life.

Three steps for framing a view To give you an idea of how a viewfi nder frame works, I have broken down the process into three basic steps (refer to Figure 957):

I choose a photo that I really like. It’s a landscape format, and I want to draw the fi shing shacks in a portrait format.

I adjust the two parts of the viewfi nder frame until I fi nd a portrait format that I like.

I draw what I see inside the frame. (I decided not to draw the boat on the right.)

1.

2.

3.



Create a sketch by framing your view

Choose a photograph.

If you want to draw from a valuable or cherished photo, scan and print a copy rather than work from the original.

Better still - take a photo of something simple that you want to draw and then print it.

1.

T IP !T I P !

Choose a photo that you really like!

Make sure your subject is something that looks like it might be fun to draw. You may become bored with a subject that doesn’t appeal to you.

Make sure the photo isn’t fuzzy, out of focus, or in really bright light or dark shadows. You can’t draw something you can’t see.

Figure 958: Photo I took of a fun duck-shaped candle that I wanted to draw.

Figure 959: The section of the photo that I want to draw is framed inside a viewfi nder frame.

2. Place your viewfi nder frame on top of the photo and choose the section you want to draw.

Continuously adjust both sections of the viewfi nder frame until the part you want to draw is completely in view.

Remember, you can choose either a square, vertical, or horizontal drawing format.

Use a pen or pencil to mark small dots on the photo inside the four corners of the frame.

Check out the small dots marked in blue in Figure 959.

Remove the viewfi nder frame, and use a ruler to connect the dots to outline a square or rectangle (Figure 960).

A fun part of being an artist is that you can decide to change what you see in a photo before you draw.

For example, I decided to not include the edge of the table, the background clutter, or the cast shadow in my drawing.

3. Draw your subject with any medium and in any way you want.

First of all, decide if you want to leave out something that you see in your photo.

Then, outline a drawing space on your paper that is the same shape and proportions as the outlined section of your photo.

For example, if the outline on your photo is 2 by 3 inches, you can make a larger drawing by using a drawing format that is 4 by 6 inches (twice the size), or 6 by 9 inches (three times the size of the original).


ArtSpeak

Cast shadow is a dark section on a surface adjacent to (beside) an object (or living being) that receives little or no direct light.

Examine the cast shadow (cast by the duck candle) on the surface of the table in the lower right of Figure 960.

Figure 960: The section of the photo that I want to draw is outlined.

Figure 961: I decided to do a simple line drawing of the duck-shaped candle.

When you are done, quack like a duck as you fl ap your arms like wings!

95Chapter 10: Three Simple Drawings

Three Simple Drawings*****************************************************************

This chapter presents three fun projects that put your new drawing skills into action. The fi rst challenges you to draw several shapes with curved lines; the second encourages you to put your squirkling skills into action to draw the pupil of an eye; and the third takes you through the entire process of drawing - from sketching lines to adding shading.

Remember to rotate your paper so you can use your natural hand movement. Be patient with yourself; drawing lines and shapes freehand requires lots of practice before you can do it well.

10Chapter

Drawing a CavepersonGoal: Draw a human fi gure that looks like a prehistoric cave drawing.

Supplies needed: Paper, erasers, ruler, and a 2B pencil.

In this project, you use curved lines to draw a body; then add a head, two arms and two legs; and fi nally draw hands and feet.

►ACTION 10A◄

Figure 1001: A simple drawing of a caveperson.

1. Use a ruler to draw a rectangular drawing space that is approximately 3 inches wide by 5.5 inches long.


2. Draw a partial oval-shape (Figure 1002) as the main section of the body (called a torso).

Plan where to draw the torso on your paper so you leave room for a head, arms, and legs. For example, the whole torso fi ts into the top half of the drawing space. Also, if you look closely, the torso is a little closer to the left side of the rectangle than the right.

3. Add a head and neck (Figure 1003).

4. Draw the upper part of the arms (Figure 1004).

5. Draw the lower sections of the arms and the hands (Figure 1005).

The upper part of the body is fi nished - the torso, head, arms, and hands all fi t nicely into the upper half of your drawing space.

Figure 1002 Figure 1003


Figure 1004 Figure 1005

Art Quote

“The way to learn to do things is to do things.

The way to learn a trade is to work at it.

Success teaches how to succeed.

Begin with the determination to succeed, and the work is half done already.”

Henry Ford

Info Tidbit

Long before people learned to write, they used bones or sticks dipped into paint to draw their stories on the walls of caves.

Their paint was often made from plants or animal blood.


2. Add the upper legs and knees (Figure 1006).

3. Draw the lower parts of the legs and the feet (Figure 1007).

Challenge: Use your imagination to create other prehistoric drawings. For instance, you can draw animals, hunters with bows, or people dancing around a fi re. Refer to Figure 1008 for ideas.

Figure 1007

Figure 1006

Figure 1008: Five prehistoric cave drawings.

99

A Realistic EyeGoal: Lightly sketch the shapes of an iris, pupil, and highlight and add shading with squirkles.

Supplies needed: Paper, HB, 2B, and 6B pencils, kneaded and vinyl erasers, sandpaper block, and a pencil sharpener.

In this project, you focus on the highlight, pupil, and iris, as well as the edge of the upper eyelid.

►ACTION 10B◄

Chapter 10: Three Simple Drawings

ArtSpeak

Iris (1) is the colored circular part of an eyeball surrounding the pupil (2) (defi ned on page 21).

Highlight (3) is the brightest area where light bounces off the surface of the eye.

Figure 1010: A drawing of an eyeball with an iris (1), pupil (2), and highlight (3).

Figure 1011: Simple drawing of a pupil, an iris, a highlight, and the edge of the upper eyelid.

Figure 1009: The parts of an eye include the: iris (1), pupil (2),

highlight (3), upper eyelid (4), and white of the eye (5).

1. Use an HB pencil to lightly sketch a circular shape as the iris of an eye.

Refer to Figure 1012. Remember to press very lightly.

Upper eyelid (4) is a movable fold of skin that opens and closes to protect the eyeball.

Eyeball (also called the white of the eye) is the entire spherical section of an eye that is protected inside an opening in the skull (Figure 1010).


2. Sketch a small circular shape in the upper left section of the iris (Figure 1013).

This is the highlight. Its location indicates that a light is shining on the eye from the upper left.

3. Use a curved line (almost a circle) to draw the pupil of the eye (Figure 1014).

This curved line begins and ends at the highlight.

4. Add a slightly curved line cutting through the upper section of the iris (Figure 1015).

This line represents the lower edge of the upper eyelid. The upper sections of irises are usually hidden under the upper eyelid (represented by a simple curved line).

5. Use your kneaded eraser to gently erase the section of the iris above the edge of the upper eyelid (Figure 1016).

Figure 1013Figure 1012 Figure 1014

Figure 1016Figure 1015

101

6. Add a few tiny squirkles to the iris with an HB pencil (Figure 1018).

Press very gently on your pencil to keep the lines light.

The more uneven you draw the squirkles, the better the shading of the eye will look.

Therefore, make sure your squirkle lines curve in all different directions.

ArtSpeak

Also, some lines need to have large curves and others should be smaller.

7. Use freshly sharpened HB and 2B pencils to shade in the dark values of the iris (Figure 1019).

Press fi rmly with an HB pencil to add slightly darker shading around the edges of the iris (especially next to the edge of the eyelid).

Press gently with a 2B pencil to make the shading closest to the edge of the upper eyelid even darker. The upper section of an iris is often in the shadow of the upper eyelid.

Chapter 10: Three Simple Drawings

Shadow refers to any dark area where direct light from a light source is blocked (or partially blocked) by an object or living being.

Shadows can be on the surface of an object or living being (1), or on a surface that is adjacent to an object or living being (called a cast shadow) (2).

Figure 1017: A light source from the upper left creates a shadow (1) on the lower right surface of an egg, as well as

a cast shadow (2) on the surface on which the egg sits.

Figure 1018: The overall value of the iris is light, and lots of white paper is showing through.

8. Add the darkestshading of the iris(Figure 1020).

Use your 2B pencil again, and this time press fi rmly (but not too hard) to make the outer edges of the iris and the shadow under the upper eyelid darker.

At this point, you should see very few white spaces still showing in these sections.

9. Use a 6B pencil andsquirkles to fi ll in thepupil (Figure 1020).

Make sure your pencil is freshly sharpened.

Naturally, the highlight is left white.

10. Use your vinyl eraser to clean up any smudges or fi ngerprints on your drawing paper.


Figure 1019: The shading is darker in the upper section of the iris and around its edges. Some of the light shading is still showing around the lower section of the pupil.

Figure 1020: The darkest shading in the iris is directly below the edge of the upper eyelid. The darkest shading of all is in the pupil.

Now, sit comfortably in your chair and relax your eyes as follows:

Rub your hands together quickly until the palms of your hands feel warm.

Close your eyes lightly.

Cover each of your eyes gently with the palm of a hand (the section close to your wrist).

Place your fi ngers lightly on your forehead.

Relax your body and stay in this position for two minutes.

1.

2.

3.

4.

5.


ArtSpeak

Symmetry in drawing is a balanced arrangement of lines, shapes, and (or) values on opposite sides of a center line (which is often imaginary).

Many drawing subjects, such as vases and frontal views of faces, look more believable when drawn the same on both sides. In other words, both sides need to be symmetrical.

Figure 1023: The center of a drawing of wings that do not touch is marked with a line of symmetry.

Figure 1021: The wings in this drawing are symmetrical; each is a mirror image of the other.

Line of symmetry is a line (real or imaginary) down the center of a drawing (or section of a drawing), dividing it in half.

On each side of a line of symmetry is a mirror image of the other side.

Figure 1022: A line of symmetry (shown in blue) identifi es the center point of wings that touch.

Mugly WigglebottomGoal: Use a line of symmetry to outline a cartoon and then add shading with squirkles.

Supplies needed: Paper, 2H, HB, 2B, 4B, and 6B pencils, kneaded and vinyl erasers, sandpaper block, and a pencil sharpener.

In this project, simple illustrated instructions guide you through the process of drawing an adorable puppy.

►ACTION 10C◄

Figure 1024: Mugley’s nose, face, and ears are symmetrical.


Outlining Mugly with neat linesIn this section, your goal is to use a line of symmetry to draw Mugly’s head, ears, and facial features proportionately correct. Keep your pencils sharpened so your lines stay crisp and thin.

1. Use your ruler and an HB pencil to outline a square drawing space.

Mine is 4 by 4 inches, but feel free to make your drawing space larger.

Figure 10252. Draw a very

faint line of symmetry down the center of your page.

Refer to Figure 1025. Measure carefully! My line of symmetry is two inches from each side of my drawing space.

A line of symmetry helps you draw both sides of Mugly symmetrical.

T IP !T I P !

Protect your drawing as you work!

Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing.


Figure 1026

Figure 1027

3. Use an HB pencil to sketch a wide oval as the lower section of Mugly’s head (also called a muzzle) (Figure 1026).

His nose and mouth need to fi t inside this oval. Leave lots of space above and on the sides for the top of his head and ears.

Both sides of his muzzle are approximately the same size and shape. You can use a ruler to measure distances if you want.

4. Draw a smaller oval (his nose) inside the large one (Figure 1027).

5. Add a tiny circle below his nose as his mouth.

His mouth is slightly to the right of the line of symmetry (just to give him a little extra personality).


6. Add two curved lines as the sides of the upper part of his head (Figure 1028).

Take note that these lines are also symmetrical.

Pay close attention to where each line begins and ends.

7. Draw another curved line as the top of his head (Figure 1029).

His very long ears will extend above this line and below the lower edge of his chin.

Examine the refl ection of your drawing in a mirror to help locate problem areas. Seeing his head in reverse gives you a brand new perspective on its symmetry.

Erase and redraw any sections with which you are not happy.

Figure 1028

Figure 1029


8. Draw his long fl oppy ears (Figures 1030 and 1031).

Continue referring to your line of symmetry to keep his ears symmetrical.

Figure 1030

9. Draw his eyes (Figures 1032 and 1033).

His eyes are upside-down U-shapes with circles inside.

You may prefer to turn your drawing paper upside-down to draw his eyes.

Compare your drawing to Figure 1033 and make any changes you feel are needed.

Figure 1031

Figure 1032

Use your vinyl or kneaded eraser to carefully erase your line of symmetry.

Redraw any sections that were accidently erased.

Figure 1033

Squirkling shading for MuglyIn this section, your goal is to add shading and texture to Mugly with squirkles.

10. Draw a value scale to use as a shading guide (Figure 1034).

Refer to Action 9B on page 72. You may have room in an upper or lower corner of the same sheet you are using for drawing Mugly. If not, draw the value scale on a separate sheet of paper.

Number each value from 1 to 5 and mark the grades of the pencils used.

Figure 1034



11. Use a 1-2Hvalue (Figure 1034) to add the shading you see in Figures 1035 to 1038.

Do not rush your shading. Draw the squirkles very carefully and slowly.

Assume a direct light source is shining from the upper left. Therefore, the overall shading on the left needs to be slightly lighter than on the right.

Use your imagination to think of Mugly as three-dimensional to help you decide which areas are in shadow.

Figure 1035

Figure 1036


When your shading skills become strong, your speed will increase all by itself.

Before you add shading to the nose, take note of the locations of the squirkles.

Very light squirkles are all around the edges of the nose except for a section in the upper right that is left white.

A few extra squirkles are added to the nose over a small section of the fi rst layer to create a crescent shape in the lower left.

As you soon discover, this shadow area on the nose becomes even darker when you switch to a darker pencil.

Figure 1038

Figure 1037


11. Use a 2-HBvalue to add medium values (Figures 1039 to 1042).

Begin with the ear on the left.

Leave the inner sections of shading light.

Only add medium values over those light values that are closest to the edges of the various shapes.

Don’t miss the dark shadows cast from his ears onto his upper head.

In Figure 1040, the highlights of the eyes are outlined so you remember to leave them white.

Figure 1040

Figure 1039


Figure 1042

Figure 1041Medium values are added along the edges of the lower section of his muzzle, and the tiny round opening that is his mouth (Figure 1041).

The crescent shape of the nose becomes darker when you add middle values (Figure 1042).


11. Add shading to his eyes and the darkest shadow sections of his fur.

Refer to Figures 1043 to 1046. Use 3-2B and 4-4B values to add shading to his eyes. Use value 3-2B for the dark shading on the outer edges of his left ear and upper head.

If you want, you can shade Mugly’s eyes the same as in Project 10B: A Realistic Eye.

Figure 1043

Figure 1044

Also, refer to the close-up view in Figure 1044.

Feel free to outline the pupil before you begin shading the eyes.


Additional dark values are added to tiny sections of his fur and nose in the darkest shadow sections.

Don’t miss the shadow on his lower face cast by his nose (Figure 1046).

12. Use a5-6B value to make the mouth and the pupils of his eyes a little darker.

Figure 1046

Figure 1045

Collect all the drawings you completed as you worked through this book.

Sign your name and write the date completed on the back of each.

Put all your drawings away in a safe place.

Then, gather your drawing supplies and create more drawings of subjects you enjoy!

115Glossary

Glossary*****************************************************************

Acid-free (Page 37) refers to a high-quality and long-lasting paper that has had the acid removed from the pulp in the papermaking process. Drawings can be ruined when papers with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free.

Archaeologist (Page 10) is a person who studies ancient peoples by fi nding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.)

ArtSpeak (Page 1) is a fun word used to describe the vocabulary of art. ArtSpeak sidebars help you understand the meanings of drawing words and terms that appear in the exercises and projects in this book.

Blending (Page 78) is the process of gently rubbing shading with a blending tool (such as a facial tissue or paper towel) to evenly distribute the drawing medium over sections of the surface of drawing paper.

Cast shadow (Page 94) is a dark section on a surface adjacent to (beside) an object (or living being) that receives little or no direct light.

Charcoal (Page 25) is a drawing medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades.

Charcoal pencils (Page 25) have a thin cylindrical stick of compressed charcoal inside a wooden casing.

Charcoal sticks (Page 25) are made by compressing powdered charcoal into round or rectangular sticks.

Classical drawing (Page 3) refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings (called realism). Classical drawing was later enhanced by the great artists of the Renaissance.

Clay (Page 17) is a naturally occurring material that becomes hardened when dried. For example, clay is mixed with graphite to make graphite drawing mediums.

Clips (Page 49) (usually made of metal) can be used to attach sheets of paper to a drawing board.

Composition (Page 45) refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space.

This glossary provides defi nitions of most of the art-related words and terms used throughout this book. Knowing the meanings of these words allows you to better understand the text. Hence, your drawing experiences become more enjoyable, and less frustrating!

Curved line is created when a straight line curves or bends. Curved lines can be drawn in any direction and be any length.

Drafting desk (Page 49) (or drafting table) is an adjustable worktable with a slanted top.

Drawing (noun) (Page 1) is an image created on a drawing surface with a drawing medium.

Drawing (verb) (Page 1) refers to the process of applying a medium to a surface to create an image.

Drawing board (Page 49) is a portable, lightweight, smooth surface used to support an artist’s sketchbook or drawing paper.

Drawing from life (Page 91) refers to the process of drawing from an actual person, animal, or scene, rather than a photograph or computer image.

Drawing powder (Page 31) refers to tiny loose particles of a drawing medium that have been broken down from a solid into a powder. For example, drawing powder can be made by using coarse sandpaper to wear away sections of graphite and charcoal sticks.

Drawing space (Page 45) (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specifi c perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

Drawing stick (Page 26) is a drawing tool that is made by compressing and shaping a medium (such as graphite or charcoal) into a round or rectangular chunk.

Eyeball (Page 99) (also called the white of the eye) is the entire spherical section of an eye that is safely protected within an opening in the skull.

Figure (Page 1) is a diagram or picture that illustrates text. For example, the fi rst fi gure in this book (Figure 01) is a drawing of a hand sketching a cartoon.

Figure (Page 11) refers to the body of a human being.

Fresco (Page 12) is an artwork painted on a thin layer of plaster that covers a wall or ceiling. For example, frescoes that date back more than 3500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

Grade (Page 17) refers to the softness or hardness of the mixture used in the manufacture of drawing mediums.

Graphite (Page 17) is a soft black form of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists.

Hardcover (Page 37) refers to a durable type of book cover that is made from a thick and unbendable material. The hard cover protects your papers and drawings from being wrinkled.

Highlight (Page 99) is the brightest area where light bounces off the surface of the eye.


117Glossary

History (Page 10) is a written record of the past; mostly about the lives and activities of human beings and their environments. For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

Hot pressed (Page 37) refers to a paper that is pressed through hot cylinders during its manufacture. Many smooth watercolor papers are hot pressed.

Icon (Page 2) is a visual image (such as a drawing) used to identify a specifi c task or information. For example, in this book ArtSpeak sidebars are identifi ed with a circular, cartoon icon of Albert Einstein.

Illustration (Page 2) is an image (such as a drawing or photograph) that is used to enhance the reader’s understanding of text and (or) make text more interesting. Some books (such as a picture book) have only illustrations and no text. Others have mostly illustrations and a small amount of text to describe each illustration.

Iris (Page 99) is the colored circular part of an eyeball surrounding the pupil.

Kneaded eraser (Page 42) is an artist’s tool made of a grey or white pliable material that can be shaped by hand for accurate erasing. Kneaded erasers are designed to absorb and pick up particles of graphite and charcoal without leaving behind eraser crumbs. They do not wear away like other types of erasers, but can become too dirty to work properly.

Landscape format (Page 91) (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom.

Leadpoint (Page 18) (also called a stylus) is a thin metal stick made of lead and used for drawing.

Line of symmetry (Page 103) is a line (real or imaginary) down the center of a drawing (or section of a drawing), dividing it in half. On each side of a line of symmetry is a mirror image of the other side.

Manikin (Page 41) is a model of a fi gure or animal (often made of wood) that is used for learning how to draw. Most manikins have bendable joints so they can be manipulated into various poses.

Master (Page 13) refers to someone who is an expert in a specifi c profession or area of study. For example, Leonardo da Vinci was a master of painting and drawing.

Mechanical pencil (Page 26) is a drawing tool that has an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip.

Media (Page 43) (also called mediums) refers to more than one drawing medium.

Medium (Page 1) refers to a drawing tool (anything from a pencil to the burnt end of a stick) used to make marks on a surface.

Metalpoint (Page 18) is a thin stick used for drawing and made from a type of metal.

Mummy portrait (Page 12) is an ancient painting of a man, woman, or child that was attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

Mural (Page 12) is a drawing or painting on a wall, ceiling, or other large surface. For example, murals have been discovered on the walls of prehistoric caves and inside ancient Egyptian tombs.

Pencil (Page 1) refers to a broad category of drawing tools that have a medium inside a holder. For example, a regular pencil (also called a wood-encased pencil) has a medium encased inside a wooden cylinder. On the other hand, a mechanical pencil holds replaceable thin cylindrical sticks of medium that are manually loaded into a tiny tube inside a holder.

Portfolio (Page 10) is a case in which artists store (or carry) drawings and papers to protect them from damage.

Portrait format (Page 91) (sometimes called a horizontal format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom.

Prehistoric (Page 10) describes the period in time before written language was used to record history. Many prehistoric humans drew pictures on the walls of caves instead.

Pupil of an eye (Page 21) is the tiny, dark circular-shaped part of an eye that adjusts its size under different lighting conditions.

Realism (Page 3) is a way of drawing in which living beings and objects are drawn as they appear in real life. The artist tries to draw what he or she sees as realistically as possible.

Regular pencil (Page 1) (also called a wood-encased pencil) has a drawing medium encased inside a cylindrical wooden casing.

Renaissance (Page 3) (from the French word for rebirth) refers to the changes within European culture from the early twelfth century to the late sixteenth century.

Render (Page 3) describes the process of making something happen. For example, the process of drawing a turtle can also be referred to as rendering a drawing of a turtle.

Right angle (Page 64) is created when a horizontal straight line meets a vertical straight line at a ninety-degree angle.

Sandpaper block (Page 26) is an artist’s tool with tear-off sheets of fi ne sandpaper used to sharpen the points of pencils.

Score (Page 59) is the process of cutting very slightly into a thin object (such as cardboard or heavy paper) so as to fold it evenly.

Sculptor (Page 12) is an artist who creates sculptures. For example, a very well-known sculptor of the Renaissance was Michelangelo, and one of his most famous sculptures is the statue of David.

Sculpture (Page 12) is a three-dimensional artwork that is made of a material such as bronze, rock, or marble.

Self-portrait (Page 71) is a drawing or painting an artist creates using his or her own face and (or) body as a model. A self portrait is usually rendered by memory or by drawing his or her refl ection in a mirror.

Shading (noun) (Page 2) refers to the various values within a drawing that make images appear three-dimensional.

Shading (verb) (Page 2) is the process of adding values to a drawing.


119Glossary

Shadow (Page 101) refers to any dark area where direct light from a light source is blocked (or partially blocked) by an object or living being. Shadows can be on the surface of an object or living being, or on a surface that is adjacent to an object or living being (called a cast shadow).

Shape (Page 3) refers to the outward outline of a three-dimensional object.

Sidebar (Page 1) is a box of text (some have illustrations) that provides additional information about a topic. In this book, a sidebar called ArtSpeak provides you with defi nitions of art words and terms.

Sketch (noun) (Page 2) is a simple drawing of the important parts of a subject. A sketch is usually done quickly with simple lines and (or) shading.

Sketch (verb) (Page 2) refers to the process of doing a sketch.

Softcover (Page 37) describes a fl exible book cover that is usually made of paper. Softcover sketchbooks are inexpensive, however, you need to handle them carefully so the paper doesn’t wrinkle.

Spray fi xative (Page 41) is a transparent coating sprayed onto an artwork to help the medium adhere to the paper, so the drawing doesn’t smudge.

Squirkling (Page 72) is a simple shading technique in which randomly drawn curved lines (called “squirkles”) create values. Squirkling is ideal for simple drawings by beginners as well as highly realistic works by professional artists.

Straight line (Page 65) provides the shortest connection between any two points. Straight lines can be drawn in any direction.

Style (Page 11) refers to an artist’s approach to his or her own art. An artist’s style may be based on his or her personal preferences and art education. For example, realism is a well-known style.

Stylus (Page 18) (sometimes called leadpoint or metalpoint) refers to a thin metal stick used for drawing. Styluses made of lead have been traced back to ancient Rome. During the Renaissance, styluses were also made from silver, gold, or copper.

Subject (Page 11) refers to whatever an artist chooses to draw. For example, popular drawing subjects include people, animals, objects, fl owers, and scenery.

Symmetry (Page 103) is a balanced arrangement of lines, shapes, and (or) values on opposite sides of a center line (the center line is often imaginary). Each side provides a mirror image of the other. In other words, both sides are symmetrical. Many drawing subjects, such as vases and frontal views of faces, look more believable when drawn the same on both sides.

Talent (Page 10) refers to the process of self-discovery during which you realize that you have the interest and motivation needed to become exceptional in a specifi c area. To fi nd out what a talented person looks like, go look in a mirror! With commitment, patience, and dedication, you can turn your talent into a skill.


Technique (Page 11) is a well known method (such as a specifi c way to do shading) that is used to accomplish a particular activity or task. For example, more than one shading technique may be suitable for a specifi c drawing. Hence, an artist’s selection of a shading technique is generally based on his or her skill level, and what works best to capture the subject.

Text (Page 2) refers to the words used in writing.

Texture (Page 34) refers to the surface detail of an object. The type of texture can be identifi ed with vision, a sense of touch, and a general knowledge of the object.

Tooth (Page 33) refers to the surface texture of paper. Paper with a smooth tooth is fl at and silky; medium tooth has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks.

Underdrawing (Page 16) is a loosely rendered sketch that is created as a guide for a fi nal drawing (or painting).

Upper eyelid (Page 99) is a movable fold of skin that opens and closes to protect the eyeball.

Value scale (Page 72) is a range of different values that are drawn in order from light to dark or from dark to light.

Values (Page 2) are the different shades of gray made when adding shading to a drawing.

Viewfi nder frame (Page 45) is an adjustable, see-through rectangular or square frame that allows you to look at a drawing subject from various viewpoints. It’s an invaluable tool for planning a composition, and can be used for portraits, fi gures, landscapes, or any other drawing subject.

Vinyl eraser (Page 41) is soft, non-abrasive artist’s tool that erases graphite and charcoal more cleanly than a regular pink eraser (which has been known to make holes in paper and ruin drawings).

Vision (Page 1) is the ability to see.

Visual art (Page 12) refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight. For example, all the drawings in this book are considered visual art.

Wood-encased pencil (Page 26) (better known as a regular pencil) has a thin cylindrical stick of graphite or charcoal inside a wooden casing.

Woodless pencil (Page 26) is a thick cylindrical stick of graphite wrapped in a vinyl casing.

In this book:► Simple history of drawing► Process of learning to draw► Fun history of graphite ► Grades of graphite► Differences between B and H grades ► How grades affect the look of drawings► Graphite and charcoal drawing mediums► Wood-encased, mechanical, and woodless pencils► Drawing powders and sticks► Textures, sizes, and weights of drawing papers► How to select and protect the tooth of paper ► Vinyl and kneaded erasers► Pencil sharpeners and sandpaper► Pencil case, portfolio, viewfi nder frame, and ruler► Manikins, display boards, and spray fi xative ► Ideal surfaces on which to draw► Proper lighting for drawing► Good posture for sitting to draw► What to pack in a portable studio► Supplies to add to your shopping list► Make an artist’s portfolio► Construct a simple viewfi nder frame► Three ways to hold your medium as you draw► Discover your natural hand movement► Action 9A: Sketching a Self-Portrait► Action 9B: Creating Values with Squirkles► Action 9C: Playing with Pencils► Action 9D: Playing with Erasers► Action 9E: Drawing Shapes by Rotating Your Paper► Action 9F: Framing with a Viewfinder ► Action 10A: Drawing a Caveperson► Action 10B: A Realistic Eye► Action 10C: Mugly Wigglebottom

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Drawing Book 1: Getting Started is the first in a series of instructional books for homeschooling families and self-directed learners.

“My current positions have merged my credentials and focus into three main areas: teacher development (teaching professionals how to teach), reflective practice, and inclusive education. And now, after years of study, I have the pleasure of putting my academic “stamp of approval” in the front pages of this very unique and thorough approach to art education.”

Robert A. RoughleyB.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of CalgaryInstructor, Teaching and Learning Centre, University of Calgary

My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable.

Brenda HoddinottArt educator, visual artist, forensic artist (retired), illustrator, author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People, and Drawing Book 1: Getting Started, and owner of Drawspace.com.

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