Table Of Content

RUDY DE REYNA suycture Feruee Form Maeda and Foot Ore Meade ond Feces: cr ‘Commpoaition Charcoad Fer Marylin opine 19" by aor ape Pea ane Pood 9 crest ra by Panes Planing, is Sleeve, or mea nsangsntroaying soa, Frame Pengo Acknowledgments would The 1 expres my wppnceatica t wy ltr, Diane’ Cases Tine, who masa frvslucble “lene parinee™ in benging tis ook fo sompleten. Like 3 mater carpenter, the patently suembod the pictirer and text. Trimming hese and smcolbing caer, un ll the pieces it With an etre special for puting evil! i the veadors shee, she servtinied and polished each sentence wil ero as clear at she could sabe i She bas ecomplied thie cask with ingenvity and <spatch-and Tam extremely erateul HOW TO DRAW WHAT YOU SEE BY RUDY DE REYNA Contents PART ONF: FUNDAMENTALS OF DRAWING, 9 Project 7. Putting Hasle Forms ‘Together, 37 Project 1. Basic Stcture of Objects, 11 cc Forms anc their Relationships, 37 Drawing Staph Line. 1 Drawing Symmetical Objects. Drawing Lines Freehand, 11 Dating and Otservaion, 37 Holding the Penell 11 Ale sl Diretin of Lins 1 Project 8. The Horizon Plane, 39 Relating Objects 9 Creating & Composition. 39 Project 2. Eve Level: Foundation of Perspective, 15 ‘Changes Shapes and Lye Level, 15 Selecting + Viewpoint, 39 Vanishing Poms 18 Prsepootive ina Stil Life, 5 Cae in Perspective. 1S Working with Actual Objects AS Sudging Site Relationships 16 1S Bie Somary, #8 ‘jer Rew Fye Levels 16 Praaee Enercon 19 Project 9. Light and Shade, 47 ina Cubi Observing Light and Shadow, 47 Project 3. Drawing Cubic Objects, 21 Light and Dimension, 47 Cube Foros in Fveryay Things, 21 Tonal Vales Searching with Lines. 2 Using che Full Tonal Seale, 4? Handling Detail 21 Cast Shadows, 51 [etining with Tracing Paper, 24 Shadow Edges, SL ‘Angle of Light, $1 Project 4. Drawing Cplindeieal Objects, 27 eve of Light 91 Denwing Curves Untss 7 Project 10. Tramlating Local Color Rendering Culindrical Objects, 27 to Biacicand Bair. ot ines aint Perspective, Using & Midale Tone, 53 Project 5. Drawing Spherical Objects,31. [tel Auvangement, 57 Departures from the Gcometre Sphere. 31 Taste ané Visual Tenures £7 Depth and che Sphere, 31 Project 1. Drawing a Still Lite, 58 Project 6. Drawing Comfeal Objects, 35 Cyoying werens Drawing Fam fife, 38 Symmetry ofthe Cons, 38 Composition and Construction, $8 Dining Eventing Laying Down Correct Tomes. 38 Project 12. Drawing with Charcoal, 61 Project 18. Drawing Vine and Consprossed Charcoal, 61 amar Powered Charcoal $1 | General Proce, 102 Eraser and Blerdrs, 6 Angles and Planes of the Head 108 Papers Facil Guidelines, 103 ‘Toned Pagers. 6 Male and Female Peacures, 104 Fisative. 65 Dawing the Head and Faze from Life, 104 (Chatcoa’s Verity, 65 Deewing the Nose, 108 Fs of Manipulation, 63 Drawing Eas, 104 Drawing Eyes and Eyebrows, L10 Deawing the Mouth, 110, Lie Drawing fom Memory? 119 Project 13, Stil Life in Charcoal, 69 Four Drawing Principles, 68 ard and Sof; Fag. 69 Working from “Rovghs,” 69 CComsesng Sol Life, Project 19, Drawing Chiles rowing the Iota’ Heac, 11S Practice vers Theor, 72 Drawing the Teenager. 113 ise and Perle Characters ft Project 14. Drawing Outdoors, 7 Crea, 198 Iigira Diteae Time Day. Ott Ee aio Seecchiee PART TWO: Re eT os, DRAWING IN VARIOUS MEDIA, 119, Using Viewindes SL Project 20, Wash Tectnlques, 121 Drasing om the Spot. St Pigment and Miser, 12. Surfaces. 21 Project 18. Drawing Outdoors wi Brahe 121 Gemceel 9 Additional Equipment, 121 Advantages and Dindaniages of Proper of Wash 12 havc 1 Fa Wash, 122 Ganarng the Moods of Naas, 83 Were Technique, 122 Rendering Specie Objects Grad Wash 13, Rough Charcoal Sketches © Brybeasts 123 Finsned Deswings a Charl 83 ea test, 129 Project 16, Drawing the Figure, 1 Project 21. Denning With Wa Basi Body Proportions, 91 ‘Working Diewings, 127 Chindreal Hunan Pern, 92 eats st 1 Some Body Memarement 9 aon Project 22. Still Lite in Wash, 131 ‘Working Over he Whole Pgwe, 95 Artnging an Lighlng, 131 liminacing Pene Lines, 31 Project 17. Drawing Hands and Feet, 99 Peeve Tons at Lith oar Project 23. Outdoors with Wash, 135 Finsing Yur Nine 69 Tramsping Von Mein 136 Project 24. Opaque Techniques, 139 Chareetevisies of Ope, 18 Pigtens, 10 Brushes and Drawing Surfaces, 40 coors, 14 DryarishBlencing 161 Wer Blending, LAL Working Towrd Craftsmanship. 41 Project 25. Sill Lifes in Opaque, 143 Estelishing the Large Shapes, 183 Balancing Textures, 149 Using Tresor Pag, 14 Paine Corsiteney, 163 Support forthe Hund, 14 Siabay of Opaque, 4 Project 26. Outdoors widh Opague, 151 Opeque Watercolor and Nature, 151 Materias to Take long, 151 Choosing a Subject, 151 Project 27. Brushes, Pgment, and Surfaces, °S5 (Chanacteratis of Aer, 158 Veraatlty of Acrylic. 153 Project 28 Sill Life in Acrylic, 159 CConpiniton and Movement, 159 (Comsiering Pituce Space. 159 Project 20. Outdoors with Ink and Mixed Media, 16 Ink smi Additional Eouipaent, 161 Teo Ink Tecaniques. 16) Ondoors with Mined Meds, 161 Project 30, Drawing Children in Various Media, 167 ‘Nudes versus Children, 1 ‘Charen Opaque, 167 ‘A Parting Word, 172 Index, 173 Part On Fundamentals of Drawing T believe that you must learn to deaw things as you see them rea istically. That i, you must repndluce the dimensions and proportions of a given subject. To rerder 3 faithful, realistic drawing, you must beable to observe the basic structure of an ebject, regardless of how ‘complex and obscured by detail it may be. You must train not only your hands but your eyes as well: However, the ability to depict an object literally doesn't make you an artist, No one ever claimed that the faithfal duplication of nature (an impossible task anyway! produces art. But the ability to draw things as you see them is the “rst step toward becoming an ants In other words, throughout this book youll learn to draw real: istically. The objects before you will cictate what you should do, land the rosult will be the literal representation o? the object, When you've fished the projec:s in this book, you'll be equipped wit the necessary skills to enabve you to express yourself as an artist. Having Jearned the fundamentals, the craft of drawing, you'll have a solid point of ceparture from which ta cvee/e ‘Then, if you wish, you ean Feave the literal imitation of a subject te the studen's behind you. ome <l Ge am UYo