How to Paint & Draw

148 Pages·86.455 MB·English

148 PAGES! PENCILS • PASTELS • WATERCOLOURS • OILS • ACRYLICS
TIPS AND INSPIRATION FOR ARTISTS EVERYWHERE
MASTER
THE BASICS
Refresh your knowledge
of essential art skills
16 PROJECTS INSIDE LEARN NEW
TECHNIQUES
IMPROVE
Discover the art
of perspective
YOUR ART Use grids and the
Golden Ratio
Set up a dedicated
art workspace
Get the most out of materials and learn
the theory behind perfect compositions
IN-DEPTH TUTORIALS
ARTISTS TTTAKE YOU BEHIND THE SCENES AND SHARE THEIR SECRETS

TOM MAY editor, [email protected]
JAMIE SCHILDHAUER art editor
CONTRIBUTIONS
Charlie Bowater, CRAWW, Kevin Crossley, Kim Jung Gi, Edward
Howard, Erik Jones, Dave Kendall, Chris Legaspi, Yoann Lossel,
Brynn Metheney, Terese Nielsen, Trans Nguyen, Adam Paquette,
Cynthia Sheppard, Alex Stead, Fiona Stephenson, Paul Tysall

CLAIRE HOWLETT imaginefx editor (on maternity leave)
[email protected]
BEREN NEALE imaginefx acting editor
[email protected]
DANIEL VINCENT imaginefx art editor
CLIFF HOPE imaginefx operations editor
DAN OLIVER group editor-in-chief
RODNEY DIVE group art director
ADVERTISING
SASHA MCGREGOR advertising manager
[email protected] [phone]
CHRIS MITCHELL account executive
[email protected] [phone]
PRINT & PRODUCTION
VIVIENNE CALVERT production controller
NMOALRAK CCOOKNESLTYA NadC pE rpordoudcutciotnio mn manaangaegrer Are you ready to paint and draw? In this special
NATHAN DREWETT ad production co-ordinator
MICHELLE ROGERS operational purchasing manager edition from ImagineFX magazine, top artists
LICENSING
REGINA ERAK licensing and syndication director share their techniques and advice on how to create
MATT ELLIS senior licensing manager
FMUATTTUHREEW P UPIBELRICSEH hINeaGd LoIfM coITnEteDnt & marketing, photography, great art, whether you’re using oils, acrylics,
creative & design
NIAL FERGUSON director of content & marketing
ZILLAH BYNG-MADDICK chief executive watercolours, gouache, pencils, ink or more.
PDrisinttreibdu itne dth bey U SKe ybmy Wouirll iDamist rGibibubtioonns L &td S o+n4s4 L (t0d) 20 7429 4000 We start on p6 by refreshing the fundamentals
2 East Poultry Avenue, London EC1 9PT
ImagineFX is the registered trademark of Future Publishing Ltd. of drawing and sketching, from the different
All Rights Reserved.
ways to grip a pencil to how to draw and combine
Practical Painter is a special edition of
ImagineFX magazine. Our aim is to help shapes. From there, we’ll lead you through more
artists improve both their traditional
and digital art skills. advanced tips and techniques, from shading to
For more information please turn to page 43.
basic anatomy. Then on p54, our focus switches to
painting, from setting up a dedicated art
workspace to the secrets of different paints. Are
you using the right brushes and paper for the kind
of art you wish to create? Find out here.
From p96, we delve deeper into art theory, taking a
look at how to use perspective, the rule of the
thirds and the Golden Ratio to bring your art to
the next level. Then from p110, professsional
artists take you through their projects and
explain how they created them. You’ll learn some
invaluable tips and secrets along the way. Enjoy!
Tom May, Editor
We are committed to only using magazine paper which is derived from well
imtsa pnaapgeerd s, ucpeprtliifieersd h faovree sbterye na nindt ecrhdloerpineen-dfreenet lmy caenrutfifiaecdtu irne a. cFcuotrudrea nPcueb wlisithhin tgh ea nd [email protected]
rules of the FSC (Forest Stewardship Council)
3
How to Paint & Draw
128
CONTENTS
PAINTING: CORE SKILLS
DRAWING: CORE SKILLS
6 HOW TO HOLD A PENCIL CORRECTLY 5 4 HOW TO SET UP AN ART WORKSPACE
1 0 HOW TO DRAW BASIC SHAPES 6 0 HOW TO CHOOSE THE RIGHT
PAINTBRUSH
1 4 HOW TO COMBINE SHAPES
1 8 CHOOSE THE RIGHT DRAWING TOOLS 6 4 HOW TO CHOOSE THE RIGHT PAPER
2 0 START DRAWING WITH INK 6 8 HOLDING YOUR BRUSH AND
MAKING STROKES
2 2 START DRAWING WITH PASTELS
7 2 HOW TO CORRECTLY MIX PAINTS
7 6 TIPS FOR COMBINING COLOURS
DRAWING: NEXT STEPS
8 0 GET STARTED WITH WATERCOLOURS
2 6 HOW TO DRAW IN COLOUR 8 4 GET STARTED WITH ACRYLICS
2 8 HOW TO DRAW AND SHADE IN 3D 8 8 GET STARTED WITH OILS
3 0 HOW TO ADD SOFT SHADOWS 9 2 GET STARTED WITH GOUACHE
3 2 HOW TO DRAW HEADS
3 4 HOW TO DRAW ANIMALS ART THEORY
3 6 HOW TO DRAW WITH MIXED MEDIA
9 6 HOW TO MASTER PERSPECTIVE
4 2 PREPARE YOUR SKETCH FOR PRINTING
10 0 HOW TO USE THE GOLDEN RATIO
4 4 SKETCHBOOK INSPIRATION
10 4 HOW TO USE THE RULE OF THIRDS
100 84
PAINTING: PROJECTS
11 0 PAINT A VINTAGE PIN-UP PORTRAIT
1 1 6 HOW TO PAINT WITH ACYRLIC WASHES
12 2 HOW TO PAINT A STORYBOOK-STYLE
PORTRAIT
12 8 HOW TO PAINT AN ABSTRACT-STYLE
PORTRAIT
13 4 HOW TO PAINT A CLASSICALLY-
INSPIRED SCENE
14 0 HOW TO PAINT FACES
10
Drawing
Core skills
HOW TO HOLD A
PENCIL CORRECTLY
The first step to improving your drawing is to make sure you’re holding your pencil
correctly. PAUL TYSALL explains the different methods and what each is used for.
Y
ou’re fairly sure you know each drawing session. A better grasp will so that you’ll have an ingrained
how to hold a pencil, right? literally leads to a better grasp, because understanding on how best to approach a
Well of course you do... but once you gain greater certainty and control drawing before you make the first mark. Be
are you holding it correctly? over any given drawing medium the that a study of a model in a life drawing
The grip we use for day-to-day confidence to explore what can be done class or an imagined form in your
writing is very inefficient and will limit you with it becomes more accessible. Which is sketchbook, we want you to feel confident
in many drawing scenarios. why over the page we’ll take a brief look at with the drawing tool in your hand.
Quite simply, drawing from the fingers mark making. Over the following pages we’ll discuss
and wrist alone (which is the narrow range Having your memory banks full of a the benefits of changing the way you hold
promoted by the standard hand writing wide range of new and interesting marks and control your chosen media so it
grip) doesn’t release the full potential of furthers your ability to express line, shade/ becomes an extension of your body,
movement that drawing from the entire value and texture, the core principles of any demonstrating what certain art tools are
arm and shoulder affords us. drawing. Our aim here is to offer you tips capable of once you begin twisting and
When it comes to drawing, you need to turning your way to becoming a more
retrain years of accumulated muscle Drawing from the fingers and articulate (and articulated) artist.
memory that is dictating the way you make wrist alone doesn’t release the full Paul Tysall is an illustrator, graphic
marks. Once you weed out these bad habits, designer and writer working in Bristol. See
potential of movement
your visual vocabulary will broaden with his work at studio_tysall.prosite.com.
12 STEPS TO PENCIL PRECISION
Learn to wield your drawing tool like a pro and start making marks.
MATERIALS

PAINTS
(cid:81) Derwent
Graphic 2B
graphite pencil
(cid:81) Derwent
Charcoal pencil,
Dark
(cid:81) Swann-Morton
scalpel
(cid:81) AMI Clutch
pencil, 4mm 4B
graphite
(cid:81) Cretacolor
stump 1 The two basic types of grip 2 The Tripod grip
(cid:81) Bamboo reed
There are several ways to hold a pencil. Most are The Tripod grip is the grip we use when writing with a
brush & pen
variants of two main grip types; Tripod and Overhand. Both pen, so it’s also known as the Writing method. You grip using
(cid:81) Winsor &
can be used when holding different kinds of drawing media, the thumb, index and middle finger. The barrel of the pencil
Newton willow
but you may notice a tendency to grip tubular media should rest naturally in your hand’s web space. Avoid closing
charcoal
(pencils and ink pens) with the Tripod grip and bulkier media the web space, as this forces the barrel to rest on the knuckle
(cid:81) Winsor &
with the Overhand. Both have their place but the Overhand of the Index finger and promotes strokes using finger gestures
Newton fixative
method is generally considered a more adept approach. only. Avoid grasping at the tip of the pencil, too: this can limit
(Continues right)
Before we explain why lets looks at the Tripod grip. line length(s) and lead to hairy, less fluid continuous lines.
6
How to Paint & Draw
Drawing
HOW TO
SHARPEN
YOUR
PENCIL:
PART 1
THE RIGHT DEVICE
You’re probably
already accustomed to
3 When to use the Tripod grip 4 The Overhand grip using a hand-held
metal pencil sharpener
Although the range of movement of the Tripod grip If you’ve never used the Overhand grip, it feels alien at when drawing. This is
is limited, it can be useful for detailing small sections of a big first, but the benefits are worth the retraining. You first need fine when working in a
drawing. Try to move your grip as far up the barrel as you can to sharpen your pencil in a specific way (see How to Sharpen, sketchbook but there
are some downsides.
to encourage articulation of the elbow and drawing from the right). Place your pencil down on a flat surface. Now with the
The main one is the
shoulder. The Tripod grip is more appropriately used when thumb and all four fingers pick up the pencil. All fingers very small tip. Less tip
working in a small sketchbook, A4 or smaller. Try not to rest should grip the outer side of the barrel whilst the thumb equals fewer marks
you can make, as you
your hand on the paper, as this can hinder wrist articulation. grips the opposing side, retaining a light grip at all times.
don’t have an exposed
edge for shading and
light tone. A smaller
tip also requires
constant resharpening,
hindering productivity.
How you approach
sharpening depends
on the way, and scale,
that you draw. If you
like to work small and
use a hatching
approach, the ‘needle’
point might be better
suited to your
approach. If you’re
doing larger scale
drawing, using the
Overhand grip to
achieve line and
5 When to use the Overhand grip 6 Getting more from the Overhand grip shaded tone, use a
‘bullet’ point. Over the
Overhand grip combined with a correctly sharpened Move your index finger away from the outer edge of page, we’ll show you
pencil will increase the versatility and range of marks you the pencil to the top of the barrel. This enhances your how to do both…
can make by introducing the edge of the pencil. Eg, when control of the pencil by acting as your pivot and pressure
drawing on a vertical surface (easel) holding the pencil control. Rolling the wrist forwards means less edge is in
vertically (and with the full edge touching the paper), pulling contact with the surface, leading to a thinner, sharper line
downwards creates a single line, but moving the edge weight. Roll back the wrist and you apply more edge to the
horizontally left/right will lay down a thicker line of tone. surface, broadening and also softening the line quality.
(cid:81) Daler Rowney
Soft Putty Rubber
(cid:81) Staedtler Mars
plastic eraser
(cid:81) Daler Rowney
Kandahar ink,
Black Indian
(cid:81) Conté à Paris,
Noir 2B
SURFACE
(cid:81) Daler Rowney
A1 Smooth
cartridge,
7 Overhand grip exercises 8 Making marks 130 gsm
(cid:81) CASS Canford
Another way to shift line weight is to introduce minor Gain confidence by exploring the type of marks you
paper - Winter
shifts in wrist angle, as you draw a continuous line start to can make using this grip. The foundation of every drawing
pad, 150 gsm
twist the wrist to increase/decrease the amount of edge can be broken down into three basic components; line,
contact with the surface. To build muscle memory try this shade and texture. The more ways you have of creating
exercise: Plot several X’s randomly over a surface; now begin these, the more varied your drawing vocabulary will
linking these X’s with lines, some short, others continuous, become. Marks can be generated by the following factors;
fluctuating line weights as you go. Use four Xs close together direction, angle, speed and pressure. Try filling a sheet of
(North, East, South and West) to practice drawing ellipses. paper with experimental marks that capture these qualities.
7
How to Paint & Draw
Drawing
HOW TO
SHARPEN
YOUR
PENCIL:
PART 2
THE NEEDLE TIP
Using a craft knife or
scalpel, you need to
expose about half of an
inch worth of tip, by
shaving off long
incremental pieces of
the barrel. Place the
blade at a shallow
angle, almost flat to
the barrel, and push
the blade forward
9 Shading
using the thumb of the
hand holding the How we describe that a subject has form is by
pencil. You can also
applying tone, aka shading. The most common drawing
think of this motion as
drawing the pencil method of shading is to continuously apply overlapping
back down the blade. strokes back and forth. Keeping a consistent pressure will
With each stroke,
result in a single grade of tone. Going from heavily applied
rotate the barrel to
begin shaping an even marks to a lighter application will result in a tonal gradient.
point. Once you’ve
enough exposed
graphite, continue to
shape the tip using
very light strokes and
rolling the pencil
quickly. At this point
you should also be
shaving away small
sections of barrel from
the base of the tip.
Next, using an
emery board or a small
section of sandpaper,
place the pencil tip flat
to the surface. Start to
shape the tip by
moving the pencil back
and forth, rotating the
barrel. At first you’ll 11 C ross-hatching
break the tip a lot (both
in sharpening and Cross-hatching is similar to the Hatching technique
applying marks when
(step 10), but a second set of lines are drawn at an angle
drawing). Eventually,
though, the deftness running across the first set. Again, the more pressure and
required in sharpening tighter the marks, the darker the tone – but now you can
like this will become introduce hatch marks crossing in two or more directions to
second nature.
make denser areas of shade.
MORE
MARKS
3 OTHER WAYS OF
MAKING DRAWING MARKS
So far we’ve only looked at graphite 1 Conté
and charcoal pencils, these being
the most commonly used drawing When working with a Conté stick it’s vital to level out
tools around, but there are various the edges so all sides make contact with the surface. (This is
types of media that can be used to also a good way to remove the outer protective coating).
make marks. Each medium has
distinct properties and can be Hold the stick, using the Overhand grip, flat to your paper
manipulated in different ways to and rubbing each side continuously till you get a single line
generate very unique marks. Here of even tone. Retaining the side edges of the stick leaves you
are three more other options found
a way to draw thin lines, and the squared ends are good for
in the life drawing room.
wider marks. You can also fashion a single stick to a bullet tip
(see ‘How to Sharpen Your Pencil part 3’, above right).
Experiment with how you manipulate the Conté from the
wrist and shoulder to vary continuous line quality and width.
8
How to Paint & Draw
Drawing
HOW TO
SHARPEN
YOUR
PENCIL:
PART 3
THE BULLET TIP
As with the needle tip
approach, the first part
of getting a bullet
shape is to expose the
media from the barrel,
but this time avoid
shaping the exposed
tip. You’re looking to
reveal about an inch of
media, with a smooth
taper from wood to tip.
10 Hatching
Using your sandpaper,
Hatching is a method of shading that uses a series of begin shaping the tip
moving the pencil
parallel lines: either vertical, horizontal or following the
PENCIL forwards and
direction of the planes of the form (contour shading). For backwards across the
TIP lighter tones, line weights must be thin, soft and spaced. To surface. Remember to
constantly roll the
SHARPENING darken the image, apply more pressure to lines and place barrel: you’re after a
TECHNIQUE them closer together; overlapping your lines also works. smooth all-round
cylindrical finish with
As you draw you can also
no edges to the tip.
prolong the lifespan of the tip Getting the bullet
by rolling the pencil barrel on a shape is made by
rocking the wrist
regular basis, so you don’t
forwards and back,
favour one side of the tip focusing on the top
which can weaken it third of the tip.
When you use
sandpaper to sharpen
pencils you end up
with excess powder on
the tip. If you don’t
remove this, it can
make its way to the
paper and ruin a
drawing. A few quick
blows on the tip along
with a quick wipe
12 S tippling (your T-shirt or jeans
usually being the
You can also suggest tone by creating a series of dots closest cloth to hand)
should be the last
on your surface. Use a thicker, softer pencil, like a charcoal or
stage of sharpening
Conté. Tap the point to build up an array of marks. To before returning to
suggest lighter areas of tone, the dots should be appropriately the drawing.
spaced and small in size. To create darker areas, the dots
become larger and should form a dense cluster.
2 Charcoal 3 Ink: Pen and Wash
Whether you’re using charcoal How you approach ink is largely determined by the
sticks or pencils, the favoured grip is drawing apparatus: graphic pens are limited in mark quality
the Overhand, as moving from line to yet render consistent lines for cross-hatching.
tone is as simple as changing the Try experimenting with ‘dip’ pens, changing the nibs to
direction of your strokes. As with Conté alter width and line. Reed pens can be a lot of fun as you can
charcoal is highly pigmented, especially shape different tips using a craft knife for more varied,
the compressed variants. This makes natural-feeling marks. Both dip and reed pens require
blending with your finger or a stump loading with ink: if you use a water-soluble ink this can used
an effective toning practice. Note that to wash areas of tone with a wet brush. Plus an old
when blending with your finger, the oils toothbrush can be used to splatter ink (to create texture) by
from your skin can bond the pigment drawing your thumb through the inked bristles. Working in
to the surface, making erasing difficult. ink can be a little daunting when starting out, but see the
Use paper stumps to avoid this. inability to quickly erase lines as part of the challenge.
Drawing
Core skills
HOW TO DRAW
BASIC SHAPES
The complex world around us can be divided into simple shapes. Learn how to
draw them accurately and your artwork will take off, PAUL TYSALL explains.
B
reaking any process down the cylinder and the sphere. At the heart of We’ll start with drawing the square,
into small chunks is a great these form shapes are two simple geometric leading onto the cube – the most articulate
way to tackle what can seem shapes; the square and the ellipse. shape when it comes to describing
like a daunting task. When it Learning to accurately draw and geometry in a drawing that has perspective.
comes to drawing, if we combine these will help you to construct Having six basic planar faces, the cube’s
break a subject down into simple shapes we any object, observed or imagined. In proportions help to echo their relationship
can begin to describe its overall structure. walking you through this process we will within 3D space. This aids further
In the opening stages of a drawing you have to deal with concepts like perspective description of more complex rectilinear,
should be looking to describe your subject, and foreshortening, so we’ll take a very cylindrical and curvilinear forms, which is
and its environment, in very simple terms: brief, practical look at them, but to get a what we’ll cover on page 16.
always avoid details too early on. By fuller understanding of Perspective head to You might think that drawing simple
drawing with simple shapes we can focus page 102, and for more on foreshortening shapes is… well, simple. But don’t be
on proportions, composition, planes and read the Artist Tip on page 13. fooled. It takes immense skill to perfect
the relationships between forms. It’s all drawing freehand shapes like a simple
about working big down to small; simple to Any form can be fitted into one circle: just ask Giotto. The 13th century
complex; basic shapes to crafted details. of three basic shape archetypes: the Italian painter secured his patronage from
There are three basic shape archetypes Pope Boniface VIII based solely on his
cube, the cylinder and the sphere
that any form can be fitted into; the cube, simple painting of a freehand circle...
MATERIALS
MEDIA 2D SHAPES TO 3D CUBES
(cid:81) Derwent
Graphic 2B
Start with simple squares and build up to cubes and cyclinders.
graphite pencil
(cid:81) Derwent
Charcoal pencil,
Dark

(cid:81) Swann-Morton
scalpel
(cid:81) Staedtler Mars
technico clutch
pencil, 2mm 2B
graphite
(cid:81) Daler Rowney
Soft Putty Rubber
(cid:81) Staedtler Mars
plastic eraser
SURFACE
(cid:81) Daler Rowney
A1 Smooth
cartridge, 130 1 How to draw a square 2 Squared exercise
gsm.
Drawing a basic square is the simple connection of The grip shown here is one we’re all accustomed to
(cid:81) DCASS Canford
four straight lines, two along the horizontal axis and two to using when writing. Grip using the thumb, index and middle
paper, Winter
describe the vertical axis. Drawing these lines is all about finger. The barrel of the pencil should rest naturally in your
pad, 150 gsm
living in the future: pinpoint your start point; imagine the end hand’s web space. Avoid closing the web space, as this
point. Place your pencil on the start point, relax and focus on forces the barrel to rest on the knuckle of the Index finger
the end point. Pull your mark along the imagined path and promotes strokes using finger gestures only. Avoid
removing the pencil once it reaches the end point. Pull your grasping at the tip of the pencil, as this can limit line length(s)
lines towards their goal: this uses more adept muscle groups. and lead to less fluid, continuous lines.
10
How to Paint & Draw