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The Complete Beginner’s Guide to Drawing: More than 200 drawing techniques, tips & lessons PDF

243 Pages·2016·38.95 MB·English
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THE COMPLETE BEGINNER'S GUIDE TO DRAWING 61408 - BSD2_001-039.indd 1 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o (Text) tD 571# egaP Y L:p 1: Cats. 99 Rendering.Cats. 100 Contents Feline.Features . 102 Paws.&.Tails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Tabby.Cat. 104 Persian.Cat . 106 Composition . 108 Common.Cat.Behaviors . 110 Adult.Cats . 112 Basics. 5 Dogs. 113 Tools.&.Materials . 6 Depicting.Dogs. 114 Getting.Started. 9 Proportion.&.Anatomy. 116 Learning.to.See. 12 Muzzles. 118 Starting.with.Sketches. 14 Doberman.Pinscher . 119 Beginning.with.Basic.Shapes . 16 Great.Dane. 120 Warming.Up. 18 Shar-Pei.Puppy. 121 Simple.Shapes . 20 Golden.Retriever. 122 Strawberries. 22 Siberian.Husky.Puppy . 124 Pineapple. 23 Rough.Collies . 126 Developing.Form. 24 Bloodhound. 128 Dachshund . 129 Maltese . 130 Horses. 131 Clouds . 62 Basic.Heads. 132 Rocks. 64 Horse.Portrait. 134 Creek.with.Rocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Horse.Head.in.Profle. 136 Mountains. 68 Advanced.Horse.Heads . 137 Rendering.a.Grand.Landscape . 70 Pony. 138 Deserts. 72 Foal’s.Body . 140 Exploring.Distance. 74 Arabian. 142 Shetland.Pony. 143 Adult.Horse’s.Body. 144 Flowers. 27 Horse.&.Rider.in.Action . 146 Mastering.Flowers . 28 The.Jump. 148 Basic.Flower.Shapes. 30 Simple.Flowers. 31 Tulips. 32 Rose.&.Water.Drops. 33 Daffodil . 34 Carnation. 35 Dendrobium . 36 Fuchsia. 37 Primrose . 38 Animals. 77 Hibiscus. 39 Drawing.from.Photographs. 78 People. 151 Hybrid.Tea.Rose . 40 Drawing.from.Life. 79 Beginning.Portraiture. 152 Floribunda.Rose . 41 Drawing.Animals. 80 Adult.Head.Proportions. 154 Bearded.Iris. 42 Shading.Techniques. 82 Woman.in.Profle. 155 Rabbits. 84 Studying.Adult.Proportions. 156 Landscapes. 45 Guinea.Pig. 86 Exploring.Other.Views. 157 Studying.Trees . 46 Squirrel . 87 Depicting.Adult.Features. 158 Surfaces.&.Textures. 48 Kangaroo. 88. The.Nose,.Ears.&.Mouth . 160 Trees.in.Perspective. 49 Toucan. 89 Head.Positions . 162 Begin.with.Simple.Shapes. 50 Budgerigars. 90 Learning.the.Planes.of.the.Face . 163 Tree.Trunks . 52 Iguana . 91 Approaching.a.Profle.View. 164 Root.Patterns . 53 Giraffe . 92 Woman.Frontal.View. 166 Branches.&.Boughs . 54 Elephant. 93 Developing.a.Portrait. 167 Majestic.Oak. 56 Baboon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Capturing.a.Likeness . 168 Sycamore.Lane. 58 Giant.Panda. 95 Including.a.Background. 169 Landscape.Composition. 60 Chimpanzees. 96 Depicting.Age. 170 Perspective.Tips . 61 Parrot. 98 Elderly.Men. 172 2 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g Co n t e n t s | 3 61408 - BSD2_001-039.indd 2 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o (Text) tD 571# egaP Y L:p 2: Cats. 99 Body. 173 Rendering.Cats. 100 Figures.in.Action. 174 Contents Feline.Features . 102 Movement.&.Balance. 176 Paws.&.Tails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Bending.&.Twisting.Figures. 177 Tabby.Cat. 104 Proportion.&.Detail. 178 Persian.Cat . 106 Hands.&.Feet. 179 Composition . 108 Drawing.from.Life. 180 Common.Cat.Behaviors . 110 Clothing.Folds. 182 Adult.Cats . 112 Children. 183 Dogs. 113 Portraying.Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 Depicting.Dogs. 114 Children’s.Proportions. 186 Proportion.&.Anatomy. 116 Girl.in.Profle. 187 Muzzles. 118 Indicating.Fair.Features. 188 Doberman.Pinscher . 119 Child.Body.Proportions . 190 Great.Dane. 120 Shar-Pei.Puppy. 121 Anatomy. 191 Golden.Retriever. 122 Getting.to.Know.the.Basics. 192 Siberian.Husky.Puppy . 124 Exploring.the.Torso. 193 Rough.Collies . 126 Portraying.a.Seated.Figure.in.Pencil. 194 Bloodhound. 128 Sketching.a.Standing.Figure.in.Pencil . 196 Dachshund . 129 Rendering.a.Reclining.Figure.in.Charcoal. 198 Maltese . 130 Horses. 131 Clouds . 62 Basic.Heads. 132 Rocks. 64 Horse.Portrait. 134 Creek.with.Rocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Horse.Head.in.Profle. 136 Mountains. 68 Advanced.Horse.Heads . 137 Rendering.a.Grand.Landscape . 70 Pony. 138 Deserts. 72 Foal’s.Body . 140 Exploring.Distance. 74 Arabian. 142 Shetland.Pony. 143 Adult.Horse’s.Body. 144 Horse.&.Rider.in.Action . 146 The.Jump. 148 Still Life. 201 Still.Life.Composition. 202 Pinecone . 204 Floral.Arrangement. 206 Liquid.&.Glass. 207 Bottle.&.Bread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Animals. 77 Drawing.from.Photographs. 78 People. 151 More Tips. 211 Drawing.from.Life. 79 Beginning.Portraiture. 152 Pictorial.Composition. 212 Drawing.Animals. 80 Adult.Head.Proportions. 154 Perspective . 214 Shading.Techniques. 82 Woman.in.Profle. 155 Practicing.Perspective . 216 Rabbits. 84 Studying.Adult.Proportions. 156 People.in.Perspective. 220 Guinea.Pig. 86 Exploring.Other.Views. 157 Composing.Figures. 221 Squirrel . 87 Depicting.Adult.Features. 158 Foreshortening. 222 Kangaroo. 88. The.Nose,.Ears.&.Mouth . 160 More.Foreshortening. 224 Toucan. 89 Head.Positions . 162 Choosing.a.Pose. 225 Budgerigars. 90 Learning.the.Planes.of.the.Face . 163 Understanding.Lighting. 228 Iguana . 91 Approaching.a.Profle.View. 164 Depicting.Textures . 230 Giraffe . 92 Woman.Frontal.View. 166 Describing.Surface.Textures . 232 Elephant. 93 Developing.a.Portrait. 167 Capturing.Vacation.Scenes . 234 Baboon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Capturing.a.Likeness . 168 Experimenting.with.Different.Media. 236 Giant.Panda. 95 Including.a.Background. 169 Chimpanzees. 96 Depicting.Age. 170 Parrot. 98 Elderly.Men. 172 2 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g Co n t e n t s | 3 61408 - BSD2_001-039.indd 3 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o tD 571# egaP Y L:p 2: (Text) tD 571# egaP Y L:p 3: 61408 - BSD2_001-039.indd 4 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o (Text) tD 571# egaP Y L:p 4: BASICS 61408 - BSD2_001-039.indd 5 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o tD 571# egaP Y L:p 4: (Text) tD 571# egaP Y L:p 5: Gathering the Basics You don’t need a lot of supplies to start; you can begin enjoying Tools & Materials drawing with just a No. 2 or an HB pencil, a sharpener, a vinyl eraser, and any piece of paper. You can always add more pencils, charcoal, tortillons, and such later on. When shopping for pencils, rawing is not only fun, it is also an important art form in itself. notice that they are labeled with letters and numbers; these indicate DEven when you write or print your name, you are drawing! If the degree of lead softness. Pencils with B leads are softer than ones you organize the lines, you can make shapes, and when you carry that with H leads and make darker strokes. An HB is in between, which a bit further and add dark and light shading, your drawings begin to makes it very versatile and a good beginner’s tool. The chart on the take on a three-dimensional form and look more realistic. One of the right shows a variety of drawing tools and the kinds of strokes that great things about drawing is you can do it anywhere—and the are achieved with each one. As you expand your pencil supply, materials are very inexpensive. You get what you pay for though, so practice shaping different points and creating different effects with purchase the best you can afford at the time, and upgrade your each pencil by varying the pressure you put on it. The more comfor- supplies whenever possible. Although anything that makes a mark table you are with your tools, the better your drawings will be! can be used for some type of drawing, you’ll want to make certain your magnifcent efforts will not fade over time. Here are some of the Gathering Other Drawing Tools materials that will get you off to a good start. I start my drawings with graphite pencils, but I also like to use other tools as my pieces progress. For example, Conté crayons and charcoal produce chalky, smudged lines that soften the look of a subject. Outlining a drawing with black ink really makes a subject “pop” (see page 30), and thin washes of ink (or black waterc olor) applied with a paintbrush produce smooth shadings. Work Station. It.is.a.good.idea.to.set.up.a.work.area.that.has.bright.lighting.and. enough.room.for.you.to.work.and.lay.out.your.tools .Of.course,.an.entire.room.with. track.lighting,.an.easel,.and.a.drawing.table.is.ideal .But.all.you.really.need.is.a. place.by.a.window.for.natural.lighting .When.drawing.at.night,.use.a.soft.white.light. bulb.and.a.cool.white.fuorescent.light.so.you.have.both.warm.(yellowish).and.cool. (bluish).light Tortillons. These.paper. “stumps”.can.be.used.to. blend.and.soften.small. areas.where.your.fnger.or. a.cloth.is.too.large .You. can.also.use.the.sides.to. quickly.blend.large. areas .Once.the. tortillons.become. dirty,.simply.rub. them.on.a.cloth.and. they’re.ready.to.go. again Charcoal Papers. Charc. oal.paper.and.tab.lets.are.available.in.a.variety.of.textures .Some.of. Drawing Papers. For.fnished.works.of.art,.using.single.sheets.of.drawing.paper.is.best . the.surface.fnishes.are.quite.pronounced.and.can.be.used.to.enhance.the.texture.in.your. They.are.available.in.a.range.of.surface.textures:.smooth.grain.(plate.and.hot.pressed),. drawings .These.papers.also.come.in.a.variety.of.colors,.which.can.add.depth.and.visual. medium.grain.(cold.presse. d),.and.rough.to.very.rough .The.cold-pressed.surface.is.the.most. interest.to.your.drawings versatile .It.is.of.medium.texture.but.not.totally.smooth,.so.it.makes.a.good.surface.for.a. variety.of.drawing.techniques 6 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 7 61408 - BSD2_001-039.indd 6 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o (Text) tD 571# egaP Y L:p 6: Gathering the Basics You don’t need a lot of supplies to start; you can begin enjoying Tools & Materials drawing with just a No. 2 or an HB pencil, a sharpener, a vinyl HB, sharp point eraser, and any piece of paper. You can always add more pencils, charcoal, tortillons, and such later on. When shopping for pencils, notice that they are labeled with letters and numbers; these indicate HB, the degree of lead softness. Pencils with B leads are softer than ones round point with H leads and make darker strokes. An HB is in between, which HB. An.HB.with.a.sharp.point.produces.crisp.lines.and.offers. makes it very versatile and a good beginner’s tool. The chart on the good.control .With.a.round.point,.you.can.make.slightly.thicker. lines.and.shade.small.areas right shows a variety of drawing tools and the kinds of strokes that are achieved with each one. As you expand your pencil supply, practice shaping different points and creating different effects with each pencil by varying the pressure you put on it. The more comfor- 4B, table you are with your tools, the better your drawings will be! fat point Gathering Other Drawing Tools I start my drawings with graphite pencils, but I also like to use other Flat tools as my pieces progress. For example, Conté crayons and charcoal sketching produce chalky, smudged lines that soften the look of a subject. Outlining a drawing with black ink really makes a subject “pop” (see page 30), and thin washes of ink (or black waterc olor) applied with a paintbrush produce smooth shadings. Flat. For.wider.strokes,.use.the.sharp.point.of.a.fat.4B .A.large,. fat.sketch.pencil.is.great.for.shading.large.areas,.but.the.sharp,. chiseled.edge.can.also.be.used.to.make.thinner.lines . Artist’s Erasers 4B A.kneaded.eraser.is.a. charcoal must .It.can.be.formed.into. small.wedges.and.points. to.remove.marks.in.very. tiny.areas .Vinyl.erasers. Vine are.good.for.larger.areas;. charcoal they.remove.pencil.marks. completely ..Neit.her.eraser. will.damage.the.paper.. surface.unless.it.is. White scrubbed.too.hard charcoal Charcoal. 4B.charcoal.is.soft,.so.it.makes.a.dark.mark .Natural. charcoal.vines.are.even.softer.and.leave.a.more.crum.bly.residue. Tortillons. These.paper. on.the.paper .Some.artists.use.white.charcoal.pencils.for. “stumps”.can.be.used.to. blending.and.lightening.areas.in.their.drawings blend.and.soften.small. areas.where.your.fnger.or. a.cloth.is.too.large .You. can.also.use.the.sides.to. quickly.blend.large. areas .Once.the. Conté tortillons.become. Utility Knives Utility.knives. crayon dirty,.simply.rub. (also.called.“craft”.knives).are. t themy’r.eo.nre.aa.cdlyo.tho.agnod. . gdreaawti.nfogr..pcalepaenrlsy.a.cnudtt. ing. Cpeonnctiél again matboard;.you.can.also.use. them.for.sharpe. ning.pencils . (See.the.box.on.the.right ). Blades.come.in.a.variety.of. Conté Crayon or Pencil Conté.crayon.is.made.from.very.fne. shapes.and.sizes.and.are. Kaolin.clay .It.used.to.come.only.in.black,.white,.red,.and. easily.interchanged .But.be. sanguine.sticks,.but.now.it’s.also.available.in.a.wide.range.of. careful;.the.blades.are.as. colored.pencils .Because.it’s.water.soluble,.it.can.be.blended. sharp.as.scalpels! with.a.wet.brush.or.cloth Drawing Papers. For.fnished.works.of.art,.using.single.sheets.of.drawing.paper.is.best . They.are.available.in.a.range.of.surface.textures:.smooth.grain.(plate.and.hot.pressed),. medium.grain.(cold.presse. d),.and.rough.to.very.rough .The.cold-pressed.surface.is.the.most. versatile .It.is.of.medium.texture.but.not.totally.smooth,.so.it.makes.a.good.surface.for.a. variety.of.drawing.techniques 6 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 7 61408 - BSD2_001-039.indd 7 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o tD 571# egaP Y L:p 6: (Text) tD 571# egaP Y L:p 7: Sharpening Your Drawing implementS Getting Started efore you begin sketching, you’ll want to get accustomed to using Byour whole arm, not just your wrist and hand, to draw. (If you use only your wrist and hand, your sketches may appear stiff or forced.) Practice drawing freely by moving your shoulder and arm to make loose, random strokes on a piece of scrap paper. Try to relax, and hold your pencil lightly. You don’t need to focus on a particular subject as you warm up; just get used to the feel of a pencil in your Utility Knife. A.knife.can.be.used.to.form.different. Sandpaper Block. Sandpaper.will.quickly.hone.the. Rough Paper. Rough.paper.is.wonderful.for.smoothing. hand and the kinds of strokes you can achieve. points.(chiseled,.blunt,.or.fat).than.those.which.are. lead.into.any.shape.you.wish .It.will.also.sand.down. the.pencil.point.after.tapering.it.with.sandpaper .This.is. possible.with.an.ordinary.pencil.sharpener .Hold.the. some.of.the.wood .The.fner.the.grit.of.the.paper,.the. a.great.way.to.create.a.very.fne.point.for.small.details . Learning Control k shnaifrep.aetn.a.a.swliagyh.ftr.aonmg.yleo.uto.b.tyh.eta.pkeingc.iol.fsfh.oanftly,..aan.ldit.tallew.waoyso.d. ymoourre.f.cnognetros.lwlahbelen.tshhea.repseunlitningg.t.op.okienetp ..Rthoell.sthea.pe.necviel.nin . Ihto.isn.ianlgs.oto.im.shpaorptaent.t.thoe.g.lenadtl.ye.vroelnl.ltyh e.pencil.while. Once your arm is warmed up, try the strokes and techniques shown and.graphite.at.a.time here. Although making circles, dots, scribbles, and lines may seem like senseless doodling, creating these marks is actually a great way to learn control and precision—two traits essential to pencil drawing. Adding on You should also experiment with different pencil grips to see how Unless you already have a drawing table, you will probably want to they affect the lines you draw. The more you practice with different purchase a drawing board. It doesn’t have to be expensive; just get strokes, sketching styles, and grips, the quicker and more skilled your one large enough to accommodate individual sheets of drawing paper. hand will become! Consider getting a drawing board with a cut-out handle, especially if you want to draw outdoors, so you can easily carry it with you. Varying Edges Making.small.adjustments.in.your.drawings.to.suit.your.subject.is.important . For.example,.pencil.strokes.that.follow.along.a.straight.edge.are.ideal.for.creating.striped. fur .But.free.edges.are.more.appropriate.for.creating.a.natural-looking.coat,.as.straight.edges. can.make.the.hair.seem.too.stiff.and.structured .Edges.created.with.an.eraser.also.have.their. place—these.lines.can.be.used.to.provide.a.smooth.transition.between.textures.or.values Spray Fix. A.fxative.“sets”.a.drawing.and.protects.it.from.smearing .Some.artists.avoid. using.fxative.on.pencil.drawings.because.it.tends.to.deepen.the.light.shadings.and. eliminate.some.delicate.values .However,.fxative.works.well.for.charcoal.drawings .Fixative. is.available.in.spray.cans.or.in.bottles,.but.you.need.a.mouth.atomizer.to.use.bottled.fxative . Spray.cans.are.more.convenient,.giving.a.fner.spray.and.more.even.coverage . holDing Your Drawing pencil Basic Underhand. The.basic.underhand.position. Underhand Variation. Holding.the.pencil.at.its.end. Writing. The.writing.position.is.the.most.common,.and. allows.your.arm.and.wrist.to.move.freely,.which.results. lets.you.make.very.light.strokes,.both.long.and.short . it.gives.you.the.most.control.for.fne.details.and. in.fresh.and.lively.sketches .Drawing.in.this.position. It.also.gives.you.a.delicate.control.of.lights,.darks,.and. precise.lines .Be.careful.not.to.press.too.hard.on.the. makes.it.easy.to.use.both.the.point.and.the.side.of.the. textures .Place.a.protective.“slip.sheet”.under.your. point,.or.you’ll.make.indentations.in.the.paper .Also. lead.by.simply.changing.your.hand.and.arm.angle hand.when.using.this.position.so.you.don’t.smudge. remember.not.to.grip.the.pencil.too.tightly,.as.your. your.drawing hand.may.cramp 8 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 9 61408 - BSD2_001-039.indd 8 30/9/15 4:32 pm T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o (Text) tD 571# egaP Y L:p 8:

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