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The Complete Book Of Drawing Techniques Review

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The complete book of drawing techniques

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The complete book of drawing techniques

1. Vonage proudly sponsors this ebook for... michelle grieco Vonage proudly sponsors free books for free minds.
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3. The Complete Book of DRAWING TECHNIQUES A PROFESSIONAL GUIDE FOR THE ARTIST PETER STANYER This ebook licensed to michelle grieco Unauthorized reproduction or distribution of this ebook is illegal. grieco.
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7. Arcturus Publishing Ltd 26/27 Bickels Yard 151–153 Bermondsey Street London SE1 3HA Published in association with foulsham W. Foulsham & Co. Ltd, The Publishing House, Bennetts Close, Cippenham, Slough, Berkshire SL1 5AP, England ISBN 0-572-02916-0 British Library Cataloguing-in-Publication Data: a catalogue record for this book is available from the British Library Copyright ©2003 Arcturus Publishing All rights reserved The Copyright Act prohibits (subject to certain very limited exceptions) the making of copies of any copyright work or of a substantial part of such a work, including the making of copies by photocopying or similar process. Written permission to make a copy or copies must therefore normally be obtained from the publisher in advance. It is advisable also to consult the publisher if in any doubt as to the legality of any copying which is to be undertaken. Jacket design by Alex Ingr Printed in India C3BF5B70-8CC4-4870-976C-617F626F3B6F
8. Contents INTRODUCTION 6 200 Years Of Part One THE PENCIL Know-How 1. Introduction 9 2. Materials and Examples of Marks 10 icolas-Jacques Conté was born at Sées 3. Ways of Holding the Pencil 5. Pencil Projects 22 30 N (Normandy) in 1755. He rapidly became enthusiastic about painting and at 20 years of age went to study in Paris, where he would paint portraits of the French royal family Part Two among other works. He was very close to the CHARCOAL major scientists of his day and met the 1. Introduction 80 Montgolﬁer brothers, inventors of the hot- 2. Materials and Examples of Marks 84 air balloon in 1783, when he carried out experiments on the hot-air balloons, since he 3. Ways of Holding the Charcoal 98 was still divided between painting and the 4. Other Forms of Charcoal 100 sciences. 5. Charcoal Projects 104 The French Revolution forced him to 6. Compressed Charcoal Projects 120 change his profession in 1789. He thus 7. Willow Charcoal Projects 140 became a talented inventor in many ﬁelds. He conducted varied research activities, some of which concerned crayons and black lead. Indeed, genuine crayons became Part Three scarce. Being a painter lacking the vital pro- PENS, INKS, BRUSHES and PAPER fessional tools, Conté found this situation 1. Introduction 155 unacceptable. 2. Materials 156 In 1794, Conté invented the lead pencil, 3. Examples of Marks and Projects 165 also known as the graphite pencil. The Conté company proﬁted from this invention and was able to develop an exceptional industrial know-how in the ﬁeld of drawing, writing and pastel. CONCLUSION 207 In January 1795 he submitted the patent no.32 and set up a pencil factory. A self edu- cated painter, chemist, physician, hot-air balloon pilot and inventor, Nicolas-Jacques Conté passed away in Paris in 1805. Today, the pioneering spirit of Nicolas- Jacques remains within the Conté À Paris company. Their products for sketching and drawing are renowned for quality by artists around the world. C3BF5B70-8CC4-4870-976C-617F626F3B6F
9. Introduction Drawing, just like writing or speech, is a form known as a metaphor. Instead of chasing the of communication, and in the same way as idea of truth, what we should be doing is these other forms of communication drawing embracing the medium of drawing and using can be multi-faceted, and very diverse as a it for a purpose that fulﬁls our needs as an means of expression of our observations, artist or designer. Let me now explain how we thoughts and feelings. Across the broad ﬁeld can break down our understanding and use of art and design, artists and designers will drawing to facilitate our needs. As I have said use drawing as a speciﬁc tool for visual before there are many reasons for us to want communication, and at the same time use a to draw, and there are many techniques and wide spectrum of drawing techniques to attitudes for us to adopt that will serve our express, develop, and present their ideas and purpose with the medium of our choice. work to the viewer for what ever reason. What follows is a list of the reasons for us as Therefore, it is impossible to make a students or beginners to make drawings. drawing unless the artist has a clear When using this book you should ﬁrst understanding of the type of drawing that is identify the reason why you wish or need to to be created, and the visual language that is do the type of drawing you are going to do, to be used which will give form and and then turn to the appropriate chapter in expressive dynamics to the drawing. This is the book. That will give you the technique for often forgotten or misunderstood by most the medium, and the knowledge you need to teachers of drawing. make the drawing. FIRST ENCOUNTERS WITH DRAWING REASONS FOR DRAWING Usually our ﬁrst encounter with drawing is to 1/ First Thoughts try to copy something from observation; this One of the many approaches to drawing is to could take the form of a portrait, still life, or a use it as a tool to record our ﬁrst thoughts. landscape. When we're children we draw our These usually take the form of sketches and observations from memory, and when we drawings that have immediacy to them. They become more life experienced, we tend to are usually spontaneous and inspirational as draw direct from observation. This is one is drawing one's thinking process as it normally when we encounter our ﬁrst happens. This process can initiate new ideas. problems with the art of drawing, as we have This procedure is usually done in sketch- ﬁxed in our minds that to be successful with books or on scrap pieces of paper, and they this skill our rendition of what we see must be are usually presented as sheets of ideas. nothing less than perfect. Usually these These types of drawings are then kept and students of drawing that have this particular developed into something more substantial approach, those who seem to be chasing a as a statement in the future when our visual truth through drawing, end up thoughts on the subject are collected and frustrated and feel a sense of failure. We developed into a ﬁnished idea. Many artists cannot reproduce reality, we can only make a from different disciplines have used this mark or a statement that acts for that reality, process of working and thinking through or a mark or a statement that best suits our drawing as a way of developing their initial purpose to describe that reality, and this is ideas. They range from Michelangelo, C3BF5B70-8CC4-4870-976C-617F626F3B6F 6
10. Introduction Raphael, da Vinci, Rembrandt, right up to the where to go. Diagrammatic drawings have present day and the designers of the Disney also been used in different cultures to enable ﬁlms. us to read and understand religious or philosophical meanings, and aspects of that 2/ Research and Information gathering culture. Simple examples of diagrammatic Artist and designers use drawing research as a drawings come with self assemble items such way of gathering information on a given task, as furniture, models, and other forms of or subject, that they have either been com- equipment! missioned to do or one they have decided to perform for personal aesthetic reasons. 4/ Theoretical Drawings Research is usually done in sketchbooks, and Theoretical drawings are important in the in speciﬁc places that hold the necessary history of art in that they give us a means of information. These places could be understanding proportion, and space museums, libraries, galleries, in the studio, or through the use of analytical and theoretical out in the ﬁeld. It all depends on the type of devices. These drawings are usually referred research that is needed for the project in to as projection systems such as perspective, hand. Research can contain all types of planometric, isometric, trimetric, and information for the artist from shape, form, proportion and measurement drawing texture, diagrammatic information, tech- systems. This theoretical drawing base is niques, recording fact, and so on. This type of applied to human proportion, architectural work is usually completed through drawing, plans, and drawings from nature. and note taking. Information gathering is the same as research but is done constantly by 5/ Copies the artist as a visual resource. It is a visual Copying consists of absorbing the manner in dictionary that can be used at any point for which other artists have worked using the reference, and all artists should continuously medium of drawing. In the following chapters be gathering this type of visual information in the book, copying is used extensively. It and storing it for future use. Information breaks down and assists our understanding of gathering is broader in its subject area than the drawing process. It is used to aid us in our research as it includes anything of visual learning, and to understand more fully the interest to the artist. If you look at some of language of drawing. the drawings by Leonardo da Vinci, you will see the enquiring mind of the artist, gathering 6/ Drawing from Nature information continuously from nature and All artists draw from nature whether it be a science. Information gathering exempliﬁes direct transcription or a drawing that is from the enquiring mind that sustains an interest memory. Drawings from nature include in the visual world. drawings of still life, drawings of the human form, or drawings from the environment or 3/ Diagrammatic Drawings landscape. What we must realise is that when These type of drawings are usually drawing from nature we must have a clear instructional, for example a map e.g. when idea what we want to achieve from this someone needs directions we will draw them drawing, how we want to approach it, and the a very crude map that gives them an idea of type of language or technique we are going to C3BF5B70-8CC4-4870-976C-617F626F3B6F 7
11. Introduction use to make the drawing. Students and over look this element in the drawing beginners often forget this, and not to be process. Calligraphy has developed from equipped with this in mind is like starting out strict cultural traditions and the earliest on a journey and not knowing your known examples are from Persian and destination. When drawing from nature our Chinese cultural draughtsmanship. In these aims should be to identify drawing cultures, strict traditions and practices had to techniques that are a visual parallel to the be learned and followed in the execution of a subject we have chosen to draw. In the drawing. following chapters in the book, I constantly refer to many approaches and techniques 9/Drawing in its own right that will enable you to make drawings of Drawings in their own right are drawings that nature. Historically artists have constantly are made deliberately or solely for their own drawn from nature especially as a information aesthetic reasons. However, illustrations can gathering exercise to ﬁll their minds with be put in this category, as they can act visual knowledge that is stored for future use. independently or support text. When connected with text, illustrations bring a 7/ Presentation Drawings visual quality to the experience that stands on This is usually referred to by its Italian name, its own merits. the Modello. These drawings are usually for a patron or are a commissioned piece of work. This book has been put together in a unique They are also referred to as artist's way, as it brings about for the beginner and impressions. Their aim is to give the patron the student of drawing not only the an idea of what the ﬁnished work will look techniques, but also the analytical and like. Both the artist and the patron can reach emotive approaches and attitudes to an agreement before the main piece of work drawing. These techniques and approaches is started. These serve the purpose of are then linked to the appropriate mediums preventing mistakes being made, sometimes for execution. However, one should only be at great expense to the artist or patron. guided by the projects in the book as starting points for your experience with drawing. 8/ Calligraphic Drawings Whenever you feel bold enough to engage In calligraphic drawings, the artist has a with your own ideas and developments then repertoire of marks that act as signs or you should embrace them with endeavour symbols for cultural meanings. As students or and gusto. Breaking with traditions, beginners of drawing we should develop an techniques, and theories is the hallmark of inventory of marks for the different mediums the true artist. that enable us to express our ideas, observa- tions, and feelings. We should experiment Finally, I would like to acknowledge Philip with making marks, lines, shapes, tones, Rawson and his book on 'Drawing', and textures, and so on. These type of experi- Dubery and Willats 'Perspective and other ments with the various different mediums are Drawing Systems'. evident in the chapters in the book, and they are an extremely important part of our experience when starting to draw, so do not C3BF5B70-8CC4-4870-976C-617F626F3B6F 8
12. Part One THE PENCIL The different types of pencil, graphite, erasers. INTRODUCTION A pencil is a rod of graphite encased in a Sharpening and exposing the graphite soft wood such as cedar, about six or seven should be regarded as an important act, inches long and exposed at one end. because how it is done changes the type of Crude forms of graphite pencils were first mark you make with it. There are many used as early as the 17th century. Before ways of sharpening. A particular point this, rods of lead or silver (known as silver produces a particular result. The artist point) were used as implements for should experiment to discover what is making drawings. The modern form of possible and how to make each type of lead or graphite pencil with its wooden pencil meet his particular needs at any encasement first came into use about the given time. beginning of the 19th century. The pencil can be used for a variety of The pencil fundamentally works by purposes and, as with any material you pushing or pulling the lead end across the use, you must be fully aware of its surface fibres of the paper, which act as potentials and its limitations - different graters, breaking up into small flakes. pencils and types are designed for Pressure on the pencil pushes the flakes of particular uses. In the ensuing chapter lead into the fibres of the paper to leave a some of these practices will be revealed mark or trace. with particular relevance to the Graphite, a form of carbon, also known appropriate pencil or graphite material. as mineral black or plumbago, is the major The marks shown over the following constituent of the modern pencil. The few pages give some idea of the wide range softness or hardness of a pencil varies of mark making possible. When you have depending on the amount of clay mixed looked at them, take each of the pencils in with the carbon. The softest varieties of turn and see what marks you can make. pencil contain little or no clay. Artists and Apart from being very stimulating and a designers will use a range of pencils, way of opening your mind to new varying their choice according to the effect possibilities with your drawing, you will they are trying to achieve. find it increases your 'feel' for the pencil As the graphite is worn away by use, it itself. As artists, what we feel through the can be repeatedly exposed. This is done by materials we use has an affect on what we the action of sharpening the pencil using a produce, and familiarity with those purpose-made sharpener or blade. materials is vital to a good outcome. C3BF5B70-8CC4-4870-976C-617F626F3B6F 9
13. Part One – THE PENCIL Materials and examples of marks HARD PENCIL result is much ﬁner and more formal, the Hard pencil marks have very little variation in cross-hatching emerging out of a series of the range of mark making. They only usually linear progressions. vary through a linear progression. Tone is usually made from a build up of crosshatch SYSTEMS FOR HARD PENCILS effects. Hard pencils are denoted by the Hard pencils are mostly appropriate for letter H. As with soft pencils, they come in a drawings requiring accuracy. As we have range, comprising HB, H, 2H, 3H, 4H, 5H, pointed out previously, such drawings are 6H, 7H, 8H and 9H (the hardest). usually done by engineers, industrial These pencils are mainly for use by designers, graphic designers and architects. designers, architects and people who The ﬁnal drawings they produce have to be produce precise technical diagrammatic to scale and precise so that other people, drawings for which a ﬁne, accurate line is such as craftsmen, can follow the essential, such as perspective or other instructions to construct or make the projection drawings. Although the marks designed object. These drawings come in a made with hard pencil show very little number of different types of perspective, or variation it can be used in an expressive parallel projection systems, ranging from ﬂat manner. As with soft pencil, tone can be built orthographic plan or elevation drawings to using a cross-hatching system, although the 3D perspective illustrations. C3BF5B70-8CC4-4870-976C-617F626F3B6F 10
14. Materials and examples of marks HARD PENCIL MARKS NB: I have not given you examples of mark making with HB or 7H to 9H pencils. 6H: Vertical lines. Horizontal lines. Vertical and horizontal. 5H: Diagonal lines . Diagonal lines with left Diagonals with horizontal sloping left and right emphases. and vertical lines. 4H: A zigzag line. Horizontal line achieved A combination of the with the side of the point. previous marks. 3H: Dragging the side of the Spaced dragged dashes. Herring-bone pattern. pencil horizontally in rows of zigzag lines. 2H: Rows of squiggly Horizontal and vertical lines, Wavy horizontal lines. textured. lines producing a knitted texture. C3BF5B70-8CC4-4870-976C-617F626F3B6F 11
15. Part One – THE PENCIL SOFT PENCIL The soft pencil has more versatility for texture, cross-hatching or even just simple creating tone and textures than the hard line. Pencils at the softest end of the range pencil. Soft pencils are denoted by the letter can be used to produce blocks of tone. A B. The HB pencil is a mixture of hard and soft graphite stick is generally more useful for and is the pivotal pencil between the two this type of work and for producing larger extremes. The range of soft pencils available areas of tone For a small drawing - up to A3 consists of HB, B, 2B, 3B, 4B, 5B, 6B, 7B, 8B size - a soft pencil is more appropriate. and 9B (the softest). The only soft pencil suitable for reﬁned These pencils are designed for the ﬁne work requiring great precision - essentially artist to express particular ideas, for example the preserve of the hard pencil - is the ﬁne through the building of tone, the creation of clutch pencil. Drawing in soft pencil of a still life using observed directional light. C3BF5B70-8CC4-4870-976C-617F626F3B6F 12
16. Materials and examples of marks SOFT PENCIL MARKS 2B: Horizontal rows of Scribbled lines implying a Vertical scribble, creating scribbled shading. knitted texture and shadow. a soft texture and shading. 3B: Heavy herringbone Smudged tone (with the ﬁnger) Random mark making texture. to create atmosphere. implying a rough texture. 4B: A pushed zigzag line Rows of vertical scribble, Regular dashes of tone. using the side of the progressing from dark to light. pencil. 5B: Irregular dots, creating Woolly scribble creating Open zigzag lines create an implied texture, a textured surface. tone and texture. perhaps a gravel path. 6B: Layer of graphite Vertical lines rubbed Tone rubbed vertically and rubbed diagonally to horizontally and then vertical then horizontally to create create atmosphere. lines drawn over the top to a woven texture. create a woven texture. C3BF5B70-8CC4-4870-976C-617F626F3B6F 13
17. Part One – THE PENCIL OTHER TYPES OF PENCIL Other types of pencil are available to us as well as those described above, and these · Triangular carpenter's pencil - used by joiners and builders to mark offer even more opportunities for ex- measurements, make notes and sketch perimentation and discovery. You will ﬁnd rough ideas. all of the types recommended below in any good art supply shop. · Graphite pencil or stick. The pencil type is solid graphite of about the same thickness as an ordinary pencil. The thin · Peel-back pencil - graphite encased, or coiled, in twists of paper which are ﬁlm coating on the outside edge peels back to reveal the graphite. The stick is a peeled back to reveal the graphite. much thicker piece of graphite which, · Propelling pencil - comes in a variety of mechanisms which reveal the point of like a pastel, has a simple paper covering that can be removed as necessary. It is a the graphite. very versatile ﬁne art drawing · Clutch pencil - provides a very soft point (ﬁne or thick) for sketching. · implement. Aqua sketching pencil - these work like a · Standard thick black pencil, known for many years as Black Beauty. pencil but can be used like watercolour washes when exposed to water. Peel-back pencil Clutch pencil Standard thick black pencil Triangular carpenter's pencil Graphite pencil or stick Aqua sketching pencil C3BF5B70-8CC4-4870-976C-617F626F3B6F 14
18. Materials and examples of marks MARK-MAKING WITH OTHER TYPES OF PENCIL Peel-back pencil Clutch pencil (ﬁne) Clutch pencil (thick) C3BF5B70-8CC4-4870-976C-617F626F3B6F 15
19. Part One – THE PENCIL MARK-MAKING WITH OTHER TYPES OF PENCIL Black beauty Carpenter's pencil Aqua sketching pencil C3BF5B70-8CC4-4870-976C-617F626F3B6F 16
20. Materials and examples of marks GRAPHITE Graphite is the same medium that pencils The soft pencil and graphite enable you to are made of. The difference being that pure do this quickly and efﬁciently. The pencil will graphite is not encased in wood. They are in also allow you to describe shape and form, fact solid lengths of graphite that come in but you must keep the lead sharpened. different thicknesses and grades of hard and The types of drawings associated with soft. As you might gather from the illustra- these materials are more open and tion this type of material is not meant for expressive by nature. They relate to our detailed accurate drawings. Instead it is responses, our observations and ideas, and more suited for robust drawings of an might be the sort of drawings we jot down in expressive nature, and it works well together a sketch-book as a record of our ﬁrst with a plastic eraser. thoughts about a subject. They might be a The type of drawings we would produce part of our visual research and notation. with this type of medium would be quick, They record a change of tone, either through heavy, dramatic drawings using strong, dark observation or imagination, or imply a lines, large areas of dark tones, or interesting textural surface. They can be drawings which textural marks. Mood is very easily effected give an explanation or give expression in with this medium, and it is deﬁnitely not their own right (that is, works of art in suited for drawings of a technical nature. It is themselves and not just supports for further also more appropriate for larger drawings work). rather than smaller ones for obvious reasons. A useful material that can enhance the It is a medium that is very versatile, and use of the soft pencil is the eraser, and the before you start to draw with it in earnest two work very well together to create you should experiment with the potential expressive effects. Whereas when used with that the medium has to offer. Because it has the hard pencil the eraser is associated solely no outer casing you can make so much more with the elimination of mistakes, as a use of the side. You don't have this facility complementary tool to soft pencils and with the pencil, and you will be surprised at charcoal its contribution is entirely positive. what you can achieve with this potential in terms of mark making. I personally always Different effects can be produced with soft associate a very liberated and dynamic type pencils and graphite if you vary the amount of drawing with this material, and if you of pressure you use. Pressure enables you to approach your drawing in this fashion with activate the surface of the picture plane, the graphite you will get the best results. either by using tone or weight of mark. Look at these examples of creating tonal gradation DRAWING WITH SOFT PENCILS and then experiment yourself. As well as AND GRAPHITE varying the pressure, try to apply the Unlike the hard pencil, the soft pencil and material in as many different ways as you can graphite are designed to make a much ﬁnd, using different movements and heavier mark and to create a tonal range - different areas of the material. from a very dense black through to white. C3BF5B70-8CC4-4870-976C-617F626F3B6F 17
21. Part One – THE PENCIL MARK-MAKING WITH GRAPHITE Making zigzag markings. Using a twisting movement with the graphite on its side. Pulling and pushing motion. Dragging movement. Stabbing with the end of the graphite. Lateral mark making. Lateral and vertical mark making. Vertical mark making. C3BF5B70-8CC4-4870-976C-617F626F3B6F 18
22. Materials and examples of marks ERASERS Usually our first encounter with an eraser is add anything to your drawing. My personal when we use it to remove a mistake. Our advice would be to leave a ghost of the sole aim with it is to obliterate the correction and not to erase it completely, as offending area so that we can get back to this shows the evidence of your thinking the business of progressing with our and your development. drawing. Because the eraser is associated with mistakes, a lot of negative feelings Other positive ways of using the eraser are about it and its function are directed at it. to bring back the areas of light in a tonal The poor old eraser is seen as a necessary drawing which have been worked over with evil, and the more dilapidated it becomes graphite, charcoal or ink. Erasers can also be with use the greater become our feelings of used to make expressive statements and inadequacy. It really is time for a re- emphasize textural marks - powerful assessment of the eraser and its role in our examples of this approach can be seen in work. Used effectively it can be one of the the drawings of Frank Auerbach. The most positive tools at our disposal. But first technique known as 'tonking', in which a we need to remove the idea that mistakes cloth is used in a beating motion to knock are always bad. They are not, and can be back charcoal marks, is a superbly used as a positive element in your work atmospheric form of eraser use. from which you can learn. Many artists make decisions about where There are many forms of eraser on the things go, or how things should look, in a market which purport to remove all sorts of piece of work. In the ﬁrst instance these media from the surface being worked upon. statements are usually wrong and have to be Listed below are common types of eraser adjusted as the work develops. This has and some explanation of how they function. happened to us all - even great artists like Leonardo da Vinci and Rembrandt. Re- thinking is very much a part of the creative · Putty rubber. Usually used for charcoal and pastel, it is also suitable for other process and is evidenced in many works, materials such as pencil. The chief particularly in drawings where the artists are advantage of a putty eraser is that it can be working out their initial ideas and kneaded into any form to erase in a intentions. particular manner. This is very useful for a One of the major errors that beginners positive approach to drawing and seeing the make is to erase mistakes as they arise and eraser as a tool which brings something to a then start again. This puts them in a position drawing rather than merely taking of making more mistakes or repeating the something away. same ones, thus creating a feeling of utter frustration and failure. When you make a correction, over-draw and don't rub out the · Plastic rubber. This type is designed particularly for erasing very dense graphic original lines until you are happy with your markings, and will also remove charcoal, re-drawing and unless you feel they don't pastel and pencil. It can be used to create C3BF5B70-8CC4-4870-976C-617F626F3B6F 19
23. Part One – THE PENCIL particular marks which are determined by its shape. Tippex ﬂuid. · India rubber. Used for removing light pencil marks. · Ink rubber. Ink marks are very difficult to remove entirely with a rubber. Erasers for removing ink and typewriting come in pencil and circular forms. You can also purchase a combined eraser that works for both pencil and ink, with the pencil part of the rubber at one end of the rubber and the ink part at the other. · Surface removers, such as scalpels, razor blades, pumice stones, steel-wool and sandpaper, to remove the very stubborn marks found in pen and ink DANGER ARTIST AT WORK drawings. Obviously, before applying this Always remember that you need to work within method you must ensure that your paper health and safety guidelines when using is of sufficient weight and quality to allow materials. Scalpels and razor blades should you to scrape away its top layer without always be used with care, and when they are not leaving a hole. in use their blades should not be left exposed. Note too if any of the ﬂuids you use are ﬂammable or toxic. Bleach, for example, is a very · Surface coverers, such as correction fluid, titanium white or Chinese white. handy and cheap method of removing water- With this approach any offending marks are based ink, but it is very toxic and must always be buried under an opaque layer of white. handled with care. When the layer is dry, the surface can then be reworked. Tippex pen. Chinese white. C3BF5B70-8CC4-4870-976C-617F626F3B6F 20
24. Materials and examples of marks A SELECTION OF ERASERS Pumice stone is useful for removing A razor (or scalpel) blade can scratch away very stubborn marks, but it can difﬁcult-to-remove marks. It is an instrument damage the surface of the paper and so of last resort because while removing the must be used with care. marks you don't want you may inadvertently damage other parts of your drawing. C3BF5B70-8CC4-4870-976C-617F626F3B6F 21
25. Ways of holding the pencil PRELIMINARY DRAWING Breaking Down Preconceptions Before we go on to discuss techniques in way of holding the pencil for the beginner can relation to drawing media, I want you to think be very restricting, as it tends to come with about your input into a drawing from a too many preconditions that limits our ability psychological and physical point of view. to be more creative. However holding the When we start out along the visual creative pencil in this way is very appropriate for more road, we tend to bring with us a lot of theoretical and technical drawing where you preconceived notions about what a drawing is need more control. and how it should be produced. It's vital for your creative development that you shed Holding the pencil with your ﬁngertips - this these preconceived ideas as quickly as action changes the type of control, and it possible, otherwise they will continually hold allows you to make marks that are more you back. tentative. The pencil can also slip quite easily One of the ﬁrst projects I put before my in this position, giving marks that are not students in the studio involves an exploration accounted for, and therefore bring a life to the of our relationship with the drawing drawing that is more creative because we are implement. We will assume, for our purposes, allowing for the mistake or the slip to take a that this is a pencil. Breaking down positive part in the drawing. preconceptions involves taking risks and trying something a bit different. If we are not Holding the pencil like a dagger - this is the careful the familiar can become a straitjacket, opposite effect to holding the pencil in your and this extends to how we hold the pencil. ﬁngertips. As the mark made from this action You might think, 'Well surely, there's only one is strong, direct and usually aggressive in its way of doing that!' Wrong. There are several expression. The very physical nature of this ways and each of them will tell you something drawing employs the movement of the whole new about the implement you are using and arm rather than just the wrist and the hand. what you are capable of producing with it. If you try holding your implement in Holding the pencil between the toes - I have experimental and unorthodox ways you will seen some amazing drawing done by students produce drawings that have a variety of in this position. Stand on one leg and don't expressive marks and various tensions within hold on to anything whilst doing the drawing. those marks. You will widen your approach to Then place the board on the ﬂoor, put the mark making, whether with a pencil or any pencil between the toes and proceed to draw. other drawing implement, and also open up your attitude towards drawing techniques. Use the ﬁgure when doing these drawings. In the ﬁrst stage of the project I ask Treat them as experiments, and as fun - you students to make test samples and just see will be surprised at the results. what sort of marks they can make by holding the pencil in a different way to usual. Holding the pencil in a traditional way - this C3BF5B70-8CC4-4870-976C-617F626F3B6F 22
26. Ways of holding the pencil Traditional method. With your ﬁngertips. In your teeth. Like a dagger. Between the toes.. C3BF5B70-8CC4-4870-976C-617F626F3B6F 23
27. Part One – THE PENCIL THE PENCIL AS A MEASURING DEVICE We can analyse our observations in a number of ways to enable us to make a visual record of what we see. One of these ways involves using the pencil both as mark maker and measuring device. What you are doing in effect is building a grid on which to map out your drawing. This approach is appropriate for all types of observational drawing and for different subjects ranging from landscape and still life to ﬁgure drawing. I have chosen a ﬁgure for our example because the pencil is still the most popular measure for this type of drawing; go to the life rooms of any art college and you will ﬁnd it widely used. The procedure is as follows: 1/ Set yourself up for drawing in a ﬁxed position so you have a consistent view that doesn't alter. This enables you to see the 4. and 5. subject from the same viewpoint every time without any change occurring - vital if your measurements are to be accurate. 2/ Hold the pencil in the ﬁst of your favoured hand, leaving your thumb free so that it can slide freely up and down the side of the pencil. You have now established the proportion of 3/ Stretch your arm out straight towards the head. Repeat this process along an your subject matter and take a imaginary vertical down the body, using that measurement. This is always done on a ﬁrst head proportion as your measure for vertical axis. For instance, if we are drawing a dividing the ﬁgure. This will give you a ﬁgure, usually the measurement will be from proportional overall length of the ﬁgure - the top of the head to the bottom of the usually an average person will comprise chin. Close one eye as you do this, to focus eight head proportions in all from tip to toe. your vision and give you one viewpoint. Put the top edge of the pencil at the top of the 4/ You can repeat this process to measure head then pull your thumb down the pencil the width of your ﬁgure. Turn your pencil to until you come to the bottom of the chin. the horizontal position and measure across C3BF5B70-8CC4-4870-976C-617F626F3B6F 24
28. Ways of holding the pencil Establishing the head proportion: Align the top of the pencil with the top of the head, then slide your thumb down the pencil until the top of 1. your thumb aligns with the bottom of the chin. 2. Each head proportion relates to a speciﬁc part of the body: A. top of head to bottom of chin 3. B. bottom of chin to nipple C. nipple to navel/stomach D. navel/stomach to groin E. groin to mid-thigh F. mid-thigh to knee G. knee to calf H. calf to toe the ﬁgure, using the head proportion as your by using the exact measurements you have gauge. It is important to remember always to assessed. This does, however, usually turn measure only on the horizontal or vertical out to be a very small, tight drawing, and is axis - if you measure at an angle you will get not advisable unless you are very experi- distortions – and always measure with your enced. The other way is to make a scaled arm straight out in front of you and from the drawing relative to your proportions; for same position to maintain consistency. example, if your original head proportion was one inch in height, you could double it 5/ Once you have your vertical and hori- when you came to transfer each zontal proportions, you can now transfer this measurement to your drawing. information to your paper. If you wish, you can make what is called a 'sight size' drawing C3BF5B70-8CC4-4870-976C-617F626F3B6F 25
29. Part One – THE PENCIL POSTURE Posture runs hand in hand with proportion. Posture is the way we hold ourselves and has a direct relationship to the changing nature of proportion. As you can see in the example opposite posture is informed by directional lines that are determined by the angles of the body and the relevant proportions in relation to your body when you are in a pose. Posture also allows us to understand and come to terms with the human form that exists in space on a two dimensional surface. The posture lines usually follow the central dynamics of the pose, and pick up the changing edges of the form on the main parts of the body. You should always give lots of consideration to how you pose your model, because the posture will say so much about your drawing and what you are trying to achieve through it. One way of using postural lines is by extending them and in doing so one can ﬁnd relationships that extend to other objects in a drawing. This is another way of making a drawing have proportional accuracy. It also creates an analytical directional tension in the drawing. ASSESSING ANGLES Posture is the way we hold ourselves and is intimately connected with proportion. As you can see in this example it is shown by using a directional line that determines the angles and proportions of those angles relative to the other relationships of the body and their changing angles. Posture lines usually follow the central dynamics of the pose through the ﬁgure. They also pick up the changing edges of the form on the main parts of the body. C3BF5B70-8CC4-4870-976C-617F626F3B6F 26
30. Posture/Assessing angles Using the pencil as a tool to assess the angles in a composition. C3BF5B70-8CC4-4870-976C-617F626F3B6F 27
31. Part One – THE PENCIL VECTORS OF ANALYSIS THE WINDOW MOUNT OR VIEWFINDER This is another way of giving your drawing Using a window mount is a marvellous way proportional accuracy. The aim is to ﬁnd of composing your picture and getting the associations by extending the axis from 10e objects in the scene proportionally and objects to locate other essential el0ments in positionally correct. the drawing. Cut the window to scale in relation to your paper. To do this and get accurate proportions in relation to your paper, follow these instructions. Step 1/ Take the paper you are going to draw on and make a diagonal line from one corner to the other. Step 2/ Decide how big you want your window aperture to be. For example, if you want the height of your aperture to be three inches, mea 0 0 10.0.3cOgth up the side of your paper from where the diagonal line departs. Step 3/ From 10.0.point draw a straight line into the paper until it meets the diagonal line. Step 4/ From 10e.point where the line meets the diagonal line, draw a straight line to the bottom edge of the paper. You now have an accurate scaled proportion of your piece of paper. Step 5/ Take the mea 0 0ments of this proportion and draw them into the centre of a piece of card, then cut out the window for the viewing of your composition. Step 6/ Mark the edges of the window mount and the paper into 1/2, 1/4 & 1/8. Some students string cotton across the window to make a grid. If you do this draw a corresponding grid C3BF5B70-8CC4-4870-976C-617F626F3B6F 28
32. Vectors of analysis/The window mount on your paper. Put the window up to the you see through the window on to your world and choose your composition. Now paper. you will find it very easy to transpose what C3BF5B70-8CC4-4870-976C-617F626F3B6F 29
33. Pencil projects Project One DOODLES – FIRST THOUGHTS AND IDEAS DOODLES of the artist Turner to realise what a wealth of Doodles should not be thought of as information they hold. drawings without meaning or drawings that have no importance or signiﬁcance. In fact, FIRST THOUGHTS AND IDEAS they do, as many artists ﬁnd other peoples' doodles fascinating. It's an important way of Many ideas start with a visual brainstorming. showing the unconscious process of The artist or designer plays with the creativity. Doodles are usually created with potential of their ideas in their sketchbooks. pen or pencil. They are usually a secondary They make thousands of rough sketches part of our thinking process. For example continually changing and rethinking their most of us doodle when we are in meetings ideas. Stretching the thinking and the - it helps us to escape the boredom of the dynamics of their designs to the limit. moment - and doodling allows us to descend Designers work ﬁrst with open minds, which into our own private world. We also doodle allows for client comment. Before honing in when we are on the telephone when we tend on a ﬁnal statement, all this starts with visual to use the phone pad as a sketch book. I thoughts translated through sketches. All believe there is a wealth of ideas that come those ideas, even the redundant ones are left from doodles so treat them as research. stored in the sketchbooks for later use. It's all visual information and that's what's FIRST THOUGHTS FROM OBSERVATION important and exciting. Just like doodles ﬁrst thoughts from COMPOSITION: THE BASIC ELEMENTS observations are our initial visual response to what stimulates our thinking processes. Shape can have a very intuitive inﬂuence. Most artists always carry a sketchbook with Only as we become more experienced do we them. It allows us to record moments that become formally aware of how to construct a include landscapes, portraits, textures, composition. Intuitively, the beginner will architecture, nature, light, atmosphere, and invariably place the mass of the subject (still so on. This is all visual research that is life, portrait, whatever) in the middle of the stimulation and a continuous resource for picture plane. In 90 cases out of 100 this our ideas. Sketchbooks of artists are placement is a mistake, creating too much of fascinating to look at, as in the sketchbook a focal point and not allowing the eye to be you can see the origin of ideas, and taken on a journey across, and into, the rest responses, that the artist is engaged with. of the picture plane. The composition is in One only needs to look at the sketchbooks effect becalmed, stale and therefore visually C3BF5B70-8CC4-4870-976C-617F626F3B6F 30
34. Pencil projects Doodles and ﬁrst thoughts C3BF5B70-8CC4-4870-976C-617F626F3B6F 31
35. Part One – THE PENCIL uninteresting to the viewer. What we intend MOVEMENT to do with shape in these projects is to give you basic experience in using hard pencils to The importance of movement through the create shapes that, when drawn on a picture picture plane cannot be over-emphasized. surface in relation to each other, will create a Shape and other pictorial elements help us good composition. to create movement. The artist can engage Sometimes this movement across and the eye of the viewer so that it moves across through the plane happens intuitively, but the picture plane, stop the eye at a certain more often than not it is conﬁrmed when point and then move it back into space, you see an artist working and they step back bring the eye forward again, and at the same from the picture and gesture towards their time across the picture space, and then take piece of work with arm outstretched, head the eye right out of the picture to the end of tilted sideways and hand or thumb looking its journey. Most viewers are unaware of this as though they are engaging with the picture visual encounter, which tends to occur in some way. This is when the artist is trying within a few seconds of looking at a picture. to contrive the composition. There are, of course, many ways other Rhythm is very obvious in other forms of than the use of movement by which artists art, such as music, dance and writing. It is a can - either consciously or subconsciously - sort of beat holding the work together. In a enable us to read and understand their work. drawing or painting we can create a sense of As well as creating these ordered harmonies rhythm that enables us to work and movements through and across the harmoniously from one point in the picture plane, the opposite effect can be composition to another. Rhythm can be created, especially if we want to achieve an evident in the use of tone, colour, mark and expressive effect. scale, but here we deal with it as it presents As beginners we tend to draw objects in itself in shape. isolation and in a void, so they look as though they are ﬂoating in space. For an ORDER AND BALANCE object to have an identity, and speak to us as viewers, it must have a context. The artist In any given picture there are a series of does this by drawing the space around tensions that must play off and counter each objects rather than by trying to capture the other so what we ﬁnish up with is a pictorial shapes of individual objects in isolation. synthesis or a pictorial order. This is what is meant by a composition having a semblance of order and balance. If you look at most classical works of art, particularly landscapes by Poussin or Claude, you will see this quality in abundance. C3BF5B70-8CC4-4870-976C-617F626F3B6F 32
36. Pencil projects This very simple composition is made out of is created by the illusion of the overlapping a shape that repeats itself, and yet it is shapes moving across, down and back into imbued with a sense of time. We can see the picture plane and our sense of the there is order and balance and that our eye decreasing scale of the shape (perspective). is allowed to move freely through and The way the shapes fall injects a feeling of across the composition. There is no rhythm suggestive of the ticking of the ambiguity interrupting the ﬂow. Movement second hand of a clock. C3BF5B70-8CC4-4870-976C-617F626F3B6F 33
37. Part One – THE PENCIL EXERCISES WITH HARD PENCILS In this section, we are going to introduce you further our understanding of how to build a to a series of projects and exercises that will composition: the type of elements a give you a practical introduction to using the composition can contain (for example, range of hard pencils. As we have previously harmony, balance, rhythm and movement), said, the hard pencil makes a ﬁne precise how these elements alter the eye's ability to line. What we shall show you is how that line travel over and into the surface of the can be employed to demonstrate your ideas, picture, and how we read the picture in a expressions and observations. more representative way. Finally, we explain First, we must complete a series of the nature of diagrammatic and perspective exercises to see and experience what we can drawings both from theoretical and achieve with the material. In many ways observational approaches. We will show you these exercises are like the warm up routines how to develop these methods for use in that sportsmen and women go through your particular approach to drawing and to before they take part in an actual event - by expand upon them whenever you feel it is loosening us up they enable us to focus on appropriate. the work in hand. The next stage involves experimenting Medium: 6H, 5H and 4H with the concept of shape, space and As you will see, the types of marks or lines composition over the picture plane. This will produced with these pencils are quite C3BF5B70-8CC4-4870-976C-617F626F3B6F 34
38. Pencil projects similar and lie within a close range. The Medium: 3H, 2H, H and HB fineness and hardness of the line suits When you start experimenting you will precision drawing, such as architect's plans notice that the marks are more intense for example. I personally would not use tonally than was achievable with the them to build up tone, because the contrast previous set of pencils. You can still make you can produce with them is limited. very precise lines, but at the same time However, this is a personal opinion. There clearly develop the weight of the mark, and are no hard and fast rules in art, and if it bring more expression and life to what you suits your purposes to work tonally with are doing. These are ideal implements for pencils in this range, then by all means do putting down your ﬁrst thoughts and making so. subconscious 'doodles'. C3BF5B70-8CC4-4870-976C-617F626F3B6F 35

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The Complete Book Of Drawing Techniques Review

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