draw space ideal for homeschooling and self directed learning

Figure 02: A cartoon drawing is created with a pencil.. Drawing verb refers to the process of applying drawing surface with a drawing medium Figure Medium refers to any drawing tool a

Brenda Hoddinott

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

120 pages and more

than 230 illustrations!

► Choose the right drawing supplies

► Set up a place to draw

► Make a portfolio and viewfi nder frame

► 10 fun exercises and projects

Flesch-Kincaid Grade Level: 6.84

Flesch reading ease score: 74.7

Ideal for homeschooling and self-directed learning!

BOOK 1: GETTING STARTED

Artist, illustrator, art educator, curriculum designer, forensic

artist (retired), owner of Drawspace.com, and author of Drawing

for Dummies, The Complete Idiot’s Guide to Drawing People

Illustrated, and Drawing Book 1: Getting Started

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

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

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

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Copyright © 2009 Brenda Hoddinott

All rights reserved No part of this electronic book shall be reproduced by any method or means, electronically sent or transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted

by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written permission of

Brenda Hoddinott.

This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter, specifi cally the basics of drawing Brenda Hoddinott and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of

the contents of this book

Publisher: Drawspace.com, Halifax, NS, Canada Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott

Editor: Suzanne Beaton

Brenda Hoddinott can be contacted at brenda@drawspace.com or through her website at http://www.drawspace.com.

This book is dedicated to my loving partner, John Percy

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Introduction 1

Look into this Book 3

Sizing up the sidebars 3

ArtSpeak 3

Info Tidbit 3

Warning! 4

Tip! 4

Art Quote 4

Eyeing action icons 4

Shaping up with exercises 4

Step-by-step projects 4

Action sidebar numbers and letters 4

A few words on illustrations 5

Insights into the Parts 6

Part 1: Get Ready! 6

Part 2: Get Set! 6

Part 3: Go Draw! 6

How to Use this Book 6

Part 1: Get Ready! 7

Chapter 1: Welcome to Drawing 9

A Brief History of Drawing 11

In the time of the caveman 11

The birth of classical art 12

Remembering the Renaissance 13

The Inside Scoop on Drawing 14

Drawing is an action word 15

YOU can draw! 15

III

Chapter 2: Getting a Grasp on Graphite and Grades 17

Traveling Back in Time with Graphite 17

How the “lead” pencil got its name 18

The link between graphite and sheep 19

Making the Grade 19

Hard is light 21

Soft is dark 22

Combining soft and hard grades 23

Finding out your grade 24

Chapter 3: More Drawing Mediums 25

Picking out Proper Pencils 26

Wood-encased pencils 28

Graphite pencils 27

Charcoal pencils 27

Other fun pencil mediums 29

Mechanical pencils 29

Woodless graphite pencils 29

Sticks and Stones (oops!) Powders 31

Chapter 4: Sketchbooks and Drawing Papers 33

Check up on Tooth (without a Dentist!) 34

The surface of a smooth tooth 35

Big smile for a medium tooth 36

Textures on a rough tooth 37

Sketchbooks and Papers 38

Softcover, hardcover, or sheets? 39

Weighing in on paper 39

Larger is not always better 40

Chapter 5: Adding to the Basics 41

Tools for Erasing 41

Vinyl erasers 41

Kneaded erasers 42

Sharpening your Mediums 43

Pencil sharpeners 43

Sandpaper blocks and sheets 43

A Few Extras 44

Stuff you can’t do without 44

Pencil case 44

Portfolio 44

Ruler 44

Viewfinder frame 45

Nice to have, but not necessary 45

Display boards 46

Spray fixative 46

Manikins 46

Part 2: Get Set! 47

Chapter 6: Setting up For Drawing 49

A Comfy Place to Sit and Draw 49

Choosing a drawing surface 50

Shedding light on your art 50

Good Posture First! 51

How NOT to sit! 52

Sitting correctly 52

Putting Together a Portable Studio 53

Chapter 7: Making a List, Portfolio, and Viewfinder Frame .55

Action 7A: The Shopping List 55

Must have 55

Nice to have 56

Supplies for making a portfolio 57

Supplies for making a viewfinder frame 57

Supplies for a portable studio 57

Action 7B: Making a Portfolio 57

Deciding on a size 58

Option 1: Using one large sheet of board 58

Option 2: Using two pieces of board 61

Adding ties and final touches 62

Action 7C: Making a Viewfinder Frame 63

V

Contents

Chapter 8: Give Yourself a Helping Hand 65

Holding your Mediums 65

Becoming a Natural 67

Leonardo the lefty 67

Finding your natural hand movement 68

Rotating your paper as you draw 68

Part 3: Go Draw! 69

Chapter 9: Putting your Supplies to Work 71

Action 9A: Sketching a Self-Portrait 71

Action 9B: Creating Values with Squirkles 72

Action 9C: Playing with Pencils 76

Action 9D: Playing with Erasers 77

Action 9E: Drawing Shapes by Rotating Your Paper 80

Part 1: Circular shape 81

Part 2: Straight-sided shape 84

Part 3: Circle 88

Just for fun! 90

Action 9F: Framing with a Viewfinder 91

Three steps for framing a view 92

Create a sketch by framing your view 93

Chapter 10: Three Simple Drawings 95

Action 10A: Drawing a Caveperson 95

Action 10B: A Realistic Eye 99

Action 10C: Mugly Wigglebottom 103

Outlining Mugly with neat lines 104

Squirkling shading for Mugly 108

Glossary 115

Foreword by Robert A Roughley

Foreword

When Brenda first approached me to write the forward for this, her third

book; Drawing Book 1: Getting Started – the first in a series for homeschooling

families and self-directed learners, I was filled with joy Not only because she

asked me, but because I had been eagerly awaiting the completion of this

learning resource

For many, including those who learn outside the boundaries of traditional and

prescribed learning environments, access to quality learning and teaching

materials is limited Many of the existing resources on the market are written

and published without careful attention to the learning needs of the intended

audience

As an educator with graduate training and expertise in curriculum and

instructional design, I believe that Brenda Hoddinott has not only responded

to, but has exceeded the expectations of her audience with this invaluable

arts-based curriculum Blending expertise with encouragement, Brenda’s

lesson plans and instructions accommodate a wide range of learning styles,

abilities, and skill levels Most notably, her genuine and compassionate nature

extends to her teaching of art and drawing, as she leads students on a journey

of self-discovery through self-directed learning

For the past fifteen years, my own journey has taken me into the field of

education The integration of my training has allowed me to participate in

many roles: learner, teacher, mentor, and advocate As a learner, I pursued

undergraduate degrees in music and elementary and adult education

I have known Brenda Hoddinott for many years

It was during a difficult life transition that she provided me with the gift of encouragement

to explore my creative self-awareness Until that point, I didn’t believe that I was creative

or artistic My perception of art and creativity was limited by my perfectionist ideals of what defined “artistic ability” However, with patience (and a sense of humor), Brenda played a pivotal role in helping me reconnect with my artist within

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My graduate work focused on educational and curriculum studies, and counseling psychology As I transitioned from learner to teacher, I worked with children from kindergarten to grade six, with a focus in special education Later

in my career, I became a consultant for change in curriculum development and inclusive education

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

In my various personal and professional roles, I have learned, unlearned, and relearned the importance of creativity and artistic expression in marking our developmental milestones and other life transitions As an educator

and co-learner with students of all ages, abilities, self-identities, and

worldviews, I have noticed the eff ect of inclusive and purposeful curriculum

in the emergence of the creative self As a counseling practitioner, I have

witnessed the long-term, negative implications resulting from the demise or discontinuation of arts-based education in traditional and homeschooling settings

As human beings, we possess the intentions of creativity, but are far too often limited by the influence of those who fear the unlimited possibilities that come from creative thinking Someone once said, “What we learn from others becomes our own through reflection” I encourage readers, learners, and

practitioners to build upon this quotation and consider that what one sees in their own self-reflection is the core of one’s creative identity

Each chapter of this book represents a stage in the development and

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

Robert A Roughley

B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of Calgary

Instructor, Teaching and Learning Centre, University of Calgary

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YOU can learn to draw!

All you need is some vision and a way to hold

a drawing medium

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

I also discuss how to set

up a practical place to draw indoors In addition, you fi nd out what to pack

in a portable studio so you can comfortably draw outdoors

In this introduction, you

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

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

So, sit back and relax as

I tell you about this book and how to use it

Figure 02: A cartoon drawing

is created with a pencil.

ArtSpeak

ArtSpeak is a fun word

used to describe the

vocabulary of art

Drawing (verb) refers to

the process of applying

drawing surface with a

drawing medium (Figure

Medium refers to any

drawing tool (anything from

a pencil to the burnt end of

a stick) used to make marks

on a surface

Figure 01: A hand is drawing a cartoon

Sidebar is a box of text (some have illustrations)

that provides additional information about a topic

This sidebar is called ArtSpeak, and it provides

you with defi nitions of art words and terms

Pencil refers to a broad category of drawing tools

that have the medium inside a holder (Figure 03)

Illustration is an image (such as a drawing) that is

used to help explain text

Icon is an image (such as a drawing) used to

identify a specifi c task or information ArtSpeak

sidebars are identifi ed by a cartoon icon of Albert

Einstein

Figure 04: Simple sketch

of a seated man.

Figure 05: Shading is added to the same sketch.

Text refers to the words

usually done quickly

with simple lines (Figure

04) and (or) shading

(Figure 05)

Sketch (verb) refers to

the process of doing a

sketch

Shading (noun) refers

to the various values

within a drawing that

make images appear

three-dimensional

Shading (verb) is the

process of adding

values to a drawing

Values are the different

shades of gray you

make when adding

T I P !

Figure 06: Five values from light to dark.

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

Figure 08: Little girl with a doll.

Sizing up the sidebars

Scattered throughout this book, you

fi nd fi ve different sidebars (identifi ed with circle-shaped icons) that are

fi lled with useful information

ArtSpeak

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

Info Tidbit

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

Figure 13: Info Tidbit icon is a simple

fl ower rendered with classical drawing techniques

Figure 12: ArtSpeak icon is a cartoon of Albert Einstein’s face.

Figure 11: A lifelike drawing of

an eye is an example of realism.

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

Classical drawing refers to the drawing

methods invented by ancient Greeks and

Romans for creating realistic drawings (called

realism) Classical drawing was later enhanced

by the great artists of the Renaissance

Figure 17:

Exercises are identifi ed by

an icon of a boy doing exercises

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

Warning!

Better safe than sorry! Protect your drawings

(or yourself) from potential dangers by

following the advice in these sidebars (Figure

14)

Tip!

A tip can be more than the pointy end of a

stick! The tips inside these sidebars (Figure

15) can save you time, energy, and frustration

by telling you easier ways to do some tasks

or how to take better care of your supplies

Art Quote

Quotes about art (Figure 16) provide insights

into the creative minds of well-known artists

Eying action icons

Figure 15: Tip icon

is a cartoon face on a

light bulb.

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

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

In Chapters 7, 9, and 10, you fi nd several action

icons Some ask you to make something and

others ask you to gather your drawing supplies

and draw

Shaping up with exercises

Wherever you see the icon in Figure 17, you fi nd

an exercise designed to help you make or use

drawing supplies In addition, an exercise icon

may ask you to do a simple sketch or drawing

Step-by-step projects

When you see the icon in Figure 18, it’s time to

complete a step-by-step project Projects usually

take more time than exercises Each has two or

more illustrated instructions to help guide you

Action sidebar numbers and letters

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

Introduction

Figure 21: A challenging drawing of a Shih Tzu who goes by the name

of Panda Do you happen to know the name of a good orthodontist?

A few words on illustrations

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

As an added bonus, you may

become inspired by examining

the skills you are working to

achieve

For example, maybe one of

your artistic goals is to draw

realistic animals (check out

Figure 21)

Each illustration in this book is

marked with a number based

on its placement within a

Likewise, the fourth illustration

in Chapter 6 (a cartoon artist

practicing his drawing skills on

page 50) is marked Figure 604

For example, the

fi rst action sidebar in Chapter 7 is marked 7A (A is the fi rst letter

of the alphabet) As you can tell by the icon (Figure 19), this one is an exercise

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

Insights into the parts

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

Part 1: Get Ready!

Sit back and relax as I tell you about the drawing supplies you need to complete the

exercises and projects in this book

Part 2: Get Set!

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

Part 3: Go Draw!

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

How to Use this Book

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

Plan A

Slowly work through the entire book in sequence, doing each exercise along the way

Each new piece of information, skill, or technique prepares you for the next If an exercise

or project is too diffi cult, go back and try it again (and again if you need to), until you are happy with the results By the time you reach the end of the book, you’ll be ready for

Drawing Book 2: Lines and Spaces.

Plan B

Read through this book in no particular order Enjoy the illustrations and try your hand at the various exercises and projects that appeal to you You will encounter a few challenges with terminology (this is why you have a glossary in the back of the book), and some

projects beyond your current skill level When you begin to feel totally overwhelmed and frustrated, go back to plan A and work through the book from beginning to end!

Part 1: Get Ready!

GET READY!

► Simple history of drawing

► Process of learning to draw

► Fun history of graphite

► Grades of graphite

► Differences between B and H grades

► How grades affect the look of drawings

► Graphite and charcoal drawing mediums

► Wood-encased, mechanical, and woodless pencils

► Drawing powders and sticks

► Textures, sizes, and weights of drawing papers

► How to select and protect the tooth of paper

► Vinyl and kneaded erasers

► Pencil sharpeners and sandpaper

► Pencil case, portfolio, viewfi nder frame, and ruler

► Manikins, display boards, and spray fi xative

PART 1

Welcome to Drawing

Chapter

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

Chapter 1: Welcome to Drawing 9

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

On a simple sheet of drawing paper, the tallest trees on earth grow toward the sky In

another drawing, ogres and trolls are chasing one another through a dark, magical forest

How about a snow dragon dancing with polar bears and penguins? Or stone faces standing

guard over a river valley in another galaxy far away?

How many stone faces can you fi nd in the drawing in Figure 101? Figures 102 and 103

show you a couple just to get you started

Figure 102: Imagine yourself strolling

peacefully along this path, unaware of the

creature with the huge open mouth waiting

for lunch to walk by.

Figure 103: See the face of a regal male warrior gazing toward the right

Can you fi nd his nose, mouth, chin, and an eye?

In this chapter, you learn 32,000 years of art history

by reading a thousand words (Obviously, a very shortened version

of history!) You also fi nd out the real truth behind the silly gossip that you need a magical talent to become

Portfolio is a case in which artists store (or

carry) drawings and papers to protect them

from damage

Figure 105:

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

Figure 106: A drawing of

an old arrowhead that looks similar to some that were discovered by archeologists.

Prehistoric describes the period in time before

language was used to write and record history

History is a written record of the past;

mostly about the lives and activities of human beings and their environments

For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born

in Italy in the year 1452.

Archaeologist is a

person who studies ancient peoples

by fi nding and documenting the things they left behind

(As an aside, many archeologists have excellent drawing skills.)

11

Figure 107:

Copies of prehistoric cave drawings created by cavemen (or cavewomen)

A Brief History of Drawing

Drawing is a universally understood language; a form of communication that is free of

such rules as correct spelling or proper grammar This section offers a brief background

on drawing - from the cave drawings of prehistoric humans, to the masterpieces of the

Renaissance

Chapter 1: Welcome to Drawing

Figure 108:

Drawing based on

an actual prehistoric drawing discovered

on a stone in Africa

Style refers to an artist’s approach to his or her

own art An artist’s style may be based on his or her personal preferences and art education

For example, realism is a well-known style

Technique is a well-known method (such as

a specifi c way to do shading) that is used to accomplish a particular activity or task

For example, more than one shading technique may be suitable for a specifi c drawing Hence, an artist’s choice of a shading technique (or techniques) is generally based on his

or her skill level and what works best to capture the subject.

ArtSpeak

In the time

of the

caveman

Artists have been

drawing for at least

These drawings tell us a lot about

how prehistoric humans lived

In other words, the drawings

recorded their stories without

spoken language or written

words

During prehistoric times in Africa,

drawings of simple human fi gures

(Figure 108) were added to burial

stones

You can try your hand at drawing

a human fi gure the way some

prehistoric people did, in Action

10A in Chapter 10

the walls of caves in

France

Mural is a drawing or painting on a wall, ceiling, or other

large surface

Murals have been discovered on the walls of prehistoric caves and

inside ancient Egyptian tombs.

Fresco is an artwork painted on a thin layer of plaster

that covers a wall or ceiling

Frescos that date back more than 3500 years have been discovered

in Greece The ceiling of the Sistine Chapel (in Rome) is also a

fresco that was painted by Michelangelo between 1508 and 1512

Sculpture is a three-dimensional artwork that is made of

a material such as bronze, rock, or marble

Sculptor is an artist who creates sculptures.

A very well-known sculptor of the Renaissance was Michelangelo,

and one of his most famous sculptures is the Statue of David.

Mummy portrait is a painting of

a man, woman, or child that was discovered attached to the face

of a burial mummy Many date back to the Roman occupation

of Egypt

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

Visual art refers to artworks

(such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight

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

The birth of classical art

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

Long before the Renaissance, ancient

Greek and Roman artists created

realistic artworks of nature, animals,

and people The discovery of several of

these artworks helps us understand the

styles and techniques of the artists, as

well as how people lived during these

times

Archeologists have found the remnants

of murals and frescos painted on walls of

buildings in ancient Greece and Rome

Many show major deterioration, but

others are remarkably well preserved

Figure 109 is a drawing of an antelope,

copied from a fresco that had been

buried under volcanic ash in Greece for

more than 3500 years

Chapter 1: Welcome to Drawing

In addition to murals, frescos,

coins, and pottery; several

breathtaking, realistic sculptures

and paintings of people have

survived the ravages of time

One of my favorite ancient

paintings is a mummy portrait of

a young man, possibly a Roman

soldier (Figure 110) I couldn’t

resist the challenge of drawing

someone who lived more than

2,000 years ago

The unknown artist used classical

techniques to make the face

appear three-dimensional

Figure 110: My goal was to create a

drawing that looked like the ancient painting

I decided to include the fl aws of the old

wooden panels on which it was painted.

Remembering the

Renaissance

The beginning of the Renaissance is identifi ed by the very popular rebirth of classical

drawing throughout Europe During this time, classical drawing techniques were greatly

improved and many new techniques were born

Throughout the Renaissance, art students were encouraged to study and practice

the techniques of the most highly skilled artists (called “masters”) Some of the more

dedicated art students experimented with new ways of drawing and ended up creating new

techniques Hence, many students of the masters eventually became masters themselves

Between 1480 and 1527, during the time known as the High Renaissance, many very

famous artists (called “great masters”) further developed drawing as the most important of

all visual arts Great masters, such as Leonardo da Vinci, Michelangelo, Hans Holbein, and

Albrecht Dürer, created the most magnifi cent masterpieces our world has ever known

Even today, students of art all over the world are still learning from the masters of the

Renaissance Classical drawing techniques are considered the foundation of all visual arts

including painting, sculpture, and digital art

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

The Inside Scoop on Drawing

Throughout the process

of learning to draw, you automatically learn to observe, appreciate, and better understand the world around you As your drawing abilities become stronger, creativity is also enhanced Check out the artist’s model and compare him to the drawing (Figure 113)

Figure 113: An artist uses his creativity to make a few

changes to the body of the model in his drawing.

Figure 112: Classical drawing techniques are used in a drawing

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

Figure 111: This classical drawing of a youth is

copied from a work by Michelangelo.

Chapter 1: Welcome to Drawing

Drawing provides a way for you to

document how you see the world

Being able to draw also allows you

to take up other visual arts (such as

digital art and painting) more easily

than people who cannot draw

You can also learn to draw from your

imagination With a little creative

thought, artists can even change

Drawing is an action word

Music students can’t learn to play piano by reading a music book without actually applying

their knowledge to the action of playing a piano People who expect to know how to ski

after reading a book on skiing are not going to have any success until they actually go

skiing Both of these activities require some sort of action in order to be learned

Drawing is also an action word The process of reading this and every other art book from

cover to cover cannot improve your drawing skills You need to actually draw to achieve

strong skills In other words, you must put your knowledge into practice!

YOU can draw!

Drawing is an easily acquired skill that everyone can learn All you need is some vision and

a way to hold a drawing tool Talent is nothing more than a word that describes the process

in which you accept your ability to become a good artist Simply put, learning to draw does

not require a magical force to have been born within you

The closest relatives of drawing are printing and writing Just as you learned to draw the

letters of the alphabet, you can also learn to draw objects, people, and other subjects

Figure 115: The horse has

magically turned into a unicorn!

of another horse

what they see

in the real world

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

Figure 117:

The style I use to draw a horse’s head

is similar to the styles of the drawings

of the masters demonstrated

in Figures 111 and 112.

ArtSpeak

Underdrawing is a loosely rendered

sketch that is created as a guide for a

fi nal drawing (or painting)

Figure 116 shows an underdrawing of a horse.

Info Tidbit

Developing your own style

To develop a personal style of your own, you

fi rst need to learn as many techniques as

possible The techniques that you like best

help determine your unique style

My drawing techniques reveal that I have

been a student of the masters for most of my

life For instance, Leonardo da Vinci often

used the technique of doing an underdrawing

with metalpoint (refer to defi nition on page

18) before beginning a drawing or painting

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

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

Figure 116:

A very faint underdrawing identifi es the basic shapes

of a horse’s head.

17 2

Getting a Grasp on Graphite

Graphite is a soft black form of opaque

(non-transparent) carbon found in nature It is often mixed with clay to make various types of drawing tools for artists

Clay is a naturally occurring material that

becomes hardened when dried

Grade refers to the softness or hardness of

the mixture used in the manufacture of drawing mediums

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

Something called “graphite” is the best friend of many artists who love to draw In this

chapter, I share a little bit of fun information about graphite and its history

You also learn about the grades

of graphite (When it comes to

graphite, a B grade is not better

than an H!)

In addition, you examine drawings

rendered with different grades of

graphite to give you an idea of how

B and H pencils affect the look of

drawings

Traveling Back

in Time with

Graphite

In this section, you discover a few

fascinating tidbits about the history

of graphite

Some graphite drawings created

hundreds of years ago are still

around today Hence, graphite has

survived the test of time

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

Figure 202: The earliest stylus was a thin metal stick

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

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

Another great thing about graphite is its ability

to be erased Therefore, many mistakes can be

fi xed

How the “lead” pencil got

its name

Before the discovery of graphite, ancient artists

made drawings with long, thin rods (referred to

as “styluses”) Styluses were made from a soft

metal, such as lead, and so they became known

as “leadpoint”

A stylus worked by leaving a thin deposit of

metal on the surface of paper, producing a fi ne

gray line

Some styluses had a fi ne point at one end and a

blunter point at the opposite end so artists could

draw both thin and thick lines

Leadpoint is considered the

ancestor of the modern graphite

pencil The term “lead pencil” is

often incorrectly used to describe

graphite pencils that are made of

graphite and clay (and contain no

lead whatsoever)

On the other hand, graphite pencils

do produce a warm-toned gray line

that looks very similar to the marks

made by leadpoint

During the Renaissance, the

masters created many beautiful

intricate drawings with only a

stylus

Artists also used styluses to do

underdrawings for more detailed

drawings (and paintings)

When you look closely at old

drawings, you can often fi nd a

few of the faint lines from the

underdrawings

19

Chapter 2: Getting a Grasp on Graphite and Grades

The link between graphite and sheep

Graphite was discovered in England somewhere between 1500 and 1560 Farmers are

thought to be the fi rst people who found a practical use for graphite They used a lump of

graphite to mark their sheep so they could easily identify their fl ocks Check out the cartoon

drawing of a sheep in Figure 203

News of the discovery of graphite

soon traveled far and wide

throughout the known world,

and graphite quickly became a

valuable drawing medium within

artistic communities

Artists often sharpened a chunk

of graphite into a point and set

it into a metal holder These

sharpened chunks became the

very fi rst graphite pencils!

Making the

Grade

As you now know, graphite

pencils are made with a mixture

of graphite and clay Graphite is

very black and soft and makes

dark marks Clay is hard and

makes light marks

Figure 203: A cartoon sheep proudly displays

a big “X” marked on her wool with graphite

To make shopping a little easier, pencils are labeled with a number-letter code depending

on the amounts of graphite and clay in the mixture For example, a 6B pencil has more

graphite than clay and makes very dark marks A 2H pencil has less graphite and therefore

makes very light marks

Many art supply stores carry a broad range of grades An HB grade is in the middle and

can be called either an H or a B (Figure 204)

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

Trying to draw with 17 different pencils can

be a nightmare! Besides, some grades

make almost identical marks

Artists can draw a full range of values

(Figure 205) with only fi ve grades of

graphite: 2H, HB, 2B, 4B, and 6B

For example, the advanced drawing of a

replica of a medieval dagger (Figure 206) is

drawn with only these fi ve grades

Whenever you draw, your goal is to choose

whichever grades of pencils can best give

you the results you want

For drawings needing a softer touch, you

may prefer to use mostly H grades On the

other hand, B grades may work better for

drawing subjects needing a darker, bolder

approach

And more often than not, a combination of

B and H grades is a perfect choice

Figure 205:

A range of different values can

be created

by each of these fi ve grades of graphite.

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

Pupil of an eye is the tiny, dark, circular

part of an eye that adjusts its size under different lighting conditions

Hard is light

Hard pencils can’t make very dark values However, they can create light to medium marks

(Figure 207) that work well for some drawings

Info Tidbit

The word pencil comes from

the Latin word pencillus (which

means “little tail”)

Always lay your graphite pencils somewhere safe

so they don’t fall!

Graphite is quite fragile - especially the softer grades

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

T I P !

As a rule, hard (H) pencils:

► Have a hard, brittle medium

► Make light to medium marks

► Wear down slowly

► Need very little sharpening

► Create very thin to medium-width

lines

The lines made by H pencils are

mostly thin and delicate; hence,

they work best for small to medium

drawings (unless, of course, you have

lots of patience)

Figure 208:

An arrow points to the pupil of an eye.

The drawing in Figure 209 is

almost completely rendered

with four different grades of

hard pencils

Figure 209: This drawing of

a friend (Christopher Church) playing a violin took more than a month to complete with 6H, 4H, 2H, HB, and 2B pencils

B pencils tend to “B” soft, and can make very dark marks because they have more

graphite than clay However, by pressing very gently with B pencils, you can also create light and medium values Figure 210 shows the base value of four B grades of graphite

I used a 2B (soft) pencil for only a few dark accents,

such as the pupils of his eyes and tiny sections of

the darkest shadows

Generally speaking, B grades of

pencils:

► Have a soft medium

► Make light, medium, and

Chapter 2: Getting a Grasp on Graphite and Grades

Figure 211: Loosely rendered sketch of

a side-on view of a young man.

Figure 212:

Drawing

of a peach using HB, 2B, 4B, and 6B pencils.

The darker marks

created by B pencils are

ideal for loosely rendered

sketches on medium to

large sheets of paper

Check out the sketch of

the young man (Figure

211) created with only 2B

and 4B pencils

If you are patient, and

don’t mind constantly

sharpening their points,

B pencils can also

work well for rendering

detailed subjects on

small sheets of paper

B pencils were used for

the small drawing of a

peach in Figure 212

Combining

soft and hard

grades

When you draw a subject

with lots of light and dark

values, you may need to

use both B and H grades

of pencils

Info Tidbit

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

Figure 214:

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

Figure 215:

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

Figure 213: A drawing of a baby

zebra (named Spot) is created with

both H and B grades of graphite

And what animal

could show you a

and 2B, and the black

stripes are drawn with

HB, 2B, 4B, and 6B

Professional pencils often look identical, even though the grades are different (Figure 214) But don’t be fooled! The grade of the graphite

is written somewhere on the wood part of each pencil (Look closely at Figure 215)

More Drawing Mediums

Chapter

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

Chapter 3: More Drawing Mediums 25

In addition to graphite pencils, you need to

begin learning to draw with mediums that are

specifi cally designed for artists As with most

activities, the better the tools, the happier you

are with the outcomes

In this chapter, I tell you about a few popular

drawing mediums I show you what each looks

like, and the kind of marks it makes

ArtSpeak

Figure 301: Shopping for drawing mediums is a big challenge when

you have to choose from so many different types

Charcoal is a drawing medium

made from burnt organic material (such as wood) As with graphite, charcoal comes in various grades

Charcoal pencils have a thin

cylindrical stick of compressed charcoal inside a wooden casing

Charcoal sticks are made by

compressing powdered charcoal into round or rectangular sticks

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

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

Drawing stick (1) is made by

compressing and shaping a medium

(such as graphite or charcoal) into a

cylindrical or rectangular chunk

Woodless pencil (2) is a thick cylindrical

stick of graphite wrapped in a vinyl

casing

Mechanical pencil (3) has an internal

mechanism that pushes a thin graphite

lead, from the tiny tube inside the holder,

through the tip

Wood-encased pencil (4) (better known

as a regular pencil) has a thin cylindrical

stick of graphite or charcoal inside a

wooden casing

Picking out Proper Pencils

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

Figure 304:

Pencils last longer if you sharpen only their points on

a sandpaper block.

Sandpaper block is an artist’s tool with

tear-off sheets of fi ne sandpaper used to

sharpen the points of pencils

Wood-encased pencils

Graphite pencils are ideal for either

simple, loosely rendered drawings or very

complicated, intricate drawings on small to

medium-sized surfaces

Charcoal pencils are fantastic for medium to

large drawings on large sheets of paper

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

do the scraggly feathers

You can sharpen the points

of regular pencils with a pencil sharpener, some fi ne sandpaper, or a sandpaper block

Charcoal pencils

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

Figure 307: Thin lines drawn with freshly sharpened graphite pencils.

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

Chapter 3: More Drawing Mediums

Wonderful black marks can be made

with charcoal (Figure 310), which is

much softer than graphite

Hard grades of charcoal can be

carefully sharpened in a pencil

sharpener with an oversized

opening If you want thin lines, you

need to keep the point sharpened

with a sandpaper block Figure 309:

Most charcoal pencils are a little thicker

than graphite pencils

WARNING!

Utility knives are VERY dangerous!

Utility knives are as sharp as razors! One small slip of the knife can cause permanent damage

to your hand or fi ngers They should only be used by responsible adults who are handy with tools

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

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

Soft grades of charcoal

simply crumble and break

when you try to sharpen

them in a pencil sharpener

A heavy-duty utility knife

works best for cutting away

some of the wood so you

can sharpen the exposed

charcoal with a sandpaper

block

Charcoal is fun to work with

and is ideal for drawing

anything - including people,

scenery, and objects Check

out the charcoal drawing in

Figure 311

Figure 310: Various marks made by a charcoal pencil.

Other fun pencil mediums

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

A professional-quality mechanical pencil designed for drawing is expensive;

but in the long run, it tends

to be more economical than constantly buying wood-encased pencils

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

29

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

Figure 312:

A sampling of

mechanical pencils.

T I P !

Chapter 3: More Drawing Mediums

Purchase only professional-quality mechanical pencils

You can fi nd inexpensive novelty mechanical pencils in many stores However, professional mechanical

pencils that are designed for drawing can only be found in art supply stores Most are expensive, but

they tend to last much longer than the department store variety

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

Figure 313: Drawing of an unusual glass bottle completely rendered with 0.5 mm mechanical pencils and various grades of leads.

T I P !

Before you buy leads for a mechanical

pencil, check the size!

Read the label on each package of leads

you want to buy, to make sure they are

the right size for your mechanical pencil

For example, 0.7 mm leads are too big to

fi t through the pointed end of a 0.5 mm

mechanical pencil

Figure 314: Marks made with a woodless pencil.

A mechanical pencil can be loaded with

leads of different grades ranging from very

hard to soft (However, you should load

only one grade at a time.) Leads of the

same grade are sold in a single package,

so, you may have to buy a package of

each of the grades you want to use

Woodless graphite pencils

Obviously, woodless pencils do not have

a wooden casing! A thick rod of graphite

is surrounded by a thin (usually vinyl)

casing; hence, your hands stay clean as

you work

Woodless pencils rarely need to be

sharpened in a pencil sharpener A few

strokes on sandpaper and the points are

sharp!

They can make lots of different marks

(Figure 314), and are great for subjects

needing wider, bolder strokes than regular

pencils When the points are sharpened,

they can also make very thin lines (Figure

315)