A Brush With Art.pdf

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Drawing animalsWhen learning to paint people, you do have adistinct advantage - you can sometimes ask themto stand still and ipose for you! That isn't the casewith animals and this is one of the real problemswhen drawing or painting them. But do try todraw and paint animals from life wheneverpossible because you won't get a real feel for thefur, colour or the way they move from just lookingat photographs.Start by going out with your cartridge paperand a 2B pencil to sketch, observe and learn.Always be patient with yourself. It can take 15-20minutes to get your brain and pencil workingtogether to achieve any good drawings andbecome accustomed to the speed at which youhave to work. Of course, it is disappointing to gethalfway through a good sketch when the animaldecides to move off, but inevitably this vîWhappen! Just let it be your cue to start anothersketch. Remember that the object is to learn, notto produce a single, perfect drawing. Animals canbe fascinating subjects and, once you feelconfident about drawing them, it will give you theconfidence to start painting them, too.^,^''«?iC«:-sc*'''*"*^''^"A/ found the bisonstrange to draw - theyjust seem a shapelessmass of shading. Butthat's what they lool
SS^-'^^^^r^^c'*»i4rh/s particular rhino proved to be the hardest ofall the animals to sketch and wouldn't keep stillfor more than 5 seconds. He moved and turned,went away and came back, but still I persevered.However, I feel the hind quarters need a littlemore attention! The top rhino was a far betterartist's model and kept reasonably still - as muchas you can expect an animal to!69
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First published in U.S.A. in 1993 b
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When somebody told me that there we
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IntroductionThere are many people w
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my advice and keep your materials s
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Whatman 200 lb Not (2B pencil)«.^^
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The 12 ProgrammesA course of easy-t
Page 21 and 22: T—//Bockingford 200 lb, 21 x 29 c
Page 23 and 24: Always observe reflections. Study t
Page 25 and 26: Three PrimariesSome colours that ca
Page 28 and 29: Painting Hay TorIdrew in Hay Tor wi
Page 30 and 31: useHound TorBrush strokesFor this p
Page 32 and 33: useUsing a No. 6 sable brushF This
Page 34 and 35: Painting Hound TorThe most importan
Page 36 and 37: '^m DaWLISHWarrenBeachComparing pap
Page 38 and 39: Second Painting: on Rough PaperWhen
Page 40 and 41: .-^X-î1AQuick sketchesThe beach is
Page 42 and 43: HiHarpfordChoosing alocationHarpfor
Page 44 and 45: Drawing with pencilYour pencil is,
Page 46 and 47: Design and CompositionIhave called
Page 48 and 49: Drawing HarpfordWith a reasonably c
Page 50 and 51: Shaldon BeachTonal valuesIf viewers
Page 52: Drawing BoatsStudents who don't lik
Page 55: Doodle to get used to the penUse ve
Page 58 and 59: Details from the painting/ didn't d
Page 60 and 61: 3 StudioPainting from photographsAf
Page 62 and 63: 4t«w
Page 64 and 65: Details from the paintingThe blue c
Page 66 and 67: Exeter QuayPainting treesExeter Qua
Page 68 and 69: Painting Exeter QuayWhen Ifirst saw
Page 70: Paignton Zoowhat better place than
Page 75 and 76: was only concerned aboutthe head an
Page 77 and 78: ' -.i_ ,S*' t.itf^l^lltnr^^Ûse sim
Page 79 and 80: 1*:-¥, A dry brushtechnique (seepa
Page 81 and 82: This area was builtup using simplew
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Page 85 and 86: secret'. If I counted my steps firs
Page 87 and 88: Even in summer, the weather in Brit
Page 89 and 90: Exeter. I must admit that I wasn't
Page 91 and 92: Gallery•"SP'sSC^*.M^^^!^:...
Page 93 and 94: Above: East Dart River, Devon.Cartr
Page 95 and 96: 1Red Sails,Sidmouth.Whatman 200 lb
Page 97 and 98: HdHAutumn Sunshine.Whatman 200 lb R
Page 100: -XTi- %On the Beach.Bockingford 200
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