Sketching-People

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SKETCHING MATERIALSYour choice of materials will also affect how you feel aboutthe sketching experience. Your materials need to be portableso that when you’re out walking around looking for a spotto draw they will be easy to use when you need them. Ifyou feel you have to lug around lots of media, you will beless inclined to go out and draw. A simple sketchbook andsome kind of drawing implement, like a pencil or pen, is allyou really need.Your materials don’t need to be expensive or elaborate.You can go to a paper store and buy a few reams of differentkinds of paper and have them wire- or comb-bound ata photocopy center. This allows you to choose differentcolors and textures of paper rather than being stuck withall white pages as in most sketchbooks you can buy offthe shelf; it’s also far less expensive. With a little additionalwork you can cut sheets in half and have them bound tomake an even more portable sketchbook. If you like makingyour own sketchbooks you can invest in your own bindingsystem so you can make them at home.Pencils and ink pens are easily carried around in a pocketand are great materials for sketching. A fountain pen is anexcellent tool for sketching, not only because it’s easilyportable, but also because the flexible nib allows you todraw different widths of line depending on the pressureyou apply. The pen has an ink reservoir that will last you allday and is easily refillable. Fountain pen ink is availablein a wide variety of colors, and because fountain pen inkis water-soluble, you can create an ink wash just by applyingwater from a brush to your drawing.It’s important to take care of a fountain pen to keep itworking properly. Don’t let the ink dry out in the pen; if youaren’t going to be using it regularly, remove all the ink. Also,only use fountain pen ink. You cannot use India ink, drawinginks, watercolors or anything else or you will destroy yourpen. Although skill is more important than the materials youare using and I don’t usually like to mention specific brands,fountain pens are expensive, and it can be time-consumingto find the right fit. I personally like the line and flexibilityof Namiki’s Falcon fine-point fountain pen, though I havealso had a good experience with Parker’s Sonnet pens.By far, my favorite ink is made by a small company namedNoodler’s Ink.MATERIALS FOR COLORI find watercolor to be the easiest medium for portability.A small watercolor travel kit is all you really need. Again,you can save money if you make your own by using a smallcandy tin, gluing in some small cups and filling them withwatercolors from a tube. You will also need a quality travelbrush, a small container of water and a cloth or a couple ofpaper towels to wipe off the brush. Although this may seemlike a lot of materials to carry, it is far easier than trying tocarry an array of colored pencils, markers or paints anda pallet. To pare down even more, there are inexpensivebrushes that have a water reservoir built into the flexibleplastic handle, eliminating the need for a separate watercontainer. Although these brushes are of lesser quality, itis more than sufficient to apply simple areas of color or adda wash to a fountain pen drawing.I try to carry all my materials around in a pocket wherethey are readily accessible. If you have to rummage througha bag to find what you’re looking for, you will be less inclinedto use it. You’d be better off bringing along fewer tools thanto have several that you never use.HOW TO USE THIS BOOKThis book is designed to help you learn traditional drawingprinciples and how to apply them to sketching. Each chapter buildsfrom the previous chapters, so I’d advise you to start from thebeginning and move through sequentially. The techniques foundin this book are so fundamental that even if you are an excellentdraftsman already, I believe you will still find the lessonsuseful. My hope is that by learning the essential principles ofdrawing you will be free to express your life through your art.
Chapter OneOBSERVATIONALDRAWINGAll drawing begins with careful observation. Whether you are looking at a subject’s contours, a person’sclothing, someone’s body language or studying anatomy, what you see comes before what you draw.That isn’t to say that you are limited to only drawing what you see, but because art is a visual medium,everything relates back to what can be seen. Even abstract art that is completely nonrepresentationalrelates to the world in color harmonies, contrast or texture, but it all begins with the artist’s observations.The challenge of representational drawing is being able to translate a threedimensionalobject onto a flat surface and make it seem real. It’s quite amazingthat lines on a page can create the illusion of depth, but by re-creating the values,edges and size relationships as they are seen, the mind will perceive spacewhere it doesn’t exist.Whether you are drawing from a model or sketching in public, keenobservation is a vital skill to possess, and is the basis for all representationaldrawing. Eventually, your observational skills will be appliedto analyzing how something is put together, and while you willbe building your drawing in a different way, the toolsin this chapter help lay the foundation to unlock theseadditional techniques.WHAT YOU SEE SHAPES YOUR ARTArt is a visual medium. It begins with observationand ends with what the artist makes visible. A realisticdrawing like this is a direct translation of an actual thing.
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Page 6 and 7: ACKNOWLEDGMENTSI’d like to thank
Page 8 and 9: Chapter Five66 | EXPRESSIONSWhen we
Page 12 and 13: “Talent! What they call talent is
Page 14 and 15: SKETCHING POINT-TO-POINTEXERCISEPoi
Page 16 and 17: ALIGNMENTS | POSITIVE & NEGATIVE SH
Page 18 and 19: DYNAMIC LANDMARKSWhen a person is i
Page 20 and 21: MUSCLE AND SKINThe human form is la
Page 22 and 23: STEPS TO GESTURE DRAWINGEXERCISEDev
Page 24 and 25: FINISHED GESTURE DRAWINGThis first
Page 26 and 27: A FEW LINES CONVEY POSE AND EXPRESS
Page 28 and 29: SPHERICAL FORMSThe sphere is more t
Page 30 and 31: SPHERICAL FIGURESOnce you understan
Page 32 and 33: CUBIC FORMSThe cube is the most dim
Page 34 and 35: FIGURES BUILT FROM BOXESThese two s
Page 36 and 37: THINK OF A CYLINDER AS A SPRINGAlon
Page 38 and 39: MORE COMPLEX FORMSThe figure here i
Page 40 and 41: EXERCISEPRACTICE BASIC FORMSPractic
Page 42 and 43: 3| Anatomical FormsShape and mold t
Page 44 and 45: ALIGNMENTIn order for the gestalt p
Page 46 and 47: STATIONARY SUBJECTSPeople who aren
Page 48 and 49: TENSION & COMPRESSIONFolds are crea
Page 50 and 51: CREATING PIPE FOLDSPipe folds are e
Page 52 and 53: CREATING SWAG FOLDSFind places on y
Page 54 and 55: CREATING INTERLOCKING FOLDSIn order
Page 56 and 57: CREATING SPIRAL FOLDSThis figure’
Page 58 and 59: CREATING ZIGZAG FOLDSJust above whe
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CREATING BILLOWING FOLDSIn this sim
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CREATING INERT FOLDSWhile the blank
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SIMPLIFYINGThough every wrinkle, fo
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FROM GESTURE TO SKETCHEXERCISEJust
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SIMPLIFIED EXPRESSIONSI think the f
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disgustconfusionangersadness
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4| Specific Shapes and ClothingOnce
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SIMPLIFIED FORMThe simplified head
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HAIR GROUPINGSWithout gels or spray
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Chapter SixBODY LANGUAGEDrawings be
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CATEGORIZING POSESThough a subject
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LEANING INIf a person is leaning in
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DEALING WITH SYMMETRYPeople sometim
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HANDSOur hands are designed to be u
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HANDS: CONSTRUCTIONOnce the gesture
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Chapter SevenSTAGINGFor a visual ar
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SIMPLE SETTINGS PROVIDE HINTSSettin
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CHARACTER BLOCKINGCharacter blockin
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ANGLEDAn angled pose allowsthe char
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VANTAGE POINTThe vantage point is t
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PROXIMITYYour angle may be predeter
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EXERCISESIMPLE STAGING, ONEA good w
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STAGING PEOPLEStaging is a tool to
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BUILDING A SCENEAs people crowd int
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3| Extend the Setting, If Necessary
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Chapter EightVALUELight’s vibrant
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LOCAL VALUEEverything has an inhere
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DIRECT LIGHTThis system of light is
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LIGHT & SHADOW SIDESLight divides t
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COMPRESSING VALUESOnce the light an
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CONCLUSION: ON CREATIVITYSome peopl
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GALLERY
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THE BEST IN ART INSTRUCTIONCOMES FR
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