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Summary The Complete Beginner’s Guide to Drawing: More than 200 drawing techniques, tips & lessons
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THE COMPLETEBEGINNER'S GUIDE TODRAWING61408 - BSD2_001-039.indd 1 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o(Text) tD 571# egaP Y L:p 1:
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Cats. 99Rendering.Cats. 100Contents Feline.Features . 102Paws.&.Tails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Tabby.Cat. 104Persian.Cat . 106Composition . 108Common.Cat.Behaviors . 110Adult.Cats . 112Basics. 5 Dogs. 113Tools.&.Materials . 6 Depicting.Dogs. 114Getting.Started. 9 Proportion.&.Anatomy. 116Learning.to.See. 12 Muzzles. 118Starting.with.Sketches. 14 Doberman.Pinscher . 119Beginning.with.Basic.Shapes . 16 Great.Dane. 120Warming.Up. 18 Shar-Pei.Puppy. 121Simple.Shapes . 20 Golden.Retriever. 122Strawberries. 22 Siberian.Husky.Puppy . 124Pineapple. 23 Rough.Collies . 126Developing.Form. 24 Bloodhound. 128Dachshund . 129Maltese . 130Horses. 131Clouds . 62 Basic.Heads. 132Rocks. 64 Horse.Portrait. 134Creek.with.Rocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Horse.Head.in.Profle. 136Mountains. 68 Advanced.Horse.Heads . 137Rendering.a.Grand.Landscape . 70 Pony. 138Deserts. 72 Foal’s.Body . 140Exploring.Distance. 74 Arabian. 142Shetland.Pony. 143Adult.Horse’s.Body. 144Flowers. 27 Horse.&.Rider.in.Action . 146Mastering.Flowers . 28 The.Jump. 148Basic.Flower.Shapes. 30Simple.Flowers. 31Tulips. 32Rose.&.Water.Drops. 33Daffodil . 34Carnation. 35Dendrobium . 36Fuchsia. 37Primrose . 38 Animals. 77Hibiscus. 39 Drawing.from.Photographs. 78People. 151Hybrid.Tea.Rose . 40 Drawing.from.Life. 79Beginning.Portraiture. 152Floribunda.Rose . 41 Drawing.Animals. 80Adult.Head.Proportions. 154Bearded.Iris. 42 Shading.Techniques. 82Woman.in.Profle. 155Rabbits. 84Studying.Adult.Proportions. 156Landscapes. 45 Guinea.Pig. 86Exploring.Other.Views. 157Studying.Trees . 46 Squirrel . 87Depicting.Adult.Features. 158Surfaces.&.Textures. 48 Kangaroo. 88.The.Nose,.Ears.&.Mouth . 160Trees.in.Perspective. 49 Toucan. 89Head.Positions . 162Begin.with.Simple.Shapes. 50 Budgerigars. 90Learning.the.Planes.of.the.Face . 163Tree.Trunks . 52 Iguana . 91Approaching.a.Profle.View. 164Root.Patterns . 53 Giraffe . 92Woman.Frontal.View. 166Branches.&.Boughs . 54 Elephant. 93Developing.a.Portrait. 167Majestic.Oak. 56 Baboon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Capturing.a.Likeness . 168Sycamore.Lane. 58 Giant.Panda. 95Including.a.Background. 169Landscape.Composition. 60 Chimpanzees. 96Depicting.Age. 170Perspective.Tips . 61 Parrot. 98Elderly.Men. 1722 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g Co n t e n t s | 361408 - BSD2_001-039.indd 2 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o(Text) tD 571# egaP Y L:p 2:
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Cats. 99 Body. 173Rendering.Cats. 100 Figures.in.Action. 174Contents Feline.Features . 102 Movement.&.Balance. 176Paws.&.Tails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Bending.&.Twisting.Figures. 177Tabby.Cat. 104 Proportion.&.Detail. 178Persian.Cat . 106 Hands.&.Feet. 179Composition . 108 Drawing.from.Life. 180Common.Cat.Behaviors . 110 Clothing.Folds. 182Adult.Cats . 112Children. 183Dogs. 113 Portraying.Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184Depicting.Dogs. 114 Children’s.Proportions. 186Proportion.&.Anatomy. 116 Girl.in.Profle. 187Muzzles. 118 Indicating.Fair.Features. 188Doberman.Pinscher . 119 Child.Body.Proportions . 190Great.Dane. 120Shar-Pei.Puppy. 121 Anatomy. 191Golden.Retriever. 122 Getting.to.Know.the.Basics. 192Siberian.Husky.Puppy . 124 Exploring.the.Torso. 193Rough.Collies . 126 Portraying.a.Seated.Figure.in.Pencil. 194Bloodhound. 128 Sketching.a.Standing.Figure.in.Pencil . 196Dachshund . 129 Rendering.a.Reclining.Figure.in.Charcoal. 198Maltese . 130Horses. 131Clouds . 62 Basic.Heads. 132Rocks. 64 Horse.Portrait. 134Creek.with.Rocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Horse.Head.in.Profle. 136Mountains. 68 Advanced.Horse.Heads . 137Rendering.a.Grand.Landscape . 70 Pony. 138Deserts. 72 Foal’s.Body . 140Exploring.Distance. 74 Arabian. 142Shetland.Pony. 143Adult.Horse’s.Body. 144Horse.&.Rider.in.Action . 146The.Jump. 148Still Life. 201Still.Life.Composition. 202Pinecone . 204Floral.Arrangement. 206Liquid.&.Glass. 207Bottle.&.Bread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208Animals. 77Drawing.from.Photographs. 78People. 151 More Tips. 211Drawing.from.Life. 79Beginning.Portraiture. 152 Pictorial.Composition. 212Drawing.Animals. 80Adult.Head.Proportions. 154 Perspective . 214Shading.Techniques. 82Woman.in.Profle. 155 Practicing.Perspective . 216Rabbits. 84Studying.Adult.Proportions. 156 People.in.Perspective. 220Guinea.Pig. 86Exploring.Other.Views. 157 Composing.Figures. 221Squirrel . 87Depicting.Adult.Features. 158 Foreshortening. 222Kangaroo. 88.The.Nose,.Ears.&.Mouth . 160 More.Foreshortening. 224Toucan. 89Head.Positions . 162 Choosing.a.Pose. 225Budgerigars. 90Learning.the.Planes.of.the.Face . 163 Understanding.Lighting. 228Iguana . 91Approaching.a.Profle.View. 164 Depicting.Textures . 230Giraffe . 92Woman.Frontal.View. 166 Describing.Surface.Textures . 232Elephant. 93Developing.a.Portrait. 167 Capturing.Vacation.Scenes . 234Baboon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Capturing.a.Likeness . 168 Experimenting.with.Different.Media. 236Giant.Panda. 95Including.a.Background. 169Chimpanzees. 96Depicting.Age. 170Parrot. 98Elderly.Men. 1722 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g Co n t e n t s | 361408 - BSD2_001-039.indd 3 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD otD 571# egaP Y L:p 2: (Text) tD 571# egaP Y L:p 3:
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BASICS61408 - BSD2_001-039.indd 5 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD otD 571# egaP Y L:p 4: (Text) tD 571# egaP Y L:p 5:
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Gathering the BasicsYou don’t need a lot of supplies to start; you can begin enjoyingTools & Materials drawing with just a No. 2 or an HB pencil, a sharpener, a vinyleraser, and any piece of paper. You can always add more pencils,charcoal, tortillons, and such later on. When shopping for pencils,rawing is not only fun, it is also an important art form in itself. notice that they are labeled with letters and numbers; these indicateDEven when you write or print your name, you are drawing! If the degree of lead softness. Pencils with B leads are softer than onesyou organize the lines, you can make shapes, and when you carry that with H leads and make darker strokes. An HB is in between, whicha bit further and add dark and light shading, your drawings begin to makes it very versatile and a good beginner’s tool. The chart on thetake on a three-dimensional form and look more realistic. One of the right shows a variety of drawing tools and the kinds of strokes thatgreat things about drawing is you can do it anywhere—and the are achieved with each one. As you expand your pencil supply,materials are very inexpensive. You get what you pay for though, so practice shaping different points and creating different effects withpurchase the best you can afford at the time, and upgrade your each pencil by varying the pressure you put on it. The more comfor-supplies whenever possible. Although anything that makes a mark table you are with your tools, the better your drawings will be!can be used for some type of drawing, you’ll want to make certainyour magnifcent efforts will not fade over time. Here are some of the Gathering Other Drawing Toolsmaterials that will get you off to a good start. I start my drawings with graphite pencils, but I also like to use othertools as my pieces progress. For example, Conté crayons and charcoalproduce chalky, smudged lines that soften the look of a subject.Outlining a drawing with black ink really makes a subject “pop” (seepage 30), and thin washes of ink (or black waterc olor) applied with apaintbrush produce smooth shadings.Work Station. It.is.a.good.idea.to.set.up.a.work.area.that.has.bright.lighting.and.enough.room.for.you.to.work.and.lay.out.your.tools .Of.course,.an.entire.room.with.track.lighting,.an.easel,.and.a.drawing.table.is.ideal .But.all.you.really.need.is.a.place.by.a.window.for.natural.lighting .When.drawing.at.night,.use.a.soft.white.light.bulb.and.a.cool.white.fuorescent.light.so.you.have.both.warm.(yellowish).and.cool.(bluish).lightTortillons. These.paper.“stumps”.can.be.used.to.blend.and.soften.small.areas.where.your.fnger.or.a.cloth.is.too.large .You.can.also.use.the.sides.to.quickly.blend.large.areas .Once.the.tortillons.become.dirty,.simply.rub.them.on.a.cloth.and.they’re.ready.to.go.againCharcoal Papers. Charc. oal.paper.and.tab.lets.are.available.in.a.variety.of.textures .Some.of. Drawing Papers. For.fnished.works.of.art,.using.single.sheets.of.drawing.paper.is.best .the.surface.fnishes.are.quite.pronounced.and.can.be.used.to.enhance.the.texture.in.your. They.are.available.in.a.range.of.surface.textures:.smooth.grain.(plate.and.hot.pressed),.drawings .These.papers.also.come.in.a.variety.of.colors,.which.can.add.depth.and.visual. medium.grain.(cold.presse. d),.and.rough.to.very.rough .The.cold-pressed.surface.is.the.most.interest.to.your.drawings versatile .It.is.of.medium.texture.but.not.totally.smooth,.so.it.makes.a.good.surface.for.a.variety.of.drawing.techniques6 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 761408 - BSD2_001-039.indd 6 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o(Text) tD 571# egaP Y L:p 6:
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Gathering the BasicsYou don’t need a lot of supplies to start; you can begin enjoyingTools & Materials drawing with just a No. 2 or an HB pencil, a sharpener, a vinyl HB,sharp pointeraser, and any piece of paper. You can always add more pencils,charcoal, tortillons, and such later on. When shopping for pencils,notice that they are labeled with letters and numbers; these indicate HB,the degree of lead softness. Pencils with B leads are softer than ones round pointwith H leads and make darker strokes. An HB is in between, which HB. An.HB.with.a.sharp.point.produces.crisp.lines.and.offers.makes it very versatile and a good beginner’s tool. The chart on the good.control .With.a.round.point,.you.can.make.slightly.thicker.lines.and.shade.small.areasright shows a variety of drawing tools and the kinds of strokes thatare achieved with each one. As you expand your pencil supply,practice shaping different points and creating different effects witheach pencil by varying the pressure you put on it. The more comfor-4B,table you are with your tools, the better your drawings will be! fat pointGathering Other Drawing ToolsI start my drawings with graphite pencils, but I also like to use otherFlattools as my pieces progress. For example, Conté crayons and charcoal sketchingproduce chalky, smudged lines that soften the look of a subject.Outlining a drawing with black ink really makes a subject “pop” (seepage 30), and thin washes of ink (or black waterc olor) applied with apaintbrush produce smooth shadings. Flat. For.wider.strokes,.use.the.sharp.point.of.a.fat.4B .A.large,.fat.sketch.pencil.is.great.for.shading.large.areas,.but.the.sharp,.chiseled.edge.can.also.be.used.to.make.thinner.lines .Artist’s Erasers 4BA.kneaded.eraser.is.a. charcoalmust .It.can.be.formed.into.small.wedges.and.points.to.remove.marks.in.very.tiny.areas .Vinyl.erasers. Vineare.good.for.larger.areas;. charcoalthey.remove.pencil.marks.completely ..Neit.her.eraser.will.damage.the.paper..surface.unless.it.is. Whitescrubbed.too.hard charcoalCharcoal. 4B.charcoal.is.soft,.so.it.makes.a.dark.mark .Natural.charcoal.vines.are.even.softer.and.leave.a.more.crum.bly.residue.Tortillons. These.paper. on.the.paper .Some.artists.use.white.charcoal.pencils.for.“stumps”.can.be.used.to. blending.and.lightening.areas.in.their.drawingsblend.and.soften.small.areas.where.your.fnger.or.a.cloth.is.too.large .You.can.also.use.the.sides.to.quickly.blend.large.areas .Once.the. Contétortillons.become. Utility Knives Utility.knives. crayondirty,.simply.rub. (also.called.“craft”.knives).are.tthemy’r.eo.nre.aa.cdlyo.tho.agnod. . gdreaawti.nfogr..pcalepaenrlsy.a.cnudtt. ing. Cpeonnctiélagain matboard;.you.can.also.use.them.for.sharpe. ning.pencils .(See.the.box.on.the.right ).Blades.come.in.a.variety.of. Conté Crayon or Pencil Conté.crayon.is.made.from.very.fne.shapes.and.sizes.and.are. Kaolin.clay .It.used.to.come.only.in.black,.white,.red,.and.easily.interchanged .But.be. sanguine.sticks,.but.now.it’s.also.available.in.a.wide.range.of.careful;.the.blades.are.as. colored.pencils .Because.it’s.water.soluble,.it.can.be.blended.sharp.as.scalpels! with.a.wet.brush.or.clothDrawing Papers. For.fnished.works.of.art,.using.single.sheets.of.drawing.paper.is.best .They.are.available.in.a.range.of.surface.textures:.smooth.grain.(plate.and.hot.pressed),.medium.grain.(cold.presse. d),.and.rough.to.very.rough .The.cold-pressed.surface.is.the.most.versatile .It.is.of.medium.texture.but.not.totally.smooth,.so.it.makes.a.good.surface.for.a.variety.of.drawing.techniques6 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 761408 - BSD2_001-039.indd 7 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o T 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD otD 571# egaP Y L:p 6: (Text) tD 571# egaP Y L:p 7:
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Sharpening Your Drawing implementSGetting Startedefore you begin sketching, you’ll want to get accustomed to usingByour whole arm, not just your wrist and hand, to draw. (If youuse only your wrist and hand, your sketches may appear stiff orforced.) Practice drawing freely by moving your shoulder and arm tomake loose, random strokes on a piece of scrap paper. Try to relax,and hold your pencil lightly. You don’t need to focus on a particularsubject as you warm up; just get used to the feel of a pencil in yourUtility Knife. A.knife.can.be.used.to.form.different. Sandpaper Block. Sandpaper.will.quickly.hone.the. Rough Paper. Rough.paper.is.wonderful.for.smoothing. hand and the kinds of strokes you can achieve.points.(chiseled,.blunt,.or.fat).than.those.which.are. lead.into.any.shape.you.wish .It.will.also.sand.down. the.pencil.point.after.tapering.it.with.sandpaper .This.is.possible.with.an.ordinary.pencil.sharpener .Hold.the. some.of.the.wood .The.fner.the.grit.of.the.paper,.the. a.great.way.to.create.a.very.fne.point.for.small.details . Learning Controlkshnaifrep.aetn.a.a.swliagyh.ftr.aonmg.yleo.uto.b.tyh.eta.pkeingc.iol.fsfh.oanftly,..aan.ldit.tallew.waoyso.d. ymoourre.f.cnognetros.lwlahbelen.tshhea.repseunlitningg.t.op.okienetp ..Rthoell.sthea.pe.necviel.nin . Ihto.isn.ianlgs.oto.im.shpaorptaent.t.thoe.g.lenadtl.ye.vroelnl.ltyh e.pencil.while. Once your arm is warmed up, try the strokes and techniques shownand.graphite.at.a.time here. Although making circles, dots, scribbles, and lines may seemlike senseless doodling, creating these marks is actually a great way tolearn control and precision—two traits essential to pencil drawing.Adding on You should also experiment with different pencil grips to see howUnless you already have a drawing table, you will probably want to they affect the lines you draw. The more you practice with differentpurchase a drawing board. It doesn’t have to be expensive; just get strokes, sketching styles, and grips, the quicker and more skilled yourone large enough to accommodate individual sheets of drawing paper. hand will become!Consider getting a drawing board with a cut-out handle, especially ifyou want to draw outdoors, so you can easily carry it with you.Varying Edges Making.small.adjustments.in.your.drawings.to.suit.your.subject.is.important .For.example,.pencil.strokes.that.follow.along.a.straight.edge.are.ideal.for.creating.striped.fur .But.free.edges.are.more.appropriate.for.creating.a.natural-looking.coat,.as.straight.edges.can.make.the.hair.seem.too.stiff.and.structured .Edges.created.with.an.eraser.also.have.their.place—these.lines.can.be.used.to.provide.a.smooth.transition.between.textures.or.valuesSpray Fix. A.fxative.“sets”.a.drawing.and.protects.it.from.smearing .Some.artists.avoid.using.fxative.on.pencil.drawings.because.it.tends.to.deepen.the.light.shadings.and.eliminate.some.delicate.values .However,.fxative.works.well.for.charcoal.drawings .Fixative.is.available.in.spray.cans.or.in.bottles,.but.you.need.a.mouth.atomizer.to.use.bottled.fxative .Spray.cans.are.more.convenient,.giving.a.fner.spray.and.more.even.coverage .holDing Your Drawing pencilBasic Underhand. The.basic.underhand.position. Underhand Variation. Holding.the.pencil.at.its.end. Writing. The.writing.position.is.the.most.common,.and.allows.your.arm.and.wrist.to.move.freely,.which.results. lets.you.make.very.light.strokes,.both.long.and.short . it.gives.you.the.most.control.for.fne.details.and.in.fresh.and.lively.sketches .Drawing.in.this.position. It.also.gives.you.a.delicate.control.of.lights,.darks,.and. precise.lines .Be.careful.not.to.press.too.hard.on.the.makes.it.easy.to.use.both.the.point.and.the.side.of.the. textures .Place.a.protective.“slip.sheet”.under.your. point,.or.you’ll.make.indentations.in.the.paper .Also.lead.by.simply.changing.your.hand.and.arm.angle hand.when.using.this.position.so.you.don’t.smudge. remember.not.to.grip.the.pencil.too.tightly,.as.your.your.drawing hand.may.cramp8 | T h e Co m p l e t e B e g i n n e r ’s G u i d e t o D ra w i n g B a s i c s | 961408 - BSD2_001-039.indd 8 30/9/15 4:32 pmT 80416-90:boJ ti el T 2DSB-FW: eh elpmoC teeB enig ediuG s r ’ t gniwarD o(Text) tD 571# egaP Y L:p 8:
