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CHAPTER 1
The Drawing Process
THERE'S A COMMON MISCONCEPTION ABOUT HOW TO GET BETTER AT DRAWING. IT GOES LIKE THIS: GRAB A PENCIL AND RUB IT ON SOME PAPER.
THEN PRACTICE, PRACTICE, PRACTICE AND SEE HOW FAR YOUR NATURAL TALENT TAKES YOU
ALTHOUGH PRACTICE IS A HUGE PART OF GETTING BETTER AT DRAWING, THERE'S A LOT YOU CAN LEARN THAT WILL HELP YOU GET BETTER SOONER. IT'S THESE FUNDAMENTALS OF DRAWING THAT THIS FIRST CHAPTER IS ALL ABOUT.
FOR EXAMPLE, A BASIC UNDERSTANDING OF DIFFERENT PENCILS AND ERASERS CAN MAKE SKETCHING AND SHADING EASIER.
DEVELOPING AN AWARENESS OF WHICH ARM AND HAND MOVEMENTS TO USE IN DIFFERENT SITUATIONS GIVES YOU MUCH GREATER CONTROL OVER THE LINES YOU DRAW.
EFFECTIVE SKETCHING TECHNIQUES LIKE OVERLAPPING SHAPES AND DRAWING THROUGH THINGS ARE CRUCIAL TO HELP YOU MAKE YOUR DRAWINGS MATCH WHAT YOU ENVISION.
WE'LL COVER ALL OF THESE USEFUL FUNDAMENTALS AND MORE.
PLUS YOU'LL GET SOME PRACTICE IN AT THE END BY TYING THE FUNDAMENTALS TOGETHER WITH SOME STEP-BY-STEP DEMONSTRATIONS.
WHAT TO BUY
PENCILS
IN THIS SECTION I'LL COVER THE BASICS OF ART SUPPLIES, AND THEN I'LL TELL YOU WHAT TO BUY BASED ON YOUR BUDGET.
6B? 8H? NO. 2? ART SUPPLY STORES OFFER A TON OF PENCIL TYPES, THOUGH THEY ALL KIND OF LOOK THE SAME.
HARD LEAD
• HIGHER RATIO OF CLAY TO GRAPHITE
• LEAVES A SMALL AMOUNT OF GRAPHITE ON THE PAPER
• IS EASY TO ERASE
• WON'T SMUDGE EASILY
BUT MOST OF THESE OPTIONS COME DOWN TO ONE QUESTION: HOW SOFT DO YOU WANT YOUR PENCIL LEAD?
SOFT LEAD
• LOWER RATIO OF CLAY TO GRAPHITE
• LEAVES A LOT OF GRAPHITE ON THE PAPER
• IS HARD TO ERASE
• SMUDGES EASILY
WHICH ONE SHOULD YOU USE?
USE A HARD LEAD PENCIL FOR LIGHT SKETCHING, DRAWING PRECISE, THIN LINES AND LIGHT SHADING.
USE A SOFT LEAD PENCIL FOR FINISHING A PICTURE WITH HEAVY LINES AND DARK SHADING.
BUT THE PENCILS DON'T SAY "HARD" OR "SOFT." THEY'RE GRADED WITH A CODE USING B AND H.
LIKE PANT SIZES, THIS STUFF ISN'T INTERNATIONALLY REGULATED. THE DARKNESS OR HARDNESS OF TWO PENCILS WITH THE SAME RATING CAN VARY A BIT BETWEEN BRANDS.
YOU CAN FIND VARIOUS HARDNESSES FOR MECHANICAL PENCIL LEAD, TOO, THOUGH MOST COME STANDARD WITH HB LEAD.
MECHANICAL PENCILS CREATE UNIFORMLY THIN LINES (SOMETIMES GOOD, SOMETIMES BAD), BUT THEY ARE REALLY CONVENIENT, AND SOME COME WITH PRECISE, TINY ERASERS.
A STANDARD 7MM LEAD IS FINE, BUT 5MM IS OKAY, TOO. ANYTHING SMALLER BREAKS EASILY.
AVOID CHEAP STUFF!
YOU DON'T NEED TO SPEND A LOT OF MONEY ON PENCILS — A DECENT HB (NO. 2) FROM THE GENERAL STORE WILL WORK. BUT AVOID THE REALLY CHEAP ONES; THEIR HB RATING IS OFTEN WRONG, AND THEY CAN HAVE AWFUL ERASERS AND UNCENTERED LEAD.
ERASERS
ANY ARTIST ERASER WORKS PRETTY WELL, BUT THEY HAVE THEIR PROS AND CONS. HERE ARE THE FOUR MAIN CATEGORIES:
PLASTIC/VINYL
THE STANDARD ERASER FOR ARTISTS BECAUSE IT REMOVES THE MOST GRAPHITE. IT'S ALSO THE LEAST GENTLE, BUT IT'S USUALLY FINE ON MOST PAPERS. IF YOU GET ONLY ONE ERASER, GET THIS ONE.
KNEADED
LIKE PUTTY, A KNEADED ERASER CAN BE MOLDED INTO WHATEVER SHAPE YOU NEED. TO USE IT, PRESS IT AGAINST THE PAPER TO LIFT AWAY THE GRAPHITE. IT DOESN'T ERASE VERY THOROUGHLY, AND YOU'LL NEED TO CONSTANTLY RESHAPE IT TO EXPOSE A CLEAN SURFACE, BUT IT'S GOT A LOT OF USES.
RUBBER
A LITTLE GENTLER THAN PLASTIC, BUT ALSO A LITTLE LESS EFFECTIVE. AVOID CHEAP, STUDENT-GRADE ERASERS AS THEY CAN BE VERY HARD.
ARTGUM
ERASES THOROUGHLY AND GENTLY BECAUSE IT CRUMBLES SO EASILY, BUT THE CRUMBS CAN BE ANNOYING. IT'S ALSO A BIT IMPRECISE BECAUSE THE HARD CORNERS DISSOLVE SO EASILY.
A PLASTIC ERASER INITIALLY SMEARS THE GRAPHITE AND EVEN PUSHES IT INTO THE PAPER.
BUT IF YOU USE A KNEADED ERASER FIRST TO REMOVE MOST OF THE GRAPHITE, THE WHOLE THING WILL ERASE MORE CLEANLY.
OFTEN, YOU'LL WANT TO GET INTO A TIGHT CORNER OR ERASE BETWEEN TWO FINISHED AREAS.
TINY MECHANICAL PENCIL ERASERS WORK WELL, BUT THEY DON'T LAST LONG, SO USE THEM SPARINGLY AND BUY REFILLS.
YOU CAN SLICE OFF THE ENDS OF A PLASTIC ERASER TO CREATE FRESH CORNERS.
THERE'S ALSO A COOL TOOL KNOWN AS AN ERASER PENCIL (SOMETIMES CALLED AN "ERASIL"). YOU CAN SHARPEN IT LIKE A PENCIL TO ERASE IN REALLY TIGHT SPACES.
IF YOU REALLY NEED PRECISION, USE AN ERASER SHIELD. YOU CAN PRESS HARD WITH THE ERASER AND REMOVE ALMOST ALL THE GRAPHITE IN THE TINY REVEALED AREA. IT'S GREAT FOR CREATING A STARRY SKY OR HIGHLIGHTS IN AN EYE.
PAPER
WHEN IT COMES TO PAPER, THE TWO MAIN QUALITIES ARE TEXTURE AND THICKNESS.
TEXTURE
TEXTURE IS OFTEN REFERRED TO AS TOOTH.
LESS TOOTHY PAPER ALLOWS FOR SMOOTHER LINES, WHICH IS GREAT FOR PENCIL DRAWINGS. HOWEVER, SMOOTH PAPER ALSO SMEARS EASILY, SO AVOID ANYTHING REALLY SLICK.
TOOTHY PAPER HOLDS THE PENCIL BETTER (LESS SMUDGING), BUT THE TEXTURE MAKES IT DIFFICULT TO DRAW SMOOTH LINES.
THICKNESS
THE THICKNESS OF THE PAPER IS KNOWN AS WEIGHT, AND IT'S SHOWN TWO WAYSPOUNDS OR GSM.
FOR EXAMPLE, CHEAP PRINTER PAPER IS USUALLY 20-LB (42GSM).
HEAVY CARD STOCK IS AROUND 150-LB (300GSM).
THICKER PAPER IS STURDIER AND WON'T GET DAMAGED AS EASILY, BUT IT'S ALSO MORE EXPENSIVE.
THINNER PAPER IS USUALLY FINE, BUT ANYTHING LESS THAN 24-LB (50GSM) CAN BUCKLE EASILY WHEN ERASING. PLUS IT CAN LOOK CHEAP, WHICH YOU MIGHT NOT WANT IF YOU DO A DETAILED DRAWING.
IF YOU DRAW ON TOOTHIER PAPER, LIKE WATERCOLOR OR CANVAS PAPER, YOU'LL LIKELY HAVE TROUBLE WITH PRECISE DETAIL LINES, BUT THE TOOTH IS NECESSARY WHEN IT'S TIME TO PAINT.
IF YOU'RE DRAWING WITH PENCIL, ANY SMOOTH PAPER THAT'S AT LEAST 24-LB. (50GSM) IS FINE. THIS INCLUDES DECENT PRINTER PAPER (BUT NOT THE SLICK OR GLOSSY TYPE) AND OFFICIAL DRAWING OR SKETCH PAPER FROM THE ART STORE, WHICH IS USUALLY AROUND 60-90LBS. (130-190GSM).
BLENDING STUMPS
THOUGH IT'S JUST SOME TIGHTLY ROLLED PAPER, A BLENDING STUMP'S POINTED ENDS GIVE YOU MORE CONTROL FOR SMUDGING THAN WHEN YOU USE YOUR FINGER. ALSO, FINGER OILS CAN DAMAGE YOUR DRAWING.
ONE MEDIUM-SIZED STUMP IS ALL YOU'LL LIKELY NEED, BUT IF YOU END UP LOVING THESE THINGS, GET A RANGE OF SIZES.
YOU CAN USE SANDPAPER TO SHARPEN STUMPS AND GET A FRESH POINT, BUT I DON'T. IT'S A LOT OF WORK, AND I THINK THEY'RE BEST WHEN THEY'RE SEASONED, LIKE A CAST-IRON SKILLET.
SHARPENERS
HANDHELD SHARPENERS WORK FINE, BUT A SHARPENER IS ONLY AS GOOD AS ITS BLADE, SO CONSIDER THESE THINGS DISPOSABLE AND REPLACE THEM (OR THEIR BLADES) AS SOON AS THEY STOP WORKING WELL.
THE SAME RULE APPLIES TO ELECTRIC SHARPENERS. BUY ONE WITH REPLACEABLE OR SELF-SHARPENING BLADES, AND KEEP YOUR COLORED PENCILS AWAY FROM IT AS THE LEAD CAN GUM IT UP.
OF COURSE, DOING THE BULK OF YOUR DRAWING WITH A MECHANICAL PENCIL CERTAINLY HELPS.
STRAIGHTEDGES
FOR MOST DRAWINGS, A STANDARD 12" (30CM) RULER IS FINE, THOUGH FOR SOME PERSPECTIVE WORK YOU COULD USE A LONGER 18" (46CM) ONE. TRY TO GET A CLEAR ONE WITH GRID LINES ON IT, WHICH WILL HELP YOU WHEN DRAWING PERPENDICULAR LINES.
BE CAREFUL IF YOU INK YOUR ARTWORK. INK DOESN'T REALLY DRY ON PLASTIC OR METAL, SO IT WILL BUILD UP ON THE EDGES OF YOUR RULER AND SMEAR ONTO YOUR PAPER. MAKE SURE TO KEEP YOUR RULER CLEAN.
ALSO, DON'T SLIDE YOUR RULER OVER FRESHLY INKED AREAS. SLIDE IT AWAY FROM FRESHLY INKED AREAS.
CIRCLE AND ELLIPSE TEMPLATES CAN SAVE A LOT OF TIME, ESPECIALLY WHEN DRAWING PEOPLE OR CYLINDERS. I CERTAINLY USE THEM A LOT.
SO WHAT DO YOU BUY?
$: YOU CAN TOTALLY GET BY WITH
• 24-LB. (50GSM) PRINTER PAPER (AVOID THE REALLY SMOOTH STUFF)
• A QUALITY HB/NO. 2 PENCIL
• A PLASTIC ERASER
• A HANDHELD SHARPENER
• AN 18" (46CM) STRAIGHTEDGE
DURING OUR STEP-BY-STEPS, IF I SUGGEST A HARD LEAD PENCIL, JUST PRESS MORE LIGHTLY WITH YOUR HB. IF I USE A BLENDING STUMP, JUST ROLL UP SOME PAPER TO MAKE YOUR OWN OR USE YOUR FINGER.
$$: UPGRADE! GET
• A SKETCHBOOK OR DRAWING PAD
• A HARD LEAD PENCIL (4H)
• A SOFT LEAD PENCIL (4B)
• A KNEADED ERASER
• A MEDIUM-SIZED BLENDING STUMP
• A MECHANICAL PENCIL FOR CONVENIENCE (LOOK FOR ONE WITH A TINY ERASER)
$$$: WELL, ALL RIGHT! THROW IN
• AN ERASER PENCIL FOR HIGHLIGHTS AND PRECISION ERASING
• A CIRCLE TEMPLATE
• AN ELLIPSE TEMPLATE
• AN ERASER SHIELD
• A BRUSH (TO REMOVE YOUR ERASER BITS WITHOUT SMUDGING YOUR DRAWING)
• AN ARTGUM ERASER
• A SHORTER STRAIGHTEDGE
BASIC MOVEMENTS AND SETUP
NOW THAT WE HAVE OUR SUPPLIES, LET'S BREAK DOWN THE PHYSICAL ACT OF DRAWING. IT MIGHT SEEM SIMPLISTIC, BUT DEVELOPING AN AWARENESS OF HOW YOU HOLD YOUR PENCIL AND PAPER, AND WHICH ARM MUSCLES YOU USE, IS AN IMMEDIATE WAY TO SEE MEANINGFUL IMPROVEMENT WITH YOUR DRAWING.
FOR EXAMPLE:
THESE TWO MOTIONS ARE NATURAL AND GIVE YOU EXCELLENT CONTROL WITH SHORT LINES. YOU PROBABLY DO THEM AUTOMATICALLY.
BUT THEY DON'T WORK VERY WELL FOR MEDIUM OR LONG LINES.
FOR MEDIUM OR LONG LINES, FREEZE YOUR WRIST AND FINGERS AND MOVE ONLY WITH YOUR ELBOW AND SHOULDER.
GIVE IT A TRY. DRAW TWO SPIRALS, ONE THE SIZE OF A CHERRY, AND ONE THE SIZE OF YOUR FIST. TRY EACH ONE WITH YOUR WHOLE ARM AND THEN AGAIN WITH YOUR WRIST/ FINGERS. YOU MIGHT BE SURPRISED AT HOW DIFFERENT IT FEELS.
SO, IF YOU NEED TO DRAW SHORT LINES, MOVE AT THE WRIST AND FINGERS.
AND FOR LONGER ONES, USE YOUR WHOLE ARM.
AT FIRST, YOU MIGHT NEED TO CONSIDER EACH LINE'S LENGTH. IS IT A WHOLE-ARM LINE (BLUE) OR A WRIST/FINGER LINE (RED)?
IT'S A BIT OF WORK, BUT AFTER A WHILE IT BECOMES AUTOMATIC.
REGARDLESS OF LINE LENGTH, YOU'LL GENERALLY WANT TO AVOID PUSHING YOUR PENCIL. MOTIONS THAT INVOLVE PULLING OR PIVOTING USE DIFFERENT MUSCLES AND GENERALLY OFFER YOU MORE CONTROL. FOR EXAMPLE:
OUR FIRST MOVE IS USUALLY A PULL. GREAT!
BUT TO GET BACK TO THE TOP, WE OFTEN PUSH. THERE'S LESS CONTROL THAT WAY.
INSTEAD, GO BACK TO THE TOP, THEN PULL AGAIN ...
... OR ROTATE THE PAPER SO YOU'RE BACK TO A MORE NATURAL MOVEMENT.
THE MOST IMPORTANT THING IS TO FEEL COMFORTABLE WHEN YOU DRAW. FIGURE OUT WHAT MOVEMENTS FEEL MOST COMFORTABLE, AND THEN TRY TO MAKE THEM HABITUAL.
(Continues…)
Excerpted from "Drawing Made Easy"
by .
Copyright © 2018 Robbie Lee.
Excerpted by permission of F+W Media, Inc..
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