Apostila de desenho - lifelike - Drawing

D24-D1412-Lifelike Drawing WithLee Hammond (Pw 3) 1st Proof

NORTH LIGHT BOOKSCINCINNATI, OHIO

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LIFELIKEDRAWINGwith LEE HAMMOND

Lee Hammond

D24-D1412-33058 I Front Matter 24/9/04 10:22 AM Page 1

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Lifelike Drawing with Lee Hammond. Copyright © 2005 by Lee Hammond.All rights reserved.No part of this book may be reproduced in

any form or by any electronic or mechanical means including information storageand retrieval systems without permission in writing from the publisher, except by areviewer who may quote brief passages in a review.Published by North Light Books,an imprint of F+W Publications, Inc., 4700 East Galbraith Road,Cincinnati,Ohio,45236. (800) 289-0963.First Edition.

Other fine North Light Books are available from your local bookstore, art supplystore or direct from the publisher.

Library of Congress Cataloging in Publication DataHammond,Lee., 1957-

Lifelike drawing with Lee Hammond / Lee Hammond.p. cm

Includes index.

ISBN-13: 978-1-60061-550-4 (EPUB)

ISBN-13:978-1-58180-587-1 (pbk. : alk. paper)ISBN-10:1-58180-587-X (pbk. : alk. paper)

1.Pencil Drawing—Technique.I.Title.

NC890.H28 2005741.2’4—dc22 2004056093

Edited by Mona MichaelCover design by Terri EubanksInterior design by Barb MatulionisProduction coordinated by Mark Griffin

Metric Conversion Chart

To convert to multiply by

Inches Centimeters 2.54

Centimeters Inches 0.4

Feet Centimeters 30.5

Centimeters Feet 0.03

Yards Meters 0.9

Meters Yards 1.1

Sq. Inches Sq. Centimeters 6.45

Sq. Centimeters Sq. Inches 0.16

Sq. Feet Sq. Meters 0.09

Sq. Meters Sq. Feet 10.8

Sq. Yards Sq. Meters 0.8

Sq. Meters Sq. Yards 1.2

Pounds Kilograms 0.45

Kilograms Pounds 2.2

Ounces Grams 28.3

Grams Ounces 0.035

abou

t the authorPolly “Lee”Hammond is an illustrator and art instructor from theKansas City area. She owns and operates a private art studio called TakeIt To Art,* where she teaches realistic drawing and painting.

Lee was raised and educated in Lincoln,Nebraska, and she estab-lished her career in illustration and teaching in Kansas City.Althoughshe has lived all over the country, she will always consider Kansas Cityhome.Lee has been an author with North Light Books since 1994.She also writes and illustrates articles for other publications such as The Artist’s Magazine.

Lee is continuing to develop new art instruction books for NorthLight and has also begun illustrating children’s books.Fine art and limited-edition prints of her work will also be offered soon.Lee lives in Overland Park,Kansas, along with her family.You may contact Leevia e-mail at [email protected] or visit her website at www.LeeHammond.com.

*Take It To Art is a registered trademark for Lee Hammond.

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Printed in Singapore.

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http://www.LeeHammond.com

http://www.LeeHammond.com

This book is dedicated to the many artists who buy my books,attend my workshops and classes, and continue to warm my heartwith their many e-mails and letters. I feel so fortunate to have thenumber of fans that I do. I thrill in the knowledge that I am inspir-ing fellow artists and helping them reach their artistic goals.Art issuch a wonderful gift, and I encourage you to share your talentsand joy with everyone around you.

As always, I want to thank the many people who seem to find unwavering patience as I meet mydeadlines.My family is incredible in the way theyunderstand the stress and long hours involved. I loveand appreciate them for the help and support thatthey offer me every day.

I also want to thank my students,who keep mecontinually laughing and inspired.None of thiswould make sense without you!

I would like to thank Peter Wellenberger forallowing me the honor of drawing from his mother’sphotos. She was a gifted and talented artist, and herbeautiful work will now continue on through me.

I want to extend a heartfelt thank-you to my editor,Mona Michael.Her patient guidance,wonder-ful ideas and kind spirit have helped me create whatmay be my best book ever.Writing a book is a teameffort, and I couldn’t ask for a better group of profes-sionals to go to bat with! And to everyone at NorthLight Books,a very special thank-you.You all makeme feel like family, treat me like royalty and continueto indulge my endless book ideas. I couldn’t be luckier!

Surfaces and TexturesGraphite on smooth two-ply bristol paper

14" x 11" (36cm x 28cm)

acknowledgments

dedication



Introduction...................................6

Chapter One

You Can Do It!..............................8

Chapter Two

Techniques ................................14

Chapter Three

Rounded & Cylindrical Objects...32

Chapter Four

Rectangular Objects & Perspective............................48

Chapter Five

Transparent Objects...................58

Chapter Six

Metallic Surfaces ......................72

Chapter Seven

Fabric & Other Textures .............82

Chapter Eight

Nature.......................................94

table of contents



Chapter Nine

Water......................................110

Chapter Ten

Animals...................................120

Chapter Eleven

People ....................................138

Index .......................................158



This book is a dream come true.It has been in the back of my mind for many years. I love to draw.And I love to

draw everything!

It is a complete drawing guide for learning how to draw anything. It takes the

practical information from my other books and applies it to all kinds of subject matters.

It could easily be considered a “Drawing Bible” and is the ultimate reference guide for all

artists, to create any subject matter.

By studying the following pages and using the step-by-step demonstrations, you

will learn how to draw everything using the same approach.Allow me to be your guide!

Once you learn that basic shapes exist in everything and how to use the five ele-

ments of shading to create realism and form,you’ll be ready to draw anything you can

think of.Landscapes, plant life,water and skies, transparent glass,metallic surfaces, bricks

and fabrics, as well as people—no drawing subject will be beyond your reach.

You’ll learn the benefits of graphing and segment drawing as a way of drawing

what you see, as opposed to what you know.Whether you are drawing a single subject

or an entire scene, this technique alone is invaluable.

With this book, you will see how to accurately depict anything you want in your

drawings.The sky is the limit.Your photo albums will never look the same to you.They

will go from simply being a book of memories to becoming an endless storehouse of sub-

ject matter and creative opportunities!

ShellyGraphite on two-ply smooth bristol paper

17" x 14" (43cm x 36cm)

introduct



ction



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You Can Do It!No one begins a new skill at full potential.Anything we learn

has a beginning and gradually grows into something more.

Artwork is no different.We all go through various stages of skill

progression, each level suitable for the stage of learning that we

are in at that moment.And learning never ends.

In my studio, classes and workshops,my students are a con-

stant reminder of this.Each one is different,with different skills,

strengths and desires.All of them are visual, so I demonstrate as

much as I can.Showing is a much better teacher than telling.

That’s why I write the way I do,with many dissected examples

and step-by-step exercises.

Anyone can become a proficient pencil artist by following

this instruction with determination.The next few pages feature

examples of the types of success stories that come out of my

classes every day.You can do it, too!

Say Cheese!Graphite on two-ply smooth bristol paper

14" × 11" (36cm × 28cm)

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The following examples were createdby beginning students.All were new todrawing and had no formal art educa-tion before coming to my classes.Theyall advanced quickly once they learnedto capture shapes, lights and darks.

The first drawings in each examplebear strong similarities.This approach is

BeforeMost drawings can be greatly improved just by increasing the contrasts;however, midtones or halftones are crucial to bridge the light and darktones. This drawing lacks the subtle halftones that bring realism to draw-ings. It looks more like a quick sketch than a finished drawing and is toooutlined to appear real.

Artwork by Trish Walker

AfterShe’s gained a lot more control of her pencil in this piece. The smoothblending and added halftones give this piece a much more polished andprofessional look.

Artwork by Trish Walker

Before and After

typical of the way most people draw atthe beginning stages of artistic develop-ment.They use hard outlines to definetheir subject’s shapes, and any tones lookchoppy and uneven.Most beginnersalso struggle with proportion and shape.

All the students improved tremen-dously.Their drawings looked more

realistic once they learned to captureaccurate shapes and developed their useof controlled blending.

Follow the exercises to come andyou’ll uncover the mystery of realisticdrawing, too.

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AfterCompare this to the previous drawing and you will see how small correc-tions can make big differences. By simply using a ruler to straighten theedges of the window, everything seems more accurate. The blendingsoftens the use of line, making the drawing appear more realistic.

Artwork by Joanne deJongh

BeforeThe problem areas in this drawing are easy to see. The freehand lines arecrooked and uneven. Straight lines are an important ingredient whendrawing architectural structures. Also, the hard lines around everythinggive the scene a less realistic appearance.

It’s pretty good for a young artist and needed just a few correctionsand a little fine-tuning to make it better.

Artwork by Joanne deJongh

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BeforeThis still life is another good first attempt. Thestudent captured the shapes but the propor-tions were off, causing the drawing to lackproper perspective. The shading and texture, isa little harsh to look realistic.

Artwork by Stephanie Larson

AfterUsing a projector, I showed her how to see theroundness of the bowl more accurately. Theresult is a more realistic view of the bowl asseen from this angle. By adding well-blendedhalftones and softening tones such as thespeckles on the pear, the shading is more real-istically captured. The entire drawing has gaineddepth.

Artwork by Stephanie Larson

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BeforeWhen a drawing is a simple outline, it appearsflat and unrealistic, much like a cartoon. Theoutline creates the basic shape of the dolphin,but the form is less apparent.

Artwork by Manijéh Tammehr

AfterShading instead of heavy outlining makes thisdrawing much more realistic. The various tonescreate a believable depiction of the dolphin andthe true colors of its body. Also notice howmuch more accurate the proportions appear tobe. By using the graphing techniques you’lllearn in the next chapter, the proportions arebetter, giving the drawing more depth and theshape of the dolphin more realism.

Artwork by Manijéh Tammehr

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TechniquesDrawing is a highly personal statement.It combines each artist’s

personal experiences,education and personality.There are no

absolutes in the artistic process.Each creation is highly unique

and each approach different.While some artists embrace a loose,

impressionistic style,I focus on the highly polished look of subtle

tones and realistic drawing.

The two keys to this style are shapes and blending.Break

down everything you want to draw into shapes, lights and

darks.Training your eye to see this way won’t happen

overnight, so we will begin slowly,one element at a time.Once

you learn to see subject matter as shapes, your accuracy will

immediately improve. I will show you how.

But the most important key to this technique is blending.

Blending,or the smooth application of tones from very dark to

very light,will make any shape you draw appear more realistic.

The blending should be so gradual that you can’t tell where

one tone ends and the other begins.We’ll talk about where and

how shading should be placed and blended, and I’ll share with

you the secrets behind my technique!

Finished Still-life StudyGraphite on smooth two-ply bristol paper

11" × 14" (28cm × 36cm) 15


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materialsYou cannot create quality artwork withinadequate art materials.My blended-pencil technique requires the right toolsto create the look.Don’t scrimp in thisdepartment or your artwork will suffer.I have seen many of my students blamethemselves for being untalented when itwas their supplies keeping them fromdoing a good job.The following toolswill help you be a better artist.

Smooth Bristol Boards or Paper—Two-Ply or HeavierThis paper is very smooth (plate finish)and can withstand the rubbing associatedwith a technique I’ll be showing you later in the book.

5mm Mechanical Pencils With 2B LeadThe brand of pencil you buy is notimportant;however, they all come withHB lead—you’ll need to replace thatwith 2B lead.These pencils are good forfine lines and details.

Blending TortillionsThese are spiral-wound cones of paper.They are not the same as the harder,pencil-shaped stumps,which are pointedat both ends.These are better suited forthe blended-pencil technique.Buy bothlarge and small.

Kneaded ErasersThese erasers resemble modeling clayand are essential to a blended-pencildrawing.They gently “lift”highlightswithout ruining the surface of the paper.

Typewriter Erasers With a Brush on the EndThese pencil-type erasers are handy dueto the pointed tip,which can be sharp-ened.They are good for cleaning upedges and erasing stubborn marks, buttheir abrasive nature can rough up yourpaper.Use them with caution.

A Mechanical Pencil and Blending TortillionsMechanical pencils are great for fine lines anddetails, and you never have to sharpen them.Tortillions are the secret to my whole technique,so be sure to buy several packs of large andsmall tortillions.

Materials for Working in Black and White

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Horsehair Drafting BrushesThese brushes will keep you from ruin-ing your work by brushing away erasingswith your hand and smearing your pen-cil work.They will also keep you fromspitting on your work as you blow awayerasings.

Pink Pearl ErasersThese are meant for erasing large areasand lines.They are soft and nonabrasive,so they won’t damage your paper.

Workable Spray FixativeThis is used to seal and protect your fin-ished artwork.“Workable”means youcan still draw on an area after it has beensprayed. It fixes,or sets, any area of yourdrawing, allowing you to darken it bybuilding up layers of tone without dis-turbing the initial layer.

Drawing BoardIt’s important to tilt your work towardyou as you draw to prevent the distor-tion that occurs when working flat. Secure your paper and reference photo with a clip.

RulersRulers help you measure and graph yourdrawings.

Acetate Report CoversUse these covers for making graphedoverlays to place over your photo refer-ences.They’ll help you accurately gridyour drawings.

Circle and Ellipse TemplatesThese will help you create accurate cir-cles and ellipses;make sure the templateshave different-sized circles and ellipses.

Reference PhotosThese are valuable sources of practicereference material.Collect magazine pic-tures and categorize them into files forquick reference.A word of warning:Don’t copy the exact image; just use theimages for practice.Many photographershold the copyright for the work, and anyduplication without their express per-mission is illegal.You avoid this issuealtogether when you use your own ref-erence photos (see page 156).

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Pink Pearl Vinyl Eraser This soft eraser is good for large areas andlines, and it won’t damage your paper.

Horsehair Drafting BrushThis is a great brush to clean off any erasings.

Typewriter EraserThis eraser is good for stubborn marks, but use it with caution. The abrasive nature can damage your paper if you push too hard.

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1 Cast shadow

2 Shadow edge

3 Halftone

4 Reflected light

5 Full lightTo draw realistically, you must under-stand how lighting affects form.Thereare five elements of shading that areessential to realistically depicting anobject’s form. If any of these elements aremissing, your work will appear flat.However,with the correct placement oflight and dark tones, you can draw justabout anything.

But how do you know how dark isdark and light is light? Using a simplefive-box scale of values can help youdecide on the depth of tone.Each toneon the scale represents one of the fiveelements of shading.

1 Cast ShadowThis is the darkest tone on your draw-ing. It is always opposite the light source.In the case of the sphere, it is under-neath,where the sphere meets the sur-face.This area is void of light because, asthe sphere protrudes, it blocks light andcasts a shadow.

2 Shadow EdgeThis dark gray is not at the very edge ofthe object. It is opposite the light sourcewhere the sphere curves away from you.

3 HalftoneThis is a medium gray. It’s the area of thesphere that’s in neither direct light norshadows.

4 Reflected LightThis is a light gray.Reflected light isalways found along the edge of an objectand separates the darkness of the shadowedge from the darkness of the cast shadow.

5 Full LightThis is the white area,where the lightsource is hitting the sphere at full strength.

Compare the Tones in the Value Scale to the Tones in the SphereNotice how the five elements of shading on the sphere correspond to the tones on the value scale.Look for the five elements of shading in everything you draw.

1 Black 2 Dark gray 3 Medium gray 4 Light gray 5 White

valueThe Five Elements of Shading

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Proper shading requires smooth blend-ing.To create smooth blending, you mustfirst learn to use your tools and apply thepencil lines properly. If the pencil linesare rough and uneven,no amount ofblending will smooth them out.

Apply your pencil lines softly andalways in the same direction.Build your

tones slowly and evenly.Lighten yourtouch gradually as you make the transi-tion into lighter areas. Smooth every-thing out with a blending tortillion,moving in the same direction you usedto place your pencil tone.Begin with thedarks and blend out to light.

Incorrect BlendingThis sample shows poor pencil application. The scribbled lines look sloppy, and a tortillion wasn’t used for blending.

Correct BlendingApply the lines closely, then, in an up-and-down fashion, fill them in. Add tone until you build up adeep black, then lighten your touch and gradually get lighter as you move to the right.

Blend your values with a tortillion using the same up-and-down motion you used with the pencil.You do not want to see clear distinctions between where one tone ends and the next begins. Light-en your touch as you move right and gently blend the light area into the white of the paper until youcan no longer tell where it ends.

Create Smooth Blending

Hold Your Tortillion at an AngleFor even blending and to keep the end of yourtortillion sharp, always hold it at an angle. If theend becomes blunt, poke a straightened paperclip through the top to straighten it out.

Keep Lots of Tortillions on HandAlways use a fresh tortillion for thelight areas. Don’t be tempted to usethe same ones over and over againto conserve. They are nothing morethan paper wrapped into a coneshape and are inexpensive. I buythem by the gross so I never haveto search for a clean one when I need it.

Do not throw your tortillions away as

they become dirty! Save them and divide

them into groups according to how

much graphite they have on them.A

very black tortillion will be just what

you need to blend out a dark area later,

or even add graphite.

lessons

Lee’s

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Practice BlendingHone your blending skills on basic objects, likethis cylinder, before moving on to more compli-cated forms. We’ll talk more about cylinders inthe next chapter.

Before you beging drawing actualobjects, you should get a good feel foryour tools and materials. First draw somecorrect blended-tone swatches, as shownon page 19, to help you learn to controlyour blending.Start with your darkesttone on one side and gradually lightenthe tone as you continue to the otherside.Do as many as you need to untilyou feel proficient at it.

Once you begin to draw actualobjects, use the following guidelines tohelp you.

1 Soft EdgeThis is where the object gently curvesand creates a shadow edge. It is notharsh,but a gradual change of tone.

2 Hard EdgeThis is where two surfaces touch oroverlap, creating a harder-edged,moredefined appearance.Note:This does notmean outlined! Let the difference intones create the edge.

Practice Blending for Actual Objects

3 Application of ToneAlways apply your tones,whether withyour pencil or tortillion,with the con-tours of the object.Follow the curves ofthe object with the shading parallel tothe edges so you can blend into the edgeand out toward the light. It is impossibleto control blending if you are cross-blending and not following the naturaledges and curves.

4 ContrastDon’t be afraid of good, solid contrasts oftone.Always compare everything toblack or white.Use the five-box valuescale to see where the gray tones fit in.Squinting your eyes while looking at

your subject matter obscures details andhelps you see the contrasts better.

The sphere, the egg and the cylinderare all important shapes to understand. Ifyou can master the five elements of shad-ing on these simple objects first,drawingother things will be much easier.

Correct uneven tone by forming a point

with your kneaded eraser and drawing in

reverse.With a light touch,gently

remove any areas that stand out darker

than others.Use light strokes with your

pencil to fill in light spots.

lessons

Lee’s

Soft edge

Hard edge

Tone

Contrast

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No matter how complex the subject,everything we draw is made up of basicunderlying shapes. If you imagine asnowman,you immediately think ofthree spheres, one on top of the other.Atable resembles a box or cube.

Before you learn to draw complexsubjects, it’s a good idea to learn to rec-

Learn to See Basic Shapes

ognize their basic shapes.The basicshapes shown on this page—a sphere, acylinder, a cone and a cube—are thebasis of anything you draw, from trees tocars to people.Practice seeing theseshapes in your surroundings.Visualizingthese as you draw will help you accu-rately render your subject matter.

Sphere Cone

Cube

Use your typewriter eraser to crisp up

edges and remove any overblending.

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Lee’s

Cylinder

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Have you ever noticed how, as children,we are taught to draw everything with ahard outline on white paper with nobackground? I used to actually get introuble because I wanted to fill in thebackgrounds.

Background tone is crucial to realisticdrawing. It took me a long time as anadult to break the outlining habit. I didit, though, and so can you.Study thesphere shown on this page.The darktone of the background makes the lightsstand out.Let the darks create the lights.This rule applies whether you are creat-ing a simple shape like the picturedsphere or something more complicated.

Creating Lights

Realistic Drawing Shows Reflected LightReflected light is light captured on anedge, a rim or lip of an object.Look atany object near you right now,especiallyif it is in bright light.Look for the edgesalong the sides, the top or on raised surfaces.Can you see the light alongthose edges?

Now examine the drawing of the hat.The top of the hat shows the full lightsource reflecting along the edges.Thebrim of the hat also shows reflected lightalong the edges. If you look closely, eventhe hat band has some reflected light

because it is slightly raised off of the sur-face of the hat.

How to Lift the LightWe’ll talk over and over in this bookabout lifting light areas.Do not think ofit as erasing.Lifting the light is theprocess of drawing light back into thedrawing.You can form the end of yourkneaded eraser into a point to do this orsharpen the end of a typewriter eraserfor an even finer line.Always think oflifting as drawing in reverse.

Darks Create LightsIt is the gradual change of light against darkturning into dark against light that creates real-istic drawings. The background shading helpscreate the shape of the sphere. The dark back-ground surrounding the top side of the spherecreates the light edges. There is no hard outlineto define it. The dark edge of the sphere con-trasts against the light of the table at the lowerright edge.

Add Realism to Your Drawings With Reflected LightLook for all the areas of reflected light along the edges and raisedsurfaces of this hat. Areas such as these can be lifted out with yourkneaded eraser.

Light against dark

Dark against light

Reflected light

Reflected light fromfull light source

Reflectedlight

Reflected light onraised surface

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All realistic drawing requires three basicsteps.First is an accurate line drawing,which is basically a light outline of yoursubject matter as well as interior details.Second is the identification and place-ment of the tones, or lights and darks, fol-lowed by smooth and gradual blendingfor the final step.

Follow this demonstration closely andrefer back to the value scale on page 18 toreview a gradual blend.You may want topractice this demonstration two or threetimes.This may seem repetitious,but prac-tice is the key to successful drawing.Everything you want to draw in the futurewill be directly related to this exercise.

1 Create the Line Drawing andPlace the Cast ShadowOnce you’ve accurately drawn theobject’s shape, identify the light source.Lightly outline the area on the objectwhere the light shines the brightest. You’ll erase those lines later. Place yourcast shadow opposite your light source.You now have your lightest light anddarkest dark.

2 Place the TonesPlace the shadow edge carefully. Applyyour pencil lines smoothly, going with theshape of the object. Be sure to leaveroom for reflected light. Keep the shadowlow, where it belongs. It can’t be in thelight area.

3 Blend the TonesUse your tortillions to blend and createthe halftones. Smoothly blend with theobject’s form from dark to light. Allow thetone to create the edge of the object andremove any outline that may be showing.Anything with an outline around itappears flat. Correct any uneven spots inyour blending. Gently fill in light spotswith your pencil and lift dark spots with apointy piece of your kneaded eraser.

Three Steps to Draw Any Shape

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demonstrationSTE P-BY-STE P

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Drawing the cube is very different from drawing an egg or a sphere.Because of the flat surfaces, you will not see the five elements of shading thesame way.Rounded objects featuregradual transitions of value, as you prac-ticed previously.Each flat surface on anangular captures the light differently,making each side a different tone.Also,everywhere the surfaces meet an edge iscreated,which means reflected light.

Draw a Cube1 Create the Line Drawing

Begin with an outline of the basic cube.Lightly shade around the hard edgeswhere the surfaces meet.

3 Blend the Halftones and Lift the LightBlend all your tones. Use a dirty tortillionto add some tone to the light side.Remember to lift the reflected light offeach hard edge. You still apply the fiveelements of shading to angular objects;your tonal changes are just more abrupt.

There are just three steps to creating

realistic drawings.You can draw anything

using this system!

1 Capture the shape with a line

drawing.

2 Apply the dark tones first.

3 Blend the halftones and lift

the light.

lessons

Lee’s

2 Place the Dark TonesDecide where the light source will be andplace the darkest tones. Since the cube’ssurfaces are flat, the tones will not be asgradual as the sphere’s. Each plane’stone should be different, and the changewill be more abrupt.

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graphingBefore you begin any type of blending onyour artwork, it is very important to giveyourself a firm foundation to build on.Todo this,you need an accurate line drawing.

The easiest and most educational wayto draw from photos is to use a graph.Agraph is a tool that divides your subjectinto smaller,workable boxes to draw in.This exercise will help you understandhow a graph works. It’s fun, too, just likea puzzle!

On this page is a series of numberedboxes that contain black-and-white non-sense shapes.Draw these shapes in thecorresponding numbered boxes on theempty graph on the next page. If youcomplete this exercise, you’ll see that youcan draw.You’ll learn to see shapes.Do nottry to figure out what you’re drawing.Assoon as we become aware of what thesubject matter is,we tend to draw fromour memories instead of from what isright in front of us.

No matter what you are drawing,concentrate on seeing the subject asmany individual shapes,which interlocklike a puzzle. If one of the shapes you’redrawing doesn’t lead to the next one,fit-ting together, you know that your draw-ing is inaccurate.

The Puzzle Piece Theory

See All Subject Matter As ShapesLook for the interlocking shapes within the tones and shapes of the object you are drawing. Thisexercise will show you how well you can draw, without even knowing what it is you are drawing!

Draw these nonsense shapes in the corresponding numbered boxes on the next page to revealthe drawing.

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Solve the PuzzleMake a copy of the empty graph, then draw the nonsense shapes exactly as you see them on theprevious page. Be sure to draw each shape in its corresponding numbered box.

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A Half-inch Grid


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Now that you are familiar with the puzzlepiece theory and the box method ofdrawing shapes,you are ready to drawfrom photographs using a grid.Everythingyou want to draw can be broken downinto manageable pieces similar to theshapes seen in the puzzle exercise.By plac-ing a grid over your reference photo,youwill create your own puzzle to work from.

There are two different ways to gridyour reference photos.The first way (andthe way I prefer) is to have a color copymade of your photo.A black-and-whitecopy may not give you enough clarity towork from. If the photo is small, enlargeit as well.Working from small photos isthe biggest mistake most students make.The bigger the photo, the easier it is towork from.

Use a Grid to Draw From Photos

Use a ruler to apply a one-inch or half-inch grid directly onto the copy with apermanent marker.Use the smaller grid ifthere is a lot of small detail in your photo.There is less room for error in the smallerbox,so little things are captured easier.

If you do not have access to a copierand your photo is large enough to workfrom,you can place a grid overlay on topof the photo.Make your own grid witha clear report cover and a permanentmarker,or have one printed from acomputer on acetate sheets.Then simplyplace the premade grid over the photoand work from that.

Once you place the grid over thephoto, the image becomes a puzzle andeach box contains shapes.Look at every-thing you want to draw as just a bunch ofinterlocking shapes.To draw the photo,

draw a grid on your drawing paper withyour mechanical pencil.Draw the linesso light you can barely see them,becausethey will need to be erased later.Thisgrid should contain the same number ofboxes as the one over the photo.

You can enlarge the size of yourdrawing by placing the smaller grid onyour photo reference and making thesquares larger on your drawing paper.Forinstance, if you use the half-inch grid onthe photo and a one-inch grid on yourpaper, the image will double in size.Reduce the size of the drawing byreversing the process.As long as you areworking in perfect square increments, theshapes within the boxes will be relative.

All the illustrations in this book canbe drawn by placing an acetate grid overthe examples.

A One-inch Grid

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This exercise will show you how todraw from a graphed image.For now,don’t worry about the tones in this pho-to; just concentrate on using the grid as aguide to capture the basic shapes in anaccurate line drawing.Remember, youcan increase the size of your drawing bydrawing larger squares on your paper.

When you are finished,your line draw-ing should look like the one pictured.Keepyour finished line drawing for the step-by-step demonstration on pages 38-39.

Create a Line Drawing With a Grid

Fill In the ShapesWorking on one box at a time, capture the shapes you see in each box.Go slow and be accurate. The entire outcome of the drawing hinges onthis stage of the game.

Create a Grid on Your PaperOn your drawing paper, lightly draw the same number of squares you see here.

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Now that you’ve learned a little bit aboutshading and seeing objects as shapes,you’re ready to try segment drawing.Thisexercise will help you see even compli-cated subjects in simpler terms.

Hands are one of the most difficultthings to draw well.Breaking them down

Draw Shapes With Segment Drawing

3 Create the Line DrawingCreate the same size box on your paper and draw only whatyou see inside the frame. If you need more guidance, draw agrid over the reference photo like you did before. Forget whatthe subject really is and just draw shapes as you see them. Ifyou have trouble doing this, turn the photo upside down anddraw it that way.

1 Create the ViewfinderCut an opening in a piece of black construction paper to create a little frame, or viewfinder.

2 Place the Viewfinder Over a PhotoPlace the viewfinder over a photo so only a small portion of thephoto is revealed. This changes the photo from a recognizablecomposition into a collection of abstract shapes.

into abstract forms with a viewfinderand concentrating on the shapes makesthe task more manageable.This will alsogive you practice applying the tones,beginning with the darkest areas first.Look for the five elements of shading asyou complete this demonstration.

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D24-D1412-Lifelike Drawing WithLee Hammond (Pw-3) 2nd Proof

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4 Fill In the DarksAlways add your darkest tones first. Thedark tones will create the light shapes ofyour drawing as well as the edges andshapes of the areas in the full light area.

5 Develop the Shadow Edges andAreas of Reflected LightOnce the dark tones are added, add theshadow edges to begin creating theform. Use the same procedure you usedduring the sphere exercise on page 23.Shadow edges create the illusion ofroundness and curve.

6 Create the HalftonesContinue blending from dark to light. Thehalftones will begin to appear as youblend to the full light. Your halftones areall of your middle tones.

7 Blend the Tones to Create DistanceBlend your tones with the tortillion.Notice how the distance is created withthe tones. Lighter tones appear closer,while darker tones appear farther away.

The shadow edge andreflected light meet.

Compare tones to create distance.

Spray areas that need to be extremely

dark with fixative.You can add many

more layers of dark that way.Be sure that

you’ve completed any erasing you need

to before spraying.

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segment drawing

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To gain a lot of drawing practice with-out the feeling of being overwhelmed bylarge,finished projects, begin a segmentdrawing notebook.This is a page takenfrom one of mine.

Create a viewfinder with a two-inchopening.Go through magazine picturesto find interesting subjects to draw.Selectpictures that will give you a variety ofchallenges and learning experiences.

Using Your Viewfinder

Use some graphic border tape aroundeach drawing for a cleaner-looking pres-entation. (This can be purchased in avariety of sizes from your local art store.)

Start your own segment drawingnotebook as soon as possible and try todraw at least one image a day.You can doit.They are small exercises and don’t takevery long,but the experience you gain is huge!

� Apply the five elements of shadingto everything you draw.

� Use the five-box value scale tojudge the depth of your tones.Compare everything to black or white.

� Keep your blending smooth andgradual.

� Always use your tortillion at an angle to keep the tip from collapsing.

� Look for the basic underlyingshapes in everything you draw.

� Look for dark against light andlight against dark.

� Always think of lifting as drawingin reverse.

� Anything with an outline around itwill appear flat and cartoon-like.

� The cube’s flat surfaces will capturelight differently than a roundedobject.

� Anything with a lip, an edge or arim will have reflected light alongthose edges.

� Look in magazines for photos simi-lar to those in this chapter andpractice drawing them using thegrid method.

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Practice with spheres and overlapping surfaces. Practice creating distance.

Practice with light against dark and dark against light.

Practice seeing a human being as just shapes,lights and darks.

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Rounded &CylindricalObjectsTo learn something new, it is always good to start with the easi-

est things first.When learning to drive,we practiced going

back and forth in the driveway before we hit the interstate

during rush hour! An experience such as that could be so trau-

matic,we might never want to drive again.The same theory

applies to drawing. I’ve seen beginning artists dive right into

very complex projects.Unfortunately, they usually quit draw-

ing altogether, claiming it is just too hard!

So we’re going to focus on the easier things first, like basic

shapes.All you need to know to begin is how to draw a sphere

and a cylinder.From these basic shapes you can create more com-

plex rounded objects such as pumpkins, teapots and tree trunks.

The MoonGraphite on smooth two-ply bristol paper

11" × 14" (28cm × 36cm) 33


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shapeAs we discussed before, an accurate linedrawing is the foundation for all finisheddrawings. It describes the basic underly-ing shape of the subject.However, it isthe rendering of the tones (darks andlights) that tells us what the real charac-teristics are and what the object is.

A sphere can be changed into manydifferent objects just by changing the wayyou apply the tones.You’ll find manyeveryday objects containing the sphere.

Create Drawings From Basic Shapes

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An Empty ShapeThis line drawing is just an irregular sphere.However, by applying tones, you can change itinto a finished drawing of many different objects.

Toning Creates an AppleWith a little light shading and a stem, the spherebecomes an apple.

Toning Creates a TomatoBy deepening the tones, creating the illusion ofsurface indentations and changing the stem,the sphere becomes a tomato.

From Circle to BasketballThis drawing of a basketball was started thesame way the sphere exercise was back onpage 23. You can transform an ordinary circleinto a believable drawing of a basketball byadding detail and blending tones.

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Once you’ve practiced drawing a basicsphere, try connecting spheres to createmore complex drawings.A string ofpearls is a wonderful example of manyconnected spheres.Each sphere capturesthe five elements of shading differentlybecause each is at a different angle to thelight.That’s why each pearl must bedrawn separately.Note how the light andshadow affect each one.Drawing eachshape separately will allow you to cap-ture its individual nuances.There are noshortcuts to good drawing!

Repeated Spheres Become Objects

Repeat Your Sphere ExercisesPractice drawing repeated spheres like this string of pearls. Remember to include the five elements of shadingfor each pearl.

One Sphere at a TimeDraw each grape individually, just like the pearls.Use your kneaded eraser to lift the lights. Lookat the grocery ads in your local newspaper forgreat resource photos of grapes and otherspherical objects.

Full light

Halftone

Reflected lightCast shadow

Shadow edge

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This drawing contains all the elementsyou practiced in the sphere exercise,withthe addition of some surface textures and indentations.The indentations in the pumpkin are caused by two surfacescoming in contact and creating a crease.Whenever two surfaces touch or overlap,they create a hard edge (see page 20).You will always see reflected light abovea hard edge.A soft edge is created wherethe raised area gently curves and creates asmooth tone.

Draw a Pumpkin

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1 Create the Line DrawingLightly draw the outline of the pumpkin, along with the lines thatdivide the surface. Indicate the grooves in the pumpkin’s surfacewith lines.

3 Fill In and Blend the Tones, Then Lift the LightsFill in the tones over all of the pumpkin. Make the tones at theband of light that encompasses the pumpkin at its roundest point,as well as reflected light against each ridge, the absolute lightest.

Blend the tones, then deepen the dark areas for more con-trast and use the kneaded eraser to lift out areas of reflectedlight. Use the same process for the stem of the pumpkin.Remember, there’s a smaller band of light on the stem.

2 Add Some DarksStart adding tone to the outside edges, remembering that thedark areas help create the shapes of the light areas. Place thedark tones to create all of the recessed areas of the pumpkin’ssurface, making the light areas seem to protrude. The shape andedge of the pumpkin will take form along the outside.

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The bell pepper is a rounded object like the sphere,but it contains irregularsurface shapes like a pumpkin.Theindentions and creases create hard andsoft edges and alter the way the lightreflects.You must include the five ele-ments of shading in each raised area.

Practice Hard and Soft Edges

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4 Finish the PepperKeep adding tone, blending and lifting light until you’re satisfiedwith your drawing.

1 Create the Line DrawingUse a grid to draw a pepper from a gro-cery advertisement in your newspaper orgraph this drawing to create an accurateline drawing.

2 Create the Dark TonesAdd dark tones with the pencil to createform. Leave areas along the edges of eachraised surface for reflected light. Considereach of the five elements of shading asyou draw.

3 Blend and Lift the TonesFirst, blend the tones, then lift the high-light areas with the kneaded eraser.Reapply more pencil if you need to dark-en some areas. Reblend your tones eachtime you add shading.

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3 Create the HalftonesUse a tortillion to blend the tones to create halftones andsmoothness.You may have to reapply the lines indicating theindentations in the pumpkin.

If you haven’t completed the line draw-ing on page 28, go back and do thatnow.During this demonstration you willfinish the pumpkin and apple drawingyou began there.

This drawing is a segment drawing ofa much larger scene.You can see howthe viewfinder was used to create thiscomposition.Since you now have somepractice drawing a simple pumpkin innormal lighting, let’s learn about theeffects of extreme lights and darks.

A Simple Still Life: Pumpkin With Apples1 Remove the Grid Lines From

Your DrawingOnce you’ve drawn all the shapes accu-rately, gently remove the grid from yourdrawing with the kneaded eraser. Thisshould be easy to do if you drew yourlines lightly. If you struggle to remove thelines, you drew them too dark and youshould redo the line drawing. Once thegrid is removed, you should have a groupof spheres like this. You are now ready tobegin rendering the tones.

2 Establish the Darkest DarksAlways start with the darkest darks, just like you did with thesphere. This creates the light source and helps to create theshapes. Remember that cast shadows are the darkest becausethey are directly blocking the light.

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Light always looks more realistic when it

is lifted out of the drawing rather than

being drawn around or left out.

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4 Build and Blend the Darks, Then Lift the Lights to FinishTo finish the drawing, keep building upthe intensity of the tones. Continueadding darks until they are as black aspossible in the darkest areas. Rememberto blend your tones after each layer.

Create a point on your kneaded eras-er and lift the subtle nuances of reflectedlight and highlights from all the raisedareas of the pumpkin, along the edges ofthe apples, and in the wood grain of thetable. This gentle lifting is the final stageto your drawing. Do not dab with thekneaded eraser when lifting light. Youcannot create definite shapes with theeraser unless you control it like a pencil.

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roundNow that you’ve completed a few step-by-step demonstrations, try some draw-ings on your own using your acetategrid.These illustrations combine manyof the drawing elements we reviewed onthe previous pages.The overall shape isstill the sphere.Follow the shapes of lightand shadow to re-create the tomatoesand the teapot.Have fun!

Practice Drawing Rounded Objects

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Graph and Draw the TomatoesThese tomatoes are basic spheres. A hard edge is created where theyoverlap and highlight areas exist over their indentations.

Graph and Draw the TeapotSometimes objects have protruding elements, such as this teapot. The overall shape is clearly that of a sphere, but the handle,top and spout add new dimensions. Study these areas closely. Find the reflected light andshadow edges that indicate the light source.

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foreshortening

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So what happens when round objectsno longer look perfectly round? If youlook at a cylinder, you know that if youviewed it from the top it would look likea circle.But,when viewed from the side,you see a circle in perspective.This per-spective represents distance and changesa circle into an ellipse.

Ellipses

Look at the wagon wheels. If theywere still on the wagon they would looklike perfect circles.But these wheels arelying on their side, so we see the wheelsin perspective.Receding lines are madeshorter than they are in reality to createthe illusion of depth.This is a phenome-non called foreshortening. It is what turns a circle into an ellipse.

Standard CircleThis is a circle viewed straight on.

Vertical EllipseWhen viewed from a different angle, perhapscloser to a side view, the shape appears thinnerthan the full circle. This is called an ellipse,which by definition is a circle in perspective.

Horizontal EllipseThis is a circle viewed from above. Instead of athick appearance, like the vertical ellipse, thisellipse seems flattened out.

Remember the Equal Quarters Rulewhen drawing elliptical objects.You

should be able to fold your ellipse in

half in either direction,with all parts

matching.

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Perspective Creates EllipsesCircles viewed from the side, such as these wagon wheels, are not perfect circles. Seen in perspec-tive, they look slightly stretched out. The degree of the ellipse changes as your perspective changes.

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ellipses

Draw Everyday Objects Using Cylinder BasicsThe pot and the spool are similar in their angleand view. But the candle is seen from a higherperspective, so we see more of its top. Itappears to be rounder than the pot and thespool, but it isn’t. The ellipse just changesdepending on our point of view.

Textured CylindersThe trunk, limbs and branches of a tree are nothing more than textured cylinders. The five elementsof shading make evident the roundness of the objects.

Everyday Cylinders

remember the Equal Quarters Rule asyou draw (see Lee’s Lessons,page 41).Keep altering your edges a little at a timewhen drawing until your ellipses appearcorrect. Just as the basic shape of the circlechanges to become a tomato, the basicshapes of the cylinders and their ellipsesalter to become objects such as these.

Cans, lampshades, bottles and jars are justa few examples of everyday cylindersthat contain ellipses.Like the wagonwheels, they all have circular tops thatchange into ellipses when viewed fromfrom the side.The degree of the ellipsechanges as vantage points change.

Chances are you’ll find ellipses andcylinders to draw all over your house. Just

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How Did Seeing Through the Object Help?By visualizing the ellipses within this pot, and creating the basic shapeaccurately in line form, the blending can then create the illusion of thepot’s surface and take the drawing to completion.

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practiceThere is a mathematical way to producean ellipse based on the degree of pitchand the angles.But you don’t need a for-mula to tell you when an ellipse is off.When an ellipse is drawn incorrectly,your brain screams that something iswrong.Here are three tips to drawingcorrect ellipses:� Remember, you are drawing a circu-

lar shape; there should be no flat spotsor pointy areas in the smallest areawhere the ellipse curves.

� Visualize all sides of the elliptical objectand draw the complete ellipse beforeshading.Try to to see through it.

� Remember, you should be able tofold your ellipse in half,with all sidesmatching.

Practice Drawing Through

Visualize All Sides of Elliptical ObjectsThe ellipses encompass the surface of the pot, all the way around.Drawing through the object to complete the ellipses helped thepot look symmetrical and realistic.

Start With an Accurate Line DrawingWhen drawing any object, having accu-racy in form in the beginning is essential.It allows you the freedom of blendingand shading without having to makestructural changes. Altering shape is verydifficult after the tones have been added.

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Tree trunks and limbs are made up ofcylindrical shapes.However, differenttrees have different textures, and that canmake them a bit of a challenge.The darkcolor and roughly textured bark of theelm tree, for example, causes light toreflect off its surface in an irregular fash-ion.Follow this step-by-step demonstra-tion to learn how to capture the texturewhile staying true to the tree’s basicshape.We’ll talk more about trees andtextures in upcoming chapters.

In the meantime, think of otherthings that are tubular in shape thatcould be used for drawing practice.Poles, garden hoses, snakes:All have thesame basic characteristics.

Draw a Tree Trunk

1 Begin the FoundationStart with light shading as a foundation.This begins the process of creatingshape and form, much like drawing anordinary cylinder.

3 Deepen the Tones and Lift the LightDeepen the tones on the shadow side tomaintain the cylindrical shape and helpdefine the light source. Increase the dark-ness of the texture within the shadows.

Lift the light out on the highlight sidewith the kneaded eraser. Not only does thiscreate more texture, but it keeps the lightsource strong. The end result is a strongsense of texture without losing the illusionof the cylindrical shape.

2 Build the TextureAdd irregular pencil lines to representtexture. The dark lines represent indenta-tions and recessed areas of the treebark, making it appear rough.


Elm Tree BarkThis tree trunk is extremely textured, whichalters the way light and shadows appear.

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Just like the teapot was a sphere withprotruding elements, this watering canchallenges you to draw a cylinder withprotruding elements.

Draw a Watering Can

1 Create the Line DrawingMake sure your ellipses are accurate and evenly shaped. Dividethe ellipses into four equal parts to make them even. Be sure thetightest curves are not pointed. Use a ruler to get the edges ofyour cylinder sides straight.

2 Place the Initial Dark TonesBegin placing the tones on the wateringcan, just like you did in the tree trunkexercise on page 44. Add only the dark-est tones at this point. This is where youbegin to create the form and roundness.

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3 Fill In the Remaining TonesContinue adding tones to the top of thecan, the handles and the spout. Makesure you evenly place your pencil strokesfor smooth blending.

4 Blend the Tones Into the WhitesFor a smooth look, use a tortillion to gen-tly blend the tones into the light areas.Leave the lightest areas bright for areflective, metallic look. Add the holesinto the watering spout.

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5 Finish the DrawingTo finish the drawing, lift the light areasto intensify the shine of the metal.Continue to darken and blend the darkareas until you are satisfied with thetones.

� A sphere or cylinder can bechanged into many differentobjects, just by changing the wayyou apply the tones.

� Combine repeated spheres andcylinders for more complex shapes.

� Look for the five elements of shad-ing when drawing rounded andspherical objects, particularlyreflected light.

� Foreshortening is when the shapeof an object appears distortedbecause of the angle in which it isbeing viewed.

� An ellipse is a circle in perspective.

� Your eyes will tell you when anellipse is not symmetrical.

� An ellipse can always be dividedinto four equal parts.You should beable to fold it in half either direc-tion with all parts matching.

� The edges of an ellipse shouldalways be curved with no flat areas.The ends of an ellipse, at the tight-est curves, should never appearpointed.

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RectangularObjects &PerspectiveNow that you’ve learned how to capture gentle curves and

roundness in your artwork, it is time to switch gears and cap-

ture the flat and square things in life.We are surrounded by

objects that have flat sides.Tables, chairs, televisions and houses

all have the cube as their basic shape.

This hallway is filled with rectangular objects, but it is also

a great introduction to one-point perspective where all lines

appear to converge at one point of origin—in this case—at the

window.Use a ruler to follow the lines to this point. In this

chapter you’ll learn to recognize rectangular shapes in everyday

objects and how to make them look real using simple meth-

ods, like making sure all of your vertical lines are parallel to the

paper’s edge.

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Illuminated HallwayGraphite on two-ply bristol paper

17" × 14" (43cm × 36cm)


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vantage pointEntire books have been written aboutperspective.Basically, images changedepending on the vantage point fromwhich you view them.Areas that arecloser seem much larger,while areas far-ther away seem to shrink. In realisticdrawing, you must always rememberthis.Your artwork reflects where you arein relation to your subject matter.

Perspective Basics

50

Two-Point PerspectiveEach side of this house recedes back to two separate vanishing points.You can see where I have drawn the horizon line and followed the edgesof the house to their vanishing points. It’s important at the very beginningto make sure that all the vertical lines are perfectly vertical and parallel tothe edges of the paper.

One-Point Perspective SimplifiedA train track or road is large up front and con-verges into a point in the distance. This repre-sents one-point perspective, when everythingconverges at one point out on the horizon. Thatpoint is called the vanishing point. The vanish-ing point rests on the horizon line. This horizonline represents your own eye level when look-ing straight ahead.

Vanishing point Horizon line

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Two-Point Perspective Above Eye LevelThe entire cube is above the horizon line, whichmeans you are viewing it from a lower vantagepoint. You have to look up at the cube. If thiswas a building, you would be at the bottom of aslight hill, looking up the street. The light iscoming from the left, making the side on theright appear darker.

Above the Horizon Line or Worm’s-Eye ViewThis cube is elevated, floating above the horizonline. It is much higher than eye level and yousee its bottom. Can you see how the lines con-verge at the horizon line at the same points?

Two-Point Perspective at Eye LevelIn this example the cube horizon line falls rightin the middle of the horizon line. You are viewingthe cube straight on and are standing on thesame level as it is.

Below the Horizon Line or Bird’s-Eye ViewThis time we are much higher than the cubeand the horizon line, looking down on it.

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edgeYou learned the main differencebetween drawing rectangular objects androunded ones in chapter two.Whereasgradual value transitions exist on round-ed objects,more abrupt transitions canbe seen on rectangular ones.Each sur-face on a rectangular object will have adifferent tone.

Rectangular objects are made up offlat surfaces that come together, creatinghard edges.As you learned before, eachtime you have a hard edge, reflected lightis created.Everything with an edge, lipor rim will have reflected light along it.

Once you begin to look,you’ll seecubes everywhere.From stairways to fur-niture, you’ll find the cube shape in allsorts of things.Even though a stuffedchair is soft and curved, the underlyingshape is very angular and geometrical.Practice drawing rectangular objects inperspective. Soon, it will become secondnature to you!

Everyday Rectangular Objects

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Find the Basic ShapesLook for the underlying basic shape in everything you draw. The chair, the chair cushion, the pillowand the chest of drawers are all cube shapes. In catching the shape you also get a feel for the per-spective lines. Notice how the portion of the chest of drawers nearest to us is larger than the portionclosest to the chair. When you move to the rendering stage, you can just follow your initial lines. Inthe finished drawing, the drawers follow the same perspective rules.

Draw Stairs as CubesEach step has three surfaces: the top, the overlapping front edge and the recessed front. The stepsappear to get smaller as they recede, so the step at the top should be smaller than the one at the bot-tom. Like all perspective drawings, make sure that all the vertical lines are parallel to the paper’s edge.

The top of each stair is illuminated by the sun. The overlapping front edge casts a shadow onthe recessed area. Look for reflected light along each edge when applying your shading. When youdrew the pearls in chapter three, you thought of each piece as a separate sphere. Here, think ofeach stair as a separate cube.

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A house obviously has the cube as itsbasic shape,but the perspective is notalways so obvious.An architect willbegin working on the angles and per-spective lines right away.But as artists,wedraw what we see first, then use the rulesof perspective to correct the drawing.

To correct the initial sketch, I locatedthe horizon line and followed the lines

Draw a House in Perspectiveof the structure with a ruler to wherethey converged at that line.You can seethe horizon line drawn on both sides ofthe drawing.The dot represents one van-ishing point.All the angles on the frontof the house go to that point.All theangles on the side of the house go to apoint off of the page on the left side.

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Make a color copy of your reference

photo and draw lines off of all the edges

just like you saw with the house on page

50.Carry the lines out until they meet.

This will give you the horizon line, and

you will be able to judge the angles

much better.

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2 Remove the Grid and Place the DarksGently remove the grid lines. Begin placing the dark tones in the drawing. At this point, the drawing is beginning to look realistic.

Horizon line

Vanishing point

Horizon line

1 Create the Grid and Line DrawingLightly place the same number ofsquares on your drawing paper and drawthe shapes you see in each square.

Use a ruler to note the horizon lineand the vanishing point on the right side.The horizontal lines on the front of thehouse should lead to that vanishing point.Take your lines to that point with yourruler. Keep your vertical lines parallel tothe sides of your paper.

Vanishing point

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3 Finish the DrawingThe deeper the tones, the lighter the highlight areas appear. The light source comes fromthe left; so add tone to the front of the house and add a cast shadow behind the pine tree tomake it more obvious. Use the foliage of the trees to accentuate the light edges of thehouse. Lighter trees behind the house and in the background create the illusion of distance(see page 106).

To create the siding, pivot your ruler down from the vanishing points and draw evenlyspaced lines. Use the horizon line and vanishing points for all edges to keep them consis-tent with the perspective.

Use your tortillion to blend the tones in the siding, windows, grass and trees. Be care-ful not to blend away the siding!

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When drawing rooms such as this, it is important to keep in mind the rules of perspective.This is an example ofmultiple-point perspective.

Because the components of the roomare situated at several different angles,their lines converge at several differentvanishing points.The two walls angle

Draw a Roomdifferently and come together at a “V” inthe corner.The edges of each windowsillgo in different directions off of the paperand end up at a horizon line out in thedistance.The furniture has a differentangle.The lines of the couch and theedges of both coffee tables in front of itare parallel to each other.The edge of

the end table is parallel to the side of the couch.

It is extremely important to use aruler to make these lines crisp and cleanbefore you begin shading. If the lines are not drawn properly,no amount of shading will correct them.

1 Create the Line DrawingAlways use a ruler when drawing a room such as this. Look for parallel lines and edges,and remember the converging properties of perspective.

Be sure that the angles are right and that objects appear to get smaller as theyrecede. If the drawing looks off, it probably is. Make all your vertical lines perfectly straightand parallel with the edges of your paper.

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2 Fill In the DarksLook for the areas of light and shadow. Apply tones to the darkerareas of the drawing to start creating shape and form. At thisstage the light source becomes very obvious, coming through thewindow on the right.

� Hard edges are created when two flat sides or planes cometogether.

� Each plane should have a different tone assigned to it.

� Create distance in your drawings with sizerelationships.Things that are closer will appear large; thingsfurther away will seem smaller.

� The vanishing point is where all lines appear to converge onthe horizon line.

� In one-point perspective, all lines appear to converge at onevanishing point.

� Two-point perspective occurs when you see more than oneside of an angular object. Both sides will have converginglines ending at the horizon line, meeting at two different van-ishing points.

� Keep your vertical lines perfectly vertical, straight and parallelto the edges of your paper.

� Use a grid or the edge of a piece of paper to help see theslight angles in your reference photos.

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3 Blend and Deepen the TonesBlending creates the realism of your drawing. Continue to deepen the dark areas to fur-ther enhance the illusion of sunlight. To create the appearance of distance, blur thescenery seen through the windows with a dirty tortillion. Look for cast shadows under thetables, next to the couch and below the picture on the wall. Lift the highlights with akneaded eraser.

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TransparentObjects“How in the world do you draw something that is transpar-

ent?”As an art instructor, I hear this question over and over

again. I just smile. It really isn’t that hard if you look at the

object as shape and patterns.The puzzle piece theory that we

covered earlier unravels this mystery of drawing.

Clear glass is very reflective.When you draw transparent

things, you render everything that reflects off of them rather

than the actual objects.That’s why lakes in paintings generally

appear blue.They reflect the blue of the sky.

Study this drawing of a clear glass pitcher.Squint your eyes

to see it more abstractly. It is really a basic shape filled with light

and dark patterns.All transparent objects are filled with light and

dark patterns.Conveying these patterns is the key to rendering

realistic transparent objects.

Glass PitcherGraphite on two-ply bristol paper

14" × 11" (36cm × 28cm) 59

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I told you in the introduction that draw-ing glass is not as hard as you mightthink.Now here’s the proof.Eventhough glass is clear, it is reflective andtakes on the tones of its surroundings.Follow this demonstration to see howeasy it can be.

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Draw a Glass Vase

Reference Photo

1 Transfer the DrawingLightly draw 15 boxes on yourdrawing paper. Draw theshapes you see in each box.Keep the sides of the vase assymmetrical as possible.

2 Remove the GridGently remove your grid lineswith the kneaded eraser.


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4 Darken and Blend to FinishDarken the outside edges. Blend the restof the tones with a tortillion until they arevery smooth and gradual. Leave the high-light areas. These have very distinctshapes where the light is reflecting.

Place a little shading below the vaseto give the illusion of a tabletop.

3 Place the DarksApply light tones in the darkest areas yousee in the reference photo. This begins tocreate the roundness of the vase’s sur-face.

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Vase With a Flower ArrangementNotice how the tones change when you addthe flowers to the vase. Because of the dark-ness of the flowers, the tones of the vase deep-en and become more intense. Also, the waterinside adds a waterline. Use your acetate grid tograph and draw this example.

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You’ve learned how to draw a plain glasscontainer with the glass vase.Did you trycreating the vase with the flower andwater? If you had trouble with that, fol-low this demonstration, then try it again.Adding liquid to glass only changes thepatterns and values you see;nothing elsechanges about your drawing.

Glass Pitcher and Eggs

1 Transfer the DrawingLightly draw the grid on your paper. Then draw what you see in each box.

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2 Apply the Darkest Tones FirstErase your grid lines and begin to fill inthe dark tones.This drawing has very lightvalues, so the darkest tones are few.Refer to the five-box value scale on page18 for tone comparisons.

3 Create the HalftonesUse your tortillion to gently blend to create halftones. Refer to the graphedreference photo to compare the lightsand darks.

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4 Blend the Tones, Lift the Highlights and Check the Darks to FinishBlend the tones throughout. Create a point on your kneadederaser and lift the highlights out of the glass and liquid. Draw thehighlights out with the eraser; do not dab. Drawing the highlightsout gives you greater control and realism. Check your darks oncemore and you’re finished!

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Look at the multitude of patterns createdin these glass items.The highly reflectivesurfaces gather images of everythingaround them,along with the light source.

Think of all the glass patterns you seeas puzzle piece exercises.All of thesedrawings are basic shapes filled withsmall patterns of lights and darks. It reallysimplifies things.Find some magazinepictures of other glass items and practicedrawing them using the grid method.

Apply Darks, Blend Halftones and Lift the LightsThe light and dark patterns in this bottle createits roundness and contours. To create light anddark patterns like these, apply the dark shapesfirst, blend the halftones, then lift the light. Thissystem allows you to go back and forth as muchas you like until you achieve the look you want.

BottleGraphite on layout bond paper

11" × 8 1⁄2" (28cm × 22cm)

Patterns in Glass

Look for Interlocking ShapesNotice how the cut crystal seg-ments the entire glass into manyinterlocking shapes. A grid drawingwill make this complex subjectmuch easier to draw.

A Crystal GlassGraphite on smooth two-ply

bristol paper

14" × 11" (36cm × 28cm)

Look for Patterns in IceIce is nothing more than small patterns of light and dark shapes.Placing some shading in the background will help define thelight rim of the glass.

Glass With IceGraphite on smooth two-ply

bristol paper

9" × 12" (23cm × 30cm)

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This is an excellent example of howsomewhat difficult subject matter is sim-plified when broken down into puzzlepiece shapes.As you draw,pay particularattention to the ellipses that make up therim,waterline and bottom of the glass.

Glass With Ice

1 Create the Cylindrical andNonsense ShapesThe drinking glass is a cylinder. The icecubes are patterns within that cylinder.Use a ruler to create the outside edgesof the glass. Create the ellipses that formthe rim, the waterline and the bottom. Besure the arcs of the ellipses are rounded,not pointy.

Draw the nonsense shapes that makeup the patterns of the ice cubes.

2 Fill In the DarksStart filling in the dark patterns as shown.Forget this is ice and just draw shapes.

3 Deepen and Blend the Tones,Then Lift the LightContinue filling in and deepening thetones within the patterns. Blend themwith a tortillion. Lift out the light areas,particularly in the rim and waterline, withyour kneaded eraser.

Create the illusion of water drops on the side of the glass and the puddlebeneath it. Place your tones like mine to make it look wet and reflective.

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opacityAs you’ve read already,glass is unique as adrawing subject not because it is necessar-ily transparent but because it is so reflec-tive.Not all glass is transparent.Whathappens then? What do you do when theglass is opaquely colored or filled withsomething that changes the color?

Glass, regardless of color, is veryreflective with many highlights.Glassthat has a strong,deep color containshighlights that stand out more.The con-

Not All Glass Is Transparent

Create Highlights in Colored GlassCompare the wine jug to the glass objects earli-er in the chapter. The main difference is in thecolor. The true color of this jug is dark green.However, it is still glass and very reflective. Youjust need darker tones for the overall impres-sion. Use the same blending techniques we’vediscussed. Capture the basic shapes, blend thetones, then use the kneaded eraser to lift outthe highlight areas. It is the very same process,just a lot more of it, because of the deep color.

Define Glass With Light and ShadowsThe true color of this old-fashioned bowl and pitcher is off-white. White and light subjects generallyhave more halftones and grays than extreme darks and lights. But the highly reflective surface ofthe glass and the irregularities of its shape cause the light to create many light and dark patterns.The overlapping objects create hard edges and shadows, which create more reflected light aroundthe edges.

trasts between light and dark appearmore intense.Making the highlightsseem more defined often makes thingseasier to draw.

Because of the reflective nature ofglass,when it is filled with somethingthat changes the color, all the values areaffected.A clear bottle filled with darkliquid will have darker tones and greatercontrasts between the tones and thehighlights.

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Reflective WindowsRemember the reflectiveness of glass whendrawing windows. Because of this reflectivenature, you will often see objects reflected inthe glass rather than what’s on the other side ofthe window.

DetailIn this close-up of one of the window panes,you can see the shading and detail of the trees.The glassy surface of the window is reflectingthe surroundings of the trees outdoors. Youdon’t need a lot of detail to make your windowsmirror their surroundings. Just keep your shad-ing and perspective angles consistent.

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This drawing combines most of the les-sons you’ve learned so far.You’ll practiceperspective as you create this bottle sit-ting at an angle.And you’ll hone yourskills creating rectangular objects whileyou practice creating the gently curvededges and sphere-like shapes of the bot-tle’s sides and top.

The dark color of the liquid withinthe bottle causes dark tones to reflectaround the surface,creating many lightand dark patterns.These patterns representthe liquid inside as well as the surround-ings reflecting on the bottle’s surface.

Draw an Ink Bottle

1 Create the Line DrawingBegin with an accurate line drawing. Use a graph over this one to help achieveyour shapes. The angle of the bottlemakes it more difficult. Capture the shadows and highlight areas as shapes.

3 Blend, Deepen and Lift the TonesBlend the tones with a tortillion anddeepen them if necessary. Be sure toblend after each application. Use thekneaded eraser to lift out reflections tomake the glass look shiny.

2 Add the TonesAdd the tones to the patterns of shapes.Leave light areas for the edges, the fluidline and highlight areas.

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4 Finish the DrawingContinue adding and blending tone until it is very dark. Go overthe highlights and reflections with a kneaded eraser. If this bottlehad a light-colored liquid inside, the tones would appear lighter,but the patterns and highlights would be the same.

� Drawing clear glass is all aboutdrawing patterns of lights anddarks.

� Use the puzzle piece theory tosimplify transparent objects.

� Most glassware is made up ofellipses and cylinders.

� Colored glass just requires moretone. It still is very reflective, withmany highlights.

� You don’t need a lot of detail todescribe the reflectiveness of glass.

HourglassGraphite on two-ply bristol paper

14" × 11" (36cm × 28cm)thin

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Metallic SurfacesDrawing metallic surfaces is very similar to drawing glass

because we are dealing with highly reflective material.How-

ever, your light and dark contrasts are much stronger with met-

al.You’ll find many more areas of total black and complete

white than with glass,which has more subtle shades of gray.

Capturing these extreme contrasts in tone is the key to realisti-

cally drawing metallic objects.

Compare this pewter mug to the glass items from the pre-

vious chapter.Notice how the contrasts in tone are even more

evident on this shiny metal.The darkest darks on the pewter

are nearly black, juxtaposed with highlights that are nearly pure

white.Once you get some practice making your tones this

extreme,you’ll be well on your way to drawing realistic metal.

Pewter MugGraphite on smooth two-ply bristol paper

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contrastTo create the look of metal, your darkesttones must be black.That’s why drawingmetallic objects is a sure way to practicedrawing dark.The tones must be blackto create the right look. If they are toopale, the drawing will look monotoneand won’t be convincing.

Use what you’ve learned about thepuzzle piece theory when drawingmetallic objects; all of those reflectionscan be confusing unless you break downthe larger image into parts.Concentrateon making the darkest tones black.Thatwill make your lights shine, creating themirror-like quality of metal.

Metallic Surfaces Require Deep Darks

74


Draw Strong Contrasts for ChromeThe intense black of the chrome saucepan and lid makes the lights shine.That light reflects in both the pan and lid handles. Even the metal ring onthe pan handle is a good example of how light and dark create a shape.You use the same basic methods to create metal as you did to createglass. The only difference is with metal, your darks must be black.

Follow the Patterns of Your Subject MatterThese silver containers have a lot of shine. The patterns on the watering canare straight because of the cylinder shape, while the creamer has curvedpatterns. Always follow the contours of your subject when creating patterns.

Create a border box for your drawings.

Then allow your images to escape the

border box like those on this page.Small

things like this can make a big difference

in the way your work is viewed. It’s a fun

way to make your drawing more inter-

esting.

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Let’s practice creating those darks with asimple sphere.This silver pinball showshow differently light reflects on a contin-uous metal surface.The intensity of con-trast between black and white changesthis from an ordinary sphere exerciseinto a study of extreme lights and darks.

Draw a Pinball

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1 Create the Line DrawingThe beginning stage looks like a regular sphere exercise with afew extra patterns.

2 Define the Shapes and Add the TonesCapture the irregular shapes created by the reflections. Makesure the reflected shapes follow the contours of the rounded sur-face. There can be no straight up-and-down lines. Start to fill inthe dark areas.

3 Fill In the Shapes, Blend and Lift the LightsDrawing very dark, fill in the shapes. Blend your pencil marks andreapply the tones. Notice that in this instance the cast shadow isnot the darkest dark; make sure your darks in the pinball areblack. Leave the shiny areas bright white and use the kneadederaser to create streaks of light.

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When metal is seen in long lengths, thelights and darks weave in and out.With aflexible, curvy object like a necklace, thelights will always be at the areas wherethe necklace bends and protrudes.Thesewill be bright and the others darkbecause they are reflecting the surround-ings.A necklace, especially if it is on aperson, can only be lit on one surface.

As always with metal, it’s the patternsof light and dark that make this necklacelook shiny.

Draw a Necklace

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1 Create the Line DrawingEverything begins with a simple line drawing. Draw the shapes you see.

2 Add the Darkest DarksAdd some shading to the part where the jewel attaches to the necklace; this is whereyour darkest darks will be. Fill in the darkest tones in the jewel. You will darken theseeven more in the next step.

3 Darken, Blend and Lift to Finish the DrawingDarken the darks on the necklace to cre-ate the illusion of shine. Add shading tothe lighter areas of the necklace andblend. Leave the highlight areas white forcontrast. Add tone to the pendant andblend, then lift out some highlights tocreate a faceted look. Add a blendedshadow behind the necklace for realism.


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All the illustrations in this chapter haveintense areas of black and white withsmall areas of halftones.This silver teapot,because of its flat surfaces, captures lightdifferently than a rounded object.Eachflat surface or plane creates a hard edgethat reflects light.When you drew thepinball, you had to make sure that yourshapes followed the round shape of thesphere.Here,most of your shapes arevertical.

Draw a Pewter Teapot

77

Reference Photo

1 Create the Line DrawingRemember to draw your grid lines verylightly so you can erase them later. Thenconcentrate on the shapes you see ineach box. Forget about the teapot for now.


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2 Erase the Grid Lines and Add the TonesCarefully erase your grid lines. Begin adding in the darkest tonesaround the bottom of the pot, the lid and around the light edges.Leave areas of reflected light.

3 Fill In the DarksFill in the dark areas as smoothly as possible.

4 Add the Background and BlendAdd some background tone to help create the light edges of the pot. Beginblending the tones on the teapot care-fully with a tortillion.

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Indicate the textured surface of brushed

pewter by allowing pencil lines to show

through.Subtle pencil lines are wonder-

ful for creating textures.

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5 Darken and Blend the TonesContinue to add tone to your darks until they’re dark enough. Be sure to leave the lights white. Deepen and smooth all of yourtones for intensity. Fill in and blend the background to an eventone that is not quite as dark as the teapot itself.

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The trombone combines what you’velearned about metal with what you’velearned of ellipses and cylinders.Use aruler to create the straight lines on thetrombone and to help you visualize theellipses.Remember to keep your pat-terns consistent with the form of thetrombone.

Draw a Trombone

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1 Create the Line DrawingGraph this drawing or the finished draw-ing to capture the basic shapes. Use aruler to keep the lines straight on thetubular shapes.The inside of the trom-bone will need to be very dark, so goahead and fill in the darks there.

2 Fill In the Darks, Blend andBegin Shading the HandsDarken the tones over all but the lights ofthe trombone. The inside is made up ofextreme patterns of light and dark. Makethe dark areas as black as possible.Blend your tones. Repeat this processuntil the darkest areas are virtually black.

Begin to define the lines in the hands.The areas where the fingers touch arehard edges and should be the darkestareas on the hands. Fill in the hands withlight, even shading and blend. Leave thetops of the knuckles and the bright areaaround the ring. These will be the lightestareas on the hands.

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3 Refine the Tones and Add the BackgroundGo over the tones in your drawing. Use atortillion to blend the tones thoroughly.Add darks to the areas between the fin-gers of the hand, around the fingernailsand the ring. Form your kneaded eraserinto a point to draw out highlights in thehand around the knuckles and placeswhere bones or veins might protrude.

Create a nice, even, blended tone forthe background to make the lightsaround the trombone really shine.

� Contrasts in tone are the key elements to realistically drawingmetallic objects.

� Metallic surfaces have extremecontrasts. Light and dark patternsare intense.

� Highly reflective surfaces can becomplicated to draw, so use thepuzzle piece theory to break them down.

� If dark tones are not deep enough,your drawing will appear pale andmonotone.

� Always follow the contours of theobject when drawing the reflectivepatterns.

Gazing BallGraphite on smooth two-ply

bristol paper

14" × 11" (36cm x 28cm)

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Fabric & Other TexturesClothing is a beautiful thing to draw and brings special chal-

lenges to artists because of the creases and folds.But fabric and

folds can be seen in things other than clothing on people, so it

is important to know how to capture them.

The creases, folds and textures like the ones in Raggedy

Ann can be found all around you.The curtains on your win-

dow are a good example, as well as bedspreads, blankets, towels,

tablecloths,upholstery and couch throws. In this chapter you’ll

learn to recognize and draw the various types of folds, as well

as how to apply those folds to all sorts of subjects.

Raggedy AnnGraphite on smooth two-ply bristol paper

14" × 11" (36cm × 28cm) 83


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overlapThere are five basic folds to look forwhen drawing fabric.Each fold has itsown set of characteristics that makes itdifferent from the others.Memorize thebasic folds.When you can recognize andapply them,you’ll demystify manydrawing projects and your drawing abili-ties will jump tremendously!

Regardless of what type of fold youare drawing, include the five elements ofshading.Watch for the areas of reflectedlight on all the creases and folds. If youlook at each area, you will see the com-binations of shadows and light that makefolds resemble the cylinder exercises. Softedges are found where the fabric gentlybends.Hard edges are created where fab-ric overlaps.

Draw Fabric With Five Basic Folds

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Column or Tubular FoldThe column fold, also known as a tubular fold, isthe most common of all the folds. You’ll find itmost often in drapery and clothing.

To recognize it, look for cylindrical folds thathang from one point of suspension. Approach itsimilarly to how you would approach drawing acylinder. Review chapter three for practice.

Puckered Fabric Creates Tubular FoldsThis small detail from the Raggedy Ann dollshows how the puckered fabric around the col-lar creates tubular folds. When a tubular fold iscreated by being bunched, rather than hangingfrom a point of suspension, the tubular shapescan go in different directions than just hangingvertically.

Drape FoldThe drape fold is created when fabric is suspended by two points. You will see this fold in cowl necksweaters or when fabric is draped over something. The drape fold will make a “U” or a “V”. Noticethat the entire length of the U-shape has reflected light.


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Inert FoldsInert folds are created when the fabric is not being suspended at all. Thecreases and folds can go in every direction. Because of the many layers,there will be a multitude of overlapping surfaces and hard edges.

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Interlocking and Coil FoldsWhen fabric falls in layers and the folds actuallyrest inside one another, interlocking folds arecreated. The loose fabric of this coat createsinterlocking folds as it falls around the shoulderarea. This could also be classified as a type ofdrape fold because the shoulders act as twopoints of suspension. Being flexible, fabric canhold many different types of folds at one time.

When fabric is fitted over a cylindrical ortubular shape, such as the sleeve of the coat, itcreates a coil fold, named for its spiral appear-ance. A coil or spiral fold can also be found in apant leg when the fabric bunches at the kneeor a sock that has fallen down around the ankle.

The close-up of the Raggedy Ann doll’s apronis another example of an inert fold.

Interlocking folds

Coil folds

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Drawing a towel that is hung from onepoint of suspension will provide youwith the practice you need for drawingcolumn or tubular folds.The folds cre-ated resemble a cylinder. If you need to,review the cylinder information in chap-ter three.

Practice Drawing Folds

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1 Create the Line DrawingStart with a light line drawing. Look for thetubular shapes—they resemble the cylinder.

2 Shade the Overlapping AreasBegin applying dark tones where the fab-ric overlaps.

3 Fill In the DarksOnce you’ve established the darkestareas, begin filling them in, leaving theareas of reflected light. This is whatmakes these areas look curved.

4 Blend and Lift to FinishUse a clean tortillion to blend your tones.Then lift the lightest areas with a knead-ed eraser.


You can gain extra practice by taking

your own towel or other type of fabric

and placing it in different positions to

draw from.Study how the folds change

according to how you hang it.This type

of discovery and observation is the key

to becoming a good artist.

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textureMany nonfabric textures can be createdusing the five basic folds we’ve alreadydiscussed.Objects or subjects may seemtotally different and unrelated to oneanother,but you can draw them all withthe same process of shapes, lights anddarks.Everything has edges that reflectlight and light areas that you can lift outwith the kneaded eraser.The characteris-tics in a shell, for example,are virtuallyindistinguishable from folds seen in fabric.

Create Texture Using the Five Basic Folds

87

Interlocking Folds in a BasketBasket weave can be a challenge because thestrips are going over and under, and in and out ofeach other. They create extreme overlap situa-tions. Look at each segment separately, and drawthem one at a time. This keeps you from becom-ing overwhelmed by the “big picture” and helpsyou see it as a puzzle of interlocking shapes.

The rolls of fabric create extreme areas ofoverlap as well, but this time they are going in acircular direction.

Column Folds in a SeashellEach of the ridges onthis shell has the traitsof a column fold andrequires all the sameelements of shadingto show form. Theindividual ridges of ashell are almost inter-changeable with thecolumn folds youmight find in fabric.

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softnessYou’ve learned how to create the tex-ture of fabric, and you’ve started to seehow that might apply to other surfaces.Now it’s time to revisit an old theme—blending.Much of drawing depends onblending; texture is no exception.Whether you create textures using thefive basic folds or aspire to create softertextures, such as the furry look of astuffed bear, you’ll need to become pro-ficient at blending and lifting graphite.While many textures can be createdusing the five folds,many will dependsolely on your blended pencil strokes.

You can use my blending techniqueto create realism in textured surfaces.Thedifference is using the kneaded eraser atthe same time to create patterns.Previ-ously in this book,blending was used tocreate smooth, continuous form.Whendrawing textures, the blending becomesthe foundation on which you’ll build the texture.

After the tones are smoothed out, youcan apply more pencil lines to build upthe look of the texture you are creating.For this stuffed bear, the pencil strokeswere applied with short, quick strokes torepresent the length of the fur.Afterblending with a tortillion, the kneadederaser was used to add reflected light anddimension.The close-up shots on thefollowing page will show you how todraw things that look furry, as well as theother various textures of the stuffed bear.

Blending for Texture

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Soft, Light FurIn this close-up of the bear’s foot, you can seethe illusion of the light fur. You can get the samesoft and fluffy effects by adding and blendingdark tone with a tortillion, then lifting light fur outagainst the dark tone with quick strokes using afine-pointed kneaded eraser.

Glassy Eyes and Silky NoseThe eyes are glassy, so they must have shine and no pencil lines visible.The nose is made of embroidery thread, so it’s important that the pencillines replicate the texture. While the silkiness of the thread reflects light,the nose won’t be as smooth as the eyes. The texture of the thread in thenose is entirely shown by the pencil lines. The reflected light on the noseneeds to be lifted out very delicately.

Shiny BowIf you study the bow, especially where it is bunching up at the knot, youwill see the same type of tubular fold that you saw in the collar ofRaggedy Ann. You will also see interlocking folds where the fabric comesout from the knotted areas. In these areas of extreme overlap, theextremes in contrast are quite obvious. Use deep black tones for theareas that recede, and lift bright areas of white for the full light areas.

A dirty tortillion is the perfect way to

add tone without adding pencil lines.

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The patterns of light and dark on thisleather boot go from being subtle, likethose on the toe, to very precise, likethose of the tooled leather on the side.Drawing leather is a matter of creatingpatterns of light and dark and dependson gradual blending.By following thebasics we’ve already discussed, you candraw realistic-looking leather textures.

Just as you did as you drew the pat-terns found in glass,fill in your darktones first and blend.Drawing the darkareas first creates the illusion of shapeand form.Blending creates the smoothsurface.Lifting the highlight areas givesthe final touch of realism to the drawing.

Blend for the Look of Leather

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Finished Leather TextureLeather is a smooth texture. Much like creatingthe soft fur of the stuffed bear, you’ll need to fillin your darks first, use a tortillion to smoothlyblend for your halftones, and lift the lights with a kneaded eraser.


For subtle light, I recommend using the

kneaded eraser for a softer impression.

For more control and precision, you can

use the typewriter eraser and actually

draw the light into your work to create

accurate shapes.

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2 Blend the Tones and Lift the HighlightsBlend your tones to create the smooth texture of leather over theentire boot. Lift the highlights on the raised edges created by thepattern and reapply the darkest lines inside the pattern and onthe wrinkles.

1 Create the Line Drawing and Add the DarksStart with the shape of your object, then add dark patterns to cre-ate form. Lightly draw the pattern of the boot’s design and useshading to make it stand out. The engraved pattern createsraised surfaces that have reflected light. Use the typewriter eras-er to draw the reflected light along the edges of the design. Usevisible pencil lines on top of the blended area to create the wrin-kles of worn leather.

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realismYou’ve learned how to recognize thefive folds in textured surfaces and you’velearned to draw each of the folds indi-vidually when you see them in anobject, such as a seashell.The same tech-nique is necessary when drawing othertextures with overlapping surfaces, suchas bricks.At the same time, each partmust fit with the others and reflect thesame light source.

The hard edges and shadows of theoverlapping surfaces describe the textureof these bricks.The mortar in betweenthe bricks is white but is heavily shad-owed by the bricks.The bricks’ valuesare dark,but they have highlight areaswhere the light hits, too.

To properly apply those highlights,remember what you learned about per-spective in chapter four.The position ofeach brick determines where the lighthits it,which determines where you’llplace the highlight.

All textures require this attention todetail,whether you’re creating a basket,brick wall or pathway.Create each sectionor shape separately,with light edges andshadows in between.If you carefully applyyour pencil lines, adding reflected light toeach edge,your textures will look real.

Detail Creates Realistic Textures

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Perspective Changes Shadow and Light PositionWe are viewing these bricks from above, which affects the light reflection.Each brick has a light edge and a shadow creating the inside edge. Thesereflections are different than if we were looking at a brick wall and view-ing the bricks from the side. Pay attention to these sorts of details to reallybring your drawings to life.

Each Brick Reflects Light DifferentlyBecause of the angle from which we are viewing the wall, the shapes shrinkas they recede to the left. The window length appears much shorter on theleft and the bricks get smaller. The top of the window edge tilts upwardtoward the right. The bottom windowsill tilts down. The bricks in the middleappear straight across. The bricks above those tilt up, and the ones belowthem tilt down. This change in angles affects the way light hits the bricks andthe placement of the highlights in each brick. While the visible light is comingstraight on the wall, the placement highlight on each brick differs.

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The patterns bricks create can turn asimple drawing into an interesting piece.Bricks are made up of overlapping andtouching surfaces.The techniques usedto draw bricks is similar to the tech-niques you’d use to draw grooved panel-ing,baskets, stone walls, log cabins oranything created by connecting individ-ual pieces.

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3 Add the Darks and Lift the Lights to FinishCreate texture in the bricks by adding more dark horizontal lines. Lift light areas out witha kneaded eraser to complete them. Use a dirty tortillion to add the subtle texture of themortar between the bricks. Use a very dirty tortillion to add random shading to thoseareas. Don’t be too controlled; allow the graphite to appear irregular.

2 Fill In and Blend the TonesFill in the bricks with tone and blend. Add some lines to the mortar to begin creating texture.

� Look for the five basic folds in all fabric.

� Look for the five elements of shading when rendering folds.

� Soft edges are found where thefabric gently bends. Hard edges arecreated where fabric overlaps.

� Being flexible, fabric can holdmany different types of folds at one time.

� Folds can be found in nonfabrictextures, too.

� Blending and lifting graphite is the key to realistic texture.

� A dirty tortillion can add dark texture without adding harsh pencil lines.

� When lifting the lights, use akneaded eraser for a softer look and a typewriter eraser for moreprecise lifts.

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1 Create the Line DrawingDraw the outline of each brick, paying attention to the angles and perspective. Leavespace between them for the mortar.

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8

NatureWhen people think of nature in artwork, they automatically

think of paintings or drawings in color.While that makes sense

due to all the magnificent colors that nature provides, I love to

capture the essence of nature in graphite. Just like black-and-

white photography creates a unique look,graphite drawings

have a special look all their own. In this chapter you’ll learn

how to capture nature realistically and make a beautiful state-

ment with your work.

BridgeGraphite on smooth two-ply bristol paper

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Because of the movement of sunlight,you will be dealing with different light-ing situations. Sometimes the back-ground will appear very dark and theedges of your subject will appear lightagainst it.Other times the backgroundwill be the light area.These leaf examplesshow how you can use the backgroundtones to emphasize different aspects ofyour drawings.

Sunlight highlights overlapping sur-faces and creates reflected light.The areasof dark over light and vice versa createhard and soft edges that can give yourdrawings perspective and life.Texturaldetails create additional reflected light.

How to Use Light and Dark Backgrounds

Look for Areas of Dark Over Light and Light Over DarkTonal overlaps, such as these lighter leaves over the more shaded ones,are common in nature and add realism and drama to your work. Here thedifferences in tone come from the veins of the leaves that are recessedon the front side and raised on the back. These areas always createreflected light.

Light Edges Stand Out Against a Dark BackgroundHolly leaves reflect a lot of light because of their waxy nature, making theiredges and veins seem to glow and requiring a darker blended background.

Leaves Without Shine Contrast Against a Light BackgroundBecause these leaves are fairly flat and smooth, theydon’t need a toned background. The light patterns onthe leaves show their form and texture.

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Dark Tones Create White DaisiesThe extreme dark areas accent and highlightthese daisies. Dark backgrounds will alwaysmake light subjects stand out and create dra-matic shadows and highlights. The light seemsto penetrate the petals and leaves for a veryrealistic quality.

When to Omit a BackgroundIt is not always necessary to use backgroundtreatments in your artwork. Some subjects, suchas this rose, contain edges and highlights thatdon’t require additional tones behind them. Thedarkness of the rose’s petals creates niceedges. Using a dark background would makethe rose disappear into it.

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It’s time now for you to see for yourselfhow dark tones create lights.The whitelily against the dark background creates astriking yet simple drawing.Notice inthe finished piece that even though thebackground shading is dark, it is not asdark as the darkest part of the flowerstem.Both the stem and the bud areactually darker than the background. It isa subtle difference.However, it’s that typeof tonal contrast that is essential to realis-tic drawing.

Draw a Lily Against a Dark Background

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Reference Photo

1 Create the Line DrawingYou can enlarge the object by drawing the grid boxes larger.Remember to draw your grid boxes very lightly. Then carefullydraw the shapes you see in each box.

2 Remove the GridCarefully remove your grid with the kneaded eraser. Redraw anylines you may have lost.


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5 Finish the DrawingSubtle tone differences make all the difference when capturing realism. Continue defin-ing edges with your pencil for more clarity, blending out tones for smoothness and liftinghighlights for realism. Take your time with this stage. Make sure your tones are accurate.Squint your eyes and compare your artwork against the photo reference, making sureyour drawing is as close as possible in shapes, lights and darks.

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3 Begin the Darkest Part of the LilyBegin detailing the lily by adding the dark areas as well as theareas of texture.

4 Let the Background Create the Light EdgesAdd the darkness to the background to create the light edges ofthe flower. Apply the tones as evenly as possible with the pencil.This will make the blending stage smoother.

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spaceNature is our largest contributor ofwonderful things to draw.While I lovedrawing individual plants and flowers,sometimes it is nice to draw an entirescene.To do that in nature, you have tobe able to render skies and clouds.

Anything can be captured in graphite,even if it is originally filled with color.By replicating the effects of the sunlightreflecting in the water and filling in the clouds realistically,our minds fill in the blanks.

We’ll discuss water in the next chap-ter, so for now let’s concentrate on skies.You can create clouds using many of the

Capturing Skies and Clouds

techniques you’ve alreadypracticed.Identify the shapes, lightsand darks.Blend the shapes and liftthe lights to make the clouds lookfluffy.Create the illusion of extremedistance by highly detailing objectsin the foreground.

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Combine Elements to Create a SunsetYou can capture the illusion of a sunset,even without color! The secret is in theposition of the light in the clouds and onthe water, and in the distance created by detailed trees in the foregroundagainst a less detailed background. Thesethings, when put together, describe the sunset.

Lift the edges of theclouds with kneaded

and typewriter erasers.

Dab with your kneadederaser to create areas

of light and dark.

Blend and Lift toCreate CloudsThe edges of theclouds were liftedagainst the blendedshading of the sky toget the look of layers,with some cloudsoverlapping others.Dabbing with akneaded eraser torandomly lift out lightmakes the cloudslook fluffy and airy.

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Clouds are made up of patterns of lightand dark shapes.Atmosphere and air flow horizontally, so make sure your pen-cil lines and your eraser marks follow that flow.Follow these steps to learn howto draw clouds.You will always createrealistic-looking clouds using this process,regardless of the shape of the cloud.

Create Clouds

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1 Begin the DrawingLightly draw in the shapes of the cloud patterns. Apply some shading to the backgroundwith a dirty tortillion.

2 Add the DarksAdd some darker tones into the pattern shapes. Apply the pencil lines in a horizontalfashion to represent air direction.

3 Darken, Lift and Blend to FinishDeepen the dark tones. Now the light edges of the clouds stand out. Intensify the light bydabbing it out with a kneaded eraser. Blend everything to keep the clouds looking smoothand fluffy.


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You can draw realistic-looking grass and rocks using the skills you’ve beenpracticing already—capturing shapes,adding the darks, blending for halftonesand lifting the light.Drawing grass is as

Draw Grass and Rockssimple as using quick strokes with yourpencil, and rocks require the smoothgradual blending you’ve been workingon throughout the book.

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2 Fill In the DarksPlace the darkest tones in the shadow areas and where the darkgrass contrasts against the light-colored rocks. Use quick strokesto represent the grass sticking out from behind and in betweenthe rocks. Place some tone under the rock in the water. Waterreflections are like mirror images and are always directly belowthe object being reflected. Water moves horizontally, so use hori-zontal lines to describe the reflections.

1 Create the Line DrawingLightly draw the shapes of the rocks. This can be done freehand.When drawing nature, it is not necessary to be as accurate asyou need to be with more defined subject matter. Loosely depictthe shapes of the rocks, the waterline and the bush.


Create thick grass around your trees

or other objects with alternating pencil

and eraser lines.

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3 Add the Finishing TouchesDeepen the tones in the water and rocks to bring out the lightsand create the illusion of direct sunlight. Gently blend with yourtortillion to make the texture of the rocks smooth. Move your tor-tillion horizontally along the water and add more pencil lines tomake it look streaky. Create the shine of the water by lifting hori-zontal streaks of light with a kneaded eraser.

Add quick strokes to the grassy bush in front of the rocks forthe little branches. Use small, squiggly lines to imitate the look ofsmall leaves. Lift a small, irregular white line along the water’sedge with a typewriter eraser to separate the water from theshore.

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overlapA pinecone is another item in naturewith many overlapping surfaces.Many ofthe techniques you would use to createthis pinecone are identical to those youwould use to draw a tree, so we’ll usethis example to introduce you to trees.

Notice the pinecone’s shadow.Thetexture of the ground can often be

Creating Trees

described best in the cast shadow area.While it’s difficult to create definiteshapes unless you control the eraser like apencil, dabbing with the eraser to pull upthose areas of light gives the shadow amore random look.And when drawingnature, you often need that random,irregular appearance.

Remember this when you begindrawing trees and landscapes.The sametechnique can be used to create foliage.

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Use a Kneaded Eraser to Create Irregular TextureDab with the kneaded eraser to create the illusion of texture. The random nature of the dabbingcreates a more natural look. Shadows are important when depicting nature and help describe theentire scene. The cast shadow describes the ground that the pinecone rests on as well as theshape of the pinecone. This technique is useful to create foliage and trees, too.

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When you’re drawing trees, foliage canbe difficult.Many students make themistake of trying to draw each individualleaf.The task becomes easier if you viewthe leaves as clumps,which create pat-terns of light and dark shapes similar tothose you saw on the pinecone and inthe pinecone’s cast shadow.Follow thestep-by-step exercise to learn how todraw a tree in full leaf.

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1 Create the Line DrawingThe line drawing may not look like much yet, but it is the founda-tion of things to come. Draw nonsense shapes to designate areasof light and dark.

2 Begin to Fill In the TonesUse a circular motion with your pencil to fill the tones into thepattern shapes. Vary their tones, with each one being a littlelighter or darker than the other.

3 Create the Grays and Add the ShadowContinue filling in the patterns. With your tortillion, blend out thevarious tones to create some gray areas. Add the shadow belowthe tree to make it appear firmly grounded. It isn’t pretty yet but isstarting to take on more realism.

Draw a Tree With Foliage


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4 Darken the Darks, Dab the Light Areas and Deepen the Shadow to FinishIntensify the dark areas to create more depth. Use your kneaded eraser to dab out theirregular light areas. This creates the look of foliage layers with the sunlight bouncing offthem. Deepen the shadow below and shade down from the horizon line to help create thelook of distance.

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depthWhen we talked about perspective with the train tracks or roads in chapterfour, you saw that the road seems to getsmaller as it gets farther away.That’s oneway to create distance.Objects fartheraway diminish in size.

Objects also diminish in detail withdistance.Trees are excellent tools todemonstrate this.Adding detail to fore-

Create Depth and Distance

ground trees and losing detail in back-ground trees instantly creates distance.

Another way to create depth and dis-tance in your work is with atmosphericperspective.This is when things in thebackground appear lighter than those inthe foreground.The silhouette of thecloser trees against the blended trees makesthe blended ones seem farther away.

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Create Depth and Distance in a SceneThe defined silhouette of the trees against the blurry images of the blended ones creates distance. The defined grass in the foreground, cre-ated with quick pencil strokes, suggests closeness. The detailed grassmakes you feel like you are standing in the foreground of the picture.

Notice too, how the sidewalk shrinks as it recedes into the back-ground. The sidewalk is wide on the right side of the drawing, where it isthe closest, and is much smaller where it continues on the left side of thebridge. Things recede in the distance.

The farther away something is, the

more of the sky color it takes on. In

black-and-white drawing, this means

objects in the background appear

lighter and more gray.

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Use Size and Detail to Show DistanceNotice how much smaller and ill-defined the trees in the background are.The foliage of the trees in the foreground displays details and texture,while the foliage in the background is blurred.

Use tight, circular pencil strokes to create the clumps of leaves in boththe foreground and the background trees. Use your tortillion to blend thebackground trees well. Lightly smudge the lines in the foreground treesjust enough to make them appear less harsh.

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Add Detail to Foreground TreesLots of detail in the foreground tree drawn overthe trees in the back seals the perspective.Completely fill in the trunk and the limbs. Makethem as dark as you can. Small lines representthe pine needles.

Easy Tree PerspectiveBegin with the blurred impression of the treesin the background. Draw a very light outline ofthe trees followed by a very dirty tortillion to fillin the shapes to just give the impression oftrees.

Lighter Objects Appear Farther AwayThere is little or no discernable difference in size among the trees in this drawing. Atmospheric per-spective was used to give the look of fog and mist, making the lighter trees seem farther away. Youcan draw the lighter trees with a dirty tortillion.

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2 Remove the Grid and Add the DarksCarefully remove the grid lines from your drawing. Add tone inthe darkest areas on the lower left of the windmill. The lighterareas on the upper right side should almost disappear into thesky because the blades are so light. Their edges should seemlost. This is an important feature to capture when drawing realisti-cally. Do not outline things to compensate for vague edges; allowthem to appear subtle or even disappear completely.


In this demonstration we’ll combine ele-ments we’ve covered before, such as cre-ating the illusion of distance throughtones and detail and drawing metal.Thecloudy appearance in the background islight and blended with a tortillion,pro-viding depth.The trees in front will bedark and full of texture,making themappear closer.

However,one of the most importantlessons in this drawing is the use of lost

Draw a Windmill Sceneedges.This is where an edge seems toalmost disappear into the surroundingareas, like the blades of the windmill onthe right side.The sunlight makes themso light in tone that they blend into thecolor of the sky.

The windmill itself calls for more preci-sion in your shapes,requiring you to use aruler.This precise,geometric approach willcontrast sharply against the looser styleused to create the rest of the drawing.

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Reference Photo

1 Create the Line DrawingUsing the graphed photo, create a line drawing of the windmill.Be as accurate as possible within the grid lines. Be careful draw-ing the angles and edges of the blades. While they don’t make aperfect circle, it helps to imagine a circle as a guide as you draw.

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3 Add the Shadows and Place the FoliageContinue adding tones to develop the drawing. Add the shadows onthe blades. Begin placing the dark foliage in front of the windmill.This helps create distance and acts like a natural framework for thedrawing. Use your tortillion to add some subtle blending behind thewindmill to gently create the edges of the windmill blades.

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4 Finish the DrawingContinue to fill in the trees to intensify the darkness and texture.Make distinct shapes with your pencil to create the look of leaves.Use a kneaded eraser to lift out the light leaves and make thetrees look textured. Blend the blades on the windmill to makethem look metallic (review chapter six for a refresher on metal).Lift light there, too, to make them appear shiny.

� Use light backgrounds to emphasize leaves without shine and dark backgrounds to highlight more reflective foliage.

� You will find many overlapping surfaces in nature.

� Dab with your kneaded eraser to lift light in nature.

� To establish distance, keep foreground objects in focus and background areas less detailed.

� When drawing trees, view the leaves as patterns of light and dark shapes rather than individual leaves.

� Squint when looking at a reference photo to see the patterns of light and dark created by foliage.

� Allow lost edges, or edges that seem to disappear into the surrounding areas, to remain subtle. Do not outline them.th

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WaterDrawing water is a challenge not because it’s difficult but

because of the way we think about it.When we think of water,

our minds know that it is transparent.This information that is

stored in our heads interferes when we begin to draw,confus-

ing the issue.Drawing water is just like drawing glass. It’s made

up of the light and dark tones reflecting into it. It is nothing

more than a collection of light and dark patterns and random

shapes, like a puzzle.

Criffy at the OceanGraphite on smooth two-ply bristol paper

11" × 14" (28cm × 36cm)


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reflectionWater Droplets Are Spheres

To draw water droplets, you’ll combinewhat you know about drawing spheresand glass.Each droplet reflects its sur-roundings just like a glass surface.Because each drop is separate and raisedfrom the surface, it becomes anothersphere exercise.

The cast shadow below each dropletis clearly visible, as is the shadow edgeand reflected light.Because of the highlyreflective nature of water, the contrastsare extreme.

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Dark Leaves Accentuate Reflective DropletsPlace water droplets on deepened tones suchas the rose’s leaves to make them seem morereflective. The lights of each drop really contrastwith the leaves. Don’t forget the cast shadows!

Water Droplets on a PearEach droplet of water is a separate sphereexercise. The droplets are defined by the castshadows on the pear’s surface.


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Your skills with basic shapes will helpyou draw water.Drawing water dropletsis nothing more than reflective sphereexercises that contain patterns of lightand dark.Here, the darkness of the leaveshelps the droplets stand out.Concentrateon accentuating the dark and light con-trasts when depicting wet objects.

Draw Water Droplets

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1 Create the Line DrawingDraw the outline of the leaf along with the veins and droplets.

3 Deepen and Blend the TonesDeepen the tones of the leaves and blend with a tortillion. Addsome shading to the droplets and deepen the shadows belowthem. Lift reflective light out of the droplets and in the veins ofthe leaves

2 Add the Tones and Shadow EdgesAdd the tones of the leaves with your pencil. Place dark tones on the center vein and underneath each water drop. Fill in theshadow edge inside of each drop.

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movementYou learned to use the the lifting tech-nique to create clouds in chapter eight.This technique is useful when creatingwater as well.Drawing water is similar todrawing clouds for two reasons.First, likeclouds,water contains patterns of lightand dark shapes. Second,water moveshorizontally, just like atmosphere and air.

Drawing Water Surfaces and Waves

The reflective nature of water sets itapart from clouds.Your challenge is todescribe water’s movement along withits reflectiveness.Depending on thewind, the water’s surface can appearsmooth as glass or very choppy,whichcreates the different water patterns.Youmust include the water’s patterns alongwith the reflections.

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Create Water Surfaces With Patterns and BlendingNotice how patterns of the clouds reflect into the water in this illustration. The skills you gained when drawing glass combinedwith the techniques you learned drawing clouds will help you with water. Use the same dabbing and blending techniques withwater, but increase them. Achieve the smooth look of water with increased blending, especially in the dark areas.

The water consists ofpatterns and reflectionsof the clouds above.

Lifting lights against the deep darks of

the water helps portray the water’s surface.

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Fill in shapes and liftlights for realistic clouds.

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Rough WaterWhen water is choppy, the patterns of light anddark appear as little triangular shapes. Thepointy tops of the shapes give the illusion ofrough water conditions. After drawing in the tri-angular shapes, blend and lift out similar shapeswith your typewriter eraser.

Calm WaterWhen water is fairly smooth, it still is made up of light and dark patterns. These shapes lookmore like flat ovals. The water looks smootherthan the previous example, but the drawingprocess is the same.

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When a wave breaks on the shore,the patterns show more concentratedmovement.The pencil lines representthe movement and direction of thewave in this demonstration.

Draw Breaking Waves

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Waves Are Patterns and Layers of Darks and LightsLook at the layers of darks and lights. The dark horizon line in the background makes each wavelayer show up. Notice how there is an area of calm or smooth water between the waves. Lift outwhitecaps with your kneaded and typewriter erasers. Repeat the steps for the wave’s detail to cre-ate beach scenes of your own.

1 Begin the Wave ShapesWith a ruler, create the horizon line. Thisis always horizontal and parallel to theedge of the paper. The horizon line, whenviewed on water, is never curved or tilted.At this stage you’re creating the distanceand layers of the water with line.

2 Add the DarksBegin placing the tones into the darkestareas of the water. Make your pencil linesgo with the flow of the water as it comesto shore. This is extremely important. Ifyou place lines that are straight across ortoo up and down, it disrupts the directionof the water’s movement. Any pencil linesthat are visible to the eye must be con-sistent to the shape or texture of whatyou’re drawing.

3 Blend the Tones and Lift the LightsContinue to deepen the tones. Make thebase of each wave and along the horizonline extremely dark. Leave the light areasthat represent the light reflections andthe whitecaps light. Then lift them outfurther with a kneaded eraser. Draw inthe gentle streaking of the light areas inthe waves with a pointy piece of eraser.


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proportionMuch like glass,water’s reflections giveaway much of its form.When drawingreflections in water, it’s vitally importantto make sure that the reflections aredirectly below the subject and to includethe shapes and streaks.

Sometimes my students become con-fused when addressing shadows andreflections. Shadows are altered by thelight source.You’ve probably noticedhow a midday shadow seems short, thenas the light becomes lower, the shadowstretches out.

With water reflections, the reflectionnever stretches out. It’s always directlybelow the object that is being reflected.The water’s movement may interruptthe image,making it appear broken upinto segments.But, even when this hap-pens, the segments are still directly belowthe object.The horizontal streaks andshapes tell you that this is water, becausewater is always moving.

Create Water Reflections

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Calm Water Produces a Near-Mirror ImageWhile still water can make it look like twoobjects are stacked together, there are stillslight streaks to show the water’s slight move-ment.

Place WaterReflections DirectlyBelow the SubjectReflections in watersuch as these arealways directly belowthe subject in a mirrorimage.

Horizontal Streaks and Shapes Show Moving WaterWithout streaks and shapes to show the move-ment of the water, your reflections will look morelike reflections in a table or other surface. Createstreaks with a kneaded eraser. The more activethe water, the more distorted the reflection will be.

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This drawing of a swan on the watershows that, unlike shadows that canstretch out from an object due to thelight source,water reflections are alwaysdirectly below the object in a mirrorimage.Because of the moving surface ofthe water, the image is broken up intohorizontal strips of light and dark.

Draw Realistic Water Reflections

1 Create the Line Drawing and FrameworkLightly draw the shape of the swan, then add a horizon line to depict the shoreline. Addsome dark tone in the background to create distance and contrast against the white of theswan. Also add some horizontal lines to the water to start the beginning of the reflections.

2 Develop the DarksDevelop dark tones throughout the draw-ing. Make sure that all your lines in thewater area are horizontal, leaving the lightareas white to describe the shape of thereflected swan.

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3 Blend, Add and Lift Tone to FinishBlend everything to a smooth tone with your tortillion, then addmore dark. Also add some tone to the neck of the swan; can you see the cylinder shape? Finish detailing the face and beak.

Create the illusion of foliage and vines in the background by lifting out the light lines with a typewriter eraser and kneaded eraser.

� Water droplets are like sphere exercises.

� Include sharp contrasts betweenlights and darks when drawing wet objects.

� Like clouds, water is made up ofpatterns of light and dark shapesand moves horizontally.

� Water has a reflective yet movingsurface.

� Your pencil lines should follow the water’s movement.

� Place water reflections directlybelow their subjects.

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AnimalsDrawing animals provides an artist with many different draw-

ing challenges.Because of the various colors and textures that

most animals have, capturing them realistically requires differ-

ent techniques.Like perspective, the art of drawing animals

really requires an entire book.But the skills you’ve learned

with texture,nature and even transparent surfaces will give

added life to your drawings of animals and wildlife.Graphite

provides unparalleled realism when rendering fur and hair.

NubbyGraphite on smooth two-ply bristol paper

11" × 14" (28cm × 36cm)


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My dog and best friend,Penny, intro-duces you to one of the main animalchallenges.While previous chapters havehelped you master the blending tech-nique,drawing hair and fur is somethingnew.Penny’s fur is a combination of longand short hair, along with various colorsmixed together.To render her uniqueappearance, you will need both smoothblending in her face and eyes as well asvisible pencil lines to create the look oflong fur.

Draw Realistic Animal Fur

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Reference Photo

1 Create the Line Drawing in the GridLightly draw the 36-box grid and drawthe shapes you see inside each box. Focus on the top three-fourths of thephoto.

2 Begin the Details and Facial FeaturesCarefully erase your grid lines. Add long pencil lines to the ears.The length of your lines will represent the length of the hairstrands. Begin to darken the lines in the eye, mouth and noseareas.

3 Fill In the Dark Tones on the Nose and the EyesLeave reflected areas of light on the nose and the eyes, becausethese areas are moist and shiny. The whites of Penny’s eyes willhardly be visible. Continue filling in the ears with long pencilstrokes. Add some tone to the face with smaller strokes. This hairis very short, and it will be seen as shading as opposed to texture.

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4 Add, Blend and Lift the TonesContinue adding tones, then blend withthe tortillion to smooth them. Reapply the pencil strands to the ears for texture.Form your kneaded eraser into a pointand lift light hair strands with quickstrokes. Reshape your eraser after two or three swipes. (Don’t worry, this takespractice. If you lift out too much, just fill it back in with your pencil.) Lift out thehighlight areas of the face with the eraser as well.

A Fuller ViewThis shows what the tortillion and kneadederaser can do! The same techniques that youjust practiced to create a realistic drawing of mydog’s face will help you create a completedrawing like this one.

Drawing of PennyGraphite on smooth two-ply bristol paper

14" × 11" (36cm × 28cm)

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Rough SkinSmall pencil lines create the wrinkled, weathered look of the ele-phant’s skin. Remember the five elements of shading; light hits thetop of each elephant wrinkle.

Smooth FurGraphite can produce very smooth tones. White subjects still requireshading to represent form. Sometimes, the more shading you apply, thewhiter the subject appears. This portrait of a horse shows the beautifulsmoothness of the horse’s fur. The background shading makes the whitefur stand out, but notice how little of the drawing is actually left white.

variationCreating texture, smooth or rough,requires blending.You can duplicate thelook of shiny, smooth fur by blendingout any lines and lifting light.Verysmooth fur should shine.

Rough-textured skin and fur hasblended tones as well.After you finishblending for form,you’ll have to allowthe small pencil lines to do their work tocreate the rough textures.Use thekneaded eraser to lift highlights and fur-ther develop the texture.

Smooth Versus Rough Texture

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When drawing,white isn’t just white

and black isn’t just black.White objects

need shading to show form.Sometimes

the more shading you use, the whiter

your subject can actually look.Black

objects need highlights to show form.

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The prairie dog’s fur is fairly smooth. Inthis drawing,you’ll learn how to usebackground and highlights to accentuatethe texture of fur.The bright highlightsshow where the light source is.The dark-ness of his tunnel helps him stand out.

Draw a Prairie Dog

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Reference Photo

2 Remove the Grid and Add theDarks and TextureCarefully remove the grid lines from yourline drawing. Begin with the darkest areas,adding tone to the eyes, nose and shadowareas. Your pencil lines should representthe texture and direction of the fur.

1 Create the Line DrawingUsing the graphed photo, draw an accurate line drawing of theprairie dog. Remember to reproduce the shapes you see in eachbox. Pay attention to the shapes rather than the overall image.

Use quick pencil lines and quick liftswith the kneaded eraser to create his fur.Use a dirty tortillion to draw the rocksaround him to keep them out of focusand not distracting.

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4 Add the Tone and Blend to FinishContinue to blend and add pencil marksto the prairie dog to replicate the look ofhis fur. Use a dirty tortillion to draw therocks. You want to keep the focus on theanimal, so keep the rocks very subtle.

3 Fill In the Background andCreate TextureAdd the dark background to help createand define the light edges of the prairiedog. Blend with the tortillion to replicatethe softness of the fur, then lightly reap-ply pencil lines to create texture. If youblend out too much texture, simply reap-ply the pencil lines again.

Use the kneaded eraser to lift outlight areas on the prairie dog to give theillusion of random sunlight and additionaltexture.

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patternA creature with fur will require a lot ofpencil lines to create that particular tex-ture.Creatures with wings, such as butter-flies and birds,will have areas of colorfulpatterns that must be drawn like a puzzle.Birds’ feathers will have layers of overlap-ping surfaces,which will require edgesincluding shadows and reflected light.

How to Draw Winged Creatures

This may seem overwhelming to abeginning artist, but practice makes itsecond nature.The day finally comeswhen you can stop asking yourself,“How do I draw that?” and instead startasking,“What shall I draw?”

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A Blurred Background Focuses Attention on a Beautiful SubjectEven the brightly colored butterfly can be beautifully drawn with graphite. Just like you created adark background and blurry surroundings to bring focus to the prairie dog, a blurred backgroundbrings to life the patterns generally found on bird and butterfly wings. By blending everything out inthe background, your full attention is directed to the butterfly, just as your own vision would see it.Then concentrate on creating the shapes and tones in the butterfly.

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Butterflies are beautiful, even in blackand white.The unique patterns on theirdelicate wings always make a livelydrawing.Using the grid method,youcan capture the patterns’ shapes easily.

By blurring the image of the lilac flow-ers in the background and adding detail tothe flowers in the foreground,you’ll createdistance and direct focus to the butterfly.

Patterns Create a Butterfly

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1 Create the Line DrawingUse the reference photo and grid to create a line drawing of thebutterfly. Remember to focus on the shapes in each block.

2 Carefully Remove the Grid and Redraw the Wing PatternsOnce you are sure that you have achieved an accurate line draw-ing, carefully erase your grid lines and redraw the patterns of thebutterfly wings to make them more distinct. This is the mostimportant aspect of the drawing.


Reference Photo

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3 Fill In the Darks and Create the Flower DetailsBegin filling in the dark patterns on the wings. At this stage, thebutterfly is already appearing realistic.

With your pencil and a dirty tortillion, add and blend some tonein the background to create the shape of the lilacs. Begin addingdark details to the flowers in the front with your pencil. Createthe round, circular shapes of the individual flowers.

4 Add the Tones and Blend to Finish the DrawingContinue adding darkness to the flowers in the front. Blend theside on the right, directly under the butterfly. This helps create thelight source. With the kneaded eraser, lift and dab light out of theflowers, both in front and in the background.

Add the shadow to the underside of the butterfly for realism.Add tone to the leaves and blend it in. Reapply the dark lines ofthe veins and lift the light to create the highlight areas.

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variationBirds are fun to draw.However, keep inmind that their feathers create vastly dif-ferent textures.The layers that theirfeathers create are similar to flowerpetals,where each edge needs to bedrawn individually.

Every species of bird has a unique typeof feather and pattern.Some have very dis-tinct feathers,while others are more subtle.

There are different types of featherson each bird, as well. In some areas, thefeathers are very long, like in the wingsand tail.This helps a bird to fly.Some-times the feathers on a bird will seemmore like down,fluff or fur, as seen onthe owl head.This makes it even moreimportant to capture the patterns oftheir markings,much like you did withthe butterfly.

Drawing Birds

130

Create Fur-like Owl Feathers With Blending and PatternsThe owl’s smooth, shiny eyes and beak contrast against the textured sur-face of his head. On his head, he’s fluffier and more fur-like, rather thanhaving discernable feathers. Use blending and lifting, like you did on thefurry animals. Follow the owl’s patterns and use pencil lines to help createthe patterns of light and dark. You can rely more on the five elements ofshading around his wing area where the feathers are more distinct, likethe hawk’s.

Shading Creates White Hawk FeathersThis hawk has none of the markings seen on theowl. Its feathers are white, so the layers are creat-ed by the use of light and shading. A darkenedbackground makes the bird seem white, butshadows on the bird depict the light source aswell as the hawk’s form. Treat each feather indi-vidually, including the five elements of shading.


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The feathers on the owl’s face are shortand not distinct, resembling the look offur.The lights and darks represent thecolor and markings of the feathers, notthe feathers individually.

Using the photo and the gridmethod, follow this step-by-step demon-stration to create a drawing of an owl.

Draw the Fur-Like Features of an Owl

Reference Photo

1 Create the Line DrawingThis reference photo has been dividedinto 56 equal squares. Draw the squareslightly on your drawing paper and drawwhat you see in each box. Be sure tocapture the many dark and light patternson the owl. When your drawing looks likethis one, gently remove the grid lines withyour kneaded eraser.

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3 Continue Adding Darks andDevelop the HeadContinue adding dark tones to the draw-ing. Create the patterns on the top of thehead using the same technique youwould for a cat or a dog. This area looksmore like fur than feathers.

Develop the tones and markings onthe face as well. Gently blend some toneinto the iris of the eye with a tortillion.

2 Fill In the Eyes and Darkest AreasBegin filling in the pupils of the eye. Theeyes will need to be black—your darkestdark. Be sure to leave a white spot forthe catchlight. Start filling in all the darkareas, like the inside area of the ears.

Eyes are shiny whether they are human,

animal, reptile or bird.Because they are

wet, their reflections are intense.A catch-light is the shiny white spot you see in

eyes. It is a reflection of the light source.

To keep it from interrupting the gaze

and direction the eye is looking,move

the catchlight so it is half in the pupil

(the black area) and half in the iris (the

colored area).Place it in the same spot

on both eyes.

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4 Blend, Lift and Add for TextureBlend the tones with the tortillion, and then continue deepening them with your pencil.Use the kneaded eraser to lift out light areas and add small pencil lines to create the lookof texture.

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Drawing this hawk is very similar todrawing the owl.You’ll use the sametechniques.However, because the feath-ers are white,we don’t have to deal withmarkings and various colors. Instead,wemust look at the patterns that the shad-ows create on the white bird and see theshadows as shapes.

Draw the Feathers of a Hawk

Reference PhotoGraph this reference photo with your acetategrid. Turn back to page 27 if you need a re-fresher course on graphing your reference photos.

1 Create the Line DrawingUsing the graphed photo, make an accurate line drawing of thehawk. Focus on the shapes within the grid lines. When you havean accurate drawing, carefully remove the grid lines from yourline drawing. Add tone to the darkest areas, such as the eyes andbeak.


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2 Add the Shadow AreasAdd and blend tone into the shadow areas of the bird to beginshowing the layers of the feathers.

3 Create the Background; Blend and Lift the LightsAdd the dark background around the hawk to create and definethe hawk’s light edges. Blend the background well with the tor-tillion. Use your dirty tortillion to shade the feathers to emphasizetheir soft texture. Lift out the light areas with your kneaded eraserto show the illusion of random sunlight.

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This drawing is very similar to the oneof the swan in chapter nine.However,the patterns of the duck’s feathers makeit a little bit more complicated.You’ll alsoneed to remember what you learnedabout drawing water and combine whatyou learned about patterns on the owland the individual feathers on the hawk.

The duck’s markings reflect into thewater, too, creating an array of light anddark patterns.Draw one shape at a timeand, like a puzzle, all of the shapes willcome together to create your image.

Draw a Duck on the Water

Reference Photo

1 Create the Line DrawingCreate the grid on your paper and draw the shapes you see ineach box. Treat the reflections in the water as patterns of shapes.Gently remove the grid lines with the kneaded eraser when yourline drawing looks like this one.

2 Create the DarksBegin filling in small areas of dark tones with your pencil.

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4 Blend and Deepen the Tones and Lift the LightsLightly blend the tones to make them appear softer, then deepensome of the darker tones again. Lift out highlight areas with thekneaded eraser.

Fill out the water with your pencil, a dirty tortillion, and akneaded eraser. Remember, you want the water in the back-ground to stay blurry so it doesn’t detract from your subject.

� Use shading to depict white sub-jects. Sometimes the more shadingyou use, the whiter your subjectcan look. Black objects depend onhighlights to show form.

� A blurred background makes themain subject stand out.

� Create texture using harsh,unblended pencil lines.

� Draw feathers individually, likeflower petals.

� Always look at the patterns of lightand dark when drawing animalsand birds.

thin

gs to

rem

embe

r

3 Slowly Fill In the Pattern TonesThere are many small patterns, so goslowly and fill them all. Assign each one atone. Some are lighter than others.

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chap

ter

elev

en

11

PeopleMany artists strive to draw people.There are few things more

rewarding than capturing the spirit and personality of a human

soul on a piece of paper.Adding a person to your artwork can

change your art from being just a drawing of what something

looks like to one that actually tells a story.Everything you’ve

learned so far will apply to drawing people and will make the

journey to portrait drawing much easier.

When I teach portrait drawing, I start just the way I started

this book—with the sphere. If you look closely at a face, you

will see the five elements of shading as seen on the sphere. I

also emphasize my blending technique with portraiture

because of the smooth contours of the human anatomy. It is

the same approach you would take when rendering a smooth

object like a bowl or vase.

We saw in the previous chapters how extreme lighting

makes subject matter more powerful. It’s the same for portrai-

ture.Extreme contrasts create a visual impact that really catches

the eye,making viewers want to see more. In this portrait of

Lennon and McCartney, the center of the portrait is very dark.

Their faces seem to emerge and come together out of

nowhere.Each has independent lighting illuminating opposite

sides,making it look as if the light is somehow forcing them

together.

Lennon and McCartneyGraphite on smooth two-ply bristol paper

11" × 14" (28cm × 36cm) 139


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Before you attempt to draw a realisticportrait, it is important to practice draw-ing the facial features individually.WhenI first introduce my students to portraitdrawing, I always begin with the nose.

Many people believe that the nose isone of the most difficult things to draw.Beginning artists often place a hard-

Draw a Noseedged line around the entire nose.Anose is a very gradual protrusion;becauseof this, there is no outline.Use gradualshading to draw the nose,much like thesphere exercise.Like drawing everythingelse, depicting facial features is theprocess of shapes, lights and darks.Thefive elements of shading are essential.

1 Create the Line DrawingBegin with an accurate line drawing. Donot overdraw. The nose is made up ofgradual soft edges.

2 Add the ShadingAdd the areas of tone with your pencil.Refer back to the five elements of shad-ing and the sphere. Add the cast shadowon the right side and underneath. Includereflected light around the nostril.

3 Add More Shading and Blendthe TonesAdd the shading down each side of thenose. With the tortillion, blend out all ofthe tones until they are smooth. Leavethe light going down the bridge of thenose, and be sure not to lose the reflect-ed light around the tip and nostrils.Gently blend out the tones with the tortillion. Allow them to gently fade intothe paper.

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The mouth holds much of the characterof your subject.Drawing the mouthrequires the same process as the nose,with a couple variations.The upper lipgenerally appears darker than the lowerlip because it angles inward and doesn’tcatch the light.The bottom lip protrudesoutward and does gather light.

Draw a MouthThere is a slight turn to these exam-

ples. If you measure out from the centerpoints to the outside edges, you will seethat there is more showing on the rightside than the left.Your subconscious willtry to straighten it and make it symmet-rical.Many times this asymmetry isaccurate for the angle of the face.Mea-sure your reference photo to be sure.

Drawing a closed mouth can be quitedifferent from drawing an open mouth.When drawing an open mouth, youhave to pay special attention to the teeth.If every tooth is not accurate, it will notcreate a good likeness of your subject.

1 Create the Line DrawingDraw the shapes of the lips. The upper lipresembles a flattened “M” shape.

2 Add the Initial Shading andShadowFill in the tone of the upper lip. Add thecast shadow below the bottom lip. Addthe shadow edge to the bottom lip to create the reflected light.

3 Deepen the Tones, Blend and LiftDeepen the tones, adding more to the bot-tom lip. Blend everything with the tortillion.Lift the shine out of the lips with thekneaded eraser. Don’t forget to add someshading above and below the mouth.

1 Create the Line DrawingCreate your line drawing as you did forthe closed mouth, but make every toothaccurate to your subject from the start.Don’t place a dark line between eachtooth. The line should be very subtle.

2 Begin to Add ToneAdd tone to the upper lip. Place sometone under the teeth in the corners of themouth. This helps create the shape ofeach tooth.

3 Deepen, Blend and Lift the TonesBlend the upper lip for smoothness. Addsome tone to the bottom lip and lift high-lights with your kneaded eraser to makeit look shiny. Add soft shading above andbelow the lips and in the corners.


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Drawing eyes is difficult for many rea-sons:There are two of them; they aresphere shapes hidden behind layers ofeyelids; you have hair and lashes to dealwith; and you have moist, reflective sur-faces to capture.But nothing showsmore emotion and feeling than eyes.

The most important details toremember as you draw eyes are:� The shelf or ridge created by thick-

ness of the eyelid below the iris.� For straight, front-view portraits, the

pupil (the black spot) and the iris (thecolored spot) should always be perfectcircles.A circle template will help youdraw them accurately.

� Place the catchlight (the glare of thelight source) half in the pupil and halfin the iris, even if the photo shows itdifferently.

� Always center the pupil inside the cir-cle of the iris for front-view portraits.

� Represent the color of the eye withtone.Light gray represents a blue eye,while a deep gray resembles a browneye.This example is a medium gray,which is similar in tone to the greeneyes of the model.

Draw Eyes

1 Create the Line DrawingKeeping one eye width between the eyes, create the line drawing. Freehand the iris andpupil for placement and size, then use a template to make them perfect circles. Use thesame size for both eyes! Leaving room for the catchlight, add tone to the pupil to make itlook pure black.

2 Fill In the DarksAdd more tone to the black of the pupil. Add tone and blending to the iris, then the darkring around it. The iris is lighter around the pupil. Add shading inside the eyebrow shapeand to the upper and lower eyelids. Use quick strokes with the pencil to taper the ends ofthe lines to begin believable eyelashes.

3 Finish With Blending and LashesBlend all your tones, add more shading where needed and blend again. Fill in the lashes.The bottom lashes come off the lower edge of the lower lid. Lashes grow in clumps, sodon’t individually space each lash.

Use a dirty tortillion to create the shadows of the eyes where the eye connects withthe eyebrow and the nose. Use soft and gradual tones that gently fade into the white ofthe paper. Shade the white of the eye to make the eyeball appear round.

When drawing eyes, it is very important

not to outline.This is especially impor-

tant around the bottom eyelid.Beginners

often place a single dark line under the

eye.Don’t do this!

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Of all the facial features, I get the mostcomplaints from my students when itcomes to drawing ears.They can beextremely frustrating because of theirstructure.They are actually shapes within shapes, and it is easy to get lost as you draw.

The best way to become comfortabledrawing ears is to force yourself to drawas many as possible.By repeating theprocess over and over, you’ll commit theanatomy of the ears to memory and willknow exactly what to look for whendrawing them.

Draw Ears

1 Create the Line DrawingBegin with an accurate line drawing. Anear is made up of many interlockingshapes. It is easy to get lost, so studywhere each shape fits inside the other.

2 Add the DarksApply the dark tones with your pencil.These dark tones make areas recede.

3 Add and Blend the Tones, then Lift the LightBlend the tones with the tortillion to creategradual curves. Since the ear is shiny, liftlight areas with a kneaded eraser. The ear-lobe resembles a sphere. Reflected lightcan be seen around the edge because ofthe darkness behind it.

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tone

Braided Hair

Drawing hair is not as hard as it looks.No matter what hair type you want todraw, the same drawing principles apply.Use this three-step procedure for render-ing realistic hair.Practice drawing thevarious hair types in different stages.

1 Draw the Hair’s Basic Shape.Look for the patterns of light and dark.Begin filling the hair with pencil strokes,imitating the direction that the hairgrows.Start with the darkest areas firstand take your pencil lines into the light.Hair tones should be darker close to thehead and become lighter toward theoutside edges.Each example providedwill go in a different direction accordingto the hair type and style.Treat each curland layer separately.

2 Blend the Tones.Once you’ve created the tones withpencil lines (this will take many layers, sodon’t quit too soon), blend the entirearea to remove the white of the paper.

3 Lift the Lights and Darken the Darks.Strengthen the dark areas with morepencil lines.Lift the highlight areas witha kneaded eraser that has been flattenedbetween your thumb and forefinger intoa flat razor edge.Use the same quickstrokes with the eraser that you used toapply the pencil lines.

Drawing Hair

1

1

3

3

2

2

Straight, Dark Hair


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Long, Straight Hair

Short, Spiked Hair

Always look for the highlight areas across

bangs if they exist.Leave this area a little

lighter.Draw your lines down from

the part, then up from the edges of the

hair.Leave the place where they meet

unconnected.

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1

3

2

Long, Layered Hair

1

3

2

Curly, Coarse, Dark Hair


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Many of the Old Masters practiced theircraft by drawing from statuary as well asliving forms.The smooth,gentle con-tours of the body give the artist the fiveelements of shading in a beautiful combi-nation of shapes.Drawing from statuaryis the perfect way to practice renderingthe human form without a live model.

Because the statue is all one tone, youcan concentrate on the form and shad-

Learn From Statuesows alone and not be concerned withcolor.You can also use lighting to createinteresting shadows that will illuminatethe subtle contours of the form.

I used this statue for a model for someof my artwork while still in school.Theextreme lighting makes it a perfectexample,depicting the subtle blendingrequired for achieving smooth tones.

Reference Photo

1 Create the Line DrawingBased on the reference photo, lightly create a grid on your draw-ing paper and create the shapes you see in each box. Carefullyerase the grid lines when you are sure of your accuracy. 2 Fill In the Darks

Look for the darkest areas and fill them in. On this example, thecast shadows form the darkest areas.

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3 Develop the ShadowsContinue developing the tones and castshadows. Deepen the tones of the castshadows. Notice how adding the castshadow on the neck helps create the edgeof the jawline with reflected light.

4 Deepen and Blend the Tones To finish the drawing, blend all of the tones, then smooth themout with a tortillion. Deepen anything that needs to be darker,then blend it again. Add the shadows around the figure to makethe face look as if it is glowing in the soft light.

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shadowDon’t stop with just one statue drawing.Look for other statues to practice on.They are wonderful things to draw,mostly because of the way the lightreflects off of their carved surfaces.Everything on the statue is more dra-

Practice Drawing People Using Statues

matic and defined.The lighting becomesextreme due to the hard surfaces,whichgive you clear light and shadow to cap-ture.Their smoothness combined withextreme lighting gives you a perfectopportunity to capture the five elements

of shading.And don’t settle for just cap-turing their faces! Statues give you theperfect opportunity to practice drawingthe whole figure.

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Combination LessonsA friend of mine went to Italy and brought back magnificent photos ofsome of the ancient sculptures and statues. This sculpture combines les-sons on drawing creases and folds, portraits and the figure all in one!Notice all the darks and lights in this drawing.

Extreme Lighting Shows Off Shadows and Light in StatuesThe deep shadows on the left side create subtle tonal changes in the darkareas. Reflected light is apparent all around the edges and along the jawline.

On the right side, in the full light area, detail is actually lost in the brightlight. The dark background helps describe the edge of the face and head.Pay attention to details such as these as you look for statues to draw.

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Let’s take all the information we learnedin the previous exercises and create anentire face.Use the graphed photographas your guide.Lightly draw the samenumber of squares on your drawingpaper as you see here.Then draw theshapes you see in each box.

Draw a Portrait

Reference photo

photo by Brandon Vogts

1 Create the Line DrawingThis is what your drawing should look like. When you are happywith the accuracy of your work, gently remove the grid lines withyour kneaded eraser.

2 Begin With the EyesRefer to the step-by-step demonstration on page 142 and drawthe eyes first. Don’t move to the nose until you are happy with thequality of the eyes.

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3 Create the Essential Shadows on the NoseRefer to the step-by-step demonstration on page 140 to beginshading there. Leave the highlight areas white at this point.

4 Add Tone to the Mouth AreaContinue the portrait by adding tone to the mouth area as shown.You can also begin to add tone to the shadow edges along theside of the face.

5 Add and Blend the Tones on the FaceAdd the shading and blending to createthe skin tones to bring the portraittogether. Concentrate on the light anddark tones you see in the referencephoto. Draw the hair along the side of the face with very quick, tapered strokes,then blend your strokes with a tortillion.

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6 Finish the PortraitContinue filling in the hair until it gently frames her face. Formyour kneaded eraser into a point to lift out highlights from herhair. This will make it appear blonde.

Looking at the reference photo, continue to add and blendtones until you achieve this smooth look.

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The human form offers many curvedareas that create gradual transition intone. It is no wonder that artists over the centuries have used it as subject mat-ter for their artwork.The body,with its

Create Muscle Tone With Shadingsubtle changes in form,gives us a won-derful opportunity to create formthrough blending.This step-by-step of atorso will give you practice drawing softcurves and edges.

1 Create the Line DrawingUse this as a guide to achieve an accurate line drawing. Draw alight grid on your paper, then draw the shapes you see in eachbox. Notice how simple lines represent the muscle shapes.

2 Remove the Grid and Place the Darks and ShadowsGently remove the grid from your paper, leaving a border boxaround the subject. Begin placing the dark areas. In this drawing,the shadows are very extreme. The darkness accentuates thehighlight area. Fill in the background along the left side to createthe light along the edge of the body. Fill in the cast shadow onthe shoulder and create the shadow down the side of the arm.


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4 Blend and Deepen the Tones, Lift the HighlightsBlend your tones with the tortillion, then deepen the dark areas.Make sure that the tones gradually fade into one another for sub-tle curves. Lift the highlight areas with the kneaded eraser. Godown into the lower right side of the border box and blend upfrom dark to light. This gives the impression of distance in thebackground.

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3 Use Shading to Show CurvesShade in the tones to create the shapes and curves of themuscles. Look for the five elements of shading as you go.

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Lifelike drawing requires more than cap-turing every detail of the face. In thisdrawing, the essence of my daughter,LeAnne, is captured while most of herface is hidden in the shadows.While aphotograph such as this may be disap-pointing, the artwork you can producewith it is stunning.Your photos will takeon a different light as you learn to seethem through the eyes of an artist.

Using the graphed photo,draw anaccurate line drawing of LeAnne.Seeher face area as patterns of light and

Draw a Sitting Figuredark.Your subconscious will try to inter-fere and tempt you to draw things youcannot see! Discipline yourself to see anddraw just the shapes instead.As youcomplete this step-by-step, rememberwhat you’ve learned in previous chap-ters.You’ll be using what you knowabout how to create metal and woodsurfaces, the five types of folds, hair andthe five elements of shading.This iswhen it all comes together!

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Reference Photo

2 Fill In the Dark Forms and ShadowsYou can see how adding the dark background helpscreate and define the light edges of the drawing. Fill inthe shadow and form shapes from your line drawing. Atthis stage it still looks somewhat like a rough sketch.

1 Remove the Grid Lines and AddTone to the Darkest AreasCarefully remove the grid lines from yourline drawing. Begin with the darkestareas, adding tone to the eyes and shadow areas. See and draw the shapes, not details!

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3 Deepen the Tones, Blend and Lift the HighlightsDeepen the tones and blend to create smoothness and depth. Be sure to include the five elements of shading in the drawing.Look at the edges and curved areas to see the reflected light.Notice the coil folds around LeAnne’s arms.

Create the texture of the ribbed sweater with light pencil linesfollowing the curves and contours of her body to add additionalform. Use the kneaded eraser to lift out the light areas and to givethe illusion of random sunlight and additional texture. Use thekneaded eraser to lift extreme highlights out of her hair as well as the wrought iron of the park bench.

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memoriesThis is where the fun really begins, bycombining all of your drawing skills tocreate an entire pictorial scene.Yourphoto album is a storehouse of subjectmatter.What lucky people we are to beartists and see the potential!

Look for photos with dramatic andinteresting shading and shadows.You sawin previous chapters how extreme light-ing makes the subject matter more pow-erful.Extreme contrasts create a visualimpact that really catches the eye. If youhave a photo that you wish had morecontrast, add it yourself! There’s nothingwrong with adjusting things—that’s anartist’s license.

Don’t be afraid of the small details.Embrace them! It’s the details thatenhance your artwork and capture thelittle memories,which we ordinarilywould forget.

Use Your Photo Album to Capture Entire Scenes

156


Look for Photos With Everyday DetailThis is a drawing of my granddaughter Caitlynn when she was two. She wanted to go outside and playwith the big kids and nearly escaped. Notice the depth created by drawing the yard in the background.The white screen door contrasts against the background, pushing the darks into the distance.

The small details and textures are what make this piece. When you’ve got this much detail tocover, it’s best to take one area at a time. There is the wood grain of the doorjamb, the chair and theopen door. There is the texture and fringe of the throw rug. You can see the wood slats of the deckoutside the door and the horizontal blinds through the window of the door. And don’t forget thetrees and bushes in the background, as well as the lattice of the privacy fence and the pattern onthe wallpaper.

CaitlynnGraphite on smooth two-ply bristol paper

14" × 11" (36cm × 28cm)

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157

Value Contrasts GiveDrawings FocusThis is a drawing of afriend of mine when hewas young. His motherwas a gifted photogra-pher who used to takehim and his sisteralong on her photo shoots. This drawing is a perfect combination of justabout everything we have covered.

Because of the extreme values, the shapes of dark and light cometogether. Harsh shadows are combined with extreme highlights, creatingvery distinct shapes, hard edges and patterns. Because of the lighting,small textures are also made to stand out. Just look at the subtle texturesof the sweater, blue jeans and his hair.

This drawing places the human element together with a nature scene.The water gives us the illusion of distance while the sailboat, with its smalldetails, pulls our focus to the center of the drawing.

Peter and the SailboatGraphite on smooth two-ply bristol paper

14" × 11" (36cm × 28cm)

Drawn from a photo by Janet Dibble Wellenberger:Garden City, New York, 1916-2001Photographer and watercolor artist; also a teacher who won numerouscompetitions through the Nassau County (NY) Camera Club

Don’t Be Afraid to Alter the PhotoBe bold as you use your new skills to improve the photos you draw from. Inthis portrait of Shelly, it was the extreme lighting that caught my eye. We wereactually inside a teepee with sunlight coming in from the small opening at thetop. Her hand gesture makes the entire pose look interesting.

I added a border box in this drawing to capture the darkness of thebackground. This technique leads your eye to the center, making the sub-ject the entire focus. I could have let the dark tones go clear to the edgeof the paper, but too much darkness could have overpowered her face.

ShellyGraphite on smooth two-ply bristol paper

14" × 11" (36cm × 28cm)

� Facial features depend on shapes,lights and darks—just like every-thing else you draw.

� Take your time drawing hair; ittakes many layers to represent itaccurately.

� Extreme lighting makes subjectmatter more powerful.

� Practice drawing statues to gainexperience with the human form.

� Don’t be afraid of the small details.Embrace them!

� Go through your photo albums forgreat subjects for your drawings.Look for the interesting shadoweffects.th

ings

to re

mem

ber

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Apples, 34

Backgrounds, 78, 96-97, 126Basketballs, 34Birds, 127, 130-137Birds-eye view, 51Blending, 19-20, 30-31, 57

hair, 144leathers, 90-91materials, 16-17metals, 76

Bottles, 66, 70-71Bricks, 92-93Brushes, horsehair drafting, 17Butterflies, 127-129

Cast shadow, 18Catchlight, 132, 142Circles, ellipses and, 41Clouds, 100-101Coil folds, 85Column fold, 84Contrast

backgrounds and, 96elements of shading and, 20metal, 73, 81opaque glass, 68water droplets and, 112-113wet objects, 119

Cubes, 21, 24Cylinders, 21, 42Cylindrical folds, 84Cylindrical objects, 33, 42, 45-47

Darkscreating deep, 74-75creating lights, 22, 38

Depth, ee Distancecreating, 106

Detailscombined effects, 100, 156distance and, 106-107

Distance, 106blending and, 30, 57combinations, 156detail and, 106-107, 156human musculature and, 153illusion of, 57size relationships, 56, 106tone and, 106-107tree foliage, 105

Dogs, 122-123Drape fold, 84Drawing board, 17Drawing through technique, 43Ducks, 136-137

Ears, 143Edges

backgrounds and, 96hard, 20, 36-39, 77-79lost, 108-109shadows, 18soft, 20, 37

Eggs, 23Ellipses, 41

accuracy, 41, 43, 45defined, 47drawing through, 43

Erasers, 9, 16-17, 90See also Lifting light technique

Eye level, 51Eyes, 142, 149

animals, 122-123birds, 132catchlight, 132, 142glassy, 89

Fabric textures, 83, 88-89Facial features, 140-143

See also Ears, Eyes, Mouths and Noses.Feathers

fur-like, 131-132white, 134-135

Fixative, 17Focus

distance and, 109, 125-126emphasis and, 127, 136-137human portraiture and, 157

Foldsfive basic, 84-85, 93non-fabric textures, 93

Foliage, tree, 104Foreshortening, 41, 47Full light, 18, 22Fur

animal, 122-123smooth, 124textures in, 88-89

Glasswith ice, 66-67opaque, 68pitcher and eggs, 63-65vase, 60-62water droplets and, 112

Grapes, 35Graphs, see Grids and Puzzle piece theoryGrass, 102Grids, 17, 25, 27-28, 38

see also Puzzle piece theory

Hair, 144-145Halftones, 18, 64, 68Hands, 29Hawks, 130, 134-135Highlights. See Erasers, Lifting light technique and

LightHolly leaves, 96Horizon line

perspective drawings, 50-51, 53waves, 116

Houses, perspective drawings, 53-54

Images, enlarging and reducing, 27-28Inert folds, 85Ink bottle, 70-71Interlocking folds, 85

Leather, 90-91Leaves

as patterns, 109tones and shadows, 113water droplets and, 112-113

Lifting light technique 22metals, 76realism, 39, 65reflected light and, 36tools, 93water and waves, 114-116

Lightedges and, 154extreme, 148full, 18glowing in soft, 147perspective and, 92precision drawing, 90reflected, 18, 22, 31sources, tones and, 18subtle, 90See also Lifting light technique

Lights, creating from darks, 22Lily, 98-99Line drawings. See Puzzle piece theoryLines

converging, 51freehand, 11straightening, 11

Lost edges, 108-109

Materials, 16-17Metallic surfaces, 73Mirror image reflections, 117Mouths, 141, 150Multiple-point perspective, 55

D24-

Lee H

158

Index

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Necklaces, 76Noses, 140, 150

animals, 122silky, 89

Opacity, 68Overlapping surfaces, 92-93Owls, 130-133

Paper, 16Patterns

butterflies, 127-128duck on water, 136-137hair, 144transparent objects, 59, 66-67

Pearls, 35Pencil line techniques

fur, 125-126hair, 150moving water, 102, 116, 119rough skin, 124wrinkles, 91

Pencils, 16Peppers, 37Perspective

converging properties of, 55eye levels, 42, 51impressions and, 12, 107multiple-point, 55one-point, 49-50two-point, 50-51vertical lines, 49

Pewter Teapot, 77-79Photos, reference, 17, 156-157Point of view, See PerspectivePortraits, 139, 149-51Prairie Dog, 125-126Puckered fabric, 84Pumpkin with Apples, 38-39Pumpkins, 36Puzzle piece theory, 25-26, 71

Reflected light, 18hard edges, 36-39jawline and necks, 147noses, 140

Reflections in water, 117-119, 136-137Reflective surfaces

glass objects and windows, 59-71metal patterns and contours, 81water, 102, 114-116

Rocks, 102Room interiors, 55-57Rough skin, 124Rough water, 115

Rounded objects, 33-34, 40Rulers, 17

Segmented drawing technique, 29-31Shading

eyes, 142five elements, 18, 31, 47noses, 140musculature and, 153

Shadow edges, 18Shadows

cast, 18, 23feathers, 135metals and, 74-75perspective and, 92water droplets and, 112

Shapesbasic, 21drawing, three steps, 23identifying, perspective and, 52interlocking, 66, 143subject matter as, 25visualizing, 21, 31

Sitting figures, 154-155Skies, 100-101Spheres, 21-22

tone values, repetition and, 35water droplets, 112

Statues, 146-148Surfaces

irregular, 103shiny, 89

Swan, 118-119

Teddybear, 88-89Teeth, 141Templates, circles and elipses, 17Texture, creating

blending, 88-89building, 44irregular, 103pencil lines, 137techniques from fabric, 87

Textures, kinds ofcombinations, 124, 156fabrics, 83, 155feathers, 130, 132-137metals, 79tree bark, 42

Tomatoes, 34, 40Tonal overlaps, 96Tones, 18, 20, 23, 37, 45, 64

blending, 23, 37, 46colored glass, 71correcting uneven, 20distance and depth, 106-107

filled transparent objects, 62metals, 81musculature and, 152-153receding areas, 143shadows, 112-113smooth, 124transparent objects, 61whitecaps, 116

Tortillions, 16, 19, 88-89Trees, 44, 103-105

depth and distance, 107Trombone, 80-81Tubular fold, 84

Values, five-box scale, 18Vanishing point, 53, 56Vantage point, 50-51Vase, glass, 60-61Vertical lines

perspective and, 49, 56two-point perspective, 50-51

Waterdroplets, 67, 112, 119movement, 102puzzle pieces and, 111reflection and, 117-119, 136-137surfaces and waves, 114-116

Watering can, 45Wet objects, 119Windmill Scene, 108-109Windows, reflective, 69Winged creatures, 127-129

159



D24-D1412-33058 I Ch 11 19/10/04 1:10 PM Page 159

This complete course in drawing focuses on theclothed person. Author Barbara Bradley takes afriendly approach to the fundamentals of drawingpeople—proportion, perspective and value. You'llalso learn how to draw different clothing, how youcan use folds in your drawings, and how to drawclothing on people. Included are tips for drawingheads and hands accurately and special instruc-tions for drawing children.

ISBN-13: 978-1-58180-359-4ISBN-10: 1-58180-359-1, hardcover,176 pages, #32327

Lee Hammond makes drawing birds with coloredpencils easy and fun! She provides guidelines forcreating depth and realism, along with step-by-step techniques for rendering the fine details of abird’s anatomy, color, markings, feet and feathers.

ISBN-13: 978-1-58180-149-1ISBN-10: 1-58180-149-1, paperback,80 pages, #31897

Bert Dodson’s successful method of “teachinganyone who can hold a pencil” how to draw has made this tome one of the most popular, best-selling art books in history—an essential referencefor every artist's library. Inside you'll find a completesystem for developing drawing skills, including 48practice exercises, reviews, and self-evaluations.


Discover the limitless creative possibilities of col-ored pencils! Janie Gildow shows you how to mixcolored pencils with watercolor, pastel, acrylic, inkand more. Gorgeous galleries, inspirational art and24 step-by-step demonstrations showcase a stun-ning variety of creative combinations.


Clem Robins shows you how to render accuratehuman figures in the elegant style of the old mas-ters. Distilling his lifetime of experience into acomplete figure drawing course, Robins providesspecial step-by-step guidelines for drawing heads,hands, hair, and feet. You'll also learn how to drawfrom life, transforming what you see into realistic,classically rendered images.


A sketchbook journal allows you to indulge yourimagination and exercise your artistic creativity. LetClaudia Nice provide you with invaluable adviceand encouragement for keeping your own. Shereviews types of journals along with basic tech-niques for using pencils, pens, brushes, inks andwatercolors to capture your thoughts and impres-sions.


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The best in drawing instruction comes from North Light Books!

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