SIMPLE STEPS TO SUCCESS

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"ICCJU :')V Illal \,,\11 JllnuUu-o 1" ''>''0 \.CII ua

made. Pens also hS'J8 a specl IC ink now varyil'Q from he Irregular dip pen 0 Ire consis enl loon aln PAn.

as th n1;l1 sealing layer tor the

pres r va t Ion of yo Jr drawing.

Sea.1 head r is drawing uses c ercoal in a YBriety ot '1E1ys a I Vol linear stroxes mdlca elhe surface of the wa er: broader, dorker tonal areas describe I he head, and rubbing bile helps de me the erurnal's refter. ion.

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be released with a water wash 10 croatea dil tuse. in ·IIlIe quali 'I in the drawing.

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Ink pplied with a brush Lo a smooth paper flows ev nly, when dry, Ii ImpAris i s own raised axlure 0 Ihe surface,

iber- ip pen imparts an even layer at ink 10 rl hea'lY but smooth drawino paper, which Can ihen be loosened wiih waler

__ ----f'--J'<)rlralt arnwil from sJ<,elc:hboqk ( l~r9ncp

1m 'wing pcrspectiv '

wh n d < wing seat d.

Drawings ot buildings r 1\lln.:rable to distortion caused by the working posl Jon Created on an easel. this large·scale drawing drsptays correct perspective.

If tfle finis ed drawing is ... ielfload on a table, It s ems to recede; when working !".eated, you will naturally compensate or his recession. creal Ing disto lion.

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which captures a ranoe 0 Ie tures and direc iOMI dv ;arnlc!>.

Dr aw we· "xes al right angles, and plot the posulons o. key points

joint s ol limbs - relatlve to the axes.

Ched the distances of [otnta and limbs both I rom your a es end from one another.

Use multiple fainl lines to build up the scattold 0 he hodyand flnd Its torm.

Once you are sure of the sizes and relaflortshrps of the elements. s rengthen the tines.

f"oresnonenlOg AccuraTe rneasur m ru IS parncuian Important vhen dei3hng With th r~hnlOO and her fore highly Iorsshcr] n d h man term Keep checking the relationships betwea I rnents as ydu draw

NegatiVe space I nil' cecepll elY Slmpl Clrawlng e plores complex planar r slahonshlpa, I: amining the negaltve spaces between the elements eneblas you 10 unrav I he [urnbl a Iernanls.

all provioe ncn msprranon.'

In som drawlI'Qs,lh vanishing points may be on the paga; constructloi lines may still helpwilh building the Image.

Vanishing POI I S only occ r I parall I lines are presen In a scene. Many na ural sc oes hay "0 or only ""eilk par llel lines.

~nll:;<Jl:> <Jr1D nnnzoorets ere uruwn [IJ scale rEgardless of their distance lrorn the viewer lha technique IS widely used by arcbitecls.

_!:..:::.2.. _ _..;::;.... ~ Partiallran!)parel1c'I

re,'Veal~ he structure of he bUilding

Absence 0 contrasting color tends 10 fl.!' ten an image. as does uSing color out 0 tonal seqoence (lJgh/).

The absence of linear perspective is no barri r 0 creating an lIusion 0 depth. A hierarchy is coruured up In his medieval work b~'

I he use 0 warm red and skin tones <:Igomsl recessive blues aod violets.

I, h Importance of I{lUres In medievat art WClS reflected In Ihe cost of pigments used 10 depic Ihem.

lear ico"ic images send a I direct relioious messug .

beyond Ihe IOfemosl plane of Ihlsdrawlng. Three fur h r planes s abltshed by lh. able, lhe column, and the

ree ssively-colored foliage creal the Illusion of D

real physical spacs.

You will need a .ll tlng rna , a steel rul.f, and asp .clallz .d cutter wi h Its brad a a 45° anole.

I he druwmg IS _/ trapped by lhp.

moun edge.

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rlilillg. Ilon~ 111 bakony. ~r 'at I romtncnr lin ~

IhHl st Jld mil flOOl the )\'L'I 111011<.' of the

J < \\it)~ II) giv an imm diate : 'me or d pili.

I V be, tlren sclCdi ely rub h, ck retJs \ illl the pi .1 ic 'It. er: thls sub: it .tiv ' P occs: hrinj.l.s ut ih . f'(·n tivc 4u tlil ' of lll"

. urf - aimosl im] os: iblc hy using 0111, rddit ive process s.

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The light -r bnckgr( lillO! h It t't .. ults

,\ ill app H to I) . rec 's. ivc in tilt, hnish ,d drawing.

"'1<1 s: tucking" - to dark '1'1 both the I)(Hl tlnti hgu ',whi "

npi ~ r as 1\ 'f! • 'ilhoucu 'so

\ irh i. k. , clcctiv ,I lL:m'<.' highligllts ttl show ih . dir ·cuc.n of incid hlliy.hr.

and smooth: he lip of he p n shoUld not nag on ny bumps.

"'iI h III ) her t:h·dll tl. tel. Keep rho ·d~c or lilt! stencil PI' 'ss d flm outu lite pa I 'r.

HUm\ ok red dust from th . V std 10 gt.'1 unJ 'l'll.t' srclIl:il- il wil] hi, J iruo the picture [II II.

ollm .ird, All' full, 1,10\\ II excess I n~1 ·1 dU. .. l bl\\ .1)' from t.1 (. stencil.

natu r IJ fWlII!.. , tart I it II <l rCI·" ke 'UI' cd lines, and th '1\ graduJIl ::IdJ more lin

in I) etw ell til bulld the forms.

v ill [II 'j <1Ppl: r ro sit in the ~UlrW, for .most I lane of th • dr \\ ing.

horivoura] g~lil. l c.'1 tica] S 'I H .1Ie. (he Io ms !,(IIn 011 ',II) thl'l dllJ ~ive. (he J [1\\ in~ tre rnendous .n 'r~.

natural sloe IIgnung pronuces SUOlIS shadows and a pieCl$tng I hrae-dirnsnslonal qualtl '/, the bl ;e color coni nbutas to the solidity of I he form.

Colored pencil used taft his study ot Brussels sproul s dra 'm centrally on 1Clr'Ed pape: -allows for fin", d tail and a degree of decorative expression in bot h line and onal woek.

Pen and ink is well suited to this detailed st LI~ly 01 a grasshoPPElf. Hne lines capture the Inlric cy 0 surface detail. while ern] Y space ero nd Ihe InSEN: ocuses tlttenlion on the bold rs"deril1C] 0 lhe central orrn.

This drawing in colored pencil possesses a real sense of de pi h: rhythmic placem n of III objecis and a colored around creal n open erwironrnen that the '!'Ie can explore.

With the objec ts closely linked in a block torm at he center 0 the drawing, ne FflJe IS co Inf!d 10 I h('!lr surfaces no does not explore beyood the objects. The r suit if> a solid. monumental composi IOn.

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press it in well b ~ usc 111 ' p~ t ,I will bt\

drawn over III ,,. \\1lh gl<lphit " :;0 should tWI b • [lin I us .

I '-../ pro e. s j_ IiI,. Q se s \Iv. h ausc il in olvcs adding (One! IIlJ col r, then laking it a ely •

. II ays rt.·sl ondillg to whal em r es.

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I I then and give. them limen: ionalily. Keep I lillie une t.:!lIH':S:" rather

,hAil Ifldkil I<!. the past lcuntp!c..'l Iy smooth, l him u rhe roughnes» of [he. ued • fnh"ie.

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xpr ssiv Iy hut RIl .nuve] ,

and mal c ur LO sharpen

I II pencil regula ly.

the detnll ac UrtlLely lilld fin ,1, to hring rh ' n(lV ers f()I'\ViWU in rh ' Jril\\~ng.

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them above III 'IOJl& md I xture

[L11C Ito ·S. Etl!.ur ' d III 111 areas of white are C()Ve~ O.

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( f it, lop IJL' (the lunA [lowcr-l: 'fIr'inp, stru lUI' at Lh 0 'ente:r

of th . rc.:J petnl-lik •. pmlic). Rub th • pastel I> ck wil h YULII nnll. r In hi 'nd 109 111('( til . ron's.

will come Illl:l. This i. wh ore the: qualit uf. our materials r .ally slrows: using ch Ilk pastels rluu arc.: !.or. and riel: ill

I ij.1nwIll .nhan s [he \'h In 'y of th J IWit)g.

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the ed~·~ of (he coil" 'to Ilap 'r -rnpha: i7 .~

the form of ihe underlying colla <: whi h Ih'II conrribut 's to the 'oml osiuon.

I 0 Howe. U. e l-I~(' diU'k ~r y ~nJ ~\\ hire I;~SL J!\ [I) efinc tht: ~h ulow WHJ hi14hlighL urCfI!-. II Lh - suhmerged stern .. Blend and . mudg '1 add I' , .. list i ' r -lief.

just th .. ubjeer, ;1l\U ~O inj ls IH'\\', IlIU hlv mort p 'r~nt\ II, ·Iemelll Into . our dl 1\ ing.

U "ddillg rUr!h~I' I <lSSCS of ro: Sholl" hing III dire 'rel~l

.II p,lt·),. Turn the pap ron irs side sO that you call mal, . III Irt S \ ith n HU .II, flowing mo ern IllS of YOUI IHnJ.

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nn the line!. \ Ithin the drawing, • lid :lJd m re fin'

crossh lchinlo\ 10 the hadow ur " s: at I lus I (Jill! IIw drrl\\inp, should gaill r ':11 depth.

dJ JU Il~ cr Jar de ler .

Using a colored ground ollows you to use tile paper as he base color for the skin and then to acid light as .",. II ali don one to burld and accentuate he rorms,

Standing poses make a strong - elmos monumental - vertical statement. white ~limng poses tend to cr Ie more Int eres Ino neg t I~ spaces

be wean he limbs and torso.

Muscle and bone crea e I he forms we see on lte body; uoden,tandlng their structure allows s to see w er ension i~ cr ated

Drawing hair realistically can be p<lintully ime-coosurnlnq. Here, ink crossatchlf19 captures t _ overall 10 al qualities 01 arr, while a few 108 lines describe Individual 51 rends. giving on impr sslon 0 great detail hroughotii.

Delicate pencil war ,care ully observed, perfectly captures the gen Ie downward nasturs ot the model's OtlIB.

narra I'le drawing of a circus Juggler Using c arcoal and an eraser in a gestural and eoergel tc manner evokes Ihe ranllc energy ot the sub] ct.

",orata rrcrn me rorms, wrucn are established usrng loose brush

s rok s, spreading movement hroughoullhe en Ife scene

WI h <l brush takes time 10 master: part

01 he cht1Uenge fies wll h lac' 01

achle eedback from he paper.

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Add d 'Laillo [he Ie • and : hots with rhc enetiau red P \1lt:iI; WOI k u hul . 1)10 • h avi] ill this ale L I grouud rhe model,

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b 111 choi 'C of olorcd p n 'ii, whicl provides 1M

inrimatc IVl}' uf \\>orking - builJin~ Up olors, furms, IIlH.!1 II S slIx.k· h I ~LI'()k '_

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dir linn lily wirh 'our fingertip l indicate the 11 P )f th ' rob,'i and cr 'at' a !tel!. of soliJity.

U and hll:nJ lh~ h'll:4tr()u~J 1,'0 the Icft. l)I'ingin~ Liil.' head J into roll f; fa I ' lhl' l Ill' gcndy io the right I I 'I in I

hiue "window" of uniouch d I);lper to th ' ext CIHe righL

I U your 'II p~<U'cIlW(, - such HS the fold: -;nJ' bow r the hl!!lUScHrl. Atld hi ctcr to the til \\ '1Ig, h, bringill~ riles d 'L il:. Into Fo ·U$.

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arm, the !lound·lIY or which i!{

til 'I) held purely b rhe i Ill: til' III background.

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let .. IS a frame I, it hi II I he rl\ me or the dr'H\\ - ng, pu tI ing auenrion [()\ <ltd

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