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    The Sketching and Drawing Bible: An Essential Reference for the Practicing Artist
    The Sketching and Drawing Bible: An Essential Reference for the Practicing Artist
    The Sketching and Drawing Bible: An Essential Reference for the Practicing Artist
    Ebook575 pages1 hour

    The Sketching and Drawing Bible: An Essential Reference for the Practicing Artist

    By Marylin Scott

    3.5/5

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    About this ebook

    An essential and extensively illustrated reference for the practical artist, covering materials, techniques, and subjects.

    This complete guide to drawing media, from pencils and charcoal to pastels and colored inks, also features:
    • Information on how to achieve exciting and unusual effects by combining two or more drawing media
    • Over 100 step-by-step demonstrations showing ways of tackling tricky subjects
    • Sections covering figure, landscape, nature, urban, and still life drawing
    • Tips on how to professionally present your work and get it into the marketplace


    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateJan 27, 2009
    ISBN9781610583756
    The Sketching and Drawing Bible: An Essential Reference for the Practicing Artist

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      Book preview

      The Sketching and Drawing Bible - Marylin Scott

      The Sketching and Drawing Bible

      An essential reference for the practicing artist

      Marylin Scott

      Contents

      Introduction

      Choosing and using materials

      Pencils and graphite

      Using pencils and graphite

      Charcoal and conté

      Using charcoal and conté

      Inks and pens

      Markers and fiber-tip pens

      Using inks and markers

      Colored pencils

      Using colored pencils

      Pastels

      Using pastels

      Oil pastels and paint sticks

      Using oil pastels and paint sticks

      Drawing papers

      Colored papers

      Further techniques

      Tonal drawing

      Lifting-out charcoal

      Featured drawings

      Shading

      Blot drawing

      Stippling

      Featured drawings

      Brush drawing

      Line and wash

      Featured drawings

      Contour drawing

      Frottage

      Sgraffito with colored pencil

      Sgraffito with oil pastel

      Scraperboard

      Erasing and scratching colored pencil

      Burnishing colored pencil

      Masking

      Impressing

      White-line drawing

      Wet-brushing pastel

      Colored pencil on transparent paper

      Markers with colored pencil

      Graphite with colored pencil

      Pencil and pastel

      Resist techniques

      Subjects

      Figure

      Portraits

      Lighting for portraits

      Figures in action

      Drawing the nude

      Landscape

      Seasons

      Space and distance

      Trees

      Tutorial: Space and light

      Urban subjects

      Cityscapes

      Individual buildings

      Industrial settings

      Still life

      Groups

      Fruits and vegetables

      Found objects

      Household objects

      Tutorial: Still life

      Nature

      Animal sketches

      Animal studies

      Pattern and texture

      Animal movement

      Tutorial: Photographic reference

      Flowers and foliage

      Container plants

      Cut flowers

      Index

      Credits

      Introduction

      The word drawing often conjures up a mental image of a pencil, because this is the implement most of us begin with. But although it is an excellent medium—when graphite pencils were first invented artists would pay large sums of money for them—there are now a great many other drawing mediums, together with a host of techniques for using them. The Sketching and Drawing Bible, a must-have for anyone who enjoys drawing, will broaden your horizons and help you to build up your skills and explore new possibilities.

      Discover new techniques

      This small but information-packed book is divided into three sections, with the first, Choosing and Using Materials, introducing you to the exciting range of drawing implements and materials from pencils, charcoal and ink pens to pastel, colored pencil and relatively new inventions such as paint sticks and colored inks. First, the properties of each medium are explained and then you are shown how to use them—how to build up tones in pen and pencil drawings, for example, and how to mix colors on the paper surface in pastel or colored-pencil work.

      The second section, Further Techniques, expands on the technical aspect of drawing and sketching by demonstrating a range of different methods in a series of clear step-by-step sequences done by professional artists. Although the book is aimed primarily at beginners, even experienced artists may find some surprises and new ideas in this chapter—if you have never tried making a drawing from ink-blots, scratching into oil pastel or combining different media in one drawing, now is your chance. If you have become over-familiar with one medium and want to experiment, try out some of the different mediums and methods for yourself, and you may find a whole new world opening up.

      Learn about tools and materials

      Look at paintings by established artists

      The third section, Subjects, which ranges from landscape through figures and animals to flowers and foliage, shows the drawing media and techniques in action. Here you will find an inspirational gallery of finished works by a wide range of professional artists, each of whom have established their own styles, working methods and approaches. This chapter is intended to help you learn by example; looking at other people’s work is an essential part of any artist’s learning curve, and you may find that it helps you toward discovering your own artistic interests, establishing a personal style and becoming confident in handling your chosen drawing medium.

      But although developing skills is vitally important, what matters even more is to take pleasure in what you do, so treat the book as a springboard to launch you into the exciting world of picturemaking. Think back to the joy of drawing and painting in childhood and try to recapture some of this feeling, experimenting with different subjects and ways of interpreting them.

      See how professional artists sketch subjects

      1 Choosing and using materials

      Pencils and graphite

      Pencil leads are made from graphite, a soft crystalline form of carbon, which is mixed with clay and fired in a kiln. The greater the clay content the paler and harder the lead, while more graphite gives a softer, blacker mark. The lead is encased in wood, usually cedar, which is marked on the side with a number and letter classification. B is for black, with more graphite; and H is for hard, with more clay. The higher the number the softer or harder the pencil, so the highest number, 9B, is extremely soft.

      Graphite sticks are shaped like thick pencils without the covering of wood, and are also graded: 2B is a useful average. Some sticks are lacquered for clean use, so scrape them down if you wish to make broad marks, and wrap uncoated sticks in tinfoil. Graded leads are made for some technical, or propelling, pencils. Office pencils are usually graded HB or B, and ones that make black marks can be used for drawing. Use a sharp craft knife to sharpen your pencils.

      SEE ALSO

      Using pencils and graphite, page 12

      Pencils

      Good-quality pencils have properly defined grades and even-grained wood casing.

      Mechanical pencils

      These pencils are designed for technical use, and so make a standard-width mark.

      Graphite sticks

      These graphite sticks are coated in lacquer. Thicker, uncoated sticks give fast sideways use.

      Ungraded pencils

      Soft, black, ungraded pencils have large diameters and thick leads, and are useful for broader work.

      Paper stumps

      You can soften pencil marks with a finger, but a paper stump, or torchon, is better as fingers are always slightly greasy. Small stumps are rolled to have long points, and don’t obscure your view. Larger stumps are double-ended.

      Erasers

      The best erasers are the flexible, white plastic erasers that remove marks without abrading the paper.

      Craft knives

      The blades of craft knives should always be kept sharp for sharpening and cutting.

      Craft knife blades

      The detachable blades on the large knives can be taken out for honing on a stone.

      ARTIST’S TIP

      Pencil drawings are easily smudged, so if you want to make changes or add extra tone or detail at the top of a drawing, lay a clean sheet over the bottom part to rest your hand on while you work.

      Using pencils and graphite

      When you have tried the different grades of pencil, look at all the marks together: a soft, dark mark reduces the silvery tone of a harder grade almost to insignificance when they are placed together. These different effects can broaden your creative horizons, but mixing grades may sometimes lead to problems with light and shade. Choose the right grade of pencil for your purpose and you will need only one—because the medium is so subtle and responsive.

      Your first consideration should be the size of your drawing. Large works are usually viewed from a distance, and may lack impact unless a very soft grade is used—and still may not have the drama of charcoal (see page 16) which is ideal for large drawings. Soft pencils can be used for work of any size, but hard ones should be reserved for small drawings where the paler marks will be seen from close up. Time is another factor: because pencil is a linear medium it takes a while to build up density. Hard grades are slow to work with, soft pencils are quicker, and graphite sticks even more so—especially when used on their sides.

      Building up tone

      Tone is built up using several methods that can be applied individually or together in the same work. Lines can be hatched or cross-hatched to achieve areas of varying density. Areas of tone can be scribbled and made darker or lighter depending on the amount of pressure applied. To blend tones into one another you can use a finger, a paper stump or a soft eraser.

      Cross-hatching builds tone and density in a controlled way.

      The heavier the pressure, the darker the tone.

      Vary and lighten tone by blending.

      Light pressure

      Firm pressure

      Cross-hatching

      Erasing

      An eraser can be used to make corrections, as well as to produce specific tonal or textural effects. It can also be used as a tool to lift out highlights.

      Texture

      A single soft pencil is capable of a wide visual vocabulary. A number of textural effects are possible, utilizing a variety of marks such as dots, dashes, short jabbed

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