Ideal for homeschooling and self-directed learning! DRAWING BOOK 1: GETTING STARTED Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated 120 pages and more than 230 illustrations! ► Choose the right drawing supplies ► Set up a place to draw ► Make a portfolio and viewfinder frame ► 10 fun exercises and projects Flesch-Kincaid Grade Level: 6.84 Flesch reading ease score: 74.7 Brenda Hoddinott Artist, illustrator, art educator, curriculum designer, forensic artist (retired), owner of Drawspace.com, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Drawing Book 1: Getting Started ********************************************************************** Born in St John’s, Newfoundland, Brenda grew up in the small town of Corner Brook With the help of learn-to-draw books, she developed good drawing skills by the age of 16 In 1982 Brenda left her well established career as a portraitist, graphic designer, and forensic artist, to move to Nova Scotia with her family In addition to resuming the various facets of her art career, she began learning to paint in oils From 1988 to 1994, Brenda began exhibiting her paintings and drawings in provincial and regional art exhibitions and competitions She was honored with more than twenty prestigious visual art awards during these six years Brenda and her partner John live in the suburbs of Halifax, Nova Scotia with their two SPCA rescue dogs, Timber (Huskador) and Katie (Rottbeagle) Their blended family includes five adult children and two grandchildren ********************************************************************** I DRAWING BOOK GETTING STARTED by Brenda Hoddinott Author of Drawing for Dummies and The Complete Idiot’s Guide to Drawing People Illustrated Published by Drawspace.com, Halifax, NS, Canada II This book is dedicated to my loving partner, John Percy Copyright © 2009 Brenda Hoddinott All rights reserved No part of this electronic book shall be reproduced by any method or means, electronically sent or transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written permission of Brenda Hoddinott This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter, specifically the basics of drawing Brenda Hoddinott and Drawspace.com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of the contents of this book Publisher: Drawspace.com, Halifax, NS, Canada Illustrations, curriculum, book layout, and cover design: Brenda Hoddinott Editor: Suzanne Beaton Brenda Hoddinott can be contacted at brenda@drawspace.com or through her website at http://www.drawspace.com III CONTENTS ***************************************************************** Introduction Look into this Book Sizing up the sidebars ArtSpeak Info Tidbit Warning! Tip! Art Quote Eyeing action icons Shaping up with exercises Step-by-step projects Action sidebar numbers and letters .4 A few words on illustrations Insights into the Parts .6 Part 1: Get Ready! .6 Part 2: Get Set! Part 3: Go Draw! How to Use this Book Part 1: Get Ready! Chapter 1: Welcome to Drawing A Brief History of Drawing .11 In the time of the caveman .11 The birth of classical art 12 Remembering the Renaissance 13 The Inside Scoop on Drawing 14 Drawing is an action word 15 YOU can draw! 15 IV Welcome to Drawing Book 1: Getting Started Chapter 2: Getting a Grasp on Graphite and Grades 17 Traveling Back in Time with Graphite 17 How the “lead” pencil got its name 18 The link between graphite and sheep .19 Making the Grade 19 Hard is light .21 Soft is dark 22 Combining soft and hard grades .23 Finding out your grade .24 Chapter 3: More Drawing Mediums 25 Picking out Proper Pencils 26 Wood-encased pencils .28 Graphite pencils .27 Charcoal pencils .27 Other fun pencil mediums 29 Mechanical pencils 29 Woodless graphite pencils 29 Sticks and Stones (oops!) Powders 31 Chapter 4: Sketchbooks and Drawing Papers .33 Check up on Tooth (without a Dentist!) 34 The surface of a smooth tooth 35 Big smile for a medium tooth 36 Textures on a rough tooth 37 Sketchbooks and Papers .38 Softcover, hardcover, or sheets? 39 Weighing in on paper .39 Larger is not always better .40 Chapter 5: Adding to the Basics 41 Tools for Erasing 41 Vinyl erasers 41 Kneaded erasers 42 Sharpening your Mediums .43 Pencil sharpeners 43 Contents Sandpaper blocks and sheets 43 A Few Extras 44 Stuff you can’t without 44 Pencil case .44 Portfolio 44 Ruler 44 Viewfinder frame .45 Nice to have, but not necessary .45 Display boards 46 Spray fixative 46 Manikins 46 Part 2: Get Set! 47 Chapter 6: Setting up For Drawing 49 A Comfy Place to Sit and Draw 49 Choosing a drawing surface .50 Shedding light on your art 50 Good Posture First! 51 How NOT to sit! 52 Sitting correctly 52 Putting Together a Portable Studio .53 Chapter 7: Making a List, Portfolio, and Viewfinder Frame 55 Action 7A: The Shopping List 55 Must have 55 Nice to have .56 Supplies for making a portfolio 57 Supplies for making a viewfinder frame 57 Supplies for a portable studio 57 Action 7B: Making a Portfolio 57 Deciding on a size 58 Option 1: Using one large sheet of board 58 Option 2: Using two pieces of board 61 Adding ties and final touches 62 Action 7C: Making a Viewfinder Frame 63 V VI Welcome to Drawing Book 1: Getting Started Chapter 8: Give Yourself a Helping Hand 65 Holding your Mediums 65 Becoming a Natural .67 Leonardo the lefty 67 Finding your natural hand movement 68 Rotating your paper as you draw 68 Part 3: Go Draw! .69 Chapter 9: Putting your Supplies to Work 71 Action 9A: Sketching a Self-Portrait .71 Action 9B: Creating Values with Squirkles 72 Action 9C: Playing with Pencils 76 Action 9D: Playing with Erasers 77 Action 9E: Drawing Shapes by Rotating Your Paper 80 Part 1: Circular shape 81 Part 2: Straight-sided shape .84 Part 3: Circle 88 Just for fun! 90 Action 9F: Framing with a Viewfinder 91 Three steps for framing a view 92 Create a sketch by framing your view .93 Chapter 10: Three Simple Drawings 95 Action 10A: Drawing a Caveperson .95 Action 10B: A Realistic Eye 99 Action 10C: Mugly Wigglebottom 103 Outlining Mugly with neat lines .104 Squirkling shading for Mugly 108 Glossary 115 Foreword by Robert A Roughley Foreword ***************************************************************** I have known Brenda Hoddinott for many years It was during a difficult life transition that she provided me with the gift of encouragement to explore my creative self-awareness Until that point, I didn’t believe that I was creative or artistic My perception of art and creativity was limited by my perfectionist ideals of what defined “artistic ability” However, with patience (and a sense of humor), Brenda played a pivotal role in helping me reconnect with my artist within When Brenda first approached me to write the forward for this, her third book; Drawing Book 1: Getting Started – the first in a series for homeschooling families and self-directed learners, I was filled with joy Not only because she asked me, but because I had been eagerly awaiting the completion of this learning resource For many, including those who learn outside the boundaries of traditional and prescribed learning environments, access to quality learning and teaching materials is limited Many of the existing resources on the market are written and published without careful attention to the learning needs of the intended audience As an educator with graduate training and expertise in curriculum and instructional design, I believe that Brenda Hoddinott has not only responded to, but has exceeded the expectations of her audience with this invaluable arts-based curriculum Blending expertise with encouragement, Brenda’s lesson plans and instructions accommodate a wide range of learning styles, abilities, and skill levels Most notably, her genuine and compassionate nature extends to her teaching of art and drawing, as she leads students on a journey of self-discovery through self-directed learning For the past fifteen years, my own journey has taken me into the field of education The integration of my training has allowed me to participate in many roles: learner, teacher, mentor, and advocate As a learner, I pursued undergraduate degrees in music and elementary and adult education VII VIII Welcome to Drawing Book 1: Getting Started My graduate work focused on educational and curriculum studies, and counseling psychology As I transitioned from learner to teacher, I worked with children from kindergarten to grade six, with a focus in special education Later in my career, I became a consultant for change in curriculum development and inclusive education My current positions have merged my credentials and focus into three main areas: teacher development (teaching professionals how to teach), reflective practice, and inclusive education And now, after years of study, I have the pleasure of putting my academic “stamp of approval” in the front pages of this very unique and thorough approach to art education In my various personal and professional roles, I have learned, unlearned, and relearned the importance of creativity and artistic expression in marking our developmental milestones and other life transitions As an educator and co-learner with students of all ages, abilities, self-identities, and worldviews, I have noticed the effect of inclusive and purposeful curriculum in the emergence of the creative self As a counseling practitioner, I have witnessed the long-term, negative implications resulting from the demise or discontinuation of arts-based education in traditional and homeschooling settings As human beings, we possess the intentions of creativity, but are far too often limited by the influence of those who fear the unlimited possibilities that come from creative thinking Someone once said, “What we learn from others becomes our own through reflection” I encourage readers, learners, and practitioners to build upon this quotation and consider that what one sees in their own self-reflection is the core of one’s creative identity Each chapter of this book represents a stage in the development and awareness of one’s artistic self Through her gentle and supportive directions, unique humor, and detailed visual illustrations, Brenda joins her learners as they discover their creative talents It is my hope that you find this experience just as enlightening as you explore, discover, (or even rediscover!) your own artist within Robert A Roughley B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of Calgary Instructor, Teaching and Learning Centre, University of Calgary 108 Drawing Book 1: Getting Started Figure 1033 Use your vinyl or kneaded eraser to carefully erase your line of symmetry Redraw any sections that were accidently erased Squirkling shading for Mugly In this section, your goal is to add shading and texture to Mugly with squirkles 10 Draw a value scale to use as a shading guide (Figure 1034) Refer to Action 9B on page 72 You may have room in an upper or lower corner of the same sheet you are using for drawing Mugly If not, draw the value scale on a separate sheet of paper Number each value from to and mark the grades of the pencils used Figure 1034 Chapter 10: Three Simple Drawings 11 Use a 1-2H value (Figure 1034) to add the shading you see in Figures 1035 to 1038 Figure 1035 Do not rush your shading Draw the squirkles very carefully and slowly Assume a direct light source is shining from the upper left Therefore, the overall shading on the left needs to be slightly lighter than on the right Use your imagination to think of Mugly as threedimensional to help you decide which areas are in shadow Figure 1036 109 110 Drawing Book 1: Getting Started When your shading skills become strong, your speed will increase all by itself Figure 1037 Before you add shading to the nose, take note of the locations of the squirkles Very light squirkles are all around the edges of the nose except for a section in the upper right that is left white A few extra squirkles are added to the nose over a small section of the first layer to create a crescent shape in the lower left As you soon discover, this shadow area on the nose becomes even darker when you switch to a darker pencil Figure 1038 Chapter 10: Three Simple Drawings 11 Use a 2-HB value to add medium values (Figures 1039 to 1042) Figure 1039 Begin with the ear on the left Leave the inner sections of shading light Only add medium values over those light values that are closest to the edges of the various shapes Don’t miss the dark shadows cast from his ears onto his upper head In Figure 1040, the highlights of the eyes are outlined so you remember to leave them white Figure 1040 111 112 Drawing Book 1: Getting Started Medium values are added along the edges of the lower section of his muzzle, and the tiny round opening that is his mouth (Figure 1041) The crescent shape of the nose becomes darker when you add middle values (Figure 1042) Figure 1041 Figure 1042 Chapter 10: Three Simple Drawings 11 Add shading to his eyes and the darkest shadow sections of his fur Refer to Figures 1043 to 1046 Use 3-2B and 4-4B values to add shading to his eyes Use value 3-2B for the dark shading on the outer edges of his left ear and upper head If you want, you can shade Mugly’s eyes the same as in Project 10B: A Realistic Eye Also, refer to the close-up view in Figure 1044 Figure 1043 Feel free to outline the pupil before you begin shading the eyes Figure 1044 113 114 Drawing Book 1: Getting Started Additional dark values are added to tiny sections of his fur and nose in the darkest shadow sections Figure 1045 Don’t miss the shadow on his lower face cast by his nose (Figure 1046) 12 Use a 5-6B value to make the mouth and the pupils of his eyes a little darker Collect all the drawings you completed as you worked through this book Sign your name and write the date completed on the back of each Put all your drawings away in a safe place Then, gather your drawing supplies and create more drawings of subjects you enjoy! Figure 1046 Glossary Glossary ***************************************************************** This glossary provides definitions of most of the art-related words and terms used throughout this book Knowing the meanings of these words allows you to better understand the text Hence, your drawing experiences become more enjoyable, and less frustrating! Acid-free (Page 37) refers to a high- Charcoal (Page 25) is a drawing quality and long-lasting paper that has had the acid removed from the pulp in the papermaking process Drawings can be ruined when papers with acid deteriorate and turn yellow Drawing books and papers often have labels that tell you the paper is acid-free a thin cylindrical stick of compressed charcoal inside a wooden casing Archaeologist (Page 10) is a person Charcoal sticks (Page 25) are made who studies ancient peoples by finding and documenting the things they left behind (As an aside, many archeologists have excellent drawing skills.) ArtSpeak (Page 1) is a fun word used to describe the vocabulary of art ArtSpeak sidebars help you understand the meanings of drawing words and terms that appear in the exercises and projects in this book Blending (Page 78) is the process of gently rubbing shading with a blending tool (such as a facial tissue or paper towel) to evenly distribute the drawing medium over sections of the surface of drawing paper Cast shadow (Page 94) is a dark section on a surface adjacent to (beside) an object (or living being) that receives little or no direct light medium made from burnt organic material (such as wood) As with graphite, charcoal comes in various grades Charcoal pencils (Page 25) have by compressing powdered charcoal into round or rectangular sticks Classical drawing (Page 3) refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings (called realism) Classical drawing was later enhanced by the great artists of the Renaissance Clay (Page 17) is a naturally occurring material that becomes hardened when dried For example, clay is mixed with graphite to make graphite drawing mediums Clips (Page 49) (usually made of metal) can be used to attach sheets of paper to a drawing board Composition (Page 45) refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space 115 116 Drawing Book 1: Getting Started Curved line is created when a straight Eyeball (Page 99) (also called the white line curves or bends Curved lines can be drawn in any direction and be any length of the eye) is the entire spherical section of an eye that is safely protected within an opening in the skull Drafting desk (Page 49) (or drafting table) is an adjustable worktable with a slanted top Drawing (noun) (Page 1) is an image created on a drawing surface with a drawing medium Drawing (verb) (Page 1) refers to the process of applying a medium to a surface to create an image Drawing board (Page 49) is a portable, lightweight, smooth surface used to support an artist’s sketchbook or drawing paper Drawing from life (Page 91) refers Figure (Page 1) is a diagram or picture that illustrates text For example, the first figure in this book (Figure 01) is a drawing of a hand sketching a cartoon Figure (Page 11) refers to the body of a human being Fresco (Page 12) is an artwork painted on a thin layer of plaster that covers a wall or ceiling For example, frescoes that date back more than 3500 years have been discovered in Greece The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512 to the process of drawing from an actual person, animal, or scene, rather than a photograph or computer image Grade (Page 17) refers to the softness Drawing powder (Page 31) refers to Graphite (Page 17) is a soft black form tiny loose particles of a drawing medium that have been broken down from a solid into a powder For example, drawing powder can be made by using coarse sandpaper to wear away sections of graphite and charcoal sticks Drawing space (Page 45) (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specific perimeter It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle Drawing stick (Page 26) is a drawing tool that is made by compressing and shaping a medium (such as graphite or charcoal) into a round or rectangular chunk or hardness of the mixture used in the manufacture of drawing mediums of opaque (non-transparent) carbon found in nature It is often mixed with clay to make various types of drawing tools for artists Hardcover (Page 37) refers to a durable type of book cover that is made from a thick and unbendable material The hard cover protects your papers and drawings from being wrinkled Highlight (Page 99) is the brightest area where light bounces off the surface of the eye Glossary History (Page 10) is a written record Leadpoint (Page 18) (also called a of the past; mostly about the lives and activities of human beings and their environments For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452 stylus) is a thin metal stick made of lead and used for drawing Hot pressed (Page 37) refers to a paper that is pressed through hot cylinders during its manufacture Many smooth watercolor papers are hot pressed Icon (Page 2) is a visual image (such as a drawing) used to identify a specific task or information For example, in this book ArtSpeak sidebars are identified with a circular, cartoon icon of Albert Einstein Illustration (Page 2) is an image (such as a drawing or photograph) that is used to enhance the reader’s understanding of text and (or) make text more interesting Some books (such as a picture book) have only illustrations and no text Others have mostly illustrations and a small amount of text to describe each illustration Iris (Page 99) is the colored circular part of an eyeball surrounding the pupil Kneaded eraser (Page 42) is an artist’s tool made of a grey or white pliable material that can be shaped by hand for accurate erasing Kneaded erasers are designed to absorb and pick up particles of graphite and charcoal without leaving behind eraser crumbs They not wear away like other types of erasers, but can become too dirty to work properly Landscape format (Page 91) (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom Line of symmetry (Page 103) is a line (real or imaginary) down the center of a drawing (or section of a drawing), dividing it in half On each side of a line of symmetry is a mirror image of the other side Manikin (Page 41) is a model of a figure or animal (often made of wood) that is used for learning how to draw Most manikins have bendable joints so they can be manipulated into various poses Master (Page 13) refers to someone who is an expert in a specific profession or area of study For example, Leonardo da Vinci was a master of painting and drawing Mechanical pencil (Page 26) is a drawing tool that has an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip Media (Page 43) (also called mediums) refers to more than one drawing medium Medium (Page 1) refers to a drawing tool (anything from a pencil to the burnt end of a stick) used to make marks on a surface Metalpoint (Page 18) is a thin stick used for drawing and made from a type of metal Mummy portrait (Page 12) is an ancient painting of a man, woman, or child that was attached to the face of a burial mummy Many date back to the Roman occupation of Egypt 117 118 Drawing Book 1: Getting Started Mural (Page 12) is a drawing or Renaissance (Page 3) (from the painting on a wall, ceiling, or other large surface For example, murals have been discovered on the walls of prehistoric caves and inside ancient Egyptian tombs French word for rebirth) refers to the changes within European culture from the early twelfth century to the late sixteenth century Pencil (Page 1) refers to a broad category of drawing tools that have a medium inside a holder For example, a regular pencil (also called a woodencased pencil) has a medium encased inside a wooden cylinder On the other hand, a mechanical pencil holds replaceable thin cylindrical sticks of medium that are manually loaded into a tiny tube inside a holder Render (Page 3) describes the process Portfolio (Page 10) is a case in which artist’s tool with tear-off sheets of fine sandpaper used to sharpen the points of pencils artists store (or carry) drawings and papers to protect them from damage of making something happen For example, the process of drawing a turtle can also be referred to as rendering a drawing of a turtle Right angle (Page 64) is created when a horizontal straight line meets a vertical straight line at a ninety-degree angle Sandpaper block (Page 26) is an called a horizontal format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom Score (Page 59) is the process of cutting very slightly into a thin object (such as cardboard or heavy paper) so as to fold it evenly Prehistoric (Page 10) describes the Sculptor (Page 12) is an artist who Portrait format (Page 91) (sometimes period in time before written language was used to record history Many prehistoric humans drew pictures on the walls of caves instead creates sculptures For example, a very well-known sculptor of the Renaissance was Michelangelo, and one of his most famous sculptures is the statue of David Pupil of an eye (Page 21) is the tiny, Sculpture (Page 12) is a three- dark circular-shaped part of an eye that adjusts its size under different lighting conditions dimensional artwork that is made of a material such as bronze, rock, or marble Self-portrait (Page 71) is a drawing or Realism (Page 3) is a way of drawing in which living beings and objects are drawn as they appear in real life The artist tries to draw what he or she sees as realistically as possible painting an artist creates using his or her own face and (or) body as a model A self portrait is usually rendered by memory or by drawing his or her reflection in a mirror Regular pencil (Page 1) (also called various values within a drawing that make images appear three-dimensional a wood-encased pencil) has a drawing medium encased inside a cylindrical wooden casing Shading (noun) (Page 2) refers to the Shading (verb) (Page 2) is the process of adding values to a drawing Glossary Shadow (Page 101) refers to any dark Straight line (Page 65) provides the area where direct light from a light source is blocked (or partially blocked) by an object or living being Shadows can be on the surface of an object or living being, or on a surface that is adjacent to an object or living being (called a cast shadow) shortest connection between any two points Straight lines can be drawn in any direction Style (Page 11) refers to an artist’s outline of a three-dimensional object approach to his or her own art An artist’s style may be based on his or her personal preferences and art education For example, realism is a well-known style Sidebar (Page 1) is a box of text (some Stylus (Page 18) (sometimes called have illustrations) that provides additional information about a topic In this book, a sidebar called ArtSpeak provides you with definitions of art words and terms leadpoint or metalpoint) refers to a thin metal stick used for drawing Styluses made of lead have been traced back to ancient Rome During the Renaissance, styluses were also made from silver, gold, or copper Shape (Page 3) refers to the outward Sketch (noun) (Page 2) is a simple drawing of the important parts of a subject A sketch is usually done quickly with simple lines and (or) shading Sketch (verb) (Page 2) refers to the process of doing a sketch Softcover (Page 37) describes a flexible book cover that is usually made of paper Softcover sketchbooks are inexpensive, however, you need to handle them carefully so the paper doesn’t wrinkle Spray fixative (Page 41) is a transparent coating sprayed onto an artwork to help the medium adhere to the paper, so the drawing doesn’t smudge Squirkling (Page 72) is a simple shading technique in which randomly drawn curved lines (called “squirkles”) create values Squirkling is ideal for simple drawings by beginners as well as highly realistic works by professional artists Subject (Page 11) refers to whatever an artist chooses to draw For example, popular drawing subjects include people, animals, objects, flowers, and scenery Symmetry (Page 103) is a balanced arrangement of lines, shapes, and (or) values on opposite sides of a center line (the center line is often imaginary) Each side provides a mirror image of the other In other words, both sides are symmetrical Many drawing subjects, such as vases and frontal views of faces, look more believable when drawn the same on both sides Talent (Page 10) refers to the process of self-discovery during which you realize that you have the interest and motivation needed to become exceptional in a specific area To find out what a talented person looks like, go look in a mirror! With commitment, patience, and dedication, you can turn your talent into a skill 119 120 Drawing Book 1: Getting Started Technique (Page 11) is a well known Viewfinder frame (Page 45) is an method (such as a specific way to shading) that is used to accomplish a particular activity or task For example, more than one shading technique may be suitable for a specific drawing Hence, an artist’s selection of a shading technique is generally based on his or her skill level, and what works best to capture the subject adjustable, see-through rectangular or square frame that allows you to look at a drawing subject from various viewpoints It’s an invaluable tool for planning a composition, and can be used for portraits, figures, landscapes, or any other drawing subject Text (Page 2) refers to the words used in writing Texture (Page 34) refers to the surface detail of an object The type of texture can be identified with vision, a sense of touch, and a general knowledge of the object Tooth (Page 33) refers to the surface texture of paper Paper with a smooth tooth is flat and silky; medium tooth has a slightly uneven texture; and rough tooth is bumpy with lots of craters and peaks Underdrawing (Page 16) is a loosely Vinyl eraser (Page 41) is soft, nonabrasive artist’s tool that erases graphite and charcoal more cleanly than a regular pink eraser (which has been known to make holes in paper and ruin drawings) Vision (Page 1) is the ability to see Visual art (Page 12) refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated by the sense of sight For example, all the drawings in this book are considered visual art Wood-encased pencil (Page 26) rendered sketch that is created as a guide for a final drawing (or painting) (better known as a regular pencil) has a thin cylindrical stick of graphite or charcoal inside a wooden casing Upper eyelid (Page 99) is a movable Woodless pencil (Page 26) is a thick fold of skin that opens and closes to protect the eyeball Value scale (Page 72) is a range of different values that are drawn in order from light to dark or from dark to light Values (Page 2) are the different shades of gray made when adding shading to a drawing cylindrical stick of graphite wrapped in a vinyl casing In this book: ► Simple history of drawing ► Process of learning to draw ► Fun history of graphite ► Grades of graphite ► Differences between B and H grades ► How grades affect the look of drawings ► Graphite and charcoal drawing mediums ► Wood-encased, mechanical, and woodless pencils ► Drawing powders and sticks ► Textures, sizes, and weights of drawing papers ► How to select and protect the tooth of paper ► Vinyl and kneaded erasers ► Pencil sharpeners and sandpaper ► Pencil case, portfolio, viewfinder frame, and ruler ► Manikins, display boards, and spray fixative ► Ideal surfaces on which to draw ► Proper lighting for drawing ► Good posture for sitting to draw ► What to pack in a portable studio ► Supplies to add to your shopping list ► Make an artist’s portfolio ► Construct a simple viewfinder frame ► Three ways to hold your medium as you draw ► Discover your natural hand movement ► Action 9A: Sketching a Self-Portrait ► Action 9B: Creating Values with Squirkles ► Action 9C: Playing with Pencils ► Action 9D: Playing with Erasers ► Action 9E: Drawing Shapes by Rotating Your Paper ► Action 9F: Framing with a Viewfinder ► Action 10A: Drawing a Caveperson ► Action 10B: A Realistic Eye ► Action 10C: Mugly Wigglebottom $20.00 (U.S.) Drawing Book 1: Getting Started is the first in a series of instructional books for homeschooling families and selfdirected learners “My current positions have merged my credentials and focus into three main areas: teacher development (teaching professionals how to teach), reflective practice, and inclusive education And now, after years of study, I have the pleasure of putting my academic “stamp of approval” in the front pages of this very unique and thorough approach to art education.” Robert A Roughley B.A., B.Ed., BAEd., M.Ed., MC., Doctoral Student, University of Calgary Instructor, Teaching and Learning Centre, University of Calgary My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable Brenda Hoddinott Art educator, visual artist, forensic artist (retired), illustrator, author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People, and Drawing Book 1: Getting Started, and owner of Drawspace.com Published by http://www.drawspace.com [...]... to draw ► Fun history of graphite ► Grades of graphite ► Differences between B and H grades ► How grades affect the look of drawings ► Graphite and charcoal drawing mediums ► Wood-encased, mechanical, and woodless pencils ► Drawing powders and sticks ► Textures, sizes, and weights of drawing papers ► How to select and protect the tooth of paper ► Vinyl and kneaded erasers ► Pencil sharpeners and sandpaper... Ready! Sit back and relax as I tell you about the drawing supplies you need to complete the exercises and projects in this book Part 2: Get Set! In this part, I help you set up a comfortable place to draw You find out about proper lighting, ideal drawing surfaces, good posture for drawing, and various ways to hold your pencil You also have the option of making an artist’s portfolio and viewfinder frame... become a good artist Simply put, learning to draw does not require a magical force to have been born within you The closest relatives of drawing are printing and writing Just as you learned to draw the letters of the alphabet, you can also learn to draw objects, people, and other subjects Drawing provides a way for you to document how you see the world Being able to draw also allows you to take up other... made in Germany, and are sold under the names Staedtler and Faber-Castell 23 24 Drawing Book 1: Getting Started And what animal could show you a combination of B and H pencils better than a zebra (Figure 213)? The white stripes are shaded with 2H, HB, and 2B, and the black stripes are drawn with HB, 2B, 4B, and 6B Figure 213: A drawing of a baby zebra (named Spot) is created with both H and B grades of... and digital art Figures 111 and 112 demonstrate classical drawing techniques from the High Renaissance 13 14 Drawing Book 1: Getting Started Figure 111: This classical drawing of a youth is copied from a work by Michelangelo Figure 112: Classical drawing techniques are used in a drawing of a young girl (based on a drawing by Leonardo da Vinci) The Inside Scoop on Drawing Throughout the process of learning. .. piece of information, skill, or technique prepares you for the next If an exercise or project is too difficult, go back and try it again (and again if you need to), until you are happy with the results By the time you reach the end of the book, you’ll be ready for Drawing Book 2: Lines and Spaces Plan B Read through this book in no particular order Enjoy the illustrations and try your hand at the various... pencils can also work well for rendering detailed subjects on small sheets of paper Figure 212: B pencils were used for the small drawing of a peach in Figure 212 Combining soft and hard grades When you draw a subject with lots of light and dark values, you may need to use both B and H grades of pencils Drawing of a peach using HB, 2B, 4B, and 6B pencils Info Tidbit My favorite brands of graphite pencils... learn to draw! All you need is some vision and a way to hold a drawing medium ArtSpeak ArtSpeak is a fun word used to describe the vocabulary of art Drawing (verb) refers to the process of applying a medium to a surface to create an image (Figure 01) Figure 01: A hand is drawing a cartoon Drawing (noun) is an image created on a drawing surface with a drawing medium (Figure 02) Figure 02: A cartoon drawing... frame, and ruler ► Manikins, display boards, and spray fixative 7 8 Drawing Book 1: Getting Started Chapter 1: Welcome to Drawing 1 Chapter Welcome to Drawing ***************************************************************** On a simple sheet of drawing paper, the tallest trees on earth grow toward the sky In another drawing, ogres and trolls are chasing one another through a dark, magical forest How... the masters for most of my life For instance, Leonardo da Vinci often used the technique of doing an underdrawing with metalpoint (refer to definition on page 18) before beginning a drawing or painting My sketch of a horse’s head (Figure 116) demonstrates the classical technique of lightly rendering an underdrawing before beginning a final drawing (Figure 117) Figure 116: A very faint underdrawing identifies ... curriculum designer, forensic artist (retired), owner of Drawspace.com, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Drawing Book 1: Getting... Brenda first approached me to write the forward for this, her third book; Drawing Book 1: Getting Started – the first in a series for homeschooling families and self-directed learners, I was filled... lighting, ideal drawing surfaces, good posture for drawing, and various ways to hold your pencil You also have the option of making an artist’s portfolio and viewfinder frame Part 3: Go Draw! The