3333449999 ddeessiiggnn pp000011--001155..iinndddd 11 1122//2277//0066 1111::2255::4433 AAMM Drawing for the Absolute Beginner 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 1111 6666//11//112255//00//006666 11 3300::::22445533::::33444400 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 2222 6666//11//112255//00//006666 11 3300::::22445533::::33445500 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC ffoorr tthhee aabbssoolluuttee bbeeggiinnnneerr AA CClleeaarr && EEaassyy GGuuiiddee ttoo SSuucccceessssffuull DDrraawwiinngg Mark and Mary WWiilllleennbbrriinnkk CINCINNATI, OHIO www.artistsnetwork.com 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 3333 66//117722//77//00//006666 11 2200::::55440033::::33445522 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC About the Authors Mark Willenbrink is a freelance illustrator and fi ne artist whose work has been dis- played in fi ne art shows, with several paintings receiving awards. Mark also teaches art classes and workshops using demonstration, simple instructions and professional tricks to help his students achieve beautiful artwork they can be proud to display. Mary Willenbrink has her master’s degree. She is a Christian counselor and author, but feels her highest calling is to be home to raise her children. As a husband and wife team, Mark and Mary have authored and illustrated Water- color for the Absolute Beginner (North Light, 2003), and the book has been translated into several languages. Mark’s writings and illustrations have been featured in a num- ber of other art instruction books. Mark is a contributing editor for Watercolor Magic Magazine. His regularly featured column, “Brush Basics” has been rated as a favorite among the magazine’s readers. Mark and Mary reside in Cincinnati, Ohio, with their three children. Drawing for the Absolute Beginner. Copyright © 2006 by Mark and Mary Wil- lenbrink. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by North Light Books, an imprint of F+W Publications, Inc., 4700 East Galbraith Road, Cin- cinnati, Ohio, 45236. (800) 289-0963. First Edition. Other fi ne North Light Books are available from your local bookstore, art supply store or direct from the publisher. 10 09 08 5 4 DISTRIBUTED IN CANADA BY FRASER DIRECT 100 Armstrong Avenue Georgetown, ON, Canada L7G 5S4 Tel: (905) 877-4411 DISTRIBUTED IN THE U.K. AND EUROPE BY DAVID & CHARLES Metric Conversion Chart Brunel House, Newton Abbot, Devon, TQ12 4PU, England Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 Email: [email protected] To convert to multiply by DISTRIBUTED IN AUSTRALIA BY CAPRICORN LINK Inches Centimeters 2.54 P.O. Box 704, S. Windsor NSW, 2756 Australia Centimeters Inches 0.4 Tel: (02) 4577-3555 Feet Centimeters 30.5 Centimeters Feet 0.03 Library of Congress Cataloging in Publication Data Yards Meters 0.9 Willenbrink, Mark and Mary Drawing for the Absolute Beginner / Mark and Mary Willenbrink.— 1st ed. Meters Yards 1.1 p. cm Sq. Inches Sq. Centimeters 6.45 Includes index. Sq. Centimeters Sq. Inches 0.16 ISBN-13: 978-1-58180-789-9 (pb. : alk. paper) Sq. Feet Sq. Meters 0.09 ISBN-13: 978-1-60061-601- 3 (EPUB) Sq. Meters Sq. Feet 10.8 ISBN-10: 1-58180-789-9 (pb. : alk. paper) Sq. Yards Sq. Meters 0.8 1. Drawing—Technique. I. Title. Sq. Meters Sq. Yards 1.2 Pounds Kilograms 0.45 ND2237 .B67 2001 Kilograms Pounds 2.2 571.42’24328—dc21 00-068694 Ounces Grams 28.3 Edited by Kelly Messerly Grams Ounces 0.035 Designed by Guy Kelly Production art by Lisa Holstein Production coordinated by Matt Wagner 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 4444 6666//11//112255//00//006666 11 3300::::22445533::::33447733 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC Acknowledgments We would like to thank those behind the scenes at F+W Pub- our artistic pursuits. Also, thank you to our family and friends for lications who have made this all possible: acquisitions editor, your consistent support. Pam Wissman; contracts manager, Julia Groh; editorial director, It is with great pride that we would like to acknowledge our Jamie Markle; designer, Guy Kelly and production coordinator, three children for their patience and continuous support while Matt Wagner. We would also like to give a special thanks to Pam we wrote this book. It is an honor to be your parents. Thank you, Wissman for her encouragement to write this book. thank you, thank you! To our cherished editor, Kelly Messerly, we would like to give It is our encouragement for each other and our unique insights our heartfelt thanks. Your time, patience, talent and encourage- that make this book special. It was fun to write together—which ment were wonderful! We could not have done this without you! just proves that our marriage, like this book, is a work of art! Thank you, Dorothy Frambes, Mike McGuire and Mary Lastly, we thank the Lord for His inspiration. We are all created Helen Wallace for sharing your talents so they can be passed in our Father’s image to be creative, and with our creativity we on to others. praise Him. We would like to thank our mothers, Clare Willenbrink and Grace Patton, who have been such an encouragement to us in Dedication Laus Deo Praise to God We would like to dedicate this book to our fathers, Roy Willenbrink and Hugh (Bud) Patton, both of whom we love and miss greatly. 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 5555 6666//11//112255//00//006666 11 3300::::22445533::::33447744 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC Contents 8 Pencils 10 Paper and Drawing Board 11 Erasers 12 Additional Drawing Tools Chapter 1 Chapter 4 Sketching and Drawing Practice the Techniques 15 Holding the Pencil 20 Black-and-White Sketches 55 Clouds and Grass 68 Boat 16 Structural Sketches 22 Contour Sketches 56 Leafy Trees 70 Cat Face 18 Value Sketches 24 Combining Approaches 57 Evergreen Trees 72 Side View of a Cat 58 Brick, Stone and Wood 74 Dog 60 Rocks 76 Cow Chapter 2 62 Plane 77 Swan Principles of Good Drawing 64 Train 78 Human Figures 66 Automobile 82 Faces 27 Using Basic Shapes 38 Three-Point Perspective 28 Gauging Proportions 39 Hidden Horizons and 30 Measuring Angles Vanishing Points Chapter 5 31 Working From Reference 40 Locating Vanishing Points, Composition Materials 41 Atmospheric Perspective 32 Understanding Linear 42 Ellipses 87 Arranging the Elements 89 Cropping and Formatting Perspective 44 Arches and Roofs 88 Number of Elements 90 Lines, Tangents and Shapes 34 One-Point Perspective 46 Refl ections 36 Two-Point Perspective Chapter 6 Let’s Draw Chapter 3 92 Still Life 105 Expressive Portrait Value 94 Textured Metal 110 Telling a Story Through a 49 Contrast 52 Light Effects 96 Scene in Perspective Drawing 51 Creating Values 53 Plotting Shadows 98 Natural Textures 116 Landscape 100 Using Contrast 120 Seascape Composition 124 Glossary 126 Index 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 6666 6666//11//112255//00//006666 11 3300::::22445533::::33447755 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC Introduction Do you remember when you got out your crayons and drew techniques to your drawing and make use of some of the tricks pictures as a child? Now maybe you are proudly displaying your professionals use every day. children’s artwork on the refrigerator door. You love their pictures You will learn more if you get out your drawing materials and because you can see their unique expression in the art, even if become an active participant rather than if you just passively it looks more like a Picasso than a Rembrandt. You were just as read through this book. The material is written to be used again proud of your own artwork at one time but somewhere along the and again. By doing the exercises more than once you will be road of life you began to doubt your artistic abilities. Our belief is able to witness the improvement of your artwork. that everyone is an artist, and that includes you! We hope you will regain that childlike passion for doing art The skills necessary for drawing are not limited just to pencil and learning without critiquing yourself harshly. We won’t make and paper but can be used in other art forms. When you draw, you hang it on the fridge, but we do suggest you save your art- you are interpreting what you observe from your own perspec- work because it will show your progress and increase your confi - tive. With the principles in this book, you will develop your dence as you go. observational skills, learn the proper tools to use, apply different 55 1 Pencils 22 23 PEreansceilr sextender 11 33 88 4 Angle ruler 5 Pencil box 6 Small sketch pad 7 Large drawing pad 66 8 Drawing board 9 Pencil sharpener 99 77 44 You Need Only a Few Materials to Draw All you really need is a pencil and some paper, but a few other tools will make drawing easier where- ever you go. See pages 8–13 for more explanation of drawing materials. Your Own Art Studio With a few supplies, create your own drawing studio so you can work anywhere. Put your new studio in the park or in your living room. Sit down and rest the bottom edge of the drawing board on your knees. Use one hand to prop the drawing board and use the other hand to draw. Sit next to the subject, comparing your drawing to your subject as you work. 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 7777 6666//11//112255//00//006666 11 3300::::22445533::::33448855 PPAAMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC Pencils Though one pencil may look just like any other, there are many different types of pencils to choose from. Each has different uses Keep Your Pencil Choices Simple to achieve a wide range of results. One difference among pencils is the core, which may be made of graphite, carbon or charcoal. 4H, HB and 4B graphite pencils are used for the demonstra- I especially like the graphite (commonly mislabeled lead) pencil tions in this book, but you may choose to use a different com- bination of pencil grades or a mechanical pencil for your own because it can easily be erased, it comes in many degrees of drawings apart from this book. If you are trying to duplicate the fi rmness and it does not easily smear. Carbon and charcoal pen- fi nished drawings in this book, make it easy on yourself and cils provide rich, dark colors but they don’t erase as well, smear work with the same materials suggested, or you may end up easily and have a very soft feel. Black colored pencils don’t frustrated, wondering why you achieved different results. smear, but they don’t erase well and have a fi rm but waxy feel. Pencil Hardness Hardness is another important quality to consider when select- ing pencils. Ratings, usually stamped on the pencils, range from H (hard) to B (soft), with F and HB in the middle. For the demos in this book, we will use 4H, HB and 4B graphite pencils. These will provide a range in hardness without requiring you to keep track of an overwhelming number of pencils. 8B pencils create nice darks, but they are so soft that they need to be continually sharpened. Woodless Pencils Woodless pencils have only a thin coating over their thick cores. This is a novel idea, but woodless pencils are prone to breaking, especially when car- ried in a pocket! Use pencils with wood Runaway Pencils! surrounding the core instead. Use hex-shaped pencils instead of round pencils because round pencils roll and can get away from you. Pencil Extender To get more miles out of your pencils, use a pencil extender on the end of a pencil that has been shortened by use. HARDER SOFTER 8H 7H 6H 5H 4H 3H 2H H F HB B 2B 3B 4B 5B 6B 7B 8B Pencils Come in a Variety of Hardnesses 88 33333333444466665555 000000001111----000011113333....iiiinnnndddddddd 8888 66//7711//5577////00006666 3322::::22555511::::33118899 PPPPMMMM PPrroocceessss BBllaacckkPPAANNTTOONNEE 116666 CC