Playing with sketches 001-049_30983.indd 1 8/15/13 7:44 PM 001-049_30983.indd 1 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::11 © 2014 Rockport Publishers First published in the United States of America in 2014 by Rockport Publishers, a member of Quayside Publishing Group 100 Cummings Center Suite 406-L Beverly, Massachusetts 01915-6101 Telephone: (978) 282-9590 Fax: (978) 283-2742 www.rockpub.com Visit RockPaperInk.com to share your opinions, creations, and passion for design. All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. 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We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. 10  9  8  7  6  5  4  3  2  1 ISBN: 978-1-59253-861-4 5500 CCrreeaattiivvee eexxeerrCCiisseess FFoorr ddeessiiggnneerrss aanndd aarrttiissttss Digital edition published in 2014 eISBN: 978-1-61058-945-1 Library of Congress Cataloging-in-Publication Data available Whitney Sherman Design: Bryn Freeman Cover Illustration: Melinda Beck Cover Photo: Bryn Freeman Printed in China Printed in Singapore 001-049_30983.indd 2 8/15/13 7:44 PM 001-049_30983.indd 3 8/15/13 7:44 PM 001-049_C69589.indd 2 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/27/13 11:07 AM 001-049_30983.indd 3 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) 0 8 - C 6 9 5 8 9 ##117755 DDttpp::222255 PPaaggee::22 ##117755 DDttpp::222255 PPaaggee::33 Contents DDrraawwiinngg CCaalliisstthheenniiCCss // 5500 eexxeerrCCiisseess introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 11 || bbaacckk ttoo bbaaSSiiccSS // 3 | Setting goalS mmaatteerriiaallSS,, SShhaappeeSS,, aanndd ppaatttteerrnnSS 26 | Five-Minute Drawings. . . . . . . . . . . . . . . . . . . . .92 anatomy of your toolS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 11 || PPaarraalllleell LLiinneess.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..2200 27 | One Day, One Theme . . . . . . . . . . . . . . . . . . . . . . 96 22 || RRaannddoomm TTeexxttuurreess .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 2244 28 | Map Your Day . . . . . . . . . . . . . . . . . . . . . . . . . 100 33 || FFrroottttaaggee ((RRuubbbbiinnggss)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..2288 29 | Cultivating Your Culture. . . . . . . . . . . . . . . . . . . 102 Drawing CalistheniCs: 50 exerCises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 44 || DDrryy BBrruusshh.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..3300 30 | 100 Monsters. . . . . . . . . . . . . . . . . . . . . . . . . . 106 55 || FFuummaaggee ((SSmmookkee DDrraawwiinngg)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..3322 31 | 365 Days of Drawings. . . . . . . . . . . . . . . . . . . . . .110 66 || ÉÉttrréécciisssseemmeenntt ((RReedduuccttiivvee DDrraawwiinngg wwiitthh EErraassuurree)) .. .. .. .. 3344 77 || ÉÉttrréécciisssseemmeenntt ((RReedduuccttiivvee DDrraawwiinngg wwiitthh PPaappeerr)) .. .. .. .. .. 3388 4 | conceptual baSicS / WordS and letterS acknoWledgmentS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 88 || CCoollllaaggee ((AAddddiittiivvee DDrraawwiinngg)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..4400 32 | Construct/Deconstruct (Letter) . . . . . . . . . . . . . . .114 99 || EEnnttooppiicc GGrraapphhoommaanniiaa .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 4444 33 | Blind Drawing (Word) . . . . . . . . . . . . . . . . . . . . .116 contributorS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 1 100 || TTrraacciinnggss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..4466 34| Channeling Matisse (Text) . . . . . . . . . . . . . . . . . .118 1111 || DDooooddlliinngg aanndd MMiinnii DDrraawwiinnggss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5500 about the author. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 1122 || SSttiicckkyy NNootteess QQuuiilltt.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5544 5 | conceptual applicationS / WordS and letterS 1133 || MMaakkee aa PPaatttteerrnn.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5566 35 | Digital Collage (Letter/Word/Text). . . . . . . . . . . . 120 36 | Letter as Object . . . . . . . . . . . . . . . . . . . . . . . . 126 22 || aappppllyyiinngg tthhee bbaaSSiiccSS // 37 | Word Chain. . . . . . . . . . . . . . . . . . . . . . . . . . . 132 mmaatteerriiaallSS,, SShhaappeeSS,, aanndd ppaatttteerrnnSS 38 | Word Stacks . . . . . . . . . . . . . . . . . . . . . . . . . . 134 1144 || MMaakkee SSoommee MMaarrkkss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6600 39 | Ludicrous Lists . . . . . . . . . . . . . . . . . . . . . . . . 136 1155 || BBuunnddlleedd TToooollss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6622 40 | Everyday Lists . . . . . . . . . . . . . . . . . . . . . . . . . 138 1166 || FFoouunndd OObbjjeeccttss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6644 41 | Dream Résumé. . . . . . . . . . . . . . . . . . . . . . . . . 142 1177 || NNoonnddoommiinnaanntt HHaanndd.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..6688 1188 || CChhaarraacctteerr SSiillhhoouueetttteess .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 7700 6 | SketchbookS / 1199 || IImmaaggee HHaarrvveessttiinngg .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 7744 challenge yourSelf and collaborating 2 200 || DDrraaww oonn YYoouurr WWaallkk HHoommee.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..7766 With otherS 2211 || CCoollllaabboorraattiivvee PPaatttteerrnniinngg.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..7788 42 | Sketch Share . . . . . . . . . . . . . . . . . . . . . . . . . . 144 2 222 || CCuubboommaanniiaa .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8800 43 | Collaborative Sketchbook . . . . . . . . . . . . . . . . . . 150 2 233 || MMööbbiiuuss SSttrriipp DDrraawwiinngg .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8822 44 | Used Book Sketchbook. . . . . . . . . . . . . . . . . . . . 152 2 244 || DDrraaww aa PPrroocceessss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..8844 45 | Alphabet-a-Week Sketchbook . . . . . . . . . . . . . . . 156 2 255 || DDiiaaggrraamm aann OObbjjeecctt .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8888 46 | Nature’s Alphabet . . . . . . . . . . . . . . . . . . . . . . . 162 47 | Sketching Covers . . . . . . . . . . . . . . . . . . . . . . . 166 48 | Sketching from the Masters. . . . . . . . . . . . . . . . . 168 49 | Sketching from Film . . . . . . . . . . . . . . . . . . . . . 174 50 | Giving Back. . . . . . . . . . . . . . . . . . . . . . . . . . . 178 001-049_30983.indd 4 8/15/13 7:44 PM 001-049_30983.indd 5 8/15/13 7:44 PM 001-049_30983.indd 4 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 5 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::44 ##117755 DDttpp::222255 PPaaggee::55 Contents DDrraawwiinngg CCaalliisstthheenniiCCss // 5500 eexxeerrCCiisseess introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 11 || bbaacckk ttoo bbaaSSiiccSS // 3 | Setting goalS mmaatteerriiaallSS,, SShhaappeeSS,, aanndd ppaatttteerrnnSS 26 | Five-Minute Drawings. . . . . . . . . . . . . . . . . . . . .92 anatomy of your toolS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 11 || PPaarraalllleell LLiinneess.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..2200 27 | One Day, One Theme . . . . . . . . . . . . . . . . . . . . . . 96 22 || RRaannddoomm TTeexxttuurreess .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 2244 28 | Map Your Day . . . . . . . . . . . . . . . . . . . . . . . . . 100 33 || FFrroottttaaggee ((RRuubbbbiinnggss)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..2288 29 | Cultivating Your Culture. . . . . . . . . . . . . . . . . . . 102 Drawing CalistheniCs: 50 exerCises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 44 || DDrryy BBrruusshh.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..3300 30 | 100 Monsters. . . . . . . . . . . . . . . . . . . . . . . . . . 106 55 || FFuummaaggee ((SSmmookkee DDrraawwiinngg)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..3322 31 | 365 Days of Drawings. . . . . . . . . . . . . . . . . . . . . .110 66 || ÉÉttrréécciisssseemmeenntt ((RReedduuccttiivvee DDrraawwiinngg wwiitthh EErraassuurree)) .. .. .. .. 3344 77 || ÉÉttrréécciisssseemmeenntt ((RReedduuccttiivvee DDrraawwiinngg wwiitthh PPaappeerr)) .. .. .. .. .. 3388 4 | conceptual baSicS / WordS and letterS acknoWledgmentS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 88 || CCoollllaaggee ((AAddddiittiivvee DDrraawwiinngg)).. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..4400 32 | Construct/Deconstruct (Letter) . . . . . . . . . . . . . . .114 99 || EEnnttooppiicc GGrraapphhoommaanniiaa .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 4444 33 | Blind Drawing (Word) . . . . . . . . . . . . . . . . . . . . .116 contributorS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 1 100 || TTrraacciinnggss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..4466 34| Channeling Matisse (Text) . . . . . . . . . . . . . . . . . .118 1111 || DDooooddlliinngg aanndd MMiinnii DDrraawwiinnggss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5500 about the author. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 1122 || SSttiicckkyy NNootteess QQuuiilltt.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5544 5 | conceptual applicationS / WordS and letterS 1133 || MMaakkee aa PPaatttteerrnn.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..5566 35 | Digital Collage (Letter/Word/Text). . . . . . . . . . . . 120 36 | Letter as Object . . . . . . . . . . . . . . . . . . . . . . . . 126 22 || aappppllyyiinngg tthhee bbaaSSiiccSS // 37 | Word Chain. . . . . . . . . . . . . . . . . . . . . . . . . . . 132 mmaatteerriiaallSS,, SShhaappeeSS,, aanndd ppaatttteerrnnSS 38 | Word Stacks . . . . . . . . . . . . . . . . . . . . . . . . . . 134 1144 || MMaakkee SSoommee MMaarrkkss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6600 39 | Ludicrous Lists . . . . . . . . . . . . . . . . . . . . . . . . 136 1155 || BBuunnddlleedd TToooollss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6622 40 | Everyday Lists . . . . . . . . . . . . . . . . . . . . . . . . . 138 1166 || FFoouunndd OObbjjeeccttss .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 6644 41 | Dream Résumé. . . . . . . . . . . . . . . . . . . . . . . . . 142 1177 || NNoonnddoommiinnaanntt HHaanndd.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..6688 1188 || CChhaarraacctteerr SSiillhhoouueetttteess .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 7700 6 | SketchbookS / 1199 || IImmaaggee HHaarrvveessttiinngg .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 7744 challenge yourSelf and collaborating 2 200 || DDrraaww oonn YYoouurr WWaallkk HHoommee.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..7766 With otherS 2211 || CCoollllaabboorraattiivvee PPaatttteerrnniinngg.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..7788 42 | Sketch Share . . . . . . . . . . . . . . . . . . . . . . . . . . 144 2 222 || CCuubboommaanniiaa .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8800 43 | Collaborative Sketchbook . . . . . . . . . . . . . . . . . . 150 2 233 || MMööbbiiuuss SSttrriipp DDrraawwiinngg .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8822 44 | Used Book Sketchbook. . . . . . . . . . . . . . . . . . . . 152 2 244 || DDrraaww aa PPrroocceessss.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..8844 45 | Alphabet-a-Week Sketchbook . . . . . . . . . . . . . . . 156 2 255 || DDiiaaggrraamm aann OObbjjeecctt .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 8888 46 | Nature’s Alphabet . . . . . . . . . . . . . . . . . . . . . . . 162 47 | Sketching Covers . . . . . . . . . . . . . . . . . . . . . . . 166 48 | Sketching from the Masters. . . . . . . . . . . . . . . . . 168 49 | Sketching from Film . . . . . . . . . . . . . . . . . . . . . 174 50 | Giving Back. . . . . . . . . . . . . . . . . . . . . . . . . . . 178 001-049_30983.indd 4 8/15/13 7:44 PM 001-049_30983.indd 5 8/15/13 7:44 PM 001-049_30983.indd 4 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 5 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::44 ##117755 DDttpp::222255 PPaaggee::55 iinnttrrooDDuuCCttiioonn i do love to draw and i’m sure you must, too; Over time, I also became interested in teaching—that thing where you take what you know, analyze the “how” and “why,” and synthe- otherwise, why crack the spine of this book? size the information into something transferrable, understandable, and inspiring. I’ve taught both design and illustration subjects for being an illustrator gives me good reason to long enough that I have my own ideas about drawing—what it repre- say i love to draw, yet i also love design. let me sents as an activity, what form(s) it can take, and what it means as a vehicle for communication. draw on graph paper, let me draw the label on I have taught design students who would say, “I can’t draw,” when this package or the cover of that book. i never what they meant was, “I can’t draw like an Italian, French, or Flemish master!” This is probably true, and frankly it is not the real issue when questioned the melding of drawing and design, it comes to the world of design. What is needed is good visual commu- so it is no surprise that this book is for me to nication. Idea building through drawing can do this, especially if you accept a broad, maybe even different definition of drawing. write and for you to read and use! Please don’t confuse this book with one that is meant to teach you As a child, I always drew. During college, I took a lot of drawing rules. This book doesn’t teach rules. It is calisthenics for your hands courses. Although I had planned to major in graphic design, and had and mind, to help you break away from your norm to create a new way applied to schools for this—and been accepted—I was not a design of thinking and mark making, and to give you permission to explore student in the strictest academic sense, and I ultimately majored in and make mistakes. Like the title of this book says, if you use this book, photography. Soon after graduating, I found myself regretting my you will be playing while expanding your creativity and concept devel- decision because I was now meeting many new people excited about opment through drawing. and involved in design. And it was through them that I ultimately In addition to the exercises, this book starts with a section on some had my first education in design. They were my tutors, my mentors. artists and their resources. This section gives inspirational and practi- Alongside this occurrence, and without a darkroom of my own, I cal information on their drawing tools, and insight into how they turned away from photography and went back to drawing as a way to blend materials with their concept-making skills, augmenting the get ideas in real form. It was cheaper to draw on paper than to shoot work by contributors to the book. and process film. In my early professional years I held several positions integrating both Whitney Sherman graphic design and my drawing skills: greeting card artist, advertising baltimore, md art director, packaging designer, graphic designer for public television, and publications designer. Starting out professionally in a pre-digital world, it helped to be able to draw. Most design comps were made by hand. There was no output on a nice color printer. I could articulate concepts with marks that conveyed my ideas. These skills were assets to my job quests as well as to my personal, creative well-being. 66 \\ ppllaayyiinngg WWiitthh SSkkeettcchheeSS iinnttrroodduuccttiioonn // 77 001-049_30983.indd 6 8/15/13 7:44 PM 001-049_30983.indd 7 8/15/13 7:44 PM 001-049_30983.indd 6 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 7 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::66 ##117755 DDttpp::222255 PPaaggee::77 iinnttrrooDDuuCCttiioonn i do love to draw and i’m sure you must, too; Over time, I also became interested in teaching—that thing where you take what you know, analyze the “how” and “why,” and synthe- otherwise, why crack the spine of this book? size the information into something transferrable, understandable, and inspiring. I’ve taught both design and illustration subjects for being an illustrator gives me good reason to long enough that I have my own ideas about drawing—what it repre- say i love to draw, yet i also love design. let me sents as an activity, what form(s) it can take, and what it means as a vehicle for communication. draw on graph paper, let me draw the label on I have taught design students who would say, “I can’t draw,” when this package or the cover of that book. i never what they meant was, “I can’t draw like an Italian, French, or Flemish master!” This is probably true, and frankly it is not the real issue when questioned the melding of drawing and design, it comes to the world of design. What is needed is good visual commu- so it is no surprise that this book is for me to nication. Idea building through drawing can do this, especially if you accept a broad, maybe even different definition of drawing. write and for you to read and use! Please don’t confuse this book with one that is meant to teach you As a child, I always drew. During college, I took a lot of drawing rules. This book doesn’t teach rules. It is calisthenics for your hands courses. Although I had planned to major in graphic design, and had and mind, to help you break away from your norm to create a new way applied to schools for this—and been accepted—I was not a design of thinking and mark making, and to give you permission to explore student in the strictest academic sense, and I ultimately majored in and make mistakes. Like the title of this book says, if you use this book, photography. Soon after graduating, I found myself regretting my you will be playing while expanding your creativity and concept devel- decision because I was now meeting many new people excited about opment through drawing. and involved in design. And it was through them that I ultimately In addition to the exercises, this book starts with a section on some had my first education in design. They were my tutors, my mentors. artists and their resources. This section gives inspirational and practi- Alongside this occurrence, and without a darkroom of my own, I cal information on their drawing tools, and insight into how they turned away from photography and went back to drawing as a way to blend materials with their concept-making skills, augmenting the get ideas in real form. It was cheaper to draw on paper than to shoot work by contributors to the book. and process film. In my early professional years I held several positions integrating both Whitney Sherman graphic design and my drawing skills: greeting card artist, advertising baltimore, md art director, packaging designer, graphic designer for public television, and publications designer. Starting out professionally in a pre-digital world, it helped to be able to draw. Most design comps were made by hand. There was no output on a nice color printer. I could articulate concepts with marks that conveyed my ideas. These skills were assets to my job quests as well as to my personal, creative well-being. 66 \\ ppllaayyiinngg WWiitthh SSkkeettcchheeSS iinnttrroodduuccttiioonn // 77 001-049_30983.indd 6 8/15/13 7:44 PM 001-049_30983.indd 7 8/15/13 7:44 PM 001-049_30983.indd 6 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 7 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::66 ##117755 DDttpp::222255 PPaaggee::77 aannaattoommyy ooff yyoouurr ttoooollss When it comes to drawing tools, Here are four artists that Turner interviewed ttyyppeess oorr lleetttteerriinngg,, aanndd aa ggrraayy CCooppiicc  MMuullttiilliinneerr.. talking about the anatomy of their tools, fol- WWhheenn iitt ccoommeess ttoo lliiqquuiidd mmeeddiiaa,, hhee  uusseess aa ttiinnyy,, your choices range from varying grades of lowed by examples of five other artists whose ttrraavveell--ssiizzee bbooxx  ooff DDaalleerr RRoowwnneeyy fifinnee wwaatteerr-- hard to soft pencils; pens that require dipping work reveals something about their material ccoolloorrss ((eeiigghhtteeeenn qquuaarrtteerr ppaannss)) aanndd  PPeenntteell oorr or have ink encapsulated in them; brushes of and tool choices. KKuurreettaakkee wwaatteerr bbrruusshheess.. HHee ccaarrrriieess ttwwoo  wwaatteerr all shapes and sizes; inks that have the sensu- bbrruusshheess ““ttoo ggiivvee  eennoouugghh aauuttoonnoommyy ffoorr aann ality of Sumi or the lacquer hardness of India; and a wide assortment of papers, from hot lapin iinntteennssee sskkeettcchhyy ddaayy!!”” aanndd ffoouurr wwaatteerr bbrruusshheess fifilllleedd wwiitthh  lliiqquuiidd wwaatteerrccoolloorrss:: yyeellllooww,,  bblluuee,, press to cold press, either loose or bound in a sketchbook. And that doesn’t even begin to For this French illustrator, artist, and mmaaggeennttaa,, aanndd oorraannggee.. LLaappiinn fifinnddss tthhiiss  aarrrraannggee-- scratch the surface of nontraditional tools of urban sketcher who alternately lives in Bar- mmeenntt uusseeffuull,, eessppeecciiaallllyy ffoorr nniigghhtt sskkeettcchheess.. HHee found materials, the digital world, and more! celona and Paris, a black ink pen has become ooccccaassiioonnaallllyy aaddddss ccoolloorreedd  ppeenncciillss oorr  ssoommee his principle drawing tool. He has tried many ccoolloorreedd wwaaxx ffoorr eemmpphhaassiiss.. The tool you choose has a lot to do with the brands, but he finds the Uni Pin 0.1mm is his lapin type of work you do and the temperament of favorite. It’s indelible. He also uses red and 01 these two sketches from lapin’s daily blog show your hand. After years of practice, you discover blue Edding 1800 ink pens for drawing logo- the tools he used to create his urban sketchbook intuitively which tool feels right in your hand imagery. and which makes the marks that suit you best. 02 lapin’s drawings move between an emphasis on line and an emphasis on color, as seen in No one knows this better than Bill Turner, the these drawings from lisbon, portugal, and Santo Pittsburgh, Pennsylvania, web applications domingo, dominican republic. developer who loves to sketch and calls himself 03 the structured page designs of lapin’s vintage “a bit of a pen and notebook nerd.” Turner had accounting books impart a distinct contrast to his been fascinated by the weblog Comic Tools, loose ink and watercolor drawings. the covers are 02 also beautiful to look at. where various comic artists were asked about the tools they used to create their artwork. He was disappointed when the interviews stopped, but later he was spurred on by Danny Gregory’s book An Illustrated Life, where the same types of questions were being asked. “It showed me how many ways artists can express themselves with a wide variety of tools,” says Turner, and so he started his own blog called The Tools Artists Use. The beauty of this site is Turner’s interest in linking information about drawing tools. Within each interview, he tags specific tools mentioned by the interviewee, then adds a hot-linked chart at the end of the interview that links you to any other interview on his site mentioning the same tool as well as to providers when possible. 88 \\ ppllaayyiinngg WWiitthh SSkkeettcchheeSS 0011 03 aannaattoommyy ooff yyoouurr ttoooollSS // 99 001-049_C69589.indd 8 8/27/13 11:12 AM 001-049_30983.indd 9 8/15/13 7:45 PM 001-049_30983.indd 8 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 9 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) 0 8 - C 6 9 5 8 9 ##117755 DDttpp::222255 PPaaggee::88 ##117755 DDttpp::222255 PPaaggee::99 aannaattoommyy ooff yyoouurr ttoooollss When it comes to drawing tools, Here are four artists that Turner interviewed ttyyppeess oorr lleetttteerriinngg,, aanndd aa ggrraayy CCooppiicc  MMuullttiilliinneerr.. talking about the anatomy of their tools, fol- WWhheenn iitt ccoommeess ttoo lliiqquuiidd mmeeddiiaa,, hhee  uusseess aa ttiinnyy,, your choices range from varying grades of lowed by examples of five other artists whose ttrraavveell--ssiizzee bbooxx  ooff DDaalleerr RRoowwnneeyy fifinnee wwaatteerr-- hard to soft pencils; pens that require dipping work reveals something about their material ccoolloorrss ((eeiigghhtteeeenn qquuaarrtteerr ppaannss)) aanndd  PPeenntteell oorr or have ink encapsulated in them; brushes of and tool choices. KKuurreettaakkee wwaatteerr bbrruusshheess.. HHee ccaarrrriieess ttwwoo  wwaatteerr all shapes and sizes; inks that have the sensu- bbrruusshheess ““ttoo ggiivvee  eennoouugghh aauuttoonnoommyy ffoorr aann ality of Sumi or the lacquer hardness of India; and a wide assortment of papers, from hot lapin iinntteennssee sskkeettcchhyy ddaayy!!”” aanndd ffoouurr wwaatteerr bbrruusshheess fifilllleedd wwiitthh  lliiqquuiidd wwaatteerrccoolloorrss:: yyeellllooww,,  bblluuee,, press to cold press, either loose or bound in a sketchbook. And that doesn’t even begin to For this French illustrator, artist, and mmaaggeennttaa,, aanndd oorraannggee.. LLaappiinn fifinnddss tthhiiss  aarrrraannggee-- scratch the surface of nontraditional tools of urban sketcher who alternately lives in Bar- mmeenntt uusseeffuull,, eessppeecciiaallllyy ffoorr nniigghhtt sskkeettcchheess.. HHee found materials, the digital world, and more! celona and Paris, a black ink pen has become ooccccaassiioonnaallllyy aaddddss ccoolloorreedd  ppeenncciillss oorr  ssoommee his principle drawing tool. He has tried many ccoolloorreedd wwaaxx ffoorr eemmpphhaassiiss.. The tool you choose has a lot to do with the brands, but he finds the Uni Pin 0.1mm is his lapin type of work you do and the temperament of favorite. It’s indelible. He also uses red and 01 these two sketches from lapin’s daily blog show your hand. After years of practice, you discover blue Edding 1800 ink pens for drawing logo- the tools he used to create his urban sketchbook intuitively which tool feels right in your hand imagery. and which makes the marks that suit you best. 02 lapin’s drawings move between an emphasis on line and an emphasis on color, as seen in No one knows this better than Bill Turner, the these drawings from lisbon, portugal, and Santo Pittsburgh, Pennsylvania, web applications domingo, dominican republic. developer who loves to sketch and calls himself 03 the structured page designs of lapin’s vintage “a bit of a pen and notebook nerd.” Turner had accounting books impart a distinct contrast to his been fascinated by the weblog Comic Tools, loose ink and watercolor drawings. the covers are 02 also beautiful to look at. where various comic artists were asked about the tools they used to create their artwork. He was disappointed when the interviews stopped, but later he was spurred on by Danny Gregory’s book An Illustrated Life, where the same types of questions were being asked. “It showed me how many ways artists can express themselves with a wide variety of tools,” says Turner, and so he started his own blog called The Tools Artists Use. The beauty of this site is Turner’s interest in linking information about drawing tools. Within each interview, he tags specific tools mentioned by the interviewee, then adds a hot-linked chart at the end of the interview that links you to any other interview on his site mentioning the same tool as well as to providers when possible. 88 \\ ppllaayyiinngg WWiitthh SSkkeettcchheeSS 0011 03 aannaattoommyy ooff yyoouurr ttoooollSS // 99 001-049_C69589.indd 8 8/27/13 11:12 AM 001-049_30983.indd 9 8/15/13 7:45 PM 001-049_30983.indd 8 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 9 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) 0 8 - C 6 9 5 8 9 ##117755 DDttpp::222255 PPaaggee::88 ##117755 DDttpp::222255 PPaaggee::99 anatomy of your toolS mikkel sommer 01 mikkel Sommer’s sketch titled Jesus Look Alike is an example of the speed and freedom so impor- tant to his work. mikkel sommer A close look at Sommer’s line work shows a dduurriinngg tthhee ddrraawwiinngg pprroocceessss,, ggiivviinngg hhiimm lleessss ttoo vitality one can only achieve through tools aadddd dduurriinngg hhiiss ccoolloorriinngg pprroocceessss.. ““RRiigghhtt nnooww,, 02 in this single page from Sommer’s artwork for John tierney’s comic Spera Volume II, notice how he has The Danish illustrator Mikkel Sommer is that have tool-to-paper flexibility and allow ddooiinngg ccoommiiccss,, iitt’’ss aallll aabboouutt eeffifficciieennccyy,, pprroodduucc-- colored his line work a reddish brown. this helps it spartan when it comes to drawing tools and him to work “as freely and as wildly” as he iinngg ppaaggeess ffaasstt tthhaatt II’’mm ssttiillll ffoorr tthhee mmoosstt ppaarrtt sit back in the composition and blend into the color materials. Now living and working in Berlin, can with pencils and brushes. Currently, he ssaattiissfifieedd wwiitthh,,”” hhee ssaayyss.. fields of the figures and background objects. the he makes his drawing philosophy and use of is using a synthetic Da Vinci brush and thick line work in this piece was drawn digitally. tools all about efficiency. To get the immediacy ink to get the lines he wants. In Sommer’s 03 these two examples of mikkel Sommer’s work of line he prefers, he uses H2 or Prismacolor world, the deadline and type of project dictate titled Katamari and Dog show both his use of Col-Erase pencil for sketching, and B2 or B4 how much digital finessing is done. To make brush and ink and his digital coloring. leads, usually in a mechanical pencil, for more adjustments to his line work, Sommer uses a 04 this side-by-side comparison of Sommer’s illustra- accuracy during cleanup. “I can draw fast and Wacom tablet and Adobe Photoshop. Most of tion One Cop shows how retractable ballpoint pens are the right choice for line work that will dynamically with that,” he explains. He also the values and textures in his work are made eventually be colored. Sommer also strategically makes sure that his tools don’t require much uses texture within his digital painting and pays pressure—his wrist is on the weak side at special attention to not overworking his line work. times. Sommer also employs a cheap retract- able Bic pen. “They have a nice, soft feel to them, but they run out of ink pretty fast,” he notes. Although not adverse to pens, Sommer is very selective about what type of pen he uses. 03 “Microns really cripple my lines, so those don’t work for me at all; I’ve always liked the look of nib pens, but (they are) something I really need patience for,” he says. All in all, Sommer is look- ing for speed and freedom. 01 04 1100 \\ ppllaayyiinngg WWiitthh SSkkeettcchheeSS 0022 aannaattoommyy ooff yyoouurr ttoooollSS // 1111 001-049_30983.indd 10 8/15/13 7:45 PM 001-049_30983.indd 11 8/15/13 7:45 PM 001-049_30983.indd 10 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM 001-049_30983.indd 11 ((FFooggrraa 3399))JJoobb::0077--3300998833 TTiittllee::RRPP--PPllaayyiinngg WWiitthh SSkkeettcchheess 8/15/13 8:35 PM (Text)((RRaayy)) (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::1100 ##117755 DDttpp::222255 PPaaggee::1111