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Contents

Introduction

Basics
First Steps

Still Life
Exploring Textures
Combining Objects
Themes and Composition
Bringing It All Together

Landscapes
Starting Points
Structure and Anatomy of Landscape
Basic Elements of Landscape
Manipulating Space
Creating a Landscape

Figures and Faces

Understanding Anatomy
Drawing from Life
Composition
Figures in Action
Figures in Detail
Drawing Portraits
Self-portraits
Introduction

Arguably the oldest art form in the history of civilization, drawing

involves representing the three-dimensional world in two
dimensions. The earliest examples of drawings are found in cave
paintings, in which early humans made visual records of the
world around them, including animals, plants, people and events.
By 3000BC, Ancient Egyptians were decorating the walls of their
temples and tombs with drawings depicting their daily life, and
then the Ancient Greeks began making elaborate drawings on their
pottery vases.

Paper as we know it was invented around 1300, and by the 15th

century a dramatic shift occurred in European history with the
onset of the Renaissance. This cultural movement brought with it
a renewed interest in science, art, music and religion, and art
became a respected and highly skilled profession. Draftsmen – or
‘masters of drawing’ – such as Leonardo da Vinci and
Michelangelo emerged, and produced masterpieces depicting the
human form.

By the 16th century, along with the rise of the academies, sets of
strict rules were introduced into the discipline of drawing. Trainee
artists learned their trade by copying other artists’ works, and
rules governing facial expressions and body positions were
strongly enforced. There was a reaction against these rules in the
18th century, and the Romantic artists became much softer and
freer in their artworks. Drawing styles continued to diversify, with
some artists favouring a rigorous, classical approach and others a
more realistic look through working directly from nature.

Today, drawing can follow any style and is often used to convey
personal expression and emotion. The materials used to create
pictures are wide and varied, as are the sizes and shapes of the
paper you can use. But there is one thing that has never
changed: the all-important need to observe and practise.

This book is a complete practical guide to the art of drawing,

taking the reader from the very first steps – such as choosing a
pencil – through to completing a full-scale, finished drawing. The
first chapter sets out all the tools and materials you will need.
There is information about pencils, conté crayons, graphite, pens,
pastels, chalk, charcoal, brushes, stumps, paper, erasers and
sharpeners, as well as practical exercises for getting to grips with
the basic techniques of drawing: pencil shading, cross-hatching,
using pen and ink, shading with chalk, using brush and wash,
trying your hand at scraperboard, and creating objects that appear
to be three-dimensional.

Having worked through the basics, the book then covers the three
most popular types of drawing: still life, landscapes, and figures
and faces. Within each chapter, the author provides examples of
illustrations showing the key features to focus on, with different
viewpoints of the same subjects, pitfalls to avoid and step-by-step
exercises to hone your skills.

From a rural Italian vista following the style of Leonardo, a

charming portrait of three dancing girls following Rubens, or a
few random apples and bottles from the author’s own kitchen, a
wide variety of examples and exercises are given, and can be
referred to again and again to help you become a better artist. By
practising and repeating the exercises within these pages, you’ll
soon discover that your drawings start coming to life.
Basics

When beginning your journey as an artist, you first need to think

about your tools and materials, and how to use them. This
chapter explores the main items every artist needs in their toolkit,
including pencils, conté crayons, graphite, pens, pastels, chalk,
charcoal, brushes, stumps, paper, erasers and sharpeners. For
each item, there are hints and tips about sizes, thicknesses,
colour qualities and the best ones to try. Next, there are sets of
exercises that will help you practise your drawing techniques, from
making simple lines with pen and ink through to three-
dimensional shading to produce realistic images. Whether you’re a
complete beginner or an experienced artist, you should come back
to these exercises again and again to refine your skills.
First Steps

In this first chapter of the book you will find a range of

different exercises, beginning with the extremely basic. The aim
is to prepare you for drawing actual compositions. Before the
composing of any picture can be effective, the artist needs to
work hard to ensure that the quality of their drawing has
reached the point where they can concentrate on the design of
the picture and not be concerned about the details of drawing
the objects or people within it. Looking carefully at the subject
of your picture before you start to draw is a very good routine
to adopt.

Give yourself plenty of practice in making careful drawings

from observation. This involves correcting mistakes, leaving out
parts that don’t work and redrawing until the object on your
paper begins to resemble what you actually see. The process
outlined is slow and painstaking. If adopted, it is the
foundation for a really impressive drawing procedure which
should soon produce an improvement in technique.
Drawing materials

Any medium is valid for drawing still lifes, landscapes, figures

Start with the range of pencils suggested, and when you feel
and faces. That said, some media are more valid than others
you would like to try something different, then do so. Be
in particular circumstances, and in the main their suitability
Pencil
aware that each material has its own identity, and you have to
depends on what you are trying to achieve. Try to equip
become acquainted with its individual facets before you can get
yourself with the best materials you can afford; quality does
the best
The out type
of itoforwooden-cased
discover whether it is pencil
the right of
material
makenormal
a difference. You don’t need drawing
to buy all the is,
items course,
listed
for your
the most purposes. instrument at your disposal. You will find
below, andversatile
it is probably wise to experiment gradually as you
the
gain soft
black pencils are best. Mostly I use B, 2B, 4B and
in confidence.
6B. Very soft pencils (7B–9B) can be useful sometimes, and
harder ones (H) very occasionally. Propelling or clutch pencils
are very popular, although if you choose this type you will
need to buy a selection of soft, black leads with which to
replenish them.

Conté

Similar to compressed charcoal, conté crayon comes in

different colours, different forms (stick or encased in wood like
a pencil) and in grades from soft to hard. Like charcoal, it
smudges easily but is much stronger in its effect and more
difficult to remove.
Carbon pencil

This can give a very attractive, slightly unusual result, especially

the dark brown or sepia, and the terracotta or sanguine
versions. The black version is almost the same in appearance
as charcoal, but doesn’t offer the same rubbingout facility. If
you are using this type, start off very lightly because you will
not easily be able to erase your strokes.

Graphite

Graphite pencils are thicker than ordinary pencils and come in

an ordinary wooden casing or as solid graphite sticks with a
thin plastic covering. The graphite in the plastic coating is
thicker, more solid and lasts longer, but the wooden casing
probably feels better. The solid stick is very versatile because of
the breadth of the drawing edge, enabling you to draw a line
6 mm (¼ in) thick, or even thicker, and also very fine lines.
Graphite also comes in various grades, from hard to very soft
and black.

Pens
Push-pens or dip-pens come with a fine pointed nib, either
stiff or flexible, depending on what you wish to achieve.
Modern finepointed graphic pens are easier to use and less
messy but not as versatile, producing a line of unvarying
thickness. Try both types.
The ink for dip-pens is black Indian ink or drawing ink; this
can be permanent or water-soluble. The latter allows greater
subtlety of tone.

Pastel/chalk

If you want to introduce colour into your drawings, either of

these can be used. Dark colours give better tonal variation.
Avoid bright, light colours. Your choice of paper is essential to
a good outcome with these materials. Don’t use a paper that
is too smooth, otherwise the deposit of pastel or chalk will
not adhere to the paper properly. A tinted paper can be ideal,
because it enables you to use light and dark tones to bring an
extra dimension to your drawing.

Charcoal

In stick form this medium is very useful for large drawings,

because the long edge can be used as well as the point.
Charcoal pencils (available in black, grey and white) are not as
messy to use as the sticks but are less versatile. If charcoal
drawings are to be kept in good condition the charcoal must
be fixed with a spray-on fixative to stop it smudging.

Brush

Drawing with a brush will give a greater variety of tonal

possibilities to your drawing. A fine tip is not easy to use
initially, and you will need to practise if you are to get a good
result with it. Use a soluble ink, which will give you a range
of attractive tones.
A number 0 or number 2 nylon brush is satisfactory for
drawing. For applying washes of tone, a number 6 or number
10 brush in sablette, sable or any other material capable of
producing a good point is recommended.

Stump

A stump is a tightly concentrated roll of absorbent paper

formed into a fat pencil-like shape. Artists use it to smudge
pencil, pastel or charcoal and thus smooth out shading they
have applied, and graduate it more finely.

Paper
You will find a good-quality cartridge paper most useful, but
choose one that is not too smooth; 160 gsm weight is about
right. (If you are unsure, ask in your local art shop, where
they will stock all the materials you require.)
Drawing in ink can be done on smoother paper, but even here
a textured paper can give a livelier result in the drawing. For
drawing with a brush, you will need a paper that will not
buckle when wet, such as watercolour paper. Also see under
Pastel/chalk.

Eraser

The best all-purpose eraser for the artist is a putty eraser.

Kneadable, it can be formed into a point or edge to rub out
all forms of pencil. Unlike the conventional eraser it does not
leave small deposits on the paper. However, a standard soft
eraser is quite useful as well, because you can work over
marks with it more vigorously than you can with a putty
eraser.
Most artists try to use an eraser as little as possible, and in
fact it only really comes into its own when you are drawing for
publication, which requires that you get rid of superfluous
lines. Normally you can safely ignore erasers in the knowledge
that inaccurate lines will be drawn over and thus passed over
by the eye which will see and follow the corrected lines.

Sharpener

A craft knife is more flexible than an allpurpose sharpener and

will be able to cope with any medium. It goes without saying
that you should use such an implement with care and not
leave the blade exposed where it may cause harm or damage.
Exercises in technique

The following technical practices should help you to ease your

way into drawing in a range of different styles. There are, of
course, many more than the ones we show, but these will serve
very well as a basis. You will discover all sorts of other methods
through your own investigations and adapt them to serve your
purpose.

Pencil shading test

When you are using pencil to add tone to your drawings, it soon
shows if you are not very expert. The only way you can develop
this facility is to practise shading in various ways in order to get
used to seeing the different tones achievable. This exercise is
quite difficult but good fun and can be repeated many times over
a period of weeks, just to help you get your hand and eye in.
You will find the control it gives you over the pencil very valuable.
You will need a very dark pencil (4B), a slightly less dark pencil
(2B) and a lighter pencil (such as a B). If you wish, you can
always use a harder lighter pencil, such as an H or 2H.
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