Drawing_Secrets_Revealed_-_Basics.pdf

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BAS IC S
HOW T O DR AW ANY T HING
DRAWING SECRETS REVEALED
S AR AH PA R KS
BASI CS
DRAWING SECRETS REVEALED
CINCINNATI, OHIO
www.artistsnetwork.com
CONTENTS
INTRODUCTION
...................................................................................... 4
CHAPTER 1
GETTING STARTED
............................................................................... 6
Find new tips you haven’t encountered before that might bridge the gap between what you’ve
accomplished so far and what you’re yearning to create in the future.
CHAPTER 2
BUILDING COMPOSITIONS WITH BASIC SHAPES
............................. 22
Get better at identifying basics shapes by training yourself to have a critical eye and an ingrained
understanding of the elements of lighting.
CHAPTER 3
BLOCK-IN & SHADING:
THE BEGINNING & END OF YOUR DRAWING
.................................. 30
Learn straightforward and helpful techniques that will teach you a variety of ways to block-in
your drawing and apply realistic shading as the first essential steps on your artistic journey.
CHAPTER 4
UNDERSTANDING RELATIVE
PROPORTIONS
................................................................................... 46
Take that next crucial step by learning how to gauge relative proportions in a simple and reliable
manner which will help you in your journey to drawing anything that you see.
CHAPTER 5
DRAWING THE HUMAN FORM
......................................................... 60
Explore the canvas of the human form as you infuse your figures with energy and gain a better
understanding of their basic structure.
CHAPTER 6
DRAWING THE HUMAN HEAD
.......................................................... 76
Develop your artist’s eye by learning to refine the overall shape, structure and features of the
human face.
CHAPTER 7
INCORPORATING
PERSPECTIVE IN DRAWING
............................................................... 96
Explore ways to communicate a sense of three-dimensional depth on a two-dimensional surface.
CHAPTER 8
ELEMENTS OF COMPOSITION
........................................................ 110
Learn some basic elements of composition to transform a flat, lifeless sketch into a compelling,
beautiful drawing.
FINAL THOUGHTS
............................................................................... 124
INDEX
................................................................................................ 125
RESOURCES
........................................................................................ 126
ABOUT THE AUTHOR
.......................................................................... 127
Chenonceau Entrance
Graphite and charcoal on paper
8�½" × 14" (22cm × 28cm)
INTRODUCTION
It’s a common misconception that you have to be born
with artistic talent or that only creative people can draw
or paint. But in fact, drawing is a discipline just like any
other, requiring learning skills and practicing tech-
niques. And your keen desire to draw gives you the
aptitude you need to study those skills and diligently
practice the techniques I’m going to teach you. When
you’ve practiced them consistently, you’ll really start to
feel pride in your ability to draw. Suddenly people will
say, “I didn’t know you were so talented!”
To tell you the truth, I don’t think anyone can be
truly finished with learning to draw—most of the best
artists say they are still learning, and every effort,
whether it’s great or not so good, is a learning process
for them. That’s how we improve. But that feeling of
accomplishment that comes over you when what you
draw matches what you see—that is what you can
begin to achieve with this book.
With this book, I hope to make you aware of what
you can accomplish as an artist in the realm of graphite
and charcoal. And if at some point you are interested
in moving on to painting with color mediums, you’ll
notice how your paintings improve because of your
solid drawing skills. I have noticed in many painting
workshops that students struggle because they are
essentially trying to learn two challenging disciplines—
drawing and painting—at the same time and they feel
like failures because they can’t get the desired results.
So they assume they aren’t good artists when really,
they’ve just put the cart before the horse. Learn your
drawing skills first, then develop your painting skills.
Some students will nullify good drawing skills
and say they are painting impressionistically, but the
Impressionists were excellent draftsmen; they had
extensive training in drawing faces, figures and land-
scapes. It was their paint strokes that were impression-
istic, but those artists weren’t sloppy when constructing
their compositions. Monet’s figures weren’t disjointed,
Degas’s ballerinas and horses still obeyed the laws of
perspective, and Manet and Renoir could draft a well-
drawn face.
Many drawing books that claim to be aimed at
beginners incorporate way too much information with
lots of bells and whistles and a plethora of advanced
techniques and materials. The developing artists are
left overwhelmed and don’t know where to start.
I’m not going to inundate you with every technique,
material, color medium and approach because, let’s
face it, art is a vast continent and you can exhaust
yourself trying to cover all the terrain. What I’ve tried
to do with this book is to hone that artistic topography
into an exciting but manageable vista that will allow
you to master the foundational concepts you need to
embark on any artistic genre or medium that snares
your interest.
More than just teaching you how to draw any one
particular thing, the purpose of this book is to teach
you how to draw anything you see.
Anything.
That
requires a systematic, methodical approach to lay a
solid foundation with each concept building on the
previous. If you take the time to learn and practice the
concepts in this book diligently, you’ll find yourself able
to draw pretty much anything you see around you, no
matter how complicated, because you will know how
to strip a composition down to its basics and then build
on that.
Happy Drawing!
Sarah Parks
4

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