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Want more? Advanced embedding details, examples, and help! There are no reviews yet. Be the first one to write a review. Use the steps below to develop the flower, which you can attach to the main stem when drawing the entire plant, as shown at the bottom of the page. Bud Detail The lily bud in step 1 above starts out com- pletely closed. Step 2 illustrates the two angles you should shade to give the bud form. It also shows how to transform the bud so it appears slightly opened. Add these types of buds to your lily plant, paying attention to how they attach to the stems.
Shading lines like these illustrate a technique called crosshatching and give the petals form. This exercise demonstrates how to draw a number of The unopened primrose buds begin with small, flowers and buds together. Take your time egg-like shapes. Forming the Primrose Blossom Draw a main stem first, and add smaller ones branching outward. Keep them in clusters, curving out in different directions from the Developing the Leaves These steps show three shad- ing stages of leaves.
In step 1 at the far right , lightly out- line leaf shape. Begin shading in step 2, sketching where the leaf veins will be. Then shade around those areas, leav ing them white, to bring out the veins. When you reach step 3, clean up the details, and add a few darker areas along some of the veins.
POWELL H ibiscus grow in single- and double-flowered varieties, and their colors include whites, oranges, pinks, and reds—even blues and purples. Some are multi- or bicolored. The example Hibiscus Bud Detail Try drawing a few buds, and attach them to stem here is a single-flowered variety. Steps leading up to the finished drawing must be fol- lowed closely to get the most out of this exercise. Step 1 shows the overall mass, petal direction, and basic center of the flower.
Consider the size of each flower part in relation to the whole before attempting to draw it. Add the details of the flower center, and block in the stem and leaves. When drawing rose petals, think of each fitting into its own place in the overall shape; this helps position them correctly.
Begin lightly with an HB pencil, and use plate-finish Bristol board. Making Choices The block-in steps are the same no matter how you decide to finish the drawing, whether lightly outlined or completely shaded. For shading, use the side of a 2B pencil and blend with a paper stump. Using the paper stump in small circle movements will let you blend small areas to a smooth finish. The petal arrangement in these roses is involved; but by studying it closely you'll see an overlapping, swirling pattern.
Outline the overall area of the rose mass in step l. Once this is done, draw the swirling petal design as shown in steps 2 and 3. Begin fitting the center petals into place in step 4. Use the side of an HB to shade as in step 5, being careful not to cover the water drops. They should be shaded separately.
A The downward shading lines follow the angle of the leaf surface, and the pattern suggests veining. Use a kneaded eraser to pull out highlights.
The Japanese anemone grows four inches or more across and produces flowers with irregular outlines that, in some cases, resemble forms of anemone sea life. Follow the steps for each flower type, trying to capture the attitude and person- ality of each flower and petal formation.
It's best to draw this exercise on plate- finish Bristol board using both HB and 2B pencils. Smooth bond paper also provides a good drawing surface. Observe the difference in texture between the top of the Japanese anemone blossom below Side view and its sides. The voluminous, bushy effect is achieved with many short, squiggly lines drawn in random directions, in contrast to the sloping lines of the lower petals. Their petal arrangement is challenging to draw. Develop the drawing outline with a 2B pencil, then add an inter esting background using a flat sketch pencil with random strokes and varying pressures.
The unopened bud resembles a miniature pumpkin. Draw in the ereases first to make shading easier. Shade darker near the creases to make them appear indented into the leaf. Drawing Petals Follow the arrows when developing the petals.
Work from the center outward, allowing each new petal to be overlapped by the previous one. Step 2 shows most of the petals in place, Applying Shading A flat sketching pencil is best for shading the broad portions of the but notice that changes to leaves.
Use the corner of the lead to draw the outlines and indicate veining. To create a their position may occur more interesting "sketchy" look, leave some parts unshaded rather than finishing them off when you shade. Its col- ors range from deep purples to blues, lavenders, and whites.
Some flowers have delicate, lightly colored petals with dark veining. They range in height from less than a foot to over three feet. Darken shadowed areas using the point of a 2B. Using Guidelines Step 1 above shows the block-in lines for a side view of the iris, whereas step 1 below shows a frontal view.
Whichever you choose to draw, make your initial outline shapes light, and use them as a general guide for draw- ing the graceful curves of this flower's petals.
Take your time, and plan ahead to save correction time. It just has more flowers and shading steps. Once again, we must first draw the overall layout of the flowers before attempting any shading.
Develop the shading in stages, filling in the grooved areas first. Then make the whole flower slightly grayer by adding what is known as a "glaze" over it. To glaze, use the side of an H B lead very lightly, shading with smooth, even strokes over completed sections of the drawing. To make petal surfaces appear even smoother, blend them with a Dark shading under the paper stump. The more detail you add, the more time a drawing will f take. Don't become discouraged. Create highlights by molding a kneaded eraser into a sharp wedge, "drawing" with it in the same direction as the shading.
POWELL C reating a good still life composition is simply arranging the elements of a drawing in such a way that they make an eye- pleasing, harmonious scene. It's easy to do once you have a few guidelines to follow. The most important things to keep in mind are: 1 choosing a format that fits the subject, 2 establishing a center of interest and a line of direction that carries the viewer's eye into and around the picture, and 3 creating a sense of depth by overlapping objects, varying the values, and placing elements on different planes.
Like everything else, the more you study and practice forming pleasing compositions, the better you'll become. Begin by choosing the items to include, and then try different groupings, lighting, and backgrounds. Test out the Composing with Photos Dynamic compositions rarely "just happen"—most arrangements in small, quick thumbnails, like the ones shown are well planned, with objects specifically selected and arranged in an appealing manner to create good flow and depth.
Taking snapshots of your arrangements below. These studies are invaluable for working out the best pos- will help you see how your setups will look when they're drawn on a flat surface.
Notice that the tureen is set off-center; if the focal point were dead center, your eye wouldn't be led around the whole drawing, which would make a boring composition. Then lightly block in the basic Horizontal Format The "landscape" format is a traditional one, perfect for shapes with mostly loose, circular strokes, using your whole arm to keep the lines free.
Here, as in any good composition, the overlap- ping vegetables lead the viewer's eye around the picture and toward the focal point—the tureen. Even the tile pattern points the way into the picture and toward the focal point. Vertical Format In this "portrait" format, the carrot tops add height to the composition and counterbalance the arc of vegetables in the foreground. The tip of the head of garlic and the angle of the beans lead the viewer into the composition and toward the focal point.
In the background, only a sug- gestion of shadows are drawn, and the vertical tiles are not clearly defined. This adds to the upward flow of the entire composition and keeps the view- er's attention focused on the tureen. Step Two Next refine the shapes of the various elements, still keeping your lines fairly light to avoid creating harsh edges.
Then, using the side of an HB pencil, begin indicating the cast shadows, as well as some of the details on the tureen. Step Three Continue adding details on the tureen and darkening the cast shadows. Then Step Four Next build the forms of the other vegetables, using a range of values and shad- start shading some of the objects to develop their forms.
You might want to begin with the ing techniques. To indicate the paper skins of the onion and the garlic, make strokes that bell pepper and the potato, using the point and side of an HB pencil. For the rough texture of the potato, use more random strokes. Step Five When you are finished developing the light, middle, and dark values, use a 2B pencil for the darkest areas in the cast shadows the areas closest to the objects casting the shadows.
For this exercise, use plate-finish Bristol board, HB and 2B pencils, and a kneaded eraser molded into a point. Begin by lightly drawing in the basic shapes of the egg and creamer. Step One Begin by lightly blocking in the basic shapes of the egg and the creamer. Don't go on to the next step until you're happy with the shapes and the composition.
Step Two Once the two central items are in place, establish the area for the lace, and add light shading to the table surface. Next position the reflection of the lace and egg on the cream- er's surface. Begin lightly shading the inside and outside surfaces of the creamer, keeping in mind that the inside is not as reflective or shiny. Then start lightly shading the eggshell.
Step Three At this stage, smooth the shading on the egg and creamer with a paper stump. Then study how the holes in the lace change where the lace wrinkles and then settles back into a flat pattern. Begin drawing the lace pat- tern using one of the methods described on the opposite page. You might often find objects for your still life drawings In the most unexpected places. Combine objects you believe aren't related, and they might surprise you by creating an appealing still lift.
Interestingly the egg's position in the reflection is completely different than its actual position on the table because in the reflection we see the back side of the egg. Spout Foot and Spout Details These two close-up drawings show detail on the creamer's spout and feet. These are not as shiny as the rounded bowl. Re-create this matte finish by blending the edges and making the concave shadow patterns darker and sharper. Make the holes in the tern. You can draw guidelines for each hole and then shade inside them left , or you can foreground darker than those receding into the composition, but keep them lighter than the lightly shade in the shape of each hole right.
Either way, you are drawing the negative darkest areas on the creamer. After this preliminary shading is completed, add details of shapes. Once the pattern is established, shade over the areas where you see dark and light spots on the lace. Vellum finish has a bit more "tooth" than the smoother plate finish does, resulting in darker pencil marks. The simplest items in your kitchen can be gathered up into an inviting scene. Paying Attention to Detail In the close-up examples below, the guidelines show the distorted wine level, which is caused by the bot- tle's uneven curves.
An artist must make important observations like this in order to create natural, true-to-life drawings. Blocking In the Composition Begin lightly sketching the wine bottle, bread loaf, knife, and cutting board, rough- ing in the prominent items first, then adding the remaining elements in step 2.
Continue refining the shapes in step 3, and then indicate the place- ment for the backdrop. Placing Highlights and Shadows tightly outline where the high- lights will be so you don't accidentally fill them in with pencil.
Now add shadows with uniform diagonal strokes. Use vertical strokes on the sides of the cutting board. For the crust, use longer, flowing strokes that wrap around the bread's exte- rior. Finish with angled lines on the crust for additional texture. Draw in shapes for the light and dark areas, then evenly shade over all areas that don't contain highlights.
Finally fill in the darkest areas and clean out any highlights with a pointed kneaded eraser. Whether it's an adorable puppy, a slithering snake, or a galloping horse, an animal subject provides a wide range of shapes, lines, and textures to challenge and inspire you. And drawing animals isn't difficult at all—just follow the simple, step-by-step instructions in the follow- ing lessons.
As you learn to draw by starting with basic shapes and progressing through finished renderings, you'll also discover various shading techniques and finishing touches that will bring your ani- mal drawings to life. And with just a little practice, you'll be able to create your own artwork featuring all your favorite animal subjects. Emphasize tures. See pages for more on drawing animals from the narrow, tapered muzzle and the heavy-lidded eyes, adding life. And because pencil is such a versatile tool, you can long, curved eyelashes.
To easily sketch a rough-coated goat or finely stroke a smooth make sure the knobbed horns haired deer. Of course, you don't have to go to the zoo to don't look "pasted on," draw find models; try copying the drawings here, or find a them as a continuous line from the forehead, curving back wildlife book for reference, and draw the animals that where they attach to the head.
Working Out the Structure To draw the full body, make sure the proportions are correct. Begin by placing circles for the midriff, shoulders, withers, and haunches.
Then use the body width as a guide for the other parts: the neck from shoulder to head and the legs are all bout the same length as the body is wide, and the head is roughly a third as long.
Smooth Coat Shade the Rough Coat Using the undercoat with the side of a side of your pencil, shade in blunt 2B and pick out ran- several directions. With your dom coat hairs with a sharp pencil, use different strokes HB pencil. Then shade in the spots strokes in the direction the to make short, overlapping with a round-tip HB, making hair grows, lifting the pencil strokes, lifting the pencil at your strokes darker in the shad- at the end of each stroke.
For example sheep, horses, and giraffes all have hooves and a similar body structure, but a bighorn sheep has curled horns and a shaggy coat, a horse has a smooth coat and a single-toe hoof, and a giraffe has an elongated neck and legs and boldly patterned markings.
Focusing on these distinguishing characteristics will make your drawings believable and lifelike. Creating a Portrait To capture this horse's likeness, focus on its features: the large nos- tril, wide eye, pointed ears, and strong cheekbone all distinguish this horse from, say, the sheep on the left or the giraffe on the opposite page.
Use a sharp-pointed pencil for the outline and details, and the flat side of the lead for shadows. Then go back over the shad- ing with the point to accentuate the underlying muscles, leaving large areas of white to suggest a smooth, glossy coat.
Depicting Hair To show the texture of this bighorn's coat, use the point of a 2B to apply long, wavy strokes on the body. Then draw short, wispy tendrils on the legs and underbelly. Focusing on Feet Horses have solid, single-toed hooves, whereas giraffes, sheep, and other ruminants have split cloven hooves.
Notice that the horse's hoof is angled a little more than the giraffe's and that the giraffe's toes are not perfectly symmetrical. Showing Action Drawing from pictures of animals helps you study their movements frozen by the camera. Focus on the sharp angles of the legs and feet, and suggest the underlying muscles by varying the direction of your strokes. When drawing the shiny coat, be sure to always sketch in the direction that the hair grows, as this will give your drawing a more realistic appearance.
Step Three Next erase any guidelines that are no longer needed. Then begin placing light, broken lines made up of short dashes to indicate where the value changes in the coat are. These initial lines will act as a map for later shading. Step Two Using the lines from the previous step as a guide, adjust the outline of the ears, head, and neck to give them a more contoured appearance. Then add the eyes and nose, following the facial guidelines. Finally refine the out- line of the muzzle.
Step One With a sharp HB pencil, block in the boxy shape of the Doberman's head and shoulders with quick, straight lines. Even at this early stage, you want to establish a sense of dimension and form, which you'll build upon as the drawing progresses.
First create some graphite dust by rubbing dot in a few light rows of a pencil over a sheet of fine sandpaper. Then pickup the graphite dust with a medium- whiskers at the tip of the sized blending stump and shade in the dark areas of the dog's fur and nose. To avoid muzzle. While their enormous size they can reach 30 inches tall at the shoulder may be slightly intimidating, they are actually very gentle and affectionate, especially with children.
The erect ears can be developed from simple triangle shapes. Developing the Shape In steps 1 and 2, use an HB pencil to block in the dog's large head. Notice the droopy lips and eyelids, which give the subject a pleading expression.
Refine the shapes, and lightly shade with a 2B pencil to bring out the form and contours of the head in step 3. The minimal shading will give the coat a smooth appearance. Use a kneaded eraser to pull out the highlight on the dog's nose. Creating Form Add darker values within the center of the ear to create the curvature of the ears, "carving out" the area through skillful shading, as shown in the final drawing. To enhance the shine of the nose, shade it evenly, and use a kneaded eraser to pull out highlights.
It has a deep chest and a bushy tail, evident even at the young age of this little pup. Step One First suggest the position of the spine and tail with one gently curving gesture line.
Then use this line to position the round shape of the head, body, hindquarters. Next draw guidelines for the pup's facial features, at the same time establishing the general shape of the muzzle.
Step Two Now outline the entire torso using smooth, quick lines based on the initial shapes. Place the triangular ears and suggest the upper portion of the four legs. Step Three Once you're satisfied with the pose and the way it has taken shape, begin to develop the puppy's coat. Apply a series of short, parallel strokes that follow the pre- vious outline, producing the appearance of a thick coat. Using the same kind of strokes, outline the color pattern of the coat.
Then place the eyes, nose, mouth, and tongue, and refine the paws. Step Four Next erase any guidelines you don't need and begin shading the dark areas of the fur with the broad side of the pen- cil. Use straight strokes that follow the direction of hair growth, radiating from the center of the face and chest. Next shade in the nose and pupils. Then add a background to contrast with the white of the puppy's chest. Apply straight, broad strokes with the side of the pencil, using horizontal hatching lines.
Now shade the far hind leg and left cheek by covering those areas with more strokes. Next go over the dark fur with a softer pencil and thinner, darker strokes, applying denser strokes toward the edges to suggest form. Finish the piece by adding the final details and shading to the nose, mouth, eyes, and inner ears.
Proportion refers to the proper relation of one part to another or to the whole —particularly in terms of size or shape —and it is a key factor in achieving a good likeness. A puppy isn't just a small dog. Although a puppy has all the same parts as its adult counterpart, the puppy's body appears more compact than the dog's —and its paws, ears, and eyes seem much larger in proportion to the rest of its body. In contrast, the adult dog seems longer, leaner, and taller.
Its muzzle appears larger in propor- tion to the rest of its body, and its teeth are noticeably bigger. Keeping these proportional differences in mind and incorporating them in your drawings will help you make your artwork look convincingly realistic.
Even though the pronounced underbite of this dog gives it a gruff expression, it is known to be very affectionate and docile. Blocking In In step 1, block in the general outline with short, straight lines. Keep the legs short and bowed to give the dog its compact, stocky appearance.
As you sketch the features in step 2, study the low placement of the eyes, as well as how the nose is pushed into the face. Art and Design. Sew many dresses sew little time by Tanya Whelan pdf free download. Please enter your comment! Please enter your name here. You have entered an incorrect email address! Technical drawing can be distinguished as the basis of most of the other types of drawing, therefore, it is usually given as a subject during high school studies, even if its usefulness covers the professional field.
Through technical drawing, students learn to use measuring tools, such as rulers, squares, scale rulers, compasses, etc. Learning technical drawing presents many guarantees, consequently, we recommend our selection of Technical Drawing Books that you can download for free in PDF so that you can train yourself in the subject and improve your graphic skills.
Here ends our selection of free Drawing books in PDF format. We hope you liked it and that you already have your next book! If you found this list useful, do not forget to share it on your social networks. Acting Books. Architecture Books. Calligraphy Books. Calligraphy Exercises Books. Cartoon Books. Cinematography Books. Coloring Books. Creativity Books. Dance Books. Fashion Books. Furniture Design Books. Artist's Erasers A kneaded eraser is a must. It can be formed into small wedges and points to remove marks in very tiny areas.
Vinyl erasers are good for larger areas; they remove pencil marks completely. Neither eraser will damage the paper surface unless scrubbed too hard. You can also use the sides to quickly blend large areas.
Once the tortillons become dirty, simply rub them on a cloth, and they're ready to go again. Utility Knives Utility knives also called "craft" knives are great for clean- ly cutting drawing papers and mat board. You can also use them for sharp- ening pencils. Seethe box on page 7. Blades come in a variety of shapes and sizes and are easily interchanged. But be care- ful; the blades are as sharp as scalpels!
You can always add more pencils, charcoal, tortillons, and such later. When shopping for pencils, notice that they are labeled with letters and numbers; these indi- cate the degree of lead softness.
Pencils with B leads are softer than ones with H leads, and so they make darker strokes. An HB is in between, which makes it very versatile and a good beginner's tool. The chart at right shows a variety of drawing tools and the kind of strokes that are achieved with each one.
As you expand your pencil supply, practice shaping different points and creating different effects with each by varying the pressure you put on the pencil. The more comfortable you are with your tools, the better your drawings will be! It doesn't have to be expensive; just get one large enough to accommodate individual sheets of draw- ing paper. Consider getting one with a cut-out handle, especially if you want to draw outdoors, so you can easily carry it with you.
Spray Fix A fixative "sets" a drawing and protects it from smearing. Some artists avoid using fixative on pencil drawings because it tends to deepen the light shadings and elimi- nate some delicate values. However, fixative works well for charcoal drawings. Fixative is available in spray cans or in bottles, but you need a mouth atomizer to use bottled fixative. Spray cans are more convenient, and they give a finer spray and more even coverage. With a round point, you can make slightly thick- er lines and shade small areas.
Flat For wider strokes, use the sharp point of a flat 4B. A large, flat sketch pencil is great for shading large areas, but the sharp, chiseled edge can be used to make thinner lines too.
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