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    The Complete Guide to Drawing: A Practical Course for Artists
    The Complete Guide to Drawing: A Practical Course for Artists
    The Complete Guide to Drawing: A Practical Course for Artists
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    The Complete Guide to Drawing: A Practical Course for Artists

    By Barrington Barber

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    About this ebook

    Anyone who desires to learn to draw well can do so with a little persistence - this is the starting point for The Complete Guide to Drawing, a practical and comprehensive course for students of all abilities.

    Whether you want to draw a still life, landscapes, figures, or portraits, Barrington Barber brings his invaluable expertise as a working artist and teacher to the task of showing you how.

    • Includes advice on materials, equipment, and techniques
    • Explains the fundamentals of drawing objects, people, animals, and nature
    • Teaches the core skills of perspective, composition, and shading
    • Contains step-by-step drawings and exercises to practise

    LanguageEnglish
    PublisherArcturus Publishing
    Release dateOct 25, 2018
    ISBN9781788885942
    The Complete Guide to Drawing: A Practical Course for Artists
    Author

    Barrington Barber

    Born 1934, Barrington was educated at Hampton Grammar School and later Twickenham Art Schoo for which he received a National Diploma of Design. He then practised as an illustrator (Saxon Artist) and Graphic Designer, was Art Director at Ogilvie & Mather and S.H. Bensons, and was a lecturer in Graphic Design at Ealing Art School. Other credits include freelance work, designer, illustrator, animator and painter at Augustine Studios. He was awarded a one man exhibition in 2000 at St. Oswald Studios, and also exhibited in Putney in 2003 and Cork Street in 2004. He was Head of Art at St James's Independent Schools. He now paints, draws, writes about art, and enjoys sports, walking, philosophy and meditation.

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      Book preview

      The Complete Guide to Drawing - Barrington Barber

      Introduction

      Learning to draw is not difficult. Everybody learns to walk and talk, and read and write at an early age. Learning to draw is less difficult than all that. Drawing is merely making marks on paper which represent some visual experience. All it takes to draw effectively is the desire to do it, a little persistence, the ability to observe and a willingness to carefully correct any mistakes. This last point is very important. Mistakes are not in themselves bad. Regard them as opportunities for getting better, and always correct them.

      Many of the exercises in this book incorporate the time-honoured methods practised by art students and professional artists. If these are followed diligently, they should bring about a marked improvement in your drawing skills. After consistent practice and regular repetition of the exercises, you should be able to draw competently, if not like Leonardo da Vinci – that takes a little longer.

      Finally, do not despair if your drawings are not masterpieces. If they were, you would not need this book or any other.

      Illustration

      First Stages

      Before you start you will need to equip yourself with pencils, pens, charcoal, graphite and various kinds of drawing paper. Soft paper with a tooth or smooth hard paper are equally good, depending on the effect you want.

      You will need to find an effective grip for your pencil and also get used to handling a drawing board and possibly an easel. Don’t rush any of this, just experiment until you discover what works best for you. Once you are comfortable with the paraphernalia, you can begin to think about the business of drawing.

      Also in this section you will find a series of exercises designed to introduce you to the basics and give you a grounding in various types of drawing. As you progress you will have to call upon the techniques these exercises teach, so practise them regularly and diligently.

      Materials

      You don’t need sophisticated drawing implements to be effective. If you are drawing for the first time, a B, 2B, 3B or 4B pencil, well sharpened, should be adequate. Buy a range of these and try them out, experimenting with their individual softness or blackness.

      Later on you might like to try drawing with a solid graphite stick. This costs more than a pencil but lasts longer, and it’s also very good when you wish to vary your strokes. Charcoal is marvellous for larger drawings and can be smudged or softened very easily. It also enables you to keep a light touch and still get a black mark.

      A pen (0.1 grade or higher) is good to try out when you have developed some confidence.

      Illustration

      Pencil

      Illustration

      Solid graphite stick

      Illustration

      Willow charcoal stick

      Illustration

      Permanent ink drawing pen

      Paper

      All of the implements mentioned are used with standard cartridge paper. This comes in a variety of weights and textures and is available at art shops. Try out several different types so that you understand their respective merits. The advantage of smooth paper is that you can draw in greater detail and also draw smaller shapes. The advantage of a coarse paper is that the lines you draw on it look slightly broken, giving a textured effect and ensuring that you don’t draw too small. Generally, the smaller the drawing the smoother and finer the drawing paper, or implement, should be. Larger drawings require a corresponding increase in the textural coarseness of the paper.

      A sketch pad is useful because you can carry it around and draw whenever and wherever you like. Try to work as large as possible from the beginning. The larger you draw the easier it is to correct. Aim to gradually increase the size of your drawing until you are working on an A2 sheet of paper and can fill it with one drawing.

      You will have to invest in an A2 drawing board for working with A2 paper. You can either buy one or make one out of quarter-inch thick MDF. Any surface will do, so long as it is smooth under the paper; masking tape, paper clips or blu-tak can be used to secure the paper to the board. Also see pages 34–35 for more information.

      Working at a board or easel

      If you don’t have an easel and you are sitting with the board propped up, the pencil should be at about shoulder height and you should have a clear view of the drawing area.

      Illustration

      The best way to draw is standing up, but you will need an easel for this. There should be plenty of distance between you and the drawing. This allows the arm, wrist and hand to move freely and gives you a clearer view of what you are doing. Step back every few minutes so you can see the drawing more objectively.

      Keep your grip easy and don’t be afraid to adjust it. Don’t have a fixed way of drawing.

      Holding the pencil

      Illustration

      Your inclination will probably be to hold the pencil like a pen. Try holding it like a brush or a stick. Keep the grip loose. You will produce better marks on the paper if your grip is relaxed and there is no tension in your hand or arm.

      Lines and circles

      In this first exercise you will learn the most fundamental cornerstone of good drawing: precision of hand and eye. Start by drawing the following geometrical shapes.

      As you practise, concentrate on the point of the pencil exactly where the graphite comes off the pencil onto the paper. Don’t be concerned if your attention wanders at first – just practise coming back to the point of the pencil. You will notice wobbles and blips creeping into the drawing whenever your attention strays. When you can keep your attention on the point of the pencil and no other thoughts and expectations intrude, you will find that your drawing will go smoothly. When the eye follows the hand exactly, the hand will perform exactly. Keep practising. Always start drawing sessions with five to ten minutes of practice.

      Illustration

      Control of the hand is a basic technique you must learn if you are to draw well. The more you practise the following exercise, the surer your line will be and the greater the accuracy of your eye in judging space and form.

      IllustrationIllustration

      Now draw a circle. Continue drawing circles, trying each time to improve on the one you have drawn before. Keep practising until the circle begins to look how you think it should. When it looks fairly good, practise drawing it more quickly.

      Don’t rush these exercises. Their value lies in concentrating your attention on the movement of the pencil on the paper. Repeat them until you feel sure and relaxed. If you feel tense, try consciously to relax.

      3D shapes

      To give the impression of depth and solidity in drawing, you have to use perspective or shading or both.

      A basic illusion of three dimensions and depth can easily be produced. Now try this next series of shapes.

      Illustration

      1. Draw a square.

      Illustration

      2. Add three more parallel lines.

      Illustration

      3. Join the ends ... and you have a cube. If your lines are accurate enough it is impossible not to see a cube.

      Illustration

      4. Draw a diamond or parallelogram.

      Illustration

      5. Add three lines of the same length and in parallel.

      Illustration

      6. Join the ends – again, you have a cube!

      As you can see, shading or tone helps to create an illusion of three dimensions or solidity.

      Illustration

      7. Shade the two lower sections of the cube lightly.

      Illustration

      8. Shade one of the lower sections more heavily.

      Illustration

      9. Add a cast shadow – this fades off from the darkest section in line with the floor or surface on which the cube is standing.

      Now see what effect you can get by adding tone to a circle.

      Illustration
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