ETP ANY, Y Sie wy a Bs eo) AY Ys elas k Oh BR) yaya, et Ae Si er te a ‘a B rey | ee WRAIRKYOW-SEE we ee ae RUDY DE REYNA cre Len) er a ee) eae eek fr foreFor Marylin Copyright © 1972 by Watson-Guptill Publications Published 1972 in the United States and Canada by Watson-Guptill Publications, a division of Billooard Publications, Inc., 1515 Broadway, New York, N.Y. 10036 Library of Congress Catalog Card Number: 72-152754 ISBN 0-8230-1460-6 Published in Great Britain by Pitman Publishing, Lto., 39 Parker St., Kingsway, London, WC2B SPB, England ISBN 0-273-31805-5 All rights reserved. No part of this publication may be reproduced or used in any form or by any means—graphic, electronic, or mechanical, including photocepying, recording, taping, or information storage and retrieval systems—without written permission of the publisher. Manufactured in U.S.A First Printing, 1972 Second Printing, 1972 Third Printing, 1974 Fourth Printing, 1974 Fifth Printing, 1975 Sixth Printing, 1976 Seventh Printing, 1977 Eighth Printing, 1977 Ninth Printing, 1978Acknowledgments I would like to express my appreciation to my editor, Diane Casella Hines, who was my invaluable “silent partner” in bringing this book to completion. Like a master carpenter, she patiently assembled the pictures and text, trimming here and smoothing there, until all the pieces fit. With an editor's special gift for putting herself in the reader's shoes, she scrutinized and polished each sentence until it was as clear as she could make it. She has accomplished this task with ingenuity and dispatch, and I am extremely grateful.HOW TO DRAW WHAT YOU SEE BY RUDY DE REYNA WATSON-GUPTILL PUBLICATIONS / NEW YORK PITMAN PUBLISHING / LONDONContents PART ONE: FUNDAMENTALS OF DRAWING, 9 Project 1. Basic Structure of Objects, 11 Drawing Straight Lines, 11 Drawing Lines Freehand, 11 Holding the Pencil, 11 Angle and Direction of Lines, 11 Project 2. Eye Level: Foundation of Perspective, 15 Changing Shapes and Eye Level, 15 Vanishing Points, Cube in Perspective, 15 Judging Size Relationships, 16 Objects Below Eye Level, 16 Practice Exercises, 19 Project 3. Drawing Cubic Objects, 21 Cubic Forms in Everyday Things, 21 Searching with Lines, 21 Handling Detail, 21 Refining with Tracing Paper, 24 Project 4. Drawing Cylindrical Objects, 27 Drawing Curved Lines, 27 Observing Cylindrical Forms, 27 Rendering Cylindrical Objects, 27 Ellipses and Perspective, 27 Project 5. Drawing Spherical Objects, 31 Departures from the Geometric Sphere, 31 Depth and the Sphere, 31 Project 6. Drawing Conical Objects, 35 Symmetry of the Cone, 35 Drawing Everything, 35 6 HOW TO DRAW WHAT YOU SEE Project 7. Putting Basic Forms Together, 37 Basic Forms and their Relationships, 37 Drawing Symmetrical Objects, 37 Drawing and Observation, 37 Project 8. The Horizon Plane, 39 Relating Objects, 39 Contours, 39 Creating a Composition, 39 Selecting a Viewpoint, 39 Prespective in a Still Life, 45 Working Actual Objects, 45 A Brief Summary, 45 Project 9. Light and Shade, 47 Observing Light and Shadow, 47 Light and Dimension, 47 Tonal Values, 47 Using the Full Tonal Seale, 47 Cast Shadows, 51 Shadow Edges. 51 Angle of Light, 51 Level of Light, 51 Project 10. Translating Local Color to Black and White, 53 Using a Middle Tone, Values and Tones, 53 Tonal Arrangement, 57 Rendering Texture, 57 Tactile and Visual Textures, 57 3 Project 11. Drawing a Still Life, 58 Copying versus Drawing from Life, 58 Composition and Construction, 58 Laying Down Correct Tones, 58Project 12. Drawing with Charcoal, 61 Vine and Compressed Charcoal, 61 Powdered Charcoal, 61 Erasers and Blenders, 61 Papers, 61 Toned Papers, 61 Fixative, 65 Charcoal’s Versatility, 65 Ease of Manipulation, 65 Project 13. Still Life in Charcoal, 69 Four Drawing Principles, 69 Hard and Soft Edges, 69 Working from "Roughs,” 69 Composing a Still Life, 72 Practice versus Theory, 72 Project 14. Drawing Outdoors, 7 Natural Light, 75 Light at Different Times of Day, 75 Observing the Effects of Light, 75 Reflected Light, 75 Searching for Basic Forms, 75 Using a Viewfinder, 81 Drawing on the Spot, 81 Project 15. Drawing Outdoors with Charcoal, 83 Advantages and Disadvantages of Charcoal, 83 Capturing the Moods of Nature, 83 Rendering Specific Objects, 83 Rough Charcoal Sketches, 83 Finished Drawings in Charcoal, 83 Project 16. Drawing the Figure, 91 Basic Body Proportions, 91 Cylindrical Human Form, 91 Some Body Measurements, 91 Foreshortening, 91 Drawing From Life, 95 Working Over the Whole Figure, 95 Light and Shadow on the Figure, 95 Project 17. Drawing Hands and Feet, 99 Drawing Feet, 99 Drawing Hands, 99 Finding Your Niche, 99 Project 18. Drawing Heads and Faces, 103 A General Procedure, 103 Angles and Planes of the Head, 103 Facial Guidelines, 103 Male and Female Features, 104 Drawing the Head and Face from Life, 104 Drawing the Nose, 104 Drawing Ears, 104 Drawing Eyes and Eyebrows, 110 Drawing the Mouth, 110 Life Drawing from Memory? 110 Project 19. Drawing Children, 115 Drawing the Infant's Head, 115 Drawing the Teenager, 115 Male and Female Characteristics in Children, 118 Capturing a Child's Character, 118 PART TWO: DRAWING IN VARIOUS MEDIA, 119 Project 20. Wash Techniques, 121 Pigment and Mixer, 121 Surfaces, 121 Brushes, 121 Additional Equipment, 121 Properties of Wash, 122 Flat Wash, 122 Wet-in-Wet Technique, 122 Graded Wash, 123 Drybrush, 123 Linear Effects, 123 Project 21. Drawing With Wash, 127 Working Drawings, 127 Realism First, 127 Project 22. A Still Life in Wash, 131 Arranging and Lighting, 131 Using a Graded Wash, 131 Eliminating Pencil Lines, 131 Preparing Tone, 131 Project 23. Outdoors with Wash, 135 Transporting Your Materials, 135 CONTENTS:Suiting Your Medium to Your Subject, 135 Project 24. Opaque Techniques, 139 Characteristics of Opaque, 139 Pigments, 140 Brushes and Drawing Surfaces, 140 Accessories, 140 Drybrush Blending, 141 Wet Blending, 141 Working Toward Craftsmans! 141 Project 25. Still Lifes in Opaque, 143 Establishing the Large Shapes, 143 Balancing Textures, 143 Using Transfer Paper, 143 Paint Consistency, 143 Support for the Hand, 144 Controlling Opaque, 144 Suitability of Opaque, 144 Project 26. Outdoors with Opaque, 151 Opaque Watercolor and Nature, 151 Materials to Take Along, 151 Choosing a Subject, 151 8 HOW TO DRAW WHAT YOU SEE Project 27. Acrylic Techniques, 155 Brushes, Pigment, and Surfaces, 155 Characteristics of Acrylic, 155 Versatility of Acrylic, 155 Project 28. Still Life in Acrylic, 159 Composition and Movement, 159 Considering Picture Space, 159 Project 29. Outdoors with Ink and Mixed Media, 161 Ink and Additional Equipment, 161 Two Ink Techniques, 161 Outdoors with Mixed Media, 161 Project 30. Drawing Children in Various Media, 167 Nudes versus Children, 167 Children in Opaque, 167 A Parting Word, 172 Index, 173Part One: Fundamentals of Drawing I believe that you must learn to draw things as you see them—real- istically. That is, you must reproduce the dimensions and proportions of a given subject. To render a faithful, realistic drawing, you must be able to observe the basic structure of an object, regardless of how complex and obscured by detail it may be. You must train not only your hands but your eyes as well. However, the ability to depict an object literally doesn’t make you an artist. No one ever claimed that the faithful duplication of nature (an impossible task anyway) produces art. But the ability to draw things as you see them is the first step toward becoming an artist. In other words, throughout this book you'll learn to draw real- istically. The objects before you will dictate what you should do, and the result will be the literal representation of the object. When you've finished the projects in this book, you'll be equipped with the necessary skills to enable you to express yourself as an artist. Having learned the fundamentals, the craft of drawing, you'll have a solid point of departure from which to create, Then, if you wish, you can leave the literal imitation of a subject to the students behind you. FUNDAMENTALS OF DRAWING 9