Category Archives: ADVICE TO ARTISTS

3rd Pen and Ink Drawing Lesson

The objective for this lesson was to use ink washes in various tones to shorten the drawing time, even out the values, and pulling the elements together into a cohesive artwork. Pen and ink stokes were to be used mainly for details and texture. Students were to use 8 x 10″ black and white photos for their subject.

All first made a good drawing of the subject on sketchbook paper either free-handed or using a grid. Four small cups were set out with a little water in one, a little more in the second, more water in the 3rd, and the most in the 4th. We put a drop of India ink in each cup, thereby making 4 different values, plus the white of the paper and undiluted ink for the darkest tone.

We worked light to dark with a round watercolor brush, and made sure to let each value dry before adding another. Layering of values could also be used. When all the values were laid in, students used their pens to complete the painting. These really turned out great!

 

The homework assignment was to draw a still life composition with bottles, vases, etc. but instead of developing the positive shapes, students were to break up the negative shapes with patterns in pen and ink, thereby making the still life objects the negative instead of the positive.  Here’s my example of this assignment:

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DRAWING WITH PEN AND INK

I just completed teaching an eight week class on pen and ink drawing (from 1:30 – 3:30 pm) at the Maumelle Center on the Lake.  I had eight students in varying degrees of drawing expertise, but they all did marvelous work and seemed to enjoy using pen and ink.  My final two classes centered on scratchboard drawing – the reverse of drawing black and white, since the 5 x 7″ clayboards were covered with black ink and the lights had to be scratched out with different tools. For this and the next six posts, I will explain what we did and show various examples of my students as well as mine. For your information, I will list the artist books that I used for inspiration at the end of the last post.

Session 1.  Materials were discussed along with right and wrong usage:  Art Outfitters in downtown Little Rock had been kind enough to fashion kits that included all of the materials required for the course.  I emphasized the importance of the sketchbook in practicing drawing daily.  Sometimes, homework assignments were given to encourage more drawing practice. When pen and ink is used, every stroke is a commitment, since there can be no erasures!

In this first 2 1/2 hour class, we concentrated on loose pen and ink drawing using twigs and ink in bottles.  We went outside and chose from any of the trees on the campus for our subject matter. They were to start with the trunks and build upwards, suggesting the leaves in clumps and light and dark values to define.   This was a fairly quick way of drawing, akin to contour drawing.  Here are two examples from the class:

       

Students came back inside and were told to select a single object or their hand to draw in their sketchbook using a black marker and only two values:  black and the white of the paper.  This was to be a quick study of loose instead of tight drawing technique.  A review of gesture drawing, sighting, and measurement was given.  Here’s an example:

For homework,  I passed out sheets of different kinds of strokes used in tight rendering of pen and ink drawings.  Students were to duplicate these strokes in their sketchbook to practice before coming for the second lesson, which would be to draw an object from life using appropriate pen strokes and their drawing pens.  They were encouraged to bring objects from home that meant something to them or their families.  Below is an image of the page with stroke examples they were given.

NEW CLASS IN MAUMELLE

farmlandWell, I’m going to teach an art class again — thought I was finished with that, but guess it’s in my “blood.”  Beginning September 15 (Thursday) from 1:30 – 3:30, I will be teaching a class on how to compose a work of art at the Maumelle Senior Wellness Center in Maumelle.  This is a seven week class, and will include examples, critiques, information, exercises, and perhaps occasional homework.  Students will use their own materials, as well as materials provided by the instructor.  I’ve had many years of experience teaching this subject, both in high school art classes, children’s classes, and adult classes.  A lot of the lessons will be based on the blogs I’ve shared on this site.  Cost is $45, and there is a maximum of eight students so call MSWC as soon as possible, if you want to register  (501- 851-4344).   I’m looking forward to seeing you and sharing my understanding of composition and design principles.

DRAWING WITH PERSPECTIVE: A FUN ASSIGNMENT

Knowing about how to use linear perspective doesn’t mean that you have to be a slave to it.  Using the principles of perspective in drawings and paintings that include buildings, posts, roads, etc. can become an internal knowledge that makes your artwork more realistic.  However, some artists like to distort reality and in doing so, distort perspective as well.  De Chirico is a prime example of this.  Some contemporary artists do this as well:  (from Artist Magazine, June 2010).

img017But here’s another way to use perspective creatively —  an imaginary residence high up in the sky!  This drawing uses 4 vanishing points — all related.  The vanishing points are on vertical and horizontal lines.  Try this in your sketchbook to work out your “dream house”!

 

4 point

DRAWING IN PERSPECTIVE: A COUNTRY HOME IN 2 POINT PERSPECTIVE

If you have drawn the country home that I showed last post, you may be ready to add an addition or a porch to your drawing.  Hopefully you have put in some windows, and maybe a chimney using the same converging lines to the vanishing points.  All you need to do to add a porch or extension is to bring a corner post forward and use the same vanishing points and vanishing traces to add the roof.  To add a center door, remember to make the x from each corner of the rectangle to find the center, and then position the door in the center.  Steps could be added in the same way.  A walkway that is parallel to the horizon line can also be added as per example.  To make the fence posts and fence, follow this sequence: Decide where you want the corner post and draw it in as a vertical shape.  Draw converging lines to the vanishing points from the bottom and the top of the corner post.  Establish the second post arbitrarily when you’d like it to be using the converging lines for the top and bottom.  Now, make an X from point to point of the first and second posts. This determines the center point between each post.  From the center of the X, draw another line to the vanishing point.  Then draw a diagonal line from the top of the first post through the middle of the second post.  Where that line crosses the bottom converging line is where to position the third post.  Continue drawing the rest of the posts in the same way, and do the other side the same way.  Elaborate the posts any way you wish, but you have fenced off your country property!  Remember to add trees and shrubs to make it homey…

Country homebuilding a fence

DRAWING WITH PERSPECTIVE: Interior scene in 2 pt. perspective

interior 2ptFollow along with me as I show you how to draw an interior scene in 2 point perspective.  This is the same scene as the last one, only we’re looking at the corner of the room instead of the back wall.

Draw a rectangle 8″ high and 10″ wide in the middle of your large drawing pad.  Draw your eye level a little above center so that you will have a lot of floor to play with.

Set your left and right vanishing points.

Close to the middle of your rectangle, draw a vertical line about 2″ long — this will be the corner of your room.

To draw the ceiling, connect a line from the top of that corner to the left vanishing point and a line to the right vanishing point.

To draw the floor, connect a line from the bottom of the corner to the left vanishing point and another to the right vanishing point.  Do you see the floor and the ceiling now?

On one wall, draw a window and make sure your tops and bottoms are parallel — use the vanishing points.  Draw the window casing as well, if you can.  If you want, you may draw a door in the other wall as well.

To draw the floor tiles in 2-point perspective,  measure off 1″ marks on the floor line from the corner of the room along the wall.  Do this on both walls.  You will have to extend your floor lines all the way off the paper in order to make all the tiles.

From each of those points on the floor line, draw converging lines to the vanishing points.  If you do this on both walls, you will have tiles that grow smaller and smaller as they go back in space.  You can darken every other one of these so that you can see the pattern.

I know this is difficult — I hope you understood my directions.  Please let me know if I need to explain it further.  We’ll draw a house in a landscape for the next lesson in perspective.

 

DRAWING WITH PERSPECTIVE: INTERIOR IN 1 POINT PERSPECTIVE

HERE’S AN EXERCISE YOU CAN TRY TO UNDERSTAND 1 POINT PERSPECTIVE INSIDE A BUILDING.

INTERIOR SCENES ARE MUCH DIFFERENT FROM EXTERIOR.  PRETEND THAT YOU’RE IN A SMALL ROOM LOOKING AT THE BACK WALL –THERE IS EITHER A WINDOW OR A PAINTING ON THAT WALL, AND IT IS SEEN HEAD-ON.  IN YOUR SKETCHBOOK, DRAW AN 8″ SQUARE IN THE CENTER OF THE PAPER.  THEN DRAW A 4″ SQUARE EQUI-DISTANT FROM ALL SIDES WITHIN THE 8″ SQUARE.  PRETEND THIS IS THE BACK WALL OF YOUR ROOM.  DECIDE WHERE YOUR EYE LEVEL IS AND DRAW A HORIZONTAL LINE INTERSECTING BOTH SQUARES.  SELECT A VANISHING POINT ON YOUR HORIZON LINE.  NOW DRAW CONVERGING LINES FROM THAT VP TO THE CORNERS OF THE BACK WALL (NOT THE CORNERS OF THE SQUARE – NOTICE).  DRAW DOORS, WINDOWS WITH CONVERGING LINES THAT MEET AT THE VANISHING POINT. NOTICE THAT YOU CAN ONLY SEE THE FRAMING OF WINDOWS/DOORS ON THE BACK SIDE.

TO DO THE TILE FLOOR MEASURE OFF 1/2″ DIVISIONS ON THE BACK WALL EXTENDING BEYOND YOUR SQUARES IF YOU CAN.  DRAW CONVERGING LINES TO THE VP FROM THESE POINTS.  THIS GIVES YOU THE ANGLES OF BOARDS OR TILES PERPENDICULAR TO THE SIDE WALLS.  NOW, IF YOU WANT SQUARE TILES, START AT THE BASE OF YOUR PICTURE PLANE (THE 8″ SQUARE) AND MEASURE OFF 1″ UP AND DRAW YOUR FIRST HORIZONTAL LINE (THIS IS CALLED A TRANSVERSAL).

NOW, CONTINUE TO DRAW DIAGONALS ACROSS THE FLOOR FROM THE INTERSECTIONS OF THE CONVERGING LINES.  CONTINUE IN THE SAME MANNER TO MAKE CHECKERBOARD TILES.  DARKEN ALTERNATE TILES SO THAT YOU CAN SEE THE PATTERN.  ERASE THE LINES YOU NO LONGER NEED.

interiorI REALIZE THIS WILL BE DIFFICULT FROM A WRITTEN EXPLANATION.  I USUALLY DEMONSTRATE THIS IN MY CLASSES, AND STUDENTS FOLLOW ALONG AS I DRAW.  LET ME KNOW IF YOU CATCH ON TO THIS OR NOT.  A TWO-POINT INTERIOR SCENE IS NEXT!

DRAWING WITH PERSPECTIVE: BOXES IN ONE-POINT AND TWO-POINT PERSPECTIVE

boxes   The easiest way to learn about 1 point and 2 point perspective is to draw simple open boxes above and below the horizon line (eye level).  On the left of the example are open boxes in 1 point perspective – one is above the horizon line and one is below. We will begin with the box on the left (1 point).

First, draw a horizon line and a square above the line and a square below the line.  Above the line you will see the bottom of the box; below the line you will see the top of the box (makes sense).  Now, select a vanishing point on the line.  On the top square, draw lines (orthogonals) from all four corners directly to that vanishing point.

Draw a horizontal line determining the width of the lower panel.  Now you see a 3-dimensional box.  But what if the box is open?  Draw perpendicular lines from the corners of the bottom panel that meet the orthogonals at the top of the box.  Now draw a horizontal line from those points that is parallel to the bottom line.

Erase the lines you don’t need and darken in the rear of the 3-dimensional box that you see.

Try doing the same thing on the bottom box in reverse.  Sometimes you can’t see the inside of the box depending on where your vanish point is and how deep you make your box.

Next time, we’ll draw a box in 2 point perspective.  By the way, it helps to use a t-square and triangle.

WORKING WITH PERSPECTIVE – AERIAL OR ATMOSPHERIC PERSPECTIVE

Well, I just realized that I had not posted anything about working with perspective — both aerial and linear.  This is an omission my teaching career couldn’t withstand! So I’m going to write a few posts about this subject before giving up!

If you are a realistic painter, or just want to show some depth in your paintings, you need to know something about perspective. 

THERE ARE TWO KINDS OF PERSPECTIVE: AERIAL AND LINEAR

AERIAL PERSPECTIVE OR ATMOSPHERIC PERSPECTIVE:  If you have drawn or painted a still life subject, you probably wanted to show these objects in space.  It was shallow space, of course, but was still important.  In a landscape, aerial perspective is most important, since you usually have a foreground, a middle ground, and a background.  How do you effectively represent these different planes?

AERIAL PERSPECTIVE INCLUDES THESE ELEMENTS: 

  1. OVERLAPPING
  2. DETAIL
  3. VALUE
  4. INTENSITY
  5. POSITION
  6. SIZE.

If you look at two objects in space that are similar, but one is farther away than the other, what happens?  The one farther away looks smaller, lighter in value, lower in intensity, not as clearly defined, and may be overlapped by the one in front.  Take a look at this example:

Cloudy Skies

How do you know which tree is the closest even though the other trees may be the same size?  It is larger, close to the bottom of the picture plane, in more detail, darker, and overlaps the trees and mountains in the distance.  What happens to the trees and mountains in the distance?  They are lighter in value, less intense, show no detail, are much smaller.  The mountains in particular are low in intensity, appearing more lavender and gray. 

 

farmlandHere’s is another example:  In this painting, we know that the hay bale on the bottom left is much closer to the viewer than the others because of its position.  Is there a definite foreground, middle ground, and background here?  The foreground hill is more golden (more intense) than the three other hills as they move backward in space.  It’s important to look closely at the natural landscape to see how this works.

My next posts will be about linear perspective — this is what happens when people start putting buildings, houses, barns, etc. in the landscape!

 

 

 

 

 

DRAWING THE HUMAN FIGURE

It’s been a while since I blogged — had a lot going on in my life lately.  Today, I’m merely passing along some information about drawing the human form that I’ve gleaned from books and magazines.  Unfortunately, I have no idea WHAT books and magazines I got these from.  Suffice it to say that my students learned a lot from these charts.  The first one is about the growth of children. You can see from this why babys’ heads and eyes always seem to be so big– they don’t grow as fast as the other parts of the body.  I apologize for the darkness of the example — it was on colored paper!

 Growth chart

This next chart illustrates how the different sections of the body can be seen as basic forms: cylinders, spheres, wedges. It is much easier to draw figures if you think about various parts as simply shapes and forms.

shapes of body

In the future, I probably will not be posting drawing/painting lessons from my classes.  Instead, I will be sharing the artwork I have finished lately, or working on at the present.  I may be hanging up my apron as an art teacher!  At least for the summer!  Happy drawing to all of you!