Always wanted to learn how to draw? Now’s your chance.
Kean University Teacher of the Year Robin Landa has cleverly disguised an entire
college-level course on drawing in this fun, hands-on, begging-to-be-drawn-in
sketchbook. Even if you’re one of the four people on this planet who have neverpicked up a pencil before, you will learn how to transform your doodles into realistic
drawings that actually resemble what you’re picturing in your head.
In this book, you will learn how to use all of the formal elements of drawing—line, shape, value, color,
pattern, and texture—to create well-composed still lifes, landscapes, human figures, and faces.
Keep your pencils handy while you’re reading because you’re going to get plenty of drawing breaks—
and you can do most of them right in the book while the techniques are fresh in your mind. To keep you
inspired, Landa breaks up the step-by-step instruction with drawing suggestions and examples from ahost of creative contributors including designers Stefan G. Bucher and Jennifer Sterling, artist Greg Leshé,
illustrator Mary Ann Smith, animator Hsinping Pan, and more.
Robin Landa, Distinguished Professor in the Robert Busch School of Design at Kean University,
draws, designs, and has written 21 books about art, design, creativity, advertising, and branding.
Robin’s books include the bestseller Graphic Design Solutions (now in its 5th edition); Build YourOwn Brand: Strategies, Prompts and Exercises for Marketing Yourself; and Take A Line For A Walk:
A Creativity Journal. To connect online, please visit robinlandabooks.com.

“

Once upon a time, sketching was part of every educated person’s schooling.

DRAW! introduces this wonderful technique for visual thinking to anyone
who wants to illustrate ideas and images on paper or digital pad.
— Stephanie Knopp, Department Chairperson,
Tyler School of Art, Temple University“”

With DRAW! Landa has done it again:

created a book that is educational, entertaining, and interactive all at once.
A must-have for the artist in all of us.

facebook.com/PeachpitCreativeLearning@peachpit

LEVEL: Beginning / Intermediate
CATEGORY: Design / Drawing

US $24.99 CAN $25.99
ISBN-13: 978-0-321-94050-6
ISBN-10:0-321-94050-4

COVERS: Drawing Fundamentals
COVER DESIGN: Denise Anderson and Laura Menza
COVER ILLUSTRATION: Mitzie Testani and Robin Landa
www.peachpit.com

AUTHOR SKETCH: Robin Landa

9780321 940506

5 2 4 9 9

DRAW! LANDA”— Steven Brower, Designer, Author, Educator, and Director of the“Get Your Masters with the Masters” MFA program, Marywood University

THE GUIDED SKETCHBOOK THAT TEACHES YOU HOW TO

THE GUIDED SKETCHBOOK THAT TEACHES YOU HOW TO DRAW!

The guided sketchbook that teaches you how to DRAW!
Robin Landa
Peachpit Press

Find us on the Web at:

Notice of Liability

www.peachpit.com

The information in this book is distributedon an “As Is” basis without warranty.

To report errors, please send a note to:

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to any person or entity with respect to

Education.

any loss or damage caused or alleged tobe caused directly or indirectly by the

Copyright © 2014 by Robin Landa

instructions contained in this book orby the computer software and hardware

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products described in it.

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appear as requested by the owner of

Cover Illustration: MItzie Testani andthe trademark. All other product names

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book are used in editorial fashion only

and Robin Landa

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with no intention of infringement of the

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All rights reserved. No part of this bookany trade name, is intended to convey

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information on getting permission

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for reprints and excerpts, contact
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987654321
Printed and bound in the United Statesof America

Dedication
For my darling daughter, Hayley, and you, dear Reader. I hope you fallin love with drawing.

Acknowledgements
I am grateful to the following distinguished people who contributed tothis book and your drawing experience:
Polly Apfelbaum

Glenn Griffin

Hsinping Pan

April AllenJames Gulliver
Hancock

Shell Redfern

Roberto Bertoia
Liz Blazer
Robert Brinkerhoff
Janna Brower
Stefan G. Bucher
Michael Cho
Lester Cohen
Lyman Dally
Jim Dawkins
Allan Drummond
Jonathan KYLE
FarmerRose Gonnella

Jessica Helfand
Alexander Isley
Kristina Junkroft
Nancy Lampert
Lorin Latarro
Greg Leshé
Laura Letinsky
Ruth Lingford
Kendra Meyer
Denyse Mitterhofer
Barbara Nessim
Josh Owen

Diamond Rivera
Ted RoseMark Romanoski
James Romberger
Henry Sene Yee
Mary Ann Smith
Roberta Smith
Jennifer Sterling
Jessica Stockholder
Yoom Thawilvejakul
Frank Viva
Ellen Yi-Luen Do

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the guided sketchbook that teaches you how to draw!

I extend an extra thanks to the visual artists who contributed marvelous drawings to this book: Liz Blazer, Stefan G. Bucher, Lyman Dally,
Jonathan KYLE Farmer, Rose Gonnella, Greg Leshé, Denyse Mitterhofer,
Hsinping Pan, Diamond Rivera, Mark Romanoski, Mary Ann Smith,Jennifer Sterling, and Yoom Thawilvejakul.
Nikki McDonald is the kind of editor every author hopes for—thoughtful, super-smart, and helpful. I am grateful to her for believing
in this project. My thanks to the good folks at Peachpit Press: Cathy
Lane, Charlene Charles Will, Becky Winter, and Danielle Foster.
Great thanks to my stellar design, illustration, and production team:
Denise Anderson, Dawnmarie McDermid, Laura Menza, Denyse
Mitterhofer, and Mitzie Testani.
For their support of this project at Kean University, I respectfully thankDr. Dawood Farahi, President; Dr. Jeffrey Toney, Provost; Dr. George
Arasimowicz, Dean of the College of Visual and Performing Arts; Prof.
Rose Gonnella, Executive Director of the Robert Busch School of
Design; Dr. Susan Gannon and the Office of Research and Sponsored
Programs; my colleagues; and the wonderful Kean University RobertBusch School of Design alumni and students.
For their help and support, I thank Ryan Daniel Beck, Steven Brower,
Paul Doto, Samantha Gniazdowski, Stephanie Knopp, Martin Holloway,
Carlos Alberto Hernandez Malagon, Jayme Kilsby, Margrethe Lauber,
Melissa LoCasio, Jason Ortenberg, Robynne Raye, Deborah Rivera,
Karen Sonet Rosenthal, Ria Venturina, and the Clifton Benevento
Gallery. Loving thanks to Denise Anderson, Paula Bosco, and myhusband, Harry Gruenspan.
But most of all, I am indebted to my beloved daughter and thoughtful
reader, Hayley, who carefully edited my manuscript and created wonderful drawings based on it.

“Drawing may be the most intimate and honest of all art mediums. Its
lightweight materials enable artists to work almost anywhere andoften give their efforts a truth-telling transparency that exposes thevery nerve endings of their talents. Sometimes drawings function
almost as a kind of signature, distilling an artist’s sensibility to its
essence. Sometimes they express gifts visible in no other medium.”—Roberta Smith, Co-Chief Art Critic, The New York Timesvi

the guided sketchbook that teaches you how to draw!

Table of Contents
Foreword: Essential Materials & Tools, viii
Drawing by: Elizabeth Blazer, xii		Introduction, xiii
Why People Draw, xiii

How to Draw a Form, 54

B.E.S.T. Practice, xiv

How to Draw Graphic Space, 57

Draw! Checklist, xv

How to Draw Spatial
Relationships, 60

Drawing by: Diamond Rivera, xvi

1

3 Compose!, 53

Principles of Composition, 60
Visual Thinking, 1

Drawing Prompts, 61

Think About the Page, 1

Drawing by: Stefan G. Bucher, 72

Drawing Prompts, 5
About Composition, 6
The Picture Plane, 8
Observing Visual Relationships, 9Drawing by: Hsinping Pan, 22

2 The Formal Elements ofDrawing, 23

4 Just Draw with Lines!, 73
Start by Scribbling, 74
Drawing Prompts, 76
Drawing by: Jonathan KYLE
Farmer, 96

5 Shape, Plane, Volume, andPerspective, 89

Line, 23

Shape, 89

Drawing Prompts, 25

Plane and Volume, 90

Shape, 28

Drawing Prompts, 92

Value, 29

Perspective, 102

Color, 42

Drawing by: Mark Romanoski, 106

Texture, 42
Pattern, 42
Drawing by: Yoom Thawilvejakul, 52

6 Still Life and Landscape, 107
Still Life, 108
Landscape, 108
Drawing Prompts, 109
Drawing by: Rose Gonnella, 132

Table of Contents

7 The Human Figure and Face, 133
The Human Figure, 134
The Human Face, 135
Drawing Prompts, 136
Drawing by: Mary Ann Smith, 161
Drawing by: Lyman Dally, 162

8 Experimentation, 163
Drawing Prompts, 165
Drawing by: Jennifer Sterling, 180

9 Creative Jolts, 181
Drawing Prompts, 182
Drawing by: Greg Leshé, 198
Drawing by: Denyse Mitterhofer, 199
		Glossary, 200		Index, 203

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Essential Materials
and Tools
It’s time to gear up. You’ll need most of the following tools to do theexercises in this book.

Analog Tools
Paper
It’s OK to draw in this book. I want you to! But to practice you should have additional drawing paper. Most
drawing paper will do for beginners, such as a drawing padof (acid-free) paper that takes pen and ink, pencil, crayon,
charcoal, light ink washes, and markers. A handy size for mostsubjects (and laps) is 11x14– or 14x17–inches.
Or go with graph paper for use with pencil or marker, which provides a
modular grid for visual measurement.
A couple of the prompts in this book call for heavier paper or art
board, such as bristol board, which is a lightweight board with twoworking surfaces, front and back. Other prompts call for tan or graytoned paper, which you can purchase ready-made or
make yourself. Using a big brush, you can hand-tone
paper with cold black coffee, cold tea, or thinned ink
or water-based paint.

Drawing board
You can place your sketchbook on a table or on
your lap when drawing, but you may prefer to use
a drawing board. Inexpensive Masonite sketchpad
boards afford a sturdy sketching surface. But sucha board is optional.

Pencils
Pencils are available in varieties that range from very soft (8B)
to extra hard (6H). Soft graphite pencils make darker marks and are
great for quick sketching. Harder pencils retain a sharp point and makelighter lines; they’re good for detail work and straight lines.

Essential Materials and Tools

Get these: 6B; 2B; B; H or F; and 2H. (When I don’t specify which pencil
to use, try several to learn what each can do and which you prefer.)

Pencil sharpener
A hand-held, all-metal sharpener for standard size pencils(8 mm) works well for sharpening artist’s pencils.

Cylindrical charcoal sticks
Vine and willow charcoal sticks are good drawing tools for rapid
visualization and creating broad areas of tone, and they are easily
removed with a kneaded eraser. Some artists prefer compressedcharcoal for its strength. Charcoal is inexpensive so you canexperiment with different kinds. But you’ll
need to spray them with a nontoxic fixative
for permanence (see next page).

Black and White Conté crayon
Conté crayons are made from a blend of natural pigments, kaolin clay,
and graphite, and are used for rapid sketching as well as shading on avariety of paper surfaces. These crayons are popular drawing implements. You can sharpen the crayon’s tip to a chisel point (using asandblock) for detailed work, or use its blunt tip or its broad side.

Erasers
White plastic eraser
These erasers remove graphite marks cleanly
and completely from paper, and they are myrecommendation for working with pencil.
Kneaded rubber eraser
These knead into any shape, erase marks fairly cleanly, and pick up
residue. They self-clean when kneaded and are excellent for use withpencil, vine, and willow charcoal.
Pink Pearl eraser
Soft and pliable, this eraser removes graphite marks and has beveledends for better control.
Gum eraser
This is an all-purpose eraser, but it leaves a good deal of residue.

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Markers
Many visual artists favor fine-point black markers (nontoxic) as
sketching or drawing tools. Experiment with different brands; somehave less drag than others. Markers are not easily erased. Consider
their marks permanent.
Wide-nib black markers (nontoxic) are good for experimenting anddrawing boldly as well as for fill-in work.
Nontoxic markers are available in packs of assorted colors in bothfine-point tip and wide-nib. An inexpensive small assortment is fine forworking in this book. Or you may prefer student-grade colored pencils.

Nontoxic workable fixative
This variety of fixative is workable (you can continue drawing on topof it after applying it) and nontoxic; SpectraFix Natural Casein SprayFixative brand is one example. Fixative protects your work. Even
if you use a nontoxic fixative, be sure to use it in a well-ventilatedroom or outside.

Black India ink
Black India ink is highly pigmented, opaque permanent ink
that can be diluted with water and used with most brushes.
It’s good for wash drawings and drawing experiments. For wet
drawing media, I recommend it over black acrylic paint.

Black and white acrylic paint and acrylic medium
Acrylic paints are water-based, fast drying, and diluted with wateror acrylic medium, which lengthens drying time and increases flow.
(For the exercises in this book, acrylic medium is optional; you candilute acrylic paint with water or use India ink instead.)

Brushes
It’s good to have a round, pointed brush as well as a flatbrush. Sizes of brush vary by manufacturer. (Avoid
small brushes, which encourage drawing from yourwrist rather than your arm.) Artist-grade brushes
can be costly; student-grade brushes arefine for learning. (If you have old, battered
brushes, those can be used, too, and are
excellent for experimentation.)

Essential Materials and Tools

Drawing aids (optional)
Viewfinder
A viewfinder is an artist’s tool—a clear, lightweightplastic grid window for visualizing compositions inthirds or other modular unit grids. It allows you toisolate a section of a scene, or separate a scene or space into modules,
which helps you determine where elements fall on the page. You canmake a viewfinder with clear, hard plastic and a dry erase marker orpurchase a readymade one. One brand is the QuicKomp Artist’s Drawing Tool, whose side also can be used as a straightedge.
Rule of Thirds grid
The Rule of Thirds is an asymmetrical compositional plastic grid thatyou can use as a viewfinder to aid the positioning of a focal point in
the composition. You’ll learn more about it in Chapter 1. You can purchase this or make one by ruling the grid onto clear, hard plastic.
Four-quadrant grid
A four-quadrant modular grid viewfinder, made of plastic or heavy
acetate, allows you divide what you see into manageable, smallerparts. You can purchase this or make one by ruling the grid onto clear,
hard plastic.
Wooden artist’s modelThis is a wooden, fully jointed and proportioned figure (available invarious sizes), that you can pose to help you visualize form.

Digital Media
Digital pens and tablets
Some digital pens and tablets emulate the feeling of drawing on
paper. Purchase the largest tablet you can afford. Some people are
comfortable drawing with a mouse or trackpad, but digital pens
and tablets offer better drawing experiences than either ofthese options.
Always check software needs and specifications before purchase of this equipment.
Pen-on-screen
Some digital pens allow you to draw directlyon the surface of a high-performance LCD display.

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Elizabeth Blazer{ animator , designer , http : // www . lizblazer . com /}“Draw yourself doing the impossible.”Introduction

Introduction
Why People Draw
Drawing makes your brain happy.
When you draw, you are using multiple brain regions. Your frontal lobe
kicks into action providing reasoning, planning, movement, emotions,and problem solving. Your parietal lobe provides movement and orientation, recognition, perception of stimuli; your occipital lobe delivers
visual processing; your temporal lobe, perception and memory; andyour cerebellum, additional movement.
When you draw, you are concentrating, allowing the rewarding neurotransmitter dopamine to flow. Some people report feelings of calm.
Others say drawing allows them to keenly focus.
Drawing entertains many of us.
Drawing is a way to make sense of one’s self in the world, a way torelate to others and to explore one’s own identity. It allows you to
explore what you see in the visible world and interpret what you see.
Drawing is a way to visually communicate ideas and feelings.
Drawing visually records people, places, things, memories, and events.
Drawing is a form of creative self-expression.
Drawing is visual thinking—a cognitive way to explore and understandideas and experiences.
Drawing from observation entails interpreting and visualizing what you
see. Or you might visualize what you think in a conceptual drawing, or
you can visualize what you imagine.
As a child, tracing your hand was a magical way to replicate your hand.
Instinctively you knew the drawing was a record of your existence.
Now, drawing can be anything you desire: naturalistic, realistic, stylized,
abstract, nonobjective, whimsical, satirical, flat, illusionistic, textural,colorful, expressionistic—anything.

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This book introduces drawing topics in a logical way, allowing you tobuild technical and compositional skills and comprehension. Sometechniques have comprehensive step-by-step instructions. Some
instructions are short prompts that cue a creative action. Highly
esteemed artists, designers, illustrators, architects, filmmakers, animators, cartoonists, educators, and other creative professionals
contributed many of the prompts in this book.
There are many ways to draw. Portraying the world as we see it is only
one way to visualize. This guided sketchbook will teach you how todraw what you see as well as encourage you to draw conceptually andexperiment. So make your brain happy—draw!

B.E.S.T. Practice
When drawing, it’s B.E.S.T. to:
Be patient. Breathe. Relax and enjoy yourself. Learning to draw
takes time.
Erase. Feel free to make mistakes. All visual artists do.
Stay open to experimentation, which expands your vision anddrawing vocabulary.
Toss out preconceived notions. Enter this experience freshly.

More Best Practice Tips
to Remember• Try to use “gist” thinking, or big-picture thinking, to think about thewhole rather than parts. For example, when drawing a still life, don’t
render one object and then move on to the next. Rather, work theentire composition at the same time, cultivating spatial relationships.
• Play!
• Observe mindfully.
• Evaluate spatial relationships. Pay as much attention to the interstices—the spaces between forms—as to the forms themselves.
Imagine that between each form in your drawing there is a stretchy
band that creates visual tension.

Introduction

Draw! Checklist
Have You S.E.E.N. It?
S = Spatial relationships. Consider the spaces between forms as muchas the forms themselves.
E = Edges. Consider all drawn elements in response to the format’s
edges.
E = Emphasis. Consider emphasizing some elements and deemphasizing others. Create a focal point.
N = Negative shapes/space. Consider all negative space.

❒

Does the page’s orientation best suit the direction or emphasis ofyour subject matter?

❒

What kind of graphic or pictorial space do you want to create?
(Flat or illusory? Near or far?)❒Have you created a focal point?

❒

Have you arranged the composition to guide the viewer throughthe pictorial space?

❒

Have you created a point of entry into the composition?

❒

Have you evaluated spatial relationships?

❒

Did you consider the negative shapes?

❒

Is the composition balanced? (If not, what expressive purpose
does imbalance serve?)❒

Have you drawn with as much specificity to each shape or form
as possible?

❒

Have you used tools to their best advantage?

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the guided sketchbook that teaches you how to draw!

Diamond Rivera{ artist }“When starting off with an idea and a blank page you don’t need to tell
every inch of the story. You need to include enough detail to allow theviewer to get an idea of what is going on.
“You can let them fill in some blanks, too, which will keep the audienceengaged for a longer period of time. And it’s OK if not everyone walks
away with the same story.
“Crop your drawing to give it an interesting perspective.”

Just Draw with Lines!
Facing an empty page can be daunting, even for experienced visual
artists. Artist James Romberger explains how one master cartoonist
felt about the blank page.
“Mort Meskin [Golden Age comic book artist] was known to face anempty page with considerable trepidation, staring at it for hours ina total block. Eventually his studio mates figured out to go over andscribble a few random lines on his page, which he was then able tobegin turning into a composition.
“According to Alex Toth [American comic book artist and animation
designer], later in his career Meskin would shade the entire page withthe flat side of a pencil lead, then begin to pick out white areas here
and there with an eraser—in this way he was able to avoid the creative
blocks that stymied his youth.”This chapter is full of ideas that will help you to get past any trepidation and just start drawing.

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the guided sketchbook that teaches you how to draw!

Start by Scribbling
Part 1. Find a piece of scrap paper. Or if you have a drawing tablet, usethat. Start scribbling with abandon (try really hard if you’re adverse tobeing messy or unrestricted). Be as unconstrained by preconceptions
about making marks as you can. Scribble over scribbles, making someareas darker and denser than others. Fill the scrap of paper or digital
page without concern about representing any person, place, or object.
Critique: Did you use your wrist? Was your arm resting on a table?
Do the scribbles drawn over scribbles look a bit like atmosphere? Did
you create the illusion of spatial depth? Did you touch the edges of the
page? Does the page look boundless?

Part 2. Find as big a piece of paper or substrate as you can, for example,
a sheet of newsprint paper, an actual spread from a printed newspaper,a couple of paper towels, or the side of a big cardboard carton.
Put the substrate on the floor or on a table surface. Scribble. But thistime, use your whole arm to make the marks. It’s best if you standwhile you do this. Use arm movements, not just wrist movements, tomake marks.
As in Step 1, fill the entire surface without concern about representation or making anything other than marks.
Critique: Did using your arm feel differently than using your wrist to
draw? Did the scribbles look different?

chapter 4 : Just Draw with Lines!

Line Palette: Assemble an assortment of pencils in varying degrees ofhardness, for example, a 6B, 2B, and an H; a stick of charcoal; any kindof crayon; a fine-point marker; a brush plus ink or paint; an unconventional implement, such as a cotton swab, rosebud, or twig; ink or
watered-down paint; and paper or this journal.
A line can have a specific quality—it can be thick or thin, solid or broken, continuous or noncontinuous (implied), changeless or varying,smooth or uneven, and so on. Using each drawing implement, sweep
your hand across the page twice. The first swipe should be light andfast. The second swipe should be more controlled, pressing with amoderate amount of pressure.
Compare the marks. Can you match each mark with an emotion?
An actual texture?
Draw a light, long line. Then draw a scratchy long line.
Determine several types of lines that you can draw with the same pencil;
for example, a light, delicate line; an uneven line; a rough line; a smudged
or messy line; a dark, thicker line; a staggered line; and so on.

Use a tool to its full potential but never force a tool
to make a mark it wasn’t meant to produce. Use adrawing implement for its innate quality. If you wanta dark line, for instance, use a soft pencil or anotherappropriate tool. (Some artists and designers deliberately force a tool to make unnatural marks, but they
have some expressive intention in mind.)

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Create a palette of lines (an assorted range) using more than one
drawing tool. For example, use an H pencil and a Conté crayon.
Look out of a window. Use your palette of lines to draw what you see,being mindful of how each line quality contributes to the overall emotional tone or communication.

chapter 4 : Just Draw with Lines!

Continuous Contour: Imagine a leaf or daisy. Or find a leaf or flower as
a visual reference. Using an unbroken line, draw the outer shape of theleaf or flower so that it fills the entire page. Don’t worry about drawing
details but do carefully examine the outer shape of the object, drawing with as much specificity to the shape as possible. Go as near to theedges of the page as possible. Once you start drawing, keep your pencil moving on the page. Don’t lift your hand to stop and start. (Search
online to see American artist Ellsworth Kelly’s plant drawings.)

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Continuous Line: The best tool for this project is a soft pencil, fine line
marker, digital pen, or your finger on a touchscreen. Your subject matter will be a room space, still life, figure in space, or yourself.
Once you start drawing a line, your drawing tool maintains contact
with the page, producing a continuous (unbroken) line.
Think of this exercise as if you were taking a line for a walk throughgraphic space. Use the line to describe whatever you are looking at, if
you have a life reference. You can use a continuous line to draw fromyour imagination, as well. To describe enclosed shapes, simply overlap
the line. The objects and spaces will appear to look transparent.

chapter 4 : Just Draw with Lines!

Blind Contour: Pretend you are drawing a big circle on this page, acircle that almost touches the boundaries of the page, without looking
at the page.
Now, actually draw the contour of an object or form that has an interesting silhouette, such as a crab or shoe, but do not look at the page—look
only at the subject matter. Make it as big as possible, feeling for theboundaries of the page as you draw. Don’t be concerned with the end
result as much as with experiencing this blind contour process.

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Quick Contour: Ask a friend to pose for you. Use a single line to record
the contour of the figure. The goal is to quickly record a general
gesture. Study the figure for its general shape, drawing as rapidly as
possible (about 15 to 60 seconds). Repeat this several times. Repeat it
again, allotting up to two minutes. You may need more paper. (If you
don’t have a friend around, use an object or animal as reference forthese rapid sketches.)chapter 4 : Just Draw with Lines!

Cross Contour: Look at a spherical object or form, such as a coffee mug,a pear, or your hand. Draw the form’s outline and add cross-contour
lines (parallel lines that curve to describe the form’s rounded volume).

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Flowing Line: Start drawing a line at the top-left corner of the page.
Allow yourself to draw whatever comes to mind—a spiral, a vine, aflower, a figure, or a car. Use a flowing, lyrical line to create the form.
(Search online to see drawings by French artist Henri Matisse.)

chapter 4 : Just Draw with Lines!

Distressed Line: Using lines made with charcoal or a very soft pencil,
draw something that upsets you. Smudge and scrape the lines.

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Implied Line: Draw a car using broken lines that describe enough forthe viewer to understand the shape without closing or completingthe lines.

chapter 4 : Just Draw with Lines!

Organizational Lines: Using a soft pencil, draw a still life, interior space,or cityscape. Based on careful observations of all major vertical andhorizontal emphases within the subject matter, begin by drawing
horizonal and vertical lines that will serve to build the composition, tocreate structural axes as well as describe forms.
Organizational lines display and emphasize the structural axes of acomposition and link forms in space. Simultaneously, the lines organize
the pictorial space, create the illusion of spacial depth through overlapping, and define objects.
After establishing the relative heights of forms using horizontal andvertical lines, extend those lines further beyond the forms they describe
into adjacent forms, as if the objects were transparent. The lines also
extend into the surrounding pictorial space, as if the lines were a beam
searching the pictorial space. For example, if you’re drawing a chair ina room space, the lines you draw to define the chair also act to partially define the pictorial space of the room, the wall and floor, and any
objects next to or overlapping the chair.
You can use sighting—holding up your pencil in front of you andusing it as a measuring tool to compare relative heights and widthsof objects in your subject matter—to determine the relative heights,
widths, and angles.

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Jonathan KYLE Farmer, ma(rca){ associate professor of fashion ,parsons the new school for design }chapter 4 : Just Draw with Lines!

FASHION AND TRANSLATION:
Describe it, draw it.
Translate it, draw it.
The description:
WHAT IS SH.I.RT?
It is a white button-up shirt with the placket set for a male wearer.
The collar is medium spread with a matching thread topstitch.
The buttons are made of mother-of-pearl.
The side seams are flat-felled and cause a slight puckering in theseams from the tight stitches being laundered but not ironed.
There is a breast pocket on the left-hand side. It is the traditional
shape, a square with a V-shape at the bottom.
In addition to the horizontal topstitch about 1.25 inches from the top of
the pocket, it is also topstitched into two sections.
The topstitch is about an inch from the center side of the pocket, giving it a small section that a pen or pencil would easily slip into.
The sleeve is a one-piece sleeve with a barrel cuff.
The cuff has a single button and an angled cutout on the overlap.
The hem of the shirt is long enough to stay inside the pants when
tucked in and has a slight curve on the sides.
The yoke of the shirt has no topstitch and there is a fabric-hanging
loop centered at the back base of the yoke.
DRAW IT:87

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the guided sketchbook that teaches you how to draw!

A translation:
English ➞ Greek ➞ German ➞ Arabic ➞ Chinese ➞ English
His is a button on a white shirt placket male users.
Collar is a match for the string before the needle deployment.
Mother-of-pearl buttons.
Side of the sewing at seams and a slight wrinkle layers close to themoney-laundering networks, but not normal.
There is a pocket on the left.
This is the traditional form of the letter box at the end of the horizontal
seam in addition to the constraints 1.25 inches from the top of thepocket all the parts.
At the top about an inch from center to his side pocket a small part,pen, or pencil can be easily changed.
Cover part of the sleeve and the sleeve of the barrel.
Rotator cuff contains a button and a corner piece of the paint. In thehem of the shirt long enough to stay in his pants, when they came to aslight curve on the side.
Yoke shirt sewing machines and fabric with the highest hanging ring in
the middle of the rear base of the yoke.”
DRAW IT:

203

Index

Index
A
Abakanowicz, Magdalena, 173
abstract drawings, 165
abstract shapes, 90
achromatic colors, 29
acrylic paints, x
active figures, 150
Allen, April D., 98, 131
analog tools, viii–xi
animal hybrid drawing, 190
Aoki, Ryoko, 177
Apfelbaum, Polly, 20
art board, viii
artist-grade brushes, x
asymmetrical compositions, 63, 119, 121
a-tectonic compositions, 3
atmosphere, illusion of, 127
automatism, 170

B
background, 8–9, 91
balance, 60
Baroque art, 60, 91
Bertoia, Roberto, 186
B.E.S.T. acronym, xiv
best practice tips, xiv
big-picture thinking, xiv
The Big N (Held), 32
bird’s-eye view, 102
Birth of Fly (Abakanowicz), 173
black color, 29
black India ink, x
black markers, x
Blazer, Elizabeth, xii, 107, 193
blind contour, 79
Bonheur, Rosa, 118
Braque, Georges, 167
Brinkerhoff, Robert, 178
bristol board, viii
broken lines, 25
Brower, Janna, 144
Brunelleschi, Filippo, 15
brushes, x

Bucher, Stefan G., 72
bug’s-eye view, 102
Byzantine art, 148C
Cambiaso, Luca, 56, 141
Caravaggio, 113
Cassatt, Mary, 124
Cézanne, Paul, 108
Chan, Paul, 174
charcoal drawing, 173
charcoal rubbing, 188
charcoal sticks, ix
checklist for drawing, xv
chiaroscuro, 113–115
Cho, Michael, 192
chroma, 42
Cimbalo, Robert, 19
cityscapes. See landscapesclosed compositions, 3–4, 5
collages, 179, 187, 188colorsreading, 15
terms for describing, 42
values of, 29, 42
composition, 6, 60–71
asymmetrical, 63, 119, 121
basic principles of, 60
drawing exercises on, 61–66, 68–71
open vs. closed, 3–4
Rule of Thirds, 8, 119
symmetrical, 63
compositional flow, 67, 68
Conté crayons, ix
continuous contour, 77
continuous line, 78, 159
contours
blind, 79
continuous, 77
cross, 81
quick, 80
contrapposto stance, 140

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the guided sketchbook that teaches you how to draw!

contrastemphasis through, 70
value, 29, 38–41
crayons, Conté, ix
creative jolts, 181–199
cross-contour lines, 81
cubes, drawing, 55, 100
cubic shapes, 141
Cubist artists, 167
cut-paper portraits, 160
cylinders, 55

D
Dally, Lyman, 162
Dancers (Matisse), 150
Dawkins, Jim, 50, 197
de La Tour, Georges, 113
de Silhouette, Étienne, 160
decalomania, 171
digital media, xi
distressed lines, 83
Do, Ellen Yi-Luen, 122doodling, 49
drawing
best practices for, xiv
checklist for, xv
reasons for, xiii
drawing aids, xi
drawing board, viii
drawing paper, viii
dreams, drawing, 175
Drummond, Allan, 182

E
Egg, The (Redon), 169
emotions
assigning to shapes, 44
expressing ideas or, 166
emphasis, 60, 69–70
equivocal space, 91
erasers, ix
experimentation, 163–180
eyeballing, 16

Fface, human. See human face
Farmer, Jonathan KYLE, 86
figure, human. See human figure
figure/ground relationship, 28–29
fixative, workable, xflowing lines, 82
focal points, 66, 70
foreground, 8–9, 91
foreshortening, 12
forms, drawing, 54–56
four-quadrant grid, xi
fractal patterns, 171
fractured space, 16
free association, 177

G
geometric shapes, 90“gist” thinking, xiv
golden section, 8
Gonnella, Rose, 108, 132
graph paper, viii
graphic space, 3, 57–59, 91
grattage technique, 172
gray colors, 29, 99
Griffin, Glenn, 176
ground plane, 120, 123
gum erasers, ix

Hhalf drop repeats, 42
Hancock, James Gulliver, 21
hand drawings, 182
happy ending, 197
Held, Al, 32
Helfand, Jessica, 187
hierarchy, visual, 65high contrast, 29
horizon line, 15, 57, 102
Horse Fair, The (Bonheur), 118
hue, 42human face, 135
continuous line drawing of, 159
distance between features of, 154–155
exercises on drawing, 154–160

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Index

lighting technique for, 158
self-portraits of, 156–157
wood grain suggesting, 195
human figure, 134–152
contrapposto stance, 140
drawn with shapes, 136, 138, 141
exercises on drawing, 136–152, 183
male and female, 136–139
proportions of, 134–135
rapidly sketching, 142–143
storytelling using, 152I
iconography, 108
illusion of spatial depth, 8, 15–16, 60, 102
implied lines, 25, 84
incongruity, 169
India ink, x
ink drawings, 174
intensity, 42interstices, 11
irregular shapes, 90
Isley, Alexander, 34, 188J
Junkroft, Kristina, 191

K
Kandinsky, Vasily, 166
Kelly, Ellsworth, 77
kneaded rubber erasers, ix

L
Lampert, Nancy, 130
landscapes, 107, 108
drawing in the open air, 132
environments used as, 108
exercises on drawing, 116–131
Rule of Thirds used for, 119vertical vs. horizontal, 116–118
Lapolla, Kendra, 194
Latarro, Lorin, 36
Leshé, Greg, 164, 198
Letinsky, Laura, 189
light and shadow, 15

lines, 23–27, 73–88
continuous, 78
contour, 77, 79–81
distressed, 83
exercises on drawing, 25–27, 76–84
flowing, 82
implied, 84
organizational, 85
palettes of, 75, 76
qualities of, 24, 75
Lingford, Ruth, 175
low contrast, 29
luminosity, 29

M
Magritte, René, 169
Man with a Hat and a Violin (Picasso), 165
markers, black, xmaterials and tools, viii–xi
Matisse, Henri, 82, 150
memory, drawing from, 21, 151
Meskin, Mort, 73
Metropolitan Museum website, 118, 165
micro/macro drawings, 193
middle ground, 8–9, 91
Ming dynasty portraiture, 148
Mitterhofer, Denyse, 7, 199
mixed-media drawing, 179
modeling with tone, 91
mood sketch, 161
Morandi, Giorgio, 108
motifs, repeating, 42–43
movement, illusion of, 118
Museum of Modern Art (MoMA) website, 32, 169,
173, 177
My baby’s been through it all (Chan), 174

N“N” drawing exercise, 32
Nasty Nets (Chan), 174
natural environment, 132
negative shapes, 28, 32, 35, 97, 98
Nessim, Barbara, 45
neutral colors, 29
nonobjective drawings, 166
nonobjective shapes, 90

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the guided sketchbook that teaches you how to draw!

nontoxic workable fixative, x
noun/adjective drawings, 189O
observing visual relationships, 12
O’Keefe, Georgia, 108
one-point perspective, 104
open-air drawing, 132
open compositions, 3–4, 5
opposite-hand drawing, 19organic shapes, 90
organizational lines, 85orientation of pages, 2
overlaps, 11, 13
Owen, Josh, 185

P
page orientation, 2paints, acrylic, xPan, Hsinping, 22
paper, drawing, viii
past/future progression, 196
patterns
description of, 42–43
exercises on drawing, 48–51
pencil sharpener, ix
pencils, viii–ix
pens, digital, xi
personal history, 177
perspective, 15–16, 102–105
drawing exercise on, 103
one- and two-point, 104–105
photosdrawing objects from, 192
shape-sketching from, 162
Picasso, Pablo, 165, 167
pictorial narrative, 178
pictorial space, 3
picture plane, 8–9, 60, 91
pink pearl erasers, ix
plane, 90
pochade, 153
point of view, 15, 102
portraits
cut-paper silhouette, 160
Ming dynasty genre of, 148

self-portraits as, 156–157
See also human face
proportions, human, 134–135
pyramids, 55, 122Q
quick contour, 80
QuicKomp Artist’s Drawing Tool, xi

R
Rain, Steam, and Speed (Turner), 126
Redfern, Shell, 47, 190
Redon, Odilon, 169
reflection patterns, 43Rembrandt van Rijn, 113
Renaissance art, 60, 91
repetition, 42–43
representational shapes, 90
rhythm, 60
Rivera, Diamond, xvi
Romanoski, Mark, 106, 195
Romberger, James, 19, 73
rooms, how to draw, 59
Rose, Ted, 196
rotation patterns, 43
rubbings, charcoal, 188
Rule of Thirds, 6–8
asymmetrical compositions and, 119
viewfinder grid for, xi, 6

S
saturation, 42
scribbling, 74–75
S-curve flow, 67, 68, 120
S.E.E.N. acronym, xv
self-portraits, 135, 156–157
shadow and light, 15
shapes, 28–29, 89–90
assigning emotions to, 44
exercises on drawing, 30–33, 35, 37, 92–97
figure/ground relationship and, 28–29
human figure drawn with, 136, 138, 141
negative, 28, 32, 35, 97, 98
types of, 90
shape-sketching from photos, 162

207

Index

shirt-drawing exercise, 87–88
sighting, 10–11, 85, 155
silhouettes, 94, 160
sketchingmood self-portrait, 161
shapes from photos, 162
Smith, Mary Ann, 161
solid lines, 25
space, graphic, 3, 57–59
spatial relationships, xiv, 60
SpectraFix fixative, xspheres, 55
stance, contrapposto, 140
Sterling, Jennifer, 180
stick figures, 149
still life, 107, 108
chiaroscuro technique for, 113–115
exercises on drawing, 109–115
Stockholder, Jessica, 184
storytelling, 152
student-grade brushes, x
superhero design, 144
surreal drawings, 52, 128
sweeping lines, 25
symmetrical compositions, 63Ttablets, digital, xi
tactile textures, 42tectonic compositions, 3
text-drawing exercise, 189
texturesdescription of, 42
exercises on drawing, 46–47
Thawilvejakul, Yoom, 52
three-dimensional space, 15–16, 17
thumbprint figure, 183
tilted plane, 58
toned paper, viii, 114
tools
analog, viii–xi
digital, xi
Toth, Alex, 73
Turner, J. M. W., 126
two-point perspective, 105Uunity, 60Vvalue contrast, 29, 38–41
value scale, 99
valuescolor, 29
gray, 99
van Gogh, Vincent, 125, 181
vanishing point, 15, 102
vanitas, 108
Venturina, Ria, 107
Vermeer, Johannes, 114vertical landscapes, 116–117
viewfinders, xi, 6, 114
visual hierarchy, 65
visual reckoning, 10–11
visual relationships, 9–22
drawing exercises on, 13–14
tips on observing, 12visual textures, 42, 46–47
visual weight, 63, 64
Viva, Frank, 183
volume, 90–91

W
Walker, Kara, 160
white color, 29
white rubber erasers, ix
wooden artist’s model, xi
word-drawing exercise, 180
workable fixative, x

X“X”-drawing exercise, 33

YYee, Henry Sene, 107Z
Z-pattern flow, 67, 68, 123