There
are many ways to make a drawing... It all depends on the kind
of drawing you want to make and what works best for you. When using
any predetermined method, keep in mind that the creative spirit can be
dampened if you rely too heavily on any set of rules to do the work for
you. The nature of creativity itself, as I know it personally and by talking
with other serious artists, is a free flowing inner force without boundaries
or rules. Many of the most compelling works of art are those that dare to
think "outside of the box" and to do so in a way that makes viewers think
or feel something worthwhile.
Each method tends to determine a somewhat confined fate
for the picture.
So if you want to remain flexible and creative, don't be afraid
to abandon any method that you may confine yourself to. But if you need
help getting started or like the kind of picture that the method in
question will produce, then go for it. The grid method is good for translating pictures onto
your paper or canvas. The grid technique can help to make your destination
less complicated by slicing each part into squares. It's also a great
too for enlarging or decreasing the size of a reference picture.
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Subject
matter & Reference material
The photo I chose for the drawings
below was one that I took care in framing with my camera. When I took
the photo, I was thinking about the composition of the picture and what
angle would look the best in a work of art. I took several shots from
different angles and when they were developed, I chose the one I liked
best.
This scene in particular was from a drama set where a show was
about to begin. I went down to the first row when the set was being
rolled out and I was shooting like crazy. Many people in the audience
were looking at me and wondering. This is a side effect of being an artist.
People are going to look at you if you do strange things. But don't let
them stop you. And if it ever bothers you, remember that those who stare
and whisper may spend their money on your work that is a result of such
strangeness. So let them stare. Just be careful if you take reference photos
on others' private property. And try not to get arrested.
So anyway, without firther hub-bub, let's get started. You should
have both your reference image and your drawing destination grided. If you
have any questions about griding and how to do it, go back to the grid method
instructions.
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Materials:
"Bristol" Paper, a wide range of pencils (ex. from 4H-6B), natural gum eraser,
cloth for rubbing and blending your marks together. If you don't know what
this stuff is, any good art supply store will know, so just ask.
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Here I have
started the picture from the right side going to the left and I got messy.
If you want to keep your medium from rubbing off of the paper onto the
side of your drawing hand, you may want to start from left to right, and
of course if you're left handed, you can draw from right to left.
Start with one square and draw the outlines of the shape into the corresponding
square on your paper. Compare the closeness of the object to the
outline of the grid square it's in on all sides of the object.
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Quick tip:
Remember to take breaks when tired or frustrated. After a break, you can
see problems in a new refreshed way and you will probably notice things
you were missing before when your mind was tired and stale.
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Don't
draw too dark at first when you're still finding the right spot that the
shape goes in -inside its square. Sketch lightly until you're sure it should
be there.
Here I drew very light line drawings of shapes. Shadow and light are
two elements that make an object appear 3 dimensional. Don't think too much
about tiny details yet until the shadows and light are acknowledged. Squint
your eyes if you're having trouble so you can see the object abstractly and
simply in terms dark areas and light areas. of without detail.
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Quick tip:
Keep your reference image as close as you can to the area you're working
on so you don't have to move your head too far when transfering it to the
drawing.
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After
you are sure the shadow and light are correct and the form is where its
supposed to be inside its square, you can start adding the detail.
Take your time staring at the reference spot you're trying to draw. Study
the small shapes and textures on the surface of the object you're drawing.
Look at the cracks, tiny lines and bumps.
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Quick tip:
Try not to get oil or sweat from your fingers and hands on the paper. Oil
spots collect lead and then refuse to be erased. Wash your hands frequently
to avoid those evil oils.
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At this stage in my drawing, I
started on the large skull to the left byfilling in the overall darkness of
it. The 3 axe boys at the bottom aren't finished yet but its ok to momentarily
shift focus if you are getting bored or frustrated with the area.
Shade in the areas of darkness with your pencil and then blur and blend
the sharpness of those marks with a cloth.
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Quick tip:
your eraser is a tool just like your pencil. After creating the base darkness
of an object, dab lightly with the eraser to create highlights.
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These little guys were fun to
draw, especially the one holding the axe. The shadowy area on the right
side of its body was fun to get into. Notice how the shadows on the axe
boy's body runs in a line down the middle of his body. This is an important
thing to realize when you're learning to draw realistically. This was one
of the most important things I ever learned and I realized it by really
seeing what I was looking at.
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Quick tip:
if you find yourself getting distracted by objects in the squares other
than the one you are trying to focus on, get some sheets of paper and cover
the other square on your paper and on the image.
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The
drawing here doesn't perfectly match the photo, and that's ok. Certain objects
can afford to be played with and changed slightly. But if your aim is naturalism
and you are drawing faces, you can't afford to change it too much or the
person may end up looking deformed. I mean, when you draw a rock and move
a crack or lump a few milimeters to the left, that's ok because no rock looks
the same. But you can't do that with a person's nose or eyes!
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