Ain Workbook

ART/CREATT\rrfY
LnanNrNG DRAw very much like mastering To is your a sport or a musicalinstrument:to advance ability,you must practice,practice,practice.But in practicing,what, specifically, should you draw? This convenientworkbook containsthe answer: forty basicand new exercises that reinforce the fivebasicskillsof drawing.Eachprovides appropriatesubjectmatter,brief instruction, sample drawings,a ready-madeformat in which to draw,and helpful post-exercise pointers.In addition to portrait drawing with pencil, you will explore new subject matter-still life, landscape, imaginativedrawingmediumssuchaspen and ink, using alternative charcoal, and cont6crayon. havealready If you are taking a drawing class, receivedinstruction through a book or course,or just prefer to learn by doing, this volume of guided practicewill be a permanentrecordof your work that offersthe perfect opporrunity to hone your skills and expandyour repertoire.
litti r llillilllll
r s B N 1- 5 8 5 4 2 - 19 5 - 2
TbeIr'iew Drawing on the Right Side of the Brain Workbook
Tarcher/Penguin booksareavailable special at quantirydiscounts bulk' for ,ase forsales promotions, premiums, fund-raising, educational and needs.
ial booksor book excerptsalsocan be createdto fit specificneeds.For details,write Putnam SpecialMarkets, 36 Hudson StreegNew York, NY roor4. , Jrnruv P. Tancnrn/Penguin a memberof PenguinGroup (USA) Inc. Hudson Srreet 37y New York, NY roor4 www.penguin.com Copyright Ozciozby Betty Edwards All rights reserved.This book, or parts thereof, may not be reproduced in any form without permission.Published simultaneouslyin Canada.
Library of CongressCataloging-in-Publication Data Edwards, Betqr. The new drawing on the right sideof the brain workbook: guided pracdce in the five basicskills of drawing / Betry Edwards. P.cm' IsnNr-;8y42-r95:-z r. Drawing-Technique. I. Edwards,Becy. Drawing on the right side of the brain. II. Title. Nc73o.E34 2oo2 74t:-d,czr zoozoz8769
Cover drawing and instructional drawingsby Brian Bomeisler Book designbyJoe Molloy Typesetin MonorypeJansonand Gill Sansby Mondo Typo, Inc. Printed in Canada 16 15 14 This book is printed on acid-free paper.
Contents
Foreword List of Supplies Glossary of Terms The Exercises
vll
lx
Exerciser Exercisez Exercise3 Exercise4 Exercise5 Exercise6 Exercise7 Exercise8 Exercise9 Exercisero Exerciserr Exercise rz Exercise13
Pre-Instruction Self-Portrait Pre-Instruction Drawing of Your Hand Pre-Instruction Drawing of the Corner of a Room Warm-up and Free Drawing The "Vase/Faces" Drawing Upside-DownDrawing Pure Contour Drawing Drawing Your Hand on the PlasticPicturePlane Settinga Ground Transferring Your Hand Drawing from Picture Planeto Paper Drawing Your Hand Holding an Object Drawing a Flower Drawing an Orange
+
6 9 r3
17 27 3o
tt
36 39
+3
46 +9 tz 56 59 6z 66
Exerciser4 Exercise15 Exercise16 Exerciser7 Exerciser8 Exercise19
Drawing I eaves Using Negative Spaces Drawing a Chair in Negative Space Drawing a HouseholdObject Negative-Space Drawing of a SportsPhotograph Negative-Space Drawing of an Actual Chair Copying a Master Drawing: Man Readingtbe Bibl,e, by Vincentvan Gogh
,v
di
. -.*-**u,*=-:*dsifl
Part lll The Perception of Relationships
Exercise zo Exercise zr Exercise zz Exercise z3 Exercise z4 Exercise z5 Exercise z6 Exercisez7 Exercisez8 Exercise z9
Sightingan Open Doorway Sighting a Room Corner The Knee/Foot Drawing Sighting a Still Life of Bookson a Table A Srill Life wiih Eilipses SightingRelationships a Figure Drawing in Proportionsof the Head in Profile Copying a MasterDrawing of a ProfilePortrait Drawing a Profile Portrait Still Life with AmericanFlas
t)
7S 8r.
8+87 9t
96,
IOO
.
I OJt: ,
Part lV The Perception of Lights and Shadows
Exercise 3o Exercise 3r Exercise 3z Exercise 33 Exercise 34
Drawing an Egg Lighted from Above Charlie Chaplin in Light and Shadow Proportionsof the Head in Full-FaceView Copying a Full-FacePortrait DrawingYour Self-Portrait Light and Shadow in
ro6 r09
fiz
t6 tzo
PartV The Perception of the Gestalt
Exercise 35 Exercise 36 Exercise 37 Exercise 38 Exercise 39 Exercise 4o
Usinglnk and Brush An Urban Landscape Drawing Hatchingand Crosshatching A Figure Drawingin Crosshatch An Imaginative Drawing Based Leonardoda Vinci'sAdvice on A Four-by-FourDrawing
rz7 r30 r33 \6 r+o
r+3
r+6
r47
Some Suggestions Further Study for
Portfolio and Yideo Ordering
VI
.i
Foreword
This workbookis designed a supplement my book TheNew as to Drawing ontbeRightSide tbeBrarz.Its purposeis to provide convenient,effective of guidedpracticefor the five basicskillsof drawing.The exercises this in workbookinclude somefamiliar kindsof drawings(upside-down drawing for example)and manynew subjects practicingeachskill. For for your convenience, workbookcontainsan essential the drawingtool, a plasticPicturePlane/Viewfinder, which will help you to makedrawings that givethe illusion of beingthree-dimensional The images andscenes. workbookis portablesothat you canuseit in thoseodd momentsof useful time, suchaswhile waitingin the dentist's officeor at the airport.As you completethe exercises thesepages, will be creatinga permain you nent,bound recordof your progress drawing. in Learningto draw is very much like learninga sportor learninghow to play a musicalinstrument.Onceyou havelearnedthe fundamentals, any advance skillsis based practice, in on practice, practice. this workIn book,I will invite you to venftrreinto working with new subject matter anddrawingmediumsbeyondthosecoveredin TbeNewDrawingon the Rigltt Sideof rheBrain. The exercises this workbookarebased the five perceptual in on skills of drawing that I havefully describedin TheNewDrawingontheRightSide of theBrain.Drawing is alwaysthe sametask,alwaysrequiring the same five skillsthat,with practice, becomeintegratedinto the whole skillcalledthe "global"skill-of drawing.It is the subiects the mediums and that change. Because is true, it really doesnot matterwhat you this draw-any subject will do, and any medium will do.This is not surprising: all globalskills arecomposed basiccomponentskillsthat are of always activated when the globalskill is beingused-think of driving an automobile playingtennis. or I havefound,however, that many of my students who havelearned the basicskillsfind it difficult to choose for subjects drawing.Often,feeling the urge to draw something that catches their eye,they hesitate for fearthat the subject may be too hard to draw or that they will not have time to finish.This workbookis designed solvesuchproblemsby proto viding suitablesubjects practicingeachskill, brief instructions, for an estimate the time required(thoughthis will vary somewhat of according to your naturalpacein drawing),andsuitabledrawingpaper, with ready-
Noteto tbe reader: Youwill find moreinformationon therelationship drawingto the of brainandcreativityin my book TbeNew Drawingon RiglttSide the of the Brain,which widely available is in bookstores libraries. a and For two-hourinstructional video on the fivebasic skillsof drawingcovered in this workbook, the videosee orderinginstructions the back in pages the workbook. of
in drawnformatsandguiding crosshairs correctproportionsfor each remarks I haveaddedpost-exercise drawing.For mostof the exercises, or that provide additionalinformation,suggestions, helpful pointers. in difficulty you will experience workthat the biggest I would guess is ing throughthesepages findingthe time to draw.Telling yourself that you will draw for an hour eachday,or evenan hour eachweek,rarely works.The commitmentof eventhat much time will probablyseemtoo mode-the leftgreat.You must rememberthat your brain'slanguage brain mod-does not wantyou to draw at hemisphere, verbal-analytic it "set aside"while you aredrawing.The language all, because becomes reasons why you shouldnot draw:you modeis very goodat presenting needto pay your bills,you needto call your mother,you needto balance your checkbook, you needto tend to business. or seamlessly time passes Onceyou actuallygetinto drawing,however, what hasworkedfor me: Therefore,I will recommend andproductively. "two-minute miracle,"a techniquephysical a versionof the so-called evenwhen they do not want use therapists to enablepeopleto exercise "I to. They aretaughtto sayto themselves, don't havetime to takea walk just two minutes."Oncethey areactually right now,b:utl willwalk for and they forgettheir objections continuewalking. walking of course, Here is my versionof the two-minute miracle.Keepthis drawing Sit place,alongwith your pencilsand eraser. workbookin a convenient in hand,sayingto yourself, down for a momentandtakethe workbook just "I'm not really goingto draw now,but I'11 turn to the pageof the next Then, takethe next step:"I'm not really goingto draw,but I'll exercise." just pick up the pencil and makea few marksto startthis drawing."Then, "I'm not really goingto draw,but I'll just sketchin someof the main in edges this drawing..." andsoon.Youwill soonfind yourselfwith a passed. that completeddrawing-and unaware timehas I realizethat this may sound,well, stupid,but it doeswork.I have usingthis technique-a techniqueof (let's completedentire projects modeof the brain into letting one do crefaceit) tricking the language ativework. You may find this hard to believe,but the single most difficult and evenfor working artistsis gettingthe work problemfor art students fightingthe delayingtacticsof the verbalsystem, done.One is always the whosemantrais "Not now."At its mostextreme, resultis writer's block;a milder versionis calledprocrastination. block or artist's at for are Thesedrawingexercises designed success everystep. I know you will enjoythe process.
VIII
Supplies
in The art materialsneededfor the exercises this workbook are avaiiable in any art supply store.They can alsobe purchasedby mail orthrough the Internet, by doing a searchfor "art materials"or "art supplies." #z yellow writing pencil with an erasertop #4n drawing pencil, T\rrquoise,Faber Castell,or a similar brand
Eraser A white plasticeraser (Staedtler)
or a Pink Pearleraser
Pencilsharpener Graphite stick
#4"
z sticksof synthetic charcoal(CharKole or a similar brand) pencil #4n charcoal
Charcoal 6 sticksof natural charcoal
Conte crayons r black
r sanguine (reddishbrown)
Chalk r pale gray,or r pastel.r"rort
!
Erasable felt-tip marker
r black(Crayola,Sharpie, a similarbrand) or
lnk r smallbottle of blackIndia ink
r small bottle of brown writing ink

Brush #l or#Swatercolorbrush Alarm clock or kitchen timer Paper towels or tissues White $ping paper About 6 sheets Lightweight cardboard r piece, 8" x rott,to make a frame for the Picture Plane /Viewfinder.
IX
Glossaryof Terms
Abstract drawing.A translation into drawing of a real-life object or experience.Usually implies the isolation, emphasis,or exaggeration of some aspectof the real world. the Awareness. Consciousness; act of "taking account" of an object,person, or surroundings. Possiblesynonyms are "seeing" or "cognition." BasicUnit.A "startingshape"or "starting unit" chosen from within a composition for the purpose of maintaining correct sizerelationshipsin a drawing. The BasicUnit is always termed "one" and becomespart of a ratio, asin "r:2." Brain mode.A mental state,implying emphasison particular capabilitiesof the human brain, such aslanguage processingor visual spatial processing. Cognitiveshift.A transferenceof the predominance of one mental stateto another,e.g.,from verbal, analytic mode to visual, spatial mode, or vice versa. Composition.An ordered relationship among the parts or elementsof an artwork.In drawing the arrangement of forms and spaceswithin the format. Contour.In drawing a line that representsthe shared edgesof or shapes, shapesand spaces. A Crosshatching. seriesof intersecting setsof parallel lines used to indicate shading or volume in a drawing. Also called "hatching." Edge.In drawing, a place where two things meet (for example, where the sky meets the ground); the line of separation (called a contour) between two shapes a spaceand a shape. or Eye level.In portrait drawing the horizontal proportional line that divides the head approximately in half; the eye-level line is located at this halfway mark on the head. Foreshortening.A means of creating the illusion of projecting or receding forms on a flat surface. Format. The particular shapeof a drawing surface (rectangular, square,triangular, etc); the proportional relationshiP of the length to the width of a rectanzular surface. {-* *. \ ;
Left brain hemisphere.
Right brain hemisphere.
f mage.Verb:Tocall up in the mind a mental copy of somerhing not presentto the senses; seein to the mind's eye.Noun: Aretinal image; an optical image received by the visual sysrem and interpreted or reinterpreted by the brain. lmagination.A recombination of mental images from past experiencesinto new patterns. Intuition. Direct and apparently unmediated knowledge; a judgment, meaning, or idea that occurs to a person without any known process of reflective thinking; an idea that seemsto "come from nowhere.tt Left-handedness. About ten percent of the population prefers using the left hand for motor activities such as writing or drawing. Location of brain functions may vary in both left and right handers. Left hemisphere.The left half of the cerebrum. For most righthanded individuals, verbal functions are located in the left hemisphere. Light logic.In art, the effect caused by a light source. Light rays, falling in straight lines, can logically be expected to causerhe following: highlights, cast shadows,reflected lights, and crest shadows. L-mode.A mental stare of information processingcharacterized aslinear, verbal, analytic, and losical.
Negative spaces. The areasaround positive forms that, in drawing share edgeswith the forms. Negative spacesare bounded by the outer edgesof the format. "Interior" hegative spaces can be parts of positive forms. Pencilgrades.The grade number stamped on drawing pencils indicates the hardnessor softnessof the graphite. "g" indicates"hard;tt"B" (illogically) indicates "black" or "soft." "Hs" divides grades between hard and soft by a middle grade, thusly:8n (the hardest),6u,4u,2H, HB,2r',4r,, 6r,8a (the softest).The #z yellow writing pencil is the equivalent of the sn or, more commonly, the zn drawing pencil. Picture plane.An imaginary rransparent plane, like a framed window, that alwaysremains parallel to the verrical plane of the artist's face.The artist draws on paper what he or she sees beyond the plane asthough the view were flattened on the plane. Invenrors of photography used this concept to develop the first cameras. Realisticdrawing. The objective depiction of objects,forms, and figures attenrively perceived. Also called "naturalism." Relationships.Inart, how the parts of an artwork are organized and connected.Also commonly known asperspectiae proporand tion:the relarionship of angles to vertical and horizontal and the relationship of sizes to each other.
Right hemisphere.The right half of the cerebrum. For most righthanded individuals, visual, spatial, relational functions are located in the right hemisphere. R-mode.A state of information processingcharacterized assimultaneous,global,spatial,and relational. Sighting.In drawing measuring relative sizesby means of a constant measure (the pencil held at arm's length is the most usual measuring device); determining the location of one part relative to another part. Also, determining anglesrelative to vertical and horizontal. Symbolsystem.In drawing, a set of symbols that are consistently used to form an image-for example, a face or figure. The symbols are usually used in sequence,one appearing to call forth another, much in the manner of writing familiar words. Symbol systemsin drawn forms are usually set in childhood and often persist throughout adulthood unless modified by learning new ways to draw perceptions. Value.In art, the darknessor lightnessof tones or colors. White is the lightest, or highest, valuel black is the darkest,or lowesr, value. Viewfinden A device used by artists to frame a view and provide bounding edgesto a composition; similar to the device on a camefa that lets the user see what is being photographed.
The Exercises
EXERCISE I
Pre-Instruction Self-Portrait
Purposeoftbeexercise:
mirror
tape
Pre-instruction drawingsprovide a valuablerecord of, your skills:in drawing at the presentmoment, a record that will enableyou to apprec!in ateyour advance skills at a later date. Insttuctions: Look at page3 of the workbook,"Pre-Instruction Drawing #r, SelfPortrait." ,,
. '':::
sharpener
nceded: 3ominutes,more if needed
., Placeachairinfrontofamirroronthewall.(IfneceSsarytapea
small-say, frr I grr-11irror to the wall.) Sit at arm'slength from the mirror, leaningyour workbook againstthe wall and resting the bottom of the workbook on your knees'
+. Draw your self-portrait to the bestof your abiliry.

t. When you havefinished,date and sign your drawing.
Post- exercise remarhs: but Peopleare often highly critical of their pre-insuuction self-portrai.q where you wre truly dralvingyour if you look closely,you will seeareas l perceptions-perhaps the turn of the eyelid,the shapeof an eaq or the line of a collar.The qualiry of the drawing may surpriseyou: Or, if you can find no more to saythan "Ugh!" aboutyour drawing.be patient Drawing is a skill that can be taught and canbe learned;it is not magic, and it doesnot dependon geneticgood fortune.
EXERCISEI
PRE-INSTRUCTIONSELF-PORTRAIT
Pre-lnstructionDrawing#r: Self-Portrait
EXERCISEI
PRE-INSTRUCTIONSELF_PORTRAIT
E X E R C T S E2
Pre- InstructionD rarruiry of YourHand
Instntctions: writing pencil il sharpener needed: 15 minutes,more if needed Look at paget of the workbook,"Pre-InstructionDrawing#2, My Hand."
., Sit at a table with the workbook arrangedat a comfortableangle.
t
)' Try out variouspositionsof your non-drawing hand (the left if you are
right-handed,or the right if you are left-handed),and choosea position in which you will draw it. 4. Hold your posinghand still and makea drawing of your own hand.
t. Sign and date your drawing.
EXERCISE2
PRD-INSTRUCTIONDRAWINGOFYOURHAND
Pre-Instruction Drawing #z: MvHand
EXERCISE 2
PRE-INSTRUCTION
DRAWING OF YOUR HAND
Part I The Perception of Edges
EXERCTSE 3
Pre-Instruction Drawing of the Cornerof aRoom
Material,s: #z yellow writing pencil Pencil sharpener Timeneede* About zo minutes,more if needed
Instractions: r. Look at page7 of the workbook,"Pre-Instruction Drawing#j, A RoomCorner." z. Look aroundthe room in which you are working and chooseone corner to draw.It can be a simple,empty corner,a corner with a few items,or a very complicated scene. 3. Sit in a chair with the workbook on your lap. 4. Draw the room corner to the bestof your ability. 5. Sign and date your drawing
EXERCISE 3
PRE-INSTRUCTTON
DRAWTNG OF THE CORNER OF A ROOM
Pre-Instruction Drawing #3: A Room Corner
EXERCISE 3
PRE-INSTRUCTTON DRAWING OF THE CORNER OF A ROOM
ExERcrsE J
pRE-rNsrRUcrroN DRAWING oF THE coRNER oF A RooM
Part I The Perception ''of Edges
E X E R C I SE
Warm-up andFree Drawing
fuIanials: &k-tip marker #4ydrawing or trnncil Peneil sharpener Eiteneeded dboutrominutes
Purposeof tbe exercirc: This exerciseis designedto give you a feel br the very personalexpressivequaliry of pencil lines on paper.You will "try out" the line srylesof , masterartistsand then experimentwith your own marks,both fast and slow.Your personalsryle will emergein the courseof using this workbook.It comesfrom your history your physiology,your personaliry your cultural background,and all the factorsthat make opl,i.you cannot plan your sryle or foretell it, but you can watchfor its emergence. See pagero for an illustration of style differences. Instractions: r. Turn to pagerr of the workbook,"Line Styles." z. In Formatr, makevery fast"Matisse"marks(seeExamplea). 3. In Format z, makemedium-fasr"Delacroix" marks(seeExample b). 4. In Format 3,makemedium-slow "Van Gogh" marks(seeExarnplec). y. In Format 4, makevery slow "Ben Shahn"marks(seeExample d). 6. In Format;, makeyour own marks,somefast,someslow. 7. Sign and date your drawings.
EXERCISE 4
WARM-UP
AND,FREE DRAWING
.*:tS
Henri Matisse, StandingNude,rgor-o3.Brush and ink, ro%x 8 inches. Collection, The Museum of Modern Art, New York. Gift of Edward Steichen.
Matisse marks.
Vincent van Gogh, Groaeof CXtpreses,figg. Drawing-reed pen and ink, z4%x fi% inches. Gift of Robert Allerton. Courtesy of the Art Institute of Chicago.
Van Gogh marks.
Eugene Delacroix (1798-1863), EtadesdeBras et detames,ryor--o3. Pen and sepia ink on buff paper,2r7 x 3to mm. Worcester Sketch Fund Income. Courtesy of the Art Institute of Chicago.
Delacroix marks.
rl"
f ,* --:a"$tlrlJll
,*sft$,*
Ben Shahn (1898-1969, Russian-American), Dn t RobertOppmbeimer,ry54,brushand ink, r9% x rz%inches. The Museum of Modern Art, New York.
Ben Shahn marks.
1$
ff*
EXERCISE 4 WARM-UP AND FREE DRAWING
EXERCISE 4
WARM-UP
AND FREE DRAWING
s@':
ffiWT':':: ::":st:":
f r,+,
,r$$&ffii{
Heather Allen by the author.
Grace Kennedv bv the author.
Grace Kennedy by Brian Bomeisler.
These are demonstration drawings by instructor Brian Bomeisler and myself We sat on either side of the same models, used the same drawing materialq and drew for the same length of time. Yet see how diferent our styles of drawing are: my style emphasizes line, while Briants emphasizes form. T2
EXERCISE 4 \ryARM-UP AND FREE DRAWING
li q
ExERCTsE 5
The "Vas elF'aces" Drawirg
Materials: #z yellow writing pencil and eraser Pencilsharpener Time needed: About; minutes
Purposeof tbe exercise: This exercise designed demonstrate possibilityof conflict is to the between brain'slanguage the mode,which I havetermed"L-mode," and its visual-perceptual mode,or "R-mode." The "Vase/Faces" drawingis a visualillusion drawingthat canbe seeneither astwo facingprofilesor asa symmetricalvasein the center. You aregivenone half of the drawing andyour job will be to draw the second profile-thus inadvertentlycompletingthe symmetrical vasein the center. fnsffuctions: Tirrn to pagert in the workbook,"Vase/Faces Drawing for RightHanders," if you areleft-handed, page14, or, to "Vase/Faces Drawing for Left-Handers."
2.
Redrawthe profile alreadyprinted on the page. With your pencil,go over the lines, namingthe partsasyou go:"Forehead . nose.. . upperlip.. . .. lowerlip . . . chin.. . neck."
vase. )' Next, draw the missingprofile that will completethe symmetrical When you cometo the point in the exercise shownin the drawings below,you may beginto experience sense conflictor confusion. a of Continuethroughthis momentof conflict,self-observing you draw to as becomeaware how you solvethe problem.. of
A 't'
-et
ExERcIsE t
rHE "vAsr/racrsn
DRAwTNG
^)
rt
Po - exercise remarhs: st You may havestoppedat the onsetof conflict or confusionand given yourself someinstructionsto solvethe problem,suchaq,'Don't think of the namesof the features.Draw the vaseinstead."There are many other solutions.Somestudentsstart over and work from the bottom up. Some. or grid the drawing in squares establishpoints where the line turns on the outermost and innermost cufves. conflict is that by askingyou to name The reasonthe exercisecauses the facial featuresasyou redrew them, I strongly activatedyour brain's languagemode.Then I gaveyou a task (to draw the missingprofile in reverseorientation) that can be achievedonly by making a mental shift to the visual,perceptual,relational R-mode.For most people,the strugof gle to makethat shift is markedby a sense conflict or confusion.
t6
ExERcrsE t
rHE
nvesr/recrs" DRAwING
.--'*i
EXERCISE
Upside-Down Drawitrg
Materials: Picasso's drawingof the comrgzo poserIgor Stravinsky, page18; oq alternatively: the drawingof the horsein foreshortened (frontal)view,pagezo; the drawing Horse Rideabyan and unknownGermanarrist,page zz; or the figuredrawingby the Austrian artistEgonSchiele, page24. #z yellow writing pencil,sharpener, anderaser Pencil Time needed: 10to 40 minutes
Purposeof tbe exercise: This exercise designed reduce is to conflictbetween brain modesby causing your language modeto drop out of the task.Presumably, the language mode,confused andblockedby the unfamiliarupside-down imageyou will be drawing becomes unableto nameandsymbolize as usual.In effect, seems say, don't do upsidedown," and allows it to "I the visualmodeto takeover.R-modeis the appropriate modefor this drawingtask. Instructions: The drawing you havechosen(the PicassoStraainskjt,the frontal view of the horse,theHorse Rideror the figuredrawingby Egon Schiele) and is printed upsidedown.Your copywill alsobe doneupsidedown.The accompanying pagefor your drawingis side-by-side with eachupsidedown image.Startinganywhere you like-most peoplestartin the upper left-handcorner-begin to copythe drawingyou havechosen. Note: I advise against drawingthe wholeoutline.If thereis any error in the outline, the parts will not fit together.This is quite frustrating to Rmode,which is specialized perceivinghow partsfit together. for z. Moving from line to adjacent line, space adjacent to space, the parts fit togetherasyou go.Try not to nameparrsasyou aredrawing.Draw the linesjust asyou seethem,without trying to figureout what you are drawing.When you cometo partsthat seemto forcetheir names on you-such asthe handsandthe fac-try to focuson thosepartsasjust unnamed shapes. When you havefinishedyour drawing,turn it right sideup. I think you will be surprised andpleased what you see.Just sureyou don't rurn by be the drawingright sideup until you havecompletelyfinishedit. Signanddateyour drawing.Includethe notationalways usedfor a copieddrawing:"After Picasso," "After Anonymous"(for the German drawingor the frontal view of the horse), or'After Schiele."
i
il
t. Time permitting it is extremelyhelpful to do a secondand evena thild

upside-down drawing,usingthe drawings you did nor choose first the time.
:t
EXERCISE O
UPSIDE-DOWN
DRAWING
17
EXERCISE 6
UPSIDE-DOWN
DRAWING
r9
EXERCISE6
UPSIDI,_I)O\,VNDRA\,VING
EXERCISE O
UPSIDE-DOWN
DRAlryING
a1
ExERcrsE 6
upsron-oowN
DRAwTNG
25
: Post-exercircrEmaib
',
sense it iggasier"t-o commen &at against It goes fraw.g upsideifoSrrr,' downthdn right sidqrip. Whtiir anirnagp,!.s
verbalbrain mode is disorientedin itp attedptto ufevisu
it and name c*eEiae.Therefore, aftarendf'
sesttri
over;Sincewe,car*tgirn the w4 the visual mode to'talire
gain'r our maintaskin learnifugm drawis to learnhow'"to '

visual mode evenwhen things are right sideup.
sNrncrsn 6
uPsr,DE:EowNDR*wING
EXERCTSE 7
Pure Contour Drawing
Materials: #z yellow writing pencil, sharpener, anderaser Maskingtape Alarm clock or kitchen timer Time needed: About 15minutes
I.
Purposeof tbe exercise: The aim of this.exercise, with the previous one,is ro causeyour as brain'slanguagemode to drop out asyou draw,this time by presentingit with a taskthat seems boring repetitive, and unnecessary. secondpurA poseis to introduce the first basicskill of drawing the skill of perceiving edges. Instractions: T\rrn to pagezg of the workbook.
) Tape the workbook to a tabletop.

1
)' Setyour kitchen timer for 5 minutes.
4. Sit at the table with your drawing hand holding the point of your pencil in the middle of the workbook page,ready to draw.
t. Now turn aroundin your seatso that you are facing in the opposite
direction. Gaze ata single wrinkle in the palm of your non-drawing hand. 6. Begin to draw that wrinkle, definedin drawing asan."edge." Move from wrinkle to wrinkle (edgeto adjacentedge),confiningyour drawingto what you seein the center of your palm, in an areaof about a square inch. Dcv.not aftempt to outline your whole hand,and do not flrrn to look at the drawing you are creatingon the page.
l-*-
EXERCISE 7
PURE CONTOUR
DRAWING
27
7. As your eyesvery slowly track the edgeof eachtiny wrinkle in your palm,one millimeter at a time, your pencil will recordyour perceptions simultaneously. Your hand and pencil will function like a seismograph, recording every detail of what you are seeing. 8. Continueto drawuntil the timer signals you to stop.Then turn andlook at your drawing. 9. Signand dateyour drawing.
'.\ /': {,*,

!'i,
,v
I. 2.
Tbe Fiae PerceptaalSkills of Drawing The global skill of realistic drawing includes thesefive perceptualskills: Tbeperception edges,expressed of through "line" or "contour" drawing. Tbeperception spaces,in of drawing called "negativespaces." Tbeperception relationsbips,known perspectiveand proportion. of as
often +' Tbeperceptionof l,igbtsand shadows, called "shading." of 5. Tbeperception tbegestah--that is, the whole, or the "thingness"of the thing. With practice, thesecomponentskillsbecome integratedinto a single, globalskill, enablingyou to draw whatever you see. Po - exerci e remarks: st s
Studentsoften laugh when they seetheir drawings:tanglesof indecipherablelines.This exercise, however, one of the mostimportanrin is the workbook. Many artistsdo a bit of Pure Contour drawing(sometimes called "blind" contour drawing) every time they sit down to work. Pure Contour drawing is the most efficientway I know of preparing the brain for visualtasks. The verbalbrain mode,which is seemingly easily bored,findsthe taskso tedious(andso "useless'intermsof producing a recognizable, nameable image)that it quickly dropsout, enabling the visualmodeto comeforward.R-mode,however, seems find to detailed complexity fascinatingand will keepon with the drawinguntil the timer sounds. at somepoint in your Pure Contour drawing you If found yourself becominginterestedinyour perception of the tiny areain your palm, that indicatesa shift to the visual mode.If not, try another shortsession.
Examples of students'pure contour drawings.
z8
EXERCTSE7
PURE CONTOUR DRAWTNG
Pure contour drawing.
E X E R C I S E7
PURE CONTOUR DRAWING
29
EXERCISE B
DrawittgYour Hand on the PlasdcPicturePlane
Materiab #z yellowwriting pencil,sharpener, anderaser PicturePlane/Viewfinder inserted into this workbook. (Remove as it directed. makethe Picture To Plane/Viewfinder more rigid, cut a narrowframe-about an inch and a half wide-from cardboard use and tapeto attachit to the backof the PicturePlane/Viewfinder.) Erasable felt-tip markingpen Slightlydampened tissueor paper towel Time needed: About5 minutes
Purposeof the exercise: This exercise introduces conceptof the "picture plane,"one of the the key concepts learningto draw The picture planeis an imaginary, in transparent hangs in plane,like a sheetof imaginaryglass that always front of an artist's face.An artistusesthe picture planeto flattena perceivedimage(like a photograph) order to translate actualthreein the (thatis,flat) paper. dimensional scene into a drawingon two-dimensional In this exercise, will useyour actualPicturePlane/Viewfinder you to draw your handwith the fingerspointing towardyour face.This is calleda "foreshortened" view,andit is one that mostbeginningstudents regardastoo difficult to draw.The PicturePlane/Viewfinderwill provide an actualsurface which you will draw the flattenedimageof on your three-dimensional hand,and,in addition,a viewfinderto framethe image.Like magic,your flat drawingon the actualplasticplanewill appear three-dimensional.
JamesMontgomery Flag, I WantYou,r9r7, 3ox 4o inches. Poster by Walter Rawls. Imperial War Museum, London, England.
ExERcrsE 8
onewtNc
youR HAND oN THE pLAsrIc prcruRE pLANE
Note: To makecorrections. the marker set down andusea dampened tissueto erase lines withoutmlaingyourposed band.Be aware that the felt-tip markerwill makea line that is somewhat rough and shaky. You may want to try this exercise again, with your handin anorher position.Simply wipe offthe Picrure Planeand do anotherdrawing.Try t really "hard" view-the more complicated, better.Save the your last drawingfor the next exercise. Instructions:
I.
Uncapthe felt-tip markerand hold it in your drawinghand. toward your facein foreshortenedview. Balance your plasticPicturePlane/Viewfinderon your "posed"hand. SeeFigure8-r. Closeone eyeso that you arelooking at your handwith only one eye. This removes binocularvision-literally, "rwo-eyedvision"-which produces two slightly differentimages that aremeldedrogerher the by brain to providedepth perception. Closingone eyeproduces single a image,a flat image,of your hand.
z. Restyour other handon the edgeof a table,with your fingers pointing
of t. With the marker,beginto draw the edges your handon the plastic PicturePlane/Viewfinder. just asyou seethem,without Draw the edges trying to figure out why they are the way they are.Be sure nor ro move eitheryour handor your head.You must keepa constanr, unchanged view.Draw the edges with asmuch detail aspossible (recallthe lesson of Pure Contour drawing). Allow the edges your wrist to touch the edges of of the format.SeeFigure B-3. 6. When you havefinished, placethe plasticplaneon a pieceof white papersothat you canseethe drawingon rhe plastic. Post-exercise remarks: With relativelylittle effort,you haveaccomplished of the truly one difficult tasks drawing-drawing the humanhandin foreshortened in view How did you accomplish so easily? this You did what a trained artistdoes: you copiedwhat you sawflattenedon the picture planein this instance, actualplasticplane.Understanding an how ro usethe imaginarypicture planeis the secretro portrayingthree-dimensional formsin realisticdrawing. More than any other exercise, is the one that mostfrequently this causes students experience "Aha!Sothat'show it's done!"of learnto the ing to draw.I can now definedrawing for you: Drawingiscoplingusltatjtou see,fanened the on pictureplane.
Figure 8-r.,.
Figure 8-2.
EXERCISD U
DRAWING YOUR HAND ON THE PLASTIC PICTURE PLANE
31
r7
7
1a
ExERcIsE 8
onewrNc YouR HAND oN THE PLAsrIc PIcruRE PI-{NE
EXERCISE
Settinga Ground
Materiah #z yellow pencil ot #48 drawing pencil,sharpeneq eraser and #4n graphitestick Dry papertowel or tissue Tirne needed: t to ro minutes
Purposeof tbe exercise: "Settinga ground,"which means toning the paperyou will draw on by rubbingit with graphiteor charcoal, providesseveral advantages. First, the tonedgroundprovidesa middle valueor shade which you can to addlights andshadows erasing lighted areas by the and darkening the shadowed areas. Second, find that students I seemmore comfortable startinga drawingwhen they havealreadyworkedon the paperto tone a ground.For some,a blank white pagecanseemintimidating.Third, tonedpaperis very forgivingin termsof correctingerrors.It allowsyou to makecorrecrions invisibly by just erasing mistakeand rubbingto a restorethe tone. Instructions:
I.
Turn to page3t of the workbook.You will seea pre-drawnformat (a line definingthe edgeof a drawing)with crosshairs, faint verticaland horizontallinesthat divide the format into four equalquadrants. on a sheetof scratchpaper,rub down one of the sharpedges your of graphitestick to createa roundedcorner. format.use the dry papertowel or tissueto rub the graphite-covered area, pressing very firmly,until you haveachieved even,silverytone an on the paper.SeeFigures9-t and 9-2. If you wish,usean eraser cleanup the edges the format;o! you to of may wantto leavethe softtoned areaaroundthe format that is often left from the rubbingprocess.
2.
lightly shade areawithin the )' Usingthe roundededgeof the graphite, the
1
t. Practice"makinga mistake"andfixing ir. Make a pencil mark on the

toned area, erase andrub the tone againuntil the eraser it, mark disappears. You may needto add a bit of graphitefrom the graphitestickor from your pencil andthen rub again.
EXERCTSEg
SETTTNG A GROUND
1)
))
Figure 9-2.
Post-exercise rem&rks: Your paperis now readyfor the next srep-a beautiful drawing of your hand.Learningto set a groundis a usefulskill. At times,however, you will wantto draw directly on untonedpaper. this workbook,you will In useboth methods.
34
EXDRCISEg
SETTTNG A GROUND
L@*
EXERCISE g
SETTTNG A GROUND
3t
E X E R C I S EI o
Your Hand Transferring Drawittgfrom Picture Planeto Puper

Parposeof the exercise:
Materials: with the PicturePlane/Viewfinder, drawingof your handin foreshort8 enedview from Exercise #z yellow writing pencil,sharpener, anderaser Time needed: Joto 40 minutes
the image,an artistcopiesonto PaPer flattened In drawinga perceived ,,seen,, a real or imaginarypicture plane.In Exercise drawing 8, on image youi ha.rdon the plastic,I madethe imaginarypicrureplaneinto an a.toal planeon which you drew your handwith your felt-tip marker. copythat drawingfrom the plasticPicrurePlaneonto You will nor^/ Thus,we haveinsertedan extrastep-drawing on an actual paper. of you pi.,,tt. plane-to accustom to the process drawing,which,by flattened iefinition, is copyingdirectly onto paperwhat the artistsees "on the plane." Instructions: First Part of the Exercise
r. T\rrn backto pageIt of the workbook,with the printed format,the faint 9' and crosshairs, your tonedgroundfrom Exercise z. Setthe plasticPicturePlanewith the drawingof your handon it alongsideyour tonedformat.You will seethat the formatsof the Picture Plane/viewfinderandyour toned ground arethe samesize,andthe in divide the space the sameway'SeeFigure ro-I' crosshairs on plasticto your tonedpaperby 3. The first stepis to transferthe drawing Note wherean edgeof andspaces. lightty sk"t.hi.rg in the main edges the yoo, wri.t touches e4geof the format.with your pencil,mark that Ask yourpoint on the paper.Follow the directionof the line on plastic. direcwheredoesit change within the quadrant, self;what is its angle? tion?SeeFigureIo-2.
rhe sprce above rh 6ngernail
the space between
fingers
*1
It
,\
r \\ \,/.J
Figure ro-2.
Figrrre ro-3.
Figure Io-4.
i, L
36ExERcIsEIoTRANSFERRINGYoURHANDDRAWINGFRoMPICTUREPLANEToPAPER
Try not to namethe parts,suchasfingersandfingernails. The edges of the fingernails andthe shapes aroundthe fingernails definedby a are shared edge. Shift your focusro rhe shapes aroundthe fingernails, and draw thoseshapes. shapes easyto seeanddraw because have The are you no memorizedsymbolfor them,asyou havefor fingernails. this By means, will haveinadvertently you drawnthe fingernails, you will and find that they arecorrectlydrawn.SeeFiguresro-3and ro-4.
t, As you transferthe drawingfrom plasticonto your papel continueto

checkall the pointswherethe linestouch the format lines andthe crosshairs. Then continuero copy all the angles and curveswithin each quadrant, noting whereeachpoint touches crosses crosshair or a or wherea point falls within a quadrant. Instructions: Second Part of tbe Exercise
I.
When you havefinishedcopyingthe main edges your handdrawing of from the plasticplaneonro pape! you arereadyro startturning the sketchinto a more detaileddrawing againusingyour handasthe model. First, setasidethe plasticPicturePlaneand rerurn your "posing"handto the positionin which you originally drew it on the PicturePlane. Closeone eyeto flattenthe image.Carefully look at eachcontouredge of your hand.Adjust and refineeachedgein your drawing,recallingthe lesson Pure Contour drawing.SeeFigure ro-5:. of Half closeyour eyes seethe largeshapes lights andshadows to of in your hand.
and +' Useyour eraserto "draw out" the light shapes your pencil to darken the shadow shapes. exampledrawings, The Figuresro-6 and ro-7,will guide you. 5. Signand dateyour drawing.
Figure ro-6. Drawing by student Mark Dalgaard.
Post-exercise remarks: This is your first "real" drawing and I can assume with someconfidence that you arepleased with the resuks. The conceptof shared edges-that is, a placewheretwo thingscometogetherto form a single,shared edge that,in drawing,is represented a "contour" line-is an important by concept. helpsyou to escape influenceof memorizedsymbols It the by enablingyou to draw easy, unnameable partswhile simultaneously and effortlessly portrayingthe difficult parts.On page is an additional 17 format for practicingthis exercise again, drawingyour handin a different position. Returnto the Pre-InstructionDrawing of Your Hand (Exercise p.5) to z, appreciate how your skillshaveadvanced. next rhreeexercises The will providepracticebased rhe above on instructions usingdifferentsubbut iect matter.
Figure ro-7.Drawing by instructor RachaelThiele.

EXERCISE IO TRANSFERRING YOUR HAND DRAWING FRoM PICTURE PLANI To PAPTR
77
?8
EXERCISE IO
TRANSFERRING YOUR HAND DRAWING FROM PICTURE PLANE TO PAPER
EXERCISE II
DrawingYour Hand HoldinganObiect
Materials: #z writing and#4n drawingpencils, sharpener, eraser and Felt-tipmarker PicturePlane/Viewfi nder #4n graphite stick Dry papertowel An objectto hold: a pen or pencil,a setof keys, handkerchief, small a a toy,a glove, anythingelsethat or appeals you to Time needed: 30to 40 minutes
Purposeof tbe exercise: your In this exercise, will againdraw your hand.This time, however, you interestand handwill be holding an object,thus addingcompositional providing a new challenge while encouraging to practicethe skills you just learned. you have Instructions: Turn to page42 in the workbook,with the pre-drawnformat andfaint crosshairs.
z. Useyour graphitestick andpapertowel to set a ground.You may wantto
try a slightly lighter or slightly darkergroundthan the one you usedfor the lastexercise.
) Uncapyour felt-tip markerso that it is readyto use. )'
,'l
Hold the objectyou havechosen your non-drawinghand andtry sevin eral poses find one that you like. to of felt-tip marker, closeone eye,andusethe markerto draw the edges your handandthe objecton the plasticplane. When you havefinished, placethe plasticplaneon a sheetof white paperso that you canseethe markerlinesof the drawing.Setyour toned format alongside drawingon plastic. the
the t. Balance PicturePlane/Viewfinderon your posinghand.Pick up the
of 7. Usingyour pencil,copythe main edges the picture-planedrawing onto the tonedpaper. When you havesketched whole hand and objectonto the paper,set the the PicturePlane/Viewfinderasideandreturn your posinghand,holding the object,to its original position. 9. Again,closeone eyeto flattenthe imageandcarefullyredraweach contouredge,adjusting andrefiningthe drawingasneeded.
IO.
and When the edges drawn,look for the shapes lighted areas shadare of to owedareas squintingyour eyes maskout fine detail.Erasethe lightby ed shapes useyour #4n drawingpencil to darkenthe shadowed and shapes. signand dateit. When the drawingis finished,
EXERCISE II DRAWING YOUR HAND HOLDING AN OBIECT
,j
\*t -' G,qi - +Jl
Drawing by student Mark Gray.
Drawing by student K.M. Lee.
Drawing by student Laurie Kuroyama.
trf
,, *"rt ir!^,iA ':6'\:: l\!|-. .*rl
:rt
Drawing by student EtJrel Branham. Drawing by student Diane Hahn.
4o
EXDRCISE II
DRAWING YOUR HAND HOLDING
AN OBIECT
Drawing by Alice Picado.
Post-exercise rema.rks: This drawingprovidesopporftnities to differentiate textures-here, the difference between fleshof the handandthe objectit is holding. the I havefound that students very inventiveat usingthe pencil in a are varietyof waysto showthe differences between, a metalobjectand say, the handthat holdsit. Intuitively,they vary the thickness lines,the of smoothness roughness pencil marks,andthe lightness darkness or of or of tone. This is a challenging drawing,but eachtime you practicethe routine of drawing-that is,choosing subject, a selecting poseand composia tion, seeing imageflattenedon the plane,anddrawingthe flattened the imageonto paperusingthe conceptof sharededges-the process will becomemore familiar to you andwill be more smoothlyintegrated.
Drawing by the author.
Drawing by Brian Bomeisler.
Drawing by Grace Kennedy.
EXERCISE II
AN OBIECT
+r
A) -T-
EXERCISE II
AN OBIECT
EXERCISE
T J) LL
DrawirtgaFlower
Materials: #z writing and#4s drawingpencils, sharpeneq eraser and PicrurePlane/Viewfi nder Felt-tip marker Fresh flower(or a silk floweqif necessary), the stemand a few with leaves Time needed: rt to zo minutes
I.
Purposeof tbe exercise: This drawingwill showyou the beautyof simplepencil lineson ungroundedpaper. You will be drawinga flowerwith its stemandleaves. Flowers, course, three-dimensional, the leaves arranged of are and are in differentdirectionsaroundthe stem.How to portray this threedimensionality often mystifies students. you haveseenwith your hand As drawings, however, usingthe picture planeis the key to realistically depictingthis beautifulform on paper. Paradoxically, must first you flattenthe form in order to depict its true volume asa three-dimensional form existingin space. Instructions: Turn to page+t of the workbook. From hereon, you will be drawingthe crosshairs pencil sothat you in canerase them later if you wish. Leanthe flower against plain background a prop,suchasa box or a book coveredwith white paper.You may alsoplacethe flower in a vaseif you wish. Hold the PicturePlane/Viewfinder verticallyin front of the flower. Closeone eyeanduseyour felt-tip markerto draw the edges the of just flower,stem,andleaves asyou seethem flattenedon the plane. Be aware that the line will be somewhat shakyanduncertain.
(. Using yorr #z pencil and drawing with a light, thin line, transferthe
z. Lightly draw a setof perpendicular crosshairs the blankformat. into
main pointsof your plasticplanedrawingonto the paper. Setthe PicturePlane/Viewfinder one side.Look closelyat eachpart to of the floweqstem,and leaves, and,usingyour #4n drawingpencil (whichis softerthan the #z writing pencil),redrawall of the edges. Remember lesson Pure Contour drawing:pay closeattentionto the of details and to how the parts fit togetherto form the whole. if 7. Erasethe crosshairs you wish;signand dateyour drawing.
EXERCISE 12
DRAWING A FLOWER
+3
Post - exercise remarks: You haveiust completed a "line" drawing-that is, a drawing in pure line without shading. Yet, asI am sure you can see,your drawing of the flower appears be fully three-dimensional,because dreat sbared to jtou the just asJoa sa.w edges yar subJect of them tbeplane.Line alone can give your on drawingthe illusion of three dimensions, line alonecanmakea and beautiful drawing.
,"1
oa\
fi
4+
EXERCISE 12
DRAWING A FLOWER
EXERCISE 12
DRAWING
A FLOWER
E X E R C I S E1 3
Drawitrgan Orange
Materials: #z writing and#4n drawingpencils, and sharpener, eraser nder PicturePlane/Viewfi Felt-tip marker An orange, with the peel cut into and triangularsections peeled halfwayback(asin the example drawing) Sheetof white papet about9" xrz" Time needed: 20to 30minutes
Purposeof tbe etcerc$e: givesyou further practicein usingthe PicturePlaneto This exercise you draw a "difficult" view of an object.In this case, will be drawinga with the peelsmovingin three dimensions' orange, half-peeled Instructions: r. Tirrn to page48 of the workbook. within the format,dividing z. Using yot:ir pencil,lightly draw crosshairs #z the format into four equalquadrants. your drawingby Compose 3. Setthe orangeon a pieceof white paper. holdingup the plasticPicturePlane/Viewfinderandmovingit backand forth and up and down in front of your setupuntil the orange,framedby that you like. forms a composition the viewfinder, 4. Using your felt-tip marker,draw the orangeon the Picture Alwaysrememberto closeone eyein order to flamen Plane/Viewfinder. the image. to y. Usingthe crosshairs guideyou, with your #z pencil copythe main contoursof your plasticplanedrawingonto your drawingpaper. Usingthe orangeasyour model, 6. Setthe PicturePlane/Viewfinderaside. refineandrevisethe drawingby seeingand drawingasmany detailsas of recallingthe lesson Pure Contour drawing.If you wish,use possible, detailed drawing.When you find yourself your #4n pencil for this marveling at the beauty of the objectyou are drawing you will have madea mentalshift to the visualmode. if 7. Erasethe crosshairs you wish; sign and date your drawing.
46
EXERCISE rl
DRAWING AN ORANGE
Post - exercise remark s: The lastfive exercises havefocused the first component on skill of drawing:the perceptionof edges. definition,an edgein drawing By is a shared edge. Recallthat by drawingthe edgeof the facein the Vase/Faces exercise, simultaneously you drew the edgeof the vase. Additionally,when you drew your hand,drawingthe shapes aroundthe fingernails caused you to inadvertentlydraw the fingernails. using By edges they aredefinedin drawingandby usingthe conceptof the as picture planeto draw varyingsubjects, suchasyour hand,a flower,and an orange,you are gaining knowledgeof wbatdrawingisandof howtodoit.
EXERCISE 13
DRAWING AN ORANGE
47
4B
EXERCISE r3
DRAWING AN ORANGE
Part ll The Perception of Spaces
E X E R C I S E1 4
Drawirg Leaves Using N.gative Spaces
Materials: #z and#4n pencils, sharpener, and eraser Felctip marker PicturePlane/Viewfi nder Stemof a plant,ro" to 12"tall, with medium-sized leaves (seethe drawingfor an example) A sheet 9" x rz" white paper of Time needed: About3ominutes
Purposeof tbe exercise: This exercise buildson your new ability to seeanddraw edges by introducingyou to one of the mostimportantskillsin drawing: seeingand drawingnegative spaces. Negativespaces importantfor are three reasons: r. Seeing negative spaces makes easyto draw difficult views,especially it foreshortened views.Negativespaces build on the conceptof edges in drawingasshared edges: you draw the negative if spaces arounda foreshortened form, you will haveinadvertentlyalsodrawnthe form, and you will find that it is drawncorrectly. z. An emphasis negative on spaces strengthens improvesthe unity and of your compositions. on spaces causes language the modeof the brain to 3. Focusing negative drop out, allowingaccess the visualbrain mode,which is suitedto the to taskof drawing. When you focuson an "empty" space, language the modeseems say, effect, do not dealwith nothing."It takesa to in "I momentfor a negative space "pop" into focusasa shape. to This increment of time may be the language modeobjecting "what areyou looking at?I can'tnamethat.If you aregoingto gazeat nothing I'm dropping out."Perfect.Just what we want. Instructions: r. Tirrn to page5r of the workbook,with the printed format. z. Lightly draw the crosshairs with your #z pencil. on 3. Lay the stemwith leaves a pieceof white paperand coverit with your plasticPicrurePlane/Viewfinder. 4. Ratherthan thinking of drawinga lea{ look at the white shapes surroundingthe leaves. Focuson one of thoseshapes beginto draw and that first "negative space." Then draw an adjacent negative space. onto your paper. not draw the leaves Do t. "Copy" all of the white spaces at all, but be aware that in drawingthe edges the negative of spaces, you will haveinadvertentlydrawnthe edges the leaves. of
49
EXERCISE 14
DRAWING LEAVES USING NEGATM
SPACES
49
\&sq
.+@
{lr,
tl
1r".
Your concernis with ignorethat edge. another, Where one leaf crosses spaces only. the negative of 7. As in drawingyour hand,note wherethe edges the white shapes the andwherethey encounter crosshairs' touch the format edges use 8 . When you havedrawn all of the spaces, your pencil to fill them in so are spaces dark andthe positiveforms (the stemand that the negative are leaves) left untouched. if 9. Erasethe crosshairs you wish;signand dateyour drawing. Post-exercis remarks: e
t . .'lliq I
l
J li;.
7i: :...{t :l
i::-ai
I From the imageyou havejust created, am sureyou canseethe power spaces negative drawing.Drawingsthat emphasize of negative-space are the because compositions strong to area pleasure look at,perhaps and improvescomposition) always spaces (emphasis negative on has attention been that are and the spaces shapes unifed,meaning equal paid to both.
wffi
gl.l-"!.1
to
EXERCISE 14
DRAWING LEAVES USING NDGATIVE SPACES
EXERCISE 14
DRAWING LEAVES USING NEGATM
SPACES
t1
EXERCISE I f
J
Drawitrgachair in NegativeSpace
Materials: and #z pencil,sharpeneq eraser PicturePlane/Viewfi nder Felt-tip marker #4r graphitestick andpapertowel, for settinga ground Photograph a chaiqabout5" or of 6", cut from a newspaper or magazine (or advertisement usethe one on page t+of the workbook) Sheetof white paper, x rz". 9" Time needed: About 3ominutes
Purposeof the exercise:
One commonproblemin startinga drawingis decidinghowbigtomnketlte of too you draw the first shape large,the subiect your drawfrst shape.If too If ing will go offthe page. you draw the first shape small,the subject you mustthen dealwith theuninwill sit in the centerof the pageand g Choosingwhat I call a "BasicUnit" asa tendedempty surroundin arca. will solvethis problemandenableyou to end with the startingshape you intendedto draw. composition Instructions: r. T\rrn to page5y of the workbook,with the printed format. with your #z pencil. z. Lightly draw the crosshairs in 3. Seta groundwithin the printed format,following the directions Exercise 9. moving overyour chair photograph, +. Lay your PicturePlane/Viewfinder you would like to draw it arounduntil you find a composition
5z
EXERCISE If
DRAWING A CHAIR IN NEGATIVD SPACE
spaces the chair.Choose of one to useas t. Look at the variousnegative a BasicUnit or startingshape. The shape shouldbe roughlymedium in sizecompared the other negative to spaces-neithertoo largenor too small.You needa manageable of a simpleshape. Figurer5-rfor unit See an example. With your felt-tip marker, draw the shape that space of onto the plastic PicturePlane/Viewfi nder. 7. Placethe PicturePlane/Viewfinderon a sheetof white papersothat you canseethe shape you havedrawn.
I l
8 . With your #z pencil,copythat shape onto your tonedformat,usingthe crosshairs guidethe sizeandplacement. Figure r5-2. to See 9. Setthe PicturePlane/Viewfinderasideandbeginto draw the remaining negative spaces the chair by referringto the photograph. of Make sure that you sizeand shape of the spaces relationship the BasicUnit. all in to In this way,you will end with the composition you chose the first in place.SeeFigure ry-3. When you havefinisheddrawingthe negative spaces, your eraser use to removethe tone of eitherthe spaces the chair itself. or Erasethe crosshairs you wish;sign anddateyour drawing. if Post-exercise remarks: This exercise using a BasicUnit is the key to startingdrawings. you in If havea chance watcha professional to artistwork, it might seemto you that the artist"just startsdrawing."On the contrary, the time an artist by makes first mark on the paper,the subject beenscanned the the has and BasicUnit hasbeenmentallychosen. The artistthen locates Basic the Unit within the format,perhaps with somequick handmovements over the paper(sometimes called"phantom"drawing),in order to ensurethe correctsizingandplacingof the BasicUnit within the format.It happens sofast,however, that it seems someone to watchingthat the artistiust startsdrawing. In the exercises come,if choosing BasicUnit seems to a slow and somewhat tediousto you, rememberthat with practicethe process will soonbecomeautomaticandvery rapid.Then, you will no longerneed the plasticPicturePlane/Viewfinderor the marker. The process be will entirely mental,andsomeone watchingyou will think that you "just start drawing." The BasicUnit alsodemonstrates drawing in its own way,is that beautifullylogicalin its spatialaspects. are When the spaces shapes and drawnjust asthey appear the picture planeandin correctrelationship on to the BasicUnit, they fit togetherin a logicalrelationship that seems satisfting andfascinating. me,this is one of the delightful aspects To of drawins.
Figure ry-2.
Figurer5-3.
EXERCISE rt DRAWING A CHAIR IN NEGATM SPACE
t3
,4
EXERCISE rJ
DRAWING A CHAIR IN NEGATM
SPACE
EXERCISE If
DRAWING
A CHAIR IN NEGATIVE
SPACE
_-, ))
EXERCISE 16
Drawittg aHousehold
Obiect
Material,s: #z and#4n pencils, sharpener, anderaser PicturePlane/Viewfi nder Felt-tip marker A household object,suchasa corkscrewbottle opener,eggbeateq whisk,scissors, any gadget or that appeals you. to Time needed: About zo minutes
Purposeof tbe exercise: This exerciseprovidesfurther practice in using both negativespaces andthe BasicUnit in order to help "set"theseskills.You will be drawing on an ungroundedpapet to againdemonstrate beautyof pencil the line on paper. Instructiont:
I.
T\rrn to page58of the workbook,with the printed format.
) Lightly draw the crosshairs the format with your #z pencil. in ) Setyour chosen objectin front of you, proppingit upright if you wish. )' 4- Hold your Picture Plane/Viewfinder up in front of the object.
Now, closeone eye and movethe Viewfinder arounduntil you find a composition you like. Choosea negative space useasa BasicUnit. to This canbe,for example, space the handleof the scissors, space a in a between wiresof the whisk,or the space the between handleand the arm of a corkscrew bottle opener.
{-1
H i*t
lf
fi[ trq
y6
rxnncrsr r6 DRAwTNGA HousEHoLD oBIEcr
use t. Holding the PicturePlane/Viewfinderassteadilyaspossible, your felt-tip markerto draw your BasicUnit on the plasticplane. 6. Usingthe crosshairs guideyou,use your#zpencil to transfer to your BasicUnit to your format on the paper.
,7
Set asidethe Picture Plane/Viewfinder.Now draw the rest of the negative spaces the object,usingeither your #z or #4n pencil. of The #z pencil produces thin, light line; the #4n, a wider,darkerline. a Be sureto closeone eyeto removebinocular vision, so that you cansee the object asthough it were flattenedon the plane.
8 . Continue until you havedrawn all of the negativespaces, thus drawing the obiectitself. Erasethe crosshairs you wish; sign and date your drawing. if Post-exercirc remarks: One of the striking characteristics negative-space of drawingsis that no mafter how mundaneyour subject-a chaiq a bottle opener,an eggbeater-your drawing will seemsomehowbeautiful andsignif.cant This demonstrates, believe,the power and importanceof negative I spaces art.When you look at classic in artworksin museums in books or on art, I guaranteethat you will seestrong emphasis negativespaces on over and over again.
?! :{':':rl
Drawing by student Kenneth Mclaren.
rxnnclsr
16
DRAWING A HousEHoLD oBIEcr
t7
t8
EXERCISE 16
DRAWING A HOUSEHO!-D OBIECT
E X E R C I S E1 7
Negative-Space Drawitgof aSports Photograph

Purposeof tbe exercise: The five component perceptualskillsof drawing-seeing edges, spaces, relationships, lights andshadows, the gestalt-apply to every and drawing no matterwhat the subject matter.For the purposeof these exercises, aretakingup theseskillsone by one. we In this exercise, emphasis againon negative the is spaces, with the subject this time a sportsfigure.The purposeis to demonstrate that foreshortening figuredrawing-one of the truly difficult aspects in of learningto draw-is madeeasyby shiftingfrom the foreshortened formsto the negative spaces aroundthem.We areusing a sportsphotographbecause suchphotographs very ofteninclude foreshortening and arereadily available everyday in newspapers (whereas finding a modelto posefor you in a foreshortened positioncanbe quite difficult). Instructions:
I.
Materials: #z and#4n pencils, sharpener, and erasef PicturePlane/Viewfi nder Felt-tipmarker A sports photograph from a newspaper or magazine,preferably that one includes foreshortened a view of an athlete, preferablyone aslarge and or largerthanthe openingof the PicturePlane/Viewfi nder Time needed: About3ominutes
Turn to page6r of the workbook,with the printed format.
z. Lightly draw the crosshairs within the format with your #z pencil.
1
moving )' Lay your PicturePlane/Viewfinderoverthe sportsphotograph, the planearounduntil you find a composition you like.
space useasa BasicUnit-perhaps the space to 4. Choosea negative between arm andbody of a figure,or between figureandthe the the edgeof the format.The shape shouldbe of medium sizeand asuncomplicatedaspossible.
tr
EXERCISE 17
NEGATM-SPACE
DRAWING OF A SPORTS PHOTOGRAPH
t9
Photograph by Joe Kennedy
5. Draw the BasicUnit on the plasticplanewith your felt-tip marker. 6. Transferthe BasicUnit to your format. spaces (thusinadveftenrlydrawingthe 7. continue to draw the negative outsideedges the athlete). of 8. If you wish,draw the shapes within the figure(edges clothing of helmet,andso on) until you aresatisfied that the drawingis complete. but 9. You may wantto addsomelights andshadows, your negative-space drawingwill standon its own asa beautifulline drawing. ro. Erasethe crosshairs you wish;signand dateyour drawing. if Post-exercise remarks: Looking at your completeddrawingshouldhelp you rcalizehowseeing and drawingnegative spaces makes drawingeasy. Because edges drawin ing aresharededges, drawingnegative spaces aroundthe positiveforms givesyou the difficult forms-the foreshortenedviews of formswithout your havingto draw them.Drawing foreshortened formsis always problematic, because all havepreconceived, we memorized information and symbols forms-human armsandlegs,for example. for Foreshortened viewscontradictthat informationandthus aredifficultto seeanddraw asthey appear the picture plane.on the other hand,we on haveno preconceived, memorizedsymbolsfor negative spaces, and thereforeit is easyro seeand draw them.This is one of the important secrets drawins. of
6o
EXERCTSE17 NEGATTVE-SPACE DRAWTNG OF A SPORTS PHOTOcRApH
EXERCTSEr7
NEGATIVE-SPACE DRAWING OF A SPORTS PHOTOGRAPH
6t
EXERCISE IB
N.gative-Space Drawitrgof an Actual Chair

Purposeof tbe exercise: of to Drawing an actualchair,asopposed a photograph a chair,is a good all the skills you havelearnedso far.In a photograph, way to summarize the imageis alreadyflattened.In drawing a real chair,which existsin you space, will call on all of the previousexercises. three-dimensional First, you must flatten the imageby viewing it on the Picture Planef Viewfinder and closeone eyeto removebinocular vision. Then, you will you spaces seeon the picture a choose BasicUnit from the negative you plane.Usingthe conceptof sharededges, will draw the negative just confident spaces asyou seethem on the PicturePlane/Viewfinder, the edgesof the chair. that you are simultaneouslydrawing Instructiont:
I. 2.
Material,s: and sharpener, #z and#4n pencils, eraser Graphitestick andpapertowel for setting a ground PicturePlane/Viewfi nder Felt-tip marker or Chair of any shape size Time needed: 30to 40 minutes
T\rrn to page65of the workbook.Set a ground in the printed format. in Lightly draw the crosshairs the formatusing yotr #z pencil.
) Setup your model:a chair. )'

A '?'
your composiHold your PicturePlanein front of your faceto choose tion. Move the Picture Plane backward,forward, and from sideto side,as The chair shouldalmostfill a thoughyou werecomposing photograph. the Viewfinder,so that it will takeup most of the format when you draw it on your paper.
Figure r8-r.
Figure r8-2.
Figure r8-3.
6z
Bxrncrsn 18
DRAwING oF aN AcruAL CHAIR NEGATTVE-SpAcE
iii!:
il:;:ii 'i-$t
A student'suninstructed drawing of a chair.
to negative space useasa BasicUnit-for t. Choosea medium-sized between example, space a between slatsof a chair backor a space the rungs.Next, usethe felt-tip markerto draw your BasicUnit on the PicrurePlane/Viewfinder. Figure 18-r. See See Useyour #z pencil to transferthe BasicUnit to your tonedpaper. Figurer8-2. to adjacent your BasicUnit, remembering to spaces 7. Draw the negative imageof the chair.See closeone eyeto flattenthe three-dimensional Figure18-3. to putting the Work from part to part,negative space positiveshape, jigsawprzzle.SeeFigure r8-4. drawingtogetherlike a the spaces, beginto work on the When you havecompleted negative You canerase or darkenany out chair itself andits surroundingspace. highlightsor shadows. Figuresr8-5, 18-6, r8-7. and See Prop your drawingup andstepawayfrom it a bit to seeit from a fresh point of view.Make any changes you feel areneeded. that Erasethe crosshairs you wish;sign anddateyour drawing. if
Figure 18-4.
Figure r8-5.
Figure 18-6.
Exrncrsr rB
NEGATIVE-spAcEDRAWING oF AN AcruAL cHAIR
63
Post- exercis remarks: e Congratulations completinga very difrcult drawing.Chairsaresuch on familiar objects that we carry in our mindshard-to-erase visualsymbols for chairsthat we havememorizedfrom childhood drawing.For example,we knowthatchairlegsare all the samelength.In the PicturePlane flattenedview, however,eachchair leg may haveappearedto a different be length,andyou may havehad trouble accepting that perception. Paradoxically, you drew the chair legsjust asyou sawthem on the if plane,they will appearto the viewer of your drawing to be appropriately all the samelength.This is the magicof drawing.
Figurer8-7. Drawingby the author.
64
nxnncrsn r8
NEGATIvE-SpAcEDRAwING oF AN acruAr- cHArR
rxnnclsn r8
NEGATIvE-spAcE DRAwING oF AN AcruAL cHAIR
65
E X E R C I S E1 9
Copyinga Master Drawing:Man Readingtlt Bible,by Vincentvan Gogh

Purposeof the exercise: a During and afterthe decades AbstractExpressionism, schoolof of copyingmasterworks was paintingoriginatingin New York in the r94os, new out of favor asa way of training artistsin America.Now, however, appreciation drawingskillsis bringingthe practicebackinto art of schools. is Copyingmasterdrawings an excellentwayto practiceyour drawingskills,andyou will learn a greatdealfrom copyingthis wonderful artwork. Note that the format of Man Readingthe (the proportions,width Bible to length, of the outsideedge)is slightly different from the one you have beenusing,and differentfrom the format of your PicturePlane/ proportions Viewfinder.Wheneveryou copy a drawing, make thatthe sure of tbeformat tltesame. are Your drawing format canbe a different size,but it must be in the sameproportions.If you think it through, you will see why.The spaces shapes togetherto fill the format: if'you were to and fit use a different format for this drawing-say, a square-neither the shapes the spaces nor could matchthe original. Instructions:
I.
Materials: #z and#4n pencils, sharpener, and erasef The reproductionof the Van Gogh drawingon page68 Time needed: 45 minutesto r hour
T\rrn to page69of the workbook,with the printed format in the same proportionsasthe original drawing. You may wantto lightly draw crosshairs the original drawingand on fall on your format,measuring carefullyto makesurethe crosshairs at the midpoints of the drawing.This will help you to keepyour copy in proportion by seeingwhere the variouspoints fall. You may want to turn this drawingupside down to makea start.Whether it is right sideup or upsidedown,beginby drawingthe negative spaces aroundthe seated man and chair.
spaces withinthefigureaswell.For example, 4. Usethe conceptof negative can the shape between man'stwo forearms be seenanddrawn the asan "interior negative shape." The shape his lower right trouser of beneath left handcan alsobe seenanddrawnasan interior negative his shape.
66
EXERCISE 19
COPYING A MASTER DRAWING: MAN READING THE BIBLE
of t. Check the anglesof the negativespaces the chair rungs relativeto the horizontalandverticaledges the format and crosshairs. you As of progress, checkeachspace andeachshape seeif you havematched to the original. Useyour #4n pencil to darkenthe shadow shapes the vestand of trousersYou may want to turn the Van Gogh drawing upside down to betterseethe shapes tHEshadows. of if 1. Erasetlre crosshairs you wish; sign and date your drawings.Because it is a c<ipied drawing be sure to designate as"After Van Gogh." it Post- exercise remarks: Even though you havecopied a masterdrawing in this exercise, when you look at your work you will notice that your own style of drawing has inevitably shonethrough. The samewastrue when Van Gogh himself copied masterdrawings:his distinctive style alwaysshonethrough. One of the wonderful things aboutthe Van Gogh drawing is the distribution of lights andshadows. for example, how the shapes the of See, lights and shadows the lower left leg revealthe shapeof the folded on cloth andthe leg underneath.The experienceof copying this drawing will help you in the later light/shadow exercises.
EXERCISE 19
67
EXERCISE 19
EXERCISE 20
Sightingan Open Doorwalr
Materials: #z and#4e pencils, sharpeneq and efaser PicturePlane/Viewfi nder Felt-tip marker Time needed: About 3ominutes
Parposeof tbe exercirc:
In this exercise will practicethe third component you skill, the perceptionof relationships, called"sighting." also This is a two-part skill: sightingangles relativeto vertical andhorizontal,andsightingsizes relativeto eachother.Commonly known as"perspective proand portion," sightinghasbeenthe Waterlooof many an art student. It is a complicated skill, both to learn andto teach,but the Picture Plane/Viewfinder extremelyeffective clarifyinghow to seeand is in draw relationships. You will useyour pencil asa sightingtool, just asartistshavebeen doing for centuries. Look at the accompanying sketches seehow to to do this. Practiceby holding your pencil ararm'slength jtoarelbow with locke toestablishcznstant a. scala closingone eye,aligning the blunt end of your pencil with the horizontaltop edgeof a doorway, placingyour and thumb to mark the other edgeof the doorway(seeFigure zo-r).This measured width is your BasicUnit, or "r." Now, keepingyour thumbin the sameposition,turn the pencil to verticalandfind the relationship
a-1
*3;r*
*-
16
EXERCISE 2O
SIGHTING AN OPEN DOORWAY
,i
; ^{..1i
i1
ii i1
(the ratio or proportion) of width to height of the doorway.SeeFigures 2o-z,zo-3, andzo-4.Inthe sketches, ratio is "One (BasicUnit) to one the andtwo-thirds,"expressed mllYou will transferthis ratio into your. as drawing by using your pencil to measureyour BasicUnit inyoar drawing then repeatingthe measuringof the vertical edgeof the doorwayin the drawing anddrawingthe verticaledge. SeeFigures2o-t, zo-6,andzo-7. Your pencil is alsoyour sighting tool for determining angles. Angles are sightedrelative to vertical and horizontal. To practice,hold your pencil perfectly horizontally with both hands,closeone eye,and comparean anglein a corner of the room you are in with horizontal. SeeFigure zo-8. Rememberthe anddraw it on your paperusing angle the horizontal crosshairs and the horizontal edgesof the format as
Figure zo-5.
EXERCISE 20
SIGHTING
AN OPEN DOORWAY
7r
guidesto drawingthe angleyou sawin the room corner.SeeFigure zo-g. Be sureyou stayonthe planeintaking sights. Your sightingpencil always stays the surface the imaginaryglass on of picture plane.Just as recedingedges flat on the faceof a photograph, imageyou are lie the drawingliesflat on the picture plane.You cannot"pokethrough"the planeto takea sighton a recedingedge. SeeFigureszo-roand zo-rr. Instructions: Turn to page7+.The format will be left untoned,asthis will be a line drawing. Choosea sitefor your drawing-an opendoorwayleadinginto another room or into a closet, a door opento the outside. or Seethe example drawings ideas. for Seatyourself in front of the site.Useyour PicturePlane/Viewfinder to find a composition you like. SeeFigure zo-rz. and choose BasicUnit. a +. Hold the PicturePlaneassteadilyaspossible I suggest you usethe shapeof the doorway.
Figure zo-8.
t. Useyour felt-tip markerto draw the BasicUnit on the plasticplane.

If you wish,you can alsodraw someof the main edges, suchasthe ceiling angles the floor angles, be aware or but that the line will be very shaky, it is easyto makeerrorsin the drawing. you really needis and All the BasicUnit.
Figure zo-9.
f f
*
i$
,' I I
\,
.Fi
;!
$ g
g
{
?'
$;
t*
Figure zo-ro. Figure uo-rr.
Figure zo-rz.
Figure zo-r3.
EXERCISE 20 SIGHTING
Figure zo-r4.
AN OPEN DOORWAY
72
6. tansfer the BasicUnit to your format.SeeFigure zo-rJ. 7. Usingyour pencil asa sightingtool, beginto sightthe angles andpro-
portionsof the doorwayandthe surroundingwalls,floor,andceiling. Draw in all of the mostimportant edges: edges the doorway, the of the opendooq andthe edges wherethe wallsmeetthe ceiling andwhere the wallsmeetthe floor.Do not forgetto emphasize negative spaces whereverpossible, especially smallformslike door handles, for light fixtures,andpotted plants.SeeFigure zo-r+. If any areaof the drawingdoesn'tquite "look right," hold up your PicturePlaneagain, matchup the Basicunit drawnon the plasticwith the doorway, and compare angles proportionsyou seeon the plane the or with your drawing.Make any necessary corrections and completethe drawing. if 9. Erasethe crosshairs you wish;sign anddateyour drawing. Post- exercise remarrts: You havejust completeda drawingthat manyuniversiryart students would find daunting.Sightingangles andproportionsis a complicated skill, requiringthat you learn first how to "rakesights"andthen how to transferthem to your drawing.once learned, skill quickly becomes the automatic, andyou will be takingsightswithout havingto remind yourself how to do it at everystep. Every globalskill seems havea component to similar to sighting relationships drawing-for example, in learninggrammarin writing learningthe rulesof the roadin driving learningmusicalnoration, learningthe rules of the gamein chess. Thesecomponents seemdifficult andmuch too complicated first,but later they becomeautomaticand at providethe structureneededto practicethe skill. Sightingrelationships requiredin everydrawingandfor every is subject. Because its complexity, of srudentoften leavesighting unlearnedor half-learned, ensuringthat they will makeerrorsin their drawings that they will not know how to correcr.Sightingrelationships is well worth the effort ro learn andbecomes surprisinglyenjoyable once learned.
L--.-
t,ii
\i
\
EXERCISE 20
SIGHTING
AN OPEN DOORWAY
a1
/)
74
EXERCISE 2o
SIGHTING
AN OPEN DOORWAY
EXERCISE ZT
SightingaRoomCorner
Materials: and #z and#4e pencils, sharpener, eraser Picture PIane ewfinder /Vi Felt-tip marker Graphitestickandpapertowel for settinga ground Time needed: 30to 40 minutes
Purposeof tbe exercise: by choose room cornerthat is complicated including a For this exercise, a choose cornerof Alternatively, tables, lamps,and curtains. a bed or sofa, Because and cupboards, appliances. your kitchen,with its countertop, is this is this subject more intricatethan the opendoorway, exercise a you havemade. to goodway to demonstrate yourself how much progress to however, that realisticdrawing(asopposed abstract, Remember, the drawing)is always sametask,always nonobjective, imaginative or and requiringthe sameskills.Subjects mediumsvary but not the basic skillsof drawing. Instructions: r. Turn to page77of theworkbook,with the printed format.Seta toned with yolut#z pencil. groundand lightly draw in the crosshairs and cupboards. Choosea sitethat includesfurniture or countertops
I
Choose your composition. to )' Usethe PicturePlane/Viewfinder choose If and draw your BasicUnit on the plasticwith the felt-tip marker. you wish, carefullladda few of the main edgesand angles.
A 't'
Transferthe BasicUnit to your tonedground. on plane.Think of the are all and Remenbe4 angles proportions sighted the your eyesandthe "model" between planeasan invisiblepaneof glass in front of you. edge, putting the imageof the room corner Work from edgeto adjacent together like a fascinatingjigsaw ptzzle.Avoid naming parts asyou draw spaces. negative them, anddo not forgetto emphasize
usingyour pencil to "takesights." and t. Check all angles proportions,
of andspaces the corner,"squint"to see 7. When you havedrawnthe edges anddarken Eraselighted areas the largeshapes lights andshadows. of to shadowed areas. Stepawayfrom your drawingoccasionally view it andto checkfor errors. from a distance if 8. Erasethe crosshairs you wish;sign anddateyour drawing.
Drawing by Grace Kennedy.
EXERCISE 2I
SIGHTING
A ROOM CORNER
75
Post-exercis remarks: e Sightingrelationships angles of and proportionsby the methodyou are learningis called"informal perspective," opposed "formal perspecas to tive," which is the method requiring horizon lines,converginglines,and vanishing points.Professional artistsareusuallytrainedin both methods, but nearly all useinformal perspective when paintingor drawing. Formal perspective simply too cumbersome unnecessarily is and complicated for today'sartists, andinformal perspective, when well practiced, is amazinglyaccurate. Many students find eveninformal perspective drawingpainfully difficult at first,but it soonbecomes easyandevenquite engaging. When friendsseeyour drawingof a room corner,they may askin amazement, "How did you dothat?" Your reply might be,"I've just discovered have I sometalent for drawingD-after which you cantell your friends how you really did the drawing!You may be interested compare to your justcompleted perspective drawingwith your pre-instructiondrawingfrom Exercise I feel confidentthat you will be pleased with your progress. 3.
Drawing by Lizbeth Fermin.
76
E X E R C I S E2 I
SIGHTING A ROOM CORNER
:-lii; '-.1
EXERCISE 2I
SIGHTING
A ROOM1CORNER
V V.
a. ?
E X E R C T S E2 2
The Knee|FootDrawirtg
Materials: #z and#4n pencils, sharpeneq anderaser PicturePlane/Viewfinder Felt-tip marker Time needed: 20to 30minutes
Parposeof tbe exercise: Sightingrelationships angles of andproportionsis neededfor every just drawingsof buildings and interiors. This exercise drawing,not providesexcellentpracticefor seeinganddrawingedges, spaces, and relationships, first three componentskillsof drawing. the Instructions: Turn to page8oof the workbook.Leavethe formatuntonedandlightly draw the crosshairs. Usethe PicturePlane/Viewfinder choose view of your own knee to a and foot, of your feet, or of one foot, with or without shoe(s). Use your felt-tip marker to draw the main negativespaces and edgeson the plasticplane. to usingthe +. Usea pencil to transferthe main edges your paper, crosshairs guideyou. to
t. Setthe PicturePlaneto one side,in a spotwhereyou canstill seeit.

Completethe drawing checkingbackto the PicturePlaneif necessary. The sizechange from the kneeto the foot seems incredible, doublebut checkit the foot in this perspective view really is that small!If you draw the proportionsjast asthey appearf.attenedthe on plane,they will look correct when the drawins is finished.
Drawing by charlotte Doctor.
Drawing by student BobJean.
78
EXERCISE 22
THE KNEE/FOOT
DRAWING
6, Be sure to emphasize negativespaces you work on the drawing. as
Shoelaces, example, beautifulwhen drawnusingthe negative for are spaces and aroundthe laces. in if 7. Erasethe crosshairs you wish; sign and date your drawing. Post- exercise remarks: This is one of the bestexercises convincingstudents accepttheir for to perceptionswithout second-guessing. struggleto accepta sighting The that contradictsstoredknowledgecan be difficult. I havewatched studentsrepeatedlytake sightson an angleor proportion rhar rhey questioned. Sometimes hearthem sayto themselves, can'tbe," I "It and they checkthe sight againand againuntil they finally acceptit. Then, on seeing that the questionable proportionor anglemadetheir drawing look right, they find it easierto acceptthe next questionable sighting. This is one of the mostimportant lessons drawing:ro see, in accept, and draw just what you seeon the plane.
tgl,;f:i i :*lla::r: I
'i,.
l',
Drawing by student Ernest Kirkwood.
Drawing by student Lonnie Lewis.
Drawing by studentJoyce Canfield.
EXERCTSE22
THE KNEE/FOOT
DRAWTNG
79
8o
ExERcrsE zz
rur rNor/roor
DRAwTNG
EXERCISE 23
Sighting Still Life a of Bookson aTable
Materials: #z and#4n pencils, sharpener, anderaser PicrurePlane/Viewfi nder Felt-tip marker Graphitestick andpapertowel for settinga ground Several books, spreadat random on a table Time needed: About 3ominutes
I.
Purposeof tbe exercise: Because areso familiar with what the shape a book lookslike, you of it canbe hard to acceptthe apparent shape changes that occurwhen you draw booksthat arelying flat on a table andrecedingfrom your planeof vision.In certainpositions, and at certainangles, book lying a flat on a tablemay appear the picture planeto be impossiblynarrow on or impossiblyshort.The hard part of this exercise to draw books is lying on a tablein the unexpected shapes that they presenr wben seen onthe pictureplane. Instructions: Turn to page83of the workbook,with the printed format.Tone the groundto a paletone andlightly draw the crosshairs with your #z pencil. choose BasicUnit-either a negative a space between two booksor a positiveform (oneof the books).
) Hold the PicturePlane/Viewfinderassteadilyaspossible, andwith the )'
z. Usethe Picture Plane/Viewfinder find a composition to you like and
felt-tip markerdraw your BasicUnit on the plasticplane.
+. Usingthe #4r
pencil,transferthe BasicUnit to your drawingpaper.
to space, 5. Setthe PicturePlaneasideand work from shape adjacent putting the drawingtogetherlike a puzzle.Remember closeone eye to to flattenthe image.
6. Pause everyoncein a while to checkthe shapes the bookson the of
Picture Pl ane /Viewfi nder. of by to 7. Look for the shapes lights andshadows squintingyour eyes mask out fine detail.Eraseout the lighted shapes darkenthe shadowed and areas with your #4n pencil. 8. When you arefinished, erase crosshairs you wish,then signand the if dateyour drawing.
I I
i
EXERCTSE 23
SIGHTTNG A STILL LIFE OF BOOKS ON A TABLE
8r
.*
$ ;^ {*
.:rrii:''
"r'
8z
EXERCISE23
S T G H T T N GA S T I L L L I F E O F B O O K S O N A T A B L I
f
I
I
EXERCTSE23
STGHTTNG A STILL LrFE OF BOOKS ON A TABLE
83
EXERCTSE 24
A Still Life with Ellipses
Materials: #z and#4n pencils, sharpener, and efaser PicturePlane/Viewfi nder Felt-tip marker Still-life setup:The breakfast table is alwaysa good still life, or you may wish to setup a teapot,a cup andsaucer, a glass and half-filled with water.Any objectswith circular topswill provideellipses your for still life. Time needed: jo to 40 minutes
Purporc of the exercise: An ellipseis an ovalshape, a stretched-out like circle with slightly flattenedsides. When you look at a circularobject,suchasa coin,with when one eyeclosed, appears be not circularbut elliptical in shape it to the When you increase tilted at an anglerelativeto the picture plane. to angle, ellipsechanges the shape until the objectappears be a flat shape. because, bafling to students, This "perspective ellipses" of often seems what we know again, shape the seenon the picture planecontradicts aboutcircularshapes. Ellipsesplay an important role in drawingstill lifes,landscapes, focuses therefore, anddrawings involving architecture. This exercise, on ellipses. always, solutionis to draw them just asyou seethem As the flattenedon the plane. Instructions:
I.
o o
O
O
O ---/ :
T\rrn to page86of the workbook,with the printed format. If you wish, lightly tone the paperbeforeyou addthe crosshairs. to a Useyour PicturePlane/Viewfinder choose composition. in a BasicUnit (perhaps of the objects your still-life setup). one
2.
) Hold the Picture Plane/Viewfinderassteadilyaspossible and choose )'
+. Usingyour #4n pencil,transferthe BasicUnit to your paper.

of to t. Remember closeone eyewhen drawingthe ellipses the tops(and oq bottoms!) cups,glasses, plates. of and Try to seethem asshapes, better stlll, see shapes tbenegttiue the of spaces strrounding the ellipses.
6. As always, to space, putting the partstogether work from shape adjacent
like a puzzle.If you startedwith a cup,for example,checkthe negative space next to the cup.That space will be boundedby the edgeof the next object.Draw that objectandmoveto the next space. 7' As you are drawing,be sureto step awaya few times and checkto see ofl seems that the perspective proportion"look right." If something and hold up the PicturePlane/Viewfinder, matchup the BasicUnit on the causing problems. Viewfinderwith the object,andthen look at the areas
o
84
EXERCISE 24
A STILL LIFE WITH ELLIPSES
Henri Matisse . Stufu for StillJrf" ofu, deHeem,ryt5,Graphite on two sheets of paper. zo%x zr%inches. Philadelphia Museum of Art. The Louise and Walter Arensberg Collection.
Comparewhat you seeon the Viewfinderwith whatyou havedrawn. If what you havedrawn doesnot matchwhat you seeon the picrure plane,makethe corrections. B. Erasethe crosshairs you wish,then signand dateyour drawing. if Post-exercise remarks: The mostcommonerrorsin drawingellipses depictingthe ellipse are endsastoo pointed anddepictingrhe upper curve asgreaterthan the lower curve.Theseerrorscanbe avoidedby looking very closelyar the shape you aredrawing. Drawing ellipses be either mind-bendinglydificult or incredibly can easy, depending whetheryou are ableto acceptthe elliptical shapes on asyou seethem on the picture plane.The ellipses the bottomsof cups, ar saucers, glasses particularlydifficult to see, and are because know you the objects restingon a flat surface. commontendencyfor beginare A nersis to makea straightline across bottomsof cupsandglasses, the presumably they won't tip over!Shiftingto drawingadjacent so negative space extremelyhelpful in drawingellipses. is
E X E R C I S E2 4
A STILL LtFE WITH ELLTPSES
85
86
EXERCISE 24
A STILL LIFE WITH ELLIPSES
Perception .rif'Relationships
EXERCISE ) IL)
Sighting Relations,hips, in aFig,rre Drawing
Parposeof the exercise: and #4n pencils,sharpener, eraser Plane/Viewfinder -tip marker
neede*
In this exercise, you will seehow sighting works in drawing a human figure.You will be copying a sketchof a life-size sculpture of the writer EdgarAllen Poe,which is situatedon the campusof the University of Maryland.With the sketchis a diagramof the sightsI took to make the drawing. Insttactions: Turn to page89of the workbook,where you will find the sketchand diagramof the Poe sculpture.on page89,you will find a printed format.
., Using you,r #zpencil, lightly draw the crosshairs within the format ) Placeyour Picture Plane/viewfinder over the sketch.The crosshairs )' will
3ominutes
help guide your copy of the sketch. Use your marker to makea mark at the top of Poe'shead and at the bottom of the chin on the plasticPicturePlane/viewfinder.This is your BasicUnit. Useyour #z pencil to rransferthe BasicUnit to your paper. Thesetwo marks are all you needro start your drawing on the paper. You will usethis Basicunit in sighting all of the anglesand proportions of the figure.
t. Usingyour #4r pencil,draw the headon your paper,checkingthe placement of the featuresrelative to the whole head. Now begin to sight the figure: a. Sight the angleof the arm againsthorizontal.Draw the upper edge of the arm. b. Sight the length of the arm to the elbow With your pencil, measure the Basicunit, then the edgeof the arm.The proportion (the ratio of the BasicUnit, which is your "r") to the length of the upper arm is r: z (seethe diagram).Draw the edgeof the upper arm to the elbow. c. Sighl the angleof the forearm againstthe horizontal (the ledgeis horizontal).Draw that edgeand the edgeof the ledge.
Instructions continae page:gz. on
EXERCISE 2t
SIGHTING
RELATIONSHIPS
IN A FIGURE DRAWING
87
.i:";**ilti$
';
:.!;:-
88
EXERCTSE 2t
STGHTTNG RELATIONSHTPS rN A FTGURE DRAWING
&'*
't"''*i
EXERCISE 2t
SIGHTING
RELATIONSHIPS IN A FIGURE DRAWING
89
Practice sighting the figure in tlis drawing. I suggest using the length of the head as your Basic Unit Henri Matisse, Two Skacbesof a Nude Girl Playinga FhtePencil on white papenry%x8% inches, Fogg Art Museum, Harvard University, Cambridge, Mass. Gift of Mr. and Mrs.Joseph Kerrigan.
9o
EXERCTSE 2t
STGHTTNG RELATIONSHTPS rN A FIGURE DRAWING
k',,
EXERCISE 2t
SIGHTING
RELATIONSHTPS rN A FIGURE DRAlryING
9r
d. Sightthe lengthof the hand against BasicUnit. The rariois r:r. the (Checkit twice if you find that hard to believe!) Draw the handby usingthe negative shapes aroundit. Draw the negative space front of the chestandthe shape the far in of ledge. Drop a "sightline" (seethe diagram)from the front of the headto the point of the knee.Determinehow far down that point is by going backto your BasicUnit and checkingthe ratio ro the point of the knee. The ratiois r:3.
6'
Having locatedthat point, checkthe angleof the upper leg anddraw in that edge.
h. Drop another"sightline" ro determinewherethe point of the shoe toe is located,and checkthe position(the anglerelativero verrical). Go backto your BasicUnit, then comparerhe distance. The ratiois r:y and a little bit more. Having locatedthe shoe-toe, the negative use space front of the in lower leg to draw that edge. Sightthe lengthof the shoeagainsr your BasicUnit. The ratio is r:r%.Double-check you find that hard to believe. if
k. Usenegative spaces draw the other shoe, sightthe length. to but

The ratio is r:r because shoeis slightly foreshortened. the
l. F'inishyour drawingby addingshadows details. and

m. Erase the crosshairs you wish;signand dateyour drawing. if
Post-exercise remarhs: The sightingprocess, you havenow experienced may seemtedious. as it, Remember, however, that learningany new skill requiresslowprocessing in the early stages. example, menrionedearlier,learningthe rules For as of grammarwasa complicated taskthat,when learned, became automatic andindispensable. Sighting, believe, be regarded the I can as "grammar"of drawing.Learningit now will preventfrustratingerrors in future drawings. Trust me:sightingwill soonbecome rapid andauromatic,enjoyable easy. and
9z
EXERCISE 2'
SIGHTING
REI-ATIONSHIPS IN A FIGURE DRAWING
_.t
E X E R C I S E2 6
Proportions the Head of in Profile
Materials: #z and#4n pencils, sharpeneq and eraser Diagram the proporrions the of of headin profile Blankdiagramof the profilehead Note:Yo.u needto asksomeone will to modelfor y minutesfor this exercise. Time needed: About20minutes
I
Purposeof tbe exercise: The proportionsof the humanheadarevery difficult to seeclearly. I venfureto saythat only someone trainedin perceptionor in drawing is ableto bypass brain processes maketheseproportionsdifficult the that to perceive. reasons For that areuncleaqa personuntrainedin seeing relationships apparently the of sees features the faceasbeinglargerin relationto the whole of the headthan is actuallythe case. This exercise will providescaffolding seeing correctproportions. for the Instructions: Tirrn to pages and95of the workbook,with the diagramshowingthe 94 proportionsof the headin profile andthe headproportion diagram. shownin the printed diagramonto the partially drawndiagramon page9t. Now find someone act asa measuring to model.Ask that personto sit for you for five minutesin profileview.Look carefullyat your model's headandfeatures. Then, using a pencil to measure, checkeveryproportion that appears the diagram, on payingparticularattentionto the curl)e proportion "Eye level to chin equalsey leael thetopof theoutermost to of tbehead," the proportion "Eye level to chin equalsback tlteey of and to the backof the ear."Thesearethe two key proportionsfor successful profile portraits.
) Working carefullyand memorizingasyou draw,copythe proportions
Drawing by student Tom Nelson.
nxtnclsn z6
pRopoRTIoNs oF THE HEAD IN pRoFILE
93
Profile view: General proportions of the head and placement of the ear. Portrait of Sconby instructor Beth Fermin.
Demonstration drawing by the author.
Drawing by student Heather Tappen.
94
EXERCISE 26
pRopoRTIoNs
oF THE HEAD IN PRoFILE
EXERCISE 26
PROPORTIONS OF THE HEAD IN PROFILT
9t
E X E R C I S E2 7
Copying aMaster Drawirg of a Profile Portrait

Purposeof tbe exercise: This beautiful1883 drawingMme.Pierre Gautreau(also known as Madame by EnglishartistJohnSingerSargent, X), providesperfect practicefor seeingand drawingedges, spaces, relationshipsand especially proportionsof the headin profile. the Instructions:
I.
Materials: #z and#4n pencils, sharpener, and eraser PicturePlane/Viewfi nder Time needed: zo to 30minutes
T\rrn to page98,with the reproductionof the Sargent drawing,andsee the accompanying diagram page97. on
') On page of the workbook, you will find the printed format. 99
a
on )' Using a pencil,lightly draw the crosshairs the format.
+. Lay your PicturePlane/Viewfinderdirectly on top of the Sargent reproductionandnote wherethe crosshairs on the portrait profile. fall usingthe lengthof the nose(from the t. Choosea BasicUnit. I suggesr innermostcurveto the outermosttip) for comparingall other proportionsin the drawing.For example, proportionof the noselengthto the the forehead the ratio one to one and a half,or rtYr.Make two marks, is one at the innermostcurve and one at the tip of the nose. Using yorr #z pencil,transferthe two marksof your BasicUnit to the paper. the of corresponding with the 7. I suggest following sequence steps, numberedsteps the diagram: in r. In the upper right quadrant, find the point wherethe forehead meets the hairline.Double-check usingyour BasicUnit to measure it, the placement. Mark that point, andusethe negative space front of in the forehead draw the forehead's to curve. z. You locatedthe tip of the nosewhenyou markedyour BasicUnit. Double-check positionof the mark against crosshairs. the the of space front of the nose/forehead. in 3. Draw the shape the negative Recallthe conceptof shared edges. the +. Imaginea line that touches tip of the noseandthe tip of the chin in the reproductiondrawing.Lighdy draw that sightline on your papet checkingthe angleagainst vertical.Compareyour BasicUnit 96
EXERCTSE27 COPYING A MASTER DRAWTNG OF A PROFILE PORTRAIT
to the length from nose-tip to chin-tip. The ratio is yt%.Markthe tip of the chin on your sight line. t. Draw the shape of the negative spacedefined by your sight line. This will give you the shapeof the upper lip, the lower lip, and the chin.
6. Relative to the crosshairs,find the innermost curve of the chin/neck. Mark that point on your drawing. 7. Look at the shape of the negative spacemade by the chin and neck. Draw that shape. 8. Relative to the crosshairs,locate the back of the head and draw the edge. 9. Locate the back of the ear and draw the ear. ro. Locate the back of the neck and draw that edge. rr. Observe how small the eye is relative to your Basic Unit. Draw the eye,locating it relative to the innermosr curve of the nose. rz. Draw the eyebrow relative to rhe eye,checking rhe curve of the eyebrow by looking at the negarivespacebeneath the eyebrow. 13. Observe the size of the mouth relative to rhe eye and draw the mouth. 4. Locate the ear relative to rhe crosshairsand compare the length of the ear to your Basic Unit. Surprisingly, the ratio is nearly r:r %. Draw the ear,checking the negative spacebehind the ear.
rt. Draw the shapeof the head and hair. ft. When you are finished, erasethe crosshairs.Sign and date your drawing with the noration'After Sargent."
Post-exercise remarks: If you lay one fingeroverthe fearures the in Sargent drawing,you will seewhat a smallproportion of the wholeform is occupiedby the features the face.It is often quite surprising of when you first really seethe proporrions the of humanhead. This exercise providedpracticein has flexibly movingthroughthe first threeskills of drawing:edges, spaces, relationships. and As you will find with further practice, these strategies seeingaresomewhat of interchangeable.If you arehavingtrouble drawingan edge, adjacent the negative space will solvethe problem.If you arehavingtrouble assessing an angle,envisionthe angleasa negarive space boundedby an imaginaryverticalor horizontal edge. This redundancy strategies of helpsto makedrawingeasyandenjoyable.
EXERCISE 27
COPYING A MASTER DRAWING OF A PROFILE PORTRATT
97
John Singer Sargent. Madame X. Graphite on oG white paper. The Metropolitan Museum of Art, Gift of Frances Ormond and Miss Emily Sargent, r93r. $r.43.3).
98
EXDRCTSE27
COpyrNG A MASTER DRAWTNG OF A PROFTLE PORTRAIT
EXERCISE 27
COPYING A MASTER DRAWING
OF A PROFILE PORTRAIT
99
.-,.----:::
EXERCISE ZB
Drawinga Profile Portrait
Materials: #z and#4n pencils, sharpener, and erasef PicturePlane/Viewfi nder Felt-tip marker Graphitestick andpapertowel for settingthe ground Note:For exercise, will need this you a modelwilling to posefor 3oto 6o minutes(with breaks, course; of the model.can readingor watching be television). Time needed: About r hour
2.
Purposeof the exercise: Now that you havelearnedthe proportionsof the headin profileby drawing imageof theJohnSingerSargent copyingthe two-dimensional the next stepis to draw a profilefrom life, using a model.Drawingfrom life is always more challenging andthereforemore satisfying. Instractions: Turn to pagero2of the workbook,with the printed format. Seta groundandthen lightly draw in the crosshairs. model.(Four or five feet awayis a gooddistance.) Figurez8-I. See compose your drawingsothat the Usingthe PicturePlane/Viewfinder, of model'sheadis framedwithin the edges the Viewfinder. eye t. Choosea BasicUnit: I suggest levelto chin for this drawing.Mark with your felt-tip the BasicUnit on your PicturePlane/Viewfinder marker.Two marks,one at the model'seyelevel and one at the bottom your BasicUnit. You may wishto of the chin, areenoughto establish See the draw the outline of the head.but be aware line will be shakv. Figuresz8-z andz83. Next, transferthe two marksdefiningthe BasicUnit to your format.See Figure z8-4.
) Seatyour modelin profile view,and seatyourself fairly closeto the
Figure z8-1.
Be sure to check the proportions you learned in Exercise 26.
EXERCISE 2E
DRA\ryING A PROFILE PORTRAIT
Figure z8-3. re
Figure z8-4.
Start with the featuresin profile by drawing the negztiae tpaceinftont of the forehead, nose, lips, andchin. SeeFiguresz8-5and z8*6. 8. Now, follow steps4 through 15in Exercise26. the 9. If you wish,erase ground aroundthe head.This helpsgreatlyin seeingthe large form of the head and the relationshipof the featuresto the wholehead. In drawing the model'shair, squint your eyesto seethe larger highlights and the shadows. Aztoid drawingsymbol,ic hair-repeatedparal,l,el carlylines. or Hair forms a shape. Focuson drawingthat shape. , Be sure to include the model'sneck and shoulders, which provide a support for the head,and include someindication of the model'sclothing. date the drawing,addingthe model'sname. Post- exerci remarks: se Ideally,you would havetwo or three sittingswith your model, and during eachsitting you would maketiny adjustments rhe edges, to spaces, relationships.Sometimes, and changinga line by iust the width of a pencil lipe will be the movethatsuddenly capturesthe likeness. Be alert for thesemomenrs: they aretruly satis$ring.
II.
tz. When your drawing is finished,erase the crosshairs you wish. Sign and if
*u:*.'50".r,
Figure z8-6. Draw the negative shapes around eyeglasses.

rxnncrsn z8 DRAwING A pRoFILE poRTRAIT
EXERCISE 2U
DRAWING A PROFILE PORTRAIT
E X E R C I S E2 9
.tl
Still Life with AmericanFlag
Materials: Charcoal papertowel,for setand ting a ground Charcoal pencil and eraser PicturePlane/Viewfi nder Felt-tipmarker An Americanflagof any size (or,if a flagis not available, striped a towelor shirt) Time needed: 30to 40 minutes
Purposeof tbe exercise: Sofaq you havebeenfocused the first three componenr on skillsof drawing:edges, spaces, relationships. and This exercise a rerurn to is still-life drawing emphasizing samethreeskillsbut using a different the subject-the Americanflag. The flagis usefulasa subject because know it so well. We havean we embedded knowledge that the flag'sstripesarestraightand all the same width, andthat the starsare all the sameshape. Because "know" this, we when we try to draw the flagit canbe dificult for us to accepr perthe ceptionof crossed stripesthat occurswhenever flagis foldedon the itself.Equally difficult ro acceptareperceprions that the stripewidths appear change to due to ripplesin the fabric,andthat the starscan appear be variedin their shapes to depending how the fabricis folded. on For this reason, flagis a goodsubject practicingdrawingexactly the for what you seeon the plane,without second-guessing visualdata. the Instructions:
I. 2.
Turn to pagerot in the workbook,with the printed format. Tone your paperto a palegroundwith your charcoal, rubbingwith a papertowel to a smoothtone.Lightly draw the crosshairs with your charcoal pencil. Arrangean Americanflagon a table,hangingat an anglefrom a flagpole, or drapedover a chair,sothat the stripesappear cross. ro
A student's pre-instruction drawing of a flag.
A post-instruction drawing of aflag
EXERCISE 29
STILL LIFE WITH AMERICAN FLAG
ro3
L-.
Usingthe PicturePlane/Viewfinder, compose your drawing.Choosea BasicUnit-perhaps the width of the field of stars-and draw it with your felt-tip markeron the plasticplane. With your charcoal pencil, t. Transferyour BasicUnit to your tonedpaper. startyour drawingby completingthe edges the field of stars. of Useyour pencil to sightthe angles the stripesasthey appear rhe of on plane.Anglesarealways assessed relativeto verticaland horizontalon the plane.If you arenot sureof your sights, hold up the PicturePlane and checkthem relativeto the vertical andhorizontaledges the plane of just asthey appear the plane. andthe crosshairs. Draw the angles on that the 7. If your flaghasripplesin the fabric,closeone eyeandobserve widthsof the stripesappear change to (seethe accompanying drawing). just asyou seethem. Draw thesewidth changes 8. Note that the starsin the flagwill appear change to shape because of the effects perspective them.They may not always symmetrical; of on be just as they may appear be quite distortedin shape. to Draw the stars they appear the plane. on
9. Sign anddateyour finisheddrawing.
Post - exerci se remark s: Often,the seemingly simplestsubjectsprovidethe bestlessons in drawing.This is true of the flag.This drawingmay seemdifficult at first,but onceyou acceptwhat you seeon the plane,it becomes easy. Learningthat is an importantlesson. Drawing shouldbe easy, it is easy, and oncewe stopfightingour storedconceptualknowledge about how things"shouldbe" andsimply acceptperceptions they appear as on the plane. The next exercises focuson will the fourth skill: seeing lights and shadows. After the rigorsof sighting joy returnsto drawing,because lights and shadows powerfulelements are in depictingthe three-dimensionality of forms-or in "makingthings look real,"asmy students sometimes put it.
ro4
EXERCISE 2g
STILL LIFE WITH AMERICAN FI-tc
EXERCISE 29
STILL LIFE WITH
AMERICAN
FI/,G
rot
- ." .,:.;;"riLS
EXERCISE 30
DrawinganEggLighted from Above
Materials: Charcoal papertowel,for toning and a ground Charcoal pencilanderaser PicturePlane/Viewfi nder Felt-tipmarker White-shelled or eggs, an egg egg in carton Piece whitepaper,9"x 12" of Lampor spotlight Time needed: About z5minutes
Purposeof tbe etcerctse: This exercise introduces fourth skill, the perceptionof lights and the and shadows, buildson the first threeskills (edges, and spaces, relationas ships). You will seethe edges the shapes lights and shadows of of of either negative shapes positiveforms,andyou will seethe shapes or lights andshadows relationship eachother andto the wholeof the in to drawing. levelin Lights andshadows usuallynot perceived a conscious are at ordinary life. We seelights and shadows subconsciously; tell us the they shapes things,but we aregenerallynot aware this mentalprocess. of of at In drawing however, needto seelights and shadows a conscious we level.They arevery beautiful,andseeinganddrawingthem is extraordinarily satisfying. Figure 3o-r. See In traditionalart instruction,there arefour aspects light and of shadow. Together, thesearecalledthe logic of light, or, in short,light light, andcrest logic.Theseaspects highlight,castshadow, reflected are: shadow. Figures3o-r)3o-2, 3o-3. See and Highlights arethe lightestlightsin a picture. Castshadows the darkest are darksin a picture. Reflected lights arenot aslight ashighlights. Crestshadows not asdark ascastshadows. are The Note;The lightestlight you canachieve the white of the paper. is mark your pencil or charcoal darkest dark you can achieve the darkest is will make. In this exercise, will be drawingan eggoEif you prefer,several you eggs. Because useof light logic appliesespecially roundedforms, to the an egglighted from above effectively demonstrates four characteristhe tics of lights and shadows. Instructions: r. T\rrn to pagero8of the workbook,with the printed format.Look at the accompanying drawingof an egg,pointing out the four areas-highlight, castshadow; reflected light, and crestshadow. Light rays,bouncing of offthe flat surface eggsitson andsoftly lighting the underside the the egg,createareas reflected of light. Light raysbypassing eggresultin the crestshadows the outermostcrestof the egg's curvedform. on
EXERCISE 30 DRA\ryrNG AN EGG LTGHTED FROM ABOVE
gles
Figure 3o-r.Drawing by student Elizabeth Arnold.
to6
Figure 3o-2.
z. Usingyour charcoal, tone the paperwithin the format to a palegray. Rub it to a smoothtone.Lightly draw crosshairs the formatusingyour in charcoal pencil. j. Arrangea still life with an eggor several eggs a pieceof white paper. on Usethe lamp or spotlightto illuminate rhe still life from above and slightly to one sidein order to producecastshadows, meaningthe shadowsproducedwhen objects block light rays. choose your composition andthen 4. Usingthe PicrurePlane/Viewfinder, choose BasicUnit; I suggest width or lengthof one egg. a the y. Useyour charcoal pencil to transferyour BasicUnit to the format. 6. Now draw the main edges, spaces, relationships the eggsandthe and of shadows they cast. The negative spaces aroundthe eggsandcastshadows will help you to seethe shapes accurarely. 7. Squint your eyesand searchthe still life for the lightesilightsand the darkestdarks. Erasethe highlightson the eggsanddarkenthe castshadowswith your charcoal pencil. 8. Carefullyobserve crestshadows the reflected the and lights on rhe eggs. SeeFigure 3o-r. Usingyour eraser and charcoal pencil,slightly lighten the reflected lights andslightly darkenthe crestshadows approximate to the values you seein thoseareas the eggs. of the signand dateyour drawing. 9. Carefullyerase crosshairs; Post-exercise remarkr More than anything,I believe, students wanrto know how ro "shade" their drawings that formslook three-dimensional. abiliry ro see so The subtledifferences values(the lightness darkness one areacomin or of paredto another)is one of the key requirements achieving for this goal. The four aspects light that you havelearnedin this lesson of will help you to seethosedifferences knowingwhat to look for andthen bringby ing them to your conscious awareness. Onceyou canseethe four aspects of light, you candraw them.
1.\
'7
r* !t
I Figure 3o-3. The two drawings above demonstrate how lights and shadows change when the light source is moved. Where is the light coming from in Figure 3o-zl In Figure 3o-3? In Figure 3o-4?
Figure 3o-4.
EXERCTSE30
DRAWING AN EGG LIGHTED FROM ABOVE
r07
g :
i I
lEI
E E;I tthi
EXERCISE 3I
g
fr
=
b
CharlieChaplinin Light and Shadow
=
fh
=!
h
=
h
=
b
Materials: Charcoal, naturalor syntheric Charcoal pencilanderaser
Purposeof tbe exercise:
ih
;l
h
PicturePlane/Viewfi nder Time needed: 30to 40 minutes
=
h
-l
b
.t
h
=l
E
=l
L-r
-h.
-b
:
bi
In the exercises edges, on spaces, relationships, wereencouraged and you to seeanddraw fine detailsin order to increase your ability to discriminateslight changes edges, in shapes, angles, proportions. and With the fourth skill, the perceptionof lights andshadows, focus the shiftssomewhat. The visualsystemof the humanbrain canvisualize-that is,seein the mind'seye-missing informationfrom incompletecues. drawing In just enoughcluesaboutthe subthis means that if you giveyour viewer ject of a drawing,the viewer canenztision missingparts,andviewers the of drawings seemto greatlyenjoythe envisioning process. photoThe graphof Charlie Chaplin you will be copyingin this exercise a good is example allowingshadows obscure of to details, thus requiringthe viewer to fill in the missingparts. Norr.'Because the harshlight usedin the Hartsookphotoof of Chaplin,reflected lights and crestshadows (which you drew in the previousexercise) obscured. are Instructions:
-I.
b
T\rrn to pagerrrof the workbook,with the printed format.
-2.
h
EI
h
EI
l
i
ET
r
Tone your format to a fairly dark shade rubbingto smooth with charcoal, the tone.The naturalcharcoal soft and easyto usefor settinga ground, is but it smears makes darkertone andis less easily. Syntheticcharcoal a subject smearing, it doesnot erase easilyasthe naturalcharcoal to but as Try both on somescratch paperand choose one you like best. the Usingyour charcoal pencil,lightly draw crosshairs both within your format and on the reproductionof the Chaplin photo. Choosea BasicUnit andtransferit to your drawingusingthe charcoal pencil.The width of the crown of the hat would makea goodBasicUnit.
-r
hr
=l >.
E= i
b ?
I
ff
E E
E
i
and 5. Usingthe crosshairs your BasicUnit to guideyou,copythe main edges the portrait,payingcloseattentionto the shapes the negative of of spaces aroundthe figureaswell asthe interior negative shapes.
Charlie Chaplin. Photograph by Hartsook. International Portrait Gallery.
EXERCISE 3I
CHARLIE CHAPLIN IN LIGHT AND SHADO\ry
ro9
With your erase!beginto erase rhe lightedshapes, out leavingthe shadow shapes the dark tone of the ground.It may help to rurn the in drawingupsidedown for part of your drawingtime. Draw only what you 7. Notice how little detail is requiredin the fearures. see. Chaplin'sright eye,for example, almostentirely portrayedby is the largedark shape aroundthe eyeandthe tiny shape the white of of the eye. Regard lines asnarrowshadow shapes: the edges the vestandthe see of shadows aroundthe mouth. pencil to finishthe drawing but be carefulnot to over9. Useyour charcoal draw the image.Do not addwhat is not there.
IO.
When you arefinished, erase crosshairs. the Signanddateyour drawing adding "Charlie Chaplin,aftera photo by Hartsook." Post - exercise remarks: In light/shadowdrawing,the lighted shapes the shadowed and shapes can be thoughtof aspositiveandnegative spaces: you draw (or erase) if one,you havesimultaneously drawn the other.If there seems be an to error somewhere your drawing in comparefirst the lighted shapes and then the shadowed shapes your in drawingof Chaplin with thosein the originalphotograph. one or the If other doesnot matchthe shapes you seein the photograph, makethe necessary adjustments. One of the secrets successful to light/shadowdrawingis to allow your viewerto envisionwhatis left out. As mentioned, this givesthe viewer greatpleasure, the viewer and is gratefulfor beingallowedto "see into" the drawing.Don't giveaway the gameby addingtoo much detail.
EXERCISE 3I
CHARLIE CHAPLIN IN LIGHT AND SHADOW
$ b,
I
q.ffiffie&Edeffi#ffieiwP:w::asr444'
EXERCISE3I
CHARLIE CHAPLIN IN LIGHT AND SHADOW
EXERCISE )'' 1: J
Proportions the Head of in Full-Face View
Materials: #z and #4n pencils, sharpener, and eraser Time needed: About ry minutes
Purposeof tbe ercerctte: In Exercise z6,yottlearnedto draw the proportionsof the headin profile.The next challenge to draw a portrait in full-faceview,incoris poratingthe fourth skill, the perceptionof lights andshadows. This exercise learningthe generalproportionsof the humanheadin fullin faceview is helpful in portrait drawing,because theseproportions seem to be difficult to seewithout training.The mostfrequenterror is enlarging the features relativeto the wholeshape the head.It is well worth of takingthe time to memorizeandthen practiceseeing correctprothe portionsin order to avoidpersistent errorsin drawingfaces. Instructions:
I.
Turn to pages and rryin the workbook,which showthe full-face u4 diagramandthe blank diagramsideby side. Working carefully and memorizing asyou go,draw in the proportions of the features the blank diagram. backoverthe diagrams leasr in Go at onceto help you rememberthe main points,especially these: a. Eye level to chin equals levelto the top of the head. eye (Note that the thickness the hair is addedto the upper proporof tion.) b. The space betweenthe eyesequalsthe width of one eye. Checktheseproportionson your own faceby lookingin a mirror.Use your pencil to measure key proportions. possible, someone the If find who is willing to be a measurement modelfor you andcheckthe proportions again, measuring directly on the model'sheadwith your pencil. You canalsousefull-facephotographs measurement as models.
EXERCTSE 32
PROPORTTONS OF THE HEAD IN FULL-FACE VIEW
Pre-instruction drawing by Howard Rhodes, September r984. r,
l,,lFqFf.**llf sf * frl" :,'?iiF'K{i** ffi*$&s ' ,llwreh*eq 1*j- ?$*4
Post-instruction drawing by Howard Rhodes, December ro, 1984.
EXERCISEJ2
PROPORTIONS OF THE HEAD IN FULL-FACE VIEW
II3
E"
GENERAL PRopoRrroNs mE Hm oF
JrH
usE A Gr,rrDEpRopoRrroNs As ro
SPACEBETWEENTI{E EYES = ONE EYE
EYELEVEL
wrDrHoFyr \
CORNERS OFMOUTH
WIDTHOFNECK
EYE TO TI{E CHIN = ErrETO TTG TOp OF THE SKIJLL
rr4
EXERCISE
J2
PROPoRTIONS
OF THE HEAD rN FULL-FaCE
vIEw
EXERCTSEl2
pRopoRTIoNS
OF THE HEAD IN FULL-FACMEW
u5
EXERCISE 33
CnpyingaFull-F'ace
Portrait
Materials: Charcoal papertowel,for toning and a ground Charcoal pencil and eraser PicturePlane/Viewfi nder Time needed: About3ominutes
Purposeof the exercise: In this exercise, will be usingcharcoal copy a full-faceselfyou to portrait by Picasso, drawnin charcoal. also You will gainpracticenot only in drawingthe proportionsof the head,but alsoin usingcharcoal to createa rangeof dark and light values. Portrait drawingrequiresprecisediscriminations termsof edges, in spaces, relationships, lights andshadows. and Beforeyou startyour drawing compare generalized the proportionsof the headasshownin the Exercise diagramwith the proportionsof Picasso's head.You will 3z find minute variations. example, For Picasso drew his left eyeslightly lower than his right eye.The mouth is slightly wider on the right sideof his facethan on the left. His right earis slightly higher than his left ear. By makingthesevery fine visualdiscriminations drawingyour perand just asyou seethem,you will capturePicasso's ceptions likeness. Instructions:
I.
Ttrrn to pageu8 in the workbook,the reproductionof Picasso's SeF Portrait,Barcelona, r899-r9oo. pagerr9is a format with approximately On the sameproportionsasthe original. Tone your paperlightly with charcoal, rubbingit to a smoothtone with the papertowel.Lightly draw crosshairs with charcoal pencil and,if you wish,draw crosshairs the reproductiondrawing.If you prefer,you on canlay your PicturePlane/Viewfinderdirectly on top of the reproduction to providethe crosshairs.
the l. Choosea BasicUnit eyelevelto chin,the lengthof the nose, distancefrom the outsidecornerof one eyeto the outsidecornerof the other eye,or any BasicUnit you prefer.tansfer your BasicUnit to your tonedground,usingthe crosshairs guidethe placement. to Usingthe crosshairs guideyou,beginto draw the headon your toned to paperwith your charcoal or pencil.You may startwith the features the largeshape the head. of
t, Checkall the proportionsasyou draw.Youwill find that thoughthey

closelyconformto the full-facediagramproportions, there areslight differences. closeattentionto thosedifferences draw them just as Pay and you seethem.
n6
EXERCTSE 33 COPYTNG A FULL-FACD PORTRATT
6. Use the shapes the negativespaces of aroundthe head-for example,the dark shapeon the left side of the reproduction,which will definefor you the shapeof the jaw,ear,and hait Use your charcoalstick to darkenin thosenegative spaces. rather than 7. Try using the whites of the eyesasinterior negativeshapes, drawing the irisesof the eyes. This will help you to placethe irises correctly. 8. Once you havesketchedin the main features, begin erasingout lighted areasand darkeningshadowed areas. Squint your eyesto seethe lightest lights (the highlights) on the nose,the temple, and the shirt. Draw the castshadows besidethe nose, under the brow,the cheekbone, upper the lip, and the chin. Softly erasethe reflectedlight on the rightiaw and darkenthe crestshadows the right cheekbone on and jaw.Be surenot to add more detail than you seein the drawing. Sign and 9. When your drawing is finished,carefully erasethe crosshairs. datethe.drawing, noting that it is "After Picasso." Sincecharcoal drawings smeareasily,you may want to sprayyour drawing with charcoal fixative,but be awarethat the fixativewill slightly changethe appearance of the charcoal. Po$- exercise retnark s: This exercisehasprovided practicein four of the basicperceptual skills-seeing and drawing edges, spaces, relationships,and lights and shadows-as well aspracticein seeingand drawing the headin correct proportion andin usingcharcoal a drawingmedium. as The Charlie Chaplin drawingwasin two values only: blackand white. The Picasso drawing hasa wider rangeof values-very light, light, medium, and dark-and thereforehasgiven you an opportunity to seeand draw the four aspects light logic highlights,castshadows, of reflectedlights,andcrestshadows. of this is helpful preparation All for the next challenge,drawing your self*portrait.
EXERCTSEJ3
COPYTNG A FULL-FACE PORTRATT
T17
Pablo Picasso (r88r-r91), Self-Portra't,Barcelona, r895r9oo. Charcoal on paper, zz.5x16.5 cm.. Picasso Museum, Barcelona. @zoozEstate of Pablo Picasso/Artist Rights Society (ARS), New York. II8
EXERCTSE 33 COPYING A FULL-FACE PORTRAIT
I
-id
EXERCISE 11
COPYING A FULL-FACE PORTRAIT
II9
EXERCISE 34
DrawingYour Self-Portrait in Light and Shadow

Purposeof tbe exercise: Self-portraits often described one of the mostdifficult tasks are as in drawing but they are actually neither different from nor more difficult than other kindsof drawing.All drawings requirethe samebasiccomponent skillsthat you havebeenstudying: seeingedges, spaces, relationships,andlights andshadows. believethe real problemis that eachof I us hasa stronglyembedded, memorizedsetof symbols the human for face,developed during childhood.Settingthis symbolsystemaside is the difficult part.Moreover, havebeliefsaboutour own appearance we (both positiveandnegative), well asmemoriesof how we appeared as in the past,andthesecanaffectour perceptions. As always, solution is to draw just what you see,always the checkingrelationships against one another. reminder:in drawing A your self-portrait, rememberto include seeingand drawing negative spaces order to strengthen in your compositionandthe unity of spaces andshapes.
Materials: Mirror #z and#4n pencils, sharpener, eraser Felt-tip marker Dampened tissuefor corrections Graphitestick andpaperrowel, for setting a ground Note:Yotwill needa floor lamp or clip-on light to illuminate one side of your head. Time needed: r to z hours
Remember, drawing is not photography. Self-portraits drawn by the same artist vary greatly one from another as shown in these drawings by instructor Brian Bomeisler. While still portraying a likeness, the setting and mood change.
EXERCTSE34
DRAWTNG YOUR SILF-PORTRATT IN LIGHT AND SHADOW
:,
I I
e6
Above: Self-portrait before instruction, by Rebecca Feldman, age r4,June u,rggg. Right: Self-portrait after instruction, Jlune25,1999.
g t
Above: Self-portrait before instruction, by Patrick O'Donnell,June il, 1999. Right Self-portrait after instruction, June 25,1999.
EXERCISX 14
DRAWING YOUR SELF.PORTRAIT
IN LIGHT AND SHADOW
Above: Pre-instruction drawing by Tony Schwart z, July n, ry89. Right Self-portrait after instruction, July 16,1989.
o.I " 4,).1,41 ,i. t ' '
r :,
.P,.'ll':
, " ,.r,;ii
Before and after self-portraits by a student in a five-day workshop.
-"d
&
'!l 'to ,
::::.'*i j:**
L )' ',:
,,..
EXERCTSE34
DRAWTNG YOUR SELF-PORTRATT rN LrcHT
AND SHADOW
Instructions: r. Turn to pageDSof the workbook,with the printed format.Using graphiteand a papertowel,seta groundwith a medium-darktone. Lightly draw a setof crosshairs within the format with your #z penEil. z. Sit in front of the mirror. Reach forward,andwith the felt-tip marker' and a ruler, draw a format edgeon the mirroq about6" x8Yr".Now, draw crosshairs the mirror within the format.When you aredrawinga on self-portrait, mirror becomes picture plane.The mirror {lattens the the your image.SeeFigure 34-r.
Figure34-r.
of 3. Gazeat your reflectionin the mirroq trying variousposirions your headto compose drawing.Choosea BasicUnit-perhaps two marks the that designate level andthe bottom of your chin.SeeFigure 34-2. eye #z 4. Using yo:ur pencil,transferthe marksof your BasicUnit ro your format.This will ensurethat the drawingof your headwill be correctly sizedwithin the format,neithertoo largenor too small.Then, lightly sketch the main edges in andspaces your headandface.It is not of necessary draw in everydetail of your features: to sometimes parts the you leavefor the viewerto envisionrurn out to be the bestpartsof a drawing. of in Work t. Now, look for the shapes lights andshadows your image. mainly with the eraser start,erasing the largelighted shapes. to out For example, you might erase the negative out spaces aroundyour head; alternatively, might darkenthe negative you spaces, Picasso in his as did self-portrait. Establishing shape the headhelpsyou ro envisionthe the of features. 6. squint your eyesandlook at your imagein the mirror to find the lightest lights,the highlights,andthe darkest darks(which areoftenthe cast shadows). Erasethe highlightsanddarkenthe castshadows with your #4n pencil.SeeFigure 34-3. of 7. Squintyour eyesagainto find any areas reflectedlight-for example, light reflected under the jaw or chin from a light-coloredshirt or blouse. Softly erase areas reflectedlight. the of 8. Squintyour eyesagainto find any areas crestshadows, of oftenfound on the nose, cheekbone, jaw,or the chin.Carefullydarkenthe crest the the shadows. spaces correctlylocate to 9. Usethe whitesof your eyesasinterior negative your irises. You will probablyfind that the whitesof your eyesarenor as light ashighlights. carefully erase whitesanddarkenthe irises,comrhe paringthesetonesto your lightestanddarkest values beforedrawing them. ro. Find and erase any highlightsyou seeon your hair.This will help to establish character the andshape the hair. of rr. In continuingto draw the features, leavesomedetailsfor the viewerto envision, especially the shadowed in areas. Figure 34-4. See rz. When the drawingis finished, signand dateit.
Figure34-4.
EXERCTSE34 DRAWTNG YOUR SELF-PORTRATT rN LrcHT AND SHADOW
I2J
Post-exercise remarhs: You will find it interesting compare to this drawingto rhe pre-instruction self-portraityou drew in Exerciser. I feel surethat you will be pleased the comparison. the past,I havehad students at In who literally did not recognize their pre-instructionself-portraits their own work, as because their skillshad advanced much farther. so As you comparethe two drawings,think about what you have learnedsincethe first drawing andhow that learningis evidenced in your new self-portrait. Often,students find that the first drawing includesmemorizedsymbolsfrom childhood,which areoftenparticularly evidentin the eyes, nose,andthe ears,aswell asin the enlargethe ment of the features relativeto the full head.It might be interesting for you to measurethe relationshjp "Eye level to chin equalseyelevel to the top of the head"in both of your self-portraits. A second characteristic haveofrenseenin the pre-instructionselfI portraitsis a kind of blandness blankness expression. conrrasr, or in In the post-instruction self-portraits oftenintense-sometimesvery are intenseandserious-and always of life. full In judging your drawing and hoping for an exactlikeness, aware be that self-portrait drau:ingis notpbotograpltjt.The self-portrait you draw next may showanotheraspect your appearance, the next yet another. of and If you look at a seriesof self-portraitsby the sameartist-for example, Rembrandtor van Gogh-they look remarkablydifferent from one another.In eachself-portrait, you recognizethe person,but you seean imagepainted or drawn with a different mood and from a different point of view
12+
EXERCTSE 34
DRAWING YOUR SELF-PORTRAIT IN LIGHT AND SHADOW
EXERCTSE J4
DRAWTNG yOUR SELF-PORTRATT rN LrcHT
AND SHADOW
125
PartY The Perception of the Gestalt
A Definition a.ndEtcplana.tion "The perceptionof the Gestalt of The word gestaltliterally means "shape," it hasevolvedto signi$r but a setof elements, thoughts, perceptions or that,when takenall together, amountto more than the sum of the parts.The perceptionof the gestalt is the fifth componenr skill in drawing.The imageis seento be more than the sum of the materials from which it is made,the subject portrays, it andthe other componeit perceptions edges, of spaces, relationships, andlights andshadows. image,takenall together, a meaningand The has a purposeof its own:to porrraythe inherentcharacrer the subject, of whetherthe drawingis a self-portraitor a depictionof a singleflower, an egg,or one'sown hand.In the language zen,the ancientBuddhist of philosophy, gestaltrepresents "thingness the thing" its essenthe the of tial nature. In this workbook,I havetaughtyou the first four drawingskillsedges, spaces, relationships, light/shadow-by direct,specific and instructions. The fifth skill, however, perceptionof the gestalt, the cannot be taughtdirectly.I canname,describe, point it out to you, but it and is an experience that will needto simply happenasa resultof your slowing down and perceivingsomethingwith the focusedattenrion required for drawing.I feel surethat you haveexperiencedthe gestaltalready, perhaps when you drew the flower andsuddenlyperceived how exrraordinarily complicated andbeautifulthe flowerseemed, whenyou or drew the profile portrait and weresurprised how suddenlybeautiful at the personyou drew seemed. I believethe perceptionof the gestaltcanbe equated with the "aesthetic response," which is a term from the branchof philosophy calledaesthetics, srudyof the beauty. The aesthetic response occursat that momentwhen you suddenlyseethe beautyof something whetheran idea,an elegant solutionto a problem,or something familiar seenin a new way.The perceptionof the gestalt one of the greatpleasures drawing.An artist is of who hasexperienced oncehopesto havethe experience it again. The perceptionof the gestaltcanthus keepyou drawingforever. In this sectionof the workbook,I will presenta varietyof new exercises, subjects drawing,media,andtechniques. hopethat you will for I experience aesthetic the response, perceptionof the gestalt, every the in drawingyou do from this point forward.
Ellsworth Kelly Qgz1. ; American). Apples, 1949. Pencil,ry%xzz%inches. Museum of Modern Art, New York (gift of John S. Newberry by exchange).
Shokei (r628-r7ry), Mia Riting. Signed "Hokkyo Shokei, aged 86." KanoSchool. Landscapein ink on paper, z9o x t3o mm. Bigelow Collecrion, Museum of Fine Arts, Boston.
rz6
THE PERCEPTION OF THE GESTALT
EXERCISE
) r )( <
JJ
UsingInk andBrush
Materialr Drawingink, suchasIndia ink or brownink madefor writing pens #z pencil,sharpener, eraser and #7 or #8 warercolor brush Saucer platefor mixing the ink or with water Jarof waterandsomepapertowels or cleanrags Time needed: Aboutzo minutes
I.
Purposeof tbe exercise: Insteadof charcoal pencil,in this exercise, like you to try usingink or I'd andbrush.This mediumis a bit dauntingat first,because cannor you erase correctmistakes. this drawing however, will lightly to In you sketchthe imagefirst andthen addwater-thinned with a brush.This ink is a usefultechniquefor makingquick sketches. In this exercise, will be copyingan ink-and-brush you self-portrait by Picasso. havechosen I this drawingnot only because beautifully it demonstrates andbrushtechnique, alsobecause reinforces ink but it the lesson you learnedwith the fourth skill, lights andshadows, a surrhar prisingamountof detail canbe left for the viewerto envision. Instructions: Turn to pager29of the workbook,with an approximately square format for use with Self-Portrait,Barcelona, by Picasso, pagerz8. rgoo on shadow shape Picasso's on headandface.That shape defines features. the Then, turn the drawingright sideup andsketchthe main edges andnegativespaces directly onrothe paper. this drawing,imaginethe For crosshairs choose BasicUnit without literally goingthrough all the and a stepsof the process.
) ' Mark your BasicUnit within the format.Beginto draw the edges the of )
z. You may wantto turn the drawingupsidedown to betterseethe large
largeshapes lights andshadows, of sizingthem in proportionto your BasicUnit. Do notaddmore detailthanJnu in tlteoriginal. example, see For half of the lower lip is left undefined. Draw the shapes the shadows of in that areajust asyou seethem. Make sureyour eye-level proportionis correct.Remember, levelto eye chin equals levelto the top of the head.Because hair is thick, you eye the must adda bit more to the upper proporrion.
t. Onceyour sketchis complete,dip your brushin ink, then in warerto thin

the ink, andbeginto paint the outlinesof the head,the shouldeqand shirt.Notice that the brushcontinues aroundthe edseof the formatto framethe head.
Brush and ink drawing by student Brenda Sanders.
EXERCISE 1f
USING INK AND BRUSH
r27
6. Dip the brushin ink againandpaint the largeshadow shape, which
shapes eyebrow, the nose, mouth, and chin. shapes the lighted sideof the head on 7. carefully makethe smallshadow that completethe features. When your drawingis finished, signand dateit, adding"After picasso." Post- exercise remarks: This drawingwill surelyillustratefor you the powerof light/shadow drawing.Can'ryou envisionthe eye,nose,andmouth in the shadowed sideof Picasso's head,eventhoughthereis nothing therebut a fearurelessshadow? Envisioningthe missing features will help to triggerthe perceptionof the gestalt.
Pablo Picasso (r88r-r97) Self-Portra' t Barcelona, r9oo.Pen, ink, and watercolor on paper, 9.5 x g.6 cm. The Metropolitan Museum of Art. Raymond paul donation, in memory of his brother, C. Michael Paul, 1982. @zoozEstate of Pablo Picasso/Artist Rights Society (ARS), New York.
I
I
rz8
EXERCISE 3t
usrNc rNK aND BRUSH
l"
-fl
E X E R C I S EJ '
USING INK AND BRUSH
r29
EXERCISE 36
An UrbanLandscape Drawittg
Materials: #z pencil Free-flowing, fine-tipped, black-ink writing pen,suchasthe Sanford Uniball Micro pen PicturePlane/Viewfi nder Felt-tip marker Tineneeded: 30to 4t minutes
Purposeof the exercise: in available, rural landscape Sincefew of us havean easilyaccessible more familiar to many of us, a scene this exercise will be drawing you for This may seeman unlikely subiect a drawing anurban landscape. are suchscenes so familiar we barelytakenoticeof them.The because and purposeof this exerciseis to demonstratethat anj)scene anysubiect, of canbe the subject when lovingly viewedand carefullydrawn, on a beautifuldrawing.In this drawing you will concentrate edges, and spaces, relationships, perceivingthe gestaltof a perhaps negative unlikely subject.
r30
nxnncrsr 36
AN URBANLANDScAPEDRAwING
Instrurtions:
I.
Turn to pager3z, with the printed format. what you might describe a truly ugly corner,full of signboards, as stoplights,andstorefronts. Parkyour car (or setup a folding chair if you areon foot) nearthe truly ugly corneqandprepareto draw while sitting in your car or on your folding chair. Useyour PicturePlane/Viewfinder framethe view Choosea to composition.
z. By automobile on foot, exploreyour neighborhood town to locate or or
t. Choosea BasicUnit. Draw it on the plasticplanewith the felt-tip

marker. 6. Transferthe BasicUnit to the paperusing your #z pencil. You 7. Sketchthe main edges. may usepencil,or you may startdrawing directly with the pen if you wish. Usingline only,beginto draw the scene boundedby your Viewfinder, at first focusingmainly on the negative spaces. you havesignboards If in your scene, draw the lettersby drawingthe negative spaces aroundthe letters.This will unify the letterformsinto the composition you drew (if the lettersthemselves, they would "pop out" of the composition). to shapes, from shapes adjacent and to spaces. 9 . Work from spaces adjacent Useyour pencil to sightangles relativeto verticalandhorizonral, and proportionsrelativeto your BasicUnit. Fit the partstogetherasthough the scene were a complex,fascinating puzzle. When you havefinisheddrawingall the edges the shapes spaces, of and you may wantto useyour pen or pencil to darkenin someof the shapes or spaces. Alternatively, you may wish to keepthe drawingasa pure line drawing.
II.
When you havefinished, signand dateyour drawing.You may wish to add a title- UrbanLandscape, Ugb Corner, Ao Fifih andBroadway. Post - exerci se remarhs: In this drawing,your subject-the urbanlandscap*was probablymade up of mostlystraightlinesand angles, the samedrawingtechnique but canbe readily appliedto other kindsof landscapes well.Negative as spaces, example, enormouslyhelpful in drawingtree trunks, for are branches, the spaces and aroundclumpsof leaves. I hopethis drawingconvinces that subject you matreris of very little importancein drawing.Anything-an old pair of shoes, baseball a cap, a towel hung overthe backof a chair,an unmadebed-can, when lovingly observed, producea beautifuldrawingandprovide a sense of the gestalt.
nxnncrsr 36
AN URBAN LANDscApE DRAWTNG
I3I
Ttt
,).
EXERCISE J6
AN URBAN LANDSCAPE DRAWING
r
F pt tt' u-.
6:
EXERCISE 37
Hatchingand Crosshatchitrg
Materials: #z and#4r pencils,sharpener, and eraser Penand ink, or a writing pen with a medium-fine dp Charcoal and a charcoal pencil Contecrayon, blackor sanguine (reddishbrown) Time needed: About zo minutes
I.
Parposeof the exercise: Hatching and crosshatching techniquesof shadingwith rapid paralare lel lines that often intersect or cross. Almost every trained artist uses hatching or crossharching give the effectof shadowor texftre change. to In addition,crosshatching allowsa lovely sense light and air ro permeof ate a drawing.Each artisr over time developsa personalstyle of hatching or crosshatchingjust asyou willin time developyour own way of crosshatching.In the early stages learning to draw,crosshatching of seems to require someinstruction, asindicated in the reproduction of a page from a r93os book on drawing. Instractions: T\rrn to pager3t of the workbook,printed with six small formats. in the examplesgiven in the early drawing manual: a. In Formatr, useyour #z writing pencil. b. In Formatz,useyour #4 drawingpencil. c. In Formatj, usepen andink or a writing pen. d. In Format4, usecharcoal charcoal or pencil,or both. e. In Format5, usecontecrayon. f, In Format 6,useyour favorite style of hatching using any of the above mediums.
) within eachof the formats, practicemakinghatches crosshatches and as
EXERCISE 37
HATCHTNG AND CROSSHATCHTNG
r33
-9. txF s*{A*F Frffifff.
E$rms;
Rq* **'t:*r G: * s _ * G.@ - q'S-'*: G,d"# ftd " 4Srrssi# F *w' i.*' : ;# . diF !+,
. E. *T*VY * F*STflEH
.Sffi"
Post- exercis remarks: e
It is through practicethat your own style of hatchingor crosshatching will develop.I suggest that you practice this valuabletechniqueasa form of doodlingduring odd moments, suchaswhen talking on the phoneor sitting in meetings
i: I t,
11 1
')'t
EXERCTSE37
HATCHTNG AND CROSSHATCHING
l{
.t
.4 4."-'.w*.*$sf
ii
EXERCISE 37
HATCHTNG AND CROSSHATCHTNG
r3t
EXERC I SE
38
A fipre Drawing in Crosshatch
Materials: Conte crayon, sanguine (reddish brown) Eraser Time needed: 30to 40 minutes
Purposeof the exercise:
In the previousexercises this workbook,you haveuseda smoothtone in to delineate shadows. this exercise, will be copyinga figuredrawIn you ing by AlphonseLegrosin which nearly all of the shadows formedb are hatchedlines.As you cansee, of asidefrom the linesdefiningthe edges the form, the drawingis formed almostentirely with hatchedlinesthat cross, at right angles, at very smallangles. not but at Crossing small angles allowsthe artistto build up the hatches, creatingevendarker tonesby slightly changing anglewith eachoverlapping of hatchthe set es.You will draw your copy of Legros'sdrawing in conte crayonsothat you canexperience natureof that medium. the Instructions:
I.
Tirrn to pager39 the workbook,with the printed format for usein in copyingthe drawingSeaad Male,byAlphonseLegros,on pager38. Note that the original drawingwasin red chalk,a somewhat softermedium than contecrayon. For this drawing,you will practiceputting your skillson automatic by omitting the drawingof the crosshairs, usingimaginarycrosshairs instead.
Choosea BasicUnit-say, the bottom edgeof the negative above space the thigh.Locatethe BasicUnit by eyewithin the blank format anddraw that edge. proportionswill be drawnrelativeto that edge. All Draw the outer edgeof the figure,usingnegative spaces sightingall and angles andproportions. of payingattentionto the overallshape t. Beginto hatchin the shadows, eachshadowed area. Notice that wherethe hatches cross, they cross at smallangles, at right angles. not Right-anglecrosshatches be very can awkwardto work with, often producinga patchwork-like effect. Tirrn both drawings upsidedown to compare largeshadow the shapes andto seewherethe darkest of areas In thoseareas, fall. build up layers hatches hatchingbackoveryour first setsof hatches, the by changing angleslightly with eachnew set.
ry6
nxrncrsr,38
A FrcuRE DRAwTNGrN cRossHATCH
when you havefinished,sign dnd date the drawing addingthe notation 'After Legros." Post-exercis remarks: e crosshatchingcan seemlike a complicatedway to achievea shadow shape, the effectis so beautiful that the techniqueis well worth learnbut ing. It may haveseemeddifficult at first to "fearherour" the hatchesin order to makea smoothtransition from a shadowed areato a lighted a,rea. This dependspartly on the amount of pressureyou apply with the pencil point. I recommendpracticing crosshatching using varying pressures and varying amountsof spaces betweenthe hatchedlines. Hatching is the mark of the trained artist. Learning ro usethis technique will give your drawingsa professional look that is unmistakable.
exrncrsn 38
A FrcuRE DRAwTNG cRossHATcH rN
tl7
*:'";tldg
u ' i ': , : . ' i F : ! .:."i."";"::.i
Alphonse Legros, red chalk on paper. Courtesy of the Metropolitan Museum of Art. New York.
rl8
nxrncrsn 38
A FTGURE DRAWTNG CROSSHATCH IN
E X E R C I S E3 6
A FIGURE DRAWING rN CROSSHATCI.I
r39
EXERCISE 39
Drawing An Imaginative Based Leonardo on da Vinci'sAdvice

Parposeof tbe exercise:
Materials: Smallamountof ink, coffee, tea, or cola(preferablydiet cola,because it contains sugarthat would make no your drawingsticky) Writing pen Four or five sheets newspaper of Time needed: About 3ominutesof drying time and aboutr5minutesfor drawing
seenin the mainly on something havebeenbased Thus far,the exercises drawing real world. This is a form of drawingcalled"realism."However, of neednot be confinedto portrayals real life. Drawing canalsodepict One of the problemswith imaginative the world of the imagination. drawing is finding a way to start.This exerciseis inspired by the writing on that artistsstudythe stains of Leonardoda Vinci, who recommended scenes imaginative with envisioned old wallsto sparktheir imaginations andfigures. Instructions: r. Turn to page4z of your workbook,with the printed format.(Forthis drawing you will not needthe teachingandlearningaids,the Picture the Plane/Viewfindeq BasicUnit, or the crosshairs.) Carefully your drawingPage. beneath of z. Placesomesheets newspaper tea, spill someink thinned with water,or somecoffee, or but deliberately cola,within the format.Allow the liquid to run whereit will, andthenlet it dry for about3ominutes. triggeredin your trying to "see"images 3. Studythe stainson the paper, mind by the stains. with images 4. Usingthe writing pen,beginto reinforcethe envisioned to andcrosshatches createthree-dimenaddinghatches line, perhaps sionalforms. that the drawingis y. Continuereinforcingimages until you aresatisfied finished. 6. Title your drawing.This is an importantstepandshouldbe givensome thought.Then, signand dateyour drawing. Post- exerci se remarks: This is a good exerciseto repeatagainand againin order to nurrure your of imagination. you continueto draw images the real world, your As For drawings. of with images remembered mind will becomestocked example, you call up in your mind'seyethe imageof the floweryou can 19? Iz, drew in Exercise or the man readingthe Biblein Exercise These
t40
EXERCTSE39
AN IMAGINATIVE
DRAWING BASED ON LEONARDO DA VINCI'S
ADVICE
images haveremarkable longevityand arereadilycalledup to guide your drawingwhen,for example, you wantto drav/a floweror a seated figurefrom your imagination. Completelyimaginarycrearures scenes and evolvefrom amalgamations of remembered images. The process drawingimaginarycreaof turesitself helpsyou to envisionimages. example, For onceyou have drawnthe headof an imaginarycrearure, nexrparr-the body-is rhe generated an imaginedextension the head.You then draw on the as of paperthe imageyou seein your mind. The wholeprocess imaginary of drawingis strengthened enrichedby havinga largerepertoireof and remembered images just from previousdrawings, as,for a creative writer, havinga largerepertoireof remembered writings helpswith imaginative writing.
wt
J
i rJr
u-i
\t
\'
!rr
--/{
j
EXERCISE J9
AN IMAGINATIVE
DRAWING BASED oN LEoNARDo
DA vINcI,s
ADVICE
147
r+z
EXERCISE 39
AN TMAGTNATTVE DRAWTNG BASED ON LEONARDO DA VrNCr'S ADVTCE
PartY The Perception of the Gestalt
EXERCTSE 40
A Four-by-Four Drawing
Materials: and sharpener, #z and#4npencils, eraser A smallpieceof white paper, z" /r" about x 2",with a square x/t" format cut out. An objectof your choice(for example,a dried leaf,a pieceof jewelry, a pieceof popcorn,a shell,bark from a tree,a flower,a rock, a piece wood) of weathered Time needed: Aboutr hour Parposeof the exerctse: for that is The purposeof this final exercise to demonstrate subiects evenin the and canbe found everywhere, drawingsareinnumerable you In places. this exercise, will be drawingfrom an mostunexpected or object,either human-made from the naturalworld. ordinary,everyday x/r" You will enlargea tiny area,Yr" , of this obiectto a 4" x 4" formatto as producea drawingthat may be unrecognizable the original obiectbut This drawingwill require image. that will presenta nev/,almostabstract from Pure contour drawingthrough all of the skillsyou havegained, and light/shadowto crosshatching the perceptionof the gestalt' Instructions: r. T\rrn to pageI45in the workbook,with the printed 4" x 4" format. Usethe paPefwith the smallcutout z. Examinethe objectyou havechosen. a to squafeasa smallversionof the PicturePlane/Viewfinder choose that you like. composition you can 3. Carefullytapethe paperformatto the obiectandplaceit where closelyview it. lightly on 4. Imaginecrosshairs the objectand on the 4" x 4" format (or within the format if you wish)' draw in the crosshairs your pencil andbeginto draw iust whatyou seein the object, 5. Sharpen openingto the from the Yr"xYr" square enlargingyour observations +" x +" format. Be and relationships, lights/shadows. sure spaces, 6. Draw the main edges, of areas your drawing. in to incorporatecrosshatching the shadowed of 7. At the laststage the drawing work within the drawingitself to bring to all partsto a point of finish,when you feel nothing needs be addedto Try sPaces. to usea rangeof values, Make sureyou emphasize the image. from very light to very dark. g. Decideon a title. Titles andsignatures becomepart of a drawing. Carefullywrite or print the title belowthe lower left-handcornerand signthe drawingbelowthe right-handcorner.
EXERCTSE40
A FOUR-BY-FOUR DRAWING
r+3
Post- exerci se remarks: or You haveiust completed an abstractdrawing.You haveabstracted, qualitiesfrom an obiectof the naturalworld' This is drawnout, essential art. the definitionof "abstract" These4" x +" drawingsarevery beautiful Evenin drawinga smallpart of andstandon their own asreal drawings. the you may haveexperienced perceptionof the a very ordinary obfect, gestaltduring the time you were drawing or after the drawing was to I finished. hopethis inspiresyou to look for subiects draw in unlikely aswell aslikely places.
4+
EXERCISE 40
A FOUR-BY-FOUR DRAWING
EXERCISE40
A F O U R _ B Y _ F O U RD R A W I N G
r4t
Some Suggestions for Further Study
In time, you will discard your Picture Plane/Viewfinder. Using your hand and pencil to form a viewfinder, you will imagine the crosshairs, choose a Basic Unit, estimate its size relatiae to tbeformat, mark it on your paper, and. . . iust start drawing.
To keepimprovingyour drawingskills,the importantthing is to continCarrying a Ten minutesa day is sufficient' ue to draw on a regularbasis. with blank is sketchbook very helpful:I recommenda smallsketchbook to You may choose or that will fit in a purse,a briefcase, a pocket. pages alsocarry usea pen,but if you preferworking with a pencil,you should a small,hand-heldpencil sharpener. will inspireyou with new ideas, Time permitting a drawingclass to matter,and a chance seethe drawingsof other people. new subject a with drawing,I recommend If this workbookis your first experience focuson in class beginningdrawing.Most beginningdrawingclasses not matter and a varietyof mediums, on the very basicstrategies subject of perceptionthat you learnedin this workbook.Therefore,a beginning will probablynot be a repeatof theselessons. drawingclass hold uninstructedlife-drawing andschools Somecommunities modelsto classes, with no instructorbut with a variety of professional andthe mostrewarding practice, draw from. This is the bestpossible to fascinating draw. the because humanfigureis endlessly color to your list of mediums. in You may becomeinterested adding of pencilshavethe advantage familiarity,sincethey aresimply Colored anotherform of pencil andso arenot an entirely new mediumfor you. You may wish to try working with pastelpencils,a lovely mediumandan pencilsare stepbetweendrawingandpainting.Pastel intermediate than pastelchalksfor a beginnerin drawing more accessible somewhat andthey arelessdusty,aswell. in is My final recommendation to go to seedrawings museums how othershave from seeing You andgalleries. will learn a greatdeal in drawing.In addition,find booksin the handledparticularproblems and of that library or bookstores showreproductions greatdrawings, try In to find time to copysomeof thoseartworks. timespast,that is how We artistslearnedto draw:by copyingthe worksof greataftists. areforso tunatein our own time to havereproductions readily available. learningto draw,but that is one of the reasons No one everfinishes your interestthroughouta lifetime. why drawingcansustain
46
SOME SUGGESTIONS FOR FURTHER STUDY
Portfolio andVideo Ordering
The Drawing on the Right Sideof the Brain Portfolio is a completedrawing course. It includes:
To order the complete Drawing on the Right Side of the Brain portfolio or iust the Video, complete this order form and mail or fax it to us at: Drawing on the Right Side of the Brain rrySz6th Sueeq Box y3o SantaMonica,CAgo4o3 Fax: 562595-7572 Internet Or order via the Internet at www.drawright.com Telepbone: oaaw-ror (888372-9ror) 888 Salestax will apply for California. Pleaseallow two to four weeksfor delivery. Shipping chargeswill be added-visit our websiteor call for a quote. DeliaerTmoltod: ws
A two-hour videocassette Drawingboard Largedrawing paper Smalldrawing paper Smalltemplate Large template ExtraJarge template
FIRST NAME
LAST NAME
Redgel
ADDRESS
SmallPicture Plane/Viewfi nder

PHONE
Picture Plane/Viewfi nder finder ion 6nder marker ite stick 4r pencil z pencil 4r pencil 6r Pa2mmtmetbod:
E-MAIL
ADDRESS
o check or money order payable to Drawingon tbeRigltt Sideof tbeBrain,Inc. O Mastercard O Visa O American Express O Discover
CREDIT CARD NUMBER
EXPIRATION DATE.]
A U T H o R T z Es r c x e r u f r D
Itemt ordered: @nury
ltem
Pice t99.99 ,zg.gg

SUB-TOTAL
Toal.
The Portfolio (includes rbeztideQ sharpener eraser TheVideo
selrs tex (ce) sumnvc (urs)

HANDLING TOTAL
.J3:9.9.-..-..
Io l14l02

Ain Workbook

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Ain Workbook

Uploaded by

Copyright:

Available Formats

ART/CREATT\rrfY

TbeIr'iew Drawing on the Right Side of the Brain Workbook

Foreword List of Supplies Glossary of Terms The Exercises

Exerciser4 Exercise15 Exercise16 Exerciser7 Exerciser8 Exercise19

Part lll The Perception of Relationships

Part lV The Perception of Lights and Shadows

Exercise 3o Exercise 3r Exercise 3z Exercise 33 Exercise 34

PartV The Perception of the Gestalt

Exercise 35 Exercise 36 Exercise 37 Exercise 38 Exercise 39 Exercise 4o

rz7 r30 r33 \6 r+o

Some Suggestions Further Study for

Portfolio and Yideo Ordering

Charcoal 6 sticksof natural charcoal

Conte crayons r black

Erasable felt-tip marker

lnk r smallbottle of blackIndia ink

r small bottle of brown writing ink

Right brain hemisphere.

nceded: 3ominutes,more if needed

+. Draw your self-portrait to the bestof your abiliry.

Pre- InstructionD rarruiry of YourHand

t. Sign and date your drawing.

Pre-Instruction Drawing #z: MvHand

DRAWING OF YOUR HAND

Part I The Perception of Edges

Pre-Instruction Drawing of the Cornerof aRoom

DRAWTNG OF THE CORNER OF A ROOM

Pre-Instruction Drawing #3: A Room Corner

PRE-INSTRUCTTON DRAWING OF THE CORNER OF A ROOM

pRE-rNsrRUcrroN DRAWING oF THE coRNER oF A RooM

Part I The Perception ''of Edges

Warm-up andFree Drawing

fuIanials: &k-tip marker #4ydrawing or trnncil Peneil sharpener Eiteneeded dboutrominutes

Van Gogh marks.

Ben Shahn marks.

AND FREE DRAWING

Heather Allen by the author.

Grace Kennedv bv the author.

Grace Kennedy by Brian Bomeisler.

Part I The Perception of Edges

The "Vas elF'aces" Drawirg

Part I The Perception of Edges

t. Time permitting it is extremelyhelpful to do a secondand evena thild

it and name c*eEiae.Therefore, aftarendf'

over;Sincewe,car*tgirn the w4 the visual mode to'talire

gain'r our maintaskin learnifugm drawis to learnhow'"to '

Part I The Perception of Edges

Pure Contour Drawing

) Tape the workbook to a tabletop.

)' Setyour kitchen timer for 5 minutes.

'.\ /': {,*,

PURE CONTOUR DRAWTNG

Pure contour drawing.

PURE CONTOUR DRAWING

Part I The Perception of Edges

DrawittgYour Hand on the PlasdcPicturePlane

youR HAND oN THE pLAsrIc prcruRE pLANE

z. Restyour other handon the edgeof a table,with your fingers pointing

DRAWING YOUR HAND ON THE PLASTIC PICTURE PLANE

onewrNc YouR HAND oN THE PLAsrIc PIcruRE PI-{NE

Part I The Perception of Edges

t. Practice"makinga mistake"andfixing ir. Make a pencil mark on the