drawing fun with a pencil

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Drawing fun with a pencil

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2. 1 3. 2FUN WITH A PENCILALSO BY ANDREW LOOMISFigure Drawing for All Its WorthCreative IllustrationDrawing the Head and HandsThree-Dimensional Drawing 4. 3Spacer 5. 4FUNWITH A PENCILANDREW LOOMIS 6. 5COPYRIGHT 1939 BY ANDREW LOOMISFIRST PUBLISHED BY THE VIKING PRESS IN MAY 1939BY THE MACMILLAN COMPANY OF CANADA LIMITEDREPRODUCED FOR EDUCATIONAL USE IN DECEMBER 2001All drawings and text within this book are the property oftheir respective copyholders and should not be reproducedfor any reason. They may only be used for thepurpose of practice and study. 7. 6DEDICATED TO EVERYONE WHO LOVES A PENCIL 8. 7MR. WEBSTER DEFINES DRAWINGAS DELINEATION. THAT DOESNTTELL YOU HOW MUCH OF A REALBANG THERE IS IN IT. MAYBEHE NEVER KNEW. MOST FOLKSLOVE TO DRAW EVEN WHENTHEY KNOW LITTLE ABOUT IT. ITSTARTED WITH THE CAVE MAN,AND STILL SURVIVES ON THEWALLS OF PUBLIC PLACES... BE-CAUSEITS SO MUCH FUN, ANDSO EASY, ITS A SHAME NOT TO BEABLE TO DO IT BETTER.ANDREW LOOMIS 9. ALL THAT YOU NEED TO KNOW, TO STARTTHIS BOOK, IS HOW TO DRAW A CIRCLE. . . .And it can be as lopsided as the family budget, andstill work out.Dont start out with that old gag, I couldnt draw a straightline. Neither can I, freehand. If we need a straight line, wecan use a ruler. Now please try it, just for fun.8 10. 9HOWDY FOLKS!Who am I? Oh, just one of Andys little funny folk.But Im important! He gave me a job. Im the spiritof the book, by jeeminy, big nose and all. I representall the blue in here. My right name would be BasicForm, but thats much too high-sounding. He thinksthat name would scare you away. So he just calls me"Professor Blook and lets it go at that. Now, Ive gota few interesting things to tell you. 11. 10Since Andy cannot talk to you personally, he put me inhere so we can really get together. Its tough on Andy,for that guy really loves to talk, especially "shop talk.Now this plan of action is based on the use of simpleforms that are already known and familiar to you, andwhich you can certainly draw.From these simple, known forms, we build otherforms, which without some constructive plan wouldbe too complicated to draw. For instance, the top ofthe head, or cranium, is nearer to a ball in shapethan anything else. So we start with a bull, and addto it the shapes we want. We thus "arrive at the out-linesthat are needed instead of guessing at them. Onlythe most talented end experienced artist can draw atonce the final outlines. That procedure is most diffi-cult,and is the reason most people give up drawing.But knowing how to "construct makes drawing simpleand easy, and a delightful pastime to anybody. By build-ingpreliminary shapes and developing the outlines onthem, we know WHERE TO DRAW OUR REALLINES. There is hardly anything that cannot first beconstructed by the use of simple forms.Santa had a belly, like a bowl full of jelly. Now thatwas a real observation. We know just whet it must hovelooked like. In fact we can see it shaking! Now, the ideais to draw the bowl before the belly. If the observationis correct, it ought to be a simple matter to make it fairlyconvincing as an abdomen for old Nick. Of course wewill cover it with his coat and pants, but well be prettysure the pants dont spoil the big idea. Ipicked on Santa because hell never complain that Imbeing too personal over his appearance. I might justas well have chosen your next-door neighbor, his lunchbasket may be equally rotund, and shake some too.Every form is like some simpler form, with this or thatvariation, and with pieces added on. The simplest 12. 11Forms we know are the sphere, the cube, and the egg.Before we could walk we recognized the sphere inDads new golf bulls; the cubes were in the sugar bowl;as for the eggs, well, the nicest ones were Easter eggs.I say, Draw a line. You cannot know just what Imean. A straight line? A curved line? A jagged line? Awiggly line? There are a thousand kinds of lines; bemore specific. But it I say draw a ball, a cube, an egg,a cylinder, a pyramid, a cone, a rectangular block, ineach case the image you get is perfect. You know ex-actlywhat I mean. Instead of line, we shall think interms of concrete and tangible form, and proceedas if we were handling lumps of clay. You can appreci-atethe value of such a method, for you know the fun-damentalseven before you start; they are obvious toanybody. If you never saw a ball, you should quit rightnow.As you proceed to build all sorts of shapes out ofsimpler ones, it is amazing what you can do withthem, and how accurate and "solid the resulting draw-ingswill appear. The surprising part is that, when theconstruction lines are erased, very few could guess howit had been done. Your drawing appears us complicatedand difficult to the other fellow as mine might seem toyou now. It takes on a look of professional workman-ship,which indeed it has, since the professional artisthas by some method had to construct his work tomake it professional.If you will give the following pages even your amusedattention, I am satisfied you will find much that willsurprise you in the way of ability but perhaps you here-toforenever guessed you had. If it absorbs your inter-est,you might find yourself clever enough to amazethose about you. Just now take my word for it that themethod is simple, practical, and, I believe, possible foranybody to follow. 13. TAKE A GOOD LOOK AT THIS PAGEA circle is a flat disk. If you draw the inside contours, itbecomes a solid ball, with a third dimension. We shallbuild other forms, like lumps of clay, onto this solidity.The construction will be erased, but the solid appearancewill remain, giving form or the appearance of reality.12 14. PART ONE HOW TO DRAW FUNNY FACESGet a pencil and paper quickly! Draw lightly all you see printed inblue. Take one stage at a time, on one drawing, until the last stage;then finish, with strong lines over the light ones, the lines we haveprinted in black. That is all there is to learn! These are "selected or"built in from the basic forms. I call the basic drawings Blooks,after myself .13 15. HERE WE GO!I promised you that all you need to know, to start this book, is how to draw alopsided ball. Whatever shape you draw can be used as a foundation for a funnyface. Do the best you can, even if the ball looks more like a potato.14 16. 15THE FUN STARTS!The big idea is to start with a form. Then develop other formson it. Build your final lines in by selecting, eliminating the linesyou do not use. I leave mine in to show how its done. 17. A SURE METHOD FOR ANYBODY16 18. ITS REALLY GOING TO BE EASIER THAN YOU EXPECTEDNow, if the first drawings you do are not the last word in cleverness, dont bediscouraged. You will soon get the idea. When you begin to sense form, youwill have the whole works. Then well polish up, and they will have to admityou are good.17 19. THE BLOOK BALLIf you will now turn back to page 12 and look at the string of balls, you will seethat we are getting right into big business. You need some practice on these.Never mind if they are a little off.The better you can draw these balls in any old position you wish, the better youare going to be. The line from the top to bottom is the middle line of the face.The horizontal line, which looks like the equator, is the eyeline, and it alsolocates the ear.18 20. JUST PRACTICE ON THESE BLOOKS19 21. THE BEST WAY TO GO ABOUT IT20 22. WE ADD ANOTHER LINE TO THE BALLLook at the diagram. This last line goes completelyaround the ball, thought the axis at each end, and cutsthe eyeline just halfway round on each side of the middleline. The ear joins the head at the point of intersection ofthe eyeline and the earline.21 23. THERE IS NO LIMIT TO THE VARIETYI am a lot more anxious to have you understand the method andcreate your own forms than to copy mine. But copying minenow will get you started.Always construct the head from the cranium down. There is noother satisfactory way. You can see by now that the position ofthe ball determines the pose of the head. The pieces you buildon determine the character.22 24. BLOCKY TREATMENT LENDS CHARACTERBlocky shapes always combine interestingly with round shapes.It is a good idea to make the final lines angular even around curves.It gives a sense of bone and ruggedness of character. You wouldnot do this when drawing pretty girls or babies.Now Ive got a surprise for you. Instead of drawing all therelunkheads, lets try something real. Im going to pose for you.23 25. BLOOK POSES24 26. 25EXPRESSION 27. EXPRESSION26 28. DIFFERENT EXPRESSIONS OF THE FACE27 29. TRICK STUFFTry this on the folks. Tell them draw two overlapping circles, anysize. Draw a middle line through both and build on your own pieces.You can make a head out of any combination. Of course, tell themto draw lightly.28 30. 29TRICK STUFFDraw a circle. Attach two smaller circles, not far apart, any-where.You can put a third above and between them. Thendraw the middle line so it passes between the two small circles.Proceed as usual. 31. HERES A STUNTDraw three balls, one of them small, in any position. Con-nect30the larger balls. Draw a middle line under the small ball.This suggests a head. Now use your imagination to completethe drawing. 32. DONT MISS THIS PAGEHere we combine the ball with other basic forms. With solidforms to build on, the head begins to take on more reality.You can almost anything you want to with the supplemen-taryforms, and come out all right. The is real character draw-ing,and a challenge to you.31 33. PROJECTIONThis page is for the clever folks. It is a method of projectingthe characters you have created into various poses. Try it withvery simple heads at first. You must use your eye and buildvery carefully.32 34. 33VARIETY BY DISTORTIONTake any head. You can distort it by the following methods.This is valuable in caricature. You can trace a photo, and drawfrom the tracing, or take