drawing workshop II

Concepts

“Drawing offers a huge
range of possibilities
for mirroring today’s
preoccupations.”

100 | concepts

Process and ideas

Traditionally, drawing subjects were more or less However, this unprecedented freedom can create its
restricted to the natural world, still life, and the human own tyranny. More than ever, it is essential to develop
figure. This has changed; drawing today has few limits your own personal framework to work within and be
in terms of its subjects, materials, and techniques. clear about targeting your intentions and interests.

reinventing media and subject New and mixed media allow revolutionary takes
on old subjects, and are suited to more radical
The range of drawing media is constantly experimentation – exploring the nature of
expanding, and today, traditional techniques sit representation and of mind itself.
alongside new materials and digital processes,
providing entirely new channels for expression.

A traditional still-life subject is Fisheye perspective
here tackled using mixed media –
ink and pastel – drawn on a Plexiglas
ground. With light seeping from
behind, the chaotic drawing, with
its distorted perspective, takes
on a quirky cartoon-like quality.

This representation of
a figure eschews classical
tradition in favor of
emotional intensity. The
closed pose, combined with
dense, simplified areas of
pattern and color, and lack
of tone creates an iconic
image of introspection.

Ink and gesso provide dense
colors and solid whites.

A broad dark ink wash is the perfect base for the spirograph
snowflake-like forms in white ink, which float on the surface of this
mysterious and evocative drawing – is it landscape or abstract pattern?

Process and ideas | 101

This drawing of a building, based on the conventions of
architectural representation, is given a new edge by careful
choice of media. The use of black and gold suggests power
and gravitas, transforming the skeletal structure into a
modernist temple.

A postcard of an old master painting is combined with
other collage elements and placed in a surreal golden
window that gives a view on to a stylized mountain. Formal
perspective devices are used to create the illusion of an
imaginary world.

toward animation

Experimenting with the ground of a drawing opens up new Made separately, the drawings can be overlaid to form an entirely new graphic
possibilities; inspired by traditional animation, these logo-like image. Moreover, this drawing has an existence in time – moving the elements
line images were drawn on to clear acetate. relative to one another creates a new visual experience each time.

102 | CONCEPTS

Drawing as a continuous process

Drawing practice is an ongoing process, and as with all your desired results, the answer may not be to move on
creative acts, the more you do the better you will get. to new subject matter, but to try different approaches,
All your efforts – even those that seem unsuccessful – media, and compositions. Repetition and formal
contribute to your development. If you do not achieve exercises can also be useful in unlocking your creativity.

reworking the past new life by adding collage elements, new colors, or
textures. Drawings with a strong structural
Drawings are left unfinished or unresolved for a foundation and interesting composition make
variety of reasons. A good learning exercise is to ideal subjects for reworking.
revisit old work with a fresh critical eye, appraise
its strengths and weaknesses, and inject it with

revisiting a drawing

This pastel and ink drawing was mapped out but never completed; Reinforcing the tonal areas and brightening the color with
the colors are weak and do not enhance the composition. pastels and colored pencil completes the drawing.

cutting and recomposing approach works well with contrasting pairs of
drawings; the opposition of lively and colorful, and
Existing images can be combined and collaged static and linear, for example.
to create interesting new visual descriptions that
are far more than the sum of their parts. This

Two old drawings of very A new medium
different styles – one – pastel – is
abstract in energetic ink and used to unite
shellac, and one figurative components.
charcoal – are chosen to
create the new work. Elements of
other images
can be added.

Torn edges
of the paper
set out new
forms within
the drawing.

The images are torn, cut, and juxtaposed to create a
third dynamic, which was not present in either original.

drawing exercises Drawing as a continuous process | 103

Becoming technically adept at drawing gives comprehend the pathways from brain to hand
you the ability to fulfil your creative intentions. that underlie all creative mark-making. Exploring
Different people arrive at this point through these connections through some simple exercises
different means; for some, it is illuminating to is interesting, although maybe a little unsettling.

Drawing with the “wrong” hand Drawing by touch

If you are right-handed, draw with your left hand. You will Cover your subject – here coconuts – with a cloth and draw
concentrate much harder on the subject and become by touch rather than sight. This makes you access different
aware of your conscious intentions to move your hand. sensory areas to find the information you need to make marks.

one subject, three approaches

A Grecian vase drawn in a warm, advancing The same vase, drawn in stark white against A doorway and distinct horizon create depth
terracotta color displays its surface textures black and the intense blue of the sea, in this version of the jug, which also plays
and almost falls foward, out of the drawing. possesses a far more dramatic quality. with color theory.

104 | concepts

Gallery Inspiration for drawing in the modern era derives from a huge
variety of sources and is shaped by a proliferation of new media.

E In the Car

This iconic image by Roy
Lichtenstein draws its
inspiration from comic-book
culture. The artist would cut
out and edit graphic images,
using his selection as the
basis for constructing larger
works. Lichtenstein often
used projected images to
transpose pictures accurately
on to working grounds.
Roy Lichtenstein

H Study for Crinoline

This drawing is part of a series
of preparatory works for a
sculpture. A few expressive
lines in ink conjure up a
sense of volume and texture
in the dress, and contribute
to a sense of fantasy.
Sophie Hammerton

Gallery | 105

H Untitled Chalk on Paper

Repetition of fragile lines across a prepared surface
creates rhythmic forms in this semi-abstract landscape,
contained by a bolder horizon line. Suppressed color
works in conjuction with the banding to evoke a
childlike, rainbow-tinged view of the world. Paul Klee

G Quiet Move II

Uncommonly, a white line is used
to define forms in this complex visual
construction. Mixed media explore the
explosive dynamics of sculptural form
and the illusions of space and depth.
Roderick K. Newlands

F The Gleaners

Compressed charcoal on a textured
paper creates a busy surface in this
simple drawing. The modular
compositional and tonal contrast
impart a dramatic edge to the actions
of a field worker. Georges Seurat

E Mixed Media on Paper

Forms inspired by nature are caught up
in a whirlwind; colored shapes ebb and
flow across the prepared paper,
drawing the eye repeatedly in a spiral
on the pictorial plane. Lorraine Cooke

106 | concepts Equipment

10 Archaeological finds • Acid-free cream
textured pastel paper
Drawing is illusion, and your choice of subject need not be constrained by what is
• Light burnt ocher, deep
really “out there.” The subject of this drawing is a group of real terracotta objects – terracotta, sienna, and
burnt umber chalk
archaeological finds – combined with a photograph of a classical Greek scene. pastel pencils

The two subjects are unified by harmonious composition and by the deliberate • Ruler
• Dark terracotta, sienna,
use of a restricted color palette. The warm brown and terracotta pastel pencils
and ocher pastel sticks
are sympathetic to both subjects, conjouring up both a sense of antiquity and • Plastic eraser

earthy texture, and of the burnt Greek summer landscape. techniques

1Carefully examine the • Blending pastels
photograph and begin • Combining sources
mapping out the
framework of the surfaces
drawing’s background
using the light burnt ocher Pastel needs a surface with
pastel pencil. Place the “tooth” for the pigment to
wall in the top center of stick. Rough textured or
the drawing – its position prepared papers are the
will determine the scale best choice.
and composition of the
foreground objects.

2 Continue establishing
the background elements
– work lightly so that you
can erase your mistakes.
Set out your pottery
objects, illuminating
them with a single
spotlight to simulate
the strongly directional
quality of light on a
Greek summer’s
afternoon, and begin
drawing their outlines.

building the image

3 Sketch in the forms of Warm, deep
the other pottery objects, colors bring
measuring their size with details forward.
your pencil if needed
(see p. 22). Review the
spaces between the
elements, as well as
their sizes and
proportions, adjusting
until you are happy
with the composition.

“Objects come to life
through their
irregularities.”

4 Strengthen the lines of the pottery objects to set their 5 Start adding detail to the broken pot using the deep
positions. Rest your hand on a scrap sheet of paper terracotta pastel pencil to give depth to the floral relief.
to prevent smudging the marks below. Examine the Analyze the forms and make sure you draw the floral relief
asymmetries in the objects and make no assumptions you see rather than your idea of a flower. Establish the lip
about their shapes; draw what you see. Aim to identify of the pot with the same pastel: note how the darker tone
and capture the objects’ personalities. brings the front of the object forward in the drawing.

6 Begin shading the foreground objects 7 Smudge the surface with your 8 Return to the background and
to establish form and shadow; knock fingertip to blend and refine the reinforce your faint initial lines
in the tone loosely with the dark tone. Adjust the pressure as you with the sienna pastel pencil.
terracotta pastel. Use the pastel smudge – more pressure in areas Establish the framework of the
selectively, with less tone in the of heavier pastel coverage buildings and the crumbling wall,
highlight areas to emphasize the produces a darker tone with adding the suggestion of individual
curved forms of the objects. a more apparent solidity. bricks in selected areas.

9 Draw a strong line with the ruler
and the deep terracotta pastel
pencil to indicate the edges of the
table on which the objects rest.
This provides a grounding for the
still life. Ensure that the plane of
the table matches the perspective
of the background to unite the
elements visually.

10 Reassess the shape of the objects
as the drawing progresses: the
beauty of chalk pastel is its ability
to be repeatedly rubbed back and
adjusted. Reinforce only the
foreground lines you are happy
with, using the sienna pencil,
and blend away other lines
using your fingertip.

10 Archaeological finds | 109

11Build up the shadows
using the sienna pastel
stick; it is not a good
idea to use gray and black
for shadow areas when
working in pastel because
the results tend to appear
muddy. Ensure that all
extraneous lights are
switched off when
working on the shadows.

12 Build up the modeling on 13 Add dense ocher to the
the shadowed side of the side of the broken pot.
vase with the ocher pastel Reassess the image,
stick. Rub away at the looking in particular at
applied pigment with the the negative spaces that
plastic eraser following are now emerging between
the curved form of the the strong blocks of tone –
pot; this creates interest these areas contribute to
as the pastel keys into the integrity of the
the texture of the paper. composition.

110 | concepts

14 Build the edges of the objects with the deep terracotta 15 Work heavily with the burnt umber pastel pencil,
pastel pencil; there’s no need to work too finely, because uniting the base of each object with the dense
the rawness of the drawing is part of its appeal. Create shadow that it casts. This serves to anchor the
an edge to details by rubbing back the tone with a small objects to the table surface and contributes to
eraser, rather than by introducing hard boundary lines. the three-dimensional illusion.

16 Add tone to the ruin in the
background with the burnt
umber pastel pencil. Hold the
pencil loosely – the unsure line
that results helps to make the
background more recessive and
reinforces a realistic sense of
depth. Use the plastic eraser
to smudge and soften the
background tones – the focus
of this drawing needs to remain
firmly on the foreground objects.

17 Add detail to the background
and extend its tone to almost
meet the still life objects; this
helps to unite the elements in
the drawing. Add burnt umber
detail into the floral relief for a
color link to the background.

H Archaeological finds

Subject, technique, and materials
combine in this nonrepresentational
drawing that summons up a sense of
place and history. The earthy palette and
textured paper contribute to this effect.

112 | Concepts Equipment

11 Projected image • Heavyweight off- white
drawing paper
Drawing over a projected image has a long tradition, stretching from the
Renaissance to Andy Warhol – indeed, today’s digital and slide projectors are • Projector
derived from the camera obscura, the idea of which was first set out by Aristotle.
Far from limiting your options, working over a projection opens up new • B charcoal pencil
opportunities – to work on a huge scale, to represent movement, or to explore
cultural and personal icons. This drawing of geishas in a traditional Japanese • Plastic eraser
setting uses bold pastel to capture a scene full of drama.
• Light gray, dark purple,
choosing the image coral red, and burnt
umber chalk pastel
pencils

• Lemon yellow, soft
orange, chrome green
light, mid-gray, gray-
green, ultramarine
deep, ochre, deep
yellow, orange, coral
red, carmine pink, Mars
violet, sky blue, and
olive chalk pastel sticks

techniques

• Tracing and developing
a projected image

•Drawing on a large
scale.

Selecting a suitable image for projection is key to success: Neutral gray line will
choose a photo which contains formal elements that translate not detract from
well into a drawing – perspective, a sense of place and the vibrant color
atmosphere, and human narrative are all desirable. of the drawing.

“Drawing is more than 1Position your projector on a vibration-free surface. Switch on
an academic exercise – the lamp and scale the enlargement to fit your paper. Lightly
it’s about fulfilling your draw over the key outlines of the figures and the folds in the
fabric using the light gray pastel pencil.
intentions.”

building the image

Loose marks
indicate clusters

of leaves.

2 Establish the background, working
with the light gray pastel pencil
over the top of the projection. You
can be far freer with your marks,
and add more detail to the drawing
than would be usual at this early
stage because you can be confident
that the proportions of the drawing
are all correct.

3 Bring hints of tone into densely shadowed areas of the 4 Examine the outlines with the projector switched off to
drawing; the gray acts as an underlay for the colored ensure they are all complete. Switch the projector on again,
pastel which will be added later. and begin laying down the color and texture of the slatted
wood and wall with the lemon yellow and soft orange pastel
scale drawings sticks to set up the solidity of the architectural elements.

Using a projector allows you to scale an image with exact
precision. This is very useful if you have chosen to work on
a large sheet of paper, or even a fresco, when establishing
correct proportions can be difficult.

114 | concepts

Gestural marks convey
clusters of leaves, rather
than individual leaf detail.

5 Smudge the soft orange of the walls to 6 Use the chrome green light 7 Add density to the shadows
smooth out and prepare the surface, which pastel stick to represent the behind the trees with the mid-
will be later overdrawn with darker pastel trees in the background. Think gray and gray-green pastel
tones. Smudge selectively, leaving some of the color in the projection crayons. Keep the tone rough –
areas of the orange crayon raw and bold; as a guide only – feel free to drawing too finely shifts emphasis
this helps provide textural interest. exaggerate for graphic effect. away from the foreground figure.

8 Add color to the broad concentric rings of the parasol using 9 Mark the spokes of the parasol using the
the ultramarine deep pastel. Smudge to create a uniform dark purple pastel pencil. Keep the marks
quality to these blue rings, which help to balance the firm, precise, and regular to reflect the
warmer color range in the rest of the drawing. structure of the parasol.

10 Color the hub of the parasol. Use coral red
pastel pencil, which links with the red of the
kimono and the lips of the geisha, and is the
motif color for the drawing.

11Use the mid-gray and ocher pastel sticks to 12 Begin coloring the kimono of the lead geisha with a deep
add texture to the wooden sides of the building. yellow pastel stick for the main areas and orange for the bustle;
Work over the soft orange undercoat, picking use the coral red for the pattern. These fiery colors contrast
out patterns and knots within the wood. strongly with the muted background palette.

116 | Concepts

13 Draw the lips in coral red, and the face and hair 14 Work on the rear geisha; use the carmine pink for her
in burnt umber pastel pencil, leaving a few kimono and the deep yellow for the cummerbund. Draw
highlights in the hair. The face is one of few the face and hair with the B charcoal pencil; work
white areas in the drawing, and so draws the eye. loosely so as not to pull attention from the leading figure.

15 Add tone to the path with the cool-colored Mars violet 16 Color the sky with the sky blue pastel
pastel stick. Leave this unblended to provide a rough stick. Work the pigment with your fingertip
contrast to the geisha. Reinforce the shadows cast by to create an area of smooth, flat color that
the figures and the building with the B charcoal pencil. recedes into the background.

11 Projected image | 117

18 Lightly rub back the dark purple lines with a plastic
eraser to make them less harsh. Add futher texture
to the background using the olive pastel stick.

17 Add more deep yellow tone to the kimono, blending the H Projected image
tone with your finger. Outline the hands and margins
of the robe with the dark purple pastel pencil – this Bold compositional elements and dramatic human forms give
contributes to the graphic character of the drawing. this scene a real sense of theater. With the projection removing
the need to measure and examine the subject, the drawing
becomes more concerned with the quality of mark making.

118 | concepts Equipment

12 Geometric construction • Wrapping paper
• Carbon paper
Using geometric forms in drawing hints at a utopian vision – a world of order and • Isometric
regular beauty. Nature too displays mathematical geometry in its forms – albeit
in a more complex manner – and the combination of pure geometry with abstract graph paper
natural form makes an intriguing subject in this drawing. Executed in colored • Sticking tape
pencil in a sensitive palette, the drawing begins with the tracing of a floral motif • Ballpoint pen
onto isometric graph paper, used by architects and engineers, and then explores • Zinc yellow, light blue,
the interaction of abstracted forms and colors.
water green, deep
choosing patterns and colors Sheets taped chrome, turquoise
together green, and soft plum
prevent colored pencils
movement.
techniques

• Pattern tracing
• Shading to create relief

The subject of this drawing is repeated geometric form; spend 1Lay your chosen sheet of wrapping paper (or any other source
some time experimenting with variants of pattern and color of a natural pattern) over a sheet of carbon paper. Place these
until you have achieved your desired effect. over a sheet of isometric graph paper and tape together. Trace
the floral pattern with a ballpoint pen, which creates a strong
building the image but fine line.

12 Geometric construction | 119

Carbon pigment 3 Decide on the size and shape of your underlying
remains loose geometric form; the pattern is made up of repeated
and workable. hexagons, measuring six triangles of the isometric
graph paper on each side. Mark the skeletal positions
2 Check your tracing early on to ensure that the carbon of the hexagons using zinc yellow colored pencil.
marks are sufficiently intense and that there is no
movement in the paper. Keep the marks clear at this stage, “Repetition of a graphic
though they will bleed later when color is applied. motif has a curious

romanticism of its own.”

4 Choose a repeating pattern of color to fill the 5 Guided by the isometric paper, vary the pressure and the
hexagons – diagonal rows with alternating light direction of the shading to build up a faint cubic form
blue and water green; deep chrome and turquoise within each hexagon. The resulting cubic patten has strong
green; and zinc yellow and soft plum. Color the dimensional qualities that throw the overlying floral pattern
hexagons, rigidly following this pattern. forward, as if on another plane.

120 | concepts

color choice

In conceptual drawings, colors can
be far removed from those found in the
natural world. Choose your palette to
convey mood or to explore pattern
rather than to represent reality.

6 Work around the outlines of the 7 Bring out the cubic forms that you have already established within the hexagons.
flowers, but don’t be too concerned Add denser shading to the left-hand faces of the cubes, while keeping their tops
if you cross the edges; the overlying and right-hand faces lighter to give the impression of directional lighting; avoid
colors of the flowers will create a glow making the edges of the cubes too strong, otherwise the lines could conflict
around the boundary lines. with the floral pattern.

8 Color the foreground flowers and
stems working from the top of the
drawing down. Use the same colors
as those in the background, but for
each foreground flower use the color
of the background hexagon
immediately to its left. Following
this preset system, a clear pattern
of color emerges.

 Geometric construction

A limited palette of cool candy colors gives
this drawing a contemporary pitch and
demonstrates the possibilities of working
from second- or third-hand representations
of nature.



122 | GLOSSARY

Glossary

Abstract Art paper Blending wax or clay base. Square in
cross-section and relatively
A drawing or other work Drawing paper made from Mixing colors or tones on hard, it allows for more precise
of art that is intentionally cotton pulp, rather than the paper surface so that they marks than softer pastels.
non-representational. wood pulp, for better surface blur from one to another. The
textures and enhanced archival blending tool can be a finger, Contrast
Acetate qualities. It is usually thicker a shaper, a tissue, or a rag.
than office or sketching paper Charcoal and pastel are The degree of tonal separation
A transparent or translucent to prevent buckling when wet, good media for blending. or gradation in a drawing.
plastic, available in various and may be coated with a fine
colors, that can be used as a clay compound that creates Calligraphy Crosshatching
basis for drawings and overlays. a smooth surface on one or
both sides. The art of decorative writing, Crisscrossing parallel lines
Advancing color but also used to describe a to create tone. The closer
Axonometric form of fluid drawing, usually the lines, the denser the tone.
A warm color, such as yellow, with ink and brush. A good technique in linear
red, or orange, that appears to A method of drawing a plan media, such as pencil and pen.
bring a drawn surface toward view, especially of a building, Collage
the viewer’s eye. where all the lengths are Dip pen
drawn in exact proportion to The art of creating a visual
Allusive their true dimensions, and assemblage of different forms An ink pen composed of a
circular forms are drawn as to make a new whole. metal nib with capillary
A type of image that makes circles rather than ellipses. channels, mounted on a
indirect references to other It is used in technical Conté crayon handle or holder, often
objects or circumstances, drawings by designers, made of wood. In contrast
inviting and challenging engineers, and architects. A drawing medium made of to a fountain pen, the dip pen
the viewer to explore the compressed pigment – usually has no internal ink reservoir.
connections between the two. an earth tone – mixed with a

Glossary | 123

Dry painting Framing Gesso Ground

A term sometimes used to The act of applying a physical A mixture of calcium The drawing surface,
describe drawing with pastels. frame to a drawing to protect carbonate, pigment, and most often paper.
and enhance its presentation. an animal-derived glue – or
Expressionism Also, the introduction of now more commonly acrylic Haystacking
elements into a drawing that polymer medium – used to
Art characterized by its focus set out areas of space within prime a drawing surface. Repeated layered cross-
on subjective feelings, and its the composition. Gesso produces a finely hatching at various angles,
use of symbolic colors and textured ground. used to build up dense
exaggerated imagery. Futurism shadow areas in a drawing.
Gestural drawing
Fixative An artistic movement of the Highlight
early 20th century. Futurism A style of drawing that
Liquid resin spray or atomizer glorified the technological explores the form and The brightest area of
used to glue and consolidate progress, energy, and violence movement of an object in illumination on a form, which
the loose surface produced of modern society. Typical of space. It may look realistic, appears on that part of the
when working with media the movement were dynamic but more often gestural surface most perpendicular
such as pastel or charcoal. compositions of superimposed drawings convey just a to the light source.
and interlocking forms. sense of overall form.
Foreshortening Impressionism
Gaze Graphite
The effect of perspective A 19th-century art movement
that makes forms appear The depiction of the eyes of a The carbon–clay mix used with works characterized by a
to get smaller with distance, subject, not just as pure form, in pencils. Graphite sticks focus on light and space, and
particularly noticeable in but as an expression of the are pure graphite without the use of unmixed primary
figure drawing, when it distorts personality and mood. the wooden casing. colors and small strokes to
the proportions of the body. simulate actual reflected light.

124 | GLOSSARY

Incident light Linear perspective One-point perpective Positive shape

The light falling upon an A method of portraying three In linear perspective, parallel The outline created by
object, rather than that dimensions on a flat surface lines are at right angles to the an object in a drawing.
reflected from its surface. by showing how parallel lines, picture plane and meet at a
for example of a road, appear vanishing point on the horizon. Prepared paper
India ink to converge in the distance.
Pastel A sheet of paper that has
Used for both writing and Medium been prepared by coating
drawing, a type of ink that A color drawing medium in with gesso, another pigment,
usually includes pigment The drawing material, such which powdered pigments are or a textured ground.
mixed with a solvent and as charcoal, pen, pencil, or bound with gum or another
binder (traditionally shellac), pastel (media in the plural). binding agent into sticks. Projection
which dries to a water- Soft pastels, also called chalk
resistant permanent line. Mixed media pastels, are powdery. Conté The use of a projector, which
crayons are harder. Both come may be a slide, overhead, or
Life drawing The use of more than one in pencil form. Oil pastels are digital projector, to enlarge an
medium to create a drawing, sticky, and closer to painting image on to a wall or easel. The
Drawing a human figure from for example, the combination media. A drawing made with projected image is then used
observations of a live model. of graphite and pastel. pastels is called a pastel. as the basis for the drawing,
providing tonal, color, and
Line Negative space Perspective perspectival guidelines.

The fundamental element of The gaps between objects, A drawing made in perspective Proportion
a drawing: a line has length, and between objects and the looks like a vision of the real
width, tone, and texture. It frame of the drawing. Negative three-dimensional world The accurate relationship
may divide space, define a space is as important as through the use of modeling, of part to part in a realistic
form or contour, or suggest positive form in creating a linear perspective, and color. drawing. Also relates to a
a direction of motion. harmonious composition. sense of balance.

Glossary | 125

Recessive color Silhouette techniques, erasing, rubbing, of the sides appear to converge
or employing specific materials. at two separate vanishing
A cool color, such as blue A drawing made up of an points on the horizon.
or green, that appears to pull outline of an object or figure, Tone
a drawn surface away from especially the human profile, Underdrawing
the viewer’s eye. filled in with solid color. From white to black, how
light or dark something is, A preliminary drawing, often
Release Stencil regardless of its color. in faint charcoal or pencil,
Some colors are inherently in which the outlines of the
The use of a solvent, often A template made by cutting light or dark in tone: yellow, composition are sketched
but not always water, to free out a design from stiff for example, is always light. in preparation for detailed
pigment from drawn marks. cardboard. Pigment is applied work over the top. This
Release of the pigment creates through or around the cut Tooth work may be carried out
the effect of a wash around areas of a template so that the using different media.
the harder drawn lines. pattern will be reproduced on The raised grain of textured
the ground below. paper, which bites into the Vanishing point
Representational medium applied to it. Powdery
Still life media, such as charcoal or soft In linear perspective, the point
A drawing that sets out to pastel, need paper with a tooth where receding parallel lines
achieve a near-likeness of the A representation of inanimate to stick to the surface. appear to converge.
objects being drawn. Drawings objects, whether natural or
that strive to achieve the synthetic. Two-point perspective Vignette
qualities of realism.
Texture In linear perspective, an object A drawing in which the tones
Shadow such as a building has vertical fade gradually away until they
The actual or suggested edges parallel to the picture blend with the surface. Also
The darkness cast when surface quality of a drawing. plane, but its sides are seen used to describe a small
light is obscured, either Texture can be created by as angles. The horizontal lines decorative drawing.
on an object, or by it. using skillful drawing

126 | Index

Index

A as subject 29 see also human body head and face details 78
symbolic use of 29 gallery 82-3 movement 81
abstract 122 colored pencils 12 projects 84-97 narrative and 80
acetate 17, 122 composition: fisheye perspective 100 projects 84-97
creating illusion of depth fixative 14, 123
drawings on 101 Flowers in a vase (project) 64-9 I
acrylics 13 30 folios 18
advancing color 122 relationships and 23 foreshortening 23, 88, 123 ideas 18-19
allusive image 122 concepts 99-121 fountain pens 13 Impressionism 123
anatomy 77 gallery 104-5 frames: internal 30 incident light 40, 124
animation 101 projects 106-21 framing 123
Archaeological finds (project) conté crayons 15, 122 landscapes 31 acrylic 13
contrast 122 Futurism 123 inks:
106-11 Cooke, Lorraine: Mixed Media
architectural drawings 27, 101 on Paper 105 G Indian 13, 124
Art deco building (project) crayons: releasing 13
conté 15, 122 gaze 78, 123 types 13
34-7 water-soluble: releasing Geometric construction water-soluble 13
art paper 16, 122 working with 13
axonometric drawings 27, 122 color from 48 (project) 118-21
crosshatching 21, 70, 72-3, gesso 65, 123 J
B gestural drawing 55, 123
122 Jars and jugs (project) 70-3
Barnett, J. R.: Still life study of layered 38, 40 project 84-7
urn 56 Gibbs, Andrew: K
D
blending 42, 60, 66, 94, 122 Mediterranean courtyard 56 Klee, Paul: Untitled Chalk on
body see human form decorative papers 16 Ploughed field 32-3 Paper 105
bone structure 77 Degas, Edgar 80 Girl in a party dress (project)
Brunelleschi, Filippo 27 density: controlling 72 88-91 L
brush and ink: depth, illusion of: Gogh, Vincent van: Bakery in
de Geest 33 landscape 24-49
drawing in 84-7 by color 28-9 graphite 12, 123 gallery 32-3
on textured paper 17 by composition 30 gridded paper 17 projects 34-49
brushes: for ink 13 by perspective 26-7 ground 17, 123
dip pens 13, 122 colored 76 layout paper 17
C dry painting 123 Lichtenstein, Roy: In the Car
dynamism 23 H
calligraphy 122 104
carbon paper 17 E hair 78 life drawings 76, 124
chalk pastels 15 Hammerton, Sophie: light 52-3
charcoal 14 equipment 12-17
eraser: Shakenote Singer 82 incident 40, 124
blending 94 Study for Crinoline 104 lighting:
drawing tools 14 creating highlights with 96 hands: details 79
rubbing back 96 as mark-making tool 36-7 haystacking 38, 40, 123 flat 52
on textured paper 17 rubbing back with 59, 62, head: details 78 side 52
using 14 highlights 62, 68, 71, 89, 96, line 124
Cobbett, C.: Grouped forms 57 117 123 linear perspective 124
Cole, Emily: Jogger 33 smudging with 110 human body 78-9
collage 122 exercises 102, 103 anatomy 77 M
of existing drawings 102 Expressionism 123 body details 79
setting out 64 eyes: line and tone 78 drama of 80-1 mapping 22
color: emotional intensity 100 marks: making 21
advancing 122 F form 77 materials 12-17
perspective and 28 frameworks for 22 Matisse, Henri Still life with
recessive 28, 125 face: details 78 gallery 82-3
releasing 41, 44, 48, 125 feet: details 79 flowers 57
in space 28-9 figure 74-97 measuring 22
media:

Index | 127

mixed 54, 100, 124 chalk 15 Girl in a party dress 88-91 gallery 58-9
new 100 colored 15 Jars and jugs 70-3 placement of objects 23
medium 124 conté crayons 15 Projected image 112-17 subject: different approaches
models 91 dragging 67 Red shoes 58-63 to 103
mounts 31 mark making with 21 Self-portrait 92-7
cutting 31 oil 15 Seven for one 84-7 T
floating 31 rubbing back 61, 67 Tropical scene 44-9
window 31 smudging 60, 61-2, 66, Venetian vignette 38-43 texture 125
movement 81 proportion 124 tone 125
Munnings, AJ: Reclining nude 108, 114 mapping 22
82 surface for 15, 17, 106 density: and perspective 41
on textured paper 15, 17 R in graphite 34, 35
N water-release 15 knocking in 108
pen and ink: qualities 54 recessive color 28, 125 tools 12-15
narrative 80 pencils 12 Red shoes (project) 58-63 tooth 15, 106, 125
negative space 23, 109, 124 colored 12 relationships: touch: drawing by 103
Newlands, Roderick K: Quiet pastel 15 Toulouse-Lautrec, Henri:
qualities 54 between objects 55 Woman Drinker, or The
Move II 105 working with 12 composition and 23 Hangover 83
nude: pens 13 release 125 tracing 118-19
ballpoint 13 Rembrandt: Young Woman tracing paper 17
classical 76-7 dip 13, 122 Sleeping 83 translucency 53
poses 76 felt tip 13 representational drawings 125 Tropical scene (project) 44-9
fiber-tip: on smooth paper research 18-19 two-point perspective 26, 125
O Rothko, Mark 29
17 rubbing back 59, 61, 62, 96, U
objects 50-73 fountain 13 117
gallery 56-7 mark making with 21 underdrawing 85, 125
projects 58-73 technical 13 S unfinished drawings:
relationships between 55 types 13
working with 13 scale 20 reworking 102
oil pastels 15 perspective 26-7, 124 scale drawings: using projector
old masters: postcard of 101 color and 28 V
one-point perspective 26, 124 complex 27 112, 113
development 27 Self-portrait (project) 92-7 van Gogh, Vincent: Bakery in
project 34-7 distorted 20 Seurat, Georges: The Gleaners de Geest 33
linear 124
P one-point 26, 124 104-5 vanishing point 125
Seven for one (project) 84-7 hidden 26
paper 16-17 project 34-7 shading: directional 88
art 16, 122 real-life 26 shadow 53, 109, 110, 125 Venetian vignette (project)
carbon 17 tonal density and 41 silhouette 125 38-43
decorative 16 two-point 26, 125 Sisley, Alfred: Railway Yards at
drawing 16 Piero della Francesca 27 vignette 125
gridded 17 portfolios 18 Moret-sur-Loing 32 visual references 18-19
Indian handmade 16 positive shape 124 sketchbooks 18
layout 17 prepared paper 124 W
prepared 124 Projected image (project) 112- using 19
surface interactions 17 17 sketches 18 Warhol, Andy 112
textured 15, 17 projection 124 space: water-release pastels 15
“tooth” 15, 106, 125 projects: watercolor paper 16
tracing 17 Archaeological finds 106-11 color in 28-9 Wilson, H. L.:
types 16-17 Art deco building 34-7 negative 23, 109, 124
watercolor 16 Flowers in a vase 64-9 placing objects in 54 Discus thrower 83
wrapping 18 Geometric construction positive 124 Draped cloth 57
stencil 125 wrapping paper 18
pastels 124 118-21 creating vignette with 42-3 “wrong hand”: drawing with
blending 42, 60, 66 making 38 103
still life 51, 125

128 | Acknowledgements

Acknowledgements

Author’s acknowledgements p.30: Digital Archive Japan / Alamy (r); p.32: National
Thanks to the Norwich School of Art and Design for Gallery of Scotland, Edinburgh, Scotland / The
supporting this book in a variety of ways, especially Bridgeman Art Library (t); Unknown, NSAD (bl);
through the generous use of studio space and access to Andrew Gibbs (br); p33: Haags Gemeentemuseum /
the School’s drawing collection. Thanks also to Kurt The Bridgeman Art Library (t); Emily Cole (b); pp.50–
and Rodney for their very practical support during the 51: H. L. Wilson, NSAD; p.52: Unknown, NSAD (br);
photo sessions at the School. Finally I would like to p.54: Diana Lamb (bl); p.56: Andrew Gibbs (tl); JR
acknowledge the support of Chris and Louie for their Barnett, NSAD (tr); p.57: C Cobbett, NSAD (t);
patience and help during the making of this book. Museo d’Arte Moderna di Ca’ Pesaro, Venice, Italy, ©
Succession H. Matisse / DACS / The Bridgeman Art
Producer’s acknowledgements Library (c); H. L. Wilson (b); pp.74–75: HL Wilson;
Many thanks to Maddy King and Kati Dye at p.76: CW Hobbins (tl, tlc); CE Wright (bl, cr, r); p.77:
cobalt id for editorial assistance, and Dorothy Frame WH Freeman, (l&r); p.78: Derick Greaves (cr); Nigel
for indexing. Potter (bl); Sophie Hammerton (c); C.Cobbett, NSAD
(br); p.79: C. W. Hobbins, NSAD (l, br); C. Cobbett
Picture CREDITS (tr): p.80: Private Collection / The Bridgeman Art
Key: t=top, b=bottom, l=left, r=right, c=center, Library; p.81: © Estorick Collection, London, UK, /
NSAD = Norwich School of Art and Design The Bridgeman Art Library; Emily Cole (b); p.82: AJ
Drawing Archive Munnings, NSAD (t); Unknown, NSAD (bl); Sophie
Hammerton (br); p.83: British Museum, London, UK
p.2: Diana Lamb; pp.6–7: C. Cobbett, NSAD; p.8 / The Bridgeman Art Library (tl); Musée Toulouse-
Nigel Potter (tr); p.9: Andrew Gibbs (tl); Sophie Lautrec, Albi, France, Giraudon / The Bridgeman Art
Hammerton (tcl); H.L.Wilson, NSAD (tcr); p.10–11: Library (bl); HL Wilson, NSAD (r); p.100: Sarah
J. R. Barnett, NSAD; p.13: Unknown, NSAD (tl); Horton (r); p.101 Andrew Gibbs (tr); p.103: Diana
p.15: Denton Burgess, NSAD (br); p.19: Andrew Lamb (tl); p.104: Scottish National Gallery of Modern
Gibbs (t); p.20: Unknown, NSAD (b); p.21: Josephine Art, Edinburgh, UK / The Bridgeman Art Library (t);
Brett (b); p.23: Sophie Hammerton (bl); pp.24–25: Sophie Hammerton (bl); British Museum / The
Unknown, NSAD; p.26: Unknown, NSAD (br): p.27: Bridgeman Art Library (br); p.105: Roderick K.
Galleria Nazionale delle Marche, Urbino, Italy, Alinari Newlands (tl); Private Collection / The Bridgeman
/ The Bridgeman Art Library (t); Mathew Ramsell & Art Library (tr); Lorraine Cooke (b)
Andrew Gibbs (c); Mathew Ramsell (b); p.29: The Art
Archive / Fine Art Museum Bilbao / Dagli Orti (b); All jacket images © Dorling Kindersley.



Drawing Workshop II

EVERYTHING YOU NEED TO KNOW TO BECOME A BETTER ARTIST

Practical tips and inspiring
examples help to breathe
life into your drawings

Materials and preparation
Simple guidelines demonstrate
how to develop your ideas and
map out your compositions
using an extended range
of materials

Projects
Easy-to-follow projects show
you what to do, step-by-step,
applying a range of techniques
to more advanced landscapes,
still lifes, and figure studies

Galleries
Inspirational drawings
illustrate different artists’
approaches, helping you to
develop your personal style

Other titles in this series: Watercolor Workshop; Drawing Workshop; Printed in China
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