DRAWING

AN INTRODUCTION TO DRAWING

Drawing has been likened to writing in that it is neces­sary for the student to master it in order to convey his ideas.

There is no doubt that the student who draws well is free to concentrate on the problem of paint and color, and that poor drawing is a constant stumbling block at every stage of painting. We all hear of artists who, although mediocre draftsmen, are able to hide their lack of that abil­ity with beautiful color, but unfortunately, few of us are gifted with such an eye for color!

I do not believe that the old method of drawing from antique casts for several years, or weeks of drawing a model in the same pose, is an absolute requirement. I think that by constantly sketching and observing the student can master enough of the rudiments of drawing to be able to paint well.

This sketching can be of the things that are around us —homely kitchen utensils, furniture, the view from a win­dow, people at work and at play. Vary your sketching, working sometimes in outline, stressing the contour aspect of drawing. At other times concentrate on light and shade. The main thing is to keep drawing.

If it is not possible to go to an art school, join an art club. Most clubs devote at least one night a week to draw­ing from a model. Take advantage of such a class. If there are no art clubs available, start an art group among any of your friends who are interested in sketching.

Perspective

For the student of landscape painting some knowledge of perspective is necessary. Concerned with creating a three-dimensional quality on a flat two-dimensional surface, we use perspective as an aid in achieving this effect. The two principal forms of perspective, parallel and angu­lar, help to create the illusion of depth.

In parallel perspective, one vanishing point is used, and all lines parallel to each other converge to this point.

In angular perspective, lines which are at right angles to each other converge to separate points.

The horizon, to which all these lines converge, is always at the level of your eye.

In painting landscapes or seascapes you will soon de­velop a visual perspective, a "feeling" for the recession of forms. You will still want to check that the objects appear­ing in your composition converge properly to the eye level. With many artists, as they progress the design of the paint­ing becomes of paramount importance, and to strengthen the impact of design they distort the perspective.

The Basic Forms

A knowledge of the basic forms will help you to see cor­rectly. As you look at an object, no matter how compli­cated it may seem, the first step is to reduce it to its basic form. Once this "seeing" of the form is established you will be able to draw the object correctly.

The basic forms or models are cubes, cylinders, spheres, hexagons, cones, hemispheres, and pyramids.

It is only a short step to recogni­tion of the basic forms when sketching from nature. — And then to the head and figure.

FIGURE DRAWING

Even if you are primarily interested in landscape paint­ing, you should be able to depict incidental figures to give a feeling of life to the subject. The figure is a foil to a landscape, and if it is not executed convincingly it can destroy the effect of an otherwise good canvas.

Life drawing should be a part of your training, and, if possible, should be acquired in an art school. However, you can learn to draw the figure well by sketching people at every opportunity. Sketch people in the subway, in the park, at home, at play. Draw at all times.

Observe how people walk, sit, and stand; notice their gestures. You will discover that you can often identify someone you know at a distance by the way his head rests on his shoulders, and you will see the different postures of the old and the young. Make notes on how clothes are draped on a person, and how wrinkles form in a sleeve when the arm is bent, raised, and hanging at the side.

The drawings do not have to be large—from 2 to 6 inches will do. They will probably have to be small if you are trying to capture any action. Indicate the line of action first and then draw the figure around it. Some of your early attempts may resemble scribbling, but get the action.

Obtain a small sketch pad that can fit into your pocket or purse and carry it with you at all times. Fill the pages with sketches, using a pencil, a fountain pen, or the newer felt-tip pen. If you use a pencil, don't use an eraser. You are not out to collect neat pads of figure drawings. If the line is not right redraw a corrected heavier line over it.

The advantage of using a pen is that it leads to a more direct handling. But do not be concerned about technical handling of the pen. Put the lines down as you feel them. Observe how the shape of a suit or a dress is affected by the figure.

In time your pads will contain a collection of both ac­tion sketches and studies of form. As these pads are filled you will develop your figure drawing and acquire enough knowledge to place a single figure or a group of figures convincingly in your composition.

While constant sketching will increase your powers of observation and general facility in handling incidental figures, some time should be spent learning at least the rudiments of anatomy. Study bone and muscle structure, so that you acquire a knowledge of how it affects the figure. It is not essential to know all of the anatomical designa­tions, but you should be able to identify and know the function of the main bones and muscles. You should know the relative proportions of the male and female figure. Most important is to know the working of the movable masses, that is, the head, the rib cage (chest), and the pelvis.

There is no substitute for drawing the figure from life, but you can get a great deal of help from wooden or plastic manikins, which are for sale at most art shops. They can be studied to advantage by checking with an anatomy book in arranging the various positions.

Make simplified drawings of the skele­ton so that you acquire a working knowledge of its structure. Pay par­ticular attention to the relative propor­tions of the head, the rib cage, and the pelvic area, the important masses of the body. Observe how the arms are attached to the shoulder blades and the legs to the sockets of the pelvis.

Notice how the head, the rib cage, and the pelvis are connected by the spine It is most important to learn how the three masses relate to each other as the figure assumes various positions.

The stick-figure approach to sketching the figure is an old but re­liable method. You can achieve far more action in your sketches by using the stick figure as a start in attempting to capture move­ment. By roughly indicating head, rib cage, and pelvic areas, more resemblance to the human figure can be shown. It is only a short step, then, to reshaping the arms and legs to complete the figure.

USING A MANIKIN

A manikin can be a big help in figure drawing. There are several types available, and two popular models are shown hero. On this page is a manikin that is useful for anatomical study and for ex­periments with light as an aid in revealing form.

These are sketches of a manikin designed to show the plane struc­ture of the figure. You can learn a great deal about the large masses of the figure by placing the manikin in various positions.

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DRAWING FROM LIFE

The main lines of the figure are sketched in with char­coal.

The modeling of the large forms is broadly indicated as they turn away from the light. Check carefully with the model before rendering. Use the flat side of a small piece of charcoal when draw­ing the dark areas.

With the large areas of dark and light determined, you now can concentrate on the more subtle forms within these areas. Model them with care, constantly check­ing to see that they are not overdone, that they keep their place within the large areas.

THE PAINTER'S APPROACH

Above: The shaded areas are roughly indicated with the flat side of a piece of charcoal.

Right: The rough areas are rubbed into the paper; the fingers and a rag are used to smooth the char­coal. The study is not one of a detailed search for form but rather one of the distribution of light and shadow.

The figure study below shows the painter's approach. Emphasis is placed on the tonal values as they would ap­pear when painting the figure, rather than those of a line drawing.

Left: The action of the figure is shown by drawing the main lines.

These two pages are examples of practicing what I preach. Below are some pencil sketches that I made while serving in the Armed Forces. They were done quickly in a small 5-x-8 inch notebook that I kept with me.

The reproductions on the opposite page are sketches I made as a student—quite a few years ago! I sketched people waiting for a bus, shopping, walking; I made notes wher­ever I saw people gathered.

I believe that this type of figure sketching, opportunities for which are easily available to everyone, is of immeasur­able value to all painters.

THE BATHING BEACHES OFFER MODELS OF EVERY DESCRIPTION

Along with fresh air and sunshine, bathing beaches cer­tainly offer abundant material for studying the human figure. The sketches on these two pages were made with a felt-tipped pen on smooth paper. They are not large; 4 inches high is the average size.

EVEN TELEVISION CAN HELP

Although drawing must be a depiction of form from a three-dimensional object, the flat surface of a television screen can be used to advantage in studying arrangement. The arrangement can be of a compositional nature or of light-and-shade effects. Figures and animals in motion, which would be almost impossible to sketch directly from life, can be captured by concentrated observation of tele­vision.

THE THREE BASIC STEPS IN MAKING A PENCIL DRAWING FROM LIFE

Step 1.

The gesture of the pose is sketched in sweeping lines.

Step 1.

The modeling of the contours starts, following the form of the figure.

Step 3.

The modeling of the contours con­tinues, and at the same time the arrangement of light and dark is rendered.

THE APPROACH TO DRAWING THE SUBJECT

Locate the big masses of your subject first by lightly indi­cating the main lines. These light lines will act as a guide in sketching in the objects that make up your drawing.

The amount of detail that is to be delineated is deter­mined by what you are striving for. If the drawing is made directly on canvas for a painting to be made on the spot, only the main construction lines are needed. Details can then be added by painting and a freer impression achieved. If a great many details are drawn before painting is begun, a tightness often results.

On the other hand, if you are making a drawing as a means of gathering data for a painting to be done later in the studio, put in as much detail as possible. It can be simplified as you sketch it on the canvas and the drawing can be referred to as you paint. Again, you may do a subject just for the sake of pure drawing. You may wish to express a tonal quality and go to great lengths in studying the minute effects of light and shade. Or you may prefer a more simple rendering, a brief statement of the subject. Experiment constantly. Try various approaches. If you are unsure of your drawing, take time out to correct mis­takes as you go along.

Don't be concerned about a clean, neat, finished effect-draw to acquire knowledge, not pictures. On the other hand, if you become too slipshod in your drawing you may need to discipline yourself. Try using a hard, sharply pointed pencil tor a while. Your efforts may seem too tight at first, particularly in contrast to what you have been do­ing, but the final results should eliminate slovenly han­dling. A hard pencil is also a good remedy for any super­ficial slickness you may have acquired. Its hard, unyielding line will not permit the dazzling surface performance that is so much more easily accomplished with a soft pencil or a stick of charcoal.

Sketch At All Times

Use your pencil as a guide to proportion by holding it at arm's length, measuring depth and width from the end of the pencil to your thumb. This method is known as "sight measurement." You will also find a pencil an excel­lent means of checking the angle of receding lines in free­hand perspective. It is surprising how many times a reced­ing line appears at first glance to be going downward when actually it is going upward.

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