Pencil_Drawing_Foundations_Workbook_Lines_Hatching_Textures_Shadows

PENCIL DRAWING FOUNDATIONS WORKBOOK LINES Hatching, Textures & Shadows Types, techniques and detailed descriptions for every pencil artist 16 types of lines | 16 types of hatching | 24 textures Light, shadow and shading explained step by step Drills, practice pages, glossary and certificate This book belongs to: ______________________________Welcome Read this page first This book is a complete course in the four building blocks of pencil drawing: lines, hatching, textures and shadows. Every drawing you will ever make, from a quick doodle to a detailed portrait, is built from these four things. A line gives an object its edges, hatching builds its tone, texture tells us what it is made of, and shadows make it look solid. Learn them one by one and drawing stops being mysterious. The book is divided into four parts. Each part begins with an explanation of the idea, then shows every important type with a drawn example and a written description, and finishes with drills and practice boxes. Do not rush. Spend a few days on each chapter, repeat the drills until they feel comfortable and only then move on. Learn by looking, reading and copying. Study each example carefully, read its description, and then copy it in the practice space provided. Copying is not cheating; it is how every artist has always learned. Try each technique at least three times on different days. Tick the checklist at the back as you complete each drill. You do not need talent or expensive tools. A few pencils, some paper and an eraser are enough. Keep all your practice sheets in one folder. Looking back after four weeks, you will be surprised at how much your hand has learned. How to use each chapter 1 Read Read the explanation and the descriptions slowly. 2 Look Study each drawn example. Notice how it was made. 3 Copy Copy the examples in the practice boxes. 4 Create Use the technique in a drawing of your own. The four parts of the course Part One: Lines page 6 What a line is, sixteen types of line, line weight and pressure, line control drills, depth and contour. Part Two: Hatching page 16 How tone is built from lines, sixteen hatching techniques, direction, density and hatching on forms. Part Three: Textures page 26 Twenty-four natural and man-made textures, with step-by-step descriptions and texture on forms. Part Four: Shadows page 35 Light, the value scale, the anatomy of shading, types of shadows and shading basic forms. - 2 -Contents Getting Started Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Tools and Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Holding the Pencil and Making Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Part One: Lines What Is a Line? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Types of Lines (1-8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Types of Lines (9-16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Line Weight and Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Drills: Straight and Parallel Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Drills: Circles and Ellipses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Drills: Curves, Waves and Spirals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Lines That Show Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Contour and Cross-Contour Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Part Two: Hatching What Is Hatching? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Types of Hatching (1-8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Types of Hatching (9-16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Direction and Angle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Spacing, Density and Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Hatching Drills: Fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Hatching Drills: Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Hatching on Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Practice: Hatch the Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Part Three: Textures What Is Texture? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Natural Textures (1-12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Man-made Textures (1-12) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Texture Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Texture on Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Texture Tips: Detail and Distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Part Four: Shadows Understanding Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Anatomy of Shading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 The Value Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Types of Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Light Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Shadow Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Shading Basic Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Shading Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Still Life Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Finishing Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Common Mistakes and How to Fix Them . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Quick Reference Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Four-Week Practice Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Progress Checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Certificate of Completion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Sketch Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 - 3 -Tools and Materials You need very little to begin Drawing with pencil is one of the cheapest and most flexible art forms. A small kit of tools is enough for every exercise in this book. Buy the best materials you can reasonably afford, but remember that skill matters far more than equipment. 1 Pencils Pencil grades describe how hard or soft the lead is. H pencils are hard and make pale, thin lines that are excellent for guide lines. B pencils are soft and make dark, smooth lines suited to shading. HB sits in the middle. A good starter set is one each of 2H, HB, 2B, 4B and 6B. 2 Paper Smooth paper (such as drawing paper or cartridge paper) gives crisp lines and fine detail. Paper with a little tooth gives grainier, darker shading. For practice, 90 to 120 gsm paper is ideal. Thin copier paper works for drills, but tears when you erase. 3 Erasers A kneaded eraser is a soft putty that lifts graphite without damaging the paper; press and lift rather than rub. A plastic or vinyl eraser removes lines cleanly. A battery or click eraser is useful for tiny highlights. 4 Sharpener Keep points sharp for lines and hatching, and slightly blunt for broad shading. A knife makes a long point; a good metal sharpener is fine for most work. 5 Blending tools A paper stump (tortillon) or a tissue softens shading into smooth tone. Never blend with your finger. Skin oil leaves marks that cannot be erased. Blending is optional in this book, because most of the techniques use pure pencil marks. 6 Extras A ruler, a clipboard or drawing board, masking tape and a clean sheet of paper to rest your hand on will make your work neater and prevent smudges. Setting up your workspace Sit upright at a table with light coming from the side opposite to your drawing hand, so your hand does not cast a shadow on the page. Rest your forearm on the table, tilt the board toward you slightly and rotate the paper whenever it helps. Keep a spare sheet under your hand to protect the drawing from smudges. - 4 -Holding the Pencil and Making Marks How you hold the pencil decides what marks you can make There is no single correct way to hold a pencil for drawing. Artists change their grip depending on the job. Learn these two grips and switch between them as you work. The writing grip. Hold the pencil near the point as you would to write, with the thumb and first two fingers. This gives precise control and is used for fine lines, small details and hatching in tight spaces. Keep the grip light; squeezing tires the hand and makes lines stiff. The overhand grip. Hold the pencil farther back with the palm facing downward and the pencil resting along the fingers, so that the lead can lie almost flat. This grip uses the whole arm, and is used for loose gesture lines, broad shading with the side of the lead and long smooth strokes. Four basic marks Fine line Sharp point, light grip. For edges and details. Broad stroke Side of the lead, overhand grip. For quick tone. Light tone Gentle pressure, spaced lines. For highlights. Dark tone Firm pressure, close layers. For shadows. The pencil grade chart Draw a line with each of your pencils in the empty boxes below and compare with the sample strokes above them. Notice how a soft pencil leaves a darker, thicker mark with the same pressure. 2H H HB 2B 4B 6B Tip: Always start with light pressure. You can always make a line darker, but a dark line is hard to remove. Build tone gradually and keep your hardest pencil for guide lines and your softest for the final shadows. - 5 -PART ONE Lines Every drawing begins with a single line. In this part you will learn what a line can do, meet sixteen different types of line, control the weight and pressure of your pencil and practise until your hand moves with confidence. In this part What Is a Line? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Types of Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Line Weight and Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Line Control Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Lines That Show Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Contour and Cross-Contour Lines . . . . . . . . . . . . . . . . . . . . . 15What Is a Line? The simplest and most powerful tool in drawing A line is a mark made by a moving point. It is the oldest and simplest tool of drawing, and it can do an astonishing number of jobs. A line can show the edge of an object, suggest the direction of a surface, build a pattern, hint at movement or express a mood. Look around you: the edge of a table, the stem of a plant, the horizon and a crack in the pavement are all lines. In a drawing a line may be real, drawn directly with the pencil, or implied, where the eye connects separate marks such as a row of dots or the edge between two tones. Skilled artists use both. Learning to control the real line is the first step toward using the implied line. Five qualities every line has Direction Horizontal, vertical, diagonal or curved. Direction decides the feeling of a line: horizontals are calm, verticals are strong, diagonals are active and curves are gentle. Weight How thick or dark the line is. Heavy lines feel close and strong, while light lines feel distant and delicate. Length Short lines feel quick and busy; long lines feel calm and stretched. Long confident lines are harder to draw, so they are worth practising. Speed and confidence A line drawn quickly in one movement is smooth and sure. A line drawn slowly and nervously wobbles. Draw with a decisive stroke. Character Smooth, rough, broken or wavy. The character of a line can suggest the surface of the thing it describes. What lines can say Horizontal lines suggest rest and stability; vertical lines suggest height and dignity; diagonal lines suggest energy and movement; curved lines suggest softness and flow; jagged lines suggest tension or danger. Choosing the right kind of line for each part of a drawing is one of the quiet secrets of expressive drawing. Try it: draw five lines with five different feelings (calm, strong, energetic, soft, tense). - 7 -Types of Lines (1-8) Meet the first eight line types 1. Horizontal lines Lines that run flat from left to right, like the horizon, a table edge or a floor. They feel calm, stable and restful. Draw them with a sweep of the whole forearm, not just the wrist. 2. Vertical lines Lines that run straight up and down, like walls, tree trunks and posts. They feel tall, strong and formal. Pull the pencil toward you in one smooth stroke and keep the paper square to your body. 3. Diagonal lines Lines that slope between horizontal and vertical. They suggest movement, energy and perspective, and they form the basis of most hatching. A comfortable diagonal usually runs from bottom left to top right. 4. Curved lines Lines that bend gently in one direction, like an arc. They describe round forms such as fruit, wheels and hills and feel soft and flowing. Practise them by drawing the whole arc in one go. 5. Wavy (S-curve) lines Lines that bend one way and then the other. They describe water, hair, ribbons and flowing cloth, and they add rhythm and life to a drawing. 6. Spiral lines Lines that circle around a center while growing wider. They appear in shells, flowers and ropes and are excellent for training smooth, continuous movement of the arm. 7. Zigzag lines Lines that turn sharply back and forth. They suggest lightning, mountains, saw blades or rough textures and feel sharp, energetic and sometimes dangerous. 8. Broken (dashed) lines Lines made of short strokes with equal gaps. They show hidden edges, fences, distant paths or guide marks and give a light, delicate feeling. - 8 -Types of Lines (9-16) Meet the next eight line types 9. Dotted lines and stipples Lines or areas built from tiny dots. A row of dots can mark a path, and when packed closely the same dots create tone and texture. 10. Parallel lines Two or more lines that run side by side at an equal distance. They create order, pattern and the basic structure of hatching. Keep the gaps even and the lines the same length. 11. Contour lines Lines that follow the outer edge and the inner edges of an object. They define its shape and are the starting point of most drawings. Draw them slowly and watch the edge, not your hand. 12. Cross-contour lines Lines that wrap around a form like hoops around a barrel. They reveal volume and the direction of the surface and are the secret of making flat shapes look round. 13. Construction (guide) lines Pale lines used to build a shape before the real drawing begins, such as boxes, centre lines and circles. Draw them lightly so they can be covered or erased later. 14. Tapered lines Lines that start heavy and end thin, or the reverse. They bring life and elegance to strokes such as grass blades, hair and branches. Lift the pencil gradually while the stroke is moving. 15. Gesture lines Quick, loose lines that capture movement and posture instead of detail. They are used for living subjects and to energize a first sketch. Work fast and do not worry about accuracy. 16. Lost-and-found lines Lines that fade almost to nothing and then return. Leaving gaps lets the viewer's eye complete the shape and gives drawings a light, confident look. - 9 -Line Weight and Pressure Thick, thin, light and dark Line weight is how thick and dark a line appears. It is controlled by three things: the grade of the pencil (soft pencils make darker lines), the pressure of your hand and the sharpness of the point (a sharp point makes a thin line, a blunt one a broad line). Learning to change weight on purpose is what turns a plain outline into a lively drawing. Heavy lines look closer, stronger and more important. Light lines look farther away, softer and less important. Artists use this to show depth: thick lines for the edges nearest the viewer and for the underside of objects, where shadows are darkest, and thin lines for distant edges and for the side where the light falls. Weight ladder Six lines from very fine to very bold. Practise each one with the same length and an even weight. Pressure gradient One line that grows from light to dark as you press harder, and one that fades out as you lift. Tapered strokes Strokes that start heavy and end thin, or the reverse. Lift the pencil gradually while the hand is moving. Sharp and blunt points A sharp point gives crisp, thin lines. A blunt point gives broad, soft, grainy lines. Turn the pencil to keep the point. Your turn Copy the weight ladder, then the pressure gradient, then four tapered strokes. - 10 -