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Any condition Any condition. Last one Free postage. See all About this product Product Information From public television's favorite drawing teacher, a quick, easy, and entertaining drawing method. Additional Product Features Author s. Mark Kistler is one of the most popular and most recognized drawing teachers in the world. He lives near Houston, Texas. Show more Show less. Ratings and reviews Write a review. Most relevant reviews. Drawing Book Exactly as described.
Completely satisfied Verified purchase: Yes Condition: New. I never really liked drawing Once i used the book it actuallt been quite fun seeing an acceptable drawing that ive drawn Verified purchase: Yes Condition: New. And yes, you have found the right book. Welcome to my world of creative possibil- ities. You will learn to create realistic renderings of everything from photos to landscapes from the world you see around you and to draw three-dimensional pictures entirely from your imagination. I know this is a big claim filled with enormous promise.
The simplest way for me to qualify my teaching confidence is to share with you my past student success stories. I am a cartoon illustrator by trade, but these lessons will give you the basic skill set that will enable you to draw three-dimensionally in any style realistic drawings, pho- tograph studies, portraits or medium oil paints, watercolors, pastels.
I will teach you how to draw using the same step-by-step, follow-along method that has proven successful for all my students.
These basic concepts, discovered and refined during the Italian Renaissance, have enabled artists to create three-dimensional renderings for more than five hundred years. I will teach you these basics, one key term at a time, one step at a time, one line at a time. I believe that anyone can learn how to draw; it is a learn- able skill like reading or writing. The Nine Fundamental Laws of Drawing create the illusion of depth. They are as follows: 1. Foreshortening: Distort an object to create the illusion that one part of it is closer to your eye.
Placement: Place an object lower on the surface of a picture to make it appear closer to your eye. Size: Draw an object larger to make it appear closer to your eye. Overlapping: Draw an object in front of another object to create the visual illu- sion that it is closer to your eye. Shading: Draw darkness on an object opposite the positioned light source to create the illusion of depth. Shadow: Draw darkness on the ground next to the object, opposite the po- sitioned light source, to create the illusion of depth.
Contour lines: Draw curving lines wrapping around the shape of a round ob- ject to give it volume and depth. Horizon line: Draw a horizontal reference line to create the illusion that ob- jects in the picture are varying distances from your eye. Density: Create the illusion of distance by drawing objects lighter and with less detail. It is impossible to draw a three-dimensional image without applying one or more of these fundamental laws.
These nine tools are foundational elements, never changing, always applicable, and totally transferable. In addition to the Nine Fundamental Laws of Drawing, there are three principles to keep in mind: attitude, bonus details, and constant practice. Bonus details: Add your own unique ideas and observations to your drawing to make it truly your own expression.
Constant practice: Repeated daily application of any new learned skill is ab- solutely necessary for successful mastery of the skill. Without exercising these three principles, you will not be able to grow as an artist. Each one is essential to your creative development. For these idea explorers, the possibility lightbulb could almost be seen shining over their heads as they leaned over the table, drawing the rose. A student has to be inspired to actually pick up a pencil and make lines on a blank sheet of paper.
Many people I meet are truly terrified of this idea. That blank sheet of paper is an unsolvable problem that only talented artists can master, they think. But the truth is that learning how to draw By Steven Pitsch, Jr. We all, every single one of us, loved to draw when we were toddlers. We drew on everything! We drew on paper, on tables, on windows, in pudding, in peanut but- ter.
All of us were born with this amazing gift of confidence and creativity. Every picture that we drew was a masterpiece in our minds. The castle with the flying dragon was a perfect illustration of medieval action. So here we are together now with this book. I will prove that you can learn how to draw by: 1. Inspiring you to pick up a pencil again. Sharing with you immediate success in drawing simple three-dimensional objects that actually look like the three-dimensional objects that you set out to draw.
That is how we learned how to con- fidently write our letters. I take this same progression in teaching the visual communication skill of drawing. This would be silly. We all know we do not need talent to learn how to write as a communication skill. By Steven Pitsch, Jr. I apply this same logic to learning how to draw. This book is not about learning how to draw a museum-quality master- piece or drawing animated sequences worthy of a Shrek sequel. I never could draw. You have thirty minutes. Good job!
I remember annoying my college art teacher to no end during still life drawing exercises. This method dates back to and an extraordinary book by Kimon Nicolaides, The Natural Way to Draw a book you should add to your library! With all due respect to this book as a pro- found work, a classic in teaching art students how to draw. I ask. Why discourage students with such a daunting task of failing 5, times when I can show them in just twenty minutes how to succeed?
Why not build up their skill, confidence, and interest all at the same time? The thirty-day method in this book will increase your success, inspire your prac- tice, build your confidence, and nourish your interest in drawing for life. I urge you to take a small creative risk with me. This book. A spiral-bound sketchbook or blank journal with at least fifty blank pages. A pencil for now just grab any pencil within reach. You want to make it very easy to quickly grab your drawing bag whenever you have a spare couple of minutes to scratch out a few drawings. A day planner or calendar probably the most important item in this check- list.
You will need to strategically and methodically carve out a small twenty-minute chunk of time each day to draw with me. If you plan now, today, you will be able to follow through with our thirty-day plan. If this is too difficult, try chiseling out two chunks, ten minutes each. Ideally, these time chunks will be at your desk, your kitchen table, or some fairly quiet table space.
My goal is to get you to commit to one week with me.
You Can Draw in 30 Days
Immediate success is a powerful motivator. However, it is perfectly acceptable to take a more leisurely approach and focus on only a few les- sons a week, spending much more time on the lesson steps and the fun bonus challenges I introduce at the end of each lesson. Step Two Start drawing! Sit down at a table with your drawing bag.
Take a nice deep breath, smile this is really going to be fun , open your bag, and begin. I want you to draw a few images for me. You are the only person who ever has to see these. I want you to draw the images that follow in order to give yourself a baseline skill assess- ment of where you are now, as compared to where you will be in thirty days. Even if you are totally tempted to skip this part because no one will ever know! In thirty days you by Michele Proos will be glad you did. Open your sketchbook. Repeat this informa- tion, with the appropriate lesson number and title, at the beginning of each of the lessons.
Now spend two minutes drawing a house. Next, spend two minutes drawing an airplane. And finally, spend two minutes drawing a bagel. I trust you are not completely stressed from that. Kind of fun? I want you to keep these warm-up drawings in your sketchbook. You will be able to compare these warm- up drawings with the advanced lessons later in this book. You are going to be amazed with your phenomenal improvement!
Michele always wanted to learn how to draw but never had. She signed her children up for one of my family art workshops in Portage, Michigan. Like most parents, she sat in with her children and participated. Michele has graciously agreed to participate in this thirty- lesson course and share her sketchbook pages with you. In fact, as I was explaining this new book project to her, other parents in the workshop overheard, and all wanted to participate! This amazing jump in skill level is the norm, not the exception. You can and you will experience similar results.
Michele Proos also drew the illustrations I featured on the preceding pages of the eye, the rose, and the human face. Are you inspired? Are you excited? In this lesson you will learn how to identify where your light source is and where to shade objects in your drawing. Turn to the next page in your sketchbook. Draw a circle. Just put the pencil to the paper, and draw a cir- cular shape. If you want, trace the bottom of your coffee cup, or dig in your pocket for a coin to trace.
Determine where you want your light source. How do you determine where a light source is? Read on. To draw a three-dimensional picture, you need to figure out what direction the light is coming from and how it is hitting your object. Then you apply shading a shadow opposite that light source. Check this out: Hold your pencil about an inch above your paper, and notice the shadow it makes. If the light in the room is directly above the pencil, for example, the shadow will be directly below your pencil.
But if the light is coming at the pencil from an angle, the shadow on the paper will extend out away from the light. Play around with your pencil and the shadow it makes for a few minutes, moving it around and up and down. Place one end of the pencil directly on your paper, and note the way the shadow begins attached to the pencil and is thin- ner and darker than the shadow cast when the pencil is in the air.
The shadow is called three guesses a cast shadow. For the purpose of our lesson, position a single light source above and to the right of your sphere like I have drawn here. Go ahead and draw a little swirly sun right on your sketchbook page. Just like the cast shadow your pencil created on the table, the sphere we are drawing will cast a shadow onto the ground surface next to it. Cast shadows are fan- tastic visual anchors that help secure your objects to the ground surface in your picture. Look how I have drawn my cast shadow off to the side of the sphere below.
Now draw a cast shadow on your sphere opposite your light source position on your sketchbook page. It does not matter if you think it looks sloppy, messy, or scribbly. These drawings are for skill practice and your eyes only. Just remember these two important points: Position your light source, and cast a shadow onto the ground next to the object and opposite the light source. Scribble shading on the circle opposite the light source. Notice how I have scribbled a bit darker on the edge farthest from the light source and how I have scribbled lighter as the shading curves up toward the light source.
This is called blended shading. Use your finger to smudge-blend your shading like I have done here. Check this out: Your finger is actually an art tool similar to a paintbrush! You have turned a scribbled circle into a three-dimensional sphere. Is this easy or what? Draw the object. Identify the light source. Easy as pie. In future lessons we will be applying the concepts you have learned in drawing this three- dimensional sphere to drawing fun interesting objects you see in the world around you. Whether you want to draw a colorful bowl of fruit on a table or a sketch of a family member in real life or from a photo- graph, you will have the tools to do it.
In following lessons we will tackle more challenging objects, such as buildings and people. Take a look at this photograph of an apple with the light source low and on the right. Way to go! Space permitting, continue on the same sketchbook page. Draw a second sphere behind the first one. As you draw this second sphere, you will be using three new drawing laws. Three at once!! Have no fear: We will take them one con- cept at a time, and it will take far longer to read about them than to use them. Take a look at my example below. Go ahead and write these notes in your sketchbook.
Go ahead and draw the second sphere smaller, higher, and behind the first one like my sketch below. Determine where your imaginary light source will be positioned. This is probably the most important step in drawing realisti- cally. Without a determined light source position, your drawing will not have consis- tent shading. Keeping in mind the position of your light source, draw a cast shadow. Remem- ber that it goes off to the side, as if it is on the ground, in the direction opposite the light.
You do not need a ruler to determine the exact mathematical angle. Just eyeball it for now. As I said earlier, a good solid cast shadow will anchor your drawing to the surface of your paper. Remember that if at any time you get a bit confused by my text explanation, sim- ply look at my sketch example and copy what I have done. To separate objects in your drawing, draw a dark defining shadow in between the two spheres I call this a nook and cranny shadow. This will help identify the depth between the two objects. Notice how I defined the dark nook and cranny shadow on the farthest sphere.
Nook and cranny shadows are always applied under and behind near objects. For example, clasp your hands together on the table in front of you. Hold your pencil loosely, and scribble the first layer of shading on both spheres. Shade the surfaces opposite your light source.
When I shade, I make several passes over my drawing. Just scribble in the dark area any way you want as long as it is opposite your light source. Make a second darker, more focused shading pass over the spheres.
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Detail in the very dark edges, and let your scribbles get lighter and lighter as you move slowly toward your established light source. Look at my sketch below, and notice where I have pointed to the brightest spot on the near sphere. Determining where the hot spot is in a drawing is very important when you are applying the shading.
Go ahead and make several more scribbles blending shading passes over these two spheres. Now for the fun part! Using your finger, carefully blend the shading from dark to light, trying to keep the hot spot crisp white. If you feel like it, use your eraser to clean the excess lines and smudges. Awesome job! Look at your beautiful three-dimensional rendering! A masterpiece suitable for any in-home refrigerator art gallery.
You will enjoy seeing it with each trip to the kitchen, not to mention the oohs and ahs you will get from your friends! Now, take a look at how Suzanne Kozloski applied this lesson to drawings from real life. Draw what you see. Just think, this is only the third lesson! Do you want to push the lesson envelope? This next drawing will take you a bit of time, definitely a full twenty minutes, but if you have the time, you could easily spend an hour or more.
Notice how I waited until now to bring these additional costs. This is my sly way of getting some great successes under your belt before inundating you with a shopping list of additional drawing supplies. These supplies are totally optional; you can continue just fine with any regular pencil, any scratch piece of paper, and your finger as your blended shading tool. Stomps are amazing tools you can use instead of your finger to blend your shading.
These are awe- some fun!
You can find these in art supply stores. To actually see me using this stomp in a video tutorial, go to my website, www. These are very easy to find at your local office supply store or online. These are great eraser tools. They look and act like a mechanical pencil; just click the eraser to extend it for use. This 0. With just a few additional items in your drawing bag, you have raised your lesson enjoyment level exponentially. Enough about products and tools. Put in your music earbuds and settle in.
Look at the drawing at the beginning of the chapter. Looks fun, eh? Looks complicated? Looks difficult? Start with your first circle. Draw another circle behind the first. Push it up a bit placement. Tuck it behind the first overlapping. Draw it a bit smaller size. This redundancy is very important and intentionally built into the thirty-lesson plan strategy. Draw the next circle over to the right behind the first one, push it up, tuck it behind, and draw it a bit smaller than the first circle.
Onward into the third row of spheres. When you draw objects smaller to create the illusion that they are deeper in your pic- ture, you are successfully using the fundamental drawing law of size. Size is a powerful tool to create depth. Fill in the far gap with a peeking over-the-top sphere. Remember that smaller equals deeper. This is also a great example of the potency of overlapping. Yet with great power comes great responsibility. Oops, wait, wrong book. I started channeling Marvel Comics for a moment. Complete the third row with the end sphere smaller, higher, and behind. Are you beginning to notice a recurring mantra here?
Much of learning how to draw in 3-D is in repetition and practice. I trust you are finding this repetition of drawing spheres to be rewarding, fun, and relax- ing. Draw the fourth and fifth row of spheres. Pushing each row deeper into your picture with size, placement, and overlapping. Go ahead, go crazy, go wild—draw rows six and seven really receding into the depths of your sketch page. Size really kicks in on these distant rows. You can defi- nitely see the size difference between the front sphere and the back row. Even though the spheres are all the same size in our imagination, we have created the successful illusion that they are receding far away into the sunset.
I was shooting for twenty rows of spheres, really trying to impress you. However, I lost sight of the spheres at row nine. What a great visual treat. You can see how powerful these concepts are: Size, placement, and overlapping cre- ate effective depth all on their own. Finally, we get to determine the position of our light source. For consistency we will keep the light positioned in the top right. You can mess around with this light position on your own. Try experimenting with this mob of spheres with the light source positioned directly above or over in the top left.
If you want to try something really challenging, position the light source from within the sphere mob, making one of the middle orbs glowing hot bright. We will get into moving the light source posi- tion around in later lessons. Go ahead and toss some cast shadows off to the left, on the ground, opposite your light source position. My favorite step has arrived, the nook and cranny phase. Push hard on your pen- cil, and darken the nooks and crannies. Wham—nook and cranny shadows work their wonderful magic once again. Continue your shading process with a first pass over all the objects, scribbling the shading lightly over all opposite edges away from the light source.
Make several more scribble shading passes. With each consecutive pass, darken the edges farthest away from your light source while scribbling lighter and fainter as you move toward the light source. Blend the shading with your finger. Carefully smudge the dark shaded areas up toward the hot spots, lighter and lighter as you go.
Erase the excess pencil lines to clean up if you want to. Dab the hot spots with your eraser, and watch what happens.
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Pretty cool, huh? The spots you dab with your eraser will create a very distinct, easily identified hot spot. All this fun and we are only finishing Lesson 3 and you are still with me! Draw objects smaller to make them recede. Draw objects in front of other objects to punch them out in 3-D. Draw objects higher in the picture to make them look farther away. Draw objects lower in the picture to make them look closer. Shade objects opposite the light source. Blend the shading on round objects from dark to light.
Lesson 3: Bonus Challenge Take a look at this drawing. I broke just about every lesson rule so far! The largest sphere is the far- thest away. The smallest sphere is the closest. This is madness! Absolutely not. I created this drawing specifically to illus- trate how some of the drawing laws hold much more visual illusion power than others. Well, poor Pickled Gnat Brain gets totally destroyed, wiped out, stomped, crushed. Correlation here: Each of the drawing laws has varying power over other drawing laws.
If you draw a smaller object in front of any other object, even a Jupiter-size planet, overlapping will prove to be all pow- erful and will prevail in appearing to be the closest. Some drawing laws have more visual illusion power than others, depending on how you apply them. Look at the preceding drawing. Even though the farthest, deepest sphere is the largest, the smaller spheres overlap it, thus trumping the visual power of size.
Over- lapping is always more powerful than size. Look at the drawing again. See the nearest sphere is drawn the smallest. Typi- cally this would mean it would appear the farthest away. However, because it is isolated and placed lowest on the paper, it appears closest. Simply stated, placement trumped both size and overlapping. I do not intend for you to commit these visual power variations to memory. These fun freaky wrinkles in the rules will naturally absorb into your skill bank as you practice.
Draw guide lines shooting off to the right and left. We will be using guide lines a lot in upcoming lessons. Draw these guide lines at just a slight angle upward, not too steep. Draw the tiny one peeking out like I did below. Notice how I made use of the guide lines to position the spheres. Continue to use your guide lines as a reference, and draw a few more spheres, varying the sizes.
Notice how the guide lines help you place the spheres higher up in proper position placement. Throw some Big Mama spheres in there. Overlapping is the power principle here; even though some of the spheres are very small, they still overpower the larger spheres to appear closer. Overlapping is trumping the power of size! Because this drawing is all about enjoying yourself, go ahead and stack a few spheres on top.
Some of the spheres are breaking from the pack, seeking a less crowded, less con- gested life. Brave solitary spheres are establishing the first rural outposts. Looks cool, eh? Go ahead and draw a few more planets in orbit above the sphere pile. Go ahead and draw a row of thirty-seven planets in the sky overlapping down to the horizon. Identify the position of your light source, and begin adding cast shadows oppo- site your light position. You are now forewarned! This nook and cranny step will take some thinking. Keep darting your eye between your light position and the objects you are shading.
Put some pressure on your pencil, and get a really nice dark shadow into all the nooks and crannies. Take your time; this is a fun step in the lesson, so enjoy yourself! On the first shading pass, let your pencil fly over the spheres, just lightly shading the large areas opposite the light source. Make several more shading passes over all the spheres. Really work the dark edges, the dark nook and crannies, and the dark spaces on the ground between the spheres and the cast shadow.
Work the blending slowly up toward the light. Constantly dart your eyes back to confirm the position of your light source. Take your time, work this well, and enjoy the exhilarating punch-out effect you are creating. You see? Drawing in 3-D is easy with me! Blend your shading as smooth as glass. Use controlled, careful pressure to smudge and smear the shading, blending it lighter and lighter from the darkest dark edges to the lightest brightest hot spot on each sphere.
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Work this for a while. You could scratch a ton of hair onto each sphere, and suddenly you would have a very strange look- ing alien family of furry blobs. Texture can add a lot of identifying character to your drawing. More on this great principle in later lessons. Adding extras to your drawing adds another layer to your learning. I can and will teach you the specific skills you need to create technically accurate three-dimensional drawings. However, the real learning, the real fun, the true enjoyment of drawing come from you internalizing the skills and externalizing your creative imagination.
The things you will see, the sounds you will hear, the things you will be! Elmo is a little red furry dude of wisdom. I can teach you how to draw, easy, no problem. The fun part is how you launch from this starting point by practicing, practicing, practicing. Holes and windows are great practice exercises for learning how to draw thickness correctly. Here is an easy way to remem- ber where to draw the thickness on windows, doors, holes, cracks, and openings: If the window is on the right, the thickness is on the right. If the window is on the left, the thickness is on the left.
If the window is on the top, the thickness is on the top. You can see I had some fun with this lesson. I started going crazy and added win- dows with boulders launching from them. I was about to draw a bunch of doors, skateboard ramps, and hamster travel tubes between the spheres. I pulled my pencil back at the last second, not wanting to overload you with too many ideas, too fast. Then again, why not? Go for it! You can begin to see unique drawing styles beginning to emerge. Each student will have his or her own unique approach to the lessons. The cube is so versatile that you will be using it to draw boxes, houses, buildings, bridges, air- planes, vehicles, flowers, fish.
Yes, a cube will even help you draw a fine-finned fish in 3-D. Along with helping you draw faces, flowers, and, well, just about anything you can think of or see in the world around you. Starting on a fresh new page in your sketchbook, write the lesson number and title, date, time, and your location. Then draw two dots across from each other. Place your finger between the dots using the opposite hand you are drawing with. Then draw Feel free to write journal entries, a dot above your finger as shown.
The more you personalize your sketchbook, the more you will value it, and the more you will use it. Look at my sketchbook pages: I write journal entries, self-reminder notes, grocery lists, to-do items, airline times, and all kinds of nondrawing stuff. My sketchbook is the first place I look when I need to remember some- thing I was supposed to do. Look at the dots you have drawn.
Try to keep these two new dots really close together. Shoot the first line across.
Draw the next line. Add the third line. Complete the foreshortened square. This is a very important shape to practice. Go ahead and draw this foreshortened square a few more times. We are aiming for a foreshortened square. For example, pull a coin out of your pocket. Look at the coin straight on. It is a flat circle, a 2-D circle that has length and width two dimensions but lacks depth. The surface is at an equal distance from your eye. Now, tilt the coin slightly.
The shape has changed to a foreshortened circle, a circle that has depth. The coin now has all three dimensions: length, width, and depth. By tilting the coin slightly, you have shifted one edge farther away from your eye; you have foreshort- ened the shape. You have distorted the shape. Drawing in 3-D is distorting shapes to trick the eye into seeing drawn objects near and far in your picture. Now, back to my warning about drawing the two middle dots too far apart.
If your dots are too far apart, your foreshortened square will look like this. If your foreshortened square looks like the open square I just mentioned, redraw it a few more times, placing the middle dots closer together, until your shape looks like this. Okay, enough about foreshortening for now. Keep this concept in mind; it is so important that just about every lesson in this book will begin with it. Draw the sides of the cube with two vertical lines. If your vertical lines match up with the sides of the page, your drawing will not tilt.
Using the two side lines you have just drawn as reference lines, draw the middle line a bit longer and lower. Using lines you have already drawn to establish angles and positions for your next lines is a crucial technique in creating a 3-D picture. Using the top right edge of the top foreshortened square as a reference line, draw the bottom right side of the cube.
I prefer a picture that has a lot of extra lines and scribbles that look 3-D, rather than a picture that has superclean precise lines yet looks wobbly and tilted. Now draw the bottom left side of the cube by referring to the angle of the line above it. Reference lines! Now on to the fun part, the shading. Establish the position of your imaginary light source. Check this out. By extending the bottom right line out, I have a good reference line to match up each drawn line of the cast shadow.
Looks good, right? Looks like the cube is actually sitting on the ground? Complete your first 3-D cube by shading the surface opposite your light position. Notice that I am not blending the shading at all. I blend the shading only on curved surfaces. We are going to draw three cubes in a group. Start the first one with your two guide dots. Use your index finger to position the middle guide dots.
This is a terrific habit to establish now, early in your draw- ing skill development, so that by the end of Lesson 30 using them will be second nature to you. Connect the foreshortened square. This is a great shape to practice in your sketchbook if you have only a minute or so to doodle. Say you are in line at the bank drive-through with four cars ahead of you. You throw your car into park, whip out your sketchbook, and dash out a bunch of foreshortened squares.
Draw the vertical sides and the middle line of the cube. The middle line is always drawn longer and lower to make it look closer. Use the side of your sketch page as your reference line. Complete the cube using the top lines as reference lines. Go ahead and draw three cubes like I have drawn. Draw guide dots in the middle of each side of the top foreshortened squares.
Shoot a vertical line down from the near left guide dot; then draw it across the top to the other guide dot. Repeat this on the other side. Look at how you have forced the string to flatten across the top. The guide dots helped you draw the string inside of a foreshortened boundary. Guide dots are extremely helpful in lining angles up like this.
To draw string wrapping around the sides of the package, use guide dots once again to position the angles. Draw guide dots halfway down each vertical edge. Draw the string by connecting the guide dots, using the line above as your reference line. With this basic string wrap, you can finish all three cubes into a package, a cube game, and a gift wrapped in thick ribbon. Go ahead and have some fun: Try drawing a group of five cube games each overlap- ping the other, like you did with the five spheres!
Photo by Jonathan Little Sit down and position yourself so that you can see the foreshortened top of the box, similar to the fore- shortened shapes you have just drawn in this lesson. Now, draw the box sitting in front of you. Just remember what you learned in this lesson, and let this knowledge of foreshortened squares help your hand draw what your eyes are seeing. Look, really look, at the foreshortened angles, the shading, and the cast shadow. Look at how the lettering on the box follows the foreshortened angles at the top and bottom of the box.
The more you draw, the more you will really begin to see the fascinating details in the real world around you. Go ahead and lightly sketch in the cube. Parallel and Perpendicular Lines Parallel lines are two lines going in the same direction, spaced equally apart. Perpendi- cular lines are two lines that intersect at right angles to each other. For example, this line of type text is perpendicular to the 2. Slant back two parallel lines. Alignment alert! Look how I have drawn this top edge of the box lid in alignment with all of the angled lines slanting slightly up to the left.
Think of a compass. The four most commonly used line directions that I will be referring to throughout this book will be lines drawn in directions north- west, northeast, southwest, and southeast. Take a look at this compass. As you recall, foreshortening is distorting or squishing an object to create the illusion of depth, to make one edge of the object appear closer to your eye. Notice in this foreshortened compass illustra- tion that the four directions—NW, NE, SW, and SE—all line up with the lines you already used to draw your cube.
Seuss achieved world acclaim for his signature style of drooping, melting, Play-Doh-ish characters, buildings, objects, and environments. However, in his work, Dr. Seuss still maintained consistent drawing compass angles. Good examples of this are in his book The Lorax. You will dis- cover that his buildings, windows, doors, pathways, vehicles, and characters all follow these four important positions. Draw the other side of the box lid lifting up with two parallel lines. Using the bottom of the box line in direction NE, draw the top of the lid in direction NE. Sketch in the two near lid flaps slanting down in front of the box.
Once again, using the bottom of the box angles to guide your line directions, com- plete the near flaps, aligning them up in direction NE and NW. I will be repeating this idea often: Use the lines you have already drawn as reference angles to draw additional lines. By always referring to the lines you have already drawn and by continually check- ing your angles against the Drawing Direction Reference Cube, your drawings will look solid, focused, and, most importantly, three-dimensional.
I am still delighted after all these years with the visual power that one little line has on the overall three-dimensional illusion of a drawing. Establish your horizon line and your light source position. To properly draw the cast shadow, use the Drawing Direction Reference Cube as ref- erence.
Draw a guide line extending from the bottom of the box line in drawing direction SW. Droop alert! This is the most common point where students tend to droop the cast shadow guide line. Notice how my cast shadow lines up with my guidelines. Be careful not to droop your cast shadow like this. Darken under the two front overlapping flaps as I have done, creating the undershadow effect. Undershadows are terrific little details that suc- cessful illustrators exploit to pop out objects, refine detail, and sharpen edges.
In this specific drawing, undershadows have the power to really pull the overlapping lids toward your eye, while pushing the actual box deeper into the picture. This is the most rewarding step of each lesson. Clean up your sketch by erasing the extra sketch lines, and sharpen the outside edges of the drawing by darkening the outline. This will thrust the image out away from the background. Finish shading the left side of the box and inside the box, away from your light source.
I always encourage you to have fun with these lessons by adding lots of extra details, neat little ideas you creatively conjure up to spice up your drawing. Notice how even these little details add a lot of visual flavor and fun to the sketch. How about a treasure box overflowing with pearls, coins, and priceless loot? Beginning with our basic cube, go ahead and draw in the Drawing Direc- tion Reference Cube direction lines for good practice and memory imprint.
Slant the sides in just a bit. Draw two parallel lines slightly opening the top of the treasure chest. Using the lines you have already drawn sound familiar? Draw the near curving edge of the lid. Using the lines you have already drawn am I sounding repetitive? Notice how I slanted my top edge line a bit more than a direction NW line.
This is because eventually all these NW direction lines will converge on a single vanishing point. I will explain this vanishing-point concept in great detail in a later lesson. For now, just follow my steps and slant your top edge line a bit more. Detail your drawing.
Clean up any extra lines. Position your light source and add shading to all the opposite surfaces, darken the undershadows, and draw the cast shadow. Enjoy draw- ing the extra details to this lesson. His enthusiasm for teaching kids how to draw had a profound and lasting effect on me. This lesson will gel all of the concepts and laws we have been discussing so far into one very cool three- dimensional drawing. Did I mention this is a really fun lesson?
I bet that you will enjoy it so much that you will be stacking cubes on every scrap of paper that happens to be within your reach. Begin with a strong foreshortened square. Remember, I urge you to use the guide dots for all the lessons in this entire book. I know you are feeling very confident with your foreshortened squares, boxes, and cubes.
However, humor me and use the guide dots each and every time. Trust me, young grasshopper; all will be revealed in time. Draw two short edges to create the top of the table. Draw the middle line longer, using what extremely important drawing concept? Using the lines you have already drawn as reference, draw the bot- tom of this table top in directions NE and NW. Draw the middle line longer to cre- ate the near edge of the table post.
Draw the sides of the table post as I have done. Notice how each side line is drawn halfway from the far edge to the middle line. Look at my example. This is definitely a case where a pic- ture is better than a bunch of words. Draw the horizon line just above the table, and position the light source above and to the right. All the drawings we have completed so far have been drawn from an above point of view point of perspective , looking down at the object.
The horizon line tells our eye that the object is below the horizon line, which communicates to our brain that the thickness, shadows, and foreshortening are from this perspective. Perspective is the process of seeing the illusion of depth on our two-dimensional surface. In later lessons I will be teaching you how to draw objects above the horizon line with one- point and two-point perspective.
For now, just remember that the position of the horizon line is above the object if you draw it in a looking-down point of view. Very important step! Place a guide dot directly below the near corner of the table post. Many students forget to use this guide dot during this exercise—to the detriment of their drawings.
A cool visual effect if you are channeling Andy Warhol, but a disaster if you are aiming for a sharp, focused, properly proportioned, foreshortened three-dimensional stack of tables. Using the lines you have already drawn as reference yes, again! When you draw the back edges of the top of the pedestal, be sure to go behind the corner of the post. These two very short lines need to be lined up with the lines you have already drawn in directions NW and NE.