Draw Cats In 15 Minutes – Jake Spicer

Remember the energetic marks of the establishing drawing and build on the accuracy of the constructed drawing. Trust the proportions of the past layers, but if you come across inaccuracies that you want to improve upon feel free to erase and redraw that area. It can help to first think about the line, looking for object outlines and shapes of shadows to draw down, working lightly at first.

Then look for tone, thinking about separating shadows into light and dark mid-tones. Finally think about your darkest darks and lightest lights, using a darker pencil mark to selectively deepen shadows and using an eraser to tidy up edges and bring out highlights. You can take this stage as far as you like, but it’s good to learn when to stop. A Beginner’s Approach The first stage, establishing the shape, can be the most difficult for beginners as it relies on a certain level of understanding and draftsmanship.

Although it is the ideal way to begin, and you shouldn’t be afraid to try it, you might find it easier to start with the construction stage. As you advance as a draftsman, revisit these early instructions to see if you can gain a better appreciation of them with experience. is co PiwadOdy it LOndctSNOD HSITaViSda -dSloddaxXa Exercise: Establish, Construct, Elaborate What you need: (G) 15 minutes > ocean cineca Aim | This exercise will familiarize you with | | a the technique used in the next chapter.

Bisco — ee Method Put a hat (other objects will work just fine of course) down in front of you; make sure you are comfortable and that the hat and your paper are well lit. Establish Look at the hat. Get an impression of its shape, the character of line in its brim, and how light or dark it is. Looking mostly at the hat and occasionally glancing back at your drawing use a swift, continuous, gestural line to sketch its rough outline.

Lightly erase the drawing to push the sketch into the background, leaving it visible so that it can be easily drawn over. Construct Using the establishing sketch as a rough guide, look for and draw any underlying shapes that underpin the form of the hat. Look for ovals and circles underneath its curves and use straight lines to simplify some if necessary.

Lightly erase this layer as well. Elaborate Using the constructed shapes as a guide, draw the outline of the hat, thinking about how the weight of line should vary to give the drawing variety. Concentrate on the surface qualities of the hat, looking for blocks of tone to draw, and use efficient, clear mark-making to replicate textures and shadows.

Finish by using an eraser to clean up stray lines and bring highlights back into the drawing.

Copyright © 2016 by Octopus Publishing Group Lid. All nights reserved, Printed in China. For information, address St. Martin’s Press, 175 Fifth Avenue, New York, N.Y, 10010. www .stmartins.com Library of Congress Cataloging-in-Publication Data Available Upon Request ISBN 978-1-250-08963-2 St. Martin’s Griffin books may be purchased for educational, business, or promotional use. For information on bulk purchases, please contact the Macmillan Corporate and Premium Sales Department at 1-800-221-7945, extension 5442, or write to [email protected], First U.S. Edition: May 2016 105 9°83 7°65 43.2 1 This book was conceived, designed, and produced by Ilex For Ilex: Publisher: Roly Allen Commissioning Editor: Zara Larcombe Editor: Rachel Silverlight Managing Specialist Editor: Frank Gallaugher Senior Project Editor: Natalia Price-Cabrera Art Director: Julie Weir Designers: Grade Design Senior Production Manager: Marina Maher Contents INTRODUCTION Introduction Draw People in 15 Minutes WHAT YOU NEED 10 16 18 20 Your Materials Who, Where, and When to Draw Drawing from a Model Life Studies vs. Photographs ABOUT DRAWING 22 24 26 Attitudes and Techniques Core Skills of Drawing Visual Language BUILDING SKILLS Beginning and Improving Seeing Tools Mark-Making Exercise: Eloquent Scribbles Edges and Lines Exercise: Blind Contour Drawing Relationships and Points Exercise: Sight-Size Portrait Shapes and Spaces Exercise: Tiny People Light and Tone Exercise: Subtractive Tone Seeing People as a Whole Observational Measuring Establish, Construct, Elaborate Exercise: Establish, Construct, Elaborate THE 15-MINUTE FIGURE 60 62 64 66 68 70 72 74 76 80 86 The Basic Figure Stage 1: Establish the Pose Stage 2: Construct Parallel Stage: the Clothed Figure Parallel Stage: Anatomy Anatomy and Drawn Anatomy Negative Space Parallel Stage: Problem Solving Stage 3: Elaborate Putting It All Together Exercise: a Person in 15 Minutes GOING INTO DETAIL 88 90 92 94 96 98 100 102 104 106 108 110 112 114 116 120 122 126 128 The Head The Face Drawing the Features Hair and Hats Arms Hands Legs Feet and Shoes Clothing Fabrics and Drapery Clothing References Dynamic Figures Age Landmarks and Mannequins Human Proportions Foreshortening Problem Solving References Acknowledgments I NOILONGOALNI dIdOdd DSNIMVACG Introduction Drawing is for everybody.

Anyone can learn to draw, and anybody who can draw can always learn to draw better. In a world of secondary images the process of drawing gives us precious moments to look at another person and create a response to them with marks on a tactile surface.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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