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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Figure Drawing For Dummies appeals to both new art students and veteran artists who find it difficult to proportionally draw the human form. The illustrations and examples in Figure Drawing For Dummies are designed to help readers capture this elusive figure.
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Seitenzahl: 587
Veröffentlichungsjahr: 2011
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Figure Drawing For Dummies®
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Table of Contents
Figure Drawing For Dummies®
by Kensuke Okabayashi
Figure Drawing For Dummies®
Published byWiley Publishing, Inc.111 River St.Hoboken, NJ 07030-5774www.wiley.com
Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana
Published simultaneously in Canada
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Library of Congress Control Number: 2008940663
ISBN: 978-0-470-39073-3
Manufactured in the United States of America
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About the Author
Kensuke Okabayashi is a professional freelance illustrator/sequential artist. Born and raised in Princeton, New Jersey, Kensuke has been inspired by classic illustrators such as Harvey Dunn, Dean Cornwell, J.C. Leyendecker, and Charles Dana Gibson.
After studying music and psychology at Wheaton College in Illinois, Kensuke shifted his focus from playing the piano to honing his art skills. He earned his BFA in Illustration at the School of Visual Arts in New York City after studying traditional painting and further developing his drawing skills. Upon graduating, he began picking up illustration and storyboard clients, including LG Electronics Worldwide, Wendy’s, Diet Coke, Nestlé, Camel, Canon Digital, Saatchi & Saatchi, Absolut Vodka, Marvel Comics, and Anheuser-Busch.
Kensuke also actively illustrates for mainstream entertainment industry clients, such as Wizards of the Coast, Takara Toys U.S.A., Nickelodeon, Kensington Books, Skyzone Entertainment, Loew-Cornell, Wiley Publishing, Inc., and Jossey-Bass.
Inspired by his experience of working long hours at a well-known coffee shop corporation, Kensuke developed and illustrated his creator-owned graphic novel JAVA!, which attracted attention and was picked up by Committed Comics. His main character, Java (a high-powered caffeine girl who fights crime), received positive reviews from major book review sites as well as from readers and distributors. Kensuke’s first written and illustrated title in the For Dummies series, Manga For Dummies, is currently translated into French and German and marketed internationally. His most recent illustrated graphic novel, The Five Dysfunctions of a Team (Manga Edition), is based on the New York Times Best-Seller by Patrick M. Lencioni and is currently being released internationally through Jossey-Bass. His upcoming publication projects include Arcana Publishing and Archaia Studio Press.
Kensuke’s illustrated juried works have also been exhibited in the Society of Illustrators in New York City as well as Mercer’s Artist Showcase in New Jersey.
On the side, Kensuke continues to draw from life and teach art. He taught illustration courses at Mercer College of New Jersey for several years. When he’s not drawing or painting at his studio loft in Kearny, New Jersey, Kensuke still enjoys playing the piano from time to time and socializing at coffee shops during late nights in the city. He still draws from live models on weekends in Soho and Brooklyn and gives live demonstration events at the Brooklyn Museum in New York. You can see Kensuke’s online portfolios at his Web sites, www.piggybackstudios.com and www.javacomics.com.
Dedication
This book is dedicated to my brothers, Yusuke and Saichan, for their love and support. We all have such different talents and personalities, yet we complement each other nicely.
Author’s Acknowledgments
I wish to thank the staff at Wiley Publishing. I would like to thank my acquisitions editor, Michael Lewis, my project editor, Georgette Beatty, and my copy editors, Sarah Faulkner and Megan Knoll, for all their hard work, advice, and support while I was writing this book. I want to thank the composition department for taking care of the large amount of artwork throughout this book. In addition, I want to thank Professor James R.C. Adams at Manchester College for his role as technical editor. My biggest thanks goes to my family, Michio, Sahoko, Yusuke, and Saichan, who have been my greatest supporters and fans. None of this would have been remotely possible without their help. Thank you and God bless you!
Publisher’s Acknowledgments
We’re proud of this book; please send us your comments through our online registration form located at www.dummies.com/register/.
Some of the people who helped bring this book to market include the following:
Acquisitions, Editorial, and Media Development
Senior Project Editor: Georgette Beatty
Acquisitions Editor: Michael Lewis
Senior Copy Editor: Sarah Faulkner
Assistant Editor: Erin Calligan Mooney
Editorial Program Coordinator: Joe Niesen
Technical Editor: James R.C. Adams
Editorial Manager: Michelle Hacker
Editorial Assistant: Jennette ElNaggar
Cover Photo: Kensuke Okabayashi
Cartoons: Rich Tennant (www.the5thwave.com)
Composition Services
Project Coordinator: Lynsey Stanford
Layout and Graphics: Carl Byers, Reuben W. Davis, Melissa K. Jester, Brent Savage, Christin Swinford, Christine Williams
Proofreader: Shannon Ramsey
Indexer: Sharon Shock
Special Help: Megan Knoll
Publishing and Editorial for Consumer Dummies
Diane Graves Steele, Vice President and Publisher, Consumer Dummies
Kristin Ferguson-Wagstaffe, Product Development Director, Consumer Dummies
Ensley Eikenburg, Associate Publisher, Travel
Kelly Regan, Editorial Director, Travel
Publishing for Technology Dummies
Andy Cummings, Vice President and Publisher, Dummies Technology/General User
Composition Services
Gerry Fahey, Vice President of Production Services
Debbie Stailey, Director of Composition Services
Introduction
In today’s fast-paced society, where days and weeks seem to rush by more quickly than ever, it seems the only time we stop to appreciate our amazingly constructed figures is at 6 a.m. when we look in the mirror to brush our teeth or apply makeup. Most people aren’t even in touch with what their bodies look like (especially the backside). Our bodies, which come in all shapes and sizes, are complex and wonderfully crafted works of art that deserve more attention.
Figure-drawing students approach me on the first day of class claiming they can draw only stick figures, but most gain two things by the end of the first session. One: they realize how beautiful yet complex the body is. Two: they realize not only how talented they are, but also how fun it is to apply their skills to drawing the human figure. Whether you’re an art student, a professional illustrator wanting to brush up on your figure-drawing skills, or just someone who likes to doodle and wants some guidance on drawing the figure, Figure Drawing For Dummies is a great place to start.
About This Book
Because so many figure drawing books are out there, it’s important that I distinguish this book by declaring what it’s not.Figure Drawing For Dummies is not an anatomy book crammed with detailed drawings of each and every muscle fiber in the human body. In my opinion, basic anatomy is important for understanding the overall surface structure of the figure, but completing a fulfilling drawing of the figure doesn’t require the knowledge of a surgeon (nor should it). The purpose of this book is to present the art of drawing the human figure to beginning art students in a way that hones your knowledge of theories and techniques, and also encourages the development of your observational skills. As a beloved instructor at art school mentioned to me one day, “The drawing is not up there [pointing to the posing model] but down here [pointing to my drawing pad].” Throughout this book, my focus is to provide just enough basic knowledge and theory on the figure so you become excited about recording your reaction to what’s happening up on the model stand.
All tips, advice, and drawings that I provide are based on my own experience, both as a professional illustrator/sequential artist and as a former art student. I designed this book to take you through various techniques on figure drawing. As you become familiar with anatomy and your drawing medium, you may want to combine different elements to come up with your own individual style.
Throughout this book, I cover a variety of popular topics, and you can pick and choose what you want to read at any time. You don’t have to read this book from cover to cover if you don’t want to (but I won’t mind if you do!). I introduce basic drawing materials (including some of my personal favorites) and drawing techniques to get you started. In addition to describing the body’s basic proportion and anatomy from head to toe, I give you helpful visual and sketching exercises. I wrap up by showing you how to sharpen your skills with advanced techniques, composition, and perspective.
Conventions Used in This Book
I use a few conventions to help you navigate this book more easily:
Numbered steps and keywords appear in boldface.
Whenever I introduce a new term, I italicize it and define it.
Web sites and e-mail addresses appear in monofont to help them stand out.
When this book was printed, some Web addresses may have needed to break across two lines of text. If that happened, rest assured that I haven’t put in any extra characters (such as hyphens) to indicate the break. So, when using one of these Web addresses, just type in exactly what you see in this book, pretending as though the line break doesn’t exist.
What You’re Not to Read
I didn’t spend hours upon hours writing this book and drawing all the illustrations because I want you to skip over them. However, to be honest, you can skip over certain elements in this book and still get the gist of what’s being covered. The sidebars (the gray boxes) contain information that’s interesting yet nonessential, so if you’re pressed for time or just not into anything that isn’t essential, feel free to skip them. You won’t hurt my feelings (much).
Foolish Assumptions
When I sat down to write this book, I made a few assumptions about you, dear reader. This book is for you if
You enjoy spending time looking at figure drawings and paintings at art museums.
You’re curious about the figure and how it moves.
You like doodling on your own (hopefully not caricatures of your professor during class like I once did).
You want to learn how to draw faces so you can do portraits.
You’re a beginning art student looking to develop your figure-drawing skills outside of class.
You’re a graphic artist who wants to hone your drawing skills away from the computer.
You’ve always wanted to learn to draw the figure but were put off by those thick anatomy drawing books!
How This Book Is Organized
This book is broken up into five different parts. Following is a summary of each of these parts so that you can decide what appeals to you.
Part I: Figure Drawing 101
Think of this part as your first day in a class for your favorite subject. This part tells you what tools you need to start drawing the figure and includes some basic drawing exercises to get your brain and your hand moving.
Part II: Off to a Head Start
Here I show you how to draw the essential components of the head and its facial features (eyes, ears, nose, and mouth). I devote the entire part to the muscle structure behind the facial features and how to form various types of facial expressions. In addition, I go over basic hairstyles (I wouldn’t want to leave you stranded over that issue!).
Part III: Building the Body
This part covers the basic proportion and anatomy of the human figure. I introduce you to drawing stick figures and mannequins, and I break down the figure’s muscle structure. In addition, I go over various action poses.
Part IV: Sharpening Your Figure-Drawing Skills
Ready to take your figure drawing to a higher level? In this part, I cover various types of clothing and shoes. I also provide advanced shading techniques, fun drawing exercises, and basic perspective tips and tricks that give a more realistic, three-dimensional look to your figure drawings. In addition, I share composition templates that add narrative to your figures’ poses.
Part V: The Part of Tens
In this part, I share various tips based on personal experiences. Here I list ten places to study and draw the figure. In addition, I present ten ways to organize, store, and present your figure drawings. You can use the tips in this part as a starting list, which you can modify or build upon to suit your needs.
Icons Used in This Book
Throughout this book, you see various icons in the left margins. These icons serve as flags to draw your attention to important or helpful information. Each specific icon carries its own meaning, as listed here:
As you may have guessed, this icon points out concepts or other information that you don’t want to forget.
When you see this icon, get out your pencil, open your sketchbook, and get ready to spend some quality time drawing. These exercises will help you improve your drawing skills.
Look for this icon to provide you with helpful tricks and shortcuts to make your figure-drawing life easier.
If you need some help getting the creative juices flowing, seek out this icon.
This icon alerts you to various mistakes and pitfalls that you want to avoid.
Where to Go from Here
Based on your interests, you can visit chapters in any order, and you’ll find that each section takes you step by step through accomplishing an objective. If you have drawing experience, the beauty of this format is that you can select whichever topic you want to know more about and dive into it. However, if you’re new to figure drawing or don’t have any prior drawing experience, I recommend starting with Part I and working your way through this book in order. Even if you’re an experienced artist but new to figure drawing, brushing up on the basics by starting with Part I isn’t a bad idea; then you can choose the section you’re interested in.
Regardless of where you start, I recommend reading all the way through the chapter you choose before sitting down at the drawing table and working through its steps. Give yourself time to first digest the basic proportions and basic muscle shapes (as I show you, these shapes are deceivingly sophisticated, but you don’t need to learn every single anatomical detail).
Finally, I can’t stress enough the importance of attending live figure-drawing sessions where you can apply these chapters to a live model. Even with a busy schedule, I do my best to attend a figure-drawing session every Saturday morning. To find a live drawing session in your area, check your+ local academic institution’s art department, a local art council organization, or search online.
Part I
Figure Drawing 101
In this part . . .
Welcome to Figure Drawing 101! Whether you’re drawing the human form for the first time or you’re a serious artist looking to hone your figure-drawing skills, this part is designed to get you started off on the right foot. No matter your background, you’re in for an awesome ride.
In this part, you get up to speed on rounding up the necessary drawing materials so you can get started on basic drawing principles and techniques. Throughout this part, you try some basic drawing exercises that are designed not only to loosen your wrist, but also to help you become familiar with the tools. You can think of them as warm-up exercises.
If you’re ready, turn the page and prepare to discover the world of figure drawing!
Chapter 1
Welcome to the Joys of Figure Drawing
In This Chapter
Going over basic materials and techniques
Depicting the head and body
Taking your skills to the next level
People surround you on a daily basis (unless you’re on a deserted island), yet the art of figure drawing remains full of puzzles and surprises. As someone who draws the figure, your mission (should you choose to accept it!) is to record your reaction to a figure’s pose or action.
Whether you’re a beginner who’s new to drawing the human figure or a serious art student looking to hone your figure-drawing skills, you’re in good hands. In this chapter, I introduce you to the fundamentals of figure drawing, including the materials and techniques you need. Sharpen your pencil, get out your sketchbook, and get ready to draw!
Finding the Right Drawing Materials
Like using the correct eating utensil at the dinner table, finding the right materials for figure drawing is important. Why? Nothing is more frustrating than trying to get a certain line quality (such as the fine line of an eyelid) when you have the wrong tool (like, in this instance, a thick charcoal stick).
In Chapter 2, I provide a list of drawing materials for your consideration. Although you don’t need to buy all the materials I list there at once, start off by visiting your local art store and trying out some pencils. I recommend starting with softer pencils, such as the Faber-Castell 9000 8B. Depending on how much time you have to draw, you may want to get at least five. In addition, I recommend bringing an 18-x-24-inch sketchpad to your figure-drawing class; it’s large enough to let you experiment with drawing various sizes, and it also gives the instructor enough space to make notes or drawing corrections on the side of your figure drawings.
If you’re new to drawing the figure, don’t worry about splurging on fancy equipment at first. However, make sure your working area is well lit so your eyes aren’t strained. I notice many students are used to working in dimly lit situations (perhaps due to the habit of working with computer monitors). Depending on how many hours you work, strain on the eyes can lead to irritation and possible damage in the long run. In my case, I set up two lights on my desktop surface. Check out Chapter 2 for full details on setting up a drawing studio.
Getting a Grip on Drawing Basics
Before you dive into drawing the figure, you need to warm up your drawing muscles. Flip to the exercises in Chapter 3, which are simple and fun to do; in addition to serving the purpose of loosening up your wrist, you’re also training your hand to become more familiar with using your drawing tools. Here’s what you can expect:
I start with exercises on lines, curves, and basic geometric shapes.
I introduce basic principles of lights and shadows. By changing the light source, you change the narrative mood of the figure.
The types of hatching and other shading techniques that I apply to the figure enhance the illusion of a three-dimensional object “popping” off a two-dimensional flat surface.
Part of what makes figure drawing so spontaneous is that you don’t have to completely erase the lines that may appear to be errant. I demonstrate tips you can use with or without your kneaded eraser.
Drawing the Head
No part of the human figure draws more attention than the head. It’s the area we use to recognize one another. The features that incorporate all five senses are also located on the head. In Part II, I give you a heads-up on the following topics:
The head’s basic shape: In its most simple form, the basic head shape is essentially a spherical object that at first glance looks like an egg. As the figure matures from infancy to adulthood, the bone structures adjust to the growing proportion of the body in part by fusing together. In Chapter 4, I walk you through different techniques for drawing the basic shape of the head at different ages and from different views.
Facial features: When you examine the head more closely, you’ll find that it consists of a series of complex interlocking bones covered with cartilage for the nose and ears and multiple layers of muscle groups that control the movements of the jaw and mouth. And don’t forget the eyes! I explain how to draw all these features realistically in Chapter 5.
Hair: Although hair consists of hundreds of individual stands, they cluster together in an organized fashion to form waves and curls (or they simply cascade down like a waterfall). In Chapter 6, I walk you through exercises that explore using different textures to add realism to the hairstyles and types without worrying about drawing every single strand (that’s an in-hair-ently insane task).
Facial expressions: Our facial muscle structure is literally skin deep! Just the slightest twitch or reaction gives away the most subtle thought going through the mind (I, for one, have a terrible poker face!). However, these nuances make the face the center of attention in most figure studies. In Chapter 7, I describe the muscle structure of the face and give you pointers on drawing a wide variety of facial expressions.
Putting Together the Body
Creating and piecing together the body is similar to a putting together a jigsaw puzzle or playing a satisfying game of Tetris. Individual shapes snap together to form a larger shape. Check out the following topics in Part III, which is all about building the body:
Bone structure, shape, and proportion: Understanding the basic proportion of the human figure helps the artist not only measure the head-to-body ratio, but also establish how large or small other figures need to be drawn in situations in which you can see more than one figure. Learning every bone structure of the body isn’t important for understanding the overall structure. Rather, identifying certain “landmark” points, where the bones and joints protrude out of the body, is more essential. Chapter 8 explains what you need to know about bones, shape, and proportion.
Assembling a stick figure: Resist the urge to think of the stick figure in Chapter 9 as a crutch or symbolic substitute for drawing the human figure (like a hangman). Sculptors create a stick figure (commonly referred to as armatures) out of wire as a base around which they build the figure form. In Chapter 9, I also demonstrate how to use the stick figure as a basis to draw and build basic geometric body shapes.
Muscles: If you thought the number of bones in the figure was mind-boggling, check out just how intricate the muscle groups are in Chapter 10. My objective there is to group the smaller shapes of muscles into larger shapes.
Depicting the body in motion: Regardless of how accurately you draw the figure in a still pose, applying body rhythm and motion is what distinguishes your figure from a stiff mannequin. In Chapter 11, I explain how to draw realistic figures with movement.
Advancing Your Drawing Skills
In Part IV you go through exercises that address the clothed figure, other fun drawing techniques, composition, and perspective. These exercises are designed to jazz up your figure drawing based on the basic fundamentals you discover earlier in this book. Read on for more detail:
Clothing your figures: Becoming familiar with the clothed figure is important, because some fabric shapes not only simplify the complex anatomy, but also help you see how to draw the figure by using different shapes. In addition, the wrinkles and folds that run along the joints, limbs, and torso of the body help you understand the rhythmic flow and energy in a pose. In Chapter 12, I go over various types of clothing from the loose comfortable sweatshirts to the tighter jeans. In addition, I cover how to draw footwear (ranging from waterproof boots to open air sandals).
Experimenting with fun drawing techniques: Chapter 13 incorporates various drawing exercises that provide not only a change of pace but also the opportunity to hone your hand-eye coordination. These exercises include contour and cross-contour drawings in which you observe and draw the model without looking down at the paper. In addition, I provide tips on varying the edges and shading of your drawings, and I get you started with building a photo reference library.
Applying composition and perspective: Regardless of how well you execute the figure drawing, it needs a frame of reference (where the model is situated in relation to the page). In Chapter 14, I present several basic templates that help plan the positioning of the model (otherwise known as composition). In addition, I go over basic perspective principles (one-point, two-point, and three-point perspectives). Perspective in figure drawing is the art of creating the illusion of three-dimensional figures in a believable environment by using the horizon line, vanishing point, and perspective guidelines to determine which body parts need to be drawn a certain size or position in relation to the others.
Chapter 2
Gathering the Goods for Figure Drawing
In This Chapter
Buying what you need without going broke
Checking out different drawing supplies
Setting up a studio
Drawing on the go
For me, stepping into my local art supply store is like reliving my childhood memories of stepping into a giant toy store — so many materials, each with its own unique characteristics and usage. Even coming prepared with my “to-buy” list, I still find myself wandering around picking up new drawing materials I have yet to try.
In this chapter, I list basic art supplies that are great for drawing the figure. If you plan on taking a figure-drawing class, these materials are excellent to take with you on your first day. Be careful, though; buy only the necessities for your budget, skill level, and interest in figure drawing. You can always buy more supplies later! I also explain how to set up a studio (in your home or another indoor space) and what to pack when you’re drawing on the go.
Buying Supplies without Breaking the Bank
Despite all those stockpiles of paints, canvases, brushes, turpentine, and so on at the art store, the basic materials you need to start drawing the figure are only a pencil and paper. But wait, the good news doesn’t stop there! Unlike paints and brushes, whose costs can add up to hundreds of dollars, a basic assortment of drawing tools is pretty inexpensive.
If you’re currently in a figure-drawing session, you don’t need to purchase all the materials I describe in this chapter (getting the in-class recommended supplies is sufficient). You can always come back to this chapter for additional supplies when you want to try a different type of medium.
The following list provides some facts of life that may affect a professional or student artist’s spending habits:
Growing pains: When you’re first starting out, you may stick with paper, a few different pencils, an eraser, and a couple of other basic tools. As your individual figure-drawing style/skills advance, however, you may find the pencils you once liked no longer suit your needs. You may need to bite the bullet and buy new pencils or other supplies you’ve outgrown.
Consistency issues: Although you like to think that the certain brand of paper you’re buying today is the same exact quality as the one you bought last week, that’s not always the case. You don’t want to be stuck with a stack of paper that’s subpar. So, be prepared to restock supplies that turn out to be of lower quality than you want.
Accountability: Simply buying more doesn’t necessarily make me more accountable for my belongings. In fact, from past experience I find it makes me even more carefree. Looking back, I realize that if I’d been more careful with the supplies I had, I could’ve spent my money on newer/fancier materials instead of spending it to replace the basic stuff I lost. When you buy fewer supplies, you value them more. That’s one incentive for sticking to a tight budget!
Referrals: Most of the materials I currently use have been referred to me by other artists and colleagues. Make sure you leave some room in your drawing bin for fresh recommendations — after you’ve been drawing for a while, set aside a little spending money so you can experiment with new supplies.
Overdependence: Sad, but true — some brands simply go out of business (it’s a tough, competitive market). You don’t want to become too reliant on a single brand and not know how to adapt to products from a different brand when your favorite product is gone. Be prepared to spend more money to replace a discontinued brand you love; you’re in luck if you find replacements that cost less than the originals!
Intimidation: When selecting paper as an art student, I remember feeling intimidated by trying out new techniques on expensive paper, such as thick-ply Bristol. Although setting the good paper aside and using the cheaper drawing paper for experimentation is wise, sometimes your experiments will work best with thicker, better-quality paper (newsprint, for example, can’t withstand water or strong pressure from drawing pencils unless the lead is soft). I recommend having a small “experiment” pad set aside specifically for these purposes (8-x-10-inch smooth Bristol will suffice).
Be careful, especially with newsprint brands, whose quality deteriorates over the course of a short period of time (as early as just a few days!).
Surveying the Wide World of Drawing Supplies
Are you ready to shop for drawing supplies? Before you walk out the door, remember this fact: You don’t want to blindly invest all your art-supply cash on drawing items you may use only once or twice, only to realize you don’t like them after all. This is especially true if you plan on buying material online, where you don’t have the opportunity to even try a medium on the sample sheets that are usually provided upon request at the art store. After you try different materials and know what you like, feel free to buy online; try www.pearlpaint.com, www.utrechtart.com, www.dickblick.com, or www.fineartstore.com. Just make sure you have a good idea of what you need and what you like before you set out. In the following sections, I describe a variety of supplies that are useful in figure drawing.
If you don’t live near an art store, online resources are an excellent option, but don’t totally count out the office-supply stores. Although the quality and selection of materials are limited when compared with art stores, you can find such items as plastic erasers, sharpeners, mechanical pencils, and markers that are also found in art stores.
Most art supply stores are pretty fussy when it comes to returning art materials. Some stores don’t give refunds on items like portfolio cases or opened sets of pencils. If you buy a drawing pad and draw as much as a single line on one of the sheets, you won’t get a refund. However, most stores have no problem giving you a full refund or exchange if a product is still sealed in the original condition you bought it in (just make sure you don’t lose the receipt!).
Paper
If you’re walking through the paper aisle of the art store for the first time, you can easily become overwhelmed by the vast selections. When selecting your drawing paper, consider a few general issues:
You need to choose between individual sheets of paper and drawing pads.
You need to make sure you select the appropriate size of drawing paper.
You want to be selective with the weights and textures of paper that you work on.
I explain what you need to know in the following sections.
Individual sheets versus drawing pads
Most stores offer paper in individual sheets, but I find that these products are usually specialty papers that are not only more expensive, but also large (up to a whopping 23 x 29 inches) and cumbersome to carry out of the store. You can have a store employee cut them down to a specified size, but that’s really not worth the effort or cost (talk about a nasty pay-per cut)! For this reason, I buy my drawing paper in pads. The pads are cheaper and easier to store and organize in my drawing archives cabinet. (I discuss archiving supplies later in this chapter.) Most pads come with a strong cardboard backing and a thick front paper jacket, which protects your drawing of the day.
As you develop your figure-drawing skills, you may want to try a certain quality of drawing paper that’s sold only in individual sheets. When you do, ask the store staff to roll and wrap the sheet of paper so it isn’t damaged on your way back to the studio. If you don’t have immediate plans to use the paper, unroll it and store it flat (few things are more frustrating than trying to draw on paper that curls up on your hand like a Venus’ flytrap). And don’t waste the wrapping paper; use it for sketches!
If you desperately want to test a sheet of paper from a drawing pad, talk to the store manager or an employee. Stores usually have a small test pad set aside for customers to scribble on before committing to purchasing the entire pad.
All sizes large and small
Drawing paper comes in all sizes. It can start as small as 2 x 3 inches and go larger than 18 x 24 inches. If you’re preparing to take a figure-drawing class at an art school, you need to get an 18-x-24-inch drawing pad. This size is ideal for a class/instructional setting where you can place a single large figure on the paper or draw multiple smaller figures on the same page. It’s also large enough for instructors to provide useful instruction during class critiques. If the pad is too small, your figure drawing is difficult to see, and the size doesn’t allow you to go into as much detail as you want.
Personally, having the extra real estate on my drawing pad was essential when I was in art school because my figure-drawing instructor could use that space to draw and give demonstrations as he was making his rounds through the classroom. Currently, I require my students to bring the larger 18-x-24-inch drawing pads because I use a thick red marker or charcoal stick to provide instruction.
In addition to having an 18-x-24-inch drawing pad, I carry smaller 5-x-7-inch and 8-x-10-inch artist sketchbooks with me whenever I’m away from my studio. They’re small enough that I can stuff them in my messenger bag and take them out to draw the people around me when I’m in public. If you decide to buy smaller sketchbooks for drawing outside the classroom or away from your studio, make sure these booklets have a thick, hard cover on both sides so that your drawings don’t get damaged from being tossed around in your bag during transit. Although these pads cost more than the cheaper cardstock paper, they’re definitely worth the price.
If you’re wondering what size is “too small,” measure with the size of your hand. If the pad is smaller than your hand, you may want to choose a larger pad.
Weights and textures
Not all paper types are created equal. Witness these differences:
Papers that have a heavier ply are higher quality and more expensive. Ply refers to a single layer of paper material that’s then stacked on top of another to create a thicker sheet of paper; you measure ply by the total number of layers of paper material that are stacked together. The average ply for drawing paper is three ply. Higher quality paper can be as thick as five ply.
Although losing weight is often considered a good thing, packing on the pounds carries a lot of weight when it comes to choosing drawing paper. Paper comes packaged in stacks, or reams, which usually consist of 500 pieces of paper. Generally, the more pounds each ream of 500 sheets weighs, the higher the density and the thickness of the paper (which is measured in caliper micrometers).
The texture of the surface varies from smooth to rough. The rougher the texture is, the moretooththe paper has. Here are the pros and cons of the surface textures:
• Papers with smooth surfaces are great for rendering detailed drawings with very fine gradations between dark to light values. If you’re using a very fine lead mechanical pencil, for example, papers with a smooth texture give you better control over making details, such as the pupils of the eyes and details of the lips. On the other hand, the smooth surfaces of certain brands feel waxy and are often difficult to blend with your fingers after you apply the medium, because the smooth surface of the paper doesn’t retain the particles of the drawing medium. If you erase a section of a drawing on smooth paper and go over that section with your drawing medium and fingers to patch up the white hole, re-creating the original smooth transition is difficult, because the values don’t blend easily.
• Papers with rougher surfaces are great for soft mediums, such as vine charcoal, compressed charcoal sticks, and soft drawing pencils. Because the textures hold on to the medium particles, using a cloth or your finger to blend or push around the values is a lot of fun. The disadvantage of using rougher textured paper is that the fine tip of your drawing pencil snags into the grooves of the paper, making details of fine rendering difficult.
Run your fingers over the paper when choosing the type of surface you want to try. Different brands have their own classifications of “textured” (also referred to as “vellum” surfaces) versus “smooth” surfaces.
The following are some types of paper surfaces commonly found in most art stores:
Bristol board: Bristol board comes in smooth and rough textures. It’s a thicker, sturdier quality surface (100 pounds) that’s great for illustrations. The smooth surface is designed for fine pen and ink, pencil, and fine rendered drawings; the rougher or vellum surface has a slightly toothy texture that makes it suitable for soft dry media (pencil or charcoal) and wet media (water color or gouache).
Charcoal paper: More porous and has a rougher surface. Major brands such as Strathmore carry acid-free charcoal paper created from 100 percent cotton fiber. Many art stores also sell these in individual sheets (which come in 64 pounds) in various colors and values. Having an initial color or value gives students a middle ground to start with to build up the color and value of the figure. This texture helps grab the charcoal particles so you can get a better range of values depending on how hard you press the charcoal against the paper. (I discuss charcoals in more detail later in this chapter.)
Drawing paper: The more commonly used surface, drawing paper is a higher-quality version of the sketching paper (70 to 80 pounds). Drawing paper has a light surface texture that makes it suitable for most dry media, such as pencil and charcoal. This paper can withstand light usage of wet media (for example, inks).
Newsprint paper: Newsprint is distinguishable by its gray tint and is sold in smooth and rough surfaces. Although economical, it’s thin and not very durable (definitely not suited for a water-based medium). It’s ideal for practicing and working out ideas on. Major brands, such as Strathmore, weigh in at 35 pounds.
Although you don’t need to purchase the most expensive drawing paper, avoid buying newsprint drawing pads if possible. Although most brands, such as Strathmore and Canson, currently manufacture acid-free newsprint products, the quality still leaves something to be desired. It’s cheaper than standard white drawing paper, but newsprint’s structure is fragile and easily damaged. (In addition, I don’t care much for the dark gray tint.) If your budget gives you no other option, I recommend at least getting newsprint with a smooth surface.
Sketching paper: General-purpose, light-textured drawing surface is suitable for classroom experimentation and usually comes in 50 pounds. Sketching paper can withstand light usage of wet media (for example, inks), but it’s best suited for dry media. Think of this type of paper as the economical alternative to drawing paper.
Tracing paper: This highly transparent parchment comes in 25 pounds. Great for tracing over your work or making corrections over your drawing without marking up the original. This paper surface is lightly textured, which makes pencils and thin markers good mediums to work with.
Make sure your paper is marked “acid free” or “pH neutral.” Papers that are made from wood-based pulp contain a natural chemical compound called lignen that causes paper to turn yellow and deteriorate after a period of time. If you use papers that don’t have the lignen removed, you risk having your artwork damaged, especially if the paper is under direct sunlight or exposed to heat.
Drawing tools
After you have paper and all the necessary accessories, you’re ready to select your drawing tools. You have a wide variety to choose from; the most popular by far is the pencil, but charcoals and markers are other tools you may want to consider.
Pencils
Pencils are the go-to tool for artists drawing the figure. Pencils are an easy-to-use medium that you’ve likely handled since childhood. They come in diverse forms of softness and hardness, and have various types of chemical makeup. Different companies manufacture their own flagship pencils (which for whatever personal reason end up being consistently recommended in art classes). My favorite happens to be the Faber-Castell 9000. One often overlooked benefit of using pencils is that they produce results quickly; unlike oils or acrylics, you don’t need turpentine or a messy side medium to improve the viscosity or quality of the line. Another benefit (which happens to be my favorite) is that it’s easy to maintain. You don’t have to clean a messy paintbrush (which can take up to 30 minutes) or use a spray to secure the medium onto paper. Simply toss the pencils into a zippered sandwich bag and off you go!
As with paper, you have a lot of pencils to choose from. Unlike office-supply stores, drawing pencil manufacturers sell a variety of pencils with a wide range of graphite softness or hardness. Graphite grades range from the following: 9H (hardest), 8H, 7H, 6H, 5H, 4H, 3H, 2H, H, F, HB, B, 2B, 3B, 4B, 5B, 6B, 7B, 8B, 9B (softest). H stands for “hard” while B stands for “black.” The higher the H, the harder the lead; the higher the B, the softer the lead.
In general, the common #2 general-purpose pencil correlates to HB. However, there is no universal grading method that’s shared by pencil manufacturers. Each manufacturer has its own way of determining what constitutes different grades of hardness and softness. Although harder pencils are preferred by technical drafters (such as architects and mechanical engineers), softer lead pencils are favored by artists. I don’t recommend using anything harder than a 2B for figure drawing (just was never meant to be!).
When I test a pencil on a sheet of drawing paper, I look for the way the medium drags across the paper. A drag refers to the amount of friction or resistance the lead or compressed charcoal puts up when you move it across the paper. Although some softer pencils have less drag, some soft compressed charcoal sticks are so dense that they have more drag than some of the harder pencils on the smoothest paper. I personally prefer less drag because it’s easier on the wrist and doesn’t inhibit my drawing speed. Another good way to test the drag is by making strong, short (no more than ½ inch in length), thick-to-thin crosshatch marks. See how each pencil grips the tooth of the paper compared to others. The more smoothly you create the marks, the less drag you get.
The following are just some of the many companies that make great drawing pencils:
Faber-Castell 9000 Drawing Pencil: The company’s signature water varnish based pencil. Available in ranges from 8B through 6H. These are currently my favorite figure-drawing pencils.
Derwent Graphic Pencil: Uniquely composited from clay and graphite. These pencils boast a wide range of 9H through 9B. Its casing is designed to feel lighter in the hand.
Design Drawing 3800 Pencil Untipped: Encased in their classic alligator-skin design, these pencils range from 6H through 6B.
General’s Ebony Layout Pencil: These pure, smooth, black graphite pencils are one of the most popular pencils in art classes. The thicker graphite center gives you a wider side to use for shading in values in large areas. This pencil comes in only one type: jet-black extra smooth.
General’s Flat Sketching Pencil: Recognized by its flat-shaped wooden casing, this uniquely shaped graphite core gives you the flexibility to create thick-to-thin lines with the rotation of the pencil. These pencils come in choices of 2B, 4B, and 6B.
Staedtler Mars Lumograph: Widely used by architects/designers for its ability to sustain a sharp point. These pencils range from 6H through 8B.
Tombow Mono Professional Pencil: Boasts a high-density graphite that’s not only break-resistant, but also smearproof (a storyboard artist’s dream). These pencils range from 6H through 6B.
Turquoise Drawing Pencil: Its balanced composite of clay and graphite makes this pencil less prone to breakage. Used widely in studios and classrooms. These pencils range from 7H through 6B.
Wolf’s Carbon Pencil: Has a unique composite of charcoal and graphite. Encased in cedar wood, these pencils are easy to sharpen and are great for detail work. Choices include B, 2B, 4B, and 6B.
Prismacolor Woodless Drawing Pencil: A pure graphite drawing pencil that needs no sharpening in order to draw (although you may want to sharpen the tip just a little from time to time). This pencil is an excellent choice for artists who feel the standard wood casing pencils are too light. You have the choices of 2B, 4B, 6B, and 8B.
Faber-Castell PITT Graphite Pure 2900: Faber-Castell’s version of the woodless drawing pencil comes in choices of HB, 3B, 6B, and 9B.
Although my personal favorite drawing pencil is the Faber-Castell 9000 (and I definitely recommend giving it a try for starters), you need to figure out what best suits your own needs. Here are some points to consider as you embark on your journey in search of a compatible drawing pencil:
Beware that products that carry the same degree of hardness or softness but come from two different brands may not be identical. I find that some brands tend to have a more flexible labeling system.
I recommend trying three or four grades of softness or hardness from a single brand (say H, 2B, 6B, and 8B). If you’re new to drawing, stay away from pencils harder than H. Leads with harder tips are great for drawing technical drawings with precise details, but they don’t provide as much diverse line quality as the softer leads do.
Trying out pencils before committing to buy them is important. If stores don’t have a test pad to try out, I recommend carrying a piece of drawing scrap paper with you when you enter the store. Although stores don’t allow you to pop open a box of fresh pencils to test one out, some stores have individual pencils in an open display. Those stores may be lenient in letting you draw a couple of lines on a piece of scrap paper to test the pencil.
Charcoals
One reason I like using charcoal is that it allows me to cover large areas of paper with fewer strokes than using a drawing pencil does. In addition, the loosely compressed carbon in charcoals allows me to easily smear and blend the strokes to get the effects I want (something not easily done with a grade-H lead drawing pencil).
Here are a few different charcoal types to consider:
Vine charcoal sticks: These are sold in boxes in various hardnesses (hard, medium, and soft). They’re great for loosely blocking in the overall shape of the figure and applying shading on areas of the body. I like using the extra-soft vine sticks when I’m shading in my figure because they’re quicker and I can get darker shadows without pressing too hard against the paper.
Thick charcoal sticks: Just as the name suggests, thick charcoal sticks are the thicker versions of the thinner vine charcoal. Though not practical for small figures or detail, they make excellent shading tools (especially on very large drawings, such as a close-up of the torso on an 18-x-24-inch drawing pad).
Compressed charcoal pencils: These come in various degrees of hardness (hard, medium, and soft). Think of them as pencils with charcoal instead of graphite. I like using them for drawing details of the figure (such as the eyes, nose, and fingernails). Charcoal pencils come in handy when your figure drawing is smaller than 8 x 10 inches.
Compressed charcoal sticks: These cylindrical charcoal sticks also come in hard, medium, and soft variations. I like using them to draw loose gesture lines and curves of the figure. The advantage of using these rather than the charcoal pencils is that you never have to worry about having to shave away any wooden casing around the charcoal — the powder charcoal particles are tightly compressed by using binders.
You may find that using a smooth versus rougher paper surface affects which type of charcoal you use. If you’re planning to draw from the figure continuously for a long period of time (for example, an all-day figure-drawing session), I recommend using softer charcoal over harder charcoal because it eases the resistance on the paper and ultimately the stress on your hand. Softer charcoals also make it easier to get a deeper range of values without having to press hard on the paper.
Markers
Markers are a versatile figure-drawing medium. They deliver consistent line quality and shades of value by using your natural strength, which makes sketching and drawing quick and fun. Because markers don’t require a separate inkwell, they’re great for quickly sketching figures in your journal sketchpad.
I don’t recommend working exclusively with markers (for one thing, they’re expensive; for another, they smell quite awful), but they make a good supplement or sidekick to the pencil figure drawings. When my drawing lines become less clear from all the smudging and shading, I like to use a fine black micron marker (which I mention in the upcoming list) to mark in the lines that I want to emphasize over the smudged out lines. In addition, you can use the thin markers to accentuate detailed areas, such as the facial features.
Make sure you’re certain which lines you want to emphasize over others. After you place down inked lines, you can’t erase them.
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