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Free Pencil Drawing Lessons
Free Pencil Drawing Lessons
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drawing
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27 Ways to Use Values
to Create Dramatic
Pencil Drawings &
Create Powerful Lines
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drawing lessons
Conceal
& Reveal:
This content has been abridged from an original article written by Dan Gheno. F+W Media,
Inc. All rights reserved. F+W Media grants permission for any or all pages in this premium to
be copied for personal use.
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Floretta
(Portrait of Agnes Doggett)
by Lilian Wescott Hale, 1914, black chalk
over charcoal or graphite on cream
laminated paper, 2918 x 23. Collection
Princeton University, Princeton,
New Jersey.
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Academic Drawing
of a Female Nude
by Augustus Vincent Tack, 1894,
charcoal, 24 x 18. Collection the
Art Students League of New York,
New York, New York.
There are few outright shadow
shapes in this drawing, but a
multitude of halftone shapes
from very light to very dark. The
halftones taper darker in a slow,
ordered manner, lighter at the
top where the figure nears the
overhead light source and darker
as it recedes toward the ground
plane. Notice how the right calf,
pointing directly toward the
illumination above, is very bright,
while the more vertically inclined
remainder of the models legs
receives significantly less light.
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Laocon
Lorenzi used the receding cast shadow, zigzagging up the steps, to create
definable, palpable, retreating layers of depth. He rendered the near portions of
the figure in a harder, more contrasted manner to bring the figure forward while
minimizing the contrasts in the flag to push back the distant areas and create a
sense of spatial atmosphere.
After drawing for decades, artists often return to cast drawing to upgrade their
understanding of values. Many Renaissance and Baroque artists, such as Bandinelli,
did this as well, drawing from the recently excavated Greek and Roman statues,
including this Laocon fragment. Like plaster casts, marble statues are nearly white
and devoid of the colors that normally confuse the artists study of values.
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Let It Glow
Of course, this exciting glow is not limited to the face. Youll notice a similar
effect running throughout the body,
helping to reinforce the larger, global
plane changes of the body. Most people
mistakenly believe that all highlights
are bright and sharply focused. Indeed,
harsh highlights do occur on the body.
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Andrea
by Dan Gheno, 2007, colored pencil
and white charcoal on toned paper,
16 x 18. Collection the artist.
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Self-Portrait
by William Page, 1843, black chalk and charcoal
heightened with white chalk on tone wove paper, 18 x
14. Collection the British Museum, London, England.
Observe how Page used white chalk and the value of the
paper for the lighter halftones. He used black chalk and
charcoal for the darker halftones and shadows.
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Local Value
Halftones
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Young Man
by Giambattista Tiepolo, 1760, pen and brown wash over black chalk,
9 x 7. Collection Mr. and Mrs. Jacob M. Kaplan.
Notice how the dark of one figure merges into and joins the dark of anotherone
person blending with another and then melting with cloth and groundmaking one
large shape thats dramatically abstract and illusionistic at the same time.
Best known for his delicate, finely rendered narrative and portrait paintings, Ingres
also produced a large oeuvre of quick portrait drawings. Usually, the artist homed
in tightly on his subjects heads and hands. For the most part, the artist skimmed
lightly over the details of their attire and surroundings, rendering them with a dry,
almost deadweight, doodling kind of line.
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Leaning Figure
by Dan Gheno, 1997, colored pencil,
24 x 18. Collection the artist.
When the pose is too difficult for the
model to hold for very long, I often
block in the shadow more lightly
than I actually see it, letting the core
shadow do most of the work.
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make them too bright. As the 19th-century artist Howard Pyle often explained
to his students, shadows have no color
or light of their own. Shadows are more
or less black and opaque, he said. The
only reason we see any detail in the dark
is because of the reflected light bouncing off of adjacent surfaces. Therefore,
the indirect, reflected light bouncing
into the shadow can never be as bright
or distinct as the direct light hitting the
model. Value-oriented artists such as
Rembrandt, Guercino, and Caravaggio
often kept their shadow shapes passive
to better replicate the human experience
of sight, since less information is available for the brain to process. Still, there is
nothing wrong with seeing an abundance
of detail in the shadow. Just keep their
shapes soft and keep the value differences within the shadow shapes closely
rendered. Save your dramatic contrast for
the larger value differences between the
bigger, overall light and dark patterns.
Along with Howard Pyle, artists such
as Robert Henri, Charles Hawthorne,
and many others talked a lot in their
own teachings about the importance
of finding the big value and color contrasts. They knew that you couldnt
replicate the full range of actual values
and colors given the limits of our pencils, paper, and paints. Henri advocated
looking at the model, not just to observe
individual areas, but to compare pairs of
opposing light and dark shapes to better judge their relative value and color
relationships, then trying to replicate
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Core Shadow
No matter how quickly you work, sometimes you know you wont have time to
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Value as Design
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Nude Woman
With a Snake
Spotting
10
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Male Acadme
by Thodore Gricault, ca. 18161817, graphite, pen
and brown ink, brush with brown and blue-gray wash,
heightened with white gouache on brown paper, 8 x
5. Collection the British Museum, London, England.
Halation
11
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Environment
Figure Versus
Background
Its natural to feel fearful of the background. Perhaps youre afraid you
12
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13
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Expressive
& Structural Line
This content has been abridged from an original article written by Kenneth J. Procter.
F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in
this premium to be copied for personal use.
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A great belly can
bear with the most
unbearable things
under the sun.
by Zhu Yi Sing,
contemporary, ink and
watercolor, 3734 x 19.
Collection Kenneth J.
Procter.
15
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The fun of Henris Seated Woman is how the casual marks add up to a
pose and a solid person, how a great wide line sweeps up and over
her hip to cinch in the doodles that ruffle down the front of her blouse,
how the whole conveys her slouch and mood.
contrast, and with summary lines,
Guercino pulled Josephs tunic tight
in a fearful twist against the grasp of
her arm. At the center of the drawing,
a handful of lines draw taut between
them, the climax of the drama, the tug
of her desire against Josephs flight.
Stretched and misshapen, we can imagine the lump of lines that would stay in
her hand as he flees, the limp shirt that
will convict him with his master, a key
link in the chain that leads to Josephs
high service with Pharaoh, and the epic
events of biblical history. Guercinos
drawing is a step toward a final narrative composition. It is beautiful, but for
his purposes, it neednt beGuercino
is studying a composition.
Robert Henris Seated Woman is a
drawing for its own sake. The woman
is anonymous. Theres no story or
history. She sat and stared; he drew.
The work probes the limits of minimal means. Henris lines are quick
and economical, leaving much to the
imagination. Arms have only an outer
contour. Her nose is just an edge, the
rest submerged in a wash of hair that
flows into shadow. Some scribbles and
a bold stroke together make a torso
that twists at the hip. The fun of the
drawing is how the casual marks add
up to a pose and a solid person, how a
great, wide line sweeps up and over her
hip to cinch in the doodles that ruffle
down the front of her blouse, how the
whole conveys her slouch and mood.
Like an improv artist, Henri was riffing with line. Blue ink, brilliant against
the warm-toned paper, adds dazzle. Art
historian Robert T. Cozzolino notes
how Henri keenly observed demonstrations of Japanese-ink technique early
in his career, and after that kept ink
16
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above
Seated Woman
by Robert Henri, ca. 1900, pen and blue ink and
blue wash, 10 x 8. Collection Princeton University Art
Museum, Princeton, New Jersey.
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drawing lessons
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drawing lessons
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drawing lessons
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