VAN NOSTRAND REINHOLD COMPANY NEWYORK. AaRAnnAOoo noenonssonoooonr Se=NICIL RE TOMINGe| | The author, thomas c. Nang,received a Bachelor of Landscape Architecture with honors fram the University of Oregon aud a Master of Landecape Architecture from Harvard UwiVereity. He hae many years of diverse professional experience inal phases af Landecape design, land planning urban design, and graphic art. He ie currently a partner of Nelson, Naleon - Wang. 2 planning and desiqu-consulting firm in Urbana , ILinais. Oo Mr. Wang taught design aud graphic at Oregon and Harvard Diieerstias Satire he Joined the stat} of tie University of iLlinors In 141. He 16 non Assicfant Pretescor of Landscape Architecture in charge of Basic Design and Visual Communication. PEN es We e Cos rad Pras : a cL aan UE d ve FUR] VAN NestRAND ReIMHoLD comrANy, BHI YORKINIGUIL Xt WCTRIINGG ce (=) =) THOMAS CWANGLopyagrt 471 by Van slstrand geinhold Company Lac. 4, my parento...... library of Congress Catalog Card Number 11-1016 JBN © 0-442 -24111-4 All rights reserved, dle part of this worl covered by the copfright hereon Inay be veproduced er ued in any form or by any meano -- graphic , electronic, or mechamcal, including photocopying faping. or wdormation starage ard retrieval syatem =~ wrihout written permission of the publicher. frinted m the United cates of Amenca . Deagned by thomas c. Wanq Publighed in 1471 by Van Nostrand Reinhold Company Ine. 11S Fitth Avenue - New fork. Nf. locos Von Nostrand Rembeld Auetalia ply, Limited 40 La Trobe street Melbourne Vietona Fueo . duetralia Van Nostrand Reinhold Company Limited Maly Millaré lane, Wekingham, Derkehire. ROIZPY Gxgand Macmillan of Canade Lebpary ot Cngrees Cataloging im Fablieation Divieion of Canada Publishing Corporation He Vee Giteader Boulevard ) Fa eisaas Agincourt, ontarie Mie 36], Canada Bibliography : Indadeo index. : FF Penal drawing. . trile Me 10 Whe Al 214 11-1095 Mesa eal? 16BM 6-442 -241779-4Fare Here 6 | TES of FENCIL SKETCHING —— 4 2 PauleMent—____ 3 PAPER. —_____ 4 4 TeEcHHiQues —___ Fp 6 Lie gy 6 COviro sITION) ——___ 24 1 SHADING ——__ 42 8 LANDFORM S ——__________ 4o g VEGETATION ————_________ 44 TABLE OF GONTENTS io WAfeie¢ aac ee 4 IZ SHADE AN 2HAboW 13 Bulbpnues— 14 BROAD STOKES ——__ 15 16 HUMAN FIGURES ——____ 42. lo CARes == tas 95 IT KEFERENCE Books 45 (6. (eee a.+ FORENORD In thie becle. my main concern has been ty present the Jusdamental principles of pencil aketehing a6 simply 26 possible no that the layman aod student cau learn te Bketch and draw with peneil. Feneil ve often seen a6 2 cheap graphic medium. Toa let ot otudents, pencil sketching 19 leeo interesting to learn because of ite nessiness and the lack Vt colore. It te true thet pened hee fo faulte and dnitati ene yet rte otill the most widely used 400| tor arhiote oday- Perel » alee inexpensive m terme of the paper and other materials that are required. These materiale are eacy to carry and there 1 ro lengthy or difficult preparation. invelved! The pencil medium 1 highly flevible, aud 7 14 respensive % any variation 4} presoure or direction applied to it. thie allows the artiet to preduce Varieus kinds of eirekes 6 well 263 wide apectrum of tone ranging trem light gray to mtense black; this cruld all be Ube with vee eimple Seelehing peueil. Unlike other media that require Building term mechauiea |; simple; no detail ; uubinished. RuUleK SKETCH wee only a ten lines 4 express the image ; 2 finished Ee by, veelTYPES OF PENCIL SKETCHING SHADING LINE DRAWING Use a variety of tones to express different levelo of planes. Line Width similar he variations ; shone details.TYFES OF PENCIL SKETCHING FINISHED RENDERING Caretully detailed; well proportioned Beevrate yeropective. IMAGE STUbY oketchy 5 quick; lacks dotaileEQUIPMENT === A PENCIL Graphite lead , Tt plactic lead jor \Weed caeing MetoL cap er eraser charcoal Lea : Harie —— MeriuM OFT Hawoeey a Sor Trey ou 2H Hr, He. ©. 26, 9B. 46. 96, 6B © or higher > 4, Orn, 2h eh Ast Feneile with sort lead are moot ) surtable tor eketchin «they ave generally darker and easier to manipulate Ceoutrol Line Width >. Ee a ed al a ita TYPes_oF Ree eee ee ay Sketching pencil Clarger Lead > “eq, Poule\ or Fong - — Sketching enc © charcoal > gq. Welt de. mT staan tml ih rechunguler Lend 12 2g. Hartmuth or Keh-1- Noor.> A : B@UIPMENT 2-2" min. fer beter arp: ve Sharpen your pencil with + penerl sharpener er a small pocket kuipe. Vise long expeoed wide of the lead tor better Shading. Use aides of the exposed lead for bread strokes, Aveid pourted or coueal tip except iW drawing deterle. A see lad unt Will eerateh the paper and under meve went. Ketate the pencil to mamtam a consietent lead point. Wee a sanding bleck for-tne sharpening «@ (ac pa < as (4PAPERS Generally, Zolter pencile are vecommended for smeoth forere dnd harder peneile fer coarser er rough papers. Cearee papere tend to wear out the peimte et penile. Theretore . they are more diptieult +e uee in eketching because of the accumulation of tine Araphite particles. Keough papers are not receommencled fer small-scale Aveninge because the Texture cannet vevea) the tne detoile.FAPERS Likes HANG LINES Fn NAA ME Example: | Keaqular bonded paper. Excellent line quality and even shadi ng: ExXAMPLe:2 Strathmore Alexis Drawing 400-%- Excellent lime qual but shading slightly Arainy. ExAMpLe 3 Strathmere Water- coler 400 weries. & wnque paper dor bitdig fetite coarse and grainy Ineo lack crinpeiness & sharpness. \ | I I I I I i l I l ¢PAPERS Bxauele 4: ou Strathmore blexie Araning 4oo-3 & hight quality paper tor ‘beh eles durlace 6 smeoth yet nen aily. Example &: om Strathmore Nater- color Yaper A4eoseries A thek ¢ coarse paper primarily dor watercolor . i etbeet suited bee large-format drawings m pencil eketching. Tt je t a not eurtable for detail ane outline . Het recommended for beginners | iTECHNI@GYU ES- TECHNIQUES INCoRRECT: WKITING foKM CORRECT: SKETCHING FORM Minimum wriet mehens mest! Ainger movement. It 16 Leoe ‘Hesible because the grip te toe tight. thie form 1¢ wot recommended tor sketching except tor detarlug. Maximum pret motion: largerare + covers mere area. Leeme grip-ter better line contvel ; 1} easier to manipulate the pencil.TECHNIQUES A Line ben end et. OO fameneenal j nolite 5 . 2 Line bean to communicate Nite gn de eee Movement, Knew when to + Apply pressure or ii poe » NSEeee a eoLIne aL Direct LINE Consictent line Weight shene contidence and the use of arm or Hriet metien. SKETCHY LINE Inconsistent line Height indicates a lack of contideuce : abrard te make mistakes and uses tee Many short etrekes Ca veoult of finger Movements D< 3 ¢ a 2 = ®@Sew m = a ayeLINE Ay line drawing Be: Line drawing wrth prepile Apedifbacantiake baie and foreground shading). Line and tone combine. Use line of tone to dicate difherence in F plaues C locks likeLINE HitHeuT PROFILE LINE WITH ?ReriLe LINE i Frotile line separates okect rou background. 2b ect laces Mere B- mensional. 4impe line drawing 25IN thie exainple : ditterent lime e suggest Atterent distances. 26 he dvaning bi comes mere B-P aud hae depth. ee eeAA eS See ee eae ee eee LINE. 4: LINE WietH olmiLar a CouMments: flat, dull; no ditherencel iw dapth. 2. LINE WioTH VARIES COMMENTS tex citing ishons ~ relict depth ; prepile reinborced. 21LINE Lighter line debines background. thick pretile les chine massivencas of buildings and bving them out in trent of the background Caley and mountain >. thick profile lines define Middle ground — fovegqround plant Profile line bulding mace 46 ets iala C shrubs tree Aetlerentiates prime Ss bjest. trunks). building and ground. 2D CO em come eeeCOMPOSITION 24COMPOSITION Shen background vegetation and laudecape B- Foreground 2-Middle sreund Use “ae praming ; dorm leade wte Usually fhe theme oF the subject matter ; preture; sheuld tudieate mood taetting; should havea details. 40 lot of details and coutract. Rh ce ai i tl he* COMPOSITION al BACK GROUND ‘theme ' MIDDLE GROUNP FOREGROUNDaL SHADING i ee ee ee eenee a eee eee ee eee SHADING OeITION OF PENCIL HoLvinG of Pencil Held eal at an angle el leq. chicel rent or broad otreke> at least 2! ap the tes relax; ee aide of lead tip or Use finger er wrist bread aide sf lead tor Mevement. ehading Zmooth Catreke marke Codrée ;revealin disappear) texture’ C pencil etrokes) Black, amooth Mintram Se) Maximum s torce applied to pencil. BDSHADING SMOCTH SHADING: Stoke marles hidden Coarse Caitealsascets eT aaaTEXTURES AND SHADING Wriggly-line textureSHADING AND COMPOSITION these trees are closer to the Viener . there bore . they dont have debe shewn ss entire trees. dark predile line around building Karte ot the tree trunke are not shaded merder to creste depth aud contract aqarnet dark backyreund. — Mound in font darken the center of tocus C leade eye Mevement). toreqround materiale Crocks ote.) aheuld have darker profile linesLANDFORMS hilly Keliel expressed by line Ct- Aimensional >. By breaking the line and adding come shading. this simple tlie Zan be Trane formed wte a S-dimensidnal Jaudforw. 41HON TO DRAW LANDFORMS a1) = en) step 4 eS ctep Re” ane continucue Ine breale the line inte te eeqmente add ehading to mdrcate clepty And change the surfaces add Mere lines: backgreund limes - | iqhter toreground lines — darker Adel More shading . Finvehed I | | FOI A esses ns _HOW TO DRAW LANBFORMS (2) Jia lines; beans to shen depth change otraight lines into curvilinear lines’. thie indicates the bevdin 24 laudform and beqine te ougjest move ment. add shading te indicate depth. darker and heavier foreground Imes help te bring cuf the traneition ot dept. adartoual shading dnd backqroure tilling complete the ecene. zhading in the case not onl Sugqects depth lout ales indicates surface materisle C omocth/cearse) a6 Well as the change wu planes ( eurtaces). iaBASIC ‘TREE FORMS irregularBASIC SHRUB FORMS eval er round lenipeves ping ao reetangular lew, itreqular fan conical | \_:a__o_iaet_— sets tS —_S_Soh —Jh_oe _itnth_tlne_ot_e_Hon TO PRAM TREES un'e ray stay 4haded area one Sun's ray ay edges i 4ym belie tree. hort artial branching darker shade “underneath the canopy 4)Benes of "N's varye In 61506 4 shades series ch Mm"; Contimucus individual stroke’ leat Bevies of Beries ab“ mM" ehert equal wgee thdividual otrekes LEAVES real image of eeries of '2" et rokesDECIDUDUS TREESi PYEKGREEN TREES i ' 60SHRUBS slGROUND COVERS Textursl BulLp-up ne ne SE sattie “ayy wae NAGAI be ements MAM iye obs [INDIVIDUAL PATTERN REMEMBER : Vary preesure ob strokes te create tonal variation. . avaid eiuilar texture without variaticn m line Width, . atay loose ; feel free. fallow contours C landforms). cboerve shaden! pattern on qreund Cchould be darker. a don't averde it !TREES AND TRUNKS yes dont have te chow the whele vee (assume you are underneath >. Shade the area under the canopy te indicate layers of leaves . 5 3. thont Leaves dallng Couageste po motion ¢ reality > . eho trunle detail ; bare texture. _-hade only ene side of trunk to —~ suggest roundness darken the trnle base Chen ehadon on ground >. BSTREES Without LEAVES Emphasige characterietics of the tree: Porm aud branching - detent trees: lees detail. HORIZONTAL DPROOPINGee TREES WITHOUT LEAVES obsewe 2uu'e a ae thickerand darker line 4o eutlme the shaded aide of the trunk. o eketch the basic vee term Leut line > leave White areas like the te bring cut Aepth. begun chading add branches. . refine shading. add tiner branching by using 2 sharper pencil. darken the Lotfam of the trunk € qreund fine >. BSTREES AND COMPOSITION St > Ba ckgreand Sheet control balance framing lead inte light efbeet subject mater BeWAT 21WATER Water - dark, dered) Weter ~ light ¢ white) areas hersenial “e lendecape - positive pattern. image pote that Waves or ripples closer +o VieHer are rendered darter and thicker. calm ; #let Wavy; ripples| =! WATER. Lop T Use short . trekes te indicate reflection seeds closest to earth eheuld be then darkest: Reflections farthest trem earth cheulel be chon lightest. Keflechen ot of backaround scene uld be shown [iahter. be- ‘REFLECTIONS Retlections of chjects “en Wavy water Le etten preduce dteterted and slong ated images. use covtinuoue strokes 427 represent Wavy veflection. elEXAMPLES OF WATER FEATURES 62 TNA, ‘ ries teenyEXAMPLES OF HATER FEATURESsky Leave rt alone — white be vealiete. Shen come clouds. yeat tt a6 background — 5 use texture to Bill in the openness. veer. pot 3 ten lines across the ~ eutline the building with propile line | - BAjust+ perspective - ebeerve sun's Svientation - locate all details Cao /wndad> = shade the planes that are im chades | - etaighten the [mer i Step. 3 ! - Kebine shadin \ - lean ap shading errere witha | qeed erseer and eracing an degree of detail should be velevant te the hele rcture context Cre 3 rough, Sketchy dean will ot Werk wl] pee) meely drawn figures ). OSHUMAN FiGuRES Bhan thom Asin H gometling peuch 36 Nat veading ; WW i shen people wth vavtuves such a6 he rf i ree hande or Aew't alwaye clon show people show back chon them havde in pocket individual figure engeged inctalking View ae nell earrying Hungetin | i 26 trent thet bande Zhen beth eevee shen eluldren in Al these 2u yeep human velationely people belowd wa . | en a a \ wee" ay \ alow background Nk Hosree im groupe avd lade, Shon people walle dogs. action packing baby edre ete! dearan penuite, chor! ae iquresaithing, leanin seo a Se at on ie et wall. perdnendelap, they ave vealiehe aud make the t a the entire piewre | | | | I i |HUMAN FIGURES Zymbelie realiotic Ab. VA fe VAY i net only used a2 scale tndicater’, it alse humani zee the design by suqqesting action | partic pation, a6 Well 36 involvement. ir f f # i sused as scale indi cater ov fer backgreund Oeassisnally , cartoon like tiqures are qeed tor a Certain kind of sketch because they enhance the peeling st the drawing. However, they should be used carefully ao that they will not overpaier the main theme of the drawing - Use Cartoon like tiqures only when the subject matter is appropriate. 36HUMAN FIGURES Shon Lianres dresoed in contempony otyles. Update yeur buon ledge ob fachons. eG show a Variety of charactersHUMAN FIGURES kveid eeraized traures in dere qreund 1 Xvaid abrupt change in the seale of hae Chow Poreground to background er vice Verea.> vad chanting aetien the tone beyond “the page content Cyr example ; taking picture that deeent extet within the “rame ). Felete figures to subject matter and content. Relate figures le c leostiaees ime of day. Seasons, vace, age groupe ate 1HUMAN FIGURES (\ voor eel } | A 1 / fo { HE] wd Step shen guthiie Peter Viencaed gertare eb at ep 2: F rebine outline, atep S. ld tele be40 step 1: *E etart nith bexee. Chase ehape >. otep 2: round the corners. Pw a detaile ‘a ae hub caps. tenders, : i seoeen eae te. Cuce car maqagines a6 areference) anes FePine 4 etails. add hadinge. |CcaR> SibE VIEW Hep lL: sleteh sutline, Start hem baclolbex add details sharpen edges Heo >: add shaiCARS IN PERSPECTIVE Different waye to shen care: ehading —>EXAMPLE CCAR? tn 4ABrFERENCE BOOKS Black, Arthur, Latwocspe SKETCHING . den York, MWeren- ill. 1am Guptill. Arthur, FenciL PRAWING. New York, Reinhold Publishing Corp., 194 Kautsley. Ted. Pencil Bross pes New erk, Van Nostrand Keimhold, \460 Kautgky. ted, Pencil PicTUKES. New York , Retuheld Publishing lore.) 1447 Nate. Ervest PENcilL SKETCHING - Bock 1, NeW York, Keimheld Publishing Corp., 1456 Watson Ernest, THe ART oF PENCIL DRAWING , Menara tltesuc optics eau touphil’ca., 1460INDES< architecture 4% background 24, 20,30, 94, 66,14, 65.61 balance ee branchin bh, bb bread strekes 15-8 building o-14 care 04-45 chisel a> eleuds 66 Composition 24-81 eontours ee contrast a cube 41 dacducus trees “4 depth 26,11, 46, 6D details 40,86, 40.41 elongated image él equipment l-1s erasers 12,14 evergreen trees Bo Tachions 8 figures 82,04 finger move meut 14.22 foregraund 14, 26, 50,34, 56, 60, 14.8] ferme UU Framing 26 gqeotures 84-06 roundeover et greund line 5D hardedge % hevigental pattern 2b humon Figures 61-6Image etudy inverted image light etfect line. drawings wality Aiea width lines lines of tone middle ground movement porting papers peneil sugle pencil poortiow perepective plant materials profile line prepertion eo ho be 12 26 4. 42 16.2% 2b 21.417 2-28, 0, 42 24 20, 30, 56 20, 4 do 14-17 a3 15,99 4. 14,92 Le 24, 25,28. 74.14 84,88 scale indicator a5 Shade 21,64,.4 shading 24, 22-40, 95, 14,40 Al AL shadow 61, 68, 64 sheet control 56 ehrubs al oky 64-66 sun's ray AT, 25, 60 suriace materials 49 texture 15,16, 35, 31,65 one 4. 24,171 tranartion 49 tree forme a6 three - dimensionality 2% two - dimensionality 20,4 values 35 vegetation 44-8 Very bread strokes 23 Hater 51-6% Natercoler paper 16,17 Waves 56 Wrist motion 14.20, 22,29 See 2 a's 8 eee ee eee ee eePenes| io the moot widely used the mort inexpensive .and the Woot versatile graphic median -- and st the easieet to learn. All dhe materiale are low-priced and easy 4otraneport, with no lengthy or Atheult preparation invelved. The pencil ifeelt ‘ aetveuel, tlexible ++ rf responds to the #lightest variation im reqoure or direction - allowing the artist te crestes multitude of strokes a6 well 6° 2 wide spectrum of foue with the same imotrument. Pencil can be used independently ao a finishing mediam or combined snth wauy other media 26 outline or touch-up. Author Themas ¢. Wang explains the furdamental rineiples of pencil sketching 46 simply a4 possible far the ae etudent er layman. covering such topics aot a types of sketching * vegetation A equipment x Water x papers aK oky * baie & chade and shadow «line « buildings x composition * bread strekes w shading ® human figures * land termes * cars Bibliography and index are alee supplied for easy reference. the esc drawings and iaeieneing i ea the author's intention -> te express the amaging potential of the pene and te develop the artiots ability to sketch rapidly and with confidences VAN NOSTRAND REINHOLD COMPA, 116 Fidth venue, New “ovk. N.Y ie ISBN 0-442-29177-9ahs we sdk K tAbex i + Mea ee ean 535 oe,