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    Sanet - St.the Ultimate Sketchbook Collection - 6th Edition, 2024

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    Sanet - St.the Ultimate Sketchbook Collection - 6th Edition, 2024

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    Sanet.st.the Ultimate Sketchbook Collection - 6th Edition, 2024

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    Sanet - St.the Ultimate Sketchbook Collection - 6th Edition, 2024

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    Sophie A.

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    con as lava rete hts g a) Raver: DAWN CARLOS | SAI FOO | LOIS VAN BAARLE | MOON | MARTIN ABEL DARIATHEODORA | MICHAEL KUS | LORENA LAMMER | AND MORE... Welcome to WigSHIORX THE ULTIMATE SKETCHBOOK ‘Sketchbooks are ofien personal and sacred to an artist, filled to the brim with pieces that show off technique, skill and process in the guise of uncensored thoughts and emotions. I's place where the artist knows they don't have to hold back, and when you get a glimpse inside you're bound to see something truly special. In the Ultimate Sketchbook Collection, take a peek inside the minds of artists from all over the world as they share their designs and creations. Meet original characters, uncover new worlds and explore the creativity that exudes from the pages. If that’s not enough, we've also got some handy tutorials to help you improve your own sketching, from capturing people to refining your pencil strokes. So what are you waiting for? It’s time to get inspired and get sketching, and your journey begins just over the page, 4 L FUTURE 4 r THE ULTIMATE SKETCHBOOK COLLECTION Ona Wiasiiie KX ‘STORK Building intensity with graphite Untimate Statchbook Collection (7 Camm h) Wy Vw 8) Uttimate Sketchbook Collection 4 oy \ y re Untimate Sketchbook Collection (9 Ultimate Sketchbook Collection THE JOY OF SKETCH Sketching isn’t just a means to an end, it’s a way of life, as Tom May finds CO Every artist spends time sketching, usually atthe start of 1 project, asa technique for formulating and refining thelr vision. But sketching shouldn't AsTerryl Jhitlatch puts ketchingis the your imagination going and gives Yyourskillsa workout: ts foundational for any artist, Sketching regularly helps you become betteras, an artist, and gives you a platform to ‘experiment, mess. up, ry again (and again), and grov also a good way tocome up with new {ideas as longa you're repared to open Your ‘mind let loose, and see where the sketch takes you says Miles Johnston. “One.of my anatomy teachers once told me that everytime you st down todraw, you wantitto look good,” he says, “ut that ean get inthe way of many other kinds of thinking” ‘Sketching with no formal plan, in contrast, can free you from these restrictions and lead to unexpected ideas and concepts spilling out onto fot tewcon ely i gPIL experiences “Some ARP days 'l sit down with | nothing in mind, just tolet myself doodle, and an almost fully formed idea will come out of nowhere,“ hesays. @ Sketching with no formal plan, in contrast, can free you from these restrictions 99 1) Utiate Sketchbook Callection The joy of sketch PPS ace TONY DITERLIZZI See) Dear eigen Breen Peer finshed istration Ce’ Cron always keep a sketchbook for Pores a okie Utimate Sketchbook Collection (1 Ultimate Sketchbook Collection >> Everyone agrees then that regular sketching is essential, But how do you go about it in practice? That seems to be more ofa personal thing HOW OFTEN? ‘Take frequency. James Gur example, favours Edwin Austin Abbey's advice toa young at student “You should be sketching always, always” So he tries oft sketching into every spare moment he has, especially agg hen waiting “In recent months Ive sketched inthe grocery PF sore white my wite shopped, Ive drawn the | Teywttentook interior ofthe carepairshop while Bszcsenton, gettingan oll change, and ve sketched | Sched hea fellow people around me in the dines” hhesays ‘Teryl however, says her best works done inthe morning, after she walks her greyhound, Josette, and she avoids sketching in the evening, “Like to sketch just about anywhere, but sketching at museums is particularly relaxing” she adds. “At the 200, sketch sleeping animals; when they'e moving around, i i workout also like sketching on airplanes, on cocktail napkins. Thats ‘often where I've sketched some of what 1 consider my best ideas.” for Miles, however limits his sketching. towork hours only, “There are those artist who are never not drawing, but itworks beter forme to let myself rest fot” he explains. “So try to limit my sketching o studio time; otherwise there's no time to let your brain just process everything” SKETCHING TOOLS. Something else that varies from artist, twantistare the tools they use for sketching although each of our creatives offers lear reason for theit particular choices. Siytamen * 12) Utiate Sketchbook Callection Terry, for example, favours Canson tracing paper. “sa great surface with subtle velvety took, and fairly sturdy,” she explains. “The fact that ison tracing paper’ and not an expensive Moleskine that I'm afraid to mess up gives me a psychological permission 0 be free, experiment and explore Following asimilarlogic, Miles prefersto sketch using pencils with a thicklead, or ballpoint pens, “for any sketching where I want to be loosey goosey Thats because when yout sketching in pen, you expect to muckit ‘upa bit, so that makes iteasiero think 6 I try to limit my sketching to studio time; otherwise there's no time to let your brain just process everything 9 Inthe right way. Youre taking visual notes instead of trying to make something prety” ‘Olly however has always found it “very daunting” using pencil and paper for sketching, and so since January he been using the iPad Pro and Apple Pencil instead, “With paper, youre making a permanent record, and you fel ike youire under pressure to create something perfec” he says, “like to hhavea warm-up for maybe the fist hhalEhour tan hous, in which Lexpect the drawings to come out terrible, 30 The joy of sketch ;nttodo that on paper. I's a if just wipe the canvas like lets me do, and its just as portable asa sketchbook” James, meanwhile, uses watercolour, ‘gouache and casein, and sketches ina ‘watercolour journal, typically Moleskine or Penalic 5x8 inch, "They're the fastest and most versatile media, and they combine well with ‘each other," he says. "Tusea homemade sketch easel whenever ean, to getthe work up out of my lap and near the line of sight For Robh Ruppel, however, the tools aren't important tall. “Thave several Moleskines, but also sketch on my phor heexplains. "The ideas are {= more important than the ‘medium, Ive found: ‘STORING YOUR SKETCHES Finally, what to do with your sketches ‘once they're done? While Olly likes to delete is digital sketches ashe goes, he's very much in the minority. “Lkeep all my sketchbooks,” reveals Robb. “They are diaries, archacology, time machines, maps, journals and testing grounds.” James, meanwhile shares his sketches online, videos them for putting on YouTube, ‘reaivty” she says Publishes them in magazines and “There are enough things in ie books, and has even released his own Soi hnc beyond our cont able 1OSand Android app based on them, lay one’s hands on isoneless called Living Sketchbook. thing to worry ab Terryl dost go that far, but does store all the sketches she likes in labelled folders in a dedicated fa file ‘drawer. “That organisation lightens my heart and mind, and fuels my Untimate Sketchbook Collection (1 Uncover ways to improve your sketches, from the human anatomy to your own creature creations 14) Utirnate Sketchbook CMO un Aur ec | OS. SSE Untimate Statchoook Collection (18 Tutorials 24 TIPS ON HUMAN ANATOMY & FORM Illustrator is on hand to help you draw hands, before passing on his expert advice on capturing the human form correctly am Drogen CA boxy thou some PROFILE knowledge of anatomy iste playing bond fame wihouthe rule tea sme ky ples ig Mefrasatng and config sey eam al heals ana get geodat the are yu can change the Toles at hates you tretand the dynamic ofthe fame ard yo can change things 0 "ke hands. They prety complicated and can bhai draw intimidating even, Ba when you tndentand hands rom the side cat you don't have guess any more. You have a blueprint, you know all the dimensions, your ‘understand the structures and joints, and you can make confident decisions about how you're representing the hand, Before that litle space between the index finger and the thumb was just a Leurve” or “L-thing” But now, you Took tit and understand how the first dorsal interosseous muscle is ‘overlapping the thenar eminence. You know that the dorsal surfaces of the frst and second metacarpals are still superficial, right beside this soft issue mass, and you trust the bones aslandmarks to guide your proportions and structure. You know exactly what angle to pull the muscles off the bones at, ou overlap lines to represent the overlapping anatomy and add depth and interest toyour drawings drawings game, then understanding anatomy jus gives ‘you more pices to play with! So in this workshop I'm going to break down one of the bodys mos difficult features, the hands, into digestible chunks. Being confident with anatomy makes drawing easier and ‘more fun! Then I'll give you some advice to guide the rest of your anatomy studies, s0 you can go out there and create the best drawings of your career ARM AND LEG BONES UPPER ARM AND LEG BONES ‘The humerus and the femur are thick, strong bones. They're shaped like mallets, with a long cylindrical body and a set of big bumps (ondyles) on the bottom. The humerus Measures two cranial units long, and the femur is three cranial units long. ee ee ee, ea see around the una so our hands can flip over. The lower leg bones dont move as ‘much, but having two bones creates more attachment space forthe ankle ia carries the weight ofthe body; the fibula is there for support. The tibia an fibula are about three-quarters the lenath ofthe fern, and the radius and ulna areas three-quarters the length ofthe humerus. 16) Utimate Ske. HAND AND FOOT BONES Our hands and feet are built from the same three sections: a jumble of bones at the start, then a set of long bridge bones, and then the three-jointed digit. But the Proportions are flipped. The hand's three sections are ‘organised from small to large for maximum dexterity, so. you have a short wrist and long, elegant fingers. The foot is organised from large to small for maximum stability, so the ankle bones are long and tough and the toes are. stubby and short. The hand's length is equal to your face, and the foot's length is equal to your whole head. Human anatomy ANATOMY OF HANDS \ ‘4 THENAR EMINENCE Most of the muscles that control your hand are located in your forearm (called ‘extrinsic muscles). But there are some on the hand that you should know about (called intrinsic muscles). They create three squishy masses on the ‘otherwise bony surface. All thee of them are teardrop shaped, so this isnt too hard! You probably know about the biggest one that goes from your wrist to-your thumb. It ereatesa roling hill when the thurnb is out, and gives the ‘thum® a pot belly when the thumb is towards the palm. 5 HYPOTHENAR EMINENCE The other palmar mass goes from the base of the hand to the pinky metacarpal. It actually wraps around the outside of the bone, which is why the pinky edge of your hand is kind of squishy and soft. This pinky mass is flatter than the thumb mass. » Untimate Sketchbook Collection (7 Tutorials = © FIRST DORSAL INTEROSSEOUS. The third major muscle mass is on the back of your hand. It fills in the space between your thumb metacarpal and your index finger metacarpal. It's easy to see when you tuck your thumb up against your index finger and it creates a big, round egg form. When the thumb is out, it becomes stretched thin. ‘7BONY IN THE BACK ‘The dorsal side of your hand is bony, especially atthe joints. You can represent this characteristic by raving the dorsal contour wit straight ines and corners. The back ofthe hand isa flat plane and doesn't change much when the hand moves Gust some tendons), unlike the front of the hand which changes a ot depending on the postion ofthe pinky and thumb, © TIME FOR TENDONS, There are also tendons that run along the back of the hand. Each finger receives at least one. When drawing tendons, keep them subservient to the larger form of the hand. Don't shade each cylindrical tendon with dark lines and sharp edges: this will just create funny-looking, distracting chasms in the middle of your hand. A subtle indication here and there is all you need, unless you're drawing a character that calls for pronounced tendons. 0 FUN WITH FAT PADS Fat pads sit on top of the muscles and ‘9 VERY VEINY. surround the centre of your paim, cover ‘The back ofthe hand also has vens. These veins run along the backofthe Up and soften the muscular masses of the hand, ke tendons do, and meander inthe spaces between bones where palm. There are also fat pads along the palm- ‘they're safe, Keep the difference between tendons and veins really clear: le of each finger. Fat pads are very ‘tendons are straight, and veins are curvy - much ikelazy vers. eins aso -_- malleable: you Can squash, stretch, and flatten havea darker, cooler loca colour them to exaggerate the action of the hand. Tl HAND DRAWING Here's my process for constructing hands from imagination or reference er ee ug ( C Yirreigrberpeld ce my proportions, persect oral d Ce ee eran iret ‘anatomy informs the design of my simple the secondary anatomical forms, lcan add Then shade the details inthe ight. a anes crt vith anat eet Ree ee eas eee eee See ee Se ee eer ee rat een eres messed up. Anatomy i a Untimate Statchoook Collection (19 Tutorials ANATOMY BEST PRACTICE _ 2 6 Learning anatomy is a slow process. Take your time with every area of the body 9 20») Utimate Sketchbook Collection Human anatomy \ | t | nee =i make it look as dynamic as possible. ‘10 DON'T BE SCARED. Grab every opportunity to experiment with the expressions. Try to;push what youre used to drawing, ‘anc jook at yourseifin the mirrorto Tl CHARACTER CLOSE-UPS seehow the facecan move. ry and Both the eyes and mouth are expressive. A powerful technique when bbe whacky with the afferent facial drawing a comic page is to use a close-up of one of them. Consider expressions, but be carefulnet to _ illustrating an open mouth, snarling teeth or stern lips. Using just one area hold your breath for too long! of the face will really push you to convey the emotion and sell the drawing. 12 BASIC HEAD CONSTRUCTION Neil reveals the basic concept he uses to construct a male and female head ory es Oy ae eee cei a et 30) Utimate Sketchbook Collection Cera eter nary peter Roe ele! Cee oo ROU RSME Se eo Ete Sor eee eee ater seed eee tanec era eect ee ee ee Facial features 13 BODY LANGUAGE ‘While drawing heeds you also have to think of the figure's body language, which will show inthe close-up. {tit ofthe head or shrug ofthe shoulders can ‘emphasise an emotion. | draw beyond the panel to check thatthe body language is working and is anatomically correct. Remember to have fun and try ut new things! 14 WRINKLES ‘Adding facial ines to characters can emphasise an expression, butts important to bear in mind the age of the person. The more characte ines and emotion ines you depict on a face, the older a Character wil ook. Men usually have harsher Ines and females have fewer. Younger characters willhave also have fewer lines ‘around the eyes, forehead and mouth This goad excuse to put together a referencelibrary of faces young and ol | 66 A tilt of the head or shrug !’ of the shoulders can emphasise an emotion 9 15 ANGER There's always a ton of angry characters in comics and it’s the one emotion that you have to get right! So experiment with all forms of anger, whether it's from a crazy-eyed villain or determined superhero! Remember the eyebrows, too: they can be very effective - especially when using variations of eyebrows and eye shapes to convey the angry mood of the character. » Utimate Sketchbook Collection (3 Tutorials 16 WAYS TO DRAW BETTER CREATURES Bobby Rebholz wants you to design fantasy creatures with purpose, and presents a range of techniques for making them look as real as possible Creatures have always been a part of my antisticjourney. Ever since was four years ‘old, Lean remember drawing creatures that I savin films and on television spent hours ‘uyingto draw lite plastic dinosaurs As grew older, my passion wasn't jst drawing creatures it was drawing Artist PROFILE in general. quickly realised that his. | _tsvitalthatyour creatures be was going to be my profession in life. believable because people are ‘After going to school for industrial watchingand studying what you design and applying those skillto | create. In my experience, no matter freelancing and to creature creation, | how crazy your designs seem to get, Ivebeen fortunate to not only teach just remember that they all must be for CGMA, buttolearn new things grounded in some way. Her, 1 along the way that have helped shape | explain some tips Ive learned about my design sense when itcomesto making creatures believable and creature design, hhow you can achieve this goal SHAPE LANGUAGE ‘A.step that’s often skipped inthe design process ~ as well as in portfolios ~ isthe thumbnail creation process. Chances are that you won't land on your best design right ut of the gate, Thsis where thumbnail ‘explration comes into play withthe ‘adtion of studying real-world reference. Dont worry about deta atthis stage. Instead, focus on shape language and just Raving fun withthe shapes youre creating, By doing so, your fina desion willbe that much ‘more thought out and believable, and il have your passion forthe Creation process shining through 2. KEEP EXPLORING! You can never do too many thumbnail sketches, Ths stage i vital and ensures that you're explering as ‘many avenues as possible. Alot of times, wel get a specific idea in our head and thik that design isthe final. Although this does happen on rare occasions, chances are you're far from landing that awesome final design. Thumbnal creation wil ease the process and surprise you a the same ime. That's why it's so fun! 132) Uimate Sketchbook Collection THUMBNAIL CR EATION Draw better creatures NARROWING DOWN YOUR CHOICES 3 LOOK BEYOND THE NORM FOR IDEAS The first thumbnail that interests me is number 16 (een in the image from tip one). One of the important aspects about choosing thumbnails is finding an interesting silhouette. In this case, a ee multi-legged creature with Sinte astrange torso excites me 7 and Igo with it.I try to find sithouettes that don't follow standard shapes, which verge on the cliche. For instance, it's common to see creatures with hulking shoulders with small heads. There's nothing wrong with that; however, I'm aiming for a non-traditional design. 4 OUTSIDE THE BOX Number 21 (also seen in tip one) intrigues me, specifically Because I never intended for my creature to look ike fungus. The sihouetto is ‘working because we have a famiiar chape while sti looks unexpected. ‘Whenever | sketch creatures, try to censure there's a uniqueness with touch of familiarity. Buti ge into moscsiaabout iatyinalter §@ T try to find silhouettes that REAM WORLD tip. With this thumbnail, explore siontsnapesandin tormoaineow don't follow standard shapes, This thumbnail intrigues this creature will move and eat, Let's ” me because it's a mix of sce wnat thethirécnoice ernest’ ~—- Which verge on the cliché 9% insect shapes. Insects have been a major influence in my creature designs. In me this particular case, | use AS Tee shapes from crickets and 7 ogee spiders. The rear legs offer 4 ee $y | aunique shape, with them Bowing outward and able to support the creature's weight as well as aiding in eo jumping. I'm also choosing "seem | this as the third thumbnail a to develop because something about it says ‘other worldly’ to me. It's a shape that’s not common and should offer fun possibilities. Using Unexpected shapes can turn into awesome designs down the road. »» Utimate Shatchoook Collection (3s Tutorials HEAD EXP G TAKE INSPIRATION FROM NATURE (One of the most enjoyable stagesin the creature design process is head exploration. Here, m exploring the fist round of heed designs. know that want something insectike and creepy, 50 begin looking at references of Earth insects and ‘arachnids. Whenever you're stuck {and don't know where to go next in the design process just take a good look at real-world animals! They offer allof the answers and give you clay When coming up with new designs Pane 34) Utimate Sketchbook Collection J MAINTAINING THE ‘SHAPE LANGUAGE It’s important not to limit yourself when exploring with thumbnails, so I'm, doing a second round of head studies just so | have a. good number of ideas. It’s easy to get carried away with random shapes and not-so-believable features. With these head studies, | make sure that all of the shapes stay within a unified shape language. For instance, number 5 (above left) looks like @ combination of an’ earthworm’s head and bark froma tree. | make sure that all of the shapes taper like a worm's head and the ends look like broken bark. @ HEAD DESIGN FINALISATION Refining the head is so much fun ‘Thisis where you can realy bring the creature's personality out Here, you can see that go into detail about the ‘creature's face functions and overall ‘esthetic. I gointo the importance of call-out in tp 12, but here you can see theyre useful for deserbing a functional feature. And make sure that your creature has personality This doesn't necessarily mean facial ‘expressions but the skull design, ‘eyes, mouth, muscles and overall, shape are very important. os Draw better creatures Apply these three stac a tomy design to your development process, and see how far you can push the believability of your imaginary creature. Po Rear three-quarter views are just as cruci: EAS ieoneuCanne inca litited your design Pick Utimate Statchoook Collection (38 Tutorials FINAL DESIGN 10 PROPORTIONS Out ofthe thee sketches | developed eater, m choosing the third ideation because ofthe uniqueness of the sihouette Proportions are key because ithelps solcfy a design ts arms, leas, torso and head arent to long or too short. The shapes are just the right size so we dont question something beng ut of place. This creature has unique proportions so I must ‘make sure it remains believable using real-world reference. TLSKIN TEXTURE Skin texture is extremely important because it adds realism to your creation. It also gives the viewer a close look at your creature's environment, eating habits and evolution. With skin texture, I'm figuring out what type of environment my creature lives in. And with this information, | can begin to tell its story. 12 IMPORTANCE OF CALL-OUTS Callous enable you to explain a certain feature ‘bout your creature. Movement, weaponry and feeding are just a small numbers of features you canhave for your creature. The problem | see with 2 lot of creature design is too many ambiguous surfaces with no real thought behind them. Calling ‘out certain areas and explaining what they are helps make the creature more believable. use calrouts to give my creatures a sense of purpose 36) Utimate Sketchbook Collection Draw better creatures ‘1S ENERGY Showing energy and Movement gives a real sense of how your creature moves as if it were standing in front of you. Conveying that type of realism will be helpful when you're sending your sketches off to the art director and modelling department. They need to get a real sense of how your creation will behave asa living, breathing thing, Energy brings your design to ll 14 BRING IN A DEGREE OF FAMILIARITY Establishing famiarity means you're bringing recognisable shapes into your Creature design Indeed, this approach should be applied throughout the design process. These fantasy insect sketches are based on mood boards that feature images o itferent insect spaces, because my creature is heavy influenced by bugs. The more | paint these fantastical extrapolations of real ‘world creatures, the more familiar Ibe with wat actually exsts on Earth, Tis wil Rep me create a believable creature in the end. 18 ANATOMICAL LANDMARKS. Throushout my years of designing creatures, one aspect that I can't stress enough is developing good anatomy to support your creature design. Without accurate and believable ‘anatomy, you might as well stop sketching your creature until ‘you learn to study this one crucial element. Earle in my Establishing Anatomy tp section, you can see the depths 190. into when designing a creature, One thing telly students is that by studying the skeletal and muscular structure of today’s ‘animals, you can bring a wonderful sense of famiarty and believabilty to your creations allt once. 16 FINAL SKETCH [combine all of the stages of my design process into a single sketch. A side view keeps things simple and can show enough of the creature to get a sense of its proportions, textures, and build. Don't limit yourself to just doing a side view, though. A front three- quarter view is also effective and can show anatomy as well. When making your final sketch, think about what story you want to tell the audience. Is your creature believable? If 50, you've done your job as a creature concept artist. @ Utimate Statchoook Collection (37 Tutorials CREATE DEPTH BY USING VALUE Patrick J Jones thinks like a sculptor and works on overlapping forms, as he explores the illusion of the third dimension using tonal value Skechingfoma ral | amazementwhen theOkd asters) canvaswotkofthe Old Masters Tfemodelisimporant | suchas Reman and Caravaggio | because pec drawings te usually toguaredlisicend | dplayed herhogecllmastereons. | smalectcaffa, Howeve cere Peers teu nthistural | Imagine atime when photography | are way around such obtace pear wellbewerkingwith | andeinema didnt exist Now Toctet the retest ilusion of SOMERS ry reglorliemovel Alana placing imaineseinga gantcanves filled dep sing monotone values el RSM our iccusonthepuicaswhie, | withheroictgures panied wit he | needto hnktie asco and nee creatingdepeh usingtonal value. The | illusion of 3D space, Havingstood in draw the body as ifits dimensional MeESSATOMM formset ine gcusovfetebes.fontof thee printings mysel, ean | landscape of ovelapping ors with PMO Shaiow andi opionstocleary atesiothetatthatyoucan almost | asense of weight and volume. Todo FaSeRERRERA sce and draw —structureand depth. felis posiblewo step inside the | this we work with onal vale, from SP Gnourpapersurice weeanonly” | canvncThiswestetonlytheheght | thedarhs valu (hac, wand he EEE acon aces wo dimensions Weean | efvinualemcrsinment- othe gest value (wit) Inthscesethe PORES row and down. lear igh, but | verge person itwasa eatof magi! white valueisthe bate paper wean a daw Inside the Ti begin with simple shapes fat apes becouse tha’ the THE DRAWING CHALLENGE searing big sal aed less impossible thin dimension of depth. | Usingchacalsand penclsmales how Mltconstuc the desing before Yelthisdoestmeanwecantcrene” | theilstationprocesahawrtask, | Tinakea mark Abvaysbeon Your Inilhion ofthe hind dimension, | because we donthave the benei of hight let inthe ety sae Ives the ason ofthe tid colgurand gles Furthermore in, because teen pn in enderng dimension that ist drew gasps of | mostcases weean't match the grand badly constructed drawing. > 38) Utimate Sketchbook Coll Tutorials Looking for clues Although this looks lke a symmetscal stance, the hips are tilted downwards to the right. Look to the let side pinch ofthe waist fr the clue. The hips area fused ‘mas, so the tlt affects each sie, The pinch indicates the oblique muscles bulging between the ibeage and hips Making changes To give the figure’s pose more movement, tlt the shoulders toward the higher hip. also pl the right arm outa ltt using a small piece of willow charcoal, Note the sacrum triangle above the gluteal midline, and its orientation. The angle ofthe sacrum will show us which ‘way the hips are tilted, 40) Utimate sket Entering the third dimension The power of illusion explore the body landscape, feling the depth of flesh asif ‘With everything in place, add some greyscale tone withthe {drawing in the third dimension. Drawing the comers of the gluteus as broad sie of my charcoal The tone immediately brings in asense of [would a box but with softer edges helps me to clarify the dea. Notice _yolume tour illusion of the third dimension. 'm keeping everything hhow the backside ofthe gluteal masses resemble an upside-down light to begin with, in order to have the freedom to change shapes and butterfly: This sa visual clue known asa mnemonic. tones before going into detail, »> Utimate Sketchbook Collection (1 Tutorials Think ahead ruse a serap piece of newsprint to stop from smudging a | draw. could use reworkable spay fixative at this stage, but it would make blending and also erasing highlights more difficult later, so I prefer to leave my ‘options open as long as possible. When you do use reworkable fixative, spray it very lightly and in stages. Adopt the mindset of a sculptor There’ now enough charcoal on the newsprint surface for me to shape the flesh using my fingers alone, m thinking lke a sculptor This has the two-fold effect of making the illusion of flesh softer as well as fading the image. With the mage knocked back, I now havea less confusing drawing to pat line on top of. New opportunities = = By adjusting the leg inward more in the lat step, All fingers and thumbs the igure is now more solidly balanced. Iwas lucky (0 see Alternating between finger smudging and penciling, I work from dark to opportunity for change before | added heavier line work, light tones to find further illusions of depth. Ive pulled the standingleg inward which is mor difficult to erase. Every stage isa new more before detailing, The early stages are the bes times to make changes. ‘opportunity to rethink and improve the drawing. 42») Utimate Sketchbook Collection Figure drawing Adjusting shapes Stay focused as you erase continue to smudge into the flesh unti havea good mi-tone T don‘ fear the hard-edged marks the kneadable eraser makes to pullout highlights with my kneadable eraser. By reshaping the because fm thinking ahead tothe next blending stage. IF were 10 pliable neadable eraser as go, can vary the shape making. Ithinkof _ blend asl go here, the plotting ofthe highlights would be less focused. my erasers as drawing tools rather than as mistake-fixers. [Note howra dirty eraser leaves less gummy marks when erasing. > Untimate Statchoook Collection (( 48 Tutorials 44 Working with a light touch take my shammy cloth and soften edges. This takes a ight touch, and is something youl need to fel as you go. The landscape of flesh now has ll the value and softness [need to start thinking of style. tle the drawing The Entity. Time for a little black magic ‘Now I work into the absolute darks to achieve the greatest sense of dimension, The darkest darks will bein the occlusion shadows (where flesh meets flesh) also add some energetic strokes hereto can become siffin the drawing sense of the word, after alo of structural drawing, timate Sketchbook Collection Feeling the pinch {pull out the brightest highlights witha pencil ‘eraser Extreme highlights on flesh aze usually found on oily parts of the skin such as the nose and forehead, but also where flesh gets pinched. The pencil eraser also has a brush on the end for sweeping aay erased particles, ng back my gestural hand, which The art of conversation To finish, Itame the strokes dawn and shape ther ‘with my smudgy fingers, erasers and tissue to reatea mystical swirl What is the mysterious ‘Enttyinthe tte? ‘Well ike my drawings to be open to interpretation so the viewer can use their imagination, In this way art becomes a conversation. Figure drawing THE DIN ENSIONAL GLUTEUS “STUDY ‘The tit ine of the sacrum - 4 ‘The top of the great snter bone ei yates! ne, “The widest part ‘of the hips is usually in The gluteus is relaxed on : “fine with the ‘the non-weight-bearing leg : - gluteal fold. and has a rounder shape. Gluteus study sheet Although the «wo gluteal masses seem ‘simple, there are subtle differences, especial three-quarter view or with one leg relaxed. To avoid a ‘double bubble’ shape, ‘study each gluteus separately, working. ‘outward from the centeal gluteal line, @ Untimate Statchbook Collection (4 Tutorials Building intensity with graphite BUILDING INTENSITY WITH GRAPHITE Discover how is able to create a strong sense of depth and focus within a drawing, by building up layers of graphite powder and pencil Y) For the pastthree using light and shadow to tell astory | as! found out during this workshop, years, 've been using _ or communicate an emotion. ‘until the New York humidity foils graphiteasa medium Regardless of what medium | use, ). for illustration, First raed thatthe key was to workin ally, Hiving in asmall ‘only with mechanical rnodarks were going to look apartment necessitates small studio, pencils then over the pasttwo years deep enough or properly integrated and working in graphite me adding powered graphite into the unless they were built up patienty a a ‘mix. The art I make all about aphite opened new doors in this subtlety ofsentiment and narrative, regard; Hloved how suited itwastoa | and my computer. and Iwanted to find amedium in gradual process. I's forgiving ‘which I could really explore that. ‘medium, comingin many forms, able BACK AND FORTH Even prior exclusively working tobe applied alot of different ways, For me, drawing in graphite involves ingraphite, Iwasalwaysafan of and can erase seemingly forever (or, alot of working back and forth with sof “washes in its powdered form and structured hatching in pencil Yetit'sall focused on bringing forth a subtle, engaging image. As someone ‘who jokes about her control issues, this method has proven to bea remarkable mix of managing every single detail while also finding opportunities in happy acidents. Inthis workshop, Il demonstrate how L use pencil and powdered ‘graphite in tandem to crea sensitive drawing with rich, dark very lite traditional in my rendering process diretion pencil hatching, Artist PROFILE M ‘graphite to build my values, That being sid, by working from good photo reference and making sure one method doesn't outweigh the other, the outcome is realistic illustration, Not every step winds up working perfectly, but thro improvisation and the discipline to ‘work with the medium instead of ing it, you'll get to see exactly sphite can accomplish, Tutorials WORKSHOP MATERIALS, ‘Thumbnailing the idea Reference compositing ‘When first have an idea fora drawing, Ieurn it Now that Ihave a thumb, 1tak around in my head forsome time before puttingit down and composite them on top oft in Photoshop. I decide fon paper. only do three thumbnails before deciding that to buy Suzanne Helmigh’s Gumroad references for the the frst ones the winner afterall, but ifs still important cloak, and find some photos online that can patch tosce what the variations look like outside of my head, together foran approximation ofthe swan pose T want ightening the drawing Before I can start with powdered graphite, need 10 Transferring the reference ‘make sure my transfered lines won't disappear! Igo over {printout therefcomp and cover the backin graphite, then Itapeitto my all of my lines with the 2B mechanical pencil, refining the Bristol and trace the image. | transfer the figure and drapery arly exactly, but am intial drawing and developing.a more elegant ine in, very ger al with the bird, because 'm sil exploring where I wantto take the pose. places where the transfer was awkward 48) Utimate Sketc os Building intensity with graphit First powdered graphite pass T scrub in powdered graphite with an old, no~ brand, sot synthetic flat brush, and while 'm keeping generally to the correct areas, im also being pretty messy Aer the powdered graphite, begin the next layer inthe dark areas This is where I discover shapes and movement that | vertical hatch marks. Ii using medium pressure, so the line is pretty dark without ‘might not have thought to build for myself. This also gives scoring the paper. This is a natural stroke for my hand, and it will be almost _me a base from which to build my darkest darks, everywhere in the drawing by the end ~ an easy way to unite the whole image. Establishing pencil texture Softening as | work {Wsimportantto keep the pencil stokes from ‘overwhelming the sof feling'm going for, s0 after each Adding the darkest values section of hatching go over it with the same brush I used Having lad in the base for ll compositional elements an begun my forthe initial powdered graphite pas. The new lines rendering, I tart 1o pick out where my darkest values are with the 4B pencil This is sofien and become more integrated into the image. ldo where the image begins to come together, although Im using this less to render this throughout the rest ofthe drawing proces than to establish the value range for my’ oven reference a this point. » Utimate Statchoook Collection (( 49 Tutorials (© Finding the flow \S Theres been someting bugging me about the low Detailing the swan - finally of the cloak, and I'm going to fix it. I draw in the new Tvebeen avoiding the bind up to now. im not certain how todraw it and shape right over the existing graphite and then with my although try not to psych myself out oo badly, thappenssometimes The answer kneaded and mechanical ersers lift out the graphite istojustdve noi focus on my reference an the gesture, ands soonas begin thas too dark or in the wrong place. Then lay in new toactally workon the bird, [realists not so ad graphite hatching patch the gaps 1-7 ) Darkening the values 7 Having fixed the cloaks shapes, ealise thats ing the environment not nearly as dark as want it could adel more hatching, ve lft the grass onthe ling hills until now because consider renderingit__o darken it, but is much faster to do another dark scrub tedious, but it’ time to bite the bullet. Pencil hatching winds up beinga great in with powdered graphite. have to go back overt method for gras: ust make varying shapes with slim gaps between them, then go with penil to re-establish the texture, but it finally its the Cover those with different shapes. Add in some individual blades, and you're done! value structure that I wanted 50) Uimate Sketchbook Collection Building intensity with graphite Rendering the forms using the pencils Now that everything’ in place and [have my value range, it time for my favourite part ofthe process: rendering! Im using both the 28 And 4B pencils as needed, and Im sill using vertical hatching almost exclusively; details inthe hair, nostril eat, and finger joints are exceptions Tm working from my reference, but allowing the drawing wo evolve as wel, ‘Sharpening the edges [Edge control separates a prety good drawing from a drawing that finished, Not every edge should be har: Final highlights and finishing up areas in shadow or far from te foreground can and ‘With my kneaded eraser, go through the entire drawing and gently lit out should be softer Things coming toward the viewer, or highlights in the face, hat bird and arm. Some volume and key highlights have areas of desired high contrast become sharpened, become lost with all ofthe softening passes, so it’s immensely satisfying pull although tm trying not to make anything look ‘lined’, them back out as my inal ouch. After that, the drawings done! Untimate Statchoook Collection (1 Tutorials ELEVATE YOUR SKETCHING SKILLS Tim Von Rueden distills his extensive teaching experience into 15 key pieces of advice that will help you grow in confidence when putting pencil to paper Thereare many pieces | believeit takes partnership of ‘ofadvice that want to | technical skill and authentic creative share with you on your _ pursuits to manifest great works, ‘creativeendeavour, but _so make sure that you dont ignore MB had co narrow it learning the fundamentals or neglect. down to just 15 tps forthis sketching the truth and message you want to Artist workshop. These tipsare meant io createin your works. help you build some underiying In this tutorial, Im going to focus structure hopefully spread alittle more on the technical side with inspiration, and support you so that sketchingtips that will help any artist you can get motivated rightbackto to elevate their ideas and trans the drawing table! them on paper int way tha they'e seeing them in their head, Having been a teacher for sxyears I understand that just getting started canbe the hardest obstacle to So use this workshop asa reminder to keep drawing, because the best ‘way to level up in your work isto apply what you learn through practice, practice. And hungry for that desire H Hardness) Heo 2H 4H Know your pencils ‘use both traditional and mechanical pencils. Mechanical pencils are usually better suited for precision, while traditional pencils are grea for laying down large areas ‘of exture. Whichever you prefer doesn't matters much as the pencil hardness in the graphite you're using For example, there's a big difference between a 2H and 4B haedn recommend starting somewhere on the H scale as a foundation and then finishing with the darker B scale Keepin mind that most mechanical pencils come with HB pre-inserted, ‘which gives you only the middle range t work with, © There's a big difference between a 2H and 4B hardness 9 os Elevate your sketching skills Seribbling ‘Small circles Make use of different methods of mark making ‘There's no “right way” to draws. There are so many different methods and techniques to achieve the same end result and look within your ‘work. Here are few examples to show thatyou can create form and depth with completely distinctive styles of rendering believe it {important to experiment and find what works best for you, o not only complement but enhance your syle. So while prefer smoother value ‘tansitions with the pencil strokes blending in against thin outline, you may be more partial to cross-hatching against a bold outline. Impact of high and low contrast Even though I enjoy working with contrast, that doesnt mean every drawing has o have high-contrasting values everywhere, Subtle, low: contrasting shading can also showcase form and can be just as effective (ifnot more) in showing details and pull the viewer’ eye to a specific area. In these examples, you can see thatthe softer, low-value contrast piece enables the eye to wander and doesnt define an area of focus, while the area of focus in the high-value contrast piece rests on the darkest darks against the lightest lights. >> Utimate Statchoook Collection (( 58 Tutorials . Edge control When [think about edge control within a drawing, there are four techniques that come to ming. Athin and hard edge that fist generates a literal borde to your subject matter and then defines where it begins and ends. lost edge, where the subject matter and background values blend together so that the edges ultimately implied. And finally, an undefined edge, ‘which relies on the viewer to do the heavy lifting and decipher the subject matte’s edge ll four of| these can be used to separate your subjects within your composition, You can also experiment with a combination of them to produce Interesting results @ You don’t always need extreme contrasts to show dimension, just well-placed hints to imply it % Creating the illusion of form ‘We draw ona flat surface and it our job to creat the illusion of form and, depth, This can be done with gradations or purposeful mark making, often with a light source in mind, You've seen the examples ofa well shaded sphere and it showcases how light to-

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