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Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity

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www.Ebook777.com www.Ebook777.com     © 2014 by Quarry Books © 2014 by Quarry Books  Text © 2  Text © 2014 Kerry Lemon 014 Kerry Lemon Illustrations © 2014 Kerry Illustrations © 2014 Kerry Lemon Lemon First published in the United States of America in 2014 by First published in the United States of America in 2014 by Quarry Books, a member of  Quarry Books, a member of  Quayside Publishing Group Quayside Publishing Group 100 Cummings Center 100 Cummings Center Suite 406-L Suite 406-L Beverly, Massachusetts 01915-6101 Beverly, Massachusetts 01915-6101  Telephon  Telephone: (978) 282-9 e: (978) 282-9590 590 Fax: (978) 283-2742 Fax: (978) 283-2742 www.quarrybooks.com www.quarrybooks.com Visit Visit www.Craftside.Typepad.com www.Craftside.Typepad.com for a behind-the-scenes peek at our  for a behind-the-scenes peek at our crafty world! crafty world! All rights reserved. No part of this book may be reproduced in any form All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by the producer, the artists concerned, and no responsibility is accepted by the producer, publisher, or printer for any infringement of copyright or otherwise, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. inaccurate or missing information in a subsequent reprinting of the book. 10 9 8 7 6 5 4 3 2 1 10 9 8 7 6 5 4 3 2 1 ISBN: ISBN: 978-1-59253 978-1-59253-916-1 -916-1 Digital edition published in 2014 Digital edition published in 2014 eISBN: eISBN: 978-1-62788- 978-1-62788-038-1 038-1 Library of Library of Congress Cataloging-in-Public Congress Cataloging-in-Publication Data ation Data Lemon, Kerry. Lemon, Kerry.     Fearless drawing : 22 illustrated adventures for ov Fearless drawing : 22 illustrated adventures for overcoming artistic ercoming artistic adversity / Kerry Lemon. adversity / Kerry Lemon.     pages pages cm cm Free Free ebooks ebooks ==> ==> www www Ebook777 Ebook777 com com
 1.  1. Drawing T Drawing Technique. 2. echnique. 2. Drawing Psycholo Drawing Psychological aspects. gical aspects. I. Tit I. Title. le.     NC730.L45 NC730.L45 2014 2014   741.2--dc23   741.2--dc23   2013048659   2013048659 Design: Design: ww  www.Studioink.co w.Studioink.co.uk  .uk  Printed in China Printed in China www.Ebook777.com www.Ebook777.com     FEARLESS FEARLESS             DRAWING DRAWING    
    4 4 > Fearless Drawing > Fearless Drawing
    Runningfooter Runningfooter    > > 5 5     CONTENTS CONTENTS     Introduction Introduction 6 6     1. Hello Pencil 1. Hello Pencil 8 8     2. Hello Eraser 2. Hello Eraser 16 16     3. Drawing as Pattern 3. Drawing as Pattern 22 22     4. Drawing as Frottage 4. Drawing as Frottage 28 28     5. Drawing with Scissors 5. Drawing with Scissors 36 36     6. Drawing as Collage 6. Drawing as Collage 42 42     7. Hello Brush 7. Hello Brush 46 46     8. Continuous-Line Drawing 8. Continuous-Line Drawing 52 52     9. Drawing with Wire 9. Drawing with Wire 56 56 10. Drawing as Print 10. Drawing as Print 62 62 11. Hello Ink 11. Hello Ink 68 68 12. Drawing as Space 12. Drawing as Space 74 74 13. Drawing Blind 13. Drawing Blind 78 78 14. Drawn to Sound 14. Drawn to Sound 82 82 15. Drawing Again and Again 15. Drawing Again and Again 88 88 16. Drawn to Mono Printing 16. Drawn to Mono Printing 94 94 17. Drawing as Stitch 17. Drawing as Stitch 98 98 18. Drawing f 18. Drawing from Y rom Your Imagination our Imagination 104 104 19. Drawn to Growth 19. Drawn to Growth 108 108 20. Print Masterclass 20. Print Masterclass 112 112
21. Drawing Masterclass 21. Drawing Masterclass 118 118 22. 22. Continuing Y Continuing Your our Adventure Adventure 124 124     Acknowledgments Acknowledgments 128 128     About the Author About the Author 128 128     6 6 > Fearless Drawing > Fearless Drawing This is lucky because I spend every This is lucky because I spend every day drawing. day drawing. I’m an artist and my drawings are I’m an artist and my drawings are commissioned internationa commissioned internationally for lly for lots of lots of clients including the clients including the Los Angeles Times  Los Angeles Times,, Sony Japan, Heineken, Swarovski, Sony Japan, Heineken, Swarovski, Harper’s Harper’s Bazaar  Bazaar , De Beers, , De Beers, Elle Elle Spain, Harrods, and Spain, Harrods, and Le Bon Marché. Le Bon Marché. I am completely addicted to the power I am completely addicted to the power and pleasure that drawing and pleasure that drawing affords me. affords me. Each day I get to start out with a blank Each day I get to start out with a blank sheet of paper and create ANYTHING I sheet of paper and create ANYTHING I can imagine. I feel the same way about can imagine. I feel the same way about drawing today as I did when I drawing today as I did when I was a was a child. The physical pleasure of sweeping child. The physical pleasure of sweeping marks, scrubbing felt-tipped pens, and marks, scrubbing felt-tipped pens, and smearing paint. Exploring, defining and smearing paint. Exploring, defining and creating the real and imagined world and creating the real and imagined world and capturing it all just how I see fit. capturing it all just how I see fit. There is nothing I would rather do. There is nothing I would rather do. When I tell people what I When I tell people what I do for a living do for a living a frequent response is a version of a frequent response is a version of “I wish I could draw!”, but there is so “I wish I could draw!”, but there is so much baggage and fear attached to much baggage and fear attached to it. it. I regularly teach workshops particularly I regularly teach workshops particularly focusing on people who feel nervous focusing on people who feel nervous drawing. Th drawing. The idea of being e idea of being able to draw able to draw is so attractive, and yet unless we already is so attractive, and yet unless we already feel confident in our abilities it is seen feel confident in our abilities it is seen as an unreachable goal. This is such a as an unreachable goal. This is such a this light, but rather as something which this light, but rather as something which only a few lucky only a few lucky people are naturally people are naturally talented at. This is rubbish. talented at. This is rubbish. We all started out naturally and We all started out naturally and unselfconsciously drawing in childhood; unselfconsciously drawing in childhood; enjoying the physical PROCESS of applying enjoying the physical PROCESS of applying paint or crayon to paper, unconcerned paint or crayon to paper, unconcerned with the finished artwork, the PRODUCT with the finished artwork, the PRODUCT of our creativity. The problem is that early of our creativity. The problem is that early on we are made to focus on the product, on we are made to focus on the product, the result of our labor. We are encouraged the result of our labor. We are encouraged to accurately capture the world around us, to accurately capture the world around us, and gradually our ability to draw is defined and gradually our ability to draw is defined by how close to reality the finished by how close to reality the finished product is product is. Most of . Most of us quickly us quickly become become disheartened. We spend miserable hours disheartened. We spend miserable hours in class attempting to draw a bowl of in class attempting to draw a bowl of fruit accurately, grinding endless erasers fruit accurately, grinding endless erasers to dust in a to dust in a miserable attempt to get miserable attempt to get it “right.” The pleasure of the process it “right.” The pleasure of the process becomes merely an academic battle becomes merely an academic battle to turn a three- to turn a three-dimensional world into dimensional world into two dimensions on your page. You are two dimensions on your page. You are I love drawing. I love drawing.
shame. If we aspired to play the gu shame. If we aspired to play the guitar itar then the fact that then the fact that we were not already we were not already accomplished wouldn’t prevent us, we accomplished wouldn’t prevent us, we would just begin, practice, and from would just begin, practice, and from wobbly beginnings would improve. For wobbly beginnings would improve. For some reason drawing is not viewed in some reason drawing is not viewed in  judged  judged by yourself, pe by yourself, peers, and teac ers, and teachers, hers, and it is quickly and it is quickly determined who in determined who in the class can and can’t draw. It is this the class can and can’t draw. It is this environment that makes people stop environment that makes people stop drawing. It was that environment that drawing. It was that environment that nearly made me stop drawing! nearly made me stop drawing!     Introduction Introduction   > > 7 7  To  Today my drawings ar day my drawings are fairly e fairly representativ representative but include lots e but include lots of of wibbly wobbly lines, dodgy perspective, wibbly wobbly lines, dodgy perspective, and made up bits. I change the world and made up bits. I change the world however I choose, adding petals to however I choose, adding petals to a flower or removing entire floors of a flower or removing entire floors of buildings. I take pleasure in creating MY buildings. I take pleasure in creating MY version of the world version of the world through drawing. through drawing. Much of my work is fibs and fiddles. Much of my work is fibs and fiddles. Absorbed in the process I add zigzag Absorbed in the process I add zigzag tiles, stripes, and spots which in reality tiles, stripes, and spots which in reality do not exist. I am not a camera, the do not exist. I am not a camera, the work is not a carbon work is not a carbon copy of the world, copy of the world, but each drawing speaks of the world but each drawing speaks of the world whilst also speaking very loudly of me. whilst also speaking very loudly of me.  There is no one wa  There is no one way to draw and I am y to draw and I am wholly uninterested in trying to make wholly uninterested in trying to make you draw like me. I you draw like me. I want you to have the want you to have the confidence and freedom of expression confidence and freedom of expression to draw like you. Drawing is like to draw like you. Drawing is like hand- hand- writing. Only by embracing the marks writing. Only by embracing the marks that our own hands can make and that our own hands can make and exploring our own drawn response to the exploring our own drawn response to the real (and imagined) world will you find real (and imagined) world will you find can become your private refuge, a can become your private refuge, a place to hide place to hide away away, explore, create and , explore, create and do something just for you. By actively do something just for you. By actively seeking enjoyment in drawing seeking enjoyment in drawing (focusing (focusing on the process), we will begin to draw on the process), we will begin to draw regularly, and by drawing regularly regularly, and by drawing regularly our work (the product) will inevitably our work (the product) will inevitably improve! I want you to be inspired, to improve! I want you to be inspired, to experiment, and to discover or experiment, and to discover or recover recover your own drawing voice. It is designed your own drawing voice. It is designed to create a new to create a new relationship with your relationship with your drawing, a chance to reconnect and drawing, a chance to reconnect and appreciate your unique drawn line. appreciate your unique drawn line. Drawing brings me so much happiness Drawing brings me so much happiness every day and has completely influenced every day and has completely influenced the way I view the world and the way I view the world and observe observe my surroundings. It offers a freedom and my surroundings. It offers a freedom and power to create, escape, relax, indulge, power to create, escape, relax, indulge, and explore, and I am so excited to and explore, and I am so excited to share share my passion and enthusiasm with you. my passion and enthusiasm with you.
your own way forward. your own way forward. I have written this book to make I have written this book to make you fall you fall in love with the process of drawing again, in love with the process of drawing again, to rediscover the physical pleasure and to rediscover the physical pleasure and  joy of putting pencil to page  joy of putting pencil to page. Drawing . Drawing     8 8 > Fearless Drawing > Fearless Drawing           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
    Hello Pencil Hello Pencil     This book is all about discovering  This book is all about discovering your own unique your own unique drawing style—the dashes, scribbles, strokes, and drawing style—the dashes, scribbles, strokes, and dots that you dots that you favor. favor.To do this, I want to equip you To do this, I want to equip you with a toolbox full of possible marks which you can with a toolbox full of possible marks which you can select from and apply select from and apply at will. In time, your favored at will. In time, your favored marks and approaches will autograph your drawings marks and approaches will autograph your drawings as uniquely yours. as uniquely yours.  This book has been designed f  This book has been designed for you to draw directly or you to draw directly into it, allowing you to keep into it, allowing you to keep all your drawings in one all your drawings in one place, and in time to serve as a record through the place, and in time to serve as a record through the chapters and the progress you have made. For this chapters and the progress you have made. For this first adventure the only thing first adventure the only thing you’ll need is a pencil. you’ll need is a pencil. Pencils vary in hardness from around 9B (very soft Pencils vary in hardness from around 9B (very soft leaving a thick, black stroke) up to 9H (very hard leaving a thick, black stroke) up to 9H (very hard leaving a thin, pale gray stroke), and everything in leaving a thin, pale gray stroke), and everything in buy the very best art materials you can afford. Don’t buy the very best art materials you can afford. Don’t be distracted by the giant tins of cheap pencils— be distracted by the giant tins of cheap pencils— invest in one really good 2B and invest in one really good 2B and a metal sharpener. a metal sharpener. Please don’t just read through this chapter as you Please don’t just read through this chapter as you won’ won’t create a personal language t create a personal language of drawing through of drawing through theoretical study. Instead, theoretical study. Instead, be brave, be brave, take part, take part, try, try, begin. begin. So here we are then, time to start. So here we are then, time to start.  T  Take a deep breath and grab yourself a penci ake a deep breath and grab yourself a pencil... l...   9 9
between. At school you might have had between. At school you might have had an HB, the an HB, the standard pencil for writing, which is right in the standard pencil for writing, which is right in the middle. But for drawing I recommend you start out middle. But for drawing I recommend you start out with a 2B as with a 2B as it’s flexible and can be manipulated to it’s flexible and can be manipulated to create a wide range of effects. Remember to always create a wide range of effects. Remember to always     10 10 > Fearless Drawing > Fearless Drawing GRIP GRIP  T  To begin, we’ o begin, we’re going to explor re going to explore your pencil grip, r e your pencil grip, requiring nothing more c equiring nothing more challenging hallenging than writing your own name. Have a look at how you than writing your own name. Have a look at how you are naturally holding your pencil are naturally holding your pencil and write your name below. and write your name below. Name Name Name (holding pencil high up) Name (holding pencil high up) Now try Now try writing your name with writing your name with your “wro your “wrong” ng”hand, which is likely hand, which is likely to look rather alien to look rather alien compared to your compared to your usual handwriting—askew, uncontrolled, and unfamiliar. usual handwriting—askew, uncontrolled, and unfamiliar. Next, hold the pencil really high u Next, hold the pencil really high up, right at the top end p, right at the top end and write your name again. and write your name again. Note how this time you haven’t had as much control or applied as much pressure, so Note how this time you haven’t had as much control or applied as much pressure, so you’ve now got a paler “wobbly” version of your name. you’ve now got a paler “wobbly” version of your name.
Name (“wrong” hand) Name (“wrong” hand)         Hello Pencil > Hello Pencil > 11 11 Next let's look at the angle we apply the pencil to the page. Next let's look at the angle we apply the pencil to the page. With a newly sharpened point, hold the pencil straight and vertical and write your name. With a newly sharpened point, hold the pencil straight and vertical and write your name.  These are all techni  These are all techniques I regularly employ in m ques I regularly employ in my drawings. y drawings.When my drawin When my drawings start to gs start to look a little hard and tight, look a little hard and tight, I can find a I can find a more relaxed whimsical line by swapping hands, more relaxed whimsical line by swapping hands, adjusting the angle, or changing how high up adjusting the angle, or changing how high up I hold my pencil. We will go on to explore I hold my pencil. We will go on to explore Name (pencil tip) Name (pencil tip)     Name (side of point) Name (side of point)     Again, laying the pencil horizontally, apply the side of the point to create a broad line Again, laying the pencil horizontally, apply the side of the point to create a broad line and write your name again. and write your name again.
lots of different marks, but remember the freedom and lots of different marks, but remember the freedom and variation you can find just in variation you can find just in your pencil grip. your pencil grip.     12 12 > Fearless Drawing > Fearless Drawing PRESSURE AND SPEED PRESSURE AND SPEED How hard you press your pencil against the paper will have a How hard you press your pencil against the paper will have a dramatic effect on the quality and dramatic effect on the quality and atmosphere of line you create. atmosphere of line you create. Awareness of pressure will allow you to manipulate your drawn lines however you choose to articulate the object you are drawing, Awareness of pressure will allow you to manipulate your drawn lines however you choose to articulate the object you are drawing, or to evoke a particular mood in your work. or to evoke a particular mood in your work. Now for a Now for a lighter touch, again draw a lighter touch, again draw a horizontal line, but this horizontal line, but this time apply the tiniest amount of time apply the tiniest amount of pressure you can manage pressure you can manage Let’s begin with a heavy pressure line. Press your pencil AS Let’s begin with a heavy pressure line. Press your pencil AS HARD AS YOU CAN against the page and slowly draw one HARD AS YOU CAN against the page and slowly draw one longhorizontalline. longhorizontalline. Now repeat, but this time draw the line as fast as you can. Now repeat, but this time draw the line as fast as you can. The faster line is probably not as straight as the slow one, and The faster line is probably not as straight as the slow one, and may taper off at the end. You can actually see the speed taken may taper off at the end. You can actually see the speed taken recorded in both lines. These heavy lines will look definite, recorded in both lines. These heavy lines will look definite, thick,dark, thick,dark, strong,solid,andconfident. strong,solid,andconfident. Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours:
and draw very slowly. and draw very slowly. Yours: Yours:     Hello Pencil > Hello Pencil > 13 13 Now draw the line Now draw the line again, applying the same faint again, applying the same faint pressure pressure, , but this time very fast. but this time very fast. It’s so hard to maintain a consistent pressure, and therefore It’s so hard to maintain a consistent pressure, and therefore width and style of line when drawing quickly, but again this width and style of line when drawing quickly, but again this can be manipulated for use when we choose. These lighter can be manipulated for use when we choose. These lighter lines will look thin, light, quiet, soft, and unsure. lines will look thin, light, quiet, soft, and unsure. Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours: I really like I really like to manipulate a varied pressure line with my to manipulate a varied pressure line with my pencil, having lines that move from hard and pencil, having lines that move from hard and thick to soft and thick to soft and lightbyadjusting lightbyadjusting thepressureapplied. thepressureapplied. I also like to make my line look more uncertain. By shaking I also like to make my line look more uncertain. By shaking my hand slightly while I hold the pencil just above the page, my hand slightly while I hold the pencil just above the page,
Yours: Yours: I allow the pencil to lose and find the sur I allow the pencil to lose and find the surface of the page as I face of the page as I draw, creating an interrupted “lost and found” line like this. draw, creating an interrupted “lost and found” line like this. My personal preference is always for a My personal preference is always for a nervous, stuttering nervous, stuttering line and a line and a delicate touch. As my confidence with drawing has delicate touch. As my confidence with drawing has increased, I have to work hard to keep this line in my work. increased, I have to work hard to keep this line in my work.     14 14 > Fearless Drawing > Fearless Drawing SHADING SHADING Shading is used to describe Shading is used to describe light and shadow. Look up now and try light and shadow. Look up now and try to determine to determine where the light and dark where the light and dark areas of your view are. This might be hard to see since we are areas of your view are. This might be hard to see since we are distracted by colors and textures, so screw up distracted by colors and textures, so screw up your eyes and squint. This will cancel out your eyes and squint. This will cancel out much of the additional information allowing you to see more clearly where the lightest much of the additional information allowing you to see more clearly where the lightest and darkest areas are. For example if a and darkest areas are. For example if a lamp is shone against the left-hand side of lamp is shone against the left-hand side of a a football, then the lightest side will be the left football, then the lightest side will be the left and the side in shadow, the right side, and the side in shadow, the right side, will will be the darkest. be the darkest. I often use shading, stylistically adding dots at whim to provide areas of dark interest, I often use shading, stylistically adding dots at whim to provide areas of dark interest, drawing the eye to particular areas. I never enjoyed the endless academic lessons where drawing the eye to particular areas. I never enjoyed the endless academic lessons where we were supposed to accurately and consistently depict light and shadow, and so I we were supposed to accurately and consistently depict light and shadow, and so I have settled on a mixture of real and imagined. My shading is informed by reality but have settled on a mixture of real and imagined. My shading is informed by reality but supplemented by my imagination; I add light and shadow wherever I choose. I’m not supplemented by my imagination; I add light and shadow wherever I choose. I’m not a camera and so I can create my own version of a world which can be as close or as a camera and so I can create my own version of a world which can be as close or as opposed to reality as I choose. You, in turn, can shade as close or as opposed to reality as opposed to reality as I choose. You, in turn, can shade as close or as opposed to reality as you desire, combining both real and imagined light and dark to create the effect you seek. you desire, combining both real and imagined light and dark to create the effect you seek. There are lots of different ways to shade. My There are lots of different ways to shade. My preference is the use of preference is the use of lots of tiny dots packed lots of tiny dots packed closely together for the darker areas and further closely together for the darker areas and further apart for the apart for the light areas, so let’s start with dots. light areas, so let’s start with dots. Mine: Mine:
You can see variation in the size of the dots, You can see variation in the size of the dots, adding both colored and empty circles for adding both colored and empty circles for added interest. Use the space below each of added interest. Use the space below each of these shading examples to try for these shading examples to try for yourself and yourself and work out which method you prefer. work out which method you prefer. Yours: Yours:     Hatching is another way to shade, creating Hatching is another way to shade, creating parallel lines close together for darker areas, parallel lines close together for darker areas, and further apart for and further apart for the light sections. the light sections. Colored shading allows for smooth graduated Colored shading allows for smooth graduated tones, pressing lightly for the palest gray and tones, pressing lightly for the palest gray and hard for black. It takes practice to smoothly hard for black. It takes practice to smoothly move between dark and light areas without move between dark and light areas without Cross-hatching allows you to create more Cross-hatching allows you to create more depth. You can cross diagonally, vertically, and depth. You can cross diagonally, vertically, and horizontally, adding more and more lines at horizontally, adding more and more lines at different angles to create the darkest tones. different angles to create the darkest tones. Here I adjusted the pressure used to create paler Here I adjusted the pressure used to create paler lines and darker lines as lines and darker lines as required. required. Mine: Mine: Yours: Yours: Mine: Mine: Yours: Yours: Mine: Mine: Hello Hello Pencil Pencil > > 15 15
creating harsh lines, but it s a fun exercise to do creating harsh lines, but it s a fun exercise to do on the phone, commuting, or in front of the TV on the phone, commuting, or in front of the TV and you will quickly improve. and you will quickly improve. Yours: Yours:           T       T       U       U       R       R       E       E
      A       A       D       D       V       V       E       E                   I used to think of the eraser as a miserable partner I used to think of the eraser as a miserable partner to the lovely pencil, synonymous with mistakes and to the lovely pencil, synonymous with mistakes and corrections, of being stuck and gett corrections, of being stuck and getting grumpy. But ing grumpy. But no more. I’ve always favored the line, but in teaching no more. I’ve always favored the line, but in teaching I’ve watched many, many people respond to and I’ve watched many, many people respond to and enjoy a more sculptural approach, playing with enjoy a more sculptural approach, playing with depth, pushing the page backward and pulling it depth, pushing the page backward and pulling it forward by adding darkness with the pencil and light forward by adding darkness with the pencil and light with the eraser. It’s an exciting technique and a great with the eraser. It’s an exciting technique and a great way in for those who struggle to make a start when way in for those who struggle to make a start when faced with a blank page. faced with a blank page.  This c  This chapter hapter will will make y make you see ou see your e your eraser raser not as not as a tool a tool for correction, but as another drawing medium. It’s an for correction, but as another drawing medium. It’s an opportunity to use your eraser in collaboration with opportunity to use your eraser in collaboration with your pencil to create a wide range of marks on your your pencil to create a wide range of marks on your page. As you work through the book, you will start to page. As you work through the book, you will start to Again, I encourage you to do the exercises, as it’s only Again, I encourage you to do the exercises, as it’s only by trying out all the different techniques that you’ll by trying out all the different techniques that you’ll find your own personal approach. When you started find your own personal approach. When you started this book your drawing toolbox (the techniques you this book your drawing toolbox (the techniques you had stored away ready to use) may have been nearly had stored away ready to use) may have been nearly empty, or perhaps full but a bit rusty! By following each empty, or perhaps full but a bit rusty! By following each chapter and engaging in the exercises for the different chapter and engaging in the exercises for the different techniques, you will emerge with a vast number of techniques, you will emerge with a vast number of options when tackling your future options when tackling your future drawings. drawings. Hello Eraser Hello Eraser 17 17
favor some techniques over others; this is a natural favor some techniques over others; this is a natural process in helping you to find your own drawing style. process in helping you to find your own drawing style. Remember, you don’t have to like all the techniques, Remember, you don’t have to like all the techniques, but it’s really important to try them all so that you can but it’s really important to try them all so that you can find your own personal approach to drawing. find your own personal approach to drawing.     18 18 > Fearless Drawing > Fearless Drawing MATERIALS MATERIALS  There are a we  There are a wealth of different eras alth of different erasers to buy, all s ers to buy, all shapes, sizes hapes, sizes, and textures. Many peo , and textures. Many people prefer ple prefer kneadable erasers, rectangles of very pliable rubber kneadable erasers, rectangles of very pliable rubber (much like Plasticine or Blu-Ta (much like Plasticine or Blu-Tack) that tend to ck) that tend to be boxed and can be be boxed and can be molded to a point, sharp tip, or complex shape for molded to a point, sharp tip, or complex shape for precise erasing in tight precise erasing in tight spots. I always choose a soft one (rather than the spots. I always choose a soft one (rather than the really hard plastic ones), but it’s good to try really hard plastic ones), but it’s good to try a few a few to see which you like best. to see which you like best. For now For now, use whatever eraser you have on hand; it , use whatever eraser you have on hand; it will serve its purpose, will serve its purpose, and then in time you can and then in time you can replace old materials with those you prefer for future use. replace old materials with those you prefer for future use. APPLE APPLE I’m going to show you my step-by-step approach to drawing with an eraser. Here I chose an apple, I’m going to show you my step-by-step approach to drawing with an eraser. Here I chose an apple, as they have a really simple silhouette, which makes for a nice, easy star as they have a really simple silhouette, which makes for a nice, easy start for us. A t for us. A 4B or 6B 4B or 6B would be would be good for this, but if you good for this, but if you don’t have these, you can make do with your 2B. Go don’t have these, you can make do with your 2B. Go slowly and take your slowly and take your time to build up the time to build up the color or some hard pencil marks will likely color or some hard pencil marks will likely show. show. 1. 1. Color in your page, keeping  Color in your page, keeping an even pressure and avoiding any harsh pencil strokes. an even pressure and avoiding any harsh pencil strokes. 2. 2. Continue coloring until the page is  Continue coloring until the page is completely covered. completely covered. 3. 3. Use your eraser to  Use your eraser to block out the silhouette; here it’s nice and easy since our block out the silhouette; here it’s nice and easy since our apple is a circle. apple is a circle. 4. 4. Use your pencil to  Use your pencil to darken around the white edge. Try shading from the dark darken around the white edge. Try shading from the dark edge back into the edge back into the
mid gray. mid gray. 5. 5. Pick out the apple  Pick out the apple stem with your eraser and add stem with your eraser and add some shading to your apple. Remember to some shading to your apple. Remember to leave a thin white space where two dark leave a thin white space where two dark areas meet to prevent your apple from bleeding into areas meet to prevent your apple from bleeding into the background. the background. 6. 6. Use your eraser to  Use your eraser to add more white and your pencil to add add more white and your pencil to add more gray until you get the effect more gray until you get the effect you’r you’re after. Here I added more definition and detail with the e after. Here I added more definition and detail with the speckled skin. speckled skin.     Hello Eraser > Hello Eraser > 19 19 1. 1. 3. 3. 5. 5. 2. 2. 4. 4. 6. 6.
    20 20 > Fearless Drawing > Fearless Drawing PRACTICE PRACTICE Okay, your turn. Use Okay, your turn. Use these pages to practice these pages to practice shading. (Or, if you’ shading. (Or, if you’d rather, you can always d rather, you can always complete this task on separate sheets of paper and complete this task on separate sheets of paper and then glue them into your book.) then glue them into your book.) If apples aren’t your thing, try your favorite mug, your toothbrush, or a shoe. Lay If apples aren’t your thing, try your favorite mug, your toothbrush, or a shoe. Lay down down a smooth, gray ground ready for rubbing out. Use a smooth, gray ground ready for rubbing out. Use a consistent pressure and color in a consistent pressure and color in slowly and carefully. Begin by just erasing the rough shape, and then play with slowly and carefully. Begin by just erasing the rough shape, and then play with adding adding and subtracting detail and tone until you get the effect you like. and subtracting detail and tone until you get the effect you like.
    Hello Eraser > Hello Eraser > 21 21 TIPS TIPS   Oncefinished, giveitaspray ofcheap  Oncefinished, giveitaspray ofcheap hairspray tofix yourdrawing intoplaceand preventitfrom smudging. hairspray tofix yourdrawing intoplaceand preventitfrom smudging.   Atthispoint, try not  Atthispoint, try not toworry abouthow toworry abouthow yourfinished drawingsarelooking; rememberyouarejustbeginning! yourfinished drawingsarelooking; rememberyouarejustbeginning! Bekind toyourselfand p Bekind toyourselfand push ahead with theknowledgethat ush ahead with theknowledgethat ifyoukeep practicing youWILLgetbetter. ifyoukeep practicing youWILLgetbetter.   Thischapterexploredatonalapp  Thischapterexploredatonalapproachtodrawing,whereasthefirst roachtodrawing,whereasthefirst wasmoreconcernedwithline.Youmight wasmoreconcernedwithline.Youmight already havenoticed apreferenceforoneofthe already havenoticed apreferenceforoneofthe twotechniques. I’ twotechniques. I’m alwaysmoredrawn toline, butenjoy m alwaysmoredrawn toline, butenjoy introducing atonal approach intosomeofmy drawingstoadd introducing atonal approach intosomeofmy drawingstoadd interestand contrast. interestand contrast.
    22 22 > Fearless Drawing > Fearless Drawing           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
    23 23 Drawing as Drawing as    Pattern Pattern I LOVE pattern and find it deeply I LOVE pattern and find it deeply inspiring. I add it inspiring. I add it to all my drawings, even inventing it where it fails to all my drawings, even inventing it where it fails to exist. I find constructing areas of pattern in my to exist. I find constructing areas of pattern in my drawings deeply meditative; it is a drawings deeply meditative; it is a relaxing, repetitive, relaxing, repetitive, simple task that allows me to become completely simple task that allows me to become completely absorbed in my drawing (and completely u absorbed in my drawing (and completely unaware naware of the time!). For me, pattern is play. It of the time!). For me, pattern is play. It is the closest is the closest thing to doodling I have found, and it thing to doodling I have found, and it allows me to allows me to take an imaginative, creative, and deeply personal take an imaginative, creative, and deeply personal approach to my work. approach to my work. We are surrounded by a vast number of inspiring We are surrounded by a vast number of inspiring patterns every day; think of a brick wall, braided patterns every day; think of a brick wall, braided them. Because I draw every day, this has had an them. Because I draw every day, this has had an enormous effect on the way I see. I really look at my enormous effect on the way I see. I really look at my surroundings; I’m drawn to pattern so I notice t surroundings; I’m drawn to pattern so I notice the tiles he tiles on a roof, leaves on a fern, or on a roof, leaves on a fern, or stripes on a shir stripes on a shirt. When t. When you begin to draw regularly you begin to draw regularly you will become aware you will become aware of a shift of a shift in how you look at things. Perhaps you’ll feel in how you look at things. Perhaps you’ll feel drawn to observing texture or light and shade, but drawn to observing texture or light and shade, but you will certainly change the way you see your world. you will certainly change the way you see your world.  This chapter is completely about pla  This chapter is completely about play. I’l y. I’ll give you a l give you a few ideas to copy and get started with, but fill these few ideas to copy and get started with, but fill these pages with many more of your pages with many more of your own ideas. Use this own ideas. Use this book as a safe private place to document all your book as a safe private place to document all your
hair, parquet flooring, and all the wonderful hair, parquet flooring, and all the wonderful patterned textiles in your patterned textiles in your home and wardrobe. Have home and wardrobe. Have a look around the space a look around the space you are in now—there you are in now—there will be a dazzling array of patterns if you look for will be a dazzling array of patterns if you look for experiments, which you can refer to as your jo experiments, which you can refer to as your journey urney continues. Just get started and doodle! continues. Just get started and doodle!     24 24 > Fearless Drawing > Fearless Drawing
    DrawingasPattern DrawingasPattern    > > 25 25 PATTERN PRACTICE PATTERN PRACTICE Use this page to practice Use this page to practice different patterns. If you can find some different patterns. If you can find some colored pencils, that would be really fun! Remember to colored pencils, that would be really fun! Remember to keep keep your sharpener close at hand for a your sharpener close at hand for a nice, sharp point. nice, sharp point. Circles Circles Stripes Stripes Grids Grids Triangles Triangles Swirls Swirls Zigzags Zigzags Waves Waves Squares Squares Practice doodling these patterns while Practice doodling these patterns while you’ you’re in meetings, on re in meetings, on the telephone, or in the telephone, or in front of the T front of the TV. Gradually, pleasing repetitive V. Gradually, pleasing repetitive shapes and patterns will emerge. shapes and patterns will emerge.
    RHINOS RHINOS I drew the outline of this rhino while watching the animal at a I drew the outline of this rhino while watching the animal at a zoo in the south of England. It was a freezing cold day and once zoo in the south of England. It was a freezing cold day and once I’d completed the basic outline I retreated to a cafe to fill the I’d completed the basic outline I retreated to a cafe to fill the interior with glorious, imagined patterns. I worked slowly with no interior with glorious, imagined patterns. I worked slowly with no preco preconceiv nceived plan, just building it up ed plan, just building it up gradually while drinking gradually while drinking a a much-needed hot chocolate! much-needed hot chocolate! As you continue with the exercises in this book, As you continue with the exercises in this book, watch for and watch for and record interesting patterns that you see record interesting patterns that you see around you—sketch around you—sketch the lines in the sur the lines in the surface of a face of a wood table, the weave of a sweater, wood table, the weave of a sweater, or the arrangement of the seeds in a pinecone. If this book is or the arrangement of the seeds in a pinecone. If this book is too big to carry too big to carry with you, try a with you, try a small sketchbook—even scraps small sketchbook—even scraps of paper or a of paper or a receipt will do. The important thing is to make a receipt will do. The important thing is to make a little time each day to really look at little time each day to really look at the world around you and the world around you and enjoy creating small drawings, doodles, or scribbles. Consider enjoy creating small drawings, doodles, or scribbles. Consider collecting your pattern doodles in a single sk collecting your pattern doodles in a single sketchbook that you etchbook that you can refer to later can refer to later on for inspiration. on for inspiration. 26 26 > Fearless Drawing > Fearless Drawing
    TIPS TIPS     Begin by defining some anatomical outlin Begin by defining some anatomical outlines within the basic shape of es within the basic shape of theanimal. theanimal.     Splitting up the large interior into smaller sections will make the Splitting up the large interior into smaller sections will make the patterning easiertotackle. patterning easiertotackle.     Repeat different patterns as you move around the space to create Repeat different patterns as you move around the space to create areasthatrelatetoeach other. Forexample, I repeated arowofcircular areasthatrelatetoeach other. Forexample, I repeated arowofcircular patternstodefine patternstodefine therhino’ therhino’sribs. sribs. Now it’s your turn! Begin with the rhino outline and fill it in with Now it’s your turn! Begin with the rhino outline and fill it in with patterns and shapes patterns and shapes DrawingasPattern DrawingasPattern    > > 27 27
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      A       A       D       D       V       V       E       E                   Drawing as Drawing as    Frottage Frottage Frottage is essentially a posh way o Frottage is essentially a posh way of saying f saying “rubbing”—it’ “rubbing”—it’s taking a s taking a textured surf textured surface, placing a ace, placing a sheet of paper on the top, and using a soft pencil, sheet of paper on the top, and using a soft pencil, crayon, charcoal, or pastel to color over the paper crayon, charcoal, or pastel to color over the paper and and reproduce the texture below. It is a reproduce the texture below. It is a great introduction great introduction to printmaking as to printmaking as it’s quick, clean(ish!), and requires it’s quick, clean(ish!), and requires only basic materials. only basic materials.  There’  There’s a long history of using this technique s a long history of using this technique (check (check out the master Max Ernst), and in our pursuit of out the master Max Ernst), and in our pursuit of a full toolbox of ways to create drawings, this is a a full toolbox of ways to create drawings, this is a fun and inventive tool. Frottage offers a chance to fun and inventive tool. Frottage offers a chance to gain a real sense of place that particularly appeals gain a real sense of place that particularly appeals concrete pavements in Barcelona, Spain, the concrete pavements in Barcelona, Spain, the trees trees in New Hampshire, United States, and the railings in New Hampshire, United States, and the railings on bridges in on bridges in Paris, France Paris, France. These rubbings bring me . These rubbings bring me straight back to the place, far more powerfully than a straight back to the place, far more powerfully than a photograph or photograph or purchased souvenir. purchased souvenir. Frottage is more than a little addictive; you Frottage is more than a little addictive; you quickly quickly begin to assess your surroundings based on texture begin to assess your surroundings based on texture alone, seeing with your sense of touch and alone, seeing with your sense of touch and analyzing analyzing each object for the print each object for the print it can offer. It’s a good idea it can offer. It’s a good idea to have a file folder in which to to have a file folder in which to store all your rubbings store all your rubbings as you never know when your drawing may cry as you never know when your drawing may cry out for just that texture you captured in an earlier out for just that texture you captured in an earlier 29 29
to those, like me, who are attracted to texture and to those, like me, who are attracted to texture and pattern. When traveling, I always like to include pattern. When traveling, I always like to include frottage in my sketchbooks as it enables me to take frottage in my sketchbooks as it enables me to take home a real piece of the place visited: the textured home a real piece of the place visited: the textured frottage. An even better idea is to be diligent about frottage. An even better idea is to be diligent about taking notes. On the back of taking notes. On the back of each frottage, write each frottage, write down where the rubbing was made and the subject down where the rubbing was made and the subject so you will be able to re-create it when needed. so you will be able to re-create it when needed.     Softgraphitepencil Softgraphitepencil Soft graphite pencils (6B–9B will give you the Soft graphite pencils (6B–9B will give you the best results) offer a really good, clear print. best results) offer a really good, clear print. Again, I find the drawing point on pencils to be Again, I find the drawing point on pencils to be a little small for rubbing, so I tend to favor the a little small for rubbing, so I tend to favor the short, chubby woodless pencils or bars. Visit an short, chubby woodless pencils or bars. Visit an Wax crayon Wax crayon Wax crayons are perfect for creating r Wax crayons are perfect for creating rubbings. ubbings. Usually made from dyed paraffin wax, crayons Usually made from dyed paraffin wax, crayons provide a clean, stable print of provide a clean, stable print of your surface. your surface. I find the drawing point on crayons to be a little I find the drawing point on crayons to be a little small for large areas of frottage, so I tend to peel small for large areas of frottage, so I tend to peel off the paper wrapper and use the side of the off the paper wrapper and use the side of the crayon instead. crayon instead. Wax crayon rubbing Wax crayon rubbing 30 30 > Fearless Drawing > Fearless Drawing MATERIALS MATERIALS
art supply shop (or look online) to see the range art supply shop (or look online) to see the range available. Colored pencils are too hard for large available. Colored pencils are too hard for large rubbings, but perfect for small rubbings, but perfect for small items like coins. items like coins. Graphitepencilrubbing Graphitepencilrubbing     DrawingasFrottage DrawingasFrottage    > > 31 31 Charcoal Charcoal Charcoal is created from slow burning wood, Charcoal is created from slow burning wood, which creates a drawing medium of carbon which creates a drawing medium of carbon and ash. It is soft, brittle, and VERY smudgy— and ash. It is soft, brittle, and VERY smudgy— whenever I use charcoal I get completely covered whenever I use charcoal I get completely covered in the stuff. I favor vine charcoal, which is usually in the stuff. I favor vine charcoal, which is usually made from willow or linden. I like the skinny made from willow or linden. I like the skinny wobbly black sticks of varying thicknesses, and wobbly black sticks of varying thicknesses, and  just e  just embrace mbracethe me the mess th ss that co at comes w mes with it ith it. Y . You ou can also get compressed charcoal, which includes can also get compressed charcoal, which includes a binder to make it less crumbly, or a charcoal a binder to make it less crumbly, or a charcoal pencil where the compressed charcoal is encased pencil where the compressed charcoal is encased in wood—take your pick! in wood—take your pick! Charcoalrubbing Charcoalrubbing Soft (chalk) pastel Soft (chalk) pastel Soft pastels—sticks of pure powdered pigment Soft pastels—sticks of pure powdered pigment witha witha binder—arebasicallythear binder—arebasicallytheartist’ tist’sversion sversion of pavement chalk and come in of pavement chalk and come in a beautiful, a beautiful, dizzying array of shades. dizzying array of shades. Soft pastel rubbing Soft pastel rubbing Oil pastel Oil pastel Oil pastels come in stick form and use the same Oil pastels come in stick form and use the same pigments as soft pastels, but with an pigments as soft pastels, but with an oil binder oil binder
Oilpastelrubbing Oilpastelrubbing to create a rich, to create a rich, buttery crayon. Pastels are softer buttery crayon. Pastels are softer in texture and richer in color than wax crayons. in texture and richer in color than wax crayons.     32 32 > Fearless Drawing > Fearless Drawing FROTTAGE AROUND THE HOUSE FROTTAGE AROUND THE HOUSE  Ta  Take the opportunity now to explor ke the opportunity now to explore your home. Grab a sta e your home. Grab a stack of printer paper and a selection o ck of printer paper and a selection of different drawing t f different drawing tools ools and take and take rubbings wherever your eyes land. Textured wallpaper rubbings wherever your eyes land. Textured wallpaper, kitchen , kitchen surfaces, wood, tiles, ceilings, radiators, draining surfaces, wood, tiles, ceilings, radiators, draining boards, furniture, and carvings all create fantastic textures. Open the cupboards and empty boards, furniture, and carvings all create fantastic textures. Open the cupboards and empty your pockets—try colanders, your pockets—try colanders, forks, keys, and coins. forks, keys, and coins. Now select your favorite pieces, cut them out, and Now select your favorite pieces, cut them out, and stick them here. Make a stick them here. Make a note of what drawing tools you used (crayon, note of what drawing tools you used (crayon, pastel, pencil, etc.) and what you pastel, pencil, etc.) and what you used to create each used to create each texture (coins, tile floor, cloth-bound books, etc.). texture (coins, tile floor, cloth-bound books, etc.).
    DrawingasFrottage DrawingasFrottage    > > 33 33 TIPS TIPS     Don’t forget to spray your pencil Don’t forget to spray your pencil, charcoal, and pastel rubbings with cheap hairspray to stop them , charcoal, and pastel rubbings with cheap hairspray to stop them smudging and fix them intoplace. smudging and fix them intoplace.     Many different media are wonderful for creating rubbings. Many different media are wonderful for creating rubbings.The ones chosen here are all black, but The ones chosen here are all black, but rememberyoucan chooseany coloryoulike! rememberyoucan chooseany coloryoulike!     Buy only one of each pencil, crayon Buy only one of each pencil, crayon, charcoal, or pastel to try out before you commit to buying , charcoal, or pastel to try out before you commit to buying a full box. a full box.
    34 34 > Fearless Drawing > Fearless Drawing FROTTAGE OUTSIDE FROTTAGE OUTSIDE Now venture outside with a stack of Now venture outside with a stack of cheap printer paper and your drawing tools. Explore a wide range of cheap printer paper and your drawing tools. Explore a wide range of trees, looking at trees, looking at the variety of textures from different species. Turn a leaf upside down to expose the veins and the variety of textures from different species. Turn a leaf upside down to expose the veins and create a beautiful, delicate create a beautiful, delicate rubbing. Look beyond nature. Drain covers, concrete floors, brick rubbing. Look beyond nature. Drain covers, concrete floors, brick and stone walls, keyholes, and and stone walls, keyholes, and mailboxes are all waiting mailboxes are all waiting to be printed. to be printed. Return home and spread out your Return home and spread out your rubbings. Which are your favorites rubbings. Which are your favorites? What were your successes? Cut them out and ? What were your successes? Cut them out and add add them here. Again make a note of the medium and textured surface used so you can easily re-create them. them here. Again make a note of the medium and textured surface used so you can easily re-create them.
    DrawingasFrottage DrawingasFrottage    > > 35 35 TIPS TIPS     Bring a shoulder bag or clipboard to store your drawings as you collect rubbings Bring a shoulder bag or clipboard to store your drawings as you collect rubbings —youwill quickly run outofhands! —youwill quickly run outofhands!     Find time to search for Max Ernst online and explore his mastery of the technique. Find time to search for Max Ernst online and explore his mastery of the technique. Continue to create rubbings, making notes of new Continue to create rubbings, making notes of new textures and places you’d like to capture textures and places you’d like to capture using using frottage. Keep a few sheets of frottage. Keep a few sheets of paper and a wax paper and a wax crayon in your bag—you never know when the crayon in your bag—you never know when the perfect texture will appear, ready for rubbing! perfect texture will appear, ready for rubbing!
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      A       A       D       D       V       V       E       E     We are exploring drawing in its widest We are exploring drawing in its widest sense, sense, which means using anything that makes a which means using anything that makes a mark— mark— even scissors. It’s important to try a vast array of even scissors. It’s important to try a vast array of possible techniques to find the one possible techniques to find the one method, or the method, or the combination of methods, that really suits you. combination of methods, that really suits you.  The master of drawing with scissors was wi  The master of drawing with scissors was without thout question Matisse. In the last four years of his life question Matisse. In the last four years of his life he was confined to his bed, and he was confined to his bed, and created his iconic created his iconic drawings using sheets of painted drawings using sheets of painted paper from which paper from which he cut wonderful he cut wonderful freehand images. This skill, like every freehand images. This skill, like every other, requires practice. It will take time for your other, requires practice. It will take time for your eyes eyes and hands to learn and hands to learn to work together, but the only way to work together, but the only way too much about the final product. Be kind and have too much about the final product. Be kind and have patience with yourself, allowing yourself to have a patience with yourself, allowing yourself to have a go of it, knowing that disappointments and great go of it, knowing that disappointments and great successes will all be part of your journey. successes will all be part of your journey. Drawing with scissors is a great exercise and it Drawing with scissors is a great exercise and it makes makes you really look at the ou you really look at the outline of objects. Find yourself tline of objects. Find yourself a pair of scissors, including a big a pair of scissors, including a big pair for speed and pair for speed and then a smaller pair (nail scissors or then a smaller pair (nail scissors or similar) for the similar) for the detailed bits. Use colored paper if you detailed bits. Use colored paper if you have it, but have it, but if not then just prepare some sheets of paper by if not then just prepare some sheets of paper by shading them with graphite or colored pencils. shading them with graphite or colored pencils. Drawing with Drawing with    Scissors Scissors 37 37
to become good at something is to start doing it and to become good at something is to start doing it and keep doing it. We need to really focus on enjoying keep doing it. We need to really focus on enjoying the process, the sound and sensation of your scissors the process, the sound and sensation of your scissors slicing and snipping through the paper. Don’t worry slicing and snipping through the paper. Don’t worry     SHAPE PRACTICE SHAPE PRACTICE Okay, let’s get started. Remember to cut out Okay, let’s get started. Remember to cut out your shapes freehand, which means your shapes freehand, which means without drawing them first. T without drawing them first. Take a deep ake a deep breath and start cutting. It breath and start cutting. It’s no problem if it’s ’s no problem if it’s wobbly and wonky—that’s the beauty of making something by hand rather wobbly and wonky—that’s the beauty of making something by hand rather than with than with a machine! Copy my work here and paste yours alongside. Draw inspiration from the a machine! Copy my work here and paste yours alongside. Draw inspiration from the master master, Matisse, tr , Matisse, trying circles, squares, triangles, zigzags, ying circles, squares, triangles, zigzags, and waves. and waves. 38 38 > Fearless Drawing > Fearless Drawing
    Drawing with Scissors Drawing with Scissors    > > 39 39
    40 40 > Fearless Drawing > Fearless Drawing LEAVES LEAVES Here I have cut out a Here I have cut out a branch and started to cover it branch and started to cover it with leaves. I want you to cut out with leaves. I want you to cut out some leaves and paste them to my branch. They can either be the some leaves and paste them to my branch. They can either be the same shape as mine same shape as mine or completely different. How does it or completely different. How does it look? look? TIPS TIPS    Store your cut-out shapes in a cup before pasting them in. Store your cut-out shapes in a cup before pasting them in.Before long your Before long your deskwillbecoveredinsnippingsandyou’llbegintolosetrackofyourpieces! deskwillbecoveredinsnippingsandyou’llbegintolosetrackofyourpieces!     Spend time moving the shapes around before pasting them down. W Spend time moving the shapes around before pasting them down. Wait ait until youarehappy with thecomposition (thelayoutof until youarehappy with thecomposition (thelayoutof shapeson thepage) shapeson thepage) beforegluing down thepieces. beforegluing down thepieces.
    Drawing with Scissors Drawing with Scissors    > > 41 41
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      A       A       D       D       V       V       E       E     43 43  This adventure explores nothing  This adventure explores nothing more complicated more complicated than cutting and sticking recycled old papers and than cutting and sticking recycled old papers and images to create images to create brand new pictures. We’ve already brand new pictures. We’ve already tried drawing with scissors, so t tried drawing with scissors, so this chapter is really his chapter is really about building on about building on what we’ve done so what we’ve done so far. far.Y You’ll need ou’ll need some glue. I some glue. I use white PVA (Elmer’s, school, or similar) use white PVA (Elmer’s, school, or similar) because it is washable but has a really strong bond. because it is washable but has a really strong bond. Collage turns everyone into a magpie—you’ll start to Collage turns everyone into a magpie—you’ll start to collect all sor collect all sorts of papers, cards, and plastics, and it ts of papers, cards, and plastics, and it’s ’s a great way to rec a great way to recycle! For now grab an old shoebox, ycle! For now grab an old shoebox, bag, or crate and hunt around your house for suitable bag, or crate and hunt around your house for suitable flat materials. Any of the following are worth a try. flat materials. Any of the following are worth a try.       Packaging Packaging and wrappers and wrappers    Gift paper  Gift paper     Envelopes   Envelopes       Handwritten n Handwritten notes and otes and lists lists       Greeting Greeting cards and cards and postcards postcards       Magazines Magazines and n and newspapers ewspapers     Receipts   Receipts       Old Old books books    Calendar pages  Calendar pages     Maps   Maps       Tickets (public transportation, theater Tickets (public transportation, theater, etc.) , etc.)    Wallpaper samples  Wallpaper samples Drawing as Drawing as    Collage Collage
Once you’ve gathered a stack of found papers, Once you’ve gathered a stack of found papers, supplement them with some homemade papers: supplement them with some homemade papers: chop up old drawings, color papers using paints or chop up old drawings, color papers using paints or pencils, or create textured pages of frottage. pencils, or create textured pages of frottage.     44 44 > Fearless Drawing > Fearless Drawing BIRDS COLLAGE BIRDS COLLAGE For this exercise, I’d like you to collage more birds to these branches. For this exercise, I’d like you to collage more birds to these branches. Continue to collect collage materials. I have a big folder in my Continue to collect collage materials. I have a big folder in my studio organized by color, studio organized by color, so it’s easy to find just the r so it’s easy to find just the right piece of collage. When I travel, I really enjoy collecting ight piece of collage. When I travel, I really enjoy collecting and saving ticket and saving ticket stubs, photographs, postcards stubs, photographs, postcards, and brochures, as , and brochures, as it’s so nice to then it’s so nice to then incorporate these into my work. incorporate these into my work.
    DrawingasCollage DrawingasCollage    > > 45 45 TIPS TIPS    You can either cut and embellish y You can either cut and embellish your own shapes freehand or trace my silhouettes and use them our own shapes freehand or trace my silhouettes and use them astemplatesforcutting out astemplatesforcutting out yourown birds. yourown birds.     Feel freetohand drawelementsthatmightbetoosmall tocut, including eyes, beaks, ortail feathers. Feel freetohand drawelementsthatmightbetoosmall tocut, including eyes, beaks, ortail feathers.
          A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
    47 47 Drawing with a brush is so Drawing with a brush is so expressive, and it opens expressive, and it opens an entirely new toolbox of possible an entirely new toolbox of possible marks. I have marks. I have completed this adventure using a bottle of India ink, completed this adventure using a bottle of India ink, a rich and fluid medium that can be purchased quite a rich and fluid medium that can be purchased quite cheaply in a single bottle. India ink does stain, so take cheaply in a single bottle. India ink does stain, so take particular care to roll up your sleeves and protect your particular care to roll up your sleeves and protect your work surface. work surface. If you don’t have any India ink, t If you don’t have any India ink, then you could hen you could substitute: substitute:    Watercolors  Watercolors       Bottled writin Bottled writing i g ink nk       Kids' Kids' poster poster paints paints       Cup of cold, stron Cup of cold, strong, black tea or coff g, black tea or coffee ee You will also need a paintbrush. I used a You will also need a paintbrush. I used a size 4 round size 4 round watercolor brush for all the marks you see in this watercolor brush for all the marks you see in this chapter. Please ignore the cheap sets and just buy chapter. Please ignore the cheap sets and just buy one good brush (4 or similar size), taking care to wash one good brush (4 or similar size), taking care to wash it carefully, reshape it with your fingers, and allow it to it carefully, reshape it with your fingers, and allow it to air dry after each use. air dry after each use. We have already covered many of the techniques We have already covered many of the techniques referenced in this chapter using referenced in this chapter using a pencil, but it a pencil, but it’’s s fascinating to see how different these effects fascinating to see how different these effects can can look when created with a brush. Many artists prefer look when created with a brush. Many artists prefer the lyrical nature of drawing with a brush, and it is the lyrical nature of drawing with a brush, and it is definitely a very definitely a very different physical experience from different physical experience from the drag of graphite across the page. the drag of graphite across the page. Hello Brush Hello Brush
    To draw a thin line, hold your brush vertically and To draw a thin line, hold your brush vertically and apply very little pressure, then increase pressure by apply very little pressure, then increase pressure by pressing down to create a thicker line. Adjust the pressing down to create a thicker line. Adjust the pressure over the course of the stroke to create a pressure over the course of the stroke to create a line of variable thickness. line of variable thickness. Create a curved mark by guiding the brush with Create a curved mark by guiding the brush with a small, semicircular movement of your wrist. a small, semicircular movement of your wrist. Let’s start out with a simple exercise of drawing Let’s start out with a simple exercise of drawing lines, making them straight, wavy, fast, and lines, making them straight, wavy, fast, and slow. Draw as many different lines as you like, slow. Draw as many different lines as you like, taking time to really explore the feel of the taking time to really explore the feel of the brush on the page. brush on the page. PRACTICE BRUSH MARKS PRACTICE BRUSH MARKS  The marks you make with y  The marks you make with your brush are more v our brush are more variable than those yo ariable than those you can make with a pencil. u can make with a pencil. 48 48 > Fearless Drawing > Fearless Drawing Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours:
Yours: Yours:     Create a flamelike flick by Create a flamelike flick by touching the point of touching the point of the brush to the paper and flipping your wrist the brush to the paper and flipping your wrist upwards. upwards. Make a small dot by holding your brush Make a small dot by holding your brush vertically and allowing just the very tip of the vertically and allowing just the very tip of the bristles to touch the surface of the paper. To bristles to touch the surface of the paper. To create larger dabs, apply more pressure and create larger dabs, apply more pressure and alter the angle of your brush. alter the angle of your brush. When you’ve applied most of the paint to the When you’ve applied most of the paint to the page and the brush is nearly dry, you will see page and the brush is nearly dry, you will see how the brush applies the paint in a scratchier how the brush applies the paint in a scratchier texture; this is called a dry brush mark. texture; this is called a dry brush mark. HelloBrush HelloBrush   > > 49 49 Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours: Yours: Yours:
    TIPS TIPS    Y Youcan lightly sketch theoutlineoftheletter oucan lightly sketch theoutlineoftheletter in in pencilfirstif pencilfirstif you’ you’dlike,andthen dlike,andthen eraseit eraseit once once you’ve finished (and it’s dried!). you’ve finished (and it’s dried!).    I created regular lines of pattern to I created regular lines of pattern tobuild up my build up my initial, butfeel freetoadoptamorespontaneous initial, butfeel freetoadoptamorespontaneous approach, filling theareawith explorativeshapes approach, filling theareawith explorativeshapes and marksforadifferenteffect. and marksforadifferenteffect. P PAINTED I AINTED INITIAL NITIAL In this practice exercise, I’ve used many of the In this practice exercise, I’ve used many of the brush strokes we’ve just tried brush strokes we’ve just tried to paint my first initial. Paint your initial on page 51, practicing the brush to paint my first initial. Paint your initial on page 51, practicing the brush strokes we’ve just learned and strokes we’ve just learned and inventing more of your own. inventing more of your own. 50 50 > Fearless Drawing > Fearless Drawing
    HelloBrush HelloBrush    > > 51 51
Continue to play with mark making Continue to play with mark making using your brush. If you using your brush. If you really enjoy this technique, collect a few more brushes for fur really enjoy this technique, collect a few more brushes for further ther experimentation. I have a few travel paintbrushes of various sizes that I like experimentation. I have a few travel paintbrushes of various sizes that I like to use whenever I’m out of the studio. Travel brushes are to use whenever I’m out of the studio. Travel brushes are great because they are designed to allow the delicate bristles to great because they are designed to allow the delicate bristles to fold inside the body of the fold inside the body of the brush, protecting them while they’re brush, protecting them while they’re in my bag. I also have a in my bag. I also have a paintbrush where the body of the brush paintbrush where the body of the brush is plastic and can be filled is plastic and can be filled with water or ink (I usually fill with water or ink (I usually fill mine with mine with coffee!). Then you coffee!). Then you’re able to paint simply by gently squeezing the body ’re able to paint simply by gently squeezing the body of the brush to release the of the brush to release the liquid. I find these fantastic when liquid. I find these fantastic when I’m out and about as they allow me I’m out and about as they allow me to paint easily without too much additional equipment. to paint easily without too much additional equipment.           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
    53 53 Continuous- Continuous- Line Drawing Line Drawing In this chapter we are In this chapter we are going to explore continuous- going to explore continuous- line drawing—meaning creating a drawing without line drawing—meaning creating a drawing without lifting your hand off the page. It sounds easy but it lifting your hand off the page. It sounds easy but it is a real challenge! The pencil must remain pressed is a real challenge! The pencil must remain pressed to the paper until to the paper until the drawing is complete, creating the drawing is complete, creating an entire drawing with a single line. This means you an entire drawing with a single line. This means you need to be very thoughtful about how you move need to be very thoughtful about how you move around the page, as each time you double back to an around the page, as each time you double back to an area, a new line will appear. area, a new line will appear. Creating drawings in this way is a deeply sensory Creating drawings in this way is a deeply sensory experience, which focuses on capturing the outlines experience, which focuses on capturing the outlines of objects. of objects. Enjoy the looping Enjoy the looping and the zigzaggin and the zigzagging to g to can encourage a more personal and can encourage a more personal and lyrical approach lyrical approach than creating a drawing with a series of individual than creating a drawing with a series of individual staccato lines. staccato lines. Sometimes when I am anxious about a looming Sometimes when I am anxious about a looming deadline, I notice that my drawings begin to look deadline, I notice that my drawings begin to look a little tight and forced; I can actually see the stress a little tight and forced; I can actually see the stress in the lines, which become hard and tight rather in the lines, which become hard and tight rather than loose and lyrical. When that happens, I try than loose and lyrical. When that happens, I try this this exercise. By creating a few continuous-line drawings, I exercise. By creating a few continuous-line drawings, I can engage in the process of can engage in the process of drawing, relax, warm up, drawing, relax, warm up, and then return to my commission with a and then return to my commission with a better line. better line.
return to different areas of your return to different areas of your drawing and create drawing and create more detail. Remember that you can ad more detail. Remember that you can add definition d definition by using pressure to emphasize some areas of by using pressure to emphasize some areas of the the drawing and make others drawing and make others less visible. This technique less visible. This technique Okay, grab your pencil as this is all you’re going to Okay, grab your pencil as this is all you’re going to need (put the eraser in need (put the eraser in a drawer, it is officially banned a drawer, it is officially banned for this chapter!). for this chapter!).     54 54 > Fearless Drawing > Fearless Drawing CONTINUOUSLINE D CONTINUOUSLINE DRA RAWING WING I raided the cupboard and pulled out some cups to draw here, so go and do the same I raided the cupboard and pulled out some cups to draw here, so go and do the same (or feel free to grab something else to draw if (or feel free to grab something else to draw if you prefer). Now take the challenge of you prefer). Now take the challenge of drawing each item without lifting your pencil from the page. This is easier to do drawing each item without lifting your pencil from the page. This is easier to do if you if you remember to work slowly. Slowly run your eyes along the edges of the remember to work slowly. Slowly run your eyes along the edges of the cup and mimic cup and mimic this line with your pencil on the page. Relax this line with your pencil on the page. Relax and don’t worry about how it looks. Just and don’t worry about how it looks. Just focus on the physical pleasure of pulling the pencil across the page focus on the physical pleasure of pulling the pencil across the page and leaving the and leaving the mark of where you have been. mark of where you have been. Keep practicing these Keep practicing these continuous-line drawings. Th continuous-line drawings. They will not ey will not only help sharpen your only help sharpen your observation skills, but they're also a great warm-up exercise. observation skills, but they're also a great warm-up exercise.
    Continuous-LineDrawing Continuous-LineDrawing    > > 55 55 TIPS TIPS     Before you start to draw, spend two minutes (time it—it’ Before you start to draw, spend two minutes (time it—it’s longer than you think) really looking at s longer than you think) really looking at thesubject. Having aclearunderstanding thesubject. Having aclearunderstanding ofyourobjectwill dramatically improveyourdrawing. ofyourobjectwill dramatically improveyourdrawing.     Look at the object you are drawing more than at the page. Look at the object you are drawing more than at the page.     Relax and takeyourtime. Y Relax and takeyourtime. Youcannottakeyourpencil offthe oucannottakeyourpencil offthe page, butthatdoesn’tmean youneed page, butthatdoesn’tmean youneed tobemoving tobemoving itconstantly. itconstantly.     Apply more pressure to define edges of your drawing as you move around with y Apply more pressure to define edges of your drawing as you move around with your pencil. our pencil.
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      A       A       D       D       V       V       E       E                   57 57 with my scissors, but you might need to with my scissors, but you might need to use pliers use pliers depending on the thickness of depending on the thickness of your wire. When your wire. When drawing with wire remember to watch out drawing with wire remember to watch out for the for the end as you don’t want it to end as you don’t want it to accidentally ping into accidentally ping into anyone’s eye! anyone’s eye!  The tricky thing about drawing this way is  The tricky thing about drawing this way is how each how each bend and fold created moves the existing bend and fold created moves the existing bends bends and folds. This means you have to keep altering and and folds. This means you have to keep altering and adjusting as you go, keeping in adjusting as you go, keeping in mind the overall mind the overall look of the drawing, while also focusing on look of the drawing, while also focusing on the small the small section in progress. The finished pieces are section in progress. The finished pieces are gorgeous gorgeous but very fragile; they’re easily squashed so store them but very fragile; they’re easily squashed so store them Drawing with wire is a really beautiful way to create Drawing with wire is a really beautiful way to create a line drawing in space. I have lots of these drawings a line drawing in space. I have lots of these drawings taped to the walls of my studio and I love their taped to the walls of my studio and I love their elegance and the different shadows they create elegance and the different shadows they create over the course of the day. Using wire is a sculptural over the course of the day. Using wire is a sculptural approach to drawing, allowing us to create lines in approach to drawing, allowing us to create lines in three dimensions and to view our emerging and three dimensions and to view our emerging and finished work from every angle. These drawings work finished work from every angle. These drawings work beautifully hung as mobiles or simply taped or pinned beautifully hung as mobiles or simply taped or pinned directly onto the wall. For inspiration before you begin, directly onto the wall. For inspiration before you begin, research the exquisite wire drawings of Alexander research the exquisite wire drawings of Alexander Calder and CW Roelle to see how far this approach can Calder and CW Roelle to see how far this approach can be taken and inspire you before you begin. be taken and inspire you before you begin. Drawing Drawing with Wire with Wire
in a safe place until you’re ready to tape them into in a safe place until you’re ready to tape them into your book. your book. You will need a small amount of thin, soft, You will need a small amount of thin, soft, pliable pliable wire that is really easy wire that is really easy to bend with your fingers. I to bend with your fingers. I recommend floral wire, but you can also use recommend floral wire, but you can also use 2mm 2mm aluminum wire or modeling wire. I can cut floral aluminum wire or modeling wire. I can cut floral wire wire     CUPS CUPS  T  To complete this ex o complete this exercise, we wil ercise, we will repeat the adventure i l repeat the adventure in chapter 8—creating a n chapter 8—creating a continuous-line drawing without breaks—but this time in continuous-line drawing without breaks—but this time in three dimensions. Let’s revisit three dimensions. Let’s revisit those cups. We are now familiar with their those cups. We are now familiar with their shape, so let’s re-create our shape, so let’s re-create our continuous continuous drawing in wire. I want you to draw the entire silhouette of drawing in wire. I want you to draw the entire silhouette of the cup using one long the cup using one long piece of wire. For now make sure you are working piece of wire. For now make sure you are working from the actual cups rather from the actual cups rather than your than your drawings. T drawings. This is important as we are now his is important as we are now at the stage in our at the stage in our journey where we are journey where we are beginning to really see. All the answers of how to draw an beginning to really see. All the answers of how to draw an object can be found through object can be found through careful and thoughtful study of careful and thoughtful study of the object. The problem is that when we are asked the object. The problem is that when we are asked to to draw, we panic and we rush into drawing without any real contemplation of the object draw, we panic and we rush into drawing without any real contemplation of the object we are trying to draw. Instead, slow down, spend time looking, enjoy the we are trying to draw. Instead, slow down, spend time looking, enjoy the process, and process, and don’t fret about the end result. In don’t fret about the end result. In time your looking and drawing skills time your looking and drawing skills will develop will develop in tandem; you will learn how to look more closely, and with practice your hand in tandem; you will learn how to look more closely, and with practice your hand will will respond with confidence. For now save your wire drawings in a safe place where they respond with confidence. For now save your wire drawings in a safe place where they will not get damaged. will not get damaged. 58 58 > Fearless Drawing > Fearless Drawing
    Drawingwith Drawingwith Wire Wire    > > 59 59 Once you have completed all the adventures in the book, Once you have completed all the adventures in the book, tape your wire tape your wire cups here. cups here.
    60 60 > Fearless Drawing > Fearless Drawing BUTTERFLY BUTTERFLY Here’ Here’s half a butter s half a butterfly; I’d like you to make the fly; I’d like you to make the other wing on the other wing on the opposite page. Y opposite page. You can see ou can see it’s been built up it’s been built up gradually, using gradually, using many small pieces of wire. I started with the many small pieces of wire. I started with the wing outlines and wing outlines and then created the designs within them. Don’t worry if your design then created the designs within them. Don’t worry if your design is not symmetrical. You can follow my design if you’d prefer, is not symmetrical. You can follow my design if you’d prefer, but please do take but please do take the time to explore your own shapes and the time to explore your own shapes and patterns as well. Once you have completed all the adventures in patterns as well. Once you have completed all the adventures in the book you can tape your the book you can tape your wings on the opposite page. wings on the opposite page.
    Drawingwith Drawingwith Wire Wire    > > 61 61 TIPS TIPS     Create the outline wi Create the outline with a large piece of th a large piece of wireand then fill theinteriorwith pattern wireand then fill theinteriorwith pattern by attaching smallerpiecesofwireto by attaching smallerpiecesofwireto your your outline frame. outline frame.    Tojoin onepieceofwiretoanother, wrap it Tojoin onepieceofwiretoanother, wrap it around in acircularfashion tocreateabind around in acircularfashion tocreateabind and then snip offany overhanging wire. and then snip offany overhanging wire.     Be careful using small pieces of wire; don’ Be careful using small pieces of wire; don’t t make them too short as it will be difficult to make them too short as it will be difficult to bind them to the structure. bind them to the structure.
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    63 63 use things that you d use things that you don’t mind recycling after making on’t mind recycling after making the prints. Here are a few ideas: the prints. Here are a few ideas:   Bubble wrap  Bubble wrap      Marshmallows Marshmallows or or candy candy     Pasta   Pasta       Wine corks, Wine corks, bottle tops, and bottle tops, and caps caps       Leaves, twigs, Leaves, twigs,flowers, acorns, pinecones flowers, acorns, pinecones, and feathers , and feathers    Drinking straws  Drinking straws       Cotton swabs Cotton swabs or cotton or cotton balls balls       Lace Lace or doili or doilies es       Old toy cars (try rolling the wheels i Old toy cars (try rolling the wheels into the ink and nto the ink and then along the page) then along the page) Okay, time to get a bit Okay, time to get a bit messy! Cover your worktable messy! Cover your worktable and put on some old and put on some old clothes. As in Adventure 4: clothes. As in Adventure 4: Drawing as Frottage, we will be using the textures Drawing as Frottage, we will be using the textures of real objects of real objects to create our to create our drawings. W drawings. We’r e’re going e going to explore the wide range of marks that can be to explore the wide range of marks that can be obtained from printing with objects. Throughout this obtained from printing with objects. Throughout this adventure, I used India ink (and wore rubber adventure, I used India ink (and wore rubber gloves!) gloves!) to create my prints, but you could a to create my prints, but you could also consider lso consider printing with the following. printing with the following.   Watercolors Watercolors    Writing ink  Writing ink       Kids’ Kids’ poster paints poster paints Drawing as Drawing as    Print Print
    String   String     Cards   Cards       A cold cup of A cold cup of VERY strong black VERY strong black coffee coffee Begin by collecting textural objects to use for Begin by collecting textural objects to use for printing. These items are going to get messy, so only printing. These items are going to get messy, so only     PRINTING IDEAS PRINTING IDEAS Here you can see the range of marks I created after a quick Here you can see the range of marks I created after a quick rummage in cupboards, the recycling box, and a walk rummage in cupboards, the recycling box, and a walk outside. outside. B Bu ub bb bl le e w wr ra ap p B Bo ot tt tl le e c ca ap ps s C Co or rk k L Le ea af f 64 64 > Fearless Drawing > Fearless Drawing
    Drinkingstraw Drinkingstraw String String Card Card Toy car wheels Toy car wheels Drawing asPrint Drawing asPrint    > > 65 65
    66 66 > Fearless Drawing > Fearless Drawing PRINTING PRINTING IDEAS: Y IDEAS: YOUR TURN OUR TURN Pour a little ink (or whatever you are using as Pour a little ink (or whatever you are using as ink) onto an old or disposable plate. Press ink) onto an old or disposable plate. Press your object into the ink and your object into the ink and see what marks can be see what marks can be achieved by pressing that object achieved by pressing that object to paper to create to paper to create a print. There are endless possibilities for creating marks a print. There are endless possibilities for creating marks in this way. in this way. Glue your printing experiments to these pages. Glue your printing experiments to these pages. Whether used on its own or in Whether used on its own or in conjunction with hand drawing, printing with objects conjunction with hand drawing, printing with objects offers a creative, inventive, and beautiful way to offers a creative, inventive, and beautiful way to make drawings. There is also something make drawings. There is also something very pleasurable and rewarding about working in this very pleasurable and rewarding about working in this way. It’s likely many of us haven’t way. It’s likely many of us haven’t created prints in this created prints in this way since childhood. T way since childhood. Take time now ake time now to enjoy the to enjoy the process of process of making prints—the joy of selecting our making prints—the joy of selecting our materials, the physicality of the liquid ink, and materials, the physicality of the liquid ink, and the pressure on paper before the exciting print is revealed. the pressure on paper before the exciting print is revealed. TIPS TIPS     Notice how the Notice how theamount of amount of ink youusealterstheeffect. ink youusealterstheeffect.     Be sure to label each prin Be sure to label each print t with the object you used with the object you used tomakeitsothatyoucan tomakeitsothatyoucan easily replicatethesemarks easily replicatethesemarks in thefuture. in thefuture.
    Drawing asPrint Drawing asPrint    > > 67 67
          A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
    69 69 Hello Ink  Hello Ink  Welcome to another messy adventure! Cover tables Welcome to another messy adventure! Cover tables and wear old clothes or pick a sunny day to work and wear old clothes or pick a sunny day to work outside. Again, I used India ink—this time diluted with outside. Again, I used India ink—this time diluted with water to create the work, but you could use strong water to create the work, but you could use strong black tea or coffee, watercolors, or diluted poster black tea or coffee, watercolors, or diluted poster paint. So far we have used ink with a paintbrush and paint. So far we have used ink with a paintbrush and for printing objects, but in this for printing objects, but in this chapter we are going chapter we are going to explore and exploit what ink can do on its own. to explore and exploit what ink can do on its own. For inspiration, look up Jackson Pollock, who was For inspiration, look up Jackson Pollock, who was famous for his violent, expressionist drip paintings. famous for his violent, expressionist drip paintings. He would lay the canvas directly onto the floor and He would lay the canvas directly onto the floor and then paint in then paint in a highly physical manner, dripping, a highly physical manner, dripping, splashing, and pouring layers of paint from a splashing, and pouring layers of paint from above. bove. Ian Davenport is another exciting artist; he uses Ian Davenport is another exciting artist; he uses household gloss paint poured from household gloss paint poured from syringes, allowing syringes, allowing the paint to naturally flow down the surface in the paint to naturally flow down the surface in Ink offers a very exciting way to create spontaneous Ink offers a very exciting way to create spontaneous and unpredictable marks. It is and unpredictable marks. It is a more physical a more physical approach than we have previously used, requiring approach than we have previously used, requiring more body movement to create a wide more body movement to create a wide and diverse and diverse range of marks. This exercise promises a real sense range of marks. This exercise promises a real sense of fun and play and a chance to return to a type of of fun and play and a chance to return to a type of drawing that you may have left drawing that you may have left behind in childhood. behind in childhood. Y You will need ou will need some disposable cups some disposable cups (or, if you are (or, if you are using tea or coffee, mugs are fine), your paintbrush, using tea or coffee, mugs are fine), your paintbrush, a drinking straw, salt, plastic wrap, and a a drinking straw, salt, plastic wrap, and a crayon or crayon or oil pastel. oil pastel.
ordered stripes. ordered stripes.     Flicking Flicking To create these flick marks, load your brush with ink, hold it To create these flick marks, load your brush with ink, hold it above the page, then flick your wrist to splat, drip, and spot above the page, then flick your wrist to splat, drip, and spot the ink onto the paper. the ink onto the paper. Pouring Pouring Here I added a small amount of ink to a disposable cup, held Here I added a small amount of ink to a disposable cup, held the page vertically, and poured the ink the page vertically, and poured the ink across the page, across the page, allowing it to run down the page in stripes. allowing it to run down the page in stripes. TECHNIQUES TECHNIQUES 70 70 > Fearless Drawing > Fearless Drawing
Drips Drips To create drips like these, load your brush with plenty of To create drips like these, load your brush with plenty of ink and then hold it vertically and very ink and then hold it vertically and very still above the page, still above the page, waiting for the ink waiting for the ink to fall off in to fall off in a drip. This creates more a drip. This creates more predictable and circular marks than flicking predictable and circular marks than flicking the wrist. the wrist. Wet-on-Wet Wet-on-Wet If you paint the paper first using your paintbrush loaded with If you paint the paper first using your paintbrush loaded with clean water, then drip ink on top, the mark will bleed and clean water, then drip ink on top, the mark will bleed and flow.Thistechnique—essent flow.Thistechnique—essentiallypainting iallypainting ontoan ontoan already- already- wet page rather than onto wet page rather than onto dry paper—is called wet-on-wet. dry paper—is called wet-on-wet.     WaxResist WaxResist Use a wax crayon, oil pastel, or candle to create marks and Use a wax crayon, oil pastel, or candle to create marks and then paint over with the ink. The wax repels the water, then paint over with the ink. The wax repels the water, allowing the marks to be seen clearly through the ink. allowing the marks to be seen clearly through the ink. Straw Blow Straw Blow Pour some ink onto the page and then hold a drinking straw Pour some ink onto the page and then hold a drinking straw above the ink and blow. This creates really beautiful organic above the ink and blow. This creates really beautiful organic lines, which remind me of lines, which remind me of tree branches. tree branches. HelloInk HelloInk    > > 71 71
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity
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Fearless Drawing. Illustrated Adventures for Overcoming Artistic Adversity

  • 2.
  • 4. www.Ebook777.com www.Ebook777.com     © 2014 by Quarry Books © 2014 by Quarry Books  Text © 2  Text © 2014 Kerry Lemon 014 Kerry Lemon Illustrations © 2014 Kerry Illustrations © 2014 Kerry Lemon Lemon First published in the United States of America in 2014 by First published in the United States of America in 2014 by Quarry Books, a member of  Quarry Books, a member of  Quayside Publishing Group Quayside Publishing Group 100 Cummings Center 100 Cummings Center Suite 406-L Suite 406-L Beverly, Massachusetts 01915-6101 Beverly, Massachusetts 01915-6101  Telephon  Telephone: (978) 282-9 e: (978) 282-9590 590 Fax: (978) 283-2742 Fax: (978) 283-2742 www.quarrybooks.com www.quarrybooks.com Visit Visit www.Craftside.Typepad.com www.Craftside.Typepad.com for a behind-the-scenes peek at our  for a behind-the-scenes peek at our crafty world! crafty world! All rights reserved. No part of this book may be reproduced in any form All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by the producer, the artists concerned, and no responsibility is accepted by the producer, publisher, or printer for any infringement of copyright or otherwise, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. inaccurate or missing information in a subsequent reprinting of the book. 10 9 8 7 6 5 4 3 2 1 10 9 8 7 6 5 4 3 2 1 ISBN: ISBN: 978-1-59253 978-1-59253-916-1 -916-1 Digital edition published in 2014 Digital edition published in 2014 eISBN: eISBN: 978-1-62788- 978-1-62788-038-1 038-1 Library of Library of Congress Cataloging-in-Public Congress Cataloging-in-Publication Data ation Data Lemon, Kerry. Lemon, Kerry.     Fearless drawing : 22 illustrated adventures for ov Fearless drawing : 22 illustrated adventures for overcoming artistic ercoming artistic adversity / Kerry Lemon. adversity / Kerry Lemon.     pages pages cm cm Free Free ebooks ebooks ==> ==> www www Ebook777 Ebook777 com com
  • 5.  1.  1. Drawing T Drawing Technique. 2. echnique. 2. Drawing Psycholo Drawing Psychological aspects. gical aspects. I. Tit I. Title. le.     NC730.L45 NC730.L45 2014 2014   741.2--dc23   741.2--dc23   2013048659   2013048659 Design: Design: ww  www.Studioink.co w.Studioink.co.uk  .uk  Printed in China Printed in China www.Ebook777.com www.Ebook777.com     FEARLESS FEARLESS             DRAWING DRAWING    
  • 6.     4 4 > Fearless Drawing > Fearless Drawing
  • 7.     Runningfooter Runningfooter    > > 5 5     CONTENTS CONTENTS     Introduction Introduction 6 6     1. Hello Pencil 1. Hello Pencil 8 8     2. Hello Eraser 2. Hello Eraser 16 16     3. Drawing as Pattern 3. Drawing as Pattern 22 22     4. Drawing as Frottage 4. Drawing as Frottage 28 28     5. Drawing with Scissors 5. Drawing with Scissors 36 36     6. Drawing as Collage 6. Drawing as Collage 42 42     7. Hello Brush 7. Hello Brush 46 46     8. Continuous-Line Drawing 8. Continuous-Line Drawing 52 52     9. Drawing with Wire 9. Drawing with Wire 56 56 10. Drawing as Print 10. Drawing as Print 62 62 11. Hello Ink 11. Hello Ink 68 68 12. Drawing as Space 12. Drawing as Space 74 74 13. Drawing Blind 13. Drawing Blind 78 78 14. Drawn to Sound 14. Drawn to Sound 82 82 15. Drawing Again and Again 15. Drawing Again and Again 88 88 16. Drawn to Mono Printing 16. Drawn to Mono Printing 94 94 17. Drawing as Stitch 17. Drawing as Stitch 98 98 18. Drawing f 18. Drawing from Y rom Your Imagination our Imagination 104 104 19. Drawn to Growth 19. Drawn to Growth 108 108 20. Print Masterclass 20. Print Masterclass 112 112
  • 8. 21. Drawing Masterclass 21. Drawing Masterclass 118 118 22. 22. Continuing Y Continuing Your our Adventure Adventure 124 124     Acknowledgments Acknowledgments 128 128     About the Author About the Author 128 128     6 6 > Fearless Drawing > Fearless Drawing This is lucky because I spend every This is lucky because I spend every day drawing. day drawing. I’m an artist and my drawings are I’m an artist and my drawings are commissioned internationa commissioned internationally for lly for lots of lots of clients including the clients including the Los Angeles Times  Los Angeles Times,, Sony Japan, Heineken, Swarovski, Sony Japan, Heineken, Swarovski, Harper’s Harper’s Bazaar  Bazaar , De Beers, , De Beers, Elle Elle Spain, Harrods, and Spain, Harrods, and Le Bon Marché. Le Bon Marché. I am completely addicted to the power I am completely addicted to the power and pleasure that drawing and pleasure that drawing affords me. affords me. Each day I get to start out with a blank Each day I get to start out with a blank sheet of paper and create ANYTHING I sheet of paper and create ANYTHING I can imagine. I feel the same way about can imagine. I feel the same way about drawing today as I did when I drawing today as I did when I was a was a child. The physical pleasure of sweeping child. The physical pleasure of sweeping marks, scrubbing felt-tipped pens, and marks, scrubbing felt-tipped pens, and smearing paint. Exploring, defining and smearing paint. Exploring, defining and creating the real and imagined world and creating the real and imagined world and capturing it all just how I see fit. capturing it all just how I see fit. There is nothing I would rather do. There is nothing I would rather do. When I tell people what I When I tell people what I do for a living do for a living a frequent response is a version of a frequent response is a version of “I wish I could draw!”, but there is so “I wish I could draw!”, but there is so much baggage and fear attached to much baggage and fear attached to it. it. I regularly teach workshops particularly I regularly teach workshops particularly focusing on people who feel nervous focusing on people who feel nervous drawing. Th drawing. The idea of being e idea of being able to draw able to draw is so attractive, and yet unless we already is so attractive, and yet unless we already feel confident in our abilities it is seen feel confident in our abilities it is seen as an unreachable goal. This is such a as an unreachable goal. This is such a this light, but rather as something which this light, but rather as something which only a few lucky only a few lucky people are naturally people are naturally talented at. This is rubbish. talented at. This is rubbish. We all started out naturally and We all started out naturally and unselfconsciously drawing in childhood; unselfconsciously drawing in childhood; enjoying the physical PROCESS of applying enjoying the physical PROCESS of applying paint or crayon to paper, unconcerned paint or crayon to paper, unconcerned with the finished artwork, the PRODUCT with the finished artwork, the PRODUCT of our creativity. The problem is that early of our creativity. The problem is that early on we are made to focus on the product, on we are made to focus on the product, the result of our labor. We are encouraged the result of our labor. We are encouraged to accurately capture the world around us, to accurately capture the world around us, and gradually our ability to draw is defined and gradually our ability to draw is defined by how close to reality the finished by how close to reality the finished product is product is. Most of . Most of us quickly us quickly become become disheartened. We spend miserable hours disheartened. We spend miserable hours in class attempting to draw a bowl of in class attempting to draw a bowl of fruit accurately, grinding endless erasers fruit accurately, grinding endless erasers to dust in a to dust in a miserable attempt to get miserable attempt to get it “right.” The pleasure of the process it “right.” The pleasure of the process becomes merely an academic battle becomes merely an academic battle to turn a three- to turn a three-dimensional world into dimensional world into two dimensions on your page. You are two dimensions on your page. You are I love drawing. I love drawing.
  • 9. shame. If we aspired to play the gu shame. If we aspired to play the guitar itar then the fact that then the fact that we were not already we were not already accomplished wouldn’t prevent us, we accomplished wouldn’t prevent us, we would just begin, practice, and from would just begin, practice, and from wobbly beginnings would improve. For wobbly beginnings would improve. For some reason drawing is not viewed in some reason drawing is not viewed in  judged  judged by yourself, pe by yourself, peers, and teac ers, and teachers, hers, and it is quickly and it is quickly determined who in determined who in the class can and can’t draw. It is this the class can and can’t draw. It is this environment that makes people stop environment that makes people stop drawing. It was that environment that drawing. It was that environment that nearly made me stop drawing! nearly made me stop drawing!     Introduction Introduction   > > 7 7  To  Today my drawings ar day my drawings are fairly e fairly representativ representative but include lots e but include lots of of wibbly wobbly lines, dodgy perspective, wibbly wobbly lines, dodgy perspective, and made up bits. I change the world and made up bits. I change the world however I choose, adding petals to however I choose, adding petals to a flower or removing entire floors of a flower or removing entire floors of buildings. I take pleasure in creating MY buildings. I take pleasure in creating MY version of the world version of the world through drawing. through drawing. Much of my work is fibs and fiddles. Much of my work is fibs and fiddles. Absorbed in the process I add zigzag Absorbed in the process I add zigzag tiles, stripes, and spots which in reality tiles, stripes, and spots which in reality do not exist. I am not a camera, the do not exist. I am not a camera, the work is not a carbon work is not a carbon copy of the world, copy of the world, but each drawing speaks of the world but each drawing speaks of the world whilst also speaking very loudly of me. whilst also speaking very loudly of me.  There is no one wa  There is no one way to draw and I am y to draw and I am wholly uninterested in trying to make wholly uninterested in trying to make you draw like me. I you draw like me. I want you to have the want you to have the confidence and freedom of expression confidence and freedom of expression to draw like you. Drawing is like to draw like you. Drawing is like hand- hand- writing. Only by embracing the marks writing. Only by embracing the marks that our own hands can make and that our own hands can make and exploring our own drawn response to the exploring our own drawn response to the real (and imagined) world will you find real (and imagined) world will you find can become your private refuge, a can become your private refuge, a place to hide place to hide away away, explore, create and , explore, create and do something just for you. By actively do something just for you. By actively seeking enjoyment in drawing seeking enjoyment in drawing (focusing (focusing on the process), we will begin to draw on the process), we will begin to draw regularly, and by drawing regularly regularly, and by drawing regularly our work (the product) will inevitably our work (the product) will inevitably improve! I want you to be inspired, to improve! I want you to be inspired, to experiment, and to discover or experiment, and to discover or recover recover your own drawing voice. It is designed your own drawing voice. It is designed to create a new to create a new relationship with your relationship with your drawing, a chance to reconnect and drawing, a chance to reconnect and appreciate your unique drawn line. appreciate your unique drawn line. Drawing brings me so much happiness Drawing brings me so much happiness every day and has completely influenced every day and has completely influenced the way I view the world and the way I view the world and observe observe my surroundings. It offers a freedom and my surroundings. It offers a freedom and power to create, escape, relax, indulge, power to create, escape, relax, indulge, and explore, and I am so excited to and explore, and I am so excited to share share my passion and enthusiasm with you. my passion and enthusiasm with you.
  • 10. your own way forward. your own way forward. I have written this book to make I have written this book to make you fall you fall in love with the process of drawing again, in love with the process of drawing again, to rediscover the physical pleasure and to rediscover the physical pleasure and  joy of putting pencil to page  joy of putting pencil to page. Drawing . Drawing     8 8 > Fearless Drawing > Fearless Drawing           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
  • 11.     Hello Pencil Hello Pencil     This book is all about discovering  This book is all about discovering your own unique your own unique drawing style—the dashes, scribbles, strokes, and drawing style—the dashes, scribbles, strokes, and dots that you dots that you favor. favor.To do this, I want to equip you To do this, I want to equip you with a toolbox full of possible marks which you can with a toolbox full of possible marks which you can select from and apply select from and apply at will. In time, your favored at will. In time, your favored marks and approaches will autograph your drawings marks and approaches will autograph your drawings as uniquely yours. as uniquely yours.  This book has been designed f  This book has been designed for you to draw directly or you to draw directly into it, allowing you to keep into it, allowing you to keep all your drawings in one all your drawings in one place, and in time to serve as a record through the place, and in time to serve as a record through the chapters and the progress you have made. For this chapters and the progress you have made. For this first adventure the only thing first adventure the only thing you’ll need is a pencil. you’ll need is a pencil. Pencils vary in hardness from around 9B (very soft Pencils vary in hardness from around 9B (very soft leaving a thick, black stroke) up to 9H (very hard leaving a thick, black stroke) up to 9H (very hard leaving a thin, pale gray stroke), and everything in leaving a thin, pale gray stroke), and everything in buy the very best art materials you can afford. Don’t buy the very best art materials you can afford. Don’t be distracted by the giant tins of cheap pencils— be distracted by the giant tins of cheap pencils— invest in one really good 2B and invest in one really good 2B and a metal sharpener. a metal sharpener. Please don’t just read through this chapter as you Please don’t just read through this chapter as you won’ won’t create a personal language t create a personal language of drawing through of drawing through theoretical study. Instead, theoretical study. Instead, be brave, be brave, take part, take part, try, try, begin. begin. So here we are then, time to start. So here we are then, time to start.  T  Take a deep breath and grab yourself a penci ake a deep breath and grab yourself a pencil... l...   9 9
  • 12. between. At school you might have had between. At school you might have had an HB, the an HB, the standard pencil for writing, which is right in the standard pencil for writing, which is right in the middle. But for drawing I recommend you start out middle. But for drawing I recommend you start out with a 2B as with a 2B as it’s flexible and can be manipulated to it’s flexible and can be manipulated to create a wide range of effects. Remember to always create a wide range of effects. Remember to always     10 10 > Fearless Drawing > Fearless Drawing GRIP GRIP  T  To begin, we’ o begin, we’re going to explor re going to explore your pencil grip, r e your pencil grip, requiring nothing more c equiring nothing more challenging hallenging than writing your own name. Have a look at how you than writing your own name. Have a look at how you are naturally holding your pencil are naturally holding your pencil and write your name below. and write your name below. Name Name Name (holding pencil high up) Name (holding pencil high up) Now try Now try writing your name with writing your name with your “wro your “wrong” ng”hand, which is likely hand, which is likely to look rather alien to look rather alien compared to your compared to your usual handwriting—askew, uncontrolled, and unfamiliar. usual handwriting—askew, uncontrolled, and unfamiliar. Next, hold the pencil really high u Next, hold the pencil really high up, right at the top end p, right at the top end and write your name again. and write your name again. Note how this time you haven’t had as much control or applied as much pressure, so Note how this time you haven’t had as much control or applied as much pressure, so you’ve now got a paler “wobbly” version of your name. you’ve now got a paler “wobbly” version of your name.
  • 13. Name (“wrong” hand) Name (“wrong” hand)         Hello Pencil > Hello Pencil > 11 11 Next let's look at the angle we apply the pencil to the page. Next let's look at the angle we apply the pencil to the page. With a newly sharpened point, hold the pencil straight and vertical and write your name. With a newly sharpened point, hold the pencil straight and vertical and write your name.  These are all techni  These are all techniques I regularly employ in m ques I regularly employ in my drawings. y drawings.When my drawin When my drawings start to gs start to look a little hard and tight, look a little hard and tight, I can find a I can find a more relaxed whimsical line by swapping hands, more relaxed whimsical line by swapping hands, adjusting the angle, or changing how high up adjusting the angle, or changing how high up I hold my pencil. We will go on to explore I hold my pencil. We will go on to explore Name (pencil tip) Name (pencil tip)     Name (side of point) Name (side of point)     Again, laying the pencil horizontally, apply the side of the point to create a broad line Again, laying the pencil horizontally, apply the side of the point to create a broad line and write your name again. and write your name again.
  • 14. lots of different marks, but remember the freedom and lots of different marks, but remember the freedom and variation you can find just in variation you can find just in your pencil grip. your pencil grip.     12 12 > Fearless Drawing > Fearless Drawing PRESSURE AND SPEED PRESSURE AND SPEED How hard you press your pencil against the paper will have a How hard you press your pencil against the paper will have a dramatic effect on the quality and dramatic effect on the quality and atmosphere of line you create. atmosphere of line you create. Awareness of pressure will allow you to manipulate your drawn lines however you choose to articulate the object you are drawing, Awareness of pressure will allow you to manipulate your drawn lines however you choose to articulate the object you are drawing, or to evoke a particular mood in your work. or to evoke a particular mood in your work. Now for a Now for a lighter touch, again draw a lighter touch, again draw a horizontal line, but this horizontal line, but this time apply the tiniest amount of time apply the tiniest amount of pressure you can manage pressure you can manage Let’s begin with a heavy pressure line. Press your pencil AS Let’s begin with a heavy pressure line. Press your pencil AS HARD AS YOU CAN against the page and slowly draw one HARD AS YOU CAN against the page and slowly draw one longhorizontalline. longhorizontalline. Now repeat, but this time draw the line as fast as you can. Now repeat, but this time draw the line as fast as you can. The faster line is probably not as straight as the slow one, and The faster line is probably not as straight as the slow one, and may taper off at the end. You can actually see the speed taken may taper off at the end. You can actually see the speed taken recorded in both lines. These heavy lines will look definite, recorded in both lines. These heavy lines will look definite, thick,dark, thick,dark, strong,solid,andconfident. strong,solid,andconfident. Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours:
  • 15. and draw very slowly. and draw very slowly. Yours: Yours:     Hello Pencil > Hello Pencil > 13 13 Now draw the line Now draw the line again, applying the same faint again, applying the same faint pressure pressure, , but this time very fast. but this time very fast. It’s so hard to maintain a consistent pressure, and therefore It’s so hard to maintain a consistent pressure, and therefore width and style of line when drawing quickly, but again this width and style of line when drawing quickly, but again this can be manipulated for use when we choose. These lighter can be manipulated for use when we choose. These lighter lines will look thin, light, quiet, soft, and unsure. lines will look thin, light, quiet, soft, and unsure. Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours: I really like I really like to manipulate a varied pressure line with my to manipulate a varied pressure line with my pencil, having lines that move from hard and pencil, having lines that move from hard and thick to soft and thick to soft and lightbyadjusting lightbyadjusting thepressureapplied. thepressureapplied. I also like to make my line look more uncertain. By shaking I also like to make my line look more uncertain. By shaking my hand slightly while I hold the pencil just above the page, my hand slightly while I hold the pencil just above the page,
  • 16. Yours: Yours: I allow the pencil to lose and find the sur I allow the pencil to lose and find the surface of the page as I face of the page as I draw, creating an interrupted “lost and found” line like this. draw, creating an interrupted “lost and found” line like this. My personal preference is always for a My personal preference is always for a nervous, stuttering nervous, stuttering line and a line and a delicate touch. As my confidence with drawing has delicate touch. As my confidence with drawing has increased, I have to work hard to keep this line in my work. increased, I have to work hard to keep this line in my work.     14 14 > Fearless Drawing > Fearless Drawing SHADING SHADING Shading is used to describe Shading is used to describe light and shadow. Look up now and try light and shadow. Look up now and try to determine to determine where the light and dark where the light and dark areas of your view are. This might be hard to see since we are areas of your view are. This might be hard to see since we are distracted by colors and textures, so screw up distracted by colors and textures, so screw up your eyes and squint. This will cancel out your eyes and squint. This will cancel out much of the additional information allowing you to see more clearly where the lightest much of the additional information allowing you to see more clearly where the lightest and darkest areas are. For example if a and darkest areas are. For example if a lamp is shone against the left-hand side of lamp is shone against the left-hand side of a a football, then the lightest side will be the left football, then the lightest side will be the left and the side in shadow, the right side, and the side in shadow, the right side, will will be the darkest. be the darkest. I often use shading, stylistically adding dots at whim to provide areas of dark interest, I often use shading, stylistically adding dots at whim to provide areas of dark interest, drawing the eye to particular areas. I never enjoyed the endless academic lessons where drawing the eye to particular areas. I never enjoyed the endless academic lessons where we were supposed to accurately and consistently depict light and shadow, and so I we were supposed to accurately and consistently depict light and shadow, and so I have settled on a mixture of real and imagined. My shading is informed by reality but have settled on a mixture of real and imagined. My shading is informed by reality but supplemented by my imagination; I add light and shadow wherever I choose. I’m not supplemented by my imagination; I add light and shadow wherever I choose. I’m not a camera and so I can create my own version of a world which can be as close or as a camera and so I can create my own version of a world which can be as close or as opposed to reality as I choose. You, in turn, can shade as close or as opposed to reality as opposed to reality as I choose. You, in turn, can shade as close or as opposed to reality as you desire, combining both real and imagined light and dark to create the effect you seek. you desire, combining both real and imagined light and dark to create the effect you seek. There are lots of different ways to shade. My There are lots of different ways to shade. My preference is the use of preference is the use of lots of tiny dots packed lots of tiny dots packed closely together for the darker areas and further closely together for the darker areas and further apart for the apart for the light areas, so let’s start with dots. light areas, so let’s start with dots. Mine: Mine:
  • 17. You can see variation in the size of the dots, You can see variation in the size of the dots, adding both colored and empty circles for adding both colored and empty circles for added interest. Use the space below each of added interest. Use the space below each of these shading examples to try for these shading examples to try for yourself and yourself and work out which method you prefer. work out which method you prefer. Yours: Yours:     Hatching is another way to shade, creating Hatching is another way to shade, creating parallel lines close together for darker areas, parallel lines close together for darker areas, and further apart for and further apart for the light sections. the light sections. Colored shading allows for smooth graduated Colored shading allows for smooth graduated tones, pressing lightly for the palest gray and tones, pressing lightly for the palest gray and hard for black. It takes practice to smoothly hard for black. It takes practice to smoothly move between dark and light areas without move between dark and light areas without Cross-hatching allows you to create more Cross-hatching allows you to create more depth. You can cross diagonally, vertically, and depth. You can cross diagonally, vertically, and horizontally, adding more and more lines at horizontally, adding more and more lines at different angles to create the darkest tones. different angles to create the darkest tones. Here I adjusted the pressure used to create paler Here I adjusted the pressure used to create paler lines and darker lines as lines and darker lines as required. required. Mine: Mine: Yours: Yours: Mine: Mine: Yours: Yours: Mine: Mine: Hello Hello Pencil Pencil > > 15 15
  • 18. creating harsh lines, but it s a fun exercise to do creating harsh lines, but it s a fun exercise to do on the phone, commuting, or in front of the TV on the phone, commuting, or in front of the TV and you will quickly improve. and you will quickly improve. Yours: Yours:           T       T       U       U       R       R       E       E
  • 19.       A       A       D       D       V       V       E       E                   I used to think of the eraser as a miserable partner I used to think of the eraser as a miserable partner to the lovely pencil, synonymous with mistakes and to the lovely pencil, synonymous with mistakes and corrections, of being stuck and gett corrections, of being stuck and getting grumpy. But ing grumpy. But no more. I’ve always favored the line, but in teaching no more. I’ve always favored the line, but in teaching I’ve watched many, many people respond to and I’ve watched many, many people respond to and enjoy a more sculptural approach, playing with enjoy a more sculptural approach, playing with depth, pushing the page backward and pulling it depth, pushing the page backward and pulling it forward by adding darkness with the pencil and light forward by adding darkness with the pencil and light with the eraser. It’s an exciting technique and a great with the eraser. It’s an exciting technique and a great way in for those who struggle to make a start when way in for those who struggle to make a start when faced with a blank page. faced with a blank page.  This c  This chapter hapter will will make y make you see ou see your e your eraser raser not as not as a tool a tool for correction, but as another drawing medium. It’s an for correction, but as another drawing medium. It’s an opportunity to use your eraser in collaboration with opportunity to use your eraser in collaboration with your pencil to create a wide range of marks on your your pencil to create a wide range of marks on your page. As you work through the book, you will start to page. As you work through the book, you will start to Again, I encourage you to do the exercises, as it’s only Again, I encourage you to do the exercises, as it’s only by trying out all the different techniques that you’ll by trying out all the different techniques that you’ll find your own personal approach. When you started find your own personal approach. When you started this book your drawing toolbox (the techniques you this book your drawing toolbox (the techniques you had stored away ready to use) may have been nearly had stored away ready to use) may have been nearly empty, or perhaps full but a bit rusty! By following each empty, or perhaps full but a bit rusty! By following each chapter and engaging in the exercises for the different chapter and engaging in the exercises for the different techniques, you will emerge with a vast number of techniques, you will emerge with a vast number of options when tackling your future options when tackling your future drawings. drawings. Hello Eraser Hello Eraser 17 17
  • 20. favor some techniques over others; this is a natural favor some techniques over others; this is a natural process in helping you to find your own drawing style. process in helping you to find your own drawing style. Remember, you don’t have to like all the techniques, Remember, you don’t have to like all the techniques, but it’s really important to try them all so that you can but it’s really important to try them all so that you can find your own personal approach to drawing. find your own personal approach to drawing.     18 18 > Fearless Drawing > Fearless Drawing MATERIALS MATERIALS  There are a we  There are a wealth of different eras alth of different erasers to buy, all s ers to buy, all shapes, sizes hapes, sizes, and textures. Many peo , and textures. Many people prefer ple prefer kneadable erasers, rectangles of very pliable rubber kneadable erasers, rectangles of very pliable rubber (much like Plasticine or Blu-Ta (much like Plasticine or Blu-Tack) that tend to ck) that tend to be boxed and can be be boxed and can be molded to a point, sharp tip, or complex shape for molded to a point, sharp tip, or complex shape for precise erasing in tight precise erasing in tight spots. I always choose a soft one (rather than the spots. I always choose a soft one (rather than the really hard plastic ones), but it’s good to try really hard plastic ones), but it’s good to try a few a few to see which you like best. to see which you like best. For now For now, use whatever eraser you have on hand; it , use whatever eraser you have on hand; it will serve its purpose, will serve its purpose, and then in time you can and then in time you can replace old materials with those you prefer for future use. replace old materials with those you prefer for future use. APPLE APPLE I’m going to show you my step-by-step approach to drawing with an eraser. Here I chose an apple, I’m going to show you my step-by-step approach to drawing with an eraser. Here I chose an apple, as they have a really simple silhouette, which makes for a nice, easy star as they have a really simple silhouette, which makes for a nice, easy start for us. A t for us. A 4B or 6B 4B or 6B would be would be good for this, but if you good for this, but if you don’t have these, you can make do with your 2B. Go don’t have these, you can make do with your 2B. Go slowly and take your slowly and take your time to build up the time to build up the color or some hard pencil marks will likely color or some hard pencil marks will likely show. show. 1. 1. Color in your page, keeping  Color in your page, keeping an even pressure and avoiding any harsh pencil strokes. an even pressure and avoiding any harsh pencil strokes. 2. 2. Continue coloring until the page is  Continue coloring until the page is completely covered. completely covered. 3. 3. Use your eraser to  Use your eraser to block out the silhouette; here it’s nice and easy since our block out the silhouette; here it’s nice and easy since our apple is a circle. apple is a circle. 4. 4. Use your pencil to  Use your pencil to darken around the white edge. Try shading from the dark darken around the white edge. Try shading from the dark edge back into the edge back into the
  • 21. mid gray. mid gray. 5. 5. Pick out the apple  Pick out the apple stem with your eraser and add stem with your eraser and add some shading to your apple. Remember to some shading to your apple. Remember to leave a thin white space where two dark leave a thin white space where two dark areas meet to prevent your apple from bleeding into areas meet to prevent your apple from bleeding into the background. the background. 6. 6. Use your eraser to  Use your eraser to add more white and your pencil to add add more white and your pencil to add more gray until you get the effect more gray until you get the effect you’r you’re after. Here I added more definition and detail with the e after. Here I added more definition and detail with the speckled skin. speckled skin.     Hello Eraser > Hello Eraser > 19 19 1. 1. 3. 3. 5. 5. 2. 2. 4. 4. 6. 6.
  • 22.     20 20 > Fearless Drawing > Fearless Drawing PRACTICE PRACTICE Okay, your turn. Use Okay, your turn. Use these pages to practice these pages to practice shading. (Or, if you’ shading. (Or, if you’d rather, you can always d rather, you can always complete this task on separate sheets of paper and complete this task on separate sheets of paper and then glue them into your book.) then glue them into your book.) If apples aren’t your thing, try your favorite mug, your toothbrush, or a shoe. Lay If apples aren’t your thing, try your favorite mug, your toothbrush, or a shoe. Lay down down a smooth, gray ground ready for rubbing out. Use a smooth, gray ground ready for rubbing out. Use a consistent pressure and color in a consistent pressure and color in slowly and carefully. Begin by just erasing the rough shape, and then play with slowly and carefully. Begin by just erasing the rough shape, and then play with adding adding and subtracting detail and tone until you get the effect you like. and subtracting detail and tone until you get the effect you like.
  • 23.     Hello Eraser > Hello Eraser > 21 21 TIPS TIPS   Oncefinished, giveitaspray ofcheap  Oncefinished, giveitaspray ofcheap hairspray tofix yourdrawing intoplaceand preventitfrom smudging. hairspray tofix yourdrawing intoplaceand preventitfrom smudging.   Atthispoint, try not  Atthispoint, try not toworry abouthow toworry abouthow yourfinished drawingsarelooking; rememberyouarejustbeginning! yourfinished drawingsarelooking; rememberyouarejustbeginning! Bekind toyourselfand p Bekind toyourselfand push ahead with theknowledgethat ush ahead with theknowledgethat ifyoukeep practicing youWILLgetbetter. ifyoukeep practicing youWILLgetbetter.   Thischapterexploredatonalapp  Thischapterexploredatonalapproachtodrawing,whereasthefirst roachtodrawing,whereasthefirst wasmoreconcernedwithline.Youmight wasmoreconcernedwithline.Youmight already havenoticed apreferenceforoneofthe already havenoticed apreferenceforoneofthe twotechniques. I’ twotechniques. I’m alwaysmoredrawn toline, butenjoy m alwaysmoredrawn toline, butenjoy introducing atonal approach intosomeofmy drawingstoadd introducing atonal approach intosomeofmy drawingstoadd interestand contrast. interestand contrast.
  • 24.     22 22 > Fearless Drawing > Fearless Drawing           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
  • 25.     23 23 Drawing as Drawing as    Pattern Pattern I LOVE pattern and find it deeply I LOVE pattern and find it deeply inspiring. I add it inspiring. I add it to all my drawings, even inventing it where it fails to all my drawings, even inventing it where it fails to exist. I find constructing areas of pattern in my to exist. I find constructing areas of pattern in my drawings deeply meditative; it is a drawings deeply meditative; it is a relaxing, repetitive, relaxing, repetitive, simple task that allows me to become completely simple task that allows me to become completely absorbed in my drawing (and completely u absorbed in my drawing (and completely unaware naware of the time!). For me, pattern is play. It of the time!). For me, pattern is play. It is the closest is the closest thing to doodling I have found, and it thing to doodling I have found, and it allows me to allows me to take an imaginative, creative, and deeply personal take an imaginative, creative, and deeply personal approach to my work. approach to my work. We are surrounded by a vast number of inspiring We are surrounded by a vast number of inspiring patterns every day; think of a brick wall, braided patterns every day; think of a brick wall, braided them. Because I draw every day, this has had an them. Because I draw every day, this has had an enormous effect on the way I see. I really look at my enormous effect on the way I see. I really look at my surroundings; I’m drawn to pattern so I notice t surroundings; I’m drawn to pattern so I notice the tiles he tiles on a roof, leaves on a fern, or on a roof, leaves on a fern, or stripes on a shir stripes on a shirt. When t. When you begin to draw regularly you begin to draw regularly you will become aware you will become aware of a shift of a shift in how you look at things. Perhaps you’ll feel in how you look at things. Perhaps you’ll feel drawn to observing texture or light and shade, but drawn to observing texture or light and shade, but you will certainly change the way you see your world. you will certainly change the way you see your world.  This chapter is completely about pla  This chapter is completely about play. I’l y. I’ll give you a l give you a few ideas to copy and get started with, but fill these few ideas to copy and get started with, but fill these pages with many more of your pages with many more of your own ideas. Use this own ideas. Use this book as a safe private place to document all your book as a safe private place to document all your
  • 26. hair, parquet flooring, and all the wonderful hair, parquet flooring, and all the wonderful patterned textiles in your patterned textiles in your home and wardrobe. Have home and wardrobe. Have a look around the space a look around the space you are in now—there you are in now—there will be a dazzling array of patterns if you look for will be a dazzling array of patterns if you look for experiments, which you can refer to as your jo experiments, which you can refer to as your journey urney continues. Just get started and doodle! continues. Just get started and doodle!     24 24 > Fearless Drawing > Fearless Drawing
  • 27.     DrawingasPattern DrawingasPattern    > > 25 25 PATTERN PRACTICE PATTERN PRACTICE Use this page to practice Use this page to practice different patterns. If you can find some different patterns. If you can find some colored pencils, that would be really fun! Remember to colored pencils, that would be really fun! Remember to keep keep your sharpener close at hand for a your sharpener close at hand for a nice, sharp point. nice, sharp point. Circles Circles Stripes Stripes Grids Grids Triangles Triangles Swirls Swirls Zigzags Zigzags Waves Waves Squares Squares Practice doodling these patterns while Practice doodling these patterns while you’ you’re in meetings, on re in meetings, on the telephone, or in the telephone, or in front of the T front of the TV. Gradually, pleasing repetitive V. Gradually, pleasing repetitive shapes and patterns will emerge. shapes and patterns will emerge.
  • 28.     RHINOS RHINOS I drew the outline of this rhino while watching the animal at a I drew the outline of this rhino while watching the animal at a zoo in the south of England. It was a freezing cold day and once zoo in the south of England. It was a freezing cold day and once I’d completed the basic outline I retreated to a cafe to fill the I’d completed the basic outline I retreated to a cafe to fill the interior with glorious, imagined patterns. I worked slowly with no interior with glorious, imagined patterns. I worked slowly with no preco preconceiv nceived plan, just building it up ed plan, just building it up gradually while drinking gradually while drinking a a much-needed hot chocolate! much-needed hot chocolate! As you continue with the exercises in this book, As you continue with the exercises in this book, watch for and watch for and record interesting patterns that you see record interesting patterns that you see around you—sketch around you—sketch the lines in the sur the lines in the surface of a face of a wood table, the weave of a sweater, wood table, the weave of a sweater, or the arrangement of the seeds in a pinecone. If this book is or the arrangement of the seeds in a pinecone. If this book is too big to carry too big to carry with you, try a with you, try a small sketchbook—even scraps small sketchbook—even scraps of paper or a of paper or a receipt will do. The important thing is to make a receipt will do. The important thing is to make a little time each day to really look at little time each day to really look at the world around you and the world around you and enjoy creating small drawings, doodles, or scribbles. Consider enjoy creating small drawings, doodles, or scribbles. Consider collecting your pattern doodles in a single sk collecting your pattern doodles in a single sketchbook that you etchbook that you can refer to later can refer to later on for inspiration. on for inspiration. 26 26 > Fearless Drawing > Fearless Drawing
  • 29.     TIPS TIPS     Begin by defining some anatomical outlin Begin by defining some anatomical outlines within the basic shape of es within the basic shape of theanimal. theanimal.     Splitting up the large interior into smaller sections will make the Splitting up the large interior into smaller sections will make the patterning easiertotackle. patterning easiertotackle.     Repeat different patterns as you move around the space to create Repeat different patterns as you move around the space to create areasthatrelatetoeach other. Forexample, I repeated arowofcircular areasthatrelatetoeach other. Forexample, I repeated arowofcircular patternstodefine patternstodefine therhino’ therhino’sribs. sribs. Now it’s your turn! Begin with the rhino outline and fill it in with Now it’s your turn! Begin with the rhino outline and fill it in with patterns and shapes patterns and shapes DrawingasPattern DrawingasPattern    > > 27 27
  • 31.       A       A       D       D       V       V       E       E                   Drawing as Drawing as    Frottage Frottage Frottage is essentially a posh way o Frottage is essentially a posh way of saying f saying “rubbing”—it’ “rubbing”—it’s taking a s taking a textured surf textured surface, placing a ace, placing a sheet of paper on the top, and using a soft pencil, sheet of paper on the top, and using a soft pencil, crayon, charcoal, or pastel to color over the paper crayon, charcoal, or pastel to color over the paper and and reproduce the texture below. It is a reproduce the texture below. It is a great introduction great introduction to printmaking as to printmaking as it’s quick, clean(ish!), and requires it’s quick, clean(ish!), and requires only basic materials. only basic materials.  There’  There’s a long history of using this technique s a long history of using this technique (check (check out the master Max Ernst), and in our pursuit of out the master Max Ernst), and in our pursuit of a full toolbox of ways to create drawings, this is a a full toolbox of ways to create drawings, this is a fun and inventive tool. Frottage offers a chance to fun and inventive tool. Frottage offers a chance to gain a real sense of place that particularly appeals gain a real sense of place that particularly appeals concrete pavements in Barcelona, Spain, the concrete pavements in Barcelona, Spain, the trees trees in New Hampshire, United States, and the railings in New Hampshire, United States, and the railings on bridges in on bridges in Paris, France Paris, France. These rubbings bring me . These rubbings bring me straight back to the place, far more powerfully than a straight back to the place, far more powerfully than a photograph or photograph or purchased souvenir. purchased souvenir. Frottage is more than a little addictive; you Frottage is more than a little addictive; you quickly quickly begin to assess your surroundings based on texture begin to assess your surroundings based on texture alone, seeing with your sense of touch and alone, seeing with your sense of touch and analyzing analyzing each object for the print each object for the print it can offer. It’s a good idea it can offer. It’s a good idea to have a file folder in which to to have a file folder in which to store all your rubbings store all your rubbings as you never know when your drawing may cry as you never know when your drawing may cry out for just that texture you captured in an earlier out for just that texture you captured in an earlier 29 29
  • 32. to those, like me, who are attracted to texture and to those, like me, who are attracted to texture and pattern. When traveling, I always like to include pattern. When traveling, I always like to include frottage in my sketchbooks as it enables me to take frottage in my sketchbooks as it enables me to take home a real piece of the place visited: the textured home a real piece of the place visited: the textured frottage. An even better idea is to be diligent about frottage. An even better idea is to be diligent about taking notes. On the back of taking notes. On the back of each frottage, write each frottage, write down where the rubbing was made and the subject down where the rubbing was made and the subject so you will be able to re-create it when needed. so you will be able to re-create it when needed.     Softgraphitepencil Softgraphitepencil Soft graphite pencils (6B–9B will give you the Soft graphite pencils (6B–9B will give you the best results) offer a really good, clear print. best results) offer a really good, clear print. Again, I find the drawing point on pencils to be Again, I find the drawing point on pencils to be a little small for rubbing, so I tend to favor the a little small for rubbing, so I tend to favor the short, chubby woodless pencils or bars. Visit an short, chubby woodless pencils or bars. Visit an Wax crayon Wax crayon Wax crayons are perfect for creating r Wax crayons are perfect for creating rubbings. ubbings. Usually made from dyed paraffin wax, crayons Usually made from dyed paraffin wax, crayons provide a clean, stable print of provide a clean, stable print of your surface. your surface. I find the drawing point on crayons to be a little I find the drawing point on crayons to be a little small for large areas of frottage, so I tend to peel small for large areas of frottage, so I tend to peel off the paper wrapper and use the side of the off the paper wrapper and use the side of the crayon instead. crayon instead. Wax crayon rubbing Wax crayon rubbing 30 30 > Fearless Drawing > Fearless Drawing MATERIALS MATERIALS
  • 33. art supply shop (or look online) to see the range art supply shop (or look online) to see the range available. Colored pencils are too hard for large available. Colored pencils are too hard for large rubbings, but perfect for small rubbings, but perfect for small items like coins. items like coins. Graphitepencilrubbing Graphitepencilrubbing     DrawingasFrottage DrawingasFrottage    > > 31 31 Charcoal Charcoal Charcoal is created from slow burning wood, Charcoal is created from slow burning wood, which creates a drawing medium of carbon which creates a drawing medium of carbon and ash. It is soft, brittle, and VERY smudgy— and ash. It is soft, brittle, and VERY smudgy— whenever I use charcoal I get completely covered whenever I use charcoal I get completely covered in the stuff. I favor vine charcoal, which is usually in the stuff. I favor vine charcoal, which is usually made from willow or linden. I like the skinny made from willow or linden. I like the skinny wobbly black sticks of varying thicknesses, and wobbly black sticks of varying thicknesses, and  just e  just embrace mbracethe me the mess th ss that co at comes w mes with it ith it. Y . You ou can also get compressed charcoal, which includes can also get compressed charcoal, which includes a binder to make it less crumbly, or a charcoal a binder to make it less crumbly, or a charcoal pencil where the compressed charcoal is encased pencil where the compressed charcoal is encased in wood—take your pick! in wood—take your pick! Charcoalrubbing Charcoalrubbing Soft (chalk) pastel Soft (chalk) pastel Soft pastels—sticks of pure powdered pigment Soft pastels—sticks of pure powdered pigment witha witha binder—arebasicallythear binder—arebasicallytheartist’ tist’sversion sversion of pavement chalk and come in of pavement chalk and come in a beautiful, a beautiful, dizzying array of shades. dizzying array of shades. Soft pastel rubbing Soft pastel rubbing Oil pastel Oil pastel Oil pastels come in stick form and use the same Oil pastels come in stick form and use the same pigments as soft pastels, but with an pigments as soft pastels, but with an oil binder oil binder
  • 34. Oilpastelrubbing Oilpastelrubbing to create a rich, to create a rich, buttery crayon. Pastels are softer buttery crayon. Pastels are softer in texture and richer in color than wax crayons. in texture and richer in color than wax crayons.     32 32 > Fearless Drawing > Fearless Drawing FROTTAGE AROUND THE HOUSE FROTTAGE AROUND THE HOUSE  Ta  Take the opportunity now to explor ke the opportunity now to explore your home. Grab a sta e your home. Grab a stack of printer paper and a selection o ck of printer paper and a selection of different drawing t f different drawing tools ools and take and take rubbings wherever your eyes land. Textured wallpaper rubbings wherever your eyes land. Textured wallpaper, kitchen , kitchen surfaces, wood, tiles, ceilings, radiators, draining surfaces, wood, tiles, ceilings, radiators, draining boards, furniture, and carvings all create fantastic textures. Open the cupboards and empty boards, furniture, and carvings all create fantastic textures. Open the cupboards and empty your pockets—try colanders, your pockets—try colanders, forks, keys, and coins. forks, keys, and coins. Now select your favorite pieces, cut them out, and Now select your favorite pieces, cut them out, and stick them here. Make a stick them here. Make a note of what drawing tools you used (crayon, note of what drawing tools you used (crayon, pastel, pencil, etc.) and what you pastel, pencil, etc.) and what you used to create each used to create each texture (coins, tile floor, cloth-bound books, etc.). texture (coins, tile floor, cloth-bound books, etc.).
  • 35.     DrawingasFrottage DrawingasFrottage    > > 33 33 TIPS TIPS     Don’t forget to spray your pencil Don’t forget to spray your pencil, charcoal, and pastel rubbings with cheap hairspray to stop them , charcoal, and pastel rubbings with cheap hairspray to stop them smudging and fix them intoplace. smudging and fix them intoplace.     Many different media are wonderful for creating rubbings. Many different media are wonderful for creating rubbings.The ones chosen here are all black, but The ones chosen here are all black, but rememberyoucan chooseany coloryoulike! rememberyoucan chooseany coloryoulike!     Buy only one of each pencil, crayon Buy only one of each pencil, crayon, charcoal, or pastel to try out before you commit to buying , charcoal, or pastel to try out before you commit to buying a full box. a full box.
  • 36.     34 34 > Fearless Drawing > Fearless Drawing FROTTAGE OUTSIDE FROTTAGE OUTSIDE Now venture outside with a stack of Now venture outside with a stack of cheap printer paper and your drawing tools. Explore a wide range of cheap printer paper and your drawing tools. Explore a wide range of trees, looking at trees, looking at the variety of textures from different species. Turn a leaf upside down to expose the veins and the variety of textures from different species. Turn a leaf upside down to expose the veins and create a beautiful, delicate create a beautiful, delicate rubbing. Look beyond nature. Drain covers, concrete floors, brick rubbing. Look beyond nature. Drain covers, concrete floors, brick and stone walls, keyholes, and and stone walls, keyholes, and mailboxes are all waiting mailboxes are all waiting to be printed. to be printed. Return home and spread out your Return home and spread out your rubbings. Which are your favorites rubbings. Which are your favorites? What were your successes? Cut them out and ? What were your successes? Cut them out and add add them here. Again make a note of the medium and textured surface used so you can easily re-create them. them here. Again make a note of the medium and textured surface used so you can easily re-create them.
  • 37.     DrawingasFrottage DrawingasFrottage    > > 35 35 TIPS TIPS     Bring a shoulder bag or clipboard to store your drawings as you collect rubbings Bring a shoulder bag or clipboard to store your drawings as you collect rubbings —youwill quickly run outofhands! —youwill quickly run outofhands!     Find time to search for Max Ernst online and explore his mastery of the technique. Find time to search for Max Ernst online and explore his mastery of the technique. Continue to create rubbings, making notes of new Continue to create rubbings, making notes of new textures and places you’d like to capture textures and places you’d like to capture using using frottage. Keep a few sheets of frottage. Keep a few sheets of paper and a wax paper and a wax crayon in your bag—you never know when the crayon in your bag—you never know when the perfect texture will appear, ready for rubbing! perfect texture will appear, ready for rubbing!
  • 39.       A       A       D       D       V       V       E       E     We are exploring drawing in its widest We are exploring drawing in its widest sense, sense, which means using anything that makes a which means using anything that makes a mark— mark— even scissors. It’s important to try a vast array of even scissors. It’s important to try a vast array of possible techniques to find the one possible techniques to find the one method, or the method, or the combination of methods, that really suits you. combination of methods, that really suits you.  The master of drawing with scissors was wi  The master of drawing with scissors was without thout question Matisse. In the last four years of his life question Matisse. In the last four years of his life he was confined to his bed, and he was confined to his bed, and created his iconic created his iconic drawings using sheets of painted drawings using sheets of painted paper from which paper from which he cut wonderful he cut wonderful freehand images. This skill, like every freehand images. This skill, like every other, requires practice. It will take time for your other, requires practice. It will take time for your eyes eyes and hands to learn and hands to learn to work together, but the only way to work together, but the only way too much about the final product. Be kind and have too much about the final product. Be kind and have patience with yourself, allowing yourself to have a patience with yourself, allowing yourself to have a go of it, knowing that disappointments and great go of it, knowing that disappointments and great successes will all be part of your journey. successes will all be part of your journey. Drawing with scissors is a great exercise and it Drawing with scissors is a great exercise and it makes makes you really look at the ou you really look at the outline of objects. Find yourself tline of objects. Find yourself a pair of scissors, including a big a pair of scissors, including a big pair for speed and pair for speed and then a smaller pair (nail scissors or then a smaller pair (nail scissors or similar) for the similar) for the detailed bits. Use colored paper if you detailed bits. Use colored paper if you have it, but have it, but if not then just prepare some sheets of paper by if not then just prepare some sheets of paper by shading them with graphite or colored pencils. shading them with graphite or colored pencils. Drawing with Drawing with    Scissors Scissors 37 37
  • 40. to become good at something is to start doing it and to become good at something is to start doing it and keep doing it. We need to really focus on enjoying keep doing it. We need to really focus on enjoying the process, the sound and sensation of your scissors the process, the sound and sensation of your scissors slicing and snipping through the paper. Don’t worry slicing and snipping through the paper. Don’t worry     SHAPE PRACTICE SHAPE PRACTICE Okay, let’s get started. Remember to cut out Okay, let’s get started. Remember to cut out your shapes freehand, which means your shapes freehand, which means without drawing them first. T without drawing them first. Take a deep ake a deep breath and start cutting. It breath and start cutting. It’s no problem if it’s ’s no problem if it’s wobbly and wonky—that’s the beauty of making something by hand rather wobbly and wonky—that’s the beauty of making something by hand rather than with than with a machine! Copy my work here and paste yours alongside. Draw inspiration from the a machine! Copy my work here and paste yours alongside. Draw inspiration from the master master, Matisse, tr , Matisse, trying circles, squares, triangles, zigzags, ying circles, squares, triangles, zigzags, and waves. and waves. 38 38 > Fearless Drawing > Fearless Drawing
  • 41.     Drawing with Scissors Drawing with Scissors    > > 39 39
  • 42.     40 40 > Fearless Drawing > Fearless Drawing LEAVES LEAVES Here I have cut out a Here I have cut out a branch and started to cover it branch and started to cover it with leaves. I want you to cut out with leaves. I want you to cut out some leaves and paste them to my branch. They can either be the some leaves and paste them to my branch. They can either be the same shape as mine same shape as mine or completely different. How does it or completely different. How does it look? look? TIPS TIPS    Store your cut-out shapes in a cup before pasting them in. Store your cut-out shapes in a cup before pasting them in.Before long your Before long your deskwillbecoveredinsnippingsandyou’llbegintolosetrackofyourpieces! deskwillbecoveredinsnippingsandyou’llbegintolosetrackofyourpieces!     Spend time moving the shapes around before pasting them down. W Spend time moving the shapes around before pasting them down. Wait ait until youarehappy with thecomposition (thelayoutof until youarehappy with thecomposition (thelayoutof shapeson thepage) shapeson thepage) beforegluing down thepieces. beforegluing down thepieces.
  • 43.     Drawing with Scissors Drawing with Scissors    > > 41 41
  • 45.       A       A       D       D       V       V       E       E     43 43  This adventure explores nothing  This adventure explores nothing more complicated more complicated than cutting and sticking recycled old papers and than cutting and sticking recycled old papers and images to create images to create brand new pictures. We’ve already brand new pictures. We’ve already tried drawing with scissors, so t tried drawing with scissors, so this chapter is really his chapter is really about building on about building on what we’ve done so what we’ve done so far. far.Y You’ll need ou’ll need some glue. I some glue. I use white PVA (Elmer’s, school, or similar) use white PVA (Elmer’s, school, or similar) because it is washable but has a really strong bond. because it is washable but has a really strong bond. Collage turns everyone into a magpie—you’ll start to Collage turns everyone into a magpie—you’ll start to collect all sor collect all sorts of papers, cards, and plastics, and it ts of papers, cards, and plastics, and it’s ’s a great way to rec a great way to recycle! For now grab an old shoebox, ycle! For now grab an old shoebox, bag, or crate and hunt around your house for suitable bag, or crate and hunt around your house for suitable flat materials. Any of the following are worth a try. flat materials. Any of the following are worth a try.       Packaging Packaging and wrappers and wrappers    Gift paper  Gift paper     Envelopes   Envelopes       Handwritten n Handwritten notes and otes and lists lists       Greeting Greeting cards and cards and postcards postcards       Magazines Magazines and n and newspapers ewspapers     Receipts   Receipts       Old Old books books    Calendar pages  Calendar pages     Maps   Maps       Tickets (public transportation, theater Tickets (public transportation, theater, etc.) , etc.)    Wallpaper samples  Wallpaper samples Drawing as Drawing as    Collage Collage
  • 46. Once you’ve gathered a stack of found papers, Once you’ve gathered a stack of found papers, supplement them with some homemade papers: supplement them with some homemade papers: chop up old drawings, color papers using paints or chop up old drawings, color papers using paints or pencils, or create textured pages of frottage. pencils, or create textured pages of frottage.     44 44 > Fearless Drawing > Fearless Drawing BIRDS COLLAGE BIRDS COLLAGE For this exercise, I’d like you to collage more birds to these branches. For this exercise, I’d like you to collage more birds to these branches. Continue to collect collage materials. I have a big folder in my Continue to collect collage materials. I have a big folder in my studio organized by color, studio organized by color, so it’s easy to find just the r so it’s easy to find just the right piece of collage. When I travel, I really enjoy collecting ight piece of collage. When I travel, I really enjoy collecting and saving ticket and saving ticket stubs, photographs, postcards stubs, photographs, postcards, and brochures, as , and brochures, as it’s so nice to then it’s so nice to then incorporate these into my work. incorporate these into my work.
  • 47.     DrawingasCollage DrawingasCollage    > > 45 45 TIPS TIPS    You can either cut and embellish y You can either cut and embellish your own shapes freehand or trace my silhouettes and use them our own shapes freehand or trace my silhouettes and use them astemplatesforcutting out astemplatesforcutting out yourown birds. yourown birds.     Feel freetohand drawelementsthatmightbetoosmall tocut, including eyes, beaks, ortail feathers. Feel freetohand drawelementsthatmightbetoosmall tocut, including eyes, beaks, ortail feathers.
  • 49.     47 47 Drawing with a brush is so Drawing with a brush is so expressive, and it opens expressive, and it opens an entirely new toolbox of possible an entirely new toolbox of possible marks. I have marks. I have completed this adventure using a bottle of India ink, completed this adventure using a bottle of India ink, a rich and fluid medium that can be purchased quite a rich and fluid medium that can be purchased quite cheaply in a single bottle. India ink does stain, so take cheaply in a single bottle. India ink does stain, so take particular care to roll up your sleeves and protect your particular care to roll up your sleeves and protect your work surface. work surface. If you don’t have any India ink, t If you don’t have any India ink, then you could hen you could substitute: substitute:    Watercolors  Watercolors       Bottled writin Bottled writing i g ink nk       Kids' Kids' poster poster paints paints       Cup of cold, stron Cup of cold, strong, black tea or coff g, black tea or coffee ee You will also need a paintbrush. I used a You will also need a paintbrush. I used a size 4 round size 4 round watercolor brush for all the marks you see in this watercolor brush for all the marks you see in this chapter. Please ignore the cheap sets and just buy chapter. Please ignore the cheap sets and just buy one good brush (4 or similar size), taking care to wash one good brush (4 or similar size), taking care to wash it carefully, reshape it with your fingers, and allow it to it carefully, reshape it with your fingers, and allow it to air dry after each use. air dry after each use. We have already covered many of the techniques We have already covered many of the techniques referenced in this chapter using referenced in this chapter using a pencil, but it a pencil, but it’’s s fascinating to see how different these effects fascinating to see how different these effects can can look when created with a brush. Many artists prefer look when created with a brush. Many artists prefer the lyrical nature of drawing with a brush, and it is the lyrical nature of drawing with a brush, and it is definitely a very definitely a very different physical experience from different physical experience from the drag of graphite across the page. the drag of graphite across the page. Hello Brush Hello Brush
  • 50.     To draw a thin line, hold your brush vertically and To draw a thin line, hold your brush vertically and apply very little pressure, then increase pressure by apply very little pressure, then increase pressure by pressing down to create a thicker line. Adjust the pressing down to create a thicker line. Adjust the pressure over the course of the stroke to create a pressure over the course of the stroke to create a line of variable thickness. line of variable thickness. Create a curved mark by guiding the brush with Create a curved mark by guiding the brush with a small, semicircular movement of your wrist. a small, semicircular movement of your wrist. Let’s start out with a simple exercise of drawing Let’s start out with a simple exercise of drawing lines, making them straight, wavy, fast, and lines, making them straight, wavy, fast, and slow. Draw as many different lines as you like, slow. Draw as many different lines as you like, taking time to really explore the feel of the taking time to really explore the feel of the brush on the page. brush on the page. PRACTICE BRUSH MARKS PRACTICE BRUSH MARKS  The marks you make with y  The marks you make with your brush are more v our brush are more variable than those yo ariable than those you can make with a pencil. u can make with a pencil. 48 48 > Fearless Drawing > Fearless Drawing Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours:
  • 51. Yours: Yours:     Create a flamelike flick by Create a flamelike flick by touching the point of touching the point of the brush to the paper and flipping your wrist the brush to the paper and flipping your wrist upwards. upwards. Make a small dot by holding your brush Make a small dot by holding your brush vertically and allowing just the very tip of the vertically and allowing just the very tip of the bristles to touch the surface of the paper. To bristles to touch the surface of the paper. To create larger dabs, apply more pressure and create larger dabs, apply more pressure and alter the angle of your brush. alter the angle of your brush. When you’ve applied most of the paint to the When you’ve applied most of the paint to the page and the brush is nearly dry, you will see page and the brush is nearly dry, you will see how the brush applies the paint in a scratchier how the brush applies the paint in a scratchier texture; this is called a dry brush mark. texture; this is called a dry brush mark. HelloBrush HelloBrush   > > 49 49 Mine: Mine: Mine: Mine: Mine: Mine: Yours: Yours: Yours: Yours: Yours: Yours:
  • 52.     TIPS TIPS    Y Youcan lightly sketch theoutlineoftheletter oucan lightly sketch theoutlineoftheletter in in pencilfirstif pencilfirstif you’ you’dlike,andthen dlike,andthen eraseit eraseit once once you’ve finished (and it’s dried!). you’ve finished (and it’s dried!).    I created regular lines of pattern to I created regular lines of pattern tobuild up my build up my initial, butfeel freetoadoptamorespontaneous initial, butfeel freetoadoptamorespontaneous approach, filling theareawith explorativeshapes approach, filling theareawith explorativeshapes and marksforadifferenteffect. and marksforadifferenteffect. P PAINTED I AINTED INITIAL NITIAL In this practice exercise, I’ve used many of the In this practice exercise, I’ve used many of the brush strokes we’ve just tried brush strokes we’ve just tried to paint my first initial. Paint your initial on page 51, practicing the brush to paint my first initial. Paint your initial on page 51, practicing the brush strokes we’ve just learned and strokes we’ve just learned and inventing more of your own. inventing more of your own. 50 50 > Fearless Drawing > Fearless Drawing
  • 54. Continue to play with mark making Continue to play with mark making using your brush. If you using your brush. If you really enjoy this technique, collect a few more brushes for fur really enjoy this technique, collect a few more brushes for further ther experimentation. I have a few travel paintbrushes of various sizes that I like experimentation. I have a few travel paintbrushes of various sizes that I like to use whenever I’m out of the studio. Travel brushes are to use whenever I’m out of the studio. Travel brushes are great because they are designed to allow the delicate bristles to great because they are designed to allow the delicate bristles to fold inside the body of the fold inside the body of the brush, protecting them while they’re brush, protecting them while they’re in my bag. I also have a in my bag. I also have a paintbrush where the body of the brush paintbrush where the body of the brush is plastic and can be filled is plastic and can be filled with water or ink (I usually fill with water or ink (I usually fill mine with mine with coffee!). Then you coffee!). Then you’re able to paint simply by gently squeezing the body ’re able to paint simply by gently squeezing the body of the brush to release the of the brush to release the liquid. I find these fantastic when liquid. I find these fantastic when I’m out and about as they allow me I’m out and about as they allow me to paint easily without too much additional equipment. to paint easily without too much additional equipment.           A       A       D       D       V       V       E       E       N       N       T       T       U       U       R       R       E       E
  • 55.     53 53 Continuous- Continuous- Line Drawing Line Drawing In this chapter we are In this chapter we are going to explore continuous- going to explore continuous- line drawing—meaning creating a drawing without line drawing—meaning creating a drawing without lifting your hand off the page. It sounds easy but it lifting your hand off the page. It sounds easy but it is a real challenge! The pencil must remain pressed is a real challenge! The pencil must remain pressed to the paper until to the paper until the drawing is complete, creating the drawing is complete, creating an entire drawing with a single line. This means you an entire drawing with a single line. This means you need to be very thoughtful about how you move need to be very thoughtful about how you move around the page, as each time you double back to an around the page, as each time you double back to an area, a new line will appear. area, a new line will appear. Creating drawings in this way is a deeply sensory Creating drawings in this way is a deeply sensory experience, which focuses on capturing the outlines experience, which focuses on capturing the outlines of objects. of objects. Enjoy the looping Enjoy the looping and the zigzaggin and the zigzagging to g to can encourage a more personal and can encourage a more personal and lyrical approach lyrical approach than creating a drawing with a series of individual than creating a drawing with a series of individual staccato lines. staccato lines. Sometimes when I am anxious about a looming Sometimes when I am anxious about a looming deadline, I notice that my drawings begin to look deadline, I notice that my drawings begin to look a little tight and forced; I can actually see the stress a little tight and forced; I can actually see the stress in the lines, which become hard and tight rather in the lines, which become hard and tight rather than loose and lyrical. When that happens, I try than loose and lyrical. When that happens, I try this this exercise. By creating a few continuous-line drawings, I exercise. By creating a few continuous-line drawings, I can engage in the process of can engage in the process of drawing, relax, warm up, drawing, relax, warm up, and then return to my commission with a and then return to my commission with a better line. better line.
  • 56. return to different areas of your return to different areas of your drawing and create drawing and create more detail. Remember that you can ad more detail. Remember that you can add definition d definition by using pressure to emphasize some areas of by using pressure to emphasize some areas of the the drawing and make others drawing and make others less visible. This technique less visible. This technique Okay, grab your pencil as this is all you’re going to Okay, grab your pencil as this is all you’re going to need (put the eraser in need (put the eraser in a drawer, it is officially banned a drawer, it is officially banned for this chapter!). for this chapter!).     54 54 > Fearless Drawing > Fearless Drawing CONTINUOUSLINE D CONTINUOUSLINE DRA RAWING WING I raided the cupboard and pulled out some cups to draw here, so go and do the same I raided the cupboard and pulled out some cups to draw here, so go and do the same (or feel free to grab something else to draw if (or feel free to grab something else to draw if you prefer). Now take the challenge of you prefer). Now take the challenge of drawing each item without lifting your pencil from the page. This is easier to do drawing each item without lifting your pencil from the page. This is easier to do if you if you remember to work slowly. Slowly run your eyes along the edges of the remember to work slowly. Slowly run your eyes along the edges of the cup and mimic cup and mimic this line with your pencil on the page. Relax this line with your pencil on the page. Relax and don’t worry about how it looks. Just and don’t worry about how it looks. Just focus on the physical pleasure of pulling the pencil across the page focus on the physical pleasure of pulling the pencil across the page and leaving the and leaving the mark of where you have been. mark of where you have been. Keep practicing these Keep practicing these continuous-line drawings. Th continuous-line drawings. They will not ey will not only help sharpen your only help sharpen your observation skills, but they're also a great warm-up exercise. observation skills, but they're also a great warm-up exercise.
  • 57.     Continuous-LineDrawing Continuous-LineDrawing    > > 55 55 TIPS TIPS     Before you start to draw, spend two minutes (time it—it’ Before you start to draw, spend two minutes (time it—it’s longer than you think) really looking at s longer than you think) really looking at thesubject. Having aclearunderstanding thesubject. Having aclearunderstanding ofyourobjectwill dramatically improveyourdrawing. ofyourobjectwill dramatically improveyourdrawing.     Look at the object you are drawing more than at the page. Look at the object you are drawing more than at the page.     Relax and takeyourtime. Y Relax and takeyourtime. Youcannottakeyourpencil offthe oucannottakeyourpencil offthe page, butthatdoesn’tmean youneed page, butthatdoesn’tmean youneed tobemoving tobemoving itconstantly. itconstantly.     Apply more pressure to define edges of your drawing as you move around with y Apply more pressure to define edges of your drawing as you move around with your pencil. our pencil.
  • 59.       A       A       D       D       V       V       E       E                   57 57 with my scissors, but you might need to with my scissors, but you might need to use pliers use pliers depending on the thickness of depending on the thickness of your wire. When your wire. When drawing with wire remember to watch out drawing with wire remember to watch out for the for the end as you don’t want it to end as you don’t want it to accidentally ping into accidentally ping into anyone’s eye! anyone’s eye!  The tricky thing about drawing this way is  The tricky thing about drawing this way is how each how each bend and fold created moves the existing bend and fold created moves the existing bends bends and folds. This means you have to keep altering and and folds. This means you have to keep altering and adjusting as you go, keeping in adjusting as you go, keeping in mind the overall mind the overall look of the drawing, while also focusing on look of the drawing, while also focusing on the small the small section in progress. The finished pieces are section in progress. The finished pieces are gorgeous gorgeous but very fragile; they’re easily squashed so store them but very fragile; they’re easily squashed so store them Drawing with wire is a really beautiful way to create Drawing with wire is a really beautiful way to create a line drawing in space. I have lots of these drawings a line drawing in space. I have lots of these drawings taped to the walls of my studio and I love their taped to the walls of my studio and I love their elegance and the different shadows they create elegance and the different shadows they create over the course of the day. Using wire is a sculptural over the course of the day. Using wire is a sculptural approach to drawing, allowing us to create lines in approach to drawing, allowing us to create lines in three dimensions and to view our emerging and three dimensions and to view our emerging and finished work from every angle. These drawings work finished work from every angle. These drawings work beautifully hung as mobiles or simply taped or pinned beautifully hung as mobiles or simply taped or pinned directly onto the wall. For inspiration before you begin, directly onto the wall. For inspiration before you begin, research the exquisite wire drawings of Alexander research the exquisite wire drawings of Alexander Calder and CW Roelle to see how far this approach can Calder and CW Roelle to see how far this approach can be taken and inspire you before you begin. be taken and inspire you before you begin. Drawing Drawing with Wire with Wire
  • 60. in a safe place until you’re ready to tape them into in a safe place until you’re ready to tape them into your book. your book. You will need a small amount of thin, soft, You will need a small amount of thin, soft, pliable pliable wire that is really easy wire that is really easy to bend with your fingers. I to bend with your fingers. I recommend floral wire, but you can also use recommend floral wire, but you can also use 2mm 2mm aluminum wire or modeling wire. I can cut floral aluminum wire or modeling wire. I can cut floral wire wire     CUPS CUPS  T  To complete this ex o complete this exercise, we wil ercise, we will repeat the adventure i l repeat the adventure in chapter 8—creating a n chapter 8—creating a continuous-line drawing without breaks—but this time in continuous-line drawing without breaks—but this time in three dimensions. Let’s revisit three dimensions. Let’s revisit those cups. We are now familiar with their those cups. We are now familiar with their shape, so let’s re-create our shape, so let’s re-create our continuous continuous drawing in wire. I want you to draw the entire silhouette of drawing in wire. I want you to draw the entire silhouette of the cup using one long the cup using one long piece of wire. For now make sure you are working piece of wire. For now make sure you are working from the actual cups rather from the actual cups rather than your than your drawings. T drawings. This is important as we are now his is important as we are now at the stage in our at the stage in our journey where we are journey where we are beginning to really see. All the answers of how to draw an beginning to really see. All the answers of how to draw an object can be found through object can be found through careful and thoughtful study of careful and thoughtful study of the object. The problem is that when we are asked the object. The problem is that when we are asked to to draw, we panic and we rush into drawing without any real contemplation of the object draw, we panic and we rush into drawing without any real contemplation of the object we are trying to draw. Instead, slow down, spend time looking, enjoy the we are trying to draw. Instead, slow down, spend time looking, enjoy the process, and process, and don’t fret about the end result. In don’t fret about the end result. In time your looking and drawing skills time your looking and drawing skills will develop will develop in tandem; you will learn how to look more closely, and with practice your hand in tandem; you will learn how to look more closely, and with practice your hand will will respond with confidence. For now save your wire drawings in a safe place where they respond with confidence. For now save your wire drawings in a safe place where they will not get damaged. will not get damaged. 58 58 > Fearless Drawing > Fearless Drawing
  • 61.     Drawingwith Drawingwith Wire Wire    > > 59 59 Once you have completed all the adventures in the book, Once you have completed all the adventures in the book, tape your wire tape your wire cups here. cups here.
  • 62.     60 60 > Fearless Drawing > Fearless Drawing BUTTERFLY BUTTERFLY Here’ Here’s half a butter s half a butterfly; I’d like you to make the fly; I’d like you to make the other wing on the other wing on the opposite page. Y opposite page. You can see ou can see it’s been built up it’s been built up gradually, using gradually, using many small pieces of wire. I started with the many small pieces of wire. I started with the wing outlines and wing outlines and then created the designs within them. Don’t worry if your design then created the designs within them. Don’t worry if your design is not symmetrical. You can follow my design if you’d prefer, is not symmetrical. You can follow my design if you’d prefer, but please do take but please do take the time to explore your own shapes and the time to explore your own shapes and patterns as well. Once you have completed all the adventures in patterns as well. Once you have completed all the adventures in the book you can tape your the book you can tape your wings on the opposite page. wings on the opposite page.
  • 63.     Drawingwith Drawingwith Wire Wire    > > 61 61 TIPS TIPS     Create the outline wi Create the outline with a large piece of th a large piece of wireand then fill theinteriorwith pattern wireand then fill theinteriorwith pattern by attaching smallerpiecesofwireto by attaching smallerpiecesofwireto your your outline frame. outline frame.    Tojoin onepieceofwiretoanother, wrap it Tojoin onepieceofwiretoanother, wrap it around in acircularfashion tocreateabind around in acircularfashion tocreateabind and then snip offany overhanging wire. and then snip offany overhanging wire.     Be careful using small pieces of wire; don’ Be careful using small pieces of wire; don’t t make them too short as it will be difficult to make them too short as it will be difficult to bind them to the structure. bind them to the structure.
  • 65.     63 63 use things that you d use things that you don’t mind recycling after making on’t mind recycling after making the prints. Here are a few ideas: the prints. Here are a few ideas:   Bubble wrap  Bubble wrap      Marshmallows Marshmallows or or candy candy     Pasta   Pasta       Wine corks, Wine corks, bottle tops, and bottle tops, and caps caps       Leaves, twigs, Leaves, twigs,flowers, acorns, pinecones flowers, acorns, pinecones, and feathers , and feathers    Drinking straws  Drinking straws       Cotton swabs Cotton swabs or cotton or cotton balls balls       Lace Lace or doili or doilies es       Old toy cars (try rolling the wheels i Old toy cars (try rolling the wheels into the ink and nto the ink and then along the page) then along the page) Okay, time to get a bit Okay, time to get a bit messy! Cover your worktable messy! Cover your worktable and put on some old and put on some old clothes. As in Adventure 4: clothes. As in Adventure 4: Drawing as Frottage, we will be using the textures Drawing as Frottage, we will be using the textures of real objects of real objects to create our to create our drawings. W drawings. We’r e’re going e going to explore the wide range of marks that can be to explore the wide range of marks that can be obtained from printing with objects. Throughout this obtained from printing with objects. Throughout this adventure, I used India ink (and wore rubber adventure, I used India ink (and wore rubber gloves!) gloves!) to create my prints, but you could a to create my prints, but you could also consider lso consider printing with the following. printing with the following.   Watercolors Watercolors    Writing ink  Writing ink       Kids’ Kids’ poster paints poster paints Drawing as Drawing as    Print Print
  • 66.     String   String     Cards   Cards       A cold cup of A cold cup of VERY strong black VERY strong black coffee coffee Begin by collecting textural objects to use for Begin by collecting textural objects to use for printing. These items are going to get messy, so only printing. These items are going to get messy, so only     PRINTING IDEAS PRINTING IDEAS Here you can see the range of marks I created after a quick Here you can see the range of marks I created after a quick rummage in cupboards, the recycling box, and a walk rummage in cupboards, the recycling box, and a walk outside. outside. B Bu ub bb bl le e w wr ra ap p B Bo ot tt tl le e c ca ap ps s C Co or rk k L Le ea af f 64 64 > Fearless Drawing > Fearless Drawing
  • 67.     Drinkingstraw Drinkingstraw String String Card Card Toy car wheels Toy car wheels Drawing asPrint Drawing asPrint    > > 65 65
  • 68.     66 66 > Fearless Drawing > Fearless Drawing PRINTING PRINTING IDEAS: Y IDEAS: YOUR TURN OUR TURN Pour a little ink (or whatever you are using as Pour a little ink (or whatever you are using as ink) onto an old or disposable plate. Press ink) onto an old or disposable plate. Press your object into the ink and your object into the ink and see what marks can be see what marks can be achieved by pressing that object achieved by pressing that object to paper to create to paper to create a print. There are endless possibilities for creating marks a print. There are endless possibilities for creating marks in this way. in this way. Glue your printing experiments to these pages. Glue your printing experiments to these pages. Whether used on its own or in Whether used on its own or in conjunction with hand drawing, printing with objects conjunction with hand drawing, printing with objects offers a creative, inventive, and beautiful way to offers a creative, inventive, and beautiful way to make drawings. There is also something make drawings. There is also something very pleasurable and rewarding about working in this very pleasurable and rewarding about working in this way. It’s likely many of us haven’t way. It’s likely many of us haven’t created prints in this created prints in this way since childhood. T way since childhood. Take time now ake time now to enjoy the to enjoy the process of process of making prints—the joy of selecting our making prints—the joy of selecting our materials, the physicality of the liquid ink, and materials, the physicality of the liquid ink, and the pressure on paper before the exciting print is revealed. the pressure on paper before the exciting print is revealed. TIPS TIPS     Notice how the Notice how theamount of amount of ink youusealterstheeffect. ink youusealterstheeffect.     Be sure to label each prin Be sure to label each print t with the object you used with the object you used tomakeitsothatyoucan tomakeitsothatyoucan easily replicatethesemarks easily replicatethesemarks in thefuture. in thefuture.
  • 71.     69 69 Hello Ink  Hello Ink  Welcome to another messy adventure! Cover tables Welcome to another messy adventure! Cover tables and wear old clothes or pick a sunny day to work and wear old clothes or pick a sunny day to work outside. Again, I used India ink—this time diluted with outside. Again, I used India ink—this time diluted with water to create the work, but you could use strong water to create the work, but you could use strong black tea or coffee, watercolors, or diluted poster black tea or coffee, watercolors, or diluted poster paint. So far we have used ink with a paintbrush and paint. So far we have used ink with a paintbrush and for printing objects, but in this for printing objects, but in this chapter we are going chapter we are going to explore and exploit what ink can do on its own. to explore and exploit what ink can do on its own. For inspiration, look up Jackson Pollock, who was For inspiration, look up Jackson Pollock, who was famous for his violent, expressionist drip paintings. famous for his violent, expressionist drip paintings. He would lay the canvas directly onto the floor and He would lay the canvas directly onto the floor and then paint in then paint in a highly physical manner, dripping, a highly physical manner, dripping, splashing, and pouring layers of paint from a splashing, and pouring layers of paint from above. bove. Ian Davenport is another exciting artist; he uses Ian Davenport is another exciting artist; he uses household gloss paint poured from household gloss paint poured from syringes, allowing syringes, allowing the paint to naturally flow down the surface in the paint to naturally flow down the surface in Ink offers a very exciting way to create spontaneous Ink offers a very exciting way to create spontaneous and unpredictable marks. It is and unpredictable marks. It is a more physical a more physical approach than we have previously used, requiring approach than we have previously used, requiring more body movement to create a wide more body movement to create a wide and diverse and diverse range of marks. This exercise promises a real sense range of marks. This exercise promises a real sense of fun and play and a chance to return to a type of of fun and play and a chance to return to a type of drawing that you may have left drawing that you may have left behind in childhood. behind in childhood. Y You will need ou will need some disposable cups some disposable cups (or, if you are (or, if you are using tea or coffee, mugs are fine), your paintbrush, using tea or coffee, mugs are fine), your paintbrush, a drinking straw, salt, plastic wrap, and a a drinking straw, salt, plastic wrap, and a crayon or crayon or oil pastel. oil pastel.
  • 72. ordered stripes. ordered stripes.     Flicking Flicking To create these flick marks, load your brush with ink, hold it To create these flick marks, load your brush with ink, hold it above the page, then flick your wrist to splat, drip, and spot above the page, then flick your wrist to splat, drip, and spot the ink onto the paper. the ink onto the paper. Pouring Pouring Here I added a small amount of ink to a disposable cup, held Here I added a small amount of ink to a disposable cup, held the page vertically, and poured the ink the page vertically, and poured the ink across the page, across the page, allowing it to run down the page in stripes. allowing it to run down the page in stripes. TECHNIQUES TECHNIQUES 70 70 > Fearless Drawing > Fearless Drawing
  • 73. Drips Drips To create drips like these, load your brush with plenty of To create drips like these, load your brush with plenty of ink and then hold it vertically and very ink and then hold it vertically and very still above the page, still above the page, waiting for the ink waiting for the ink to fall off in to fall off in a drip. This creates more a drip. This creates more predictable and circular marks than flicking predictable and circular marks than flicking the wrist. the wrist. Wet-on-Wet Wet-on-Wet If you paint the paper first using your paintbrush loaded with If you paint the paper first using your paintbrush loaded with clean water, then drip ink on top, the mark will bleed and clean water, then drip ink on top, the mark will bleed and flow.Thistechnique—essent flow.Thistechnique—essentiallypainting iallypainting ontoan ontoan already- already- wet page rather than onto wet page rather than onto dry paper—is called wet-on-wet. dry paper—is called wet-on-wet.     WaxResist WaxResist Use a wax crayon, oil pastel, or candle to create marks and Use a wax crayon, oil pastel, or candle to create marks and then paint over with the ink. The wax repels the water, then paint over with the ink. The wax repels the water, allowing the marks to be seen clearly through the ink. allowing the marks to be seen clearly through the ink. Straw Blow Straw Blow Pour some ink onto the page and then hold a drinking straw Pour some ink onto the page and then hold a drinking straw above the ink and blow. This creates really beautiful organic above the ink and blow. This creates really beautiful organic lines, which remind me of lines, which remind me of tree branches. tree branches. HelloInk HelloInk    > > 71 71