Draw Like A Pro

The biggest challenge most beginner artists face: the fear to make mistakes! Even expert artists struggle often with their lack of self-confidence. At last these feelings are causing most artist’s blocks – sometime the artist is aware of this, sometimes not.

Most probably you experience the same problem. But no need to worry, you can prevail over this main difficulty for your drawing success.

You and Your Drawings

Well, to be truthful it’s not that effortless. Your first step should be to relax and to make yourself clear: there’s no need to fear failure! You won’t have to prove anything to any person. Your drawings are for you as long as you don’t want to show them to others. Before reading on, take some minutes and instill this thought in your mind!

Ok, what’s your conclusion? Perhaps you see now, that you are fearing most to fail before yourself? For this case I can show you a recipe later.

Avoiding Drawing Failures

The next essential advise to follow: when starting your drawings, reduce your risk of failure. Follow these two vital steps:

1. Easy subjects are the one to choose! I know it’s tempting to start drawing difficult subjects – a portrait of an adored person or beautiful sceneries you saw of late. But this will inevitably lead into failure unless you are an unusual genius. You need time and practice to develop your drawing skills. So start with simple subjects. Copy other drawings, photos or simple still lives (if necessary). Prefer subjects consisting of straight lines over complicated curved shapes.

2. Simple techniques are the one to choose! Don’t use colored pencils right from the beginning. Don’t aim for drawing photo-realistic pictures right from the start. Start small and simple, first capture only proportions and outlines of your subject. Concentrate on simple parts and leave all the advanced stuff like shading, texturing etc. for later.

Ensure Constant Progress

Third you must ensure your progress is constant and regular. Two tips for achieving this:

1. Drawing a few minutes each day helps more than drawing through the whole weekend. I myself fail to follow this advise too often, but I learned it the hard way. So find a few minutes every day for drawing.

2. Don’t be afraid to repeat! Something went wrong? It’s the best reason to repeat this drawing and starting over again. But avoid overdoing it until you get bored by drawing. Instead find a new approach each time. Try different angles, light conditions, interpretations, compositions etc.

Silence the Art Critic Within You

And now the most important trick. Your fear of failure is most probably to a large extent your fear to fail before yourself. So you need to silence this small little critic every one of us has within oneself.

Actually it’s a bit tricky to silence this critic completely. It’s easier to deflect him using this trick:

Always when you want to start to criticize yourself, every time you feel your critic trying to spring into action, tell him: “Later!”. Store the drawing away and have a look at it some months later.

When you take your drawing again and begin to criticize, it is some months old. Usually you’ll see it isn’t as bad as you thought. And if it was not that perfect, it cannot hit your self-confidence. When you followed these tips, you know: during the last months you improved that much there is no need to worry about failures you made months ago!

Learn Drawing Faster

Silencing your critic works best if you can really make sure your progress is regular and continually. Besides the tips I showed you, you can additionally boost your progress by getting a some good exercise books or practices on DVD.

In this stage of portrait drawing, we shall discuss how to progress on the face where eyes are already located and nearly drawn. The drawing of nose and mouth would be our next agenda.

NOSE: if we look at nose of a person, we can see that it looks like a series of curves. Thus there will be less straight-line work here. But you can proceed by drawing two nostrils as they look from a distance. Marking of the main nose-line would define the shape of nose helping to make the whole face identifiable.

Here the nose lines should be drawn by giving less pressure on tip of your pencil, as you would require these lines to wither away while applying final shading.

MOUTH: The next step will be to mark the space for mouth. This feature, the drawing of mouth, would make the whole face immediately identifiable. So it would be prudent to concentrate while drawing the lines for mouth. You can start here just by drawing a delicate line where two lips meet.

Mouth comprises two lips, and the upper lips tend to be very different from person to person. Look out for the exact shape of the upper lip of the person you are making portrait. The lower one would be easier then. It would be slightly bigger in size than the upper lip. Keenly observe the creases and the stretches visible on the lower lip; draw the same giving slight pressure on the tip of your pencil.  Here you should not worry about the detailed texture of mouth, as you can take care of it in final stage of shading.

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Any scene can initially be seen as a composition of a series of forms that are all related to four basic geometric solids: the brick, the sphere, the cylinder, and the cone. In this article we concentrate on the cone, i.e., we will detail its properties and its place in the overall scheme of a drawing.

In this article we discussed how to produce a line drawing of a cone-like object. What we outlined above should be enough to get you started in the right direction. It should not take more than a couple of days to draw just about any cone-like object in a very convincing and correct manner.

A perfect cone is a three-dimensional solid that has a circular base on one end and terminates in a point at the other end. Invariably, the first example of a cone that pops into the mind is that of an ice cream cone. But there are bottles, glasses, lampshades, bowls, and many other man-made objects with shapes based on a cone. There are also countless creations of nature such as sea shells, flowers, and trees that have conical shapes.
When you begin to draw conical objects, remember that a cone is a solid mass that tapers uniformly from a circular base to a point.  In the beginning, when you identify an object that has an underlying conical form, you should draw a perfect cone first. The cone can be long and thin like in a beer glass, or short and broad like in a lampshade.  Only after you have drawn the cone in the right orientation and in the right proportions start adding the deviations you observe (bulges, stretches, etc.). Pretty soon you will not need this crutch anymore and you will be able to immediately start with the object. Nevertheless you will have instantly recognized the underlying shape and you will be using your memory of the perfect cone and use it as a guide.

The cone has also an axis of symmetry. To first lightly draw this axis will help you tremendously with the rendering of the correct geometry. The elliptical base should be perpendicular to the axis and the whole cone should be perfectly symmetric around the axis of symmetry. You can mark off a point on the axis where the tip of the cone is to be and then it is a simple matter of running two diagonal lines from the tip to the ends of the ellipse. Of course, the cone should also comply with the laws of perspective and should also be rendered according to those laws. A correctly drawn cone should fit into the overall perspective of the scene and the drawn ribs on the cone should converge with all other parallel lines to the same point at infinity.  The same perspective rules apply to the planes in which ellipses drawn on the cone lie. That is, all other parallel planes should converge to the same horizon. Ultimately, with enough practice, all you have to do is observe correctly, and all things will fall in place.
Identify a number of conical object and practice drawing them. Champaign glasses, ice cream cones, lampshades, party hats, etc. are all excellent examples. Pay attention to the proportions, lengths, curvatures, perspective, etc.

The three-dimensionality of a line drawing of a cone can be simulated by adding a number of ellipses along its body. Of course, when you have learned the skill of shading you will be able to create a much better solution. In fact, you have a chance to create the perfect illusion because, in essence, the only thing there is in a black and white scene are shades of different values. In other words, if you can draw the perfect geometry and add to it the perfect values then you have the perfect drawing (at least in terms of likeness if not in terms of creating a piece of art).

This is all you need to know about rendering line drawings of objects that have the cone as their underlying geometric form.

If you are going to work from a photograph in conjunction with the grid-method you will need to transform your photograph into a useful reference image.

The procedure I will describe works quite well and I have personally been using it for quite a while. As you get more experience you can easily adapt the process to your own needs and working style.

Note that the grid-method is a crutch and although it is a powerful help, you should keep on practicing your drawing skills without the grid, that is, drawing directly from life. Here then is the procedure:

* Step one consists of scanning the picture into your computer. Make sure you work with sufficiently high resolution.

* Step two consists of importing the scanned image into a graphics program and adjusting the contrast and/or brightness so you end up with the best possible presentation of your scene. If you are working with a color picture you should also, at this time, create a gray-scale version.

* Now you can adjust the size of your image so it matches the size you want your drawing to be.

For example, if you drawing sheet is 10 x 14 inches, your reference image should be about 9 x 13 inches. This leaves about 1 inch of space all around.

In other words, you should put some careful thought in how large your image should be taking into account surrounding white space and the manner of framing.

This is quite important if you wish to avoid having to redo your drawing half way through the process because you realize the picture is, e.g., too big for the size of your paper or it will not look good for the size of your frame.

* This is also the time to pay attention to your composition, i.e., the layout of the final scene, the relationship between the subject and its surroundings, and how much of the subject matter you want to draw.

* Next, if you want to use the grid-method, you can draw a grid onto the image. I often use a grid consisting of 1 by 1 inch squares. So for a 10 by 14 inch drawing you will have 140 squares to work with. Most graphics programs have the option to automatically draw such grid lines over an existing image.

Using a grid is an age old tradition and does not constitute “cheating”. Michelangelo and Edgar Degas, for example, made frequently use of grids.

But you should also keep practicing without grids and draw directly from the real world. Here the sizes and proportions will usually differ from the ones on your drawing paper.

Later, when you get better, you can increase the size of the squares and eventually do without them altogether. Or, you may want to use a grid only in a limited number of places where things are really complicated. Sometimes all you need is a few help lines or a few points to give yourself more confidence.  But, for now, you may want to rely on a complete grid. A grid is, after all, just the ideal tool to use when drawing from photographs.

* Finally, you can print the finished image. If the image is too large you may have to print it out in several separate parts. Once this is done you are ready for the next step, i.e., the line drawing.

Note that after you scanned the picture you are done with it. Be sure you don’t loose it or damage it so you can return it to your customer in tact.

We just explained how to prepare a picture for use as a reference for your drawing. The process consists of value adjustments, enlarging the picture, adding a grid, and printing the adjusted image.

For those who are fascinated by the world of beautiful images, art and animations, a career in graphic design and animation is just right. The usage of designing and animation is visible everybody around from newspapers, to magazines, to advertisements to television and movies. There is no field where the use of graphics or animation is not done directly or indirectly. Also, with the growing advertising and media industry, the demand for qualified professionals in this field has gone up considerably. Proportionately, the demand for courses in graphic design and animation has also shot up. Graphic designing courses and animation courses are offered at degree and diploma level by private and government institutes across India.

Students who have a knack for creativity and technology are increasingly opting for graphic design courses in India. Here, it is important to note that just having a creative bend of mind is not enough to succeed in this field. One has to have a good knowledge to technology and the latest software being used in this industry to keep pace with the times. Thus, while going for a course in graphic design or multimedia, one must remember that there will be extensive use of computers in this field. There are many Graphic design colleges which train students  in these course all over India.

Even though graphic designing and animation is not a regular career stream like medical or engineering, it has become the preferred choice of many students looking to carve out a successful career from their hobby. It is not a skill that everybody can learn and earn from. Here, success and promotion is purely dependent on how good you are at your work. People at very young age are known to be very successful in the field of graphic designing and animation. Designers with better skills get higher visibility and early success. There are growing number of jobs coming up in sectors such as media, marketing and advertising. In fact, it would not be hyperbole to say that their demand has shot through the roof. People with a genuine interest and urge for art and technology are bound to thrive in the world of graphic design and animation.

The very basic eligibility to enroll into a graphic design and animation course is to be creative and innovative. One should have an eye for detail and a good sense of colors and design. The course curriculum for graphic designing aims to train students to visually communicate their ideas in a creative and compelling manner using images and text. The animation course curriculum involves training students in infusing life into lifeless pictures and making them move like real objects. This is highly skill and technology based. Both the courses include study in fields such as the fine arts, communication, advertising, marketing, design services and multimedia.

Students learn about the fundamentals of drawing and color principles and aesthetics of what pleases the human eye. The course also encourages students to look at the world visually and conceptually. The students must have good problem solving skills and should be able to think out of box. They have to sometimes, come up with extraordinary graphics to represent ordinary stuff. The shared courses in graphic designing and animation include drawing, design, computer science, typography 2D and 3D design, art history, communication design and layout. Other graphic design courses include commercial packaging design and branding design.

In graduate courses, students also learn theory of the subject. They are given extensive practice in design software and Adobe applications such as In Design, Photoshop and Illustrator. In animation courses, students are taught to use animation to tell stories, give instructions or merely for entertain purpose. They should also have a good knowledge of the soundtrack.

After the completion of the graphic designing and animation courses, you can look forward to start your career with an advertising agency or a media firm as a trainee. As you learn more on the job and get hands on training while working on live projects and working under the guidance of seniors, you will pick up new skills and techniques. Once you are confident of handling the projects independently, you can let your creativity bloom and soar to new heights in this field. With some experience, you can get lucrative jobs in graphic designing and animation.

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It is said that drawing is an instinctual ability of a person, which is found innately in him or her. But with the recent development in the realm of drawing books, the inborn conception of the people has changed greatly due to some obvious reasons.

It is said that an effective drawing instruction book can have a magical impact on the learner. Hence, these books are the wonderful resources for those who want to learn with an immediate effect. These resources will not only help you to draw beautifully but also offer years of teaching and art-making experience of learned authors. Thus, you can be benefited a lot from drawing books. These books are compatible with different styles and different drawing pattern, thus, whether you are an active learner or passive, these books will offer you great advantage. There are various pattern of learning, you may like to learn in a fast manner by just picking up the good bits. On the other hand, you may like to follow the step-by-step programs or steady one, which will teach you everything in a detailed learning process. In the present time, drawing has become quite popular and is widely appreciated all over the world.

One more thing which can be cited here with regard to drawing and painting is that nowadays, it has also become an area of promising career. There has come a large number of painting institutions throughout the world, which are nurturing the aspirants to become full-fledged painters. Thus, it has become career-boosting arena, which can fetch you huge return in association with fame and name unlike other domains of career. In the wake of fast development in the field of the internet, it has also become possible to buy these books through online medium. With the help of this medium, you can easily find out your favorite books within a short span of time. These books enable you to learn different drawing patterns with great ease. Through this means, you can also buy latest drawing books such as ‘Anatomy for the artist’, ‘Keys to Drawing with imagination’ and ‘An illustrated life’ etc. Hence, it’s high time to realise your inner potential to make good name and experiment your imagination in making beautiful pictures and images. Quite interestingly, with the help of online medium, you can also learn different pattern of making pictures and images quite effectively. There has also a large number of websites, which offer numerous books at quite friendly rates. You can also learn how to make pictures in different styles through online means. Thus, it is recommended that you must browse the internet to get a fair idea about paintings as well as the most fabulous books available on the web.

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Sketching in general entails 4 distinct elements: line, value, texture, and shape. In the special case of pencil portrait drawing we can refine the list of elements to six: shape, proportion, anatomy, texture, value, and planes.

In this article we will give a detailed description of each of those pencil portrait drawing elements.

(1) Form Shape or Shape – The illusion of three-dimensionality in drawing and art in general has been central to Western art for a long time. The carving out of shape using line, structure, and value was vital to almost all Renaissance art.

In contrast, oriental and much contemporary art emphasize flatness of shape although this era in contemporary art is drawing to a close.

All shape in drawing can be reduced to 4 basic 3-dimensional solids: bricks, cones, cylinders, and spheres. The correct use of these forms together with perspective and value leads to the illusion of 3-dimensionality even though the drawing is, in reality, located on a two-dimensional piece of drawing paper.

In portrait drawing, the arabesque of the skull, the square structure of the skull, and all components within the skull (nose, eyes, etc.) are all two- and 3-dimensional forms that add to the overall illusion of 3-dimensionality

(2) Proportion – includes all sizing and placements of shape. Proportion refers to the idea of relative length and angle size.

Proportion gives answers to these two questions:

1. Given a defined unit of length, how many units is a given length?

2. How large is this given angle?

Answering these 2 questions every time correctly will give a drawing with the right proportions and placements of all forms.

(3) Anatomy – refers in effect to the underlying structures of bone and muscle of the skull.

It is important to learn as much as you can about anatomy. There are a lot of books available on anatomy for the artist. For a portrait artist it is really important to study the anatomy of the skull, neck, and shoulders.

Anatomy studies unfortunately include a lot of Latin terms which makes it somewhat difficult to grasp. The idea is to learn slowly and a little bit at a time because it can be very frustrating.

(4) Texture – in portrait drawing expresses the degree of roughness or smoothness of the forms. The texture of a rhino skin, for example, is very different from that of a window pane.

There are quite a few methods and tricks to assist you with the creation of the proper textures. Creating textures gives you the opportunity to be very creative and to use every possible type of mark you can make with a pencil. In portrait drawing textures appear in places such as hair, clothing, and skin.

(5) Value – refers to the degrees in light or dark of the pencil marks and hatchings. Commanding portrait drawings use the complete palette of contrasting lights and darks. Beginning artists often fail to achieve this full “stretch” of value, resulting in retiring, washed-out drawings.

(6) Planes – create the sculptural sensibility of a portrait. The skull has numerous planes each with a unique direction and therefore with a different value.

The idea is to think of the surface of the skull as a collection of distinct planes with a particular direction relative to the light source. You should try to identify each of the planes and sketch its correct shape and value.

The correct handling of planes adds a lot to the likeness of your subject as well as the illusion of 3-dimensionality.