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for marylin copyright © 1972 by watson-g uptill publications published t 972 in lhe united states and canada by watson-guptill publications a division of billboard publications inc 1515 broadway new york n.y 10036 library 01 congress catalog card number 72-152754 isbn 0-8230-1460-6 published in great britain by pitman publishing ltd 39 parker st kingsway london wc2b spb england isbn 0-273-31805-5 all rights reserved no part of th is publication may be reproduced or used in any form or by any means-graphic electronic or mechanical including photocopying record ing taping or in formalion storage and retrieval systems-without wrihen permission 01 the publisher manufactured in u.s.a first pri nting 1972 second printing 1972 third printing 1974 fourth printing 1974 fifth printing 1975 sixth printing 1976 seventh printing 1977 eighth printing 1977 ninth printing 1978

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acknowledgments i would l ike to express my apprecialion 10 my edilor diane casella hines who was my invaluable silent partner in bringing this book to completion like a master carpenter she patiently assembled the pictures and text trimming here and smoothing there umil all the pieces fit with an editor s special gifl for puuing herself in the reader s shoes she scrutinized and polished each sentence until it was as clear as she could make it she has accomplished this task with ingenuity and dispatch and i am extremely gralerul.

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howtodraw what you see by rudy de reyna watson -guptill publications new york pitman publishing i london

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contents part one fundamentals of drawing 9 project i basic structure of objects 11 drawing straight lines ii d rawing lines freehand 11 holding the penc il ii angle and direction of li nes project 7 putting basic forms together 37 basic forms and their relationships 37 drawing symmetrical objects 37 drawing and observat io n 37 ji project 8 the horizon plane 1 39 relating objects 39 contours 39 creating a composi tion 39 selecting a viewpoint 39 prespective in a still life 45 working with actual objects 45 a brief summary 45 projcel 2 eye level foundation of perspeclive 15 changi ng shapes and eye level 15 vanishing poi ms 15 cube in perspective 15 judging size relationships 16 objects below eye level 16 practice exercises 19 project 9 light and shade 47 observing light and shadow 47 light a nd dimension 47 tonal values 47 using the fu ll tonal scale 47 cast shadows 5 i shadow edges 51 angle o f light 51 level of light 51 project 3 drawing cubic objects 21 cubic forms in everyday t hings 21 searching with li nes 2 1 handling detail 21 refini ng with t racing paper 24 project 4 drawing cylindrical objects 27 drawing cu rved lines 27 obse rvi ng cylindrical forms 27 re nde ring cylindrical objects 27 ell ipses and pe rspective 27 project 10 translating local color to black and white1 53 usi ng a middle tone 5.3 values and tones 53 to nal arrangement 57 rendering texture 57 tacti le and visual textures 57 project s drawing spherical objects 31 departu res from the geometric sphere 3 1 depth and the sphere 31 project ii drawing a still life 58 project 6 drawing conical objects 35 symmetry of the cone 35 drawing everything 35 6 how to dra w what you see copying versus drawing from life 58 composition and construction 58 laying down correct tones 58

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project 12 drawing with charcoal 61 vine and compressed charcoal 61 powdered charcoal 61 erasers and blenders 61 papers 61 toned papers 61 fixative 65 charcoal s versatility 65 ease of manipulation 65 project 18 drawing heads and faces 103 a general procedure 103 angles and planes of the head 103 facial guidel ines !o3 male and fe male features 104 drawing the head and face from life 104 dmwing the nose 104 drawing ears 104 drawing eyes and eyebrows 11 0 drawing the mout h 110 life drawing from memory 110 project 13 still life in charcoal 69 four drawing principles 69 hard and soft edges 69 working from roughs 69 composing a still life 72 practice versus theory 72 project 19 drawing children 115 drawing the infa nt s head 115 drawing the teenager 11 5 male and female characteristics :n children 11 8 capturing a child s character 11 8 project 14 drawing outdoors 7 natural light 75 light at different t imes of day 75 observing the effects of light 75 reflected light 75 searchi ng fo r basic forms 75 using a viewfind er 8 1 drawing on the spot 81 part two drawing in various media 119 project 20 wash techniques 121 pigmenl and mixer 121 surfaces 121 brushes 121 additional equipment 121 properties of wash 122 flat wash 122 wet-in-wet technique 122 graded wash 123 drybrush 123 linear effects 123 project 15 drawing outdoors with charcoal 83 advantages and disadvantages of cha rcoal 83 capturing the moods of natu re 83 rendering specific objects 83 rough charcoal ske tches 83 finished drawings in charcoal 83 project 16 drawing the figure 91 basic body proportions 9 1 cylindrical huma n form 9 1 some body measu rements 91 foreshortening 91 drawing from life 95 working over the whole figure 95 light and shadow on the figure 95 project 21 drawing with wash 127 working drawings 127 real ism first 127 project 22 a still life in wash 131 arranging and lighting 131 usi ng a graded wash 131 eliminating pe ncil lines 13 1 preparing tone 131 project 17 drawing hands and feet 99 drawing feet 99 drawing hands 99 finding your nic he 99 project 23 outdoors with wash 135 transporting your materials 135 contents 7

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suiting your medi um to your subject 135 project 27 acrylic techniques iss brushes pigment and surfaces iss cha racteristics of acrylic iss versatility of acrylic iss project 24 opaque techniques 139 characteristics of opaque 139 pigmen ts 140 brushes and drawing surfaces 140 accessories 140 drybrush blendi ng 14 1 wet blendi ng 14 1 working toward craftsmanship 141 projeci 28 still life in acrylic 159 composition and movement 159 considering pict ure space 159 project 25 still lites in opaque 143 establishing the large shapes 143 balancing textures 143 using t ransfer paper 143 paint consistency 143 support for the hand 144 controlling opaque 144 suitability of opaque 144 projecl 29 outdoors with ink and mixed media 161 ink and additional equ,ii?rnent 161 two ink techniq ues 161 outdoors with mixed media 161 project 30 drawing children in various media 167 nudes versus children 167 children in opaq ue 167 projeci 26 ouldoors with opaque 151 opaque wa tercolor and nalure lsi materials to take along 15 1 choosing a subject 151 a parting word 172 index 173 8 how to draw what you see

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part one fundamentals of drawing i bel ieve that you must learn to draw th ings as you see them rea listical ly that is yo u must reproduce t he dimensions and proport ions of a give n subject to render a faith ful realistic drawing you must be able to observe the basic structure of an object regardless of how com plex and obscured by detai l it may be you must train not only your hands but your eyes as we ll however the abili ty to depict a n object literally doesn t make you an artist no one ever cla imed that the fait hful dupli cation of nature an impossible task anyway produces art but the abi lit y to draw things as you see the m is the f i r~t step toward becomi ng an artist i n other words th roughout th is book you ll learn to draw real istically the objects before yo u will dictate what you shou ld do a nd the result will be the lite ral representation of the object when you ve fin ished the projects in this book you ll be equipped with the necessary skill s to e nable yo u to express yourself as an art ist having learned the fund amenta ls the craft of drawi ng you ll have a so lid poi nt of depa rtu re from whic h to create the n if you wish you can leave the literal imitation of a subject to the students behi nd yo u fundamentals of draw ing 9

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0 figure a acwa objects ca n coil/orm ni;id/y 10 lire !ollr basic forms-cube cylitrder coile dud sphere-as shown ill ihe /op two row usua i 1i0 1 l er lirey e onl based on these geo metric forms a s sho in ihe boltom row ihe box is elmfllmed bui 5iil cubic /n the iiimbler ihe cylinder form is jered in ihe [rmncl ihe cone shupe jilis been nmea/ed and ihe apple despile its hulges gnd ii/demo/ions is sfill basically spherical lo how to d raw w hat you see

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project i basic structure of objects every object that you see has a structure or form based on either the cube the cylinder the cone or the sphere any object may be based on one or a combination of these four geometric solids a solid for our graphic purposes means an object that has three dimensions height width and depth basic sll i cillre doesn t mean that thi ngs are geometric.tlly perfect cubes cylinders cones or spheres t hey can be of course for example a square box a round can or an ice cream cone it means thai objects are based on these four geometric solids t he shape of the object is modified in various ways that depart from the strict geometrical form figure a this principle was a revelation to me i found that i could concentrate on overall dimensions of an object then ,ii my leisure j could add whatever details i wanted to include in addition because the four basic geometric forms are solid i.e three dimensional you get a fee ling for the bulk and the weight of everyt hing you draw in the next three projects we ll explore the first of these basic fo rms the cube we ll flail en it down pull it up or lengthen it depending on our needs for rep resenting an ctual object figures b c 0 and ej there are so many things that have the c ube as their basic shape that it seems logical to begin with it but before you can draw cubes you must practice drawing the st raight lines that fo rm them the range of pencils and drawing papers is so wide tha t i won t even attempt to enu· merate them act ually fo r your first explorations almost any pencil and any type of paper will do later you li be more discriminating drawing lines freehand si nce the first objects you re going 10 draw require primari ly straight lines let s look into ways of making them without any mechan ic al aids i want you to draw them free ha nd it s awkward and impractical to be encum bered wi th rulers and triangles as you sketch especially outdoors besides there s a certain life and vibrancy to a line d rawn free hand when compared to the cold and mechanical line made with a rule r holding the pencil drawing a straight line despite the old saw about it being awfully d iff icult is easy and fun to do if you use the right approach figure fl begin this very moment don l procrastinate it does n t matter in the least if the way you hold your penc il isn t the same as mine hold your penci l in the usual writing position or under the palm whic hever feels more comfort able figu res g and h swing the straight lines fro m the elbow not from the wrisl swingi ng fro m the wrist will make your stroke too short and you r line will be choppy and labored drawing straight lines all you need todo the exercises in this project is a sta ndard office pencil and a pad of dra wing paper i ve used a koh i-noor 11555 grade 2 pencil and a #yj7 ad art layou t and visualizing pad made by the bienfang company angle and direction of lines by practicing you li d iscover the best angle at which you can d raw a straight line t hen all you have 10 do is tu rn the paper 10 execute a ho rizontal a vertical or a d iagonal line t ry them all my own personal choice is basic struct ure of obj ects tl

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figun b this is ihe geometric cllbe with ils six sides all exaclly ihe .lame size figure c this is a cubic jorm it s 110 10llger equilateral because jour oj ils sides are recldligular alld i f ends are square but it s .ifill based all the cube li s /ike a quarter poulrd oj blltler figun e joilrillg iwo or ihree cubes together would give you a cubic jorm like this -somethillg like a box oj crackers remember ihlll although figures c d alld e aren perfeci cubes they cubic in character 12 .iow to draw what you see figure d ij ou ere 10 slice a cllbe il1lo three sec lions this is one oj rhe cubic jorms lhat ou d gel.

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in a northeasterly direction beginning at the southwest your favorite direction may turn o ut !o be the same o r it may be a horizontal line that runs from west to east the direction of the line isn t important it s the spo ntaneity and directness of the line that really matters don t be timid and make short stabs at drawing lines dash them off with one stroke no one is going to see o r evaluate the m relax let yourself go a nd swing away so that you can limber up your ent ire arm if you can draw a straight line in any direction without turning the paper you re !o be envied find out right now if you re one of the fortunate few i figu re f dra w line freehand ith one mol ion the arrow indicate that i e dra n all these lines from lefl 10 right obtaining ihe d ffere/l a/lgles simply by turning the paper since there s hardly a dra ink that doesn require some traight lines it important to proctice dra ink them a often as possible figure g you can hold yow pencil in either of t o ay hichever feels the more comfortable here i m holding the pencil in the u ual writink position figure h if you prefer you may hold your pencil a ho ni here in the under the palm position 8 0th posiliolls work equalo well basic structure of objects 13

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v sn ,iv no vanfsh afr t · v · .2 1 1 1 figure a ai eye lel el lhe conrerging lines of ihe sides o/ilre box come lloll n/rom ihe lop edges and go up from lire bol/om edges /0 meel alld ralll h 01 imaginary poinls 011 ire irorl:on or eye lel el called ollislring poims vp no.2 1 figure b when ihe cubic objecf is beloll eye {ere off conl ergi g liues 1:0 iii /0 ilreir reo spec/h e i onishing poinls the arrows slrow ihe direclion in which ihe poralle/lines exlend to ihe eye lel·e figure c when the cubic object is ubol e eye ie rei all coill ergillg lili es come lowii to iheir respec/h e vanishing poims 14 ho w to d ra w w h at you see

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project 2 eye level foundation of perspective for ihis projec l usc ihe same penc il that you used in pr0ject i but once again any office pencil will do as a matte r of fae l you ll use a simple pencil through succeeding projects until i ask you to change to another drawing medium it s my firm belief that studen ts fail in their attempts al drawing because they re unaware of eye lel el actually ii s suc h a simple cancep so seemingly obvious ihal perhaps ii s this cry quality that causes it to be overlooked eye level rdcrs to the height al which yollr eyes obserl e 11 objecl suggest ha l you wri te ihis se nt ence and place il where you can see it oflcn so ihal it becomes pa rt of you it s that important to your develo pment as an arlist changing shapes and eye level to ac tually demonstrate what i mean by eye level i d like you to lie prone on the floo r notice that you see the bollom not the to p of most o bjec ts now sit up and notice the dirfe rence move to a chair and agai n o bserve that as you raise your eye level the top planes of o bjec ts come into view if yo u were to climb a ladder to the cei ling everyt hing below you would show its top plane sounds simple enough doesn t it well it is poims all add up to perspectij e it s a word of latin o rigin meaning to look through in other words you view an object as though it were transparent and you could see all its sides-fro nt a nd bac k actually a ll you have to do 10 draw an object in perspec tive is 10 observe closely what s ihe a ngle and length of one edge compared to another what s the length and width of a pla ne in relation to its neighbor asking yourseu these kinds of questions as you view an object wi ll help sharpen your powers of observation the cubic form in fig ure b has all its lines rising to the va nishing points because i ve placed this cube below eye level all the lines of the cube in figu re c go down to the ir van ishing poin ts because i ve placed the cubic form abore the eye level in short if the cubic form is at eye level the lines that form the sides of the c ube come down from the top edges a nd go up from the bottom edges to their van ishing points o n the horizon if the c ubic fo rm is below eye level all converging lines go lip to vanishing poims o n the ho rizon h the fo rm is above eye level all the converging lines come down to vanishing points on the horizon cube in perspective h e c hosen a c ubic form as you r first subject because it s the easiest to draw and you can put your straight lines to work furthe rmo re the c ube demonst rates clearly the illusion of the three dimensions height wid th and depth that you must convey on the flat surface of the paper if you can portray these dimensio ns you ll be able to draw realistically no matter what the subjec t so fro m this mo me nt on remember the three di mensions in he re nt in everything n:heye level foundation of perspecti ve 1.5 vanishing points the cubic fo rm in figure a is .reell i eye lerel and shows only two of its six sides its horizontal lines converge down to a nd up to the ir respective rumshillg poillls a vanishing point is an imaginary point o n the eye level or ho rizon where the par:alle l edges of a c ubic fo rm appear to converge ilnd meet converging lines eye level and va nishing

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