The Illustrators Guide to Pen and Pencil Drawing Techniques by Harry Borgman

By Harry Borgman

This quantity presents accomplished guideline in pencil and ink recommendations for starting illustrators and advertisement artists. the writer, who has additionally written "Drawing in Ink" and "The Pen and Pencil strategy Book", completely files key fabrics and instruments. He demonstrates all graphite stroke strategies and diversifications, then exhibits how those strategies could be mixed to create powerful accomplished items of artwork. additionally integrated is step by step guide for developing works in charcoal, carbon, wax, and coloured pencil. The part on ink drawing is in a similar fashion based, with recommendation on fabrics, demonstrations of stroke suggestions, and distinct guide for growing winning entire paintings. Artists also will the right way to mix ink with such different media as wash and markers. the subject material is different; incorporated are photographs, landscapes, and nonetheless lifes.

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Q^D Step 5. / added t/x- medium gray tones by boldly drawing uith the 4B grade pencil, varying the direction of the lines while working Some of t/x' strokes were drawn over one another, creating a of Crosshatch effect Wis type technique helped me to build up the tones and yet retain a sketchy effect Next 1 darkened the hair a hit. using theflat edge of the pencil lead to render a solid tone rather t/xin one consisting of lines Step 6. Here, t/x- darkest uith tones were drawn m a much softer graphite pencil, a 6B graiie Notice the dark accents on and mouth tbt These Ixue been and cuki clearly indicated contrast to tlx> oi erall drawing The darks uere Str engthened around tlx' ear and under the chin Take care uixvi you add accents such as these if incorrectly t/xr\ can rum your — placed, drawing JE2 Step 7.

Try blending pencil tones from dark to light with and grades ofpencils on papers of varying different types textures. D. Crosshatching is an interesting technique in which lines are drawn over each other to create tones. This technique is generally used for ink drawing. I. Practice all of the previous exercises on a textured colored paper. Then do them all again, using a uhitc pencil. -* 1 Exercise J. Creating Tones 2 I *n>* ittV f A. Practice drawing a simple object or objects sucb as this creating all your tones with only lines Don't attempt to blend any of the lines I 'x an I IB graphite pencil on smooth bristol paper Small diagrams of various types of strokes accompany each sketch still life, B.

This drawing is more complex than the previous one because there are more gray values means even more planning and careful analysis of the photograph or scene are necessary to achieve a successful drawing. Black-and-white photographs are much easier to translate into simple tones of gray and black, but as you gain experience through practice, you will be able to interpret color scenes into black and gray values. Notice that all the tones in this drawing have been rendered quite simply and that they separate well.

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