Drawspace.com- Illustrated Dictionary of Art-Related Terms

► Definitions for over 330 art-related words and phrases (mostly drawing and painting)► More than 400 illustrations by Brenda Hoddinott► 145 pages formatted for two-sided printing on standard 8.5 by 11 inch paper► Additional quick reference text-only dictionary

DrawSpace

OF ART-RELATED TERMS

DICTIONARY

Ideal for homeschooling and self-directed learning!

Brenda Hoddinott Author of Drawspace Presents Getting Started with Drawing, Drawing for Dummies,

and The Complete Idiot’s Guide to Drawing People Illustrated

Brenda HoddinottArtist, illustrator, art educator, curriculum designer, forensic artist (retired), owner of Drawspace.com, and author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People Illustrated, and Getting Started with Drawing.

Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. With the help of learn-to-draw books, she developed good drawing skills by the age of 16. In 1982 Brenda left her well established career as a portraitist, graphic designer, and forensic artist, to move to Nova Scotia with her family. In addition to resuming the various facets of her art career, she began learning to paint in oils. From 1988 to 1994, Brenda began exhibiting her paintings and drawings in provincial and regional art exhibitions and competitions. She was honored with more than twenty art awards during these six years. Her painting, Serenity, was awarded irst place in an international art competition.In 2003, Brenda retired from her 25 year career as a forensic artist to write books. She is the author of Drawing for Dummies, The Complete Idiot’s Guide to Drawing People, DrawSpace Guide to Getting Started with Drawing, and is currently writing two new books. Brenda and her partner, John Percy, live in the suburbs of Halifax, Nova Scotia with their two SPCA rescue dogs, Timber (Huskador) and Katie (Rottbeagle). Their blended family includes ive adult children and two grandchildren.

****************************************************************************************************************

by Brenda Hoddinott

Published by Drawspace.com, Halifax, NS, Canada

DrawSpace

DICTIONARYOF ART-RELATED TERMS

DrawSpace Illustrated Dictionary of Art-related TermsBy Brenda Hoddinott

ISBN: 978-0-9813662-2-7

Copyright © 2010 Brenda HoddinottAll rights reserved. No part of this electronic book shall be reproduced by any method or means, electronically sent

or transferred to additional individuals or companies other than the original purchaser of this electronic book, or transmitted by any method or means; electronic, mechanical, photocopying, recording, or otherwise, without the written

permission of Brenda Hoddinott.This electronic publication contains the opinions and ideas of the author, Brenda Hoddinott, and it is intended to provide helpful and informative material on all aspects of the subject matter. Brenda Hoddinott and Drawspace.

com disclaim any responsibility for any liability, damages, loss, or risk, personal or otherwise, which is incurred as a consequence, directly or indirectly, resulting from the use or misuse of information and applications of any of the

contents of this book.

Publisher: Drawspace.com, Halifax, NS, Canada

Illustrations, defi nitions, book layout, and cover design: Brenda Hoddinott

Editor: Suzanne Beaton

Brenda Hoddinott can be contacted at [email protected] or through her website at http://www.drawspace.com.

This book is dedicated to

Jeff BaurThe heart, mind, and

rationality of DrawSpace.com

Thank you for believing in me.

INTRODUCTIONIn 1984, I published a simple, eighteen-page Illustrated

Glossary that quickly became very popular with self-directed learners, art educators, and homeschooling families throughout the world. Ever since, I’ve been

trying to ind the time to inish writing and illustrating a larger version.

Finally, the DrawSpace Illustrated Dictionary of Art-related Terms (First Edition) is a reality!

Yet, this book is far from complete. As a living publication, it will continue to grow as readers, teachers,

artists, friends, and moderators suggest additional words, terms, and phrases to include in subsequent

editions.

Over and above the 108 pages of illustrated de initions, I have also put together a text-only version (pages 109 to 145) to help you more quickly ind what you want. Each text de inition even tells you the page on which you can

ind the corresponding illustration.

Keep in mind however, that a few words and phrases don’t have illustrations - yet.

Eventually, I hope to ind a way to illustrate everything!

Abstract (closely related to nonrepresentational) refers to art that is created with line, color, form, pattern, and (or) shape, rather than realistically depicting objects, nature, or living beings. In some cases, the subject exists in reality, but may be unrecognizable.

Abstraction refers to a partial or complete departure from reality in visual imagery. For example, partial abstraction in a igurative work may include unrealistic colors and (or) forms. A total abstraction may be completely unrecognizable as existing in reality.

Achromatic (also see monochromatic and polychromatic) describes an artwork rendered without color, using only black, white, and (or) shades of gray.

Acid-free refers to a high-quality, long-lasting paper that has had the acid removed from the pulp in the paper-making process. Art can be ruined when materials with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free.

A

AAbstract

digital painting focusing on colors and

forms.

A partial abstraction of a fl ower garden painted in oils on canvas; none of the plants or fl owers exist in reality.

Achromatic graphite drawing of a realistic eye on acid-free archival paper.

1Copyright to all defi nitions, images, and text within this glossary belongs to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail: [email protected] Web site: http://www.drawspace.com.

Acrylic painting (noun) is an artwork painted with acrylic paints. Acrylic paintings look very similar to oil paintings; however, acrylic paints are considerably more stable than oils, which tend to yellow or become brittle as they age. (verb) is the process of creating an acrylic painting.

Acrylic paints are water-based, fast-drying artist’s paints that are thicker and stronger than tempera or watercolor. Even though water is used to dilute acrylics from the tube, they become water-resistant when dry. Acrylics can work in much the same way as watercolor paints. However, unlike watercolors, acrylics cannot be rehydrated (brought back to a liquid) once dry.

Aerial perspective (See atmospheric perspective.)

Age progression is the art of rendering individuals older than they are. Age progression is widely used in forensic investigations; especially those involving missing children. Even though people’s faces change throughout their lives in natural and predictable stages, it’s impossible to accurately determine how an individual will look at a speci ic age. For this reason, age progression and age regression techniques are generally considered an art, rather than a science. On page 3, you can read a brief description of the aging process at various stages.

A

Close-up view of the blending capabilities of acrylic paints.

A large acrylic painting on heavy linen fabric was created in a few hours to serve as a backdrop for a medieval puppet show. Atmospheric perspective helps create the illusion that the mountains in the background are farther away than the apples in the foreground.

2 Copyright to all defi nitions, images, and text within this glossary belongs to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail: [email protected] Web site: http://www.drawspace.com.

Art supply stores usually carry several different grades and brands of acrylic paints. Winsor & Newton manufacture good-quality, artist-grade paints.

Thirteen drawings demonstrate age progression from infancy to old age. When rendered in reverse, from older to younger, the process is called age regression.

A

• Newborn: Head is proportionately huge as compared to the tiny body.

• Age 1: Eyes are fully developed and neck is stronger and longer.

• Age 2: Jaw and chin are larger to make space for a few teeth.

• Age 4: Nose is longer and the face becomes more irm.

• Age 7: Eyebrows and chin are more pronounced.

• Age 10: a thin layer of baby fat still covers the face.

• Age 13: Mouth, jaw, chin, and cheekbones are more de ined.

• Age 15: Facial muscles and jawbone are more noticeable.

• Age 18: Brow ridge and bridge of the nose are fully developed.

• Age 30: All facial structures are fully developed.

• Age 45: Wrinkles are visible, especially around the eyes.

• Age 60: Deeper wrinkles and forms, and facial bone structures are more noticeable.

• Age 80: Deeper folds, pouches, and wrinkles appear.

Age regression is the art of rendering a person younger than her or his actual age.


Alizarin Crimson is the name (used for many different types of artists’ paints including oils, watercolors, and acrylics) of a popular deep red paint color that can create vibrant reds (when mixed with Cadmium Red) and bright pinks (when mixed with Titanium White), as well as brilliant purples (when mixed with Ultramarine Blue and Titanium White).

Anchor (also see composition) refers to a component of composition in which a section of a drawing subject appears to extend outside the edges of a drawing or painting.

Angle refers to the size of the space between two straight lines that intersect (meet), usually measured in degrees.

Angle line occurs when two straight lines intersect to form an angle. Angle lines are used to draw such shapes as squares, rectangles, and triangles.

A drawing of Mona Lisa (based on a painting by

Leonardo da Vinci) is anchored along the lower

edge, where her lower body appears to extend

outside the drawing space.

Eight angle lines with angles of

different sizes.

The size of a right angle is ninety degrees.

A


Four of the vast range of colors that can be created

with Alizarin Crimson when mixed with other colors

and (or) white.

Alizarin Crimson acrylic paint appears very dark straight from the tube!

Serendipity (oil painting on canvas),

an original work of art created mostly

from my imagination, shows a young boy’s discovery of a newly

hatched baby dragon.

A drawing of an old arrowhead

that looks similar to some that have

been discovered by archeologists.

A


Anticlockwise (See counterclockwise.)

Archaeologist is a person who studies ancient peoples by inding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.)

Art (also called artwork) refers to the creations (such as drawings and paintings) of artists who employ their abilities to make original works of art - from the intellectual conception, to a never-before-seen conclusion.

Artist refers to any person who works within one or more art disciplines, such as visual art, performance art, dance, writing, or music.

ArtSpeak is a fun word used to describe the vocabulary of art. An understanding of art-related words and terms enhances your comprehension of curriculum, and helps make your creative experiences more pleasurable (and less frustrating).

Artwork (See art.)

A goofy artist who can write, draw, and paint, but sings like a crow and dances like a penguin. She considers this photograph to be her personal favorite; taken by a friend (Bruce Poole) about ten years ago).

Atmospheric perspective (also called aerial perspective) (also see geometric perspective) refers to the visual depth created by particles in the atmosphere. The farther subjects recede into the distance, the lighter in value they seem to become, and their edges and forms appear more blurred.Even on a clear day, your ability to see distant objects is decreased by an assortment of atmospheric components, such as minuscule particles of dust, pollen, and (or) tiny droplets of moisture. Your vision becomes further diminished when the atmosphere is illed with haze, fog, smoke, rain, or snow. Even close-up objects can appear out of focus or almost invisible under certain conditions (such as during a snowstorm).

Avant-garde refers to the creation and application of new, original, and (or) experimental ideas and techniques.

An oil painting of a Dalmatian named

Shadow, with decorated reindeer antlers and

bells on her collar, can be considered an

avant-garde idea.

A fun drawing of a bunch

of blobs and globs who are demonstrating

atmospheric perspective.

The illusion of depth in a forest scene is created with atmospheric perspective. Trees in the foreground are detailed with a strong contrast in values. The trees become progressively lighter in value (and less detailed) as they appear to fade into the background.

A


B


The stormy sky (the background) is the section of this scene that is the farthest away from the viewer.

BBackground (also called distant space) refers to the sections of a drawing or painting that are the farthest away from the viewer.

Balance is a stable arrangement of subjects and values within a drawing composition.

Basic colors (also see color) are the six best-known colors: yellow, red, and blue (primary colors) and orange, purple, and green (secondary colors). A simple box of eight children’s crayons includes the basic colors, as well as black and brown.

Binder (also called a three-ring binder) (also see binding agent) is great for organizing your reference materials, lesson iles, printed electronic books, and small drawings. Small drawings can be sprayed with a ixative and inserted into three-ring,

transparent vinyl sheet protectors, before you add them to a binder.

Binding agent (also called a binder) is an ingredient in paint that solidi ies as it dries, thereby binding the pigment particles together so that the paint adheres to a surface. Binding agents are also added to powdered drawing mediums (such as charcoal) to compress them into solid cylindrical, square, and rectangular forms.

While the shapes of these two heads

are different, they are balanced on

opposite sides of the composition

by their individual masses.

A few of the many three-ring binders in my studio, used to organize my text resources and small drawings.

Black is the complete absence of light. For example, think of yourself looking around a room in which there is absolutely no light source whatsoever. In painting, replicating this black requires a mixture of paints that create the darkest possible value (such as Raw Umber and Ultramarine Blue). In drawing, soft charcoal can make a powerful black.

Blending is the process of gently rubbing a section of shading (or paint) with a blending tool, such as a facial tissue or piece of paper towel (or a brush) to evenly distribute the medium over the paper’s surface (or canvas).

Blending stump (also called a tortillon, stump, or blender) is a long, thin cylindrical artist’s tool that is pointed at both ends, and made of tightly wound paper or felt. Blending stumps are used to blend charcoal, graphite, and pastel drawings. When the tips become too dirty or dull to work properly, they can be sharpened. Don’t use your ingers to blend your drawing. The oils in your skin can damage your work.Blending stumps are sold in art supply stores and are available in many different sizes from small to large. Big ones are great for large areas of shading, and the tiny ones work well for smaller, more detailed sections.

Close-up view of

crosshatched shading

before and after blending.

Raw Umber and Ultramarine Blue paints are mixed together to make black.

A soft charcoal pencil can make beautiful black marks.

Drawing of an infant’s nose, before and after blending the shading with a facial tissue.

B


Small, medium, and

large blending stumps.

Blending tool refers to anything that is used by an artist to blend media.

Blind contour drawing (also see contour drawing) is a slightly unconventional method of creating a contour drawing, in which you look only at your subject and not at your drawing paper as you work. By visually following the edges of the object as you draw, you strengthen your visual skills.

Brushes (also called paintbrushes) are tools used to apply a wet medium (such as paint) to a surface (such as canvas). You can use any brush that best suits your work, unless of course the manufacturer states that the brush is only suitable for a speci ic medium. For example, if you prefer a short-handled brush but ind a long-handled brush you absolutely love, you can always have the handle cut shorter so its end doesn’t poke you in the eye as you work. Paintbrushes that are designed for artists have three basic parts: brush head, ferrule, and handle.

Brush head is the working end of a paintbrush, and is usually made from hairs or bristles. The head of a brush is responsible for carrying paint to your canvas, and placing and (or) moving the color exactly where you want to create an image.

Several well-loved paintbrushes (some are more than ten years old); each has a unique personality when working on a painting.

Some blending tools to try include: (1) paper towels are durable and soft; (2) make-up wedges have a variety of surfaces and corners; (3) blending stumps (or tortillons) offer lots of control; (4) Q-tips are fantastic for tiny areas; (5) felt and chamois create very smoothly blended shading; and (6) facial tissues can soften most pencil strokes.

B


You rarely end up with a blind contour drawing that is proportionately correct. Your goal is to simply draw as well as

you possibly can, by closing scrutinizing each contour line in your subject without ever glancing at your drawing paper until

you are done.

Brush heads can be long, short, thick, or thin. They can be made from natural products, synthetic ibers, or a combination of both:

• Bristle (made from natural hog or pig bristles) is stiff enough to easily move thick paint around on your painting surface. Bristle brushes are the workhorses of painting and are lexible and springy.

• Sable (or other animal hairs) is a soft natural hair, that is ideal for creating gently lowing lines. The better the quality of a sable brush, the more paint it can hold while still maintaining its ine point.

• Synthetic hair and mixed bristle are durable, easy to clean, and ideal for either beginners or professionals. Today’s synthetic brushes are of much better quality than their predecessors. High-quality synthetics work as well as natural hairs, and tend to be less expensive.

Ferrule is the part of a brush (often made of metal) that is connected to the brush head on one end and the handle on the other. The ferrule holds the brush hairs (or bristles) in their proper shape. A good-quality ferrule is tapered and has no seams. A ferrule’s shape is speci ic to the type of brush head, such as the following:

• Flats have square ends with long, stiff bristles or long, soft hair. They come in various sizes from very tiny to several inches wide.

The size and shape of the ferrule determines the size and shape of the brush head.

Large fl ats are great for making

long, clean-edged strokes of color,

and handle nicely for covering

solid areas and backgrounds. Small

fl ats work well for painting fi ne details

- especially for subjects that need

strong edges.

Various types of brush heads securely fastened into different types of ferrules.

B


• Brights have shorter hairs (or bristles) than lats, but also have square ends. They allow more control over how much paint you apply than a lat brush, because the hairs are shorter and the brush is less springy (more irm). Brights hold a lot of paint when fully loaded, allowing you to make long and bold, or short and repetitive brushstrokes.

• Filberts are available with either soft hairs or stiff bristles, and differ from lat brushes in that they are rounded on the outer edges of the tip. They are approximately the same length as lats, but create a softer, less angular brushstroke. Consider them a hybrid of a round and a lat. Large ilberts are great for painting large sections of paintings, such as backgrounds, and their brushstrokes are big, loose, and broad. Smaller ones make gorgeous delicate, rounded brushstrokes that look wonderful in detailed areas.

• Rounds have brush hairs or bristles of various sizes including fat, thin, long, and short, but they always come to a point. They work well for drawing a preliminary composition on your canvas, and are great for painting and blending detailed sections.

• Scriptliners (sometimes called riggers or liners) have long, thin hair and a pointed tip. They are well-suited for producing long continuous lines without frequent reloading, and for rendering very intricate details. They perform best with much diluted paints.

If you have tons of

patience and like

fussy, picky, detailed work,

you’ll love painting with a scriptliner

brush.

Filberts have rounded ends and long bristles or hair

that create brushstrokes with smooth, soft edges.

Brights have square ends and short bristles (or hair), and are fantastic for impasto techniques.

Rounds work best with paint that has been slightly thinned. Their brushstrokes tend to be delicate with soft edges.

B


• Blenders (such as hake and fan brushes) are used for blending brushstrokes so as to create smoothly graduated colors. Blending brushes are not designed to move paint around on the canvas, but rather to smooth out the brushwork. Unlike other types of brushes, blenders usually work best when they are dry.

Handle is the part of a paintbrush held by the artist, usually made of wood, and available in short and long lengths. If the handle of a brush looks cheap and poorly inished, chances are it’s a poor-quality brush.Brushes have either short or long handles:

• Short-handled brushes work well for artists who like to work on a small easel or at a table, and (or) prefer detailed or close-up painting. Watercolor brush handles are short, since the work is usually done at close range.

• Long-handled brushes are great for artists who prefer to work loosely in oils or acrylics on large, upright canvases at a full-size easel, and at arm’s length away from their canvases.

Paintbrush handles come in tons of different lengths and

colors, and are usually made from nicely fi nished wood that

has been varnished or painted. However, on occasion, you may

discover brush handles made from something different.

B


Fan brushes come in both bristle and soft hair and are available in various sizes. The unique shape of the top section of the ferrule contributes to the fan-like shape of this brush.

A hake brush is used by watercolorists to apply large areas of water or color, or by oil

painters to softly blend wet paint.

A small sampling of the different lengths

of brush handles.

This cartoon face isn’t very happy about being in the center of this rectangular

drawing space.

The petals of a fun fl ower before and after being burnished with a bright yellow colored pencil.

B


Brushstroke refers to the shape and size of a single application of paint to a surface with a paintbrush.Many artists love the way brushstrokes look when the paint is applied thickly with a large brush. Other artists thoroughly blend their brushstrokes together so they can no longer be distinguished from one another. An artist’s preference of brushstrokes helps de ine the style of that artist.

Bull’s eye (also see composition) is the center section of a drawing space. A composition is weakened when the primary subject is drawn within the bull’s eye.

Burnishing refers to the process of applying one (or more than one) layer of a dry medium (such as colored pencils or graphite) over another, to lighten, darken, or blend the colors (or values). Burnishing also refers to the technique of using a light grade of graphite pencil to ill in entire sections of shading to even out the values.

A small section of a fun impasto

painting that was painted with a large

bright and bold brushstrokes.

This section of a painting

is shown in its actual size so you can get a realistic idea

of the intricate brushstrokes

and fi ne details that can be

rendered with a scriptliner

brush.

This is the fi rst painting I ever did on a stretched canvas. It was completed in late 1988, and to date shows no signs of deterioration.

CC

Cadmium Red is a gorgeous warm red. When mixed with other colors and white, it makes very realistic skin tones. To paint the warm, light hues of red objects, mix Cadmium Red with a touch of Cadmium Yellow Light. Mix small amounts of Ultramarine Blue, Yellow Ochre, and Raw Umber with Cadmium Red to make believable shadow colors for red objects.

Cadmium Yellow refers to a range of different yellow hues (such as Cadmium Yellow Light) that are great for mixing any color that needs a pure, clean yellow. For example, a tiny bit of Cadmium Yellow Light mixed with white creates highlights that are so bright, they almost glow.

Canvas is a popular fabric used as a surface for painting with oils or acrylics. Before applying paint, the fabric should be stretched and mounted on a frame, and then primed with several layers of a primer (such as gesso) that is speci ically made for painters. If you don’t want to prepare your own canvases, most art stores sell stretched canvases in many different sizes that are already primed and ready to use.

Cadmium Yellow Light

is a bright, clean yellow

and perfect for mixing various

warm colors.

Cadmium Red is an

essential part of an artist’s

palette.


One of my fi rst oil paintings, completed

in early 1988. Unfortunately, I did not use a stretched

canvas; hence, acid from the canvas

board has begun eating through the

paint in several sections.

C

Canvas board is an inexpensive alternative to canvas. However, paintings done on canvas boards tend to deteriorate after only a few years. When I began learning to paint, I used canvas board. Most of my early paintings were awful, anyway. However, I did a portrait of my son that somehow turned out fairly well. I regret now that I didn’t use stretched canvas.

Carbon pencil is a very popular type of drawing tool that makes soft, velvety marks that are absolutely gorgeous for sketching.

Caricature is a type of cartoon, usually based on an actual person, with the individual’s various characteristics and facial features exaggerated for comic effect.

Cartoon is a humorous, lighthearted, or (and) satirical drawing or sketch.


The well-known face (and hairstyle) of Albert Einstein has inspired many artists to draw his caricature. This drawing was sketched and shaded with graphite and then outlined with a fi ne-tip marker.

A cartoon drawing, rendered in

graphite, shows a very happy artist

using his creative licence to make his

drawing different than the model.

C


A few different types of charcoal that are designed for drawing (from left to right): two

charcoal pencils, natural cylindrical

charcoal stick, and two rectangular charcoal sticks.

Cast shadow (also see shadow) is a dark section on an object or on a surface adjacent to (beside) an object (or living being) that receives little or no direct light. The values of a cast shadow are darkest next to the object and become gradually lighter as they move farther away.

Cerulean Blue is a versatile paint color that is used to create many colors, including greens, greenish blues, and sky colors.

Chalk is a drawing medium derived from various natural sources, including hematite, carbon, and calcite. Chalk is available in a broad range of natural browns and sepias that are ideal for rendering studies of great masters’ drawings.

Chalk pastels (also see pastels) are a drawing medium that are available in pencils and sticks. Colors can be dry-mixed by layering one on top of another, and can be easily blended for soft, realistic still-life subjects and portraits. The sharp corners and edges of sticks can be used to draw thin lines, and the sides can make broad strokes.

Charcoal is a drawing medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades.

The cast shadow beneath Ball 1 makes the ball

appear to be sitting directly on a

surface. The shadow cast by Ball 2 creates

the illusion that the ball is fl oating above a surface.

Cerulean Blue (straight from the tube) is a beautiful full-

chroma color.

Soft chalk pastels are a fun medium.

However, they are extremely

messy, so make sure you protect

your clothing and the furnishings in

your studio.

C


Charcoal is available in pencils, powder, and sticks:

• Charcoal pencils have a thin cylindrical stick of compressed charcoal inside a wooden casing.

• Charcoal powder is a drawing medium that works well for shading large areas of a drawing or preparing a base for drawing with erasers.

• Charcoal sticks are made by compressing powdered charcoal and a binding agent into cylindrical or rectangular sticks.

Chiaroscuro is a drawing and painting technique that was introduced during the Renaissance, in which contrasts of light and dark values are balanced, so as to create the illusion of a three-dimensional reality on a lat surface.

Chiaroscuro is extremely effective for creating a powerful illusion of depth and space around primary and secondary focal points in a composition.

You can buy charcoal powder already prepared, or make your own

by using a fi ne cheese grater or coarse sandpaper to shave powder

from a charcoal stick.

A winter scene created with charcoal pencils, powder, and sticks, as well as erasers.

A contemporary approach to chiaroscuro, in which the bright highlights on the faceof a young girl contrast strongly against the subdued and dark values throughout the rest of the composition.

Chroma refers to the intensity, strength, and (or) purity of a color. The color of an acrylic or oil paint that is squeezed directly from the tube is considered full chroma.

Circle is a geometric shape in which all the points of its outline are an equal distance from its center point.

Circular shape is created when the ends of a curved line meet (such as in the letter “O”). Drawing various types of circular shapes is a popular method of sketching and outlining the forms of various objects and living creatures.

Classical drawing (also see realism) refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings. Classical drawing was later enhanced by the great masters of the Renaissance.

Clay is a naturally occurring material that becomes hardened when dried. For example, clay is mixed with graphite to make graphite drawing mediums.

Clips (usually made of metal) can be used indoors or outdoors to securely clamp sheets of paper to a drawing board. When artists draw outdoors, clips can prevent their drawings from falling on the ground or blowing away.

C


Various types of clips are used by artists to

attach drawing paper to a drawing board. This type

is called a Boston Clip.

Six circular shapes represent only a few of the shapes you

can draw with curved lines.

Close-up view of a classical shading technique called hatching.

A sketch of a young girl (based on a drawing

by Leonardo da Vinci) employs several classical

drawing techniques.

Circle is a simple ellipse in which all points on its circumference are the same distance from the center point.

Red

Orange

Yellow

Green

Blue

Purple

Warm colors Cool colors

C


Follow the outline of the circle in a clockwise motion: from the top to the right, then down and to the left, and back up to the top (the direction of the arrows).

Clockwise is a direction or motion that follows the movement of the hands of a clock.

Color refers to the visual qualities of objects based on individual perception of their hues and values. Basic colors include yellow, orange, red, purple, blue, and green. Warm and cool colors can have a broad range of emotional effects on how people feel:

Warm colors include yellow, orange and red, as well as any colors made by mixing these three colors together or (and) with white or black. To remember warm colors, think of the colors you see in ire.

• Yellow is bright, cheery, and powerful, and is the color of happiness, sunshine, and lowers (such as daffodils).

• Orange is a combination of yellow and red. Think of orange as energetic, vibrant, and lamboyant.

• Red is the warmest and most energetic color, and is associated with love, energy, and danger (as in a red traf ic light).

Cool colors include blue, green, and purple, as well as mixtures of any of these three colors and any that are mixed with white or black. Cool colors are usually soothing and calming. (Think about the colors that re lect into snow and ice.)

• Purple is spiritual, mysterious, and exotic, and represents royalty, nobility, and enlightenment. Some purples (made with more red than blue) can easily fall into the category of warm colors.

• Blue represents tranquility, harmony, and peace. Think of a blue sky, a calm ocean, or an iceberg.

• Green is soothing, nurturing, and calming, and symbolizes nature, good luck, youth, and generosity. Some greens that are made with more yellow than blue are considered warm colors.

Green

Blue

Purple

Red

Orange

Yellow

The six basic

colors are the six

best-known colors.

Many artists and authors have attempted to de initively categorize colors into warm and cool. I personally prefer to base my decision on my perception of the color when it is placed beside other colors in a painting or drawing.Speci ic groupings of colors have unique qualities:

• Primary colors include yellow, red, and blue. All colors originate from primary colors, and no combinations of other colors can make primary colors. Primary colors are high-intensity, and go well together if you want a drawing to look incredibly bright. By mixing the primary colors with other colors in various combinations, you can create millions of different colors.

• Secondary colors are orange, green, and purple, and are created with two primary colors.

• Intermediary colors are created by combining two secondary colors. • Complementary colors are very different from one another, and when placed beside

each other, their strong contrasting colors seem to make one another brighter and more vibrant. When used in a drawing, sets of complementary colors create harmony because together they contain all three primary colors. Sets of complementary colors are easy to ind on a color wheel because they are directly opposite one another.

Color wheel refers to a method of arranging colors within a circular format to easily reference primary, secondary, intermediary, and complementary colors. Whenever you use colors to create art, keep a color wheel close by as an easy reference for choosing colors.

This numbered color wheel identifi es warm and cool colors; primary, secondary, and intermediary colors; and complementary colors as follows:• Warm colors: 12 and 1 to 5• Cool colors: 6 to 11• Primary colors: 1, 5, and 9• Secondary colors: 3, 7, and 11• Intermediary colors: 2, 4, 6, 8, 10, and 12• Complementary colors on this color

wheel include the following six pairs(each is the complement of the other):1 and 7 4 and 102 and 8 5 and 113 and 9 6 and 12

C


Colored pencils are a wonderful medium for drawing everything and anything. They beautifully capture soft delicate subjects such as portraits and lowers, and also work very well for subjects needing a bolder, more colorful approach. Colored pencils are relatively inexpensive, not messy, and easily travel with you wherever you go. Colored pencils come in a wide variety of qualities from student to professional. During the manufacturing process, various synthetic and (or) organic pigments are added to binding agents and wax. The permanency rating of the pigment (check the packaging) helps to determine the quality of the pencils.

Commission refers to an order placed with an artist for an original work of art.

Complementary colors (See color.)

Composition (also see focal point and Rule of Thirds) refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space.

C


In this composition, the viewers’ eyes are drawn into the scene by the gentle S-curve of the river.

This bold, colored pencil drawing was designed as a tattoo for my son-in-law,

Chris. Chris works as a mechanic for heavy-duty

vehicles, such as tractors and large dump trucks. He

was thrilled with this cartoon of a grease monkey (and

needless to say I had a lot of fun doing the drawing).

Colored pencils worked well to capture a cartoon puppy named Wobby. His fur is hatched with four different blue colors. His nose and eyes are burnished to make them look shiny.

Compound curve is created when a curved line changes direction. Compound curved lines travel in both clockwise and counterclockwise directions.

Conservation framing (also called preservation framing) refers to the speci ic archival materials (such as museum-quality archival glass) and techniques used in the process of framing an artwork to protect the art from long-term deterioration or damage from environmental pollutants, acid, and light.

Conté crayon is a drawing medium in which pigments are mixed with non-adhesive binders and wax. Conté performs like a cross between a chalk pastel and a child’s wax crayon. With the addition of wax, this medium is less likely to break or crumble, and consequently, much less apt to fall off the drawing surface.

Continuous line refers to any type of line that is rendered without lifting the pencil (or other drawing media) from the paper or drawing surface.

C


Each of the three continuous straight lines that make up a triangle is rendered with one

confi dent swoop of the pencil. Check out the close-up view of

a tiny section of one of the lines (in the upper left).

Four different compound

curved lines.

A sketch of a model (Lord Algernon) dressed in medieval garb. I used red and brown conté crayons on Arches 140 lb. hot-pressed, 100% cotton, watercolor paper. Before starting the drawing, the paper was darkened with a diluted wash of ink, to create the illusion that the paper was old and yellowed.

Contour refers to the outline of a shape or form (or a section of a shape or form).

Contour crosshatching is a highly effective shading technique for creating the illusion of three-dimensional forms. This is achieved when two (or more) sets of curved lines of various lengths cross over one another along the contours of the subject’s surface.

Contour drawing is a drawing comprised of outlines that follow the contours of the edges of various components of a drawing subject.

Contour hatching is a shading technique in which sets of curved hatching lines follow the outlines, contours, and (or) forms of the drawing subject, so as to accentuate the illusion of three-dimensional reality.

Contour lines are formed when the shared edges of spaces and (or) objects meet. You can draw everything you can see or imagine by combining different types of contour lines (such as thick, thin, straight, and curved).

C


This contour drawing of a fl ower is made up of mostly curved contour lines; some sections of the lines are thick and others are thin.

Pen-and-ink drawing of my grandson, Kaiden. Contour

crosshatching enhances the illusion of the soft,

rounded forms of his face. Contour hatching captures the curving hair along the

forms of his head.

You can enhance the illusion of form by using contour hatching when drawing objects with rounded sides.

Contour hatching is perfect for drawing realistic

strands of hair (or fur).

Close-up view of contour crosshatching.

Follow the outline of the circle in a counterclockwise motion:

from the top to the left, then down and to the right, and

back up to the top.

C


Contrast (also see high contrast and low contrast) is the comparison of different values when put beside one another, and is an invaluable tool for accentuating various components of composition.

Cool colors (See color.)

Copyright is a form of protection, which grants artists the exclusive right to sell, reproduce, or exhibit their own original artworks. If you live in a country that has signed the Berne Union for the Protection of Literary and Artistic Property (also known as the Berne Convention), you automatically own the copyright to your original creations from the moment each is completed.

Counterclockwise (sometimes called anticlockwise) is a direction or motion that is opposite to the movement of the hands of a clock.

Cranial mass (often referred to as the cranium) is the large upper section of the skull at the back of the head.

Crosshatching is shading technique in which sets of straight or curved lines cross over, overlap, crisscross, or (and) cut through other sets.

The profi le of young man’s face is accentuated by using a strong contrast of light and dark values.

The cranial mass of a baby is more than three times larger than the face, whereas the cranial mass of an adult is only twice the size of the face.

A graduation of crosshatching values.

A detailed drawing of a young man’s

eye is shaded with crosshatching. His

eyebrows are shaded with contour hatching.

C


Curved contour lines are curved lines that follow the contours of a drawing subject and de ine its three-dimensional forms.

Curved line is created when a straight line curves or bends. Curved lines (as in the letters “C” and “U”) can be drawn in any direction and be any length.

Curved-sided shapes are shapes that are created with curved lines, and have sections where two or more of the curved lines meet at a point (or points). Curved-sided shapes (such as hearts or teardrops) are not truly circular in nature (like circles or ovals); hence, I simply refer to them as curved-sided shapes.

Five curved-sided

shapes: each has

one or more points where curved lines

meet.

A contour drawing of a baby dragon is almost completely

rendered with thick and thin curved

contour lines.

A simple sketch of a vase, created with only curved lines, is rendered with a fi ne-tip permanent black marker.

D


DDiagonal line is neither vertical nor horizontal, but rather, slants at an angle.

Diamond-shape is a parallelogram in which a straight line (usually imaginary) drawn from two opposite points is perpendicular to a line connecting the second set of opposite points.

Diptych is set of two related paintings or drawings that come together as a single artwork.

Disposable palette is a book of disposable sheets of a coated paper that is speci ically designed for mixing paint. You simply tear off and throw away a used sheet, and begin mixing paint on the clean sheet underneath.

Disposable pen (See pens.)

Distant space (See background.)

Dominant light source (See light source.)

A disposable palette

for mixing paints, with 40 tear-off

sheets.

A diamond-shaped

parallelogram (also called a diamond-

shape); line AB is

perpendicular line CD.

Four sets of parallel diagonal

lines slanting

in four directions.

Disposable pens work great for outlining drawings.

D


Drafting desk (or drafting table) is an adjustable worktable with a slanted top.

Drawing (noun) is the image that results from the application of a medium to a surface. A drawing de ines an artist’s choice of subjects from his or her own unique perspective.(verb) refers to the process of applying a medium to a surface to create an image.

Drawing accessories are any tools or products that enhance an artist’s drawing experiences.

Drawing board is an unbendable, portable, smooth surface used to support an artist’s sketchbook or drawing paper.

Drawing format (also see drawing space) refers to the orientation of a rectangular drawing space. The following two popular drawing formats are called landscape and portrait:

A cartoon artist demonstrates good posture as she works at a drafting desk.

A cartoon drawing of a terrifi ed young

man.

A realistic human hand is drawing a cartoon of the terrifi ed young man (no wonder he looks scared; that pencil point does look very sharp!).

A cartoon artist is using paper clipped onto a

drawing board to draw the values

he sees in an animated light

bulb and her cast shadow.


• Landscape format (sometimes called a horizontal format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom.

• Portrait format (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom.

Drawing from life (See life drawing.)

Drawing paper is an acid-free paper designed speci ically for artists, and is available in various types, colors, textures, and sizes.

Drawing powder (also see charcoal) refers to tiny loose particles of a drawing medium that have been broken down from a solid into a powder. Drawing with a powdered medium is messy, especially when applied directly to a surface with bare ingers and (or) hands. The mess can be cut down considerably by irst wrapping tissues, paper towels, or fabric around your ingers.

A portrait format works nicely for this sketch of a horse that is attached to a drawing board (which is also rotated to a portrait format).

D

A fun drawing of a cartoon snake fi ts nicely into a landscape format.

The proportionately

tall body of a baby giraffe fi ts

beautifully into a portrait format.


Drawing space (sometimes called a drawing surface or a drawing format) is the area in which you render a drawing within a speci ic perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

Drawing stick is a drawing tool that is made by compressing and shaping a medium (such as conté crayon, chalk, oil or chalk pastels, graphite, or charcoal) into a cylindrical or rectangular chunk.

Dry media refers to non-liquid drawing mediums (such as colored pencils, graphite, conté crayon, charcoal, and chalk).

Dry-mixing refers to the process of using a dry medium (such as colored pencils) to mix two (or more) different colors together to make a new color.

Dry mount refers to the process of adhering paper artwork or photographs to a board by using dry adhesive substances, high heat, and (or) a dry mount press.

D

Drawing powder was applied to the surface of a sheet of medium-tooth paper and gently blended with a sheet of paper towel. Erasers were then used to pull out light values, and a charcoal pencil worked well to outline the sphere and add shading to its cast shadow.

Artists use many different types of

drawing paper including: paper

that is bound into a hardcover or

softcover sketchbook; smooth, hot-pressed sheets of watercolor

paper in a watercolor block; and paper that

is sold in individual sheets.

Colored pencils are ideal for dry-mixing colors. In this illustration, the three primary colors (yellow, red, and blue) were used to dry mix the three secondary colors (orange, purple, and green).

Several different types of dry media including (from left to right): conté crayons; chalk pastels; graphite stick, mechanical pencils; various types of wood-encased pencils; vine charcoal stick; and charcoal sticks.

EE

Ear is the organ for hearing in humans (and many animals). Drawing (and painting) the exterior of human ears is easier when you are familiar with the following ive basic parts:

1. Outer rim is the long form along the outside edge of the ear that meets the earlobe at the lower section.

2. Inner rim is the smaller long form inside the ear that circles the rear of the opening to the ear canal.

3. Small lobe is the tiny form over the frontal section of the opening to the ear canal.

4. Ear canal is the opening to the inner ear.

5. Earlobe is the soft, leshy, lower section of the ear.

Easel is an artist’s accessory (often made from wood or metal) that can be used to support a canvas when painting, or a sheet of drawing paper attached to a drawing board for drawing. An easel can be any size; from a simple tabletop collapsible tripod to a large, loor-to-ceiling studio type with a large base.

Small tabletop easels are fantastic for displaying either completed

drawings or drawings in progress. This wooden, three-legged easel

is holding a drawing on paper that is attached to a drawing board.

The fi ve parts of an outer ear that are important to

visual artists are: (1) outer rim, (2) inner rim, (3) small lobe, (4) ear canal, and (5)

earlobe.

Human ears come in many diverse sizes and shapes.


E

Egg tempera is a water-based paint that is made with an egg yolk binder.

Elements of art are the basic visual symbols found in visual art, including (but not limited to) line, shape, form, texture, and color.

Eye is the organ of sight and light sensitivity. Artists need to be able to identify the following nine parts of an eye (or features that are close to) an eye and one element of light:

• Upper eyelid crease is a fold in the skin above the top section of the eyeball.

• Upper eyelid is a fold of skin that opens and closes automatically (blinking) to protect the eyeball.

• Lower eyelid is the fold of skin that protects the lower section of the eyeball. The lower eyelid cannot move without help from facial muscles around the eye.

• Eyebrow is an arch-shaped group of hairs above the eye.

Drawings of sections of clothing that are rendered with several elements of art, including shapes (in the patterns and accessories), textures (from smooth silk to fuzzy faux fur), and forms (in the bulges and folds).

A view of an eye in profi le allows you to easily identify

the: (1) upper eyelid crease, (2) upper eyelid, and (3)

lower eyelid.

Four very different

eyebrows above four eyes as viewed from

various angles. Numbers 1, 2, and 3 are female, and number 4 is

male.


• Eyelashes are ine hairs that grow from the outer edges of the upper and lower eyelids.

• White of the eye (the large light section of an eyeball) is light in value and color, but is not really white.

• Iris is the colored circular section of an eyeball surrounding the pupil.

• Highlight is the brightest section (or sections) where light bounces off the surface of the eye. A highlight is not an actual part of an eye; however, artists usually paint or draw highlights to capture the moist, glossy surface of the eye and enhance the illusion of realism.

• Inner corner is a small, reddish, triangular or oval-shaped form in the inside corner of the eye, close to the nose.

• Pupil of an eye is the darkest circular shape within the iris, that adjusts its size under different lighting conditions.

Eye level (See geometric perspective.)

Eyeball (also called the white of the eye) is the entire spherical section of an eye that is safely protected within an opening in the skull called the orbital socket.

The eyelashes that grow from the upper eyelid (1) are usually longer and thicker than those that grow from the lower eyelid (2).

Detailed drawing of an eye clearly identifi es the (1) eyebrow, (2) white of the eye, (3) iris, (4) one of the two highlights, and (5) inner corner of the eye.

In addition to the white of an eye, an eyeball is made up of the (1) iris and (2) pupil. The light

refl ecting off the surface of the eyeball is called a

(3) highlight.

E


F

FFacial expressions are voluntary and involuntary movements of facial muscles in response to various emotions. As the facial muscles do their jobs, different sections of the face move and often create folds and wrinkles in the skin.Descriptions of the visual characteristics of a few basic facial expressions and emotional states are as follows:

Angry • Eyebrows are lowered in the center

down over the upper eyelids. Vertical and horizontal creases appear on the forehead.

• Eyes are wide open. • Mouth is closed tightly and its

corners are forcefully stretched downward.

• Chin bulges upward.

Bored• Eyebrows move close together and

curve upward in the center. Vertical and horizontal crinkles appear on the forehead.

• Eyes are partially closed. Lines around the outer corners of the eye (crow’s feet) and lower lid creases are slightly pronounced.

• Mouth is relaxed and fully open. The upper lip is pulled up and back, and the lower jaw is dropped, stretching the whole lower face downward.

• Creases form from the sides of the nose down to the chin.


The different facial

expressions of human

emotions are created by the movements of facial muscles in response to how a person

is feeling.

This is not a happy face! When you see someone this angry,

you may want to turn around and run.

Yawning is contagious! This lady seems bored

(or maybe she just needs another cup of

coffee).

Contentment • Eyebrows are relaxed and slightly lifted

upward.• Eyes are partially closed and the upper

eyelids are drooped downward, covering part of the irises.

• Mouth is closed, relaxed, and pulled slightly back toward the ears.

Devastated• Eyebrows are lowered toward the center,

and vertical creases form on the lowered brow.

• Eyes are very tightly closed with pronounced creases at the outer corners.

• Mouth is open, and the lips are stretched both horizontally and downward, pushing the center sections of the mouth upward toward the nose.

• Chin is raised and tight.

Disgusted (hateful and horri ied are similar)• Eyes are partially closed and crow’s feet

are more pronounced. • Deep horizontal creases appear between

the eyes, extending across the bridge of the nose.

• Inner sections of the eyebrows are lowered, forming vertical folds on the brow.

• One side (or both sides) of the upper lip is raised.

• Center of the lower lip and chin are pushed upward.

Endearing• Eyebrows are raised and curled upward in

the center.• Eyes are slightly closed, creating crow’s

feet in the outer corners.• Corners of the mouth are pulled back

toward the ears.

F


This contented-looking young man appears

to be feeling at peace with the

world.

This unhappy character

looks totally devastated - his dog just ate his

homework.

This young lady appears

disgusted - she tasted some

chocolate-covered worms.

This endearing young man has

an irresistible charm.

F


Happy • Eyelids and eyebrows are very

relaxed.• Mouth widens and the corners curve

up and back toward the ears. • Sometimes the upper teeth show.

Gleeful • Eyebrows are relaxed.• Eyes narrow and sometimes close

completely.• Mouth opens wide, back toward the

ears, and lots of teeth are visible (especially the upper ones).

Mischievous • Brow and eyebrows lower toward

the center and partially cover the upper eyelids.

• Eyes narrow. • Mouth widens back towards the ears

in a grin.

Pain • Nostrils are pulled upward, and

cheeks are raised.• Eyebrows lower, and numerous

wrinkles extend from the inside corners of each eye across the bridge of the nose.

• Eyes are tightly closed; the lid line is straight.

• Vertical creases on the upper lid hide the upper lid fold.

• Crow’s feet extend from the outer corners of the eyes.

• Upper teeth are hidden under the upper lip, and the front lower teeth are visible.

• Mouth is open, and the lips are stretched horizontally and downward.

If you’re happy and you know it, remember to tell

your face to smile.

This gleeful guy’s laughter is no doubt

contagious.

I wonder what this mischievous-

looking kid is planning.

Removing a splinter from a

fi nger can’t possibly be as painful as this lady’s face seems to think.

Sadness • Brow and eyebrows

bend upward and toward the center, forming vertical creases and folds.

• Upper eyelids fold upward toward the center.

• Corners of mouth curve downward.

Seduction • Eyebrows are raised. • Upper eyelids are

slightly closed. • Mouth is pushed

forward puckering the lips.

Terror (surprise and shock are similar)• Eyebrows lift up and

curve upward in the center.

• Eyes open very wide with the whites showing all around the irises.

Facial features include the eyes, nose, and mouth.

Facial guidelines identify the approximate locations of human features and ears on an average head within speci ic spaces. Facial guidelines for babies and children are different than those for adults.

F

This sad older gentleman can’t fi nd his glasses.

This seductive young lady wants a big discount on a new car.

This terrifi ed young man just saw a mouse.

Vertical and horizontal guidelines mark the

approximate locations of babies’ facial features

and ears.


F

Facial mass (also called the face or facial area), refers to the lower frontal section of a human head.

Facial muscles are the muscles of the face. To keep things simple, I refer to each by its role in facial expression rather than its anatomically correct name.The following ten major facial muscles can create an in inite range of facial expressions:

• Eyebrow-lifter is a wide, lat muscle with two independent halves, that runs vertically across the forehead.

• Frowners are the muscles between the eyebrows that extend from the bridge of the nose upward and outward in a fan shape.

• Eyelid-lifter is a tiny muscle in each upper eyelid that controls the up and down movements of the upper eyelid to open and close the eyes.

• Eye-squeezer is a large oval-shaped muscle mass surrounding the eye and extending onto the upper section of the cheek. The various sections can work independently or together.


Lines drawn on a young man’s face

show the locations of

ten major muscles

and muscle masses.

Eyebrow-lifter muscle (1) helps create the expressions of surprise, sadness, and fear. Frowner muscles (2) contribute to the facial expressions of sadness, fear, concentration, anxiety, and anger.

The eyelid-lifter (3) and eye-squeezer muscles (4)

help show happiness, stress, anger, and pain.

• Lip-raisers are the muscles that extend from above the outer mouth area, directly upward on the cheek in a fan-like shape.

• Smiling muscles run from the corners of the mouth back toward the ears.

• Speaking muscles encircle the mouth, and work with other muscles to give the mouth its movements when talking.

• Sadness muscle extends from the corners of the mouth in a downward direction.

• Pouting muscle pushes the center of the mouth upward, resulting in a raised and puckered chin.

• Lip-stretchers are rarely used muscles that pull the lips horizontally backward on the face.

Facial slope refers to the angle of a person’s head (excluding the nose) when viewed from the side: from the forward projection at the base of the upper teeth, upward to the forehead.

Feathered line is a series of short lines that appear to be a single line. To feather a line, you very gently sketch a series of short lines that involves a constant lifting of the pencil from the paper.

F


Lip-raiser muscles (5) help show disgust, devastation, despair, and sneering. Smiling muscles (6) contribute to the happy expressions of smiling, laughing, giggling, and grinning. Speaking muscles (7) help create the expressions of anger, surprise, and sadness. Sadness muscle (8) contributes to such facial expressions as grief, sadness, and frowning. Pouting muscle (9) helps create a pout (obviously). Lip-stretcher muscles (10) contribute to extreme expressions, such as devastation, terror, or intense anger.

When viewed in profi le, you can really notice how the facial slopes of people vary from one person to another.

Feathered lines work well to depict

movement in gesture sketches. Most gesture

sketches need to be rendered quickly and

the multiple lines help create the illusion of

motion.

Ferrule (See brushes.)

Figurative refers to the visual depiction of a human body in a drawing or painting.

Figure refers to the body of a human being.

Filbert (See brushes.)

Fixative spray is used by artists to lessen the likelihood of smudging by adhering the medium to the paper or canvas.

Flats (See brushes.)

Focal point (sometimes called center of interest or center of focus) (also see Rule of Thirds) is a term used to identify the most important elements in a drawing or painting. Most drawings and paintings have the following two types of focal points:

• Primary focal point is the single most important center of interest (or focus) in a drawing. For example, in a drawing of an animal, it may be the eyes, the entire face, or a whole section of the body that is especially fascinating.

• Secondary focal point refers to a center(s) of interest in a drawing composition that is signi icant, but not quite as important as the primary focal point.

In this cartoon, the very happy primary focal point takes center stage, while the disgruntled secondary focal points look on.

F


A quickly rendered fi gurative sketch of three fi gures.

Three fi gurative studies of

my grandson (Brandon) were

fi rst sketched and then

shaded with hatching lines.

Folk Art is a traditional genre of art that depicts the life style, customs, culture, and values of a society.

Foreground refers to the sections of an artwork that are closest to the viewer. Objects (or people) in the foreground are usually rendered with more details and a greater contrast of values than those in the middle ground or background.

Forensic art refers to the artistic techniques used by police departments and investigative agencies in the identi ication, apprehension, or conviction of wanted or missing persons.

Forensic art includes several speci ic disciplines including:

• Age progression: (also see age progression and age regression) is frequently used to create an updated image of a child who has been missing for a long time.

• Image modi ication: can be as simple as adding or removing a beard or mustache from a photograph of a suspect, or as complicated as drawing an entire face hidden behind a ski mask by referring to nothing more than a video image.

• Post-mortem reconstruction: refers to the process of sculpting a three-dimensional head and face from a skull.

• Composite art: the artist is often called a sketch artist. Composite art is the best-known discipline of forensic art. In essence, a forensic artist translates other people’s memories into drawings.

F


This is a typical composite

drawing; however, this person exists

only in my imagination.

As an aside, I retired from my

twenty-fi ve-year career as a

forensic artist in 2003 to pursue

a new career as an author of

art instruction books.

A calm, peaceful scene at a resort in Nova Scotia, Canada, called the Liscombe Lodge. An inviting chair is in the foreground of this scene. The Liscombe River is in the middle ground, and the distant trees and sky are in the background.

Naturally, strong drawing skills and an in-depth knowledge of facial anatomy are important. However, even more essential is the artist’s ability to interact with, and interview the victim or witness, and successfully gather, interpret, and illustrate the information obtained from his or her memory.

Foreshortening (also see geometric perspective) is an element of perspective that describes the visual distortion of objects and living beings when viewed at an extreme angle. The word foreshortening applies to a single object or igure, whereas the word perspective refers to an entire scene.

Form is an element of art that is created in drawings and paintings by using shading and (or) colors to transform shapes into three-dimensional structures.

Format (See drawing format.)

Fresco is an artwork (often called a mural) painted on a thin layer of plaster that covers a wall or ceiling. For example, frescoes that date back more than 3,500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

Friable is used to describe the extent to which a dry drawing medium crumbles or breaks. For example, charcoal and chalk are friable, and therefore drawings created with friable mediums need to be sprayed with a ixative to protect the medium from

eventually falling off the paper.

F


A few very different

drawings that began with an outline of the

shape of a circle (or circles).

Shading was added to each circle to create

the illusion of forms. Needless

to say, my imagination took over for three of these drawings.

The boring shape of a circle is outlined in graphite.

A drawing that resulted from asking my friend, Rob, to

demonstrate foreshortening. His comical pose illustrates the importance of drawing

foreshortening correctly. Foreshortening creates extreme

visual distortions. Only his left arm and head appear to be their

actual lengths.


G

Geometric perspective (sometimes called linear perspective) (also see atmospheric perspective) is a precise drawing technique that makes subjects in a drawing look like they recede into distant space. Drawing subjects appear smaller the farther they are away from you. Conversely, the closer people and objects are to you, the larger they look. Perspective is the very foundation of realistic art, in that it has the power to create the illusion of a third dimension on a lat piece of drawing paper.To understand geometric perspective, you need to be familiar with its three basic components: horizon line, vanishing point, and perspective lines.

Horizon line (also called eye level) is an imaginary horizontal line that divides your line of vision when you look straight ahead. In essence, the horizon line and your eye level are one and the same. Wherever you move - from the top of the highest mountain to the lowest valley - your eye level always stays with you.

GDrawing of a male fi gure, standing on

a wooden deck and leaning against a railing,

illustrates a practical application for geometric perspective for creating

the illusion of depth.

All the edges of the boards on

the deck, and the horizontal railings,

extend back to the exact same

vanishing point on the horizon line.

In reality, each fi gure standing on this striped bridge is the exact same size. However, when viewed in perspective, the fi gures appear smaller the closer they are to the vanishing point.


G

Objects below the horizon line are below your eye level, and objects above the horizon line are above your eye level. As an artist, you control whether you want viewers to feel like they’re at eye level with, or looking downward or upward at the objects in your drawing. You decide the viewers’ eye level based on where you choose to draw the horizon line.

At eye level: To create theIllusion that viewers are at eye level with the objects in your drawings you need to employ the perspective lines (de ined on the next page) as follows: • Perspective lines of

objects at your eye level (touching the horizon line) converge both downward and upward.

• Perspective lines of objects above your eye level (above the horizon line) converge downward.

• Perspective lines of objects below your eye level (below the horizon line) converge upward.

Looking downward: Ifyou want the viewers of your drawings to feel like they are looking downward, draw the subjects below the horizon line. The perspective lines of objects below eye level angle upward towards the horizon line and converge at a vanishing point.

Pretend that you are the fi gure standing on the rock. The horizon line represents your eye level. If this were real life, you’d have to look upward to see the objects above the horizon line and look downward to see those below. Boxes that touch the horizon line are at your eye level. You cannot see their tops or bottoms.

Boxes (and other objects) that need to

appear lower than your eye level, are drawn

below the horizon line. Their perspective lines

converge upward to the vanishing point (VP).

You can tell that you are looking

downward at these four

objects because you can clearly see their tops.

Looking upward: To createthe illusion that the viewer is looking upward, draw your subjects above the horizon line. The perspective lines of objects that appear above the viewer, lead downward to a vanishing point.

Vanishing point is an imaginary point (or points) on the horizon line where perspective lines converge.

Perspective lines are imaginary straight lines (usually angular), which extend from the edges of drawing subjects, back to a vanishing point (or points) on the horizon line.

Gesso is a white primer that can be applied to absorbent surfaces (such as canvas) to seal and prepare the surface for oil or acrylic paint. Gesso can be tinted with acrylic paints (but not oil paints) for a toned surface. As an aside, many artists simply begin painting without an underdrawing. Others prefer to render a preliminary drawing with paint. Some artists like to do a detailed drawing with a dry medium (such as graphite, charcoal, or chalk) on a primed surface before they begin painting.

Imagine yourself fl ying in a small plane over a residential area looking downward. Naturally, your eye level (the horizon line) is straight ahead of you. By drawing the horizon line in the upper section of your drawing space, you can capture the illusion that you and the viewers of the drawing are looking downward at the houses, front yards, and street in this scene.

Boxes that are higher than your

eye level are above the horizon line.

You can see their bottoms but not

their tops.

Perspective lines, drawn from the edges

of each cube to the vanishing point,

create the illusion that the cubes are fl oating in the air like helium-

fi lled balloons.

G


You can begin an underdrawing after the initial couple of coats of gesso are brushed on, dried, lightly sanded (if a smooth surface is preferred), and then brushed clean with a dry brush. To prevent the drawing medium from bleeding through your inished painting, you should

spray the surface with a ixative and paint it with a thin layer of gesso (diluted with water). This wash should be thin enough to allow you to still see your drawing.

Gesture sketch (also see rough sketch) uses simple sketching methods to capture the past, present, or potential movements of living beings. Gesture sketches are usually rendered quickly to capture the energy and movement of the subject.

Golden Mean (also see rule of thirds and focal point) is a mathematical formula devised by the ancient Greeks, used to create a balanced composition through the strategic placement of focal points.

Gouache is an opaque water-based paint (similar to poster paint) that dries to a matte inish.

Grade (also see graphite and pencil) refers to the softness or hardness of the mixture used in the manufacture of drawing mediums.

G


A graphite underdrawing for an

acrylic painting on stretched canvas was sprayed with a fi xative and then painted with a thin wash of primer.

An active child presents artists with invaluable opportunities to increase their sketching speed while attempting to capture a vast range of gestures.

Different grades of pencils make marks of various values. For example, lines drawn with a 2H pencil are considerably lighter than those rendered with a 6B.

G


Graduation (also called graduated shading or graduated values) is a continuous progression of values, from dark to light or light to dark. The goal of graduated shading is to keep the transitions between the different values lowing smoothly into

one another.

Graphite (also see grade) is a soft black form of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists. Graphite was discovered in England somewhere between 1500 and 1560. Its claim to fame as a drawing tool began with farmers marking their sheep to easily identify their locks. The various grades of H graphite pencils work beautifully for light and middle values. B graphite pencils are best for middle and dark values. A combination of both H and B graphite pencils can create a full range of values from very light to almost black.

Five grades of pencils

are used to demonstrate their different

capabilities when drawing

graduated values.

A cartoon drawing of a sheep, who is proudly modelling

the fi rst known use for graphite.

The grade of this graphite pencil is 3H. Before you buy graphite pencils, look for the grade (usually clearly written on the wooden casing). By the way, this is an excellent brand name for good-quality pencils.

Four H grades of graphite that make

light to middle values, and four B

grades that work well for creating

middle to dark values. An HB

pencil is ideal for middle values, and

is considered as either an H or B

grade.

G


Modern-day graphite pencils consist of a cylindrical stick of a graphite and clay mixture, encased in a wooden cylinder. Graphite is also available as sticks, powders, woodless pencils, and leads for mechanical pencils. Pure graphite is blacker and softer than the clay with which it is mixed. As a rule, H pencils have less pure graphite than B pencils. (To help you remember, think of “H” as hard and “B” as bolder.)The actual amount of graphite in the composite determines the label of a pencil. For example a 9H pencil is made up of approximately 40% graphite; conversely, a 9B pencil has more than 90% graphite.

Grid is a precise arrangement of a speci ic number of squares, of exact sizes, proportionately drawn on both a photo and a drawing surface. To explain the process of working with a grid, the following demonstrates the three stages of drawing a German Shepherd:

1. Planning and drawing grids: The photo was rotated (until I found an angle that I liked) and then taped to graph paper. Using the graph paper as a guide, I drew the grid lines on the photo with a ine-tip ballpoint pen. I then marked letters and numbers along the outer edges to identify each vertical and horizontal row.

The black stripes on this drawing of a zebra were shaded with mostly B grades of pencils. The white stripes were almost completely rendered with H pencils (I used a 2B sparingly for the white stripes in the darkest shadow sections).

A photo of Evie was tilted slightly before

drawing a grid on its surface.

A larger corresponding grid is carefully outlined on my drawing paper.

2. Sketching proportions: I work in only one square at a time with 2H or HB leads in mechanical pencils. I visually measure proportions, and observe the relationships between the lines, shapes, and spaces in each square, while constantly referring to the photo. I outlined all parts of the dog’s head, ears, and face in their correct places, beginning in the upper right corner. I then referred to the photo to map out where I planned to draw light or dark values.

3. Adding shading: The grid lines were all carefully erased, and a full range of values was created with various grades of pencils from 2H to 6B.

Gum Arabic (also see binding agent) is a binding agent that is added to various media to improve the bonding properties of their ingredients.

Evie’s head is meticulously

sketched inside a grid that is

approximately three times the size of the grid

on the reference photo (see page 47). In addition, I used Photoshop

to make this illustration much darker than the

actual sketch. In fact, my lines

are so faint I can barely see them.

A detailed drawing of a

wonderful old lady captures her sweet and gentle

nature. Using a grid, saved considerable

time and energy by helping me easily render

accurate proportions. Then I could

fully focus on the fun aspects of drawing her

portrait.

G


H


HHake brush (See brushes.)

Handmade paper refers to any type of paper that is made without modern technology or machinery. During the Renaissance, drawing papers were handmade by breaking down or chopping up source materials such as plants, vegetable matter, rags, and (or) sailcloth, into individual cellulose ibers. These ibers were mixed with water to form a soupy pulp, and were then scooped up with a wire screen and set into a wooden mold. The pulp was leveled lat by shaking the wooden mold, and once the water had drained through the screen, an even deposit of matted ibers remained on the screen’s surface. This matted deposit was then turned out onto a heavy woolen cloth or felt. Another felt was layered on top of the thin sheet of pulp, then more felt, and so on. The resulting stack of pulp sheets and felts were then pressed to extract as much of the moisture left in the pulp as possible. The sheets of paper were then hung to dry. At this stage, the paper was still very absorbent (like blotting paper). To harden the surface, the paper was coated with a non-absorbent sealer (such as a layer of gelatin). The type of paper that was very popular with the masters was coated with white lead and ground bone, usually tinted with a pigment, and tempered with a glue sizing.

Hardcover refers to a durable type of book cover that is made from a thick and unbendable material.

A graphite drawing on modern acid-free paper (made from 100% cotton fi bres) is based on Michelangelo’s drawing, Study for the Head of a Youth. The original drawing by Michelangelo was rendered on handmade paper; unfortunately, time has deteriorated his paper to the point that the details are diffi cult to see.

Hardcover sketchbooks

come in many sizes and colors,

and have a durable,

unbendable cover that

protects your paper and drawings

from being wrinkled.

H

50 Copyright to all defi nitions, images, and text within this book belongs to Brenda Hoddinott and Drawspace.com, and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail: [email protected] Web site: http://www.drawspace.com.

Hardness (also see grade and graphite) refers to the numerical rating of H-grade media according to their ingredients; the harder the mixture – the higher the number. For example, an 8H graphite pencil has more clay (hard) than graphite (soft), and therefore makes an extremely light mark. Conversely, a 2H graphite pencil is made with a higher percentage of graphite, and therefore makes a darker mark, and is not as hard as an 8H pencil.

Hatching (also see crosshatching) is a series of lines (called a set) drawn closely together to give the illusion of values. Depending on the shading effects desired, the individual lines in hatching sets can be far apart or close together.

Heightening refers to the technique of applying a light pigment (such as white chalk or gouache) to sections of a drawing to enhance the illusions of mass, form, and light.

Hematite (often called iron oxide) is the ingredient in natural red chalk that determines its speci ic hue.

Heptagon is a straight-sided shape with seven sides and seven angles.

Hexagon is a straight-sided shape with six sides and six angles.

White gouache is used to paint several small highlights on this close-up view of a sketch (see page 22), to heighten the

illusions of form and light.

Two different types of hatching graduations created with both H and B grades of graphite.

Drawings of a heptagon and a hexagon are created in Photoshop.

H

51

High contrast (also see contrast and low contrast) refers to shading that is created by drawing the darkest values adjacent to the highlights and lightest values.

High key (See key.)

High Renaissance (also see Renaissance) refers to the styles and techniques of the early 16th century paintings of Florence and Rome, characterized by technical mastery, and humanistic content.

Highlight (also see eye) is a small section (or sections) of a drawing or painting subject (or subjects) that is rendered with white or a very light value. Highlights identify the brightest area of a form where the dominant light bounces off its surface. Highlights are more pronounced on shiny or glistening surfaces than those which are dull or matte. You can usually ind the brightest highlight in a drawing or painting on the section of the primary focal point that is closest to the light source (without being in shadow). Less intense highlights are often used to enhance the illusion of form on secondary focal points and less important areas of interest.

Several highlights create the illusion that this drawing of a replica of a medieval knife has a shiny blade and handle.

The subject of this still-life drawing is an original sandstone sculpture

of a winged creature carved by my friend, Jesse Wilts. The high

contrast texture of the polished stone was created with various grades of

pencils from 2H to 6B and a drawing technique called stippling.

A close-up view of high-contrast shading used to illustrate the shiny, polished surface of a small section of a sandstone sculpture.

Copyright to all defi nitions, images, and text within this book belongs to Brenda Hoddinott and Drawspace.com, and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail: [email protected] Web site: http://www.drawspace.com.

History is a written record of the past; mostly about the lives and activities of human beings and their environments. For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

Horizon line (See geometric perspective.)

Horizontal describes a lat surface or line that is at a right angle to vertical lines, and is parallel to a level surface.

Horizontal format (See drawing format.)

Horizontal line is a geometric object that is at a right angle to a vertical line, and parallel to a level surface.

Hot-pressed describes a paper that is pressed through hot cylinders during its manufacture. Some smooth, hot-pressed watercolor papers are wonderful for rendering graphite drawings.

Hue (also see color) is another word for color (such as red, purple, or teal).


H

Two sets of horizontal lines (also called hatching lines): the upper set has fi ve lines and the lower set has thirteen.

Four lines in this drawing of an open-ended box are horizontal. Optical illusions are fun! Is the white square in the center closer to you than the sides? Or, are the sides closer to you than the white square? Keep staring at the white square until you can see both illusions.

The warm, creamy hue of Arches, 100% cotton, hot-pressed watercolor paper brings out the warm hues of graphite. A couple of dabs of bright white chalk heightens the highlights of her eyes to make them stand out strongly. The hat, face, and neck are shaded with squirkles, the hair with hatching, and her clothing with crosshatching.

53Copyright to all defi nitions, images, and text within this book belongs to Brenda Hoddinott and Drawspace.com, and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail: [email protected] Web site: http://www.drawspace.com.

I

IIcon is a visual image or a graphic symbol that is used to identify a speci ic task or information. For example, icons can identify sidebars in books, or speci ic functions on computer display screens.

Illustration is an image that is used to enhance a book, publication, or concept, or help explain text. For example, illustrations are used throughout this book to further the reader’s comprehension of text de initions.

Impasto is a painting technique in which the paint is laid on so thickly that its texture stands out.

Impressionism is a style of art in which realism is distorted so as to accentuate color, light, form, or (and) movement. The term Impressionism is derived from a painting by Claude Monet titled Impression Sunrise.

In my book Drawspace Guide to Getting

Started with Drawing, a cartoon drawing of

Albert Einstein is turned into a circular icon to

identify defi nitions of art words and terms.

This oil painting of a little elf was used as an illustration for the

month of December on a corporate calendar,

and for Christmas cards that were mailed

out to their clients.

A tiny section of an impasto painting that was created by fi rst covering the canvas with a thick layer of gesso and then painting over the dried surface with oil paints.

In-home studio is a personal drawing place within (or adjacent to) an artist’s home. An ideal in-home studio has adequate space for the artist and his or her art supplies. It can range from a small section of a table, to a large, fully equipped professional art studio.

Ink (also see sepia ink) is a thin liquid (usually black or colored) that is applied to a surface with a brush or pen to write, paint, or draw. Inks have been used by artists for hundreds of years. Most Renaissance pen-and-ink drawings were rendered with black and (or) various shades of brown, red, and orange. The most popular inks for traditional and classical drawing include India, Chinese, and Bistro.Today’s inks are available in a wide assortment of colors and can be mixed together and (or) diluted to make almost any color imaginable. Materials for ink drawings include inks, pen nibs, holders, and brushes. Most art stores carry several types of pen holders and many sizes of nibs.

Intensity describes the brightness or dullness of a color.

Intermediary colors (See color.)

Iris (See eye.)When Cerulean Blue is mixed with white and a little orange (its complementary color), the intensity of the new color is dull (almost gray).

A few different types of

holders and nibs for

drawing and writing with

inks.

The style of this oil

painting can be considered

impressionism, and one of the

techniques used is

impasto.

I


Juxtaposition is an aspect of composition that refers to the close placement of elements, in order to compare or contrast their relationships and (or) enhance the message or meaning of the artwork. For example, colors and shapes can be juxtaposed to complement or contrast one another.

► For comparison: Similar objects can be added to an artwork to illustrate a speci ic theme (such as a drawing of various objects that are all made of wood).

► For contrast: Artists can put two or more objects together that have opposite associations or interpretations (such as putting something new and shiny beside an object that is old and weathered).

J

A detail section of a painting (Eden, Dawn of Feminism) that uses juxtapositions to compare stylized parts of human bodies to illustrate a message about archaic societal and pop cultural perceptions of women.

A juxtaposition that promotes a message to be accepting

of, rather than judgmental

toward individuals

based on their clothing and

body language. This drawing of

a young man contrasts his

physicality with his kind and

gentle nature (as revealed in his facial

expression).

J


Key refers to the overall amount of light and dark values in a drawing.

► High-key drawings (think of high levels of light) have a range of values that are mostly light. Sometimes, even the shadows and dark areas are shaded with medium values rather than extreme darks.

► Low-key drawings (think of low levels of light) have a range of mostly dark values and tend to be ominous or moody. Some low-key drawings can also be high-contrast, which entails drawing the darkest darks next to the lightest lights.

Kneaded Eraser is a versatile, soft, pliable eraser, used to erase parts of a drawing or to make a section lighter. Its tip can be molded to a point (or wedge) to erase small sections of a drawing, or to draw ine lines on a surface, covered with a drawing medium, such as graphite. To clean a kneaded eraser, you simply stretch and reshape it (also known as “kneading”) several times.

K


K

This low-key drawing creates a more ominous and intense mood. Even though his face has the same expression as the drawing above, the model seems more assertive and confrontational.

A few years ago, I create two drawings of the same subject (my friend, Ben Fong) to experiment with high- and low-key. My goal was to fi nd out if key alone could infl uence the mood of a drawing. The backgrounds are painted with washes of India ink, and the portraits are drawn with graphite pencils. This drawing is, for the most part, high-key. (I decided to leave sections of his hair and eyes dark.) The high-key rendering seems to make the model appear shy and innocent.

Before you begin the process of molding and shaping a new kneaded

eraser, it is a rectangular form.

Landscape is a drawing or painting depicting an expanse of natural scenery that includes some components of land (such as trees, mountains, or beaches).

Landscape format (See drawing format.)

Leadpoint (also see stylus and metalpoint) was an ancient drawing tool made of lead (a soft metal) or a lead alloy, that would leave marks on unprepared paper. Lead produced a beautiful faint line that could be erased. During the Renaissance leadpoint was popular for creating an underdrawing in preparation for a more detailed drawing (to be done over top) using another medium. On the downside, the tip of a lead stylus would quickly become blunt. Leadpoint is considered the ancestor of the modern-day “lead” pencil, which is actually a lead-free composite of graphite and clay.

Left-brain refers to the left hemisphere of the brain which controls analytical, mathematical, and verbal thinking.

Level (also see horizontal and parallel) refers to the comparison of one horizontal surface or line to another or others.


L

L

The top and bottom edges of the painting are level with the top of the table.

Archeologists have discovered primitive

leadpoint drawing tools that have been traced back to ancient Rome.

You won’t fi nd the subject of this landscape anywhere on planet Earth. This lake surrounded by mountains existed only in my imagination until I created this drawing.

Life drawing (verb) refers to the process of drawing from a living being, rather than a photo or sketch.Life drawing (noun) is an artwork or sketch created by using an actual living being as a reference. Dedicated artists devote several years to mastering the skills needed for accurately drawing the contours and forms of human igures.

Light source is the direction from which a dominant light originates. A light source identi ies the light and shadow areas of a drawing subject, so artists know where to add light or dark lines and values.

Line is the visually identi iable path of a point moving in space. Straight, angle, and curved lines can vary in width, direction, and length, and are used in drawings to visually separate and (or) de ine the forms of a drawing subject.

L

Three types of lines: straight,

angle, and curved.

Photographs of a ceramic vase sitting in a dish changes its appearance drastically when viewed with four different light sources.

Life drawings of three fi gures are roughly

sketched with feathered lines, then outlined with

more precise continuous lines, and fi nally, shaded

with hatching lines.


L

Line drawing is an artwork created with only lines. The goal is to accurately outline the contours of the various shapes and (or) forms, of a drawing subject.

Line of symmetry is a line (real or imaginary) dividing a drawing space into two equal sections so as to render a symmetrical drawing subject. The outline on each side of the line of symmetry needs to be a mirror image of the other side.

Linear perspective (See geometric perspective.)

Low contrast (also see contrast and high contrast) refers to shading with a limited range of values.

Low key (See key.)


To resist the temptation of

adding dark values, I used

mostly H pencils to make sure my

drawing ended up low-contrast

and high-key.

Drawing with only lines enhances your ability to draw accurate proportions. Also, shapes and forms (and some textures) can be defi ned with only diverse types of lines (and no shading).

A facial profi le is neatly sketched on one side of a line of symmetry.

A mirror image of the face is added to the other side of the line of symmetry. The line of symmetry

is then erased and horizontal lines are added at the top and bottom. Ah - but wait - this is an

optical illusion! Can you also see the vase?

M


Manga (a Japanese word for “comic book”) refers to a popular style of cartooning that originated in Japan. Manga also refers to reprints of Japanese comics that are translated from Japanese into other languages (such as English).

Manikin is an accurately proportioned male or female model (usually made of wood) that can be bent and contorted into various poses. Many manikins are designed speci ically for artists as references for practicing igurative drawings and (or) establishing accurate human proportions for a speci ic pose in an artwork. Manikins of animals are also available.

The process of sketching a realistic igure based on the proportions of a manikin, is as follows:

1. Turn the manikin around until you ind the perspective you prefer. Adjust the various parts of the manikin to the desired pose.

MA Manga drawing of a young

child is outlined with a fi ne tip black marker. A few very

simple hatching lines help make her proportionately

huge eyes stand out strongly.

My goal with this Manga drawing was to create a scary character. Even with snake eyes and nostrils, he still ended up adorable.

My two favorite manikins ( a male and female) are manipulated into

silly dance poses. The body of the female (on the right) is not as tall

as the male, and has a slightly shorter torso and

smaller waist.

M


For example, you can place the manikin above or below you and rotate it for a frontal, back, or side view.

2. Sketch the shapes of the manikin as accurately as possible. Outline various body parts, such as shoulders, knees, elbows, and wrists.

3. Re ine the outlines of the parts of the manikin to represent the body type you envision. For example, maybe your goal is to draw a tall basketball player or a short, muscular dancer. (An illustrated book of human anatomy can be a very helpful reference.) Add additional details such as hair, accessories, and (or) clothing.

Markers are disposable drawing (and writing) tools with a soft tip (often made of felt) that are illed with a colored or black liquid or ink. Markers are available with tips of many sizes from very ine to large. Inexpensive children’s markers tend to be water-soluble and come in lots of wonderful bright colors. Professional artists’ markers are available in both water-soluble and permanent, and are ideal for both artistic and commercial endeavors.

Different types of markers can be combined in a single drawing. For

example, the overall shape can be outlined with a thick black marker, small details can be added with a fi ne-tip black marker, and colors

can be added with children’s broad-tip markers.

Three simple steps take you from a

manikin to a sketch of a human. Drawing a human fi gure from

a manikin requires a basic knowledge

of, and (or) good reference materials, on human anatomy.

A cartoon drawing of a baby mermaid is outlined with a 0.1 Staedtler black pigment liner (a high-quality disposable marker used by both amateur and professional artists).

M


Master is a term of respect and honor earned by accomplished artists with exemplary skills in their speci ic disciplines. For example, think of a master painter or a master of the violin.

Masters of the Renaissance were extraordinary artists whose innovative techniques, styles, and ideas, greatly enhanced visual art from the 13th to 16th centuries. Leonardo da Vinci, Donatello, Jan van Eyck, Hans Holbein, Michelangelo, and Raphael are but a few of the major artists of this period. These masterful artists (and others) are remembered for:

• Enhancing styles of art that focused on drama, story-telling, human anatomy, and highly realistic portraiture.

• Inventing new painting and drawing techniques, and enhancing classical techniques (such as chiaroscuro and heightening); and establishing rules and guidelines for more accurate portrayals of subjects (for example: rules for geometric perspective, and guidelines for rendering the accurate proportions of human igures and faces).

A simple drawing of a fl ower based on a work by a master

artist of the Renaissance (Leonardo da Vinci).

A profi le view of an old man’s face copied from a drawing by Leonardo da Vinci. My primary goal was to duplicate the loosely rendered hatching and outlines of various weights. I also added a few marks to imitate the deterioration of the paper so the drawing would appear old.

M


• Inventing, discovering, or improving drawing and painting tools (such as graphite, prepared papers, and oil paints made with linseed oil).

Matte (also see texture) is a surface texture that is dull and lusterless, which often has additional characteristics, such as smooth or rough. Many fabrics, rocks and stones, and un inished wood, have a matte texture.

Mechanical pencil is a drawing tool with an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip. The marks created by a mechanical pencil stay consistent in size, allowing artists to focus their time and attention on the process of shading, rather than stopping every couple of minutes to sharpen a regular pencil. Mechanical pencils can hold various grades of graphite (from very hard to soft), and come in different sizes. For example, a 0.3 mm mechanical pencil allows you to render very detailed drawings; a 0.5 mm pencil is great for regular drawings, and 0.7 and 0.9 mm pencils are ideal for sketching loosely or drawing on a large surface (or both). Replacement leads are sold in single packages of leads of the same grade. Many mechanical pencils even have erasers for which you can buy re ills.

Five of my favorite mechanical pencils range in size from 0.3 mm to 0.7 mm.

Contemporary sketch of a horse that

employs the drawing

techniques of the masters

of the Renaissance.

Six close-up views of clothing with matte

textures: knit sweater; denim jacket; fl eece jacket;

cotton T-shirt and scarf; faux fur collar; and hat.

M

Medium refers to a drawing tool (anything from the burnt end of a stick, to a pencil, to a computer software program) used to make marks. In some cases, the word medium also describes the artistic technique used; its form (such as a pencil), and (or) the surface on which a drawing is rendered. For example, the medium of a speci ic artwork could be described as “hatching with graphite pencil on cotton paper”. The marks made with various mediums have a major in luence on the look of a drawing. For instance, drawings rendered with graphite pencils look quite different than those done with charcoal, markers, or Photoshop.

Mediums and media (also see medium) refer to more than one medium.

Metalpoint (also see leadpoint and stylus) is a drawing tool that was popular during the Renaissance, and made from a relatively soft metal, such as lead, silver, gold, or copper.

A digital drawing was created by scanning

a cartoon drawing (outlined with marker)

into Photoshop, and then adding colors.

Quick charcoal sketch of a butterfl y with three-dimensional wings.

A fantasy butterfl y rendered with graphite on smooth watercolor paper.

Cartoon butterfl y outlined with a thin black marker.

Simple drawing of a butterfl y outlined with 2H and 2B grades of graphite pencils.

Graphite drawing of trees

and a lake rendered

on Archeshot-pressed

watercolor paper.


Mixed-media describes an artwork created with two or more different mediums.

Mixing paint (also called mixing paints) refers to the process of combining varying amounts of paint of different colors to create a new color. I refer to the following popular method for mixing paint as the Scoop and Spread:

1. Squeeze small dollops of at least two base colors (unmixed paint straight from the tube) onto your palette.

2. Turn your palette knife on its side and scoop up a little bit of one color.

3. Gently ease the paint off the bottom of the palette knife (similar to spreading butter on a slice of bread) onto a clean section of a palette.

4. Scoop up a little of another color.

5. Add the second color to the irst color.

M

A mixed media drawing (titled Winged Lightning) created with colored pencils, a fi ne-

tip black marker, and Photoshop.

The following seven photos show you how to mix black paint using the Scoop and Spread method:

5. Spread the Ultramarine Blue almost on top of the Raw Umber.

3. Spread the Raw Umber onto a clean section of your palette.

4. Wipe the paint off your palette knife with a piece of paper towel, and scoop up a slightly smaller amount of Ultramarine Blue.


1. Add Raw Umber, Ultramarine Blue, and Titanium White to your palette.

2. Scoop up some Raw Umber with your palette knife.

6. Use your palette knife to scoop up both colors together.

7. Spread the paint back onto the same place on the palette.

8. Continue to scoop and spread (and add additional colors if needed) until the paint becomes the color you want.

To mix a light or medium color, try to avoid adding white to a dark color. Instead, you slowly add small amounts of color to white until you obtain the desired color.

1. Add white and any color (either straight from the tube or a color you’ve already mixed) to a clean part of your palette.

2. Add a very tiny amount of the color to the white paint.

3. Scoop and spread until the color is well mixed.

4. If the new color is too light, add another tiny amount of the base color until you create the color you want.

Keep in mind that most paints become a little darker when they dry.

6. Use the bottom of the palette knife to scoop up both colors.


M

7. Spread the partially mixed paint back onto the palette. If you are doing this correctly, you’ll have very little paint on the upper side of the palette knife.

2. A dark gray is created by fi rst mixing Ultramarine Blue with Raw Umber and then adding a tiny amount of Titanium White.

8. As you continue to scoop and spread, the streaked pattern of two colors slowly becomes one new solid color. In this case, the new color is black.

The next two photos show you how to mix a dark gray paint:

1. To make a dark gray, add a small dollop of Titanium White to the black, and scoop and spread until you see a solid gray. Remember, when you mix a light or medium gray, you should add the color(s) to the white paint.

Photoshop was used to modify this full-color painting to a monochromatic range of brown values.

My goal while rendering this

work was to create a drawing

that looked like a painting of an ancient mummy

portrait. I decided to include the

fl aws of the old wooden panels on which it was

painted.

Modernism refers to a style of art that makes a distinctive break away from all previous genres.

Monochromatic (also see achromatic and polychromatic)refers to a drawing or painting that is rendered with a range of values (or tints) of a single color.

Mummy portrait is a painting of a man, woman, or child that was attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

Mural is a drawing or painting on a wall, ceiling, or other large surface.For example, a very well-known mural by Leonardo da Vinci (The Last Supper) was painted on the back wall of the dining hall of Santa Maria delle Grazie in Milan, Italy during the Renaissance. Many walls and ceilings of buildings and churches throughout the world are adorned with murals. Murals have even been discovered on the walls of prehistoric caves, and inside ancient Egyptian tombs.


M

NNasal (also see nose) refers to a nose and any of its parts and understructures.

Negative space (also see positive space) refers to the area, space, or background that visually surrounds or appears behind or in front of an object, person, or another space.

Newsprint is an inexpensive paper generally used for printing newspapers. Newsprint is not recommended for drawing because it is very thin, tears easily, and eventually yellows due to its acidic content.

Nose is the organ of smell and the entrance to the respiratory tract.

N


A simple cartoon drawing of a fi sh. The fi sh is considered positive space.

All space around the swan (including its refl ection in the water) is negative space.

In this photo, I decided to make the shape of the swan my positive space.

A diverse collection of noses of many shapes and sizes.

All space inside the rectangular drawing format that is not occupied by the fi sh is called negative space.

N


A human nose is made up of the following ive basic parts:

1. Bridge (sometimes called the nasal bone) is the section of the nose where the upper bony section joins the cartilage. While barely visible on young children, the bridge of an adult nose often protrudes as a noticeable bulge or bump. The contoured outline of the bridge is most obvious when the nose is viewed in pro ile.

2. Ball (also called the tip) refers to the largest, central rounded form of the lower half of the nose. The shape of the ball may appear circular, oval-shaped, triangular, or even rectangular (with rounded edges, of course).

3. Wings are the two softly rounded (often triangular shaped) forms extending from the sides of the ball of the nose.

4. Nostrils are the two openings on the lower section of a nose.

5. Base of a nose (also called the septum) is in between the nostrils and connects the nose to the lower face above the upper lip.

The basic shape of the lower section of a child’s nose is very similar to that of an adult. However, children’s noses are generally smaller and shorter, with an upturned ball and an underdeveloped bridge.

When looking at a frontal view of a young child’s nose, his or her nostrils are usually quite noticeable.

When viewed in profi le, the outline

of many young children’s noses appears curved

(sometimes called upturned), sort of

like a ski slope.

Drawing of a frontal and profi le view of a nose has arrows pointing to its various parts: (1) bridge, (2) ball, (3) wings, (4) nostrils, and (5) base.

Adult noses fall into three categories (based on the locations of the lower edges of the ball and wings):

1. Upturned: angles upward and the ball is higher than the wings.

2. Horizontal: ball and nostrils line up horizontally.

3. Down-turned: angles downward and the ball is lower than the wings.

Most parts of human noses are based on spheres and circular forms. When viewed from the side, only two circular forms come into play: the ball and one wing. The ball and two wings need to be considered when drawing a frontal or three-quarter view of a nose.

Before you begin drawing a nose, observe whether the ball is above, level with, or below, the nostrils, and examine the shapes of each individual part.You can render a drawing of a nose in three basic steps:1. Sketch the overall shape, size, and location of the nose

in relation to the face, and outline the ball and wings. 2. Refi ne your sketch by accurately outlining each shape

including the bridge, ball, and nostrils.3. Add shading to defi ne the form of each shape.

The lower section of a nose can (1) slant upward (upturned), (2) be level (horizontal), or (3) slant downward (down-turned).

N


An octagon with eight straight sides and eight angles.

O


OOctagon is an eight-sided shape with eight angles.

Oil cup (also called a palette cup or a painting cup) is a small container that can be clipped to an artist’s palette to hold a medium (such as linseed oil) and (or) a brush cleaner (such as odorless paint thinner). Oil cups are available in various sizes and types, including singles and doubles; some even come with covers.

Oil paint (also called oil or oils) is a painting medium that is made by mixing a inely ground adhesive

pigment with an oil binder. Oil paint was the primary painting medium of the High Renaissance and has continued to dominate painting for the past 500 years. Oil-based paints take much longer to dry than acrylics, but offer a greater ease of manipulation, and their colors change very little when dry.

Oil painting is a work of art created by applying oil paints to a surface (such as canvas, heavy linen, or board).

Two different types of double

oil cups.

An original oil painting titled L’esperance Naïve depicts a small child holding a dying sunfl ower. The sky is dark and stormy; yet, the eyes of the child refl ect a bright light representing hope.

A close-up view of the dying sunfl ower reveals the tears of its subliminal, sorrowful faces.

Oil pastels are a dry drawing and painting medium in which pigments are mixed with a very dense oil binder. Oil pastels are available in cylindrical and rectangular sticks covered with a thin paper. Oil solvents (such as turpentine) can be brushed on an oil pastel drawing to blend the colors for a more painterly appearance.

One-point perspective (also see geometric perspective) is the technique of using a single vanishing point to create the illusion of a straight-on view into distant space. One point perspective occurs when the frontal face of an object (such as a cube) is closer to you than its sides.

Opaque refers to a medium (such as paint) or material (such as paper or fabric) through which you cannot detect light. For example, you cannot see light through thickly applied acrylic paint on canvas or heavy board. Likewise, thin paper is less opaque than thick paper.

O


A single vanishing point (marked “VP”) is used to draw a simple three-dimensional box.

Five shapes (a circle, the letter “H”, two triangles and a parallelogram) become three-dimensional forms when drawn with one-point perspective.

You can use one-point perspective to draw a three-dimensional scene in which everything appears smaller, closer to the vanishing point.

Orbital socket (also called orbital cavity) is the protective bone cavity of the face which keeps the eyeball protected.

Original refers to an artwork (such as a painting or drawing) created by an artist who was the irst to bring the work from its intellectual conception to its creative conclusion. There can never be more than one original; however, reproductions (such as giclées) can be made by photographing or scanning the original artwork to replicate (or print) copies of the original image.

Oval (sometimes called an ellipse) is an elongated circle.

Overlapping refers to a drawing or painting technique for creating the illusion of depth in an artwork by rendering a subject so it visually appears to be in front of another (or others).

O


A group of circular shapes demonstrate how overlapping

creates the illusion of depth in a drawing.

My initial sketch for a drawing of a nose is three simple ovals. The largest oval overlaps (appears to be in front of) the other two.

The original idea for this drawing came to me as I examined a

perfectly formed sunfl ower growing from a seed that was dropped into a

pot of soil by a bird. (I took a photo of the fl ower as a reference.)

Paint (noun) (also called paints) refers to an art medium (such as watercolor, oil, or acrylic) that is made by mixing pigment with a thick or thin liquid. Paint is applied to a surface (such as paper, fabric, or board) with a tool (such as a brush, palette knife, or ingers) to create a painting. (verb) refers to the process of applying paint to a surface.

Paint box is a container used for storing painting materials, such as brushes and (or) paint.

Painter is a person who paints.

Painting (noun) is an artistic composition created by applying a liquid medium (such as paint or ink) to a surface. In recent decades the word painting has come to include some dry mediums (such as pastels and colored pencils).

PP


An oil painting with an arrangement of lillies, buds, leaves, and stems. Oil paints worked beautifully for creating this softly blended background.

A few of the many colors that are

available in most types of artists’ paints.

A golden rosebud painted with colored pencils (many artists refer

to working with colored pencils as painting instead of drawing).

Colored pencils are a fun medium that is not messy, and very

portable when you want to create art away from your home.

Painting knife (also called a palette knife or mixing knife) is a trowel-like lexible knife used

for painting and (or) mixing paint, and is available in a wide variety of shapes and sizes.

Palette (sometimes called a mixing tray) (also see disposable palette) is a lat surface (usually made of plastic, wood, metal, or glass), or a lat surface with several small built-in cups (often made of plastic or metal) used for holding, mixing, and (or) storing paint.

Palette of colors (also called a palette or color palette) refers to the choice of colors used or (and) preferred by an individual artist. For example, I prefer to paint with only the primary colors, white, and a dark brown. I love the challenge of mixing the exact colors I want.

P


My favorite painting knife reveals a few dents and scratches from its many years of service.

Two different types of plastic

palettes.

All the colors in this painting were mixed with various combinations of white, two reds, two blues, two yellows, and a dark brown. This is my favorite color palette and is comprised of only eight tubes of paint.

P


Four sets of parallel lines: diagonal (slanted), vertical, and horizontal.

Paper (also see handmade paper and tooth) is the most popular surface used for drawing. Special papers designed speci ically for drawing are available in a vast selection of sizes, colors, tooth, and weights in large art supply stores.

Parallel (also see perpendicular) refers to two or more straight lines that slant in the exact same direction and can extend to in inity without ever intersecting.

Parallelogram is a four-sided shape with two sets of parallel sides that are equal in length, and in which the opposite angles are identical.

Parchment (also called vellum) is an ancient drawing or writing surface made from calf, sheep, or goat skin, and was widely used before paper was easily available. Contemporary artists generally prefer a synthetic parchment paper, which is much less expensive, more readily available, and is not made from animal skins.

Pastels (also see chalk pastels and oil pastels) are dry drawing mediums (sometimes available in either sticks or pencils) that are manufactured by mixing dry, powdered pigments with binding agents. Artworks created with pastels can be called sketches, drawings, or paintings.

This drawing of an owl is rendered on my favorite type of paper: Arches 140-pound, hot-pressed, watercolor paper.

Parallelograms have two sets

of parallel lines and identical

opposing angles.

Pattern (also see texture)refers to the arrangement of the different values or colors of an object or subject, as represented by lines, blending, or shading. Sight alone identi ies patterns.

Pens (also see ink) are disposable, re illable, or rechargeable drawing tools used for commercial art, sketching, and drawing.

• Disposable pens are inexpensive and meant to be thrown away when the ink runs out. They create consistently even lines.

• Re illable technical pens are expensive, but can last several years when properly cleaned and maintained. The lines produced are sharp and never vary in width.

• Rechargeable pens do not hold their own ink supply and must be dipped into ink before use. Each pen is made up of a holder and a nib (nibs of various sizes can it into a single holder). However, when you buy, make sure the nibs and holders are compatible; some manufacturers make nibs that only it their own holders.

Pencil (also see carbon pencil, colored pencils, graphite, charcoal, mechanical pencil, wood-encased pencil, woodless pencil, and pastels) refers to a broad category of drawing tools that have a medium inside a holder.

P


A striped pattern (above) and a spotted pattern (below) are sketched with a smooth texture (on the left) and the fuzzy texture (on the right).

A fun cartoon of a starfi sh (named Starr) is rendered

with both thick and thin disposable

pens.

A sampling of different types of pencils includes charcoal, conté, chalk, carbon, and graphite.

For example, a regular pencil has a medium encased in a wooden holder. On the other hand, a mechanical pencil has replaceable, thin cylindrical sticks of medium that are manually loaded into a tiny tube inside a holder.In the early seventeenth century, the word “pencil” was used to identify any writing or drawing tool that held a piece of graphite, chalk, or charcoal, as well as brushes with pointed tips. By the end of the nineteenth century, “pencil” de ined a stick of graphite encased in a cylindrical piece of wood. Modern-day pencils are categorized by the medium inside the holder (such as charcoal, conté, or chalk). The word “pencil” comes from the Latin word pencillus, which means “little tail”.

Pentagon is a straight-sided shape with ive sides and ive angles.

Permanent (as used to describe markers and pens) refers to the ability to remain waterproof when dry.

Perpendicular refers to a straight line (real or imaginary) that meets (or intersects) another straight line to form at least one ninety-degree angle.

P


Three wood-encased graphite pencils made by different manufacturers.

Needless to say, the core of a woodless graphite pencil is considerably thicker than that of a wood-encased graphite pencil.

The marks made by charcoal and carbon pencils are very

similar; however, carbon is slightly fi ner, and more

consistent in quality.

A large building in Arlington, Virginia is named after this geometric shape.

Each of these two drawings is made up of four right angles, even though the second drawing is slightly tilted. Hence, line AB is perpendicular to line CD, and line CD is perpendicular to line AB in both drawings.

Perpendicular and parallel lines are the only types of lines that can extend to in inity without ever connecting.

Perspective (See geometric perspective, atmospheric perspective, foreshortening, and one-point perspective.)

Perspective lines (See geometric perspective.)

Pigment refers to the colored material that is mixed with dry or liquid mediums to create the colors in a colored artwork.

Pointillism (also see stippling) is a method of drawing or painting with several layers of small colored dots, strokes, or individual brushstrokes. When viewed from a distance, the dots in pointillist paintings and drawings appear to blend together to create the illusion of depth, visual masses, and forms. Nineteenth-century French impressionistic artists (including George Seurat and Paul Signac) helped this genre to become a highly respected style of painting, and (more recently) drawing.

P


Detail view of the various shapes, forms,

and textures of an unfi nished pen-and-

ink drawing of autumn leaves that is being

rendered with pointillism.

A delicate pointillistic drawing of a section of a rose is created with colored pencils.

A close-up view of pointillism reveals

thousands of seemingly random dots of various colors that were drawn

with a rechargeable pen and several different

colors of ink.

A close-up view of pointillism (rendered with colored pencils)

clearly shows a few of the thousands of dots of various sizes and shapes that create a picture.

Dots rendered with a pen or fi ne-tip marker tend to be more consistent

in both size and shape.

Polychromatic (also see achromatic and monochromatic) refers to an artwork created with several different colors.

Portable studio is a variety of drawing or painting materials that are packed in an easily transportable container used for creating art outside your home. In addition to art supplies, you may want to include any of the following in your portable studio:• View inder frame. • Portfolio (if you use

sheets of drawing paper).• Plastic bags to protect

your artwork (and you) in case of rain.

• Beverages and snacks.• Wipes or paper towels for

clean-up.• Small camera to take

photos of inspirational scenes and objects.

• Depending on where you go, you may need bug repellent.

• Oh, and don’t forget your sunscreen and a hat!

Portfolio (also called a portfolio case) is a hard-sided foldable case in which artists store (or carry) paintings, drawings, and sheets of drawing paper to protect them from damage.

P


A fun polychromatic

acrylic painting of a mischievous-looking parrot.

A few examples of drawing supplies that an artist might pack inside a portable studio. Note: a pencil sharpener is the item most often forgotten!

A handmade portfolio held together with

yellow duct tape, tied with blue

shoelaces, and decorated with

a drawing of daisies.

P


Portfolios come in many different sizes and types, ranging from simple inexpensive cardboard to high-quality, expensive leather. A portfolio also refers to a body of work created by an artist for self-promotion and (or) to supplement an application for career advancement opportunities (such as educational upgrades or gallery exhibitions).

Portrait is an artwork depicting a likeness to a person’s (or animal’s) face and sometimes his or her body.

Portrait format (See drawing format.)

Positive space (also see negative space) is the space occupied by an object or living being and (or) its various parts.

Four portraits of the same person (created from the same photo) have been rendered to look like four very different people.

An executive in an big technology corporation, a professional

snowboarder, or a musician?

A philanthropist and advocate for human rights, a photographer, or an

environmental scientist?

A computer security expert with the FBI, an archeologist, or a Karate instructor?

An artist, a secret agent with Scotland Yard, or an elementary school teacher?

And - the answer is (drum roll please): In reality, this man of many faces is a psychologist.

Positive and negative spaces assume distinctive shapes. Artists need to be able to identify the individual shapes that de ine the positive and negative spaces an object (or living being). The outlines of that object (or living being) exist where the two spaces meet; hence, knowing how to see spaces is integral to drawing accurately.

Pouncing is a technique (popular during the Renaissance) for transferring the outlines of an image to another surface (for example, transferring a drawing on paper to a canvas or wall). 1. First, the outline of the image is

perforated with a series of tiny holes and placed on (or taped to) the inal surface.

2. A ine powder (such as charcoal powder) is sprinkled (or sometimes gently rubbed) over the image outlines, causing some of the powder to fall through the holes onto the new surface.

3. The original image is removed to reveal guidelines on the new surface for creating another drawing or painting of the image.

Powdered (also see drawing powder and charcoal) describes a drawing medium (such as graphite) that has been ground into a ine powder.

Prehistoric describes the period in time before language was used to write and record history. Prehistoric humans drew pictures on many surfaces, including the walls of caves.

P


1. Examine the drawing of the cartoon boy.2. Consider his head positive space.3. The background around his head is therefore negative space.4. Imagine lifting the positive space from the paper and placing it into

the opening created by the negative space (like a jigsaw puzzle). Where the edges of the two spaces meet is where you should draw the outline of the boy’s head.

Drawings of three animals based on prehistoric cave drawings created by cavemen (or cavewomen).

The smoothly fl owing outlines of an antelope are copied

from an ancient fresco.

P


Prepared paper (also see handmade paper) is a paper that is coated with a substance that seals, colors, and (or) alters its surface and (or) tooth. The surface of a popular drawing paper during the ifteenth century was

coated with several layers of white lead and ground bone that was tinted with a pigment and then tempered with glue sizing.

Primary colors (See color.)

Primer (See gesso.)

Proportion is the relationship in size between two or more components of a drawing (or painting). As an aside, the proportions of human igures are usually

measured in heads (the length of a head from the top of the skull to the bottom of the chin), which can be different for each person.

Pupil of an eye (See eye.)

This female is eight heads tall, and almost two heads wide at the shoulders. The heights of most female fi gures share the following proportional similarities:

You may be quite surprised by how proportionately tiny an infant’s face actually is! Observe the following:1. The size of

the face is represented as a small circle, and the head as a large circle.

2. The features are lightly sketched within the guidelines.

3. The outline is refi ned.

4. Shading is added.

• Top of the head touches line 1, and entire head is in between lines 1 and 2.• Chin touches line 2, and top of the shoulders is approximately one third of the way

down from line 2.• Armpits are along line 3, and lower sections of the elbows align with line 4. • Wrists and crotch are along line 5 (halfway down from the top of the head), hands fi t

into the space between lines 5 and 6, and the tips of the fi ngers line up at mid-thigh between lines 5 and 6.

• Lower sections of the knees are on line 7, and bottoms of the feet are on line 9.


Raw Umber is the name of a dark brown color available in several mediums (including watercolor, oil, and acrylic paints, as well as colored pencils). When mixing paints, you can end up with a wonderful black when you combine Raw Umber with Ultramarine Blue. You can then add small dabs of this color to white to create various values of a neutral gray.

Realism is a style of art in which living beings and objects are represented in an artwork (such as a drawing, painting, or sculpture) as they appear in real life (in other words, without stylization or distortion).

Realistic sculpture is a three-dimensional art form that portrays recognizable shapes, objects, or people.

RR

Raw Umber as it appears straight from a tube of acrylic

paint, and when applied directly to a surface (such as canvas).

Raw Umber mixed with Ultramarine Blue and white creates gray.

Realism can even be achieved when drawing

a very tiny animal, such as this water fl ea

(Daphnia) that can only be seen with help from a

microscope.

This detailed representational graphite

drawing of a Siamese Tiger Fish is considered realism.

Ream refers to a unit of 500 sheets of paper, and is used to calculate a paper’s weight. The weight of paper describes the thickness of individual sheets of paper. For example, thin paper weighs very little, but is easily torn and damaged. Thick paper is more durable than thin because it weighs more.

Rectangle is a parallelogram with four straight sides and four right angles.

Red chalk (also called sanguine) is a drawing medium made from a combination of clay and hematite (also known as iron). Leonardo da Vinci is thought to be the irst artist to use red chalk extensively for drawing (toward the end of the ifteenth century).

Refl ected light is a faint light re lected or bounced back on an object from nearby surfaces.

Regular pencil (See graphite and wood-encased pencil.)


R

A thin rim of refl ected light (marked RL)along the lower right edge of a sphere greatly enhances the illusion of three dimensions.

The opposite sides of this rectangle are equal

in length.

The rendering of refl ected light is an invaluable

technique for creating the illusion of different forms on a

person’s face.

Refl ected light along the edge of the jaw serves to separate the edge of the jaw from the neck. Otherwise, the outer edge of the jaw and the neck could appear attached.


Renaissance (from the French word for rebirth) (also see High Renaissance) refers to the diverse changes within European culture from the early 12th century to the late 16th century. During this short period in history, visual art developed more than at any other time since the beginning of mankind. Between 1480 and 1527, during the period known as the High Renaissance, many of history’s most renowned artists created some of the greatest masterpieces in the history of art.Today, this rebirth (also referred to as new birth), continues its growth with a resurgence of the learning and teaching of traditional drawing techniques in home school, recreational, and academic learning environments.

Render refers to the process of making or creating something. For example, an artist can render a sketch by drawing lines on a sheet of paper.

Representational (the opposite of abstract and nonrepresentational) is the depiction of objects, igures, or scenes as visually determined by the artist. Unlike abstract art, the subjects of representational artworks are recognizable, but not necessarily realistically or factually represented.

Drawing of a seahorse is rendered with techniques made popular during the Renaissance.

A drawing of a medieval spoon demonstrates the Renaissance drawing techniques of

outlining a subject with lines of various widths, and shading its values with hatching.

A detailed drawing of a

spider is both representational

and realistic.

This cartoon drawing of a snake is

representational. (In other words,

it looks like a snake, but is not

realistic; no living snakes actually

look like this.)

R

Resource fi les (also called resources) are a collection of information (such as books, articles, photos, and digital images) used by artists as references for writing or (and)creating art.

Right angle is formed when two straight perpendicular lines meet at a ninety degree angle.

Right-brain describes the right hemisphere of the brain, which controls visual and perceptive functions. Your creative and insightful right brain sees abstract connections between lines, shapes, and spaces in a non-narrative context, to help you see proportions.

Romanticism refers to a genre of art during the late eighteenth and early nineteenth centuries that celebrated nature, rather than civilization.

Rough (also see texture) refers to the surface features of objects that are uneven, abrasive, lumpy, irregular, or jagged.


I fi le my non-digital reference

photographs in small boxes labeled by subjects, such as faces and still life

so I can easily fi nd something when I

need it.

Even though these three angle lines

are slanted in different directions, each is considered

a right angle.

The lumps and bumps of the rough texture of an

avacado is rendered with squirkles.

The texture of weathered old wood (as in this old rain

barrel and wooden shack) is often so rough that if

you ran your hand across its surface, you would

probable need tweezers to remove splinters from

beneath your skin.

R

Rough tooth (See tooth.)

Rule of thirds (also see focal point) identi ies four ideal locations within a rectangular drawing space for a focal point. The rule of thirds is a variation of an old traditional compositional formula known as the Golden Mean.

Rough sketch (also see gesture sketch and sketch) is a quickly rendered visual notation of an image or idea that illustrates the important elements of a subject using very few details. Rough sketches can capture a pose or gesture, establish values, suggest proportions, and (or) arrange the major components of a composition.


R

Additional visual information is added to this

rough sketch (of a little girl named

Hallie Kate) during the rendering of

the fi nal detailed drawing.

A simple sketch of a

compositional formula known as the Golden

Mean.

A compositional formula called the rule of thirds

identifi es four ideal potential locations for focal points.

The rule of thirds identifi ed the best location for the lobster trap (the primary focal point) in this sketch of a fi shing community. The larger of the two fi shing shacks and a section of land (secondary focal points) are sketched around the two upper points.

A rough sketch of a caricature of a little girl sets up the basic proportions of her face, hair, and clothing.


S

Sandpaper block is an artist’s tool with tear-off sheets of ine sandpaper used to sharpen the points of pencils. Your wood-encased pencils will last longer if you use a sandpaper block more often than a pencil sharpener.

Scriptliner (See brushes.)

Sculptor is an artist who creates sculptures. For example, a well-known sculptor of the Renaissance was Michelangelo; one of his most famous sculptures is the statue of David.

Sculpture is a three-dimensional artwork that is made of a material such as bronze, rock, or marble.

Secondary colors (See color.)

Sepia refers to the popular brown colors used in various media. During the Renaissance, the word sepia (derived from Latin and Greek words for cuttle ish) was used to describe an artist’s brownish-gray pigment made from the dried ink sacs of cuttle ish and squid.

Sepia ink is a thin, brown liquid medium used for painting, writing, and (or) creating drawings with re illable and (or) rechargeable pens.

S

Sepia coloring gives an

antique feel to a caricature of a man wearing

a medieval-styled shirt.

The core of any type of

wood-encased pencil can be

sharpened with a sandpaper block.

Sepia ink can be mixed with red or orange ink

to create a warmer, brighter brown.

Sepia toningis a genre (or method) of printing or digitally photographing (or modifying) images with tones of brown (rather than black and white, or full color). Some sepia-toned photographs from the late 1800’s have survived the ravages of time and still exist today.

Sets of lines (also see contour crosshatching, contour hatching, crosshatching, and hatching) are created when several lines are grouped together to create shading.

Shading (noun) refers to the various values within a drawing that make images appear textured and (or) three-dimensional;(verb) the process of adding values to a drawing so as to create the illusion of texture, form, and (or) three-dimensional space.

S


Photoshop is a great program for changing a graphite drawing into a sepia-toned portrait.

Sets of crosshatching lines can be simple or complex, depending on the techniques you use for creating specifi c textures and three-dimensional forms.

A detailed caricature of a teenage boy is rendered in graphite on white paper.

Two simple sets of hatching lines; one with straight lines and the other

with curved lines.

Shading map (also called a value map) is a plan (or blueprint) for adding shading to a drawing. The shapes of various values are identi ied and lightly outlined on the drawing paper before the shading is added.

Shadow (also see cast shadow) refers to a dark area on a surface that is caused when light is blocked (or partially blocked) by an object or living being.

S


A shading map becomes graduated shading in the following four simple steps:1. The shapes of

different values are very lightly outlined and marked: H (highlight), L (light values), no mark (medium values), and D (dark values).

2. Light values graduate toward the medium.

3. Medium values graduate toward the light and dark values.

4. Dark values graduate toward the medium values.

Sets of hatching and crosshatching lines created all the different textures and forms in the shading of this drawing. The subject is the same person as a child and as an adult.

Shape is a two-dimensional geometrical object that can serve as the outline of a three-dimensional object. For example, a circle is the shape of a sphere. Common shapes include squares, circles, and ovals.

Sharpener (also see sandpaper block) is a tool for sharpening pencils. An ideal sharpener for artists is hand-held, made of metal, and has two openings (for regular and oversized pencils).

Shiny (also see texture, smooth, rough, and matte) refers to a texture that has highlights re lecting off its surface. Shiny objects can be glossy or highly polished, such as the surface of a shiny new penny or polished brass.

Sidebar is a section (or box) of text (some have illustrations) that provides additional information about a topic. For example, many instructional art books have sidebars that provide readers with de initions of art-related words and terms.


S

Five different shapes created

with straight lines.

A few extra lines are added, and sections of others are erased, to give the same fi ve shapes fun personalities.

Three examples of shiny textures include

silk fabric, a silver medallion, and a

leather jacket.

Four types of hand-held pencil sharpeners; the one with two blades and openings (in the lower right) is my very favorite.

Single curved line (sometimes called a simple curved line) (also see curved line, compound curve, and line) curves in only one direction, either clockwise or counterclockwise.

Sketch (noun) (also see igure, gesture sketch, underdrawing, and rough sketch) is a simple representation, outline, or drawing, that captures the integral aspects of a subject quickly and ef iciently, and often serves as a preliminary drawing for a more detailed drawing; (verb) refers to the process of rendering a sketch.

Sketchbook refers to several sheets of drawing paper that are bound together and contained within a soft or hard cover.

Smooth (also see texture, shiny, rough, and matte) is a texture with very few surface features. When you run your hand over a smooth surface, you feel little or no unevenness or roughness.


S

A set of eleven single curved lines.

A two-dimensional sketch of the most

important shapes of a bee are sketched

proportionately correct.

Shading is added to the bee with several

different grades of pencils and a

variety of techniques including hatching,

squirkling, and stippling. The bee

now appears to be three dimensional.

Four examples of fabrics with a smooth

texture.

Softcover describes a lexible book cover that is usually made of medium-to-heavy paper. Softcover sketchbooks are inexpensive; however, you need to handle them carefully so the paper inside doesn’t wrinkle.

Sphere is a perfectly round geometric object (a three-dimensional circle) in which all points on the surface are the same distance from the center point. Balls and globes are examples of spheres.

Spiral line is a curved line that can never meet itself to form a shape. It can continue in either a clockwise or counterclockwise direction, and simply becomes larger (or smaller) and less (or more) curved, the longer it gets.

Spray fi xative is a transparent, aerosol coating that is sprayed onto an artwork to help the medium adhere to the paper to prevent the drawing from smudging.

Square is a shape with four straight sides that are the same length and four right angles.


S

Shading can transform a circular shape into a sphere

and the planet Earth (also referred to as a sphere).

Contour hatching turns four circles into four spheres (the cartoon face and its eyes and nose).

Spiral lines are fun to draw and can become

progressively longer and longer until you eventually

run out of paper.

A square is the fi rst shape most people think of when asked to name a straight-sided shape.

Squirkling is a shading technique in which randomly drawn overlapping curved lines and shapes (called squirkles) create values. Squirkling is ideal for simple drawings by beginners as well as highly realistic works by professional artists. I created this word in the eighties to describe this method of textured shading that combines squiggles and scribbles with circles.

Squirkles are randomly rendered, overlapping curved lines and shapes that are used to create a shading technique called squirkling.

Sticks (also see charcoal and chalk pastels) are a type of drawing tool in which a medium is compressed into a block or cylindrical sticks. Sticks come in various sizes, which make them highly adaptable for diverse mark-making styles and techniques; large sticks are great for large sketches, and smaller sticks for smaller works. Sticks even work well when broken! The sharp edges of broken pieces are fantastic for rendering thin, strong lines. The lat ends and sides can be used for broad strokes. You can even use a sharp knife and (or) coarse sandpaper to sharpen a stick to a ine point.


S

Squirkles are wonderful for creating tons

of different textures,

including the fl eece jacket modelled by

a beautiful young lady

named Anne.

Squirkling is an ideal

shading technique for

rendering very curly hair.

Squirkles are used to create a textured graduation of values from light to dark.

Five different values created with squirkling and fi ve grades of graphite.

Still life is an artwork that depicts representational, inanimate objects such as fruit, lowers, or bottles.

Stippling (also called stipple or stippled) is a shading technique in which a series of dots are arranged in groups to create the illusion of values. Light values are made by drawing a series of dots that are light in value, small, and (or) far apart. Dark values require a lot more patience because you need to draw many more dots that are closer together. To achieve a strong contrast in values, you can also make the dark values with larger dots and (or) draw dots that are darker in value.


S

A cartoon of a bird that is outlined and stippled with a very fi ne-tipped black pen.

A close-up view of an eye shaded with

stippling.

A barrel is usually an ordinary still-life subject until you add a cartoon face.

Glass objects (such as this unusual bottle)

make wonderful still-life drawing subjects.

Still-life drawings do not have to be boring (as you can tell by this fun drawing of a poseable picture frame).

A b l i ll di till lif

Straight line is a geometrical object that provides the shortest connection between any two points. Straight lines can be rendered thick or thin, long or short, and drawn in any direction. They are categorized into three basic types: vertical (straight up and down and at a right angle to a horizontal line); horizontal (level and at a right angle to a vertical line); and diagonal (slanting or sloping at an angle).

Straight-sided shape is a geometrical object such as a square, rectangle, or triangle that is created when three or more straight lines connect to form a shape.

Stretched canvas (See canvas.)

Stump (also see blending stump) is a pointed, solid stick of soft paper or leather, used for blending and shading drawings.


S

An angle line and a straight line connect to make a straight-sided shape called a triangle.

Stippling is my favorite shading technique for illustrating my jewelry

designs.

Two angle lines join together to create a parallelogram (or diamond-shape).

Two angle lines with right angles connect to create a straight-sided shape called a square.

Style refers to an artist’s individual approach to his or her own art. For example, realism is a well-known style. An artist’s style is de ined by an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. When an artist’s personal style is critiqued and (or)examined by others, the resulting label may focus more so on a particular historical period or artistic movement than the artist’s true style. In other words, labels should not become more important to artists than staying true to the style with which they feel most comfortable.

Stylus (also see leadpoint and metalpoint) refers to a thin metal stick used for drawing during the Renaissance. It was most often cast with a ine point at one end

and a blunter point at the opposite end, so as to provide artists with the creative freedom to vary the width of their lines as they worked.


S

Even though I know that lines do not outline objects in the real world, I just can’t resist adding outlines to

some of my drawings. Check out the outline of her lower jaw, ear, and

sections of her hat.

True realists do not use lines to outline shapes. I (on the other

hand) love using lines, which is

a traditional characteristic of illustrators.

Look closely at this drawing and you can see my style of drawing

outlines.

Needless to say, when I want to draw without outlines, I can (as you can see in this close-up view of a young man’s face). But the temptation is always there to outline shapes. My style of drawing doesn’t fi t well into any current category; so I made up my own. I refer to my true style as Illustrative Realism.

A stylus leaves a thin deposit of metal on the surface of paper, producing a very ine line. Silver was

very popular with Renaissance artists because it eventually tarnished, and took on a beautiful, luminous, brown tonality.

Subject is a word used to identify what an artist is drawing or painting.

Symmetrical (See symmetry.)

Symmetry (also see line of symmetry) in drawing is a balanced arrangement (sometimes referred to as a mirror image) of lines, shapes, and (or) values on opposite sides of an often-imaginary center line. In other words, both sides are symmetrical. Many drawing subjects (such as vases and frontal views of faces) look more believable when drawn the same on both sides.

Synthetic brushes (See brushes.)


S

This fun cartoon was designed as an icon for a drawing book, and rendered to be symmetrical.

The subjects

of this drawing are

a group of teenagers and adults

wearing special-effects

makeup, and dressed in costumes

for a haunted

house production.

This symmetrical drawing is an optical illusion. (Imagine a line of

symmetry down the center.) Can you see a vase? How about the profi les

of two faces?

Talent is a process of self-discovery, throughout which you acknowledge that you possess the interest and motivation to become exceptional in a speci ic area. To ind out what a talented person looks like, go look in a mirror! With commitment, patience, and dedication you can turn your talent into skill.

Technical pens (also see pens) are drawing tools available in both re illable and pre- illed (disposable) holders that work beautifully for creating the sharp, even lines used for detailed drawings, drafting, graphic design, and commercial art. Pre- illed technical pens are relatively inexpensive, and do not require constant cleaning.Re illable technical pens need very thin ink speci ically designed to pass through the tiny opening in the nib of the pen. Ink that is too thick can clog ine nibs.

Technique is a well-known method (such as a speci ic way to do shading) that is used to accomplish a particular activity or task. For example, more than one line-drawing technique may be suitable for a speci ic drawing.


TT

Four line-drawing techniques are used to outline

the head of a koala.

A proportionately accurate rough sketch is rendered with feathered lines.

Continuous lines are used to outline the

koala’s eyes and nose.

A technique for rendering short fur is used to outline the koala’s head, mouth, chin, and a section of the nose.

Fluffy ears are created with a technique for

outlining long fur.

Hence, an artist’s selection of a speci ic line-drawing technique is generally based on his or her individual preferences, skill level, and what works best to render the subject.

Text refers to the words used in writing.

Texture (also see smooth, shiny, rough, and matte) refers to the surface detail of an object and can be identi ied with vision, a sense of touch, and (or) a general knowledge of the subject. Accurate rendering of an object’s textures is the key to creating highly realistic drawings and paintings.

Three-ring binders (See binder and resource iles.)

Thumbnail (also see sketch and rough sketch) is a preliminary sketch (often smaller than the planned size of the inal drawing) rendered before an artist begins a drawing, and is designed to work through potential problems with composition, values, perspective, and (or) proportions.

Tint (also see mixing paint, shading, and burnishing) is the process of combining a color (or tone) with white to lighten its value.

T


Sixteen different textures are created with various shading techniques.

A thumbnail sketch of a young man’s face in profi le allows me to plan the composition and decide on the tones I want to use for shading.

My fi nal drawing turned out to be very close to what I had envisioned;

mainly due to the fact that I took the time to create a preliminary

thumbnail sketch.

Tone (also see values) refers to the degree of lightness or darkness of an area. Tone varies from the bright white of a light source, through shades of gray, to the deepest black shadows. Traditional realists often use tones (instead of lines) to create the illusion of outlines.

Tooth refers to the surface texture of paper, and can range from silky smooth to very rough and coarse. Paper with a smooth tooth is lat with a silky

texture; medium tooth is uneven with a slightly rough texture; and coarse tooth is bumpy with a very rough texture.The tooth of paper can be easily destroyed by pressing too hard on its surface with your pencil or aggressively using an eraser.

T

In the style of traditional realism, the

background is shaded with a range of tones to enhance the

visibility of a white goose on

white paper.

Two close-up views of graphite applied to paper with a smooth tooth (from the side and front on). Very little of the white paper is visible.

Sketchbook paper with a medium

tooth is perfect for capturing an owl.


Close-up of medium-tooth paper reveals graphite sitting on its peaks and the white paper showing through.

A highly detailed drawing of a

cat is rendered on paper with a

smooth tooth.

If your shading begins to look shiny, the tooth is lattened beyond repair; additional shading will no longer adhere to the paper’s surface. Hence, you should always apply only a little pressure to paper with your pencils.

Torso is the primary structure of a human body to which the head, arms, and legs are connected.

Tortillon (See blending stump.)

Trapezoid is a four-sided shape in which only two sides are parallel.

T

Paper with a rough tooth has high ridges and deep grooves that create distinctive patterns.


The rough tooth of a watercolor paper helps create realistic textures

of tree trunks.

Detailed drawings of the backs of female and male torsos accentuate the forms of bones, muscles, and fatty tissue.

A simple sketch identifi es and outlines the major forms of the fronts and backs of male and female torsos.

Shading is added to the sketches of frontal views

of female and male torsos

to exaggerate the various

anatomical forms.

The shape of this

trapezoid resembles

a simple fl ower pot.

Triangle is a shape with three straight sides and three angles.

Triptych (also see diptych) is an artwork consisting of three related paintings or drawings.

Traditional realist (also see realism and style) refers to an artist who prefers to draw subjects as they exist in reality. For example, in the real world, objects and living beings are not outlined with lines. Hence, traditional realists outline their subjects with very lightly rendered, feathered or continuous outlines that cannot be seen after shading is added. Conversely, an illustrative realist (like me) prefers to have unrealistic outlines showing. Outlining with visible outlines is simply a technical preference based on personal style.

T


In reality, giraffes are not outlined with dark lines. As you examine the drawing of a baby giraffe (on the left) rendered in the style of traditional realism, your imagination seems to fi ll in the outlines automatically (the dark spots help). However, many illustrative realists use their art as illustrations for various applications, including books or academic publications. Hence, dark outlines help their subjects stand out strongly from a white background. In the drawing on the right, the dark outlines accentuate the various forms of the giraffe. A simple musical instrument

is named after a triangle.

U


Underdrawing (also see sketch, gesture sketch, and rough sketch) is a loosely rendered drawing or sketch that is created as a guide for a inal drawing (or

painting).

Unity refers to a balanced composition in which the various components come together to create a sense of harmonious integration.

U

An underdrawing can develop from a very

rough sketch to a more detailed sketch during the process of establishing accurate

proportions. Compare two stages

of an underdrawing of a dog’s eye to the

fi nal drawing.

An oil painting of a young hockey player is unifi ed by using the directionalities of

compositional components and a limited range of colors.

The many shapes of the colors in the background (including the ice in the lower section) seem to point toward the boy, especially

his face (the focal point).

VV


Value scale is a range of different values that are drawn in order from light to dark (or from dark to light).

Values (also see tone) are the different shades of gray (or colors) created in a drawing (or painting) by various means, such as varying the density of the shading lines, and (or) the pressure used when holding a pencil.

Vanishing point (See geometric perspective, and one-point perspective.)

Vertical line is a geometric object that is straight up and down, and at a right angle to a level surface.

Viewfi nder frame is an adjustable, see-through frame that allows you to look at a subject from various viewpoints, and is invaluable when planning a composition for any type of drawing or painting (such as portraits, igures, and landscapes). An easily constructed view inder frame consists of two adjustable L-shaped pieces of heavy paper, cardboard, or matte board, which is held together with paper clips.

Three methods for creating value scales also demonstrate three shading techniques: hatching, crosshatching, and squirkling. Learning how to draw value scales with a full range of values is integral to developing strong shading skills.

Three different grades of pencils help create three examples of graduated values.

Several vertical lines are sketched

freehand (without a ruler).

V


Vinyl eraser is an artistic tool used for erasing sections of drawings, and (or) drawing crisp, light lines and ine details on a surface covered with a drawing medium (such as graphite).

Vision describes the ability to see, and can also refer to an artist’s creative aspirations.

Visual art refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated with the sense of sight. For example, all the drawings in this book are considered visual art.

Shadow (a Dalmatian) is a portrait of my daughter’s dog, and an example of visual art.

The three basic stages of working with a viewfi nder frame are: (1) examine your subject (in this case, a photo) and decide what you want to draw; (2) Look through the viewfi nder frame and adjust its two parts until you fi nd an ideal composition; and (3) render your drawing.

Vinyl erasers are available in many

forms, including (1) blocks, (2)

wheels, and (3) pencil-type

erasers.


WW

Warm Fuzzies are encouragements or af irmations, either given or received. They represent something unique to everyone, and live wherever kindheartedness dwells.

Watercolor refers to translucent, water-based paint that is available as dry, solid cakes, or in tubes of thick, liquid pigment. The word watercolor can also be used to describe a painting created with water-soluble pigments.

Wash refers to a technique in which a dye-based medium (such as ink) or a pigment-based medium (such as watercolor or oil paint) is diluted and applied to a surface (such as watercolor paper or canvas) with a brush.

Wood-encased pencil (better known as a regular pencil) has a thin, cylindrical stick of graphite or charcoal inside a wooden casing, which is designed to keep your hands clean.

Woodless pencil is a thick cylindrical stick of graphite wrapped in a vinyl casing; hence, your hands stay clean as you work. Woodless pencils are a joy to work with, and ideal for large graphite drawings needing wider strokes than regular pencils can provide. When sharpened, they can also make thin lines.

A wash of ink enhances the background of a graphite drawing. (A wash also works beautifully when working with watercolors.) To create this type of background, you fi rst mix two or more values (or colors) with water in separate containers, and then test the mixtures on a piece of scrap paper. Then, use a large brush to cover the entire surface of a heavy watercolor paper with different mixes. Sprinkle a little coarse salt in places where you want patterns; when the paper is completely dry (usually 10 to 12 hours), very gently brush off the salt.

An endearing cartoon of how I envision a

Warm Fuzzie.

Woodless pencils tend to be more expensive than wood-encased;

however, they last much longer.


QUICK REFERENCE

DICTIONARY OF ART-RELATED TERMS

DrawSpace

A

Abstract (page 1) (closely related to nonrepresentational) refers to art that is created with line, color, form, pattern, and (or) shape, rather than realistically depicting objects, nature, or living beings. In some cases, the subject exists in reality, but may be unrecognizable.

Abstraction (page 1) refers to a partial or complete departure from reality in visual imagery. For example, partial abstraction in a fi gurative work may include unrealistic colors and (or) forms. A total abstraction may be completely unrecognizable as existing in reality.

Achromatic (page 1) (also see monochromatic on page 67 and polychromatic on page 80) describes an artwork rendered without color, using only black, white, and (or) shades of gray.

Acid-free (page 1) refers to a high-quality, long-lasting paper that has had the acid removed from the pulp in the paper-making process. Art can be ruined when materials

with acid deteriorate and turn yellow. Drawing books and papers often have labels that tell you the paper is acid-free.

Acrylic painting (page 2) (noun) is an artwork painted with acrylic paints. Acrylic paintings look very similar to oil paintings; however, acrylic paints are considerably more stable than oils, which tend to yellow or become brittle as they age. (verb) is the process of creating an acrylic painting.

Acrylic paints (page 2) are water-based, fast-drying artist’s paints that are thicker and stronger than tempera or watercolor. Even though water is used to dilute acrylics from the tube, they become water-resistant when dry. Acrylics can work in much the same way as watercolor paints. However, unlike watercolors, acrylics cannot be rehydrated (brought back to a liquid) once dry.

Aerial perspective (See atmospheric perspective on page 6.)

Alizarin Crimson (page 4) (also see color on pages 19 and 20) is the name (used for many different types of artists’ paints including oils, watercolors, and acrylics) of a popular deep red paint color that can create vibrant reds (when mixed with Cadmium Red) and bright pinks (when mixed with Titanium White), as well as brilliant purples (when mixed with Ultramarine Blue and Titanium White).

Anchor (page 4) (also see composition on page 21) refers to a component of composition in which a section of a drawing subject appears to extend outside the edges of a drawing or painting.

Angle (page 4) refers to the size of the space between two straight lines that intersect (meet), usually measured in degrees.

Angle line (page 4) occurs when two straight lines intersect to form an angle. Angle lines are used to draw such shapes as squares, rectangles, and triangles.

Anticlockwise (See counterclockwise on page 24.)

Archaeologist (page 5) is a person who studies ancient peoples by fi nding and documenting the things they left behind. (As an aside, many archeologists have excellent drawing skills.)

Art (page 5) (also called artwork) refers to the creations (such as drawings and paintings) of artists who employ their abilities to make original works of art - from the intellectual conception, to a never-before-seen conclusion.

Artist (page 5) refers to any person who works within one or more art disciplines, such as visual art, performance art, dance, writing, or music.

A

Age progression (pages 2 and 3) is the art of rendering individuals older than they are. Age progression is widely used in forensic investigations; especially those involving missing children. Even though people’s faces change throughout their lives in natural and predictable stages, it’s impossible to accurately determine how an individual will look at a specifi c age. For this reason, age progression and age regression techniques are generally considered an art, rather than a science. The following describes the aging process at various stages:• Newborn: Head is proportionately huge

as compared to the tiny body. • Age 1: Eyes are fully developed and neck

is stronger and longer.• Age 2: Jaw and chin are larger to make

space for a few teeth.• Age 4: Nose is longer and the face

becomes more fi rm.• Age 7: Eyebrows and chin are more

pronounced. • Age 10: a thin layer of baby fat still covers

the face.• Age 13: Mouth, jaw, chin, and

cheekbones are more defi ned. • Age 15: Facial muscles and jawbone are

more noticeable.• Age 18: Brow ridge and bridge of the

nose are fully developed.• Age 30: All facial structures are fully

developed.• Age 45: Wrinkles are visible, especially

around the eyes.• Age 60: Deeper wrinkles and forms,

and facial bone structures are more noticeable.

• Age 80: Deeper folds, pouches, and wrinkles appear.

Age regression (page 3) is the art of rendering a person younger than her or his actual age.


ArtSpeak (page 5) is a fun word used to describe the vocabulary of art. An understanding of art-related words and terms enhances your comprehension of curriculum, and helps make your creative experiences more pleasurable (and less frustrating).

Artwork (See art on page 5.)

Atmospheric perspective (page 6) (also called aerial perspective) (also see geometric perspective on pages 42 to 44) refers to the visual depth created by particles in the atmosphere. The farther subjects recede into the distance, the lighter in value they seem to become, and their edges and forms appear more blurred.Even on a clear day, your ability to see distant objects is decreased by an assortment of atmospheric components, such as minuscule particles of dust, pollen, and (or) tiny droplets of moisture. Your vision becomes further diminished when the atmosphere is fi lled with haze, fog, smoke, rain, or snow. Even close-up objects can appear out of focus or almost invisible under certain conditions (such as during a snowstorm).

Avant-garde (page 6) refers to the creation and application of new, original, and (or) experimental ideas and techniques.

BBackground (page 7) (also called distant space) refers to the sections of a drawing or painting that are the farthest away from the viewer.

Balance (page 7) is a stable arrangement of subjects and values within a drawing composition.

Ball of a nose (page 69) (also see nose on pages 68 to 70) (also called the tip of a

nose) refers to the largest, central rounded form of the lower half of the nose. The shape of the ball may appear circular, oval-shaped, triangular, or even rectangular (with rounded edges, of course).

Base of a nose (page 69) (also see nose on pages 68 to 70) (also called the septum) is in between the nostrils and connects the nose to the lower face above the upper lip.

Basic colors (page 7) (also see color on pages 19 and 20) are the six best-known colors: yellow, red, and blue (primary colors) and orange, purple, and green (secondary colors). A simple box of eight children’s crayons includes the basic colors, as well as black and brown.

Binder (page 7) (also called a three-ring binder) (also see binding agent on page 7) is great for organizing your reference materials, lesson fi les, printed electronic books, and small drawings. Small drawings can be sprayed with a fi xative and inserted into three-ring, transparent vinyl sheet protectors, before you add them to a binder.

Binding agent (page 7) (also called a binder) is an ingredient in paint that solidifi es as it dries, thereby binding the pigment particles together so that the paint adheres to a surface. Binding agents are also added to powdered drawing mediums (such as charcoal) to compress them into solid cylindrical, square, and rectangular forms.

Black (page 8) (also see color on pages 19 and 20) is the complete absence of light. For example, think of yourself looking around a room in which there is absolutely no light source whatsoever. In painting, replicating this black requires a mixture of paints that create the darkest possible value (such as Raw Umber and Ultramarine Blue). In drawing, soft charcoal can make a powerful black.

A & B


Blending (page 8) is the process of gently rubbing a section of shading (or paint) with a blending tool, such as a facial tissue or piece of paper towel (or a brush) to evenly distribute the medium over the paper’s surface (or canvas).

Blenders (page 12) (also see brushes on pages 9 to 12) (also called blending brushes) (such as hake and fan brushes) are used for blending brushstrokes so as to create smoothly graduated colors. Blending brushes are not designed to move paint around on the canvas, but rather to smooth out the brushwork. Unlike other types of brushes, blenders usually work best when they are dry.

Blending stump (page 8) (also called a tortillon, stump, or blender) is a long, thin cylindrical artist’s tool that is pointed at both ends, and made of tightly wound paper or felt. Blending stumps are used to blend charcoal, graphite, and pastel drawings. When the tips become too dirty or dull to work properly, they can be sharpened. Don’t use your fi ngers to blend your drawing. The oils in your skin can damage your work.Blending stumps are sold in art supply stores and are available in many different sizes from small to large. Big ones are great for large areas of shading, and the tiny ones work well for smaller, more detailed sections.

Blending tool (page 9) refers to anything that is used by an artist to blend media.

Bridge of a nose (page 69) (also see nose on pages 68 to 70) (sometimes called the nasal bone) is the section of the nose where the upper bony section joins the cartilage. While barely visible on young children, the bridge of an adult nose often protrudes as a noticeable bulge or bump. The contoured outline of the bridge is most obvious when the nose is viewed in profi le.

Brights (page 11) (also see brushes on pages 9 to 12) are a type of paintbrush with shorter hairs (or bristles) than fl ats, but they

also have square ends. They allow more control over how much paint you apply than a fl at brush, because the hairs are shorter and the brush is less springy (more fi rm). Brights hold a lot of paint when fully loaded, allowing you to make long and bold, or short and repetitive brushstrokes.

Blind contour drawing (page 9) (also see contour drawing on page 23) is a slightly unconventional method of creating a contour drawing, in which you look only at your subject and not at your drawing paper as you work. By visually following the edges of the object as you draw, you strengthen your visual skills.

Bristle (page 10) (also see brushes on pages 9 to 12) is a type of brush head (made from natural hog or pig bristles) that is stiff enough to easily move thick paint around on your painting surface. Bristle brushes are the workhorses of painting and are fl exible and springy.

Brushes (pages 9 to 12) (also called paintbrushes) are tools used to apply a wet medium (such as paint) to a surface (such as canvas). You can use any brush that best suits your work, unless of course the manufacturer states that the brush is only suitable for a specifi c medium. For example, if you prefer a short-handled brush but fi nd a long-handled brush you absolutely love, you can always have the handle cut shorter so its end doesn’t poke you in the eye as you work. Paintbrushes that are designed for artists have three basic parts: brush head, ferrule, and handle. Brush head is the working end of a paintbrush, and is usually made from hairs or bristles. The head of a brush is responsible for carrying paint to your canvas, and placing and (or) moving the color exactly where you want to create an image.


B

(Continued on page 113)

Brush heads can be long, short, thick, or thin. They can be made from natural products, synthetic fi bers, or a combination of both:• Bristle (made from natural hog or pig

bristles) is stiff enough to easily move thick paint around on your painting surface. Bristle brushes are the workhorses of painting and are fl exible and springy.

• Sable (or other animal hairs) is a soft natural hair, that is ideal for creating gently fl owing lines. The better the quality of a sable brush, the more paint it can hold while still maintaining its fi ne point.

• Synthetic hair and mixed bristle are durable, easy to clean, and ideal for either beginners or professionals. Today’s synthetic brushes are of much better quality than their predecessors. High-quality synthetics work as well as natural hairs, and tend to be less expensive.

Ferrule is the part of a brush (often made of metal) that is connected to the brush head on one end and the handle on the other. The ferrule holds the brush hairs (or bristles) in their proper shape. A good-quality ferrule is tapered and has no seams. A ferrule’s shape is specifi c to the type of brush head, such as the following: • Flats have square ends with long, stiff

bristles or long, soft hair. They come in various sizes from very tiny to several inches wide.

• Brights have shorter hairs (or bristles) than fl ats, but also have square ends. They allow more control over how much paint you apply than a fl at brush, because the hairs are shorter and the brush is less springy (more fi rm). Brights hold a lot of paint when fully loaded, allowing you to make long and bold, or short and repetitive brushstrokes.

• Filberts are available with either soft hairs or stiff bristles, and differ from fl at brushes in that they are rounded on the outer edges of the tip. They are approximately the same length as fl ats, but create a softer, less angular brushstroke.

Consider them a hybrid of a round and a fl at. Large fi lberts are great for painting large sections of paintings, such as backgrounds, and their brushstrokes are big, loose, and broad. Smaller ones make gorgeous delicate, rounded brushstrokes that look wonderful in detailed areas.

• Rounds have brush hairs or bristles of various sizes including fat, thin, long, and short, but they always come to a point. They work well for drawing a preliminary composition on your canvas, and are great for painting and blending detailed sections.

• Scriptliners (sometimes called riggers or liners) have long, thin hair and a pointed tip. They are well-suited for producing long continuous lines without frequent reloading, and for rendering very intricate details. They perform best with much diluted paints.

• Blenders (such as hake and fan brushes) are used for blending brushstrokes so as to create smoothly graduated colors. Blending brushes are not designed to move paint around on the canvas, but rather to smooth out the brushwork. Unlike other types of brushes, blenders usually work best when they are dry.

Handle is the part of a paintbrush held by the artist, usually made of wood, and available in short and long lengths. If the handle of a brush looks cheap and poorly fi nished, chances are it’s a poor-quality brush.Brushes have either short or long handles: • Short-handled brushes work well for

artists who like to work on a small easel or at a table, and (or) prefer detailed or close-up painting. Watercolor brush handles are short, since the work is usually done at close range.

• Long-handled brushes are great for artists who prefer to work loosely in oils or acrylics on large, upright canvases at a full-size easel, and at arm’s length away from their canvases.


B

Brush head (page 9) (also see brushes on pages 9 to 12) is the working end of a paintbrush, and is usually made from hairs or bristles. The head of a brush is responsible for carrying paint to your canvas, and placing and (or) moving the color exactly where you want to create an image. Brush heads can be long, short, thick, or thin. They can be made from natural products, synthetic fi bers, or a combination of both.

Brushstroke (page 13) (also see brushes on pages 9 to 12) refers to the shape and size of a single application of paint to a surface with a paintbrush. Many artists love the way brushstrokes look when the paint is applied thickly with a large brush. Other artists thoroughly blend their brushstrokes together so they can no longer be distinguished from one another. An artist’s preference of brushstrokes helps defi ne the style of that artist.

Bull’s eye (page 13) (also see composition on page 21) is the center section of a drawing space. A composition is weakened when the primary subject is drawn within the bull’s eye.

Burnishing (page 13) refers to the process of applying one (or more than one) layer of a dry medium (such as colored pencils or graphite) over another, to lighten, darken, or blend the colors (or values). Burnishing also refers to the technique of using a light grade of graphite pencil to fi ll in entire sections of shading to even out the values.

CCadmium Red (page 14) (also see color on pages 19 and 20) is a gorgeous warm red. When mixed with other colors and white, it makes very realistic skin tones. To paint the warm, light hues of red objects, mix Cadmium Red with a touch of Cadmium Yellow Light.

Mix small amounts of Ultramarine Blue, Yellow Ochre, and Raw Umber with Cadmium Red to make believable shadow colors for red objects.

Cadmium Yellow (page 14) (also see color on pages 19 and 20) refers to a range of different yellow hues (such as Cadmium Yellow Light) that are great for mixing any color that needs a pure, clean yellow. For example, a tiny bit of Cadmium Yellow Light mixed with white creates highlights that are so bright, they almost glow.

Canvas (page 14) is a popular fabric used as a surface for painting with oils or acrylics. Before applying paint, the fabric should be stretched and mounted on a frame, and then primed with several layers of a primer (such as gesso) that is specifi cally made for painters. If you don’t want to prepare your own canvases, most art stores sell stretched canvases in many different sizes that are already primed and ready to use.

Canvas board (page 15) is an inexpensive alternative to canvas. However, paintings done on canvas boards tend to deteriorate after only a few years. When I began learning to paint, I used canvas board. Most of my early paintings were awful, anyway. However, I did a portrait of my son that somehow turned out fairly well. I regret now that I didn’t use stretched canvas.

Carbon pencil (page 15) is a very popular type of drawing tool that makes soft, velvety marks that are absolutely gorgeous for sketching.

Caricature (page 15) is a type of cartoon, usually based on an actual person, with the individual’s various characteristics and facial features exaggerated for comic effect.

Cartoon (page 15) is a humorous, lighthearted, or (and) satirical drawing or sketch.


B & C

Cast shadow (page 16) (also see shadow on page 91) is a dark section on an object or on a surface adjacent to (beside) an object (or living being) that receives little or no direct light. The values of a cast shadow are darkest next to the object and become gradually lighter as they move farther away.

Cerulean Blue (page 16) (also see color on pages 19 and 20) is a versatile paint color that is used to create many colors, including greens, greenish blues, and sky colors.

Chalk (page 16) is a drawing medium derived from various natural sources, including hematite, carbon, and calcite. Chalk is available in a broad range of natural browns and sepias that are ideal for rendering studies of great masters’ drawings.

Chalk pastels (page 16) (also see pastels on page 76) are a drawing medium that are available in pencils and sticks. Colors can be dry-mixed by layering one on top of another, and can be easily blended for soft, realistic still-life subjects and portraits. The sharp corners and edges of sticks can be used to draw thin lines, and the sides can make broad strokes.

Charcoal (pages 16 and 17) is a drawing medium made from burnt organic material (such as wood). As with graphite, charcoal comes in various grades. Charcoal is available in pencils, powder, and sticks: • Charcoal pencils have a thin cylindrical

stick of compressed charcoal inside a wooden casing.

• Charcoal powder is a drawing medium that works well for shading large areas of a drawing or preparing a base for drawing with erasers.

• Charcoal sticks are made by compressing powdered charcoal and a binding agent into cylindrical or rectangular sticks.

Chiaroscuro (page 17) is a drawing and painting technique that was introduced during the Renaissance, in which contrasts of light and dark values are balanced, so as to create the illusion of a three-dimensional reality on a fl at surface. Chiaroscuro is extremely effective for creating a powerful illusion of depth and space around primary and secondary focal points in a composition.

Chroma (page 18) (also see color on pages 19 and 20) refers to the intensity, strength, and (or) purity of a color. The color of an acrylic or oil paint that is squeezed directly from the tube is considered full chroma.

Circle (page 18) is a geometric shape in which all the points of its outline are an equal distance from its center point.

Circular shape (page 18) is created when the ends of a curved line meet (such as in the letter “O”). Drawing various types of circular shapes is a popular method of sketching and outlining the forms of various objects and living creatures.

Classical drawing (page 18) (also see realism on page 84) refers to the drawing methods invented by ancient Greeks and Romans for creating realistic drawings. Classical drawing was later enhanced by the great masters of the Renaissance.

Clay (page 18) is a naturally occurring material that becomes hardened when dried. For example, clay is mixed with graphite to make graphite drawing mediums.

Clips (page 18) (usually made of metal) can be used indoors or outdoors to securely clamp sheets of paper to a drawing board. When artists draw outdoors, clips can prevent their drawings from falling on the ground or blowing away.

Clockwise (page 19) is a direction or motion that follows the movement of the hands of a clock.


C

Color (pages 19 and 20) refers to the visual qualities of objects based on individual perception of their hues and values. Basic colors include yellow, orange, red, purple, blue, and green. Warm and cool colors can have a broad range of emotional effects on how people feel: Warm colors include yellow, orange and red, as well as any colors made by mixing these three colors together or (and) with white or black. To remember warm colors, think of the colors you see in fi re. • Yellow is bright, cheery, and powerful,

and is the color of happiness, sunshine, and fl owers (such as daffodils).

• Orange is a combination of yellow and red. Think of orange as energetic, vibrant, and fl amboyant.

• Red is the warmest and most energetic color, and is associated with love, energy, and danger (as in a red traffi c light).

Cool colors include blue, green, and purple, as well as mixtures of any of these three colors and any that are mixed with white or black. Cool colors are usually soothing and calming. (Think about the colors that refl ect into snow and ice.)• Purple is spiritual, mysterious, and exotic,

and represents royalty, nobility, and enlightenment. Some purples (made with more red than blue) can easily fall into the category of warm colors.

• Blue represents tranquility, harmony, and peace. Think of a blue sky, a calm ocean, or an iceberg.

• Green is soothing, nurturing, and calming, and symbolizes nature, good luck, youth, and generosity. Some greens that are made with more yellow than blue are considered warm colors.

Many artists and authors have attempted to defi nitively categorize colors into warm and cool. I personally prefer to base my decision on my perception of the color when it is placed beside other colors in a painting or drawing.

Specifi c groupings of colors have unique qualities:• Primary colors include yellow, red, and

blue. All colors originate from primary colors, and no combinations of other colors can make primary colors. Primary colors are high-intensity, and go well together if you want a drawing to look incredibly bright. By mixing the primary colors with other colors in various combinations, you can create millions of different colors.

• Secondary colors are orange, green, and purple, and are created with two primary colors.

• Intermediary colors are created by combining two secondary colors.

• Complementary colors are very different from one another, and when placed beside each other, their strong contrasting colors seem to make one another brighter and more vibrant. When used in a drawing, sets of complementary colors create harmony because together they contain all three primary colors. Sets of complementary colors are easy to fi nd on a color wheel because they are directly opposite one another.

Color wheel (page 20) (also see color on pages 19 and 20) refers to a method of arranging colors within a circular format to easily reference primary, secondary, intermediary, and complementary colors. Whenever you use colors to create art, keep a color wheel close by as an easy reference for choosing colors.

Colored pencils (page 21) are a wonderful medium for drawing everything and anything. They beautifully capture soft delicate subjects such as portraits and fl owers, and also work very well for subjects needing a bolder, more colorful approach. Colored pencils are relatively inexpensive, not messy, and easily travel with you wherever you go.


C


Colored pencils come in a wide variety of qualities from student to professional. During the manufacturing process, various synthetic and (or) organic pigments are added to binding agents and wax. The permanency rating of the pigment (check the packaging) helps to determine the quality of the pencils.

Commission (page 21) refers to an order placed with an artist for an original work of art.

Complementary colors (page 21) (also see color on pages 19 and 20, and color wheel on page 20) are very different from one another, and when placed beside each other, their strong contrasting colors seem to make one another brighter and more vibrant. When used in a drawing, sets of complementary colors create harmony because together they contain all three primary colors. Sets of complementary colors are easy to fi nd on a color wheel because they are directly opposite one another.

Composition (page 21) (also see focal point on page 39, and Rule of Thirds on page 88) refers to the arrangement of the various parts of your drawing subject within the borders of a drawing space.

Compound curve (page 22) is created when a curved line changes direction. Compound curved lines travel in both clockwise and counterclockwise directions.

Conservation framing (page 22) (also called preservation framing) refers to the specifi c archival materials (such as museum-quality archival glass) and techniques used in the process of framing an artwork to protect the art from long-term deterioration or damage from environmental pollutants, acid, and light.

Conté crayon (page 22) is a drawing medium in which pigments are mixed with non-adhesive binders and wax. Conté performs like a cross between a chalk pastel

and a child’s wax crayon. With the addition of wax, this medium is less likely to break or crumble, and consequently, much less apt to fall off the drawing surface.

Continuous line (page 22) refers to any type of line that is rendered without lifting the pencil (or other drawing media) from the paper or drawing surface.

Contour (page 23) refers to the outline of a shape or form (or a section of a shape or form).

Contour crosshatching (page 23) is a highly effective shading technique for creating the illusion of three-dimensional forms. This is achieved when two (or more) sets of curved lines of various lengths cross over one another along the contours of the subject’s surface.

Contour drawing (page 23) is a drawing comprised of outlines that follow the contours of the edges of various components of a drawing subject.

Contour hatching (page 23) is a shading technique in which sets of curved hatching lines follow the outlines, contours, and (or) forms of the drawing subject, so as to accentuate the illusion of three-dimensional reality.

Contour lines (page 23) are formed when the shared edges of spaces and (or) objects meet. You can draw everything you can see or imagine by combining different types of contour lines (such as thick, thin, straight, and curved).

Contrast (page 24) (also see high contrast on page 51, and low contrast on page 59) is the comparison of different values when put beside one another, and is an invaluable tool for accentuating various components of composition.


C

Cool colors (page 19) (also see color on pages 19 and 20) include blue, green, and purple, as well as mixtures of any of these three colors and any that are mixed with white or black. Cool colors are usually soothing and calming. (Think about the colors that refl ect into snow and ice.)

Copyright (page 24) is a form of protection, which grants artists the exclusive right to sell, reproduce, or exhibit their own original artworks. If you live in a country that has signed the Berne Union for the Protection of Literary and Artistic Property (also known as the Berne Convention), you automatically own the copyright to your original creations from the moment each is completed.

Counterclockwise (page 24) (sometimes called anticlockwise) is a direction or motion that is opposite to the movement of the hands of a clock.

Cranial mass (page 24) (often referred to as the cranium) is the large upper section of the skull at the back of the head.

Crosshatching (page 24) is shading technique in which sets of straight or curved lines cross over, overlap, crisscross, or (and) cut through other sets.

Curved contour lines (page 25) are curved lines that follow the contours of a drawing subject and defi ne its three-dimensional forms.

Curved line (page 25) is created when a straight line curves or bends. Curved lines (as in the letters “C” and “U”) can be drawn in any direction and be any length.

Curved-sided shapes (page 25) are shapes that are created with curved lines, and have sections where two or more of the curved lines meet at a point (or points). Curved-sided shapes (such as hearts or

teardrops) are not truly circular in nature (like circles or ovals); hence, I simply refer to them as curved-sided shapes.

DDiagonal line (page 26) is neither vertical nor horizontal, but rather, slants at an angle.

Diamond-shape (page 26) is a parallelogram in which a straight line (usually imaginary) drawn from two opposite points is perpendicular to a line connecting the second set of opposite points.

Diptych (page 26) is set of two related paintings or drawings that come together as a single artwork.

Disposable palette (page 26) is a book of disposable sheets of a coated paper that is specifi cally designed for mixing paint. You simply tear off and throw away a used sheet, and begin mixing paint on the clean sheet underneath.

Disposable pen (page 26) (also see pens on page 77) is an inexpensive writing or drawing tool that is meant to be thrown away when the ink runs out.

Distant space (See background on page 7.)

Dominant light source (See light source on page 58.)

Drafting desk (page 27) (or drafting table) is an adjustable worktable with a slanted top.

Drawing (page 27) (noun) is the image that results from the application of a medium to a surface. A drawing defi nes an artist’s choice of subjects from his or her own unique perspective.


C & D


(Verb) refers to the process of applying a medium to a surface to create an image.

Drawing accessories (page 27) are any tools or products that enhance an artist’s drawing experiences.

Drawing board (page 27) is an unbendable, portable, smooth surface used to support an artist’s sketchbook or drawing paper.

Drawing format (pages 27 and 28) (also see drawing space on page 29) refers to the orientation of a rectangular drawing space. The following two popular drawing formats are called landscape and portrait:• Landscape format (sometimes called a

horizontal format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom.

• Portrait format (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom.

Drawing from life (See life drawing on page 58.)

Drawing paper (page 28) is an acid-free paper designed specifi cally for artists, and is available in various types, colors, textures, and sizes.

Drawing powder (page 28) (also see charcoal on pages 16 and 17) refers to tiny loose particles of a drawing medium that have been broken down from a solid into a powder. Drawing with a powdered medium is messy, especially when applied directly to a surface with bare fi ngers and (or) hands. The mess can be cut down considerably by fi rst wrapping tissues, paper towels, or fabric around your fi ngers.

Drawing space (page 29) (sometimes called a drawing surface) (also see drawing format on pages 27 and 28) is the area in

which you render a drawing within a specifi c perimeter. It can be the shape of a sheet of paper itself, or a shape you outline on your paper, such as a square, rectangle, or circle.

Drawing stick (page 29) is a drawing tool that is made by compressing and shaping a medium (such as conté crayon, chalk, oil or chalk pastels, graphite, or charcoal) into a cylindrical or rectangular chunk.

Dry media (page 29) refers to non-liquid drawing mediums (such as colored pencils, graphite, conté crayon, charcoal, and chalk).

Dry-mixing (page 29) refers to the process of using a dry medium (such as colored pencils) to mix two (or more) different colors together to make a new color.

Dry mount (page 29) refers to the process of adhering paper artwork or photographs to a board by using dry adhesive substances, high heat, and (or) a dry mount press.

EEar (page 30) is the organ for hearing in humans (and many animals). Drawing (and painting) the exterior of human ears is easier when you are familiar with the following fi ve basic parts:• Outer rim is the long form along the

outside edge of the ear that meets the earlobe at the lower section.

• Inner rim is the smaller long form inside the ear that circles the rear of the opening to the ear canal.

• Small lobe is the tiny form over the frontal section of the opening to the ear canal.

• Ear canal is the opening to the inner ear.• Earlobe is the soft, fl eshy, lower section of

the ear.


D & E

Ear canal (page 30) (also see ear on page 30) is the opening to the inner ear.

Earlobe (page 30) (also see ear on page 30) is the soft, fl eshy, lower section of the ear.

Easel (page 30) is an artist’s accessory (often made from wood or metal) that can be used to support a canvas when painting, or a sheet of drawing paper attached to a drawing board for drawing. An easel can be any size; from a simple tabletop collapsible tripod to a large, fl oor-to-ceiling studio type with a large base.

Egg tempera (page 31) is a water-based paint that is made with an egg yolk binder.

Elements of art (page 31) are the basic visual symbols found in visual art, including (but not limited to) line, shape, form, texture, and color.

Eye (pages 31 and 32) is the organ of sight and light sensitivity. Artists need to be able to identify the following nine parts of an eye (or features that are close to) an eye and one element of light: • Upper eyelid crease is a fold in the skin

above the top section of the eyeball.• Upper eyelid is a fold of skin that opens

and closes automatically (blinking) to protect the eyeball.

• Lower eyelid is the fold of skin that protects the lower section of the eyeball. The lower eyelid cannot move without help from facial muscles around the eye.

• Eyebrow is an arch-shaped group of hairs above the eye.

• Eyelashes are fi ne hairs that grow from the outer edges of the upper and lower eyelids.

• White of the eye (the large light section of an eyeball) is light in value and color, but is not really white.

• Iris is the colored circular section of an eyeball surrounding the pupil.

• Highlight is the brightest section (or sections) where light bounces off the surface of the eye. A highlight is not an actual part of an eye; however, artists usually paint or draw highlights to capture the moist, glossy surface of the eye and enhance the illusion of realism.

• Inner corner is a small, reddish, triangular or oval-shaped form in the inside corner of the eye, close to the nose.

• Pupil of an eye is the darkest circular shape within the iris, that adjusts its size under different lighting conditions.

Eye level (also see geometric perspective on pages 42 to 44, and horizon line on pages 42 and 43) (also called the horizon line) is an imaginary horizontal line that divides your line of vision when you look straight ahead. In essence, the horizon line and your eye level are one and the same.

Eyeball (Also see eye on pages 31 and 32, and white of the eye on page 32) is the entire spherical section of an eye that is safely protected within an opening in the skull called the orbital socket.

Eyebrow (page 31) (Also see eye on pages 31 and 32) is an arch-shaped group of hairs above the eye.

Eyelashes (page 32) (Also see eye on pages 31 and 32) are fi ne hairs that grow from the outer edges of the upper and lower eyelids.

FFacial expressions (pages 33 to 36) (also see facial muscles on pages 37 and 38) are voluntary and involuntary movements of facial muscles in response to various emotions. As the facial muscles do their jobs, different sections of the face move and often create folds and wrinkles in the skin.


E & F


Descriptions of the visual characteristics of a few basic facial expressions and emotional states are as follows:• Angry: (page 33) Eyebrows are lowered

in the center down over the upper eyelids. Vertical and horizontal creases appear on the forehead. Eyes are wide open. Mouth is closed tightly and its corners are forcefully stretched downward. Chin bulges upward.

• Bored: (page 33) Eyebrows move close together and curve upward in the center. Vertical and horizontal crinkles appear on the forehead. Eyes are partially closed. Lines around the outer corners of the eye (crow’s feet) and lower lid creases are slightly pronounced. Mouth is relaxed and fully open. The upper lip is pulled up and back, and the lower jaw is dropped, stretching the whole lower face downward. Creases form from the sides of the nose down to the chin.

• Contentment: (page 34) Eyebrows are relaxed and slightly lifted upward. Eyes are partially closed and the upper eyelids are drooped downward, covering part of the irises. Mouth is closed, relaxed, and pulled slightly back toward the ears.

• Devastated: (page 34) Eyebrows are lowered toward the center, and vertical creases form on the lowered brow. Eyes are very tightly closed with pronounced creases at the outer corners. Mouth is open, and the lips are stretched both horizontally and downward, pushing the center sections of the mouth upward toward the nose. Chin is raised and tight.

• Disgusted: (page 34) (hateful and horrifi ed are similar) Eyes are partially closed and crow’s feet are more pronounced. Deep horizontal creases appear between the eyes, extending across the bridge of the nose. Inner sections of the eyebrows are lowered, forming vertical folds on the brow. One side (or both sides) of the upper lip is raised. Center of the lower lip and chin are pushed upward.

• Endearing: (page 34) Eyebrows are raised and curled upward in the center. Eyes are slightly closed, creating crow’s feet in the outer corners. Corners of the mouth are pulled back toward the ears.

• Happy: (page 35) Eyelids and eyebrows are very relaxed. Mouth widens and the corners curve up and back toward the ears. Sometimes the upper teeth show.

• Gleeful: (page 35) Eyebrows are relaxed. Eyes narrow and sometimes close completely. Mouth opens wide, back toward the ears, and lots of teeth are visible (especially the upper ones).

• Mischievous: (page 35) Brow and eyebrows lower toward the center and partially cover the upper eyelids. Eyes narrow. Mouth widens back towards the ears in a grin.

• Pain: (page 35) Nostrils are pulled upward, and cheeks are raised. Eyebrows lower, and numerous wrinkles extend from the inside corners of each eye across the bridge of the nose. Eyes are tightly closed; the lid line is straight. Vertical creases on the upper lid hide the upper lid fold. Crow’s feet extend from the outer corners of the eyes. Upper teeth are hidden under the upper lip, and the front lower teeth are visible. Mouth is open, and the lips are stretched horizontally and downward.

• Sadness: (page 36) Brow and eyebrows bend upward and toward the center, forming vertical creases and folds. Upper eyelids fold upward toward the center. Corners of mouth curve downward.

• Seduction: (page 36) Eyebrows are raised. Upper eyelids are slightly closed. Mouth is pushed forward puckering the lips.

• Terror: (page 36) (surprise and shock are similar) Eyebrows lift up and curve upward in the center. Eyes open very wide with the whites showing all around the irises.

Facial features (page 36) include the eyes, nose, and mouth.


F

Facial guidelines (page 36) identify the approximate locations of human features and ears on an average head within specifi c spaces. Facial guidelines for babies and children are different than those for adults.

Facial mass (page 37) (also called the face or facial area) refers to the lower frontal section of a human head.

Facial muscles (pages 37 and 38) (also see facial expressions on pages 33 to 36) are the muscles of the face. To keep things simple, I refer to each by its role in facial expression rather than its anatomically correct name.The following ten major facial muscles can create an infi nite range of facial expressions: • Eyebrow-lifter is a wide, fl at muscle

with two independent halves, that runs vertically across the forehead.

• Frowners are the muscles between the eyebrows that extend from the bridge of the nose upward and outward in a fan shape.

• Eyelid-lifter is a tiny muscle in each upper eyelid that controls the up and down movements of the upper eyelid to open and close the eyes.

• Eye-squeezer is a large oval-shaped muscle mass surrounding the eye and extending onto the upper section of the cheek. The various sections can work independently or together.

• Lip-raisers are the muscles that extend from above the outer mouth area, directly upward on the cheek in a fan-like shape.

• Smiling muscles run from the corners of the mouth back toward the ears.

• Speaking muscles encircle the mouth, and work with other muscles to give the mouth its movements when talking.

• Sadness muscle extends from the corners of the mouth in a downward direction.

• Pouting muscle pushes the center of the mouth upward, resulting in a raised and puckered chin.

• Lip-stretchers are rarely used muscles that pull the lips horizontally backward on the face.

Facial slope (page 38) refers to the angle of a person’s head (excluding the nose) when viewed from the side: from the forward projection at the base of the upper teeth, upward to the forehead.

Fan brushes (See blenders on page 12, and brushes on pages 9 to 12.)

Feathered line (page 38) is a series of short lines that appear to be a single line. To feather a line, you very gently sketch a series of short lines that involves a constant lifting of the pencil from the paper.

Ferrule (page 10) (also see brushes on pages 9 to 12) is the part of a brush (often made of metal) that is connected to the brush head on one end and the handle on the other. The ferrule holds the brush hairs (or bristles) in their proper shape. A good-quality ferrule is tapered and has no seams. A ferrule’s shape is specifi c to the type of brush head.

Figurative (page 39) refers to the visual depiction of a human body in a drawing or painting.

Figure (page 39) refers to the body of a human being.

Filberts (page 11) (also see brushes on pages 9 to 12) are a type of paintbrush that are available with either soft hairs or stiff bristles, and differ from fl at brushes in that they are rounded on the outer edges of the tip. They are approximately the same length as fl ats, but create a softer, less angular brushstroke. Consider them a hybrid of a round and a fl at.


F


Large fi lberts are great for painting large sections of paintings, such as backgrounds, and their brushstrokes are big, loose, and broad. Smaller ones make gorgeous delicate, rounded brushstrokes that look wonderful in detailed areas.

Fixative spray (page 39) is used by artists to lessen the likelihood of smudging by adhering the medium to the paper or canvas.

Flats (page 10) (also see brushes on pages 9 to 12) are a type of paintbrush that have square ends with long, stiff bristles or long, soft hair. They come in various sizes from very tiny to several inches wide.

Focal point (page 39) (also see Rule of Thirds on page 88) (sometimes called center of interest or center of focus) is a term used to identify the most important elements in a drawing or painting. Most drawings and paintings have the following two types of focal points: • Primary focal point is the single most

important center of interest (or focus) in a drawing. For example, in a drawing of an animal, it may be the eyes, the entire face, or a whole section of the body that is especially fascinating.

• Secondary focal point refers to a center(s) of interest in a drawing composition that is signifi cant, but not quite as important as the primary focal point.

Folk Art (page 40) is a traditional genre of art that depicts the life style, customs, culture, and values of a society.

Foreground (page 40) refers to the sections of an artwork that are closest to the viewer. Objects (or people) in the foreground are usually rendered with more details and a greater contrast of values than those in the middle ground or background.

Forensic art (pages 40 and 41) (also see age progression and age regression on pages 2 and 3) refers to the artistic techniques used by police departments and investigative agencies in the identifi cation, apprehension, or conviction of wanted or missing persons. Forensic art includes several specifi c disciplines including: • Age progression: is frequently used to

create an updated image of a child who has been missing for a long time.

• Image modifi cation: can be as simple as adding or removing a beard or mustache from a photograph of a suspect, or as complicated as drawing an entire face hidden behind a ski mask by referring to nothing more than a video image.

• Post-mortem reconstruction: refers to the process of sculpting a three-dimensional head and face from a skull.

• Composite art: the artist is often called a sketch artist. Composite art is the best-known discipline of forensic art. In essence, a forensic artist translates other people’s memories into drawings.

Naturally, strong drawing skills and an in-depth knowledge of facial anatomy are important. However, even more essential is the artist’s ability to interact with, and interview the victim or witness, and successfully gather, interpret, and illustrate the information obtained from his or her memory.

Foreshortening (page 41) (also see geometric perspective on pages 42 to 44) is an element of perspective that describes the visual distortion of objects and living beings when viewed at an extreme angle. The word foreshortening applies to a single object or fi gure, whereas the word perspective refers to an entire scene.

Form (page 41) is an element of art that is created in drawings and paintings by using shading and (or) colors to transform shapes into three-dimensional structures.


F


Format (See drawing format on pages 27 and 28.)

Fresco (page 41) is an artwork (often called a mural) painted on a thin layer of plaster that covers a wall or ceiling. For example, frescoes that date back more than 3,500 years have been discovered in Greece. The ceiling of the Sistine Chapel (in Rome) is also a fresco that was painted by Michelangelo between 1508 and 1512.

Friable (page 41) is used to describe the extent to which a dry drawing medium crumbles or breaks. For example, charcoal and chalk are friable, and therefore drawings created with friable mediums need to be sprayed with a fi xative to protect the medium from eventually falling off the paper.

GGeometric perspective (pages 42 to 44) (sometimes called linear perspective) (also see atmospheric perspective on page 6) is a precise drawing technique that makes subjects in a drawing look like they recede into distant space. Drawing subjects appear smaller the farther they are away from you. Conversely, the closer people and objects are to you, the larger they look. Perspective is the very foundation of realistic art, in that it has the power to create the illusion of a third dimension on a fl at piece of drawing paper.To understand geometric perspective, you need to be familiar with its three basic components: horizon line, vanishing point, and perspective lines.Horizon line (also called eye level) is an imaginary horizontal line that divides your line of vision when you look straight ahead. In essence, the horizon line and your eye level are one and the same. Wherever you move - from the top of the highest mountain to the lowest valley - your

eye level always stays with you. Objects below the horizon line are below your eye level, and objects above the horizon line are above your eye level. As an artist, you control whether you want viewers to feel like they’re at eye level with, or looking downward or upward at the objects in your drawing. You decide the viewers’ eye level based on where you choose to draw the horizon line. • At eye level: To create the illusion that

viewers are at eye level with the objects in your drawings you need to employ the perspective lines (defi ned below and illustrated on pages 43 and 44) as follows: • Perspective lines of objects at your

eye level (touching the horizon line) converge both downward and upward.

• Perspective lines of objects above your eye level (above the horizon line) converge downward.

• Perspective lines of objects below your eye level (below the horizon line) converge upward.

• Looking downward: If you want the viewers of your drawings to feel like they are looking downward, draw the subjects below the horizon line. The perspective lines of objects below eye level angle upward towards the horizon line and converge at a vanishing point.

• Looking upward: To create the illusion that the viewer is looking upward, draw your subjects above the horizon line. The perspective lines of objects that appear above the viewer, lead downward to a vanishing point.

Vanishing point is an imaginary point (or points) on the horizon line where perspective lines converge.Perspective lines are imaginary straight lines (usually angular), which extend from the edges of drawing subjects, back to a vanishing point (or points) on the horizon line.

F & G


Gesso (pages 44 and 45) is a white primer that can be applied to absorbent surfaces (such as canvas) to seal and prepare the surface for oil or acrylic paint. Gesso can be tinted with acrylic paints (but not oil paints) for a toned surface. As an aside, many artists simply begin painting without an underdrawing. Others prefer to render a preliminary drawing with paint. Some artists like to do a detailed drawing with a dry medium (such as graphite, charcoal, or chalk) on a primed surface before they begin painting. You can begin an underdrawing after the initial couple of coats of gesso are brushed on, dried, lightly sanded (if a smooth surface is preferred), and then brushed clean with a dry brush. To prevent the drawing medium from bleeding through your fi nished painting, you should spray the surface with a fi xative and paint it with a thin layer of gesso (diluted with water). This wash should be thin enough to allow you to still see your drawing.

Gesture sketch (page 45) (also see rough sketch on page 88) uses simple sketching methods to capture the past, present, or potential movements of living beings. Gesture sketches are usually rendered quickly to capture the energy and movement of the subject.

Golden Mean (page 45) (also see rule of thirds on page 88, and focal point on page 39) is a mathematical formula devised by the ancient Greeks, used to create a balanced composition through the strategic placement of focal points.

Gouache (page 45) is an opaque water-based paint (similar to poster paint) that dries to a matte fi nish.

Grade (page 45) (also see graphite on pages 46 and 47, and pencil on pages 77 and 78) refers to the softness or hardness of the mixture used in the manufacture of drawing mediums.

Graduation (page 46) (also called graduated shading or graduated values) is a continuous progression of values, from dark to light or light to dark. The goal of graduated shading is to keep the transitions between the different values fl owing smoothly into one another.

Graphite (pages 46 and 47) (also see grade on page 45) is a soft black form of opaque (non-transparent) carbon found in nature. It is often mixed with clay to make various types of drawing tools for artists. Graphite was discovered in England somewhere between 1500 and 1560. Its claim to fame as a drawing tool began with farmers marking their sheep to easily identify their fl ocks. The various grades of H graphite pencils work beautifully for light and middle values. B graphite pencils are best for middle and dark values. A combination of both H and B graphite pencils can create a full range of values from very light to almost black. Modern-day graphite pencils consist of a cylindrical stick of a graphite and clay mixture, encased in a wooden cylinder. Graphite is also available as sticks, powders, woodless pencils, and leads for mechanical pencils. Pure graphite is blacker and softer than the clay with which it is mixed. As a rule, H pencils have less pure graphite than B pencils. (To help you remember, think of “H” as hard and “B” as bolder.)The actual amount of graphite in the composite determines the label of a pencil. For example a 9H pencil is made up of approximately 40% graphite; conversely, a 9B pencil has more than 90% graphite.

Grid (pages 47 and 48) is a precise arrangement of a specifi c number of squares, of exact sizes, proportionately drawn on both a photo and a drawing surface. To explain the process of working with a grid, the following demonstrates the three stages of drawing a German Shepherd:

G


1. Planning and drawing grids: The photo was rotated (until I found an angle that I liked) and then taped to graph paper. Using the graph paper as a guide, I drew the grid lines on the photo with a fi ne-tip ballpoint pen. I then marked letters and numbers along the outer edges to identify each vertical and horizontal row. A larger corresponding grid is carefully outlined on my drawing paper.

2. Sketching proportions: I work in only one square at a time with 2H or HB leads in mechanical pencils. I visually measure proportions, and observe the relationships between the lines, shapes, and spaces in each square, while constantly referring to the photo. I outlined all parts of the dog’s head, ears, and face in their correct places, beginning in the upper right corner. I then referred to the photo to map out where I planned to draw light or dark values.

3. Adding shading: The grid lines were all carefully erased, and a full range of values was created with various grades of pencils from 2H to 6B.

Gum Arabic (page 48) (also see binding agent on page 7) is a binding agent that is added to various media to improve the bonding properties of their ingredients.

HHake brush (See blenders on page 12, and brushes on pages 9 to 12.)

Handle (page 12) (also see brushes on pages 9 to 12) is the part of a paintbrush held by the artist, usually made of wood, and available in short and long lengths. If the handle of a brush looks cheap and poorly fi nished, chances are it’s a poor-quality brush.

Handmade paper (page 49) refers to any type of paper that is made without modern technology or machinery. During the Renaissance, drawing papers were handmade by breaking down or chopping up source materials such as plants, vegetable matter, rags, and (or) sailcloth, into individual cellulose fi bers. These fi bers were mixed with water to form a soupy pulp, and were then scooped up with a wire screen and set into a wooden mold. The pulp was leveled fl at by shaking the wooden mold, and once the water had drained through the screen, an even deposit of matted fi bers remained on the screen’s surface. This matted deposit was then turned out onto a heavy woolen cloth or felt. Another felt was layered on top of the thin sheet of pulp, then more felt, and so on. The resulting stack of pulp sheets and felts were then pressed to extract as much of the moisture left in the pulp as possible. The sheets of paper were then hung to dry. At this stage, the paper was still very absorbent (like blotting paper). To harden the surface, the paper was coated with a non-absorbent sealer (such as a layer of gelatin). The type of paper that was very popular with the masters was coated with white lead and ground bone, usually tinted with a pigment, and tempered with a glue sizing.

Hardcover (page 49) refers to a durable type of book cover that is made from a thick and unbendable material.

Hardness (page 50) (also see grade on page 45, and Graphite on pages 46 and 47) refers to the numerical rating of H-grade media according to their ingredients; the harder the mixture – the higher the number. For example, an 8H graphite pencil has more clay (hard) than graphite (soft), and therefore makes an extremely light mark. Conversely, a 2H graphite pencil is made with a higher percentage of graphite, and therefore makes a darker mark, and is not as hard as an 8H pencil.


G & H

Hatching (page 50) (also see crosshatching on page 24) is a series of lines (called a set) drawn closely together to give the illusion of values. Depending on the shading effects desired, the individual lines in hatching sets can be far apart or close together.

Heightening (page 50) refers to the technique of applying a light pigment (such as white chalk or gouache) to sections of a drawing to enhance the illusions of mass, form, and light.

Hematite (page 50) (often called iron oxide) is the ingredient in natural red chalk that determines its specifi c hue.

Heptagon (page 50) is a straight-sided shape with seven sides and seven angles.

Hexagon (page 50) is a straight-sided shape with six sides and six angles.

High contrast (page 51) (also see contrast on page 24, and low contrast on page 59) refers to shading that is created by drawing the darkest values adjacent to the highlights and lightest values.

High key (page 51) (also see key on page 56) (think of high levels of light) refers to drawings that have a range of values that are mostly light. Sometimes, even the shadows and dark areas are shaded with medium values rather than extreme darks.

High Renaissance (page 51) (also see Renaissance on page 86) refers to the styles and techniques of the early 16th century paintings of Florence and Rome, characterized by technical mastery, and humanistic content.

Highlight (page 51) (Also see eye on pages 31 and 32) is a small section (or sections) of a drawing or painting subject (or subjects) that is rendered with white or a very light value. Highlights identify the brightest area of a

form where the dominant light bounces off its surface. Highlights are more pronounced on shiny or glistening surfaces than those which are dull or matte. You can usually fi nd the brightest highlight in a drawing or painting on the section of the primary focal point that is closest to the light source (without being in shadow). Less intense highlights are often used to enhance the illusion of form on secondary focal points and less important areas of interest.

Highlight on an eye (page 32) (Also see eye on pages 31 and 32) is the brightest section (or sections) where light bounces off the surface of the eye. A highlight is not an actual part of an eye; however, artists usually paint or draw highlights to capture the moist, glossy surface of the eye and enhance the illusion of realism.

History (page 52) is a written record of the past; mostly about the lives and activities of human beings and their environments. For example, historians (people who study and write about history) have documented that Leonardo da Vinci was born in Italy in the year 1452.

Horizon line (pages 42 and 43) (also called eye level) (also see geometric perspective on pages 42 to 44) is an imaginary horizontal line that divides your line of vision when you look straight ahead. In essence, the horizon line and your eye level are one and the same.

Horizontal (page 52) describes a fl at surface or line that is at a right angle to vertical lines, and is parallel to a level surface.

Horizontal format (See drawing format on pages 27 and 28.) (Also called landscape format.)

Horizontal line (page 52) is a geometric object that is at a right angle to a vertical line, and parallel to a level surface.


H

Hot-pressed (page 52) describes a paper that is pressed through hot cylinders during its manufacture. Some smooth, hot-pressed watercolor papers are wonderful for rendering graphite drawings.

Hue (page 52) (also see color on pages 19 and 20) is another word for color (such as red, purple, or teal).

IIcon (page 53) is a visual image or a graphic symbol that is used to identify a specifi c task or information. For example, icons can identify sidebars in books, or specifi c functions on computer display screens.

Illustration (page 53) is an image that is used to enhance a book, publication, or concept, or help explain text. For example, illustrations are used throughout this book to further the reader’s comprehension of text defi nitions.

Impasto (page 53) is a painting technique in which the paint is laid on so thickly that its texture stands out.

Impressionism (page 53) is a style of art in which realism is distorted so as to accentuate color, light, form, or (and) movement. The term Impressionism is derived from a painting by Claude Monet titled Impression Sunrise.

In-home studio (page 54) is a personal drawing place within (or adjacent to) an artist’s home. An ideal in-home studio has adequate space for the artist and his or her art supplies. It can range from a small section of a table, to a large, fully equipped professional art studio.

Ink (page 54) (also see sepia ink on page 89) is a thin liquid (usually black or colored)

that is applied to a surface with a brush or pen to write, paint, or draw. Inks have been used by artists for hundreds of years. Most Renaissance pen-and-ink drawings were rendered with black and (or) various shades of brown, red, and orange. The most popular inks for traditional and classical drawing include India, Chinese, and Bistro. Today’s inks are available in a wide assortment of colors and can be mixed together and (or) diluted to make almost any color imaginable. Materials for ink drawings include inks, pen nibs, holders, and brushes. Most art stores carry several types of pen holders and many sizes of nibs.

Inner corner of an eye (page 32) (also see eye on pages 31 and 32) is a small, reddish, triangular or oval-shaped form in the inside corner of the eye, close to the nose.

Inner rim of an ear (page 30) (also see ear on page 30) is the smaller long form inside the ear that circles the rear of the opening to the ear canal.

Intensity (page 54) describes the brightness or dullness of a color.

Intermediary colors (page 20) (also see color on pages 19 and 20) are created by combining two secondary colors.

Iris (page 32) (also see eye on pages 31 and 32) is the colored circular section of an eyeball surrounding the pupil.

JJuxtaposition (page 55) is an aspect of composition that refers to the close placement of elements, in order to compare or contrast their relationships and (or) enhance the message or meaning of the artwork.


H, I & J


For example, colors and shapes can be juxtaposed to complement or contrast one another. • For comparison: Similar objects can be

added to an artwork to illustrate a specifi c theme (such as a drawing of various objects that are all made of wood).

• For contrast: Artists can put two or more objects together that have opposite associations or interpretations (such as putting something new and shiny beside an object that is old and weathered).

KKey (page 56) refers to the overall amount of light and dark values in a drawing. • High-key drawings (think of high levels

of light) have a range of values that are mostly light. Sometimes, even the shadows and dark areas are shaded with medium values rather than extreme darks.

• Low-key drawings (think of low levels of light) have a range of mostly dark values and tend to be ominous or moody. Some low-key drawings can also be high-contrast, which entails drawing the darkest darks next to the lightest lights.

Kneaded Eraser (page 56) is a versatile, soft, pliable eraser, used to erase parts of a drawing or to make a section lighter. Its tip can be molded to a point (or wedge) to erase small sections of a drawing, or to draw fi ne lines on a surface, covered with a drawing medium, such as graphite. To clean a kneaded eraser, you simply stretch and reshape it (also known as “kneading”) several times.

LLandscape (page 57) is a drawing or painting depicting an expanse of natural

scenery that includes some components of land (such as trees, mountains, or beaches).

Landscape format (page 28) (also see drawing format on pages 27 and 28) (sometimes called a horizontal format) is a rectangular drawing space that is rotated so the two longer sides are at the top and bottom.

Leadpoint (page 57) (also see stylus on pages 98 and 99, and metalpoint on page 64) was an ancient drawing tool made of lead (a soft metal) or a lead alloy, that would leave marks on unprepared paper. Lead produced a beautiful faint line that could be erased. During the Renaissance leadpoint was popular for creating an underdrawing in preparation for a more detailed drawing (to be done over top) using another medium. On the downside, the tip of a lead stylus would quickly become blunt. Leadpoint is considered the ancestor of the modern-day “lead” pencil, which is actually a lead-free composite of graphite and clay.

Left-brain (page 57) refers to the left hemisphere of the brain which controls analytical, mathematical, and verbal thinking.

Level (page 57) (also see horizontal on page 52, and parallel on page 76) refers to the comparison of one horizontal surface or line to another or others.

Life drawing (page 58) (verb) refers to the process of drawing from a living being, rather than a photo or sketch.(noun) is an artwork or sketch created by using an actual living being as a reference. Dedicated artists devote several years to mastering the skills needed for accurately drawing the contours and forms of human fi gures.

Light source (page 58) is the direction from which a dominant light originates.


K & L


A light source identifi es the light and shadow areas of a drawing subject, so artists know where to add light or dark lines and values.

Line (page 58) is the visually identifi able path of a point moving in space. Straight, angle, and curved lines can vary in width, direction, and length, and are used in drawings to visually separate and (or) defi ne the forms of a drawing subject.

Line drawing (page 59) is an artwork created with only lines. The goal is to accurately outline the contours of the various shapes and (or) forms, of a drawing subject.

Line of symmetry (page 59) is a line (real or imaginary) dividing a drawing space into two equal sections so as to render a symmetrical drawing subject. The outline on each side of the line of symmetry needs to be a mirror image of the other side.

Linear perspective (See geometric perspective on pages 42 to 44.)

Long-handled brushes (page 12) (also see brushes on pages 9 to 12) are great for artists who prefer to work loosely in oils or acrylics on large, upright canvases at a full-size easel, and at arm’s length away from their canvases.

Low contrast (page 59) (also see contrast on page 24, and high contrast on page 51) refers to shading with a limited range of values.

Low key (See key on page 56.)

Lower eyelid (page 31) (also see eye on pages 31 and 32) is the fold of skin that protects the lower section of the eyeball. The lower eyelid cannot move without help from facial muscles around the eye.

MManga (page 60) (a Japanese word for “comic book”) refers to a popular style of cartooning that originated in Japan. Manga also refers to reprints of Japanese comics that are translated from Japanese into other languages (such as English).

Manikin (pages 60 and 61) is an accurately proportioned male or female model (usually made of wood) that can be bent and contorted into various poses. Many manikins are designed specifi cally for artists as references for practicing fi gurative drawings and (or) establishing accurate human proportions for a specifi c pose in an artwork. Manikins of animals are also available.The process of sketching a realistic fi gure based on the proportions of a manikin, is as follows:1. Turn the manikin around until you fi nd the

perspective you prefer. Adjust the various parts of the manikin to the desired pose. For example, you can place the manikin above or below you and rotate it for a frontal, back, or side view.

2. Sketch the shapes of the manikin as accurately as possible. Outline various body parts, such as shoulders, knees, elbows, and wrists.

3. Refi ne the outlines of the parts of the manikin to represent the body type you envision. For example, maybe your goal is to draw a tall basketball player or a short, muscular dancer. (An illustrated book of human anatomy can be a very helpful reference.) Add additional details such as hair, accessories, and (or) clothing.

Markers (page 61) are disposable drawing (and writing) tools with a soft tip (often made of felt) that are fi lled with a colored or black liquid or ink. Markers are available with tips of many sizes from very fi ne to large.


L & M


Inexpensive children’s markers tend to be water-soluble and come in lots of wonderful bright colors. Professional artists’ markers are available in both water-soluble and permanent, and are ideal for both artistic and commercial endeavors.

Master (page 62) is a term of respect and honor earned by accomplished artists with exemplary skills in their specifi c disciplines. For example, think of a master painter or a master of the violin.

Masters of the Renaissance (pages 62 and 63) were extraordinary artists whose innovative techniques, styles, and ideas, greatly enhanced visual art from the 13th to 16th centuries. Leonardo da Vinci, Donatello, Jan van Eyck, Hans Holbein, Michelangelo, and Raphael are but a few of the major artists of this period. These masterful artists (and others) are remembered for: • Enhancing styles of art that focused on

drama, story-telling, human anatomy, and highly realistic portraiture.

• Inventing new painting and drawing techniques, and enhancing classical techniques (such as chiaroscuro and heightening); and establishing rules and guidelines for more accurate portrayals of subjects (for example: rules for geometric perspective, and guidelines for rendering the accurate proportions of human fi gures and faces).

• Inventing, discovering, or improving drawing and painting tools (such as graphite, prepared papers, and oil paints made with linseed oil).

Matte (page 63) (also see texture on page 101) is a surface texture that is dull and lusterless, which often has additional characteristics, such as smooth or rough. Many fabrics, rocks and stones, and unfi nished wood, have a matte texture.

Mechanical pencil (page 63) is a drawing tool with an internal mechanism that pushes a thin graphite lead, from the tiny tube inside the holder, through the tip. The marks created by a mechanical pencil stay consistent in size, allowing artists to focus their time and attention on the process of shading, rather than stopping every couple of minutes to sharpen a regular pencil. Mechanical pencils can hold various grades of graphite (from very hard to soft), and come in different sizes. For example, a 0.3 mm mechanical pencil allows you to render very detailed drawings; a 0.5 mm pencil is great for regular drawings, and 0.7 and 0.9 mm pencils are ideal for sketching loosely or drawing on a large surface (or both). Replacement leads are sold in single packages of leads of the same grade. Many mechanical pencils even have erasers for which you can buy refi lls.

Medium (page 64) refers to a drawing tool (anything from the burnt end of a stick, to a pencil, to a computer software program) used to make marks. In some cases, the word medium also describes the artistic technique used; its form (such as a pencil), and (or) the surface on which a drawing is rendered. For example, the medium of a specifi c artwork could be described as “hatching with graphite pencil on cotton paper”. The marks made with various mediums have a major infl uence on the look of a drawing. For instance, drawings rendered with graphite pencils look quite different than those done with charcoal, markers, or Photoshop.

Mediums and media (page 64) (also see medium on page 64) refer to more than one medium.

Metalpoint (page 64) (also see leadpoint on page 57, and stylus on pages 98 and 99 ) is a drawing tool that was popular during the Renaissance, and made from a relatively soft metal, such as lead, silver, gold, or copper.


M

Mixed-media (page 65) describes an artwork created with two or more different mediums.

Mixing paint (pages 65 and 66) (also called mixing paints) refers to the process of combining varying amounts of paint of different colors to create a new color. I refer to the following popular method for mixing paint as the Scoop and Spread:1. Squeeze small dollops of at least two

base colors (unmixed paint straight from the tube) onto your palette.

2. Turn your palette knife on its side and scoop up a little bit of one color.

3. Gently ease the paint off the bottom of the palette knife (similar to spreading butter on a slice of bread) onto a clean section of a palette.

4. Scoop up a little of another color.5. Add the second color to the fi rst color.6. Use your palette knife to scoop up both

colors together.7. Spread the paint back onto the same

place on the palette.8. Continue to scoop and spread (and add

additional colors if needed) until the paint becomes the color you want.

To mix a light or medium color, try to avoid adding white to a dark color. Instead, you slowly add small amounts of color to white until you obtain the desired color.1. Add white and any color (either straight

from the tube or a color you’ve already mixed) to a clean part of your palette.

2. Add a very tiny amount of the color to the white paint.

3. Scoop and spread until the color is well mixed.

4. If the new color is too light, add another tiny amount of the base color until you create the color you want.

Keep in mind that most paints become a little darker when they dry.

Modernism (page 67) refers to a style of art that makes a distinctive break away from all previous genres.

Monochromatic (page 67) (also see achromatic on page 1, and polychromatic on page 80) refers to a drawing or painting that is rendered with a range of values (or tints) of a single color.

Mummy portrait (page 67) is a painting of a man, woman, or child that was attached to the face of a burial mummy. Many date back to the Roman occupation of Egypt.

Mural (page 67) is a drawing or painting on a wall, ceiling, or other large surface.For example, a very well-known mural by Leonardo da Vinci (The Last Supper) was painted on the back wall of the dining hall of Santa Maria delle Grazie in Milan, Italy during the Renaissance. Many walls and ceilings of buildings and churches throughout the world are adorned with murals. Murals have even been discovered on the walls of prehistoric caves, and inside ancient Egyptian tombs.

NNasal (page 68) (also see nose on pages 68 to 70) refers to a nose and any of its parts and understructures.

Negative space (page 68) (also see positive space on pages 81 and 82) refers to the area, space, or background that visually surrounds or appears behind or in front of an object, person, or another space.

Newsprint (page 67) is an inexpensive paper generally used for printing newspapers. Newsprint is not recommended for drawing because it is very thin, tears easily, and eventually yellows due to its acidic content.


M & N

Nose (pages 68 to 70) is the organ of smell and the entrance to the respiratory tract. A human nose is made up of the following fi ve basic parts:1. Bridge (sometimes called the nasal

bone) is the section of the nose where the upper bony section joins the cartilage. While barely visible on young children, the bridge of an adult nose often protrudes as a noticeable bulge or bump. The contoured outline of the bridge is most obvious when the nose is viewed in profi le.

2. Ball (also called the tip) refers to the largest, central rounded form of the lower half of the nose. The shape of the ball may appear circular, oval-shaped, triangular, or even rectangular (with rounded edges, of course).

3. Wings are the two softly rounded (often triangular shaped) forms extending from the sides of the ball of the nose.

4. Nostrils are the two openings on the lower section of a nose.

5. Base of a nose (also called the septum) is in between the nostrils and connects the nose to the lower face above the upper lip.

The basic shape of the lower section of a child’s nose is very similar to that of an adult. However, children’s noses are generally smaller and shorter, with an upturned ball and an underdeveloped bridge. Adult noses fall into three categories (based on the locations of the lower edges of the ball and wings):1. Upturned: angles upward and the ball is

higher than the wings.2. Horizontal: ball and nostrils line up

horizontally.3. Down-turned: angles downward and the

ball is lower than the wings.Most parts of human noses are based on spheres and circular forms. When viewed from the side, only two circular forms come into play: the ball and one wing.

The ball and two wings need to be considered when drawing a frontal or three-quarter view of a nose.

Nostrils (page 69) (also see nose on pages 68 to 70) are the two openings on the lower section of a nose.

OOctagon (page 71) is an eight-sided shape with eight angles.

Oil cup (page 71) (also called a palette cup or a painting cup) is a small container that can be clipped to an artist’s palette to hold a medium (such as linseed oil) and (or) a brush cleaner (such as odorless paint thinner). Oil cups are available in various sizes and types, including singles and doubles; some even come with covers.

Oil paint (page 71) (also called oil or oils) is a painting medium that is made by mixing a fi nely ground adhesive pigment with an oil binder. Oil paint was the primary painting medium of the High Renaissance and has continued to dominate painting for the past 500 years. Oil-based paints take much longer to dry than acrylics, but offer a greater ease of manipulation, and their colors change very little when dry.

Oil painting (page 71) is a work of art created by applying oil paints to a surface (such as canvas, heavy linen, or board).

Oil pastels (page 72) are a dry drawing and painting medium in which pigments are mixed with a very dense oil binder. Oil pastels are available in cylindrical and rectangular sticks covered with a thin paper. Oil solvents (such as turpentine) can be brushed on an oil pastel drawing to blend the colors for a more painterly appearance.


N & O

One-point perspective (page 72) (also see geometric perspective on pages 42 to 44) is the technique of using a single vanishing point to create the illusion of a straight-on view into distant space. One point perspective occurs when the frontal face of an object (such as a cube) is closer to you than its sides.

Opaque (page 72) refers to a medium (such as paint) or material (such as paper or fabric) through which you cannot detect light. For example, you cannot see light through thickly applied acrylic paint on canvas or heavy board. Likewise, thin paper is less opaque than thick paper.

Orbital socket (page 73) (also called orbital cavity) is the protective bone cavity of the face which keeps the eyeball protected.

Original (page 73) refers to an artwork (such as a painting or drawing) created by an artist who was the fi rst to bring the work from its intellectual conception to its creative conclusion. There can never be more than one original; however, reproductions (such as giclées) can be made by photographing or scanning the original artwork to replicate (or print) copies of the original image.

Outer rim of an ear (page 30) (also see ear on page 30) is the long form along the outside edge of the ear that meets the earlobe at the lower section.

Oval (page 73) (sometimes called an ellipse) is an elongated circle.

Overlapping (page 73) refers to a drawing or painting technique for creating the illusion of depth in an artwork by rendering a subject so it visually appears to be in front of another (or others).

PPaint (page 74) (noun) (also called paints) refers to an art medium (such as watercolor, oil, or acrylic) that is made by mixing pigment with a thick or thin liquid. Paint is applied to a surface (such as paper, fabric, or board) with a tool (such as a brush, palette knife, or fi ngers) to create a painting. (verb) refers to the process of applying paint to a surface.

Paint box (page 74) is a container used for storing painting materials, such as brushes and (or) paint.

Painter (page 74) is a person who paints.

Painting (page 74) (noun) is an artistic composition created by applying a liquid medium (such as paint or ink) to a surface. In recent decades the word painting has come to include some dry mediums (such as pastels and colored pencils).

Painting knife (page 75) (also called a palette knife or mixing knife) is a trowel-like fl exible knife used for painting and (or) mixing paint, and is available in a wide variety of shapes and sizes.

Palette (page 75) (sometimes called a mixing tray) (also see disposable palette on page 26) is a fl at surface (usually made of plastic, wood, metal, or glass), or a fl at surface with several small built-in cups (often made of plastic or metal) used for holding, mixing, and (or) storing paint.

Palette of colors (page 75) (also called a palette or color palette) refers to the choice of colors used or (and) preferred by an individual artist. For example, I prefer to paint with only the primary colors, white, and a dark brown. I love the challenge of mixing the exact colors I want.


O & P

Paper (page 76) (also see handmade paper on page 49, and tooth on pages 102 and 103) is the most popular surface used for drawing. Special papers designed specifi cally for drawing are available in a vast selection of sizes, colors, tooth, and weights in large art supply stores.

Parallel (page 76) (also see perpendicular on pages 78 and 79) refers to two or more straight lines that slant in the exact same direction and can extend to infi nity without ever intersecting.

Parallelogram (page 76) is a four-sided shape with two sets of parallel sides that are equal in length, and in which the opposite angles are identical.

Parchment (page 76) (also called vellum) is an ancient drawing or writing surface made from calf, sheep, or goat skin, and was widely used before paper was easily available. Contemporary artists generally prefer a synthetic parchment paper, which is much less expensive, more readily available, and is not made from animal skins.

Pastels (page 76) (also see chalk pastels on page 16, and oil pastels on page 72) are dry drawing mediums (sometimes available in either sticks or pencils) that are manufactured by mixing dry, powdered pigments with binding agents. Artworks created with pastels can be called sketches, drawings, or paintings.

Pattern (page 77) (also see texture on page 101) refers to the arrangement of the different values or colors of an object or subject, as represented by lines, blending, or shading. Sight alone identifi es patterns.

Pens (page 77) (also see ink on page 54) are disposable, refi llable, or rechargeable drawing tools used for commercial art, sketching, and drawing.• Disposable pens are inexpensive and

meant to be thrown away when the ink runs

out. They create consistently even lines. • Refi llable technical pens are

expensive, but can last several years when properly cleaned and maintained. The lines produced are sharp and never vary in width.

• Rechargeable pens do not hold their own ink supply and must be dipped into ink before use. Each pen is made up of a holder and a nib (nibs of various sizes can fi t into a single holder). However, when you buy, make sure the nibs and holders are compatible; some manufacturers make nibs that only fi t their own holders.

Pencil (pages 77 and 78) (also see carbon pencil on page 15, colored pencils on page 21, graphite on pages 45 and 46, charcoal on pages 16 and 17, mechanical pencil on page 63, wood-encased pencil on page 108, woodless pencil on page 108, and pastels on page 76) refers to a broad category of drawing tools that have a medium inside a holder. For example, a regular pencil has a medium encased in a wooden holder. On the other hand, a mechanical pencil has replaceable, thin cylindrical sticks of medium that are manually loaded into a tiny tube inside a holder.In the early seventeenth century, the word “pencil” was used to identify any writing or drawing tool that held a piece of graphite, chalk, or charcoal, as well as brushes with pointed tips. By the end of the nineteenth century, “pencil” defi ned a stick of graphite encased in a cylindrical piece of wood. Modern-day pencils are categorized by the medium inside the holder (such as charcoal, conté, or chalk). The word “pencil” comes from the Latin word pencillus, which means “little tail”.

Pentagon (page 78) is a straight-sided shape with fi ve sides and fi ve angles.


P

Permanent (page 78) (as used to describe markers and pens) refers to the ability to remain waterproof when dry.

Perpendicular (pages 78 and 79) refers to a straight line (real or imaginary) that meets (or intersects) another straight line to form at least one ninety-degree angle. Perpendicular and parallel lines are the only types of lines that can extend to infi nity without ever connecting.

Perspective (See geometric perspective on pages 42 to 44, atmospheric perspective on page 6, foreshortening on page 41, and one-point perspective on page 72.)

Perspective lines (page 44) (also see geometric perspective on pages 42 to 44) are imaginary straight lines (usually angular), which extend from the edges of drawing subjects, back to a vanishing point (or points) on the horizon line.

Pigment (page 79) refers to the colored material that is mixed with dry or liquid mediums to create the colors in a colored artwork.

Pointillism (page 79) (also see stippling on page 96) is a method of drawing or painting with several layers of small colored dots, strokes, or individual brushstrokes. When viewed from a distance, the dots in pointillist paintings and drawings appear to blend together to create the illusion of depth, visual masses, and forms.Nineteenth-century French impressionistic artists (including George Seurat and Paul Signac) helped this genre to become a highly respected style of painting, and (more recently) drawing.

Polychromatic (page 80) (also see achromatic on page 1 and monochromatic on page 67) refers to an artwork created with several different colors.

Portable studio (page 80) is a variety of drawing or painting materials that are packed in an easily transportable container used for creating art outside your home. In addition to art supplies, you may want to include any of the following in your portable studio:• Viewfi nder frame. • Portfolio (if you use sheets of drawing

paper).• Plastic bags to protect your artwork (and

you) in case of rain.• Beverages and snacks.• Wipes or paper towels for clean-up.• Small camera to take photos of

inspirational scenes and objects.• Depending on where you go, you may

need bug repellent.• Oh, and don’t forget your sunscreen and

a hat!

Portfolio (pages 80 and 81) (also called a portfolio case) is a hard-sided foldable case in which artists store (or carry) paintings, drawings, and sheets of drawing paper to protect them from damage. Portfolios come in many different sizes and types, ranging from simple inexpensive cardboard to high-quality, expensive leather. A portfolio also refers to a body of work created by an artist for self-promotion and (or) to supplement an application for career advancement opportunities (such as educational upgrades or gallery exhibitions).

Portrait (page 81) is an artwork depicting a likeness to a person’s (or animal’s) face and sometimes his or her body.

Portrait format (page 28) (also see drawing format on pages 27 and 28) (sometimes called a vertical format) is a rectangular drawing space that is rotated so the two shorter sides are at the top and bottom.


P

Positive space (pages 81 and 82) (also see negative space on page 68) is the space occupied by an object or living being and (or) its various parts. Positive and negative spaces assume distinctive shapes. Artists need to be able to identify the individual shapes that defi ne the positive and negative spaces an object (or living being). The outlines of that object (or living being) exist where the two spaces meet; hence, knowing how to see spaces is integral to drawing accurately.

Pouncing (page 82) is a technique (popular during the Renaissance) for transferring the outlines of an image to another surface (for example, transferring a drawing on paper to a canvas or wall). 1. First, the outline of the image is perforated

with a series of tiny holes and placed on (or taped to) the fi nal surface.

2. A fi ne powder (such as charcoal powder) is sprinkled (or sometimes gently rubbed) over the image outlines, causing some of the powder to fall through the holes onto the new surface.

3. The original image is removed to reveal guidelines on the new surface for creating another drawing or painting of the image.

Powdered (page 82) (also see drawing powder on page 28, and charcoal on pages 16 and 17) describes a drawing medium (such as graphite) that has been ground into a fi ne powder.

Prehistoric (page 82) describes the period in time before language was used to write and record history. Prehistoric humans drew pictures on many surfaces, including the walls of caves.

Prepared paper (page 83) (also see handmade paper on page 49) is a paper that is coated with a substance that seals, colors, and (or) alters its surface and (or) tooth. The surface of a popular drawing paper during the fi fteenth century was coated with several

layers of white lead and ground bone that was tinted with a pigment and then tempered with glue sizing.

Primary colors (page 20) (also see color on pages 19 and 20) include yellow, red, and blue. All colors originate from primary colors, and no combinations of other colors can make primary colors. Primary colors are high-intensity, and go well together if you want a drawing to look incredibly bright. By mixing the primary colors with other colors in various combinations, you can create millions of different colors.

Primary focal point (page 39) (also see focal point on page 39) is the single most important center of interest (or focus) in a drawing. For example, in a drawing of an animal, it may be the eyes, the entire face, or a whole section of the body that is especially fascinating.

Primer (See gesso on page 44.)

Proportion (page 83) is the relationship in size between two or more components of a drawing (or painting). As an aside, the proportions of human fi gures are usually measured in heads (the length of a head from the top of the skull to the bottom of the chin), which can be different for each person.

Pupil of an eye (page 32) (also see eye on pages 31 and 32) is the darkest circular shape within the iris, that adjusts its size under different lighting conditions.

RRaw Umber (page 84) is the name of a dark brown color available in several mediums (including watercolor, oil, and acrylic paints, as well as colored pencils).


P & R


When mixing paints, you can end up with a wonderful black when you combine Raw Umber with Ultramarine Blue. You can then add small dabs of this color to white to create various values of a neutral gray.

Realism (page 84) is a style of art in which living beings and objects are represented in an artwork (such as a drawing, painting, or sculpture) as they appear in real life (in other words, without stylization or distortion).

Realistic sculpture (page 84) is a three-dimensional art form that portrays recognizable shapes, objects, or people.

Ream (page 85) refers to a unit of 500 sheets of paper, and is used to calculate a paper’s weight. The weight of paper describes the thickness of individual sheets of paper. For example, thin paper weighs very little, but is easily torn and damaged. Thick paper is more durable than thin because it weighs more.

Rectangle (page 85) is a parallelogram with four straight sides and four right angles.

Red chalk (page 85) (also called sanguine) is a drawing medium made from a combination of clay and hematite (also known as iron). Leonardo da Vinci is thought to be the fi rst artist to use red chalk extensively for drawing (toward the end of the fi fteenth century).

Refl ected light (page 85) is a faint light refl ected or bounced back on an object from nearby surfaces.

Regular pencil (See graphite on pages 46 and 47, and wood-encased pencil on page 108.)

Renaissance (page 86) (from the French word for rebirth) (also see High Renaissance on page 51) refers to the diverse changes within European culture from the early 12th century to the late 16th century.

During this short period in history, visual art developed more than at any other time since the beginning of mankind. Between 1480 and 1527, during the period known as the High Renaissance, many of history’s most renowned artists created some of the greatest masterpieces in the history of art.Today, this rebirth (also referred to as new birth), continues its growth with a resurgence of the learning and teaching of traditional drawing techniques in home school, recreational, and academic learning environments.

Render (page 86) refers to the process of making or creating something. For example, an artist can render a sketch by drawing lines on a sheet of paper.

Representational (page 86) (the opposite of abstract and nonrepresentational) (also see abstract on page 1) is the depiction of objects, fi gures, or scenes as visually determined by the artist. Unlike abstract art, the subjects of representational artworks are recognizable, but not necessarily realistically or factually represented.

Resource fi les (page 87) (also called resources) are a collection of information (such as books, articles, photos, and digital images) used by artists as references for writing or (and)creating art.

Right angle (page 87) is formed when two straight perpendicular lines meet at a ninety degree angle.

Right-brain (page 87) describes the right hemisphere of the brain, which controls visual and perceptive functions. Your creative and insightful right brain sees abstract connections between lines, shapes, and spaces in a non-narrative context, to help you see proportions.


R

Romanticism (page 87) refers to a genre of art during the late eighteenth and early nineteenth centuries that celebrated nature, rather than civilization.

Rough (page 87) (also see texture on page 101) refers to the surface features of objects that are uneven, abrasive, lumpy, irregular, or jagged.

Rough sketch (page 88) (also see gesture sketch on page 45, and sketch on page 93) is a quickly rendered visual notation of an image or idea that illustrates the important elements of a subject using very few details. Rough sketches can capture a pose or gesture, establish values, suggest proportions, and (or) arrange the major components of a composition.

Rough tooth (See tooth on page 102.)

Rounds (page 11) (also see brushes on pages 9 to 12) are a type of paintbrush that have brush hairs or bristles of various sizes including fat, thin, long, and short, but they always come to a point. They work well for drawing a preliminary composition on your canvas, and are great for painting and blending detailed sections.

Rule of thirds (page 88) (also see focal point on page 39) identifi es four ideal locations within a rectangular drawing space for a focal point. The rule of thirds is a variation of an old traditional compositional formula known as the Golden Mean.

SSable (page 10) (also see brushes on pages 9 to 12) (or other animal hairs) is a type of brush head that is made with a soft natural hair, that is ideal for creating gently fl owing lines.

The better the quality of a sable brush, the more paint it can hold while still maintaining its fi ne point.

Sandpaper block (page 89) is an artist’s tool with tear-off sheets of fi ne sandpaper used to sharpen the points of pencils. Your wood-encased pencils will last longer if you use a sandpaper block more often than a pencil sharpener.

Scriptliners (page 11) (also see brushes on pages 9 to 12) (sometimes called riggers or liners) are a type of paintbrush that have long, thin hair and a pointed tip. They are well-suited for producing long continuous lines without frequent reloading, and for rendering very intricate details. They perform best with much diluted paints.

Sculptor (page 89) is an artist who creates sculptures. For example, a well-known sculptor of the Renaissance was Michelangelo; one of his most famous sculptures is the statue of David.

Sculpture (page 89) is a three-dimensional artwork that is made of a material such as bronze, rock, or marble.

Secondary colors (page 20) (also see color on pages 19 and 20) are orange, green, and purple, and are created with two primary colors.

Secondary focal point (page 39) (also see focal point on page 39) refers to a center(s) of interest in a drawing composition that is signifi cant, but not quite as important as the primary focal point.

Sepia (page 89) refers to the popular brown colors used in various media. During the Renaissance, the word sepia (derived from Latin and Greek words for cuttlefi sh) was used to describe an artist’s brownish-gray pigment made from the dried ink sacs of cuttlefi sh and squid.


R & S

Sepia ink (page 89) is a thin, brown liquid medium used for painting, writing, and (or) creating drawings with refi llable and (or) rechargeable pens.

Sepia toning (page 90) is a genre (or method) of printing or digitally photographing (or modifying) images with tones of brown (rather than black and white, or full color). Some sepia-toned photographs from the late 1800’s have survived the ravages of time and still exist today.

Sets of lines (page 90) (also see contour crosshatching on page 23, contour hatching on page 23, crosshatching on page 24, and hatching on page 50) are created when several lines are grouped together to create shading.

Shading (page 90) (noun) refers to the various values within a drawing that make images appear textured and (or) three-dimensional;(verb) the process of adding values to a drawing so as to create the illusion of texture, form, and (or) three-dimensional space.

Shading map (page 91) (also called a value map) is a plan (or blueprint) for adding shading to a drawing. The shapes of various values are identifi ed and lightly outlined on the drawing paper before the shading is added.

Shadow (page 91) (also see cast shadow on page 16) refers to a dark area on a surface that is caused when light is blocked (or partially blocked) by an object or living being.

Shape (page 92) is a two-dimensional geometrical object that can serve as the outline of a three-dimensional object. For example, a circle is the shape of a sphere. Common shapes include squares, circles, and ovals.

Sharpener (page 92) (also see sandpaper block on page 89) is a tool for sharpening

pencils. An ideal sharpener for artists is hand-held, made of metal, and has two openings (for regular and oversized pencils).

Short-handled brushes (page 12) (also see brushes on pages 9 to 12) work well for artists who like to work on a small easel or at a table, and (or) prefer detailed or close-up painting. Watercolor brush handles are short, since the work is usually done at close range.

Shiny (page 92) (also see texture on page 101, smooth on page 93, rough on page 87, and matte on page 63) refers to a texture that has highlights refl ecting off its surface. Shiny objects can be glossy or highly polished, such as the surface of a shiny new penny or polished brass.

Sidebar (page 92) is a section (or box) of text (some have illustrations) that provides additional information about a topic. For example, many instructional art books have sidebars that provide readers with defi nitions of art-related words and terms.

Single curved line (page 93) (sometimes called a simple curved line) (also see curved line on page 25, compound curve on page 22, and line on page 58) curves in only one direction, either clockwise or counterclockwise.

Sketch (page 93) (noun) (also see fi gure on page 39, gesture sketch on page 45, underdrawing on page 105, and rough sketch on page 88) is a simple representation, outline, or drawing, that captures the integral aspects of a subject quickly and effi ciently, and often serves as a preliminary drawing for a more detailed drawing; (verb) refers to the process of rendering a sketch.

Sketchbook (page 93) refers to several sheets of drawing paper that are bound together and contained within a soft or hard cover.


S

Small lobe of an ear (page 30) (also see ear on page 30) is the tiny form over the frontal section of the opening to the ear canal.

Smooth (page 93) (also see texture on page 101, shiny on page 92, rough on page 87, and matte on page 63) is a texture with very few surface features. When you run your hand over a smooth surface, you feel little or no unevenness or roughness.

Softcover (page 94) describes a fl exible book cover that is usually made of medium-to-heavy paper. Softcover sketchbooks are inexpensive; however, you need to handle them carefully so the paper inside doesn’t wrinkle.

Sphere (page 94) is a perfectly round geometric object (a three-dimensional circle) in which all points on the surface are the same distance from the center point. Balls and globes are examples of spheres.

Spiral line (page 94) is a curved line that can never meet itself to form a shape. It can continue in either a clockwise or counterclockwise direction, and simply becomes larger (or smaller) and less (or more) curved, the longer it gets.

Spray fi xative (page 94) is a transparent, aerosol coating that is sprayed onto an artwork to help the medium adhere to the paper to prevent the drawing from smudging.

Square (page 94) is a shape with four straight sides that are the same length and four right angles.

Squirkling (page 95) is a shading technique in which randomly drawn overlapping curved lines and shapes (called squirkles) create values. Squirkling is ideal for simple drawings by beginners as well as highly realistic works by professional artists. I created this word in the eighties to describe this method of textured shading that combines squiggles and scribbles with circles.

Squirkles (page 95) are randomly rendered, overlapping curved lines and shapes that are used to create a shading technique called squirkling.

Sticks (page 95) (also see charcoal on pages 16 and 17, and chalk pastels on page 16) are a type of drawing tool in which a medium is compressed into a block or cylindrical sticks. Sticks come in various sizes, which make them highly adaptable for diverse mark-making styles and techniques; large sticks are great for large sketches, and smaller sticks for smaller works. Sticks even work well when broken! The sharp edges of broken pieces are fantastic for rendering thin, strong lines. The fl at ends and sides can be used for broad strokes. You can even use a sharp knife and (or) coarse sandpaper to sharpen a stick to a fi ne point.

Still life (page 96) is an artwork that depicts representational, inanimate objects such as fruit, fl owers, or bottles.

Stippling (page 96) (also called stipple or stippled) is a shading technique in which a series of dots are arranged in groups to create the illusion of values. Light values are made by drawing a series of dots that are light in value, small, and (or) far apart. Dark values require a lot more patience because you need to draw many more dots that are closer together. To achieve a strong contrast in values, you can also make the dark values with larger dots and (or) draw dots that are darker in value.

Straight line (page 97) is a geometrical object that provides the shortest connection between any two points. Straight lines can be rendered thick or thin, long or short, and drawn in any direction.


S


They are categorized into three basic types: vertical (straight up and down and at a right angle to a horizontal line); horizontal (level and at a right angle to a vertical line); and diagonal (slanting or sloping at an angle).

Straight-sided shape (page 97) is a geometrical object such as a square, rectangle, or triangle that is created when three or more straight lines connect to form a shape.

Stretched canvas (See canvas on page 14.)

Stump (page 97) (also see blending stump on page 8) is a pointed, solid stick of soft paper or leather, used for blending and shading drawings.

Style (page 98) refers to an artist’s individual approach to his or her own art. For example, realism is a well-known style. An artist’s style is defi ned by an accumulation of her/his inherent preferences, life experiences, artistic philosophy, personal goals, and academic background. When an artist’s personal style is critiqued and (or)examined by others, the resulting label may focus more so on a particular historical period or artistic movement than the artist’s true style. In other words, labels should not become more important to artists than staying true to the style with which they feel most comfortable.

Stylus (pages 98 and 99) (also see leadpoint on page 57, and metalpoint on page 64) refers to a thin metal stick used for drawing during the Renaissance. It was most often cast with a fi ne point at one end and a blunter point at the opposite end, so as to provide artists with the creative freedom to vary the width of their lines as they worked. A stylus leaves a thin deposit of metal on the surface of paper, producing a very fi ne line. Silver was very popular with Renaissance artists because it eventually tarnished, and took on a beautiful, luminous, brown tonality.

Subject (page 99) is a word used to identify what an artist is drawing or painting.

Symmetrical (See symmetry on page 99.)

Symmetry (page 99) (also see line of symmetry on page 59) in drawing is a balanced arrangement (sometimes referred to as a mirror image) of lines, shapes, and (or) values on opposite sides of an often-imaginary center line. In other words, both sides are symmetrical. Many drawing subjects (such as vases and frontal views of faces) look more believable when drawn the same on both sides.

Synthetic brushes (See brushes on pages 9 to 12.)

Synthetic hair and mixed bristle (page 10) (also see brushes on pages 9 to 12) is a type of brush head that is durable, easy to clean, and ideal for either beginners or professionals. Today’s synthetic brushes are of much better quality than their predecessors. High-quality synthetics work as well as natural hairs, and tend to be less expensive.

TTalent (page 100) is a process of self-discovery, throughout which you acknowledge that you possess the interest and motivation to become exceptional in a specifi c area. To fi nd out what a talented person looks like, go look in a mirror! With commitment, patience, and dedication you can turn your talent into skill.

Technical pens (page 100) (also see pens on page 77) are drawing tools available in both refi llable and pre-fi lled (disposable) holders that work beautifully for creating the sharp, even lines used for detailed drawings, drafting, graphic design, and commercial art.


S & T


Pre-fi lled technical pens are relatively inexpensive, and do not require constant cleaning. Refi llable technical pens need very thin ink specifi cally designed to pass through the tiny opening in the nib of the pen. Ink that is too thick can clog fi ne nibs.

Technique (pages 100 and 101) is a well-known method (such as a specifi c way to do shading) that is used to accomplish a particular activity or task. For example, more than one line-drawing technique may be suitable for a specifi c drawing. Hence, an artist’s selection of a specifi c line-drawing technique is generally based on his or her individual preferences, skill level, and what works best to render the subject.

Text (page 101) refers to the words used in writing.

Texture (page 101) (also see shiny on page 92, smooth on page 93, rough on page 87, and matte on page 63) refers to the surface detail of an object and can be identifi ed with vision, a sense of touch, and (or) a general knowledge of the subject. Accurate rendering of an object’s textures is the key to creating highly realistic drawings and paintings.

Three-ring binders (See binder on page 7, and resource fi les on page 87.)

Thumbnail (page 101) (also see sketch on page 93, and rough sketch on page 88) is a preliminary sketch (often smaller than the planned size of the fi nal drawing) rendered before an artist begins a drawing, and is designed to work through potential problems with composition, values, perspective, and (or) proportions.

Tint (page 101) (also see mixing paint on pages 65 and 66, shading on page 90, and burnishing on page 13) is the process of combining a color (or tone) with white to lighten its value.

Tone (page 102) (also see values on page 106) refers to the degree of lightness or darkness of an area. Tone varies from the bright white of a light source, through shades of gray, to the deepest black shadows. Traditional realists often use tones (instead of lines) to create the illusion of outlines.

Tooth (pages 102 and 103) refers to the surface texture of paper, and can range from silky smooth to very rough and coarse. Paper with a smooth tooth is fl at with a silky texture; medium tooth is uneven with a slightly rough texture; and coarse tooth is bumpy with a very rough texture.The tooth of paper can be easily destroyed by pressing too hard on its surface with your pencil or aggressively using an eraser. If your shading begins to look shiny, the tooth is fl attened beyond repair; additional shading will no longer adhere to the paper’s surface. Hence, you should always apply only a little pressure to paper with your pencils.

Torso (page 103) is the primary structure of a human body to which the head, arms, and legs are connected.

Tortillon (See blending stump on page 8.)

Trapezoid (page 103) is a four-sided shape in which only two sides are parallel.

Traditional realist (page 104) (also see realism on page 84, and style on page 98) refers to an artist who prefers to draw subjects as they exist in reality. For example, in the real world, objects and living beings are not outlined with lines. Hence, traditional realists outline their subjects with very lightly rendered, feathered or continuous outlines that cannot be seen after shading is added. Conversely, an illustrative realist (like me) prefers to have unrealistic outlines showing. Outlining with visible outlines is simply a technical preference based on personal style.


T

Triangle (page 104) is a shape with three straight sides and three angles.

Triptych (page 104) (also see diptych on page 26) is an artwork consisting of three related paintings or drawings.

UUnderdrawing (page 105) (also see sketch on page 93, gesture sketch on page 45, and rough sketch on page 88) is a loosely rendered drawing or sketch that is created as a guide for a fi nal drawing (or painting).

Unity (page 105) refers to a balanced composition in which the various components come together to create a sense of harmonious integration.

Upper eyelid (page 31) (Also see eye on pages 31 and 32) is a fold of skin over an eye that opens and closes automatically (blinking) to protect the eyeball.

Upper eyelid crease (page 31) (Also see eye on pages 31 and 32) is a fold in the skin above the top section of the eyeball of an eye.

VValue scale (page 106) is a range of different values that are drawn in order from light to dark (or from dark to light).

Values (page 106) (also see tone on page 102) are the different shades of gray (or colors) created in a drawing (or painting) by various means, such as varying the density of the shading lines, and (or) the pressure used when holding a pencil.

Vanishing point (page 44) (also see geometric perspective on pages 42 to 44), and one-point perspective on page 72) is an imaginary point (or points) on the horizon line where perspective lines converge.

Vertical line (page 106) is a geometric object that is straight up and down, and at a right angle to a level surface.

Viewfi nder frame (page 106) is an adjustable, see-through frame that allows you to look at a subject from various viewpoints, and is invaluable when planning a composition for any type of drawing or painting (such as portraits, fi gures, and landscapes). An easily constructed viewfi nder frame consists of two adjustable L-shaped pieces of heavy paper, cardboard, or matte board, which is held together with paper clips.

Vinyl eraser (page 107) is an artistic tool used for erasing sections of drawings, and (or) drawing crisp, light lines and fi ne details on a surface covered with a drawing medium (such as graphite).

Vision (page 107) describes the ability to see, and can also refer to an artist’s creative aspirations.

Visual art (page 107) refers to artworks (such as drawings, paintings, and sculptures) that can be appreciated with the sense of sight. For example, all the drawings in this book are considered visual art.

WWarm colors (page 19) (also see color on pages 19 and 20) include yellow, orange and red, as well as any colors made by mixing these three colors together or (and) with white or black. To remember warm colors, think of the colors you see in fi re.


U, V & W

Warm Fuzzies (page 108) are encouragements or affi rmations, either given or received. They represent something unique to everyone, and live wherever kindheartedness dwells.

Watercolor (page 108) refers to translucent, water-based paint that is available as dry, solid cakes, or in tubes of thick, liquid pigment. The word watercolor can also be used to describe a painting created with water-soluble pigments.

Wash (page 108) refers to a technique in which a dye-based medium (such as ink) or a pigment-based medium (such as watercolor or oil paint) is diluted and applied to a surface (such as watercolor paper or canvas) with a brush.

White of the eye (page 32) (Also see eye on pages 31 and 32) (the large light section of an eyeball) is light in value and color, but is not really white.

Wings of a nose (page 69) (also see nose on pages 68 to 70) are the two softly rounded (often triangular shaped) forms extending from the sides of the ball of the nose.

Wood-encased pencil (page 108) (better known as a regular pencil) has a thin, cylindrical stick of graphite or charcoal inside a wooden casing, which is designed to keep your hands clean.

Woodless pencil (page 108) is a thick cylindrical stick of graphite wrapped in a vinyl casing; hence, your hands stay clean as you work. Woodless pencils are a joy to work with, and ideal for large graphite drawings needing wider strokes than regular pencils can provide. When sharpened, they can also make thin lines.


W

Published by Drawspace.comHalifax, NS, Canada

More books byBrenda Hoddinott(Artist, art educator, curriculum designer, forensic artist (retired), and owner of Drawspace.com.)

DrawSpace Guide to Getting Started with DrawingPublisher: Drawspace.com(Halifax, NS, Canada)

The Complete Idiot’s Guide to Drawing People Illustrated Publisher: Alpha Books(New York, NY, USA)

Drawing for DummiesPublisher: Wiley Publishing(Indianapolis, IN, USA)

ISBN 978-0-9813662-2-7

$24.00 US

Documents

Drawspace.com- Illustrated Dictionary of Art-Related Terms