Figure Sketching for Beginners

Len A. Doust

• Publisher: Dover Publications
• Year: 2012
• Print ISBN: 9780486450957
• eBook ISBN: 9780486146461
• Topic: Art
• Subtopic: Art Techniques

If a drawing "is not alive, it is a failure," declares Len A. Doust. With his practical help and encouraging guidance, even novice sketchers can learn how to capture the vitality and character of their models.
Clear instructions and 23 step-by-step illustrations highlight everything students need to know. Featured topics include:
• Perspective and proportions
• Heads, faces, and hands
• Hats, shoes, and clothing
• Age and character
• Expressions
• Athletes and dancers
Concise and informative, this manual offers sketchers the perfect way to get started.

CHAPTER I

INTRODUCTORY AND GENERAL REMARKS

THIS book consists of a few practical hints and rules for sketching your fellow-men, arranged and selected especially for those who are able to devote only their spare time in this profitable and enjoyable hobby. It is compiled by one who was just as limited and hampered; and who, my dint of patience and perseverance, has been able to make this fascinating work his profession.

I definitely assert that a living may be made in this sphere, by anyone with the sufficient energy, apart from any great natural ability.

Drawing is the oldest form of language and is man’s most natural method for expressing his impressions of his surroundings and neighbours. It is easier to obtain efficiency in drawing than in writing or in the spoken word. A few right lines on a piece of paper are much more vivid than the most elaborate description. This is the reason for illustrated advertisements and literature. Moreover, as progress is made, one’s observation is developed, and you will discover subtleties of beauty, interest and humour to which the many are blind. Again, one’s appreciation of the abilities of great artists is more keen and conscious.

I have tried to keep in mind the limitations and scope of this book, and thereby to condense my remarks even to a degree of abruptness and to have no unnecessary filling or “gag.” Consequently, I strongly advise a slow and careful reading, and that you should keep this book continually at hand.

There are many years of experience between these covers, and every word will have to be tested practically by you. Learning is not experience, but is a good guide to it.

MATERIALS

It is usual in a book of this kind to devote an entire chapter to advice on material. Here, again, I wish to respect your intelligence and the limitations of this book by only noting my own past difficulties and experiments. Concerning paper for pencil sketching—not too smooth and not too rough.

For pen or brush work a smoother surface paper, good quality. For quick strong work in ink a No. 1 or 2 sable water-colour brush is effective, when used with skill and precision. Many of the sketches in this book are so drawn with the brush.

For strong work, say, of heads, hands, or feet, drawn three inches big (an excellent practice), a slightly rougher surfaced paper and a softer pencil or a conte crayon or carbon pencil; the last two give a rich black and tone.

Charcoal is very good for large studies in cartridge paper, particularly for those who are inclined to be cramped in style. There are two varieties of charcoal, Russian and Vine, the latter is the most popular. Use a duster when rubbing out (or a piece of putty rubber). To prevent such drawings smudging it is necessary to use a fixative and sprayer.

All the above materials are supplied from practically any art dealer or stationer.

Of course the above are only suggestions for your experiment. You will eventually find the material most pleasing to yourself.

Scribbling pads can easily be obtained, and to most minds this gives a healthy recklessness concerning spoilt paper, which is necessary for continual effort. Plain writing pads (no lines) have quite an effective face for quick ink sketching.

ON MAKING A PRACTICAL START

Continued practice is everything. May I repeat this? Continued practice is everything in learning to sketch. Be careful always to carry with you some paper or a small pad and a pencil. On a station, in the park, everywhere there are opportunities for a lightning impression. A ten minutes’ wait should be a full page in your sketch book. Do not hesitate until you can find a comfortable seat or an isolated position. I have filled many pages on a crowded race-course while it was pelting with rain; I have snapped overhead view of people from the top of a ’bus. One soon becomes used to such minor discomforts, and it is surprising how vividly alive are the jagged lines of an impression made in an awkward moment. Subconsciously the fact of participating in the same surroundings and atmosphere of the subject which you are sketching has its effect on your work. You will notice this when you refer to such rough notes some months later.

It is very important to preserve the life and atmosphere of these hasty efforts. Better not touch them at all, than, by adding to them, to destroy this vital impression which is their value. If you wish to make a finished drawing from them—work on another piece of paper, try to recall the incident, and put down as near as possible the same lines; then work on this duplicate.

I mentioned a moment ago that one could not always be isolated when sketching out of doors. Nervousness is a natural hindrance, but remember that, having throughly read this book, you are that much in advance of any criticism from those who have not had this information.

It is surprising what little curiosity you will excite, and there is every possibility of being mistaken for a well-known artist, for all great “life” artists practise this type of study. You, who are interested in sketching, have seen artists at work in public, but I may safely say have taken every precaution not to embarrass them. The quick sketcher is much less open to public criticism than the painter with all his paraphernalia of stool, paint box, board and easel. Personally, I have never been disturbed when using my pad and pencil; and when painting have had many charming encounters. Children, of course, must be treated kindly but firmly, and if disregarded will soon fade away.

An old artist friend of mine, while travelling on a steamer, wished to make notes of the rapidly changing colours of the sky. He whipped out his sketching block, brushes, and paint box. “Hold this, please,” he said to the person next him, handing the water pot. He worked rapidly for twenty minutes. Then, turning to thank his willing assistant, discovered her to be a charming young lady who had thoroughly enjoyed her small service. The point is that the artist did not care who watched, so long as he got his sketch. Artistic success depends upon forgetting your audience in the importance of your subject.

POINTS TO REMEMBER

The following are a few general hints on drawing. Do not worry about wasting paper. Go boldly at your subject, even if you tear it up afterwards. The quantity of paper used must not enter your head. A reckless use of material is essential. Your care and thought must be entirely for your work, not for the paper or pencil.

Don’t draw a line carelessly; make up your mind as clearly as you can what you want to do, and do it as quickly and ably as possible. Think before you work. Look at the figure or object to be drawn five times as long as you take to draw it.

Do not be hesitant or uncertain in your line.

Do not draw too heavily at first.

Decide, say, upon the slope and angle of a shoulder; look quickly and keenly, comparing it with any other lines in close approximation to it, such as the top of ...

Table of contents

• Title Page
• Copyright Page
• INTRODUCTION
• Table of Contents
• CHAPTER I
• CHAPTER II
• CHAPTER III
• CHAPTER IV
• CHAPTER V
• CONCLUSION