The Fundamentals of Drawing Techniques

Barrington Barber

• Publisher: Arcturus
• Year: 2017
• Print ISBN: 9781848378186
• eBook ISBN: 9781788283175
• Topic: Art
• Subtopic: Art Techniques

In this companion volume to his highly successful Fundamentals of Drawing, Barrington Barber takes the aspiring artist one step further in the quest for skill and competence. If you have come this far on the journey with him you will know that the more you practice the more visual surprised you are presented with and the more problems there are to overcome. In this book, you will be shown how to find solutions to these challenges through the application of more advanced techniques and the greater awareness that comes with closer study of a subject. You will also be encouraged to develop further your perception of the visual world to enable you to express emotions and ideas in your own work and to retain information for future use. Once you have absorbed the many techniques and approaches presented here, you will find your understanding and appreciation of the world around you opening up to reveal new possibilities.

Studying Life from Nature

Throughout history artists have acquired their basic vocabulary through detailed observation of the natural world. Even if the final result in a work is abstracted or manipulated extensively, it is informed by a study of nature.

If you want to make your work convincing, look at the created world around you. Don’t view it exclusively through the mediums of photography, television or video. Personal experience will lend a power and knowledge to your work that not only informs you as the artist but also the reviewers of your work. This is very apparent when you look at the work of an artist who has actually experienced at first hand the things he draws. It is also pretty clear to the observant viewer when an artist is only working from second-hand sources, because their drawings tend to lack power.

To achieve realism in your drawings, start by observing plants in detail; even if you live in an urban environment you should be able to find a wide variety to study. You can then move on to animals and human beings. Don’t worry about posing them to begin with; just observing them will pay off if you are reasonably systematic about recording what you see so that it remains in your memory.

Observe, too, the effects of light falling on people and objects and how the effects of distance and weather create interesting changes in subject matter. Everything you see and note can be used to advantage in your work. All you need is the time and opportunity to take it all in.

PLANTS AND FLOWERS

The essential structure of a plant is not difficult to see if you study it for a time. Take a group of leaved plants: you soon notice how one type will have leaves in clusters that spring up at the points of the leaves, whereas in another the leaves will hang down around a central point. Some plants have stalks coming off the branches evenly at the same point, others have the stalks staggered alternately down the length of the stem. Once you are familiar with a plant’s characteristic shape and appearance, you will begin to notice it or similar properties in other plants. Observation will lend verisimilitude to even your most casual sketches. Look at the examples of plants on this spread, noting their similarities and differences.

The appearance of the Tulip is very formal and upright, with its closed cup-like flower and long stiff stalk and leaves.

The Sedum has a beautiful spiralling arrangement of leaves that curves up into a dish-like form. Rain must fill up the hollow of the leaf and run down the stalk to water the plant’s roots.

The leaves of the Hydrangea come off the stem at opposite sides to each other in a symmetrical arrangment. Notice how they curve upwards and then how the curve is reversed, with the upper surface bulging out towards the tip.

The easiest way to study plants is by sketching them as often as you can. Before you begin to draw, look at the plant closely: at the bloom (if there is one), and note how the leaves grow off the stalk. Look at it from above, to see the leaves radiating out from the centre; and from the side to see the different appearance of the leaf shapes as they project towards you, away from you and to each side as they spiral round the stem. Note the texture of the leaves, and how it compares with that of other plants.

When your subject is a flower-head, draw it from an angle, where you can see the pattern of the petals around the centre of the blossom or a profile view of them. Notice the texture of the petals and how the centre of the flower contrasts with the main part of the bloom. When you draw the flower, include a leaf or two to show the contrast in tone or texture between the leaf and the petals.

The more you draw plants, the more details you will notice and the broader your vocabulary will become. After you have been drawing plants for a while, try drawing one from memory. This type of exercise helps to sustain the image that your senses have recorded and will help you to memorize shapes and textures. You will find drawing from memory gives a simpler result than drawing from life, because you tend to leave out unnecessary details. The ability to produce a conventional shape easily without reference is a great asset. Once you have this ability, you will be able to bring a greater sense of realism to your drawings.

The delicate blossom of the Camellia looks so fragile. It contrasts beautifully with the solid, perfect shape of the leaves.

Here we have two blooms from the same plant (a Clematis) at different stages of its growth. The difference is quite dramatic.

The Clematis captured as it is just opening, with its smooth looking petals hanging down.

The fully open bloom, centre showing to the sun. By this stage the edges of the petals are quite crinkly.

PLANTS: GROWTH PATTERNS

Nature offers so much variety, as you will discover once you start studying it in earnest. In the examples shown on this spread you will find three very different effects in as many examples.

Compare them, and note the differences you observe. You will find these patterns of growth fascinating as you investigate them more fully and extend your experience.

The blossom of the Cherry clings closely to the dark stiff, almost spiky branches.

The habit of the Stewartia is to gracefully hold its leaves and small blossoms away from the main branch.

The acorns and leaves of the Oak jut out from their stalk.

Exercising Eye and Hand

It cannot be over-emphasized that, in order to become a proficient artist, you need to get into the habit of drawing every day. If you do, very soon ...

Table of contents

• Cover
• Title
• Contents
• Introduction
• Drawing from the Masters
• The Experience of Drawing
• Form and Shape
• Assessing What Works
• Studying Life from Nature
• Extremes of Expression
• Styles and Techniques
• Art Appreciation
• Copyright