Nice - How to see, how to draw: keys to realistic drawing
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How to See , How to
Draw
KEYS TO REALISTIC DRAWING
Claudia Nice
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How to See, How to Draw. Copyright 2010 by Claudia Nice. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by North Light Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236. (800) 289-0963. First Edition.
Other fine North Light Books are available from your local bookstore, art supply store, online supplier or visit our website at www.fwmedia.com.
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Library of Congress Cataloging-in-Publication Data
Nice, Claudia
How to see, how to draw : keys to realistic drawing / Claudia Nice 1st ed.
p. cm.
Includes index.
ISBN: 978-1-60061-757-7 (hardcover : alk. paper)
eISBN 13: 978-1-44031-044-7
1. Drawing Technique. 2. Realism in art. I. Title. II. Title: Keys to realistic drawing.
NC730.N53 2010
741.2 dc22
2010004360
Edited by Kathy Kipp
Designed by Jennifer Hoffman
Production coordinated by Mark Griffin
METRIC CONVERSION CHART
| TO CONVERT | TO | MULTIPLY BY |
|---|---|---|
| Inches | Centimeters | 2.54 |
| Centimeters | Inches | 0.4 |
| Feet | Centimeters | 30.5 |
| Centimeters | Feet | 0.03 |
| Yards | Meters | 0.9 |
| Meters | Yards | 1.1 |
Claudia Nice is a native of the Pacific Northwest and a selftaught artist who developed her realistic art style by sketching from nature. She is a multi-media artist, but prefers pen, ink, and watercolor when working in the field. Claudia has been an art consultant and instructor for Koh-I-Noor/ Rapidograph and Grumbacher. She represents the United States as a member of the Advisory Panel for The Society Of All Artists in Great Britain.
Claudia has traveled internationally conducting workshops, seminars and demonstrations at schools, clubs, shops and trade shows. She operates her own teaching studio, Brightwood Studio (www.brightwoodstudio.com) in the beautiful Cascade wilderness near Mt. Hood, Oregon. Her oils, watercolors, and ink drawings can be found in private collections nationally and internationally.
Claudia has authored more than twenty successful art instruction books. Her books for North Light include Sketching Your Favorite Subjects in Pen & Ink; Creating Textures in Pen & Ink with Watercolor; How to Keep a Sketchbook Journal; and her latest book, Down By the Sea with Brush and Pen, published in 2009.
When not involved with her art career, Claudia enjoys gardening, hiking, and horseback riding in the wilderness behind her home on Mt. Hood.
A special thank you to my editor, Kathy Kipp.
Even the raptors, the masters of the sky, began life as an egg.
DEVELOPING YOUR DRAWING SKILLS THROUGH OBSERVATION
Although there may be some artists who do not work up to their potential, possibly due to fear of moving out of their comfort zone, I hesitate to label anyone's artwork good or bad. A drawing or painting is merely a reflection of how advanced a person is in his or her skills of observation and brain-to-hand interpretation. Some artists strive for a sense of mood or feeling rather than an accurate representation of the subject, even though they have developed observational skills. This is a choice of style and is not necessarily bad art.
This book is for those who wish to develop their representational drawing skills. Just as young children learn to create the alphabet letters, l believe that drawing skills can be taught and improved upon through practice. It's true that not all children go on to develop legible handwriting. Some become careless, content with whatever flows from their hand. Others just say I can't do better, when their early handwriting was just fine. Then there are those who would rather interpret the alphabet letters in their own manner the abstract hand writers. Adults who have beautiful handwriting are not born with it; they develop it and maintain it with practice and discipline. So it is with drawing skills.
The first step is to develop a proper attitude. Saying I can't is the same as saying I'm not willing to try. An I can't attitude allows one to remain safely stagnant. You, who are exploring the pages of this book, are entertaining the idea that your work can be improved upon, and that is a very good way to start.
Step two is to banish the childish symbols and preconceived ideas from your work. They interfere with your ability to see and interpret your subject in a realistic manner. Preconceived notions of how a subject is supposed to look are always in our minds and will pop into our drawings when we are overwhelmed or confused with what we are seeing in our subject. Chapter Two will help you understand and get past your preconceived ideas.
Step three is learning the skill of observation. Not only will this improve your drawings, but you will begin to see the world around you in a richer, more detailed manner. Colors and contrasts will be more vivid. Shapes will be more apparent, and textures will touch your senses before you make contact with them. Observation is fundamental to the creation of accurate drawings and learning better ways to observe the subject is what this book is all about.
The last step in developing your drawing skills is up to you: Practice, practice, practice!
The oldest dark-toned drawing medium is charcoal, snatched from the cooling embers of the fire pit and smeared on cave walls in the image of animals, hunters and primitive symbols. Time passed and lead deposits were discovered.
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