Barrington Barber - The Complete Introduction to Drawing

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CONTENTS

INTRODUCTION

CHAPTER

BASIC MARK MAKING

POSITIONS AND GRIPS

SKETCHING

MEASURING AND FRAMING

MECHANICAL DEVICES

MATERIALS AND MEDIUMS 1: pencils, graphite and charcoal, scraperboard, pen and ink

MATERIALS AND MEDIUMS 2: felt tips and markers, erasers and sharpeners

PRACTICE EXERCISES IN BASIC DRAWING

SHADING AND TONAL EXERCISES

MORE SHADING

THE ILLUSION OF THREE DIMENSIONS

ELLIPSES AND CYLINDERS

BASIC DRAWING OF SINGLE OBJECTS

SINGLE OBJECTS BY ESTABLISHED ARTISTS

GEOMETRY OF COMPOSITION

FORMAL AND INFORMAL

CHAPTER

DRAWING OBJECTS AND STILL LIFE

SIMPLE OBJECTS

LESS SIMPLE OBJECTS

WORKING UP THE SIMPLE OBJECT

NEGATIVE SPACE

DRAWING GROWTH AND STRUCTURE: PLANTS

DRAWING GROWTH AND STRUCTURE: TREES

HANDS-ON APPROACH

KEEPING UP WITH THE JONESES

CHAPTER

MATERIALITY, LIGHTING AND PERSPECTIVE

MATERIALITY 1: leather, glass, metal, basketwork

MATERIALITY 2: pottery, textiles, paper

NATURAL MATERIALITY: vegetables, flowers, hair

ROCKS AND TREES

WATER AND AIR

LIGHTING EFFECTS

LIGHTING THE HEAD

PERSPECTIVE

THE CONE OF VISION

ONE-POINT PERSPECTIVE

TWO-POINT PERSPECTIVE

THE BIRTH OF PERSPECTIVE IN PAINTING

OBJECTS IN PERSPECTIVE

FORESHORTENING THE BODY

CHAPTER

THE NATURAL WORLD

STONES, ROCKS AND BOULDERS

MOUNTAINS

SHELLS, CONES AND NUTS

VEGETATION

VEGETATION EXPANDED

TREES IN THE LANDSCAPE 1: applying shape, formality and decoration

TREES IN THE LANDSCAPE 2: tonal impressions, pattern realizing form

LANDSCAPE COMPOSITION 1: framing

LANDSCAPE COMPOSITION 2: nature as drama

FINDING A VIEWPOINT

DIVIDING UP YOUR VIEW

SMALL FORMS

LARGER CREATURES

CHAPTER

LIFE DRAWING THE HUMAN FIGURE

BASIC PROPORTIONS

THE SKELETON

MUSCLE STRUCTURE

THE HEAD IN PROPORTION

THE SKULL AND ITS MUSCLES

MALE AND FEMALE FEATURES

LEONARDO DA VINCIS HUMAN PROPORTION

EXAMPLES OF FIGURES

EXAMPLES OF FIGURES IN PROPORTION

DRAWING FOR EFFECT

DESCRIBING FORM

OTHER FORMS

FORM IN MOVEMENT

ANALYSING BALANCE AND POSE

ANALYSING BALANCE AND POSE

BODY DETAILS TORSO

BODY DETAILS HANDS AND FEET

THE BODY IN PERSPECTIVE

MASTER DRAWINGS OF THE RECLINING NUDE

CLOTHING ON FIGURES: ancient world, the Middle Ages and the Renaissance

CLOTHING AS DECORATION: the Far East, more decoration

CLOTHING MADE TO MEASURE: the tailors art

MODERN DRESS

FACES AND THE HEAD

HEADS, ARMS AND LEGS FROM UNUSUAL VIEWPOINTS

FACES AND EXPRESSIONS 1: the smile, surprise, anger, fear, laughter, satisfaction

FACES AND EXPRESSIONS 2: delight, desire, suspicion, dislike, haughtiness, come hither, indignation

CHAPTER

GEOMETRY IN COMPOSITION

GEOMETRIC BEGINNINGS

DIVIDING THE PICTURE

DIVIDING THE SURFACE AREA

MANETS METHOD

GEOMETRY TO FLATTER

THREES A CROWD

OUTDOOR COMPOSITION

CREATING DEPTH

CHAPTER

SETTING UP A LANDSCAPE

LANDSCAPE VARIETY

LOCATING THE SCENE

LOOKING AROUND THE SCENE

BLOCKING IN THE SCENE

LANDSCAPE CHOICE

LANDSCAPE PROJECT

CHAPTER

SETTING UP A STILL LIFE

SOME STILL-LIFE APPROACHES

SEEING THE STRUCTURE OF STILL-LIFE OBJECTS

HISTORICAL COMPOSITIONS: TABLETOPS

HISTORICAL COMPOSITIONS: DECORATIVE STILL LIFE

HISTORICAL COMPOSITIONS: ENDURINGLY EFFECTIVE

STILL-LIFE PROJECT

CHAPTER

SETTING UP A PORTRAIT

PUTTING THE SUBJECT IN THE FRAME

MAPPING OUT THE PORTRAIT

AN ALTERNATIVE METHOD

DETAILS OF THE FEATURES 1: eyes, mouths, ears

DETAILS OF THE FEATURES 2: noses, hairlines

PORTRAIT PROJECT

CHAPTER

SETTING UP A FIGURE DRAWING

APPROACHES TO COMPOSITION

BLOCKING IN THE MAIN FORM

DRAWING MOVEMENT: catching the fleeting gesture

SHORT CUTS TO BODY LANGUAGE

ACTUAL BODY LANGUAGE 1: swagger, doubt, confidence, despair

ACTUAL BODY LANGUAGE 2: assuredness, embarrassment, disdain, anger or defiance

A GREAT ARTISTS INSPIRATION

FIGURE COMPOSITION PROJECT

CHAPTER

LEARNING FROM THE PAST

ANTIQUE ART

MEDIEVAL ART

EARLY RENAISSANCE VIEWS OF HUMANITY

THE CREAM OF THE RENAISSANCE

LATE RENAISSANCE DEVELOPMENT

THE EARLY NINETEENTH CENTURY

NINETEENTH-CENTURY FRANCE

GERMAN COLLECTIONS OF THE NINETEENTH CENTURY

MODERN EXPERIMENTS

WINSLOW HOMER AND THE NEW WORLD

WINSLOW HOMER AND THE NEW WORLD

THE NEW WORLD IN THE TWENTIETH CENTURY

ABSTRACTION

ABSTRACTION

CHAPTER

STYLES AND INFLUENCES

OLD MASTER PORTRAITS

NEW MASTER PORTRAITS

STILL LIFE IN BRUSH

STILL LIFE IN PENCIL

LANDSCAPE

SIMPLE FORM AND TONE

MOVEMENT IN LOOSE LINES

SEEING BEYOND THE MUNDANE

INDEX

INTRODUCTION

Starting to draw is an interesting and sometimes a daunting business. I want to be able to help you find ways of gradually improving your skill and thereby increase your enthusiasm, because this is perfectly possible, no matter how little formal teaching you may have had. One of the great advantages of coming to drawing relatively unpractised is the freshness with which you can approach the subject. So even if you are a complete novice, this book should help you to get some drawing practice under your belt.

The principal skill in drawing that you need to achieve is the co-ordination of the eye and the hand. It is not as difficult as it sounds, because we all learn to do this naturally, by having to pick things up, catch a ball, write a list and the many other day-to-day tasks that human beings are expected to do. The eye can see very much more than we generally give it credit for and our mind analyzes the information quite readily and with remarkable accuracy. It is also amazing how precisely our hands can move in the right direction, with just the right amount of pressure and degree of judgement, when required.

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