(Everyday Sketching and Drawing: Five Steps to a Unique and Personal Sketchbook Habit) PDF READ ´ Steven B Reddy

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  • Everyday Sketching and Drawing: Five Steps to a Unique and Personal Sketchbook Habit
  • Steven B Reddy
  • Anglais
  • 11 September 2019
  • 1580935052

Steven B Reddy Ö 0 read & download

review Ì PDF, DOC, TXT or eBook Ö Steven B Reddy Everyday Sketching and Drawing: Five Steps to a Uniue and Personal Sketchbook Habit review ñ PDF, DOC, TXT or eBook Steven B Reddy Ö 0 read & download MATERIALS ITS NOT ABOUT THE PENOh please do not ask me about what paints I use and which brushes I like The art materials don t matter because art is all about relationships and harmony which can be achieved with any paints What matters is how you use the materialsAleksander Titovets A lot can be written about tools and materials and still only scratch the surface of your options A visit to any art supply store can uickly become overwhelming Just when you get accustomed to a sketchbook or brand of ink manufacturers discontinue your favorite products and art supply stores change their inventory I sketch with friends who build custom portable travel kits out of Altoid tins and film canisters They MacGyver ingenious devices for holding inks and watercolors to the edge of sketchbooks as they draw They chat about technical pens brands of watercolor and the advantages of different weights of paper They create complex charts comparing watercolor brands and build detailed graphs of pens and inks My own materials havent changed much over the years evolving only gradually on a need to grow basis Im less interested in tools than in helpful ways of seeing The artistic principles and elements I mull over while drawing would be the same if I were scratching contour lines in sand with a stick focus on the scene with the goal of understanding the objects and their relationships and translate them into drawings whatever the tools I want my drawings to say Look at this We pass by or handle these objects every day until they become invisible and taken for granted But look how interesting they are Whats in My Bag It helps to keep your materials simple and compact My preferred instruments are commonly found in office supply stores or are easily ordered online With unwieldy reuirements you may be hesitant to head out Even worse is to arrive on location and realize youve forgotten your special brushes or sketchbook With a lightweight satchel or backpack always ready to go youll have fewer obstacles to keep you from diving in Here is a complete list of my favorite tools and materials They are dependable and well suited to the techniues described in the following chapters Paper When I began sketchbook journaling I used cheap student grade sketchbooks with thin nonabsorbent paper that wrinkled if I applied washes They were the cheapest books available and because I drew for my eyes only it didnt matter to me that the books should last In the margins of those early books are to do lists phone numbers drafts of school assignments and rambling diary entries If someone asked to see them I felt a need to read over his shoulder ready to flip uickly past pages of sentimentality ill formed fantasies regrets and obsessions But when sketching became a daily habit and I began to take drawingseriously I wantedrobust paper India ink washes and watercolors reuire heavier paper that can hold several layers of wet media I no longer use my sketchbooks for to do lists financial calculations and fretful midnight worries Although some sketchbook journalists incorporate text with interesting results I have separate lined notebooks for all that The best paper for working with pen ink and watercolor is cold press multi purpose or all purpose paper which is a cross between watercolor paper and drawing paper On coarse watercolor paper the sharp nib of a pen will pull up the fibers and the line may skip and stutter across the rough paper surface Smooth hot press drawing paper takes too long to dry and will not absorb the many ink washes and watercolor layers that I apply After experimenting with different sketchbooks and paper I prefer Canson Montval All Purpose spiral sketchbooks and buy them in bulk from my local art supply store This paper is the perfect blend of absorbency and smoothness I pull out the spiral bindings and replace them with three or four one inch binder rings because otherwise the edge of the drawing near the binding wont lay flat on a scanners glass plate causing the drawing to be out of focus The rings are easy to unsnap so pages can be removed and scanned flat The binder rings also allow me to swap pages and organize sketchbooks by subject I have books that contain for example only still lifes exteriors or diary comics PencilsIt can be a challenge to give up a dependence on pencils and erasers but liberating when you do The minimal pencil work well do will be uick and gestural and erased all at once when we finish inking Soft leads such as a B or softer are easier to erase Pencils without erasers will help you avoid the temptation to tighten up and become too fussy from the start If you use a mechanical pencil you wont need a sharpener but broken leads and mechanical glitches can be distracting nuisances when youre in the flow of a drawing I like Kimberly B pencils by General Pencil but Ive borrowed pencils from baristas and grocery clerks in a pinch and its made no difference ErasersKneaded erasers are soft last a long time and can be pulled apart into smaller sizes Once while I was sketching in Acapulco a group of local kids gathered around to watch I gave each of them paper from my sketchbook and tore my eraser into smaller pieces for them to share Pink erasers dry out and leave streaks on your drawing Vigorous rubbing wears down your papers tooth I like the kneaded erasers by Prismacolor Drawing pensI prefer to draw with a pen because Im a neatnik Graphite smears Pastels leave colored dust on everything Oil and acrylic need to be washed out of brushes Drawing directly with a pen helps me bedirect and decisive When signing a document we dont fussily correct our signatures and a drawing can be as personal and direct as signing your name The workhorse of my techniue is the easy to.

review Ì PDF, DOC, TXT or eBook Ö Steven B Reddy

Everyday Sketching and Drawing: Five Steps to a Unique and Personal Sketchbook Habit

review Ì PDF, DOC, TXT or eBook Ö Steven B Reddy Everyday Sketching and Drawing: Five Steps to a Uniue and Personal Sketchbook Habit review ñ PDF, DOC, TXT or eBook Steven B Reddy Ö 0 read & download Find and inexpensive Uni ball Vision pen I buy them in bulk at office supply stores They can even be found in some drug and convenience stores I use the fine point for contours and the micro point for smaller details and hatching The ink is completely waterproof and uick drying which is essential for applying washes and watercolor layers over the ink lines If you try other pens choose carefully There are many waterproof pens that are merely water resistant Test them before committing to a long sketch by drawing a few lines and then brushing clean water across them or just trying to smear the ink with a wet finger An advantage of the Uni ball Vision pen is that the line width is uniform and consistent A disadvantage of the pen is that the line width is uniform and consistent Pressing harder or softer will not vary the line width so it is not as expressive as a brush pen or dip pen with a flexible nib However there are ways to achieve an expressive and varied line width which well go over in later chapters Many of my sketching friends love Micron pens which come in many widths and colors I find the Micron has to be held perpendicular to the page much like a technical pen which is not my natural grip I suggest you try them out for yourselfDemonstration Still Life with LightbulbStep Loose pencil guidesUse a soft pencil to lightly indicate placement of the major chunks in your scene This is not a drawing I cannot emphasize this enough In my classes and workshops I have been known to pluck pencils away from students who spend time drafting Dont pencil anything recognizable You are merely giving yourself parameters establishing the major pieces of info within which to place the details If you spend a lot of time erasing correcting and fussing youll deaden and polish away the little variations and serendipitous anomalies that make your drawing yourdrawing Like scratching the boundaries of a volleyball game in the sand the pencil lines let you know if youre going too far out of bounds to keep the real drawing on the page ILLUSTRATION The original setup ILLUSTRATION My rough pencil guides Step ContoursUsing your pencil lines as a general guide start in the foreground with your Uni ball fine point pen and draw carefully observed contours Because youre working in pen you must draw the foreground objects first and work your way toward the back Take your time but dont sketch with scratchy hairy tentative lines Start at the beginning of a contour continue until you come to the end and then stop just as you would write your signature ILLUSTRATION Start with the contours in the foreground then work your way toward the backDont prejudge your drawing at this stage Wobbly lines distortions and wonky proportions will tempt you to start over Dont Your lines cannot help but have your personal stylistic stamp When you fill the page with the kind of lines that only you can make the consistency of your style will unify the drawing As they say in jazz music If you make a mistake make it three times Dont try to correct or redraw wonky lines Commit to a line draw it once in ink and move on Leave them be Theyre perfect Excellent Beautiful Next line Move onWhen your contours lines are finished use a kneaded eraser to remove all pencil lines If you find it difficult to completely erase any pencil marks then you probably drew too many or pressed too hard ILLUSTRATION Erase the pencil lines for the finished contour drawingStep Ink washSuint at your scene to observe only darks and lights Apply one smooth layer of light percent ink wash to isolate the highlights and bright whites Use a fairly large brush or to cover everywhere that is notwhite This will include most of your drawing unless you are painting a polar bear in a snowstorm Use as little liuid as possible by swabbing off the brush inside the rim of your jar If your paper is already buckling youre using too much water or your paper is not robust enough Dont scrub or fuss Hit it and uit it and let it dry ILLUSTRATION The first ink wash isolates the highlights and bright whitesAfter the first layer dries completely suint again at your subject and brush on another layer of the same light ink wash to darken the shadow areas Dont apply ink anywhere you left whiteThose areas are highlights Thats why you left them white right Only put the second ink layer inside the perimeter of your first wash This is a good reason to use a fairly dry brush otherwise your paper will get soggy and warped and yucky Let it dry Yes you have to wait Stand up and stretch Move around Go clean the cat box ILLUSTRATION Apply a second ink wash to darken the shadow areasFinally apply your third and final layer of wash to really deepen those nooks and crannies You can apply another layer of the same wash but to speed things along and really increase the contrast I use a different darker ink solution or add a drop or two of ink to the one Ive been using ILLUSTRATION After the third and final ink washStep Watercolor glazingApply very diluted washes of color You can always addsaturation but you cant remove color so sneak up on it gradually While applying a color look carefully for reflections and objects that share that color Here the red ink bottle is reflecting on the green bowl and the orange pencil sharpener reflects on the glass jar ILLUSTRATION Start with a wash of light color then build up the color especially in the shaded areas to increase contrastStep Final detailsLooks good yes Now lets add the hatching It takes practice Use your thinnest Uni ball the micro point and hatch little parallel lines where you want your super duper blacks I also hatch to indicate surface direction and to add surface details like wood grain fur design elements and so on This is y.

read Everyday Sketching and Drawing: Five Steps to a Unique and Personal Sketchbook Habit

review Ì PDF, DOC, TXT or eBook Ö Steven B Reddy Everyday Sketching and Drawing: Five Steps to a Uniue and Personal Sketchbook Habit review ñ PDF, DOC, TXT or eBook Steven B Reddy Ö 0 read & download Our last chance to add details that you rightfully didnt draw yet because they werent contours With your pen you only drew actual contours right ILLUSTRATION The final drawing with hatching lines addedSign and date it Its beautiful Its perfect Youreperfect Congratulations Now do another oneThen do anotherAnd another INTERIORS DRAWING IN PUBLIC Photography is an immediate reaction drawing is a meditationHenri Cartier Bresson After practicing with manageable still lifes in controlled environments were ready to take our show on the road and apply the same approach to large cluttered environments Learning to draw on location can change your life It changed mine It has heightened my awareness of the city in which I live and inspired me to travel around the world sketching the details of my adventures Travel sketching has introduced me to artists and locations I never would have seen were it not for the global network of location sketchers Theres nothing wrong with sitting at your desk drawing from photos In the studio I test new pens and inking techniues I draw portraits of inspirational artists writers and musicians shown on pages I draw from images found on the internet I keep a daily journal of diary comics based on memories plans and dreams Its a relaxing private introspective activity that Ive kept up for forty years But come down from the ivory tower and mix with the masses and its a different experience Observe the world on location Draw from observation Be part of the action Let the real world intrude and jostle your elbow and let the marks be a record of your experience Getting Comfortable If you have yet to venture out drawing on location can be intimidating You may be nervous about being observed in case your drawing goes poorly But once you get used to it youll find your fears are mostly unfounded Here are some strategies Ive used at different times Start slowly Getting out of the comfort zone of your own house can be as simple as drawing at a friends house Draw around supportive friends and family Draw your parents in their living room your partner at a caf or your best friend in a booth at your favorite restaurant Draw with a friend Find a friend who also wants to start drawing on location and when youre ready to venture out go together Theres safety in numbers Wear earphones People are less likely to interrupt if you appear off in your own private Idaho Sketching is the perfect opportunity to catch up on audiobooks and podcasts Sit with your back to a wall Indoors or out it can be one less distraction to know that no one is looking over your shoulder Join a crowd If you sit in a popular caf with pen in hand youre just another student doing homework or studying People will be too busy doing their own thing to notice you sketching in the corner Its hard to justify a day without drawing if you have access to a caf or diner With a little time and a few dollars you can get a cup of coffee or slice of pie and draw whatever is in front of you without worrying about the weather or attracting attention Restaurants and cafs have so much clutter and detail that you can draw in the same place several times and not repeat a drawing How to draw Why to draw What to drawWhen to draw Steve answers all these uestions and so manyin this delightful in depth exploration of the drawing habit Its not just a beautiful bookits the doorway to a lifelong love affair with artDanny Gregory founder ofSketchBookSkool and author of An Illustrated Life Making art and teaching art are two different skill sets Steve Reddy is one of the few artists who excels at both In this book drawing enthusiasts of all levels will not only learn useful approaches to drawing from life and imagination but also the confidence that only comes from learning from an exceptional teacher Gabriel Campanario founder of Urban Sketchers and author of The Art of Urban Sketching Readers will notice immediately that they are in the presence of a gifted and empathetic instructorthan familiar with the problems and hesitations beginners like to think are original to them Ive never read a how to book that feltlike being in an actual class with the teachers encouraging voice in ones ear anticipating our uestions and needs Many people believe that drawing what one sees is a difficult esoteric skill available only to the talented Steve does as much to demystify and dethrone that misconception as he can fit between two covers Repeatedly Steve makes the crucial pointyou can do this And he clearly believes it based on long classroom experience by the time we finish the book we do too from the Foreword by Gary Faigin co founder and artistic director of Gage Academy of Art and author of The Artist s Complete Guide to Facial Expressions You may say But there is nothing interesting to draw where I live My response is to simply look at the amazing work of the prolific Steven Reddy For me an architect who likes to draw buildings and spaces the magic of Steves work is that his sketches capture the ordinary everyday things that you might never even notice like his next door neighbors house cozy cafes and stores or a collection of objects on a shelf His drawings are accessible and fun and chock full of details that add character and invite you in to examine each and every form Best of all his sketches have the power to elevate the mundane and often overlooked elements of life to the level of Art By looking at how Steve views his world through his sketches he teaches us to look at our world a little differently to really see what is around us every day from the Afterword by Stephanie Bowerarchitectural illustrator blog correspondent for Seattle Urban Sketchers and author ofThe Urban Sketching Handbook Understanding Perspectiv.

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