Stanyer Peter. The Complete Book of Drawing Techniques

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Pencil projects

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The next stage in the drawing as shown in

example 3 is when you begin to draw in the

smaller or secondary areas of negative space.

These exist as small holes that appear through

the objects that we are drawing. This part of

the drawing completes the drawing of the

negative space, and at this point we can now

see how important this concept is as it holds

the whole composition together in a spatial

context. In other words the objects appear to

be anchored in a real space, rather than

ﬂoating in the picture plane

In the ﬁnal drawing we have now ﬁlled in the

rest of the visual story by deﬁning the objects

ﬁrst, and then adding the tone and the texture

(see tone and texture examples for further

references). Now we have a complete work

that pulls on a number of visual elements to

make it work. There is also an example in the

charcoal section that illustrates how a

negative space drawing can be constructed.

Part One – THE PENCIL

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Pencil projects

Final drawing

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SHAPE INTO FORM

Shape can very easily be transformed into

form by the use of shading. We can see in the

drawing after Picasso (opposite, below) that

regular shapes have been given the illusion

of three dimensions by using various well-

known shading techniques. He has taken

these shapes and turned them into

representations of human forms. Not only

has he given them form, he has given them a

character, and a life. He has created the form

by using different types of bracelet,

crosshatch, and linear lines to build up tone.

All these processes are consistent in that

they follow the planes of the form You will

see from the examples that some systems of

shading suit different types of forms.

Part One – THE PENCIL

An example of shape using tone after Morandi.

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Pencil projects

Bracelet shading.

Sphere using crosshatch shading.

Diagonal

line shading.

Below: After Picasso.

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Part One – THE PENCIL

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Pencil projects

Form

overlapping

form, creating

space

Tone emphasizing

form

Here we see different shading techniques and how they can bring forms to life. Note that

although different methods have been used, all follow the plane or surface of the form.

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Part One – THE PENCIL

PLAYING WITH COMPOSITION: ORGANIC

SHAPES

Medium: 2B pencil

In this example (after Joan Miro) the

composition is based on a more organic ﬂow

of shapes. Part of its impact is created by the

inference of textures. All the elements we

found in the previous example are evident

here, too, although in this instance the

nature of the shapes implies other

considerations. This drawing seems to have

a life, and we have a sense that it is still

growing. There’s a mood, an almost dream-

like quality.

Line creates organic

shape.

Shape overlapping

shape creates space.

Shapes creating a

transparent overlap.

Textured overlapping

shapes creating space.

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Pencil projects

STEP BY STEP DRAWING OF A HEAD

The illusion of volume is central to the

success of the following portrait, which I

built up in a series of six drawings. I used a

2B pencil and cartridge paper, but almost

any pencil would do, as would any type of

paper. You might like to practise drawing

ellipses, cylinders, eggs or ovoids before

starting.

METHOD

1/ Draw the shape of an egg/ovoid. Try

to do this with a free, expansive movement,

sensing the shape rather than using your eye

to gauge it precisely. Repeat the shape several

times, drawing over your original lines, as I

have done here. Now draw an ellipse, as

shown, to give the shape the appearance of

form.

2/ Create the basic form of the neck by

adding a cylinder to the bottom of the egg

form.

3/ Draw in outline the back of the head.

Now extend the ellipse to meet these lines,

giving the form of the skull. The lines of the

ellipse are called cross-sectional analysis

lines. They enable you to have a full visual

understanding of the form and a sense of the

back, front and sides of the head you are

creating. These lines also provide the illusion

of volume.

4/ Now we begin to build the face. Draw

two parallel lines at a slight angle from the

centre plane of the forehead. This appears as

a wedge protruding out of the front plane of

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Part One – THE PENCIL

5..

the face, and is the basis of the nose. At the

bottom of these two parallel lines, draw a line

between them and which then extends back

in space following the front plane or angle of

the face. Now draw a line tilting back in space

and following the side plane or angle of the

head. Join up this triangle by drawing a

straight line down the front of the face. From

both corners of the front plane of the

forehead draw two downward lines to just

below the bottom of the original egg shape.

Make these two lines slightly narrower at the

bottom to give a sense of form to the front of

the face. Join these two lines at the bottom

with a straight line that follows the angle of

the front plane of the face and then follows

the angle of the side of the head through to

the back of the original egg. If you look at the

drawing, you’ll see that you are repeating the

lines used to establish the nose, only on a

bigger scale. We now have the underlying

form of the chin and jawbone.

5/ Add spheres to denote the eye

sockets. One sphere lies in front of the nose,

the other directly behind it. Now we have the

underlying volume of the eyes.

6/ In the preceding ﬁve stages we have

built an overall sense of the volume that

makes up the head. Once this is established it

is your base over which you can draw in the

characteristics of the particular person who is

sitting for you. It’s important to allow this

under-drawing to remain, because it will

reinforce the illusion of form and guide your

over-drawing.

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