6-Week Drawing Course

By Barrington Barber

This comprehensive six-part course will suit absolute beginners as well as anyone who wants to improve their existing skills and understanding of techniques. The course is broken down as follows:

Week 1 is a gentle introduction with a series of exercises in mark-making which encourage you to get used to handling a pencil before you try some simple still lifes.

Week 2 concentrates on one composite still life, from assembling objects to completion.

Week 3 explores one of the most popular subjects for still life - plants.

Week 4 looks at landscapes, from understanding perspective and composition to planning and executing a complete project.

Week 5 introduces ways of sketching a range of familiar animals, from cats, dogs and horses to more exotic creatures.

Week 6 tackles the high point of most drawing courses - portraits and figures.

Throughout you will find the processes clearly explained and demonstrated in Barrington Barber's inimitable style - encouraging, inspiring and intent on showing that artistic excellence is not just for the professionals.

• Language: English
• Publisher: Arcturus Publishing
• Release date: Nov 30, 2015
• ISBN: 9781784281601

Barrington Barber

Born 1934, Barrington was educated at Hampton Grammar School and later Twickenham Art Schoo for which he received a National Diploma of Design. He then practised as an illustrator (Saxon Artist) and Graphic Designer, was Art Director at Ogilvie & Mather and S.H. Bensons, and was a lecturer in Graphic Design at Ealing Art School. Other credits include freelance work, designer, illustrator, animator and painter at Augustine Studios. He was awarded a one man exhibition in 2000 at St. Oswald Studios, and also exhibited in Putney in 2003 and Cork Street in 2004. He was Head of Art at St James's Independent Schools. He now paints, draws, writes about art, and enjoys sports, walking, philosophy and meditation.

Book preview

This edition published in 2014 by Arcturus Publishing Limited

26/27 Bickels Yard, 151–153 Bermondsey Street,

London SE1 3HA

Copyright © Arcturus Holdings Limited

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission in accordance with the provisions of the Copyright Act 1956 (as amended). Any person or persons who do any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

ISBN: 978-1-78428-160-1

Contents

Introduction

Materials and methods

First steps in drawing

Simple marks

Simple drawings

Tone and hatching

Week 1

Starting out with still life

Drawing simple objects

A still life of fruit

Simple still lifes

Master examples

Week 2

Composite still life

Choosing and assembling objects

Still life details

A still life arrangement

Master examples

Week 3

Still life with plants

Developing natural forms

A still life of plants

Pots and vases

A vase and flowers

Arranging a plant still life

A plant still life project

Master examples

Week 4

Landscape

The textures of landscape

Understanding perspective

Types of perspective

A scene in perspective

Landscape composition

Drama, form and grandeur

Picturesque views

An expanse of water

Combining water and architecture

Choosing your format

A panoramic view

Framing your scene

Exploring landscape

Master examples

Week 5

The animal world

Sketching from photographs

Drawing from life: birds and cats

Drawing from life: cats and dogs

Drawing from life: farm animals

Drawing from life: horses

Drawing from life: zoo animals

Drawing from life: herds of animals

Week 6

Portraits and figures

Proportions of the human figure

Proportions of the head

Drawing the features in detail

Drawing your family

A portrait project

Preparing a group portrait

Small groups

Larger groups

A self portrait

Master examples

Making my own self portrait

Introduction

Learning to draw is not difficult – everybody learns to walk, talk, read and write at an early age, and discovering how to draw is easier than any of those processes! Drawing is merely making marks on paper which represent some visual experience. All it takes to draw effectively is the desire to do it, a little persistence, the ability to observe and a willingness to take time to correct any mistakes. This last point is very important as mistakes are not in themselves bad – they are opportunities for improvement, as long as you always put them right so that you will know what to do the next time.

Many of the exercises in this book incorporate the time-honoured methods practised by art students and professional artists. If these are followed diligently, they should bring about marked progress in your drawing skills. With consistent practice and regular repetition of the exercises, you should be able to draw competently and from there you will see your skills burgeon. Don’t be put off by difficulties along the way, because they can be overcome with determination and a lot of practice and this means you are actively learning, even if it may seem a bit of a struggle at times. The main thing is to practise regularly and keep correcting your mistakes as you see them. Try not to become impatient with yourself, as the time you spend altering your drawings to improve them is time well spent.

Work with other students as often as you can, because this also helps your progress. Drawing may seem like a private exercise, but in fact it’s a public one, because your drawings are for others to see and appreciate. Show your work to other people and listen to what they say; don’t just accept or reject their praise or criticism, but check up on your work to see if they have seen something you haven’t. If other people’s views aren’t very complimentary, don’t take offence. Neither praise nor criticism matters except in so far as it helps you to see your work more objectively. Although at first a more experienced artist’s views are of great value, eventually you have to become your own toughest critic, assessing exactly how a drawing has succeeded and how it has not worked.

Talk to professional artists about their work if you get the chance. Go to art shows and galleries to see what the ‘competition’ is like, be it from the old masters or your contemporaries. All this experience will help you to move your work in the right direction. Although working through this book will help you along your path to drawing well, it is up to you to notice your weaknesses and strengths, trying to correct the former and building on the latter.

Steady, hard work can accomplish more than talent by itself, so don’t give up when you are feeling discouraged; drawing is a marvellously satisfying activity, even if you never get your work into the Royal Academy or the Tate Modern. Enjoy yourself!

Materials and methods

Any medium is valid for drawing. That said, some mediums are more valid than others in particular circumstances, and in the main their suitability depends on what you are trying to achieve. Try to equip yourself with the best materials you can afford; quality does make a difference. You don’t need to buy all the items listed below from the outset, and indeed it is probably wise to experiment gradually as you gain in confidence.

Start with the range of pencils suggested, and when you feel you would like to try something different, then do so. You can use any of the materials listed below to follow the projects in this book. Be aware that each material has its own identity, and you have to become acquainted with its individual facets before you can get the best out of it. However, once you are at ease with drawing in pencil, you will enjoy becoming more ambitious.

Pencil

The simplest and most universal tool of the artist is the humble pencil, which is very versatile. It ranges from very hard to very soft and black (H, HB, B, 2B, and so on) and there are differing thicknesses. Depending on the type you choose, pencil can be used very precisely and also very loosely.

You should equip yourself with at least three grades of pencil, such as an HB (average hardness and blackness), 2B (soft and black) and 4B (very soft and black).

Carbon pencil

This can give a very attractive, slightly unusual result, especially the dark brown (sepia), terracotta or sanguine versions. The black version is almost the same in appearance as charcoal (see here), but doesn’t offer the same facility to erase it easily. If you are using this type, start off very lightly in case you make mistakes.

For working on a toned surface, you might like to try white carbon pencil.

Pencils: HB B 2B