The Big Book of Realistic Drawing Secrets: Easy Techniques for drawing people, animals, flowers and nature [Carrie Stuart Parks, Rick Parks] on vaidirampmena.ml the big book of realistic drawing secrets pdf The Big Book Of Realistic Drawing Secrets Pdf 9 Reads 0 Votes 1 Part Story. cainylnailder By cainylnailder. North Light Books (the initial page numbers given refer to the original artwork . I Title Big bhok of drawing. IL. Title en them. Tortillions are the secret to my . realistic drawing lies not only in the light on your subject matter and accuracy of.
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Download PDF The Big Book of Realistic Drawing Secrets: Easy Techniques for drawing people animals flowers and nature Ebook | READ. Clear instruction on supplies and references; shapes and values; a variety of people, animal and nature subjects; refining your drawings; and more. It is easy e . Download The Big Book of Realistic Drawing Secrets: Easy To Drawing Realistic Children ebook by Carrie Stuart Parks Type: pdf, ePub, zip.
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Textured paper is better for other techniques because it snags the lead. Shading techniques There are many techniques for shading, including varying the pencil direction, making linear strokes, building up lead and smudging the lead.
I prefer the shading technique of smudging the lead. Smudging requires a smooth paper surface. As you pick up lead and move it around with the paper stump, it gradually gets lighter as the lead is worn off the stump.
Hold it right there This is the standard way you hold your stump. It only works if you are smudging a small area. Use the tip of the paper stump for these small areas.
Place it across your flat hand and smudge using the tapered area. Keep your grubby fingers off Your hands contain oils that will transfer to the paper, causing the paper to react with the graphite in adverse ways. Place a piece of tracing paper under your smudging hand as shown here.
The white stuff Preserve the white areas of your drawing. Remember that you are grinding lead into the paper, and though the paper is smooth and cleans up well, you want to keep from grinding lead into the areas you know will remain white. Work from your dark areas and blend toward your lighter areas. The long and short of it To make the skin on the drawing look smooth, use long smooth strokes on your paper. Short, jerky strokes make for bad skin. If necessary, go outside the edges of the face and erase later.
I know, I know, I just told you to not smudge where you want to retain the white areas, which might be outside the face. Sometimes you need to break an art rule to achieve a goal—in this case, smooth skin. The same holds true for your original pencil shading—long, smooth strokes applied with an even hand make for smooth skin and hair. Layers When you smudge, you lift a small part of the lead from one area and transfer it to another.
This means that not only are you blending into one area, you are lightening another. Smudging is not a one-time application.
You may need to go back and darken the original area again and apply layers of blending to get the right value. You cannot go back and try to blend a zig-zag black line done with a 6B lead. You will end up with a zig-zag smudge.
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Establish an edge Start with an HB pencil. Using the side of the face as an example, evenly scribble a smooth, continuous tone next to the line that represents the side of the face.
Keep your pencil on the paper and the pressure on the pencil even and steady. You may need to go back and add more lead, smudge again, add more lead and smudge again.
Big Book Of Realistic Drawing Secrets eBook
Beyond algebra and other math applications, you have probably never thought any more about lines. Your brain, however, loves lines and will lie to you about them. In chapter two, you learned that the mind places everything into patterns of perception, memorizes that pattern and uses that pattern instead of the reality of what is actually present in the photo. Your mind figures it knows all about things like facial features and therefore will provide information about that feature, regardless of reality.
The Big Book of Realistic Drawing Secrets: Easy Techniques for Drawing People, Animals and More
Perceptions are more powerful than facts. Drawing lines represent one of two things: a thin, dark value on the face such as the crease in the eyelid or a value change. A line in the latter instance 64 Eyeball to eyeball A close examination of the eyes, for example, will show us that the bottom lid is a shelf.
This shelf picks up light and is light in color. You see it often because it is actually lighter than the so-called white of the eye. I got you, babe Because your mind tells you that there is a line on the bottom lid, you draw it in.
Look at this illustration. Your mind accepts the lines you originally use as correctly defining the shapes of the face. Your mind perceptions really likes those same lines and will leave them in place at the end of the drawing. Most of the shading on the face comes from value changes, not lines.
When you draw lines to indicate value changes, you tend to leave the lines in place. Once drawn, never erased Look at this drawing. Your mind has accepted the lines as reality, but they are not really there and so you are frustrated.
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