How to Draw What You See

How to Draw What You See

Rudy De Reyna

Language: English

Pages: 178

ISBN: 0823023753

Format: PDF / Kindle (mobi) / ePub

When it was originally published in 1970, How to Draw What You See zoomed to the top of Watson-Guptill’s best-seller list—and it has remained there ever since. “I believe that you must be able to draw things as you see them—realistically,” wrote Rudy de Reyna in his introduction. Today, generations of artists have learned to draw what they see, to truly capture the world around them, using de Reyna’s methods. How to Draw What You See shows artists how to recognize the basic shape of an object—cube, cylinder, cone, or sphere—and use that shape to draw the object, no matter how much detail it contains.

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drawing as the eyes in Figure K. Fashion may tamper with eyebrows in countless ways, but all you have to remember is that they follow the brows’ bony ridges. Drawing the Mouth As you can see in Figure L, the upper lip consists of three parts. Parts 1 and 3 are the “wings” on its sides; part 2 is the swollen center of the mouth in the shape of a shield, called the tubercle. The names of these three parts aren’t really important. What does matter is that you must be aware of these divisions:

and don’t usually appear in a drawing book such as this. Watercolor, gouache, and acrylic are usually employed for the colors they’re capable of producing. However, I’ll use these media only in a drawing frame of reference—black and white. The reason I have stressed only their black and white forms is that I want you to concentrate on training the eye and hand to capture the solidity of things and their correct proportions. I want you to learn such fundamentals as distribution of textures in a

lifting the brush, bring your puddle of wash down in a zigzag manner (Figure F). What you’ve just executed is called a flat wash. Wet-in-Wet Technique An indefinite blending of tones can be obtained with a wet-in-wet technique. First, lay your drawing surface down flat. Wet your paper or illustration board thoroughly and let the water spread over it. Load your brush with pigment and apply it to the wet surface. Experiment with different degrees of wetness—from a flooded surface to just

various; tactile; visual Tonal scale, illus. of; using the full Tones, arrangement of; illus. of charcoal; laying down correct; preparing wash for; using middle Tortillons Tracing paper, refining with Transfer paper, using Trees, illus. of, 14.1, 15.1, 29.1 Wash, additional equipment for; brushes for; drawing with; flat; graded; illus. of techniques; mixer for, pigment; properties of; still life in; surfaces for; transporting materials for; using outdoors Watercolor. See Wash and

depending upon the particular object. It can be elongated and thin, as in the beer glass, or compressed and broad, as in the cocktail glass and lampshade. Regardless of its modifications, you should first search out the basic cone shape; then begin to draw your object. Ice Cream Cone, Step 1: I begin by drawing the entire geometric cone. Notice how the line which I draw through the cone’s center helps me establish the proper proportions and thus, the cone’s symmetry. Ice Cream Cone, Step 2:

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