Without really meaning to, I seem to have embarked on a How-to-Begin-Your-Drawing series.
I spent some time in our last post on technique: making sure our drawing fits on the page and is in correct proportion and scale.
Today, I want to talk about your mental game. It’s so important to remember that learning to draw is a journey and NOT series of masterpieces one after another.
I like to remember Dimitri Martin’s great visual breakdown of what success looks like:
All of us here are just beginners compared to the masters that inspired us to draw. We WILL improve as we commit hours to following in their footsteps, but we’ve got to remember it’s an ongoing path with many phases when the going gets rough.
What is a beginning artist to do?
Remember to set an intention for each drawing you begin. Focus on one element of the drawing which will build your skill set and ability to engage in different ways of seeing the world around you.
Here are examples of possible intentions you could set for a drawing:
-Create an accurate LINE drawing;
-Focus on shading and VALUES;
-Loosen up in a short, timed warm up series;
-Draw 10-minute studies before beginning a longer drawing
-Look at the page as little as possible. (This can help boost your speed.)
Spending time erasing and tweaking a single line can make a single drawing take days. Instead, up your pace and use continuous, confident lines as much as possible. We learn more from committing to an unbroken but inaccurately drawn line than a hesitant, feathery, and oft-erased line.
It can feel soooo yucky to watch your drawing sit there on the page just…wrong. Inaccurate. Not perfect.
Worst case scenario: you end up with a terrible drawing. The good news is, hey, your drawing is done! You got there faster and with better line quality. Now start a new one and see if it sucks a little less.
I’d like you to consider that any terrible feelings of inadequacy are going to start re-training your brain real fast (we remember our mistakes 3x more than our positive outcomes). It’s a learning curve, which can be bumpy, but the sooner you start the habit of continuous lines, the better! You’ll draw faster and more accurately.
Are you a perfectionist?
This post might sound like kryptonite for the meticulous among us, and easy for fast-drawing sharp-shooters. Comment below with what #number you think you are on a scale of 1- 10, 10 being super-anal perfectionist, 1 being a wham-bam jam things together type?
So, hopefully you have checked out How to Start a Drawing by beginning with simple guidelines. Now let’s apply similar steps to begin a drawing of our hand, and then finish the drawing up with some simple shading.
Don’t freak out yet! Yes, hand are complicated, but everything is made up of simple forms, like the cylinders we began last lesson with. We work with the hands a lot in 10 Steps to Drawing, because they can be so expressive and architectural at the same time.
Look for Big shapes First, then Small shapes…
Step 1: Begin with the End in Mind: What scale are you drawing? (large or small?) Where will this fit on your page? (top, bottom, middle?) Is there room to grow in case you have to adjust the proportions as you draw?
Step 2: Find the “aura” of your hand, imagining it has a light shape surrounding its outline. Use the air-drawing technique to practice the curves, then commit to lightly drawing a guiding shape on your page
Step 3: Find the biggest shape or curve in the hand that pops out to you. Here it is the rounded rectangular shape of the thumb. Less is more at this stage. I’m using pen but I’m still drawing lightly.
Consider also the curve between the fingers. Imagine a light arcing line connecting them, and lightly draw it in as a guide your fingers will fit within later.
Step 4: What is the next biggest shape that pops out to you? (Avoid details!) Search for the Negative Space (between and around the fingers and around the hand) and draw those “shapes” to maintain proportions. .
Don’t worry if you have to adjust away from the original guidelines your put in. They’re only there as a suggestion
Step 5: Begin to find the areas which are shaded on the hand, and for now evenly cross hatch lightly in a value-map.
Step 6: Start to add variety to the quality of your lines. Where should the lines be thicker? Thinner? What kind of hatching or blending can you use to create a full value scale (a range from light to dark?)
Step 7: Now that you’ve got your hand’s architecture in, go for more detail: texture and shading. Remember to consider your light source as you shade.
Step 8: Emphasize the core shadow in the fingers and palms to get the cylindrical quality of the fingers. I went ahead and darkened some of the edges of the hand, but not everywhere. Sometimes it’s nice and lends a sense of a highlight to have a very light or disappearing segment of your outline.
So now we’ve got another take on how to begin a drawing with guidelines and marking out big proportions on the page BEFORE moving on to details.
Now it’s your turn 🙂
Take a minute to sketch your hand on a piece of paper near you and comment below on what you though was the hardest part of the process. Extra points if you add a photo of your sketch!
With a blank page staring at you, it’s hard to know where to begin in your drawing—and almost painful to make the first mark!
What NOT to do:
Begin by drawing the most interesting feature of your subject (be it a portrait, landscape, or still life) and get it perfect before you move on to the next part of you drawing.
When you begin with a small detail in your drawing without first checking that the proportions of the whole piece will fit on the page, you may end up with your drawing “growing” beyond the limits of your sketchbook. The drawing is like a photograph with the person’s head chopped out of the frame.
Start by marking off the outer limits of the subject you are drawing, and key guidelines that will help you navigate your way through the drawing.
Here are examples of ways I begin drawing by marking off my composition and get my drawings started.
Step 1: Begin with the End in Mind—how big do you want this to be on your page?
Step 2: Use a straight edge (such as your pencil) to find the width of the farthest edges of the cylinder
Step 4: Using the width of the cylinder as a “unit” of measurement, count how many units of height your cylinder has (this one is just about 1 x 1 )
Step 5: Mark out the height of your cylinder with small tick marks (as above)
Step 6: Use the “Air-drawing technique” to find the curve of the upper and lower eclipse of the cylinder. Create mini-muscle-memory by tracing the curve in the air a few times, then COMMIT and draw the line lightly in a single curve on your paper
Step 7: With your eye on the place you want your pencil to end up, boldly draw a continuous line as vertically as you can to finish your cylinder
Step 8: Consider the light source, and shade accordingly
Step 9: Squint, so all your lines look blurred. Then keep turning up the contrast-yep, even more. We are aiming for a core shadow on the opposite side of the light source and a subtle gradation from dark to light.
And there ya go, our cylinder is complete. Without planning our beginning proportions and considering the light source in our first steps the drawing can fall apart. This may be a super simple example, but it applies to anything we could think of to draw. We’ll check out a more complex shape, drawing the hand, in the next post!
In the meantime, try sketching this cylinder yourself, and pay close attention to the way you begin your drawing. What steps do you take?
Comment below and let us know how your steps are working for you 🙂
Studio A’s day camp for kids is more than just art. Spanish classes, field trips, jewelry making, dance, community service, cool science projects, and more will fill our days, and tasty healthy meals will fill our tummies.
Fun will include but is not limited to:
-Create your own comic books
-Learn what secret ingredients you need to make your own slime
-Create a paper-mache volcano, then make it explode!
-Games, painting & sculpture building
-Visit the park, Plaza Civica, and the Botanical Gardens
Sign up now and reserve your child’s spot with a deposit. Each week is limited to 20 students max.
Price: $350/week per child (*ask about sibling & local discounts for SMA residents)
WANT TO HELP?
We’re looking for local students to be nominated to join us who would love an art-focused camp where they could open up their creativity and build problem-solving skills.
Do you know a SMA student who would be just perfect for our camp but might not be able to afford it?
-Send a short paragraph describing your nominee and why they would be a good fit for our camp to: firstname.lastname@example.org
-Students between 6-14 will be considered, english helpful but not required for scholarship. Up to 6 campers can be selected for this scholarship
Want to help send a local student to camp?
-Just $150 will send a student to camp for a week thanks to a generous matching funds donation.
-Donations toward sending a kid to camp can be small or large, we’ve got up to 7 more spots available
Sponsor a scholarship for a student from our nominees.
Contact Jessica at email@example.com for more info
CAMP RECYCLED MATERIAL DROP-OFF
Your trash is our treasure! If you have old magazines, empty toilet paper rolls or other fun things we would re-use for camp, please drop them off for us to use to create with the kiddos! The importance of recycling, our planet, and coming together as a community are a big part of our camp.
swing by between 10:30-4:30pm at #18 San Francisco
Camp director Jessica Antonelli ran the successful “Growing Place Summer Camp” in Galveston, TX, and is a certified K-12 art teacher. Our staff includes wonderful bilingual counselors from here in San Miguel.
Past Summer Camp:
Click here to view the brochure from our past day program, The Growing Place Summer Camp in Galveston, Texas.
And a few pictures from our fun with the kids!
There’s something about drawing the portrait that artists just can’t stay away from. There’s the mystery of getting to know the face as it appears on your page, and the feeling of striking gold when the face you created actually looks like your model.
What you’ll learn:
How do we take our basic understanding of the proportions of the face and adjust them according to the face in front of us?
How can we add depth, shadows, and realistic textures, without losing the accuracy of our drawings?
What techniques and strategies can we use? What did the old masters do to “cheat” realism?
How the heck do you draw hair?
Who is this class for?
Beginning, intermediate, and advanced drawers and sketchers.
What materials will we work with?
We will focus on drawing with graphite pencil and charcoals, and pen and ink.
Watercolors and/or colored pencils are also welcome.
How much does it cost?
$500 pesos or $25 USD.
RSVP by paying now with Paypal below, or contact firstname.lastname@example.org to save your spot and pay in cash or check in person.
Still life painting gives us the opportunity to work with a completely unmoving subject and a continuous source of light. In the studio we are able to focus on form, value, texture and edges, and experiment as we work toward developing our own unique style.
In this workshop, we’ll be painting a lovely arrangement of a flowering onion, a sandwich cake, a colorful vegetable tray, and a stunning desert.
By the time we’re done painting we’ll definitely be drooling over the food, so we’ll move our feast from the classroom to the dining area in the courtyard, and talk art with our stellar view of San Fransisco Church in the background.
Do I need to bring my own materials?
Yes, although we provide canvas, panel, or palette paper as you prefer. If you do not have oil painting supplies, they can be provided for an additional $200pesos (10USD) per class.
What food will be served?
A sandwich cake, with avocado, cucumber, smoked salmon and creamy dill spread. This Swedish recipe is worth painting!
Dessert will be based on a poll of our students to see if we’ll paint a chocolate or lemon themed dessert. Let us know your preference when you RSVP!
Who is this class for?
Beginner to intermediate oil painters. Basic drawing ability recommended.
Complete beginners will be given instruction on which colors to include in your palette, useful mediums, and painting techniques. Color blending recipes will give you go-to color systems for your future still life painting practice.
We will have brief group critique at the middle and end of our session to help us assess our strengths and weaknesses, and decide what to further evolve in our painting practice.
How Much Does it cost?
$1000pesos per person.
This includes canvas, easel, instruction, food, and beverages. Wine, water, and tea.
Additional materials: use of paint, odor-free solvent, brush cleaner, brushes, palette, rags, etc. available for use for $200pesos per class.
We were so pleased to have renowned urban sketcher James Richards teach his workshop “Sketching the Energy of Places” at Studio Antonelli.
Check out his blog here and see his photos of the trip, and some great sketches! He also offers a wonderful online sketching course and teaches workshops all over the world. Highly recommended!
“Postcards from San Miguel” 3-7:00pm Wednesday, March 15th
We’ve had the pleasure of having artist Shannon Troxler teaching Plein-Aire and Life Drawing classes this past few weeks at Studio Antonelli.
She’ll be exhibiting thirty small paintings at the gallery, a collection of oils, sketches and watercolors that capture the everyday moods of San Miguel. The paintings are small and informal, small enough to tuck into your suitcase and take home, just like a postcard.
We will provide watercolor-paper postcards and all other materials. Shannon will work on a small painting of the lovely view of San Fransisco Church. Come by and enjoy the fun!
More on Shannon:
Shannon lives in Jackson hole Wyoming where she has been a professional artist for over twenty five years. Troxler started visiting San Miguel eight years ago in search of brilliant light and saturated color. Shannon enjoys painting the intimate corners of San Miguel. Her paintings are full of bustling cafes and restaurants, arches and fountains, church facades and rooftop views. She paints from life, and can be found in out of the way corners of cafes or perched on doorsteps, sketchbook and paints in hand. Her style is impressionistic and she loves loose, painterly brushstrokes that evoke the fleeting passage of time and capture a particular moment.
Check out her work at www.shannontroxler.com