PI HOW TO DRAW & PAINT Faces Learn to draw step by step Understanding proportion = Drawing facial features Taking different viewpoints = Developing form BY WALTER T. FOSTERinne Chia “gn re Pvt ndings) aterm hey don pes aay pede tm hepato comme ers lc wir a ne se ae oe sige toe tn 301087Faces The unique qualities of individual faces, as well as the emotions they convey, make them some of the most fascinating subjects to draw. And becoming comfortable with drawing the face will give you the confidence to go on to draw the full human figure. This book presents the basic prin- ciples of drawing the human face, including proportion and perspective. You'll learn how to render the face from a variety of views, the differences between adult and child proportions, and how to draw individual features, as well as simple shading techniques that will add realism to all your drawings of faces, And if you study and practice the easy-to-follow lessons in this book, you'll soon be on your way to developing your own unique drawing style. CONTENTS Getting Started 2 Men—Profile 4 Shading Techniques, 3 Children—Profle 16 Adult Proportions 4 Women—Frontal View 18 Childrens Proportions 5 Men—Three-Quarter View 2% Adult Features—Nose & Ears 6 Children—Feontal View. 2 Adult Features—Eyes & Lips 7 Elderly Women. 4 (Childrens Features Eats & Nose 8 Elderly Men 26 Childrens Features-—Eyes & Lips 9 People ofthe World 28 Women—Profile 10 Developing Your Own Style 30Getting Started rawing i just like writing your name. 'You use lines to make shapes. In the art of drawing, you carry it abit further, using shading techniques to create the illusion of three-dimensional form. Only a few basic tools are needed to draw. All the tools necessary to create the drawings in this book are shown here. Pencils Pencils come in varying degrees of lea, from very soft to hard (¢g,, 6B, 4B, 2B, and HB, respectively). Harder leads create lighter lines and are used to make preliminary sketches. Softer leads are usually used for shading, Flat sketching pencils are very helpful; they can create wide or thin lines and even dots Find one with a B lead, the degre of soft- ness between HB and 28. Although pencil is the primary tool used for drawing, don't limit yourself. Ty using charcoal, colored pencils, crayons, and pastels—they can add color and dimension to your work. = DRAWING BOARD Erasers Erasers not only help correct mistakes but also are fine drawing tools. Choose from several types: kneaded, vinyl, or rubber, depending on how you want to use the eraser. For example, you can mold a knead- ed eraser into a point or break off smaller pieces to lft out highlights or create texture. ‘A vinyl or rubber eraser works well for eras- ing lager areas. Paper ‘There are many types of paper that vary according to color, thickness, and surface quality ¢g., smooth or rough). Use a sketch pad or inexpensive bond paper for practice. For finer renderings, try illustration or bris- tol board. Bristol board is available in plate finish, which is smooth, or vellum finish, which has more tooth. As you become more comfortable with drawing techniques, experiment with better quality paper to see how it affects your work. Other Helpful Materials You should have a paper stump (also known asa ortillon) for creating textures and blends. The paper stump enhances certain effects and, once covered with lead, can be used to draw smeared lines To conserve lead, purchase a sandpaper pad to sharpen the point without wearing down the pencil. You may also want to buy a regular hand-held sharpener and a metal ruler. Lastly, a sturdy drawing board pro- vides a stable surface for your drawings. Final Preparations Before beginning to draw, set up a spacious work area that has plenty of natural light. Make sure all the tools and materials are casily accessible from where you're sitting. Because you might be siting for hours at a time, find a comfortable chair. “Tape the corners of the paper to your drawing board or surface to prevent it from moving while you work. Use a ruler to make a light border around the edge ofthe paper; this wll help you use the space on your paper wisely, especially if you want to frame or mat the finished product. DRAWING PAPERShading Techniques hhading enables you to transform mere lines and shapes in your drawing into three-dimensional objects. As you read through this book, note how the words shape and form are used. Shape refers to the simple outline of an object, while form refers tothe object's three-dimensional appearance, See the examples below. This i an oval shape. ‘This has a three dimensional, bake form. Value i the relative lightness or darkness of a color or of black. For example, on a scale from white through various shades of gray to black, white is the lightest value and black is the darkest value. Gradual blends can be created using the side of a 2B pencil. Shade in tone direction to make the vertical finish on the left. On the right, see that two “blend angles” produce a smoother finish, Stat lightly and increase pressure as you work to the right: Make patterns using the side, a spy and sharpened pine of an HB pencil. Shade the backgrounds first; then draw patterns over them. Pressing harder creates darker effects. My Ni i Left: lt a ore HB peneil to draw this line pattern Right: Shade alight background witha round-pointed HB pencil, Then use a sharp-pointed one to draw the darker, short lines over the background, re Draw groups of random- ly pattemed lines using a ound HB lead. Right: Use the side of an HB to shade the back- ground, blend with a paper stump, and then add patterned lines over the background, [FLAT SKETCH PENCIL ‘ROUND SHARPENED FLAT ‘SIDE OFTHE ROUND —, ‘sur ROUND ‘PAPER STUMP/TORTILLON Pencils can be used with sharp, round, flat, or blunt points, and several techniques can be combined on one surface. The paper stump helps smear the lead, making a blend softer. Experiment to see what kinds of textures you can create on your own. : Create blends and lines Tike these with a blunt round 2B pencil. Right: Use the same technique as the left example; then blend softly with your finger or a paper stump, Leftand right: Make lighter background shading using the side of a 2B, Then apply alittle more pressure for the darker patterns, varying the angle of the strokes.Adult Proportions ‘earning the proper proportions forthe human face is critical to accurately drawing it. Proportion is the comparative relationship among parts relative to size and placement. The examples on this page illstrate how to determine the correct size and placement of each feature. Once you know these basics, you can modify them to achieve a likeness to your subject. Differences in proportion are what ‘make each person unique. First sketch an oval, and divide i in half horizontally and vertically — Hr (Al with light guideines as shown tothe right. On an adult, the eyes fall onthe horizontal center line usally about one eye-width apart. ‘The nose is located on the vertical center ine. Study the diagrams to lear the other proportions and placements for the features. rate a he ein ‘the bo tn othe battom ofthe noe ‘The cranial mat ede into thie to place the ear. The long ofthe face 1 approximately equal to {he dpth ofthe oad. 7 weet hata between the tow tnd th bottom of he ciaChildren’s Proportions the proportions ofa childs head differ from those of an adult. For example, children generally have larger foreheads, so the eyebrows—not the eyes—fll on the horizontal centerline. Also, a youngsters eyes are usually bigger, rounder, and spaced farther apart than an adult. As shown in the diagrams at right and lower left, use horizontal ‘guidelines to divide the area from the brow Tine to the chin into four equal sections. Use these lines to determine the placement of the eyes, nose, and mouth < * As citren got lr, ter faces become longer, andthe all proportions change scons ‘As show abo he fread can be dhided vray nto fe equal = ‘etlons Retr to thse guiines when placing th ail eetues Notice that, a the ce becomes longer and narrower th chin becomes more sue, nd the eyes appar smal. Notice that a eile’ forehead protradesfarthr than fh ada’ and thatthe hain starts much higher,Adult Features—Noses & Ears f you are a beginner, it isa good idea to practice drawing the facial features separately. This way, you can work out any problems before attempting a finished head drawing, Additionally, always try to work from a live model or clear photographs. ‘This is much easier than trying to draw from your imagination. {ih Frontal View ( te ‘The loner portion f the nose I made of catlage, ‘le the upper porto ls supported by bone, As, ‘he tof the nose usualy has 2 Sigh ball shape ‘The nose is important tothe character and personality ofa person's fae. Study your subject from different angles, ooking for the shapes and planes of the nose. Block in the base shapes with simple lines, as / illustrated below. Then refine the lines into / subtle curves, according to the shape of the Via i) individual's nose. & Obsenethesublect lost ensure that our ering s accurate % % % Upward Frontal View Three Quarter View As shown above, the ears usually connect to the head ata slight angle, Notice, also, that the width is generally about one-half the length, The ear can be divided into three sections, which make it easier to see the basic shapes and ridges. ‘To draw the ea, first block in the general shapes then lightly sketch the ridges, as in step A below. In step B, begin shading with- in the ridges to develop the form. Finally, add the darkest values. Notice that the white areas are as important as the shadows, The lightest values ae called highlights. ‘When shading the nose, don't make the nostrils too dark, or they might draw too much attention. In general, men’s nosteils are angular, while women's nostrils are more gently curved. Process ofan Aging Nose Yad ‘This diagram shows how the nose changes as a person ages. Over the year, the tip begins to sag and turn downward. These details are ‘important for producing realistic worksAdult Features—Eyes & Lips a the eyes are the most important Feature for achieving a likeness to your subject. They also play a large part in communicating the person's mood or emotion. You can become skilled at drawing eyes by practicing the examples on this page. Affer blocking in the basi shapes, begin shading to create the form. Pay particular attention tothe planes ofthe face around the eyes. The shading should indicate the eyes’ depth and indentation into the face. A. sharp pencil is useful for creating the creases and comers ofthe eyes. The shading should ‘gradually become lighter as you move away from the eyes. ‘The eye a sphere, so the yee and the skin Ioneath the eye shoul be drown over the spore ‘When drawing lips, itis important ro observe their form closely. Familiarize yourself with the various planes ofthe lips, ‘When shading, pay particular attention to the location of the highlights, because they enhance the lips’ fullness and form. < e Li —— j y ‘ oy ‘9 = ’ ° ‘Shade in the cretion of the planes of he os. Wen shading man's ips, hosp the vale {ight prevent the moth tom appearing ‘25 though ls covered wth pstck.Children’s Features—Ears & Noses ( es important to study the differences between the features of children and those \ of adults. In genera, children’s faces and features are smoother, rounder, and, of course, smaller. Therefore, the shading should be rather minimal and light. CA \y ( K 6s » ¢ Two intersecting guldtnes help —~ ‘establish the ange ofthe nase. 4 y C=) Leave angi on To begin, study your subject’ features; then owes block inthe basic shapes. Develop the form with shading, but keep it soft, smooth, and delicate, as shown on these examples The liveliness and. innocence of children Generally, the values are fairly even, only make then exciting drawing subjects. Gy crevices ofthe ear As the illustrations show, you should first lightly block in the base shape of the ear or nose. You may want to indicate a few of the areas that will ave darker shading, \w ‘The combination of ight and dark values tnigs out the eoetous of the ea.Children’s Features—Eyes & Lips ildren’s eyes are generally rounder than an adult’s, and the skin around them is smoother. When drawing children’s eyes, aim to create a sof, innocent expression by keeping your lines and shading delicate ~e, a @ De <— WW oe \w ere the eye in sleepy Te saan Tnicte the angles. Note the position of of the top and bottom should covered by the eyelids. —= ww a mouth may have small dimples because they indent into the cheek slighty The tp tip usualy pots Slight ovr te lower one. a ce Charen oten exit widesye,. “he hhh In the pols a ie ote Don't make the common mistake of to draw each tooth separately. Simply the teeth as a group with subtle shapesWomen-Profile nce you have practiced drawing the facial eatures separately and have memorized the proportions, you can combine your skills to draw the entire head. Start witha simple rendering that has minimal shading, such as the profile shown here. 0 Once you're familiar with the proportions, you can quickly lay down the basic shapes ‘with jst a few lines. Fist sketch a curved Tine, and add guidelines for the features, as shown in step A. Sketch the features on the guidelines, and then reine them into recognizable features, as demons steps B and C. Always take the time to ensure that the features are drawn cos rectly. Even a drawing with minimal details requires attention and cae. ‘dy brash and blak na ink ae wed to create the dark, bol lines ofthe fished drawing. Dont worry ifyou have to use pour eraser often. Everyone, evens professional artists, makes mistakes, Just remember to (practice, practice, practice, and soon your skills will be quite good. eS For step D, use a blunt-pointed pencil to suggest the hair, adding just afew lines to create the general shape. Although the facial features arent very detailed, a loose rendering like this can stil provide a good resemblance to your subject.‘This drawing is slightly more developed than the previous exercise. To make your lines smooth and fresh, keep your hand loose, and try to draw with your whole arm rather than just your wrist. As shown in step A, use an HB pencil to block in the proportion guidelines. Then careflly sketch the basic shapes of the features, as shown in steps B and C. Check your proportions before continuing. Finish the drawing by refining the shapes, suggesting the hair, and adding minimal | a shading to the lips and nose, 4 + \ ‘A pnel sharpened to a chisel point is used to create the broad strokes forthe ba = > ‘seam HB poe for your Wckin sete a 8 28 0 8 or shang and tals, J a Practice with simple renderings until yourare able to capture a likeness of your subject. Later yow can progress to ‘more detailed drawingsR Women-Profile [iz tteprion doin is pris good exercise for becoming accustomed to placing the features correctly—as well as practicing how to draw the individual features, Pay close attention to the shapes of the nose and chin; these features will greatly affect the overall appearance. Be fw. F. Practice developing form by soding ety on ts page In step A, begin with astightly curved vertical lin, and add guidelines according to the proportions you've leamed. Then lightly block in the features. In step B, begin to refine the shapes. Ask yourself what your subjects nose looks like. Is it long or short? Broad or narrow? Does the tip turn up o sag down? Is the bridge sloped, or does it have a bump? These are the types of factors that will determine whether you achieve a likeness or not. Draw with ol, ante nes ater tan th, srt ns Ina singe rendering — sucha thi one, jst 2 Suggestion of eyelashes sal you ned “\ ~ Dont dravw-a small head, inthe corner of your paper. Use the whole space!By now you should be able to create a strong. rendering using simple lines and techniques. In this drawing, contour shading makes the subject appear much more realistic. Tn step A, use an HB pencil to lightly sketch a profile with guidelines for placement of the features, In steps B and C, refine the block- i lines, bringing out the eye, nose, mouth, chin, ea, and hairline, Then add a suggestion of hair, and smooth out the lines, creating a soft, feminine appearance. Minimal shading gives this portrait depth, a A ‘The illustration below shows the various planes ofthe fice. Being aware of these planes will help you to shade the face more accurately. Fe /\ Plane ofthe Face Darker shading hte establishes Ifyou dow have a model to work from get a mirror atudetry a self portrait: Many of the old. masters practiced this way. B“ Men-Profile hese profiles include a new element: clothing. When drawing clothing, the ‘goal isto make it appear natural. It should i —_ skatch your gute not look as ifit has been pasted onto the —_— eh tough th hat they subject as an afterthought. Therefore, you canbe eases ite. should ahvays include the clothing in the lock-in stage. nthe thas that In step A, sketch the basic proportions lta! for the features, adding the hat in step B. Remember that the hat fits around the heads it doesn't st on top of i Additionally, the top ofthe hat will be slightly higher than the top of the head, and the top of the ear will be covered by the rim of the hat. Although the man’s head is at profile, note that his body is tured slightly forward. This is apparent because the tie and collar are filly visible. Is also important to know that you can use just afew simple lines to suggest the clothing, wer oF Compare this subjects masculine features with the women subjects’ feminine features on the previous pages. Notice that this subject has a stronger jaw, sharper nose and forehead, and thinner lips.‘This man is slightly older than the subject on the opposite page; the wrinkles along his face are an obvious indication, Also notice that he is tumed completely at profile, so the view ofthe tc, shirt, and jacket ae diferent. As usual, draw the block-in lines in step A. Build the features on these lines. In step B, draw the est ofthe head and begin to refine the features. Keep checking your proportions before continuing. In step C, add the outline of the collar, tie, and jacket. 2 sie usualy eretes nes sound ‘he mouth and rounds ot tho cheoks Ta create the slckotack the strokes inthe same rection as show Expression is anc important part of drawing the huwmas head. For practice, make faces it a merror, ated try drawing what you see. For the final details, such as the hair and shading on the tie, you can use a charcoal or a brush and black India ink. (Before using brush and ink on your drawing, you might want to practice making different types of| strokes on a piece of scrap paper.) Finally, add a few “smile lines’ around the mouth. 15Children—Profile the youth of children is brought out with a delicate approach. Simple renderings like these require minimal shading to create the appearance of smooth skin. Tn step A, begin with a very simple block-in method, using a curved line and horizontal strokes to determine placement of the eyebrow, eye, nose, mouth, and chin. In step B, sketch in th the outline of the hair. Study y make sure that your proportions are correct. ‘The tir bon shoud appen to wap around the head shoe. ook a5 ls sting ontop of Try to make Bend into the ha ( WE {he fl droning eS = iG “fb ~ _ SF ~ 4 » 4 2 Remember that én sine hae smooth, ‘ound fats In step C, refine the features, and suggest the waves and curs with loose strokes. Inthe final rendering, develop the features, making your strokes bold and definite. Note that you don’t have to draw every strand of hair; just a few lines are enough to indicate the hair style. of thing 0 the head deca appene ‘te eating inthe lle the pape.‘This drawing of a young boy uses a slightly different block-in method than was used inthe previous exercise. The outline of the entire head shape is sketched first, along with the proportion guidelines. OF course, you can use whichever method you prefer. Lightly sketch the overall head shape in step A with short, quick strokes. This may be tricky because the head is not at a complete profile—but you can doit! Observe your subject closely; notice that a portion of the right cheek is visible, along with the eyelashes of the right eye. NN iy \ % a) es 2 a pee ‘YZ nt to ent x Tn step B, begin to darken and smooth your ca cemaea ee block-in lines into more refined shapes. yaticis is Keep checking your proportions. ‘As you reach the final, develop the form by shading within the smile lines, under the chin, below the hatline, and inside the part of the hair. Ad some spots along the ‘hook to sues feces. With just a fewr minor changes, you can change the expression on your subjects face. Try raising the epebrows, widening the eyes, and opening the mouth. What happens? WWomen-Frontal View Yor these frontal view drawings, you . Step A shows minimal proportion guide- ‘vill need to pay special attention to the lines. You will be able to start with fewer position ofthe features. Ina profile, for j Tines as you become more comfortable with example, you don't have to worry about a 1 your drawing and obseraion sls. Even aligning the eyes with one another. Study > <=] the two lines shown are helpful for deter~ yur subject closely, because a small detail such as the distance between the eyes may determine whether or not your drawing achieves a strong likeness fo your model, mining placement ofthe features. \ ‘tow lose, cuving stokes wth 2 ‘ese tpped pel can eeate the appearance of a fl head of hal In step B, make the facial features more recognizable, and begin to suggest the hair ‘Notice that features are rarely symmetrical for instance, one eye is usually slightly larger than the other. To finish the drawing, create Isemnances bythe tek, J atk eyebrows. ears Most ofthe shading and detail for this drawing were done with a brush and India ink, although charcoal was used for the guidelines and initial sketching. Brush and ink isa good choice for creating the thick, dak facial hair. eap practicing if you want to become a modern-day master! 2Children—Frontal View his subject was rendered with very simple shapes and lines. Remember that your artistic style should reflect the nature of your subject. To achieve the youthful look of a subject lke this one, use clean, polished lines and minimal shading. Use an HB pencil for the prefiminary sketch in step A. Remember to use the proportions you leamed for a chil’ fae. Continue to develop the features as shown in steps B and C. Notice the wide-eyed expression and pouty lower lip The upper pat ofeach ss east bythe top ey The long eyelashes ‘enhance the yout, Inmaceat appearance. Once you're satisfied with the pencil drawing, trace over your lines with a felt- tip marker. This will give you a clean line drawing like the example above‘This young git is not positioned ata full frontal views therefore, the vertical division Tine must be placed slightly off eenter. This will help you to correct place the features. _ Pee ’ PA ——- Many beginners make the Use your HB pencil to sketch the basi anit ochre shape and aitelns instep A. Then block tooth, creating the illusion that in the features in step B. The position of the subject has false teeth To each feature will depend on the age ofthe make the teeth look natural, Ten Bete hewn yer Child—so observe your subject closely. sdrus thewas one large shape SSeS nthe hal Ad mor stdin on this seo the ace In step C, begin to refine the shapes. Draw the bows in the har at this stage so they don’t appear to be pasted on later. Remember to adjust the proportions as needed for the angle ofthe head. When you are happy with the block-in drawing, cre= ate form by shading according to the light source. Here the light is shining from the YZ Zz right (the subject’ left) 23Elderly Women —_ these more advanced renderings bring out the character of the subjects. The elderly ‘woman on this page, for example, appears stern and serious, while the woman on the opposite page evokes a certain kindness and gentle sprit. Using the usual proportion guidelines, block in the face. Remember to include the hat as part ofthe initial sketch, as shown in step ‘A. Add shapes to indicate the wrinkles and loose skin in step B. ‘ho shapes ofthe woman's ‘ye itor sigh, As people age, certain features wil begin to sag and perhaps become less symmetrical. Notice that the shading strokes are rather harsh and bold. This technique creates the appearance of rough, weathered skin, Be sue to include the pronounce erases ‘ound the mouth and unr the eyes these deta give your subject character oS = ‘ 18s exeiting to draur unique-looking \ individuals, Seek out characters that 7 will challenge your skills, 1 fant‘The small, sparkling eyes and fragile hand of this woman create an entirely diferent mood from the previous subject. Here the facial expression is more delicate, producing a feel: ing of compassion and sympathy. features, and lightly block in the ears, nose, and mouth. In steps B, C, and D, continue to develop the features, adding craggy lines for the wrinkles. Inthe final drawing, shade the face to create the aged appearance. Hands can be difficult to draw. Study your own hands, and practice drawing them on scrap paper. Check the proportions to make sure your drawings are accurate. For exam- ple, the length of the hand is approximately equal to the length ofthe face. What other hand-proportion rules do you see? Occasionally step back from, pour drawving to get a new perspective. Ask yourself ifyouive created the right inood. atu personality. if not make. adjustments! Keep the head wrap simple; rviges 2 tsi ame for Dark hateng strokes emkance te tage, bony YY sppearance of th hongElderly Men Iderly men are good subjects for practicing variety of techniques, such as drawing ‘wrinkles, thinning white hais, and aging features, Pay close attention tothe details to create an accurate rendering Minit shading on he bead ‘suggests thing whit at. Coarse shading ove the font fac ees the ‘This model exhibits a somewhat worried ‘expression; notice how the eyebrow angles down slightly in step A. Use bold lines to velop the features and hairline in step B. Begin shading with diagonal strokes, chang- ing direction slightly to accommodate the uneven surface Note the lone skin on ‘the neck; the nck lends into the ein, Indicate the shit ond te oie the rain: the head shoul’ appear as ‘hough t's floating onthe paper.‘Two media were used for this drawing. A chisel-tipped 6B pencil was used for the shading on the face, and a brush and black India ink were used for the darkest details Experiment with different drawing media to create new effects. Practice will allow you to develop your own, artistic style. Keep at itt YS Shade th darkest ores A frst. Be sure to leave Tah areas for hats. hen ssening yoursuect, [0S ook for nique charctrtios ‘and the bum on the nose. Lo As always, begin with quick proportion {uidelines. Then sketch the basic shapes of the features, including the bushy mustache. Keep referring to your subject, checking the proportions and shapes. When the sketch is to your liking, crete form through shading, 7People of the World Wes tating tes ofeinicbcke Fox hs young boy ofc, begin ual ‘ground, it is important to study their with guidelines and a block-in sketch, features and proportions closely. While you Look for the features that make the subject ‘may find some characteristics typical of unique—for example, large, round eyes, ‘certain ethnicity, there are still many vari- a wide nose, and fll ip. Notice that ances between individuals. Your observation the eyes are especially dark in value, skill will be tested with these drawings! _ providing a striking contrast to the white highlights To render the dark skin, use charcoal or a soft-ead pencil to shade over the fice with lel strokes. Leave areas of white for highlights especially on the tip of the nose and the center of the lower lip. ‘The sight darker rea The diverse population provides endless opportunities - ye for drawing subjects; continue to observe people around 4 a Le ag etree challenge and improve your sills‘This Asian girl has her head tilted forward, which requires you to adjust the proportions. In this position, where the chin is close to the chest, the length ofthe face should be shortened, leaving a larger ara forthe top of the head. This adjustment isan example ‘or further information on ce Walter Foster's Pe Notice how the guidelines are altered in step A. Observe your subject closely to determine the differences. In steps B and C, develop the features, and suggest the hair and costume. Asians generally have shiny, black hair, so try using a brush and India ink, as shown in step D, to achieve this effect. Leave small white areas for high hancing the sheen ofthe har. plenty of practice! Dont try to draw from your imaginations alioays use a live model or photograph 29Developing Your Own Style hese last two subjects have distinctive characteristics that will lead to intresting artistic works. As you follow the steps, notice | the manner in which the facial features are er developed and how shading is used to add ~ depth and create interest. 4 | S NX | dark background can ‘be od fo eat the shape of the profi To develop your own artistic style, experiment with different techniques, and use all kinds of media. Try minimal shading or heavy shading; keep your lines loose or make them deliberate. It’ all up to you!f Drawing is a life-long study. You will always a be able to find new subjects to expand your — skills and. develop your own style. Be sure to keep practicing — you will be proud of yourselft \ ‘Tho wnfleched areas ofthis rang aan atte coment, ‘ocusng the viewer onthe ne deta f te fce. 31wn About the Artist Walter T. Foster was born in Woodland Park, Colorado, in 1891. In his younger years he worked a a sign painter anda hog medicine salesman, He also performed in a singing and drawing vaudeville act, Walter invented the first postage-stamp vending machine and deew political caricatures for several large newspapers. He's well known as an accomplished artist, artinstractor,and art collector In the 1920s, while running his own advertising agency and instructing young artists, Walter began writing sl-help at instruction books. The books were fest produced in his home in Laguna Beach, California, where he wrote, illustrated, and printed them himself. In the 1960, as the produc line grew, he moved the operation toa commercial facility, which allowed him to expand the company and achieve worldwide distibution, Walter Foster was a truly dominant force inthe development of ar instruction books that make it possible for many people to improve their art skills easly and economically. Walter passed away in 1981, but he is fondly remembered for his warmth, dedication, and unique instruction books.