HOW T0 cameccereecuc DRAW DRAWING ond SKETCHING by Stott Robertson with Thomas Beriling ds designstudio DDEDICATION This book is or those wih @ passion For dkawing and learning Never sop! Slop-by top videos ore on inlegral pat of the How To Drow educational experiencel Use © smartphone or tablet to open a GR Reader app and seen this GR code, I links 10 the Design Siudio Press image recognition opp needed to play the videos. Downlood the DSP app, scan Scots photograph fem page 008 and an introductory vdeo wil lad, All of he pages inthis book that link to educational videos have a "play buton® at the botom, tte is No smortphone or label? No worries Go to page 206, ype in the URL on any computer to gain access fo the entire links list, Copyright © 2013 Design StudioPress. Al ighs Reserve ‘Ale! ond ertwot in his Book are copyright @ 2013 Scot Roberton, Thoms Bering ness dane by one of hit Former sidents o s noted oughout the hock No parts of his bok may be repradiced or ansmited in any frm oF bony meons, sector cr mechanical, induding photocopying, xerogrophy, end videography recording wiout writen poision rom he pubar, Design So Pres apy kare: Malo Ke, Eke G. Berting, HctberK, Denis, essica Hainan | Graph Design: Caco Zo Published by Detgn Sua Pratt adress: 8577 Vigra Soot, Clver Cy, CA 90232 | Wa ar designsticiores com | Emmallsife@desgnahiciopresicom Printed in China| Fil Eon, Noverbe 2013, 987654321 Library of Congress Control Number: 201294344 | Wardeover1BN-13: 979.199349273.5 | Poperback IBM-13: 976.199349259.9INTRODUCTION | pact 8 TABLE OF CONTENTS craprer O1 Drawing Materials and Skills | ace 010 o12 013 ona ons o16 017 ole ors cispree 02 Perspective Terminology | rit ore 022 023 024 026 07 930 032 033 034 936 037 040 042 ous 046 048 049 050 051 053 054 057 058 081 062 068 CChoceing Your Drawing Materials CChecting Pens and Paper The Ceat of Drawing Practicing Freehand Straight Lines XYZ Coordinate System Practicing Freehand Smooth Curves Practicing Freehand Elipres Drawing an Ellipse onthe Minor Axis Defining the Perspective by the Viewing Postion Cone of Vision - COV Finding Vanishing Ponts on the Picture Plane Physical Porallel Lines Converge to-a Common Venishing Point Horizon line Relative lo Psition coweree 03 Perspective Drawing Techniques | rxctor Division and Multiplication of Dimensions in Perspective ‘Mulilying ond Dividing Rectongles Dividing into Odd Numbered Proportions Mircoxing in Perspective Miroring Tited Planes -Mircring Rototed, Tied Planes Mirroring 20 Curves Mirrcxing a 2D Curve ona Tied Surface Mirresing 3D Curves in Perspective: The 2Curve Combo Perspective Grid Types Perspecive Grid Construction Diagonal Vanishing Poin Station Point Method ‘2Poin Grid Constuction with Vanishing Points on the Page Rotated 2Foint Grids with Some-Sized Squares Tronsfering Scale in Perspective ‘The Brewer Mathod: Consructing @ Grid with Vanishing Poin of he Page Creating 0 Grid of Squores, without Diogonal Vanishing Points When to Use @ Compute-Generated Underay (Other Benefits ond Ways to Use an Underlay Not Al Perspective Grids Are Created Equal ‘Assembly ond Exploded Views Scat Roba | Ths Bang | MOW TO DEAN 005aries 05 Ellipses and Rotations | rac o7 -- 072 073 074 074 075 076 078 079 082 084 08s 086 88 089 090 092 093 094 096 100 102 cuarree O7 Drawing Environments | rtce 104 oa = 108 hee UT 110 na Ns ie Ne 10 124 126 128 130 132 133 137 142 146 So Sobor | Thon Baiog | HOW Y DRAM Elipse Bosics ond Terminalogy Placing @ Circle in Perspective or Drawing Ellipse Creating @ Cube Using Elipses Ofseting Elipses Hinging and Rotating Flaps and Deore Subdividing Elpses Shortut o Dividing Elipses Placing @ Circle on @ Sloped Surface Planning Before Perspective Orthographic Views, a.k.0. Orthogonal Views or Draft Views Transferring @ Side View into Perspective Puting Al Together: XYZ Section Drawing Extending the Sections 2Curve Combo Cuting Volumes ‘Adding Radi ond Fillets Wrapping Graphics Detailing ond Seulpting Surfaces ‘Moe Tips for Modifying Complex Volumes Contour lines, Overlapping and Line Weight XYZ Saction Drawing Applied Photo Underlay Site Ploning | Thumbnail Sketching NonPhoto fue, Then Ink ‘Scifi Environment Step-by Sep ‘Worp That Grd with a Wide-Angle Lens! ‘Outdoor Environment Sketch Stepby Stop Airplane Anatomy Visual Research Drawing From Observation loose Concept Sketching "Paper Plane" ection "Paper Plane" Perspective Grid Drawing a Paper Plone, StepbyStep Using a 20 Underlay Final Airlone Drowing Stepby Step.cxucrts 09 Drawing Wheeled Vehicles | nce 1s2 154 Visual Research 157 Have an ldea or © Goal Before Starting to Sketch 160 Some Basics on Vehicle Pockoging and Architecure 164 Flexing Your Creativity 166 Grids, Grids, Grid 169 Drawing « Side View in Perspective 170 Drawing @ Sivized Side View in Perspective 174 Basic Body Sculpting 175 Drawing the Windshield and Greenhouse 178 Wheel Wells, Wheels ond Ties in Perspective 178 Common Automotive Lines 1B0 Cor Drawing Construction, SlepbySlep Grid 186 Vehicle Sketching with « Wide-Angle Lens ‘cuserts 10 Sketching Styles ond Mediums | rei 190 Ballpoint Pen 191 Copic Marker + Ballpoint Fen 192 Graphite Pencil 193 Colored Pencil 194 Pilot HITEC Pen on Nevespint 195 Copiec Marker + Flot HITEC Pen 198 Non Photo Bue Colored Pencil + Marker + Brush Pon 197 Pentel Pocket Brush Pen 198 Cope Marker + Pon + Gouache 199 Govache on Iusration Board 200 Toned Paper + Mixed Medio 201 Digitol: Sketchbook PRO Glossary | notre Index | race 203 Additional Resources | pace 204 Video Links | rase206 Special Thanks | nce28 Seat barn | Thomas aig | HOW T BRAMINTRODUCTION es 4 Drawing is almost a mogical power. enables you to communica in «different way than spoken or writen language. Perspective drawing lets you convey how things work and how thay look. You can inspire ‘others with something as simple as a pen and « napkin! When | created Design Stadio Press, ths is the First book | ever intended to write, Well DSP turned 10 yeoss ld this past March. With ‘55 other books already in pint, co much fo Plan A! Finally, withthe help of my good Wierd and longlime coteacher, Thomas Bering | bring you the drawing knowhow I've taught fr over 18 years in my ‘own workshops and ot Art Center College of Design. COrgenizing his book wos ike a spoct where you train for years in ‘order to compete at « high level for o few seconds, We combed through over a decodeand half of demas ond lectures to formulate the poges we now present fo you. (Once you master these menogocble parspecivedrawing exercises, you willhove the knowledge to sketch anything kom your imagination to think li @ designer and draw things the world has never seen! Books ore great for lcoking o! beaululy printed reproductions of original drawings and reading about the thoughts and methods behind those drawings, but vidao might be even better for sepby: stop demonstrations. Fr thal reason, many poges ofthis book lnk to clin tulrials, Check ovt page 004 for «fll explanation of how to uso the Design Studio Press opp. ‘Almost al of us drew when we were kids and some of us never lopped. ‘While it takes practice t0 mester the techniques inthis Book, i’ worth ‘he afr. Humans have been drawing for over 40,000 years so you're abou! fo acquite one ofthe oldest forms of communication, ump in ‘ond do the bosic exercises atthe beginning of tis book with pasion. ‘As you master these ancient kl, pass along he knowledge ond teach ‘others the wonders of perspective drawing fom ther imagination lots dew! Sey Reberteen May 31, 2013 los Angeles, CaliforniaIn this chapter you wil learn about all he basic tols needed to get storied with drawing. There are two colegores: materials and sil It is important to know how to pick the right materials for the job ot hnd, As the topic and intent of he sketch changes, so wil he mater cls needed. Quick laos shatches require 2 good flow of nk fo paper ‘ond sometimes stroke should be very light 1 find “happy accidents” inthe deowing, Tight drawings need o lot of etlenton, Optimally, one pen is used lo generat varying thicknesses of lines. To achiove the best workflow, match diferent kinds of poper to diferent pens. When you find your Faverite pen, make sure to buy several Sometimes thot beloved pen goes ou of production way too fost CHAPTER DRAWING MATERIALS AND SKILLS ol Building up mechonical drawing skis is an important factor in ere tating great drawings. It might seem simple, to draw a straight ln, clipe oF curve. But these ekile must become ingrained in muscle memory $0 that concentration con be spent on constuction versus thinking about how te create the lines in the construction. Also, these skill wil help create clean drawings that can be done quickly ond posted long the production line easly, Not heving to use multiple fools wil also speed up the deawing process Building muscle memary tokes Hine and practice, so be patent! Take fon the exercises one at time, end soon your skills will improve O20 | Hono tg | wow vo onan —— 011CHOOSING YOUR DRAWING MATERIALS Inthe beginning, @ lot of money does aot need to be spent on materials. All hat is relly needed are pens, paper and a few basic tools. Brand names don’ mater much, so e's gat into the eritria for choosing motriols Basic tools 1. Gnd template 2 cele tomplte is cute uk! t0 dean vp cicls, expecially in ide views. Acompass is nice to have, but the cite empl i fave se. 2. Sweeps The sweeps pictured obeve contain the moi! commonly sketched ‘utomotve curves, But don't rely on them to dicate your design ‘Always draw your lines Feehand and then we the sweeps to dean them up. 3. Cotton pad, paper towel or tissue ‘vod inkglobs on the page, dab the ballpoint pen frequenty on Sot aban | Thanos arin | WTO DRAW 4. Equal spacing ‘An equal spacing divider is @ supechandy tool thot divides. ony dlitoree into even segments 5. straightedge Use straightedge to constuct grids for underays. 6. Elipse tomplate set Ueelipe emplotste leon up ellipses. Avinoricketore recommended brands since they work for mos stvetions. A good set of elinse guides i ‘on investment, but worhwhile because it wil lst decades.Pens Paper CHOOSING PENS AND PAPER ‘Match the pen tothe paper in order to create drawings with differen line weighs. Idoaly, you want fo be able fo drow beth construction lines ond contour lines without siching your drawing too Ballpoint pens When choosing a bollpoint pen, testi on the poper that you plan to use most frequent to 282 how much ink builds up on the tip ab rmukiple lines are skoiched. A pen that can sketch o last 10 lines without forming an ink glob on the tpi bes. Wo erasing! Being able to erases not an advantage inthis style of drowing. There fare s0 many intersecting constuction lines the iis neely imposible to erase onyhing without disrupting these valuable shortcuts thot help 1o explain your drawing, Pus, erasing slows down the drawing process 0 lot, ‘So what con be done when erasing is ot possible? Drow lightly Ws 0+ ‘simple os that. Sure, some lines might be incorrect, but you can clean up the drawing later with an overlay Refer to the lost chop of this book, page 188, for examples of combinations of moterials used for various ypes of drawings. Choose ‘a paper that works well with your prefrrad deawing teal. A rougher ppoper wil be able to produce bok thin and thick ines with fastr lowing ballpoint pens Types of paper Ty many coninaons of pene and pper unt oot is found iyhieg ron chop copter poper fo special popes wil werk There or couple of special paper thal work wel wih markers ot wel os pon. Be ceca thal ere or wo aos to has paper: one {eis waxed ond hohe rv: Aways crow ot ow ide, The rote side ther fo prevent mores rom Bleeding tough to he tet poge ands trl fo draw on wih morkrs. Softness of the Drawing Surface This fs nat referring o the poper ial, but how it ie wed. Drawing no sol surface enables the bes! line quality. Do no! work on @ herd surface wih a single piece of paper! Have ot least 15 pages under a deawing 1 get the bes line qual posible Working with underlays look for poper that i Fansparent enough go than an underlay can show through, bu! nol so Wensparea! thet the table shows through ‘when you present your drawings. Séotokerion | Thoma ting | HOW 70 DRAW onTHE CRAFT OF DRAWING Drawing requires fll ancenation! Initally you'll spend mos of your ‘energy on craftemanship and construction and very litle on design. The more craftsmanship and constuction sks become muscle ‘memory the more design can become the focus. The first sep inthis Set up a workspace _ ae | el Learn to draw one straight line Scot abet | Toros ating | OW TO DRAW ‘process is to practice the basic erof of drawing lines: stoigh! lines, controled curves and eipses. This book hos several good exercises for practicing these sil. As skills increase, the need to proce these cies will diminish. Lo’ stor with some warmup drawings ‘lear the space! ln order to stay focused, i's best to cleor enough space ond time to commit fully to the drawing. Have a clear work surface with tools atthe ready. Flow will be broken when @ pen ‘or straightedge con' be found! The worst partis thot the rhythm is los for that drawing and what was cleer ten minutes ogo wil tke ‘oncther fen minutes to understond ogain. Hove © soft pad to draw ‘on with a least 15 pieces of paper underneath the drawing for bast lineweight resus. Being able to draw straight lines from point to point and in @ gid is ‘essenil for all ofthe techriquas inthis book. These exercises may sear simple, but todo them well means burning through some paper to buld the necessary muscle memory. lefs look ot the body machonics tho! ore necessary lo achieve @