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SBNIOR ACQUISITIONS EDITOR: CANDACE RANEY
DEVELOPMENTAL EDITOR: JOSEPH ILLIDGE
DESIGN AND COLOR: MADA DESIGN, INC.
PRODUCTION MANAGER: HE

FIRST PUBLISHED IN 2006

BY WATSON-GUPTILL PUBLICATIONS,
A DIVISION OF VNU BUSINESS MEDIA, I
770 BROADWAY, NEW YORK, NY 10003
WWW.WGPUB.COM

LIBRARY OF CONGRES
CATALOGING-IN-PUBLICATION
SCOTT, DAMION.
HOW TO DRAW HIP-HOP / _
-4— p. cm
ISBN-13: 973-0-3230-mt+e-0
ISBN 0-323O-1tWe-O
1. HIP-HOP.
NC825.H57S3a 2
2. DRAWING-TECHNIQUE. I. II. TITLE.
I
7H1.2-D

ALL RIGHTS RESERVED. NO PART OF THIS

PUBLICATION MAY BE REPRODUCED OR USED IN
ANY FORM OR BY ANY MEANS GRAPHIC, ELECTRON
OR MECHANICAL, INCLUDING PHOTOCOPYING,
RECORDING, TAPING, OR INFORMATION STORAGE
AND RETRIEVAL SYSTEMS WITHOUT WRITTEN
PERMISSION OF THE PUBLISHER.

PRINTED IN CHINA

FIRST 2ooe

23 45 6 78 /12 11 10 09 OS 07 0&
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-oattiioit Scott

in covins memory oc ma niece,

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 TIOH
The main question we were asked whenever either of us told
someone we were working on a book called "How To Draw Hip-Hop"
was fairly obvious: How do you draw hip-hop? Our answer was quite
obvious as well: Buy the book.

Now that you have done so (unless you Ye just thumbing through
this in the bookstore, towhich we say: Buy the book or get your
grubby hands off it) you, too, can learn to draw hip-hop. Kinda,
sorta. Hip-hop has its roots in individual expression, spontaneous
creativity, haphazard fashion, and rebellious flair. With this
understanding, it must be said that a book on "how to draw hip-
hop" is defeated before the first word has even been written
because hip-hop has to follow the rules while discarding them,
reinventing them, and creating new ones; hip-hop has to stay within
the lines, even as it pushes them, contorting boundaries into new
shapes, figures, and unseen expressions. So, really it's a fool's
errand to instruct you on how to draw hip-hip—it is, in essence,
attempting to teach the unteachable. Luckily for you, you have
found not one, but two fools willing to explain the unexplainable by
giving you the laws that you must almost necessarily violate in
order to create anything worthy of being considered hip-hop.

This book is only a starting point. No one tome, no matter how well-
crafted, can capture the ever-changing energy of hip-hop. And,
logically, no one book can substitute for an entire art course. It
would be stupid of us to try to make hip-hop static, to put it into
words and make this book a paint-by-numbers exercise—and it
would be silly of you to believe that we have done so. Just as there
is no true consensus as to what constitutes hip-hop, there can be

no definitive instruction as to the drawing of a cultural force that

encompasses music, dance, art, fashion, poetry, and more. What we
have done with this book is capture a small slice from the essence
of the thirty-year-old folk art, billion-dollar industry, and
worldwide phenomenon that has consumed and revamped other
musical styles while redefining the advertising, art, and fashion
industries. We've taken the prismatic artistic expression that began
in the projects of New York's South Bronx during the 1970s and
looked at it as it relates to drawing. And, even on that front, we've
only begun to scratch the surface.
None of thisto say that we've shortchanged you on instruction—
is
because we haven't. Weprovide you with the basic foundations of
drawing: shapes, construction, composition, and all that good stuff.
But we haven't gone into too much detail about certain aspects of
art instruction, opting to present a broad overview of some of the
finer points that make hip-hop drawing a separate breed from more
general art forms. For instance, we've bypassed elongated
discussions of perspective and shading in lieu of more detailed
instruction about clothes and accessories. While the drawings here
may depict specific hip-hop styles that are in fashion as of this
writing (not to mention the artist's particular brand of expression),
the instruction sets its aims on the spirit of what makes the styles
"hip-hop," in order to give you the ability to stay abreast of hip-
hop's permutations and illustrate your own creations. We
don't give
you a basket of fish, we lead you to the water and show you what
a fish is. From there, you're on your own. That's how it was in the
beginning, and that's how it should remain.

Hip-hop is a force majeure, a vibrant, moving, breathing energy. It

is not a creation as much as it is a potent potentiality, formulating
and reformulating itself at all times. Even as you read this, new
forms, idioms, and denominations are coming into existence under
the banner of hip-hop. New connections are being made, unheralded
forms are being constructed, and virgin styles are being birthed. It
may be impossible to catch this creative lightning in a bottle and
have it pose for a picture, but it is relatively easy to learn some
of the properties of this energy. To that end, this book is not about
teaching as much as it is about educating. Our goal is to instruct
you on the movements, logic, mathematics, and philosophy of this
energy. Perhaps then you can begin to predict where it will go.
Figure out its next movement, then draw that. Then, and only then,
will you truly begin to draw hip-hop.

So if you haven't bought this book yet, what are you waiting for?

Damion Scott
Kris Ex
New York 2005
HEY, I'M SHAY. My BIG BROTHER, CAS, HAS GOT SKILLS FOR
DAyS WHEN IT COMES TO ART. HE'S NICE WITH PENS, PENCILS,
MARKERS, CRAyONS, yOU NAME IT.

I'VEBEEN BUGGING HIM FOREVER TO TEACH ME TO DO WHAT

HE DOES AND TODAy HE'S FINALLy AGREED. I'LL BE PAyiNG
CLOSE ATTENTION TO HIM AND yOU SHOULD, TOO.

-\ r
r I'M CAS, AND THROUGHOUT THIS BOOK,
HOW TO DRAW AT THE SAME TIME
I'LL BE TEACHING yOU GUyS
I'M TEACHING SHAy. WE'LL BE TALKING
IN WORD BALLOONS. HOPEFULLy, yOU'LL BE ABLE TO KEEP UP WITH US.

THE MOST IMPORTANT THING I CAN STRESS IS THAT yOU PRACTICE. I'VE
BEEN DOING THIS FOR yEARS AND I STILL REFINE My SKILLS EVERy DA/.
READING THIS BOOK ISNT GOING TO DO ANyTHING FOR yOU UNLESS
yOU HIT THE PAGE AND PUT THE TEACHINGS TO WORK EVERy DAy
AND AS MUCH AS POSSIBLE.

I
*>

*". SN
o
 FIRST THING YOU HAVE TO DO IS GET yOUR TOOLS. THIS SEEMS PRETT/ BASIC,
BUT yOU'LL MOST LIKELy SPEND MONTHS, IF NOT yEARS, EXPERIMENTING
WITH DIFFERENT TOOLS UNTIL yOU FIND THE COMBINATION THAT SUITS
yOUR STYLE BEST. DONT BE INTIMIDATED By THE ONSLAUGHT OF
EQUIPMENT. JUST MIX AND MATCH TO FIT WHAT yOU NEED.

WE HAVE PENCILS.
PENCILS? I USE
PENCILS IN SCHOOL.

YOU USE PLAIN IN SCHOOL. I'M TALKING ABOUT GRAPHIC

OLD NUMBER 2 PENCILS
PENCILS. ART PENCILS COME DIFFERENT KINDS OF GRAPHITE. (THERE'S ACTUALLy NO
IN
LEAD IN PENCILS AND IF THAT INFORMATION WINS yOU SOME MONEy ON A GAME SHOW, I
WANT My CUT/) THE MOST COMMDH DISTINCTIONS ARE *H," *B," OR *F* PENCILS. THE
H" REFERS TO THE HARDNESS OF THE PENCIL CORE, THE *B" INDICATES HOW DARK
NS

THE PENCIL IS, AND THE *F" MEANS THAT THE PENCIL CAN BE SHARPENED TO A FINE
POINT. IT'S NOT UNCOMMON TO SEE COMBINATIONS SUCH AS *HB," WHICH MEANS IT'S A
HARD AND BLACK PENCIL. OTHERS WILL USE NUMBERS SUCH AS *2H" OR EVEN *3HB" TO
INDICATE THE PROPERTIES OF THE GRAPHITE, GOT IT?
IS THIS GONNA BE

WHENCOMES TO MARKERS, yOUR MAIN CHOICES ARE PERMANENT MARKERS VS.

IT
NON-PERMANENT. PERMANENT MARKERS WORK ON MOST SURFACES AND ARE
c
ON THE TEST?

WATERPROOF. MAKING THEM GREAT FOR WORKING ON CLOTHING. BUT WHEN yOU USE A PERMANENT MARKER, ANy
MISTAKES yOU MAKE WILL HANG AROUND ANyWHERE BETWEEN A FEW MONTHS AND THE TIME WHEN THERE'S NOTHING
BUT COCKROACHES ROAMING THE PLANET. NON-PERMANENT
MARKERS ARE WATER-BASED SO THAT yOU CAN ERASE
MISTAKES, BUT IF yOU USE THEM ON CLOTHES, THEy'LL BLEED
AND RUN IN THE WASH. PENCILS:
DON'T BE
ALL OF THESE COME IN VARIOUS SURPRISED
TEXTURES, SIZES, AND COLORS. EACH
ONE IS GOING TO GIVE yOU A DIFFERENT IFSOME OF
EFFECT. AS A RULE OF THUMB, yOU
r
HESEARE
SHOULD MAKE SURE ANVTHING yOU USE ND.
IS LONG AND HARD
NON-TOXIC. THINK
BEFORE USING ANyTHING THAT HAS A
WARNING LABEL. 107™ PEN:
CAN'T FLY,
BUT THEY'RE
GOOD FOR
SKETCHING
OR FINISHING
INE WORK.

MECHA
PENCIL: IT IS
NCIL, BUT
U CHANGE
THE GRAPHITE
YOURSELF TO
KEEP THE
POINT SHARP.
MARKER:
DOES MA
PERMANENT
MARKER: NOT
TO BE USED
FOR DEFACING
PUBLIC OR
PRIVATE
PROPERTY.
\% tools and supplies*
 ON THE HIGHER END OF THINGS, IF YOU WANT TO GET
INTO ACTUAL PAINTING AND WORKING ON HARDER SURFACES,
THEN YOU'LL HAVE TO GET FAMILIAR WITH ACRYLICS, OILS, AND
WATERCOLOR-ALL OF WHICH ARE APPLIED WITH BRUSHES.

BRUSHES ARE MUCH HARDER TO MASTER THAN PENS AND MARKERS

AND REQUIRE MUCH MORE CARE, SO I DONT SUGGEST ANYONE STARTING
OFF WITH THEM UNLESS YOU'VE ALREADY HAD EXPERIENCE USING THEM

THEY'RE ALSO MESSIER, SO DONT WEAR YOUR SUNDAY'S BEST WHEN

PAINTING WITH BRUSHES.

AND WHAT'S THE SPRAY PAINT FOR?

IN THE PAST, SPRAY PAINT WAS

MAINLY USED FOR GRAFFITI-TERRITORIAL
MARKINGS AND THE WORDS OF PROPHETS.
BUT NOW I KEEP IT ON HAND IN CASE I'M
COMMISSIONED TO DO A PIECE FOR A STORE
OR SOMETHING LIKE THAT.
AND ALWAYS TAKE W/ GOGGLES AND MASK
I
WITH ME.AS A MATTER OF FACT, ANY TIME
YOU'RE WORKING WITH PAINTS, YOU'D BE
WISE TO DON A MASK.

GOGGLES
fMASK: INKS: FOR
PROTECT YOUR EFILLING
NECK-OR AT NT / / NSAN
LEAST YOUR KER
MUCUS RKING
MEMBRANES.

KBBWSffiiBM B
MOST STATES, IT ^ mitf. ES:
IS ILLEGAL TO
ENGAGE IN THE
^^ IB**
• •• •
^B
^H
YOU COULD
USE THESE
• • • *^H
SALE OR TO PAINT
DISTRIBUTION OF YOUR LMNG
SPRAY PAINT TO ROOM, BUT
PERSONS UNDER
-J THAT MAY
EIGHTEEN YEARS IZ
OF AGE.

WATER-
\S' RESISTANT
PAINT: WONT
RUN IN THE
PAINTS: FOR USE
WITH BRUSHES. A

1
 USE CANVAS FOR SPRAy PAINT AND HEAVY BRUSHWORK. FOR
PENS, PENCILS, AND MARKERS, I RECOMMEND A FEW
SKETCHBOOKS AS WELL AS DRAWING PADS.

IMIIIII1 iiHiimiiimimm
y
WHAT'S THE DIFFERENCE?
lllllll
^
SKETCHBOOKS ARE TYPICALLy SMALLER AND FOR PORTABLE USE, SO YOU CAN
TAKE THEM AROUND AND SKETCH IMAGES FROM REAL LIFE. A DRAWING PAD IS
BIGGER AND MORE GEARED FOR USE IN yOUR LAB.

YOU SHOULD ALSO HAVE BRISTOL PAPER ON HAND. IT'S HEAVIER, MORE DURABLE AND MORE
EXPENSIVE THAN REGULAR PAPER, BUT A GREAT WAy TO SAVE yOUR FINAL DRAWINGS.

WHAT IF I MESS UP ON THE BRISTOL

PAPER? THAT'S THROWING MONEy
DOWN THE TOILET, ISN'T IT?
YOU SHOULD ALWAyS SKETCH IN yOUR DRAWING
PAD. THEN yOU CAN USE TRACING PAPER, OR A
LIGHTBOX, IF you CAN AFFORD ONE, TO GET THE
FINISHED PRODUCT ONTO THE BRISTOL.

CANVAS:
DURABLE
ENOUGH FOR
DRAWING P/ SPRAY PAINT
WHEN YOU I AND BRUSHES.
SOMETHING

SKETCH PAD
THINK
LIKE AN MP3
PLAyER. SMA
EASy TO CARRY,
AND IT GIVES
you MOR
BRISTOL
OPTIONS.
PAPER: YOU
COULD
SKETCH ON
THIS, BUT THAT
PAPER: DON', WOULD JUST
BITE.ONLY BE EXPENSIVE.
copy youR
OWN STYL

-ll| tooco and supplies

 TO MAKE PERFECT LINES, CIRCLES, AND RIGHT ANGLES, YOU
SHOULD USE RULERS, TRIANGLES, T-SQUARES, STENCILS,
PROTRACTORS, AND COMPASSES.
BE SURE TO USE RAISED ITEMS SO THAT INKS WONT MAKE BLOTS
AS THEY GUIDE YOUR TOOLS. FOR CURVES, I RECOMMEND USING
FRENCH CURVES.

^FRENCH" CURVES? OOH-LA-LA.

mimmnmiiiiii]
THE FRENCH CURVES HAVE HOLES.
THEY COME IN EIGHT BASIC DESIGNS AND ARE USED FOR
MAKING TRUE-FORM REGULAR AND IRREGULAR CURVES.

YEAH. YOU'D USE IT IF YOU WANT TO GET PERFECT, NON-CIRCLE

CURVES. IT WORKS WELL IF YOU WANT TO COPY THE SAME CURVATURE
OVER AND OVER AGAIN WITHOUT USING A COMPUTER PROGRAM. THAT
WOULD BE NECESSARY IF YOU'RE DOING A DESIGN, OR MAYBE A COf^iC
STRIP, WHERE YOU WANTED TO REPLICATE A PATTERN.

STENCIL: THE
FIRST STEP im
TO PERFECT
SMILEY FACES.

O RULER: THE
KING OF THE
STRAIGHT LINE.

1 1 J\ _JI
jmgWWng
- V-V.V.V
-

COMPASS:
REMEMBER
^^^
^^ TRIANGLE:
THIS FROM • • • • YOU COULD
MATH CLASS? • • • • I

I TRY TO CALL
• • • • •
EVERYONE TO
THE DINNER
TABLE WITH
THIS, B
PROBA3L.
WOULDN'T
WORK.

to Ss

CURVES: NO
RELATION TO
FRENCH FRIES. WM
 V* . ; T-A.

CLEAN-UP MATERIALS ARE ESSENTIAL: SOME QUALITY GUM AND RUBBER

ERASERS AND DUSTBRUSHES FOR PENCILS; RAGS, TURPENTINE, AND A WATER
JAR FOR PAINTS, INKS, AND OILS.

YOU CAN ALSO USE TAPE TO BORDER YOUR WORK WHEN USING PAINTS, INKS,
AND OILS. IT ALSO SERVES TO HOLD yOUR TRACING PAPER IN PLACE.

\
TURPENTINE f
PAINT THINNER:
FLAMMABLE!

YOUR WORK
WILL GET YOU />
ON THE ROAD
TO RICHES.

a •«»?

&
teT^Sv^^M HM
BECAUSE
7

EVERYONE
MAKES
MISTAKES. BRUSH: NOT
SUITABLE FOR
USE ON HAIR.
 I ALSO LIKETO KEEP REFERENCE MATERIALS ON HAND. GRAFFITI AND
HIP-HOP MAGAZINES, PICTURES OF DANCERS, ETC.

I ALSO LIKE TO KEEP A FEW CDS ON HAND, JUST FOR INSPIRATION. IT

HELPS CREATE A VIBE THAT ADDS TO THE ARTISTIC EXPERIENCE. PLAYING
HIP-HOP CLASSICS WHILE I DRAW IS A MUST.

SI
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 ALL THAT WAS INFORMATIVE,
yET BORING. AT LEAST NOW
WE GET TO THE DRAWING/

\fr tools and supplies'

 YOU'LL BE MUCH MORE PRODUCTIVE IF
YOU CAN KEEP yOUR TOOLS AND WORK
SPACE IN ONE AREA.

si
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IF YOUR WORKPLACE IS THIS ORGANIZED, YOU'RE PROBABLY

NOT GETTING MUCH DRAWING DONE. WORKING ARTISTS TEND
TO HAVE STUFF ALL OVER THE PLACE.

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 A: PHOTO RENDERED
AS SHAPES.

B: PHOTO RENDERED
AS FORMS.

THE MOST IMPORTANT AND BASIC ELEMENTS

IN DRAWING ARE SHAPES AND FORMS.

ALL DRAWINGS ARE MADE UP OF SHAPES

AND FORMS, AND ALL ARTISTS USE THEM AS
THE FOUNDATION FOR THEIR WORK.

WHEN YOU LOOK AT THIS PAINTING, YOU CAN

EASILY SEE THAT IT'S MADE UP OF SHAPES.

._
OF COURSE IT'S MADE UP OF SHAPES.
ANYONE CAN SEE THAT.
H
CAN YOU TELL ME WHAT THE
SHAPES ARE?

HUH?
%% "
Shape t form
 .......•.....

^
m THE MOST COMMON SHAPES IN
DRAWING ARE THE TRIANGLE, CIRCLE,
SQUARE, AND RECTANGLE.

YOU CAN FIND SHAPES IN

HOUSEHOLD ITEMS IF YOU THINK
ABOUT IT.

COOL/ I'M GONNA

DRAW A DVD PLAyER.

-TH6 TF^\C\fJO>CG

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YOU SHOULD START yOUR PRACTICE By DRAWING
SHAPES. POSITION THEM DIFFERENTIA IN ORDER TO
EXPERIMENT WITH DEPTH, WEIGHT, BALANCE, AND
MOVEMENT. USE yOUR IMAGINATION.

L THAT SOUNDS BORING.

BE PATIENT. IT'LL COME IN HANDy LATER. AND THE

MORE yOU PRACTICE THE BASICS, THE QUICKER yOU'LL MASTER
MORE ADVANCED LESSONS.

A YOU CAN CREATE THE

- B - EXPERIMENT WITH

ILLUSIONOF DISTANCE BY BALANCE AND WEIGHT.

OVERLAPPING SHAPES.

C - USE RANDOM D - CONVINCING SCENES

COMBINATIONS TO LEAD AND ENVIRONMENTS BEGIN
THE VIEWER'S EYE AROUND WITH COMPOSING SHAPES
THE PICTURE. PROPERLY.
 SEE WHAT I MEAN?

YEAH,
BUT WHO'S
THAT GUf?

SIGH.

5 '
V;

kv

SHAY RENDERED
AS BASIC SHAPES.
-a t form ^^
 AFTER YOU'VE DONE SOME WORK WITH SHAPES, YOU
SHOULD FAMILIARIZE YOURSELF WITH FORMS.
FORMS ARE THREE-DIMENSIONAL SHAPES, WITH SIDES
OR CURVES. THEY CREATE A SENSE OF SOLIDITY,
DEPTH, AND DIMENSION.

THE MOST CO^fON FORMS ARE THE WEDGE,

SQUARE, SPHERE, TUBE, AND CONE.

iii iniiii i iiiii i iiiM i niJuim ii imimiiiJi rTnT

mm
i

CUBE: THE ARTIST'S

BUILDING BLOCK.

SPHERE: ALL
BALLS
BOUNCE.

TUBE: SOMETHING LIKE A

BATHROOM PAPER ROLL.
Stoape t f octti
 PRACTICING FORMS WILL GIVE YOU THE ABILITY
TO DRAW IN THREE DIMENSIONS WITH EASE.

YOU MEAN HAVE TO PRACTICE AGAIN?

I I

YEAH. JUST LIKE YOU DID WITH THE SHAPES.

YOU CAN THROW TRACING PAPER ON TOP OF YOUR SHAPE

COMPOSITIONS AND JUST ADD THE DEPTH. THAT WAY, YOU GET
SOME EXPERIENCE WORKING WITH TRACING PAPER, AS WELL.

A: NOTICE HOW THE ILLUSION B: EXPERIMENT FURTHER

OF DISTANCE IS IMPROVED WITH BALANCE AND WEIGHT,
WHEN YOU OVERLAP FORMS ONCE AGAIN TAKING NOTE
AS OPPOSED TO SHAPES. OF SHADOWS.
ADDING SHADOWS WILL
MAKE YOUR DRAWINGS MUCH
MORE REALISTIC.

C: USE RANDOM D: WELL-DEFINED

COMBINATIONS TO CREATE ENVIRONMENTS RELY ON
MOVEMENT AND TENSION IN THE PROPER USE OF FORMS.
YOUR WORK.

~? t form
YOU CAN FIND FORMS IN MOST HOUSEHOLD
OBJECTS. GETTING A HANDLE ON FORMS
ALLOWS YOU TO RENDER IMAGES THAT HAVE
BODY AND FULLNESS.

iiiiiiiiimimiiii

KNOW WHAT I WANT TO DRAW.

 OKAy.
I'M SURE I KNOW THAT GUY.

LET'S MOVE ON, BRO'.

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CAS BROKEN DOWN INTO FORMS.

 THE SHADING ON CAS
AND SHAY'S HATS
INDICATES A LIGHT gHHflH§HH0M0l}0JB
SOURCE FROM ABOVE.

I'DRECOMMEND THE SAME

EXERCISE THAT MOST ART
SCHOOLS DO: DRAWING A BOWL
OF FRUIT.

A BOWL OF FRUIT//?
J
SKETCHING FROM REAL LIFE IS AN ESSENTIAL SKILL FOR ANY
ARTIST.DRAWING FRUIT IS THE MOST CLASSIC AND FUNDAMENTAL
EXERCISE IN DRAWING INSTRUCTION FOR A REASON.

SINCE FRUITS AREN'T PERFECT SHAPES, THEY ALLOW YOU

TO PRACTICE WITH SHAPES IN UNIQUE WAYS. YOU SHOULD
DRAW THE FRUIT AS BASIC SHAPES BEFORE ADDING
FORM. REMEMBER TO PAY ATTENTION TO HOW THE
50 Shape & form SHADOWS FALL ON THE FRUIT.
 f ONCE YOU'VE GOTTEN COMFORTABLE WITH THE
FRUIT, THEN YOU CAN MOVE ON TO DRAWING
MORE COMPLEX ITEMS AROUND THE HOUSE.
> '

EVEN MORE PRACTICE?

jv fN

/ THIS DRAWING LESSON" IS

NV

1 BEGINNING TO FEEL LIKE A GYP.

$sm r-^r^mm°

SEE HOW EASY IT

ONCE YOU'VE
IS,
y
PRACTICED? k*
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NOW THAT YOU'RE WELL-VERSED IN BASIC
SHAPES AND FORMS, YOU CAN APPLY THAT
WA
KNOWLEDGE TO CREATE MORE COMPLEX
OBJECTS SUCH AS . . .
A
[

* *

construction
 GHETTO BLASTERS

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4 MICROPHONE IS COMPRISED OF A
SPHERE AND A TUBE. A MICROPHONE IS
THE PRIME WEAPON IN AN MC f S ARSENAL.
MICS SHOULD BE DRAWN LARGE, BUT NOT A BOOM BOX IS BUILT ON CUBES, THE
COMICALLY SO—LARGE ENOUGH TO FEEL BIGGER THE BETTER. AS BOOM BOXES
LIKE A MAGIC WAND WITHOUT ACTUALLY REPRESENT SOUND, YOU SHOULD DRAW
LOOKING LIKE ONE. THE BARREL SHOULD THEM WITH A SENSE OF MOVEMENT. NOTICE
BE THICK, THE HEAD RESONATING WITH HOW THE CURVATURE OF THE BOX'S
POWER. TECHNOLOGY MAY HAVE EVOLVED SPEAKERS MAKE IT SEEM AS IF IT'S
TO A POINT WHERE WIRELESS MICS ARE DANCING.
PRETTY COMMONPLACE, BUT FOR
ARTISTIC PURPOSES, IT'S GOOD TO
STICK WITH WIRED MICS. THE WIRE NEVER
HANGS STRAIGHT DOWN. IT IS A *

DRAMATIC TOOL, CRACKLING WITH

ELECTRICITY AND DEFYING GRAVITY.
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OLD ROCK A PARTY WITH AN MP3
LAYER, BUT THE STAPLE SETUP OF
WO TURNTABLES AND ONE MIXER
IGNIFIES HIP-HOP THE WORLD
OVER. BESIDES, YOU CAN'T TRULY
•V.V.V.V.
BE A DISC JOCKEY (DJ) WITHOl
DISCS, AND WE DON'T MEAN
COMPACT DISCS (CDS).

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BOXES-ARE CONSTRUCTED 1
FROM CUBES, REPRESENT
SOUND, AND SHOULD CONVl
A SENSE OF MOVEMENT.
ONCE AGAIN, TAKE NOTE OF
THE ^DANCING" CURVAV
 «

HEADPHONES AND EARPHONES ARE

LIKE MICROPHONES IN THAT THEY
EARPHONES SHOULD BE DRAWN LARGE. SIMILARLY,
THE WIRES SHOULD BE DRAMATIC AND
ELECTRIC, BUT LESS SO THAN A
MICROPHONE'S WIRE.

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PORTABLE CD AND MP3 PLAYERS HAVE

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REPLACED THE CASSETTE PLAYERS OF
YORE, SO YOU SHOULD BE IN TUNE
WITH THE TIMES.

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 ALWAYS LAY OUT YOUR
CHARACTERS AS SHAPES OR
FORMS FIRST.
THE HEAD IS USUALLY A CIRCLE OR AN OVAL.
(SOMETIMES IT CAN ALSO BE MORE OF A SQUARE WITH
ROUNDED CORNERS.) THE MIDSECTION CAN BE SEEN
IIIIIIIIIIIIRh. AS A CIRCLE, TRIANGLE, OR RECTANGLE. I PREFER TO
USE A CIRCLE, BUT IT'S REALLY UP TO THE INDIVIDUAL.
THE LIMBS ARE RECTANGLES AND THE PELVIS IS A
SQUARE. THIS IS WHERE ALL OF THE PREVIOUS
PRACTICE REALLY COMES INTO PLAY.

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IF YOU ONLY USE SHAPES FOR COMPOSING BODIES, ,

YOU'RE GOING TO GET FLAT, LIFELESS DRAWINGS. IT'S

BEST TO PERCEIVE THE BODY USING THREE-DIMENSIONAL
FORMS. THE HEAD AND BODY ARE SPHERES, THE LIMBS
piu
AND PELVIS ARE TUBES. USE SPHERES FOR THE JOINTS
AND IT'LL BE MUCH EASIER TO COMPENSATE FOR MOVEMENT.
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 BE SURE TO PAY CLOSE ATTENTION TO YOUR
MEASUREMENTS. THE AVERAGE HUMAN IS
ABOUT e 1/2 HEADS TALL, BUT WHEN
DRAWING, YOU WANT YOUR CHARACTERS TO BE
LARGER THAN LIFE. THE NORM FOR ADULTS IS
AROUND 3 1/2 HEADS TALL AND 3 HEADS
WIDE.

A CHILD'S BODY IS GOING TO BE AROUND

3 V2 HEADS TALL AND 1 HEAD WIDE. ON ALL
FIGURES, THE ELBOWS SHOULD LAND RIGHT
ABOUT WAIST HIGH AND THE HANDS HALFWAY
DOWN THE THIGHS.

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HEADS ARE DRAWN 3 EYES WIDE.

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 IN ORDER TO CHANGE AN ANGLE OR POINT OF VIEW,
yOU HAVE TO MASTER FORESHORTENING.

FORESHORTENING CAN BE PRACTICED BY GRABBING A SPRAY CAN OR

ANY TUBULAR OBJECT. SKETCH IT FROM DIFFERENT ANGLES,
OBSERVING THAT PARTS OF IT CLOSER TO YOU ALWAYS APPEAR
LARGER THAN THE ONES FURTHER AWAY.
NOTICE THAT THE OBJECT SEEMS SHORTER AS
THE ANGLE GETS STEEPER.

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FORESHORTENING HAS TO BE MASTERED IN ORDER
FOR YOU TO CREATE REALISTIC MOVEMENT.
IT'S AS IMPORTANT AS KEEPING IN MIND ALL
OF THE JOINTS ON THE FINGERS.

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 EVEN IF YOU'RE NOT GOING TO DRAW HANDS ALL THE WAY THROUGH,
IT'SIMPORTANT TO KEEP IN MIND THAT HUMAN FINGERS BEND IN THREE
PLACES WHEN YOU ARE DRAWING HANDS.

THOUGH yOU MAy NOT BE DRAWING KNUCKLES OR HAVING THE FINGERS

BEND AT EVERy POSSIBLE POINT, A BASIC UNDERSTANDING OF THE
HUMAN SKELETAL STRUCTURE IS IMPORTANT IF yOU WANT yOUR
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 FORESHORTENING ALLOWS
YOU TO RENDER REALISTIC
HAND MOVEMENTS.

NOTE THAT HANDS ARE

MORE EXPRESSIVE
THAN FEET.

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 WHEN DRAWING FEMALE HEADS,
MAKE THE LIPS FULLER.
ACCENTUATE THE CHEEKBONES AND SOFTEN THE
LOWER JAW, MAKING IT SMALLER.

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WE'RE GOING TO PRACTICE BODY MOVEMENT WITH SOME FEMALE FIGURES.

WHEN CONSTRUCTING FEMALES, NOTE THAT THEIR HIPS AND PELVIS ARE
SLIGHTLY LARGER THAN THEIR MALE COUNTERPARTS.

ALSO FEMALE SHOULDERS ARE NARROWER THAN MALE SHOULDERS.

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 YOU SHOULD ALSO MAKE FEMALES MOVE
WITH FEMININITY.

WHAT DOES THAT MEAN?

IT MEANS THAT YOU NEED TO GET AWAY FROM THE

VIDEO GAMES ONCE IN A WHILE AND OBSERVE THE BEAUT/
OF THE FEMALE SPECIMEN.
NOTE THE TILT OF THE HIPS AND THE BEND OF THE WRISTS.
EVEN WITHOUT ANY HUMAN CHARACTERISTICS DRAWN IN,
THESE FIGURES ARE ABLE TO COME OFF AS WOMEN.

WHERE DO I DRAW
THE COOTIES?

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YOU HAVE SO MUCH TO LEARN.

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 YOU CAN HAVE YOUR FIGURES MOVE IN VARIOUS WAYS.

AS LONG AS YOU KEEP YOUR PROPORTIONS INTACT BY DRAWING THROUGH

THE SHAPES AND NOT BREAKING ANY LAWS OF NATURE, YOU CAN PULL OFF
ALMOST AN/ MOVEMENT.
JUST REMEMBER THAT B-GIRLS MOVE WITH GRACE.

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HIPS BALANCE AND CARRY

THE WEIGHT OF THE FIGURE.

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AS YOU GET MORE COMFORTABLE. WITH

MOVEMENT, YOU CAN ADD PERSPECTIVE
BY FORESHORTENING LIMBS AND
ADJUSTING RATIOS.

IN BOTH FIGURES, ONE HAND IS DRAWN

^DUCED IN SIZE WHILE THE OTHER IS
ZREASED, ADDING TO THE IDEA THAT
THESE FIGURES ARE MOVING TOWARD YOU.

60 construction
 WHEN YOU'VE MASTERED DRAWING THE HUMAN FORM, YOU CAN
BEGIN TO DRAPE YOUR FIGURES IN GARMENTS.

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 WE'LL LOOK AT SOME HIP-HOP
CLOTHING STYLES AND SEE IF YOU
CAN PUT ANY OF THIS INFORMATION
TO GOOD USE.
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 CLOTHING IS AN IMPORTANT ASPECT OF ANY DRAWING.

GEAR SAYS A LOT ABOUT WHO PEOPLE ARE AND THE SOCIETY
THEY LIVE IN, AND YOU VERY WELL CANT DRAW HIP-HOP
CHARACTERS ROCKING VICTORIAN ERA GARB.
TYPICALLY, A B-BOY WEARS JEANS AND A T-SHIRT.

ING itrM^Jkl ^K:

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THAT SEPARATES HIP-HOP

DRAWING FROM OTHER
GENRES. NOTE THE
DRAPERY, BAGGINE
>
AND SIZE OF GAR*
AND ACCESSORIES.
I
LOGOS ARE IMPORTANT
SIGNIFIERS—THEY U
STATUS AND IMBUE
IDENTITY.DRAW THIN
LINES WITHIN THE
GARMENT TO PORTl
WRINKLES—THIS HELPS
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CONNOTE SIZE, WEIGHT,
AND MOVEMENT. THE
CLOTHING SHOULD BE
AN EXTENSION OF YOUR
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CHARACTER'S VIBRANCY.

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WHAT HAPPENS WHEN

IT GETS COLDER?

HOODIES ARE PRETTY MUCH A HIP-HOP STAPLE FOR CHILLY WEATHER.

LIKE ALL YOUR CLOTHING, MAKE IT ROOMY WITH A FEW WRINKLES.

IF YOU PUT IN TOO MANY, YOUR CHARACTER WILL LOOK LIKE
HE JUST ROLLED OUT OF BED.
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THE HOOD ITSELF SHOULD BE LARGE ENOUGH TO SWALLOW
YOUR CHARACTER'S HEAD. EVEN IF HE NEVER PUTS THE HOOD ON,
YOU CAN STILL IMPLY ITS SIZE.

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 B-BOyS ARE KNOWN TO WEAR THEIR CLOTHES OVERSIZED, BUT EVERYONE IS UNIQUE.
EVEN IF EACH PERSON WERE TO WEAR THE SAME CLOTHES, BODY TYPE AND INDIVIDUAL
TASTE MEANS THAT THE CLOTHES WOULD NEVER BE THE SAME.

ONE CHARACTER'S T-SHIRT GOES PAST HIS ELBOWS AND STOPS AT HIS KNEES, WHILE
THE OTHER'S T-SHIRT IS SLIGHTLY SMALLER, BUT STILL LARGER THAN NORMAL.

THE GUY WITH THE HEADBAND HAS NO REAL HEM ON HIS JEANS. THEY JUST BUNCH UP AT
HIS FEET, AND THE LEG OPENING IS JUST ABOUT AS LARGE AS HIS SHOE SIZE.

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CLOTHING. YOU SHOULD STILL BE

STARTING OUT WITH THE BASIC SHAPES
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AROUND HIM, AND TO GET CLOTHING

PROPORTIONS RIGHT.

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 WHEN YOU'RE DRAWING WOMEN, YOU'RE GOING TO WANT TO
TURN DOWN THE BAGGINESS FACTOR, IN ORDER TO
ACCENTUATE THE POSITIVE.

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GIRLS' T-SHIRTS FIT TIGHTER

THAN BOYS' T-SHIRTS, BUT STILL
EXPRESS BAGGINESS THROUGH
WRINKLES.

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 GIRLS' JEANS ARE SNUG, BUT NOT OVERLY SO OR ELSE SHE'LL
LOOK LIKE SHE'S WEARING SUPERHERO TIGHTS.
IF YOU'RE DRAWING A TRADITIONAL B-GIRL, LIKE THE ONE IN
THE WINDBREAKER SUIT, yOU'D GIVE IT SIZE AND MOVEMENT,
BUT NOWHERE NEAR AS MUCH AS yOU WOULD TO A GUy.

WHO'S SHORTY?
I COULD GET WITH HER.

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WRINKLES AND BENDED FLAP ON HER TORSO ILLUSTRATE
THE MALLEABILITY AND LIGHTNESS
OF THE MATERIAL.
AND IF YOU'RE DRAWING YOUR SHAPES AND
FORMS FIRST, ADDING THE GEAR IS GOING
TO BE PRETTY EASY.

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 FOR OUTERWEAR, A BUBBLE GOOSE IS ALWAYS GOING TO BE A GOOD
STANDARD. YOU CAN 'MPLY THE COAT'S WEIGHT THROUGH THE SHADING.

FOR A WOMAN, THE COAT SHOULD HUG HER BODY.

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AND HIS CROWN IS A VERy IMPORTANT PART OF
MAKING HIS RULE KNOWN.

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TRY DIFFERENT STYLES OF HEADGEAR TO

CREATE DYNAMIC CHARACTERS.

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 WOMEN TAKE THEIR HAIR EVEN MORE SERIOUSLY THAN B-BOyS,
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FOOTWEAR IS ALMOST AS IMPORTANT TO DIVERSIFYING
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SNEAKERS WITH LOW-CUT ANKLE SOCKS FOR THE SUMMER. A LONG

SKIRT WITH SOME SLIP-ONS FOR MORE FORMAL EVENTS. JUST
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CAUSE SHE'S A B-GIRL DOESN'T MEAN SHE CAN'T BE A LADY.

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 WOMEN'S BAGS.
ACCESSORIZING YOUR FEMALE CHARACTERS SO MANY CHOICES.
WITH HANDBAGS AND KNAPSACKS IS ANOTHER
WAY TO DRESS THEM UP OR DOWN.

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 ADORN YOUR WOMEN WITH JEWELRY.
EARRINGS SHOULD BE LARGE ENOUGH TO
SAY SOMETHING ABOUT THE CHARACTER'S
SENSE OF PURPOSE.

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THOSE EARRINGS ARE PRETTY BIG. DO

GIRLS REALLY WEAR THEM LIKE THAT?

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P DONT WORRY IF THE EARRINGS WOULDN'T WORK IN REAL
LIFE; JUST MAKE SURE THEY WORK ON THE PAGE.

ART IS SUPPOSED TO IMITATE LIFE, BUT IT

DOESNT HAVE TO DUPLICATE IT.

YOU CAN GLAM UP YOUR MORE SOPHISTICATED LADIES WITH

ARM JEWELRY. THIS DOESNT HAVE TO BE ANYTHING
EXTRAVAGANT. A FEW SIMPLE BRACELETS WILL DO.

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SIGNIFICANCE, STATUS, AND DOMINION.

YOU CAN CRANK UP A CHARACTER'S IMPORTANCE BY

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 NOW, LET'S GET YOU OUT OF THE
HOUSE TO PUT SOME OF THIS THEORY
INTO PRACTICE.

THAT'S WHAT I'M TALKING ABOUT.

HEY WORLD, HERE WE COME/

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IT'S VERY IMPORTANT TO SKETCH FROM LIFE AS MUCH AS
POSSIBLE IN THE BEGINNING.

IF YOU'RE DRAWING HIP-HOP, IT'S NECESSARY TO GET >v4 x

INTO THE PLACES WHERE HIP-HOP LIVES, AND I DON'T
MEAN THE RADIO STATION.
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SPY ON PEOPLE?
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IF YOU DON'T HAVE ACCESS
TO THOSE AREAS, YOU CAN
STILL SKETCH FROM ANY
WALK OF LIFE AS PRACTICE.
BUT AT SOME POINT YOU'RE
GOING TO HAVE TO GET TO
HIP-HOP IN ITS LIVING,
BREATHING FORM.
MAGAZINES AND VIDEOS
JUST CAN'T MEASURE UP
TO THE REAL THING.
Fbfttooe and
 BEING AN ARTIST IS NO EXCUSE TO LOSE yOUR
COMMON SENSE. OF COURSE, SOME PLACES ARE
SAFER THAN OTHERS AND THE LAST THING YOU WANT
IS TO GET IN TROUBLE FOR yOUR ART.

BUT THE BOTTOM LINE IS THAT yOU'VE GOT TO GET TO

WHERE THE PEOPLE ARE AND OBSERVE THE
SIMILARITIES AND DIFFERENCES IN STyLE.

DRAWING EVERyONE THE SAME IS COOL IF yOU WANT

TO DRAW A CREW, BUT FOR THE MOST PART, yOU'RE
GOING TO WANT EACH OF yOUR CHARACTERS TO
STAND OUT FROM THE OTHERS.
 AS YOU SKETCH IN PUBLIC, ADD THE SUBJECT'S
CHARACTER WHILE CAPTURING THE GESTURE.
FOCUS ON WHAT MAKES THE PERSON DIFFERENT
THROUGHOUT THE DRAWING. COMPARE AND
CONTRAST DIFFERENT PERSONALITY TYPES.

REMEMBER, YOU'RE NOT GOING FOR FULLY FORMED

IMAGES AT THIS POINT. YOU'RE GOING FOR THE OVERALL
SPIRIT OF YOUR SPECIMENS IN LINE FORM.

THIS IS CALLED A GESTURE DRAWING. GESTURE DRAWINGS

FOCUS ON CAPTURING POSTURE AND MOVEMENT.

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 A B-BOY IS ALWAYS IN MOTION. HE'S ABOUT PRIDE, BUT NOT
NECESSARILY CONFRONTATION; ATTITUDE, BUT NOT
NECESSARILY AGGRESSION.
TRUE B-BOYS STAND WITH PRIDE. THE B-BOY STANCE IS: FEET
SPREAD, ARMS CROSSED, HEAD TILTED AND THE WHOLE BODY HAS
A SLIGHT TWIST. HE'S ALWAYS ON LEAN, NEVER STRAIGHT-UP OR
RIGID. THERE'S AN ASSERTIVENESS TO THE STANCE, LIKE A LION-
TERRITORIAL AND PROTECTIVE, BUT NOT OVERTLY HOSTILE. THE
B-BOY IS CONFIDENT AND SURE OF HIMSELF.

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CAPTURING THE SPIRIT OF A B-BOY IN

GESTURE FORM IS ESSENTIAL. JUST
/ NOTE THE DIFFERENCES BETWEEN A
B-BOY AND AN MC. A B-BOY IS ALWAYS
PREPARED TO STRIKE AND DEFEND;
AN MC HAS A POINT THAT HE'S
WORKING TO CONVEY, A VIEW HE
WANTS TO SHARE.
 AS YOU SKETCH IN PUBLIC, ADD THE SUBJECT'S CHARACTER WHILE
CAPTURING THE GESTURE. FOCUS ON WHAT MAKES THE PERSON
DIFFERENT THROUGHOUT THE DRAWING. COMPARE AND
CONTRAST DIFFERENT PERSONALITY TYPES.

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 A B-GIRL STANDS WITH GRACE AND STYLE. SHE'S SEXY
AND MOVES LIKE A RUNWAY MODEL, EXCEPT HER POSTURE
COMES MORE NATURALLY.
SHE'S STREETWISE,
BUT CLASSY. ,

HOW DO YOU DRAW CLASS?

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WELL, YOU HAVE TO HAVE SOME FIRST.

CERTAIN THINGS CANT BE TAUGHT.

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 PAY ATTENTION TO BODY LANGUAGE.

COLLECT ALL THESE PEOPLE IN YOUR

BOOK AND THEN ADD THOSE CHARACTER
TRAITS TO THE PEOPLE YOU CREATE OUT
OF YOUR IMAGINATION.

m
MIX, MATCH, AND JUMBLE, BUT MAKE THEM BELIEVABLE.
GIVE YOUR CHARACTERS A SENSE OF SELF.

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THE POCKET CONNOTE ANGER,

TOUGHNESS, A SCHEMER OR OTHERWISE SHAD)
CHARACTER WITH SOMETHING TO HIDE.

EXTENDED HAND AND POINTED FING.

IMPLIES THAT SOMETHING IMPORTANT IS BE
SAID, SOME VITAL PIECE OF INFORMATION IS
BEING GIVEN.

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 THIS B-GIRL IS IN MOTION, BUT HER LEGS ARE
PLANTED FIRM AND WIDE. SHE IS NOT DANCING
AS MUCH AS SHE IS TELLING A STORY.
FROM HER HANDS, SHE CAN BE RECOUNTING A
DJ BATTLE, GIVING THE BLOW-BY-BLOW OF A
PHYSICAL ALTERCATION, OR SIMPLY
EXPRESSING HER BADNESS TO ANY WOULD-BE
CHALLENGERS.

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 FACIAL EXPRESSIONS ARE REALLYGOING
TO BRING ATTTTJDES HOME. POUTED
LIPS AND FURROWED EYEBROWS SHOW
ANGER OR DISCONTENT.

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 YOU CAN CREATE WIDE RANGES OF EMOTION BY MIXING
AND MATCHING EYES AND LIPS. THE SLIGHTEST
VARIATIONS CAN CHANGE A CHARACTER'S DISPOSITION.

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 YOU SHOULD PRACTICE DRAWING EYES IN THE FULL
RANGE OF EXPRESSION.

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NOTICEHOW DRAWING LINES ON TEETH

COMMUNICATES ANGER. AN OPEN MOUTH
SHOWING TEETH IMPLIES THAT THE
PERSON TALKING IS YELLING.

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 NOW YOU CAN PUT IT ALL TOGETHER.
MOVEMENT AND EXPRESSION.

AN MC IS ALWAYS
CAUGHT IN MOTION.
NOTE THAT HIS
AGGRESSION IS
UNDERSCORED
HIS FACIAL
EXPRESSION Ai
WELL AS HIS STAl\

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MC, BUT STILL USING HIS HANDS TO
ACCENTUATE HIS RHYMES.

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 A B-BALL PLAYER IN A B-BOY POSE. HIS
STANCE IS DARING YOU TO TRY AND TAKE
HIS BALL, WHICH IS AS MUCH HIS LIFE AS
A MICROPHONE IS TO AN MC.

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REMEMBER WHAT I SAID BEFORE ABOUT NOT
LOSING COfmOU SENSE IN THE NAME OF ART?

YEAH. WHy?
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THINK IT'S TIME WE GET
I
MOVING. WHICH LEADS US INTO
OUR NEXT LESSON.

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ONCE YOU'RE ABLE TO PUT IT ALL TOGETHER,

YOU CAN APPLY ELEMENTS OF A B-BOY TO
FIGURES FROM ANY WALK OF LIFE. THESE TWO
COPS ARE JUST LOOKING FOR TROUBLE... WHICH
MAY HAVE SOMETHING TO DO WITH CAS'S LATE
NIGHT "COMMISSIONED" WORK.

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 THE ESSENCE OF MOVEMENT IS CAPTURING A
CHARACTER IN MOTION. YOU CAN SHOW THE MOMENT OF
ACTION BY DRAWING YOUR CHARACTERS AT THE PEAK
OF MOTION IN GESTURE FORM.

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 MOVEMENT, WHEN PROPERLY DRAWN, GIVES A SENSE
OF WHERE A CHARACTER IS GOING, AS WELL AS
WHERE HE (OR SHE) HAS BEEN.

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I GOT GOOD AT CAPTURING MOVEMENT BY SKETCHING GESTURE DRAWINGS IN

THE PARK. I SUGGEST YOU DO THE SAME.

CATCH PEOPLE WALKING, RUNNING, PLAYING. YOU'LL GET THE MOST OUT OF
THIS ONCE YOU'VE PRACTICED FOR SOME TIME.

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 DRAWING DANCERS IS GREAT PRACTICE. REMEMBER, THE
GOAL IS TO CAPTURE THE DIRECTION OF THE CHARACTER IN
A SIMPLE OUTLINE FORM.
DON'T GO FOR DETAIL. IT'S IMPORTANT TO GET DOWN THE
SPIRIT OF A MOVEMENT WHILE IT IS STILL HAPPENING.

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 OBSERVE THE PLACEMENT AND DIRECTION OF
BODY PARTS. PAY ATTENTION TO THE WEIGHT
INDIVIDUAL
AND BALANCE OF BODIES AS THEY DANCE WITH GRAVITY.

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 NOTE HOW CLOTHING MOVES WITH OR
AGAINST BODIES. ADDING THESE LITTLE
TOUCHES WILL MAKE YOUR ARTWORK
MORE DRAMATIC.

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IT SEEMS AS IF CAS'S LATE NIGHT
WORK IS CATCHING UP WITH HIM!

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 NOW LET'S STUDY MOVEMENT OF THE ENTIRE PICTURE, WHICH IS KNOWN AS COMPOSfTION. FOR OUR
PURPOSES, WE'LL BE REFERRING TO A SPECIFIC PART OF COMPOSITION KNOWN AS LOCOMOTION, THE
ART OF CREATING MOTION IN PICTURE COMPOSITION. THE TERM LOCOMOTION IS A NOD TO ONE OF HIP-
HOP ARTf S EARLIEST CANVASES: SUBWAY CARS. LIKE TRAIN CARS, A COMPOSITION CAN BE SEEN AS
SEPARATE OBJECTS THAT ARE MOVING IN ONE DIRECTION.

YOU CAN GET EXPOSURE TO THE PROPER USE OF LOCOMOTION BY STUDYING SOME QUALITY GRAFFfTI.
(UNLIKE THE EARLY VOYEURS, THISCAN BE DONE WITHOUT WATTING FOR ELEVATED TRAINS TO PASS
THROUGH THE *HOOD; THERE ARE MANY GOOD BOOKS, MAGAZINES, AND WEB SITES THAT WILL ALLOW
yOU TO PORE OVER CLASSIC ART WITHOUT TAKING A TRIP TO THE HEART OF THE CONCRETE JUNGLE.)
yOLTLL NOTICE THAT THERE'S A CERTAIN HARMONY THROUGHOUT
THE PLACEMENT OF THE CHARACTERS AND BACKGROUND.

IN THE BEST
PIECES, THE
LETTERS LOOK LIKE
THEY'RE DANCING
TOGETHER IN THE
SAME DIRECTION, MOVING
YOUR EYE ACROSS THE
PIECE. THIS LOCOMOTION
SHOULD APPLY TO THE
COMPOSITION OF ALL HIP-
HOP DRAWING. IT IS THE
HEART OF HIP-HOP ART.

4V% T
MANY WRITTEN GRAFFITI PIECES HAVE A LEFT TO RIGHT MOVEMENT, WITH MOST LETTERS
OVERLAPPING THE ONES THAT COME NEXT. EACH LETTER BLENDS INTO THE NEXT, PUSHING
YOUR EYE ACROSS THE WORD. SOMETIMES THIS PROCESS IS REVERSED, WHICH GIVES THE
WRITTEN WORD THE APPEARANCE OF MOVING BACKWARDS OR FALLING ON ITSELF.

• * •

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 ART MOVES LEFT TO RIGHT.
UAL EFFECT, LETTERS CAN BE
OVERLAPPED TO PUSH THE CENTRAL AREA, OR
GOLDEN AREA OF A PIECE, TOWARD OR AWAY
FROM THE EYE.

NAPAINTI
USUALLY BET,
GOLDEN AR
EXPERIMENT WITH DIFFERENT MOVEMENTS, YOU'RE THE CONDUCTOR ON A TRAIN, DRMNG
LEADING THE EYE AROUND IN DIFFERENT THE PICTURE PLACE THE VIEWER OF YOUR ART
DIRECTIONS TO CREATE LOCOMOTION WITHIN IN THE PASSENGER SEAT. GIVE YOUR AUDIENCE
YOUR COMPOSITION. A PLEASING RIDE TO THE POINT OF YOUR
PICTURE, THE FOCUS AREA.

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 WE NOW RETURN TO CAS AND SHAY,
ALREADY IN PROGRESS . . .

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NOTICE HOW THE AND SUBWAY ENTRANCE SERVE TO FRAME THE ACTION
GIRL, CARS, STREETLIGHT,
OF CAS AND SHAY AS THEY RUN UP THE STEPS. EVEN WITH ALL OF THE ACTIVITY IN THIS
ILLUSTRATION, YOUR EYES ARE STILL DRAWN TO THE ACTION IN THE CENTER OF THE PAGE.

1
IN THIS IMAGE, CAS AND SHAY MAY SEEM LESS IMPORTANT THAN THE OTHER RIDERS, BUT WE'RE
STILL ABLE TO FOCUS ON THEM THROUGH THE USE OF NEGATIVE SPACE AND LOCOMOTION.

THE LEANINGS OF THE OTHER PASSENGERS, EVEN THEIR LIMBS, LEAVE NO DOUBT AS TO WHOM
THE STARS OF THIS SCENE ARE.

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 LOCOMOTION IS NECESSARY EVEN WHEN YOU ARE
£** NOT WORKING TO DIRECT THE VIEWER'S EYES TO
A SINGLE POINT ON AN IMAGE.
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AS YOU COMPOSE A MAKE
PICTURE, STRIVE TO
ALL THE OBJECTS DANCE TOGETHER AND SHARE
^ THE PICTURE PLANE.

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BY PUSHING ALL OF THE IMAGES TO THE
CENTER, WHICH IS OCCUPIED BY NEGATIVE
SPACE, THIS ILLUSTRATION PLACES NOTHING AT
THE CENTER, CREATING EQUILIBRIUM BETWEEN
THE DJ, MC, DANCER, AND LISTENER. THE

^ VIEWER'S EYES MOVE AROUND THE ENTIRE IMAGE

AT ONCE, LEADING TO A VISUAL EXPLOSION.
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 WE LEFT THOSE COPS IN THE DUST/
THAT WAS COOL/
r YOU HAVE A VERy STRANGE IDEA OF COOL.
BUT *COOL" IS DEFINITELy SUBJECTIVE. LET
ME SHOW yOU SOME DIFFERENT WAyS OF
BEING COOL. STYLE IS WHERE yOU TRULy
GET TO SHOW WHO yOU ARE.

THERE IS NO SET RULE FOR STYLE. STYLE WILL VARY

FROM INDIVIDUAL TO INDIVIDUAL, ARTIST TO ARTIST.

ONCE YOU'VE GOTTEN A

BASIC GRASP OF THE
FUNDAMENTALS, FEEL
FREE TO USE YOUR
IMAGINATION TO EXPAND
THE FIELD OF PLAY. YOUR
UNIQUE FLOURISHES WILL
ALLOW YOU TO STAND OUT
FROM THE PACK AND
MAKE YOUR OWN MARK
IN THE ART WORLD.
 ) 9dii J a^
vnyr? r?rre
y r »j
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TO DRAWING THE SAME CHARACTER.

SOMETHING SIMPLE LIKE

DRAWING A GUY WITH A HAT CAN
SHOW VARIETY.

••••• •

• . »

* * •

FOR THIS DRAWING, I'VE TAKEN A

TOTALLY DIFFERENT APPROACH. THIS
40SEN, , CHARACTER IS ANGULAR WITH MORE
RUCTION ALWAYS APPLY. ATTENTION TO DETAIL.

*•••••%••••••••••'

1**
 |^_vG B EXAGGERATING PROPORTIONS IS A GREAT WAY TO FLEX YOUR ^m ^^»^^w m
1 INDIVIDUALITY. FOR THIS MC, I'VE ELONGATED HIS ARMS TO HmH^BMIHI
H|H|M|
J^^^^
^^^ GIVE HIM A LANKY FEEL. THE LACK OF DETAIL ALSO MAKES
"^"^""^^^ THIS STYLE GREAT FOR PRACTICING WITH DIFFERENT 1^^™^^E^^5
MEDIUMS, LIKE OILS AND BRUSHES. HmH^HH^HI

GET A FEEL FOR

WORKING WITH THE
TOOLS BEFORE
GOING ON TO MORE
COMPLEX PIECES.

J*1 dfti* \ )w

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 STYLE CAN ALSO BE SUBTLE. BY
ADJUSTING THE THICKNESS OF LINES, I
WAS ABLE TO GIVE THESE FOUR
RENDERINGS OF THE SAME CHARACTER
DISTINCTIVE QUALITIES.

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•••••••••••••••v

• •••••••••••a

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J
EACH FIGURE HAS A
DIFFERENT SENSE OF
WEIGHT. NOTICE THE DOTS
AND BROKEN LINES, THE
AMOUNT OF DETAIL ON THE
BACKPACK AND HEADGEAR,
AS WELL AS THE CURVES ON
THE LIMBS AND GARMENTS.
\1&
 WHEN DRAWING THIS CHARACTER, I STARTED WITH
BASIC CONSTRUCTION, AS ALWAYS. THE OUTLINE IS
WHAT DEFINES THIS PIECE, MAKING THIS GUY
MORE IN TUNE WITH THE SPIRIT OF GRAFFITI ART
THAN MOST TRADITIONAL CHARACTERS.

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IN GRAFFITI STYLE, LINE

CHARACTER IS VERY IMPORTANT.
GIVE YOUR LINES AS MUCH
RHYTHM AND MOVEMENT AS
YOUR CHARACTER.
 TECHNIQUE ADDS TO PERSONAL
STYLE. TRY DIFFERENT TOOLS
AND METHODS OF FINISHING
FOR THIS CHARACTER I USED VERY LITTLE YOUR PIECES.
DETAIL, BUT ADDED EXTRA SHADINS. THOUGH
THE PANTS ARE BASICALLY AN OUTLINE, THE
USE OF SHADING STILL IMPLIES THE
DRAPERY OF THE GARMENT.

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 YOUR PERSONAL STYLE SHOULDN'T
BE LIMITED TO THE HUMAN FIGURE.

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ADAPT YOUR PERSONAL HIP-HOP

STYLE TO DRAWING CARS AND
OTHER INANIMATE OBJECTS...
IT'S ESSENTIAL THAT YOU HAVE A FIRM
GRASP OF THE BASICS (SHAPES, FORMS,
AND CONSTRUCT/ON) BEFORE EXPERIMENTING
OUTSIDE OF THE LINES, SO TO SPEAK.
 ATTENTION TO
ATTITUDE OR
PERSONALITY BEING
EXPRESSED WH"'
you pose you
CHARACTERS

*mir$f=mt0W?]fm
ONG FOUNDATION
WILLPROVIDE YOU WITH
THE SKILL SET
NECESSARY TO TAKE
YOUR ART TO LEVELS YOU
CAN ONLY NOW IMAGINE.

ill
AS YOU GAIN A GREA
SENSE OF CONTROL WIT,
YOUR TOOLS, THEABILIT
TO TRANSLATE YOUR IDB
ON PAPER WILL EXPAND

STAY LOOSE WHEN YOU DO

THE GESTURE DRAWING, AND
FLUID WITH YOUR PENCIL.
STICK TO IT, PRACTICE
REGULARLY, AND YOU'LL BE
AMAZED AT WHAT YOU CAN
DO IN A RELATIVELY SHORT
PERIOD OF TIME.
WORK ON YOUR CRAFT AS MUCH
AS POSSIBLE.
FOLLOW THE RULES. INTERPRET THEM LOOSELY, AND WHEN YOU FEEL READY BEND 1 ..-„
THEM, DISTORT THEM, AND BREAK THEM.

4
 OOK AT THE WORKS
TS YOU ADMIRE
YZE THEM.

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 Players, portable. 38
61-63,64, 81, 110 Playing. 107
Accessories, 78-80 Gear,
Posture. 82-101.135. 142
Acrylics, 13 Gesture drawing, 86-88. 104, 107, 136. 138
Goggles and mask, 13 Pride. 87
Aggression. 98, 99
Golden area, 116 Proportions. 59, 68. 126
Anger, 90. 92, 94. 97
Protractor, 15
Ankle socks, 76-77 Grace.59, 89, 137
Graffiti. 13, 17, 114-115, 129.141 Public sketching. 84-86. 88, 101, 107
Artists, analyzing of, 140
Attention, 94
Attitude, 87. 92, 135 H R
Hair, 75 Rags. 16
Random combinations, 24, 27
B Handbags. 78
Hands, 46. 51-53, 90, 91.99 Rectangle. 23. 44
Bags, 78
125 Reference materials, 17, 84. 141
Balance, 24, 27, 59, 109 Hat,

100 Head. 44, 45. 46, 48-49, 55-56 Rhythm. -129. 142
B-ball player,
Headgear, 74. 75. 125 Robot. 58
B-boy. 87
Headphones. 37 Ruler, 15
B-girl, 89
Hierarchical men. 88 Rules, 133, 139
Block and cube construction, 138. 140
Hip-hop, 7-8 Running, 107
Body, human, 43-47, 57-60
Body language, 90-91 Hips. 57, 59

Boombox, 35 Hoodies, 67 S
Boredom, 94 Household items, 23, 28. 31 Safety. 85

Bracelets, 79 Human body, 43-47, 57-60 Schemer. 90

Bristol paper, 14
Sedans. 42

Brushes, 13, 14, 16 I Sexiness, 89

Bubble goose, 73 Inanimate objects, 131 Shading. 30. 73, 130

Inks, 13, 16 Shadows, 27. 30
C Shapes. 20-21, 22. 23-25. 30-31. 43-45. 59. 68. 71. 134, 141
"

Canvas. 14 J Shoulders. 57

CD players. 38 Jaw, 55, 56 Size, gear, 66, 67. 68, 70

Jeans, 66. 68. 70 Sketching, life. 14. 30. 84-86. 88. 101. 107
CDs. 17
Cellphones. 39 Jewelry, 79. 80 Sketch pad. 14
Characterization, posture and, 82-101 Joints, 45, 51 Slip-ons,76
Cheek bones, 55, 56 Sneakers. 76-77
Circle. 23. 44 K Socks, 76-77
Class, 89 Knapsacks, 78 Solidarity. 25
Clothing, 61-63, 64-81. 110 Speakers, 36
Coat, -73 L Sphere. 26, 35, 45
Communal women, 88 Legs, 91 Spray paint. 13. 14
Compass. 15 Life sketching, 14, 30, 84-86, 88. 101, 107 Square. 23, 44
Composition, 24, 114 Light, 30 Stencil, 15
Cone, 26 Lightbox, 14 Style. 89. 122-132
Construction, 32-63. 125, 129. 134, 138 Limbs. 44, 45, 60 Supplies, tools and, 10-19. 126. 130, 136
Cops, 101,111 Line thickness, 66, 127-129 Surprise. 94
Cube, 26, 35, 36, 138, 140 Lips, 55, 56. 92. 93. 94. 97 SUVs. 40. 41
Curves. 15,35.36,127 Locomotion. 112-121
Logos, 66 T
Talking. 97
Dancers, 17. 108-109. 121 M Tape. 16
Depth, 24, 26, 27 Markers, 12.13, 14 Technique, 130
Dimension, 26 MC. 35. 87, 98, 99. 121,126, 137, 142 Teeth, 94, 97
Discontent, 92 Measurements, 46-47. 48 Text messaging devices, 39
Distance, 24. 27 Mechanical pencil, 12 Thighs. 46
DJ, 36. 91, 121 Microphone. 35 Tools and supplies. 10-19. 126. 130. 136
Drawing pad, 14 Midsection, 44 Toughness, 90
Dustbrush, 16 Mouth, 49, 97 Tracing paper. 14. 16. 27
Movement, 24. 36, 45. 51, 53, 57-60, 66. 70. 87.91, Triangle (shape). 23. 44
98,102-111. 114, 129 Triangle (tool), 15
Earphones, 37 MP3 players, 38 True-form curves, 15
Earrings, 79 T-shirt, 66. 68. 69
Elbows, 46 N T-squares. 15
Emotion. See Expressions Negative space, 120, 121 Tube, 26, 35, 45
Environments, 27 Nose, 49 Turntables. 36
Eraser, 16 Turpentine, 16
Exaggerating proportions, 126 O
Expressions, 92-98 Oil marker, 12 V
Eyes, 48, 49, 92, 93, 94, 95-96 Oils, 13, 16 Van. 41
Oval, 44
Overlapping, 24, 27, 115,116 W
Facial expression, 92-99, 98 Waist. 46
Fathead marker, 12 Walking. 107
Feet. 53, 54. 77 Paints, 13, 14, 16 Watercolors, 13
Female figures, 57-60 Paint thinner, 16 Water jar, 16
Female heads, 55-56 Paper, 14, 16,27 Water-resistant paint, 13
Femininity, 58 Park, 107 Wedge. 26
Fingers, 51-53, 90 PDAs, 39 Weight. 24. 27, 59. 66. 73. 109, 127. 140
Footwear, 76-77 Pelvis, 45, 57 Windbreaker suit, 70
Foreshortening, 50-51, 53, 60 Pencils. 12, 14, 16 Workplace. 18-19
Forms, 20-21. 22, 26-29, 30-31, 43-45, 68, 71, 134, 140, 141 Pendant, 80 Wrinkles. 66. 67. 69. 71
Foundation, 135 Pens, 13, 14
French curves, 15 Permanent marker, 12 Y
Fruit, drawing of, 30 Personality,86, 88. 135 Yelling. 97
Perspective, 60
Pilot pen, 12

V**
 BOSTON PUBLIC LIBRARY

3 9999 05007 080 2

WITHDRAWN
No longer the property of the
Boston Public Library.
Sale of this material benefited the Library.

m j
$19.95
USA

hom to <*cau)
i
HIP-HOP.

YOU KNOW IT WHEN YOU SEE IT. YOU KNOW IT WHEN YOU
HEAR IT.
I

BUT WHAT EXACTLY IS

XN
HIP-HOP"?

IT'S A CULTURAL FORCE THAT HAS MADE ITS MARK

ACROSS THE ENTIRE GLOBE.

HIP-HOP IS AND EVERLASTING... SO

UNIQUE, POWERFUL,
HOW DO YOU DRAW TWO EXPERTS ON HIP-HOP, ARTIST
IT?
DAMION SCOTT AND AUTHOR KRIS EX, PROVIDE THE
ANSWERS IN THIS BOOK.
HOW TO DRAW HIP-HOP SHOWS THE PRINCIPLES OF
DRAWING AND CONSTRUCTION, AND COMBINES THEM WITH
THE STYLE AND SPIRIT OF HIP-HOP CULTURE THROUGH
ITS GEAR, CHARACTERS, GRAFFITI, ENVIRONMENTS, AND
MORE TO CREATE A DEFINITIVE GUIDEBOOK FOR
ASPIRING ARTISTS.

Damion Scott, a graduate of the famous Joe Kubert School of

Cartoon and Graphic Art, has illustrated Batman, Batgirl, and Robin
for DC Comics, as well as The Spectacular Spider-Man
for Marvel
Comics. His most recent work includes art for the POWERade
series
of King James online comics starring legendary basketball
player
LeBron James. He lives in New York City.

Kris Ex, co-author of the 50 Cent biography From Pieces

To Weight,
Once Upon a Time in Southside, Queens, has been a music industry
journalist for the last ten years, having written articles
for Rolling
Stone, Blender, The Source, XXL, and Vibe Magazine,
among many
others. He lives in Brooklyn, New York.