Keys to Drawing – Chapter 4

Keys to Drawing - Exercise 4E
60 Minutes
19 September 2013
Graphite Pencil on Paper
33cm x 20.5cm (13" x 9")

Chapter 4 of Keys to Drawing is called “The Illusion of Light”. It is primarily about using light and shadow to model an object.

The goal is to draw an object that appears 3-dimensional and solid. This is the same as the objective for modelled drawings in The Natural Way to Draw (see The Last Post for an example). The intention is the same, but there is a major difference between the approaches:

• In Keys to Drawing, Bert Dodson emphasises the accurate observation of light and shadow
• In the Natural Way to Draw, Kimon Nicolaides uses an imagined physical contact with the subject as the basis for modelling (see Modelled Drawing)

Keys to Drawing - Exercise 4A
15 Minutes
2 September 2013
Graphite Pencil on Paper
29cm x 38cm (11.5" x 15")

In Chapter 4, Bert Dodson explains the basic logic of light and shadow:

When light shines on an object, it creates a light side, a shadow side and a cast shadow. Often there is a lighter area on the shadow side caused by reflected light.

He also introduces the strategy of Mapping:

Draw the areas of light and shadow on the subject as though they are territories on a map

Dodson suggests initially drawing the shapes with clearly defined edges and then to soften the boundaries with less distinct edges as you refine the drawing.

Keys to Drawing - Exercise 4B
60 Minutes
4 September 2013
Graphite Pencil on Paper
39cm x 29cm (15.5" x 11.5")

The chapter is the usual well-balanced mix of text and exercises. As well as explaining the basic drawing techniques, it also includes advice about using light and shadow to create mood and interest in a picture.

Keys to Drawing - Exercise 4C
60 Minutes
9 September 2013
Graphite Pencil on Paper
29cm x 38cm (11.5" x 15")

There are 6 exercises:

• 4A - mapping drawings
• 4B - light and form
• 4C - head in strong lighting
• 4D - light and mood
• 4E - cast shadow
• 4F - merging shadows

Keys to Drawing - Exercise 4F
60 Minutes
26 September 2013
Graphite Pencil on Paper
27cm x 37cm (10.5" x 14.5")

I struggled with the exercises when I first tried them in 2009, but this time they were much more enjoyable. In exercises 4C and 4F I deliberately sacrificed accurate proportions and drawing a likeness to give myself more time to focus on the modelling.

Keys to Drawing - Exercise 4B 2009
28 October 2009
Graphite Pencil on Paper
17cm x 18cm (7.5" x 7")

There is no picture for exercise 4D. Dodson suggests this is more of a long-term project. It involves drawing (or painting) the same landscape in three distinctly different lighting conditions. I am planning to have a go at this in the next few weeks.

Composition from Reproductions

Analysis of Reproductions - Darks
Based on "The Arch of Titus in Rome, 
before restoration carried out by Valadier" by Canaletto
20 September 2013
Graphite Pencil on Paper
10cm x 13cm (4" x 5")

This is a long overdue post – “Composition from Reproductions” and “Analysis of Reproductions” are probably the only exercises from the Natural Way to Draw which haven’t appeared on this blog.

Composition from Reproductions involves drawing small gesture studies from reproductions of works of art. Kimon Nicolaides instructions are:

“Allow the eye and the pencil, more or less at the same time, to roam in a rather easy and casual manner wherever the movement, lines, forms, darks and lights seem to beckon, with no attempt to delineate their meaning either with your pencil or in your mind.”

Composition from Reproductions
Based on "Assisi" and "Small Fishing Boats Treport France"
by Maurice Prendergast
15 August 2013
Graphite Pencil on Paper
16cm x 24cm (6.25" x 9.5")

Analysis of Reproductions includes three extensions to the basic exercise:

• Take one of the gesture studies and emphasise the dark areas in the work of art
• Turn one of the gesture studies upside down and use it as a starting point for a gesture study of something you have recently seen or done
• Take one of the gesture studies and analyse the straight and curved lines in the composition

Nicolaides suggests the student should be able to complete 6 studies in less than 15 minutes and should do 6 studies a day for 4 years – what a hard task master.

I am still following the exercise, but not quite at this intensity. I tend to draw 20 studies a week and skip weeks when I am busy.

 

Analysis of Reproductions - Straight and Curved Lines
Based on "Perspective View with Portico" by Canaletto
20 September 2013
Graphite Pencil on Paper
11.5cm x 14cm (4.5" x 5.5")

The main benefit of the exercise is it is expanding my knowledge and appreciation of art – I am looking at art that I wouldn't have studied if it wasn't for the exercise.

Analysis of Reproductions - Upside Down Gesture
Passengers Boarding a Plane
Based on "London Westminster Abbey With A Procession Of Knights Of The Bath 1749" 
by Canaletto
20 September 2013
Graphite Pencil on Paper
13cm x 13cm (5" x 5")

If you are interested in looking at the originals you can find them at:

• http://www.canalettogallery.org/L'Arco-di-Tito-a-Roma,-prima-del-restauro-effettuato-dal-Valadier.html
• http://www.canalettogallery.org/London---Westminster-Abbey-With-A-Procession-Of-Knights-Of-The-Bath-1749.html
• http://www.canalettogallery.org/Perspective.html
• http://www.mauricebrazilprendergast.org/Assisi.html
• http://www.mauricebrazilprendergast.org/Small-Fishing-Boats--Treport--France.html

This exercise must have been more challenging in the days before the internet. Perhaps everyone used to have huge books of reproductions instead of computers.

Garrison Bell

Garrison Bell
Watercolour on Paper
22cm x 29.5cm (8.5" x 11.5")

Earlier in the year, Elaine and I had a wonderful holiday on the Isles of Scilly. We stayed in Hugh Town – the largest town on St Mary’s (the largest island). The islands are unique. They remind me of small tropical islands with beautiful scenery and fantastic beaches, but this is juxtaposed with old English villages and a mixture of Mediterranean weather and Atlantic storms. They seem very relaxed because there are virtually no cars and the only way for visitors to get around is by foot and by boat.

This is the bell on top of the Garrison Gate in Hugh Town. We walked around the garrison walls on our first day. This was one of our Mediterranean weather days. We walked around the rest of the island in our waterproofs on one of the more typical British weather days.

Studio Rousar Memory Drawing Group - Weeks 7 to 12

Studio Rousar Memory Drawing - Week 12 Day 4

The exercises for weeks 7 and 8 of the Studio Rousar Memory Drawing Group are similar to the exercises from weeks 1 to 6 (see Studio Rousar Memory Drawing Group - Weeks 1 to 6 and  http://www.studiorousar.com/2013/01/01/memory-drawing-group-week-one/).

They involve memorising a shape and drawing it on a piece of tracing paper. The shape for week 7 is the outline of a pelvis and the image for week 8 is the outline of a vase. Both images include 3 reference lines and 3 reference dots that serve as an aid for the memory.

The instructions are the same as for the previous weeks:

• Copy the reference lines and dots on to piece of tracing paper. 
• Study the image for a few minutes
• Hide the image and try to draw it on the tracing paper
• Once you have finished drawing, put the tracing paper over the image to see how well you have done and correct your drawing
• The next night, repeat the process, starting with a review of your drawing from the previous day

The image of the pelvis for week 7 is so difficult you are allowed to add 3 more reference marks towards the end of the week. The vase for week 8 is simpler, but the additional challenge is you are only allowed to study it for 2 minutes each night.

Studio Rousar Memory Drawing - Week 7 Day 4

The exercises take a diversion in weeks 9, 10 and 11. Instead of memorising shapes, you memorise tones. The instructions are similar: study a row of squares of varying tones for a few minutes, hide the source image and try to draw the shaded squares.

Studio Rousar Memory Drawing - Week 11 Day 4

Week 12 is even more difficult. In this exercise, you memorise both shape and tone. The image for the week is a photograph of a bust, without any reference lines or marks (see http://www.studiorousar.com/2013/03/17/memory-drawing-group-week-twelve/.

You are allowed to study the photo for 10 minutes before hiding it and trying to draw it. My best effort is at the top of the post. My drawings improved each night. It was interesting to see how much more I could remember with each attempt.

Keys to Drawing – Chapter 3

Keys to Drawing - Exercise 3F
60 Minutes
26 August 2013
Graphite Pencil on Paper
28cm x 32cm (11" x 12.5")

Chapter 3 of Keys to Drawing is about estimating and drawing accurate proportions.

This chapter is the main reason why I am rereading Keys to Drawing. It fills, what for me is, an important gap in the Natural Way to Draw.

Keys to Drawing - Exercise 3A
35 Minutes
6 August 2013
Graphite Pencil on Paper
21.5cm x 33cm (8.5" x 13")

Bert Dodson introduces a number of techniques that use the pencil as a sighting tool to take accurate measurements from the subject:

• Find the midpoint - use the pencil to find the horizontal and vertical midpoints on the subject
• Plumb and level – use the pencil to find parts of the subject that align either horizontally or vertically
• Comparative measurements – use the pencil to measure some part of the subject (e.g. the head) and then measure the relative size of other parts of the subject

In each of the techniques, you hold the pencil out in front of you and close one eye to take accurate measurements - the classic artists pose.

Keys to Drawing - Exercise 3B
40 Minutes
8 August 2013
Graphite Pencil on Paper
39cm x 23cm (15.5" x 9")

The chapter contains six exercises:

3A - a standing figure
3B - a reclining figure
3C - a foreshortened reclining figure
3D - a front view portrait
3E - a three-quarter view portrait
3F - a foreshortened portrait

Keys to Drawing - Exercise 3C
40 Minutes
12 August 2013
Graphite Pencil on Paper
25.5cm x 29cm (10" x 11.5")

Dodson’s instructions for the exercises are virtually the same as the instructions for the Extended Gesture Study (see Section 13) from The Natural Way to Draw:

Start with a gesture drawing and then use the sighting strategies to check and correct the proportions before (and while) adding details to the drawing.

Keys to Drawing - Exercise 3D
60 Minutes
14 August 2013
Graphite Pencil on Paper
26.5cm x 33cm (10.5" x 13")

Dodson’s sighting strategies are some of the “methods” that Kimon Nicolaides glosses over in his instructions:

“You may use any and all methods at your command to arrive at the correct proportions and the posture, even to the extent of measuring how much higher one point is than another and the angles and distances that are created from point to point.”

Keys to Drawing - Exercise 3E
60 Minutes
19 August 2013
Graphite Pencil on Paper
28cm x 35.5cm (11" x 14")

I am not suggesting that Keys to Drawing is a better book than The Natural Way to Draw.

Nicolaides may not offer much advice about drawing accurate proportions, but this is because it is not central to what he is teaching.

Keys to Drawing - Exercise 3B 2009
14 September 2009
Graphite Pencil on Paper
27cm x 12.5cm (20.5" x 9")

I've included a couple of drawings from when I first read Keys to Drawing in 2009. The new drawings are more detailed and they look more realistic - the gesture is more accurately observed and they seem three-dimensional. This is what I learnt from The Natural Way to Draw and what I wouldn't have worked out for myself in two and a half years of unstructured drawing practice.

Keys to Drawing - Exercise 3E 2009
4 October 2009
Graphite Pencil on Paper
21cm x 25.5cm (8.25" x 10")