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MORE DRAWING TUTORIALS: How to draw a roseHow to draw a dragon How to draw a horse NEW: How to draw a wolf NEW: How to draw a betta fish How to draw animals from pears How to draw an owl How to draw a cat How to draw animals from alphabets How to draw a frog How to draw a parrot How to draw a bird How to draw a butterfly How to draw a sheep How to draw a pig How to draw a swan How to draw a penguin How to draw a peacock How to draw a lion How to draw a rabbit How to draw a cow How to draw a dachshund How to draw a seahorse How to draw a tiger How to draw a kitten How to draw a monkey How to draw a unicorn How to draw a phoenix How to draw a deer How to draw a squirrel How to draw a crocodile How to draw a dinosaur How to draw a whale How to draw a duck How to draw a giraffe How to draw a snail How to draw a koala How to draw an angelfish How to draw an elephant How to draw a griffin How to draw a walrus How to draw a cocker spaniel How to draw a poodle How to draw a donkey How to draw a chicken How to draw a rooster How to draw a porcupine How to draw a kangaroo How to draw a bear How to draw a mouse How to draw an octopus How to draw a turkey How to draw a goat How to draw a camel How to draw a hippo How to draw a possum How to draw a rhino How to draw a centaur Did you choose "Other"? I'd love to know what your other is. Email me to let me know. 
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Learn to Draw > Filling in spacesDurer, with his fine, precise lines, thought out everything in advance to the last detail. Kathe Kollwitz was more spontaneous; her broad, soft touch brings the deepest human qualities to light directly from her response to her subject. To draw a line with charcoal across smooth paper - some people cannot even endure the noise it makes - certainly evokes different feelings from drawing with pencil, pen, or brush. There is nothing to be gained from resisting or ignoring these physical stimuli and preferences, even though they seem to contradict the Chinese dictum, "When you take ink you' should not be taken by the ink, and when you use the brush, the brush should not use you."The beginner is not alone in being open to the temptation of filling in surfaces, especially shadows. Everyone has a natural desire for completeness, which is frustrated by empty spaces between wiry lines. It is as difficult to draw with pure lines alone as it is to paint a perfect watercolor. When drawing with a pen, the only way to fill in a surface is by hatching. You have to abstract once more, as you did with the line: you see contours which are in reality only boundaries between different colored areas. If the beginner uses charcoal or chalk, he is at once inspired by the softness of the material. He can rub and wipe with his finger to fill in surface and achieve wonderful gradations and the softest, smoothest rounding. But he should beware: this is only a hair's breadth from vulgarity.  The beginner must discipline himself firmly against mannerisms of this sort, or he will blind himself with cheap effects, which he seeks only because they are easy. Perhaps it will open his eyes if he attempts the same motif twice in the same material, once rubbed soft and once using more or less gentle strokes.Above all, let the stroke be gentle! There is no difficulty in pressing hard and dashing down wild lines; this is not really the measure of a creative temperament. A better ideal is strength restrained by gentleness. A thoroughbred horse cannot be tamed by muscular strength, but by gentle guidance, behind which he can feel the iron will. We do not wish to disguise the fact that problems arise when drawing a surface which appears more or less uniform. "Surface" refers not only to a smooth, paved road or a plastered wall, but to the surface of a field, the silhouette of a mass of foliage, mountains, water, sky, or a patch of dark shadow. It is all very well, say, in a pen drawing to deal with the problem of surface with parallel hatching.  Suppose there are a rocky cliff, a field, and the sky as three different surfaces in the same picture. The three surfaces will have to be differentiated from each other and, further, should awaken in the beholder the illusion of the substances of which they consist. The answer to this problem has already been touched on: texture can replace a mechanical copying of minute particles of the surface with a more impressionistic reproduction of the general effect. This gives as much, often more, than an "exact" picture.The reason for this can be illustrated as follows: if a collection of various tree barks was shown to a group of people of average education, most of them would be able to tell the difference between a pine, a poplar, and a beech tree. But if these people were asked to draw the barks from memory, even just after looking at them, it is unlikely that they could do so. A general impression is much more important than individual details, and a texture can give this just as effectively as a painstaking copy. This is the principle behind oriental painting; which has a convention of textures to render different materials. Not only is it unnecessary for the draftsman to put in individual details instead of a texture, it is tedious both for him and the beholder if the texture fills the whole area. A mass of people need not be depicted by dozens of portraits, even though a texture of heads side by side is liable to be mistaken for a field of cabbages. The common spirit which has brought the crowd together can be expressed in one or two faces which merge into a massed sea of faces, each indicated by a few rapid strokes. Pictorially it is adequate, and, moreover, more attractive, to put in the texture fully over some parts of the area and let it fade off and disappear in others. The eye of the draftsman will see only the texture of a roof surface where his attention is concentrated. The rest of the surface he will see more as an indefinite patch of color, or in a drawing as an area of a certain tone. Thus, the whole area of the surface can simply be given a tone value, out of which the textural drawing appears at a few places or even at one place, in the direct path of the eye, on shadowed areas, or on the illuminated parts. If, for instance, the paving of a market place in sunlight is laid in with gray tone, and the bright patches where the light is reflected are left white, the texture of paving stones could perhaps be indicated in the bright patches. Though the picture is drawn in detail only in these places, which merge into the surrounding gray tone, the impression will be that the whole place is paved. The important thing is to find an appropriate way of making this tone. Next: Using tone |
 If you're worried about not having enough artistic "talent", try some free cartooning lessons. You'll be drawing and laughing in no time flat.  Free printable coloring pages for kids.  50 tricks and that anyone can do. Puzzles and brain-teasers, too. |
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