MORE DRAWING TUTORIALS:

How to draw a rose
How 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

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Learn to Draw > Form

The following sections treat of the artist's subject matter from two points of view; first, investigating how natural and artificial forms have arisen and developed, reviewing the principles of growth and construction, and, secondly, indicating how these forms can be understood visually and transcribed onto paper. This artistic activity may involve leaving out some unessentials in order to stress the essential. The essential in turn is sometimes further enhanced by exaggeration, simplification, or elaboration.

Because of all this, it is obviously necessary to have a correct understanding of an object before reproducing it. Even deeper understanding is needed if the work departs from the external form, in an abstract representation, than if it is done from a model present in the flesh or in previous sketches and studies.

To draw well we must be acquainted with the skeleton and surface anatomy of the human body and of animals, the principles of growth in plants, the methods of construction used in buildings, and the factors underlying the phenomena of landscape. Without this knowledge gross mistakes are inevitable. Even if we intend to draw what we see and feel rather than what we know, we need a basis of objective knowledge to give it significance. There is no need to cling helplessly and blindly to this knowledge, but without it we can never penetrate far into the nature of things.

The works of the old masters are full of distortions or alterations of form and shape, deviations from what the eye actually sees, but they are never biologically or structurally wrong. A beginner usually draws a movement incorrectly unless he has some idea of the anatomical structure of the body. It is not so much detailed information which is necessary as a comprehensive understanding of the biological or, in architecture, the structural, principles which constantly recur.

This knowledge enables the artist to put onto paper forms taken either from nature or from his imagination. Whether in the constructive or impressionist style, a figure drawing is always begun in a different way from a landscape. The following pages aim at providing the basic knowledge from which an individual style of drawing can be developed.

Next: Human Anatomy

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