Baixe Andrew Loomis - Fun WIth a Pencil e outras Notas de estudo em PDF para História, somente na Docsity! FUN WITHA 4 PENCIL HOW EVE PR CA EASILY LEARN TO DRA' 2 FUN WITH A PENCIL ALSO BY ANDREW LOOMIS Figure Drawing for All It’s Worth Creative Illustration Drawing the Head and Hands Three-Dimensional Drawing 5 COPYRIGHT 1939 BY ANDREW LOOMIS FIRST PUBLISHED BY THE VIKING PRESS IN MAY 1939 BY THE MACMILLAN COMPANY OF CANADA LIMITED REPRODUCED FOR EDUCATIONAL USE IN DECEMBER 2001 All drawings and text within this book are the property of their respective copyholders and should not be reproduced for any reason. They may only be used for the purpose of practice and study. 6 DEDICATED TO EVERYONE WHO LOVES A PENCIL 7 MR. WEBSTER DEFINES DRAWING AS DELINEATION. THAT DOESN’T TELL YOU HOW MUCH OF A REAL “BANG” THERE IS IN IT. MAYBE HE NEVER KNEW. MOST FOLKS LOVE TO DRAW EVEN WHEN THEY KNOW LITTLE ABOUT IT. IT STARTED WITH THE CAVE MAN, AND STILL SURVIVES ON THE WALLS OF PUBLIC PLACES... BE- CAUSE IT’S SO MUCH FUN, AND SO EASY, IT’S A SHAME NOT TO BE ABLE TO DO IT BETTER. ANDREW LOOMIS 10 Since Andy cannot talk to you personally, he put me in here so we can really get together. It’s tough on Andy, for that guy really loves to talk, especially "shop talk.’’ Now this plan of action is based on the use of simple forms that are already known and familiar to you, and which you can certainly draw. From these simple, known forms, we build other forms, which without some constructive plan would be too complicated to draw. For instance, the top of the head, or cranium, is nearer to a ball in shape than anything else. So we start with a bull, and add to it the shapes we want. We thus "arrive’’ at the out- lines that are needed instead of guessing at them. Only the most talented end experienced artist can draw at once the final outlines. That procedure is most diffi- cult, and is the reason most people give up drawing. But knowing how to "construct’’ makes drawing simple and easy, and a delightful pastime to anybody. By build- ing preliminary shapes and developing the outlines on them, we know WHERE TO DRAW OUR REAL LINES. There is hardly anything that cannot first be constructed by the use of simple forms. “Santa had a belly, like a bowl full of jelly.’’ Now that was a real observation. We know just whet it must hove looked like. In fact we can see it shaking! Now, the idea is to draw the bowl before the belly. If the observation is correct, it ought to be a simple matter to make it fairly convincing as an abdomen for old Nick. Of course we will cover it with his coat and pants, but we’ll be pretty sure the pants don’t spoil the big idea. I picked on Santa because he’ll never complain that I’m being too personal over his appearance. I might just as well have chosen your next-door neighbor, his lunch basket may be equally rotund, and shake some too. Every form is like some simpler form, with this or that variation, and with pieces added on. The simplest 11 Forms we know are the sphere, the cube, and the egg. Before we could walk we recognized the sphere in Dad’s new golf bulls; the cubes were in the sugar bowl; as for the eggs, well, the nicest ones were Easter eggs. I say, “Draw a line.’’ You cannot know just what I mean. A straight line? A curved line? A jagged line? A wiggly line? There are a thousand kinds of lines; be more specific. But it I say draw a ball, a cube, an egg, a cylinder, a pyramid, a cone, a rectangular block, in each case the image you get is perfect. You know ex- actly what I mean. Instead of “line,’’ we shall think in terms of concrete and tangible “form,’’ and proceed as if we were handling lumps of clay. You can appreci- ate the value of such a method, for you know the fun- damentals even before you start; they are obvious to anybody. If you never saw a ball, you should quit right now. As you proceed to build all sorts of shapes out of simpler ones, it is amazing what you can do with them, and how accurate and "solid’’ the resulting draw- ings will appear. The surprising part is that, when the construction lines are erased, very few could guess how it had been done. Your drawing appears us complicated and difficult to the other fellow as mine might seem to you now. It takes on a look of professional workman- ship, which indeed it has, since the professional artist has by some method had to “construct’’ his work to make it “professional.’’ If you will give the following pages even your amused attention, I am satisfied you will find much that will surprise you in the way of ability but perhaps you here- tofore never guessed you had. If it absorbs your inter- est, you might find yourself clever enough to amaze those about you. Just now take my word for it that the method is simple, practical, and, I believe, possible for anybody to follow. 12 TAKE A GOOD LOOK AT THIS PAGE A circle is a flat disk. If you draw the “inside” contours, it becomes a solid ball, with a third dimension. We shall build other forms, like lumps of clay, onto this solidity. The construction will be erased, but the solid appearance will remain, giving form or the appearance of reality. 15 THE FUN STARTS! The big idea is to start with a “form.” Then develop other “forms” on it. Build your final lines in by selecting, eliminating the lines you do not use. I leave mine in to show how it’s done. A SURE METHOD FOR ANYBODY These are happen heads, just plain Duck Jow for vou! hegre cam raca fone Belts, all aboué the Jame SEe. Phey need not be real round dO É dO) Now add a symaté ball. Place dl anpulere enside ortowching dee forsi bell BIO Divide the ball so thaé the division lines cross al a poné under the nose. BIO A didd crosstines above and below ROSE as go did bertore. Now build em a 16 17 IT’S REALLY GOING TO BE EASIER THAN YOU EXPECTED Now, if the first drawings you do are not the last word in cleverness, don’t be discouraged. You will soon get the idea. When you begin to sense form, you will have the whole works. Then we’ll polish up, and they will have to admit you are good. THE BEST WAY TO GO ABOUT IT Frase until faint he butt ia Jfapes mull suggest other details, 20 21 WE ADD ANOTHER LINE TO THE BALL Look at the diagram. This last line goes completely around the ball, thought the axis at each end, and cuts the eyeline just halfway round on each side of the middle line. The ear joins the head at the point of intersection of the eyeline and the earline. 22 THERE IS NO LIMIT TO THE VARIETY I am a lot more anxious to have you understand the method and create your own forms than to copy mine. But copying mine now will get you started. Always construct the head from the cranium down. There is no other satisfactory way. You can see by now that the position of the ball determines the pose of the head. The pieces you build on determine the character. EXPRESSION Expresstom és a matter o” personal interpretation and is the biggest Stiller for the average fanster. Jo! have prepared an Expresséoa Carl for your read reference. Ever face varies, of course, but there are fundamental Finas that happen in the face for every kind ef emotion. 1 fat mar Lots Juerprased mn aboui the same mag as a Rir fellow. e does the same Hings cocth a different face. Phese ill show the basic action of the feateres “mother artist maught interprel these dilerent ty bue Ee are something do go or 25 EXPRESSION he bati lhe pieces Mouth and exes Other detaits e main haracteristics olhe smile are squinting of the eses, fold under eyes. lhe pleces are bull and port toward the car Mowif wide, bs between. pieces. Fopickie Lemos over exrocagão Jour faces and focas iork cui so much better if built of angular or blocky shares Hemember “anger as associated cxth apguelar ira ou some piecer'orfyosur cipa, a 26 Finished for the laugh Jqueeze the check Bighe agaizst he Eme Est emes al quiside cormers. folds under the eges. Pull corners of mouth mete esp Show upper teeth crtiy ea tly Furious S"Q fp ball dowm lhe pieces partia Papa Pap the eses Distend nostritolheco teeth Pull check forwari end don Cera corners ofmeocuthe err, was devera, ese clhacuiregs are om the Expression Chart Try obhers, DIFFERENT EXPRESSIONS OF THE FACE Fébeurake its hrena tocreate a letéle face and there see wbal e care made dl do. Expressiar midi be ofgrecé vatue Jo sei cnill xant to dream a contimuety of action en several pictures. de docebi, perplexity, suspicion dis QUIÊ AiSÁRES, ANROPANCE, ARGEL Pery, concentration, and in filarcous laveghter, the brows poiné doc. Bere are mary Jubtie exmoticas, ud them, fa surprise, antiety, pity, elatior, fear, anticipadion, detiçh, the frpear are elevated. lhe bros are ouportant He speak ol, ulted brow, iesorri ed Breu, troubled brow, etc. Shudiy gor ow. Hen ts atlsaid and done ou must feel “the expressior ego cnart. Mate faces al pourself in ca rmúror. Fenbody calches spot, claim FhaÉ sou are Smart them are crazir. 27 30 HERE’S A STUNT Draw three balls, one of them small, in any position. Con- nect the larger balls. Draw a middle line under the small ball. This suggests a head. Now use your imagination to complete the drawing. 31 DON’T MISS THIS PAGE Here we combine the ball with other basic forms. With “solid forms” to build on, the head begins to take on more reality. You can almost anything you want to with the supplemen- tary forms, and come out all right. The is real character draw- ing, and a challenge to you. 32 PROJECTION This page is for the clever folks. It is a method of projecting the characters you have created into various poses. Try it with very simple heads at first. You must use your eye and build very carefully. 35 BRATS 36 THE DIVIDED BALL AND PLANE METHOD The Method Developed by Andrew Loomis, Which Makes Construction Simple for Any Type of Head. We go now into the most important section of the book. The method here worked out is a develop- ment of the simple groundwork you have already accomplished. It need not frighten you, since it is but slightly more complex than the work up to this point. The cranium, as you perhaps have realized, is never a perfect ball in shape. To draw it correctly we must make alterations, some slight and others quite exag- gerated, to fit the various types of skull. Neverthe- less, we can take as a basic form a ball sliced off at the sides, leaving it a little wider one way than the other, and adding to it or taking some away. The forehead may be flattened, cut down, or built up as the case may be. The cranium may be elongated, widened, or narrowed. The facial plane may also be altered as we see fit without destroying our working principle. The plane simply attaches to the ball wherever we want it, which makes our method entirely flexible, so that we can represent any type of head we choose. All other methods I have yet seen do not start with a form anything like the skull, or make any allowance for the variety of shapes. After this book was pub- lished, I learned with inter- est that a similar basic head form has been used for years by Miss E. Grace Hanks of the Pratt Insti- tute, Brooklyn, and that she has written a book based on this method. THE DIVIDED BALL AND PLANE METHOD Dpofiicagd | em | ge PAR E A e K j a Eee core 5 A |] E Ta | 1 Né us. AAA E) e pude Measurements Jhes. E E PRESTE — ments + heve person gdly acce; ted as ideal Irealizing the Standard réoor- dions meretased on Latin types, | have worked these cut ar edeal Aomerecar. The Divided Bati and Plane Method has all these praporticrs worked ouet à the ball and plane sbrelfand well automaticatig go into the feead unless the ball or plane és changed. Lhaless the reader és sercocarta gncliva ed to draw the head 1 reatistic pro- pordior, É £s advised to forgo Serious Judy of the measurements, depend - bag merety upon the eye and the ball. 37 40 What I wanted was a method whereby, if a head looked wrong, I could find out what was wrong with it, Tampering with a painted head to correct some bad construction or drawing usually ruined the work done. The necessity of starting the head correctly in the first place was obvious, so that the finishing could be approached with the confidence that after hours of work it would not go “sour.” With closing dates of publications imminent, it is risky business to proceed without a full knowledge of what you are doing. So this method evolved from personal necessity. I might state here that in the beginning I had not the slightest intention of putting it in book form. How- ever, when the plan did work itself out finally, I was struck with its simplicity. It was one of those instances that make you wonder why you or some- body else had not thought of it before. The fact that it tied up with our first childish scribbles, which after all are a crude statement of form unhampered by superficial detail, only increased my enthusiasm. Why, then, could not such a plan be made avail- able to all, from the child scribbler to the profes- sional artist? The plan changes but slightly from the first round ball and added forms to the profes- sional piece of work, the difference lying in the ability of the individual. It all hinges on the proper building of the ball and its divisions. Approached with the understanding that one is drawing solids instead of lines, the method becomes surprisingly simple. I do not doubt but that these few pages will prove of inestimable value to many practicing artists, who I know have been confronted with the same diffi- culties of bad drawing and closing dates. But pri- marily the book is for John Jones, who always wanted to draw but could not. THE DIVIDED BALL AND PLANE METHOD 41 AS APPLIED TO DIFFERENT TYPES 42 SOME HEADS BASED ON PAGE 41 This page must give you some idea of the unlimited va- riety of types and characters possible through building by the Divided Ball and Plane method. There are thousands of types, and each looks different mostly because of the skull rather than the features. It’s fun to study an individual, and try to figure out what kind of ball and plane go together to make up his face. You really learn to look deep into charac- ter, and beneath the surface. This method calls for no clair- voyance, but a quick eye and a skillful hand. 45 A METHOD OF CHECKING The blue lines in the diagram above are our same construction lines. They may be done on tracing paper over any face. You can thus quickly find a feature that has been incorrectly placed. You can also “find” the ball and plane position in a photographic head this way. Whether you are building or tearing down, the method applies. 46 THE WOMEN FOLKS 47 TWENTY KIDS 50 OH, BOY, OH, BOY! NOW THE FUN REALLY STARTS 51 PART TWO PUTTING THE HEAD ON THE BODY 52 THE COMIC FIGURE You know, I’ve a hunch you have been itching to get into this portion of the book. Well, it is really going to be great fun to create little people of your own, doing anything you want them to. There is nothing hidebound in this plan either. Take it in easy doses for the fun that’s in it. Whether the folks you draw will ever bring home the bacon is a matter of circumstance and how clever you get to be. But it’s worth the effort to get that bang out of being able to do it. When you were a very little boy or girl your brain children probably looked like these. If they did, you had a great deal of undeveloped talent, and if you have not been drawing ever since, it’s a real shame. When the little youngster starts to draw, he instinctively does a better job than he does later on. He goes to essentials, a crude representation of the bulk without the detail. Soon he forgets the body and starts drawing buttons and clothes with a face on them. Result: he gets discouraged and transfers his attention to some pretty blond curls or a new bicycle. In all seriousness, I say that Nos. 1 and 2 of the marginal drawings have great possibilities; 3 and 4 still have hope. But 5 verges on those awful draw- ings in public places. 55 WE START ON THE FIGURE We shall start at once to put them into action. There will always be movement of the parts. Draw this page carefully and become thoroughly familiar with the movement of each part. DOOHINKUS MOVES ABOUT. STUDY THE FRAMEWORK Se alking the arms move ix reverse wmoticr of the legs. Excomple, Jeff fool formarã, se «aro back. The cmeighet és tupped forward, catchoag balance onth each ste. dry some al these À contoeuciti af actioa. Spurpaselig pucked a dougdo cre, and probably cell gel smp nechout. = A de resina Ure armas alh de reverse of the legs. a jiempina Lhe arms and de move “x ani agr ac arms back. Ren the io do adocçoe im lenda 56 PURPOSELY OFF BALANCE 27h Meca, fodkes, just to qeê spot 1 inted itto the actions o! Doofeinkus, É present here abittle drama entitled, He pp up with (ras Howe Neltse, much do his chagra Howwelp, Inots, Dooielus saia Mind S fcome fá he placed his arm about her. he deintiliy mithdreto, but on the air there came a smack, as lovers É will do. (Ciurtase). Moral - line srosa do cith a bottle and a maiden, dont do ct. 57 BUILDING ON THE FRAMEWORK JE a sineple matter, moco, do add the mezt balls” between the joints Mhese fuest draw dines around exclosiza Eee forr. PRés és drzenizeg Som fe peride ccd Moming fot much bite the seriousty draw Figure the tréte fetlou reltg és. 60 BUILDING ON THE FRAMEWORK ete, fer giris we tura bre pelos block over. Nou me tl Let the camera feio vs. 61 62 A WAY TO SET UP THE ACTION Take any jointed doll if possible, one jointed at the waist. This fellow was a plain wooden art-store man- nikin. In order to make him exist for you as some- thing more than wooden chunks, I dolled him up, with paint, putty, and a bit of hair from the bathroom rug. Then I got busy with my candid camera. He is a queer- looking little guy, a sort of cross between Groucho Marx and a cigar-store Indian; but he is made of parts, and it is the appearance of these parts in action that we are interested in. In this way Doohinkus Manni- kin is better than a live model. The black lines on him help you his bulk, just as they do on the ball. Take some of these poses. Start by drawing the frame- work in the approximate action. It is not important that you maintain the same proportions, and you can substitute any head. Change him to suit yourself, but watch the positions of the parts carefully. Build on each part as you it. Note whether lines at joints curve up or down, how the part is tipped toward or away from you, you can exaggerate the action of the hips and shoulders, as those actions were quite limited in the mannikin. You can also, if you wish, render the light and shadow on the parts. Tracing these, or copying without building, will do you no good. But if you will “build” a dozen or so, you will be able to set up figures of your own, in al- most any action. The correct assembling of the parts of the figure is much more important than actual knowledge of the bones and muscles. You cannot put clothes on your figures properly without knowing the action of under the clothes, and the flexing and pull- ing of the material over them from one part to an- other. Pages 66 and 67 will show how to go about it. 65 AFTER DRAWING THESE, TRY SOME OF YOUR 66 HOW YOU USE THE DOOHINKUS POSES Here is the way to go about the preceding poses. I have chosen figure No. 8 at random. First, it is a good idea to know what the normal figure is like. You needn’t draw this unless you are interested. The bottom figures illustrate how the exaggerated is based on the normal. 67 JUST PLAY WITH THE FIGURES The main idea is to enjoy yourself. Some day you may just put clothes right over the framework. But it is better always to sketch in the figure. Do not follow the photos literally. Do a lot of inventing, I wish I had more space here, but perhaps these will give you a working basis. HOW'TODRAW AHAT CORRECTLY How to Eso che brisa Build te cromne or Erin cs pou cuish. 70 FREAK HATS ES ES | dp O di ds So & E | ld |» 72 THE HAND EXPERIMENT ON FELIX THE ICE dedo om clothes alter eres constrrcctio. (Drive es gore cenirdo, Mio fsertie doe él sega 75 76 TRICK STUFF TRICK É Teve balls and a dim car. Balls end more balls. 7 80 EXPERIMENT WITH THESE 81 I’M PUTTING YOU ON YOUR OWN 82 THESE OUGHT TO BE INTERESTING 85 YOU CAN DRAW THEM ALL BY OUR METHODS 86 ALSO THESE 87 AMONG US MORTALS 90 ANNABELLE 91 JUST NATURALLY ATHLETIC 92 VAMPS 95 THUS ENDETH PART TWO Here’s Gas House Nellie back with us, and what a wallop! She’s here to show you there’s no foolin’ about those little Doohinkuses, You can get more real stuff into your figures in two minutes this way than in two days of trying to horse around with the finished drawing that has not been planned out. If Nellie isn’t really slamming this guy, I’m a Chinaman. I can almost hear it. 96 NOW THAT I’VE GOT ALL OF YOU, WHAT TO DO! 97 PART THREE A WORLD FOR YOUR FIGURES TO LIVE IN