From soft pencils to graphite powder, ballpoint to fibre-tip pens, conte sticks to watercolour pencils, this unique guide covers everything you need to know to begin mastering and combining different media in your drawing. This visual directory of drawing techniques beyond the pencil provides you with the skills to explore and experiment with all the different techniques and mediums. Use it as a handy reference for when you want to know how to use a particular tool, or as a catalogue of inspiration when seeking new ideas to try. A wealth of media and equipment is demonstrated, and each page features invaluable information for beginners and accomplished artists alike. As the techniques progress, you'll explore the creative possibilities beyond one medium, and be encouraged to look at your work and style in a new light. Use the examples shown to aid expression and skill development and to look at the myriad possibilities of mixed media, which have all been selected because of their compatibility. Start with basic graphite pencils, sticks and powder to explore line and tone, shading, creating textures and erasing. Then move on to coloured pencils to cover techniques such as burnishing, lifting and sgraffito. There are various interesting methods to try with water-soluble coloured pencils too, including different ways of applying water, blending and overlaying colours. Explore the effects that you can create with charcoal or conte sticks on different coloured and textured papers, and discover how to use pastel pencils and chalks for expressive drawing. Then master blending, shading and scumbling with hard and soft pastels, and perfect your techniques with crayons, oil pastels and oil paint sticks. There are some really interesting ways to use ink pens for painting effects and instructions are included for cutting your own quill pen. Ballpoint pens, fibre-tips, marker pens and brush pens are also great tools for creating modern, graphic drawings - pick up some handy tips for mark making and blending. Finally, experiment with mixed media and combining various pencils, pastels, crayons, powder, sticks and pens for some stunning results. Be inspired by the huge range of drawings in this book to expand and develop your own skills.

Create authentic-looking maps of fantasy cities, hamlets, fortifications and more in a popular tabletop, RPG style. 30+ step-by-step demonstrations show you how to create your own unique RPG maps Learn how to draw fantasy cities, medieval settlements and more from a professional gaming illustrator Tips and techniques for drawing fences, stone walls, forests, fields, bridges, footpaths, mountains, harbors, shields, coats of arms and other cartography elements Put your design and drawing skills on the map!

Learn everything you need to become a manga artist, with step-by-step instructions, exercises to develop your skills, and tips and tricks. With the interest in manga-style art now stronger than ever - its influence can be seen in films such as Spirited Away and My Neighbour Totoro by Studio Ghibli, amongst other movies - this is the perfect book to slipstream into manga drawing. Packed full of step-by-step sequences for face, body, and poses, you too can draw in the manga-art style. Learn how to draw figures in the characteristic style of your favourite characters by building a portfolio of drawings. At the end of each chapter is a series of practice exercises where you're encouraged to trace or freehand draw subjects from earlier on. You'll end up with a portfolio of sketches charting your artistic development. There is also an inspirational artists-in-residence section, where various artists share their manga-art secrets and showcase their own art.

Learn to draw 28 adorable kawaii creatures using this simple step-by-step book. Kawaii artist Aria Wei teaches you to transform simple shapes into characterful kawaii animals, including a cat, bunny, hamster, owl and duck, plus several fantasy creatures, including a unicorn, dragon and phoenix. There are 28 different kawaii companions to create, in a variety of characterful poses. Each project starts with a few basic outlines and progresses into a finished drawing; a final coloured version shows you how to develop your artwork even further. Perfect for beginners, as well as budding artists, you'll be amazed how easily you too can create a world of kawaii creatures with this inspiring guide.

Whether you re an aspiring artist or new to the medium, seasoned instructor and accomplished artist Nathan Fowkes makes drawing portraits in charcoal not only accessible, but also a real pleasure! From stocking the best supplies to using them effectively, and composing a portrait while avoiding common mistakes, How to Draw Portraits in Charcoal by Nathan Fowkes will place you firmly on the path to producing the charcoal portraits you've dreamed of creating. His easy-to-follow tips, in-depth tutorials, and valuable exercises make this guide your first step toward building an understanding and appreciation for every face you draw. This handy book will equip you with the skills to capture them in beautiful charcoal fashion."

This book explores the nature of one of the most ancient tools for nonverbal communication: drawings. They are naturally adaptable enough to meet an incredibly wide range of communication needs. But how exactly do they do their job so well?
Avoiding the kinds of aesthetic rankings of different graphic domains so often made by art historians and critics, Manfredo Massironi considers an extensive and representative sample of graphic applications with an open mind. He finds a deep mutuality between the material components of images and the activation of the perceptual and cognitive processes that create and decipher them.
Massironi first examines the material components themselves: the mark or line, the plane of representation (the angle formed by the actual drawing surface and the depicted objects), and the position of the viewpoint relative to the depicted objects. The roles played by these three components are independent of the content of the drawing; they function in the same way in concrete and abstract representations. He then closely scrutinizes the choices made by the person planning and executing the drawings. Given that any object can be depicted in an infinite number of different ways, the drawer performs continuous work emphasizing and excluding different features. The choices are typically unconscious and guided by his or her communicative goals. A successful graph, be it simple or complex, is always successful precisely because the emphasized features are far fewer in number than the excluded ones. Finally, he analyzes the perceptual and cognitive integrations made by the viewer.
Drawings are not simply tools for communication but important instruments for investigating reality and its structure. Richly illustrated, the book includes a series of graphic exercises that enable readers to get a sense of their own perceptual and cognitive activity when inspecting images. Massironi's pathbreaking taxonomy of graphic productions will illuminate all the processes involved in producing and understanding graphic images for a wide audience, in fields ranging from perceptual and cognitive psychology through human factors and graphic design to architecture and art history.

This book explores the nature of one of the most ancient tools for nonverbal communication: drawings. They are naturally adaptable enough to meet an incredibly wide range of communication needs. But how exactly do they do their job so well?
Avoiding the kinds of aesthetic rankings of different graphic domains so often made by art historians and critics, Manfredo Massironi considers an extensive and representative sample of graphic applications with an open mind. He finds a deep mutuality between the material components of images and the activation of the perceptual and cognitive processes that create and decipher them.
Massironi first examines the material components themselves: the mark or line, the plane of representation (the angle formed by the actual drawing surface and the depicted objects), and the position of the viewpoint relative to the depicted objects. The roles played by these three components are independent of the content of the drawing; they function in the same way in concrete and abstract representations. He then closely scrutinizes the choices made by the person planning and executing the drawings. Given that any object can be depicted in an infinite number of different ways, the drawer performs continuous work emphasizing and excluding different features. The choices are typically unconscious and guided by his or her communicative goals. A successful graph, be it simple or complex, is always successful precisely because the emphasized features are far fewer in number than the excluded ones. Finally, he analyzes the perceptual and cognitive integrations made by the viewer.
Drawings are not simply tools for communication but important instruments for investigating reality and its structure. Richly illustrated, the book includes a series of graphic exercises that enable readers to get a sense of their own perceptual and cognitive activity when inspecting images. Massironi's pathbreaking taxonomy of graphic productions will illuminate all the processes involved in producing and understanding graphic images for a wide audience, in fields ranging from perceptual and cognitive psychology through human factors and graphic design to architecture and art history.

If you love horses and ponies but don't know where to start when drawing them, this is the book for you! 10 Step Drawing: Horses & Ponies will help you turn simple shapes into the perfect equine companion in just ten easy steps. Create over 50 different breeds in a variety of poses, from a rearing Hanoverian to a grazing Fell pony by following the step-by-step instructions.  Learning to draw has never been so simple! 

Drawing and painting realistic flowers is achievable! Create a wide variety of blooms and greenery using an easy step-by-step method, then add watercolor for gorgeous effects. In Drawing and Painting Beautiful Flowers, discover how to draw flowers such as cosmos, hibiscus, canola, lily of the valley, hydrangea, foxglove, and more from various angles, and learn about perspective and shading. Once you have the skills to draw a single flower, learn how to draw groupings and wreaths. Mix in leaves and smaller flowers to create a variety of looks. Then, learn simple techniques to add luscious watercolor, using shading, blending, and gradient techniques for eye-catching results. Popular Instagram artist Kyehyun Park shares her secrets for capturing realistic flower, leaf, and plant shapes. Artists of all levels love drawing and painting nature, and with these techniques they'll confidently render lifelike botanicals in an array of lovely palettes. The book also includes: Ideas and techniques for drawing and painting charming potted plants Instructions for drawing and painting smaller flowers, buds, and branches Watercolor techniques showing how to expertly blend colors, use brush strokes and brush pressure to create various shapes, and how to use color to shade and highlight Warm-up exercises that help develop skills Simple methods for understanding perspective and composition, making it effortless to draw flowers from different angles Add these striking florals to sketchbooks, stationery, journals, and more. With Drawing and Painting Beautiful Flowers, creating true-to-life florals and plants is within your reach!

Stevenson introduces this book of a collection of the famous painter and drawer 'Rubens' artwork. This book is brought together with reproductions, notes and origins of the photographs.

Silverpoint, and metalpoint more generally, is the practice of marking with soft metal on a specifically prepared drawing surface. Practiced for centuries, the artform is experiencing a resurgence in recent years, with contemporary work exploring abstract as well as realist, conceptual as well as traditional. Silverpoint and Metalpoint Drawing is the essential manual of metalpoint technique, written by Susan Schwalb and Tom Mazzullo, contemporary masters of the medium. This book is the first treatise on the subject for artists and art teachers with chapters on early history, materials including grounds, supports, metals, and tools, techniques for working in metalpoint as well as mixed media, and finally, the care of metalpoint works. Not only beautifully illustrated, this book also demonstrates how to photograph and exhibit metalpoint art. Featuring a gallery of drawings by contemporary artists, along with their tips and insight, Silverpoint and Metalpoint Drawing is a perfect introduction for students of the medium and an inspiration for those already more familiar with it.

When watching a masterful sketcher, it seems that they create elaborate sketches with ease, tracing their pencils on the page and bringing to life rich and detailed drawings. After sweating away hours trying to create a simple sketch, you may find that yours pales in comparison, looking amateurish and unprofessional. Why is it that you can't do what these 'masters' can? While many assume the difference comes down to accurate strokes and natural talent, you couldn't be further from the truth. Accuracy is not everything - confidence is. And, in this book, Hlavacs helps you to build up your confidence, moving through each layer of drawing and helping you understand exactly why one drawing looks more professional than another. This book breaks down the fear around sketching, walking you through how to create intricate sketches without difficulty. No other book teaches sketching in such a natural way, allowing anyone - no matter levels of talent or their past in drawing - to learn how to make this beautiful skill an intuitive process. Hlavacs demonstrates sketching as a pathway of logical steps, starting with the most basic elements and then adding further layers to the sketches as the book progresses. With a range of exercises to move through and pages filled with the psychology of why humans are drawn to certain sketches over others, this book will turn you into the master you've always admired. Instead of aiming for perfection, Hlavacs teaches you how to draw emotionally, using confidence in place of skill and understanding in place of talent. No matter who you are, The Exceptionally Simple Theory of Sketching will give you rules and demonstrations that will turn every sketch you create into a masterpiece.

In 1912-1913, James Ensor produced a series of 32 drawings in coloured pencil titled Scenes de la vie du Christ [Scenes from the life of Christ]. Each drawing on paper measures about 15 by 21 cm. The series depicts different episodes from the lives of Jesus and the Virgin Mary. In it, Ensor managed to combine the sublime and the grotesque in an unsurpassed manner. Some compositions are quite conventional, others typically 'Ensorian', and some even humorous. Among the works in the series is a drawing in which Ensor portrays himself as Christ, confronted with a dozen Belgian art critics who have gathered before him. In 1929 the drawings were made into lithographs and published in the form of an album by Galerie Georges Giroux in Brussels. These drawings can be considered as a link between the Ostend master's early and later oeuvre. The series combines various motifs which Ensor also executed in oil paint. The author of the work, Xavier Tricot, also pays close attention to the figure of Christ in James Ensor's work. From 1885 onward, the figure of Christ occupied a central position in Ensor's oeuvre. In some of his works, the artist identified with the Messiah.

Classification and qualification seem almost to be the enemy of artistic endeavour. Yet in The Natural History of Vedovamazzei, the curator Mirta D'Argenzio has produced an elliptical collation of the artists' ideas and hopes that offers a remarkable insight into a rarely defined world, that of Vedovamazzei's creative process. Simeone and Stella were lovers, from Naples. They were, and are, artists, painters, sculptors. As a matter of course they sketched out ideas in drawings and watercolors, produced cartoons for future projects, dallied with line and colour for experimental concepts. Some of them didn't work or were put away for another day. These sketches, sometimes no more than doodles or jokes, were also their means of communication when one was away, so that at any moment, on their return, they would find a scrap with an illustration to muse over pinned to the wall. Mirta D'Argenzio, the art historian and curator, came across these fleeting memoranda and resolved to make sense of them, like an Egyptologist deciphering hieroglyphs or an entomologist ordering the development of the Wing-tailed Cabbage White. She set about classifying them into an almost scientific order, from their larval forms through the pupae to the first spread of wings. She has produced a collection of the sketches in eight sections that makes up a visual record of the nascent ideas of Vedova and Mazzei, even in the 21st century cognisant of the traditions of Leonardo. The result of her work is as if one were treading the hallowed halls of the Natural History Museum, with its polished cases of botanical and insect collections, minutely marked and classified by the scientist's copperplate hand. It is a dazzlingdisplay.

Turner as Draughtsman looks at the artist's practice of drawing in various media (pen, pencil and chalk as well as watercolour and oil paint), an aspect of Turner's work which has hitherto received very little attention. Andrew Wilton shows that, while Turner's art has always been celebrated for its atmospheric breadth and freedom of handling, he based his working procedures throughout his career on the discipline of drawing in outline, which was an essential element in the grand strategy by which he achieved his formidable results. An important section of the book is devoted to the vexed question of Turner's drawing of the human figure, and the crucial role played by the figure both in his conception of landscape and in his ambitious attempts to master all the genres of fashionable contemporary art.

""Anyone who can hold a pencil can learn to draw with some degree of proficiency," Bert Dodson proclaims."

In this book he shares a complete drawing system that you can use for any subject or type of drawing-even if you doubt your ability to draw. It's based on fifty-five "keys to drawing," which are introduced at a comfortable pace. The keys are interspersed with dozens of practice exercises that help you learn by doing.

You'll learn how to: Restate, focus, map and intensify.Free your hand action, and then learn to control it.Convey the illusions of light, depth and texture.Stimulate your imagination through "creative play"

Contributions by Kenneth Baker, Jaqueline Berndt, Albert Boime, John Carlin, Benoit Crucifix, David Deitcher, Michael Dooley, Damian Duffy, M. C. Gaines, Paul Gravett, Diana Green, Karen Green, Doug Harvey, Charles Hatfield, M. Thomas Inge, Leslie Jones, Denis Kitchen, Jonah Kinigstein, John A. Lent, Dwayne McDuffie, Andrei Molotiu, Alvaro de Moya, Kim A. Munson, Cullen Murphy, Gary Panter, Trina Robbins, Antoine Sausverd, Rob Salkowitz, Art Spiegelman, Scott Timberg, Carol Tyler, Brian Walker, Alexi Worth, Joe Wos, and Craig Yoe Through essays and interviews, Kim A. Munson's anthology tells the story of the over-thirty-year history of the artists, art critics, collectors, curators, journalists, and academics who championed the serious study of comics, the trends and controversies that produced institutional interest in comics, and the wax and wane and then return of comic art in museums. Audiences have enjoyed displays of comic art in museums as early as 1930. In the mid-1960s, after a period when most representational and commercial art was shunned, comic art began a gradual return to art museums as curators responded to the appropriation of comics characters and iconography by such famous pop artists as Andy Warhol and Roy Lichtenstein. From the first-known exhibit to show comics in art historical context in 1942 to the evolution of manga exhibitions in Japan, this volume regards exhibitions both in the United States and internationally. With over eighty images and thoughtful essays by Denis Kitchen, Brian Walker, Andrei Molotiu, Paul Gravett, Art Spiegelman, Trina Robbins, and Charles Hatfield, among others, this anthology shows how exhibitions expanded the public dialogue about comic art and our expectation of "good art"-displaying how dedicated artists, collectors, fans, and curators advanced comics from a frequently censored low-art medium to a respected art form celebrated worldwide.

This study provides the first book-length critical history of storyboarding, from the birth of cinema to the present day and beyond. It discusses the role of storyboarding in key films including Gone with the Wind , Psycho and The Empire Strikes Back , and is illustrated with a wide range of images.

This title was first published in 2003. Peter Lanyon stood at the forefront of landscape painting in Europe during the late 1950s and early 60s. A prominent St Ives artist, he was associated with Barbara Hepworth, Ben Nicholson and Naum Gabo; his work also has affinities with abstract expressionism. Lanyon's career started just as the study of drawing was being liberated from 19th-century academic constrictions. His many drawings range from records of trips to the Netherlands and Italy to portrait sketches and abstract studies. Lanyon also used drawings extensively in the development of some of his most important paintings. In this study, Margaret Garlake explores Lanyon's theory and practice of drawing; the contribution of drawings to the evocation of place in paintings; his use of models and the metamorphosis of the human body into landscape images, as well as his use of three-dimensional constructions as equivalents to drawing.

Needle Work: Stitched Illustrations is a lavishly illustrated volume that explores the growing trend in textile-based art and illustration. The works of each featured artist are showcased with full-page illustrations, alongside a brief biography that examines their work, inspiration, and artistic vision.

'This is botanical illustration at the highest level.' - The Artist Christabel King is the foremost botanical artist at the Royal Botanical Gardens at Kew, world leaders in the study and preservation of plant species. Here she shares her passion for depicting plants, both in scientific illustrations and in looser botanical art. This inspiring guide covers everything you need to know: choose a subject and create a vibrant composition; accurately sketch, shade and colour leaves, flowers, cacti and more; finally, press and preserve your own treasured specimens. A chapter on travel drawing gives a flavour of the author's worldwide experience, and there are many of her beautiful plates from the prestigious Curtis's Botanical Magazine. There is a helpful section on suitable subjects for beginners and a glossary of terms, to get you started in the beautiful art of botanical illustration.

Prints and drawings have been keenly collected in Europe since at least the early sixteenth century. Relatively modest in price, they offered artists, amateurs and collectors of a systematic turn of mind the opportunity to put together holdings with a wide representation of different hands, schools and types of subject. Prints and drawings are traditionally treated separately, but their collecting is shown here to raise many interrelated issues. Employing a wide range of methodologies, the essays in this volume offer a number of innovative investigations into the collecting, perception, classication and display of works on paper.