Professional Documents
Culture Documents
For
People
fabulous news.
It's
left
ama
v
131,
Qt u
>nj.
HT YOU
,
ANGELO
SAN DIEGO/ CA
various artists where credited. Printed and bound in U.S.A. All rights reserved.
of this book
may be reproduced
in
No
part
any electronic or mechanical means including information storage and retrieval systems,
without permission in writing from the publisher, except by a reviewer,
who may
Published by:
994
1.
Drawing
2.
Art
ISBN 1-887823-24-7
$22.95 Softcover
Layout
CIP 95-078792
CA 92196
quote
Illustrated by:
Contributing students:
by:
Ken Cook
This book
taught
is
dedicated to the
me by example
memory
couldn't do
if I
had
faith.
How
To
at the
When you
it is
way through
permissible to
the
drawings are presented in a loosely structured format, with the easiest subject first, gradually progressing toward the most difficult. While, it's always good idea to begin with easy
objects and move toward the most challenging, by the time you reach this chapter, your
skills may be strong enough that it wouldn't hurt to jump around a little. Generally, if you
look at a drawing and think it's easy, it probably will be, especially if it's a subject you
like.
Many
who can
you choose
learn to
Some
until
you
lesson several times, drawing along with the instructor, watching the demonstrations
it
Many folks ask me, 'How long will it take me to learn to draw?' My answer is, 'How
many hours per day are you planning to practice?' There is no magic number of days for
this process but as a general rule, students who draw for 45 minutes to one hour per day,
usually finish the
book
in
60-90 days.
let's
get started!
draw
in
Contents
Introduction
Materials
Pencils
Paper
10
Accessories
11
Chapter Five
55
Learning To Shade
55
Value Charts
57
Shading Exercises
59
Chapter Six
67
Creating Texture
67
67
Chapter One
15
Gradation
15
Hatching
68
19
Texture Exercises
68
Chapter Two
25
Chapter Seven
73
25
Exercise Section
78
Drawing With
A Grid
Chapter Three
37
Seeing Shapes
37
39
Shape Exercises
42
Chapter Four
49
Seeing Lines
49
50
Success Stories
143
Acknowledgments
Order Forms
144
149
by Sandra Angelo
1989
Introduction
Transform your
skills from
if
like a
who drew
amateur
to artist in
in the
...
when
stilts?
your
never
art
made
it
to the bulletin
board
at
own
mother's refrigerator, here's your chance to avenge yourself and clear your besmirched
Forget losing 30 pounds, tummy tucks, hair implants, or face lifts. After
completing the lessons in this book, you will be able to draw a perfect mask to wear to the
upcoming high school reunion! You'll show them! No more irreverent snickers or
reputation.
Now
that I've
insert a disclaimer.
will feel
awkward
at first,
when
it,
Fig. 1
ability to
you
it's
art will
really
do need
first
to
date.
You
the better
it
gets.
think
by Sandra Angelo
<
1989
can do this?
draw but you thought you had to be born with talent. I have
fabulous news. It's not true! After working with thousands of people who can't draw a
straight line, I have developed a sure fire four step method (described on page 43) that
will take you from drawing like an amateur to drawing like an artist in a few easy lessons.
You've always wanted
Figure
drawing of her
One
to
little
skills to
grandson.
of the biggest frustrations for rank beginners like yourself, has been the lack of
simple books:
art
many
NOTHING.
grade,
This
is
book designed
know
that!'
is
for people
have gathered
who showed up for class with no more than a desire to get revenge on that Esmerelda Fishback who walked away with all those art awards. I listened to these rank beginners as they watched me draw, and when they said things like,' Look she's pressing harder
people
Fig. 3
his
drawing
skills in just
by Sandra Angelo
1989
a couple of months.
and she just turned her paper around,' the next time I taught I said, 'Now you press
harder and turn your page a little.' (Pretty smart eh?) So now you're the lucky beneficiary
,
me what you
Talent
is
. .
need
to
know
name
Most of the
has
this.
to learn.
skills
If
We artists
who can
rulers.)
on the meter. After a certain amount of practice time, you automatically learn
to draw.
There
is
by Sandra Angelo
<
1989
actually a direct cause and effect relationship between practice and successful
drawing.
And
who
I
is
The
persistence.
You
will be
happy
to
know
that
how weak
their start.
(Look
at the
Look at the remarkable progress made by Cheryl Mclver when she studied the masters'
drawing techniques. These drawings were done five weeks apart.
Fig. 4
by Sandra Angelo
1989
Materials
Pencils
book
are
how
how smoothly
It's
enough
drawing media. In
my
is
recommend
graphite,
that
you draw
teach
know
These pencils
pencil.
strictly
long
with
to figure out
how
to explore other
how
combine a
to
variety
The density chart below shows the varying degrees of hardness commonly available.
Keep in mind that the performance of each pencil will vary greatly from brand to brand.
The pencils I recommend on the order form in the back of this book are specifically
selected to give
you the
maximum range
all
It
really matters
my
what
brand,
you are not getting the same results I do, you may want to switch to my
Warning: If you use the wrong pencils, you can press down all day and your paper will
get crushed but your values will never get darker. With a good quality pencil, you can get
a very wide range of values. I have a philosophy that says, "Use junk, you get junk. Use
good stuff, you blossom." Don't come whining to me if you use bad pencils.
so
pencils.
if
Drawing Pencils
Drafting Pencils
6H 5H 4H 3H 2H
<- Harder
On
will
i.e.
6H
will
make
a lighter
detail. Although
is
some
Figure 5
2B
3B
Softer
HB*
& Lighter
mark than
4B
& Darker
5B
6B
-*
may
blonde
hair,
F.
*The
HB
is
by Sandra Angelo
common
1989
that
While you can take great phone messages with this, it's pretty lousy for
creating deep dark values or soft gradations. If you are a 'hatcher', (meaning you don't
mind if your lines show), you might like the HB If you are a 'graduator', and like soft
terra cotta eraser.
changes
in value, (with
Because
page
5,
it
may
no
lines showing),
medium
blackened
if
you
pencil,
try to
memorize
idiot
on
proof
on shading, you
will learn
how
draw
and
to
very often,
I
leads.
stroke
teeth,
which
to use
you
If I
want
left side,
but
up
his under-
there
maybe
his first
was no one
them
to set
Keep
in
straight.
when you
strong
the
One More
my
pencil
in
the
H pencils don't
mix well with the B's unless you have a high quality brand. The texture of the
two pencils can be quite different, preventing them from blending. The only
time pick up the lighter leads is when want to get a really delicate value like
the texture of blond or gray hair or a baby's soft skin. If you are using a good
brand, the lower number H pencils like H, 2H, 3H and the F will create very
Tip:
In
light values.
opinion, (which
is
With an
try out a
new
tool,
it is
strokes,
drawing with
who do
Artists
their fingers.
by Sandra Angelo
1989
best to test
When
it
it
works. Most
realists
command
They use arm movements, holding their pencil at a distance, making loose, casual strokes. You might want to try both methods to see which feels most
comfortable to you. You may even find that you like to mix it up, drawing the landscape
loose, then detailing the goose bumps on a plucked chicken with tight, controlled strokes.
they would a brush.
In this book,
have both
realistic
10.
We
Figure 6: Here
with a 2B. In
Figure
7:
is
my
Here
is
all
if
your
more compatible.
F pencil.
My drawings
H pencil.
have blended
it
tend to be
mine. Look
at
On
the left
into a 2B. In
is
Figdiffer-
a swatch drawn
my
ent.
one
Each of you
is
will
by Sandra Angelo
be concerned
if
1989
style. Just as
it is
in this
book
exactly.
Figures 8-10: Each of us drew the same subject, but our strokes were unique, making every drawing a
different
and distinctive
style.
Figure 8
by Sandra Angelo
Figure 9
Figure 10
1989
by Sandra Angelo
1989
Paper
There are a wide variety of papers available on the market, most of which are bound
in
sketchpads. The quality varies dramatically and, unlike pencils, quality does not always
correlate with price.
rible
Some
its
Shopping
for a
some
ter-
even
if
it
so
isn't,
quite
made
Good
your sketch pad is bound into this book. To save you the trouble of
guessing which brands would work for these exercises, I bound good quality paper into
this book so that you can use it as a workbook and sketch book. If you run out of paper,
you can use the order form in the back of this book to send for my special sketch pads.
news...
In addition,
for
right
recommend
is
where
get
up on
in
made
it
easy
your book.
my podium
when you
get
crummy stuff.) I recommend that you do all your exercises right on the
paper in this book. Some people, who want to conserve their paper, will try to draw these
exercises in other sketch books. This will defeat the whole purpose of why this book was
created. I carefully selected the correct paper for you. If you choose your own paper, you
might select lousy paper, 'cause you don't know how to choose a paper. Then you'll get
bad
results using
bad
results.
it.
means
needs to have a
it
slightly
'bite'
to
will
it
(Graphite pencils
to
last
erase
it.
If
you
try to
pill (like
the graphite
your paper.
low quality paper will yellow and slowly deteriorate (Remember what haptime you left the morning paper on the door step all day. The paper became discol-
In addition,
pened
full
will
ored.)
grating,
So
you
to save
frame a drawing, or
to
can't perserve
at least
save
it.
If
by Sandra Angelo
that
is
1989
disinte-
it.
you from your own well meaning frugal ity with its corresponding
good paper into this book. So use it already!
failure,
paid
have seen so many beginners waste time by using bad paper and cheap pencils. They are
not doing the drawings wrong, it's just that they can't get the correct results with bad paper.
Nag. nag, nag. I admit it. I have a fetish about using the right supplies. I get tired of the
grumbling when people moan to me about their bad results, and it's all because they've used
I
wrong
exactly the
ACCESSORIES
Dust Brush
Because graphite can
you
will
you can't find a goat hair brush, you can buy one using the form in the back of the
book. Or you can visit Old Mac Donald and borrow one of his trained goats who will
swish his tail over your paper on command. (Be careful to use the correct end of the goat.
If the goat's head faces your paper, he will eat it, unless it's crummy paper: in which
case, you'll wish he would eat it.)
If
Erasers
An
inexpensive
though
art
gum
work well to rid your paper of most mistakes. Alcrumble and smudge the graphite a little, it is the best at lifting
eraser will
large errors.
If
little
To keep your drawing free of smudges, use a piece of clean paper underneath
down
will
it
is
the
most effective
shield
because the
slick
by Sandra Angelo
The kneaded
that object.
19S9
lift
the
dark values, leaving a gentle, soft gradation behind. (Other erasers leave an abrupt edge
when
My
they erase.)
1 1
it
it.
It
is
the small
glides over the surface of the paper lifting the graphite rather
lifted
my
it
works, look
at
Fig-
The
this eraser
best brand
is
in the
like
in the
limit
myself
little
slurry
in
my
which
is
above.
Figure 11
Pencil Cases
it
outfit.)
Fixative
When you
change
it, ( i.e.
if
the
is
perfect and
it),
draw on top
tive
is
of the fixative.
Whatever
is
and prevent
it
my
it
it
Remember
want
my
is
very toxic.
A heavy
fixative.
close the
wear a
fixative,
Whenever
my
painter's
It is
spray
it, I
go outside and
steal
brain intact,
mask from
I
remind you
drawing several
the
to that spot.
set a timer
It
am
and leave
to retrieve the
my
drawing outside
it.)
Sharpeners
I
ener.
between sharpening,
to a motor.
studio
my
Before you buy a sharpener, remove the casing where the shavings will be
Be
careful
when you
Because
fixa-
slick.)
that fixative
on each corner of
you can
that
that
from smudging.
lay a weight
means
1989
there to stay.
Caution:
by Sandra Angelo
it
may come
mess. This problem can often be solved by simply wrapping a large rubber band around
the sharpener to secure the casing.
by Sandra Angelo
1989
CHAPTER ONE
INSTRUCTIONS
FORGETTING
(STARTED So where do
A Drawing System
to learn to
what makes
this
Well, believe
we
I begin...?
worked
for you,
this.
So,
system different?
it
or not,
Fig. 12
the
was teaching a
drawing lessons were so
by Sandra Angelo
1989
my
effective that
Much
to
my
of wanna be
traditional
surprise,
artists
when
moved
winning,
discovered
full
art.
they needed to be guided, and shown, step-by-step, with very specific instructions, until
they eventually
my
of
felt
book
am
them describe
a period of years,
effective
That
all
the
learned
how
to teach these
drawing process
perfected this
in their
new
terms and
worked
artists
I
by
began
for thou-
listening.
to repeat
it
back.
means
You
threw out
In this
Over
there's
Many
that
to
suffer.
an end
if
you
will
is
in a
to use
will
them.
will not
come
to
will
work
for
you
if
too.
The reason I tell you exactly what to use is because my rank beginners have begged for
that format. To those of you who may have one recessive artistic gene, you may feel
beginning twinges of rebellion when I tell you exactly what to do. To you, I say, 'If you
are getting equal or better results doing it a different way, go for it' The rest of you really
.
should follow
this
book step-by-step
Tell
For those
who
. .
1989
improvement most of
rules well
made by breaking
in the
by Sandra Angelo
who
enough
to break
'No snickering,
it's
my
usually best to
art is
first.)
unwelcome
advice, or disre-
'
spect.
You
are
book
is
No one
Don't
let
Everyone
taken
art in
is
an
art critic.
thoughtless
comments
in
may
that
sting,
'know
it
all'.
They
often
along they were just 'kidding' or 'trying to help'. The rank beginner has a very fragile
ego.
and
it
takes
is
comments
can learn
to conjure
to
draw
up humiliating memories of
art class.
is
your practice
field.
right side of
If
to relax
is
going to be critiquing
this sketch
book
keep
to yourself.
set will
pieces... but
by Sandra Angelo
1989
THE MAGIC
DRAWING
SYSTEM
Most
New
say, 'Draw'.
artists
What
How
take
do
make
live
you back
to the easiest
start
...
with the
two dimensional
'
am
going to
level of
it's
models
room and
still life
type of stroke do
piece of paper?
up
life,
difficulty.
Level
One
right there!"
Copying
is
the easiest
dimensional. The
artist
form of drawing.
It's
is
already two
of the strokes, the darkness and lightness of the marks, and the direction of the lines. All
you have
to
do
What do you
is
copy.
gain by copying? First, every time you draw, you are developing hand eye
how
to create textures,
how
to shade,
how
to
draw eyes,
how
to simplify millions of tiny hairs to suggest the style rather than detailing
etc.
As with
own
lose their
own
handwriting.
It
hair,
strokes. (Don't be
every
Copying good
technique.)
by Sandra Angelo
1989
Figure 13: In just five weeks, Gordon Kleim improved his drawing
skills
When do
I
stop copying?
recommend
that beginners
until
about 80
turning out well. (Like high jumping, you don't raise the bar
frequently.
till
till
at
it
them.
Level
Ah
Among
way
it!
the
life
myths
is
Why?
it is
Because
more
that's
Because
artists to
by Sandra Angelo
swamp
in
great
land
1989
Florida.
and other
artists
moves
light, action, a
glance, an innuendo, a
most use a combination of photos and live objects. Photos are a modern tool, so use them.
Nobel prize winners use computers, even though the masters used a quill dipped in an ink
well.
Why
is it
it is
it
is
by Sandra Angelo
(that
1989
means
light
So, once you've graduated from copying masters, begin working from black and white
photos. Here, for the
first
time,
you
will
have
to solve the
decide what kind of strokes to use for the hair, what direction your lines should take
when drawing
you through this and you will draw on the techniques you learned from copying the masters. After you've reached the 80% success
level copying from photos, move on to level three, copying from real life.
a nose... etc..
Level Three
will guide
life.
Now
you are ready for the level where most art classes begin, drawing from life. This
Not only do you have to determine the direction of your strokes, but now you
must learn how to translate color into black and white, and how to draw a three dimenis
hard.
sional object
be your most
difficult transition.
coordination,
how
be surprised
Fig. 16
if
it
to
takes a
When you
little
to
it
will
shade and
look
flat.
how
to create texture.
Don't
Level Four
A lot
Composing
by Sandra Angelo
1989
all artists
not true. In teaching literally thousands of talented, creative, non-talented, and other
assorted species,
have discovered
that only
5%
of talented
artists
imagination. All others use live models, photos or a combination of the two. So
can't
the
95%
ranks.
(Many
artists
if
you
out of their
But, even
if
your drawing
how
will be able to
you master
compose
original
that,
it
or you don 7.
silly.
If
you picked up a
violin,
across the strings and then recoiled from the discordant sound, you
I
brilliant,
you don't
say,
'I
to play'.
But
if
your
first
marks with
would
bow
say. 'Naturally
a pencil aren't
*I
can't draw'.
All
you
really
need
to
be a creative
As with
writing,
you learn grammar, syntax, punctuation, spelling and such before you take a creative
writing class.
You
understand you
if
you couldn't
spell
if
and punctuate. So
it
is
rules.
No
one would
you can express yourself effectively. The lessons in this book will teach
you the language of art. This book is like a preschool. Once you've mastered these
concepts, you will fit comfortably in any traditional art classroom because you will now
the basics before
by Sandra Angelo
1989
You are in for an exhilarating surprise! Learning to draw will liberate your creative
mind and provide you with the skills you have wanted so badly, the skill to express yourself visually, whether you want to draw a picture of your boss's face on your dart board,
draw yourself with
thin thighs
and two
less chins, or
So enough hoopla
fig, 17
Practical uses for your new drawing skills... Immortalize your grandkids.
by Sandra Angelo
1989
CHAPTER TWO
LEARNING TOOLS
DRAWING
WITH A GRID
world differently than you do. The key to drawing
first
different book.)
line,
and
The lessons
in this
book
you
artist is
begin-
will
so involved
is
an
in
like
will require a
it
whole
will center
When
becomes much
it
a subject
easier to
viewed as a
is
draw
it
Look
drawings on page 26. In Fig. 18, the space between the man's arm and body
easier to see because
Look
to draw.
Now
at
what happens
you were
arm and
to
the
draw
enclosed.
it is
in
elbow
is
enclosed,
is
memory about
at
nebulous and
difficult
elbow?
can't
If
itself.
you look
Looking
at the
subject
you
are
the
drawing the
at the
background
itself,
you tend
will
to glance at
you have
see.
When you
look
at
more
draw from memory. Drawing
instead of drawing from memory.
to stare at
it
at
much
is
Look
much
two
two shapes, the shape behind the elbow, and the shape between
body, you would have an accurate drawing of the arm.
the
is
at the
the
it
it
is
series of
if
the
hand was
Figure 18
body
is
much
h\
Sandra Aneelo
1989
it is
enclosed.
Figure 19
When
we put a
arm
his
elbow and the shape between his arm and his body,
itself.
by Sandra Angelo
989
Figure 20
Look at the background space
between the body and the arm. Compare this space
to Figure 18. Noticing the difference between these
two shapes
placed
will
arm
accurately.
you look at the negative space, the space behind the object, you
shape between the arm and the body in Figure 18 is much different than
at the waist.
But
if
Looking
at
focus on what you are really seeing rather than focusing on what your brain remembers
If
pieces,
you
will
to
artists
use a grid of vertical and horizontal lines superimposed over their photo
or horizontal line,
we
will find
it
Remember when we
As we
easier to draw.
more
relate
accurately.
each shape
to
A grid
its
is
simply a
adjacent vertical
Okay
Isn't
it
Time
in
here
we go
again. All of
by Sandra Angelo
1989
to burst another
Figures 21
& 22.
One
is
at the
two drawings
by Edgar Degas.
Even
Fig21
& 22
Vinci,
and Edgar
Fig. 22
by Sandra Angelo
1989
by Sandra Angelo
Three reasons
First, as
we
to
If
1989
it
use a
grid...
stated before, placing a vertical or horizontal line next to our subject will
it
more
helps us with proportions. In Figure 23, notice that the man's right eye
left
would proceed
so weird.
The
we
at different
to
we would
probably look
at the
draw eyes
Using grid
like the
man
in
lines as a reference,
is
is
have inserted a horizontal line to help us to see that the eyes are
we
are
more
all
man and
other.'
along
say to
Then we
why
he looks
,*fc^
- j*
Cjorvd^
,4>-s|ilo
i11j
Figure 23
Figure 24
When we place
different heights.
level,
it
is
left.
by Sandra Angelo
1989
Figure 25
and then
Bob
grid.
Estell, first
He was
memory
operating on stored
same
way he inaccurately
level so that
the
is
drew them.
Figure
26 When
he redrew the
man
head
is tilted,
was able
By following
the grid, he
more
40
>
V
\
accurately.
W.v,
Bu ait a
When you
gain perspective.
He had
by Sandra Angelo
1989
you
can't
modules so
back up
that
to
he
How do
use a grid?
Because
all
in this
However,
lines
book
are gridded,
after
If so,
you've finished
now
is it?)
With
the thin
ruler
Option Two:
book.
It
If
you
to
buy or make a
book, you
may
find
you
this
and a
light pencil.
me why, this
is
Make
sure the
not a geometry
lines
picture.
back of the
has three acetate sheets with different size grids and grid paper to match. Paper clip
the acetate over your photo reference, creating an instant grid. (This also prevents
it
lines
in place. If
you
on
it.)
you from
to
few
sizes of grids.
A one
perfect.
you can also use a large grid for the majority of the subject and then subdivide
areas which have more complex details. See Figure 29.
Note
the
size
that
Identifying
Many
grid,
series of
it
27 You
1989
useful to place a series of letters across the top and bottom of their
Figure
by Sandra Angelo
Tangents
students find
and a
i.e.
'B
in
Figure 27.
D
is
you
identify
Aaargh! Will
Yes.
were
learning
b>
Sandra Angelo
1989
first
until
how
You
will
outgrow
this stage.
When you
to ride a bike,
A grid
is
you begin
like
to see the
to
lines
you
will
the grid.
mmk
3k
K
/
\ fcS&L
\
'
:-4B
'
10
B
Figure 28 Because of the complexity of the
Drawing by Tiko Youngdale.
However, you
there
when you
will
still
details,
this
photo.
are trying to
why Leonardo Da
and
Vinci
slapped a grid on the nose. (See Figure 21 on page 28) The face was a piece of cake but
that snout
was a
real bear.
The
grid helped
him resolve
the problem.
A
Figure
29
B
In some cases, you
may
more complex
by Sandra Angelo
1989
by Sandra Angelo
1989
CHAPTER THREE
SEEING
SHAPES
You
will be surprised at
by drawing
how much
easier
it is
to
memory
about
how
to rely
on our
these objects should look rather than paying close attention to the
angle or perspective in front of us. For example, our brain stores the eye as an oval with a
circle in the
middle
you? Notice
Look
at the
You
eye
in
Figure 3
can't see
are very
*fc^**;
Figure
eye.
the left
more
accurately.
so
much
bigger than
Figure
in
when
Figure 30.
is
by Sandra Angelo
especially helpful
when we
1989
are trying to
we would
be
much more
Fig. 33
Fig. 34
by Sandra Angelo
1989
Iiuiruvliuitt FtjrEibturj'jj
We learn to draw the Old Fashioned Way, we practice.
Here's a
list
all
One. In Chapters 3 and 4 I've provided a space to try the drawing with the grid and
Do
both drawings.
may
If
ings
not need
Two.
We
learn to
the drawings,
draw
until
If
in this
book.
your sketchbook,
it.
you are
kit
we
practice. If
you want
to redo
any of
While
it is
in
same piece twice or even three times, it's a good idea to complete most of the drawings in the book before going on to repeat them. Don't expect perfection. You are like a
first grader ... very new at this. As you continue practicing, your skills will improve autothe
matically.
It's
not a good idea to do a lot of erasing. Just draw each subject to the best of your
and turn the page and draw the next one. You'll be very surprised
ability
drawing a subject
quently,
it's
that
good idea
you
like,
you
to start with
will
may be
draw
it
some of
that when you
that
if it's difficult.
Conse-
drawings that look easy and fun. Once you meet with
more
difficult subjects.
The tortoise and the hare... remember who won? Take your time with the exercises. Don't compare yourself to others. There is no correlation between speed and
talent. New artists who will end up becoming Impressionists generally work faster and
those who will be Realists generally work slower. Work at your own speed and don't be
pressured to keep up with others. It's better to take your time and make sure you master
each concept before moving on.
Three'.
Four.
What does
You need
to
that
improving. Your drawing will improve very slowly, but just like gaining weight, you will
not notice gradual changes.
I
ate just
have
this
three months.
in the
beginning stages of
my
research.
My
ice
for
Your work
by Sandra Angelo
1989
change too, but the improvement will be very gradual. If you keep each drawing,
you will be able to see your progress. Looking back at your early drawings will encourwill
age you.
So,
a mistake, try to resist the urge to rip, slash or tear your drawing
it
to
know
it
be
will
difficult,
you exercise some restraint, you will be gratified by a visual version of your
progress. For example, by the time you get to Chapter Six, you may not feel like you
have made any improvement, yet when you look back at the drawings in lesson one and
but,
if
In addition,
you
at
your progress.
new
principles
Five.
down
As
you have
first
drawings.
As you
the
just learned.
a general rule,
it
is
drawings
in
if
the
drawing process
Figure 35 on page 41
Many
is
broken
beginners find
it
First,
tive space,
do a
line
in the
map
Next, shade the object to establish the light and dark values and finally, on top of
place the textures or details. In this revised edition,
line
this,
Six:
Some
people learn by reading and others are visual learners. Reading learners
may
be able to acquire
all
by simply reading
who buy
this
forward
to this refreshing
you
how
fast
this
time
flies
when you
how
refreshed
Stepl
Step 2
Step 3
Step 4
by Sandra Angelo
1989
cO**<WA>piJo
Figure 35 This progressive drawing of the cow shows the four step process that most beginners use.
First the negative space is established, then the contour lines are added, next a study of the light and
dark values is completed and the textures are put on last.
b\ Sandra
Angelo
1989
Shape Exercises
(Aerobics for artists)
it
is
a grid, concentrate on
one square
at a time.
As a general
best to start with the section which looks easiest to you. That way,
your success
will build
be ready
will
when you
stuff.
you are having problems with accuracy, think about using a drawing
window. To do this:
If
1)
Use an
because
it's
window
(i.e. If
same size as
you would cut
the
grid,
periodically to
is
in the
at a time.
that
drawing.
file folder,
make
make
sure
you
corrections until
you
entire
you follow this procedure exactly, (without analyzing or correcting while you
at
your accurate
it
is
results.
actually training
values just like artists see them. Soon you will see
grid, the
window
is
a training tool.
you
to use the
and
win-
Shape Exercise
^
k
i
B
by Sandra Angelo
1989
In box 2, draw the negative space of the lamp with the grid. When you are doing this
negative space drawing remember to focus on the black space while you draw. You will
draw more accurately if you draw the space behind the object rather than the object
itself I have made this negative space black so that it is easier to identify it as a shape.
ABCDEF
DEF
In box four, draw the lamp again, without a grid this time. Did you get more accuracy with or without the grid?
If you were more accurate using the grid, you will probably need to use one for most of the lessons. If you did
ok without it, try a few more without a grid. See which method gives you the most accurate results.
Shape Exercise
///
you
you are
to
draw.
Do
try
drawing
box below.
2 2
3 3
4 4
5 5
6 6
iX
7 7
ShaD8
^ ExerCiSe
by Sandra Angelo
1989
In *he first box, you will see the object you are to draw. Do a negative space drawing
of this object in the second box, using the grid. Then try drawing it without the grid
in the box below.
2 2
3 3
4 4
5 5
6 6
ta!
7 7
Shape Exercise
h>
/// the first box, you will see the object you are to draw. Do a negative space
drawing of this object in the second box. using the grid. Then try drawing it
without the grid in the box below. It's okay to use a ruler.)
I
2 2
3 3
4 4
5 5
6 6
7 7
by Sandra Angelo
2 2
w
^Wk
3 3
4 4
if
5 5
6 6
7 7
1989
Now
Shape Exercise
HX
by Sandra Angelo
1989
CHAPTER FOUR
CONTOUR LINE DRAWING
SEEING
LINES
Most
artists
line
an elaborate
to
its
map which
dictates
where they
solve the proportion and placement problems before shading. These drawings, which
show both
want
down
the interior
to impress
and exterior
lines of
to
your
line
If
you
drawings. This sort of conversation makes for great repartee over cocktails with your
In Figure 36 you see a negative space drawing of the rabbit. In Figure 37 we filled in the interior
contour lines. These lines will later serve as a map for placement of our interior shapes & shadows.
Figure 36
Figure 37
by Sandra Angelo
19X9
[raidi
LkaZ/O
you
below.
ABCDEF
If you want to try the
AB
the grid, give
it
a whirl.
LIod
Ereraid
Copy
by Sandra Angelo
1989
SS-
cr
it
a whirl.
Um \Emmwm
by Sandra Angelo
1989
line drawing.
22
--
33
44
55
66
ABCDEF
If you want to try the
77
ABCD
i
it
a whirl.
Bint
Urn
lw@il(i
Copy
by Sandra Angelo
1989
ABCDEF
If you want to try the
grid, give
ABCD
it
a whirl.
by Sandra Angelo
1989
CHAPTER FIVE
VALUE DRAWING
LEARNING TO
SHADE
In the art world, shading
you
are,
go around referring
is
you with,
'
my
shadows
light values
dear,'
beware!)
light
to
What
to
as
deep values.
you have,
art
endeavors.
Or
as
full
how
my
at
dear.' (If
them. Understanding
your future
my
you draw
is
absolutely
much more
di-
my values.
To avoid a rainbow effect like the one you see in Figure 38, go back over the section where values change
and blend the two neighboring values together like the ball in Figure 39.
&'
I
jA
^^''''^W
1
,
\ ^f
Figure 38
Figure 39
IM
by Sandra Angelo
1989
Figure 40
When you
look
at the
photograph
in
many shades
of black, white and grey. Using a scale of one to ten, with one being white and ten being
look
flat like
drawing
It is
in
and shadow
that
you
Look
at
see. If
there
is in
the
Figure 39.
values even
and
you
to color
same
rating
all
shadow
in
terms of
its
why
it is
oils,
value rating.
Shading Exercises
Are you afraid of fhe dark.
Most beginning
are
much worse
. .
than light
among beginners
To
learn
how
value scales.
is
it
and
lifeless.
let's
by Sandra Angelo
1989
Shading Exercise
Instructions:
in the
boxes
Shading Exercise
Now
same exercise with your 6B or dark pencil. I have provided several practice
boxes so that you can keep trying this exercise until you get exactly 10 different values.
You can copy from the value scale above.
try the
light to dark,
lines.
move your
and
ture
pencil back
to graduate
on your
your values
my
pencil.
all.)
(When
of
graduate
is
to
so that no tex-
my
values,
don't
lift
IM
by Sandra Angelo
1989
How do I make
it
look round.'
One:
If
in
\\ ill
in
Figure 42.
in
By
at the ball in
flat.
it
Figure
Figure 42
Figure 41
Three: Your pencil strokes should always follow the contour of the object. In Figure
ball.
This ball
is
44 the strokes
Figure 43
n:
3
\ \\\
Four:
round
looks
is
the
If
at
in the
way most
is flat
bottom just
Figure 45
is
way
the
same
is
round. This
draw a cylinder
is
to
make
Figure 46.)
^^Figure 46
it
liifltroMoMi
Instructions:
ing pages, in
box
On
box
totr
you
the follow,
you
will
are to copy.
draw
first,
then
47 dem-
you
will follow.
Now
copy
drawings
all
the value
in this chapter.
Figure 47
Drawings by Gre Hann
by Sandra Angelo
1989
by Sandra Angelo
1989
don 't show when you graduate your values, it is important to shade in the proper
direction so as to sculpte the object with your lines. In Box one you see a diagram which shows the
contour line drawing of the pepper. Copy this in box 4. In Box 2, you will see a diagram that shows you
which direction your strokes will take when you shade the pepper in Box 4. Don 't use lines like the
Although your
lines
style in
Il\~**
2
(Dx
_____
2 2
3 3
4 4
5 5
6 6
7 7
x4>
Box
2.
by Sandra Angelo
1989
Value Exercises
Copy
2 2
3 3
4 4
5 5
6 6
7 7
2 2
3 3
44
55
6 6
77
by Sandra Angelo
C
1
)H9
Value Exercises
Try these drawings on the practice paper. If it seems too hard, consider practicing just a few of the
parts of the drawing. If the subject doesn't interest you, you can skip to the next drawing.
ABCDEF
ABCDEF
ABCDEF
by Sandra Angelo
1989
Value Exercise
Copy
this value
drawing
in
box 2 below
7 iimi
ABC
by Sandra Angelo
1989
Value Exercise
Copy
this value
drawing
in
box 2 below.
a*x
<4?
*vM
1
18?
*
B
!x!l
by Sandra Angelo
1989
Value Exercise
Copy these value drawings
in the
boxes provided
4 4
6 6
7 7
2 2
3 3
4 4
5 5
6 6
7 7
1
by Sandra Angelo
1989
CHAPTER SIX
CREATING
TEXTURE
Fluffy flamingo feathers. Uncle Delbert's droopy jowls. Spido's cold wet nose. Dangling cellulite. Einstein's bad hair day.
How
humble pencil?
Artists
all
around them, but the most commonly used textures are hatching and gradation.
Gradation: As we explained
never
lifting
earlier, to
your pencil off the paper. Blend your strokes so that the lines do not show,
As
Figure 48
baggy
is
,M
make
is
lines,
To change
lift
As
which have a
1989
your
lines,
medium
values
by Sandra Angelo
human
way
to
change
hair, grass,
simply use
is
to
etc.
Fig. 49
Fig. 50
Practice graduating your values by shading the rocks on page 69. If you'd like,
may draw
first,
Blend your
you
Remember,
to get a
your
is
will
lines,
lines with
how
your
if
you
just
hard you
finger.)
common HB
in
2B,
ter
household
pencil.
smudge
No mat-
smudged
with
values.
Use hatching
by Sandra Angelo
1989
Now
by Sandra Angelo
1989
have a battery operated eraser, take out some of the dark values
further apart. If
in the grass
you
with the
eraser.
lay
it
on
its
ent textures
how you
side, etc.
to create texture.
On
page 7
try
Then
write
strokes.
down some
handle.
then used the point of the pencil to create the goat hair brush.
Figure 51 :
push
differ-
in
how many
example,
it,
on
its
bamboo
.:>;..
ft*
by Sandra Angelo
Next
to
my
1989
textures, I wrote
^
\
r..'-'
strokes.
OC.K.
Wtete*
$rtt
Now
it's
your turn.
Fill this
your drawings.
page with a
texture
these
For
marks
in
Begin
to notice textures
Look
four animals
at the
by Sandra Angelo
around you
in
1989
. .
different stroke.
need
to
draw
the
On
little
Each animal's
hair requires a
texture.
Figure 52
Figure 53
Figure 54
Figure 55
Even though
all
of these animals are covered with fur, the texture in each case
is
very different.
by Sandra Angelo
1989
CHAPTER SEVEN
EXERCISE SECTION
TIME TO
PRACTICE
Now
to practice texture
full
in the
1)
If
you want
to,
subjects.
The
my
four
fill
overwhelmed by any of the drawings, just practice parts of it, such as the
tail, one leaf, one pumpkin, etc. After you practice the individual parts, you may be ready
to tackle the whole drawing.
If
you
You
draw.
feel
don't have to do every drawing. Start with the ones which look easy and fun to
We
all
draw
better if
we
are
drawing something we
like.
An
artist
who
loves land-
may draw faces very poorly simply because she doesn't enjoy it. We all do best
what we love so stay with the subjects that you enjoy until you have built some confiscapes
to tackle
more
have
tried to
it
critical, since
you
it
in their
drawings
drawings.
several times.
difficult
in
will
you
like
improve your
like
If
you don't
and do those
feel like
first.
an
artist.
skills
each time.
who
like
sequence.
you
You
If
at
is
by Sandra Angelo
1989
J/jsi/iutfwjs
PART ONE
Fur
Practice
x>
^*M**
makes artists.
Some
1989
your
first
Then
try the
drawing again.
beginners will end up becoming impressionists, meaning they will draw with loose
ones Gre Hann used to shade her rabbit on page 87. People
Make
Remember
mistakes.
to
if
fit
drawing the
fine
you love
move on
it,
you
like.
that
you
something
easier.
make time
for
bowl of
ice
it
and
you put
on page 41
the things
in the time,
who
in
are
book.
Keep drawing
if
like to use
to
will
you
who
stuck on a subject,
cause
by Sandra Angelo
filled
If
making
If
you get
you
will auto-
If
try eating a
better,
you
is
will find
So
it
to
by Sandra Angelo
1989
the following pages, you may want to use the four step process, as
drawing of the dog. Draw the negative space first to be sure your placement is accurate.
In the same box, fill in a contour line drawing which will serve as a map for your shapes and shadows.
Shade your light and dark values and then place the texture on top of these values. This four step method
helps you analyze each object in terms of its shapes, lines, values and textures. Eventually, you won't need
to use this process because you will have trained your eye to see these elements.
*
Mj*
Fig. 57
bv Sandra Angelo
t 1989
Sometimes you only need three steps to complete a drawing, as in the flower below. In step one, I completed
a negative space drawing. Then I created a map by putting in a contour line drawing, and finally I shaded
the object. If your subject doesn 7 have a distinct texture, you can stop after step three.
by Sandra Angelo
1989
do a negative space drawing of the cow (see box 1). Then do a contour line drawing of the
cow inside this negative space drawing (see box 2). Finally, shade the cow with the same textures you
see in box 3.
In box
4,
2 2
\
^^ ^m
.^^
3 3
3
i
4 4
5 5
6 6
Uto
ry
GBisix
7 7
2 2
#'
4 4
5 5
6 6
1] [8
3 3
*\i
flbt
St*
^IftfeJ
4
7 7
d (4
by Sandra Angelo
1989
Try this drawing on the practice paper. If it seems too hard, consider practicing just a few of the parts
of the drawing. If the subject doesn't interest you, you can skip to the next drawing.
\f\'-
A
A
B
B
C
C
D
D
by Sandra Angelo
19X9
To make your life easier, I have provided a step-by-step drawing of this subject. In Box One, you will see the
negative space drawing of the subject. Draw this negative space in Box Four. In Box Two, you will see a
contour line drawing of the subject. Complete a line drawing inside the negative space in Box Four.
A
A
B
B
C
C
by Sandra Angelo
Box Four.
D
D
E
E
Box Four
Practice Box
1989
by Sandra Angelo
1989
To make your life easier, I have provided a step-by-step drawing of this subject. In Box One, you will see the
negative space drawing of the subject. Draw this negative space in Box Four. In Box Two, you will see a
contour line drawing of the subject. Complete a line drawing inside the negative space in Box Four.
A
A
B
B
C
C
by Sandra Angelo
Box Four.
Final
D
D
Drawing
Box Four
Practice Box
B
Drawing by Gre Hann.
1989
Copy
this
by Sandra Angelo
1989
by Sandra Angelo
1989
Practice Page
B
1
Copy
this
drawing
in the
by Sandra Angelo
1989
ABCDEFGHI
by Sandra Angelo
Box Four.
Final
Drawing
F
Box Four
Practice Box
1989
Copy
by Sandra Angelo
1989
these trees on the following page. If you're having trouble, practice small parts.
Practice Page
by Sandra Angelo
1989
in the
by Sandra Angelo
1989
ABCDEFGHI JKL
1
12
10
10
11
12
'<
13
13
14
14
15
15
Practice Page
by Sandra Angelo
1989
Copy
this
A
Drawing by Gre Hann
by Sandra Angelo
1989
by Sandra Angelo
1989
Practice Page
B
Copy
this
by Sandra Angelo
1989
drawing on the practice page. If any of the squares are too complicated, subdivide them.
by Sandra Angelo
1989
Practice Page
B
b> Sandra
Angelo 1989
To make your life easier, I have provided a step-by-step drawing of this subject. In Box One, you will see the
negative space drawing of the subject. Draw this negative space in Box Four. In Box Two, you will see a
contour line drawing of the subject. Complete a line drawing inside the negative space in Box Four.
by Sandra Angelo
Box Four.
Final
Drawing
F
F
Box Four
Practice Box
1989
Copy
this
by Sandra Angelo
>
1989
ABC
*y
'
Ms
by Sandra Angelo
1989
To make your life easier, I have provided a step-by-step drawing of this subject. In Box One, you will see the
negative space drawing of the subject. Draw this negative space in Box Four. In Box Two, you will see a
contour line drawing of the subject. Complete a line drawing inside the negative space in Box Four.
by Sandra Angelo
1989
Box Four.
\,11K
\MM1 jpvv
Final
rawinfl
Box Four
Practice Box
by Sandra Angelo
1989
Practice Page
B
by Sandra Angelo
1989
by Sandra Angelo
1989
Practice Page
B
by Sandra Angelo
1989
by Sandra Angelo
1989
Practice Page
A
by Sandra Angelo
1989
by Sandra Angelo
1989
ABC
in the
Pu- pdics
For SAL
B
by Sandra Angelo
ABC
in the
Bn
~
989
Copy
this
A
Drawing by Tiko Youngdale.
by Sandra Angelo
19X9
Practice Page
B
by Sandra Angelo
1989
by Sandra Angelo
1989
ABC
*t
B
Draw
to
by Sandra Angelo
1989
sketchbook.
Copy
this
by Sandra Angelo
B
Drawing by Tiko Youngdale.
1989
Practice Page
A
by Sandra Angelo
1989
by Sandra Angelo
1989
wm
P5#w
v^wEpv
10
10
11
11
12
12
13
13
14
14
15
15
by Sandra Angelo
1989
Practice Page
A
10
10
11
11
12
12
13
13
14
14
15
ABCDEFGHI
15
by Sandra Angelo
1989
10
11
12
by Sandra Angelo
1989
Practice Page
10
10
11
11
12
12
by Sandra Angelo
1989
by Sandra Angelo
Practice Page
B
1
1
1989
by Sandra Angelo
1989
If you love detail, you may enjoy copying this drawing by Tiko Youngdale. If you need
a gridded practice sheet. (I suggest a 112 inch grid because of the minute detail).
to,
Now
that
by Sandra Angelo
1989
of difficulty by
to decide
what kind
of stroke you will use to create each texture. But your work with the masters has taught
you a variety of shading techniques so you should be able to handle this transition fairly
well. To make your move easier, I have made all the photos black and white, thus solving
the value equation for
This picture
is
typical
you (how
light or
is).
of
home
of the
thumbnail on a small
size
't
large
make
enough
And to
lighting
is
very poor.
is
because
much
it's
better,
a 5x7
is
good, all of
which contribute
more
detailed
information for
drawing.
to
by Sandra Angelo
1989
The photos I have supplied are fairly simple in terms of subject matter. When you finish
these, I recommend that you draw from some of your own photos. Here are the rules you
need
1.
to follow
when
This
if
is
Why
fail. If
drawing will become a chore instead of a pleasure, and you'll stop practicing.
2.
Make
is
me with a drawing that was done from a reference where the child's
was smaller than my pinky fingernail. And they are wondering why they can't get a
frequently
face
come
likeness. If
You can
to
details,
large photos.
enlarge photos quickly on a color copier or a computer printer. (If you want to
solve the value equation, use the black and white setting
is
uncomplicated.
This photo
is
.)
by Sandra Angelo
1989
Choose simple references at first. When you switch to a new level of difficulty,
you need to maximize the possibility of success. Choosing uncomplicated, simple subjects helps build early achievement and motivates you to practice. Practice in turn, makes
3.
you
better.
Caution: Don't choose photos that need to be modified. That's too hard for a beginner.
After you have mastered the ability to copy exactly what's in a photo, you can learn to
titled,
titled,
this stage,
however, you
should not try to draw creative masterpieces. Just practice copying textures. Being creative requires
4.
some
fairly
detail
whereas
that
much
advanced
skills.
love. If
I
detail in a tree
the edge
Carry your camera everywhere. You never can tell where you'll spot a great
subject. One day, I was in the park when I came across a basset hound parade and saw
this man and his pooch watching the craziness. I always cart my camera so I was able to
5.
silly
scene on film.
6.
by Sandra Angelo
1989
Choose photos with a wide range of values. Light and dark values
i.e.
When
there
is
define the
fur, you'll
see
Sometimes when you use flash on a white or black object, all the shadows will
disappear and you won't be able to see the foundational structure or anatomy. If you use
a shadow.
is
photo of the
cow
7.
a black object in
full
sun
below.
it's
Reference photography
is
is
hidden in shadow.
It
When you
are
shooting to create a fabulous photo, you must pay careful attention to the principles of
composition. With reference photos, you are simply looking for detailed information.
always shoot
an animal,
my
subjects
from several
i.e.
If
was photographing
shoot a close up of the eye, the nose, the ear, a shot of the head, a shot of the
Take
all detail
shots
by Sandra Angelo
Because I was simply taking references, I was not concerned that the llama in the
background was cut off. I simply wanted a shot of the full body of the llama. I then pulled
in for a close shot ofjust the head so I could see the detailed textures of the face.
it
to
light,
values were
when
there
is
there
is
much more
depth.
1989
by Sandra Angelo
1989
/ have provided you with a photo and the drawing I created from that picture.
textures are interpreted from a snapshot and translated into lines and values.
getting started, it's best to choose simple photos like this one.
ABCDEFGHI JKL
When you
Draw
by Sandra Angelo
this box.
matching gridded box. If you prefer not to use a grid, draw the subject
it difficult to draw the background
Just leave it out.
1989
2 2
3 3
4 4
5 5
7 7
your
F
6 6
in
by Sandra Angelo
>
1989
matching gridded box. If you prefer not to use a grid, draw the subject
sketchbook. If you find it difficult to draw the background, just leave it out.
Draw
in
your
2 2
3 3
4 4
5 5
6 6
7 7
2 2
3 3
4 4
5 5
6 6
7 7
Draw
by Sandra Angelo
matching gridded box. If you prefer not to use a grid, draw the subject
sketchbook. If you find it difficult to draw the background, just leave it out.
this subject in the
2 2
3 3
4 4
5 5
6 6
7 7
in
1989
your
Draw
by Sandra Angelo
1989
matching gridded box. If you prefer not to use a grid, draw the subject
difficult to draw the background, just leave it out.
in
your
it
mm
Draw
by Sandra Angelo
matching gridded box. If you prefer not to use a grid, draw the subject
difficult to draw the background, just leave it out.
it
in
1989
your
Draw
this
mountain
lion in the
it
by Sandra Angelo
1989
matching gridded box. If you prefer not to use a grid, draw the subject
difficult to draw the background, just leave it out.
in
bv Sandra Angelo
1989
Practice Page
10
10
11
11
12
12
13
13
14
14
15
15
Draw
this
pygmy falcon
in the
it
by Sandra Angelo
1989
matching gridded box. If you prefer not to use a grid, draw the subject
difficult to draw the background, just leave it out.
in
2 2
3 3
4 4
5 5
6 6
7 7
Draw
matching gridded box. If you prefer not to use a grid, draw the subject
sketchbook. If you find it difficult to draw the background, just leave it out.
this hibiscus in the
ABCDEF
in
your
ABCDEF
2 2
3 3
4 4
5 5
6 6
7 7
by Sandra Angelo
1989
ABCDEFGHI JKL
Draw
these lemurs in the matching gridded box. If you prefer not to use a grid,
it
difficult to
it
out.
Draw
by Sandra Angelo
1989
matching gridded box. If you prefer not to use a grid, draw the subject
sketchbook. If you find it difficult to draw the background, just leave it out.
this
owl
in the
in
your
P
"
'
,1
i>K "i
HP
1C
11
12
by Sandra Angelo
1989
Practice Page
10
10
11
11
12
12
13
13
14
14
15
ABCDEFGHI
15
Draw
by Sandra Angelo
1989
car in the matching gridded box. If you prefer not to use a grid, draw the subject in your
sketchbook. If you find it difficult to draw the background, just leave it out.
this
Draw
to
by Sandra Angelo
1989
sketchbook.
by Sandra Angelo
1989
SUCCESS STORIES
After taking your beginning and intermediate classes, I now take my own photo references and do original
compositions. This drawing of the giraffe was done from a photo I took while I was on safari at the San Diego
Wild Animal Park. I 've been so amazed and excited to see how you've been able to transform me into an
artist. I think this
drawing system
is
great!"
me
I love
Now I'm
work
drawing! Thanks
in local
kid.
"This is an excellent basic text written in an easy to understand form. Anyone who can read should be able to
use it, possibly from grade four to adult. This would be an excellent basic text for public schools. It should
solve a lot of problems for both student and teacher."
Jim Nibler, Retired Math Teacher
"Taking your classes was like attending a preschool for the art world. You equipped me with a solid basic
foundation in art. I am now finding that the principles you taught me apply to all other forms of art that Vm
encountering, including my photography and most recently my computer art. I am having so much fun
drawing on my computer but if I had not learned the drawing basics from you, I can see this would be much
more difficult. Thanks so much for all you taught me. I am having so much fun!
Tom Newitt, Anesthesiologist
"I have learned so much from your 'So You Thought You Couldn Draw class. I've gone from someone who
couldn 't not draw at all to someone that is seeing great improvement. This class has increased my ability to
really see what is around me and appreciate things that I didn even notice before. I am enjoying drawing so
much! It has added a new dimension to my life.
't
'
't
"When
I first met you Sandi, I wasn sure I could learn to draw. You seemed like a sweet person but when you
'Anyone can draw', I was skeptical. In just nine weeks, you took me from drawing like a six year old to
drawing work that looked almost like photographs. (You can see Orville 's before and after drawings on the
cover of this book.) Now I draw all the time and I love it! And I owe it all to you, Sandi.
Orville Thompson, Retired Engineer
't
said,
All my life I wanted to draw but was too busy raising a family to pursue it. I was so delighted to discover
your drawing classes at the San Diego Wild Animal Park. I knew when you sold me my first set of 12 pencils
that my life was going to change but I never dreamed that two years later I would be illustrating ads for the
world's number one art company. My work has appeared in their ads in 'The Artist's Magazine and
'American Artist', for two years straight, and I've had work on TV, videos, magazines and in hooks. You are
the one who taught me the basics. Thanks for helping a dream come true."
Tiko Youngdale, Former Hairdresser
'
Sandi, You have a magical gift of making difficult concepts seem easy. I love your down to earth, personable
style. I have learned so much from you in your drawing classes. You have taken me from weak skills to a high
level
Sandra Angelo
n>
989
ACKNOWLEDGEMENTS
book
First, this
who
catalyst
No
who
big thanks
goes out
to
this
book
me from
Creator
who
granted
me
purpose by giving
me
the ability to be a
He gave me!
is
graphic designer
his time
my
work
great
dedicated to
is
my
my
vision, believed in
Thanks
a possibility.
to
Who
making
it
up!
first
was
I'd like
discovered
To
Orville,
artist
who
how to
translate
my favorite,
become an
Next, there
air.
confidence
And
artist.
is
who
taught
me how to
I've
book
if
who
Jo.
is
a tribute to
you have
was no glimmer
develop foundational
will
It
is
skills
I!
my
my
cape when
teach
'left
concepts
office
left
into a
brained student
who
phenomenal
really
I've
in
were
who
wants
to
just
wishes spoken
succeeded,
that this
is
your
believes.
discovered that
my hope
my dreams
faith, there's
of hope.
antecedent to success.
you succeed, so
gift.
by example that
just
treasure your friendship and admire your astonishing achievements. You've proved
Thanks
in
had.
classical art
applaud you.
me
for helping
we
to both Tiko
complex
fun
a person
finally, this
there
me from day
nomination?
into thin
my
Emmy
of difference for
What
catalyst for
Thanks
me
getting
in
of
faithfui friend
my
list is
and understanding during tough times and endless encouragement has made a world
me.
my
book
faith is truly
ability to
to believe,
taught
me
even when
me
life
self.
And, when
So You Thought You Couldn't Draw Workbook 150 pages Step-by-step drawing techniques and
Companion Video Series for people who can't draw a straight line:
You've always wanted to draw but you thought you had to be born with natural talent. It's not
video will guide you through your book and transform you from amateur to artist in 4 easy steps. 47 min.
The Easy Way To Draw Flowers, Water & Landscapes Draw along as Sandra Angelo shows easy step-by-step
methods for drawing flowers, water, landscapes & fast techniques for using water soluble graphite pencils! 45
min.
The Easy Way To Draw Animals Saggy baggy elephant skin, fluffy felines, shaggy dogs, and wiry gorilla fur are
among the techniques demonstrated on this exciting video filmed at the San Diego Wild Animal Park. Sandra
Angelo's demonstrations are taken from her book so you can draw along. Book sold separately. Nominated for an
Emmy! 59 min.
7 Common Drawing Mistakes & HOW To Correct Them
Sandra Angelo saves you hours of agony by teaching
simple solutions to the most common drawing problems including: proportion, perspective, creating depth and
Drawing Basics
true! This
more. 62 min.
"I can't believe that's colored pencil!" Colored pencils can achieve the look of
watercolors
more without the mess! Learn four basic techniques and differences between various brands
of pencils, papers and accessories. 46 min.
Special Effects With Colored Pencils: David Dooley demonstrates key secrets for drawing metal and glass. Sandra
Angelo shows six watercolor pencil techniques and new time saving techniques with colored paper. 55 min.
Time Saving Colored Pencil Techniques: Learn exciting new colored pencil techniques which will cut your drawing
time in half while dramatically improving results. 75 min.
Realistic Colored Pencils Textures - A Mixed Media Approach: David Dooley and Sandra Angelo demonstrate new
special effects for combining colored pencils with a wide variety of media to create textures including fur. skin tones,
satin, glass, foliage, dew drops, weathered wood, rusty metal, rocks, grass, shimmering water and more. 75 min.
Drawing Your Loved Ones- People: Key secrets for composing portraits as well as step-by-step techniques for drawing
skin tones, hair, mouths, eyes and fabric with colored pencils. Beginners- watch Faces video first. 45 min.
Drawing Your Loved Ones- Pets: Learn secrets for drawing fluffy fur, short hair, droopy skin, eyes, noses, whiskers, and
more as Sandra Angelo teaches you how to capture your special friend, your pet. 84 min.
Drawing with Colored Pencils on Wood: Yes, we said wood! People are amazed by the painterly effects that can be
achieved by drawing with colored pencils on wood... and there's no mess or toxicity
Sandra Angelo will share secrets
from her new Walnut Hollow book such as: How to prepare the surface, methods for drawing on wood, finishing
&
oils, acrylics,
&
techniques
more. 58 min.
Building A Nature Sketch book: Create a personalized sketching journal, by learning how to record your encounters with
babbling brooks, scampering critters, delicate flowers and nature's stunning treasures. Demonstrations are in colored
and watercolor pencils. Like a scrap book, your journal will be chock full of treasured memories.
75 min.
Watercolor Pencil, The Portable Medium: Learn six basic watercolor pencil techniques and methods for combining
watercolor pencils with graphite, colored pencil, pen and ink, watersoluble graphite and watercolor. 60 min.
pencils, graphite, ink
Also...
Color Theory Made Really Easy Tired of ending up with a pile of mud when you try to mix colors? Learn Sandra's
simple color mixing solutions
exercises based on traditional color theory. Make your colors come alive. Theory
applies to all media. 55 min.
The Easy Way To Draw Faces Learn how to capture a likeness and secrets for putting personality in your portraits as
Sandra demonstrates key secrets for drawing eyes, noses, mouths, skin tones and hair with graphite. 45 min.
Easy Pen & Ink Techniques for Artists and Crafters Learn techniques for combining pen and ink, water soluble pencils
watercolor to create clouds, fur, flowers, foliage, backgrounds plus exciting craft applications on cloth, wood, etc. 70
min.
Paint Like Monet In A Day- With Oil pastels
Impressionists and Realists will love the variety of fast, easy ways to
create drawings that look like paintings with inexpensive, non toxic, versatile oil pastels. Great for kids too! 40 min.
Creating Dynamic Compositions, What do do with the background? You just finished a drawing and you don't know
what to do with the background? Sound familiar? Sandra Angelo explains how to use the six principles of composition
which solve this dilemma as well as how to modify bad photo references. She then interviews Steve Miller, a nationally
recognized celebrity portrait artist who shows his step-by-step process for creating dynamic compositions. 62 min.
&
&
- Write to: Discover Art, P.O. Box 262424, San Diego, CA 92196 or call Toll Free (888) 327-9278
San Diego County call: (858) 578-6005 or go to our web site at DiscoverArtwithSandra.com
To order videos
in
//
To make
it
easy,
to start,
1989
We carry
by Sandra Angelo
in sequential order
some of the finest supplies from Europe. Although I get hundreds of requests
to recommend art products and books, I carefully test each item and only sell first quality
materials that I highly recommend. You will find that you don't get the same results I
describe on the videos, if you use a lower grade product. Unlike some retail stores where
as to import
know what
aisle
am
it's in,
much
how
to use
it,
the
at
Discover Art,
we
less
become
available and
If
am
you keep
in
developing
touch with
you will always be getting up to date information about new products and techniques.
(Check out our web site for new information at DiscoverArtwithSandra.com.)
us,
Getting Started...
Beginners are more likely to succeed
know how
if
first like,
drawing and
to
't
demonstrate
takes
many
On the video, 7 Common Drawing MisThem, I show you how to correct problems every beginner
encounters.
If you are
skills
't
by choosing:
Drawing Basics, The Easy Way To Draw Flowers, Water and Landscapes and The
Easy Way to Draw Animals, 7 Common Drawing Mistakes and How to Correct Them.
videos:
Materials:
kit
8)
to
So many books make it so complicated and it doesn't have to be! This video provides
you with a foundation that will help you learn how to mix color in any media.
Materials you will need to learn color theory: 1) Color Theory Kit - 7 acrylic paints that
you will need for learning this theory, (in exactly the right hues). I recommend you learn
the theory in acrylics because
it's
faster
by Sandra Angelo
1989
Good
light.
tablet (for
who
(This light has the added benefit of providing light therapy for those
It's
it
from room
to
are
room.
After studying color theory, watch our Beginner's Colored Pencil Video Collection...
Getting Started with Colored Pencils 2) Realistic Colored Pencil Textures 3) Time
1)
Nature Sketchbook
The following colored pencil materials will work with all of the videos listed above:
Colored Pencils: I have assembled my favorite pencils, both hard and soft pencils with
the colors I use most. This pencil set is called Sandra's Favorite 48 colored pencils. If
you have a smaller budget, start with the set of 24 pencils. If you have a bigger budget,
buy the 120 color set. I highly recommend it because the palette is based on the traditional
artist
The
your pencils
fur,
eye-
comes in a great three tiered wooden box! I take this one everywhere bebox makes it so portable. It's my very favorite! Blender pencils for burnishing.
lashes, etc.
cause the
fast (so
It
100%
multicolored paper tablet (9x12) Also: Goat hair dust brush to control crumbs, battery
operated sharpener.
Colored Pencil Materials for videos about drawing animals and people:
Materials - Colored Pencils: I have assembled my favorite pencils, both hard and
pencils with the colors
120 color
set
set is incredible....
is
soft
If
because the hard lead pencils are great for detail like
hair,
eye lashes,
etc. I
use the
like to
If
you
11x17
tablet)
in
first
(on professional
100%
draw animals:
video: The Easy Way To Draw Animals how
like to
Start with
to
draw a
variety of animals in
graphite.
If
you
how
like to
Start with
to
compose
draw
shows key
secrets for
fur,
people:
teaches you
how
to
draw
the face in
and white
how
to
compose
first.
by Sandra Angelo
1989
To learn fast colored pencil techniques, how to work with watercolor pencils and
how to combine colored pencils with other media:
Materials: 1) 24 Watercolor pencils with
FREE
and watercolor.
Video: Special Effects with Colored Pencils
how
niques and
If
you want
Materials:
pens
5)
to
will
pencil tech-
David Dooley.
2) Set of 6 colored
pigmented
.05 nib. 3) Set of black Identipens, 4) book: Create With Colored Pencils on Wood,
6) Battery sharpener.
Wood which
companion book
titled
Create
on the video.
If
you love
Materials:
3)
detail...
1 )
FREE
.05 nib.
you
like to
Video:
& ink.
to:
in Oil Pastels
CA 92196
web
site at
tablet size:
DiscoverArtwithSandra.com
call:
(858) 578-6005
7x9
This form
VIDEOS:
is
list
by Sandra Angelo
some items
availability subject to
Add the
The Easy Way
to
8.
9.
Pencil Techniques
Colored Pencil Textures, A Mixed Media Approach
Beginner's Colored Pencil Kit 4 Videos (above) -SALE
$50.00
$50.00
$50.00
$50.00
$119.95
$50.00
$50.00
14.
$50.00
15. Building A Nature Sketch Book
$50.00
16. 8 Colored Pencil Video Collection (videos 7-15) SALE
$219.95
When you buy the 8 video collection: add
colored pencil video below for
17.
video Watercolor Pencils the Portable Medium
$50.00
12.
13.
NEW
NEW
Other Media:
1 8. Paint Like Monet in a Day with oil pastels
19. Easy Pen
Ink Techniques for Artists
Crafters
20. Creating Dynamic Compositions, what do I do with the background?
21. Color Theory Made Really Easy
Supply Kit for Color Theory Video Value $45.00
7 acrylic paints / primaries & secondaries - used on the color theory
&
&
$50.00
$50.00
$50.00
$50.00
$35.00
video
Mounted
by Sandra
hard cover
FREE
7.
8.
9.
10.
Kit 11.
12.
13.
14.
15.
Kit 16.
50%
17.
1 8.
19.
20.
21.
21b.
$22.95
$24.95
22.
$ 8.95
$19.95
24.
$ 8.95
26.
$13.95
$ 8.95
$ 19.95
$ 9.95
$ 8.95
27.
23.
25.
Kit
6.
BOOKS;
's
10. Realistic
11.
5.
Drawing
Faces video for only $25
$50.00
for Beginners
notice.
Order mid:
rec'd:
1989
change without
Order
28.
29.
30.
31.
$ 19.95
32.
$56.95
$10.95
$49.95
$79.95
$14.95
33.
34.
35.
36.
37.
off
only $25
by Sandra Angelo
1989
38.
Good
39.
Better
40.
Best
41.
42.
43.
44.
45.
46.
47..
$29.95
48._
$ 1 6.95
$19.95
49..
$36.95
50..
1 ..
$17.95
52.
$10.95
53.
54.
$10.95
Tablet of colored papers
55.
100% cotton 2 ply Bristol board Plate finish (smooth) White 11x14 $17.97
(The plate finish is also good for graphite and pen and ink.)
Sandra s Favorite Pen and Ink Supplies. See item 52 and 23 for pen and ink paper.
$17.95
56.
Set of 6 Identipens
57.
Set of 3 black pens: 3 nib sizes:
$ 9.00
58.
$18.95
Set of 6 colored pens
59.
Sandra's favorite set of 25 oil pastels for - Paint Like Monet video
$16.95
Sub
50
$51-100
same address.)
Order more than $700 -Free US shipping
$101
$301
orders going to
Outside
How
USA,
to expedite order,
supply your
300
700
Total:
sales tax:
$ 5.98
$9.98
USA S&H:
$14.98
$17.98
Canada $5 surcharge
TOTAL:
Order with MASTERCARD or VISA - Outside San Diego County: TOLL FREE 1-888-327-9278
San Diego County For info or orders: call (858) 578-6005. FAX ORDER TO: (858) 578-0837.
Website orders: DiscoverArtwithSandra.com
Method of payment:
Check: Payable
to
Discover Art
OR
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Please Print:
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Zip.
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Mail payment and order form to: Discover Art, P.O. Box 262424, San Diego, CA 92196
DELIVERY: If all items are in stock, order is shipped in 7-10 working days or sooner... Order can take as long as 46 weeks because some products are shipped from Europe. Price/availability subject to change.
NO
am interested
in hiring
Sandra Angelo for a workshop. Please send topics and a fee schedule.
You've always wanted to draw and paint but you thought you had to be born with talent. It's not true.
Selected from hundreds of top educators to receive the prestigious Fellowship Award from Rhode Island
School of Design, Sandra McFall Angelo specializes in teaching classical art techniques to people who
can't even draw a straight line.
Author of 18 step-by-step videos, four companion books, 25 TV segments and over 50 magazine
columns, Angelo' s teaching system has been heralded by top critics such as the Washington Post as
super simple. Her books and videos have been adopted by schools, universities and libraries worldwide
and have won top awards including an Emmy nomination, Videographer's Award of Excellence, 1st.
Place WAVE Award, Communicator's Award of Distinction, 1st. Place Boston Bookbuilder's Award, and
more.
A leading authority on drawing techniques, Sandra writes for The Artist's Magazine, American Artist,
Decorative Artist's Workbook and has served as Contributing Editor for Art Materials Today and Arts
& Crafts. She also creates step-by-step brochures for leading manufacturers and travels the lecture
circuit teaching workshops in a variety of media, for resorts, universities, art schools, manufacturers,
retailers, and art guilds. Her award winning television appearances on networks such as ABC, CNN,
Discovery Channel, HGTV and TNN have won her many awards including an Emmy nomination.
Her unique combination of videos and companion books walk^ne novice step-by-step through the
drawing process and transform amateurs into artists in just a few months.
A widely
collected artist, with work in both corporate (such as Kaiser Hospital and Scripps Hospital
Birthing Center) and private collections worldwide, her personal art reflects simple straightforward
emotions she garnered as a child growing up in the primitive jungles of Africa. Having traveled in 40
countries,
45
states,
and speaking
it
all
walks of
life.
of Sandra's books, videos and ordering information for her recommended supplies have been provided
are interested in hiring Sandra Angelo for a workshop in your area, send for a list of her seminar
topics and a fee schedule. Write to: Discover Art, P.O. Box 262424, San Diego,
921% or call toll free 1(888)327-9278.
or check her website: Discover Art with Sandra.com
at the
list
If
you
CA
This entertaining self-study guide will ease you through a simple four step drawing system which
can transform your skills from rank beginner to accomplished artist in a few easy lessons. Look
at the remarkable progress made by the students below.
she
and all
Look
amazing
transformation in Joe
at the
Breault's
skills.
In just a
an accomplished artist.
BEFORE
AFTER
REVIEWS
The Washington Post, Midwest Book Review, Book List
Video Librarian, North Light Book Club, The Artist's Magazine, Sax Arts & Crafts
"Excellent drawing instructional, Easy to understand, Highly recommended,
The most comprehensive collection of drawing videos and books available today"
Excellent, accurate, thorough, relevant... San Diego City Schools Review
52297>
DISCOVER ART
P.O.
781887"823210"
00255"23247'