BECAUSE IT'S SO FUN AND SO EASY, IT'S A SAD THAT IT CAN'T DO BETTER. ALL YOU NEED TO KNOW TO START THIS BOOK IS HOW TO DRAW A CIRCLE. Since Andy can't talk to you in person, he put me here so we can actually get together.
Now this plan of action is based on the use of simple shapes that are already known and familiar to you and that you can certainly draw. From these simple, familiar shapes we build other shapes which, without some constructive plan, would be too complicated to draw. By building preliminary shapes and developing the contours on them, we know WHERE TO DRAWN OUR CORRECT LINES.
There is hardly anything that cannot first be constructed using simple shapes. It assumes the appearance of professional craftsmanship, which it actually has, since the professional artist has had to somehow "construct" his work to make it "professional."
TAKE A GOOD LOOK AT THIS PAGE
PART ONE HOW TO DRAW FUNNY FACES
HERE WE GO!
THE FUN STARTS!
A SURE METHOD FOR ANYBODY
IT’S REALLY GOING TO BE EASIER THAN YOU EXPECTED
THE “BLOOK BALL”
JUST PRACTICE ON THESE “BLOOKS”
THE BEST WAY TO GO ABOUT IT
WE ADD ANOTHER LINE TO THE BALL
THERE IS NO LIMIT TO THE VARIETY
BLOCKY” TREATMENT LENDS CHARACTER
BLOOK POSES
EXPRESSION
DIFFERENT EXPRESSIONS OF THE FACE
TRICK STUFF
HERE’S A STUNT
DON’T MISS THIS PAGE
PROJECTION
VARIETY BY DISTORTION
BABIES
BRATS
THE DIVIDED BALL AND PLANE METHOD
It is this flexibility and freedom built into the method that should make it of particular value. To me the real value of the method is that it makes it possible to build the header correctly without a copy or template or, when a template is used, allows you to describe the type distinctly and reliably. It opens a way of approach to the beginner, dispenses to a great extent the need for tedious and protracted study, and gives almost at the outset the necessary quality of solidity which usually comes only with a knowledge of the structure of bones and muscles. - ture.
If you take a look at page 39, it will be clear how the ball and plane is designed to give that appearance of true bone structure. But above this, the useful guidance it gives for placing the features in their correct positions, in relation to the pose of the head, is important. I was told to draw the head as an egg or oval and go from there.
While this helped one sense the perspective, it gave no indication of the skull. Since then I have heard of "shading methods" and others, but in all cases a prior knowledge of the head was necessary.
AS APPLIED TO DIFFERENT TYPES
SOME HEADS BASED ON PAGE 41
COMIC HEADS BY THE DIVIDED BALL AND PLANE
THE PRETTY GIRL
A METHOD OF CHECKING
THE WOMEN FOLKS
TWENTY KIDS
ETERNAL YOUTH
THE OLD FOLKS
OH, BOY, OH, BOY! NOW THE FUN REALLY STARTS
PART TWO PUTTING THE HEAD ON THE BODY
THE COMIC FIGURE
Doohinkus." All we have to do is add a sort of box for the pelvis, some pads for the arms and legs, some ball joints, and a straight line across the shoulders. The spine doesn't go through the ribcage, but around the back. The legs are not straight, but rather curved at the knees and outwards towards the foot.
The chest ball is divided by a line down the middle and flared lines at the bottom, like an upside-down Y. Without those curves, we'd be nervous wrecks before we even got into shorts or panties, as the case may be. The thoracic ball is attached to the spine, but the spine bends in all directions.
WE START ON THE FIGURE
DOOHINKUS MOVES ABOUT. STUDY THE FRAMEWORK
PURPOSELY OFF BALANCE
DO SOME OF THESE
TRY THESE, THEN INVENT SOME OF YOUR
BUILDING ON THE FRAMEWORK
A WAY TO SET UP THE ACTION
DOOHINKUS MANNIKIN SHOWS YOU THE PARTS IN ACTION
BUILD FIGURES FROM THESE START WITH THE FRAMEWORK
AFTER DRAWING THESE, TRY SOME OF YOUR
HOW YOU USE THE DOOHINKUS POSES
JUST PLAY WITH THE FIGURES
THE SUIT
THE DRESS
HOW TO DRAW A HAT CORRECTLY
FREAK HATS
THE HAND
FEET
NOW WE BUILD THE FIGURE AND PUT ON SOME CLOTHES
TRICK
NOW HAVE SOME FUN
TRY TO WORK OUT THE CONSTRUCTION YOURSELF
I’M PUTTING YOU ON YOUR OWN
THESE OUGHT TO BE INTERESTING
BUILD THEM UP; DON’T JUST COPY
NOW LET’S MIX UP THE RACES
YOU CAN DRAW THEM ALL BY OUR METHODS
ALSO THESE
AMONG US MORTALS
DOWN ON THE FARM
WHEN YOU AND I WERE YOUNG, MAGGIE
ANNABELLE
JUST NATURALLY ATHLETIC
VAMPS
AND MORE VAMPS
Below we obtain a foreshortening by projecting a profile in front view, or vice versa, as we did with the head. Determine the desired tilt and position of the parts and then use parallel lines to build up the other position of the figure so that all the important points coincide. When the figure is close, enlarge the parts closest to you and reduce the parts away from you.
I personally prefer the method above, using the eye, but often a difficult problem can be easily worked out this way, and it's good to know how.
THUS ENDETH PART TWO
NOW THAT I’VE GOT ALL OF YOU, WHAT TO DO!
PART THREE A WORLD FOR YOUR FIGURES TO LIVE IN
PERSPECTIVE
HOW TO ESTABLISH FIGURES ON THE GROUND
PERSPECTIVE IN THE FIGURE
COMMON FAULTS
FURNITURE
HOW TO PROJECT FURNITURE ONTO THE GROUND PLANE
BUILDING AN INTERIOR FROM A GROUND PLAN-I
BUILDING AN INTERIOR FROM A GROUND PLAN-II
BUILDING AN INTERIOR FROM A GROUND PLAN-III
BUILDING AN INTERIOR FROM A GROUND PLAN-IV
At the point directly under the source we place the DL point, which means "light direction". The S stands for "source" at the top of the perpendicular. From the farthest edge of the shadow to DL, then to the source and back to the shadow, it forms a triangle. The third angle of the triangle will be called At, which means "angle of light". DL can be the vanishing point of the shadow or the base from which it emerges.
LIGHT AND SHADOW: THE PRINCIPLE
A SIMPLIFIED METHOD FOR GROUND SHADOWS
LIGHT AND SHADOW
I have chosen a problem here that would be very difficult without some understanding of the basics given in Part Three. With the use of perspective, together with the effect of light and shadow, we create the illusion of space, form and a quality of existence. This drawing can have the "feel" of being sketched from life, because of the basic principles that apply to it.
THE AUTHOR’S CORNER
WHEN ALL IS SAID AND DONE, NATURE IS YOUR BEST INSTRUCTOR
LEARN TO DRAW FROM LIFE
I can think of no field of endeavor so woefully lacking in the simple organization of working principles. Nothing as dangerous, hit-or-miss, as the whole field of artistic endeavor. When artists begin to compose and record their shared experience, freely and humbly giving what little they can add, as other sciences do, art may have some chance of reasserting itself in the hearts of everyday people, even in opposition to the mechanical perfection of the camera; even during the period of social adjustment and financial depression.
I'm waiting with bated breath to see how you'll like it as much as I've ever waited for the verdict of any art editor or director. I would give many more sleepless hours just to feel that first thrill of creation with you. You'll love those little people you draw, even if they're a little clumsy and just a little bit human.