Lee Hammond’sThefollowing artwork appeared in previously pablshed Non Ligh Boks the invalpage umber stereo ‘ceil artworks amber parents Co agen ‘hehort Hirmmid, Lex, How io Deaw Lie Poti feo fap 0 1985, Fate S61 8092911, wu Le, Draw Real Antal 1396, ase, SSS Sea HA. 37 oh 6h 773 wes Pape © 1996, Pa Lads S52 SS isin iosn ssn aaas ani Friends 1997, Pages TS", 32533, (5659). Hammnd ex, Daw Real Hangs ©1997, age 18-1, Hammend. Lex, Drawingin Cola: Rowers Nature 3000 iges2425,31,33,3729( 590257) Hamman ex Drvengin Gol Pople nd Tora 75-7128 168) Hammes Data 201 Pe 1A Busse akan ei Col: rds © 2001, Pages Fans 23038, 3739, 4348, 9856.99, 50.6468, 6313, 104189) ‘Manmiid Lee Daw NASCAKD 2008 Page 1 (115 1c Hana Big Bonk sig D290 by Rl“ irre Sansa n Chin A igh raced No farts bal my beeper oF by ay es oenaton sre end sedaeg om tie Ines exept oaever why may gus ea po 3 ‘vi bled by Nath Light Boks an mpi of FW Fobierone ney 41003 ear Raine Oy the ine Nom Lich Books aif yur ent sop sro ct ome able 11 10 0 08 oF woos? Heat Date ce Hama big drwigfee Hanond. - pon donde [BBN 978-4-541804473-7int, alk pane) BBANIG 1581804735 (pbk sak pape [ePoaning edge Tie Ba bok fang Tike Newos272004 Sra ao0ms9089 al Pam Wien rl Behe ero Designed by is Backman Iroc at Fy sis oaks corinne hy ask Goi ABOUT THE AUTHOR Polly “Lee” Hammonds an illustrator and artinstructor from the Kansas City area. She ‘owns and operates aprivate artstudio named Tako IVTo Ae,* where she teaches realistic drawing and painting. Lee was raised and educated in Lincoln, "Nebraska, and she established her eareer in illustration and teaching in Kansas Cty. Although she has lived all over the country, she will always consider Kansas City home. Leehas been an author with North Light Books since 1994, She also writes and illus: trates articles for other publications, such as The Antis’s Magazine. Lees continuing o develop new art instruction books for North Lightand is alo expanding her career intoilustatingchil- dren’s books. Fine art and limited edicion prints of her work will also soon be offered. Lee resides in Overland Park, Kansas, along with her family. Youmay contact Lee via e rail [email protected] or visi her Web site at www.LeeHammond.com. "Take ItTo Art isa registered trademark for Lee Hammond. Metric Conversion Chart Toconert we muti by Ince Centers 254 CCenimecers ches Fees Centimeters Sainces ‘Sa Comimetes SaCewcmetes Salnches SqFee SqMewrs Sqreurs saFeet Squares Sq Mewrs Sameer: sqyirer rome: ‘bgramsMaterials & Techniques for Working in Black & White7 = 3 ¥ F = 7 F 7 - i rz = 7 = 7 - 7 7 ae lar = a afar [ae ‘ar 35 a a 7 m 2 7 S me a Es 7 we * a |e 7 a % mW ¥e a [a B ie we F we (|e ‘e a rs ae ow fe ae 7 rs ro % Pur thePurzleBack Touether This puzzle exercise may scema bit juvenile atfirst tit isan excellent chanceto practice dawingshapes.Eachone ofthe bexes has anumber anda skape drawn nt, hur ae ofthe inisidal shapes clearly resemble arythinginparicelar Draw the shapesin eich hex in the coeespondingnumbered box. Donor try tofigareout what sou.aredrawing. This will only cause yeu to start drawing from memory without even knowing. Just draw what yeu seas accurately as possble, When you refinished with this paz, sure your work upside down 19 see what iti MATERIALS & TECHNIQUES FOR WORKING IN BLACK & WuUITE‘An Accarae Line Drawing Use the photos on the opposite page m elpyo create an ac rteline drawing. Den ry codraw the howe right away. Foca tn drawing the shapes within each hax. The image ofthe horse will owly begin appear MATERIALS & TECHNIQUES FOR WORKING IN BLACK & WHITE "Draw Pople Black & WhiteEYEBROWS AND LASHES [No eye would be compete without esebcovs or ashes. Thekey to rmakingthem looks reali to make / each stroke look like sof indivi Gdualhairs, not harsh ines “ [NeverUse Hard Linesforthe Eyebrows Thelineon the ftloks hardand senight. Tele one rahi ofer fndeurved, was drawn with quick stroke, Fickyoarwris and thee will become thinner onthe end. Filllnthe Flair and Blend ‘Continue todeaw hairs until they saetto fillin,and thentake yourtorilionand blenéthe whole chingout Ski / Never Uke Harsh Lines Eyelashes should note dean with hard lines either These ines are much oo hard and staigh aw the Eyelashes inClumps with curing tapered lines, See on Outline the Lower Lashes Don'teverdeasealneallaround the ere with lowe ashes lke hs Eyelashes growin clumpeand are dawn, Follow the Direction ofthe Hai Eebresca lage os ik of thin. js daw the veal shape ir, ‘hen steto spi tc sis Look te Giron they are rowing inch pure ‘nd apply your pens inesinthat ee ston, Never sel nthe ebro with sean dark pene ies. Darken As Necessary and Add High- lights Add hair strokes again, uri ets as dark asyou wancit Tosoitenia bic, make your kneaded eraserino apoint, and with the same quick stokes it some light hais out Is his ning rouch that reallyhelps make i look real a Draw iheLowerLashes Ths shat ower shes should ook Ike They cone ofthe arom fhe lower is andar shore tan tReupperlshes Ss hor vonc of ho areshorter than others? The, 00, grow in bunches DRAWING PEOPLE IN BLACK & WHITE aSTEP-BY-STEP DEMONSTRATION Put It All Together You should be very proud of yourself. If youhave uscd the book stepby step, you now know how to draw all the pars ofthe face. Congratulations! Le’ rake all you have leamed so far and put ital together. You'll takea line drawingand make it look real, step by step Double-check your line drawing, With all ofthe practice you have had, your skills have become more fine-tuned, and you might be able to improve on it. (Check all of your shapes, and when you are happy with your drawing, remove yourgraph, Step t Complete the Eyes ofthe Portrait ‘Work onthe eyes untiyeu think you've dane the best you can do. Ur yourstenl forthe irs and the pupil and don forget thecatchight Look a the eyebrows. They are very ight, with ot muchdetsil Step 2: Complete the Nose and Mouth ‘Move down and inh thenose and mouth a shown. Go back and review noses ard mouthsif youneed te. Again, Keep work ingon them untl you ee satisied. 38 LEE HAMMOND'S BIG BOOK OF DRAWINGAfter lightly scetcing a graph on your drawing paper, begin to craw the pofie onebox ata time. Cn you see ow I dre in the shadow areas.s shapes? | know this looks func, but thes keep thingsinthe right place. Take yourtime and tive for acura Be especialy careful when drawing inthe teeth. tis e350 getthe shapes wrong, anditwillchange the lkenesif they re drawn incorrectly. When you ae sure your Arawing sas accurate as you an gett, erase the grenh and centinue on tothe next sep.6a @) (iez Hee |be i aCompare the two drawings on the top halfofthis page. Can you see how the application of basic shapes can help you seethe angles in the formof the horse? Even some of the rounded shapes have light angles to them. Look atthe area ofthe stomach and the rump. Can you see that itis really more angular and cube shaped than circular? The same is true for the knee and ankle joints By adding a hintofangle to them, they will not appear too round. The rear view of the horse, on the bottom half ofthis page, shows the squared appearance of the rump. Thisisoftendrawn too round, givingthe horse an unnatu- ralcurviness. The ramp is more of a cube shape than a sphere. Tey secing the angular shapes in every- thing you draw. Ie will give your drawings more realism. Draw the Basie Shapes By drawing inthe basie shapes, the over- all shape of the horse iseasierto se, Rear View ofthe Horse This view ofthe rear shows how squared offtherump reali, Dorit draw this ate to round, Rownd he Angles By gently rounding outsome ofthe anges, thehorserakes on relic, ratral shape Round the Angles “Therump gently curvesbur stil ‘maintains thelook ofa ube rather thana sphere.MIM iiiaPENCILS USED Use citheran Ebony peneil ora ‘graphite pencil, Step 1: Draw the Graphed image ‘This whatyour Ine drawing should {coke in your rap Step 2 Complete the tine Drawing men you ae sre ofthe accuracy of you shapes, rerrove your graph ines with your kreaced eraserMaterials & Techniques for Working in Colored Pencilswaxy forhis technique, Verithins work somewhat but don't blend as evenly asthe clay-based pencils Acetate Graphs Acetate graphsare overlays to lace over your photo reference “They have grid parternson them that divide your pictureinto even increments, making iteasier 10 draw accurately. Luse them in both ‘inch (Bem) and sguares. They are Usea permanent marker ona report cover Youcan also draw ‘oneon paper andhave it copied to transparency ona copy machine, ‘Templates “Templates are stencils that are used to obtain perfect circlesin your cirawing. lalwaysuse one when drawing eyes to get the pupils and Magazines “The best source for drawing mace- ‘als magazines. [tear our pictures ‘of every subject and categorize them into different bins for easy reference. When youare leaming 10 deaw, magazines can providea wealth of subject matter. Don't copy the image exactly, because thatiscopyright infringement. raft Knives Craft knives are not just for cutting things: they can actually be used as ‘drawing tools. When using Prisma color use the edge of a knife ro gently scrape away color to create texture such ashair or fur. Aknife canalso be used to remove unwanted specksthat may appear in your work. As you can probably MATERIALS & TECHNIQUES FOR WORKING imagine, ivis important vo rake care \with this approach toavoid dam- aging che paper surface, Fixatives ‘The type of spray thar you use to fix your drawing depends on the look you want your piece ulti- mately have. use wo different types of finishing sprays, each one with its own characteristics. Workable Fixative “The most common of he spray’, the workable fxativeis undetectable when applied. The term “workable” means that you ccan continuedrawing after you have applied the spray. Experience thas taught me that this is more true for graphite and charcoal than itis for colored pencil. have found fixative roaccually behaveas a resist. Luse it wherever I don’t want the appearance of my work to change. When using Prismacolox, the wax of te pencil will rise tothe surface, making the colorsappear ‘cloudy and dull. Wor will top this “blooming” effect and makethe colors rue again. Damar Varnish use tis spray when I wanta high glose shine applied to my Prisma- color drawings. Ir gives che deaw: ing thelook of an oil paintingand ‘makes che colors seem shiny and vivid. (ts primary use isto seal cil paintings.) often use this when drawing fruicand flowers, but it ‘will makea portrait beautiful ale. ble fixative Horsehair Drafting Brush Thisisan essential tool when you are drawingand even more so when using colored pencil. Colored pencil particularly Prismacoior, will eave specks of debris as you work. Lefton the paper, chey can create nasty smudges that are hard to erase later. Brushing them with yourhandcan make it worse, and blowing them off willereate mois: ‘ture on your paper whieh will leave spots. 4 drafting brush gen ty cleans your work area without smudging your art, NOTE When afixative is wedon colored pencils that have heen blended with a rorllion,the pigmentean scem to melt into a watercolor appearance. The colors willappear much brighter and darker Leave these areas unsprayed. IN COLORED PENCILS 9CHAPTER FIVE Drawing People colored Drawing portrait wi pencils can be similar co drawing, them with graphite pencils, but colored pencils can dramatically change the look and feel of any subject matter. Practicing in black and white frst allows ccentraceon the feetofthe pencil and how to apply itwithout having roswitch pencils and colors. Iewill alo give you practice creating tone, which isthe gradual blend from dark to light. ‘Always Look for the Basic Shape fall the aspects of your work, the ‘most importantelementis shape. If your shapes aren't accarate.no amountoftechnique or calor theory will make your drawing look like the person you are rendering, To help my students begin to train their eyes to see shapes propery, havethemuse a graph, or grid, method. By placing a graphon top ‘oftheir photo reference, the subject boeing drawn is reduced to simple shapes. Drawing Shapes By drawing what Isave in each square, being.careful to wateh for placement within the box, Lwas able o achieve an accurate line {drawing of the model, Sometimes it is helpful to turn your reference in Color photo upside down when drawing it. This isa way of sceingit more as just shapesand lessthan as the person you recognize, For a challenge, and to really isolate the shapes, yourcomld also uta square out oF « piece of paper and cover everything bucthe box: youare drawing. The more graph- ing you do, the better your eye will betrained to see shapes, so you can accurately draw them, Using Graphs The following exercises are designed to help you get used to the graphing process. It will be very important for you to draw the raph lineson your drawing paper lightly: These lines will need ro be erased alter the line drawing is completed. Ifyou draw the ines too dark, itwill he hard to remove them later. For this reason [use a mechanical pencil for preliminary sketches, These pencils make li 45 more delicate lines tha graphite drawing pencils, ASI said, itis more important right now to learn to draw the shapes accurately, Later, Iwill show you how to apply various typesof colored pencil totum your graphed images into realistic por- Lets beg with this photo of my son, Christopher. hare comb ined both I-ineh [3em) and Ysinch (Jem) grids forthe graph. To ach- ieve more accurate facial fearuees,1 divide the Linch Sern) squaees ino Yeinch (Lem) squares around theeyes, nose and mouth. Notice how I placed a diagonal ine under theeyes? Thishelpsme get the angle of the head lt right. Theres ofthe shapes were easier, so left them L-inch (em) squares ‘Also, Fenlanged the draw biby making my squares.on my ‘drawing paper bigger than that of thephoro. As long as your boxes areperfectly square. the shapesare relative. This ta good way to cnlarge. ’sallabout the shapes an their placement within the box. Youcan reduce a large photo this way, too, by making the squares on your paper smaller than those inthe grid over the photo. Later onin thechapeer, you will be dravvingthispictre in Flleolor with Veridhin peveis, Practice this ‘om inexpensive white drawing paper frst andthen doit again later on mat board.Draw a Portrait Using Watercolor Pencils Watch how a little water applied with a fine brush will melt thedrawing down intoa painting, The following | COLORS USED isa step-by-stepexercisein drawinga portrait of a ‘Watercolor Pencil: Terra Cotta, Dark Brown, rman with watercolor pencib. Indigo Blue and Black Step : Complete aL Drawing Stop 2: Lightly Start the Shin Tones Draw an accurate Ine drawing with graphite eg with yer of Tera Coma, then wse small amount of Dark Brown along the jawine an above the upper Ip. Te help ‘he edge of te facestendour, we Inaig Blue Denna DRAWING PEOPLE IN COLOR 167Drawing Howers & Nature in Color/ il ei (Se) || aeINDEX 8 abies, L4S180, 184,165 Backgrounds. 89.107, Backgrounds, colored animal, 179, [8L182, 187.189 flowers 153,195, 197, 201, 201, 202. 209.211.214.217, 29 fruit 251 leaves, 215, 222.225 ope, 150 15H, 59, 161-165, 158 ie, 222,226 Bear, 18.184 Bers. 222, 24225 Binds, 34.75.28, 10101, 12:12, 122 eeding. 68.12.1415 simul. 7,73 77 85.93, 20 ole perl, S113, 133, 187188 23 ace, My 21, 28:25, 22.28 3 ass wos, 202-208, 205,207.21 aie human, 38-43, 46 51.58, 1 Seealse Buishing Bloom a, 11,186 195,215, Boar forcolbed penis 18.21 ole 158, S162. 14-168, 82.220, sues, LS, 21, 16,179, 19, 214.215, “us219 textured, 16,237 Seealse Piper Bursshng. 13-12, [34 197, 41.147, 16 Li, 196, 199.200, 25, 7a 205 50, c (Cte 26 28:33 4,73. 79, 81, 8,92 131132, 3 (Cty 78 87, D171, 173, 189 (Clothing. 4,62, 153 clo, 35-10, [S713 161103, 168 (Coterse pena using, 115, 118, 202 stoting. 15 are, 308201, 206.207, 211,233 complemestay, 12.123 192, 211 7216.24 lysing 114, 30,132, 13, 14614, 160-16), 1,192 sung, 22125 rotted, 196 temperatu of 2-128 126 Cole poses spying. 1222123 ending 4115, 126 sombinen, 162-163 erasing, LIS, 18 olding. 215 28 LEE HAMMOND’S BIG See shoCoLense peril Nero pens Prsmacolorpencile Stud pens Neithinpncis Columbine, 210 ‘Compostion, 102103 Coneflower 205 ‘Comtas, 16.10, 179,198 197,214 D Dees 2, 8, 21 Dogs 1, 10-11, 84, 098 ‘wer, (7 (22s, wss18s as ‘i, 109, 08, 17.173, an, 12, 5-10.42, Lan. ewer, 2 Lb for colored psi, 1S. 51 Seo sso iho, Kiting Eyes smal, 3, 81, 102.104 165, 108, 02 man, 7,263, 385053, 556,58. 308) Byes incobr ia, 20:11, 11-1, 18 187,189 Fan, S030 153 (SS 158, Lal F Faces Sco Eyes Mout Nowe: Teeth Facial expreions S50 Fathers 74. 100101 Feet animal, 12. 176 aves, 719,186,208 218,225 amings. is owes in coler, 122196207, 200220 ‘See sounder peste ower Fray 251-282,235257 For si.8035, ‘coor 77-18, 182189 « Grate, 29 (Geophing, 74. LS. 218, ‘is, 83-81,00,08, 1108, 108, 175, 1 8S 187 ching. 15? faces 4849, 12-129, 3 facia fetus, 21, 22.25, 28, 90,32, (31 Aowers, 198192 figures, human, 6, 6869, 148, 157 hands, 182 “4 Hie ama, 86-93 95.97, 102104, 106, 110, 135 (see als Fur) human, 8-47. S081, $455.65, 67 Hair.in color ‘anim, 127-180 uma, 14, 15-182, 185-162, 104, ua ands, 12, 60-65, LL, 158 Highligh ‘on aims, 73.76, 83.88, 92.93, 97, UD. U2. 178, 179 ‘on ewer, 206,209, 212 Hight, iting. 6 [4 202 ‘itis, on people, Le0-IoL, 10s Taal, 1920, 2225, 26, 28.37, 183 Iai, 31, 38-39, 41-47, 155 Hotshock 193 Hotes, 112, 196 Horses, IAL 7 a, 2.136 80.83.95, 10613 Leaves, color 22, 19183, 200-201, (0.227.231, 233234, 256 Leopard, 12 Light effes of, 2.13, ‘on animals, 24, 103 in nature, 190, 220-221, 229, fon people, 16,1820. 7.154 Light reflected L124 fon animals, 107, 110A. LE 174 fon ctathlng. 147 J nar, 10192, 215, 228,202.83 fon people, 1S. 23. $0.65, LA, 18% ist Lites, 203-204, 211 Line drawings. See Graphing lon, 93 ™ Markings, anal, $5,96¢101, 181-182 Materials black-and-white, 22 coor, 112 See aso Boards Erasers: Fhxatves Piper, Pencil, mechanical; Photo, ‘sing: VarnishWith Lee Hammond's Big Book of Drawing, your art will spring to life! From laughing children and froticking tigers to fruit so vivid it makes your mouth water, you'll discover haw to realistically draw your favorite subjects and how to draw them well! Learn to: Use easy-to-master graphing and shaping techniques to better portray your subject Replicate the effects of light through blending and shading Accurately render the personalities of people and animals Realistically draw flowers and natural elements by applying hard or soft edges Achieve a range of effects by using different brands of colored and graphite pencils Whether you're a beginner or a professional, with Lee Hammond's instruc: tion you'll find the arsenal of tools you need to create stunning, real-life drawings that will captivate your audience. ae Withbet Pak tgemstos tos ts8i90 aT iil \ s naan orl | ii Hl