A look into the art of David J.

Vanderpool 1
2 Pencil Drawings
pencil drawings
Inside the art of David J. Vanderpool

Introduction
D rawing is one of the first skills children pick up and one of their first expe-
riences in acceptance and recognition. Instantly the refrigerator door becomes
their gallery, a place to show off their latest masterpiece as new pieces are
added daily. It’s as if it was created just for that purpose.

As an adult, for those of us that continued to explore our creative side, the
desire for acceptance and recognition never leaves us.

I learned early in my childhood I could get the attention and acceptance I

needed just by holding a pencil and letting it work its magic on paper. And of
course when people would ask me how I did that, I would simply say “it’s all
in the pencil.” Which really is pretty much close to being the truth. Without
the right tool your drawing would be dull and flat. No life to it no matter how
much you wished you could do better.

Hello. My name is David J. Vanderpool and I’m a self-taught pencil artist

[well, if you don’t count the art classes in high school and a few years in col-
lege]. Here is a look into how I draw.

All my drawings are created with fine lines and cross-hatching for shading. I
never blend with a tool or smear the graphite, unless its the background. For
me personally, I find that it dulls the portrait or figure drawing and destroys
any chance of making the drawing jump off the page.

This book is created with other artists in mind, who have asked me how do I
get the effect and look I achieve with each drawing. The goal here is not to
make a ‘how-to book’ but rather allow you a look into how I draw, allowing
you to see the drawings in several steps, as well as the finished product.

Special thanks goes to my wife Raelene, for her support in this year long proj-
ect ; and to Robert Meszaros, for his help in making the needed edits before
the publisher saw this; and to each friend and model who allowed me to draw
them usually with little to last minute notice. Without their support this book
couldn’t have turned out as well as it has.

Again, thanks!

David J. Vanderpool

A look into the art of David J. Vanderpool 3

Mike Musick
Pencil drawings - Inside the art of David J. Vanderpool

T he most challenging portrait drawing are those

you aren’t comfortable doing or don’t think you can
pull off. This was the case of this portrait of Mike
Musick

Here is my second portrait of the rock singer and

the better of the two drawings you will see here.
Where the first drawing was pretty much a ‘mug
shot’ with little expression, this drawing shows a
cheerful expression you can’t help but enjoy look-
ing at. It took longer to get his hands just right, but
it was well worth the second attempt.

Starting off on any project you need the correct

tools: quality drawing paper that will stand the test
of time, a set of pencils ranging from 2h to 8b, a
kneaded rubber eraser, a pencil sharpener, and an
interesting photograph of a friend.
NOTE:
The average set of drawing
As an artist I prefer to draw from photographs,
pencils come in a series rang- even over the live models I work with, so I can get
ing from 2h to 8b. Use them up close when drawing the eyes and other personal
all in a single drawing! Just details that need to be seen up close. It also allows
as the yellow light at a street the model to pose once and I can draw when I feel
corner isn’t a suggestion to like it - be it after work in the evening or during a
use caution, you don’t have an six hour drawing ‘marathon’ on a lazy Saturday.
option here either.
What sets me apart from most pencil drawing

4 Pencil Drawings
A look into the art of David J. Vanderpool 5
 artist, is my drawings are all lines. Each line
placed on the paper follows the object I am
trying to duplicate - be it a strand of hair, a
fabric he might be wearing, a well sculpted
chest muscle or the man’s face. From short
lines to long flowing lines as seen in his hair,
each line is carefully placed on the paper. And
the entire time, thinking where the next line
will go as I draw the last. Keeping three steps
ahead of the last move you made.

It’s not important to capture every strand of

hair but it is important to take the time to get
the hair flowing in its natural direction. Keep
in mind that hair grows from the scalp out,
and so should your pencil lines. This is espe-
cially true when dealing with eye lashes and
facial hair.

The eyes are the most important feature in any

portrait. It’s what captures who that person is.
Start off with your lighter pencils, as you will
with the entire drawing use ever pencil you
have from 2h to 8b, and gradually add layers
of darker graphite until you get the shade of
grays you are looking for.

The trick to creating any realistic and almost

3 dimensional look to any flat pencil drawing
is by following the contour of the face. There-
fore, knowing the human anatomy is a must.
From the bones to the muscles, you need to
know what’s hidden beneath your drawing as
you attempt to draw the skin and fabrics that
may cover the body.

Again, this is apart of staying several steps

ahead of the game. This time by seeing some-
thing that’s not on the paper just yet and your
challenge is to bring it out for others to see.

For the sake of creating all these drawing for

this book project, in a very short time, a light
table was used to lay down a light outline of
the person. From there I quickly sketched the
remaining detail I needed.

Yes, I know ... I can already hear the loud

sound of people gasping from such shocking
news, but keep in mind the goal here is to see
how I use lines and crosshatching to create a
realistic pencil drawing.

Besides, it’s been discovered that the great

Masters in Europe used mirrors on their paint-
6 Pencil Drawings
ings. Which is why for the longest time art
scholars questioned why there were so many
left handed people in the paintings they were
studying.

Once proving to myself and others I could

draw freehand the next issue to deal with was
completing a drawing in a timely manner to
meet the clients’ needs.

So, with that said, use whatever tool you are

comfortable with to start your drawing, be it
a light table, a grid or even a mirror. But this
should only be done after you have learned to
draw freehand! That is a must for any artist.

No matter where you start or what part of the

body you are drawing, be sure to follow the
contour of each muscle, hair or even an eye.

I have been told I draw odd. I start from the

center of the eye and draw out. Making each
line close as possible for a smoother feel on
the skin and harder more solid lines when the
drawing is to be more masculine or have a
harder feel to it..

I suggest drawing from a black and white

photograph so you can see the grays you are
trying to capture. It’s not to say you can’t cre-
ate a good black and white drawing from a
color photograph, but with a black and white
photograph your brain doesn’t have to figure
out the shades of grays you need to place down
on the paper.

Using a 2h or 4h to lay the foundation for

the skin, again, it is important to know the
anatomy and where the muscle under the skin
are. And since there aren’t any flat surfaces on
the human figure or face, make your lines with
a slight curve to them.

Once the eyes are establish I work out from

the cheeks and up along the forehead. There is
no need to worry about the eye lashes and eye
brows until the skin has been completed.

Taking your time, keep your lines sharp and

clean as you work across the face. Crosshatch-
ing comes into play only when you wish to
give the appearance of a shadow or later for
fabric. The rest of your drawing is to be all
lines. Very fine lines. In fact, so fine that at the
first glance people won’t notice them but think
A look into the art of David J. Vanderpool 7
 you had blended the graphite or assume they
are looking at a photograph.

Shadows and lighting come hand and hand.

You cant have one without the other. As with
his teeth, highlights off his noise or even the
reflection off his glasses, use the natural color
of the paper to come through. Let that be your
whites while using your other pencils for your
the skin and shadows.

And since the whites of the eyes or teeth aren’t

really white, use your 2h pencil to create a
shadow that covers part of them. As with each
tooth, each has a shadow and light, so take
your time.

Remember. It’s always best to go light when

applying the graphite and add a darker layer
over that as you work towards a realistic ap-
pearance. Starting off with your darker pencils
leads to a very dark portrait, which may not
be the look you want. Just as drawing with a
single lighter pencils makes for a flat illustra-
tion with no depth.

To bring out your highlights, use a kneaded

rubber eraser. It’s also great in keeping your
drawing clean. Press gently to lift your high-
lights but with the right planning ahead you
will have already reserved the natural color
from the paper to do most of your work. The
eraser will help make a cleaner look to your
blending from light to your shadow.

Hair grows from under the skin and out, and

so should your lines when drawing facial hair,
eye lashes and other body hairs. And one
strand at a time.

Don’t panic just yet! You don’t have to draw

every hair on his head, but at least keep to the
style, texture and flow that is naturally there.

Again, start off light and work your way to

darker layers as the hair starts to take its form.
Keeping the lighter highlights in place and
working the shadows and darker stands under
it.

Your kneaded rubber eraser can be used to

bring out any highlights you need but again
use your 2h or 4h to place the fine lines over
those highlights in order to blend the lighter
hair color with the highlights.
8 Pencil Drawings
Hair are lines so be sure to show the lines in their proper With your lighter pencils, follow the curve of each finger
flow on the body. It will take some time and practice to as the skin wraps around each digit. Stopping short of the
get hair just right and even though I know of some artists highlighted areas - the paper where you will not be pen-
who don’t feel it’s important to draw everything they see ciling over. Take on one muscle at a time, or in this case,
in the photographer or live model in front of them, I say it one joint or digit that makes up his hands.
is since we are going for a realistic look here, folks.
A simple contour line works great for the outline of his
Okay, now it’s time to panic! Facial hair is drawn one hands, even when it’s up against the whitest whites used
hair at a time. So take your time and enjoy. Again, with for highlights. But be sure it’s a 2h pencil. It’s not impor-
a sharp but darker pencil start at the skin and pull away tant to see the line but just know it’s there.
from the face, following the natural course of how his
hair is growing. And yes, facial hairs grow in a direction They say clothes makes a man, but in this case they make
which is very noticeable with close trimmed beards or one the drawing, especially when the person is a rock singer
just starting to grow. and costumes are apart of his expression. Here, Mike is
wearing a ruffled shirt with long sleeves. Sorry, but there
As with the hair on his head, facial hair has several was no way I was going to draw his entire shirt. In this
shades of color - or in our case here - grays - so use sev- case the detail in his cuffs and the start of his collar was
eral pencils from 2b to 8b through the face. enough to show what he is wearing.

Okay - I’ll be the first to admit. Drawing hands has His jacket is a fine corduroy and there was no way of
always been a challenge for me. Simple because of the faking that so once the first layer of shading was added,
many bones and muscles one must know, even if its just deeper lines were set into place for the shadow between
the skin that is shown in the drawing. the lines of the corduroy and a medium shaded pencil was
placed next to that one to give it a more rounded shade for
As a young artist in high school, I’d draw people with a more dimensional drawing.
hands in their pockets. This was quick solution to a
problem I’d avoid for years to follow. It wouldn’t be until Since the shirt was finished there was no real need to fin-
I made myself look for photos to draw that featured hands ish the jacket either.
did I realize how more interesting that drawing turned out
and it soon became a challenge worth taking on in nearly
every drawing after that.

Choosing the right pose to draw.

It’s very important to pick the best photo when working on a com- a loud expression can often work best!
missioned drawing. One that shows a little more than just a ‘mug
shot’ is usually more of a challenge but the results reveal a stronger This first drawing of Mike is a great example for drawing facial
impact on what you are trying to achieve. hair. However, the second goes beyond the face and allows you to
see a more emotional, funnier, side of the singer. This by the way,
Not to say the first pose was bad, it’s just that the when dealing with may end up on his next CD cover or used to promote his latest
a portrait, you don’t have to limit yours to something simple - when work.

A look into the art of David J. Vanderpool 9