A Art Skills 07

ABC of Art Skills Jenny Gibson
www.abcyoucandraw.com
Copyright Jenny Gibson Page 1 2004

The ABC of Art Skills

For budding young artists, teachers and adults who’d love to be artists but
think they can’t do it.
Complete with photocopy-able worksheets, black line masters and

assessment guidelines.
A - ART SKILLS
The power of the line

Fun ways to get a grip
Wrist and arm control exercises with pen in hand
It’s good to learn early that the eraser might be your enemy
Observation exercises
Putting it all together
Discovering and expressing your creative self
Dedication: This e-book is dedicated to Trev, for believing in me,

and to my gorgeous children, for being the reason I’ve stayed on track.

Contents
Introduction 4
Confidence 7
The Power of the Line
Patience 11
Crosshatching, a Cast of Thousands
Focus 21
Declutter focus, squint and observe
Observation and Detail 30

Observation exercises
Assembly 35
Putting it all together
Release the Artist Within 37

Sleep on it
Assessment Notes for Teachers 38
Appendix 39

Introduction:
I’ve always wanted to move away from the commonly held concept that
putting your ideas down visually on paper is some kind of unachievable
mystery.
In the course of my workshops, I’ve been fortunate to see the light dawn on
peoples’ faces when they realize they are able to draw something.
Consequently, there was usually an extra teacher or two sitting in on classes
with the intention of learning these techniques for themselves.
And so, I’ve created this series using the concept that, just as we learn our
ABC skills, we can learn art skills; when we take a measured approach that
starts right from the beginning.

Required tools:
PAPER
Photocopy paper or a simple unruled notepad is enough to practice
these beginning exercises.
A decent quality sketch pad or sheets of non-bleeding paper (i.e. black

ink makes a clean line without bleeding) are good for your final
projects.
Remember to choose paper that will suit your final materials. If you
plan to colour your work with inks or watercolours a good paper to go
for is Academia. It isn’t too expensive, but does the job quite well. A
good art supply shop should carry all that you require and the assistant
will be able to advise on paper choice.
Colour pencils can be used to great effect, after inking, if your project is
on a sketch pad. Test the paper for ink friendliness. Draw a few lines
and circles to make sure there is no bleeding around the edges.
PRACTICE PENS
Your choice, any or all of the following:
• Biro or fountain pen.

• A fine felt nib pen. – Best to begin with.
• A mapping pen. – Ideal for the next stage of development.
• A pen holder and nibs. – Allows for a great deal of
experimentation.
• A felt tipped calligraphy pen. – Great for thick and thin line
variation.
• A couple of fine paintbrushes size 000 to 2. – Once your skills
are developed a little.
An ideal way to work is to experiment with different pens as you work

through each exercise. Also try a stick of charcoal to see how it feels in
your hand. Fine pastels add yet another dimension, especially on
coloured paper.
INK
Any ink is fine to practice with but if your final piece is to be done in ink,
think about whether or not you plan to colour it. If it is to be coloured,
will you use water based paint? Very few “waterproof” inks are
waterproof. A good one that I use is “FW”. Many other inks are
labeled waterproof but they are not. Be advised to test them first.

RULER
A simple plastic ruler with a beveled edge to prevent ink overflow is the
best choice. I usually keep a set square on hand as well but it is not
vital for these projects.
Whatever your level of talent, time spent mastering useful drawing skills will
improve your results dramatically.
Artwork is often revered as though it has emanated from a magical, ethereal

place and at times, the work of a truly gifted artist, say, Michelangelo
Buonarroti*, is of this calibre; but all of us can learn certain skills that will
imbue us with the confidence to tackle a project with knowledge that has been
learned and can be applied.
After half a lifetime of illustrating, designing, painting, drawing, writing and

teaching, I’m going to share with you some secret recipes for success, so that
you can cook up a masterpiece or two of your own.
This workbook is the first in a series that will shine a light on the ephemeral
treasure chest of skills that allow for results that many would-be artists are too
afraid to attempt. Whether you desire to work in oils, inks, watercolours or
sketch pencils, confident drawing skills will dramatically improve the end
result.
These exercises improve hand, arm and wrist control. They are also the
building blocks of the artwork you’ll create in the final project, so take your
time and enjoy the process.
If you have ever said, “I wish I could draw.” Your time to achieve this goal
begins now…
* see Appendix for inspiration

Secret 1.
CONFIDENCE – The Power of The Line
It’s good to learn early that the eraser might be your enemy.
I learned to draw, as a child, by putting PEN to paper for hours on end, day
after day, year after year.
Take ALL your erasers and put them in a paper bag at the back of your
cupboard and DON’T let them see the light of day until you can confidently
draw a satisfactory piece of artwork with a pen.
How is your focus now?
When you know that every line and dot you put on your paper is there for
keeps, your focus will skyrocket.
Imagine you have drawn all the basic lines of your project and have carefully
cross-hatched all the shadows and spent an hour or two working on the
current piece.
You are about to begin the next element of this drawing. The knowledge that
one wrong line can ruin the whole piece will ensure that you take a truly
focused observation of this new element and put the next line
PRECISELY where your recreated scene wants it to go.
Multiply this experience by every pen stroke and your drawing skills will
grow exponentially.
Let’s begin.

There are two of some worksheets. Use the 2nd page to experiment with
different pens. Also, photocopy some for extra practice. Feel free to
photocopy more worksheets so you can practice every day. You will only get
better and better.
To complete the exercises, carefully finish each pattern. Keep the lines at the
same angle. Be aware of the spaces so you can keep them uniform.
First of all draw over the lines that are already there to give your hand the
blueprint in advance.
When you’ve finished the row of circles at the end of the first exercise, try
some smiley faces. It helps to make you understand the power of a line.
This is all hand work, not computer generated lines. There is beauty in the
imperfection of hand drawn shapes.


There are two of these pages to make sure this starter exercise is done twice!

There are two of these pages to make sure this starter exercise is done twice!

Secret 2
PATIENCE – Crosshatching, a Cast of Thousands.
These following exercises give you practice in the basic techniques for pen
and ink work. Crosshatching a large pen and ink drawing demands
considerable patience.

Complete each exercise by copying the lines of pattern on the lines nearby.
Once again there are two pages of this exercise. Try using a different pen on
the second sheet.
Crosshatching is basically drawing lines at different angles to give the

impression of shadows.
Dark areas are made up of horizontal lines, vertical lines and diagonal lines
drawn on top of each other.
The second line of crosshatching can be drawn quite quickly to give a sketchy
look. Fill it in like the fourth line of crosshatching. It takes patience, even
when you work quickly. Notice the extra line under the crosshatched circles.
This suggests a shadow on the ground.






Once you have completed this exercise arrange a few boxes and round
objects in front of you. Place a bright table lamp at an angle nearby and
recreate the scene.

This is a funny looking collection of shapes. They will all be used for your next
big drawing. It is much easier to recreate a simple section of a scene when
you’re beginning. Sometimes, when faced with a full project, you just don’t
know where to start.
For the brick pattern I’ve numbered the order of drawing the lines to give you
a head start.
The brick wall is simple a combination of the brick pattern and the cubes
you’ve drawn already.

Now all those funny shapes from the last exercise will be put to good use.
Draw the clown, puppy and toy bear in the space below each one.

- PROJECT -
Once you’ve drawn the circus toys at the bottom of the facing page, redraw
them on good paper. Add crosshatching, colour and a little imagination.
On your good paper you may pencil in the outlines first.
This is my example. Use your own imagination to add patterns and colours of
your own choice.

Secret 3
FOCUS – Declutter focus, squint and observe.

Why is it that an artist seems to see the world differently? Quite often it is
because they look at it differently. One thing that is common among artists is
the way we half-close our eyes to better define the lines, shadows and shapes
of our subject. I do this all the time without thinking. Try it for yourself.
The photo below is fuzzy from high compression. Notice when you squint up
your eyes, how the features become clearer? It is as if your eyes fill in the
gaps when you look at it this way.
Now notice how the contract of light and shadow is more marked; how the
dark parts seem darker and the light parts become more prominent. Now
notice how clear the lines and angles of this picture become when you look at
it through half closed eyes.
Practice using this way of “looking” at your subject. It takes the clutter out of
what you see and helps you pick the main strengths of the image. Take note
of distances between points, angles of line and the relationship of each part of
the image to the other elements.

Here is another clown for you to try your hand at. Pay attention to the
distance and angles of each line.
Helper lines have been drawn in as a guide.

If you draw the lines as they are numbered you may find it helps.

Following this page is a selection of exercises where half the drawing has
already been created.
First of all, take a good look at what you see. Now half close your eyes and
imagine you see the rest of the drawing there. It is to be a complete mirror
image. This practice helps you to “know” where to put the next line.
Now finish the illustration by recreating the right side of the cartoon as a mirror
image of the left side.

We will look at more of this style of drawing in the third book of the series
“Cartooning”.


Now, in the same way, complete the right side of this stylized drawing of a
young man’s face.

This time there is a little more detail for you to work with in this stylized
drawing of a young woman.
Many people find the human figure to be the most difficult thing to draw.
The great painters of past centuries learned their skills by copying the works
of the masters of the time. They would recreate the great works on display,
and as they did this time and again, they came to understand how to achieve
the same results.
If this simple technique was good enough for the most brilliant artists in
history, it is certainly worth exploring today.
This is why a lot of the exercises in this book are about building on the ground
work that I’ve put there to start you off. I’d strongly recommend you copy
drawings from illustrated books.
Have a go at recreating the Mona Lisa and The Last Supper. It will certainly
improve your drawing skills.



This picture will start to make you aware of how fabric falls.

When you’ve completed the drawing, take a large piece of cloth and drape it
over a chair. Put a bright light to shine on the still life and draw the folds of the
fabric.
Next find a photo of a painting in an art book and recreate the fabric folds of
the picture. “Fabric folds” feature in many of the great artworks from past
centuries. They add a magical quality to your work once you’ve got the gist of
how to recreate them on paper.

Secret 4
OBSERVATION & DETAIL

Observation exercises.
Now we are practiced at reducing what we see to the main lines and
contrasts, we will swing to the other extreme and look deeply into our subject
and exaggerate every line, dot, imperfection and defining feature.
The next exercise is to help you bridge the gap between simplicity and
complexity. This seems to be the dividing point of art styles.
Some artists veer towards contemporary minimalist paintings, while others go

for super-realism. In this style, you’ll see a giant sized portrait with every
freckle and whisker pronounced in such a way that our imagination is
captured by the details that normal vision does not pick up. This stunning art
style has quite a “wow!” factor.
Ultimately, it is up to you to decide what suits you best. This series is

designed to give you the beginnings of proficiency in a number of areas, in
order for you to make choices based on your preferences rather than skill
limitations.


On the next page are two starter projects to help you begin the process of
noticing things in fine detail.
First of all draw the simple butterfly shape, then complete the detailed butterfly
on the right.
Next complete the simple sprig of leaf and flower, then complete the detailed
picture on the right. Both of these are to be mirror images, as we have
already been working with.
For this leaf picture, I simple strolled out into the garden and looked for a
suitable subject to enlarge. The smaller drawing is about actual size of the
leaves.
Once you have completed this exercise, take a full page of good paper. A4
size is good, unless your confidence has grown enough for you to upgrade to
A3 or even A2 with your drawings. Now recreate your choice of either subject
or combine the two of them. This butterfly, in reality, is bright green and black;
a very simple but stunning colour combination.
If you decide to go with the leaves, and you decide to recreate your drawing in
full colour, grab a sprig of leaves from a similar flowering tree and pay full
attention to the variations in colour. Basically, the original subject has glossy,
mid green leaves and white flowers. The tiny dots protruding from the centre
of the flower are pale yellow.


Once you have completed your project, find another miniature subject that is
of particular interest to you, and give it the same treatment. Use a magnifying
glass if necessary to extract the finer details. This picture can be black and
white, pencil and wash or full, enriched colour.
Do you love bicycles? Try re-creating the badge in supersize.
Do you love animals? Try re-creating a cat’s ear in supersize.
Do you love gardens? Try re-creating the tip of a fern frond in prehistoric
grandeur.
Do you love photography? Try re-creating the lens of your favourite camera
as a novel twist on the idea of the zoom lens.
Do you love the beach? Try re-creating a tiny seahorse like a tribute to
classic Roman fountains.

Secret 5
ASSEMBLY – Putting it all together.
A jigsaw creation of garden elements, circus elements and a couple of
your own favourites.
This next exercise is a recreation of all the bits and pieces we have done so
far.
Study the example here and work out a design layout for yourself. You may
certainly recreate the scene exactly as is, if you like, as a warm up exercise.
Then write a list of subject matter you’d like to group together.
Choose one or two items to feature in the foreground, where I’ve place the
butterfly and leaves. Then choose your favourite subjects from all that we
have drawn so far. You can include the circus toys, the cartoon character or a
winged figure wrapped in glorious drapery. Choose from the things that
capture your imagination and inspire you to get to the task at hand.
Draw small rough sketches of each item on your list. Cut them into separate
pieces and shuffle them around on a sheet of paper until you are satisfied with
the layout. You may find you need to add an extra element, or discard one or
two subjects.
Here’s a tip. Repetition pleases the eye. A group of similar flowers often
looks better than one on its own. A row of plants with similar leaves often
looks better than a plant on its own.
Here’s another tip. Contrast pleases the eye. You may find a pattern of
contrasting black and white butterflies mixed with black and white flowers is
more appealing to you than a natural arrangement of single elements. The
contrast of large scale detail in the foreground, mixed with small elements in
the background, adds interest to the scene.
Here’s yet another tip. Alignment of major elements is pleasing to the eye.
Notice how the plants at the left of my drawing and the flowers in the left
corner are aligned with the points of the large leaves and the edge of the
butterfly. Think about this and apply this idea to your layout papers.
Here’s the final tip. Group the subject matter relevant to the position of major
features. For example, the large rocks in the background are grouped with
the banana plant in such a way as to provide balance for the butterfly in the
foreground. The foreground is roughly one third of the layout. The
background is roughly two thirds. Divide your layout into thirds, vertically,
horizontally or diagonally and see how it affects the design. Once you’re
satisfied redraw the whole scene on good paper.


Secret 6
RELEASE THE ARTIST WITHIN
Sleep on it.
If you have really immersed yourself in the projects we’ve already done, you
may find that as you close your eyes to sleep, your mind begins to create
lines, groups and imagery beginning from where we left off.
Like a trainee pilot you’ve been going through a pre-determined simulator and
now your creative right brain is taxiing down the runway, preparing to take off
and cover new ground; the territory of your inner artist.
Now it is time to experiment with subjects and styles that appeal to you. Find
your passion. Discover and express your creative self. You now have
enough basic drawing skills to try out different ideas.
There are certainly more skills to learn but you have already come a long way.
Soon you will want to understand how to represent other elements, such as
perspective, in your artwork. Book B in the series will shine the light on how
to achieve this next level of skill.

Assessment Notes for Teachers:

Have each student draw a scene BEFORE beginning with the workbook.
Give them subjects matching the final pieces.
For example:
A circus A garden
• A clown • A tree
• A dog • A rock pile
• A drum • Flowers
On completion of the workbook you will have a clear comparison of how much
they’ve improved.
Assessing exercises:
Look for uniformity and balance.
For example:
Look for even spaces between lines. Even pen weight from beginning to end.
Top and bottom uniformity.
A really good marker is to take note of the last four or five strokes. Someone
who is really focused will work steadily to the last line. If the quality fizzles out
on the last few strokes, the student is not applying the discipline required to
attain the best result later on.
Wild creativity, such as that displayed by Jackson Pollack and Pro Hart will
not be repressed by pronounced drawing skills; but rather, if your young artist

wants to paint by throwing things at a canvas, they’ll have surer aim and more
confidence with a few extra skills up their sleeve.
Appendix:
So who is the greatest artist of all time?
Answers to this question are many and varied. Leonardo da Vinci is a popular
choice, as is John William Waterhouse, Rembrant, Renoir and Turner to name
but a few of many wonderful artists. There are also modern artists with
amazing talent, like Australia’s Robert Ingpen, who prefers to be considered
an illustrator, rather than an artist.
One outstanding artist worth considering is Michelangelo Buonarroti.
Michelangelo was born in 1475 on March 6, at Caprese, in Tuscany. He was

the second of five boys.
His father, Ludovico di Leonardo di Buonarotto Simoni, realized that

Michelangelo was highly intelligent and sent him to learn his letters from a
Latin master in the hopes that Michelangelo would become a successful
merchant, thereby preserving the Buonarotti fortunes.
During his studies, Michelangelo became friends with a student of the painter
Ghirlandaio and at the age of thirteen decided to follow a creative path, rather
than become a businessman. When Michelangelo told his father that he
wished to be an artist, his father flew into a rage and declared “artists are
laborers, no better than shoemakers”.
By the time he was 16 years old, Michelangelo had produced two relief
sculptures which demonstrate his potential and talent. The “Battle of the
Centaurs” and “The Madonna of the Stairs” are serious works of art in their
own right.
Before he was 25 years old he had produced The Pietà, which many regard
as the greatest work of sculpture ever created. One of the most famous
works of art, the Pieta is still in its original place in Saint Peter’s Basilica.
When this magnificent sculpture was first placed there, Michelangelo

overheard an admirer remark that the piece was done by Christoforo Solari, a
prominent artist of the time.
That night, enraged, Michelangelo took a hammer and chisel and inscribed
the letters “MICHEL ANGELUS BONAROTUS FLORENT FACIBAT”
(Michelangelo Buonarroti, Florentine, made this) across the sash worn by
Mary.

Later he regretted his rash behaviour and determined to never again sign his
work. The Pieta is the only piece that Michelangelo ever signed.
The following is a quote from the book “Lives of the Artists”, first published in
1550.
"It would be impossible for any craftsman or sculptor no matter how

brilliant ever to surpass the grace or design of this work, or try to cut and
polish the marble with the skill that Michelangelo displayed. For the Pieta
was a revelation of all the potentialities and force of the art of sculpture.
Among the many beautiful features (including the inspired draperies) this is
notably demonstrated by the body of Christ itself. It would be impossible to
find a body showing greater mastery of art and possessing more beautiful
members, or a nude with more detail in the muscles, veins, and nerves
stretched over their framework of bones, or a more deathly corpse. The
lovely expression of the head, the harmony in the joints and attachments of
the arms, legs, and trunk, and the fine tracery of the veins are all so
wonderful that it is hard to believe that the hand of an artist could have
executed this inspired and admirable work so perfectly and in so short a
time. It is certainly a miracle that a formless block of stone could ever have
been reduced to a perfection that nature is scarcely able to create in the
flesh."


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ABC of Art Skills Jenny Gibson

Copyright Jenny Gibson Page 1 2004

The ABC of Art Skills

Complete with photocopy-able worksheets, black line masters and

The power of the line

Dedication: This e-book is dedicated to Trev, for believing in me,

Copyright Jenny Gibson Page 2 2004

Observation and Detail 30

Release the Artist Within 37

Assessment Notes for Teachers 38

Copyright Jenny Gibson Page 3 2004

Copyright Jenny Gibson Page 4 2004

A decent quality sketch pad or sheets of non-bleeding paper (i.e. black

• Biro or fountain pen.

An ideal way to work is to experiment with different pens as you work

Copyright Jenny Gibson Page 5 2004

Artwork is often revered as though it has emanated from a magical, ethereal

After half a lifetime of illustrating, designing, painting, drawing, writing and

* see Appendix for inspiration

Copyright Jenny Gibson Page 6 2004

How is your focus now?

Copyright Jenny Gibson Page 7 2004

Copyright Jenny Gibson Page 8 2004

Copyright Jenny Gibson Page 9 2004

Copyright Jenny Gibson Page 10 2004

Copyright Jenny Gibson Page 11 2004

Copyright Jenny Gibson Page 12 2004

Crosshatching is basically drawing lines at different angles to give the

Copyright Jenny Gibson Page 13 2004

Copyright Jenny Gibson Page 14 2004

Copyright Jenny Gibson Page 15 2004

Copyright Jenny Gibson Page 16 2004

Copyright Jenny Gibson Page 17 2004

Copyright Jenny Gibson Page 18 2004

Copyright Jenny Gibson Page 19 2004

Copyright Jenny Gibson Page 20 2004

Copyright Jenny Gibson Page 21 2004

On your good paper you may pencil in the outlines first.

Copyright Jenny Gibson Page 22 2004

FOCUS – Declutter focus, squint and observe.

Copyright Jenny Gibson Page 23 2004

Helper lines have been drawn in as a guide.

Copyright Jenny Gibson Page 24 2004

Copyright Jenny Gibson Page 25 2004

Copyright Jenny Gibson Page 26 2004

Copyright Jenny Gibson Page 27 2004

Copyright Jenny Gibson Page 28 2004

Copyright Jenny Gibson Page 29 2004

Copyright Jenny Gibson Page 30 2004

Copyright Jenny Gibson Page 31 2004

Copyright Jenny Gibson Page 32 2004

Copyright Jenny Gibson Page 33 2004

OBSERVATION & DETAIL

Some artists veer towards contemporary minimalist paintings, while others go

Ultimately, it is up to you to decide what suits you best. This series is

Copyright Jenny Gibson Page 34 2004

Copyright Jenny Gibson Page 35 2004

Copyright Jenny Gibson Page 36 2004

Copyright Jenny Gibson Page 37 2004

Do you love bicycles? Try re-creating the badge in supersize.

Do you love animals? Try re-creating a cat’s ear in supersize.

Copyright Jenny Gibson Page 38 2004

Copyright Jenny Gibson Page 39 2004