I Danny Gregory does a lots of small drawings on a page, they somehow unite to form a greater, more glorious whole, like the voices in a choir. Each individual drawing may not shine by itself, but when it's placed alongside another, equally imperfect pal, they all work together.
Assignment: With this exercise, we're just going to go around your home or school, drawing the equivalent of little Instagram snapshots of different corners. If you have a frame, just hold it up until you find some random composition and copy it down into a square on your page. It doesn’t matter if objects are cut off or hard to identify. In fact, the more abstracted the slice of life you depict, the easier it may prove to draw. Keep going until you fill up the page. Feel free to take your time with this exercise.
Assignment: Now we’re going to tackle our most ambitious drawing, a view of a whole room or a complex landscape. But don’t be intimidated, it’s just the next logical step in what we’ve done already. Plan on spending a while on this drawing so you can really take your time and break it down.
Start by doing some overall measurements and laying down some marks on your page to orient yourself. Look for the biggest shapes, then the ones alongside them. Break them down into further components. Look for the smallest details last.
Use all of the tools we’ve discussed already: the ABCS, measurements, negative space, contours, etc. to orient yourself and record what you see.
Assignment: Let’s go back to where we started and see how far we’ve come. Do another drawing of your hand but apply all of the lessons we’ve learned. Now, look at it alongside your first drawing. How do your hands compare?
Landmarks are helpful to locate ourselves as we travel through a subject's twists and turns. But what about the straightaways? How do we figure out how long a straight line is, how sharp an angle is, what the overall size of an object is, relative to another? We measure — but not with a ruler or a tape measure. We use something that lets us gauge the relative proportions from where we sit. You can use your thumb or your pen to set a benchmark. Just pin your elbow to your side, close one eye and measure the length or angle in question. Then mark it down with a little dot on the page. Turn the pen and measure the next element. Take as many measurements as you like until you feel confident.
Assignment: Pick a subject and try this measuring technique. It could be a piece of furniture, the view out a window, even your own reflection in the mirror.
Assignment: Download the PDF page of letters below, print it out, and slowly draw the negative shapes. Ignore the letters themselves and just draw what lies behind and between them.
Assignment: In your sketchbook spend some time drawing a bicycle. And don’t look at any reference. Just draw what you remember a bike looks like.
This exercise was probably quite a revelation. It’s amazing how much we overlook, isn’t it? That’s a key problem we encounter when we start drawing — the difference between what we see and what we think we see.
In the project by Gianluca Gimini— he asked people to draw what they think a bike looks like, and then created 3-D models of what they would look like in reality. Check it out http://www.gianlucagimini.it/prototypes/velocipedia.html
Drawing is just a process of slowing down, observing carefully and copying each element, then the one next to it and so on. That’s what we did in the abstraction exercises on the first day, and now we have to apply that same process to drawing objects in front of us.
Next, you will be exploring "Blind Contour"
This exercise forces you to draw without looking at your page the whole time.
Your subject: your shoe. Ideally, one with some complexity, not a ballet slipper or a flip-flop. Set yourself up so you can see the shoe but not your page. Then start your engine and begin to drive your eyes around the contours of what you see while your pen tracks along.
Go slowly, go back and forth, and don’t worry about what marks you’re making. Wait to look until your journey is complete.
Assignment: Draw a shoe without looking. Try to keep your pen on the paper as much as possible. Take your time! Once you are done this choose 2 other complex objects to also do in blind contour.
According to Gregory, there are five basic elements that combine to help you draw anything in the world. These ABCs of drawing let you talk your way through the process of observation, breaking down what you see into components that you can transfer onto your drawing.
Assignment: Here are some abstract patterns for you to “read” with the ABCs. Copy the designs.
Assignment: Put the ABC's of drawing into practice. Copy each object into the adjoining square. Go slowly and use the drawing alphabet.
Assignment: Copy it as it is upside down.
In order to get the basics of drawing its important to learn some basic skills. The next few lunch hours we will spend time learning the basics!
We will have assignments inspired by Danny Gregory that will help you to "Draw without Talent."
According to Gregory. Talent may or may not exist. If it’s a gift you were born with, well, congratulations! But if, like most of us you, don’t think you have a natural gift, don’t sweat it.
Assignment: Spend five minutes doing a drawing of your hand. No matter how you feel about the results, hold onto this first benchmark drawing for now — you may want to look back at it when you have finished the kourse.
Think: How was that experience? What was going on as you did it? How did you feel when you started drawing and when you were done?