Understanding Pencil Sketching: Techniques, Materials, and Tips, Notas de estudo de Desenho Industrial

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PENCIL SKETCHING

Second Edition

Thomas C. Wang

PENCIL SKETCHING

John Wiley & Sons, Inc.

Second Edition

Copyright © 2002 by John Wiley & Sons, Inc., New York. All rights reserved.

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vii

• 1. I NTRODUCTION. P REFACE IX
• 2. M ATERIALS AND E QUIPMENT
  • Pencils
  • Papers
  • Accessories
• 3. T ECHNIQUES
  • Holding the Pencil
  • Pressure
  • Movement of the Hand
  • Lines and Strokes
• 4. S KETCHING
  • Introduction
  • Observation and Recording - Landscape Sketching - Trees - Trees in the Foreground - Trees in the Background - Landforms - Water - Architecture - Sketching the Cityscape
    • 5. COMPOSITION
    • 6. SKETCHING FROM M EMORY
    • 7. E XAMPLES
    • I NDEX

ix

The purpose of revising Pencil Sketching is to update the content and to make it more suitable to the needs of today’s users. Although the pedagogical intent established 20 years ago remains valid and intact, most of the examples were in my opinion outdated. There are also techniques I learned after over 25 years of teaching and practice that I want to incorporate in the new publication. Since the purpose of this book is to teach pencil sketching, I believe that a new book, with all new writings and illustrations, will serve the purpose well. Sketching with color pencil is intentionally left out because I feel strongly that the basics in learning how to sketch and draw must start with a simple black and white medium. Pencil is very special because the traditional sketching techniques often go way beyond the tool itself and into the mind and body of the artist. To me, this is the only way to learn and to master pencil sketching. Pencil sketching is the door to all other drawing media, and good pencil sketching skills lay the foundation for a good artist. There are many great “technicians” who can draw, but what I really want is to make you an “artist.” I hope this book will continue to be a helpful guide to all future artists.

P REFACE

Windtower in Bahrain; 314 pencil

Why Sketching?

The trends of drawing in the last decade have included concerns about colors, styles, expression, and speed. These features are responses to new technology and our contemporary lifestyle. Yet these trends have little to do with the pedagogy of design education and drawing. I see sketching as the foundation of a strong design curriculum and a prerequisite course for all future designers. Sketching is about eye–hand coordination. We see, observe, and then record. Pencil becomes the medium through which images are transferred and documented. Pencil becomes the physical link between the eyes, the mind, and the hand. It happens to be the ideal sketching tool because it is easy to pick up and inexpensive to culti- vate as a hobby. The flexibility and fluidity of pencil sketching is again another unique feature ideal for begin- ners. Knowledge and skills learned from pencil sketching are easily transferable to other design subjects, and the benefits are immeasurable and permanent.

Sketching field notes on the back of printed material. It demonstrates the ease and simplicity of sketching.

Sagami Bay in Japan; ebony pencil, emphasizing dark value

Venice, Italy; 2B pencil

TYPICAL PENCIL VARIETIES medium = 2 or HB soft = 3 B extra soft = 6 B

TYPICAL LEAD HOLDERS

• the top holder holds 1 ⁄ 4 " diameter soft lead
• the other two are mechanical lead holders for drafting only

There are also charcoal pencils, layout pencils, flat sketching pencils, ebony pencils, etc. Charcoal pencil has a charcoal core and it works just like regular charcoal stick except for the fact that the tip can be sharp- ened like a pencil. Because it is encased in wood, it is a lot cleaner to use. I like the flat sketching pencil because it contains a square or rec- tangular lead that becomes a flat chisel when sharpened. It produces wide, broad strokes with many dynamic variations when twisted and turned. One of my favorites is the classic “draughting” pencil commonly known as 314. It has a rounded, dark brown wood casing with the lead no less than 1 ⁄ 8 " in diameter. Because of the large lead, the exposed tip of the 314 is about half an inch long after sharpening. The long tip is valu- able in sketching because it can do so many things from making a thin line to a broad half-inch stroke by holding the pencil on its side. It has dark values and the tone is very intense.

314 draughting pencil

Mechanically sharpened 314 pencil

Chisel point after repeated use

Rectangular pencil