Drawing People in Motion is a short (7 page) PDF packed with helpful drawing tips and step by step sketches. It was designed as a handout for my class at the 2013 Urban Sketchers symposium in Barcelona.
From my point of view, this is the first chapter of your next book ( OK maybe not the first one). Good tips, good layout and in your very personal style. I will practice these step by step techniques. Thank you very much.
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My very first class on Skillshare was a short one on Ink Hatching, and ever since publishing it I have wanted to do a more in-depth class on ink...Here it is, and it will take beginners to new levels, and sharpen skills and discipline for experienced ink artists too.My Boot Camp classes are about learning your tools and practicing techniques, and then practicing some more. There is no shortcut for hard work, and you might even leave your desk with a hand cramp. It'll be worth it though, as you're going to leap over creative ruts, learn new techniques, and build some killer skills.
Your project: use the PDF download as a template underneath cartridge paper, or use a light table to trace onto thicker paper. If you want to draw your own shapes instead, that's cool too, but you may find the sheets useful.
Keep in mind that in Boot Camp classes we do things over and over and over because there is no shortcut to improving without hard work. Upload your practice sheets; I want to see them even more than any finished drawings. A finished drawing doesn't show me your progress like your practice drills do, so don't hide them away - upload them proudly and inspire everyone with your incredible dedication.
Another factor to consider is the weight of the paper. A heavier weight paper can handle more layers, water, and techniques than a lighter weight paper. The weight of the paper is not determined by the individual sheet but is determined by a ream of 500 sheets weighed together at the factory.
This paper is typically only used as a support for those learning to sketch, or for artists wanting to sketch out their ideas. It is not typically acid free and tends to yellow over time. Mediums that work best on this paper are markers, graphite, charcoal, carbon, drawing chalks, monochrome chalk, and oil pencils. Monochromes are pencils with the sanguine, sepia and white colors you see in many of the old masters works like Michelangelo, Leonardo DaVinci, and Pontormo. They of course were using a better and heavier paper.See our Newsprint Papers
Drawing paper is a heavier, and better-quality paper than sketching paper. It is commonly used for sketching and finished work. The ideal mediums used with drawing paper are graphite, charcoal, dry monochromes, soft pastel, oil pastel, markers and pen and ink. Rembrandt executed many drawings with pen and brown ink that are incredible to study.See our Drawing Papers
Strathmore 500 Series Charcoal paper has history going back over 100 years. It is 100% cotton with a unique laid finish. It allows the artist to gain precise shading control, and works best with charcoal, drawing chalks, monochromes, pastel, and graphite. Some artists in the past had even used light washes of ink, watercolor and gouache, though this paper is very light weight and would not accept much water. Many papers made in the past that were like this laid pape would be called woven paper. Ingres was well known to do fine drawings on woven paper that reflected this surface texture and grain. Another well know draftsman from the past that you might want to study would be Giovanni Paolo Panini (nothing to do with the sandwich). His depictions of old-world architecture from Italy are astounding.See our Charcoal Papers
Pastel paper has a unique pebbled surface on one side, with the other side being somewhat smoother. As indicated by the name, pastel paper is best with pastel, charcoal, drawing chalks, monochromes, and colored pencil (most colored pencil artists use the smoother side of the paper). Some artists even use light washes of watercolor for underpainting. Some well know artists that worked on this paper were Mary Cassatt, and her dear friend Edgar Degas. Mary Cassatt was known to love using a blue toned pastel paper for much of her work.See our Pastel Papers
This paper is a relatively new surface in the world of paper. Manufacturers determined to make a paper that can withstand many media techniques commonly used by artists today. The surface was produced to have qualities like watercolor, but with a vellum drawing surface. The ideal mediums are graphite, colored pencil, markers, acrylic, watercolor, gouache, pen & ink, charcoal, drawing chalks, monochromes, pastels, gel pens, fine liners, calligraphy inks, and list goes on. There are many masters of today that love to use this paper. Check out artist Jordan Rhodes and his unique style using toned mixed media paper with gouache.See our Mixed Media Papers
Strathmore Toned papers come in 3 mid-range shades: Tan, Gray and Blue. Starting your artwork using mid-range colored paper allows for unique sketching & drawing possibilities by providing the middle value that would otherwise need to be rendered by the artist. A wider range of values from light to dark can be used, and the middle tone makes it easier for the artist to deliberately place shadows and highlights. Keeping the value of the paper as one of the values in the drawing not only saves time, but allows the artist to use graphite or other dark media to push darker values and white pencils or other light media to add highlights, making sketches and drawings pop. Our Toned papers are 100% recycled, contain 30% post-consumer fiber, and also contain kraft and bark fiber inclusions which adds visual interest.See our Toned Papers
Artwork by Alex Marshall on Strathmore 400 Series Layout Bond PaperThis is a semi opaque paper that is typically used by designers, calligraphers, and many artists in the comic art community. The paper responds well to graphite, colored pencils, chalk, monochrome pencils, and charcoal. It is usually used for finished designer compositions, or rough drawings. Many artists like it as a lightweight drawing paper, and some may use it as a tracing paper.See our Layout Bond Paper
This is a canvas textured paper sized correctly to accept acrylic and oil on paper without gesso. This is a great paper to use while practicing painting techniques. Many schools use this paper for teaching purposes. The mediums that can be used on this paper are graphite, colored pencil, oils, acrylic, and painting mediums.See our Canvas Paper
This heavy weight paper is sized correctly to take a tremendous amount of printing inks. It is a very versatile paper that artists use in different printing and drawing techniques like relief, aquatint, lithography, woodblock, intaglio, and fine drawing. The mediums that can be used are oil-based inks, water-based inks, printing mediums, watercolor, gouache, graphite, drawing chalks, monochromes, and acrylic. Albert Durer was a wonderful printmaker in the 16th century. Google some of his woodblock and engraving pieces if you want to see a great master of the medium.See our Printmaking Papers
Artwork by Caitlin GeelsA very light weight transparent paper used for tracing images and transferring the image to another paper. It is good for sketching, preliminary drawing, and overlaying images. It accepts graphite, marker, and ink.See our Tracing Papers
This opens the Gradient Fill dialog box. I covered everything you need to know about drawing and editing gradients in Photoshop in our How To Draw Gradients With The Gradient Tool and How To Use The Gradient Editor tutorials so I won't go into detail here. Instead, let's look at how to quickly select one of Photoshop's preset gradients and how to apply it to our sketch.
And there we have it! If you found this tutorial helpful, please consider supporting Photoshop Essentials by downloading the PDF version! Or check out our Photo Effects section for more Photoshop effects tutorials!
In this talk, I will sketch out two challenging research topics by showing computer generated visual materials. One is raster-graphics technologies on how to represent large-scale natural sceneries, and the other is laser projection technologies enabling us to display large-scale vector graphics. The former topic includes the modeling and rendering techniques having the both abilities of LOD (Level-Of- Detail) and anti-aliasing indispensable for efficiently and effectively representing large-scale scenes including a huge amount of fine objects like botanical trees, and the efficient real-time animation techniques implemented by utilizing 1/f - noise for defeating the computational time required for strict physically-based simulation. The latter topic is the exploratory research on laser projection where there is almost no researcher yet. Laser graphics has strong relation to pen and ink illustration in the field of NPR (Non-Photorealistic-Rendering) and might be usable to represent Graph Drawing.
In this article, I aim to show how the implementation of photography changed and enhanced existing systems of classification in the late 19th century, using the Museum of Arts and Crafts Hamburg as a case study. Photographic art reproductions from this museum (glass plate negatives, mounted prints on cardboard or prints in publications) are the basis for my analysis. The techniques developed there changed the way we look at museum objects; one could say that this increase in images constitutes an important remaking of the presentation of museum collections. Furthermore photographic art reproductions were integrated in the grids of letterpresses and index cards; handwritten information was added beside the cardboard-mounted prints. 2b1af7f3a8