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HOW TO DRAW
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N A I R GHTS T I K E S , PAND
MONSTERS
m a r t n A d i v a D WARNING: Fixative should be used only under adult supervision.
Visit our YouTube channel to see Mark Bergin doing step-by-step illustrations: www.youtube.com/user/ theSalariya
Mark Ber gin This pad is not intended to be a course in drawing. The step-by-step diagrams accompanying each finished sketch are all clear and easy to follow. Draw your own drawing in the space on each page. You can also use the back of pages to sketch.
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Contents 3 4 5 6 7 8 9 1O 11 12 13 14 15 16 17 18
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Making a start Drawing materials Drawing tools Perspective Creating characters Drawing movement Studies from life Using photos Man beasts Knights in battle Blackbeard Vampire Gatehouse and drawbridge Buccaneer Zombie Castle keep and towers
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19 Ghoul 2O Werewolf 21 Pirate ship 22 Castle detail 23 Castle 24 Scarecrow 25 Pirate flags 26 The Grim Reaper 27 Knights through the ages 28 Treasure maps 29 Frankenstein’’s creature 3O Pirate in the rigging 31 Knight 32 Witch 33 Knight on the attack 34 Ghost
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35 Pirate trio 36 Jousting knight 37 A travelling knight 38 Pirate Hats 39 Troll 4O Dracula's castle 41 Ogre 42 Pirate with parrot 43 Pirate skull castle 44 Goblin 45 Pirates in action 46 Goblin vs Warrior 47 Glossary 48 Index
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Making a start
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earning to draw is about looking and seeing. Keep practising and get to know your subject. Use a sketchpad to make quick drawings. Start by doodling and experimenting with shapes and patterns. There are many ways to draw but this pad shows only some methods. Visit art galleries, look at artists’ drawings and see how your friends draw, but above all, find your own way.
You can practise drawing figures using an artist’s model – a small wooden figure that can be put into various poses. Try sketching friends and family in poses at home.
When drawing from photos, use construction lines to help you to understand the form of the body and how each of its parts relate to each other.
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Practise sketching people in everyday surroundings. This will help you to draw faster and train you to quickly capture the main elements of a pose.
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Drawing materials
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ry using different types of drawing papers and materials. Experiment with charcoal, wax crayons and pastels. All pens, from felt-tips to ballpoints, will make interesting marks - try drawing with pen and ink on wet paper for a variety of results.
M O N S T E R S Pencil
Hard pencil leads are greyer and soft pencil leads are blacker. Hard pencils are graded from 6H (the hardest) through 5H, 4H, 3H and 2H to H. Soft pencils are graded from B, 2B, 3B, 4B and 5B up to 6B (the softest). Silhouette is a style of drawing that uses only a solid black shape.
Charcoal is very soft and can be used for big, bold drawings. Ask an adult to spray your charcoal drawings with fixative to prevent smudging.
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Ink
Pastels are even softer than charcoal, and come in a wide range of colours. Ask an adult to spray your pastel drawings with fixative to prevent smudging.
Felt-tip
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You can create special effects in a drawing done with wax crayons by scraping parts of the colour away.
Lines drawn in ink cannot be erased, so keep your ink drawings sketchy and less rigid. Don’t worry about mistakes as these lines can be lost in the drawing as it develops.
Ink
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Each grade of pencil makes a different mark, from fine, grey lines through to soft, black ones. Hard pencils are graded as H, 2H, 3H, 4H, 5H and 6H (the hardest). An HB pencil is ideal for general sketching. Soft pencils are graded from B, 2B, 3B, 4B, 5B to 6B (the softest and blackest).
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Watercolour pencils come in many different colours and make a line similar to an HB pencil. But paint over your finished drawing with clean water, and the lines will soften and run.
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It is less messy and easier to achieve a fine line with a charcoal pencil than a stick of charcoal. Create soft tones by smudging lines with your finger. Ask an adult to spray the drawing with fixative to prevent further smudging.
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Pastels are brittle sticks of powdered colour. They blend and smudge easily and are ideal for quick sketches. Pastel drawings work well on textured, coloured paper. Ask an adult to spray your finished drawing with fixative.
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Black , whit grey and e grey pastel o n suga r pa per
Experiment with finger painting. painting Your fingerprints make exciting patterns and textures. Use your fingers to smudge soft pencil, charcoal and pastel lines.
Draughtsmen s pens and specialist art pens Draughtsmen’s can produce extremely fine lines and are ideal for creating surface texture. A variety of pen nibs are available which produce different widths of line. Felt-tip pens are ideal for quick sketches. If the ink is not waterproof, try drawing on wet paper and see what happens. Broad-nibbed marker pens make interesting lines and are good for large, bold sketches. Try using a black pen for the main sketch and a grey one to block in areas of shadow. Paintbrushes are shaped differently to make different marks. Japanese brushes are soft and produce beautiful flowing lines. Large sable brushes are good for painting a wash over a line drawing. Fine brushes are good for drawing delicate lines.
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Ballpoint pens are very useful for sketching and making notes. Make different tones by building up layers of shading. A mapping pen has to be dipped into bottled ink to fill the nib. Different nib shapes make different marks. Try putting a diluted ink wash over parts of the finished drawing.
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ere are just a few of the many tools that you can use for drawing. Let your imagination go and have fun experimenting with all the different marks you can make.
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Perspective
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f you look at any object from different viewpoints, you will see that the part that is closest to you looks larger, and the part furthest away from you looks smaller. Drawing in perspective is a way of creating a feeling of space – of showing three dimensions on a flat surface.
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Two-point perspective uses two vanishing points: one for lines running along the length of the object, and one on the opposite side for lines running across the width of the object.
V.P.
Low eye level (view from below)
V.P.
Normal eye level.
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The vanishing point (V.P.) is the place in a perspective drawing where parallel lines appear to meet. The position of the vanishing point depends on the viewer’s eye level. Sometimes a low viewpoint can give your drawing added drama.
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High eye level (view from above)
V.P. = vanishing point
Now you try.
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Creating characters
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reating a scary character can be a great deal of fun. Different characters and features can all be created from the same basic starting point.
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Basic Head Construction.
Draw in an oval head shape and Draw in a basic hand shape with straight construction lines. mark in the position of facial features with construction lines.
Here are a few examples of how scary monster hands can be created from the first template.
Accessories:
Herbs
Knife
Frankenstein’s monster
Vampire
Devil
A frightening witch with a pointed hat.
Grim Reaper Pouch Broom
Spoon
Zombie
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Witch
Try to see how many different characters you can create from your imagination.
Vampiress
Ghost Think of what accessories your terrifying character might be holding or have about its person.
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Drawing movement
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This ghoul is mid-jump. You can see how this pose is developed from the stick figure shown.
ou can make your drawing much more dynamic by giving it a sense of movement. Start by drawing stick figures in action poses. A jumping ghoul
These can be the basis of your drawing showing where each limb is according to the position of the body.
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This finished drawing gives a sense of action. Adding movement lines around the drawing gives it a sense of momentum. The horse’s mane and tail also fly out behind it as do the billowing clothes of the grim reaper.
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Studies from life
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rawing from life or photographs can help you to identify shape and form. It can also develop both your drawing skills and your eye for detail.
A quick sketch can often be as informative as a careful drawing that has taken many hours.
To make your drawing look three-dimensional, decide which side the light source is coming from, and put in areas of shadow where the light doesn’t reach.
Make a tracing of a photograph and draw a grid of squares on it.
Now take a piece of drawing paper of the same proportion and draw a grid on it, either enlarging or reducing the scale of the square’s size. You can now copy shapes from each square of the tracing to the drawing paper, using the grid to guide you.
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Sketch in an overall tone and add surrounding textures to create interest and a sense of movement. Pay attention to the position of your drawing on the paper; this is called composition.
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Using photos
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Drawing a centaur
rawing from photographs of real people and animals can help you identify shape and form. This will help to make your imaginary creatures more realistic. Drawi
Now you can draw in the centaur’s upper torso in any pose you want. Use simple ovals and circles to sketch in the head and arms. To make your drawing look three-dimensional, decide which side the light is coming from so you can put in areas of shadow.
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Make a tracing of a photograph and draw a grid of squares over it.
Now draw another grid on your drawing paper, enlarging or reducing the squares but keeping the same proportions. You can now transfer the shapes from each square of your tracing to your drawing paper, using the grid as a guide. Draw only the parts you want to copy – in this case we don’t need the horse’s head or the rider.
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Sketch in an overall tone and add ground texture to create interest and a sense of movement. Pay attention to the position of your drawing on the paper; this is called composition.
