FUN WITH A PENCIL
ALSO BY ANDREW LOOMIS
Figure Drawing for All It’s Worth Creative Illustration Drawing the Head and Hands Three-Dimensional Drawing
FUN WITH A PENCIL
COPYRIGHT 1939 BY ANDREW LOOMIS FIRST PUBLISHED BY THE VIKING PRESS IN MAY 1939 BY THE MACMILLAN COMPANY OF CANADA LIMITED REPRODUCED FOR EDUCATIONAL USE IN DECEMBER 2001
All drawingsand text within this book are the property of their respective copyholders and should not be reproduced for any reason. They may only be used for the purpose of practice and study. 5
DEDICATED TO EVERYONE WHO LOVES A PENCIL
MR. WEBSTER DEFINES DRAWING AS DELINEATION. THAT DOESN’T TELL YOU HOW MUCH OF A REAL “BANG” THERE IS IN IT. MAYBE HE NEVER KNEW. MOST FOLKS LOVE TO DRAW EVEN WHENTHEY KNOW LITTLE ABOUT IT. IT STARTED WITH THE CAVE MAN, AND STILL SURVIVES ON THE WALLS OF PUBLIC PLACES... BECAUSE IT’S SO MUCH FUN, AND SO EASY, IT’S A SHAME NOT TO BE ABLE TO DO IT BETTER. ANDREW LOOMIS
ALL THAT YOU NEED TO KNOW, TO START THIS BOOK, IS HOW TO DRAW A CIRCLE. . . .
And it can be as lopsided as the family budget, and still work out.
Don’t start out with that oldgag, “I couldn’t draw a straight line.” Neither can I, freehand. If we need a straight line, we can use a ruler. Now please try it, just for fun.
Who am I? Oh, just one of Andy’s little funny folk. But I’m important! He gave me a job. I’m the spirit of the book, by jeeminy, big nose and all. I represent all the blue in here. My right name would be Basic Form, but that’smuch too high-sounding. He thinks that name would scare you away. So he just calls me "Professor Blook’’ and lets it go at that. Now, I’ve got a few interesting things to tell you.
Since Andy cannot talk to you personally, he put me in here so we can really get together. It’s tough on Andy, for that guy really loves to talk, especially "shop talk.’’ Now this plan of action is based on theuse of simple forms that are already known and familiar to you, and which you can certainly draw. From these simple, known forms, we build other forms, which without some constructive plan would be too complicated to draw. For instance, the top of the head, or cranium, is nearer to a ball in shape than anything else. So we start with a bull, and add to it the shapes we want. We thus "arrive’’ at theoutlines that are needed instead of guessing at them. Only the most talented end experienced artist can draw at once the final outlines. That procedure is most difficult, and is the reason most people give up drawing. But knowing how to "construct’’ makes drawing simple and easy, and a delightful pastime to anybody. By building preliminary shapes and developing the outlines on them, we know WHERETO DRAW OUR REAL LINES. There is hardly anything that cannot first be constructed by the use of simple forms. “Santa had a belly, like a bowl full of jelly.’’ Now that was a real observation. We know just whet it must hove looked like. In fact we can see it shaking! Now, the idea is to draw the bowl before the belly. If the observation is correct, it ought to be a simple matter to make it fairlyconvincing as an abdomen for old Nick. Of course we will cover it with his coat and pants, but we’ll be pretty sure the pants don’t spoil the big idea. I picked on Santa because he’ll never complain that I’m being too personal over his appearance. I might just as well have chosen your next-door neighbor, his lunch basket may be equally rotund, and shake some too. Every form is like some simplerform, with this or that variation, and with pieces added on. The simplest
Forms we know are the sphere, the cube, and the egg. Before we could walk we recognized the sphere in Dad’s new golf bulls; the cubes were in the sugar bowl; as for the eggs, well, the nicest ones were Easter eggs. I say, “Draw a line.’’ You cannot know just what I mean. A straight line? A curved line? A jagged...