Explore the art of drawing with pen in our comprehensive guide. Learn essential techniques and expert tips to create bold, precise, and expressive pen drawings.
Another woeful reaction from the group over cross hatching! 'Too hard!' Well, can I just say the results are some of my favourite yet, as you'll see from this endless line-up of favourites. So many to choose from! Bettina Dodson Christina Booth Detta Tea Heidi Cooper Irving, age 6 Jennifer Bell Jess, age 12 Judy Watson Kate Bouman Nicky Johnston Ramona Davey Stephanie Owen Reeder Susan Hall Tanya Hempson Toni Griffiths
Blog post explaining seven different shading techniques used by pen/ink and pencil artists to create a sense of volume, three-dimensionality and depth. Key things to consider throughout the process of shading are also mentioned. Hatching, cross-hatching,
So what makes these so fun? So special? You know I do not take custom brushes lightly, and i wouldn’t release a new set if I didn’t spend months developing only the finest tools for fellow...
If you want to add dimension to your illustrations, consider using a crosshatching technique! In crosshatching, you use lines to contour to your work.
An artist that started as a journalists, but then swapped the news, for the world of pop and art. The following, is a quote from artist Rik Reimert: "Nailing the right expression in a portrait is really satisfying and I never get bored with it." You can definitely see it in his drawings, there is not one flat expression in the mix of portraits below. The technique he adopts to create his portraits, is called Cross Hatching and I think that the words explain what it's all about. Most of his work, has always been done in black ink giving that wonderfully stylish black and white finish. More recently, he has started introducing color, in the way of watercolor paints and colored inks. As you can see from the post, I have gone for the classics, with many celebrities to showcase Reimert's talent. Robert Downey Jr. Press the Image to Enlarge it. Tom Hardy. Press the Image to Enlarge it. David Bowie. Press the Image to Enlarge it. Lionel Richie. Press the Image to Enlarge it. Brad Pitt. Press the Image to Enlarge it. Danny Trejo. Press the Image to Enlarge it. Michael Caine. Press the Image to Enlarge it. Tom Selleck. Press the Image to Enlarge it. Isaac Hayes. Press the Image to Enlarge it. Kurt Russell. Press the Image to Enlarge it. Christopher Walken. Press the Image to Enlarge it. Clint Eastwood. Press the Image to Enlarge it. Donald Sutherland. Press the Image to Enlarge it. Mick Jagger. Press the Image to Enlarge it. Willem Dafoe. Press the Image to Enlarge it.
Cross hatching is a classic shading technique in drawing. You might also be interested in :6 shading techniques for your drawings If you like doodling away for hours, you might also like adding intense cross hatching to your drawings, building shade progressively layer by layer, as the process is quite relaxing and very similar to zentangling. In a series of recent portraits, I have been using hatching and cross hatching for shading. I also find interesting to explore the contrast between the curvy lines of a portrait and the geometric lines of the cross hatching shading. In that series of portraits, I am using 2 types of shading : Hatching with lines going in the same direction Cross hatching with lines going in various directions. You can train on scales like these ones before trying your hand on a more time consuming portrait drawing. Here is how you can draw a portrait and add cross hatching shading You will need: Working from a reference picture, start by making a rough outline of the contours and features of your portrait. It can be tempting here to use a light box or to trace the portrait and have a quick and perfect result. But the more I draw the more I think that it is actually the “mistakes” we make that are making our art unique and drawing free hand is the only way to develop a style that will be unique. You might also like: The perfection of imperfection Draw the main features of the portrait, you can use a few guidelines to place the features as shown on this post: Portrait drawing : Basic proportions of the face You can also draw the contours of areas you will want to shade, like I did on the picture above. Once you are happy with your drawing, you can start the cross hatching shading process. I like to start with the features like the eyes and the mouth. We all have different styles and techniques, in my case, I like to outline the areas I want to shade before starting to cross hatch. Start cross hatching trying to replicate the differences of shades you see on your reference picture. Keep adding cross hatching to your drawing, don’t worry if it looks weird at this stage, it will all come together as you keep on shading. You can see here for the lips, how I am working from light to dark, adding more lines where I want the drawing to be darker. Keep working on the portrait until you did shade all the areas. Here is an example of a drawing made only with parallel hatching: And Here are a few example of drawings made with cross hatching: ct.
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in case you need a reminder about this weekend's worksheet - here ya go!
Blog post explaining seven different shading techniques used by pen/ink and pencil artists to create a sense of volume, three-dimensionality and depth. Key things to consider throughout the process of shading are also mentioned. Hatching, cross-hatching,
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One small section of this iconic leeds landmark...a quick study for a watercolour painiting
First of all, I want to congratulate all of you who thought about my challenge and are going to step up this year to making your own doodles...
Uno degli strumenti più importanti da avere a disposizione come artista è una profonda conoscenza del tratteggio. Il disegno alla fine consiste nel rendere
Today I felt like drawing, so I thought I'd try cross-hatching. The last—and I think only—time I tried this was for a sad-looking mountain landscape in a first-year studio class, so I had no idea how well a cross-hatched elephant would work. Hatching is a drawing technique used to create shading by drawing (or even engraving or painting) parallel lines. When the lines are placed at right angles to one another, it becomes cross-hatching. The idea is that the number, thickness and spacing of the lines changes the tones and modelling of the image, creating an illusion of shape, angles, and so forth. The more the lines, the darker the area. Hatching originated in Europe in the Middle Ages, developing into cross-hatching by at least the fifteenth century. Albrecht Dürer was a particular master of cross-hatching, and today many artists use the technique in drawing and printmaking. Interestingly, comic book artists are often modern masters of this technique. Sechs Kissen ("Six Pillows"), 1493. Albrecht Dürer (1471–1528) Collection of the Metropolitan Museum of Art, New York Source: http://art.jerryandmartha.com/2007/12/drawing-what- you-know.html For today's elephant, I was working a bit against the clock. Today was an insane work day, so I came to this blog activity quite late. I decided it would be best to work from a photograph, to give the final image some semblance of realism. This is the photograph I chose, although I thought I'd probably only have time to do his head: African elephant in South Africa. Source: http://www.elephant-pictures.info/south-africa-elephant.jpg For paper, I used artist-quality bristol board, and for ink, I used a fine-point marker. If I'd had more time, I would have gotten out my drafting pens and ink, but I'll save that for some other activity. To start, I made a faint pencil sketch, knowing I'd get totally lost in fine lines if I didn't have something to guide me. I told myself that I couldn't make any outlines, and that everything had to be hatched or cross-hatched in some way. Because I'm woefully out of practice (if I was ever even in practice), I started by cross-hatching even the edges of the elephant, which gave me a sort of furry outline. Not the effect I had in mind at all, but I knew I wasn't going to have time to do the background in order to form an outline, so I stuck with this weird technique for a bit longer. As you can see below, I also decided to cross-hatch the heck out of the darkest area early on. This helped give me a bit more feel for how the technique works. I tried various ways of hatching and cross-hatching in different parts of the drawing, until it suddenly occurred to me that I could simply draw a series of parallel directional lines, based on the directional lines I saw in the elephant itself. This is probably obvious to anyone who draws for DC Comics, but it was a revelation to me. In the next three photographs, you can see that I was starting to get the hang of it. I also began to quite enjoy it, as it was a freer process, and less fiddly than I had thought it would be. I continued on, becoming even more free with my lines. I began to like looking for the elephant's contours, adding a few slashing lines wherever I saw something interesting. To shade some of these areas, I simply went over the first set of lines at a complementary angle (or two), spacing my lines widely for lighter areas, and closely together for darker areas. I think the darkest areas had four sets of intersecting lines. I was pretty proud of myself, in the end. I honestly didn't think the final drawing was going to look good at all, but I'm quite pleased with it. This only took me about 45 minutes, despite the fact that I thought I might be in for a long evening. I suppose I could have done more to it, but I have a tendency to overwork things, so I quit while I was ahead. I'm not sure a purist would think this was any kind of good cross-hatching, as my lines are uneven and a bit amateurish in parts. But I quite liked this activity, and I'm definitely adding it to my drawing repertoire. Elephant Lore of the Day In the early 1970s, circus elephants Shirley and Jenny had formed a strong bond. Jenny was a calf when 30-year-old Shirley adopted her as a surrogate daughter, and for a number of years they performed together. Sadly, their friendship was shortlived when Shirley left the circus and Jenny remained behind. For the next 23 years, Jenny continued to perform with the circus. When she became injured in an unsuccessful breeding attempt, however, she was no longer of use, and was unceremoniously dropped off at a shelter for cats and dogs. Not only was the shelter woefully ill-equipped to keep an animal the size of an elephant, but they were also completely unable to address Jenny's medical needs. An animal rights activist eventually contacted The Elephant Sanctuary in Hohenwald, Tennessee, and Jenny was transferred there in 1996. By an amazing coincidence, this was the same sanctuary where Shirley had been taken years before. Although Sanctuary policy was to isolate elephants when they first arrived, Jenny was so miserable that staff decided she should be with the rest of the herd. Jenny and Shirley recognized one another right away, trumpeting happily and bumping their bodies together affectionately. They soon became inseparable, roaming the sanctuary together, often in company with two other elephants, Bunny and Tara. Jenny and Shirley at The Elephant Sanctuary in Hohenwald, Tennessee. Source: http://advocacy.britannica.com/blog/advocacy/2008/10/ elephants-find-paradise-in-tennessee/ Tragically, Jenny became ill in 2006, likely due to her previous injury. She eventually became too weak to walk long distances, and one day lay down and couldn't get up. Although Shirley kept trying to urge Jenny to her feet, Jenny could stand only if she leaned on Shirley. When Jenny finally lay down again, it became clear that she was dying. Shirley remained with Jenny, using her trunk to help her ailing friend change position. When the end was near, however, Shirley appeared unable to watch any longer, and left to grieve. Jenny trumpeted gently as Shirley left, which brought Bunny and Tara running over. For over three hours, Bunny and Tara gently stroked Jenny with their trunks, trumpeting whenever she moaned. Jenny died that night. Bunny and Tara remained with Jenny's body until the following morning. Shirley, meanwhile, remained in the hills, dragging her trunk along the ground and refusing to eat. Shirley was only consoled by the arrival of a lively elephant named Misty, who eventually became Shirley's new friend. To Support Elephant Welfare World Wildlife Fund World Society for the Protection of Animals Elephant sanctuaries (this Wikipedia list allows you to click through to information on a number of sanctuaries around the world) Performing Animal Welfare Society Zoocheck Bring the Elephant Home African Wildlife Foundation Elephants Without Borders Save the Elephants International Elephant Foundation Elephant's World (Thailand) David Sheldrick Wildlife Trust Elephant Nature Park (Thailand)
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Explore the art of drawing with pen in our comprehensive guide. Learn essential techniques and expert tips to create bold, precise, and expressive pen drawings.
Olivia Knapp uses a fascinating way of drawing which, is inspired by European line engravings of decorative relief and scientific specimens from the 16th to 18th centuries. We have Shown a sample of her cross hatching technique in the Hand Detail and in the video below. As well as the way she draws we were really impressed by the subjects that she chooses to Illustrate. This is a quote from her site "Olivia explores the relationship between desire, reason, and circumstance". We will leave you to explore them... Forest for the Trees Mural Project. Hand. Press the Image to Enlarge it. Hand Detail. Press the Image to Enlarge it. Prehensility. Press the Image to Enlarge it. Prayer. Press the Image to Enlarge it. Peony. Press the Image to Enlarge it. Input. Press the Image to Enlarge it. Hark. Press the Image to Enlarge it. Wash. Press the Image to Enlarge it. Looking Back. Press the Image to Enlarge it. Letter. Press the Image to Enlarge it. Milk. Press the Image to Enlarge it. Lily. Press the Image to Enlarge it. Gynoid. Press the Image to Enlarge it. Blind. Press the Image to Enlarge it. Bound. Press the Image to Enlarge it. Brain. Press the Image to Enlarge it. Heart. Press the Image to Enlarge it.
First featured here, Seattle based artist Olivia Knapp creates cross-hatched pen and ink drawings influenced by old European woodblock engravings. Specifically, Knapp pulls her inspiration from 16th through 18th century blocks, which were in all genres including religion, art, history, science and medicine. She borrows ideas from medical illustrations for her current exhibit at Hellion Gallery in Portland, "Prehensility". The title refers to the quality of an appendage adapted for grasping, for example, as a monkey's tail has adapted to grasping to a branch. The show is an extension of Knapp's previous works in both style and theme, where she explores a relationship between psychology and biology in the context of one's environment.
Blog post explaining seven different shading techniques used by pen/ink and pencil artists to create a sense of volume, three-dimensionality and depth. Key things to consider throughout the process of shading are also mentioned. Hatching, cross-hatching,
My related posts: 1400s-1700s drawing treatises online Painting materials of Rubens; bibliography Copying a Rubens drawing (materials, techniques) Copying a Rubens painting (materials, techniques) Inspired by Rubens (Getty Museum page) English translations of drawing treatises (Goeree, de Piles, Jombert) Renaissance woodcut tools Image gallery: copies and reconstructions (for the readers in L.A. - there is an interesting show called Hatched! at the Getty, see it if you can!) Cross-hatching is a complex skill to master, but not taught in today's "standard" art schools. I have always wondered how different types of hatching were taught in 1400-1700s so I looked at these treatises: Cennini early 1400s Leonardo 1510s Vasari 1550 Armenini 1587 Hilliard 1598-1602 Peacham 1606 Norgate 1620s and 1648 Bates 1634 Bosse 1645 Sanderson 1658 Goeree 1668 de Piles 1684 Salmon 1701 de Lairesse 1701 Jombert 1740 1755 Here is the result: I A comparison of drawing instruction from the treatises (and with modern instruction in small print), 1) How do I learn cross-hatching? 2) At what point in the drawing process should I start shading? 3) How do I put down the shadow? 4) What should the quality and character of the hatch-marks be? 5) What should be the direction and curve of my marks? 6) How many times can I cross my hatch-marks? 7) How do I distribute shadows in a drawing? II Links to larger excerpts from the treatises themselves (my translations), III Bibliography For preparatory procedures such as setting up the model and lighting, how and where to sit, hand position when holding the pencil, drawing supplies (1400s-1700s) see this post. Please contact me if you have any comments, corrections or suggestions. Three pages from a drawing book by Fialetti 1608, e-book HERE (Getty) I Advice on shading and cross-hatching 1) How do I learn cross-hatching? Since not too many books have detailed instructions on the theory of hatching, even though they are detailed in other respects, I'm assuming copying was how most of the students learned the skill. Every instruction book I have read speaks about copying works on paper by good artists. Most authors mention copying prints in addition to drawings: for beginners the "drawing book" types of prints - examples with simpler line-work and examples with parts of face and body separated; and for more advanced artists more serious and complex prints by the masters. * Hilliard (p.80) advises to copy the hatch marks from prints of Dürer; Norgate suggests Goltzius prints and Fialetti's drawing book (Norgate 106), Sanderson suggests prints after Raphael, Armenini (239) advises drawing books and prints in general. Armenini and the Englishmen note that you should copy so well that the print and your drawing become indistinguishable, but Armenini also cautions not to get carried away in the minuteness and prettiness of the lines. * Both Goeree and de Lairesse say drawings are more natural to copy for a draughtsman than prints (though both books contain prints to be copied by the student). Goeree also cautions that precise copying of prints with pen and ink can tire a student (and is good only for future printmakers). * Jombert suggests reading Bosse's treatise on intaglio printmaking to those who want to learn more about how to apply cross-hatching lines in drawing, and he borrows some parts of that book in his treatise, even though Bosse wrote it specifically for the burin. This is different in modern representational art classes where only a few teachers suggest copying drawings and none I know suggest copying prints. Images of good drawings can be easily accessed nowadays, so in a way you don't need prints, yet some part of the aesthetic influence gets lost by omitting them from drawing instruction. Plate from Odoardo Fialetti drawing book, 1608 digitised version HERE (Getty Research Institute) 2) At what point in the drawing process should I start shading? The general drawing process of 1400s-1700s: first the outlines are lightly sketched (often with willow charcoal because of its erasability), then incompletely brushed off and then retraced again, this time with black or red chalk or with pen. Then shadows are added and built up by degrees. This process is described with little variation in most treatises from Cennini (Chapter CXXII) in early 1400s to Jombert (1700s). In modern instruction the so called "construction lines" or preparatory lines to mark the positions of the parts of the figure take on a life of their own and are drawn so strongly that they are as visible among the final lines unless the eraser is used extensively (which it often is). The old method suggested erasers (soft bread middle or pumice powder) for mistakes rather than for such "clean-up". My own recreation of the process (copy after Rubens) 1: willow charcoal sketch, 2 and 3: final outline with black chalk, hatching Here is the process shown in a drawing book prints: Ciamberlano after Carracci, British Museum Ciamberlano after Carracci 1600-1630 (British Museum) 3) How do I put down the shadow? * Shading should be done top to bottom (de Lairesse, Goeree). For me as an artist the reason would be that you don't smudge with your hand what you have already shaded. Current professors advise shading all parts of the drawing at the same time. I've seen advice to work from top to bottom only in books on scientific illustration, where clarity of the drawing really matters. * For pen and ink: "In the double and treble shadows, let your first strokes be very dry for fear of blotting, ere you cross them" (Peacham, 26, same advice in a Norgate-related manuscript (Norgate, 240)) * Shading can be started by "reuselen" in Goeree -- (Grainer/ grener / reuselen/ röselen/ тушевать is to smoothly rub the chalk on the grain of the paper to get a textured tone without visible hatch marks, L.R.). A shadow done this way can then be strengthened in places by regular hatching (Goeree, repeated in Jombert). Stomping and washes can also serve as a base for hatching. "Reuselen" and stomping are not advised to be used on their own because they are devoid of the liveliness that the hatch-marks bring. A mix of all four techniques is can be used. (Goeree repeated in Salmon and Jombert). Jombert also suggests that black chalk can be used to deepen a red chalk drawing. Salmon suggests livening up a drawing of a face with final "hard touches" with pen and ink where the shadows are darkest. *De Lairesse suggests to avoid "reuselen" or stomping except in the darkest shadows combined with hatching. He advises the hatch marks to be first put down rather strongly and evenly, then in half-shadows lighter (and uncrossed) and then added with all force in the darkest double or triple shadows. These techniques can be seen in many elaborate Rubens portraits: a "grained" or smudged shadow "base" with hatch-marks on top, using red black and white chalk, and finally pen and ink accents for pupils, eyelashes, eyebrows, nostrils, mouths, etc. Rubens, portrait of Isabella Brant (British Museum) (stomping or smudging to the left of the ear; rough "graining" with black chalk to the right of the ear and with red chalk on the side of the nose; parts of the eye accented with ink) 4) What should the quality and character of the hatch-marks be? * Armenini speaking about chalk drawings suggests to "hatch in several directions, but with such skill that you don't see any rawness or hardness, and you go over it finely until it's finished". * Goeree: "When making hatch-marks with a pen make sure that they are not scratchy or thin but rather wide and fat, and you must also draw them from above downwards, that is from fine or sharp to wide; uniform and flat shadows must be made evenly wide and similar overall." De Lairesse emphasises the neat, distinct and even quality of hatch-marks even more than Goeree. * de Piles: Because drawing lacks colour one compensates by "une expression spirituelle des traits" (a spirited expression of lines) that should differ according to the differences in nature. Flesh should be hatched or "grained" smoothly, but draperies should have more hatching and a firmer look. Hair, feathers and fur of animals should be drawn with the tip of the chalk. (this might show some Leonardo influence) * Jombert: "Flowers and plants should be shaded with delicate and careful hatch-marks in the direction of the growth of their leaves" (Jombert, 122) Bloemaert, detail of a plate from his "Tekenboek", 1650s shows lozenge-shaped spaces between hatch-marks in a simplified illustration of working up a shadow (I have put this in queue to be digitised at the Getty, will insert the link when they do it) 5) What should be the direction and curve of my marks? * Peacham 1606: "All circular and round bodies that receive a concentration of the light,, when it dooth gather it selfe into a small center, must bee shadowed in circular manner ". Peacham also separately instructs for cheeks of frontal faces and for breasts of the female nudes to be shaded with circular marks. * The shapes between hatching lines should look like lozenges and not squares (Bosse, Jombert). Square shapes fit stone better, but for flesh something between a lozenge and a square shape is best (Bosse) * Hatch marks should follow the curve of the object (Peacham, de Lairesse) From de Lairesse (my translation from a French edition): p 34 "look at the hatch-marks that pass on the front of the head D and then E. The latter turn to form an arch, the former turn downwards. One sees this difference better when looking at a shaded column placed above or below the horizon line. It will suffice for now to know in what circumstances one should vary the hatch-marks, to get your hand used to it, because the beautiful style (la belle-manière) consists of that." Gérard de Lairesse, 1701 download here (Getty Research Institute) 6) How many times can I cross my hatch-marks? (How many directions can be used in cross-hatching?) * As many as necessary (Armenini, and the same is implied by Cennini and Jombert) * No more than three directions of hatch marks are used (Peacham, de Lairesse, Bosse). * Half shadows should not be cross-hatched (Peacham, de Lairesse) Peacham (1606) specifies that one layer is used for planes, two for core shadows, and three for crevices and other very dark places: A "single shadow" is used for flat surfaces that are not in full light, a "double shadow" for surfaces that "begin to forsake your eyes as you may perceive best in a column", a "treble shadow" is used "farthest from the light as in gulffes, chinks of the earth, wells, caves within houses under the bellies and flanks of beastes" etc. "Your treble shaddowe is made by crossing over your double shadow againe, which darkeneth by third part" Peacham specifies the use of each in shading a portrait and a nude: "first a single shadowe in the temples, then a double shadow in the corner of the eies" or "the shinbone from the knee to the insteppe, is made by shadowing one halfe of the leg with a single shadow" - the directions are very formulaic, but at the same time if beginners follow them, they can get a plausible face and figure without forgetting the main landmarks. Anyone who in a standard modern art department would dare say that you shouldn't cross lines more than three times in a drawing would risk ridicule. And yet if you examine old master drawings you will see that the majority followed it. Peacham 1606, single and double shadow illustrations (in queue to be digitised at the Getty) 7) How do I distribute shadows in a drawing? The part closest to you should be lightest and the parts further away should lose themselves in a light shadow (Armenini 83, Vasari 218, Sanderson 48) Cennini has similar advice - to go many times over the extremities (either periphery or depth) and less over the relief (Capitolo VIII) "nelle stremità vuoi fare più scure, tanto vi torna più volte; e così, per lo contrario, in su e rilievi tornavi poche volte." Personally I have seen this concept more at work in paintings and large finished compositions than in sketches or studies. Leonardo (repeated and elaborated by Goeree) says that the perspective of lights and darks should be studied very carefully from life. Current teachers simply say that less contrast should be used for objects further away. Probably the advice to make everything further from you darker may sound formulaic to modern art professors' ears. A Raphael drawing illustrating the concept (see above), Uffizi _______________________________________________________________ _______________________________________________________________ II Excerpts from treatises 1) de Piles "Les premiers élémens de la peinture pratique" has many pages on drawing technique. See my translation of them HERE 2) Jombert: see my translation of some parts of his drawing treatise HERE 3) de Lairesse (my translation from this French translation of his 1701 drawing treatise): "Lesson 7: After you finish the contours you place the shadows, which requires getting used to drawing with sanguine to hatch neatly and distinctly without stomping or "grainer" like some masters teach. ( Grainer / grener/ rauselen / röselen / тушевать is to rub the chalk on the grain of the paper in a way to get a textured tone without visible hatch marks, L.R.) Lesson 8: Hatch-marks should cross no more than two or three times (in the strongest shadows) as seen in figures 10-16. For relief only one layer of hatch marks should be used, and for deepest hollows you can blend with a stomp or with the crayon (estomper ou grainer). Contours should be lighter on the light side and more pronounced on shadow side. Shading is done from top to bottom with simple, but rather strong hatching with as equal a distance (between lines) as possible. Afterwards hatch the lighter half-shadows with simple, more or less light lines according to the object because half-shadows should never be cross-hatched. To finish and give all the force to the shadows you need to double the hatch marks and even triple them if needed. for hatching with sanguine (red chalk), it's likely that students will find it more difficult to do than "grainer" (shading with smooth tone), but it will make them develop a firmer hand to make sure that all the hatch marks are of the same thickness and are equidistant it demands more judgement and exactness, then one needs to know what effect is produced by two or three or four lines that cross each other, which can't be learned by simply stomping or "grener" (rubbing the chalk on paper, L.R.). (de Lairesse, 33) p 34 look at the hatch-marks that pass on the front of the head D and then E. The latter turn to form an ark, the former turn downwards. One sees this difference better when one looks at a shaded column placed above or below the horizon line. It will suffice for now to know in what circumstances one should vary the hatch-marks, to get your hand used to it, because the beautiful style (la belle-manière) consists of that." _______________________________________________________________ _______________________________________________________________ III Bibliography (for more links to digitised versions of drawing treatises see this page) Armenini, Giovanni Battista. De veri precetti della pittura. Ravenna, 1587 Bates, John. The Mysteryes of Nature and Art. London, 1634. Bosse, Abraham (1602-1676). Traicté des manieres de graver en taille douce sur l'airin. Par le Moyen des Eauxs Fortes, & des Vernix Durs & Mols. Ensemble de la façon d'en Imprimer les Planches, & d'en Construire la Presse, & autres choses concernans lesdits Arts. Par A. Bosse, Graveur en Taille Douce. Paris, 1645 Cennini, Cennino. Il libro dell'arte. Late 1300s to ealry 1400s, Italian and English translation Goeree, Willem Inleydinge tot de Algemeene Teyken-Konst. 1668, 1670 (this German edition scan is readable quality) Hilliard, Nicholas (1537 (ca.)-1619). A Treatise Concerning the Arte of Limning, by Nicholas Hilliard, together with, A More Compendious Discourse Concerning ye Art of Liming, by Edward Norgate, with a paralel modernized text. Ed. R.K.R. Thornton and T.G.S. Cain. Manchester, 1981. The original manuscript written c. 1598-1602 Jenner, Thomas (fl.1631-1656 bio). A Book of Drawing, Limning, Washing or Colouring of Maps and Prints: and the Art of Painting, with the Names and Mixtures of Colours used by the Picture-Drawers. Or, The Young-mans Time well Spent. London, 1652. Jombert, Charles-Antoine. Methode pour apprendre le dessein. Paris, 1755 Leonardo da Vinci. Trattato della pittura. 1510s, first published 1651 treatiseonpainting.org (or html, liberliber.it pdf) Lairesse, Gérard de (1640-1711). Grondlegginge ter teekenkonst : zynde een korte en zeekere weg om door middel van de geometrie of meetkunde, de teeken-konst volkomen te leeren. Amsterdam, 1701 in Dutch or its later translation to French HERE. Norgate, Edward (1580/1 - 1650). Miniatura or the Art of Limning. Ed. J. Muller and J. Murrel. New Haven and London, 1997. The original manuscripts date c. 1626-8 and c. 1648. Peacham, Henry (1576?-1643?). The art of drawing with the pen, and limming in water colours, more exactlie then heretofore taught and englarged: with the true manner of Painting upon glasse, the order of making your furnace, Annealing, etc. London, 1606 De Piles, Roger (1635-1709) Les premiers élémens de la peinture pratique. Paris, 1684. Ratcliffe, Thomas; Daniel, Thomas (printers); Newman, Dorman; Jones, Richard (booksellers) The excellency of the pen and pencil... London, 1668, 1688 Sanderson, William 1586?-1676. Graphice, the use of the pen and pensil, or, The most excellent art of painting : in two parts 1658 © Lala Ragimov
Humans Animals And A Toy Cross Hatch Drawings
This realistic human nose was drawn using the cross-hatching drawing technique. You can check out a few my other artworks of the same tec...
Blog post explaining seven different shading techniques used by pen/ink and pencil artists to create a sense of volume, three-dimensionality and depth. Key things to consider throughout the process of shading are also mentioned. Hatching, cross-hatching,
