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Drawing is an acquired skill, not a talent--anyone can learn to draw! With Emmy award-winning, longtime PBS host Mark Kistler as your guide, you'll learn the secrets of sophisticated three-dimensional renderings, and have fun along the way--in just 20 minutes a day for a month. Learn to draw in 30 days with Emmy award-winning PBS host Mark All you need is a pencil, a piece of paper, and the willingness to tap into your hidden The Fun, Easy Way to Learn to Draw in One Month or Less. by Mark Kistler. ebook. Editorial Reviews. Review. Kingman Daily Minor, 12/22/10 “Would make a great gift.” edition by Mark Kistler. Download it once and read it on your Kindle device, PC, phones or tablets. Kindle Store · Kindle eBooks · Arts & Photography.


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You Can Draw in 30 Days Over copies of The Fun, Easy Way to Learn to Draw in One Month or Less Mark Kistler's books sold!. See the Glog! Download You Can Draw in 30 Days by Mark Kistler pdf epub txt mobi djvu: text, images, music, video | Glogster EDU - Interactive multimedia. Ebooks download You Can Draw in 30 Days: The Fun, Easy Way To Learn To Draw In One Month Or Less: The Fun, Easy Way to Master.

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Draw in days you can download 30 ebook

Work this for a while. You could scratch a ton of hair onto each sphere, and suddenly you would have a very strange look-ing alien family of furry blobs. Texture can add a lot of identifying character to your drawing. More on this great principle in later lessons.

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Adding extras to your drawing adds another layer to your learning. I can and will teach you the specific skills you need to create technically accurate three-dimensional drawings. However, the real learning, the real fun, the true enjoyment of drawing come from you internalizing the skills and externalizing your creative imagination. How-ever, there is one song that I really like, even after 1, listening sessions: The things you will see, the sounds you will hear, the things you will be!

Elmo is a little red furry dude of wisdom. I can teach you how to draw, easy, no problem. The fun part is how you launch from this starting point by practicing, practicing, practicing. Try drawing a few holes in the larger spheres. Holes and windows are great practice exercises for learning how to draw thickness correctly.

Here is an easy way to remem-ber where to draw the thickness on windows, doors, holes, cracks, and openings: If the window is on the right, the thickness is on the right. If the window is on the left, the thickness is on the left. If the window is on the top, the thickness is on the top. You can see I had some fun with this lesson. I started going crazy and added win-dows with boulders launching from them. I was about to draw a bunch of doors, skateboard ramps, and hamster travel tubes between the spheres.

I pulled my pencil back at the last second, not wanting to overload you with too many ideas, too fast. Then again, why not? Go for it!

Take a look at a few examples of how other students completed the lesson. You can begin to see unique drawing styles beginning to emerge. Each student will have his or her own unique approach to the lessons. Had enough spheres for a while? The cube is so versatile that you will be using it to draw boxes, houses, buildings, bridges, air-planes, vehicles, flowers, fish.

Yes, a cube will even help you draw a fine-finned fish in 3-D. Along with helping you draw faces, flowers, and, well, just about anything you can think of or see in the world around you. Starting on a fresh new page in your sketchbook, write the lesson number and title, date, time, and your location. Then draw two dots across from each other. Place your finger between the dots using the opposite hand you are drawing with.

Then draw a dot above your finger as shown. Look at the dots you have drawn. Try to keep these two new dots really close together.

Shoot the first line across. The more you personalize your sketchbook, the more you will value it, and the more you will use it. Look at my sketchbook pages: I write journal entries, self-reminder notes, grocery lists, to-do items, airline times, and all kinds of nondrawing stuff.

My sketchbook is the first place I look when I need to remember some-thing I was supposed to do. Draw the next line. Add the third line. Complete the foreshortened square. This is a very important shape to practice. Go ahead and draw this foreshortened square a few more times.

Draw the two middle dots very close together. We are aiming for a foreshortened square.

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For example, pull a coin out of your pocket. Look at the coin straight on. It is a flat circle, a 2-D circle that has length and width two dimensions but lacks depth. The surface is at an equal distance from your eye. Now, tilt the coin slightly. The shape has changed to a foreshortened circle, a circle that has depth. The coin now has all three dimensions: By tilting the coin slightly, you have shifted one edge farther away from your eye; you have foreshort-ened the shape.

You have distorted the shape. This is basically what drawing in 3-D boils down to, distorting images on a flat two-dimensional piece of paper to create the illusion of the existence of depth. Drawing in 3-D is distorting shapes to trick the eye into seeing drawn objects near and far in your picture. Now, back to my warning about drawing the two middle dots too far apart. If your dots are too far apart, your foreshortened square will look like this.

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If your foreshortened square looks like the open square I just mentioned, redraw it a few more times, placing the middle dots closer together, until your shape looks like this. Okay, enough about foreshortening for now. Keep this concept in mind; it is so important that just about every lesson in this book will begin with it. Draw the sides of the cube with two vertical lines.

Use the side of your sketch-book page as a visual reference. If your vertical lines match up with the sides of the page, your drawing will not tilt. Using the two side lines you have just drawn as reference lines, draw the middle line a bit longer and lower.

Using lines you have already drawn to establish angles and positions for your next lines is a crucial technique in creating a 3-D picture. Using the top right edge of the top foreshortened square as a reference line, draw the bottom right side of the cube. I prefer a picture that has a lot of extra lines and scribbles that look 3-D, rather than a picture that has superclean precise lines yet looks wobbly and tilted.

Now draw the bottom left side of the cube by referring to the angle of the line above it. Reference lines! Now on to the fun part, the shading. Establish the position of your imaginary light source. Check this out. By extending the bottom right line out, I have a good reference line to match up each drawn line of the cast shadow. Looks good, right? Looks like the cube is actually sitting on the ground?

Complete your first 3-D cube by shading the surface opposite your light position. Notice that I am not blending the shading at all. I blend the shading only on curved surfaces.

Lesson 4: We are going to draw three cubes in a group. Start the first one with your two guide dots. Use your index finger to position the middle guide dots. This is a terrific habit to establish now, early in your draw-ing skill development, so that by the end of Lesson 30 using them will be second nature to you. Connect the foreshortened square. This is a great shape to practice in your sketchbook if you have only a minute or so to doodle.

Say you are in line at the bank drive-through with four cars ahead of you. You throw your car into park, whip out your sketchbook, and dash out a bunch of foreshortened squares. Draw the vertical sides and the middle line of the cube.

The middle line is always drawn longer and lower to make it look closer. Use the side of your sketch page as your reference line. Complete the cube using the top lines as reference lines. Go ahead and draw three cubes like I have drawn. Draw guide dots in the middle of each side of the top foreshortened squares.

Shoot a vertical line down from the near left guide dot; then draw it across the top to the other guide dot. Repeat this on the other side. Look at how you have forced the string to flatten across the top. The guide dots helped you draw the string inside of a foreshortened boundary. Guide dots are extremely helpful in lining angles up like this. To draw string wrapping around the sides of the package, use guide dots once again to position the angles.

Draw guide dots halfway down each vertical edge. Draw the string by connecting the guide dots, using the line above as your reference line. With this basic string wrap, you can finish all three cubes into a package, a cube game, and a gift wrapped in thick ribbon.

Go ahead and have some fun: Try drawing a group of five cube games each overlap-ping the other, like you did with the five spheres! Place a shoebox or a cereal box or any kind of box on the table in front of you.

Photo by Jonathan Little Sit down and position yourself so that you can see the foreshortened top of the box, similar to the fore-shortened shapes you have just drawn in this lesson.

Now, draw the box sitting in front of you. Just remember what you learned in this lesson, and let this knowledge of foreshortened squares help your hand draw what your eyes are seeing. Look, really look, at the foreshortened angles, the shading, and the cast shadow.

Look at how the lettering on the box follows the foreshortened angles at the top and bottom of the box. The more you draw, the more you will really begin to see the fascinating details in the real world around you.

T o teach you how to really feel like you are gaining control over that daunting flat piece of paper, I want to explore the challenging fun of hollow boxes and cubes. Go ahead and lightly sketch in the cube. Slant back two parallel lines. Alignment alert! Look how I have drawn this top edge of the box lid in alignment with all of the angled lines slanting slightly up to the left. Think of a compass. The four most commonly used line directions that I will be referring to throughout this book will be lines drawn in directions north-west, northeast, southwest, and southeast.

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Take a look at this compass. Perpendi-cular lines are two lines that intersect at right angles to each other. For example, this line of type text is perpendicular to the right edge of this book page. As you recall, foreshortening is distorting or squishing an object to create the illusion of depth, to make one edge of the object appear closer to your eye. Notice in this foreshortened compass illustra-tion that the four directions—NW, NE, SW, and SE—all line up with the lines you already used to draw your cube.

Seuss achieved world acclaim for his signature style of drooping, melting, Play-Doh-ish characters, buildings, objects, and environments.

However, in his work, Dr. Seuss still maintained consistent drawing compass angles. Good examples of this are in his book The Lorax. You will dis-cover that his buildings, windows, doors, pathways, vehicles, and characters all follow these four important positions. Draw the other side of the box lid lifting up with two parallel lines. Using the bottom of the box line in direction NE, draw the top of the lid in direction NE.

Sketch in the two near lid flaps slanting down in front of the box. Once again, using the bottom of the box angles to guide your line directions, com-plete the near flaps, aligning them up in direction NE and NW. I will be repeating this idea often: Use the lines you have already drawn as reference angles to draw additional lines. By always referring to the lines you have already drawn and by continually check-ing your angles against the Drawing Direction Reference Cube, your drawings will look solid, focused, and, most importantly, three-dimensional.

I am still delighted after all these years with the visual power that one little line has on the overall three-dimensional illusion of a drawing. Establish your horizon line and your light source position. To properly draw the cast shadow, use the Drawing Direction Reference Cube as ref-erence.

Draw a guide line extending from the bottom of the box line in drawing direction SW. Droop alert! This is the most common point where students tend to droop the cast shadow guide line.

Notice how my cast shadow lines up with my guidelines. Be careful not to droop your cast shadow like this. Darken under the two front overlapping flaps as I have done, creating the undershadow effect. Undershadows are terrific little details that suc-cessful illustrators exploit to pop out objects, refine detail, and sharpen edges.

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In this specific drawing, undershadows have the power to really pull the overlapping lids toward your eye, while pushing the actual box deeper into the picture. This is the most rewarding step of each lesson. Clean up your sketch by erasing the extra sketch lines, and sharpen the outside edges of the drawing by darkening the outline.

This will thrust the image out away from the background. Finish shading the left side of the box and inside the box, away from your light source. I always encourage you to have fun with these lessons by adding lots of extra details, neat little ideas you creatively conjure up to spice up your drawing.

Notice how even these little details add a lot of visual flavor and fun to the sketch. Lesson 5: How about a treasure box overflowing with pearls, coins, and priceless loot? Beginning with our basic cube, go ahead and draw in the Drawing Direc-tion Reference Cube direction lines for good practice and memory imprint.

Slant the sides in just a bit. Draw two parallel lines slightly opening the top of the treasure chest. Using the lines you have already drawn sound familiar? Draw the near curving edge of the lid. Using the lines you have already drawn am I sounding repetitive?

Notice how I slanted my top edge line a bit more than a direction NW line. This is because eventually all these NW direction lines will converge on a single vanishing point. I will explain this vanishing-point concept in great detail in a later lesson. For now, just follow my steps and slant your top edge line a bit more. Detail your drawing. Clean up any extra lines. Position your light source and add shading to all the opposite surfaces, darken the undershadows, and draw the cast shadow.

Enjoy draw-ing the extra details to this lesson. Student examples Take a look at how these students added some great bonus details to this lesson. T his is a fun and rewarding lesson that was inspired by my fifth-grade art teacher, Bruce McIntyre Mr. His enthusiasm for teaching kids how to draw had a profound and lasting effect on me. This lesson will gel all of the concepts and laws we have been discussing so far into one very cool three-dimensional drawing.

Did I mention this is a really fun lesson? I bet that you will enjoy it so much that you will be stacking cubes on every scrap of paper that happens to be within your reach. Begin with a strong foreshortened square. Remember, I urge you to use the guide dots for all the lessons in this entire book. I know you are feeling very confident with your foreshortened squares, boxes, and cubes.

However, humor me and use the guide dots each and every time. Trust me, young grasshopper; all will be revealed in time. Draw two short edges to create the top of the table. Draw the middle line longer, using what extremely important drawing concept? Using the lines you have already drawn as reference, draw the bot-tom of this table top in directions NE and NW. Draw the sides of the table post as I have done.

Notice how each side line is drawn halfway from the far edge to the middle line. Look at my example. This is definitely a case where a pic-ture is better than a bunch of words. Draw the middle line longer to cre-ate the near edge of the table post. Draw the horizon line just above the table, and position the light source above and to the right. All the drawings we have completed so far have been drawn from an above point of view point of perspective , looking down at the object.

The horizon line tells our eye that the object is below the horizon line, which communicates to our brain that the thickness, shadows, and foreshortening are from this perspective.

Perspective is the process of seeing the illusion of depth on our two-dimensional surface. In later lessons I will be teaching you how to draw objects above the horizon line with one-point and two-point perspective. For now, just remember that the position of the horizon line is above the object if you draw it in a looking-down point of view.

Very important step! Place a guide dot directly below the near corner of the table post. Many students forget to use this guide dot during this exercise—to the detriment of their drawings. A cool visual effect if you are channeling Andy Warhol, but a disaster if you are aiming for a sharp, focused, properly proportioned, foreshortened three-dimensional stack of tables.

Using the lines you have already drawn as reference yes, again! When you draw the back edges of the top of the pedestal, be sure to go behind the corner of the post. These two very short lines need to be lined up with the lines you have already drawn in directions NW and NE. This is the second most common mistake students will make drawing this lesson. Students have a strong tendency to connect these two short lines directly to the post corners.

Fight your instinct to connect corners! Draw these lines behind the post. Complete the pedestal, making sure to draw the near corner lower. As always, use the lines you have already drawn as reference angles for drawing the bottom lines of the pedestal in directions NW and NE. Using the lines you have already drawn for reference, extend out the cast shadow direction guide line. Add the cast shadow opposite your positioned light source, shade the table and pedestal, and add the dark undershadows of both sides of the post.

Notice how that nice dark undershadow really pushes that post deep under the tabletop. There it is, another BAM moment for our lesson! Find a watch, clock, or cell phone that reads a second hand. I want you to time yourself drawing this single table on a pedestal. Try it two or three times with a timer, and see if you can get your completion time down to two minutes.

I do this timed exercise with all of my stu-dents from elementary school grades all the way up through my university workshops. The purpose of having you draw this image in a specific amount of time is to train your hand to confidently draw these foreshortened shapes and overlapping corners and, most importantly, to embed the drawing compass angles into your hand memory. The more you practice this single table with a pedestal, the more comfortable and confident your lines will be in all of the upcoming lessons and all of the drawings you will ever create in the future.

This is an excellent drawing exercise to dwell on for several days. Lesson 6: Bonus Challenge Now, for the really fun level of this lesson. Just how far do you want to stretch your drawing skills today? Take a look at my drawing journal page. You can see that I really enjoyed myself with this supertall, curving table tower. Now take a look at a few student examples of this same exercise.

Student examples Do you have fifteen more minutes to try one of these monster table towers? Sure, go for it! Be sure to note your start time and your end time on your sketch page. Not only are they terrific practice exercises to really nail down the specific skills of foreshortening, alignment, under-shadow, shading, placement, size, and proportion; these table towers also are addictively fun to draw.

In this lesson I want to build on this pivotal skill of drawing three-dimensional cubes. I want you to be able to have complete control of drawing the cube and the ability to manipulate it into many more advanced shapes. You will soon discover in later chapters that the ability to manipulate the cube will enable you to draw a house, a tree, a canyon, and even a human face. Using guide dots as you will for all the lessons of this book, right?

Lightly draw the sides down, and draw the middle line longer sketch lightly as these are just the beginning shape-forming lines. Draw the bottom of the cube using the lines you have already drawn as reference. For the purpose of review, go ahead and extend all of your direction NW and NE lines out as I have done here. Draw the all-important guide dot just below the near corner. This guide dot determines the angle of your foreshort-ened second layer.

If your guide dot is placed too low, it will distort the layer and throw the entire building out of alignment. Using the lines you have already drawn for ref-erence, draw the near edges of the second tier in directions NE and NW. Think of how many times each minute you glance at your rearview mirror while driving. You do this without even thinking, because it is so deeply ingrained in your subconscious. This is exactly the level of comfort, ease, and habit I want you to form with this constant, vigilant reference to your drawing compass angles.

Look at your NE angle at the top foreshortened square of your box. Now, look at all the NE drawing compass direction arrows you drew in step 3. Now, take your pencil and trace over those direction lines lightly to embed the angle of the line into your hand memory.

After a few of these rehearsal pencil strokes, quickly move your hand to the left of the cube and draw the direction NE line behind the corner. Repeat this same technique to draw the NW line on the other side to create the top of the second layer of the building.

I do this rehearsal shadow drawing all the time, with every drawing I create. I am constantly referring back to my initial foreshortened square source, shadow drawing the angles again and again before dash-ing off the lines that build my drawings. Complete the second layer of the building. Double-check your bottom lines against drawing compass direction arrows NW and NE. Begin drawing the doors on the top level with two verti-cal lines on each side. To make sure your lines are actually vertical, straight up and down, look at the edge of your paper.

All of your vertical lines should be parallel with the edge of your paper. You should glance at the vertical edge of your paper every time you are drawing a vertical line, or you run the risk of the objects in your picture severely leaning over to one side or the other. The near edge line of each doorway needs to be drawn a bit larger than the far edge line. This uses the important concept of size. The near part of the door needs to be drawn larger to create the three-dimensional illusion that it is actually closer to you.

This underscores a fundamental principle of drawing: To make an object appear closer to your eye, draw it larger than other objects in the picture. Curve the tops of both doorways on the top floor of the building.

To create the illusion that these doors actually exist as three-dimensional entrances to this building, we need to add thickness to them. If the door is on the right, the thickness is on the right.

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If the door is on the left, the thickness is on the left. Memorize this rule, repeat it, and practice it I teach this rule to my university students as often as I do to my ele-mentary school students. This thickness rule will always apply—to any door, window, hole, or entrance to any object you will ever draw.

Knowing this rule by heart will get you out of many a drawing quandary in complicated renderings. If the door is on the right, the thickness should be on which side? Using your drawing compass lines in direction NW, draw the bottom thickness on the right side of the doorway.

Complete the door by following the line of the exterior door as it curves up. Look at the door on the left side. Using the drawing compass direction NE lines you drew earlier as reference, draw the thickness on the left-side door on the left side of the entrance. Erase your guide lines at the bottom of each door. With a well-placed line in drawing directions NW and NE, you can easily create the visual illusion that there is a hallway or a room inside each doorway.

Notice how I have drawn these lines just a bit higher than the bottom thickness line of each doorway. By nudging this line up, I create more space. Now, with some interesting wedges you can develop these into entrance ramps or quick-exit-end-of-workday slide ramps or skateboard ramps for your kids. This is a great example of why drawing in three dimensions is such a magi-cal skill to master. You are developing the skills to create buildings, cities, forests, or entire worlds on a blank two-dimensional piece of paper.

One pencil, one piece of paper, your imagination, and the skills I am teaching you here are all the ingredients you need to create your own world. Not a bad way to spend thirty minutes of your day, right? Draw two guide dots on either side of the building.

Draw the vertical back edge of the ramp against the wall, and extend the bottom edge of the ramp out in drawing compass direc-tion SW. We used this direction often when drawing our guide lines for cast shadows in our previous lessons. In fact, we will be using this SW direction line again for a cast shadow on this building a little later in this lesson.

Be vigilant in maintaining this direc-tion SW line. Triple-check it against your earlier lines in NE because NE and SW lines are identical, just a different stroke direction of your hand.

This is definitely an idea that is much easier to explain with visual examples than with words. Complete the near edge of the ramp. Draw the thickness of the ramp with two lines in direction NW, matching the angles with the lines you drew earlier in direction NW. Complete the far edge of the ramp by matching the angle of the front edge another good example of parallel lines. Notice how I have drawn the bottom of the face or the ramp a tiny bit larger than the top.

You must always keep in mind the effect of size in your drawing. To reiterate, to make objects appear closer, draw them larger. To make objects appear farther away, draw them smaller.

In this case, I want to draw the bottom of the face of the ramp a bit larger to strengthen the visual illu-sion that it is closer to your eye and that the top of the ramp is pushed deeper into the picture, farther from your eye.

Erase your guide lines behind the ramp. Using the lines you already drew in direction NE as reference keep glancing at those lines as you are drawing new ones to match up the angles , draw the ramp on the right side. Beware of the tendency to droop the bottom line. No drooping! Complete your two-layered foreshortened ramp building by drawing the horizon line above the building, positioning your light source, and shading all the surfaces opposite your light position.

Using your reference lines to angle the cast shadow correctly in direction SW is really simple when you are drawing buildings; just extend the bottom lines. Beautiful job! Lesson 7: Bonus Challenge Here are two very interesting variations of the two-layered ramp building. In variation num-ber one, I experimented with tapering the vertical sides inward.

I was pleased with the results. You try it. However, in your version, draw it nine levels high. Now, draw a nine-section- high version, alternating the tapered sides from inward to outward. How about try-ing a tall version with alternating thin and thick layers, tapering three segments in, three segments out, three in, etc.? There are a thousand possible variations of this interesting exercise.

In variation number two, I experimented with alternating the foreshortened layers into a rotating step building with ramps, doors, windows, and some peculiar foreshortened cylin-der attached to the side. It looks much more complicated than it is. Simply start with a very strong and sharp foreshortened square. Keep in mind that the very first foreshortened square you draw is the template reference point for all the lines you will be drawing for the entire picture.

With this strong beginning, enjoy the process of duplicating my variation number two, one line, one step at a time. You have enough knowledge and skill now to draw this one on your own without me having to break it down into steps for you. By Julie Einerson Julie prin-ciples Einerson has applied several from the lesson to this sketch of her spa. By Marnie Ross Marnie Ross has applied her budding drawing skill to this rendering of her church. This lesson was inspired from my teaching tour through schools in Australia many years ago.

During my school visits, the students introduced me to a wide array of exotic Australian pets. One student let me hold his pet koala, another a pet echidna, a frilled hooded lizard, a duck-billed platypus, and even a baby kangaroo. Then, of course, I just had to teach the entire class how to draw these wonderful creatures in 3-D by using the Nine Fundamental Laws of Drawing.

In this lesson we will draw a caricature of a koala. After the lesson, I encourage you to go online and research three photos of real-world koalas and draw them as well by using the skills we are going to learn now.

Draw scribbles around the third circle. Keep scribbling more circling lines around and around the shape to create a messy-looking ball of dryer lint. Continue to explore this idea of texture as a tool for shading. Very lightly sketch three circles in a row. Continuing to work on the first cir-cle, use more curving dashes to fill in the left side of the circle, creating the illusion of shading with texture.

You can use texture to shade an object. Place your light source in the top right corner of your page, and add a few more rows of spikes to the left side of the shape. Now, time for the start of this lesson—the koala! Begin with a light circle. Lightly sketch in the ears. Lightly slope down the shoulders. This creates the illusion of a light reflection off the shiny nose. You will do this same thing when drawing other animals: Draw the bump at the bottom of the ear. This is a perfect example of how effective visual communication can be.

Or I can draw a few lines on a page and point to it. Now take your finger and lightly trace the helix, concha, and tragus in your own ear. What do you know? Emphasize the undershadow under his chin and in his ear under the top helix line.

Repeat this ear structure on the right ear. Look back at the furry ball you drew at the beginning of this lesson. Notice how you created the soft feel of fur as com-pared to the sharp feel of the spike ball. Draw the soft, furry texture around the outline of the koala. Lesson 8: Bonus Challenge Now that you have successfully drawn one cute little koala, why stop here? Go ahead and draw a crowd of them! Enjoy yourself. Use a lot of overlapping and size to push the other koalas deeper into your picture.

Creating this push and pull of objects in your drawing means you have successfully achieved the delightful illusion of the third dimension, depth, in your picture. Now take a look at my sketchbook page for ideas on drawing a koala crowd.

Search the Internet for three photos of koalas in nature. Notice how their ears and noses are in real life. Using the important concepts from this lesson—texture, shading, and overlapping—draw another koala with smaller, more realistic ears and nose.

Suzanne Kozloski used the important principles from this lesson for her more realistic drawings of koalas. I often tell my students that musicians warm up by playing scales, athletes warm up by stretching their muscles, and we artists can warm up by drawing several simple basic shapes, a few stacked tables, some overlapping spheres, or a delightful bowl of cereal!

Draw two guide dots horizontally across from each other. Connect the dots with a foreshortened circle. The foreshortened circle is one of those pivotal shapes that can be used as a foun-dation to create thousands of objects. Similar to the importance of a foreshortened square, enabling you to draw boxes, tables, houses, and so on, the foreshortened circle enables you to draw the three-dimensional curved surfaces of cylindrical objects: Practice drawing six foreshortened circles in a row, using guide dots, like I have here.

Draw the body of the bowl. Draw the horizon line. Shade the bowl with blended shading from dark to light, creating a smooth blended surface. Look at how the small bit of blended shading inside the right corner of the bowl has an enormous visual effect in creating the illusion of depth. This small blended shad-ing detail will be very important for you to transfer when you are drawing the rose, the lily, an orchid, or any flower.

This tiny detail of a small overlapping line that defines a fold or a wrinkle will have a huge visual effect in enabling you to make the rose petals appear to be curling around the bud in three dimensions. Draw a vertical flagpole. Draw two guide dots. Draw three-quarters of a foreshortened circle.

Draw the vertical thickness of the flag. Curve the near bottom edge of the flag a bit more than the line above it. The bottom of the flag is a bit farther from your eye, so you need to distort it, curve it more than the top edge. This teeny tiny dash will make or break this draw-ing and holds an enormous amount of visual power. It uses overlapping, placement, and size simultaneously.

Okay, that was pretty cool. Draw the two guide points for the foreshortened circle. Draw three-quarters of a foreshortened circle, but this time curve the top edge of the flag toward you. Draw the vertical thickness lines from each edge. Make sure to draw the near edge a bit longer to make it appear closer. Curve the bottom of the near part of the flag. Remember to curve it a bit more than you think you need to. Remember that dis-tortion is your friend here. Push the back line up, away from the near bottom corner of the flag.

You need to curve this back line opposite the line you have just drawn. You are following the curved line above as reference, however, so the same principle of distortion applies: Curve the back line a bit more than the top edge.

This exercise will be directly transferred to the rose. Draw another flagpole. Begin spiraling the foreshortened circle inward. Complete the foreshortened circle spiral. Stretch out the ends, and always curve the mid-dle in close. We will also be discussing this when we draw water ripples in a later lesson.

Draw the thickness of the vertical sides of the flag. Curve the bottom of the near edge of the flag a bit more than the curve you have drawn on the top edge above. Push that back line up, and curve it away from your eye. Draw the all-important peeking lines from each of the inside edges. This is definitely the BAM moment of this drawing, the one instantly defining moment when a drawing suddenly pops into the third dimension.

Draw in some very dark nook and cranny shad-ows. Generally, the more little cracks, crevices, nooks, and crannies that you can pour some shadow into, the more depth you create in your drawing. Complete the blended shading. I know that was quite a bit of a warm-up exercise for this one drawing lesson. Good job on your patient cooperation in drawing the bowl and the three separate flags.

We will now use the techniques you just learned to draw a rose. Draw a foreshortened bowl, and add a stem. Draw a guide dot in the middle of the rose bowl get the pun? Begin to spiral out the rose petal with three-quarters of a foreshortened circle. Keep spiraling, and keep these spiraled foreshortened circles squished. Complete the spiral at the center of the petal. Erase the extra line.

Draw the center thickness of the rose petal and the first peek-ing thickness line. We are almost at the BAM moment. Draw the next outer peeking line. Draw the remaining thickness line. There it is—depth focused on our beautiful rose.

Draw in the very dark, very small, nook and cranny shadows. Notice I even darkened a shadow along the edge of the rose petal. Place the light source in the top right, and blend the shading on each of the curved surfaces opposite. Draw a few thorns on the stem, and draw the leaves. Lesson 9: Bonus Challenge Take a look at my sketchbook page to get inspired to draw an entire bouquet.

Try to draw this six-rose bouquet on your own.