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blished by:
brary Tales Publishing, Inc.
ww.LibraryTalesPublishing.com
ww.Facebook.com/LibraryTalesPublishing
pyright 2013 by Catherine V. Holmes
blished by Library Tales Publishing, Inc., New York, New York
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INTRODUCTION
is book evolved out of necessity. After exploring art catalogs and libraries and wading throug
ow to draw section of book stores, I found a few good resources but none that had all the qu
was looking for in a drawing book. Some ideas were too basic and often insulting to my older, istic students. Other material seemed to serve as a showcase for beautiful artwork but lacke
ncrete instruction.
a travelling art teacher with a limited budget and limited preparation time, I need a
ource that is easy to transport and can be used to teach all levels of students from middle scho
gh school and beyond. This book was created to fill that need and I want to share it with tea
d artists in similar situations. These projects will allow you to bring interesting and inform
sons that offer clear objectives and foster achievement without the need for expensive/m
mensional supplies: a regular pencil and eraser is all that is needed (sometimes a ruler or finency art pencils, costly paper or kneaded erasers are not required for success. All pages have
dent tested and approved.
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e Book Details:
ide you will find specific exercises that offer step-by-step guidelines for drawing a varie
bjects. Each lesson starts with an easy-to-draw shape that will become the basic structure o
awing. From there, each step adds elements to that structure, allowing the artist to build on
ation and make a more detailed image.
ch art project comes with a chart including information that the artist should be able to KN
cts, basic skills), UNDERSTAND(big ideas, concepts, essential questions), and therefore beDO(final assessment, performance, measurements of objectives) by the end of the lesson.
is additional information gives these pages more power than just art for arts sake - not tha
ed it - because art is important enough on its own! Artists are learning about themselv
pressive souls through the process of creating beautiful and interesting work.
e best part is, this is stuff that artists want to draw.
formation for Teachers using this Book:
achers can feel confident that they are using instructional time in ways that make a differenc
ir students when using this guide. Each lesson includes easy-to-follow instruction where the w
ocess is viewed through a sequence of detailed illustrations that can be linked to hist
nnections, your curriculum learning standards or adapted into an arts integration lesson. You d
w intense to make each project.
e projects can be differentiated to respond to students diverse learning styles through a mixtu
uals and text.
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The techniques and processes presented in this book are well within the reach of what your st
can do. On occasion, some students may get frustrated and want to give up. Sometimes a st
will declare defeat before even attempting the work. That is unacceptable! Remind them
creating art is a process. In cases like this, encourage your student to try just the first step.
will see that first step is quite easy and may be encouraged to try the next step, etc.
If all of attempts at drawing seem to be preventing your student from achieving success, you
want to allow that student to trace. The drawings on these pages are presented on a smallerin order to discourage tracing, however, it is better to allow tracing as opposed to your st
doing nothing at all. Modifications for assignments can include tracing if need be, just hav
student add their own unique twist by shading or adding extras that are not seen in the exam
provided. Tracing without even trying - NOT OK!
This book is great for substitutes. Copy a bunch of these lessons, put them in your sub folde
take your sick day without worry.
With enough practice, eventually students wont need a how-to book. A shift in the brain
occur and your students will be able to mentally break down the simpler image behind the comone without assistance. That is when they will become Super Smart Artists!
Information for Artists using this Book:
Following these exercises is a great way to practice your craft and start seeing things in term
simple shapes within a complex object. Professional art pencils and paper can offer a varie
results, however, the techniques discussed in this book can be successful by using ever
supplies.
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This book is intuitive but you may come across a few challenging steps. Follow the tips belo
best results.
Try blocking out the information you dont need. When you begin drawing one of the artwo
this book, cover all of the steps shown with a blank piece of paper except for the first one. D
just the first step that is exposed. After that step is finished, uncover the next step and work
By blocking out the steps you are not working on, the artwork becomes less challenging to attContinue uncovering each step one by one and adding to your artwork until it is complete. I
simple tactic but it works by getting you to focus on just one action at a time.
Patience is necessary. Dont rush, take your time and practice patience. Dont crumble up
paper in frustration every time you make a mistake. Look at your artwork and figure out the
that work and the lines that dont. Change them as needed.
This is easier when you:
Draw lightly. Start with a light, sketchy outline and add more detail as the drawing progre
Once all the lines look good to you, then they can be drawn darker and more permanent.
Dont be too concerned with trying to make your drawing look just like the one in the bo
spend a lot of time trying to get both sides of a supposed symmetrical object the same. Eve
faces are not perfectly symmetrical. Your unique (and sometimes imperfect) approach is wha
make the artwork engaging and beautiful. If your drawing doesnt look perfect, thats OK!
Want your artwork to look even more professional? Draw your object large then shrink it o
copier using the photo setting. The details and lines appear finer and your work looks
detailed. A great trick to try!
Finally, dont worry about what your neighbors artwork looks like. Remember: everyon
draw but no one can draw just like you. That is what makes art so special. If we all drew ex
the same way, art would be boring and there would be no point to it. Look at the way you
work comes out after you finish and compare it to your own previous work. You will probab
impressed with yourself!
Tips for Shading:
The Basics chapter displays several different shading techniques. Using heavy pressureyour pencil will leave dark lines as light pressure will leave light marks. A combination of
with a gradual transition from one to the other is one approach to realistic shading. Practice
different pencil pressures to create a variety of tones.
Be careful if you choose to smudge your artwork to create shading effects. The techniq
smudging an artwork with a finger to create shadows can blur some intricately drawn line
ruin a beautiful drawing. However, when done properly, smudging can be a quick and effe
way to add depth to an artwork. This can be an acceptable practice, just beware of making
Rubbing too much will cause all of those fine lines and contrasting shades to become the
muddled, flat gray tone. This takes the depth away from a drawing and makes the work appea
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detailed. For best results when shading with the finger rub technique, just smudge a little.
You will see some examples in this book where hatching and cross-hatching are used. Th
another shading technique which can be a unique alternative to smudging or pencil pressure
creating shading effects. Try them all and see which one works best for you.
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hy We Need Art
awing makes you smarter! Believe it or not, artists are not just mindlessly copying what the
hen following the activities in this book. By completing these projects, artists enhance
ativity and artistic confidence while gaining powerful tools for understanding what goes
ating visual works. Students are actually re-training their brains to see in a different way.
ows them to express themselves and become competent, savvy, literate, imaginative, creativrceptive in art and in life. Let your students, co-workers and the world know that AR
PORTANT!
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ELEMENTS OF DESIGN
NOW:
ements of Design: color, value, line, shape, form, texture and space
NDERSTAND:
he basic components used by the artist when producing works of art
How those components are utilized
he difference between shape (length and width) and form (add depth)
O:
actice hatching, pointillism, texture, line, shape, form and space using a fine black pen in the
ovided next to the examples on the handout. Copy what you see or create your own designs. U
a in box number 7 to create an original design using at least 4 of the Elements of Design pra
the boxes above.
XTRA:eate an original artwork on a separate piece of paper using at least 6 of the 7 Elements of D
l the paper from edge to edge with your design.
OCABULARY:
ements of Design -Color, value, line, shape, form, texture, and space. The basic components
the artist when producing art. The elements of art are the parts used to create subject matter
work.
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SHADING SHAPES
NOW:
ading, Shadows and Blending Tones
NDERSTAND:
Value added to a shape (2D) when drawing creates form (3D)
he lightness or darkness of a value indicates a light source on an object
O:
Recreate the 9 examples on the Shading Shapes handout, starting with creating a value scale
hade each object according to the value scale
Blend values
OCABULARY:
end -To merge tones applied to a surface so that there is no crisp line indicating beginning o
one tone
ading - Showing change from light to dark or dark to light in a picture
adow - A dark area cast by an object illuminated on the opposite side
ade - A color to which black or white has been added to make it darker or lighter
lue - An element of art that refers to the lightness or darkness of a color
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GETTING READY TO DRAW
NOW:
oss-Hatching, Hatching, Texture, Value Scale
NDERSTAND:
exture is used by artists to show how something might feel or what it is made of
Value added to a shape (2D) when drawing creates form (3D)
he lightness or darkness of a value indicates a light source on an object
O:
practice different types of shading, complete the value scale, hatching and cross- hat
ercises in the area provided on the handout. On a separate piece of paper, draw a tree (or
ect) that includes the types of shading practiced on the handout.
OCABULARY:
atching -Creating tonal or shading effects with closely spaced parallel lines. When more such
placed at an angle across the first, it is called cross-hatching.
ading -Showing change from light to dark or dark to light in a picture by darkening area
uld be shadowed and leaving other areas light
xture - The surface quality or feel of an object; its smoothness
lue -An element of art that refers to the lightness or darkness of a color
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LINEQUALITY(DOVE)
NOW:
nes are tools for communication
NDERSTAND:
Various types of line in an artwork add depth and interest, imply space, movement, light, a
ckness (3D edge)
Range in line quality heightens the descriptive potential in an artwork (textures, movement, ace, etc.)
O:
eate an original image using detailed line art that focuses on line quality. Experiment by dra
artwork of the dove provided and add line weight in the contour areas highlighted o
rksheet. Next, try this technique on an item of your choosing, ensuring that some lines app
me forward (thicker) and others recede (thinner).
OCABULARY:
ne Quality (weight) - The unique character of a drawn line as it changes lightness/dark
ection, curvature, or width; the thin and thick lines in an artwork that create the illusion of form
adow
ne quality describes the appearance of a line - its look, not its direction (i.e. thick, thin,
rk, solid, broken, etc.)
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FORESHORTENING
NOW:
imple steps to turn shapes into forms
How to create the illusion of 3D
NDERSTAND:
oreshortening is a way of representing an object so that it conveys the illusion of depth (3D)
oreshortening is when an object appears to thrust forward or go back into space
O:
ractice foreshortening by recreating the 7 mini drawings (5 on front and 2 on back) seen o
ndout. Dont trace. Shade.
Create an original drawing of a scene on a separate piece of paper that shows at least 5 examp
eshortening
OCABULARY:reshortening -A way of representing an object so that it conveys the illusion of depth, seemi
ust forward or go back into space
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FORESHORTENED PERSON
NOW:
int of view
NDERSTAND:
rspective in which the sizes of near and far parts of a subject contrast greatly. Near parts are
d farther parts are much smaller.
O:
actice foreshortening by creating a version of your own foreshortened person as viewed
ove. Make sure the head of your character is much larger than the feet in order to giv
pearance of foreshortening. Dont trace. Shade.
OCABULARY:
reshortening -A way of representing an object so that it conveys the illusion of depth, seemi
ust forward or go back into space. Foreshortenings success often depends upon a point of virspective in which the sizes of near and far parts of a subject contrast greatly.
rspective -The technique artists use to project an illusion of the three-dimensional world o
o-dimensional surface. Perspective helps to create a sense of depth or receding space.
int of View - A position or angle from which something is observed or considered, an
ection of the viewers gaze
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CONTOUR LINES AND TUBES
NOW:
ntour lines surround and define the edges of an object
NDERSTAND:
ding lines to the inside of an outlined object give it shape and volume
O:On a separate piece of paper, complete the 5 mini-drawings seen on the handout
Draw your own original work focusing on the use of contour lines. Include: At least 5 be
bes, 4 stacked round shapes, 3 cubes, 2 furry objects and 1 extra.
Dont forget Shadows!
OCABULARY:
ntour -The outline and other visible edges of an object
ntour Lines -Lines that surround and define the edges of a subject giving it shape and volumebe -A hollow cylinder
lume -The space within a form
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SHAPES TO FORMS
NOW:
Basic cylinder construction in drawing
hape and form are 2 of the 7 elements of art
NDERSTAND:
he difference between shape and form
Volume
O:
ok at the 2D images of shapes provided and use learned techniques to re-draw them as 3D form
SIGNMENT:
aw a glass of clear liquid with ice cubes and a straw. Dont forget - ice cubes float!
OCABULARY:rm - A three-dimensional shape (height, width, and depth) that encloses volume
ape -An enclosed space
lume -The space within a form
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CYLINDERS AND DISKS
NOW:
any objects (man made and natural) are based on the cylinder
NDERSTAND:
Cylinders in art give the appearance of a 3D circular tube
Disks are short cylinders
How to create the appearance of a 3D tube in a variety of objects
O:
Recreate the 7 mini-drawings in 3D as seen on the handout
On a separate piece of paper, trace the outline of your hand and turn it into a series of segm
inders
OCABULARY:
linder -A tube that appears three-dimensionalsk -The region in a plane bounded by a circle (also spelled disc)
ane -A flat, two-dimensional surface
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TIERED CAKE
NOW:
acking cylinders can create unique a structure
NDERSTAND:
ndicating both the top and bottom ellipse on a tube drawing (then erasing the area that is not
n aid in the creation of a proportionate cylinder
Cylinders are one of the four basic forms that help an artwork appear three dimensional
O:
Recreate the 7 mini-drawings in 3D as seen on the handout
On a separate piece of paper, trace the outline of your hand and turn it into a series of segm
inders
OCABULARY:linder -A tube that appears three-dimensional
sk -The region in a plane bounded by a circle (also spelled disc)
ipse -A circle viewed at an angle (drawn as an oval)
ane - A flat, two-dimensional surface
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PIECE OF CAKE
NOW:
e techniques used to turn a shape into a form
NDERSTAND:
he difference between shape and form
arallel lines indicate direction as well as edges of an object
mall additions can become major details when drawing objects realistically
O:
llow the steps provided to create a slice of cake in the form of a triangular prism. Add de
ading and extras to create a unique artwork.
te: Extras are small details that the artist imagines and creates.
OCABULARY:rm -A three-dimensional shape (height, width, and depth) that encloses volume
ape -An enclosed space
iangular Prism -A three sided prism (polyhedron)
lume -Refers to the space within a form
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RIBBONS, SCROLLS AND BANNERS
NOW:
erlapping, Receding Lines
NDERSTAND:
onveying an illusion of depth
Varying sizes and placement on a receding plane
Overlapping and shading gives the appearance of 3D
O:
actice overlapping and shading by creating your own Banner/Ribbon/Scroll using the pro
hniques. Dont trace. Shade.
OCABULARY:
verlap -When one thing lies over or partly covers something elserspective - The technique artists use to project the illusion of 3D onto a 2D surface. Persp
ps to create a sense of depth or receding space.
ceding Line -Any line that appears to go back into space
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WAVING BANNERS
NOW:
rve, Overlapping, Perspective, Receding Lines
NDERSTAND:
Any 3D form (banner) can be created using a simple line as a guide
onveying an illusion of depth
Overlapping and shading gives the appearance of 3D
O:
Draw your own Banner/Ribbon/Scroll using the provided techniques
Add at least 2 folds to create dimension and interest
ill up the entire paper. Dont trace. Shade.
OCABULARY:
urve -A line or edge that deviates from straightness in a smooth, continuous way
verlap -When one thing lies over or partly covers something else
rspective -The technique artists use to project the illusion of 3D onto a 2D surface. Persp
ps to create a sense of depth or receding space.
ceding Line -Any line that appears to go back into space
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AMERICAS FLAG
NOW:
simple repetition of overlapping shapes can give the appearance of a waving flag
NDERSTAND:
onveying an illusion of folds
Wrapping stripes or patterns around the curves of a surface help to indicate realism and depth
O:
reate a waving version the U.S. flag using the tips and techniques provided
Add 13 stripes to represent the original 13 colonies
Add 50 stars to represent the 50 states
Dont trace. Shade.
OCABULARY:verlap -When one thing lies over or partly covers something else
petition - To draw the same shape again
rap -To draw over an object using contour lines to show form
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CHAPTER 2
FACE PARTS
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THE HUMAN EYE
NOW:
sible parts of the eye (iris, pupil, sclera)
NDERSTAND:
he average human eye can be created by using standard guidelines/measurements
he human eye is a sphere
he average human eye is as wide as the distance between the eyes (one eye width apart)
O:
ractice drawing a basic human eye using the proposed techniques
Draw lines that radiate out of the pupil (like spokes on a bicycle wheel) to indicate the many f
detail
Add eyebrows and lashes last
hade. Erase a small area inside the iris for a highlight.
OCABULARY:
s -Colored portion of the eye
pil -Darkest area of the eye, found in the center of the iris
lera -White part of the eyeball
here -A three-dimensional ball shape, not a flat circle
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EYEBALL
NOW:
s, Pupil, Sclera, Sphere, Layering
NDERSTAND:
he difference between shape (length and width) and form (add depth)
he use of proportion and observation to create a realistic eyeball
Connecting a series of simple geometric shapes can create a complex (organic) objectayering and differences in the size of objects in a scene help to achieve the illusion of depth
High contrast shading gives the appearance of form and 3D
O:
Follow the steps provided to create an original eyeball design focusing on balance, shadin
nding tones
hade with pencil or colored pencil
OCABULARY:
s - Colored portion of the eye
pil -Darkest area of the eye, found in the center of the iris
lera -White part of the eyeball
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THEHUMANNOSE
NOW:
e average human nose can be created by using standard guidelines/measurements
NDERSTAND:
he average human nose is as wide as the distance between the eyes
The nose protrudes and is usually lighter in the center and darker on the sides (depending on
urce)
A human nose is thin at the point between the eyes and gets wider as it moves down the face
O:
actice drawing a generic human nose using the proposed techniques. Shade with pencil and
shading, shadows and blending tones.
p: Dont make the nostrils too dark as they will draw attention from the rest of the face and loo
ggy
OCABULARY:
ading- The blending of one value into another. Showing change from light to dark or dark to
an artwork by darkening areas that would be shadowed and leaving other areas light. Shad
ed to produce illusions of dimension and depth.
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THE HUMAN MOUTH
NOW:
e average human mouth can be drawn realistically by using standard guidelines/measurem
When drawing a face, measure from the pupils downward for width).
NDERSTAND:
he average human bottom lip is fuller and larger than the top lip (on most people!)
hading in the direction of the planes of the lip create form, curved lines create contour
O:
ractice drawing a basic human mouth using the proposed techniques
hade
Make the darkest value on the line where the lips meet. Erase some spots in the center bottom
ate a natural shine effect.
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THE HUMAN EAR
NOW:
he ear is the organ of the human body that detects sound and aids in balance and body position
Human ears are placed somewhat symmetrically on opposite sides of the head
NDERSTAND:
The average human ear can be drawn realistically by using standard guidelines/measurem
easure from the edge of the eye line to the bottom of the nose line when drawing ears on a head
hading using value scale tones will achieve a more realistic rendering
O:
ractice drawing a basic human ear using the proposed techniques
Make the darkest value inside the circle and under the top rounded area. Erase some spots o
be to create a natural shine effect.
OCABULARY:mmetry - The same on both sides; balanced proportions
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THE HUMAN HEAD
NOW:
e simple steps to create a human face
NDERSTAND:
he use of proportion to create a head and generic features
ubtle difference in the shape and size of specific features make us look uniquerotruding objects (nose, lips, etc.) create shadows
he human head can be measured/created on a grid
O:
ractice drawing a generic human face/head using the proposed techniques
tart with guide lines, place the features, shade
ollow the Face Checklist
ATER . . .
lf Portraits - Start with a basic face grid then use a mirror to see the shape and size of
dividual features. Focus on identity and individuality - its those small deviations from a ge
e that make us look unique!
OCABULARY:
oportion -The comparative sizes and placement of one part to another
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FACE CHECKLIST
AD:
ade under brows, neck, nose, lower lip, chin, and possibly cheekbones (depending on light sou
S:
On most people, the upper lip is smaller (and shaded in slightly darker) than the lower
rase a spot in the lower lip for a shine
Draw rounded, contour lines to indicate form
ES:
Color the pupil black, the iris lighterDraw spokes radiating from pupil for detail
eave a white highlight somewhere in the iris
Upper part of the eye (lash line) should be darker than the lower
ashes are shorter as they grow towards the center of face
SE:
ide of nose shaded (not outlined)
Watch out for the piggy nose
ST,BUTNOTLEAST...
rase guidelines
reate eyebrows, lashes and a hair style
OTE: Hair is usually shaded darker than the skin on most people. The darkest shading on
per should be: hair, eyeballs (iris/pupils) and eye brows. This is for most faces but there are
ceptions.
P: When drawing your own face, hold mirror directly in front of you. Some students look do
mirror and get a view straight up their noses! This makes for an unflattering self-portrait.
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THE HUMAN SKULL
NOW:
imple steps to create a human skull
Major bones of the head
NDERSTAND:
he basics of proportion to create a skull
eatures of the human head can be measured/created on a grid
O:
ractice drawing a generic human face/head using the proposed techniques
tart with guide lines, place the features, shade
OCABULARY:
anium -Portion of the skull that encloses the braincaseuman Skull -Supports the structures of the face and forms a cavity for the brain
andible -The lower jawbone
oportion -The comparative sizes and placement of one part to another
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CHAPTER 3
PERSPECTIVE
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ONE POINT PERSPECTIVE
NOW:
e Point Perspective
NDERSTAND:
n linear perspective, all lines appear to meet at a singlepoint on the horizon
Receding lines create straight edges that appear to go back into space
O:
Create an original artwork of a street scene using a horizon line, vanishing point, and receding
indicate the illusion of 3D
CLUDE:
At least 6 buildings
A roadDetails like windows, bricks, and doorways
Extras like a car, street signs or billboards
OCABULARY:
rizon Line -A line where water or land appears to end and the sky begins
ne Point Perspective-A form of linear perspective in which all lines appear to meet at a s
int on the horizon
ceding Lines - Lines that move back or away from the foreground
nishing Point -A point on a horizon line where lines between near and distant objects appe
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et in order to produce an illusion of depth
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TWO POINT PERSPECTIVE
NOW:
wo Point Perspective
NDERSTAND:
n linear perspective, all lines appear to meet at either of twopoints on the horizon
echniques of perspective are used to create the illusion of depth
Variation between sizes of subjects
Overlapping
lacing objects on the depicted ground as lower when nearer and higher on the page when f
ay
O:
eate an original artwork of a street scene using a horizon line, 2 vanishing points, and rec
es to indicate the illusion of 3D
CLUDE:
least 7 buildings, 2 roads, details like windows, bricks, and doorways, and lots of extras
OCABULARY:
pth -The distance from front to back or near to far in an artwork
wo Point Perspective -A form of linear perspective in which all lines appear to meet at one o
ints on the horizon
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AERIALVIEWPOINT
NOW:
rial Viewpoint
NDERSTAND:
echniques used to create a birds-eye view
Use of receding lines
O:
Create an original birds eye view of a city scene using a vanishing point and receding lines
CLUDE:
At least 8 buildings
Details like windows, bricks, and doorways
rees, roads, and other extras around the base of buildingsRooftop Details: Fans, pools, vents, helicopter pads and other things you would find on a roofto
OCABULARY:
rial Viewpoint -Seeing from a point of view at a great height, also called a birds-eye view
rds-Eye View - An elevated view of an object from above, with a perspective as thoug
server were a bird. This technique is often used in the making of blueprints, floor plans and m
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BLOCKLETTERPERSPECTIVE
NOW:
fferences between near and far objects in a scene
NDERSTAND:
he illusion of depth can be created using one point perspective techniques
O:
ollowing the techniques provided, create the illusion of 3D lettering using one point perspe
eding lines and block letters to write your name
hade and add a bevel edge
P: Try to create sharp corners on your letters so the edges are not rounded. Rounded edge
ore difficult to create perspective with. As you practice and get better, try using rounded b
ters.
e a ruler!
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DRAWANICEBERG
NOW:
w to create a sense of depth in an artwork
NDERSTAND:
Overlapping and differences in the size of objects in a scene help to achieve the illusion of dep
Drawn objects that appear close to us are large and usually close to the bottom of the page. O
t appear farther from us in a drawing are usually small and higher on the page.
O:
eate an original artwork showing overlapping and depth including at least 3 icebergs of diff
es, water ripples and a horizon line
OCABULARY:
rizon Line - A line where water or land appears to end and the sky beginsganic Shape -An irregular shape that might be found in nature
rspective -The technique used to create the illusion of 3D onto a 2D surface.
rspective helps to create a sense of depth or receding space.
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DRAW2TURNTABLES
NOW:
other way to use receding lines and create a sense of depth in an artwork
NDERSTAND:
awn objects that appear close to us are large and usually close to the bottom of the page. Ob
t appear farther from us in a drawing are small and higher on the page. Even if single item
rtray depth when the closer parts are drawn large and the far parts are drawn small.
O:
eate an original artwork of 2 turntables as seen in the handout
OCABULARY:
rspective -The technique used to create the illusion of 3D onto a 2D surface. Perspective he
ate a sense of depth or receding space.
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OPEN GATES
NOW:
rtical lines, Parallel lines
NDERSTAND:
most architectural drawings, vertical lines are all parallel or the horizontals are all par
rely are both types of lines perfectly parallel and straight in the same drawing. In this case,
vertical lines are perfectly straight and parallel, the horizontals are not.
O:
eate an original artwork of opening gates using learned techniques. Add extras like a
sign, bars, brickwork, etc.
OCABULARY:
chitectural Drawings - Drawings that depict human-made buildingsorizontal -Straight and flat across, parallel to the horizon. The opposite is vertical.
rallel -Two or more straight lines or edges on the same plane that do not intersect. Parallel
ve the same direction.
rspective - The technique used to create the illusion of 3D onto a 2D surface. Perspective he
ate a sense of depth or receding space.
rtical Line - The direction going straight up and down
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VALENTINE
Heart Lock and Key
NOW:
awing objects viewed at various angles can add interest to a work
NDERSTAND:
How to add depth and interest to a drawn object
How to take simple shapes and change them into more complex items
O:
eate an original artwork of a heart shaped lock with an old fashioned key
OCABULARY:
pth -The third dimension. The apparent distance from front to back or near to far in an artwor
rspective - The technique used to create the illusion of 3D onto a 2D surface. Perspective help
ate a sense of depth or receding space.
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ROSE
NOW:
e difference between geometric and organic shapes
NDERSTAND:
nnecting a series of simple geometric shapes can create a complex (organic) object
O:
eate an original artwork of a rose using the techniques provided
OCABULARY:
ymmetry - An object is different on both sides
lance - A principle of design, balance refers to the way the elements of art are arranged to cre
ling of stability in a work
ometric Shape - Any shape or form having more mathematic than organic design. Geomsigns are typically made with straight lines.
ganic Shape -An irregular shape that might be found in nature, rather than a mechanical or an
ape
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LOVE SWANS
NOW:
rror symmetry
NDERSTAND:
Mirror symmetry is when the parts of an image or object are organized so that one side dupl
irrors) the other
erfect symmetry is rarely found in nature
O:
udents will try and create a symmetrical design of Love Swans using simple shapes and th
d tricks provided
OCABULARY:rror Symmetry - The parts of an image or object organized so that one side duplicates, or mi
other. Also known as formal balance, its opposite is asymmetry or asymmetrical balance.
mmetryis among the ten classes of patterns
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BARBEDWIREHEART
NOW:
nnecting a few simple geometric shapes can create a more complex object
NDERSTAND:
ing overlapping techniques to give an object the appearance of form
O:
eate an original heart drawing wrapped in barbed wire. Use curved, overlapping lines on top
art to give the illusion of wrapping and depth.
OCABULARY:
rm -An element of art that is three-dimensional (height, width, and depth) and encloses volum
verlap -When one thing lies over, partly covering something else. Depicting this is one of the
portant means of conveying an illusion of depth. (Other means include varying sizes and placa receding plane, along with linear and aerial perspective.)
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SCROLLANDROSE
NOW:
Connecting a series of simple geometric shapes can create a complex (organic) object
Curving lines indicate perspective via overlapping
NDERSTAND:
Overlapping and differences in the size of objects in a scene help to achieve the illusion of dep
High contrast shading gives the appearance of form and 3D
O:
llow the steps on the handout provided to create your own version of a banner wrapping aroue blossom. Add a message on the banner and shade.
OCABULARY:
gh Contrast Shading -A large difference between dark and light values in an artwork (fewer
nes)
verlap -When one thing lies over or partly covers something else
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POTOGOLD
NOW:
imple shapes combined together can create more complex objects
Many objects (man made and natural) are based on the cylinder
NDERSTAND:
Disks are short cylinders
Using the principles of a cylinder (rounded base and an ellipse top) can create a variety of shap
hen used in drawing
O:
eate the illusion of a 3D pot filled with disks of gold coins. Shade.
OCABULARY:linder -A tube that appears three-dimensional
sk -A 3D oval
ipse -A circle viewed at an angle (drawn as an oval)
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CUTEEASTERSTUFF
NOW:
imple shapes combined together can create complex objects
A cross section of a cone can create a vessel
Adding hatch lines to the inside of an outlined object give it form, volume and shadow
NDERSTAND:
echnique of hatching and cross-hatching to show shadow, texture or form in an object
exture is used by artists to show how something might feel or what it is made of
O:
eate an artwork including the objects outlined on the handout. Add extras. Try hatching
texture and shading.
OCABULARY:ne -Two lines at the edge of an ellipse that eventually meet
atching -A series of closely spaced parallel lines. When more lines are placed at an angle o
those lines, it is called cross-hatching.
xture -The way something looks like it might feel like in an artwork
lume -The space within a form
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EASTER EGGS
NOW:
king a shape and turning in into a form by adding contour lines, pattern and shading
NDERSTAND:
e technique of wrapping lines and pattern around an object so that it appears 3D
O:
eate an original pattern wrapped around a shape to create a festive holiday egg form
ating a basket of eggs as seen in the handout.
OCABULARY:
ttern -The repetition of shapes, lines, or colors in a design
petition -A way of combining elements of art so that the same elements are used over and
ainrap -The appearance of something curving around another object
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SPRING TULIP
NOW:
Connecting a series of simple geometric shapes can create a complex (organic) object
he difference between geometric and organic shapes
ine can indicate perspective via overlapping
NDERSTAND:
Overlapping and differences in the size of objects in a scene help to achieve the illusion of dep
High contrast shading gives the appearance of form and 3D
O:
aw your version of a Spring Tulip bouquet using the tips and tricks provided. Draw at le
wers. Add something you dont see on the worksheet to make your artwork unique (i.e. a
ms tied with a ribbon, etc.) Dont trace. Shade.
OCABULARY:
gh Contrast Shading - A large difference between dark and light values in an artwork (fewer
nes)
verlap -When one thing lies over or partly covers something else
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CHERRY BLOSSOM
NOW:
lance, Organic Shape, Pattern, Perspective, Repetition, Symmetry/Asymmetry
NDERSTAND:
Overlapping simple shapes can be the first step to creating complex forms
implifying an artwork consists of breaking down the major parts of an object into simple sh
ce the simple shapes are discovered, more detail can be added.
O:
ollow the steps provided to create an original still life drawing of cherry blossoms
tart with contour lines and simple geometric shapes and overlap as needed to create realism
hade with pencil (or watercolor pencils and use as directed)
OCABULARY:ganic -An irregular shape that might be found in nature, rather than a regular, mechanical shap
rspective - The technique used to create the illusion of 3D onto a 2D surface. Perspective he
ate a sense of depth or receding space.
ll Life -A drawing, painting or photo of inanimate objects positioned on a table (traditio
ssels, fruits, vegetables, etc.)
mmetry -An object that is the same on both sides
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HALLOWEEN CREATURES
NOW:
u can make simple and original cartoon-style creatures by using simple, geometric shapes
NDERSTAND:
o make a work original, that work must have elements that are not copied or traced
xpressive qualities in your drawing add a feeling, mood or idea to your character
O:
actice creating an original, Halloween themed cartoon-style character using the geom
idelines provided. Draw lightly so guidelines can be erased if needed. Add or change c
ments as necessary to make it unique. Try to create a character NOT seen on the handout. Use
agination and add a lot of extras.
OCABULARY:rtoon -A usually simple drawing created to get people thinking, angry, laughing, or other
used. A cartoon usually has simple lines, uses basic colors, and tells a story in one or a seri
tures called frames or panels.
pressive Qualities - The feelings, moods and ideas communicated to the viewer through a wo
iginal - Any work considered to be an authentic example of the works of an artist, rather t
production, imitation or a copy
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AUTUMN LEAF
NOW:
ganic Shape, Symmetry, Asymmetry
NDERSTAND:
erlapping simple shapes can be the first step to creating complex forms
O:
ollow the steps provided (or position a selection leaves from life) to create an original sti
awing
tart with contour lines and simple geometric shapes and overlap as needed to create guideline
hade with pencil (or watercolor pencils and use as directed)
OCABULARY:
ganic -An irregular shape that might be found in nature, rather than a regular, mechanical shapll Life -A drawing, painting or photo of inanimate objects positioned on a table (traditio
ssels, fruits, vegetables, etc.)
mmetry -(or symmetrical balance) - The parts of an image or object organized so that one
plicates, or mirrors, the other. Also known as formal balance, its opposite is asymmet
ymmetrical balance.
mmetry is among the ten classes of patterns.
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THANKSGIVING STILL LIFE
NOW:
ntour Line, Overlapping, Perspective, Still Life
NDERSTAND:
Overlapping simple shapes is the first step to creating complex forms
Large objects should be drawn lower on the page to appear close. Small objects should be d
gher on the page to appear further away (fruits in the bowl).
O:
View and discuss examples of overlapping and images which have near and far elements, foc
how overlap and size difference help to achieve an illusion of depth
ollow the steps provided (or position a selection of fruits and vegetables from life) to crea
ginal still life drawing with a Thanksgiving theme
tart with contour lines and simple geometric shapes and overlap as needed to create guidelinehade with pencil or watercolor pencils (use as directed)
OCABULARY:
ntour Line - Lines that surround and define the edges of a subject
verlap - When one thing lies over another, partly covering something else to convey dep
usion
ading - Showing change from light to dark or dark to light in a picture
ape -An enclosed space
ll Life -A drawing, painting or photo of inanimate objects positioned on a table (traditio
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ssels, fruits, vegetables, etc.)
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CAN OF CRAN...
NOW:
linders, Pop Art
NDERSTAND:
Cylinders in art give the appearance of a 3D circular tubeWarhol made the painting Campbells Tomato Soup an icon of Pop Art in 1962
O:
eate a cylindrical can using Warhols Pop Art style. Wrap a label and text around the c
dicate 3D. Shade.
OCABULARY:
ndy Warhol - (August 6, 1928 - February 22, 1987) was an American artist who was a le
ure in the visual art movement known as pop art. His works explore the relationship bet
istic expression, celebrity culture and advertisement that flourished by the 1960s.
linder - A tube that appears three-dimensional
val -A two-dimensional shape that looks like a circle that has been stretched to make it longer
p Art - An art movement that focuses attention upon familiar images of the popular culture su
lboards, comic strips, magazine advertisements, and supermarket products
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PUMPKIN
NOW:
ading, Layering, Foreshortening, Overlapping
NDERSTAND:
Value added to a shape (2D) when drawing creates form (3D)
he lightness or darkness of a value indicates a light source on an object
O:
aw your version of a pumpkin using the tips and tricks provided. The center of your pum
ould be lower on the page and the sides should appear to recede back to show foreshorte
nt trace. Shade.
OCABULARY:
end -To merge tones applied to a surface so that there is no crisp line indicating beginning o
one tone
reshortening -A way of representing an object so that it conveys the illusion of depth, seemi
ust forward or go back into space. Foreshortenings success often depends upon a point of vi
rspective in which the sizes of near and far parts of a subject contrast greatly.
verlapping -When one thing lies over another, partly covering something elseading -Showing change from light to dark or dark to light in a picture
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JACK OLANTERN
NOW:
lance, Form, 3D
NDERSTAND:
Adding pattern and shading to an object give it form and dimension
he use of receding lines to show perspective
O:
art with a basic pumpkin and then carve a design onto it using the tips and tricks provided
s of extras and be sure that all of the carved parts are connected - no floating piece
ginal! Dont trace. Shade.
OCABULARY:
lance - The way the elements of art are arranged in an artwork to create a feeling of stabil
asing arrangement, or proportion of parts in a composition
rm -A three-dimensional shape (height, width, and depth) that encloses volume
ree-Dimensional -Having, or appearing to have, height, width, and depth
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CHRISTMAS BARN
NOW:
mple steps to create a view of a house
NDERSTAND:
e way to create the appearance of a 3D house showing perspective at a view
O:
eate an original holiday barn in a landscape scene showing perspective. Add trees and shade.
OCABULARY:
ndscape -An artwork which depicts scenery. There is usually some sky in the scene.
rspective -The illusion of 3D on a 2D surface, creating a sense of depth and receding space
ree-Quarter (3/4) View -A view of a face or any other subject which is half-way between a
d a side view
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CHRISTMAS ORNAMENTS
NOW:
ometric shapes, Highlight, Repetition, Texture
NDERSTAND:
he difference between shape and form
How to arrange elements in an artwork so that they appear symmetrical or equally balanced
How to create an effective design using simple shapes
How to create the appearance of texture
O:
Follow the steps provided to create an original ball ornament that starts with a simple
nnected to create a complex form
Use learned 3D techniques which concentrate on overlapping and shading to convey the illusi
pth
OCABULARY:
lance -A principle of design, balance refers to the way the elements of art are arranged to cre
ling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or are
esign or composition.
petition -To continue a pattern over and over again
xture -The technique an artist uses to make an object look like it feels a certain way
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SIMPLE SNOWFLAKE
NOW:
and 90 degree angles, Repetition, Rotational Symmetry
NDERSTAND:
No two snowflakes are alike
Variation in sizes of objects when drawing them creates interest and depth
ptional:In fine art, a focal point highlights a specific portion of interest in an artwork
O:
ollow the steps provided to create an original snowflake design focusing on rotational symme
tudent will combine a variety of snowflakes styles and sizes to create a winter scene
ptional:Add a focal point using minimal color (colored pencil) in one or two areas of the sce
ate interest
OCABULARY:
cal Point -The portion of an artworks composition on which interest or attention centers
cal point may be most interesting for any of several reasons: it may be given formal emphas
aning may be controversial, incongruous, or otherwise compelling.
tational Symmetry - An object that looks the same after a certain amount of circular move
ound that objects center
mmetry -An object that is the same on both sides
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CHAPTER 5
ANIMALS
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CARTOON ANIMALS
NOW:
u can make almost ANY original cartoon creature using the steps provided
NDERSTAND:
e basic, generic steps that can be changed or added to in order to make an ORIGINAL cartoon
aracter
O:
eate a front AND side view of a character NOT seen on the handout. Use your imagination and
ot of extras.
OCABULARY:
rtoon -A usually simple drawing created to get people thinking, angry, laughing, or otherwise
used. A cartoon usually has simple lines, uses basic colors, and tells a story in one or a series
tures called frames or panels.
iginal -Any work considered to be an authentic example of the works of an artist, rather than a
production or imitation
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DUCK FAMILY
NOW:
How to create a sense of depth in an artwork
How to take a few simple shapes and combine them to create a recognizable duck
NDERSTAND:
Overlapping and differences in the size and placement of objects in a scene can help to achiev
usion of depth
ines, shapes, textures and shadows can be drawn to indicate a sense of motion in an artwork
O:
eate an original artwork of a duck family including at least 1 large duck, 4 small ducks and
ples to show movement in a landscape scene
OCABULARY:ndscape -An artwork which depicts scenery. There is usually some sky in the scene.
rspective -The technique used to create the illusion of 3D onto a 2D surface. Perspective he
ate a sense of depth or receding space.
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BUNNY RABBIT
NOW:
xture
NDERSTAND:
e techniques an artist uses to show how something might feel or what it is made of in an artwo
O:
eate an original artwork of a bunny rabbit indicating a furry texture with short hatch lines. Sh
OCABULARY:atching -Closely spaced parallel lines
xture - The way something looks like it might feel like in an artwork. Simulated texture
ggested by an artist with different brushstrokes, pencil lines, etc.
me words describing various textures include: flat, smooth, shiny, glossy, glittery, vel
thery, soft, wet, gooey, furry, sandy, leathery, crackled, prickly, abrasive, rough, furry, bum
rrugated, puffy, rusty, slimy, etc.
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DRAW A PENGUIN
NOW:
imple shapes combined together can create more complex objects
Adding other elements to a drawing can create interest, tell a story, and detail (see Perspec
apter for iceberg instructions)
NDERSTAND:
erlapping and layering items help to create a sense of depth and realism
O:
eate an original artwork of a penguin following the steps provided. Place him on top
berg and put him in a scene.
OCABULARY:
tail -A part of a whole. A distinctive feature of an object or scene which can be seen most clse up.
yer - Something placed over another surface
verlap -When one thing lies over and partly covers something else
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DRAWING WINGS
NOW:
mmetry and Asymmetry
NDERSTAND:
lance helps to create interest or design in an artwork. Symmetry and asymmetry offer two kind
ance.
O:
ractice symmetry by drawing a creature with wings that are the same shape on both sides using
as provided
OR
ractice asymmetry by drawing a creature with wings that are at different positions on both sid
ng the ideas provided
Add extras like a halo, horns or pitchfork
OCABULARY:
ymmetry -An object is different on both sides
lance -A principle of design, balance refers to the way the elements of art are arranged to cre
ling of stability in a work
mmetry- One side of an object is the same as the other
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BIRDS IN FLIGHT
NOW:
houette and Contour
NDERSTAND:
ilhouettes are detailed outlines but have no detail on the inside - just a solid block of color
How to make a recognizable silhouette
O:
eate an original landscape scene focusing on at least 3 silhouettes of birds in flight. Make
re is a detailed outline of each bird including feather detail, head, body or tail.
P: Your silhouette has been drawn well if other people can see what it is!
OCABULARY:ntour -The outline and other visible edges of a drawn object
houette -A detailed outline filled with a solid color, typically black on a white ground, and
en for a portrait
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DRAW A PITBULL
NOW:
mple shapes combined together can create more complex objects
NDERSTAND:
ery complex object can be simplified into a series of connected geometrical and organic shape
O:
eate an original artwork of a pitbull dog. Use contour lines and shading to indicate m
iations. Shade.
OCABULARY:mplex - A way of combining the elements of art in involved ways, to create intricate
mplicated relationships. A picture composed of many shapes of different colors, sizes, and tex
uld be called complex.
ntour lines -The outline and other visible edges of a mass, figure or object
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IN THE DOGHOUSE
NOW:
mple steps to create a view of a house
NDERSTAND:
e way to create the appearance of a 3D house showing perspective at a view
O:
eate an original paneled doghouse in a landscape scene showing perspective. Add a dog of
oice and shade.
OCABULARY:
ndscape -An artwork which depicts scenery. There is usually some sky in the scene.
rspective -The illusion of 3D on a 2D surface, creating a sense of depth and receding space
ree-Quarter (3/4) View - A view of a face or any other subject which is half-way between d a side view
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LION HEAD
NOW:
e steps to create a lion head
NDERSTAND:
A simple grid can aid in the drawing of a proportionate lion face
he techniques an artist uses to show how something might feel or what it is made of in an artw
O:
actice drawing a lion head using the steps provided. Indicate texture on the mane with a series
rving lines. Shade.
OCABULARY:
id -A framework or pattern of criss-crossed or parallel lines that can be used as guidelines fo
cement of drawn objects
oportion -the comparative sizes and placement of one part to another
xture -The way something looks like it might feel like in an artwork
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COW SKULL
NOW:
mple shapes combined together can create more complex objects
NDERSTAND:
mbining simple shapes in layers, connecting them with lines and erasing the insides is a trick
artists to create a likeness
O:
ractice breaking down objects into simple shapes by looking around the room at items and vis
mplifying them
ollow the steps provided and create your own version of a cow skull
OCABULARY:
mbine - Two or more objects put togetheryer - Something placed over another surface
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DRAW A COBRA
NOW:
mple shapes combined together can create more complex objects
NDERSTAND:
ding contour lines by wrapping them around tubes gives the appearance of detail and 3D
O:ollow the steps provided and create your own version of a coiled cobra snake
hade
OCABULARY:
ntour Lines - The outline or inner detail lines of an object that show form
lume - Refers to the space within a form
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CLIMBING TIGER
NOW:
Overlapping, Layering, Pattern
NDERSTAND:
yering simple shapes can be the first step to creating complex forms
O:
llow the steps provided to create a climbing tiger. Make it unique by creating an original
tern that wraps around its body. The wrapping indicates form. Shade.
OCABULARY:
yering -To place something over another surface or object
verlapping -When one thing lies over and partly covers something else
ttern -The repetition of shapes, lines or colors in a design
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CHAPTER 6
COOLSTUFF
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PRAYING HANDS
NOW:
ymmetry an Organic Shape
NDERSTAND:
How to represent realistic praying hands using contour lines, shading and small details
How to break down organic forms into simple, angular lines
O:
eate a realistic set of praying hands following the steps provided. Add extras like Rosary b
ndcuffs, etc. to make it unique. Dont worry about trying to make the hands the same on both s
ngs are rarely exactly symmetrical in nature. Shade.
OCABULARY:
ntour Lines -The outline or inner detail lines of an object that show formganic Shape -An irregular shape that might be found in nature, rather than a mechanical or an
ape
mmetry -An object that is the same on both sides
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SKELETON HAND
NOW:
nes of the Hand, Contour line and Observation
NDERSTAND:
awing a likeness through observation
O:
sed on your own hand, draw a skeleton hand while learning the names of each bone section
tips and tricks provided. As you draw, observe your hand and note where the knuckles are. T
present the sections between bones.
P: Hold your pencil at a 90 degree angle when tracing your hand.
OCABULARY:
ntour -The outline and other visible edges of a mass, figure or objectbservation -Receiving knowledge of the outside world through the senses
P:This looks really cool when drawn on black construction paper using white oil pastels. Sti
ncil for the outline of the hand. Its not as easy to see, but you dont need to erase it after f
eleton hand effect.
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THREE SKULLS
NOW:
Mirror Symmetry/Balance
Major bones of the head
NDERSTAND:
he basics of proportion to create a skull
Mirror symmetry is when the parts of an image or object are organized so that one side duplica
irrors) the other
erfect symmetry is rarely found in nature
omplex forms can be simplified into shapes
O:
udent will discuss the major bones of the head and the basic proportions of a human skull.
ll then create an original artwork of Three Skulls using simple geometric shapes embel
o complex forms and indicate mirror symmetry.
OCABULARY:
lance - The way the elements of art are arranged to create a feeling of stability in a wo
asing or harmonious arrangement of parts in a design or composition
anium -Portion of the skull that encloses the braincase
uman Skull -Supports face structures and forms a cavity for the brain
andible -The lower jawbone
rror Symmetry - The parts of an image or object organized so that one side duplicate
rrors) the other
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oportion -The comparative sizes and placement of one part to another
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HAND POSITIONS
(Pointing Finger)
NOW:
reshortening, Perspective
NDERSTAND:
w to create the illusion of 3D in which the sizes of near and far parts of an object contrast gre
O:
eate an original drawing of a pointing hand as viewed from straight on. Make sure the po
ger is much larger than the rest of the hand in order to give the appearance of foreshortening. D
ce. Shade.
PS:When shading, make the darkest values between the fingers and knuckle creases. Erase
ots on the upper knuckles, finger centers and between the creases to create a natural highlight e
OCABULARY:
reshortening- A way of representing an object so that it conveys the illusion of depth, seemi
ust forward or go back into space. Foreshortenings success often depends upon a point of vi
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rspective in which the sizes of near and far parts of a subject contrast greatly.
ghlight -The area on any surface which reflects the most light; to direct attention to or emph
area of a drawing through use of value
rspective - The technique used create a sense of depth or receding space in an art work
usion of 3D onto a 2D surface
int of View -A position or angle from which something is observed or considered; the directi
viewers gaze
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HAND POSITIONS
(Holding a Melting Clock)
NOW:
rspective, Proportion
NDERSTAND:
he use of proportion, perspective and observation to create a hand holding an object
ubtle differences in shape and size make our hands unique
O:
eate an original drawing of a human hand holding an object (melting clock). Start with a ser
nned out ovals and build on those shapes, eventually turning them into finger forms. View
n cupped hand and observe the natural sizing and angles for reference. Dont trace. Shade.
OCABULARY:
rm -A 3D shape (height, width, and depth) that encloses volume
ghlight -The area on any surface which reflects the most light; to direct attention to or emph
area of a drawing through use of value
rspective -The technique artists use to project an illusion of the three-dimensional world o
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o-dimensional surface. Perspective helps to create a sense of depth and receding space.
oportion -A principle of design, proportion refers to the comparative, relationship of one p
object to another
tensions:
1931, Salvador Dal painted one of his most famous works, The Persistence of Memory,
roduced a surrealistic image of soft, melting pocket watches.
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POCKET WATCH
NOW:
gle, Balance, Pattern, Perspective, Repetition, Roman Numerals
NDERSTAND:
acing simple geometric shapes in a specific pattern or at an angle can add to the realism and
an object as well as create interest and the illusion of depth.
O:
ollow the steps provided to create a detailed open stopwatch based on simple geometric
idelinesUsing numbers or Roman Numerals, balance those numbers equally and in sequence aroun
ck face (i.e. #12 is 180 degrees from the #6)
Use learned 3D techniques which concentrate on perspective to convey the illusion of d
udents will also consider size, position, detail and hue.
OCABULARY:
ngle -The figure formed by two planes diverging from a common line. Angle can refer t
ace between such lines or surfaces, and it can also refer to a direction or point of view.
rspective - The technique used to create the illusion of 3D onto a 2D surface. Perspective he
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ate a sense of depth or receding space.
man Numerals -The numeric system in ancient Rome, uses combinations of letters from the
habet to signify values
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CHAIN LINKS
NOW:
erlapping
NDERSTAND:
w to create the appearance of interlocking forms by using overlapping techniques and shading
O:
Create a realistic chain of interlocking links using the tips and tricks provided
hade
rase some areas on each link to create a metallic shine effect
OCABULARY:
verlapping -When one thing lies over and partly covers something else
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COMPASS ROSE
NOW:
lance, Compass, Repetition, Rotational Symmetry
NDERSTAND:
How to arrange elements in an artwork so that they appear symmetrical or equally balanced
A compass rose is used to display the orientation of the cardinal directions and their interme
ints
O:
Follow the steps provided to create an original Compass Rose design focusing on rotammetry
hade with pencil or color with marker
OCABULARY:
lance -A principle of design, balance refers to the way the elements of art are arranged to cre
ling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or are
esign or composition.
mpass - A navigational instrument that measures directions in a frame of reference thtionary relative to the surface of the earth. The frame of reference defines the four ca
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ections (or points) - north, south, east, and west.
mpass Rose -(Sometimes called a Windrose) is a figure on a compass, map, nautical ch
onument used to display the orientation of the cardinal directions and their intermediate points
tational Symmetry -An object that looks the same after a certain amount of circular move
ound that objects center
mmetry -An object that is the same on both sides
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CUPCAKE TREATS
NOW:
lance, Ellipse, Repetition
NDERSTAND:
he difference between shape and form
How to arrange elements in an artwork so that they appear symmetrical or equally balanced
llipses in art can help give the appearance of a 3D object
O:
ollow the steps provided to create an original cupcake design that starts with simple shapeeventually connected to create complex forms
Use learned 3D techniques which concentrate on overlapping to convey the illusion of d
udents will also consider size, position, detail and color.
OCABULARY:
lance - A principle of design, balance refers to the way the elements of art are arranged to cre
ling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or are
esign or composition
val -(ellipse) A two-dimensional shape that looks like a circle that has been stretched to m
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nger
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ALIEN SKULL
NOW:
ometric Shape, Angle
NDERSTAND:
simple circle can be the basic starting point for a variety of artistic creations
O:
Create your version of an alien skull using the tips and trick provided
hade outside rim darker than the inside for a 3D, rounded effect
OCABULARY:
ngle -A figure formed by two lines or edges diverging from or crossing a common point
eometric -Any shape or form having mathematic design. Geometric designs are typically
th straight lines or shapes from geometry.
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GET ON THE MICROPHONE
NOW:
here, Cylinder, Rectangle, Pattern
NDERSTAND:
nnecting shapes to create recognizable, everyday forms
O:
Choose a style and create your version of a microphone using the outline provided
Wrap lines around the circle of the modern microphone to create a sphere. Wrap lines ar
older style microphone to indicate angles and edges.Add pattern details and shade
OCABULARY:
linder -A tube that appears three dimensional
ttern -The repetition of shapes, lines, or colors in a design
here -A three-dimensional form shaped like a ball, circular from all possible points of view
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GRAVES WITH DRAPERY
NOW:
apery, Texture
NDERSTAND:
reating complex forms from simple shapes
exture is used by artists to show how something might feel or what it is made of
The study of ways to represent drapery is essential in the development of an artists skills. Dr
ds are composed of curving surfaces reflecting gradations of value.
O:
eate a cemetery scene or headstone memorial including at least 2 graves showing 3D edg
ood-look texture and folds of fabric
OCABULARY:
apery - Cloth or a representation of cloth arranged to hang in folds
xture - The way something looks like it might feel like in an artwork. Simulated texture
ggested by an artist with different brushstrokes, pencil lines, etc.
lue - The lightness or darkness of a color
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DRAW THE EARTH
NOW:
here, Continents, Curved lines
NDERSTAND:
nes and shapes drawn in a curved fashion on top of a circle help to create the illusion of a sphe
O:
hoose a view of the Earth to draw from the handout or a globe
Wrap the continents around the circle
Add details and shade
OCABULARY:
ntinents -The large landmasses on Earth with seven regions: Asia, Africa, North America,
merica, Antarctica, Europe, and Australia
here -A three-dimensional form shaped like a ball, circular from all possible points of view
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BIRD CAGE
NOW:
e simple steps to create a 3D bird cage
NDERSTAND:
A transparent cylinder allows us to see through the form at all angles
ines that wrap around the top of the shape help to create the illusion of form
O:
ollow the steps provided to create a bird cage. Be sure to draw lines on the front and back
dicate the illusion of 3DAdd extras like a bird
OCABULARY:
linder -A tube that appears three dimensional
ipse -A circle viewed at an angle (drawn as an oval)
ansparent -See through
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PAWS AND CLAWS
NOW:
e simple steps to create paw prints and ripping claws
NDERSTAND:
imple shapes combined together can create recognizable forms
mall details can create powerful effects in drawing
O:
llow the steps provided to create a paw print and a set of ripping claws
OCABULARY:
fect -A result or consequence of some action or process
ganic Shape -An irregular shape that might be found in nature, rather than a mechanical or an
ape
rtical - The direction going straight up and down
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ANIME
NOW:
ime, Exaggerating Features, Caricature
NDERSTAND:
Characteristics of Anime art
Use of exaggeration and distortion in an artwork to create a particular style
O:
llow the steps provided to create an original Anime style character
OCABULARY:
nime - Japanese style of animation, often exaggerating facial features on a character. The te
rrowed from the French word for animation and blends traditional Japanese woodblock style
th American-style character design.
aricature - A representation in which the subjects distinctive features or peculiaritie
iberately exaggerated to produce a comic or grotesque effect
stortion -To change the way something looks sometimes deforming or stretching an obje
ure out of its normal shape to exaggerate the features
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aggerate -Overstate, embellish; enlarge or shrink in size
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DRAW A LACE-UP CORSET
NOW:
erlapping
NDERSTAND:
w to create the illusion of layers so that parts of a drawing appear to be in front of, or behind
rts
O:
Discuss examples of two-dimensional images which have near and far elements, focusing on
erlap and differences in size help to achieve an illusion of depthollow the steps in the handout to create the look of layered/overlapping laces. The overlappin
e differences will show perspective. Students will indicate which parts of their picture appe
on top and which parts appear to be on the bottom.
OCABULARY:
verlap -When one thing lies over and partly covers something else
rspective -The point in which an object or scene is viewed
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