Drawing means to pull something and is also the action of making a drawing, with a tool, usually a pencil, a pen or other such implement. The first early drawings where probably made with the finger. It is a doing word which means it is about tangible events. Something that can be observed and even measured or used as a measurement in, and of it’s self.
This leads to something else. If drawing is an action then all the thinking in the world will not make any drawing real or tangible because it is about doing not thinking. That does not mean there is no thinking involved because it is quite the opposite.
Drawing is informed in two ways at least.
It is informed by what you think and what you do.
Drawing in this context is a learning mechanism much like the process of learning it’s self. You make a drawing and whilst doing it, as well as after doing it, you think about what it is you are doing, and reflect on what you have done. That information informs what you do next and so your drawing skills develop in an informed way. This happens through action which is the description of learning, action and reflection. It would be difficult to do drawing in any other way because it is an action and you cannot move any part of your body without thinking about it first.
Anybody could read about the drawing process and understand the mechanisms of how drawing works in theory but to get the full extent of the whole process necessitates action on the part of the learner.
Drawing is a valuable resource.
Drawing is used in so many ways by people who create, from engineers to film producers, even teachers use drawing as a means of delivering knowledge to others. The visual space is easily accessible to most people because we only need to look. Looking takes little effort on the part of most people and visual images can be powerful. Human behaviour is influenced by the environment. Visual information is a large part of that human environment so must be influential.
It is among the easiest as well as possibly the most practical way for conveying visual concepts. The fairly convenient supply of simple drawing tools could easily amount to drawing being more commonly used as compared to the majority of alternative tools of expression.
Drawing really is easy, expectation is the issue.
At the basic point of ability everybody is able to trace drawings from images. Everybody can create their own unique images doing this, even those people who believe they can’t draw can do this. Almost everybody can draw. If they can move their arm and make marks following a line around a shape they can draw. Beyond that drawing becomes many other things, all of which are heavily based on expectations.
I must repeat again that human behaviour is influenced by the environment. Visual information is a large part of that human environment so must be influential upon us and our expectations. Our expectations are subjective based on our knowledge and environmental influence giving us differing degrees of expectation. An influence that impacts upon our decision making processes and actions.
My drawing is derived out of a broad Knowledge base of disciplines both analytical and philosophical in origin. This together with the utilization of social spaces, performative actions, community arts, public arts, installation, visual, dramatical, textual and audible interactions. Acting on the world in which we live as a participant and observer.
All because I was lucky enough to believe drawing was an important action to take.
The secrets of anamorphic 3d drawing and the amazing 3d drawings of street artists are no longer a secret any more. Follow the information contained on this page to reveal how it can be understood using a reference grid.
The video below shows a clipper lighter standing upright, nothing unusual or outstanding about that. The problem for many people, is to understand how it can be drawn to look like it is standing upright on flat 2d piece of paper. The secret of 3d drawings used by street artists that you need to know, is how to create the anamorphic illusion. If you know how to do this then it is not a problem. This is for those who do not know and would like a better understanding of this illusion.
Please see the video below to see this in action.
A Clipper lighter standing upright to be used as an example.
3d drawings using a camera.
Most street artists when creating these anamorphic 3d drawings use a camera to aid the process and describe their technique as drawing by eye. This means they are drawing by looking and using the camera as a guide for doing so.
In the image below a grid for reference has been drawn over the top of the lighter image and it has been cropped using the free GIMP photo editing software. Many artists use reference grids for getting their construction drawing accurately draw. This can be easily done using a pencil and straight edged ruler. If you don’t have access to photo editing software you can do it by using a print out of the image.
Clipper lighter with reference grid placed over the top for aiding our 3d drawings.
Using a camera viewing window to do 3d drawings.
The grid was drawn onto a piece of A1 cartridge paper to replicate the grid in the image above but as can be seen in the actual drawing, the grid drawing is far different from what can be seen through the camera lens. Notice that the grid drawing gets wider and wider, the further away it is from the camera. This is because of distance, indicting that the further away the object is, the bigger it needs to be in order to compensate for that distance.
The secret to these 3d drawings is realizing that this is what makes the technique work, being able to compensate for distance.
View revealing the position in relation to the camera of the drawing area and 3d drawing grid
Below is an image of the camera showing both the drawing of the grid and the image, as seen through the camera lens, showing the difference between both. In the camera viewing window the grid looks like it is made up of squares. Where as the actual drawing isn’t made up of squares at all. This enables us to see how the camera lens at this viewing plane is distorting the drawing. Thus making it seem like it is made up of squares, when it is not. It is actually the same as any other perspective grid used to draw 3d drawings, that would be drawn to depict an object as if being looked at from the top. With the bottom tapering off into the distance as will be shown the the next image below this.
This image shows a view of the reference grid drawing and what it looks like when looking through the camera lens
Notice the two strips of masking tape placed down each side of the camera viewing window on the camera. These have been marked out with with lines equal in measurement. Using these measurements down the side of the viewing window of the camera, helped me to draw the grid. Using them as guides to see where to put the marks on the papers drawing surface. This was only necessary for the horizontal lines of the grid. The vertical lines can be measured after you have drawn the horizontal lines. This can be done by dividing the top and bottom lines by ten as in this example but this will depend on how many squares you want in your 3d drawing grid. The more squares you have in your grid to make 3d drawings. The easier it will be to complete your end drawing.
The secret of 3d drawings using a camera technique like the preferred choice of street artists.
In the image below you can see what the reference grid actually looks like when viewed from the front as you would normally. Please take notice of how the grid is wider at the top than the bottom. Also notice how the squares have become elongated and the horizontal lines are further apart as they get closer to the top of the paper. This image below shows what a perspective 3d drawing grid might look like if it was being used to draw an object, such as a building being viewed from above.
Anamorphic perspective grid for doing 3d drawings viewed directly from the front.
In the next image below I have drawn the Clipper lighter using the perspective grid for 3d drawings as a guide to accurately draw the lighter at this distorted perspective. Also notice how it can be seen in the camera viewing window. Notice how when looking at it through the camera viewing window it can be seen as a Clipper lighter standing up right and how the drawing grid also seems to be made up of squares.
3d drawing of the lighter through the camera lens, this is showing the lighter and reference grid at the correct viewing plane for comparison .
The image below is a photograph of the 3d drawing, showing further how it looks just like any other drawing of a lighter standing upright. This gives you a visual demonstration of the optical illusion created by the anamorphic 3d drawings perspective and the focal plane of the camera.
Anamorphic perspective drawing at the correct photographic angle and position as photographed with the camera.
The next image has been photographed slightly out of position and not at the correct focal plane. This enables you to be more able to see what it looks like in reality. It is revealing the distorted 3d drawing showing how it is much bigger at its furthest point from the viewing position.
Anamorphic Perspective drawing lying on drawing table showing its two dimensional attributes because the camera is not correctly sited.
Below you will find two more images to show what this drawing really looks like, when viewed as you would normally, the first one is the right way round and the second is being viewed, the wrong way round. Taking a look at these gives a better understanding of what the secret really looks like and helped me to visualize the distortion created by this unusual illusionary effect in the technique of making 3d drawings.
This image below is being shown the correct way up and is viewed from the front as you would any other drawing or image, directly from the front. It clearly shows how the drawing is distorted with the top being much wider than the bottom.
The 3d drawing of the lighter as viewed directly from the front showing it as it would be viewed when not looking at the correct angle.
The image below has been turned up side down and reveals that looking at it this way around presents an image that resembles a perspective grid for depicting something that is tapering off into the distance. This is because that is what it is and would be doing. If something is close it will be big and as it gets further away it will get smaller, and smaller, the further into the distance it gets.
The same 3d Anamorphic drawing from the front but turned upside down it gives the impression of any normal perspective drawing, creating the illusion of distance.
These 3d drawings can be created on a computer using GIMP photo editing software or any other photo editing software if you can distort images with a perspective tool. I found that if I took an image and placed a reference grid over the top of it on a separate layer in GIMP. Then merged both layers together and distorted it with the bottom being half as wide as the top, it created a good example of a drawing grid and picture combined. It produced an image that could be viewed with a camera to make it look like a normal image as shown in the example below.
Cadillac distorted 3d drawing, viewed through the camera lens at the correct visual plane.
It can easily be traced from an A4 sheet of printing paper.
This image could be used for tracing as the outline for drawing a 3d anamorphic perspective
This image below is the actual photograph of the distorted image taken with the camera it is the result of this photo manipulation technique to create 3d drawing on the computer for close up viewing with a camera.
Cadillac Image taken with a camera of the distorted image above, to show as an example
Then there are some images below this, with shots taken at a distance of about 10 feet, 3meters, of a box placed on a sheet of A1 cartridge paper. This is more closer to the working distance experienced by street artists doing, 3d drawings on the street.
3d drawing of box in comparison to the original photograph of the box in the correct position.
The actual 3d drawing of the box when viewed from the front and showing the reference grid lines.
Julian Beever sidewalk art and pavement chalk artist is now very well known on line. Over the past 6 or 7 years he has grown to become a very popular figure of discussion, which is because of his excellent 3d drawings having gained him widespread publicity, people sure like unusual subjects to discuss don’t they? In his work he creates the most amazing side-walk art by using anamorphic perspectives.
It could be said that he is an expert in the creation of dynamic optical illusions, with much experience in focal plane perspectives, this alone is to be admired, if not for any other reason than using anamorphic perspective and dynamic perspective to project himself across the world. Most of his work is celebrated by both people & businesses alike, having donated to this effort, allowing the opportunity for Julian’s work to exist. Once the work is completed it is abandoned, thus making it into what is called ephemeral art, an art form that has a short life span, something that eventually disappears like tears in rain.
Julian Beever Sidewalk art.
In his book (Pavement Chalk Artist) he proclaims himself to be an entertainer, a showman, who started as a juggler and become a community activist, celebrated on a global scale as well as also being a very competent draughtsperson. Maybe he has a BA degree acquired at Leeds Polytechnic under his belt but after that he certainly went his own way and set his mark on the world populace.
All I can say about him really, is street art.
Because Julian Beever sidewalk art is unusual it has drawn attention to him from people all over the world but he also uses the same tools as the media networks that publicize the creations and portray the work. Works that can only be seen at their best through the eye of a camera lens, the same camera lens that was used to draw them. Coincidence or not these are the same visual tools that are used in the media networks and the social media networks that are enjoying a bonanza online at the present, photos say so much and are so easy to share. Grab attention for yourself by creating unusual art, 3d drawings that you can give to the news and wider media to be shared using the same tools everybody uses, coincidence or not, it works.
Julian Beever sidewalk art, 3d paintings don’t seem that difficult when you know the methods used to create them so please let me tell you how.
If you look at a pole or post that stands upright coming up from out of the ground, it will look like it is standing upright, it needn’t be a pole or a post, it can be anything, I use a post for explanation because it is a simple shape to use as an example.
Take a look at it from about 6 meters or 12 feet away, you will easily see the image as an item standing upright. You will see the post with all the differing angles that your brain will tell you is a post standing in an upright position from the ground. If you then draw a picture from the exact position you are standing in or take a picture from that position with a camera, it’ll look like it is a post standing in an upright position. If you then place that drawing, image or photo, flat on the ground it’ll look like a picture lying on the floor but it will never have the look of a post that is standing upright. It will not matter how big or small it is, not even if as large as the post itself, it’ll never really look like an upright post. If you move further back away from where it is lying on the floor, it’ll be increasingly difficult for you to identify what it is, as the angle which you’re looking at will make it more and more obscure. Julian Beever correctly refers to this angel as a viewing plane.
This is why it’ll not work.
When looking at 3D objects in reality our eyes see many different angles which are related to size, shape and distance, because you’ve 2 eyes, they see little differences and your brain informs you when the objects are 3-dimensional by understanding the meaning of all these different angels, it tells you that what you are seeing is 3 dimensional and has more than 1 side, which is what happens for you to see in 3D.
An example of this phenomenon can be seen in Julian Beever sidewalk art below, described as the swimming pool, in the High Street.
Below is the same Julian Beever sidewalk art example of a pool drawn on another high street from an opposite viewing position to show how these images are elongated in order to make up for the distance they are being viewed at and giving the illusion of them being closer than they actually are.
This helps the Julian Beever sidewalk art to achieve the illusion below by tricking the eye into thinking the focal length is shorter also enabling Julian to give the impression of a very small man on the top of a very large bottle.
In the Julian Beever sidewalk art pictures above, I’ve highlighted the lines where the paving slabs join, so you are able to see more clearly that the top part of the bottle is much bigger than it should be in relation to the bottom to create the illusion of it being closer.See how the base of the bottle in highlighted section 2 is just a little bit less than the width of one paving slab but the middle section just before the neck begins to taper in, highlighted section 1 is almost 2 slabs wide and should help you to understand that the drawing is being distorted in order to help make up for the distance it is at.
The distance is best seen by looking at the Julian Beever sidewalk art example aboveto see how small he is when compared with the girl and looking at the gradual reduction of the size of the tiles, they can also be used to help to measure out and map the construction of your drawing like using a grid. The top part of the drawing looks like it is about two tile’s wide and much larger than the base of the bottle in the drawing.
Trying to understand how Julian Beever sidewalk art works.
When doing a drawing of a post so that it gives the impression of it standing upright, it would have to be elongated so as to confuse your eyes and brain into thinking it was closer to you than it actually is. It would also have to be much wider at the top to compensate for the distance and the further away it is the wider it would have to be because something further away gets smaller, meaning you will need to make adjustments to it in order to be able to compensate for the distance. Doing this in the drawing will give the illusion of it being closer than it is in reality. The Julian Beever sidewalk art incorporates these measures into the drawings to make them more believable and 3D looking.
A bit like the picture below, where the horizontal drawing is much larger at the other end from the base because it is farther away so it is drawn bigger making it look like it is closer.
Julian Beever sidewalk art.
Below is yet another example showing Julian Beever sidewalk art that shows the image as being elongated so that it will work from the distance in which it is being viewed.
The image above of the world picture shows another example of stretching the drawing and how the drawn image becomes much bigger as a means of compensating for distance Please take a look at the Julian Beever sidewalk art video below.
Below, I’m told this is a different type of drawing that has been attributed as being more Julian Beever, sidewalk art in the form of being a more traditional mural on a wall, it’d not surprise me as it is somewhat in a similar style that is reminiscent of other drawings he has composed. If this is not one of his drawings then it would be safe to assume that there has been some influence from Julian Beever sidewalk art in this work and I’d be very surprised to find it hasn’t. I like it as it’s very dynamic and impressive.
It turns out that the above image was not by Julian Beveer and may have even been an insperation to him and not the other way round because this work was unveiled in 1975
It is fifty foot by seventy five foot mural titled TUNNELVISION by artist, Blue Sky.
More information and work by the artist can be found here at this link.
Julian Beever sidewalk art, chalk art can be seen in his book (Pavement Chalk Artist) 2010 is full of wonderful insights about his work giving you a small insight into the mind of the artist himself and how he created this popular street art, I bought mine from here and it was worth every penny better than any ebook online.
The challenge is to draw this lighter as an Anamorphic Perspective and reveal how it is done for those who are interested in finding out.
I took the lighter image and inserted a grid over the top to use as a reference grid for doing the drawing, I also want to show what the Anamorphic Perspective Grid actually looks like.
My camera was set up so I could draw the grid by using a camera as a viewer so as to be more able to draw the grid by using the viewing window of the camera as a guide. This is the same position and angle that the original lighter photograph was taken at.
In the image below you can see both the grid that has been drawn onto the A1 sheet of cartridge paper and the image as seen through the camera lens. It shows the difference between the real drawing on the paper and the image being viewed through the lens and you can see that the image in the camera viewer is now symmetrical. This now enables me to copy the image from the lighter standing in upright position with reference grid over the top as above.
The image below shows what the Anamorphic Perspective Drawing Grid looks like when viewed directly from the front and looks like a normal perspective drawing grid that would perhaps be used for drawing a building looking down from the top.
This is my quick drawing of the lighter when viewed from the correct position with the camera as you can see it worked and the lighter actually looks like it is standing upright.
When you look at the image below it helps to get a look at it in its natural state as a flat drawing on a flat surface and help to get an understanding of how the Anamorphic Perspective works.
Below is the drawing completely in its natural viewing state as it can be seen directly from the front and now you can see how distorted it actually is. It is now quite easy to draw an Anamorphic Perspective grid because it is in actual fact a normal perspective drawing grid being looked at from upside down.
Julian Beever sidewalk art, chalk artist his work can be seen in this book (Pavement Chalk Artist) 2010 it is a full colour book of some of his work giving some wonderful insights about how he came to create this popular street art. I enjoyed reading this book and gaining the small insights into the thinking of the artist himself, it was bought from Amazon and it was worth every penny better than any ebook down loaded from off line, I prefer the real thing.
Before you begin to draw caricature cartoons, it is best to understand the principles of a caricature drawing, this is a drawing of a person whose features, have been exaggerated and it is usually drawn in the same style, as cartoons are drawn. When people draw cartoon characters, they usually draw them as line drawings in a cartoon style, so this is a good place to start. You might even want to try just copying a few cartoons, to give yourself a feeling for drawing in this style and doing this will give you some great results, quite quickly it will enable you, to get a feeling for it.
Caricature drawings are not just for those who are beginners, many professional cartoonists, make a good living out of drawing caricatures and often use this, as a way of supplementing their income and promoting their skills, in a fun way, you can often see up and coming cartoonists drawing impressive sketches in tourist areas of the passersby and celebrities in a few minutes for a couple of dollars. The caricaturists can often be seen working away their magic at fates and carnivals all over the world, amusing people, but this practice is most common in Europe. It is a fact that we do not all want to be able to draw a caricature in just a few minutes for the most part it is about enjoying the doing a finished product and how long it took does not matter to most of us.
Famous personalities are often exposed to caricatures and cartoons in newspapers or magazine articles. Artists often include props on the drawing to help readers make a connection with the celebrity in question and their caricaturized drawing. Footballers can be depicted kicking a football or a film star can be in a famous scene from a film. Singers can be seen holding microphones or playing instruments, the artist can also choose a minimum for the detailed environment in which the subject maybe sitting in a vehicle or standing on a patch of grass to place them somewhere. It is these little added details that are so important to take into consideration when learning to draw caricatures.
The elements of exaggeration in caricature drawing make them a perfect medium for satirizing what’s going on in current affairs. Images expressed in this way are sometimes created by taking on different aspects of the person’s behavior or personality, as well as the way they look or their appearance. An example of a politician that is regularly seen speaking out of turn can be depicted with a large mouth. An illustrator might even decide to highlight this feature by drawing a politician with their own foot positioned in their mouth, such an example is where the artist as actually thrown in a familiar take on the caricature drawing which describes the person accurately, they have got a big mouth and they are always putting their foot in it.
To discover caricature drawing well the first step to take is to focus yourself on becoming observant at finding peculiarities in other people. You have to teach yourself to be able to pick out their most outstanding, unusual or interesting features so you can exaggerate them in your drawing. Begin with facial features of the person; for example, look for particularly large or unusual shaped eyes, round puffed out red cheeks, peculiar noses that might be long, flat, wide, small or big, a pointed chin, narrow or large toothy grin. Many cartoonists often only draw just the face and shoulders a portrait type drawing but others will extend their drawings to the full body and use other bodily features such as height or lack of it, small, round and fat with these being exaggerated to make them funny looking. This is often seen as more difficult to draw but can help the novice to produce more useful material, making his subjects more recognizable. Taking the whole figure into consideration is probably a larger part of creating the distinguishing characteristics of the person being depicted. So when looking at how you might draw a caricature, you should also consider what other props you want to use to get the most out of your image.
It is most often good practice to start by taking your subjects from strangers in still photographs. There are an infinite number of images that are appropriate subjects that can be found online or in newspapers, beginning with strangers who will not get hurt if you mock them then as you get better with identifying and drawing the main features of individuals you can move on to draw more familiar subjects.
Politicians are good subjects if you had an interest in politics then you could make political statements based on the news in fact the news is a great source of subject material for caricature drawings.
News story lines can give you plenty of subject material to practice how to draw caricature cartoons as satirical sketches.
Sketching, draw and drawing are the same thing right, are they really, but of course they are, aren’t they?
To draw and sketch, are they the same?
“To draw is to sketch (someone or something) in lines; delineate; depict: to draw a vase with charcoal, to compose or create (a picture) in lines, to mark or lay out; trace: to draw perpendicular lines.
A sketch is a hasty or UN-detailed drawing or painting often made as a preliminary study.”
Many years ago when I was in school, I took an option to do Technical Drawing, I didn’t like it because it was more about mathematics, accuracy and precession with no room for mistakes, I did not consider it to be drawing at all. I believed it was too mechanical, too calculated and I did not realize then, that all drawing is about these same processes of measurement but carried out in different ways, using your eyes rather than a ruler. When doing Technical Drawing, you know how to do it and how it will look, before it has even been done but when you do some sketching, these restraints are not as important, as just getting something down on paper.
To me there is a big difference between them are: drawings are about accuracy and detail, where as sketches are about speed and experimentation, but to clearly define them individually, is difficult because aspects of both spill into each other.
When you draw with accuracy, the information you record becomes visual knowledge, so when you sketch, that same visual knowledge spills over into your practice, which in turn informs you’re sketching.
Sketching is about getting things right and wrong, to test or find new ideas, to drive your ability, where as drawing is about doing this but also it is about getting it right, with all the details in all the right places.
Drawings can sometimes also go wrong, which often inspires new ideas but with sketches, there is less emphasis on accuracy, so more opportunity for errors of judgment and greatly increasing the chance of finding happy accidents.
Happy accidents, are where people find positive outcomes by accident and many great discoveries in art, science and all other areas are found often, in this way, the one premise for doing this is, you won’t find anything if your not looking.
When people draw they first sketch an outline, then they sketch where the detail goes and then they draw in the detail. This process is one of the basic rules of drawing and sketching, along with working from light to dark.
When people draw, they first make small light marks identifying where everything goes, in relation and proportionate to everything else in the drawing, as compared to the subject of your drawing or sketching.
Drawing focuses on conveying subjects, through the deeper understanding of details contained within them, both require you to think, about what you are doing, at least in the beginning, both require you to constantly look, from subject to work area.
Both teach you to see and to look for more, even when producing less detail, you still learn to see in terms of plains, angles, curves, contour, light and dark, the process of drawing or sketching, will both aid the development of this ability.
The more you do it, the better you get at it, sketching, draw and drawing are the same thing right?
In the video above the wildstyle writer only gives basic instructions and examples of doing this kind of writing with good reason. Knowing how to draw wildstyle graffiti is something that is best developed with practice and not influenced too much by others.
How to draw Wildstyle graffiti, is a question most difficult to answer, perhaps the name gives us some indication, as to it’s demeanor, the character of Wildstyle is that of being a secret message, of the street but more so a message of the artist.
Each reputable artist has their own nuances, distinct from each other.
Take your name/handle or what ever you care to call it but take it, as far as it can go and just that little bit more because you can. I am old school so arrows play a major role, in all graffiti styles because they point and without trying to be smart, that is the point. Graffiti is an extreme form of forced advertising, a counter force rebellion against conformity and control, from the media giants, the masters of a brainwash plan, conform or be executed for resistance. Graffiti goes back to the beginning of time and has always been measured as a form of protest but it doesn’t have to be because it can just be fun.
Our social masters do not want us, to be free and scream anarchy, if we try to push the envelope beyond the norm, conform, you must conform, saying it’s rubbish because we can’t read it, as if it was ever meant to be read. Words and letters are deformed, beyond recognition into the secret language, known as Wildstyle, stretched and misconstrued, into the words of an anti social song, I am me, have it.
The media moguls conspire in secret but the Wildstyle writer secretly stands alone, like a warrior on the edge of time, forcing his message on an unsuspecting world, I am me, have it.
Long live the king, the king is dead.
Above is a quick example of how to draw Wildstyle graffiti, with heavy play on arrows and black outline, I am sure you could do better, so please do, if you want to write Wildstyle.
Study other writers, in the same way old school fine artists study the masters such, as Leonardo Da Vinci, Michael Angelo, Rembrandt to name only a few, this preparatory work, informs your further development. Copy the Wildstyles of other writers, in order to understand them, this will enable you to mix and match, when drafting your own secret codes of resistance and form your own style.
Always start out with basic, everyday readable letters, then keep working them into oblivion, distorting them into the unrecognizable entangled mass’s, known as Wildstyle, then do it all over again because you can. It pays to revel in your obsession, I do digress for reason because that is how to draw Wildstyle graffiti, by getting way off the subject but keeping, the tiniest thread of whence it came.
The guy in the video below shows three different letter styles that are also known as graffiti styles. He is drawing them big on a wall area with spray cans and gives a great demonstration of his interpretation of how to draw wildstyle grffiti as a basic wildstyle, as well as others.