DrawingTool

Draws in a sit n go hold'em tournament are those faint glimmers of hope that can lure you into swimming towards the bottom of the lake, when you should be swimming in the opposite direction towards the surface.  Too often, that faint glimmer fades.  And, you find yourself out of breath, out of juice, and a long way from help.  So it often goes with most poker draws, even with the potent 15-outers.  But, enough of the allegory.  Let's get down to the facts. 

We all know the definition of a drawing hand.  One that has little or no showdown value starting out, but could improve to a winning hand depending on the board cards.  A redraw describes a made poker hand that has probably become beaten, but still has outs to improve to the winning hand.  Draws are a common, integral occurrence in poker.

Here is a typical situation.  Say your starting hand is 9s-Ts, a nice suited connector drawing hand.  On the flop, comes a 7s-8s-Td.  At this point, you would probably be holding the winning hand with top pair, and a decent kicker. Plus, you hold great redraws to a straight, a flush, and a straight flush.

But, then the turn brings the Ad.  Based upon your read of your opponent and the betting action, you feel that you are now behind to a better hand, possibly an A-x top pair.  Or, even an A-T, top two-pair.  However, you know that all is not lost.  Because, you have redraws to a straight (8 outs), to a flush (9-2=7 outs), to trips (2 outs), and to two-pair (3 outs).  Any of which would likely give you the winning hand on the river.  And, of course to a straight flush which would be the absolute nuts. 

But, not all of these outs are bona fide.  In some cases, you could be drawing dead:


If your opponent holds A-T, your two-pair draw would be no good. 
If he holds 9-J, then you either lose, or only split the pot, with your straight draw.
If he holds As-xs, then your flush draw is no good.
If he holds 7-7, or 8-8, then your trips and two-pair draws are no good.  And,
If he holds T-T, then you have no trips draw, and again your two-pair draw is no good.


 

So, in these scenarios, drawing dead means that:


In making your draw hand, your hand is still beaten by your opponent's made hand.  Or,
In making your draw hand, your draw card improves your opponent to a better hand.

Now, the question becomes, how should you proceed with this example hand?  Assuming that you have the correct pot odds to call an opponent's turn bet, and you likely would with so many outs (as many as 20, but in reality much less).  Do you make the call if losing the hand would mean your tournament elimination?

Think about it.  There are a number of considerations.  So, for a moment let's play devil's advocate:


What if you have misread your opponent's hand?  What if he flopped the nut straight, or a set?  He then counterfeits some of your outs.  And, your opponent likely wins.
What if you both improve with the river card?  In that event, your opponent wins.
What if you do not improve?  Then, your opponent likely wins.
What if the actual deck is cold?  That is, what if most of your out cards were dealt to the other players?  Remember that virtual outs are merely hypotheticals.  They may not actually exist.  In other words, if my decision would place my tournament life in the balance, then I would weigh heavier my read of my opponent and the betting action, over the virtual, and possibly non existent outs.  So, if the deck is cold or poor in your out cards, your opponent likely wins.
What if you take the risk, win the hand, but are eliminated in the next.  The point is that you cannot win the tournament in one hand.  But, you can be eliminated.  Meaning that when the option is available, severe risk should be trumped by survival.  Stated differently, why risk survival for a one time gain that does not guarantee over all survival?


 

When you play a drawing hand, these are the type of complex situations that you will often be entering.  So, how do you simplify the situation?  How do you unravel the complexities to expose a clear path?  Here are some general guidelines for playing a drawing hand in a fast sit n go tournament:


If your tournament survival is dependent upon winning the pot, take the risk.  That is, if you are a desperate short stack, given the example hand, then shove preflop, or definitely on the flop.
If your stack is average or better, then keep the pot small.  In the above hand example, there are too many red flags to be risking too many chips.  Check-calling or check-folding are the prudent options.


 

Basically, when playing a drawing hand, keep the pot small until you have something.  There may be tactical reasons to sometimes bet the come (which builds a larger pot), such as bluffing or misdirection.  But they are few, especially when out of position.  The general goal with a draw is to make your hand for cheap, then to build the pot.  Not, vice versa.  If the going gets expensive, get out.

Note that this discussion does not take into consideration the odds of making a draw, or the pot odds for a profitable call.  Indeed, these are important considerations.  Especially in a limit ring game.  But, because of implied odds, perhaps a little less important in a no-limit ring game or tournament.  And, almost unimportant in a fast, no-limit, single table tournament.

In a fast single table sit n go, chasing a draw is rarely worth the risk.  While the virtual odds to improve your hand might be good, even above average, they are never in your favor.  In fact, they are usually decidedly against you.  Not to mention, that the actual odds might be absolutely against you. 

And, even though the pot odds might indicate a long term profitable call, this is not a long term proposition.  Instead, your drawing hand could become a one time, all or nothing, do or die gamble for your tournament life.  The difference is that we are not seeking to grind out a marginal profitability over a long series of repeatedly similar situations.  Where, such as in a ring game, we will win some and lose some, but end up a few dollars ahead.

Instead, in the fast sit n go setting, we should be seeking to engage in only those situations where the outcomes are predictably and significantly weighted in our favor.  The limited number of starting chips in a sit n go are just too difficult to replace.  If you lose with a drawing hand, and you usually will, you cannot simply buy more chips.  Plus, the amount of time available for recovery of lost chips runs out too quickly. 

So, chip risks must be limited.  And, one good way to limit risk is to avoid all but the best and cheapest of draws. 

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Know how to draw zombies? If not, read on and learn how to draw them like a virtuoso with these easy steps.

Drawing is one of the most fulfilling and exciting hobbies around, but not all of us have the talent to draw the things we like. However, with a little practice (I know, you've heard that many times) you can master the art of drawing anything.

It cannot be denied that during our childhood years, we are fond of drawing things from our imagination, not only on walls in our homes which mom used to hate, but in cartoons and on anything with a flat surface. However, as we grow older, drawing slowly diminished as one of our hobbies and replaced with online games, making cookies, traveling and collecting things.

Those with the urge to draw took short courses to enhance their drawing talent while some made use of the Internet to gain tips and steps on how to draw different types of objects. In fact, on the internet there are tutorials on how to draw just about anything - and they are free.

One of the favorites "how-to's" on drawing are zombies and those dark creatures of the night.

Follow along with me here with your sketch pad and let's see what you can do. Assuming you have never picked up a pencil since you were in grade 3 or so, let's start by drawing very loosely.

If you like to learn how to draw zombies, follow these steps here:

Before beginning your zombie drawing, take a peek on Google images where you will find a variety of zombies. Select a few you like and make some rough sketches which are similar -- but don't copy them! This is only to spark your imagination. You create your own Zombie.

Get out your ring-bound sketch book and doodle with your pencil while thinking about those images you like. Exaggerate any of the features that look "Zombie-ish" to you.

Near the middle of your paper, make an oval head shape with wobbly outlines. Zombies have many bones protruding through the skin with (sometimes) hanging flesh, teeth that look frightening in color and shape, with sunken eye sockets and eyes that pierce one's soul.

Sketching quickly gives your drawing more vitality even though a zombie can be classified as the "undead." Sketch the eye sockets with roundish shapes, a triangle dark shape for the non-existent nose, and a gaping hole for the rotting mouth area. This is where you can get creative with the teeth - some are missing while others are cracked and discolored. They are certainly not all even so draw them in different lengths, some pointed, others jagged.

They do not have much hair on top and what they have is matted badly so a little knowledge of a skull can be helpful. Go to Google images again and find a few skulls to draw in.

You know Zombies are not kind and friendly creatures but rather like the devil incarnate. The eyes usually show evil thoughts so try various shapes, sunken or bulging, almost all black except for a faint dot of light.

Once you have done a few rough sketches with a variety of features, the next step is to plan your final Zombie by selecting all the features you have sketched that you like. Draw them in freely and if you do not like the result, just flip the page to a new sheet and start again. You have lost nothing and gained some experience in drawing.

If you have a passion for drawing, you can draw anything either from life or from your imagination. With a little practice coupled with your passion, your masterpiece is perhaps a few drawings away! Either a Zombie or...

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Kids who love to draw can now improve their drawing skills with the help of online drawing tutorials. These are basically websites that provide a number of tricks and tips to draw various things. You can learn to draw cartoons, people, nature and many other objects. Since kids are by nature inclined to drawing such sites are very useful for them. They can learn to draw their favorite cartoon characters with the help of step by step guides. No matter how difficult a figure or object might be, online drawing tutorials have made drawing them extremely easy.

These sites are great fun as they offer a huge collection of tutorials. Different kids love to draw different things. Some are into cartoons while others love to draw nature. Some children like to draw people or faces while others enjoy drawing automobiles. Sites that offer a wide variety of tutorials are very useful as they allow visitors with all kinds of interests to learn to draw what they like the most.

Kids who are into cartoons can learn to draw characters such as Spiderman, Superman, Batman and other actions figures. Also, they can learn to draw Mickey Mouse and other Disney characters. There are endless choices from which kids can choose. In the same way, those who love to draw nature can learn to draw objects of nature like Christmas tree, flowers and many other things. The animal lovers can learn to draw animals such as elephant, tiger, horse, donkey etc.

You can learn to draw all these things and a lot more with the online drawing tutorials. Other than the great variety, another great thing about this site is that it is free. You do not have to pay anything to learn to draw different things. It is a wonderful thing about these online resources which makes them an ideal way to pursue learning to draw. Unlike the campus based drawing classes, it is very easy to learn to draw online. You do not have to travel or pay anything to become an artist with the help of these tutorials.

Other than the drawing tutorials, the other features of these sites such as forums, making friends online and sharing your work with others make these sites all the more fun. All these features make these online drawing tutorials extremely intriguing.

So get on the internet and explore the fun of drawing with online drawing tutorials now!

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Making a contour drawing may seem a little overwhelming or pointless to you. Let me say there are a great many advantages and lessons learned through doing these drawings.

First, let's discuss what a contour drawing is. Before you can draw the human form, or anything else for that matter, you must be able to see it accurately. Contour drawing is a tool that helps artists develop this skill through the sense of sight and sense of touch.

The contour is the edge of the model in space, or in more simple terms, it is the outline or horizon of the form. Contour is more than the outline; it shows forms within overlapping other forms and so on. It creates the sense of 3D. It is curved lines representing specific forms along the silhouette of the form. Defining contour can be tricky but as we explain how to do the contour drawing, you will see a clearer definition.

How to draw the Contour...

Contour drawings should be handled carefully and delicately to see the great benefits in your drawings. To make a contour drawing, you must be able to see the different variations in the shape of the figure you are drawing. Put your pencil on your paper and fix your eyes to a starting point on the model. The starting point should be on the edge of the model. Starting on this contour, move your eyes and drawing hand slowly along the edge/contour at the same time. (A helpful hint is to turn sideways so you are not tempted to look at your drawing.) As you move your eyes along the contour, your pencil is moving along the paper to draw the contour. These are done synchronized. Don't worry about your drawing! Just keep concentrating on the edge/contour/ as your eyes follow along the contour. Follow this edge/contour until it ends or changes direction. When it changes direction, establish a new starting point and begin the process again.

One note of caution...Try not to let your gaze get ahead of your pencil. Don't get too concerned about the accuracy of the drawing. Use patience and practice and you will reap the benefits of this tool.

Benefits of Contour Drawing...

Contour Drawing is a great tool for helping artists to be able to see the model/human form accurately. It helps you develop this skill through the sense of sight and sense of touch.

Since childhood, we are sometimes taught to draw icons as certain shapes. Use a football shape for an eye, etc. Contour drawing helps us learn not to be iconists. We start seeing the subject correctly. In addition, contour drawing helps create a sense of 3d. Done well, it can stand-alone. Contour drawings help us get rid of biases that may have been ingrained since childhood.

If you have further questions contact us at
info@learning2draw.com.




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For most people who want to learn drawing, there are three main problems that seem to cause a lot of confusion. Let's examine these three issues.

1 How to start a drawing

The first major hurdle is how to start a drawing. For most artists, budding or experienced, gazing at a blank sheet of drawing paper can seem like a terrifying ordeal. How to start a drawing always seems to create a feeling of helplessness and anxiety. Don't worry there is a simple solution! When I teach drawing I introduce students to a technique known as 'The Basic Unit'. The basic unit is a single line or a single shape in the scene that is used to locate the scene or subject on our drawing paper. This fixes the composition and allows you to start your drawing with confidence.

2. How to scale to scene to the drawing

The second major problem is that of scaling. Most of the time we need to draw a scene or subject at a different size from the original; this is called scaling the drawing. Many beginners who learn drawing try to draw subjects the same size on the drawing paper, known as same-size scale; in fact the artist will often position the subject at a distance that makes it fit on the paper. This is a drawing practice to really be avoided if you want to draw better. The concept of the basic unit, mentioned above, also solves the problem of scaling the scene to the paper.

When you have placed your first line or shape as the basic unit on your paper you have automatically scaled the drawing correctly for the composition you want. When artists simply guess at the size of something to start the drawing they often find that later the drawing is either too small or too big for the paper. This is very common with portraits when you start by drawing the eyes since we tend to draw eyes too big. You can avoid this problem by using the basic unit method.

3. How to draw perspective and proportions

Learning drawing of proportions and perspective is the third major topic that seems to cause many problems. If you want to draw realistically it is crucial that you draw the proportions and the angles of lines in the scene accurately. The traditional method of measuring using a pencil, and then transferring the measures to your drawing paper, really requires some experience for accurate results. This is not easy for beginners to learning drawing or those with only a limited experience. There is a better method which uses specific drawing aids that I teach all of my workshop students. By using a standardized method with the right tools guarantees you will draw with correct proportions and angles and so obtain the same perspective as existed in the scene.

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When people first pick up a pencil and decide that they want to learn how to draw professional looking portraits and pictures, they often doubt that they will ever be able to draw like the pros. This is because most people label drawing as being a sort of natural talent. However, this could not be further from the truth. Contrary to popular belief, drawing is in fact a skill that can be learned. Of course just like any other skill, drawing takes practice.

When artists begin to draw they follow a step by step process, once these steps are completed they begin to adjust their drawing as needed. Some of the most basic drawing tips when first beginning to draw are sketching and shading. Drawing has literally been broken down into a science. When you learn the basic fundamentals of drawing and the simple techniques artists use to create masterpieces, you will realize that drawing is not as difficult as it may seem.

Drawing Tips

Sketching

When first learning how to draw you will need to learn how to sketch. Sketching is similar to drawing; however, it is a step in the drawing process that focuses on lightly outlining the image you plan to draw. Sketching is often performed with a very light pencil, which does not damage the paper you are drawing on and allows for erasing of excess marks when you are close to completing your drawing. Usually the harder the lead of the pencil the lighter the pencil will mark. So it is important to know what pencils you will need when beginning to draw.

Shading/Hatching

Another very important basic process when learning how to draw, is shading. Learning how to shade is what allows artists to make their pictures appear lifelike and realistic. Artists refer to shading as adding value. For example for darker areas of an image and artist will apply more shade value, whereas lighter areas will be given lighter shade value. A technique called hatching is the term artists use when adding shade to their pictures. Hatching is done by simply making very thin lines close together in the area you want to provide value to. Cross hatching is done by crossing these lines with one another to adjust the darkness of the area that is being shaded.

Drawing Supplies

To become a great artist you will also need to be aware that there are a variety of different tools artists use when creating pictures, such as different kinds of pencils, erasers, coal sticks, special drawing paper and so on. Be sure you become familiar with these supplies and how they are used when drawing, this will make all the difference in the outcome of your drawing projects. If you think you cannot draw, do not worry, with the proper tools and resources you will be well on your way to creating wonderful pictures in no time.

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Reading Level: Beginner

It is common that civil engineer needs to prepare drawings. It is carried out after the design of structure or civil works has been completed. How to have a proper drawing numbering system in order to has better presentation? Below are some tips on drawing numbering system.

1. Time control.

It is useful that a project starts with month and year. As for example, if an awarded project on say 12 April 2007 than your drawing number may 042007 and not 120402007, because it may become to complicate. On the other hand, you can select year as control item 2007. Initial drawing number will be 042007

2. Client name control.

Let say, your client is ABC Company and with item 1; your drawing number will be ABC/042007.

3. Engineering field control.

Say your project is building a unit of structural building. You may further add with "ST". "ST" is abbreviate for structural. You can use other abbreviation as your preference. Then drawing number will be ABC/042007/ST. For civil works such as earthwork, you can use "EW", water work use "WT", sewer work use "SW", drainage work use "DR" etc.

4. Type of structural element control.

When you design the building structure, the structural elements may consist of pad footing foundation, column, beam, slab etc. You have to use a list of abbreviation for the structural elements such as pad footing foundation-"PF", column-"COL", beam-"BM" and slab-"SB". For instance your drawing is showing beam details, then your drawing number will be ABC/042007/ST/BM01 (first drawing), ABC/042007/ST/BM02 (second drawing) and continue with this notation. This type of arrangement is good for adding any new drawing into every section without disturbing the overall drawing number. As for example, you are using only one type of notation say ST for all structural elements, then your drawing number will be ABC/042007/ST/01, ABC/042007/ST/02, ABC/042007/ST/03 ...

When or during the project in progress, there will be tendency of amendment happened. If you need to add one sheet of beam drawing into your project drawing number and the beam drawing numbers are in the range of ABC/042007/ST/03 to ABC/042007/ST/04. Total number of drawings says 10 numbers; last drawing number will be ABC/042007/ST/10. How to add a drawing after ABC/042007/ST/05? You have to add it after ABC/042007/ST/10 i.e. ABC/042007/ST/11. However, it will not in the sequence of beam drawing arrangement. If you have more break down as mention earlier, then it is easy to add a new drawing into each section and for the current case is ABC/042007/ST/BM03. It will not affect the presentation of drawings.

5. Drawing amendment.

When there is an amendment on a particular sheet of drawing say drawing number is ABC/042007/ST/02. How will be the amendment to be shown on drawing number? One suggestion is using abc notation. ABC/042007/ST/02a is first amendment; ABC/042007/ST/02b is second amendment etc.

In short, the formula for drawing number will be

[name]/[time]/[engineering field]/[type of element][numbering][amendment].

When you follow the numbering system as mention, your project drawing numbering can be easily to be interpretation.

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Online drawing tutorials provide you with an excellent way to learn the techniques of sketching and drawing. These websites have in fact emerged as the best contemporary solution to learn drawing various things. There are a number of reasons that makes the online drawing tutorials the best way to learn drawing. Here are some great benefits of online drawing sites:

• Firstly, the online drawing tutorials allow you to learn drawing in an easy way. You can sit at the comfort of your own home and learn to draw whatever interests you. There is not need to attend the conventional art classes when you can learn the same skill without going anywhere. All you need is to have an internet connection and you can learn to draw almost anything you like.

• Another advantage of online drawing tutorials is that they are free. You do not have to pay any kind of fee to learn drawing or sketching. This way you can fulfill your passion for art and save a lot of money which you may need to spend in case of learning this skill in the traditional way. The art lessons which are based onsite are certainly pretty costly while the online lessons are free. This makes the drawing websites the best solution to equip yourself with the technique of drawing.

• Furthermore, the online way of learning art and drawing also saves a lot of time. This is because you do not have to travel to a school or college to learn to draw. Thus it saves your travel time as well as money that you need to spend to travel. Not only this, the online drawing tutorials are designed to help art freaks learn drawing within no time. They are very easy which allows you to learn the art of drawing in a very fast way.

• You can find drawing tutorials in a wide variety. It means that kids and grown ups having different interests can easily learn to draw their favorite stuff without any problem. You can learn to draw almost everything under the sun with the help of online drawing tutorials. This includes cartoons, people, heroes, objects, landscape, animals and several other things. The wide array of art lessons also makes these websites extremely useful for people having different interests.

To be able to come across some online drawing sites, you can search in your favorite search engines. However, research well and settle for the best tutorials only.

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This article covers nine more common mistakes that can be seen in the work of not just students but also professional artists. If you think your drawings are fine the way they are now, then try taking a closer look because there is just about always some room for improvement in everyone's work - it is a never-ending process. The ideas presented here will produce a noticeable improvement, which will in turn generate a more positive viewer response. This article is loaded with information and will probably be most effective if used as a reference when actually drawing the figure. Also, please note that the first three mistakes have to do with the artist's choice of materials which play a bigger role in the drawing process than many people think. So, take a look at the nine more mistakes frequently seen in figure drawing and see if any of them apply to you.

Mistake #1 is the use of cheap drawing materials. High quality materials are essential to the drawing experience and should be used from the beginning for several reasons. Their textures and colors are superior and help to give nuance and beauty to what ever you do and in this way will actually help develop your drawing skills. When a cheap paper resists your medium you can spend the entire drawing fighting the paper and little else. Good quality papers such as Cancon brand drawing papers hold your medium much better, allow for more variety of strokes and also come in a beautiful array of colors. In terms of longevity, high quality paper will not fade or turn yellow, so that twenty years from now your artwork will retain its original look whereas cheap papers lose their color and become brittle over time. So, in the long run more expensive materials are actually the better bargain because they have so much to offer. Finally, from a psychological standpoint, the use of finer materials is a way of demonstrating your faith in yourself to create art that is just as of a high quality as the paper you draw on.

Mistake #2 is using a limited number of materials, and ever trying anything new. If you explore a wider variety of mediums you will learn more about drawing in general. Each material has its unique expression that is imparted in the art process. For example, conte crayon gives smooth, broad and velvety strokes and so is excellent when working in a larger scale or creating broad areas of tone. Graphite pencil with its fine point is excellent for small and detailed drawings and charcoal pencil is best when you want splashy, calligraphic lines. Each material and its inherent character will mirror different aspects of your own personality as an artist. New materials stimulate new ways of thinking.

Mistake #3 is to only use materials in their traditional combinations. An example is the common use of charcoal pencil on white paper - while this combination is fine, you can also create some visual interest by mixing what have been considered separate categories of mediums. For example, there is an assumption that ink doesn't mix with pencil or that pencil, pastel and paint exist in different worlds. The truth is they all mix together beautifully in a drawing, if the artist learns to work with them. For example, you can mix oil paints with pencil successfully, but this combination of materials is rarely seen in life drawing workshops. Even if you are doing simple line drawings, you can include several colors of pencil - such as red for the figure and black for the accents and it will give the piece more visual interest. But, be careful because too many materials chosen randomly can result in visual chatter. Be thoughtful in your choices so they enhance each other and contribute to the overall feeling of what you want to say - then it will work beautifully.

Mistake # 4 is to think that the more anatomy you know, the better your figure drawing will be. There are a number of great artists whose knowledge of anatomy was limited and yet were still considered masters. One example is the French artist Paul Cezanne known as the founder of Modernism and whose work commands huge prices at auction. When looking at his work, it is obvious that his knowledge of anatomy was limited but it didn't matter because he was rich with artistic ideas. As he himself said, "I am the primitive of the method I have invented," So, the ideas you bring to your work are the most important thing, even over the correct placement of muscles. If you bring an idea to a drawing you will search out and find what you need in the model's anatomy and thereby become proficient at anatomy without formally studying it. It is like a person thinking they need to memorize all the words in the dictionary before beginning to write a poem. Interestingly, when drawing the figure, it will be more believable if the artist does NOT follow the anatomy perfectly. Drawings that strive for anatomical perfection above all else often appear stiffer and "muscle bound".

Mistake #5 is to subconsciously impose your gender onto the model. If you are a man, the tendency is to make women look too masculine, and if you are a woman, the tendency is to make the your male model look feminine. Basically, many artists inadvertently conceptualize the model through the filter of their sexual gender, which becomes most apparent when drawing a member of the opposite sex. To compensate for this, the artist needs to closely observe the male or female characteristics of the model and to play them up a bit. If you are a woman drawing a male model, emphasize the man's more blocky forms, straighter lines, narrower hips, square jaw, stronger brow line and larger Adam's apple. A woman will have softer and more fluid lines, gentle curves, larger hips, a smaller waist, more delicate hands and feet and a lighter complexion. You don't need to do this in an obvious, heavy-handed manner, you can do it subtly, but make sure you in some manner consider the male and female qualities of your model.

Mistake #6 is to allow the curves you see on the figure to become concentric, that is, they end up facing each other. When two curves are drawn directly opposite each other in a life drawing, a bull's eye is created which disrupts the natural visual flow throughout the figure. The observer's attention will get locked up on the circular form now created, much like a target. An example is when drawing the calf on the leg - the curve on one side will be higher and longer than the other side but many artists will draw them directly opposite each other. The solution is to be attentive to both sides of every form as you draw. Stagger the curves on each side of a form and slightly shift them (do not to allow them to face each other) and that way the eye will travel smoothly along the figure. Establishing flow in a drawing is the mark of a professional and gives the drawing a cohesive quality.

Mistake #7 is the reliance on the camera for data because the camera has the potential of limiting one's artistic expression. The result is a drawing that is too stiff and or that looks like it was done like the photo. The solution is devote extra time to hone your drawing skills to the point where a camera is not really needed or if it is used, its role should be minimal. The French artist Degas is a good example of an artist who discreetly incorporated the camera in his work process without ever relying on it. When the artist puts more of himself in the drawing and less of the camera, the drawing will have more "life". If you have to choose between accuracy and being creative, choose being creative.

Mistake #8 is to draw the figure's contour (its outside shape) without suggesting any of the converging forms within, most of which overlap each other. Neglected areas of the body that are often "glossed over" in a broad contour line include the arm, neck, hip and leg joints. The result that there is a lack of definition and the drawing looks mushy. To solve this, when coming to an area where two forms meet, be prepared to make some breaks in the contour line to help suggest that one form is in front of the other. This concept is especially important to use when working on foreshortening and is the key to pulling off some of the more difficult poses.

Mistake #9 is spelling out every part of a drawing without leaving any neutral or inactive areas. When an artist renders every detail the drawing loses some of its life because it is over controlled. Art is a dialogue, a form of communication between you and your audience. The neutral area lets your audience bring their own imagination to the piece, much like a conversation in which you have to be quiet part of the time so the other person can participate. If you don't have some visual silence in your work, the viewer will (if only subconsciously) feel a bit stifled in its presence.

Mistakes are important to define because as long as they are there, your drawing is diminished in some way and the mistakes will inhibit clear communication with your viewers. But mistakes are not bad because within each one is an important lesson. Also, without mistakes your drawing could never progress to the next level of understanding so they do serve a purpose. In my experience they are best looked at as opportunities for growth although I think James Joyce put it best when he stated: "Man's errors are his portals of discovery."

Miriam Slater is a fine artist known primarily for her figurative paintings and painted objects, however she has always had a life long interest is in drawing the human body. She has studied life drawing techniques for over twenty years with some of the best teachers available, including figurative artist Harry Carmean.

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Are you all ready to start drawing and are now ready to try out drawing techniques?

If you have read my previous articles, and have done what I suggested, you will have:

1. Great drawing supplies

2. Joined a drawing community

3. Found a great photo to draw

4. Wondered when I would finally tell you how to draw.

You are all ready to draw.... but don't know how to get started. Let me start you off with two excellent drawing techniques.

There are so many different ways to draw. You may be looking for the drawing technique that will help you draw what you see. Or, you may want to try something new and see what happens. In this article I will discuss the step by step technique and the drawing upside down technique. Recently I started using both when drawing photos of people.

The Step by Step Technique

Before you get started with the step by step approach, make sure the image you choose to draw is:

1. Not too hard for you. Do not try drawing something that is really detailed or looks too hard right away. Save that for later. A simple object drawn well can be very rewarding.

2. Clear (perfectly in focus).A great picture makes for a great drawing. Don't draw from a grainy, unfocused, blurry, distorted, fuzzy (I am running out of adjectives) image. Why set yourself up for failure? It is not worth it.

3. Something you really want to draw. Drawing something that looks real takes time. You have to really want to draw your subject. For example, if you love cars, try drawing one. Challenge yourself.

Step 1

Most people like to start with the HB or an F. I usually like using the 2B. It does not matter what pencil you choose as long as is fairly hard.

Using your light pencil, draw a very VERY light outline of your drawing. For example, draw only the outline of the head, eyes, pupils, mouth, bottom of nose, eyebrows, and hair.

Don't get caught up here for too long. Make it rough. It will never look very good until you start shading which comes later. Perhaps you need to hide you eraser for this part. If you can not get the proportions right, grab a ruler and lightly draw lines that are one inch apart. Do the same to the photo you are drawing from (which should be the same size as your drawing). Find what is wrong and move as quickly as possible to step 2.

Step 2

Next, take out a darker pencil, that is if you are using a pencil lighter than the 2B, and start filling in the parts of the picture that you see that are a little darker.

Don't draw highly detailed areas yet. Just get the parts that are important. Don't draw the lines or wrinkles on the face, the necklace, or the strands of hair. Stick to the eyes nose, mouth, and outline of the head.

Step 3

Next, once you are done the darker areas start working on shading in your lines. It is important not to leave all most of the shading for last because otherwise you loose some of the smudge some of the details you want to stand out. Then you will have to draw them all over again. Some artists shade in the whole area, such as the face, and then lighten shaded areas with their kneaded eraser. I prefer not to.

Step 4

Next, start working on some the important details. It is wise to start (if you are right-handed) on the top left of the page and work your way down the subject. Start with the eyes, then work on the nose and then the mouth, assuming your drawing a face. Once you are finished the important details, shading in your lines as you go, start on the hair, ears, finishing the neck, etc.

I usually leave the background for last. I often like to keep it light or very dark. That way it focuses the viewers attention on the drawing and not the background (I will explain why in an article on the use of positive and negative space).

Finally, blend those unwanted lines, and then you are finished!

When you are finished trying out this technique you may also want to try out the upside down technique. My next article will describe how to use this technique.

Happy drawing!

Reuel Feenstra is a drawing artist who draws photos of people. He has his own website at 2bdrawing.com. He began drawing at a very young age and has recently started drawing for photographers around the world.

Visit his website

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Learning how to draw cars is not as difficult as you may believe. Many beginners when attempting to draw cars will fail at first because of that "I can't do it" mentality. They will see all of the details, the shadows and the highlights and become intimidated and lose confidence. In order to succeed, to really learn how to draw, you must remove all preconceived notions about drawing.

Learning how to draw is really a matter of breaking down what you see into smaller parts or shapes. You have to look at the picture as a smaller step by step process. When you break things down like this the problem at hand becomes easier to draw. But before you go off and start to draw those cool muscle or race cars, you really need to understand a bit more about the supplies you will need. How else are you going to draw those cool cars?

Having good supplies is definitely going to make it easier to draw and more enjoyable, but it won't make you a better artist. You must learn and understand the basics first. Quality equipment is an aid, but it is not a substitute for your skills or abilities.

The first thing you are going to need is a good surface to draw on. You will need a solid sturdy table, desk, or drafting table. Whatever you choose to draw on, make sure the surface does not wobble and is level. Do not settle for a cheap surface. It will only frustrate you and make things more difficult. Many artists like to work on a surface that is on a slight angle towards the artist which promotes a better posture. Being comfortable is very important.

Make sure you have good lighting. Learning how to draw cars is challenging enough. You do not need the frustration of poor lighting. Your lighting should be even so that there are no shadows or hot spots of light, so you may need more than one light source to draw with. There are specially made lamps for artists that produce light which mimics natural sunlight.

You can purchase these online or at art stores, but I have found that the professionally made lights for artists can be rather expensive. If you happen to live near a Home Depot or other home improvement center, try looking in their lighting department. I purchased my lamps there for under 20 dollars each.

As for what tools you should have on hand to draw with, there are no "One drawing tool fits all" formulas. You will have to experiment with different pens and pencils until you find the ones that are the most comfortable to draw cars with. It is probably best to have a variety of drawing tools on hand.

Many car artists have various pens, pencils, markers and even paints on hand to produce different effects. For instance, some car artists prefer to work with Prismacolor "Verithin" pencils for sketching fine lines and for light shading. Other artists prefer the convenience of mechanical pencils as there is no sharpening needed. Mechanical pencils are not the best for shading in areas however. So you see, having a variety of tools on hand to draw with is essential.

Paper is another item of personal choice. Again, you have to experiment. Just like pens and pencils, there are also a variety of drawing surfaces. Try your favorite pens and pencils on various surfaces. Drawing surfaces have different textures and thicknesses and your drawing mediums will behave differently depending on the surface and how you apply them. You may also find guides helpful to draw with. Some car artists prefer to use ellipses and straight edges to help create straight lines and circles, while others work free hand.

If you do not happen to live near any art supply stores, you can always purchase your supplies online. Just go to any major search engine and type in "drawing supplies" and you will find plenty of online shops. My recommendation is Misterart.com. I have been buying my supplies there for a few years now and my shipments are always delivered fast and in perfect condition.

I hope these tips and instructions have given you more insight on how to draw cars. The most important thing with drawing cars, or any art for that matter, is to never give up. Keep practicing. Practice every day if possible and keep a sketchbook of your work so that you can keep track of your progress. You will get the hang of this and learn how to draw cars.

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The biggest challenge most beginner artists face: the fear to make mistakes! Even expert artists struggle often with their lack of self-confidence. At last these feelings are causing most artist's blocks - sometime the artist is aware of this, sometimes not.

Most probably you experience the same problem. But no need to worry, you can prevail over this main difficulty for your drawing success.

You and Your Drawings

Well, to be truthful it's not that effortless. Your first step should be to relax and to make yourself clear: there's no need to fear failure! You won't have to prove anything to any person. Your drawings are for you as long as you don't want to show them to others. Before reading on, take some minutes and instill this thought in your mind!

Ok, what's your conclusion? Perhaps you see now, that you are fearing most to fail before yourself? For this case I can show you a recipe later.

Avoiding Drawing Failures

The next essential advise to follow: when starting your drawings, reduce your risk of failure. Follow these two vital steps:

Easy subjects are the one to choose! I know it's tempting to start drawing difficult subjects - a portrait of an adored person or beautiful sceneries you saw of late. But this will inevitably lead into failure unless you are an unusual genius. You need time and practice to develop your drawing skills. So start with simple subjects. Copy other drawings, photos or simple still lives (if necessary). Prefer subjects consisting of straight lines over complicated curved shapes.

Simple techniques are the one to choose! Don't use colored pencils right from the beginning. Don't aim for drawing photo-realistic pictures right from the start. Start small and simple, first capture only proportions and outlines of your subject. Concentrate on simple parts and leave all the advanced stuff like shading, texturing etc. for later.

Ensure Constant Progress

Third you must ensure your progress is constant and regular. Two tips for achieving this:

Drawing a few minutes each day helps more than drawing through the whole weekend. I myself fail to follow this advise too often, but I learned it the hard way. So find a few minutes every day for drawing.

Don't be afraid to repeat! Something went wrong? It's the best reason to repeat this drawing and starting over again. But avoid overdoing it until you get bored by drawing. Instead find a new approach each time. Try different angles, light conditions, interpretations, compositions etc.

Silence the Art Critic Within You

And now the most important trick. Your fear of failure is most probably to a large extent your fear to fail before yourself. So you need to silence this small little critic every one of us has within oneself.

Actually it's a bit tricky to silence this critic completely. It's easier to deflect him using this trick:

Always when you want to start to criticize yourself, every time you feel your critic trying to spring into action, tell him: "Later!". Store the drawing away and have a look at it some months later.

When you take your drawing again and begin to criticize, it is some months old. Usually you'll see it isn't as bad as you thought. And if it was not that perfect, it cannot hit your self-confidence. When you followed these tips, you know: during the last months you improved that much there is no need to worry about failures you made months ago!

Learn Drawing Faster

Silencing your critic works best if you can really make sure your progress is regular and continually. Besides the tips I showed you, you can additionally boost your progress by getting a some good exercise books or practices on DVD.

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