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A simple approach to drawing a fish involves getting its fundamental structure right. Two basic shapes can help you draw your perfect fish – An oblong or square shape for the body of the fish and two triangles, one for the head and the other for the tail.

In spite of the wide varieties of fish, the framework of this water animal remains the same. Choose the type of fish you would like to draw and enhance it further with your creative imagination to bring out unique & desired results.

Things You Will Need
1. Pencil
2. Paper/ Canvas
3. Colors (optional)
4. Paint Brush (Optional)

Easy & systematic instructions to draw a fish
1. Basic Outline – Once we decide the type of fish we want to draw, we can make the basic structure of the fish. It involves three basic shapes.
i. Draw a straight horizontal line. The length of the line will depend on the desired dimension of the fish you are drawing.
ii. Eyes & Tail – At each end of the horizontal line, make a triangle, ensuring the triangles look like the ‘play’ or ‘rewind buttons,’ both looking in the same direction. In this case, the left most will serve as the face of the fish and the right most as its tail.
iii. Body – The area between the two triangles is the body of the fish. Join both the ends making either an oblong shape or a square, depending on the variety of fish you are drawing.
iv. Erase the supporting and guiding lines and darken the basic structure of the fish.

2. Enhance Features – Put your creative ability in action while you enhance the eyes, fins, tail, & body of the fish. However, you can keep these directions in mind.
i. Eyes – Draw a circle inside the left triangle preferably in the centre. Now draw a smaller circle inside the outer circle and darken it.
ii. Mouth of the Fish – From the pointed edge of the triangle, draw a slightly curved line.
iii. Fins – Along the outer line of the body of the fish, spacing out roughly, draw two fins on each side.

3. Shading / Coloring – Shading or coloring brings out the actual beauty of any drawing or painting.
i. Eyes – Draw a few lines under the eyes of the fish and darken the mouth to give it a realistic look.
ii. Body – Draw small semi-circles on the fish body to make it look scaly.
iii. Fins – Curved or wavy lines can be drawn on the fin and one side of the fin can be shaded darker than the rest.
iv. Tail – Draw small, fine but dark & closely spaced lines towards its end.

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About the Author:
Author Resource: Wild Bird Feeding Station
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Would you like to be able to create fantastic cartoons or sketches like in the Simpsons, Family Guy or Futurama? Or a portrait of a friend?

It is not as difficult as you think…

Whether you’re looking to make a career as a freelance artist, or you’re in business… or you’re just interested in a fantastic hobby… learning to draw delivers huge rewards.

As a starting point, why not access 5 free lessons from one of the best drawing teachers on the planet by visiting http://thedrawingcourse.com

Here are 5 surprising reasons why you should learn to draw:

1. Your powers of observation can dramatically improve as you learn to see things the way they actually are.

2. You will learn to communicate with more clarity as you develop the skill of discernment – learning what to leave out! A vital life skill…

3. Your ability to problem-solve will increase as you learn to proportion objects correctly in relation to other objects.

4. Your confidence will skyrocket as you learn new ways to express yourself and finally beat down the ‘I can’t do that beast…’ (Don’t worry – it exists within all of us!)

5. You will learn to become more flexible as you develop new skills and overcome hurdles.

So what does it take to succeed?

Well of course you need to have some desire to draw. That’s because (like anything else) drawing is a skill that takes at least some passion to learn. If you can’t bring that to the table, look for another hobby.

You need to find a fantastic teacher who has the ability to draw and teach. These are not one in the same thing – many skilled technicians are hopeless when it comes to communicating their skills.

How do you know when a course will deliver?

3 Tips For Finding The Right Drawing Course

1. Trust your gut when it comes to the right teacher – look for experience in the craft itself and teaching ability. 2. Look for a course that is well structured and delivers lessons in a variety of ways including audio, video and text. 3. Many offline courses are both time consuming and expensive… trust me, I know many people who are still paying off their University debts. Look for a course that fast tracks the process (as much as possible) and delivers the required skills in the shortest amount of time possible.

If you are at all interested learning how to draw, the best thing to do is to take the first step while you have some momentum up…

As a starting point, why not access 5 free lessons from one of the best drawing teachers on the planet by visiting http://thedrawingcourse.com

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About the Author:
Why are bio’s always written in the 3rd person? Time to break the mold… My name is Andrew Cox and I live in the beautiful coastal town of Mount Martha in Victoria, Australia. Seriously, you should visit here!
Since completing my post-graduate studies I have primarily worked as a coach and marketer. My first business, (not including selling ‘illegal’ chewing gum at boarding school) was in Personal Training – an awesome experience in sales, discipline and customer service.
Two years ago, I created The Hope Factory – a dream catching agency and resource centre for people looking to pursue their passion, build an online presence and create an awesome life outside the 9-5
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You may want to prepare your paper with a grid pattern to help proportion each section of your car. If you want perspective, you will have to choose a point on your paper that will be your horizon line. With the horizon line chosen, you will draw lines from points on your car to the horizon point.

What this is going to do for you is give an accurate reference point so you can add dimension to your picture. You do not want a flat look; you want the car to stand out. How about where is the light source coming from in your drawing? Is it from the side or behind?

Knowing where your light is will help you when it comes time to shade in your shadows. The points directly in the light will be much lighter with highlights. The darkest areas should be below the car.

How you make use of your pencils can have a drastic affect on the outcome. It might be best for you to start your drawing with light pencil lines then go darker as you reach the finished product. Light lines are easier to erase if need be.

All of this may sound like a lot to do if you are not familiar with drawing. It really is not difficult to do, everybody can learn. If you have an interest in learning, get one of the e-books available that teaches how to draw cars.

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About the Author:
Want To Know More? Click here for more information<a rel=”nofollow” target=”_blank” href=”http://draw-cars-quickly-and-easily.blogspot.com/” target=”_top”>Draw A Car </a>
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Many people believe strongly that there is an elite population of people that have some sort of uncontrollable skill. They believe that these people can do things that they themselves cannot do, and are able to do those things because of raw talent that they were born with.

The people who think this, cannot draw. Are you one of those people? Or can you draw, but for some reason think that it is raw talent?

I am here to tell you, that it is not.

People can draw or can’t draw, because of one thing. Practice. Those who can draw like da Vinci, or replicate a pile of grapes and a wine bottle on to a canvas to an inch of the said grapes life, can do so because they have practiced doing so from a young age.

Think of that person in school. Who you have dim memories of them, sitting quietly in the corner of the library and drawing her lunch hour away.

Or that cool guy that doodled in his books instead of listening.

Or the girl who always had a ‘How to draw this’ or ‘How to draw that’ in her desk. And sometimes she let you borrow them, but you always felt that she was better.

She probably was better. But not because artistic ability runs in her family since the early 18th century.

The reason these ‘talented’ artists can do what they do, is because of practice. I can draw because I spend so much time drawing.

You can read fast, because you spend so much time reading. Or you are a amazing rock climber, because ever spare moment will find you at the gym climbing the toughest wall.

The old saying goes, practice makes perfect. It is true.

So now you are probably thinking, if all it takes is practice, then why can’t I learn? My answer to that is that you probably can. However because it takes practice, you have to be committed.

There is one style of drawing that you could possibly learn with out to much practice. It does take a significant shift in the way you see things, though.

That is drawing from life. Most of you will have probably tried this at one point or another in your life. Whether it was in art class in primary school or a recent attempt because one of your children said, “Draw me!”

Either way, if you are unpracticed in drawing then the result was probably the same. A childish looking picture and a further blow to your drawing ego.

But look at one of those pictures. Really look at it objectively, and try to see what the problem is. It should be obvious as soon as I tell you.

Your drawing is of what you think you should be seeing, and not what you were actually seeing.

So in other words, if you drew a hand, you would have drawn all five fingers at their true lengths. But in reality you might not have been able to see all five fingers. And some of the fingers you could see may have been foreshortened.

To Draw from life you must be able to draw what you see, and not what you think is there. A good way to think of this is drawing a train.

The train you are drawing is coming towards you. The train has 18 carriages. You know this, but in reality the only carriages you can see are the first two. Because the rest are hidden behind these ones, at least from your point of view.

That brings up another point. You don’t need to tell everyone that will look at your art, about all 18 carriages by drawing them. If you really need to tell them, do it verbally, but I doubt they will be interested.

This is because art is about your own point of view. You are telling everyone about what you could see of this train. You are not teaching someone how to make the train. Lets leave that to engineers drawings.

Art is about drawing life. Draw from your point of view to tell about your life. Draw from life. And most important of all… Enjoy drawing all your life.

For the specifics in learning to draw, plus other articles like this go to http://www.simpleartlesson.blogspot.com

To view some of the authors artwork visit http://www.fishgirl1992.deviantart.com

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About the Author:
Megan Styles is a self taught artist that lives in New Zealand. She lives for teaching others art.
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For most people who are attempting something new, often the best way to learn is to find someone who can teach us. As children we learn by watching and as we get older we learn by listening to those around us. In our growing up years we are often taught by being directed through a series of steps. What direction provides in general is the framework on which we can build our skills.

In the school setting this idea of a framework applies to most areas but in particular to reading, writing and math. Students are first introduced to the letters of the alphabet by seeing the letter and then go through a series of exercises to learn how to write that letter. Often they are shown how that letter is formed on paper by a series of directed steps. This applies to math as well, when learning how to put the numbers on paper first and then moving on to more complicated equations. Drawing in my mind is really no different than learning to create the letters and numbers.

Drawing is a skill that can be taught. The same as we have a framework for writing there can also be a framework for drawing. When this framework is applied it will allow the student to gain skills that will move the student in the direction of becoming an artist. In the case of drawing the steps are quite simple. If a person can draw circles, squares and triangles then they can draw just about anything that they can see.

The trick is to learn the steps and sequences. My experience has been that most children from kindergarten and up can draw the three basic geometric shapes. The trick then is to “direct” their attention to where these shapes are in an object and then provide the steps to complete a drawing of what they see.

So do directed activities stifle creativity? For the purpose of this discussion I will use Shakespeare as my example. No doubt William Shakespeare had to learn to read and write just like any other child in school. I believe that he would have been shown or “directed” in the shaping of the letters and words.

No doubt Shakespeare, like children today, learned to write by copying or mimicking the sentences put in front of them by the teacher. I don’t believe that this in anyway stopped or stunted his creativity as a writer. He went on to become on of the best known authors of plays, poetry and sonnets.

For a more modern example I look at my teenage son who is learning to drive my car which has a manual transmission. A lot of time is spent directing him on how and when to shift gears. He spends time watching how it is done and then he gets the opportunity to practice what he has learned. In the beginning he sticks pretty close to what has been taught.

Will he get creative with his driving skills and my car later? I have no doubt that he will. The same applies to drawing.

In a recent class of grade six students, they were learning how to draw three dimensional houses. Once the instruction was finished their assignment was to draw their dream house. Most of the children thought in conventional terms of a square house and peaked roof.

One child decided that her dream house was a light house and used her newly learned skills to draw what she envisioned. Was her creativity stifled because of the earlier directed drawing lesson? I don’t think so and would like to think that the lesson gave her confidence to move on to something different.

Perhaps art like music is unique in the sense that if a person is not as good as they think they should be then they feel that they can’t do that activity. From the spontaneous drawings of young children we move to judging our artwork against others. In addition,

“since many classroom teachers feel that they “can’t draw” themselves, surely they can’t be expected to teach drawing to children. Given the lack of encouragement from adults in this area, it is not surprising that many children stop drawing around the age of eight or so.”    – Tony Godfrey – from Drawing Encounters with Children

The above scenario does not have to happen. Directed drawing is one of the best ways to give confidence to the teacher for their abilities as well as the student. The “I can’t” is soon turned into “I can”, and once you feel you can then, creativity blossoms.

In response to the comment, “directed drawing only encourages the student to mimic the teacher”, I would have to say this: teacher led activities should open doors and a good teacher will then encourage the student to explore beyond what has been taught.

My belief is that anyone can learn to draw, it just takes desire to do so and instruction. With this in mind I have created step-by-step instructions for drawing things we see around us using simple shapes.

When working with students, I tell them that if they can draw circles, squares and triangles they can draw just about anything they can see. Almost every child that I have taught from kindergarten to grade twelve can draw these three shapes.

I am also aware that to some children an eraser symbolizes mistakes. My step-by-step drawing program is set up in such a way that the child will not have to erase any lines. What they draw stays as part of the final picture and erasing is not necessary.

I have also published three books, one photographic and two drawing books. I am a member of the National Art Education Association as well as the North American Nature Photographers Association and the Professional Photographers Association of British Columbia.

Thank you

Stephan Baker
Educator
Graphic Artist
Photographer
http://anyonecandraw.ca

info@anyonecandraw.ca
(604) 845-1112

Article Source:http://www.articlesbase.com/art-articles/directed-drawing-and-creativity-1783286.html

Who Will Benefit Most From This Drawing and Painting ebook?

This drawing and painting course is primarily for experienced beginners that are frustrated by a lack of progress. This course is probably not for a rank beginner because it does not begin with basic sketching techniques. Also, it is probably going to be somewhat difficult to follow for children under 10 or 12 years old.

About The Instructor

Darren Chow describes himself as a self taught artist with no formal art education. He spent much of his youth drawing in school when everyone else was making notes. “When I feel bored, I draw. When I feel frustrated about anything, I draw. I just love drawing“.

The Physical Parts

There are no physical parts to this course. Instead it is downloaded as a series of PDF files to your computer from the internet. The ebook files can either be read directly on your computer screen or they can be printed and read from hardcopies.

A Partial List Of The Lessons

Volume One: The main focus of this volume is drawing in monochrome (one color) 96 pages

Getting Started, Subject Selection, Getting the Tools Ready, Understanding Light, Proportions,How to Draw Quickly and Efficiently, How to Create Exciting and Interesting Drawings, How to Create Moods and Atmosphere, How to draw Hair, Fur and Feathers, How to Draw Portraits and Landscape Drawing.

Volume Two: The main focus of this volume is drawing and painting in color – 109 pg

Important color concepts, the application of basic drawing techniques in color, key challenges that you’re going to face, examples and illustrations on how to work with each coloring medium, gouache paints, acrylic paint, oil painting and associated health hazards, the reasons why you can or cannot mix certain coloring mediums and six popular painting techniques.

The Bottom Line

Darren Chow is primarily a talented and passionate amateur artist. Unfortunately his lack of formal art education is apparent in many of his own works. His drawings often lack the polish and accurate perspective of true professionals.

The ebook format of this course is not ideal for learning to draw and paint. Video lessons with a companion support book provide a much richer experience that goes well beyond the written word alone. Watching and listening to a master painter is a more complete way to learn such an intensely visual subject.

If this ebook sold for $15 instead of $47 it might be worth it. If you intend to learn from an illustrated book (instead of a video course), there are other books that are far superior for less money. For these reasons I cannot recommend the MyArtPassion Method of Drawing and Painting.

John Mackinnon, having grown up in an artistic family, has had a passion for art for over 40 years. If you wish to find a good set of painting lesson dvds, John has posted a series of detailed reviews and comparison charts of some of the top courses. Learn which Painting and Drawing Lessons are gems and which to avoid before you buy… Go to Painting Course Reviews

Article Source:http://www.articlesbase.com/visual-art-articles/myartpassion-drawing-method-review-1487852.html

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Image by golden_toque via Flickr

If you enjoy drawing or want to learn how to draw and make people laugh at the same time, then learn to draw caricatures is the site for you.

Do you have aspirations of perhaps becoming a cartoonist or caricature artist?  What if you could find a way to guarantee your artistic success.? By learning the real secrets of how to draw caricatures, you could become a caricature artist and dramatically change your lifestyle.

Just imagine if you had a constant stream of work and could go from job to job, drawing your cartoonish faces, with no slowdowns.

Just think about earning money from simply drawing cartoonish faces.  Can it get any better than this?

Just imagine how impressed and amazed your friends would be after you develop the skills necessary to become a successful caricature artist.

Are you in disbelief that a cartoonist can become so successful?  Well the “caricature artist” is the life of the party or social event.because he makes us laugh.  And don’t we all love to congregate around an individual that make us laugh?

And while other guests at a party are milling around making small talk, you are making people smile and laugh with your caricatures.

Drawing cartoonish faces is lots of fun, and you can be compensated quite well for it.  Armed with the correct instructions and skills, you’ll have no difficulty finding customers who will desire your talents on a regular basis.

But learning how to draw caricatures that people will love and pay cash for is the most difficult part of successfully becoming a caricature artist.

It might take a small fortune and years of studying and work to learn just the right combination of techniques that will make you highly successful and in constant demand.

However, why do things the hard and difficult way when you can now learn all the insider secrets in a new learn to draw caricatures home study course.

You owe it to yourself to try this incredible course.  Please visit learn to draw caricatures to get started today!

Article Source:http://www.articlesbase.com/visual-art-articles/how-to-draw-caricatures-for-fun-and-profit-1402352.html

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Often you see pastel paintings in exhibitions and wonder how the artist arrived at the finished product?

PENCIL – When you go to a shop to choose pastels they often appear quite gaudy colours or very dull, so I think people are often unsure which to choose.

As a contemporary artist I would say you are better not to choose too many colours to start with. In our modern times you can choose ready selected boxes to suit a certain type of subject. It rarely happens that you need to use all the colours in the box.

Generally you are better to choose just a few colours that you know you will use. For example – initial colours for say landscapes, a nice variety of different greens, but some neutral colours maybe to blend in or to highlight various areas.

PALETTES – You are the artist so you need to choose wisely, but generally, I personally would include the following: Cadium Yellow, French Ultramarine, Burnt Umber, Burnt Sienna, Cobalt Blue, Olive Green, Crimson Lake, White, Lamp Black and perhaps another shade of yellow and red. There are also different variations of pastels, so this has to be taken into the equation.

OIL – These do not crumble, but you cannot mix them with other pastels. On the other hand they are nice because they do not smudge easily, superb for fine work, because they do not crumble.

SOFT – These are crumbly, colourful, they smudge, are nice to blend with and will cover quite large spaces.

HARD – Easy to erase, not so crumbly and great for first sketches.

I am a contemporary painter and would recommend to you that it is better to pay a tiny bit more for your paints if you wish for your work to last well. The pigments are normally better and therefore less likely to fade. If you want to keep your pastels clean keep them in a box.

However cover the box inside with ground rice. The roughness of the rice rubs against the pastels, it cleans any dirt they may have picked up which they often get from rubbing against each other. Clearly you need to wipe them over before you use them.

Usually a lot of people just keep them in a box lined with corrugated paper or in improvised supermarket package trays. It is often better to work with your painting on a tilt as then, specks of the pastels that crumble will simply drop off.

Last but not least it is better to have your paper secured to a board wider than the paper you are using.

Make sure to take time to choose the paper you use and most important of all – enjoy your art!…

Pastels are generally a good medium to start painting with and everyone has to start at some place. They are easily accessible to the general public to buy, whether in the stores, art shops or maybe a local stationers. They vary in price considerably, but some sell on the market really cheaply.

So there is something within the range of all pockets. Adults and children alike love experimenting with them, they take up little space so they are so easy to carry on your person together with a small sketchbook.

This article was written by Anna Meenaghan of http://annameenaghanart.com

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To craft interesting fluid portraits that radiate life you must appreciate the effect of the spine on the head and shoulders.

To create a relaxed feeling in your portraits quite often you will need to sketch the head tilted. Most people when they are at ease will view with their head slightly tilted. In this article we will point out what to look for and how to tackle the tilted skull.

In the tilted skull view the model will show a clear change of direction from the action of the torso to the tilt of the skull. Also take note of where the shoulders are. The subject’s shoulders will approximately be aligned with the bottom of the nose.

With this information in mind, the first step is to gauge the angle of the skull’s tilt (from the bottom of the chin to the top of the skull) before drawing the arabesque. To do this hold your pencil (or a knitting needle) at arm’s length, closing one eye, and adjust the angle of the held pencil so that it relates to the angle of the slant. Keeping your arm straight and locked you can now transpose this angle onto the sketch.

Now that the angle of the tilt is established you can sketch the arabesque and validate the height/width proportion.

The axis of the features is perpendicular to the tilted facial angle. A common tendency while drawing is to straighten out the features so that they are horizontal to the paper. Be aware of this and ever on-guard because this tendency is delicate and is constantly trying to sneak into the drawing.

It is not a suggested practice to establish all of the features at this stage. It is actually more accurate to first fix the brow line and the base of the nose and work from there.

When the skull is tilted you should also be conscious of the effect that gravity has on the face. The flesh, particularly on the underside of the jaw, will be somewhat pulled down. This effect is quite subtle but for those of you who are expert portraitists you should catch this in your original arabesque. If you are a novice just put this information away for future reference.

Take note, also, of the neck. The relevant visible neck muscle is extended. Its companion is compressed. This opposite muscle action is referred to as abduction/adduction. This action of the neck always renders a striking effect.

Once the construct is located and you are satisfied with its accuracy relative to proportion and shape you can sketch in the features and block-in the chief big darks and lights. Keep the tone simple. The more complicated the lighting arrangement, the more this applies.

The tonal arrangements are worked further, but are still a bit crude and unresolved. The prime concern is the overall light effect.

There are a few things to keep in mind as you prepare to finalize the sketch:

1. Ask yourself how far you should carry the sketch. You can get a good effect if you give the shoulders and upper torso an unfinished quality. Remember, drawings are not meant to resemble photographs.

2. As you gain a better understanding of the facial structure the trend exists to render what you know rather than what is actually there. So make sure you always pause to observe the life model or the model in the photograph.

In conclusion, the slanted head view is special in that the features will be centered on a slanted axis and that the tension in the shoulders will be different from one side to the other. Also the transition from the torso and shoulders to the skull should be carefully inspected.

Do you want to learn the secrets of pencil portrait sketching? Download my brand new free pencil portrait drawing tutorial here: pencil portrait tutorial.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at pencil portraits by Remi.

Get realistic points of view for how to tattoo – your personal guide.

Posing your model surrounded by a few props can add much interest, dimension, and appeal to a portrait and goes a long way to describing your subject. A prop can add appreciably to the composition of the portrait. Sketching a portrait with a prop, such as a hat or even ear muffs, obliges you to above all pay attention to the complete arabesque.

Quite often the starting artist will be tempted to approach a prop as a separate entity or an afterthought so that rather than complimenting and blending in a supporting role with the subject’s face, it looks artificial and overwhelms the model or is incorrectly proportioned or sketched.

In this expose you will learn the expert approach to drawing a prop entity that frames the center of interest even with a supporting entity that is bigger than the face.

First, the presence of a prop does not change the approach to drawing the pencil portrait. As with sketching any other portrait, you should use all your usual basic skills and apply them throughout the normal processes of your rendering effort.

So as always, you start with the arabesque which in the case where the head and the prop item overlap will be a “construct” which is a complete arabesque that encompasses not only the shape and proportions of the skull but also of the outline of the supporting entity where it overlaps with the skull.

In the context of the presence of a prop entity that overlaps with the skull, the construct becomes of crucial importance. It helps a lot with the maintenance of harmony. If you do not draw from the reference of a construct, the skull and the prop will appear as separate structures.

While you work through the subsequent stages of your portrait drawing (proportions, landmarks, blocking-in, stumping, etc.) you should constantly be aware of the fact that your supporting item should not overwhelm the face of your model.

The face of your subject should remain the primary focus. Your sketch should not turn into a still life of your supporting item that also happens to show a person’s face in the background.

One trick that can help you with understating of the supporting entity is to only draw the merest of details inside the supporting element. Another one is to soften the values of the supporting element but only if it this appropriate in the context of the overall intent of your sketch.

Again, we cannot stress enough the importance of maintaining the cohesion between your subject and the prop element. That is why it is significant that you render from the construct which already links the model and your prop item as one overall object. Of course, this also implies that you do the toning in a similar spirit and not overdo the lines and values that separate the model and the supporting entity.

So, in conclusion, the principal considerations when including supporting elements in your drawing are to make sure that the arabesque covers the entire contour of the head and the supporting elements.

In addition, be sure that at all times you keep in mind that the supporting elements should never become the focus of your sketch. If you stick to these guidelines, the utilize of props entities should never become a problem for you.

Do you want to learn the secrets of pencil portrait drawing? Download my brand new free pencil portrait drawing course here: portrait drawing tutorial.

Remi Engels is a pencil portrait artist and oil painter and practiced sketching teacher. See his work at graphite pencil portraits.

Grab important tips in the sphere of how to tattoo – this is your personal knowledge pack.