THE COMPLETE BOOK OF DRAWING

OPTICAL ILLUSIONS 3D ILLUSTRATIONS AND SPIRAL ART

JONATHAN STEPHEN HARRIS & STEFAN PABSTs

TABLE OF CONTENTS

INTRODUCTION

CHAPTER 1: GETTING STARTED

Tools & Materials

Drawing Techniques

Adding Color

Creating an Illusion

CHAPTER 2: SPIRAL DRAWING

Triangle

Square

Square Pattern

Hexagon

Cube

Heart

Cross

Perspective Pattern

Overlapping Spiral Pattern

Worms

Curved Pattern

Symmetrical Pattern

Tree

Diamond Ring

Rose

Eye

Butterfly

Panda

Giraffe

Elephant

CHAPTER 3: OPTICAL ILLUSIONS

3D Oval

Impossible Triangle

Impossible Pentagon

Impossible Cube

Impossible Star

Impossible Nuts

Three Prongs

Five-Legged Elephant

Silhouette

Monkey

Water Droplet

Kitten

Torn Paper

Earthquake

Spiral Hole

CHAPTER 4: 3D DRAWING

Levitating Sphere

Anamorphic Cube

Transparent Cube

Cube

Rubik’s Cube

Hole

Glass

Chichen Itza

Tyrannosaurus Rex

Leaning Tower of Pisa

Ladybug

CHAPTER 5: INSPIRATION GALLERY

ABOUT THE AUTHORS

INTRODUCTION

Have you ever seen a magic trick and said to yourself, “How did they do that?” How about an optical illusion? Optical illusions are like magic tricks of the art world. These images cause confusion and disagreement between our eyes and our brains. Someone viewing an optical illusion may think they’re seeing one thing, but upon carefully studying the image, the viewer will realize it’s something different. Trick art may seem impossible to create, but with just a little guidance, these images can be easily achieved. The Complete Book of Drawing Optical Illusions, 3D Illustrations, and Spiral Art explains how to draw basic optical illusions, as well as some advanced tutorials for 3D art. Optical illusions are fun to draw because you can wow your family and friends, just like a magician!

In the first few pages of this book, learn about the basic tools, materials, and techniques that will help you create various optical illusions. In the second section of this book, you’ll see spiral drawings with decorative elements that look as if they were drawn with curved lines, when in reality, they consist of straight lines. Geared toward the beginning artist, these are basic optical illusions that are fun for artists of all skill levels but achievable for beginners.

The third section of this book features optical illusions that range from impossible shapes to a five-legged elephant to what looks like a spiral hole or a crack going into your table. The fourth section uses various tricks to make drawings look three-dimensional and like they are floating off of the paper. Follow the steps, drawing carefully, and then stand back to see the illusion! In the final section, you’ll find an art gallery of spiral illustrations, optical illusions, and 3D art that can inspire your next piece of artwork!

CHAPTER 1

GETTING STARTED

TOOLS & MATERIALS

There are a few basic tools you will use when creating spiral art and other optical illusions:

Workstation: Set up a work area that has good lighting and enough room to lay out your tools. During the day, use an area with good natural lighting. When drawing at night, use a soft white lightbulb and a cool white fluorescent light to provide both warm (yellowish) and cool (bluish) light.

Working surfaces: A flat or slightly tilted surface is best for drawing, and an easel is the traditional choice for oil painting.

Paper: Heavyweight 100lb cardstock paper is durable and doesn’t crease easily. Plus, it can withstand almost any medium without fear of it buckling. Single sheets of paper work best. Art paper is available in a range of surface textures, from smooth grain (plate and hot-pressed) to medium grain (cold-pressed) and rough to very rough. Choose rough paper if a project calls for using the drybrushing technique.

Drawing implements: Begin drawing with an HB (or #2) pencil. A sharpened HB pencil produces crisp lines and offers you good control. If your pencil has a rounded point, you can create somewhat thicker lines and use it to shade smaller areas. Use permanent markers or fine-line marker pens to outline if the project calls for it.

Ruler: A ruler is helpful when drawing straight lines, but it is not necessary to create the art in this book, unless specified in a project’s instructions.

Eraser: An essential item, a kneaded eraser (also known as putty rubber) can be formed into a small wedge or point to remove mistakes in tiny areas. Vinyl erasers work well for larger areas and can remove pencil marks completely. Vinyl erasers won’t damage your paper unless you rub too hard. Try not to use a hard eraser if you can help it. Keep in mind that your paper can handle erasing up to a point, but it’s important to draw lightly. You can always make a drawing darker, but it’s very hard to go back and erase a mark when it’s applied with too much pressure!

Tissue: Use a bit of tissue to smudge and blend your pencil marks into shading and shadows.

Colored pencils: You can use regular colored pencils, especially when you are first starting out, but Prismacolor Premier colored pencils will result in a higher-quality end product. These are smoother and easier to blend.

Markers: Permanent markers produce well-defined colors, and you can blend them simply by applying more pressure.

Paints: Several projects in this book include oil painting. Paint color and consistency vary slightly according to each brand, and there are many different quality options. Experiment with various brands and decide which you like best. Each project in this book that uses paint lists the colors you will need.

Paintbrushes: Brushes vary in size, shape, and texture. Some are sized by number, and others are sized by inches or fractions of inches. There are four main brush shapes: round, filbert, flat, and bright. Cleaning your brushes after use will keep them in good condition. Each project in this book that uses paint lists the paintbrushes you will need.

DRAWING TECHNIQUES

A solid foundation in drawing will prove valuable when you’re drawing optical illusions. Master your skills by practicing drawing basic forms, as all objects can be reduced to one of four basic forms: sphere, cube, cylinder, or egg.

ADDING VALUE

Each form has five distinct planes, or surfaces: light, halftone or midtone, shadow, reflected light, and highlight. Each form also creates a cast shadow onto a nearby surface. You can represent each of these planes by varying the value of your drawing medium or paint. Value refers to the lightness or darkness of a color or of black. Variations in value create the illusion of form on a three-dimensional surface. Accurately representing an object’s value pattern is crucial for creating a sense of realism.

Cast shadow: An object’s shadow that is cast upon another surface, such as a table.

Core shadow: The darkest value on an object. It is located on the side opposite the light source.

Midtone: The middle-range value located where the surface turns from the light source.

Reflected light: This light area within a shadow comes from light that is reflected off of a different surface nearby (most often from the surface on which the object rests). The value of this depends on the overall values of both surfaces and the strength of the light, but it’s always darker than the midtone.

Highlight: The area that receives direct light, making it the lightest value on the surface.

DRAWING WHAT YOU SEE

Humans have stylized ideas of what objects look like, and we often translate these to our drawings and paintings. Once you learn to truly observe an object, you might find that these ideas interfere with your ability to render realistically. Use the exercises below to help train your eye to draw what you really see instead of what you think you see.

Negative space: Draw only the negative space, or the space between the main objects. You’ll notice yourself focusing more on the accuracy of shapes than how you think the objects should look, resulting in a more realistic representation.

Upside-down: Draw from a reference image that has been turned upside-down. You’ll find that disorienting yourself a bit will bring your focus to the shapes and distract you from any misleading ideas your brain may have.

Tracing: A light box is a special desk or an inexpensive box with a transparent top and a light inside. The light illuminates the paper and allows dark lines and shapes to show through for easy tracing. Photocopy or print out a reference image to your desired scale, and place it on the light box, securing it with artist’s tape. Then place your drawing paper over the reference, and flip on the switch. The light illuminates the drawing underneath, helping you to accurately trace the lines and shapes onto your new sheet of paper. You can make your own light box by placing a lamp under a glass table, or you can use natural light through a window.

Transferring: Print out your reference at the size you plan to draw it. Place a sheet of tracing paper over the printout, and trace the outlines. Coat the back of the tracing paper with an even layer of graphite, and place it over a sheet of drawing paper, graphite-side down. (Instead of coating the back of the tracing paper, you can use transfer paper, which already has one side coated with graphite.) Tape or hold the papers together, and lightly trace your outlines with a pencil. The lines of your tracing paper will transfer to the drawing paper below.

ACHIEVING PERSPECTIVE

Perspective is a technique that allows you to represent three-dimensional objects on a flat surface or plane. In art, there are a number of ways to use perspective to obtain the illusion of depth, including using colors and graduated values of black and white, and accurately drawing the subject by applying the rules of the geometric system of perspective.

In order to achieve perspective, you must make a number of observations. The forms or objects that you draw on a flat surface actually have depth and dimension in real life. As you view them and place their shapes and forms on a drawing surface, try to represent that depth to make the objects appear realistic and three-dimensional.

Objects appear differently when viewed from various positions. Because of this, it’s important to establish the viewpoint and stick with it. When observing a subject, you see depth and three dimensions. When you draw this subject onto a flat surface as it appears to the eye, you are drawing in perspective.

When drawing some of the 3D images in this book, you can copy what you see in the book or use the “keyhole” sketching method. The “keyhole” sketching method will help you draw an object in front of you. Place the object that you want to paint or draw on a sheet of paper. Then choose the angle that you want to view the object from, such as directly in front of you or from the side.

To help your eyes focus on the object’s position on the page, it helps to support your chin on a surface. Depending on the angle, you can rest your chin on a stack of several books or simply place your chin on your drawing table. The angle from which you see the objects will be even flatter if you place your head lower than the tabletop. View the subject from this angle as you draw it, and the three-dimensional effect will be seen from this viewpoint too.

Notice how different this painting of the Leaning Tower of Pisa (see here) looks when viewed from different angles.

ADDING COLOR

Adding color often makes for the finishing touch in a drawing. Using color on your optical illusion drawings does more than that, however. Various coloring techniques can be used to further the illusion.

You can choose to go monochromatic for a sophisticated look. If you’re nervous about adding color to a drawing, make a photocopy of it and color it in. This will take away any fears of making mistakes and give you lots of options for playing with color.

Coloring can add depth, which enhances the visual perception and helps grab viewers’ attention. Use darker colors for the inside of the spiral patterns and lighter colors for the outside edges. For an additional effect on spiral drawings, leave the outside edges of each inside space white. Just don’t color all the way to the edge. This will really make the image pop!

The color wheel

Stick to the main rules of color theory for the best-looking final image. Use colors that complement or contrast with each other based on their location on the color wheel. Complementary colors are any two colors that sit directly across from each other on the color wheel, such as purple and yellow. Analogous colors are adjacent to one another (for example, yellow, yellow-orange, and orange). Analogous colors are similar and create a sense of unity or harmony when used together. To mute a color, or make it more subtle and less vibrant, mix in a bit of its complement.

USING PAINT

Several 3D projects in this book will require the use of oil paints. The variety of effects that you can achieve—depending on your brush selections and your techniques—is virtually limitless. Experiment to find out what works best for you. A few of the approaches to oil painting and brushwork techniques are outlined below.

Flat wash: To create a thin wash of flat color, thin the paint, and stroke it evenly across your surface. For large areas, stroke in overlapping bands, retracing strokes when necessary to smooth out the color.

Glazing: You can apply a thin layer of oil over another color to optically mix the colors.

Glazing

Drybrushing: Load your brush with oil paint and dab the bristles on a paper towel or rough sheet of paper to remove excess paint. Drag the bristles lightly over your surface so that the highest areas of the canvas or paper catch the paint and create a coarse texture, scratchy appearance, and irregular effects. This technique also works well to create shadows. Enhance it by drawing and painting onto textured surfaces.

Drybrushing

Wet-into-wet: Apply layers of wet paint to already-wet paint.

Blocking in: The early stages of a painting often involve blocking in the major values, beginning with the midtones. You can paint the midtones as flat masses of tone and color.

Thin paint: Dilute your color and use soft, even strokes to make transparent layers.

Thin paint

Wiping away: Wipe away paint with a paper towel to create subtle highlights.

Oil paint takes a very long time to dry. It can take several days for a layer of paint to feel dry to the touch. Make sure to keep a wet oil painting well protected as it dries by storing it in a dark room with little risk of scuffing.

CREATING AN ILLUSION

Optical illusions are a tricky thing. When viewing an optical illusion, your brain works slower than your eyes to trick you into seeing what’s not actually there—often through the use of perspective, color, light, and/or patterns.

With spiral art, the lines merge to create movement. The process involves drawing straight lines that create curvature, giving the illusion that the lines are curved. The lines appear to spiral toward the center in what is sometimes referred to as a “logarithmic spiral.” Each curved line that reaches from one corner of the original shape (for example, a triangle) to the center of the spiral is roughly the same length as one side of the original triangle. The lines work together to create depth, perspective, and an elegant three-dimensional form. What makes this form so appealing is that the distances between the curves of the spiral increase in geometric progression, similar to what can often be seen in nature. This phenomenon occurs in seashells, galaxies, bands of tropical storms, and many other places.

Other optical illusions trick your mind into seeing something that is not actually there. Our eyes see what our brains think we should see, and the brain will actually supply the missing pieces in the split second your eye sees and processes it. A great example of this is the Five-Legged Elephant (see the step-by-step project on this page). Your brain knows that elephants do not have five legs, so your eyes make you believe you are seeing four until your mind catches the mistake.

A few techniques can be used to create three-dimensional art that pops out at you when viewed at a certain angle. Shading goes a long way toward furthering an illusion; it can create an artificial depth which makes the object appear solid rather than flat. Cutting away parts of the background can also help an object stand out and appear three-dimensional. Lastly, most optical illusions must be viewed from the correct angle to truly see the illusion. As you work through the optical illusions in this book, you will learn that what you draw on paper is not necessarily what you will see in the final drawing—that is, once you step away and view the image from the right perspective.

CHAPTER 2

SPIRAL DRAWING

TRIANGLE

1 Start by drawing a triangle with three sides of equal length.

2 From the top point of the triangle, draw a diagonal line to the bottom line.

3 Repeat step 2 on the other two sides of the triangle.

4 Repeat steps 2 and 3, keeping the spacing between the lines consistent.

5 As you near the center of the triangle, you will see a spiral pattern begin to develop, and the lines will appear to curve.

6 Fill the center of the triangle to complete the spiral pattern.

SQUARE

1 Draw a square with four equal sides.

2 From the top-left corner, draw a diagonal line to the bottom of the square. From there, draw another diagonal line to the right side of the square.

3 Repeat step 2 on the other two sides of the square, keeping the spacing between the lines and the edges of the square consistent.

4 Repeat steps 2 and 3 for the inside lines of the square.

5 Continue drawing lines as you see the spiral begin to form.

6 As you near the center of the square, the lines will begin to bend—or at least appear to do so.

7 Take a step back and look at your drawing. At first glance, it may appear that there are some curved lines, but in fact, the entire pattern was created using just straight lines!

SQUARE PATTERN

1 Begin by drawing a square with an “X” through it to create four triangles.

2 Draw three diagonal lines inside the top triangle, ensuring that each line starts in a corner and tapers to the opposite side of the triangle.

3 Repeat the same process three times, keeping the spacing between each line consistent.

4 Repeat steps 2 and 3 in the next triangle.

5 Now do the same on the opposite side!

6 Finally, repeat steps 2 and 3 in the last triangle.

HEXAGON

1 Using a compass or a circular object to draw around, lightly sketch a horizontal line and a circle around it with a graphite pencil.

2 Use a pen or marker to draw two lines of approximately the same length inside the circle.

To ensure accuracy, you can lightly sketch in pencil first using a protractor. The exterior angle of a hexagon is 60 degrees.

3 Mark two dots on the bottom of the circle, and sketch vertical lines from top to bottom.

4 Connect the sides around the circle to create a hexagon.

5 Erase your pencil lines and begin to create your spiral pattern inside the hexagon. Start by drawing lines from the corners, ensuring that the spacing between each line and the outside edge of the hexagon is the same distance all the way around.

6 Repeat step 5 inside the lines you just drew.

7 Keep adding lines as your spiral pattern begins to take shape.

8 Continue adding lines until you’ve completed the spiral pattern inside the hexagon.

CUBE

1 With a graphite pencil, lightly sketch a vertical line and a horizontal line to create a cross.

2 Use a pen to draw diagonal lines on either side of the vertical line, creating a diamond.

3 Draw the sides of the cube. For an accurate drawing, lightly sketch with graphite pencil; then go over your pencil lines with a pen or marker.

4 Erase your pencil lines and begin to create the spiral pattern. Draw a diagonal line from the center corner to the bottom of the left side; then draw another diagonal line from there up toward the left side. Keep the spacing between the diagonal lines and the outside of the cube approximately the same.

5 Repeat step 4 for the other two edges; then draw a diagonal line on the opposite side from the bottom-center corner up to the top edge. Again, keep the spacing consistent.

6 Repeat the same process along the other two edges and draw a diagonal line from the top side of the cube starting at the center corner and ending at the top-left edge.

7 Repeat this process again along the remaining three edges on the top side of the cube, and add more diagonal lines to the left side. Follow the same pattern and keep the spacing consistent.

8 You can now see the spiral beginning to take shape. Keep drawing!

9 Once the left side is complete, move on to the right side.

10 Repeat the spiral-drawing process on the top side of the cube to finish it.

HEART

1 Lightly sketch a vertical line with a circle on each side. Sketch a curved line on one side; then draw over it with a pen or marker. Sketch another curved line on the other side.

2 Draw over the right-side curved line with a pen or marker; then draw over the center line as well. Draw a diagonal line from the center of the heart downward; then draw another line that follows the curve of the left side of the heart to the center line. Draw a curve along the top edge of the heart and repeat this step inside the lines you just drew.

3 Continue to add lines inside the heart, keeping the spacing between them consistent. You should now have formed a spiral on the left side of the heart.

4 Repeat steps 2 and 3 on the right side of the heart to complete it.

CROSS

1 Lightly sketch a cross; then outline it with vertical and horizontal lines, as well as lines on each of the ends.

2 Draw diagonal lines from the ends of the lines toward the center corners of the cross.

3 Use a darker pencil or pen to trace around the cross, and erase all unwanted pencil marks. Then draw a pattern inside the cross, as shown here.

4 Create the spiral pattern inside the cross, starting with the ends.

5 Complete the spiral pattern throughout the rest of the cross.

6 Now add color!

PERSPECTIVE PATTERN

1 Draw a horizontal rectangle.

2 Draw three diagonal tapering lines inside each side of the rectangle. Keep the spacing between the lines consistent.

3 Draw three more lines on each side inside the lines you just drew but going in the opposite direction.

4 Continue adding lines following the same pattern.

5 You should now begin to see the perspective illusion taking shape.

6 As you get closer to the center, there may not be room to draw three lines on each side. Don’t worry; just keep adding lines. It will not alter the illusion.

7 The result is an intricate-looking pattern. Add color if you like!

OVERLAPPING SPIRAL PATTERN

1 Draw three concentric squares, keeping the spacing between the squares consistent.

2 Draw four diagonal tapering lines inside each side of the largest square. Again, keep their spacing consistent.

3 Continue creating the spiral pattern. Make sure the lines break around the square.

4 Once you’re done with the outside square, the interior squares should appear to be on top of the spiral pattern!

5 Repeat the spiral-drawing process in the second square, making sure the lines flow in the opposite direction from the previous square.

6 Finish the design by drawing a complete spiral pattern inside the center square. Again, make sure the lines flow in the opposite direction from the previous square.

WORMS

1 Begin by lightly sketching a square or oblong shape. Then draw two wavy lines from the top-left corner toward the bottom-right corner.

2 Draw two more wavy lines from the top-right corner to the bottom-left corner. Make sure one of the worms overlaps the other.

3 With a darker pencil or pen, trace over the image and erase all unwanted pencil marks.

4 Draw curves inside one of the worms, ensuring that the curves flow in the same direction as the wavy lines on the outside.

5 Keep drawing curves until the first worm is complete. Now complete the second worm.

6 Add a spiral pattern to the space on the left. Make sure the interior lines follow the same direction as the exterior lines.

7 Keep adding spiral lines to complete the image!

8 Now add color!

CURVED PATTERN

1 First, draw a rectangle. Then, from the bottom corner, draw three curves across the entire rectangle. Draw a single curved line from the top-left corner to the bottom right.

2 In each of the bottom four sections of the rectangle, draw a single tapered line next to one of the existing lines.

3 Complete the spiral pattern in one of the sections.

4 Move on to the next section and complete the spiral pattern there.

5 Repeat the same process for the other two sections.

6 Continue adding the spiral pattern in the remaining sections. Make sure the lines flow in the same direction as the ones on the other side of the corner-to-corner curve.

7 Repeat the same process in the last two sections.

8 Now add color!

SYMMETRICAL PATTERN

1 Start by drawing a rectangle with a horizontal line and a vertical line through the center. Draw an “X” on the left and right side, with a vertical line down the center.

2 Begin creating the spiral pattern by drawing tapered lines inside each shape.

3 Repeat the same process on the right side.

4 Add tapered lines throughout the entire pattern.

5 Continue adding lines, ensuring that the spacing is consistent to keep the design symmetrical.

6 To add to the spiral effect, continue adding lines, but keep some white space in the design.

7 If your triangular white spaces are different sizes, keep adding lines until they look consistent.

8 Now add color!

TREE

1 Sketch a long vertical line and a shorter horizontal line across the bottom; then draw three circles and one semicircle. Don’t worry if the circles overlap; just make sure they’re all different sizes.

2 Add the tree trunk; then break up the trunk into sections using curved lines, as shown here.

3 Trace over the image with a darker pencil or pen and erase all unwanted pencil marks.

4 Draw curved lines inside the circles. (If you prefer, you can mark small guidelines to help with this step.)

5 Continue adding lines, and watch the spiral effect form.

6 Draw tapered lines inside the trunk.

7 Continue adding lines until you complete the image.

8 Now add color!

DIAMOND RING

1 Trace around an object or use a compass to draw two circles: one large and a smaller one inside. Draw a long vertical line from the top of the page into the center of the two circles. Add four horizontal lines: one at the top of the image, two more close together, and one across the top of the inside circle.

2 Draw diagonal lines to connect the horizontal lines above the circle.

3 Split the top section of the image into five triangles by drawing diagonal lines that do not touch at the bottom.

4 Draw two diagonal lines inside the downward-pointing triangles. Then draw two slightly diagonal lines on either side of the vertical lines down toward the top of the exterior circle.

5 Trace over the image with a darker pencil or a pen, and erase the pencil marks. Draw three lines inside each of the five triangles and the three shapes below.

6 Continue adding lines until you’ve completed the spiral pattern in the triangles at the top of the image.

7 Add lines inside the three remaining shapes to finish the spiral patterns.

8 Now add color!

ROSE

1 Use a compass or a round object to lightly draw a circle; then split it into eight sections using vertical, horizontal, and diagonal lines. The diagonal lines should be slightly shorter than the others.

2 Using the straight lines, create four teardrop shapes around the circle.

3 Create ovals on both sides of the diagonal lines, as shown here. Then draw a small “V” shape at the end of each diagonal line, inside the four ovals.

4 Trace over the image with a darker pencil or pen, and erase the pencil marks. Draw four lines inside the circle.

5 Continue drawing lines until you’ve completed the spiral pattern inside the circle; then move on to the teardrop shapes. Start with the lines shown here.

6 Complete the spiral pattern inside the teardrops, and then work on the ovals.

7 Add lines inside the shapes until you’ve completed the image.

8 Now add color!

EYE

1 With a graphite pencil, lightly sketch an oval with a teardrop shape on the side. Sketch a circle inside the oval. Then draw a smaller circle in the center and an even smaller one inside that. Now split the circle into eight sections as shown.

2 Add a slight curve to the end of the left side of the oval, and draw a curve on the inside of the right side of the oval. Then sketch a flowing, tapering shape beneath the oval. Sketch an arc above the top of the oval, and draw curved lines for the eyelashes.

3 With a darker pencil or pen, trace over the image, and erase your pencil marks.

4 Begin to add the spiral pattern to the eyelids.

5 Fill the top and bottom eyelids with the spiral pattern.

6 Draw a spiral pattern inside the iris.

7 Fill the blank areas of the eye with black to complete the drawing.

8 Now add color!

BUTTERFLY

1 With a graphite pencil, lightly sketch a vertical line and two partial ovals on one side.

2 Draw two partial ovals on the opposite side. These should mirror the first two shapes you drew.

3 Draw a diagonal line inside each oval shape; then add horizontal lines inside the top two shapes to form a trapezoid. Draw curved lines for the antennae.

4 Draw over your pencil lines with a darker pencil or a pen; then erase your pencil marks.

5 Begin drawing diagonal and straight lines inside the shapes, as shown here.

6 Complete the pattern by adding lines until you’ve filled in the left side of the butterfly.

7 Add lines on the right side of the butterfly, making sure they mirror the lines on the left.

8 Now add color!

PANDA

1 Begin by sketching a long vertical line. Then draw diagonal lines from the vertical line, as shown here.

2 Draw diagonal lines plus a horizontal one, as shown in the image.

3 Draw lines going away from the lines you’ve already drawn, as seen here.

4 Draw symmetrical lines on the other side of the image, and pencil in the panda’s eyes, nose, and mouth. For better accuracy, sketch horizontal lines from the top and bottom of the shapes you just drew on the left side. This will help keep everything aligned and symmetrical.

5 Trace over the image with a darker pencil or pen, and erase all unwanted pencil marks.

6 Add spiral patterns in sections of the panda’s face, beginning on the left side.

7 Fill the left side of the panda’s face with spiral patterns.

8 Repeat the same process on the right side of the panda’s face, and fill in the nose and eyes.

GIRAFFE

1 With a graphite pencil, lightly sketch a long vertical line. Then draw angled lines from the first line, as shown here.

2 Add a wavy oval shape for the giraffe’s ear and another one for the horn.

3 Add details, as shown here.

4 Add horizontal lines across both sides of the image to help with accuracy as you draw symmetrical shapes and lines on the right side.

5 Draw the giraffe’s neck and some square shapes for the spots. For extra detail, add hair.

6 Once you’re happy with your drawing, trace over it with darker pencil or pen, and erase all unwanted pencil marks.

7 Begin to add the spiral pattern in the ear and horn.

8 Keep adding spirals!

9 After finishing the spirals, fill in the hair, eyes, and nostrils to finish your artwork.

10 Now add color!

ELEPHANT

1 With a graphite pencil, lightly sketch a long vertical line with three horizontal lines going through it.

2 Sketch a curve on either side of the top horizontal line; then draw two smaller curves that flow in the opposite direction.

3 Draw curves for the tusks, as shown in the image, as well as arcs from the top of the image for the elephant’s ears.

4 Complete the ears by drawing a slightly wavy line to the point where the tusks start; then draw the trunk. The trunk can bend in either direction—just make sure it is wider at the top than at the bottom.

5 Add circles for the eyes and arcs for the toes. If you wish to add more spiral details during the later steps, add lines now, like the two diagonal lines I drew at the top of the elephant’s head.

6 With a marker or darker pencil, trace over the image, and erase your pencil marks. For additional detail, draw curved lines inside the trunk.

7 Begin drawing the spiral effect inside the ears. If you prefer lots of detail in your drawings, add even more lines.

8 Complete the ears, and move on to the rest of the face. Make the spacing between the lines consistent, and keep your lines symmetrical.

9 Fill in the trunk.

10 Finish by filling in the legs. To make certain features stand out, leave them white or fill them with color.

11 Now add color!

CHAPTER 3

OPTICAL ILLUSIONS

3D OVAL

1 Draw a horizontal line with an arc on top. Draw another arc below the line that mirrors the top arc to create a flattened oval shape.

2 Draw two smaller arcs inside the oval shape. Above the horizontal line, the arc should start parallel to the left side of the outer arc and then curve to join the right side. Below the horizontal line, the arc will start parallel to the right side and then curve to join the left side.

3 Now draw two more arcs, one above the horizontal line and one below. Above the line, the arc should touch the left side of the previous arc you drew and then curve into the arc on the bottom. Repeat this process for the arc below the horizontal line.

4 Fine-tune your drawing with a darker pencil or pen, and erase all unwanted lines.

5 Add some shading to your drawing for extra effect.

IMPOSSIBLE TRIANGLE

1 Draw a triangle. Then draw another triangle inside of that one. Make sure the lines touch the outside of the original triangle.

2 Draw another triangle inside the center triangle. Again, make sure the lines touch the edges of the previous triangle.

3 With a darker pencil or pen, join the two pencil points on each end of the triangle, creating three straight edges, and then outline the sides.

4 Add three inner outlines, and then erase all those unwanted lines.

5 Just a little bit of shading really makes it come off the page!

IMPOSSIBLE PENTAGON

1 Draw a circle with a drafting compass. Draw five straight lines to create a pentagon within the circle.

2 Erase the circle. Then draw a parallel line inside the pentagon, starting from the top and moving to the left. Repeat this process all the way around. Make sure the spacing of the parallel line is the same all the way around the pentagon.

3 Repeat step 2 within the inner pentagon. Make sure the spacing is more or less the same.

4 Notice how some small lines have been erased and some new ones added on the sides.

5 Outline the image with a darker pencil or pen, and erase all unwanted marks.

6 Add a little shading to make it pop.

IMPOSSIBLE CUBE

1 Start by drawing an offset diamond shape. Make sure each side is parallel to its opposite. Draw three vertical lines starting from the lower points of the diamond shape. Make sure each line is parallel. Then link them with two diagonal lines, each parallel to the diagonal lines above.

2 Now draw offset shapes within each of the three sides. Make sure the spacing is approximately the same for each side and that all lines are parallel.

3 Draw a vertical line starting from the inside-top corner and two diagonal lines from the inside corners on either side. Then draw two more parallel lines along the edges of each shape, as shown in this image.

4 Now draw parallel lines along both sides of the lines you made in step 3.

5 Study this image and note where some lines have been erased and some new ones have been added toward the center of the drawing. Then outline the drawing with a darker pencil or pen, and erase all unwanted marks.

6 Shade the drawing with some color for extra effect.

IMPOSSIBLE STAR

1 Draw a square with a star-like shape inside made of five straight lines.

2 Double up the lines.

3 Double up the inside lines as shown.

4 Trace around the image with a darker pencil or pen.

5 Repeat step 4 all the way around. Erase all unwanted lines.

6 Add some color and shading for effect.

IMPOSSIBLE NUTS

1 Sketch two circles side by side with a horizontal line through the center. Then draw the outline of the left nut.

2 Double up on the lines on the right side of the first nut. Then draw the other nut.

3 Draw a circle inside the center of each nut, and double up the horizontal centerline.

4 Draw an arc inside each circle and erase some of the guidelines.

5 Outline the drawing with a darker pencil or a pen.

6 Add a little shading for effect.

THREE PRONGS

1 Begin by sketching an off-balanced rectangle. Split the rectangle in two by drawing a line down the center. Add a line on either side of the centerline. Make sure the spacing is approximately the same.

2 Draw two more parallel lines, splitting the width on each side evenly.

3 Draw some small vertical lines along the edges as shown.

4 Draw three ovals along the left edge.

5 Erase some of the guidelines, and outline the image with a darker pencil or pen.

6 Add some shading for effect.

FIVE-LEGGED ELEPHANT

1 Start by drawing a rectangle. Make sure the horizontal lines are slightly longer than the vertical lines. Draw a horizontal line through the rectangle (slightly above center), and draw a curve inside the left vertical line.

2 Sketch another horizontal line slightly below the top line and two vertical lines through the center. The spacing between the two vertical lines should be approximately the same as between the top two horizontal lines.

3 With these guidelines in place, sketch the top of the elephant’s body and ear.

4 Sketch the trunk and the elephant’s belly. Make sure the trunk’s wavy line tapers toward the bottom and the curve for the belly isn’t too low. Leave some room for the legs.

5 Begin sketching the legs. The spacing between the right side of the trunk and left side of the leg should be the approximate width of the leg. Draw in the rest of the legs, making sure the spacing between the legs is more or less the same (this is important for the illusion to take effect).

6 Now it’s time to add some details. Give your elephant some feet, tusks, an eye, and a tail.

7 Once you’re happy with the sketch, outline it with a darker pencil or fine-line pen, and erase all unwanted lines.

8 Add a little shading, especially to the feet!

SILHOUETTE

1 Begin by sketching out an oval. Sketch a centerline, and draw a curved line for the neck. Sketch three horizontal lines; the top one should be slightly above center and the middle slightly below center. The lines should be roughly the same distance apart.

2 Sketch a horizontal line above and below the top line and a horizontal line slightly below the middle line. Draw a curved line on the outside of the oval at the top for the hair, and begin to place the features. Make sure to sketch only one side of the mouth and nostril. Notice the additional vertical line near the centerline. This is optional but will help with the nostril placement. You can also sketch additional vertical guidelines for the corners of the eyes.

3 Draw two circles (one inside the other) for the eye and a curved line above for the eyelid. Add a curved line through the center of the mouth to create a top and bottom lip. Notice the additional guidelines. Again, these are optional. Draw in the ear, eyebrow, and a curve for the forehead (imagine the face from a side-view position).

4 Draw some details for the ear and eye, and when drawing the nose, mouth, and chin, imagine them from a side-view position.

5 Draw a curve below the chin, and fine-tune the details until you’re happy with the way it looks.

6 Now outline the drawing with a darker pencil or pen, and erase all unwanted lines.

7 Add some color!

MONKEY

1 Start by sketching an oval on the far-right side of the paper, and then draw an arc below.

2 On the inside of the oval, draw some curved lines for the face and two arcs on both sides of the oval for the ears.

3 Draw two lines above the head that curve slightly to the left at the ends. Make sure the spacing between the lines gradually widens toward the top. Inside the bottom arc on the body, draw a couple of curved lines, as shown.

4 Draw a curved line along the left side of the body that bends at both ends. Then draw two curved lines along the inside of the arc. Round out the shape of the hand at the base of the arm.

5 Draw some lines for the legs. Begin by sketching two curved lines on the right and two slightly angled lines on the left. Now give the monkey feet by drawing in some guidelines.

6 Once the basic layout is complete, add some details and erase the guidelines.

7 Trace around the image with a darker pencil or pen.

8 Shade in the monkey with a darker pencil or pen, or add color if you prefer.

9 Draw a hand on the back of the paper, on the left side, making sure the hand lines up with the arm.

10 Now bend the paper in two, and for extra effect, shade in a shadow below the feet.

WATER DROPLET

1 Draw a pear-like oval shape. Draw blue, horizontal lines behind the droplet with a ruler. Make sure the lines are evenly spaced. Continue this process all the way down the page.

2 Lightly sketch curved lines over the droplet shape with a pencil.

3 Trace over the lines with a blue pen, and erase all pencil marks. For extra effect, draw a vertical red margin line on the left side of the page.

4 Add a little shading to the right and bottom-left side. Then begin to shade the inside of the droplet.

5 Continue to build up the shading as shown.

6 Use a tissue or smudge stick to rub over the pencil marks.

7 Create some highlights with an eraser.

8 Finish off with a bit more shading.

KITTEN

1 With a pencil, lightly sketch out the general shape of a kitten.

2 Rough up the edges of the kitten to look like fur, and erase all unwanted lines.

3 With a ruler and a blue pen, draw two horizontal lines below the paws. Make sure the top line runs behind the paws.

4 Repeat this process all the way down the page, but make sure to keep all four paws and the tip of the tail visible in front of the blue lines.

5 Now repeat the lines to the top of the page, but make sure to leave space for the ears.

6 Trace around the kitten with a darker pencil or pen, and erase all unwanted pencil marks.

7 Now add a little shading for the fur.

TORN PAPER

1 Start by drawing a rounded diamond image, as shown.

2 With a ruler and a blue pen, draw vertical lines on one side, but make sure to leave a space around the outside of the image.

3 Repeat step 2 on the opposite side.

4 With a blue pen, connect the vertical lines by drawing curved lines that flow around the pencil shape you drew in step 1.

5 Repeat on the opposite side. For accuracy, it’s best to use pencil, and then trace over the lines with blue ink.

6 Now it’s time to add some shading. Make sure the shading is darker on the inside of the shape.

7 Repeat the process on the opposite side.

8 If you prefer, draw some more vertical lines on the blank space to give the impression that there is another sheet of lined paper beneath the torn one.

EARTHQUAKE

1 Begin by sketching some wavy lines. It doesn’t really matter how they look; just make sure that they connect.

2 Add some wavy lines inside the outline. Now erase the original wavy lines so you’re left with a jagged outline.

3 Draw a vertical line from the top (the area or tip that sticks out the most) all the way to the bottom. Then draw lines on either side that taper inward just slightly.

4 Once you’re happy with the look, trace over the lines with a darker pencil or pen, and erase all unwanted lines.

5 Now add some shading. Make sure the darkest shading appears toward the center of the image.

6 Continue shading the entire drawing. Shade from dark to light along each line on the left, and then do the opposite on the right.

7 Now stand back to see the illusion!

SPIRAL HOLE

1 Begin by sketching a small oval. Draw some curved lines above and below the oval as shown. Make sure the lines above are approximately twice as long as those below.

2 Draw more curved lines on the left and right side as shown. Each set of lines should curve in the same direction.

3 Finish up the sketch with two more sets of curved lines. Evenly space the lines.

4 Now color and shade the inside of the lines.

5 With a pencil, add some shading in between the blue spiral pattern.

6 Stand back and crouch down a little to see the illusion come to life.

CHAPTER 4

3D DRAWING

LEVITATING SPHERE

1 Begin by sketching a long vertical line. Then draw a short horizontal line through the center.

2 Draw a curve from the top of the vertical line to the left end of the horizontal line. Repeat this process below.

3 Repeat these steps on the opposite side to create an oval.

4 Lightly sketch a small horizontal oval below the large oval.

5 Now shade in both ovals with color.

6 For extra effect, carefully cut around the top half of the ball.

ANAMORPHIC CUBE

1 Create a cross shape with a diamond shape at the top. Add a horizontal line about two-and-a-half times the height of the diamond shape below the bottom point. With two slightly diagonal lines, connect the edges of the diamond shape to that horizontal line.

2 Now draw two more diagonal lines below the lower horizontal line. The distance from the center of the horizontal line to the point where the lines meet should be about half the width of one of the sides of the diamond shape.

3 Outline the anamorphic cube with a darker pencil or pen.

4 Erase all unwanted lines, shade in the left and right side, and then draw a shadow. The top-right line should be parallel to the bottom-left edge of the cube, and the bottom-right line should be parallel to the bottom-right edge of the cube.

5 Shade within the lines to create a shadow.

6 Stand back and crouch down to see the 3D illusion come alive!

TRANSPARENT CUBE

1 Fold a piece of paper in half. Flatten out your paper, and draw a short line across the fold. Then draw a line above and below the fold. The length of each line and the distance between each line should be about the same.

2 Connect the three horizontal lines by drawing a vertical line on each side.

3 Draw a vertical line in the rectangle above the centerline. Draw another vertical line of equal length on the right.

4 Draw a horizontal line connecting the tops of the two vertical lines.

5 Now connect the corners by drawing two diagonal lines.

6 Then connect the bottoms of the two vertical lines with the two bottom-left corners.

7 Fold your paper at a right angle, step back, and behold this amazing illusion!

CUBE

1 Draw an 8½-inch vertical line with a pencil and a ruler. The bottom end of this line will form the lowest corner of your cube, so mark this spot with a dot. Now move 1¼ inches up from this dot, and draw another dot. Then measure 2 inches to the left, and place another dot there.

2 Using the vertical line, mark 1½ inches up from the lowest dot. Then place another dot 1⅓ inches to the right. Then draw two diagonal lines to join the dots on the sides with the dot at the bottom.

3 Go back to the middle line, and place a dot 4½ inches up. Then measure 1½ inches up, and place another dot there. Place a third dot ½ inch up from that spot. Mark a dot 2⅓ inches to the right of the first dot at the very bottom. Then place another dot 1½ inches to the right of the second dot from the top.

4 Draw two diagonal lines to join the dots on the sides with the dot in the center of the line. Place another dot 3½ inches from the dot in the center of the line.

5 Measure ½ inch to the left, and place a dot there. This dot will form the top point of the cube. Draw diagonal lines to join this dot with the dots on each side.

6 Draw straight lines from the top to the bottom to form the sides of the cube. You should now have a distorted outline, or frame, for your cube.

7 To achieve a realistic 3D effect, your shading should match the ambient lighting. For example, if the lighting in the room where you’re drawing comes from the window on the left side, you will need to darken the right side of the cube. If you can’t tell where the light is coming from, place a square item next to your drawing, and study its shading. Then copy this in your drawing.

8 To add shading to the cube, start with the darkest part of your drawing: the drop shadow. In my studio, the light comes from the back-left part of the room, so I start with the two sides that face away from the light.

Dip a small brush in black oil paint and run the brush along the line at the bottom of the cube. Then rub the brush against a rough sheet of paper to remove most of the paint. The brush should be relatively dry but still hold some paint.

9 Grab a wider brush, and dip it in oil paint. Again, rub the brush on a sheet of paper until just a hint of paint appears on the paintbrush. Paint evenly over the darkest side of the cube, working from dark to light. Use a smaller brush in the corners. Make sure the sides of the cube are painted evenly and without blotches.

10 You want the cube to look like it’s sitting on the sheet of paper, so the background will need to be darker than the object. This makes the page look like it stretches off into the distance, while the cube stands on top of it. Use the largest brush you have for this step, and drybrush a hint of color around the cube and the edges of the paper. Leave an area in front of the cube white to create a reflection cast by the front of the cube.

Use a small brush to add the finishing touches to your painting, such as reaching into the corners of the cube. The tops of the cube’s sides should be shaded a bit darker than the rest.

Rub an eraser over the paint you applied using the drybrushing technique. By running it along the upper edge of the cube, you can add a bit of shine to your artwork.

11 The 3D effect only works when you view the image from the side. If you look at it from above, all you see is a distorted image. Take a few steps back and look at the entire painting. It’s easier to spot inconsistencies when you look at a picture as a whole rather than focusing on a single part of it. If you see a flawless optical illusion, you’re done!

RUBIK’S CUBE

1 Start by sketching a diamond shape, but make sure the two diagonal lines on top are slightly longer than the two below. Then draw three lines below the diamond shape. Make sure the two outside lines taper slightly toward the bottom; then connect the lines at the bottom.

2 Draw two sets of parallel lines along the top and two sets of parallel lines on both sides that taper slightly toward the bottom.

3 Draw two sets of parallel lines perpendicular to the first set. Then add two sets of parallel lines on both sides, again perpendicular to the first set.

4 With the basic layout in place, it’s time to add details. Begin by curving off the edges, as shown.

5 Trace around the image with a darker pencil or pen, and erase all unwanted pencil lines.

6 Fill the area between the square shapes black.

7 For extra effect, draw horizontal lines to give the illusion that the object is on lined paper.

8 Color in the square shapes. About two to three lines beneath the cube, sketch in a triangular shape for the shadow.

9 Now sit back and watch as the Rubik’s cube floats in air!

HOLE

1 With a pencil, draw a vertical line down the center of your sheet of paper. Then grab a round object, such as a CD, place it on the line you just drew, and trace around it to draw a perfectly round circle. Then move the CD down about ½ inch, keeping it on the same line, and draw a semicircle inside the first circle.

Now trace the bottom half of a small circle inside the CD. Use a ruler to draw a cone on top of this semicircle. Here’s what your finished drawing should look like:

2 To paint a realistic shadow, the transitions between light and dark must remain soft. Drybrushing with oil paint is the easiest way to do this. Dip your size 12 brush in some black oil paint, and rub the brush on a sheet of rough paper until the paint no longer smears wet onto the paper. Do this every time you dip your brush into the paint before adding paint to your artwork.

3 Switch between your size 4 and size 12 brushes depending on the area that you are painting. If you try to use a small brush to shade a large area, the paint will look less subtle.

4 Use your pencil again to draw and define the edge of the hole and the point of the cone.

5 Now step back and look at your painting. Viewing your art from a wider angle helps you notice any slight inconsistencies. Does it look 3D? Do you see anything that indicates that the image is actually flat? Maybe something could be darkened? If you’ve done everything properly, the hole should look real when viewed from the side at an angle of about 45 degrees.

GLASS

1 You’ll need to create an anamorphic image so that the glass of water really looks like it’s standing. Even when viewed from the side, the glass should appear proportionate and upright on a table or sheet of paper.

This requires painting an elongated, distorted perspective of the glass by stretching the side facing away from you. The glass must look realistic in size, or it will be immediately noticeable that it’s too small or too large to be real.

To sketch the glass, you can place an actual glass on your drawing table and copy it onto a sheet of paper using the keyhole sketching method (see here), or simply copy the image on the left.

2 Take another look at the image above. With your cat’s tongue brush and black oil paint with high covering power, paint all of the areas that look almost or entirely black. Then use sweeping motions and less black paint on the brush to paint the dark-gray areas, starting with the edges. The pencil strokes should no longer be visible.

3 For the sides of the glass, which should be gray, you can use a pencil and a ruler to draw straight, light lines.

4 Using a larger brush (size 6 or 8) and the drybrushing technique, paint the big gray areas, such as the water in the glass. To achieve different degrees of light and dark gray, apply more or less paint to your brush before smearing the majority of the paint onto a sheet of rough paper. Use a larger size 12 brush that’s practically dry to apply paint to even larger areas of gray, such as the reflection within the glass.

5 Place a sheet of paper over the top of the drawing, and use sweeping motions to shade the top portion of the glass. Paint over the sheet of paper almost as though it isn’t there.

6 To create a soft, realistic-looking shadow, you must work very precisely. Follow the same basic techniques as in the previous step. Apply a small amount of paint to your cat’s tongue brush, and rub the brush on a sheet of rough paper until the paint smears only slightly. Then place your brush near the bottom of the glass, where the shadow should look darkest, and shade from dark to light using sweeping motions.

In this image, the glass’s shadow falls on the left side because in this studio, the light shines on the drawing table from right to left. Make sure your shadows correspond to the lighting in your room.

7 When you look at your painting from the side, the glass of water should look three-dimensional and as though it’s standing on the sheet of paper. You can enhance this effect by cutting out the glass.

Place a ruler along the line separating the darker section of the glass from the lighter one, where you covered part of your drawing with a sheet of paper. With scissors or a utility knife, cut along this line, making sure to cut around the glass, not through it.

8 Now look at your picture from the side, and notice that the glass of water extends beyond the sheet of paper. Your eyes can no longer explain why the image goes past the edge of the paper, so they automatically draw the conclusion that the glass of water is not part of the paper and, in fact, stands on top of it. Now you’ve achieved your goal and have succeeded in creating the perfect illusion!

CHICHEN ITZA

1 To create a 3D effect, you must distort the perspective so that the pyramid appears proportionate. You can do this by following the keyhole method (see here) or by copying my drawing step by step.

2 The pyramid will need to be elongated in order to look proportionate. Follow these drawings closely.

3 Your measurements don’t need to be the same as mine—just make sure they’re consistent.

4 Keep the drawing at a right angle to your body; this will help you draw the pyramid proportionately as well as elongated.

5 Using a straight edge will help you to create the most accurate lines.

6 Even though the process might take a while, it is important to include all of the details so the optical illusion will work.

7 Use the pencil to shade parts of the pyramid. To create lighter shading, use light pressure, and move your strokes in a single direction. For slightly darker areas, apply more pressure, shading first in one direction and then in the other. For very dark areas of the pyramid, use crosshatching and lots of pressure to fill in the area completely.

8 To create a realistic-looking pyramid, the lighting on it must match the lighting in the room where you’re drawing.

9 The drawing of the pyramid is complete now, but it still needs a drop shadow to look 3D. This pyramid will cast a dark shadow on its right side. You can use a large brush, black oil paint, and the drybrushing technique to create the shadow. Place the brush, which should only have a bit of paint on it, on the spot where the darkest part of the shadow should appear. Apply the paint as evenly as you can using sweeping motions. Avoid blotchiness. The softer and more even the shadow, the more realistic it will look.

10 This next trick will amaze anyone who sees your artwork and make the pyramid appear not to be a part of the page but, rather, standing on top of it. Cut off the top and left sections of your sheet of paper, making sure to cut around the pyramid.

11 Step back and take a look at your artwork. The pyramid now appears 3D and seems to extend past the sheet of paper.

TYRANNOSAURUS REX

1 Draw the basic shapes of the head, mouth, and body as shown in the image.

2 Sketch some guides for the tail and legs, paying close attention to the proportions of all of the shapes.

3 With the guide in place, add some detail.

4 Erase the guidelines.

5 Shade in the drawing with a graphite pencil.

6 For extra effect, carefully cut around the top half of the image.

LEANING TOWER OF PISA

1 By the time you’ve finished this drawing, you want to be able to look at it from the side and see a proportionate Leaning Tower of Pisa. This will require distorting the perspective and drawing an elongated, or anamorphic, image. To do this, you can copy a photo of the tower onto the left side of a sheet of paper using the keyhole method. You can also simply copy this drawing step by step by placing a blank sheet of paper over it and holding it up to the light.

With either the drawings in this book or a photo of the Leaning Tower of Pisa as your reference, begin drawing. The areas that look gray can be drawn with an ordinary soft pencil. Draw its black areas with a fine felt-tip pen.

2 After inking in the black areas, go over them again with oil paint. Using a small cat’s tongue brush and black paint, paint the tower’s shadows from dark to light. Don’t smear the paint; use the drybrushing technique to rub it on.

3 While the brush is still filled with some wet paint, go over the darker areas on the tower. As the brush gradually holds less and less paint, work on the tower’s lighter areas.

4 The Leaning Tower of Pisa features lots of small details, such as windows and columns, so the painting process will take a while. It’s important to include these details, however, or the optical illusion won’t work. Adding light and shadows is also very important. The strong contrast between the two makes the tower look round, convex, and realistic. By now, your tower should look something like this when viewed from the side. The sheet of paper frames the tower, which clearly leans but still looks suspended in air. A real tower would cast a drop shadow.

5 Use a large, soft cat’s tongue brush, a very small amount of black oil paint, and the drybrushing technique. Place the brush right next to the tower. This is where the shadow should look darkest, so you want to start here while there’s more paint on your brush. Use strong, sweeping movements to paint an even shadow without blotchiness. The less paint you have on the brush, the more evenly you will apply it. Move outward as the paint smears from the brush. The shadow should finish with a soft edge.

6 Take care not to smear black paint on the tower as you paint its shadow. Use a smaller brush to paint the shadow right next to the tower.

7 Walk around your drawing and note how the 3D effect will only work when viewed from one angle. If you take a step to the left, the tower doesn’t look right.

8 Now your Leaning Tower of Pisa is finished! The lighting in the painting matches the lighting in the room, and the tower’s lean looks realistic. Enjoy your three-dimensional view!

LADYBUG

1 You will want to paint the ladybug from the side and with the right proportions. Copy this distorted painting with a pencil. To get the proportions right, you can place a blank sheet of white paper on top of this painting, and trace over it before adding color.

2 Use a small cat’s tongue brush and black oil paint to outline the black parts of the ladybug (its head, legs, and spots). Then do the same with your red paint on the red parts of the ladybug.

3 Look at the final painting on this page and notice which parts of the ladybug look yellow. Paint these with yellow ochre. After outlining each area, fill it in using a larger brush. This keeps the paint colors from mixing.

4 Now add the black spots and fill in the black areas of the ladybug. Don’t forget the areas of white shine.

5 Using the drybrushing technique as well as some black oil paint and a large (size 12) brush, shade the area under the ladybug using sweeping motions. Move from dark to light, and in more detailed areas, such as under the legs and feet, paint with a smaller brush. A real ladybug would reflect light on a sheet of paper as well, so add a little bit of red paint to the edges of the shadow. Also accentuate shiny areas with white paint.

6 The shadow already makes the ladybug look real, but you can enhance the 3D effect by adding lines to the sheet of paper. The lines act to orient your eyes. Use a pen and a ruler to add lines across the sheet without covering the ladybug.

7 This last trick will really outsmart the viewer’s brain and make the ladybug appear to stand on top of the sheet of paper. Using a pair of scissors or a utility knife, cut off the top of the page, cutting around the top of the ladybug. This changes the size of the paper, allowing the ladybug to leave the boundaries of the page. Step back a few feet, and study the painting from about a 20-degree angle. You now have a three-dimensional optical illusion sitting in front of you!

CHAPTER 5

INSPIRATION GALLERY

ABOUT THE AUTHORS

Jonathan Stephen Harris was born and raised in Burton upon rent, England, where his talent was recognized at an early age and his drawings were used for school and town functions.

Jonathan has always felt motivated to follow the talent he has been given in whatever direction it takes him, unable to stay in one area of art for too long. His pursuits have been varied and deeply satisfying to him. That has meant that while he started his freelance art career making drawings of people and pets, he moved on to spend more than 10 years creating tattoo designs that were sold in studios all over the world, in addition to creating custom tattoo designs for customers online.

He enjoys creating fonts and typefaces, as well as fine-art painting. These days, he spends most of his time making videos for his successful art channel (www.youtube.com/user/TattooWoo) and launching a daily art therapy movement because he believes that everyone could use art daily to relieve stress, regardless of artistic abilities. Learn more at www.JSHcreates.com.

Russian-born artist Stefan Pabst has been painting since he first learned to hold a pencil. As a student, he drew and painted in his schoolbooks. He was inspired by what he saw outside the classroom window, but his favorite subjects were always people.

After finishing school, Stefan moved to Germany, where he joined a youth club. At the clubhouse, Stefan discovered an art studio full of equipment to work with. Within an hour, he’d drawn a three-dimensional skull and learned that he had a passion for creating realistic art. Stefan was soon drawing portraits of his friends, who asked if he would consider turning his hobby into a career. It hadn’t yet occurred to him that he could!

In 2007, Stefan placed an ad online, offering to draw people’s portraits. To his delight, he was quickly overwhelmed by orders and was able to start his own art business.

Stefan now draws and paints full time from his studio in Minden, Germany. He teaches art to children and young people and paints products for different companies in 3D, including airplanes and cars. Because of the many questions he receives about his techniques, Stefan posts time-lapse videos on his YouTube channel, where he routinely gets millions of views per video. He’s been featured on news programs throughout Europe and China and counts celebrities among his clients. Stefan loves being able to inspire people to paint and is a proud husband and father of three.

Visit Stefan online:

www.youtube.com/lanevski1

https://portrait-gemalt-nach-foto.de/en/

Facebook: fb.me/3DDrawingPabst

Instagram: @3dpainterpabst

© 2023 Quarto Publishing Group USA Inc.

Text and artwork on pages 1, 3, 6, 10, 11 (3D shape and drawing tools), 16 (except “Color wheel”), 18, 19 (Elephant), 21-115, 118-123, 130-133, 148-151, 164-171, and 176 (“Jonathan Stephen Harris”) © 2017, 2020 Jonathan Stephen Harris. Artwork on pages 7, 9, 11 (“Paints,” “Paintbrushes”), 12, 14-15, 17 (“Drybrushing”), 19 (Pyramid), 117, 124-129, 134-147, 152-163, 172-175, and 176 (“Stefan Pabst”) © 2016 Stefan Pabst. “Negative space drawing” on page 13 © Jim Dowdalls. “Color wheel” on page 16, and “Thin paint” and “Glazing” on page 17 © Walter Foster Publishing.

First published in 2023 by Walter Foster Publishing, an imprint of The Quarto Group.

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All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book.

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ISBN: 978-0-7603-7824-3

Digital edition published in 2023

eISBN: 978-0-7603-7825-0

Translation on pages 10-19, 124-129, 134-147, 152-163, 172-175, and 176 by Jessica West

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