Draw Like Da Vinci

by Susan Dorothea White

The first book in an exciting new series! Many would-be artists are inspired by the works of the great masters—and Leonardo Da Vinci’s drawings are among the most magnificent ever created. But how did he achieve his effects? Choose his materials? Define his approach? Susan Dorothea White, an internationally known artist and teacher, helps students gain an invaluable understanding of Da Vinci’s techniques for depicting the human form and dealing with perspective, line weight, light, shade, and character. With hundreds of images to illustrate her points, she discusses the tools he used; examines his creative techniques; analyzes some of his finest drawings in depth; and devises simple projects for practice. It’s a fantastic resource for any artist.

Genres: Art, Drawing

144 pages, Paperback

First published January 1, 2006

Reviews

[Ria · Rating 3 out of 5]

Leonardo Da Vinci is a man I've respected ever since I learned of him back in elemetary school. This book tries to dive into his artistic mindset. I liked the way it gradually builds upon the techniques he may have used as well as throw in bits of information on things like the sort of medium he used, what kind of paper was available, etc. I learned a few pointers for my own art endeveours.

[John Henery · Rating 3 out of 5]

So i only read some of this book... I mostly just used it to learn more of how Da Vinci worked. It would have been nice to have more examples of Da Vinci's works and less of the authors works.

[Jayan Kamani]

good

[Sherrill Watson · Rating 3 out of 5]

Interesting book, tho not to my taste. Printed in the U.K. in 2006.

There is a synsopsis of da Vinci's life on one page; his vegetarianism; his left-handedness; the fact that he wrote backhanded, mirror writing, in old Italian; and left everything to his good friend Melzi. There are a few sketches which I had never (or seldom) seen, being in Queen Elizabeth II's Royal collection. There is a perfectly lovely drawing of da Vinci trees, in the upper right-hand corner of his paper, which she suggests could have been a bonsai if placed anywhere else on the paper or rendered in less detail. There is an entire section regarding "dry draw-ers", which da Vinci used, such as charcoal, pencil, chalk, etc. There is metalpoint / silverpoint / goldpoint. There is a page of a recipe for the old "ground", placed on the paper, which appears complicated. However, "The ballpoint pen has a uniform line like rather like metalpoint, and the characteristic subtle shading . . . can be achieved. . ." She suggest we throw away all our erasers -- wish I could! Ms. White characterizes da Vinci's many-positioned bodies as an attempt to represent movement, which I thought an original idea.

She has her own "Seven Fundamental P's" which I found A LOT of work to remember: perspective, proportion, perception, position, placement, planes and priority.

This book is 144 pp of old-style drawings; unfortunately many of da Vinci's are too small to see well. At least 2/3 of them are newer and by students or Ms. White. I personally found them distracting and more crafty than inspired.