Thursday, 3 October 2013

Pencil Drawing Sketches Of Nature Of Sceneries Landscapes Of Flowers Of Girls Of People Tumblr Of Roses Of Eyes Of Love

Pencil Drawing Sketches Biography

Internationally recognized as the world's best wildlife artist. David Shepherd has at all times felt that he had a duty in the form of conservation towards the world and the animals that inhabit our planet. In his lifetime, David Shepherd has painted and drawn many pictures, and is able to share his many tales and experiences with people internationally, often talking at charity dinners and prestigeous social events. His persona lends itself naturally to this cause, as he is a most approachable down-to-earth fellow who enjoys sharing his pleasure of art and his concern over the diminishing wildlife throughout the world. In his early days, he was 'thrown' into the creative world purely by chance, as he wasn't particularly keen about other college activities.

David Shepherd is commonly quoted as saying that upto his late teens his life was not very successful, as he always had an ambition to be a game warden in Africa. So after ending his schooling, David Shepherd left England with the concept of a career within the national parks of Africa. Unfortunately, he was promptly instructed that there was no place for him, and his childhood desires lay in ruins. Throughout school days, his foremost curiosity in art had been as a substitute for the compulsary games of rugby which left him with quite frightened.

Unable to understand what would possibly possess people to roll around a muddy rugby pitch and endure horrible injury, David Shepherd took refuge in the faculty artwork department where he produced a hideous picture of some birds, which he brings along with him to this present day when public speaking.

After his dissappointment at not been given the chance to be part of Kenya's game warden neighborhood, he managed to find a job in a neighborhood resort on the coast working within the reception for one pound per week. David Shepherd started to paint pictures of birds, and by chance managed to sell seven pictures at ten pounds a canvas, which allowed him to pay for his ticket back to England on the Union Castle steamship.

When back in England he saw two possibilities of career for himself. Either David Shepherd could try to make it as an artist, or drive a bus. After careful thought he decided the bus driver choice was by far the safest bet, as it was well-known that almost all artists had little cash or prospects. His father helped at this level and urged that if he actually needed to develop his artistic skills, he would want some training.

David Shepherd set off to the Slade school of fine art in London with his bird picture, unfortuinately he was told that he had no artistic ability and that instructing him would be pointless. Driving a London bus was beginning to appear the extra likely possibility, until by complete coincidence, he met an artist called Robin Goodwin who was regarded as a highly skilled marine artist. He never worked with apprentices, but luckily for David Shepherd, he agreed to see some of his work. The very subsequent day David Shepherd arrived at Robin Goodwin's studio in Chelsea with his 'bird' painting, and to David's sheer amazement Robin Goodwin agreed to help him. It is because of this artist that David achieved the creative staus that he enjoys in the present day, and has at all times a feeling of deep gratitude for the help he acquired from Robin Goodwin.

'The Man who
loves giants.'

David Shepherd's first autobiographical book 'The Man Who Loves Giants' was published in 1976 which very quickly became a best seller. This was revised and updated in 1989 as subsequent editions were published. A second book illustrating his love for steam trains was published in 1984 'A Brush With Steam' and in 1985 'The Man and his Paintings' was the first comprehensive book showing a complete spectrum of David's work. 'An Artist in Conservation' was released in 1992 which illustrated some of Mr Shepherd's finest paintings. 'My Painting Life' and 'Only One World' were published in 1995 'Panting with David Shepherd, Unique Studio Secrets Revealed' was published in 2004

TV Documentaries
lunch break 'The Lunchbreak.'
'The Man Who Loved Giants' was the title for this film of David Shepherd's life story produced in 1972 by the late James Stewart.
The documentary was shown worldwide.
'The Last Train to Mulobezi' tells an exciting story of the survival of an ancient locomotive and railway coach from the Zambezi
Sawmills Railway and their 12,000 mile journey back to England.
The train was given as a gift by Dr Kenneth Kaunda, the President of Zambia, and after raising enough money
through the sale of paintings in USA. A helicopter was bought and given to Zambia to help prevent poaching.
Thames TV produced a series of six half hour programmes titled 'In Search of Wildlife'
Illustrating the plight of endangered mammals throughout the world. These were later broadcast in the USA.
'Nature Watch' with Julian Pettifer began in 1990 and David Shepherd produced the first programme in the series.
Last but not least, David Shepherd has been the subject of the programme 'This is Your Life'.

David Shepherd Awards.

Honorary Degree in Fine Arts by the Pratt Institute in New York.
The Order of the Golden Ark by HRH The Prince of The Netherlands for his services to conservation.
Member of Honour of the World Wide Fund for Nature
The Order of the British Empire for his services to wildlife conservation. O.B.E.
Fellow of the Royal Society of Arts.
President Kenneth Kaunda of Zambia awarded him with the Order of Distinguished Service.
was made a Fellow of the Royal Geographical Society
Honorary Doctorate of Science of Hatfield Polytechnic (now the University of Hertfordshire) in 1990.
Officer (Brother) of the Order of St. John.
Granted the Freedom of the City of London.
Awarded a C.B.E. for services to charity and wildlife
The Artist and Conservationist today.
Constantly on the move, his work takes him tirelessly from one continent to another. Admired and respected by many, David Shepherd
is regarded as being the world's leading wildlife painter. His signed, limited edition prints can be seen in many homes
throughout the world and he is always on the move and enjoying his life to the fullest.
"I want to live to be 150. It will take that long to do everything I want to do. Unlike some people who perhaps lead a humdrum existence,
I run almost everywhere I go because I am so anxious to get on with the joy of what I am doing next."
Having celebrated his 70th birthday on 25th April 2001 with a fundraising dinner at the Natural History Museum,
which raised over £100,000 for's wildlife projects.
He has recently celebrated his 80th birthday with another successful fundraising dinner at the Natural History Museum,
attended by a host of celebrities and many admirers of his work.
David Shepherd now lives with his wife Avril in Sussex. His four daughters who all share his passion for conservation
and are involved in the work of various wildlife projects throughout the world..

Do you have a great story to tell with pictures and words? Why not write a comic book? For help with sketching, developing characters, writing a compelling story, and synthesizing all these elements into book form, use these guidelines and pointers.

Make Preliminary Sketches

1Sketch your characters or character ideas. Since comic book characters are very much defined by how they look, making a few quick sketches is a great way to inspire yourself to create a unique character – and might even give you plot ideas. You can start with pencil, crayon, or even a digital design program depending on what gets your creative juices flowing.

2Practice drawing the characters, locations, and objects that will be in your story. The pros call these "model sheets." The more you practice, the more consistent the drawings will be, making it easier for your reader to "read" your artwork. Making sure you know how each character looks from all angles will help your readers identify them, even if there's a lot of action around them on your pages.

3Practice drawing different facial expressions, postures, and situations for each character. This will allow you to make your characters look smoother and will help you work out the few kinks in your technique. To practice, draw your character with four most important feelings (happiness, anger, sadness, and fear) in five different ways each (mildly happy, kind of happy, happy, very happy, extremely happy, hysterically happy). This is a good way to practice drawing your character's facial traits. Since comic books are full of action, you will also need to draw each character in various action poses.

Develop the Characters

1Flesh out your key characters. Developing your characters’ backstory and personality is crucial to making a good comic book. Even if you choose not to reveal much to the reader at this point (ex. Wolverine), it’s important for you to have a sense of the character’s roots so that you can make their behavior realistic and organic; their past experiences, victories, hurts, and failures should inform their reactions in new situations. If your comic book hero will be a superhero, read How to Create a Super Hero for advice. Otherwise, read How to Create a Fictional Character from Scratch.
Develop your antagonist/rival/evil person's personality, but don't go too much in depth in the story itself. Over-explaining the antagonist takes away their intrigue (which is why Joker remains so interesting) and dulls the larger conflict of the story. On top of that, since comics have to cover a lot in a limited time, there is no time for the reader to be distracted by someone other than the protagonist.
2Make the different characters very different physically. If you're a beginner, it will be hard to make specific facial traits to your characters and you don't want your reader confusing your rival and your hero. If your protagonist has short, blond hair, make your rival have long, black hair. If your protagonist wears shorts and a T-shirt, make your rival wear jeans and a lab coat (or anything else).
3If this is your first story, don't put in too many characters. A common mistake in beginner comics is that too many characters make your reader lose interest in the main character's story. Keep it simple. For a very short story, a good number is three characters. These can be the protagonist, the antagonist and the protagonist's helper if your story is about a quest or it can be the protagonist, the rival and the protagonist's crush if it is a love story.

Forge a Storyline

1Introduce a key character. This is usually the protagonist, but if your villain is particularly intriguing, you might want to open with him or her (especially if you want to set a tone of corruption, decay, or terror for the entire story). You will need to cover who (s)he is and what his/her life is like at this point to allow the reader to connect. Remember to cover all the important details of that character's life. You may have thought about this story for a very long time, but the reader is discovering it and may not understand well if you skip over some details.
2Introduce an element that starts the action. This can be something that causes a disturbance in your main character’s daily life. Be sure to show why this is different from what the character is used to.
3Send the protagonist on a quest. This is your character's adventure to setting things right (or, if you’ve chosen an anti-hero, to set things wrong). This is where you can add a lot of twists and turns to keep your reader interested. Remember that you want your reader to stay interested but you don't want to lose him so keep an idea of the world your character is evolving in.
4Build the conflict to a climax. This is where your main character either chooses or is forced into a huge confrontation that leaves all parties involved forever changed. Avoid the temptation to show off how capable your hero is by making victory seem too easy; the best confrontations are ones where the participants are very evenly matched and the audience truly fears for the character(s) they love. This is the moment when the reader will be holding his breath to see what happens.
5End the story. This is when the reader sees everything falling into place. Make sure that the end gives you a feeling of accomplishment, of catharsis. If it works for you, it should work for your reader.
Complete the Comic Book

1Make thumbnails for the story. To help you out, write a timeline with each step or event in the story in it and write in advance how many pages you will devote to each event: that way you won't make the mistake of making an unimportant event have more pages than the climax. Then, make thumbnails based on how you’ve distributed you events. This doesn't need to be a full script based on what you've written: thumbnails are small, sketchy versions of each page. Use the thumbnails for your "plot breakdown" - decide how much of the story you will tell on each page and in each panel. Think about how to compose each panel and how to make your point to the reader. Don't be afraid to try lots of different thumbnails, organizing your story in different ways. Since they're small and sketchy, you won't have to spend as much time on them as you would a fully drawn page.

2Cut out the good panels. Compile these (in order), toss out the rejects, and made additional panels if necessary. If you like certain aspects of a rejected panel, be sure to trace them into your other attempt(s).

3Draw the panel borders for your final pages. Use your final thumbnails as a guide. This can be loose at this stage, as you begin to place your final artwork in the space of the page. You may decide something from the thumbnail needs to be slightly larger, or smaller, or be emphasized more or less. This is the time to make those last second decisions.

4Lightly write in the lettering. You may be tempted to start drawing first, but you need to make sure there's room for your text boxes and word or thought balloons. Planning the placement of your copy now will save you many headaches later.

Watch out for the position of the speech bubbles. A reader will naturally read a bubble on the top and on the left first. Keep that in mind when you position them for a dialogue.
5Sketch in the drawings. Make sure that everything in each panel is clear and works the way you want it to. Are drawings crowding the lettering so it's smushed into one corner and hard to read? Is a word balloon covering an important detail in your artwork? Is everything clear and easy to understand? This is called "penciling." Try to use a sharpened pencil so people can read your comic. Maybe a mechanical pencil would be good. Some artists use non-repro blue pencils to rough in their characters and panel designs. The reason is that this very light blue pencil is invisible to photocopiers and black and white printing processes, so there's no need to erase them later. Then you can refine the artwork with your pencil. Work light - any lines that overlap your ink work will show in the final comic pages.

Remember to make someone reread each page to make sure it's clear enough. If your friend asks you any question like "What do you mean by that?" or "How did the character get here?", the page isn't clear enough.
6Finish up your pencils. Add details to the characters, objects, and backgrounds.

7Ink your finished pages if desired. Some artists just leave the work in pencils ("Herobear and the Kid" is one example). Most comics, however, are inked over the finished pencils. Use whatever you feel most comfortable with - or consider handing the pages off to someone else to be inked (like the big companies do). Using Penstix, Rapidograph, or quills, brushes and India ink will bring life to the work. Pay close attention to line weight - generally, outside or defining lines are thicker, while details like facial lines and fabric wrinkles are lighter and more delicate. Ink in the lines of the borders.

8Set your type or ink your letters in. Lettering is extremely important - it tells half of your story, while the pictures tell the other half. Hand lettering can be time consuming and difficult, but it looks superb when done by a talented calligrapher. Use pencil to rough in your letters - nothing looks worse than running out of room in a word balloon. Or consider using Word or something similar, and a font like Comic Sans to make your letters perfect and legible. Don't forget to spell check!! Grammar is important in writing.

 9Find a title for your story. This isn't always as simple as it sounds. If you've already found one, good. If you haven't, start by writing as many words that can relate to your story as you can. Try writing around 50 to a 100 for a short story or 100 to 200 if it's a long story. (It’s tedious, yes, but it will stretch the limits of your imagination and force you to come up with something a little more creative).Then, combine words together to make a title. After having made a few combinations, choose the ones you like best and have some friends help you. Always have a second, third, fourth or even fifth opinion. Ask your friends which title makes them want to read the comic most.
10Decide whether or not to publish your comic book. If it turns out really well, you might even be able to sell it at Comic Con. If the results aren’t that spectacular (or just you aren’t interested in publishing), you can make a Facebook page for it or put it on YouTube instead!

  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 

  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love 
  Pencil Drawing Sketches Of  Nature Of  Sceneries Landscapes Of  Flowers Of  Girls Of  People Tumblr Of Roses Of  Eyes Of  Love  

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