Dear Friend,

It's never too late to learn to draw, and the best thing is, it doesn't have to be expensive to learn to draw!

At last, you can now learn the fine art of drawing without enrolling in an expensive art school. 

Learn the art in the comfort of your own home in your spare time at a fraction of the cost in enrolling in an art school with the The Practice and Science of Drawing by Harold Speed!

No commuting to and from a trade school ever! No hours lost to your existing employment, housework or studies!

Learn Drawing Step By Step!

The Practice and Science of Drawing is a comprehensive manual that contains over a hundred illustrations to guide you step-by-step and help  you achieve mastery in the The Practice and Science of Drawing.

Let the author's illustrations guide you through the various stages of drawing. With this step-by-step manual learning the art of drawing would be enjoyable and easy!

The illustration below shows the different stages
of mass drawing with the brush.

The Practice and Science of Drawing is an extraordinarily brilliant work that also contains extensive discussions about modern art and various styles, techniques and philosophies of different artists.

In Chapter I for instance the author talks about the various studies about different artists' styles and points of views.

In describing the works of different artists for instance, the author writes:

"If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. 

And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting."

Learn The Science of Drawing!

More importantly, "The Practice and Science of Drawing" is also a scientific investigation about the art of drawing.  

Take for instance how the author expounds on the art of drawing:

"The best things in an artist's work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. 

Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. 

For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, "not in him but through him." He has been, as it were, but the agent through which it has found expression."

Table Of Contents 

I. INTRODUCTION 
II. DRAWING 
III. VISION 
IV. LINE DRAWING 
V. MASS DRAWING 
VI. THE ACADEMIC AND CONVENTIONAL 
VII. THE STUDY OF DRAWING 
VIII. LINE DRAWING: PRACTICAL 
IX. MASS DRAWING: PRACTICAL 
X. RHYTHM 
XI. RHYTHM: VARIETY OF LINE 
XII. RHYTHM: UNITY OF LINE 
XIII. RHYTHM: VARIETY OF MASS 
XIV. RHYTHM: UNITY OF MASS 
XV. RHYTHM: BALANCE 
XVI. RHYTHM: PROPORTION 
XVII. PORTRAIT DRAWING 
XVIII. THE VISUAL MEMORY 
XIX. PROCEDURE 
XX. MATERIALS 
XXI. CONCLUSION 
APPENDIX. 
INDEX.