CINDER BLOCK STUDIOS

Back To The Drawing Board

Teaching Yourself the Basics of Drawing

Ben Yockel

From what pencils to use, to value and perspective, the power of learning is now in your hands. Take
your first steps in learning to draw and continue to use this book as a guide in your further learning.
More experienced artists may also find this book useful as a resource guide for drawing exercises and
techniques.
Major thanks to my family for being so supportive of my work over the years, to
my editor and wonderful brother Daniel Yockel, and most importantly…

To my fans on

Thank you for all of your support and encouragement over the years. This book
would not be possible without you!

This book is licensed under Creative Commons

Attribution-Non Commercial-No Derivatives 4.0 International
 Table of Contents
Introduction ........................................................................... 4
Chapter 1: Getting Started...................................................... 6
Chapter 2: Value: Learning Pencil Control ............................. 13
Chapter 3: The Basics of Line and Perspective....................... 19
Chapter 4: Circles, Foreshortening, and Radial Perspective ... 28
Chapter 5: Contour Lines ...................................................... 34
Chapter 6: Negative Space .................................................... 38
Chapter 7: Texture and Contrast ........................................... 41
Chapter 8: Apples! The Joys of Observational Drawing ......... 46
Chapter 9: The Basics of Composition ................................... 50
Chapter 10: Conclusion: Taking the Basics Further ................ 66

Appendices
Appendix A: Other Drawing Media ....................................... 71
Appendix B: Glossary of Terms ................................................ 75
Appendix C: Video Library ....................................................... 80
 Introduction

Often I find that across the world many young artists are looking for the perfect
“how to draw book” that will teach them everything they’ll need to know to
become a great artist. However, the truth of the matter is that no single book or
tutorial will teach you that. In fact, I have often wondered exactly how useful a
book can be for a growing artist, as I have never found one that taught me
something new. For many of you I don’t imagine this book to be anything new,
either. Instead, I hope it will be a resource and project book for your self guided
and discovery of the basics of the 2D visual arts.

With the myriad of resources already out there, you may be wondering what
makes this guide so useful. In short, it is the fastest way to understand the basic
elements of design while maintaining a personalized and project based
curriculum. This isn’t to say this guide is 100% formal. There is always room for
reinterpretation of techniques and learning with additional sources. Lessons are
worded as if I am conversing with you as your teacher, and I am working with you
for each lesson. I hope this style of writing maintains a playful and open view of
drawing and encourages you to have fun while we explore the basics of drawing.

Throughout the course of these lessons, I hope to share with you my methods of
understanding drawing and present a different approach to learning the basics
that will help jumpstart your learning in other fields of drawing and painting. The
lessons are designed to be easy to understand, without being overly simplified or
without a proper challenge.

It is my hope that through reading and practicing these basic methods, you too
can one day become a truly skilled artist. If you ever have any questions about the
individual lessons or would like clarification on a topic feel free to email me at
cinderblockstudios(at)live.com

Happy Drawing!
Ben Yockel
 Chapter 1
Getting Started

Before we dive into the realm of assignments and lessons, we must first talk
about what the basics are and what tools you’ll need to tackle each lesson. In this
chapter we will talk about; the basic tools of drawing, the physical differences
between drawing and writing, and we’ll introduce the elements of design. For
both the beginner and more advanced artist, this chapter will be your first big
reference, as well as a foundation for the lessons in the rest of this book.

The subsections in this chapter are designed to help you familiarize yourself with
certain terminology regarding your materials. Additionally, as the other chapters
progress, you will be introduced to new terms, highlighted by bold text, which can
also be found in Appendix B at the end of the book.

For most of the lessons in this book, you will need a sketch pad and a small set of
pencils. Your sketchbook will act as your project book throughout your learning
process. For an artist, the sketchbook is a visual journal of studies, doodles, and
occasionally completed pieces. There are many types of sketchbooks, including
book-bound and wire-bound varieties, as well as a variety of paper types. For ease
of use I recommend picking up a sketchbook with side wire binding. As tempting
as it might be to fill up every inch of blank white space, I would also recommend
that you draw on only one side of the paper. This will help keep you maintain a
clear and focused mental state for each lesson, without becoming distracted by
previous successes and failures you have made. Be sure that you aren’t ripping
pages out after each assignment, either. Your sketchbook will be a great way to
track your progress and come back to issues you may have faced previously. As
you work, your sketchbook will become your own resource guide for new
projects. A final great way to track your progress and keep your sketchbook
organized is to add the date of each drawing to the back of the page.
 Basic Drawing Tools

Pencils

It all starts here. Pencils are the core of all basic drawing, and that’s where we’ll
begin our lessons. Most people are familiar with the standard yellow No. 2 pencil
we all used in school. The pencil is an artist’s greatest tool for creating something
extraordinary. If you can master a pencil, then I have no doubt you’ll create
anything you want to and more, as well as seamlessly try new drawing media.

In drawing, the pencil goes is much more

complicated than it was in your schooling
days. The traditional No. 2 pencil is a middle-
grade pencil. Many manufacturers also
choose to show the grade of the pencil, and
the HB as we artists call it is a great starter
pencil for drawing, and it’s the one that we’ll
start our lessons with.

However, for future drawings, you’ll want to look into investing in a basic set of
drawing pencils. When shopping for drawing pencils, you’ll notice the letter and
number codes on each pencil. The full grading system in full looks like this:

9B 8B 7B 6B 5B 4B 3B 2B B HB H 2H 3H 4H 5H 6H 7H 8H 9H
(Darkest) (Lightest)

Dark pencils have softer lead and won’t require as much pressure to create a dark
line, while lighter pencils will require many layers and pressure to achieve even
the lightest line made by a darker B pencil.
Erasers

Erasers are an interesting topic among both beginners and professionals. Many
professionals will discourage the use of an eraser at all by beginners, and I would
do the same. However, once you learn to control the pencil’s darkness and
lightness on your own, you can revisit the eraser as an essential tool for creating,
rather than a crutch for repairing mistakes. For example, many artists will lay
down larger areas of graphite and use a subtractive method with an eraser to
create lighter areas within surrounding darker sections. Many portrait artists use
this technique quite often.

Let’s talk about the glorious three types of erasers used by most artists. (There
are others, but the big three is where we’ll begin.) First, you may have noticed
that your fancy artist’s drawing pencils (unlike the traditional yellow ones) don’t
have erasers on the end. This is not a design flaw. It’s been done on purpose, and
it’s for your own good. When you begin to understand erasers as a tool rather
than a scapegoat band-aid for your mistakes, you’ll need much more than a tiny
nub at the end of your pencil. The classic pink eraser is never a good idea either.
The hard rubber of a pink eraser often damages not only your drawing, but the
paper you’re working on as well.

When you look at an artist’s erasers, you’ll going to notice three very distinct
types. They are art gum, kneaded, and white. The art gum eraser is usually cube-
shaped and is a great all-around eraser for a variety of different pencil grades. In
general, however, it works the best for your midrange pencils (2B to 3H).
The kneaded eraser has a unique feel and shape depending on how you use it. It
is soft like a piece of taffy and it will most likely last you years rather than months.
The eraser will start its life as a light grey rectangle, but you’ll mostly likely mold it
into a deformed ball of sorts. As a kneaded eraser is used, it becomes black with
graphite that is lifted from your page. This is where the kneaded eraser shows its
“true colors.” As you pull, stretch, and re-form the eraser, the lifted graphite
nearly vanishes and you’re left with a clean eraser once again.

Finally, the white eraser (also called a vinyl or plastic eraser depending on the
manufacturer) is by far my favorite tool for lifting pencil graphite. While it does
tend to smear heavier forms of graphite (especially anything darker than 2B), it’s
perfect for pretty much any of your H-grade pencils.

Remember that an eraser is a tool, and not just a “mistake fixer.” Avoiding using
an eraser will teach you to use creative problem solving. Sometimes it’s more
effective to draw something over again than to erase and force yourself to make a
different decision. Pay attention at the beginning of each chapter to see if you will
benefit from using an eraser.

For more on graphite and erasers watch my video on YouTube:

Everything You Need To Know about… Graphite and Drawing Pencils

Paper

Repeat after me, because I’m only going to say this once, “Never use printer paper
to draw on.” Sorry, all you first-timers on a budget, but I just can’t ever
recommend doing your first serious drawings the paper you stole from the copier
at work. While this paper works just fine for computer printing, it’s not meant to
handle the kind of work we’ll be doing. However, it should be noted that you will
in fact need several sheets of this cheap paper for a few lessons in this book. I’ll
let you know when.
One of the biggest differences between artist papers and office papers is the
tooth or texture that each paper has. Most office papers are perfectly smooth
and have little to no tooth, which is what makes them such a terrible choice for
drawing. In an art or craft store, you’ll see many different types of papers to
choose from. For your basic pencil drawing, you’ll want to be looking for
something labeled as “sketch” or “drawing,” paper. Sketch paper is a fairly
smooth and budget-friendly paper that will be the best choice for your first
assignments. Drawing paper has a slightly higher tooth that will be visible when
you start drawing—and there are more white spaces in your shaded sections.
Additional papers to try for the more advanced drawer would be Bristol,
illustration board, and mixed media paper.
For your assignments in this book, start with wire-bound (if available) sketch
paper that’s 9x12 in. (22.86 x 30.48 cm) or 8x10 in. (20.32 x 25.4 cm), and a
drawing pad that’s 11x14 in. (27.94 x 35.56 cm).

For more on various art papers, watch my video on YouTube:

Everything You Need to Know About… Art Papers

Holding Your Pencil

While this may seem silly, it is often the most overlooked idea when it comes to
learning to draw. When I was in school taking notes, writing extensively, and
filling in bubble sheets for tests, I would hold my pencil with a tight grip. A tight
grip on a pencil or pen works for writing, but for drawing it will limit your range of
motion and can cause cramping in the hand and
wrist over the course of several hours of drawing. In
order to loosen up your hand, you may want to
consider these two simple methods for drawing:

The Tripod Method:

I learned the tripod method when I started painting

more than writing. After college, when I could spend
more time on the canvas, I needed to adjust my
Figure 1.1
hand in order to hold the thick handle of the brush. When I began sketching more
regularly in addition to painting, I found myself using this method for painting,
drawing, and now writing as well.

The tripod method uses the pointer finger, middle finger, and thumb. The utensil
then balances just below the first knuckle on the pointer finger and the edge of
the third knuckle on the middle finger (see figure 1.1 above).

Layout Method:

The layout method (as seen below in figure 1.2) is the best choice for lighter
sketching, especially on larger sheets of paper. This method of holding the pencil
is what many artists will be familiar with for figures and portraits to achieve a
loose gesture and rough idea of their scene. While this method may not work as
well for ink or marker, it is essential in understanding the tool(s) you’re using and
how much pressure you really need to add to make a mark on the page. In
addition, the layout method can be used to create lighter lines by holding the
pencil toward the back, rather than near the point.

Figure 1.2
 The Four Joints of Drawing

After learning to hold your pencil loosely, it should be noted that there’s more to
drawing than just what you hand can offer. If you’ve never drawn more than a
stick figure before, you probably don’t know much about the four joints used by
every artist to create a variety of lines and shapes. When we write, the two joints
that move are our fingers and wrist, and for small drawings and working on
smaller papers this makes sense. However, when drawing you’re drawing, you’re
often working on paper larger than 9x12 inches and need a fuller range of motion
to create big arcs, long lines, and expressive shapes without the use of a ruler,
circle template, or compass.

The four joints for drawing are the fingers, wrist, elbow, and shoulder. While the
fingers and wrist are great for detail work, when you start trying to draw longer
lines with just these two joints, they’ll often come out wavy and uneven. By using
the elbow and shoulder to draw, you’re manipulating the natural inward
curvature of your arm, and (while holding your hand still) you’ll create longer and
more fluid lines. Understandable this takes a bit of practice. Working on a large
18x24-inch sheet of newsprint and using a dark B pencil is a great way to practice
this. Line confidence will take time, but it’s always important to practice your lines
before you start working on a more completed drawing.

For more on this concept, check out my video on drawing joints and horizon lines,
https://www.youtube.com/watch?v=avphbZlJgeU

The horizon line and basic perspective will be covered later in this book.

The Elements of Design:

Where Drawing and Painting Begin
Where the tools are the start of drawing, the elements of design are the start and
end of all 2D visual art. The elements of design are line, shape, form, value,
texture, color, and space. It is these seven concepts that will allow you to draw
anything from the objects on your desk to the worlds and creatures in your own
imagination. Before we get too ahead of ourselves though, let’s take a quick look
at what each of the elements actually is.

Line
Long or short, thick or thin, wavy or jagged, lines are the basics of all other shapes
and movements in a piece. Line can be anything from a sketch, to a continuous
line (contour line), to an outline or an implied line. Line allows us to build shapes,
create value (hatching/cross-hatching, which we’ll discuss later), and more
complex shading techniques. Understanding the four joints of drawing is the true
foundations of lines.

Shape
Shape is built by line and is understood as two-dimensional (flat) images. Think
about your basic shapes (circle, square, triangle, etc.). To start building anything,
from a face to a landscape, everything can be broken down into basic shapes.

Form
Form is built from various shapes and is fleshed out by additional shapes and
shading (value) to create a more believable and realistic object. Where a circle is a
shape, a sphere would be the form of that shape.

Value
Value (sometimes called attribution) is more than just shading. Value
encompasses the highlights, shadows, mid-tones, and overall contrast in a piece
of art. When referring to a colored piece, individual colors will have a light and
dark value based on hue, saturation, and tint.
Texture
There are two main types of texture: actual and perceived. Perceived texture is
created by controlling the contrast and value to make a drawing “look like” a
certain material (such as wood, stone, or fabric). Actual texture refers to a
physical change in the paper or work surface that modifies the tactile appearance
of the piece. Crumbling or scoring the paper are just a couple of the many ways to
achieve actual texture.

Color
Value can be color, but not all colors have the same value. Color is understood by
the parameters of shade, tint, hue, saturation, and contrast (see appendix XX for
term definitions). Color can only be understood as a secondary to value and form.

Space
Space refers both to the area taken up by objects in a piece and to the “negative
space” that surrounds those objects. Perspective is a large part of understanding
how space is utilized in a drawing. (Perspective will be discussed in the chapter on
line.) Space also encompasses atmospheric perspective, which we will also discuss
later on.
 Chapter 2
Value: Learning Pencil Control
Materials for this chapter:
1. 2B or HB pencil
2. 9x12 or 8x10 in. sketch pad
3. Ruler

When I first thought about creating this book, I thought back to how I learned to
draw from my art teachers in high school and college. The one thing that
everyone started with was value. This may seem less intuitive than starting with
line or perspective, but basic value exercises actually teach you more about
controlling your pencil than any other form of practice can. In picking up a
drawing pencil for the first time, it’s important to understand the levels of value
you can achieve with that one individual pencil. While the different grades of
pencils (see chapter 1) can effortlessly create different values, the use of them
can vary depending on how confident the artist is in their own hand.

Lesson 2.1: 5 Box Value Scale

For your first exercise, you’re going to create what is known as a value scale. A
value scale is a series of boxes (always an odd number) that will allow you to
understand the various levels of value you can achieve with a single pencil. Begin
by measuring out a 1”x5” rectangle. Then divide that rectangle into five boxes,
each 1 inch square. This will be your first value scale (see figure 2.1 below). On
one side/end of the scale, you will not shade in at all. Leave it white to represent
your lightest value. The box on the other end should be the “darkest dark” value
that you can achieve with your pencil. The center box will be your mid-tone value.
Use the image below as a guide to match your values. Use a B or HB pencil to
both lay out and create your scale. Feel free to get started on this project as you
continue to read on for further advice.
Figure 2.1

It should be noted that you should never push heavily on the pencil. While a little
bit of pressure will allow you to create a darker line, heavy pressure can damage
the surface of the page, creating an uneven and undesirable appearance.
Consider using both the tripod method and the layout method for holding your
pencil (see Chapter 1). It’s always easier to work on the darkest value first, but
also remember to start by pressing lightly and work darker in layers. The basic
methods of shading include hatching, cross hatching, stippling, and scumbling.
Hatching involves simple short strokes of the pencil in one direction. Cross
Hatching uses the basics of hatching but allows for layers of horizontal, vertical,
and diagonal strokes (see figure 2.2 below). Cross Hatching is often the most
effective technique for beginners and will work well for creating your value scale.
Scumbling is a bit more haphazard and often less taxing mentally. Scumbling is
essentially localized scribbling, while keeping the pressure on the pencil very light.
Feel free to try out any or all of these techniques in creating your value scale.
Stippling is the least commonly used of the shading methods and is creating by
arranging small dots on the page. Overuse of this method can cause hand
cramping, so it’s recommended to use one of the other methods.

Figure 2.2
Are you finished? Great! If you’re having trouble with this scale and it doesn’t look
quite right, you may need to make a few more scales until you’re confident in the
process.

Lesson 2.2, 2.3: 7 and 9 Box Scales

For your next lesson, we’re going to up the number of boxes in our scale, this time
to seven. Use the same method as you used before: draw out your rectangle and
create one-inch-square boxes. In a smaller 8x10 inch sketchbook you may need to
decrease the box size to ¾ or ½ of an inch. When you finish the seven and are
confident with it, move on to one final scale, this time with nine boxes. Use
figures 2.3 and 2.4 (shown below) as a guide to match the level of each of the
different values. Remember that this is not an exercise with an eraser. If you
shade a box too dark, start again with another box adjacent to the mistake box.
The replacement box can later be taped or glued into the line.

Figure 2.3

Figure 2.4

In creating the 5, 7, and 9-block value scales, you will undoubtedly begin to
recognize how much pressure is required to create darker and lighter sections. Be
sure to keep your value scales as a future reference. Label them as B or HB
depending on which pencil you chose to use for this project. Note that to gain a
better understanding the differences in pencil hardness, you can try creating a
scale for each pencil grade (however, it is not necessary in most cases).

In your further studies and experiments with different art papers, you’ll notice
that it takes more layering and slightly more pressure to create a smooth dark
area of value. The varying textures on paper like drawing paper or Bristol paper
will amplify the white space as you move your pencil across the page. This is not a
bad thing. Many first time drawers will see these small white spaces and think
they’re doing something wrong. The texture of the paper may vary, but what
matters is your drawing, not filling in every possible space with graphite.

If you feel stuck or discouraged, feel free to take a break from your study of value
and continue on to further chapters. It is, however, important to be familiar with
the concepts in this chapter in order to better understand the other lessons in this
book. Remember that it’s important to take breaks after each lesson to process
what you have learned.
 Chapter 3
The Basics of Line and Perspective
Materials for this chapter:
1. HB and 2H pencil
2. 9x12 or 8x10 in. sketch pad
3. Ruler (As directed)
4. Eraser (as needed, art gum or white)

Now that you’ve learned to control you pencil properly a bit better, we can dive
into the basics of line. Line is a very broad topic which encompasses many of the
other elements of design. To review, remember that lines come in a variety of
lengths, shapes, and widths. Your use of line will lead the viewer’s eyes around
your artwork, create shapes and forms, and as you’ve already learned, create
value.

For the first lesson in this chapter we’re going to learn about perspective.
Perspective is usually classified as single-point, 2-point, or 3-point perspective.
There are additional points (up to 6) that are used to create a more encompassing
depth of field; but they will not be discussed in this book, since they’re more
advanced techniques. Perspective is used to create depth in a drawing just with
the geometric understanding of line. This idea begins with what is known as a
horizon line. The horizon line, or eye-level line in some circumstances, will act as
a base line for a composition. All depth based artwork has some type of horizon
line. For a landscape, it is quite literally the line where the sky meets the land (the
horizon). For an indoor scene, imagine where your eyes are looking (even beyond
the walls). This is where the horizon line is your eye-level line.

As a condensed lesson and refresher refer to the video link below:

Elements of Design Part 1: Line
Lesson 3.1: Single Point Perspective

For this lesson we’ll start by drawing a line across the center of your page. Use
your ruler and the lighter of your two pencils for this. Your line doesn’t need to be
perfectly level, but should be close (see fig. 3.1 below) A horizon line can also be
drawn at an angle and move up or down on the page to create a more dynamic
feel to a piece. These techniques will be discussed at the end of the chapter.

Figure 3.1

Once your horizon line is placed, mark a spot somewhere on that line with an “X.”
This is known as a vanishing point. A vanishing point is the point at which the
lines creating depth will converge. To start, placing the vanishing point (or VP)
slightly off center will allow for an easier understanding on single point
perspective.

Figure 3.2
With your horizon line and vanishing point in place, you’re now ready to start
creating simple blocky shapes. Begin by adding a single vertical line on your page,
switching to your softer (darker) of the two pencils. Be sure that this line is a fair
distance from your vanishing point, but also that it crosses from above the
horizon line to below it.

From this line, you can extend two lines at the top and bottom. Keep these lines
parallel to your horizon line. These lines should be the same length, since you will
add another vertical line to create a rectangle on your page. (See Figure 3.3)

Figure 3.3

Now switch back to your lighter pencil for your next two lines. For these lines find
the two closest corners to your vanishing point. These two corners will extend to
the vanishing point creating a long box (See Figures 3.4 and 3.5). Feel free to
make this long box into a shorter one by drawing an additional vertical line
between the lines that lead to your vanishing point, and darken the box with your
soft pencil.

Figure 3.4
 Figure 3.5

Continue on creating more boxes around your vanishing point. Cross the horizon
line, keeping one or two of these boxes floating above the horizon line, and
others below it. (See fig. 3.6 for examples.) If you’d like an additional challenge,
feel free to experiment with other shapes such as triangles or block letters.

Figure 3.6

Lesson 3.2: Two-Point Perspective

Next, we’re going to tackle 2-point perspective. The concepts are the same as in
single point perspective, so if you feel confident in them, you should have no
trouble here. As shown in the example below (fig. 3.7), you’ll begin on a new page
 with a new horizon line. For 2-point perspective, you’ll separate your vanishing
points to either end of the horizon.

Figure 3.7

From this point, you can use both boxes as well and single lines to create your
block structures. In using simply a single vertical line, you will create the illusion of
facing the corner of a block rather than a flat face. (See Examples below in Figures
3.8 to 3.10).

Figure 3.8 Figure 3.9

Figure 3.10
Lesson 3.3: 3-Point Perspective

If you’ve made it this far without a break I’d suggest taking one to clear your head
and process the lessons we’ve covered thus far. As we move on to 3-point
perspective, your understanding of 2-point will be a solid foundation for
understanding the addition of another point. Begin by setting up a new page as
you did for the 2-point lesson. (To review, that’s a simple horizon line and a
vanishing point on either side of the page and part of the horizon line.) To apply
the third point, place an X either at the top or bottom of the page (not on the
horizon line). This point will now take control of your formerly straight vertical
lines. In single and 2-point perspective your maintained a single straight vertical
line as your starting point, and used the same vertical lines to create the edges of
your box(es). For true 3-point perspective remember to keep your vertical lines
pointing toward the third vanishing point you drew earlier. (Use figures 3.11 and
3.12 as examples.) Continue on to create at least 5 boxes on your page.

Figure 3.11
 Figure 3.12
(Note: boxes are skewed because the vanishing points are close together)

Lesson 3.4: Free Hand Perspective and Applied Shading

The final lesson in this chapter is more self-guided than the others. As we
discussed in chapter 1, understanding the four joints of drawing will allow you to
work without a ruler as your aid. At your discretion, pick either 2- or 3-point
perspective and toss your ruler aside. Lay out your horizon line and vanishing
points with a light pencil, but create your lines and boxes free hand. An effective
way to practice this is to glide your pencil (in hand) above your paper a few times
before you decide to make a line. Don’t be afraid to use sketchier lines and make
several light passes before choosing one line to darken into your box. When you
understand the basics of ruler perspective, drawing your lines freehand becomes
much easier. See figure 3.13 as an example of free hand lines for your continued
practice.
 Figure 3.13

After creating your free handed shapes, you can then create the basics of a scene
with simple a little shading.

As seen in fig. 3.14, I have established a light source on the left part of the horizon
line with a circle. The direction of the light is represented by the symbol O=> and
all of the shadows are opposite of the light. We’ll learn more about observing
light and shadow in Chapter 8, but in this instance you can easily see the basics of
light and shadow. If our light source is right on the horizon, then the brightest side
is facing the light and is not seen in the drawing. The next lightest would be the
left side face of each block. This side is mostly un-shaded, with the exception of
some light marks near the far right edge of the face. The darkest side is the one
opposite the light source. By definition, this side will both be in the shadow and
be the side from which the shadow is cast. Using the far left box as an example,
the shadow in this case is cast down away from the box. Notice that the shadow
on the ground retains the use of perspective, since we are using the light source
as an imaginary vanishing point. If the light source were in a different location,
the shadows of course would follow to match in perspective; however the
shadows would be the only shape leading to the vanishing point in the light
source.

Try shading in one of your perspective drawings in this way, and another by
moving the light source around. If you’re struggling with this concept, don’t worry
about it for now. More on observing light and shadow will be covered in later
lessons.
 Chapter 4
Circles, Foreshortening,
& Radial Perspective
Materials for this Chapter:
1. HB and 2H pencil
2. 9x12 or 8x10 in. sketch pad
3. Eraser (as needed, art gum or white)

In our previous chapters we focused on basic control of your pencil and simple
techniques for creating lines. In this chapter we push past the limits of what a
ruler can do and begin to create our own free-form shapes. There are three key
lessons in this chapter, however within those lessons there are several smaller
concepts to explore, as we start to understand how to create more natural
shapes.

Lesson 4.1: Freehand Circles

To begin, we will discuss and practice different methods for creating freehand
circles and ellipses. Creating circles freehand may seem like an impossible task at
first, but if you’ve already become comfortable drawing from your elbow and
shoulder (as discussed in Chapter 1) then you’ll have a much easier time. Much of
this lesson will be easier to understand visually so be sure to check out my video
on the topic before reading on.

Circles and Ellipses Video

Both the layout and tripod methods of holding your pencil will give you the added
freedom in your drawing motion you’ll need to create circles much more easily.
As seen in the video, the two most common methods for creating circles are the
multi-circle method and the hover method. The multi-circle method as the name
implies, is when you create several light circles before darkening the one you like
the best. Using the multi-circle method you’ll start with a light pencil and make
circles with your whole arm on the page. After 5-10 passes, you should have a
fairly round section of many light circles. From this light section, you can take your
darker pencil and sketch out the circle. You may find it easier to turn your sketch
pad (and/or your whole body) in order to keep a comfortable and consistent
drawing arch. (See figure 4.1 for the complete method.) After your dark circle has
been drawn, erase the lighter circles as desired.

Figure 4.1

The hover method for circles is very similar to the previous method, only the
multiple circles never touch the page. Rest your hand on the paper and
performing the same motion as before with your shoulder. This time, however,
instead of keeping your wrist angled down on the page, keep it slightly higher and
simply glide across the paper. Continue making circular motions until you feel
confident enough to slowly angle your wrist down and make the circle. As seen in
the video, this method can be harder and more cumbersome to implement. For
this reason, using the hover method as in conjunction with the multi-circle
method will often give you the best results.

Figure 4.2

Take your time and practice both methods on a few sheets of your sketch pad. Fill
up each page with 10-20 circles in a variety of sizes. Do note that if you’re
struggling to draw with your shoulder, working larger for this type of practice can
make things easier. A larger sketch pad 11x14 in. (27.94x 35.56 cm) or larger
should give you the room to make large circular motions.

Lesson 4.2: Foreshortening

In our last chapter, we discussed perspective as it’s a simple and geometric way to
understand depth. The boxes you created could, in theory, become tall city
buildings, long warehouses, or concrete blocks. However, the sharp edges of the
boxes in perspective don’t leave much to the imagination for more organic
shapes, like plants, animals, or people. This is where foreshortening comes into
play. Since we played with circles in our first lesson in this chapter, it should come
as no surprise that foreshortening is all about circles. More specifically, it’s about
circles in perspective and understanding depth. The best way to understand
foreshortening is to think about a coin. In figure 4.3, you can see that as the coin
is turned, the perfect circle of the coin becomes distorted into an oval shape. By
the time the coin is turned 90 degrees in one direction, you only perceive a
straight line. For this exercise, replicate the orange line shown in figure 4.3 in your
sketchbook. Find a large coin and close one eye to observe its outer edge. Don’t
worry about drawing the detail of the coin, since this exercise is about the shape
of the coin and not the coin itself.

Figure 4.3

Foreshortening is also an important part of understanding the human figure in

creating depth. As shown in fig. 4.4, the red lines encompass the figure’s arm. The
circles in this case change in size and shape depending on the different shapes in
the arm and they can be followed back to a vanishing point (see green lines in
figure 4.4). While this book doesn’t cover anatomy, recognizing foreshortening in
photos, artwork, and in real life will allow you to think about objects in a three-
dimensional space, or, as seen in a, drawing, create depth in your picture plane.
 Figure 4.4

Lesson 4.3: Radial Perspective

In the previous chapter, when we talked about perspective, we limited the main
vanishing points to the horizon line. However, as seen in 3-point perspective, it’s
possible to draw lines pointing to an additional vanishing point outside of the
horizon line. In understanding radial perspective, an example is needed (Fig 4.5).

Figure 4.5 | The Crater (2013)

 Using the example of a crater-like section of rocks, you can begin to visualize
which elements exist in the picture plane. While the initial lines drawn out from
the vanishing point act as guide lines, you can then draw circles freehand, starting
small at the center and working larger as you go farther out. Figs. 4.6 to 4.10
illustrate the process of creating a simple radial perspective drawing and provide
examples of simple compositions using the technique. Feel free to try a few small
sketches featuring radial perspective.

Figure 4.6 Figure 4.7

Figure 4.9
Figure 4.8

Figure 4.10 | Mild shading applied

 Chapter 5
Contour Lines
Materials for this chapter:
1. HB pencil
2. 9x12 or 8x10 in. sketch pad
3. Small household object
4. Sheet of Printer (Copy) Paper

As we’ve already discussed, line is used to create simple geometric shapes.

However, lines can also be used to create significantly more complex shapes and
forms. Many beginning artists will want to treat every drawing as an outline of an
object; however this can become problematic, since outlined shapes are flat and
uninspired. To begin to understand how lines can create more complex shapes, in
this chapter we will briefly talk about contour lines.

Contour lines are single unbroken lines used to capture shapes and details in a
drawing. For example, in fig. 5.1 the line creating the can remains intact even
after moving from the outline to the inner details of the shape. While contour
lines aren’t often used in full scale artwork, they’re a great method to practice
capturing shape and form with a simple line.

Figure 5.1
This is also your first major lesson in observational drawing. What many aspiring
artists fail to recognize is that drawing takes more than a pencil to the page—it
also requires a keen eye. In school, I was told that drawing is 90 percent
observation, and this couldn’t be a truer benchmark for this chapter’s lessons.
Your focus will be on the object you choose to draw rather than fixating on
getting every just line right.

Lesson 5.1: Blind Contour Line Drawing

For this lesson, use a full sheet of your sketch pad and a simple HB pencil. You’ll
want to find small household object to draw. Think of something fairly simple;
avoid picking an object with too many angles and inner details (for now). You can
begin anywhere on the page and on any part of the object. There is a catch
though: You’re not allowed to look down at your drawing. Focus only on staring at
the object and drawing it. The most you’ll see of your drawing will be in your
peripheral vision. Keep your pencil on the page from the moment you start and
try your best to capture the shape and form of the object while maintaining an
unbroken line. Don’t worry about your drawing looking messy here. This is a
lesson in observation, not accuracy. Chances are your drawing will be warped and
disconnected. Feel free to do a few of these. Rotate your object to get a different
angle on it, continuing to observe the contours of its shape. See fig. 5.3 for a
completed example of a blind contour line drawing.

Figure 5.2 | Reference object for contour drawings

 Figure 5.3

Lesson 5.2: Contour Line Drawing

Okay. Now that you’ve been tortured enough let’s try another one. You are
allowed to look at your drawing this time, but don’t focus on the page. Remember
to constantly observe. Move your pencil a few inches then look up again and
observe the next line. This drawing should be much less distorted, but should still
provide you with a challenge in maintaining the shape.

Remember that a contour line is one that is unbroken. Once you put down your
pencil on the page you must not lift it up. As needed you are encouraged to
stretch your hand take a break while drawing, just be sure to pick back up where
you left off (or by starting a new continuous line). Remember that this isn’t a
lesson on erasing. Keep your eraser put away. Any mistakes you make are your
chance to problem solve and build more complex lines.

At this point, you may want to place a piece of copy paper (or scrap sketch paper)
under your hand to prevent the graphite from smearing on your paper and your
hand. This is a great practice to isolate the part of the drawing you are currently
working on, from the rest of the piece. It can be a valuable tool to remain
focused.

Figure 5.4

Feel free to do as many of these contour line drawings as you like. It’s hard to
critique a lesson like this, since the finished drawing result is often messy and the
shapes are uneven.
 Chapter 6
Negative Space
Materials for this Chapter:
1. 4B pencil (or darker)
2. 9x12 or 8x10 in. sketch pad
3. 3 Household objects

With so much of our focus previously being on the element of line, this lesson will
seem like a complete 180 in terms of technique. In the last chapter, on we talked
about how line can create basic shapes and forms. Another major element that
dictates shape is space—more specifically negative space. Negative space put
simply is the empty area around an object, while the positive space is the
collection of objects in your scene.

As seen in fig. 6.1 the can shape is outlined in red.

The positive space in the scene would be the can.
While the negative space (highlighted in light green)
is the surrounding area.

Lesson 6: Negative Space Drawings

For this lesson, you’ll be focusing on just the

negative space around an object. The best
technique for this is to use a dark pencil (4B or
darker) and hold it using the layout method that we
discussed in Chapter 1. In order to practice this
more effectively, this lesson will involve three
drawings (on three separate pages). For each
drawing, select a household object that you can
place on a table to draw. Start small with an object,
the size of a pop (soda) can. Your next drawing Figure 6.1
should be larger, but no bigger than a loaf of bread.
Finally, look for slightly larger object (it doesn’t have to be placed on a table). The
 larger object should contain more negative space than the first two. Think of a
small wooden chair or a house plant. This is another lesson where the final spot-
on accuracy of the finished project is less important than learning to understand
the space that creates shape. Use figs. 6.2 to 6.4 as a guide for your three objects.

Figure 6.2

Figure 6.3
Figure 6.4
 Chapter 7
Texture and Contrast
Materials for this chapter:
1. 4B pencil (or darker, for rubs), 2B and 2H pencils (for drawing)
2. 9x12 or 8x10 in. sketch pad
3. 10 sheets of printer (copy) paper
4. Eraser (art gum or kneaded)

As you learned in Chapter 2, a single pencil can be used to create a variety of

shades. From your darkest darks to your lightest lights, you build a value scale
with a single grade of pencil. The lessons in this chapter are designed to take the
element of value and apply it to something more useful.

To review texture is comes in two forms; actual texture and perceived texture.
Actual texture in art refers to convex or concave sections on a piece of artwork.
For example, in a collage, pieces of felt adhered to a canvas or wood panel are
raised above the substrate, and also have a fuzzy feeling to them when touched.
Perceived texture is what we’ll focus on in this chapter, since it involves drawing
areas of value to mimic the look of textures like wood, stone, fabric, etc.

Lesson 7.1: Let’s Get Rubbing

It’s time to take a lesson from the grade school handbook. This is the first part of
a longer lesson, so if you haven’t taken a break recently, take a step back from
your sketchbook for a little while. You’ll need a nice dark B pencil and several
sheets of printer paper. As mentioned in Chapter 1, printer paper is a nightmare
to draw on; however, it’s perfect for creating rubbings. As a child (if you grew up
in the 80s and 90s) you may have done this with a big crayon, rubbing things like
the tires on your big wheel. You might also remember Indiana Jones making a
rubbing of the knight’s shield in The Last Crusade. If this is a new idea to you,
however, just relax and have fun with this lesson.
The project here is to find interesting textures from objects in and around your
house. Place the paper on the textured object and rub the pencil across the
paper, capturing its texture. The layout method of drawing and sketching is often
the best way to rub here. Be sure that you aren’t pressing so hard that you fill in
the gaps created on the page, but hard enough that your rub isn’t streaky (See
Fig. 7.1 for the proper method and result).

Figure 7.1

You will find that not every object you rub will have a consistent texture. The
rougher the object, the more haphazard the shapes you will capture. Note that
objects that have very distinct shapes, like the bottoms of tennis shoes and
electronics with raised buttons will create the best rubs. Use fig. 7.2 as a guide for
the types of textures to look out for and try. Be sure to keep your rubs (folded) in
your sketchbook for the next lesson.
Figure 7.2
Lesson 7.2: Time to Draw ‘Em

If this lesson’s title isn’t a dead giveaway, your next assignment is to draw the
texture rubbings you created in the previous lesson. Go back to using a single 2B
pencil and keep your eraser handy, but you shouldn’t need it very much. You
don’t necessarily have to match the scale; however it’s important to match the
value and shape of the textures. For this project you should use about a quarter
of your page for your texture drawings. Choose the 5-7 rubbings you feel are the
best and most varied textures as the subjects for your practice. If needed, repeat
lesson 1 and find 3-5 additional textures to rub and draw. Use figs. 7.3 to 7.5 as a
guide for creating proper contrast in your textures.

Figure 7.3
Figure 7.4

Figure 7.5
 Chapter 8
Apples! The Joys of
Observational Drawing
Materials for this Chapter:
1. Pencils (2H and 2B)
2. 9x12 or 8x10 in. sketch pad
3. Eraser (art gum, kneaded, and/or white, as needed)
4. Apple (or similar ball-like object)
5. Spotlight or lamp

An art teacher of mine once said, “Draw what you see, and not what you know.”
As you may have already learned in Chapter 5, observation is key when drawing
from life. The general ratio of 90% observing to 10% drawing will come into play
here as well. While it may seem clichéd, drawing apples (or other round objects)
is a great way to apply what we have already learned to a more completed
drawing.

Lesson 8.1: Starting Lightly

Your task for this chapter is to observe light on a round object. Place your apple
(or generic apple substitute) on a table in a dark room. Light the apple with a
single light source from one side (avoid top down light and back light). Sit about 5
feet (1.5 m) away from the object. Remember the techniques you learned in
previous chapters. Start sketching with the 2H pencil to get your rough lines. The
circle techniques from Chapter 4 will help
you the most here in laying out the initial
shape. You are allowed to erase for this
assignment, but try to use your eraser
sparingly. Don’t rely on the eraser to fix
every mistake. The first time you do any
more complex drawing, you’re bound to
make a few mistakes. See figs. 8.1 and 8.2
for sketching.

Figure 8.1
 Figure 8.2

Lesson 8.2: Getting Darker

Once you have your initial sketch, you’re ready to start darkening areas. Don’t
focus on getting your darkest values, but instead on light values and midtones.
Note that just like the “darkest darks” and “lightest lights” you practiced on your
value scale, you’ll need to start soft and slowly build up layers to create darker
values. In observing the object, notice that the more the light hits the object you
shouldn’t be adding any shading with your pencil. As with the lightest values, the
darkest values should be used
sparingly. Note that your object’s
shadow will most likely be lighter
than the bottom edge of the
object. See a light and shadow
breakdown in fig. 8.4.

Figure 8.3
 Figure 8.4

Lesson 8.3: Finishing Touches

This is a simple project, but it can and should take you some time. Give yourself at
least an hour to work on this piece. The sketch should take about 5-10 minutes as
you capture the shape,another 15-20 minutes for your initial shading and values,
and finally a second 15-20 minutes of refining and detailing. Don’t rush through
this assignment, but instead remember to observe your object and capture its
essence on the page. Remember your textural drawings here as well. Capture not
only the shape of the object, but its details and visual textures. Remember to
consider the baseline of your table as well. This will give your drawing the illusion
of having depth. A great finishing technique is to use your eraser as a tool to
subtract value from dark areas. A kneaded eraser is good for this method

Subtractive methods can also be used to mimic the way light catches on other
parts of the object, aside from the portion facing your spotlight.
Figure 8.5

As shown in fig. 8.5, the finished example, lights and darks are used sparingly, but
effectively. They give contrast to the other midtones in the scene and create a
well-rounded image. Repeating this process for other objects (round or
otherwise) is a great way to practice drawing. This idea of a simple light and
objects are the basis for creating a still life, which we will discuss more fully in the
next chapter.
 Chapter 9
The Basics of Composition
Materials for this Chapter:
1. Pencils (Full Set)
2. Your choice of 9x12 or 8x10 inch sketch pad (OPTIONAL)
3. 11x14 in. Drawing Pad (27.94 x 35.56 cm)
4. Eraser (art gum, kneaded, and/or white, as needed)
5. Additional accessories for blending (as needed/desired)
6. Still life objects
7. Spotlight or lamp

Once you come to an understanding of the basics (as covered in the first eight
chapters), you should at this time be able to see the shapes, values, and lines in
any object you encounter. In this chapter, you’ll select objects that represent your
interests and arrange them into a still life. Creating your still life will give you the
freedom to choose objects that you feel you can draw easily, while still creating a
challenge. Before attempting this project, be sure that you’ve completed all of the
previous assignments prior to this chapter. You’ll also need your larger drawing
pad for this project. If you’re on a budget, you can stick with your sketch pad, but
it is recommended that you work in a larger format than you have been
previously.

Lesson 9.1: Choosing Your Objects

In choosing your objects, you’ll want to look for ones that define you as a creative
person. Whether or not you see yourself as creative, you undoubtedly have
collected objects based around your own interests. This is your chance to think
outside the box, finding a variety of objects with different textures. Consider
these parameters for choosing different objects: round, smooth, rough, fabric,
angular/pointy. Your objects will most likely be a combination of these or other
physical traits, so be sure to find a variety of textures and shapes to use. You will
be using between 3 and 8 of your objects, so choose carefully. Beginners will want
to avoid using clear objects such as drinking glasses or overly textured ones like a
terrycloth towel. Use fig. 9.1 as a guide.

Figure 9.1
Lesson 9.2: Rule of Thirds (Balancing Your Composition)

When attempting to build your first still life, it’s important to understand how to
balance your composition. For this understanding, the rule of thirds will allow you
to set up an interesting still life. The rule of thirds divides an image into thirds,
both horizontally and vertically, creating 9 boxes. The points where your lines
intersect are considered interesting focal points. Many of you will want to center
your still life in your composition; however, this does not make for an interesting
scene. Moving a composition slightly to one side, where your subject intersects
these points, creates a more interesting composition. As you choose to place your
objects together, consider using your largest object as the subject; doing this will
allow you to easily line up your still life following the rule of thirds.

A great way to practice this idea and imagine how to crop images, you’ll want to
make a viewfinder. Start by finding a small rectangle of cardboard or another
thick paper. Cut a rectangular hole in the center of the cardboard that is 2.5 by
3.5 inches (6.35 x 8.89 cm). Then take a bit of string (or dental floss) and divide
the box into thirds (both horizontally and vertically) using the string. Make sure
your string is tightly taped—you want to make a quality viewfinder. See figs. 9.2
through 9.4 for an example of a viewfinder. After completing the viewfinder, you
can then hold it up at arm’s length or closer (depending on the scale of the scene
you want to see). For the best results, close one eye and look through the
viewfinder, lining up your subject(s) on different intersecting points.

Figure 9.2
 Figure 9.4
Figure 9.3

Lesson 9.3: Building Your Still Life

At this point, you should be ready to start assembling your still life. In most cases,
your largest object will be the main subject, and your smaller objects will
surround it. For my objects, I’ve chosen an old pair of glasses, a can of spray paint,
a few decorative stones, a gesso brush, one of my many paint rags, and a video
game controller. The largest two objects in my set are the controller and the spray
can, so they will act as the key subjects. To begin, I’ve cleared off a corner of a
counter top which will act as natural framing, as well as provide a less distracting
backdrop for the composition. I began by placing the can and controller, one
behind the other, about a few inches from the corner of the wall. Thinking ahead,
I want my subjects to be near the corner (but not on top of it) and be on the right-
hand side of my composition. The two objects then hug together in a way that
seems interesting from a distance. (See fig. 9.5)

Figure 9.5
This process of arranging your objects will force you to think ahead to where you
want to sit while drawing your still life. It may involve some moving objects here
and there until you’re ready to start the final draft of the project. Remember than
you can always rearrange after the initial placement, but once you start drawing
everything needs to remain stationary.

After I had the main objects where I wanted them, I then placed the fabric around
them since it will be the hardest to add in if it were saved until the end. I picked
one of my longer rags so that it would have room to bend and twist around the
entire composition. If you chose to use a piece of fabric in your still life, imagine it
is a snake sleeping curled around the objects in your scene. Weave it in “S”
shaped patterns around and between your subjects. Don’t, however, force the
fabric in-between every crack and crevice. It should feel naturally draped around
your objects.

Figure 9.6

Next come the medium sized objects. In my case, it’s the glasses and paint brush.
These shouldn’t distract from the main subjects, but can be placed in front of
them as needed. I thought it would be interesting to use the glasses as a balance
point for the handle of the paintbrush. This way, the brush won’t lay flat and the
viewer will be able to see the fullness of the bristles. I also placed the objects
slightly to the left of the other subjects to offset and balance the composition,
making sure that the can remains the dominant subject, but isn’t too heavily
weighted on the right side.

Figure 9.7

Finally, I tossed in a few decorative stones to bring a few smaller details into the
piece. These were placed more randomly than the other objects. Some of the
smaller ones I actually simply dropped from a short distance up, and where they
landed, they stayed for the final composition. Doing this for smaller objects will
create a more natural seeming scene.

Once your still life is set up, grab

yourself a singular light source to light
your scene. For the actual drawing
process, you’ll want to be working in a
mostly dark room, devoid of any
overhead lights. The spotlight on your
still life should be enough to
illuminate your drawing pad, but in

Figure 9.8
case it isn’t, take a few steps back and use a small side lamp so that you don’t
change the strong lighting in the still life. Do note that using natural light isn’t
recommended, since natural light changes incrementally (think of a sundial) and
will create an inconsistent drawing as the shadows change. If you don’t have a
specific spotlight, a small table lamp or coil lamp will also work well. Another
great alternative is to use a hanging automotive light. Place the lamp off to one
side, either at table height, slightly lower, or slightly higher and pointing down
toward your main subject. As with the objects, the light should not be moved for
the duration of the still life drawing, as a change in light would affect shadow and
shape in the drawing.

Figure 9.9
Lesson 9.4: Thumbnails

In an effort to understand the composition you’ve just created and think about
how you want to compose your drawing, doing thumbnail sketches is a great way
to figure things out. A thumbnail sketch is simply a small drawing created in order
to understand basic layout and composition without thinking about detail or
complex shapes. A thumbnail can be a variety of sizes, ranging from a 1-inch
square (3 cm) to a larger box of a few inches (think about the viewfinder size from
lesson 9.1). Thumbnail sketches also vary in technique. One basic use of them is
to simply play with line and shape to lay out some basic circles and squares that
represent the objects in your still life. A slightly more effective use of the
thumbnail is to use blocks shapes and use techniques from the positive and
negative space lesson in Chapter 6. Your thumbnail sketches will also allow you to
consider either a vertical composition (portrait style) or a horizontal one
(landscape style). See fig. 9.10 for examples of the different thumbnail variations.
Your thumbnails can be drawn in your larger drawing pad as well as in your
sketchbook, and you’re free to use any of your pencils and erasers for this lesson.
Thumbnails are all about getting in practice and building up your confidence, so
don’t worry about making mistakes.

Figure 9.10

Lesson 9.5: Practice Sketch (Optional Step)

After a few thumbnails, you should be ready to start your still life, but if you’re
still hesitant, a practice sketch or two can help you build up your confidence for
the larger piece. To begin, sit yourself 3-5 feet (1 to 1.5 m) away from your still life
and use your viewfinder from Lesson 9.2 to choose both the direction of your
paper and the size of the objects in your still life.
For a practice sketch, work in a
half-page section of your
sketchbook (smaller size than the
drawing pad), and feel free to use
all of your pencils and erasers.
You shouldn’t treat the practice
sketch like a finished
drawing/illustration; instead, use
it to practice general movement
and the building of your shapes.
Avoid simply outlining the
objects—this will often cause the
Figure 9.11
piece to be disproportionate, and
you’ll quickly run out of room. Start with light pencils (2H or 4H, for example) and
lay out some basic ellipses and boxes. With darker pencils, start to fill out your
forms and add some minor shadows, but don’t go super dark or make things
overly detailed (save that for your actual drawing).

Your practice sketch should take you no more than about an hour. Don’t over
detail or shade the sketch, since its purpose to give you a feel for the larger
drawing.

Figure 9.12
Lesson 9.6: Starting on Your Still Life

Well, this is where all the previous lessons come together in one big drawing. Get
out your 11x14” drawing pad and begin! Nope! Sorry, but it’s not that easy.
Before laying out that first circle, you’ll want to measure out a slight border on
your page. This will allow you a little extra room to work beyond the border, as
well as create a basic outline for a future matte and framing job (if you choose to
display your piece). For an 11x14” pad, you’ll want to create a 1-inch boarder all
the way around the piece. Mark the border with your ruler and draw it out with
the lightest pencil in your set (2H or 4H). The border should be barely visible as
you may want to erase it upon completing the drawing.

With your border in place, you’re now finally ready to begin. If you created a
practice sketch from the previous (optional) lesson, you’ll know to start by sitting
3-5 feet (1 to 1.5 meters) away from your still life. Use your viewfinder from
Lesson 9.2 to choose both the orientation of your paper and the size of the
objects in your still life. Begin sketching your shapes and base forms with lighter
pencils rather than trying to outline everything. Simply trying to outline the
shapes in your still life will often result in disproportionate shapes, and you’ll
often find yourself running out of room or using too little of the space on your
page. Don’t worry about shadows or details for the initial sketch phase—just
focus on capturing the basic shapes and forms in front of you. Notice that the
shapes of the objects are
part of the sketch, but so
are the shapes of the
shadows being cast on
your table or countertop.
Don’t darken the shadows,
but instead give yourself a
guideline to do that later.
This initial sketch should
take between 30 and 60
minutes to complete.
Don’t rush yourself
through the sketch just to
get to the detailing and
shadowing work.
Figure 9.13
Remember your observational drawing from Chapter 8: you should constantly be
looking up from your page and at the still life. If you find yourself looking down
too much, stop drawing entirely for a few minutes and just observe your still life.
Don’t be afraid to erase, either.

When you feel confident that your sketch is complete, start refining your shapes
with your mid range pencils (3B to H). We will continue to build out your shapes,
add some details, and bring your still life to “life” in the next lesson.

Lesson 9.7: Line Weight and Adding Details

As you continue to work on your still life, it’s important to understand the
differences in line weight in any given drawing. Line weight is a concept that is
often overlooked by many beginners because it’s less obvious at first. From what
we already learned in Chapter 3 about perspective, there are larger objects in the
foreground. However, in order to create depth in an environment or scene within
a much smaller space, line weight is used to create believable overlapping shapes.
This can be seen in many cartoon illustrations that don’t have distinct shadows
and highlights to them. In a portrait or figure, drawing darker, thicker, and bolder
lines (heavier line weight) are used to show limbs that are on top of another as
well as areas of high tension. For example a flexed muscle would have darker lines
while a relaxed one would have lighter and thinner lines.

For a still life, your line weight will be used to distinguish shapes that are closer to
the viewer, as well as ones that are under tension, like muscles in a figure. For
example, the joints of the controller’s joystick and the hinges on the glasses will
have more line weight to show the tension and ridged build quality of them. The
different grades of your pencil will also assist you in creating different line
weights. A harder H pencil will give you a thinner line, while a darker B pencil will
create something bolder.

As you continue to build your shapes and flesh out the details of your still life, use
line weight as a guide for how near or far away an object is. In adding details to
the piece you can afford to add as much or as little detail as you want. For
example, in my spray can, I have chosen to (mostly) ignore the label. I’m only
concerned with the can and not the graphics on it. You can choose to add these
extra details if you desire, but such choices are what we call artistic license. If
needed, you can get up from your drawing position and move a little closer to the
still life to observe smaller details that you can’t see from farther away.

Remember that you still shouldn’t be worried about creating dark sections of
shadows. You can begin to add indications of shadowed areas to keep your
shapes organized, but keep them light. This step of detailing and refining your
shapes can vary in time spent drawing. This can vary from 30 minutes to 3 hours
depending on the objects you have chosen. If you’re feeling tired or stressed
about while drawing don’t forget to take a break, or move between drawing your
different objects. It’s important to stretch your hands and take breaks while
working.

See the example in fig. 9.14 for the detailed objects in my still life. We will
continue to work on the still life and work on the shadows in the next lesson

Figure 9.14
 Lesson 9.8: Building Highlights and Shadows (Reapplying Lesson 3.5)

As we learned in Chapter 3 (and again In Chapter 8), your highlights and shadows
will make or break the final drawing. At this time, you’ll want to focus on using
pencils that are 2B or darker, but you’re free to use the whole range of your set to
create a variety of values. Additionally, you’ll recall the creation of different
textures from Chapter 7 in creating contrasting areas of value in your still life.

From the first lesson in creating your value scale, you should be slowly working in
your dark values. Don’t grab a 6B right off the bat, but instead slowly work your
way darker with a 2B, then a 4B, and then a 6B. Simple light layers of heavy B
pencils will go a longer way than pressing hard to get a stark black value on your
page. Additionally your “darkest darks” as discussed in earlier chapters should be
used sparingly in the finished illustration.

Your brightest highlights and any areas where there is a shine on the surface of a
metallic, plastic, or glass object, will be your lightest values and are often sections
that are surrounded by light shading. The “shine” is created by erasing away at
the light value in a subtractive method of drawing. Subtractive methods are often
very effective for subtle highlights as well. See fig 9.15 for an example of the
subtractive technique.

Figure 9.15
Remember as you work to really observe your still life, rather than just filling in
space with shadows. Most shadows aren’t a solid value, but instead a mixing of
various darks and lights to create a more complex form. For the continued
shading use the images below as a guide (Figs. 9.16 and 9.17)

Figure 9.16 | Using a sheet of copy paper to protect the drawing while working

Figure 9.17 |Using a blending stump to create the soft folds of the fabric
Lesson 9.9 Finishing Your Still Life

By now, your still life drawing should look just about finished. At this time, it’s just
about cleaning up some lines, and adding the final touches in. This is where you’ll
shade in your darkest darks to add any additional contrast. You can also come
back in with a kneaded eraser to bring in some higher shine areas as needed. For
the best “shiny” areas, you’ll want to darken the area around the shine to build
up a higher contrast. See my finishing details in figs. 9.18 and 9.19 as a guide for
what to do with your drawing.

Figure 9.18 | Darkening the controller

Figure 9.19 | More completed shading on everything

After dropping in your final details you can erase the initial border we made in
Lesson 9.6 and sign your piece. Most artists sign in the lower left or right corner
and will use their first and last name, initials, or a username/stage name that they
use to promote their work. And that’s it! Congratulations, you’ve completed your
drawing!
 Chapter 10
Taking the Basics Further
Well, that’s it. No more lessons, no more exercises you’re free to re-learn from
the lessons throughout this book and explore lessons and techniques from other
artists as well.

In understanding these basics of drawing you will be able to learn from others and
create your own drawing projects based on whatever you want. In order to give
you a jump start on your own projects, I’d like to briefly discuss the basics we
covered in this book and how I’ve come to use them in my own work. In seeing
my sketches and techniques, I hope that you are inspired to try out similar ideas
for yourself and envision something truly remarkable.

Concept Thumbnails and Studies

In looking forward to creating a new and interesting landscape I’m always using
the thumbnail sketching technique to build quick compositions. Many of my
compositions begin as simple positive space shapes in small thumbnails (see Fig.
10.1). I picked up this technique from artist Dylan Pierpont on DeviantArt and fell
in love with the ability to create simple shapes that can easily be imagined into
larger more detailed thumbnails.

Figure 10.1
 Figure 10.2

Additional larger thumbnails lean more toward the “practice sketch” concept
from Lesson 9.5 in the last chapter. In my concept sketches, I can create a loose
composition that still feels like a completed scene with basic value and form (See
fig. 10.2). I will also use this same size of thumbnail to study from other artists
(both past and present) in order to learn from their compositions and decisions in
creating contrast in their scenes. I will also occasionally head out into my local
area and do a quick thumbnail of an interesting-looking scene around me.
Observational drawing is always key to creating something from your mind.

Using Reference
Some beginners will often shy away from using a reference image to create a
piece of art. The main mentality behind this is that they feel they aren’t being
original, or that using a reference is in some way cheating. Using a reference
image, however, is anything but cheating. In fact, it’s an important part of the
process even for a master artist.

It is important, however, to distinguish between using a reference and just plain

copying an image. Appropriate use of a reference should give you the idea of the
shape, form, value, and color of an object that you may not have access to or that
might not even exist in real life. A reference can be art or a sketch from another
artist, a photograph you captured yourself, or an image found online. If you’re
relying heavily on the reference image and doing a good deal of copying, then it is
definitely in your best interest to give credit to the creator of the image,
especially if you decide to sell the finished piece or promote it online.

In using the reference image, don’t think you have to copy the exact shape.
Instead, use it to gain a basic understanding of the shape. For example, using a
picture of a friend sitting with their legs crossed on the floor will allow you to see
the position of the limbs. However, you can draw a cartoon in the same body
position without copying the image itself. This is what using a reference means.

Using a Variety of Media

In the past few years, I found a great shift in my workflow. Before creating an
acrylic painting based on a sketch, I could play with color in Photoshop without
wasting any paint. Part of being a versatile artist is being able to work in a variety
of media. Because drawing is the foundation of all other media, when you
understand how to use a pencil, you can more easily understand how to use a
drawing tablet.

When you don’t limit yourself to just graphite or just ink, you can actually gain a
greater knowledge of any medium you choose by applying and borrowing the
techniques used in working with other media. In my 2015 interview with my
friend and fellow artist Albert Beltz, he emphasized this idea of working in a
variety of media. As Beltz put it simply, “…because I didn’t just paint made me a
better painter, and because I didn’t just sculpt made me a better sculptor.”
Working both traditionally and digitally, I’m able to learn new techniques and
reapply them both to the media I am comfortable with as well as any new media I
encounter.
My main suggestion to you here is to “play” with as many materials as you can get
your hands on. Try new things—push the extremes of simplicity and complexity in
the elements of design.

Don’t Be Afraid of Failure (and Understanding Critiques)

Finally, it’s is important to keep in mind that you aren’t going to be successful
every time—or even in most cases. You’re going to fail at drawing, painting, and
whatever other medium you use. You will fail a lot. However, you shouldn’t get
discouraged by this. In fact, it should give you the confidence to push forward,
knowing that because you’ve already made a mistake, you can then learn from it
on your next project. The concept of this book has been a method of “project
based learning,” which I feel is the most effective form of learning for self-taught
artists. When you treat your lessons as little projects, you can give them a distinct
start and finish that you can work through. When finished with your piece, you
can then analyze it to see what you could have done better. This process of
completing and/or learning from the analysis is called a critique.

While the ability to critique your own work is very important, it’s also important
to have a circle of friends who can give you real feedback on your work. While
family and close friends will tell you how good you are and how nice your
drawings look, those encouraging phrases don’t really help you improve your
work. In order to force yourself through the stages of improving your work, you
have to be willing to accept that a drawing that took you several days or even
weeks to complete might just look terrible.

A truly honest and good critique, however, doesn’t usually come from online
forums or close friends, but from other artists who care about your work and
development. A critique isn’t about tearing a piece of art to shreds (figuratively),
but instead giving the artist a few ways that they could improve the piece on the
next try (or occasionally within the current project, if it’s ongoing). A critic should
be able to tell an artist what they did right as well as the things they fell short in
doing. If you are receiving a critique that is either too soft and doesn’t give any
executable feedback, or is too harsh and brings you down emotionally, then you
should ignore such a critique and seek out better advice.
Remember that failing is a big part of learning. If you don’t have something to
improve on (and you always will), then your skills will plateau, your art will
become stale, and you will become bored. Always be sure to challenge yourself
and work hard in any medium you choose to use.

And remember also: Happy Drawing!

 Appendix A:
Other Drawing Media
Pen and Ink

While you may not be able to erase it, ink can be one of the most valuable media
to learn. Because ink is permanent , it can be a great tool in learning to draw,
since it will force you to make fewer mistakes.

Most people are familiar with ink for its use in modern ballpoint, roller ball, and
marker pens. Your basic ballpoint pen will allow you to create a varying range of
value, since the line weight and value will change depending on the amount of
pressure you put on the pen.

Roller ball pens are a more modern variation and provide a consistent stark black
line. While this pen type doesn’t allow for value variation in changing the pen
pressure, it does keep a consistent line quality and flows much easier than a
traditional ballpoint pen.

Marker pens are felt tipped and produce the same stark black line that a roller
ball pen does; however, sizes of marker pens vary much more considerably. Most
of us are familiar with Sharpie brand markers, since these are the most common
felt tip pens. However, there are higher-quality pens designed specifically for
drawing from companies like Pigma Micron, Faber Castell, and Prismacolor.

In addition to ink pens, you can use a dip pen or feather pen and a jar of India Ink.
India ink is allows ink to be used in a similar way to what you might expect out of
watercolor, but it has the permanence of ink.

For a more complete guide of to ink as an art medium check out my video
overview:
Everything You Need To Know About...Drawing Inks
Pastel (Chalk)

Pastel comes in a variety of types, but the most common of these types are oil
and soft (French). Because oil pastel is often considered a wet media, for this
section we’ll just talk a bit about soft pastels.

Soft pastels are a chalky, dry drawing media that allow for colorful blending
techniques that are usually only associated with wet media. Learning to use soft
pastels can be a great preparation for learning painting. Both oil and soft chalk
pastels can be used for landscape techniques, but often work even better for
portraits and animal drawings.

For more on Pastels check out my video overview:

Everything You Need to Know about... Pastels

Charcoal

Charcoal as a drawing medium goes back as far as the earliest cave drawings. In
modern drawing, however, charcoal comes in several varieties and can be used
for a number of drawing techniques. Like pastels, the texture of charcoal ranges
from very soft to very hard, and it is easily blended into the page. All charcoal is
best erased with a kneaded eraser.

The first variation is vine charcoal. This is what most people think of in terms of
basic charcoal. Vine charcoal is a very soft charcoal which, coming in unprotected
sticks, can break and crumble with very little pressure. Vine charcoal is often used
for educational purposes on thin papers and for capturing the human form very
quickly. However, vine charcoal can be messy to use.

Powdered charcoal is sold in some art stores as an additional tool for toning paper
and adding a layer of medium to be used in subtractive techniques. Because
powdered charcoal is loose and uncontained by an outer shell of wood or other
casing, it can be a messy choice for artists.
Charcoal also comes in compressed sticks and pencils. These are often the
cleanest choices of all the charcoal variations, and can range in hardness from
very soft to very hard. The hard charcoal in both pencil and compressed form will
allow sharpening in order to achieve finer details than vine or powdered charcoal
would provide. Harder charcoal can also be used on thicker papers with better
results.

For more on charcoal check out my video overview:

Everything You Need to Know about... Charcoal

Colored Pencil

Colored pencils, unlike regular pencils, contain no graphite. Instead, they’re made
up of pigment, wax, and a binder (usually gum arabic). Colored pencils (like
watercolors) are introduced to many children by the brand Crayola. However,
unlike the washable Crayola brand pencils, artist-grade products are much more
varied in consistency and color.

A nice, high-quality colored pencil set (such as ones from Derwent or Prismacolor)
certainly isn’t cheap, but they will have better workability than a student- or craft-
grade colored pencil. You’ll find that the more expensive the colored pencil, the
softer the colored leads are. Soft-leaded colored pencils are great for blending
layers together and covering larger areas, but they can’t be sharpened to a fine
point, which makes them hard to use for details. Harder-leaded pencils will give
you the detail you need, but are specifically for smaller areas and do not replace
softer pencils.

For more information on colored pencils check out my video overview:

Everything You Need To Know About...Colored Pencils
Markers

Markers were first designed to provide the wet workability of watercolors in a

portable medium. Markers, like inks, are a wet drawing media and can smear if
not given a few seconds to dry.

Because markers are a wet medium, they often won’t work well on thinner
drawing and sketch papers. For markers, a thicker paper such as Bristol board or
hot press watercolor paper is often the best choice of substrate for working with
markers. Some companies also offer a “marker paper” to use with certain marker
types.

The most common markers are made by Copic and Prismacolor and both offer
superior blendability and color intensity, but markers tend to be a bit expensive.
Many of the techniques associated with markers can be achieved easier and for
less money with the digital medium.
 Appendix B:
Glossary of Terms
actual texture Texture in a drawing or painting that is physically noticeable
and tangibly different than the substrate of the art. [Chapter 7]

art gum An eraser type recognized by its tan color and often cube-like shape,
designed for erasing a variety dry media including graphite, hard charcoal, and
some pastels.

artistic license A slang term used by artists to justify changes to a drawing or

painting. Artistic license is used when making a decision based on improving the
composition by adding or subtracting parts of an object or scene.

Bristol board A thick and smooth drawing paper similar to cardstock;

designed for a variety of dry and wet media. Bristol board is especially useful for
artists looking to use markers, pen and ink, and/or water-based paints such as
watercolor or acrylic.

collage An art style and technique that involves arranging different found
objects together in a creative pattern to create texture, contrast, and variety in a
piece of art.

contour lines Continuous unbroken lines that are used to capture the form
of an object or figure [Chapter 5]

critique A discussion about a piece of art between a critic and artist with the
purpose of improving a piece of art

cross hatching A style of shading most often employed when using ink pens,.
cross hatching is done by creating intersecting horizontal and vertical lines to give
the illusion of value. It is often the most effective way to achieve a dark value in
non-erasable media.
drawing paper A type of paper designed for drawing in a variety of dry media.
Drawing paper is usually relatively thin and has a slightly textured surface.

eye-level line The imaginary line in a picture plane where the human eye
sees. In a landscape the eye-level line is often the same as the horizon line, but it
can also be a separate line. All objects that are the same level as the eye of the
viewer of the scene are part of the eye-level line.

foreshortening- A method for rendering a circular object in perspective and to

give the illusion of depth. A foreshortened circle has the appearance of an oval or
and ellipse. [Lesson 4.2].

freehand Any work done by the human hand unassisted by a ruler, compass,
or other drawing tool.

hatching A basic shading technique for any drawing media that is executed by
making several short lines in the same direction to create the illusion of value.

horizon line The line that marks the horizon in a given scene. A horizon line
will contain a vanishing point in perspective-based drawing.

hover method A method for drawing circles in which the hand hovers over
the page making circular motions. Then, when the artist feels confident, they
lower their hand to create the mark on the page.

illustration board A substrate designed for drawing, but that handles both
dry and wet media very well. Illustration Board takes the best elements of Bristol
board and combines them with the rigid support of a thicker cardboard or
chipboard.

kneaded eraser An eraser characterized by its grey color and physical ability to
be pulled to change its shape. Kneaded erasers are best used to erase heavy
graphite, charcoal, and/or pastel.
layout method A method of holding a pencil for drawing. The layout method
is performed by holding the pencil between the thumb and all four fingers with
little pressure on the pencil. The layout method is best for sketching and large
scale drawing.

line weight The thickness of a line. Line weight is used to show tension
and overlap shapes to show depth.

mixed media paper A newer form drawing paper popularized by the Canson
company. Despite the name, mixed media paper is designed only for dry media,
not wet media like paint.

multi-circle method A very common and effective way of drawing circles.

The method is performed by making several light ellipses and then darkening one
of them and erasing the remaining sketchy lines.

negative space The space around an object in a given scene. For example, if a
jar is sitting on a table, then the negative space is any of the air around the jar
that in two dimensions isn’t taken up by any other objects. [Chapter 6]

outline The line surrounding an object that is used to create a basic shape.

perceived texture Texture that is created through drawing. Perceived

texture gives the illusion of a textured material by varying sections of value and
contrast.

picture plane The name given to the area where a drawing will be created. A
picture plane in a drawing can be isolated to a section of a piece of paper rather
than then entire sheet.

positive space Space taken up by objects in a scene (i.e., anything that isn’t
open space).

radial perspective A variation on single point perspective that employs the

use of foreshortening. Radial perspective is best used in conjunction with
spherical or cylindrical objects in a composition.
reflective light In a given composition, the light source shining on the objects
and surrounding objects will bounce off and create a duller light (and occasionally
a change in color). For example, when shining a flashlight toward a mirror, the
light reflected by the mirror and onto the wall is reflective light.

rule of thirds A way to divide a picture plane into thirds both horizontally
and vertically in order to build an interesting composition. The rule of thirds is
used to both balance a composition and give guidelines for interesting focal
points.

scumbling A shading technique most often used with graphite pencils to create
a uniform value, but with an interesting perceived texture. Scumble shading is
created by making small circular shapes with the pencil that blend together into
one shade.

sketch paper- A type of paper for drawing media that is cheaper and thinner
than most other drawing papers. Sketch paper is often much smoother than
regular drawing paper and is best used for quick studies, practice sketches, and
drawing practice.

sketchbook A sketchbook can be any drawing paper, but it traditionally is

simply a book of sketch paper. For an artist, a sketchbook acts as a visual journal
and/or project book of their rough drawings and ideas. Keeping a sketchbook is
also a great way to track your learning progress.

stippling A shading technique often used when working with either pencil or
pen and which is achieved by making many small dots. Stipple shading can be
physically strenuous on the hand, but it does create a unique texture and visual
appeal to a drawing.

substrate Any surface used for drawing or painting. Paper, canvas, wood,
metal, and stone are all examples of substrates.

subtractive method A method of drawing performed by erasing darker areas

of graphite. Subtractive methods can be used in any media that allows the
application and removal of the media on a substrate.
value scale A chart of values from light to dark showing the possible value
differences for a given media.

vanishing point The point on a horizon line where all lines converge. A
vanishing point is the foundation for achieving perspective.

viewfinder A tool used to visualize a composition within a picture plane.

Viewfinders can be bought or made very easily. [See Chapter 10]

white eraser Depending on the manufacturer, also called a “vinyl” or

“plastic” eraser. This eraser is designed for a variety of dry media. It works very
well for graphite, but can also erase colored pencil.
 Appendix C:
Video Library
Not all art can be learned simply by reading. It’s important to see a drawing come
to life and not just try to follow a step-by-step guide of the process. YouTube has
allowed artists like me to share our knowledge with viewers all around the world.
As you have likely already seen, in this book, I have included a number of video
tutorials and guides, scattered throughout the lessons. In, I have included those
videos here in Appendix C, along with a number of other useful tutorials from
other artists that should help you in your artistic journey.

Drawing Media and Materials:

Everything You Need To Know about… Graphite and Drawing Pencils

Everything You Need to Know About… Art Papers

Everything You Need To Know About...Drawing Inks

Everything You Need to Know about... Pastels

Everything You Need to Know about... Charcoal

Everything You Need To Know About...Colored Pencils

Understanding Paper Weight

What is Paper Weight?

Basic Methods and Concepts:

Drawing Joints and Horizon Lines:

Fundamentals of Drawing for Painters: Part 2

Elements and Principles of Design:

Playlist
Understanding Landscape Perspective:
Zero Point Perspective

Scientific Breakdown of Visual Angles and Foreshortening (from Vsauce)

The Moon Terminator Illusion

Line Weight (From Scott Robertson)

How to think about line weight

Tips for Observational Drawing

Observing Your Environment

Techniques:

Drawing Circles and Ellipses:

Circles and Ellipses Video

Tips for The Layout Drawing Method

Quick Tip: Practical Use for the Layout Method

Alternative to Copy Paper for Avoiding Drawing Smears

Quick Tip: Duralar for Drawing

The Value of Sketching in Ink Alone:

Fundamentals of Drawing for Painters Part 4

Miscellaneous Resources:

Artist Interview: Albert Beltz

Artist Interview: Sycra Yasin