INTRODUCTION
Drawing is a very rewarding pastime, and with careful looking and
regular practice it is possible to create works that will please you and
other people. In this book I have presented 100 subjects for you to
draw, ranging from simple objects you can find in the home to
outdoor scenes and landscapes. The projects are all broken down into
five steps so that you can see how tone is applied at every stage of the
drawing. Look at my drawing and then make your own attempt,
referring to the steps as you go. You can either copy my drawing
directly or, even better, find your own equivalent subject to draw from
life. As you will discover, almost anything can make an interesting
drawing: fruit on the kitchen table; an old pair of boots; a gleaming
classic car or people swimming in the sea. The projects are intended
to build your confidence as a draughtsman so that you feel
comfortable handling the pencil and working across a range of subject
matter. When it comes to drawing there is no substitute for practice, so
pick up a pencil and get drawing!
Barrington Barber
MATERIALS
You don’t need much to get started with drawing, just a few pencils
and some paper. If you can, buy good quality artist-grade materials as
they will improve your experience of drawing. I’ve set out the
materials that I use here: as you progress you will discover your own
preferences for certain materials and ways of working.
PENCILS
Graphite pencils come in a variety of grades, available from 9H to 9B.
H pencils are harder than B pencils, and the higher the number, the
harder or softer they are. HB is in the middle. I generally use pencils
in the softer B grade range, in particular a B-grade pencil.
You will need a good pencil sharpener, especially if you are using
softer pencils as the pencil leads will wear down quite fast with use.
Propelling pencils, also known as mechanical pencils, give a much
sharper, finer line and you can refill the leads. I use a lead of 0.9mm
thickness, though leads as fine as 0.3mm are available.
BLENDER
A paper stump or blender can be used for smudging pencil to make
softer tones. This is often useful in the final stages of your drawing,
when you are blending together tones to get a smoother final image.
ERASER
You will also need an eraser for rubbing out guidelines and picking
out highlights. A kneadable putty eraser is good and a soft normal
eraser is useful as well; but avoid very hard erasers which can tear the
surface of your paper.
PAPER
You can use any paper to practise drawing, so don’t put off drawing
because you think you don’t have the ‘right’ paper. The best option is
a medium-weight cartridge paper, which you can buy in sheets or in a
sketchbook. The advantage of a sketchbook is that you can carry it
around with you as well as using it at home. The best sizes are A5, A4
or A3 – anything larger will be unwieldy.
DRAWING BOARD
If you prefer a drawing board to a hard-backed sketchbook, then you
can buy one ready made from an art supplies shop, or make one
cheaply by sawing it from a piece of MDF or thick plywood. The best
size for a board is A3 or A2, depending how large you want to draw. I
usually attach the paper to the board with masking tape, but you could
also use clips.
POSTURE AND HOLDING THE PENCIL
Your drawing posture and pencil grip are important, both for your
own physical comfort and for the results in your artworks. If you are
relaxed and in a good position to see your subject, chances are that
you will produce a better, freer drawing than if you are anxiously
hunched over a flat piece of paper.
When drawing it is best not to have the drawing board or sketchbook
flat, because it’s harder to translate the proportions of your subject
correctly on to the paper and you will have to keep looking up and
down. Lean the board on a table at quite a steep angle so that you can
see what you are drawing and the surface of the paper from a similar
angle. You should be able to move your eyes from subject to paper
without significantly moving your head.
When holding the pencil, don’t grip it too tightly as you will build up
tension and your drawing may look wooden. Try to find a loose,
relaxed grip that still allows you control of your marks.
The angle of your pencil is also important. If you vary the angle and
do not hold it as you would for writing you can be more creative with
your pencil strokes. Try using both the methods shown here, because
changing around helps to keep the drawing marks freer and more
attractive.
When drawing away from home, you should try to maintain the
position of being able to see the drawing and the subject easily
without too much movement of your head. If you have a hard-backed
sketchbook you can work either standing or sitting and support it with
your arm, though you won’t be able to hold the position for long
periods. If you are using a drawing board, find a way to hold it on
your knees as upright as you can.
To keep that upright posture, many artists use easels and work
standing up. You can buy small, portable folding easels, or larger
radial easels. For sketching while out and about, a lightweight folding
aluminium easel with adjustable legs is best. However, you should
develop some idea of your own preferences for drawing before
investing in an easel.
EXERCISES IN HANDLING THE PENCIL
The mere feel of pencil on paper is part of the charm of drawing. Here
are a few exercises to introduce you to basic techniques before you
tackle the main part of the book. Exercises such as this are always
useful to a draughtsman as they are a straightforward way of getting
you into the habit of drawing regularly. You don’t need to spend a
long time over them, but recurrent practice is very valuable.
1
First try these squares of tonal shading, starting with a scribbly
technique and following with vertical strokes, diagonal strokes
and then horizontal strokes.
2
Next try a set of squares of tone made by drawing multiple lines
close together, first vertically, then overlaid horizontally. On top,
draw diagonal lines both from the top left and the top right.
3
Next comes a series of squares that go from the very darkest tone
you can make to the lightest, gradually reducing the pressure on
the pencil until by the last square you can hardly see the tone at
all.
4
Now draw a series of circles as near to the same size as you can
manage, trying to make them perfectly circular – but don’t be
too slow and careful here, because the idea is to see how well
you can control the pencil at speed.
5
Follow the previous exercise with a set of horizontal marks to
keep the feel of drawing fast without thinking too much about it
– first zig-zag, then wavy, loops, smudges and finally horizontal
lines very close together. Remember that the aim is to work
fluently, without any hesitation.
6
Execute a series of simple geometric shapes that make you
control the pencil more carefully: a circle, this time drawn
deliberately and as slowly as you like; an equilateral triangle; a
square; a square as a diamond; a five-pointed star, all in one line;
and finally a six-pointed star in two overlapping triangles.
7
Draw spirals, quite tightly, working from the outside inwards,
and then from the centre outwards. Do this quite carefully, but
confidently. Follow that with three star shapes drawn all in one
line, first a five-pointed star, then a seven-pointed star and finally
one with nine points. Don’t worry if these come out distorted to
start with – persevere and see how accurate you can be.
8
Now for a more difficult test of your ability. Drawing ellipses is
one of the hardest things that you will need to learn, because an
ellipse is a continual curved line that gives the effect of a circle
seen from the side view.
First draw a series of ellipses all the same length vertically and in
varying widths, from narrow to wide. Then repeat the exercise,
this time with the long width horizontal.
You can see from my three diagrams here that the correct ellipse
shape (far left) is the same in each quarter, but in mirror image
from side to side. Common errors are to make a sausage shape or
draw pointed ends.
9
Make a series of leaf shapes, all the same size but with different
types of form. Try to draw these without hesitation to see if your
ability is increasing.
10
Next try a curving branch of leaf shapes winding across the
page. Do your best to keep the curves similar.
11
Now some lines to produce apparent three-dimensional forms.
12
Lastly, try drawing a set of shapes with tone to give the effect of
spatial form. Imagine there is light falling on the forms from the
top left and leave unshaded areas to show this. A cast shadow
beneath the darkest side of your shape will help to make it look
three-dimensional.
PERSPECTIVE DRAWING
To make objects look three-dimensional you need to show them
diminishing as they recede from the viewer. This is done by means of
drawing a horizontal line that represents the horizon (your eye level)
and then constructing lines from the main shape that converge to meet
at a point on the horizon – the vanishing point.
One-point perspective is used when the object is facing directly towards you.
If the object is at an angle to you, two-point perspective with two vanishing
points will be needed.
Here is a more complex attempt to construct a three-dimensional set of forms to
resemble buildings in space.
HUMAN PROPORTIONS
The Body
A normal human figure has about seven and a half head lengths in the
full length of the body. This is an approximate measure and
individuals will be slightly different.
Head Measures
Most human heads are of the proportions below, with minor
variations. The eyes are set halfway down the length of the head from
the top of the skull to the edge of the chin.
List of projects
1. Two pears
2. A jug
3. A cabbage
4. A pineapple
5. A glass tumbler
6. A loaf of bread
7. A dustpan and brush
8. A ceramic bowl
9. A saucepan
10. Two apples
11. A bunch of grapes
12. A water filter
13. Two onions
14. Apples
15. A bowl of lemons and an orange
16. Blue cheese
17. A gravy boat
18. A still life with salt and pepper
19. Eggs and crockery
20. Two oranges
21. A bowl of fruit
22. Two bottles
23. A wine glass
24. A teapot with cup and saucer
25. A kitchen still life
26. A knife, fork, spoon and can opener
27. A wine bottle and glass
28. A mug and coffee pot
29. A pocket still life
30. A desk lamp
31. A vase of flowers
32. A pine cone
33. Lilies
34. Three seashells
35. Books
36. Stones
37. A pair of boots
38. A leather holdall
39. A rocking chair
40. A coat on a hook
41. A pair of running shoes
42. A leather chair
43. A table lamp and candlestick
44. Tools
45. A crown
46. An armchair
47. A bicycle
48. A potted plant
49. A watering can
50. A tree in close-up
51. A rose
52. A motor-scooter
53. A blackcap
54. A cat
55. A dog
56. A portrait project
57. A father and daughter
58. A girl’s portrait
59. A profile portrait
60. Hands
61. Feet
62. A male figure
63. A baby
64. A family group
65. A portrait after Joshua Reynolds
66. A deciduous tree
67. A palm tree
68. A parrot
69. A seagull
70. A catfish
71. A crab
72. A white horse
73. A moving horse
74. An eagle
75. A crocodile
76. A lion
77. A table and chairs
78. A garden scene
79. A cottage
80. Close to home
81. A street lamp
82. A classic car
83. A village scene
84. Wooden buildings
85. A seascape
86. Bathers
87. A sports car
88. An old barn
89. A motorcycle
90. Sheds and a boat
91. An old jetty on a river
92. A cable car
93. A motor boat
94. People on the beach
95. An old boat on the shore
96. A skyscraper
97. A cathedral
98. A hotel interior
99. A landscape
100. Alcatraz
TWO PEARS
1
Varieties of fruit are good subjects with which to start your drawing practice as
they are easily obtainable and the forms are relatively simple. First draw a
general outline of the pears, without being too definite. Note that the shapes are
not identical as the angle of view is different.
2
Then firm up the shape of the pears, making the outline more precise. Erase any
stray marks from your initial sketch. Put in an indication of where the light and
shade fall.
3
Now put in the main area of tone, or shading. This should be uniform in tone, the
very lightest that you can make. Leave only the very brightest areas of light
unmarked.
4
At this stage put in the darkest areas of tone, not forgetting the cast shadows on
the surface that the pears are on.
5
Finally, build up the intermediate tones that allow the darks and lights to gently
fade into each other. Where there is a sharp outline, strengthen your pencil mark.
A JUG
1
Loosely draw the main rounded shape, putting in a central line to help you
balance the sides. Concentrate on getting the ellipse at the top and bottom right –
this is the hardest bit.
2
The next step is to define more accurately the main outline shape of the jug. Put
in the handle, trying to get this outline as accurate and simple as possible. Make
sure all the proportions are correct.
3
Refine the final outline, taking your time to convey the rounded, sturdy shape.
Correct any line that is not true before you begin putting in the tone.
4
Put in the same tone all over the jug, except where there are highlights. This jug
is seen against the light, so most of it is in shadow and the cast shadow is
towards the viewer.
5
Build up the shading by increasing the darker areas such as the interior and
making sure the reflections are in the correct tones, from very light to very dark.
To draw your version of this jug you can follow my sketches or use a jug of your
own. Try to make it look as convincing.
A CABBAGE
1
First, lightly draw a general outline of the whole shape of the cabbage,
remembering that the leaves have uneven edges.
2
Next, carefully draw in the edges of the cabbage in some detail. Any necessary
erasing can be done at this stage. Without being too fussy, try to put in
everything that you can see.
3
Now indicate all the shading on the cabbage and the cast shadow on the surface
that it rests on. Leave white paper for the highlights only.
4
Put in any really dark areas firmly, making them as black as possible to show the
deep shadows where the leaves curl.
5
Now put in all the intermediate shades of tone to flesh out the form. If you do
this accurately enough it will make the cabbage look convincingly threedimensional. To convey the texture of the cabbage, note the difference between
the curly, ragged edges of the leaves and the smoother, ridged curves of the main
shape.
A PINEAPPLE
1
To start with, make a loosely drawn outline of the whole fruit, including the
leaves at the top.
2
Draw in the outlines of the leaves in more detail and indicate the skin texture
visible on the outer sides of the pineapple.
3
Now put in the shapes and texture of the characteristic marking of the pineapple
skin.
4
Put in the dark tones on the leaves, the shadowed side of the pineapple and the
contoured skin. Add a cast shadow on the surface the pineapple is resting on.
5
To finish the drawing, graduate all the tones so there is a smooth progression
from the darkest to the lightest. In this drawing the texture of the fruit is very
important, because the heavily patterned skin gives the characteristic appearance
we expect from a pineapple.
A GLASS TUMBLER
1
First draw a rough outline, getting the main proportion of the glass.
2
Next draw in the outline more carefully to get all the main indications of the
shape. This is a project where your practice at drawing ellipses (see p. 11) will
pay off.
3
Next comes the main area of tone, put in lightly all over. Be careful at this stage
to leave white spaces for the highlights, and remember to do the shadow around
the glass as well.
4
Then put in the very darkest tones, of which there are few on a subject such as
this.
5
Continue to work over the whole glass and background until you are satisfied
with the drawing. If you fill in any of the white highlights in error you can pick
them out again with an eraser. Glass objects hold plenty of interest for an artist
because of the light and dark reflections in them. Once you have mastered this
drawing, try placing a glass tumbler against different backgrounds – but don’t
choose anything very complex as you may become discouraged.
A LOAF OF BREAD
1
First draw the general shapes of the loaf, breadboard, slice of bread and knife in
fairly loose, lightly drawn lines.
2
Next firm up the lines until you have a definite outline drawing of everything in
the picture. This is where you can erase any mistakes until you have a good
likeness of the objects, clearly drawn.
3
Now put in some marks that indicate the texture of the loaf and the grain on the
breadboard.
4
At this stage put in all the shading in one light tone. Every part that is going to
have tone of some sort should be covered. Note the highlight on the knife handle
that shows its smooth texture.
5
Lastly put in all the darkest tones and the mid-tones that help the light and dark
areas blend into each other. The differences in texture of the interior and exterior
of the loaf, the grain of the breadboard and the metallic surface of the knife blade
give you plenty of chances to vary your pencil marks here.
A DUSTPAN AND BRUSH
1
In the first instance, try to get a general idea of the shape and proportion of the
objects with a simple, gently drawn set of lines. These give you the basic area of
the drawing without establishing anything final – they can be erased if they don’t
fit in with the later drawing.
2
In the next stage you will need to be more accurate and careful, with an outline
drawing describing the main structure and shape of the two objects. This is
worth correcting extensively until you are convinced that you cannot make it any
more accurate.
3
Now comes the moment when you need to show where the main area of shadow,
or tone, lies. Draw this with a uniformly light tone over the whole area where
there is any shade at all.
4
Next, put in the strongest, darkest tones. There’s no need yet to concern yourself
with the mid-tones.
5
This is the culminating point, where you begin to harmonize all the areas of the
drawing to try to give a convincing impression of the two objects as if they were
lying in front of you. If they look reasonably three-dimensional you have done
well. A drawing like this shows that even the most ordinary objects in your
immediate environment are interesting if you are able to depict them
expressively. Your skill at doing that, of course, comes with observation and
practice.
A CERAMIC BOWL
1
Draw a rough outline of the shape of the bowl. Putting in vertical and horizontal
lines will help you to get the ellipse (flattened circle) correct. In an ellipse, each
quarter is the same as every other quarter, merely reversed mirrorwise.
2
Now draw a carefully defined outline. Getting the ellipse and shape of the bowl
is quite a challenge, and you might have to spend quite a bit of time getting the
shape as correct as you can.
3
Now put in light outlines of all the areas of highlight you can see and strengthen
the tones round the top and bottom edges.
4
Next put a uniform light tone over all the areas that seem to have some shade on
them, including the table with its cast shadow.
5
Lastly work up the darker and lighter tones until you are satisfied with the effect.
The shape of the highlights tells the viewer that this bowl has quite a reflective
surface. A bowl such as this is always interesting to draw because making the
difference between the inner and outer surfaces clear is key to whether the
drawing works or not. The reflections and shading on the interior are very
important here.
A SAUCEPAN
1
Loosely draw in the main shapes of the saucepan, including the handles of the
lid and the pan itself.
2
Now describe the form of the saucepan in greater detail. Take particular care
with the angles of the handles.
3
After any erasing that needs to be done, make the shape as accurate as is
possible, in sharp outline. Note how the lip of the lid cannot be entirely seen on
the near side.
4
Next put a layer of the lightest tone all over the parts where the tones appear,
leaving the highlights on the metallic surface untouched. The texture of the
metal creates a slight horizontal grain which you can indicate by the direction of
your marks.
5
Finally, show how some tones are very dark and others are less so. This will give
the idea of the reflective qualities of the metal pan. The reflections on metallic
surfaces are always rather contrasty, so don’t be afraid of making the darks very
strong.
TWO APPLES
1
First make a quick sketch to establish the difference in shape and size of the
apples, paying attention to their angle and spacing.
2
Next make a more carefully drawn outline, being as accurate as possible. If you
can get the rather irregular shapes of these apples right, your drawing will be
more interesting. Indicate where the lighter areas of tone are.
3
Now put in a light tone over all the areas that are not highlighted. Because of the
nature of the apples’ skin, these are only minimal. Add the cast shadows.
4
The next step is to put in the very darkest tones. These are mainly at the top rear
edges of the apples and also beneath them, in the cast shadows.
5
Now blend and work over all the areas to give a three-dimensional effect to the
apples. Don’t forget to blend the cast shadows – they become paler the further
away they are from the apples.
A BUNCH OF GRAPES
1
First make a loosely drawn outline to indicate the bunch of grapes and the plate
it is on.
2
Now draw in all the outlines of the grapes, stalks, leaves and plate, being as
precise as you can. Care taken now will pay off with the later stages of the
drawing.
3
Next put in all the tonal areas, and as these are red grapes they will be mostly
shaded with just a small spot of light on each one. Don’t forget the cast shadow
on the plate and tabletop.
4
Now put in the very darkest tones seen on the grapes, so that they are well
defined. Remember that the ones in cast shadow will be darker than the rest.
5
Last of all blend any darks and lights with mid-tones where needed, until you are
satisfied that the picture looks convincingly like the rounded forms of the grapes
and the flat plate.
A WATER FILTER
1
This water filter such as is found in many modern kitchens is an interesting
challenge – the clear plastic conveys a slightly different effect from that of an
ordinary glass jug. First sketch in the main shape, establishing the outline.
2
Now, more carefully, draw in the water filter in its entirety, getting the
proportion and curves of the parts as accurate as possible. This is where an
eraser comes in handy.
3
Now start to put in all the areas of tone, all in the same density, which at this
stage should be quite light in tone. Notice how the background tone helps to
show off the shape of the object clearly.
4
Now put in stronger tones, the darkest that you can see. The aim is to make the
difference between the lightest and the darkest very evident.
5
Finally, build up all the in-between tones and if necessary strengthen any darker
ones. You will find that adding more tones can alter the apparent strength of
earlier applications. With a plastic object such as this, the main considerations
are how you can best show the shiny parts that reflect the light most strongly and
where the darkest shadows lie.
TWO ONIONS
1
First make a loosely drawn outline to indicate the form of two onions, one cut in
half, on a wooden chopping board.
2
Once you are satisfied that the outlines of the onions and the board are correct,
draw them in more carefully and precisely.
3
Next draw in the texture and tone of the objects, including the texture on the
onion skins and the grain on the board.
4
Put in the darker tones on the onions, the sides of the board and the cast shadows
to the right of the onions.
5
Now fill in all the mid-tones so that the transition from the light to dark tones
looks more natural, giving a feeling of solidity. In this drawing, the patterns on
the skins of the onions and the surface of the board help to define their shapes.
APPLES
1
Here are a couple of apples, one cut in half to give more variety to the
composition. Begin by sketching in the rough outlines of the pieces of fruit to
get their shape and proportion right.
2
Then make a more careful outline drawing of the apples, ensuring the shapes are
as accurate as possible.
3
The next step is to put in the areas of shading across the whole picture, keeping
it quite light. Note that I have drawn the skin of the apples with the pencil
strokes going from the top to the bottom, as this texture resembles the colour
variation on the apples.
4
Then put in the darker tones that appear on the edges of the apple, because the
roundness of the form increases the intensity of the tone at the very edges. Beef
up the texture on the whole apple to indicate the colour.
5
The last step is to work over the whole picture, refining the marks until you feel
that the drawing resembles the apples as closely as possible.
A BOWL OF LEMONS AND AN ORANGE
1
Draw a quick, loose line drawing to get a general feel for the main shape of the
bowl with the fruit in it. Erase and correct anything that does not look right at
this stage.
2
Now draw a more careful outline of the three pieces of fruit and the bowl
holding them. Because the angle of view is high, little of the outer side of the
bowl is visible; the focus is on the interior of the bowl and the fruit.
3
Put in all the areas of shade, but in a very light uniform tone as yet. Leave all the
highlighted areas untouched.
4
Now block in the darkest tones that you can see quite heavily, taking care not to
darken mid-tones too.
5
Finally, put in all the different areas of mid-tone with great care and attention to
detail, blending them smoothly into adjacent lighter and darker tones. Because
the bowl is relatively deep, the orange on the top catches much more light than
the lemons underneath. Take care to show this in your use of tone.
BLUE CHEESE
1
This is a piece of Saint Agur, a blue cheese, on a plate with a cheese knife. First
make a sketch to show the main shapes of the plate, knife and piece of cheese.
Keep this line lightly drawn and not too distinct.
2
Now draw the outline as accurately as possible, taking care to get the shape and
relative proportions of the cheese, plate and knife right. The hardest part is the
ellipse of the plate’s outer edge. It is worth working quite hard at this until you
are really satisfied with it.
3
Now comes the time to put in the main areas of tone, all done with a very light
layer of shading. As the light is coming from the left side of the picture, the top
of the cheese will look darker than the side.
4
Put in the very darkest tones, such as the handle of the knife and the shadow
around the edge of the plate. At this stage, also put in the blue veins on the
surface of the cheese.
5
To finish the drawing, work over the whole area of the picture, making the marks
and tones more subtle and convincing to the eye. This final stage is worth taking
time over, because the results will be better with a bit of effort. This project tests
your ability to convey the smooth, slightly reflective surface of the plate with the
dense texture of the cheese. Any cheese with interesting texture and markings
would be good to draw.
A GRAVY BOAT
1
Draw in the main shape loosely and lightly. Make any necessary corrections at
this stage until you feel you have got the overall shape of the gravy boat and its
handle right.
2
Now you can put in the firm outline shape of the gravy boat, including the marks
to indicate the ridges in the china.
3
Put in the outline of the shadows on the surface and the pattern of flowers on the
side.
4
Now build up the shaded areas, all in a light tone, leaving only the brightest parts
untouched.
5
Last of all put in the darker tones, blending them into the lighter areas where
necessary. The gravy boat is rather light in tone, which can be emphasized by
increasing the darkness of the background. Using a dark background for a lightcoloured object can help to give convincing depth to the composition. Put it in
with multiple cross-hatching marks in any direction, allowing them to merge.
A STILL LIFE WITH SALT AND PEPPER
1
Look carefully before you start and assess the whole composition in order to
make a good job of drawing it. To start with, lightly draw a very loose
approximate outline of the main shapes of the salt and pepper pots and the cloth.
2
Now draw carefully, getting as accurate an outline as you can of all the objects.
Take your time, erasing anything that is not right – keep the line thin and light to
make this easy. Describing the squares on the tea towel is an interesting exercise
in accuracy, but don’t worry if you can’t reproduce each one exactly.
3
Next put in all the areas of tone that you can see, all in the same light tone,
whether the shadow is dark or light. You will be able to build on this later. For
the lightest areas, leave the paper white.
4
Now comes the moment to build up all the very darkest tones that you can see,
putting them in strongly. Include any very defined parts of the outline in this
process. Don’t worry about the medium tones yet.
5
Finally, work over the whole picture, blending in the mid-tones so that the
objects begin to look more real. Go carefully here and keep working on it until it
looks right to you.
EGGS AND CROCKERY
1
Start with a sketch that shows the size and position of each object. The upright
shape of the egg in its cup provides a contrasting vertical to the nearly flat
surface of the plate.
2
Now draw in the outlines carefully. The placing of the second egg and the spoon
cutting across the edge of the plate and egg cup can be useful markers that will
tell you if your overall shapes are correct.
3
Now put in the tonal shading over the whole picture, using a light uniform tone
and taking care to reserve the highlights. Indicate the pattern on the plate and the
cast shadow.
4
Mark in the very darkest tones. These are mainly to be found in the shaded area
where the egg is surrounded by the cup, the lower edges of the cup, the edge of
the plate and the bowl of the spoon.
5
Now work over the whole composition, putting in the mid-tones to make the
objects look more realistic. You can darken the patterns around the edges of the
plate to give extra strength to your drawing.
TWO ORANGES
1
Start with a sketched outline to determine the shape and relative size of each
orange.
2
Then make a more careful drawing of the two oranges, especially the outline of
the peeled skin.
3
Now put in some light tone, using the hatching technique of drawing parallel
lines, here drawn swiftly from upper right to lower left.
4
Next put in the darkest tones to help define the contours of the oranges and the
uneven surface of the exposed flesh.
5
Finally, work over the whole drawing, putting in more subtle intermediate tones.
For a convincing drawing, make clear the difference in texture between the
orange peel and the irregular surface of the flesh.
A BOWL OF FRUIT
1
This bowl of fruit offers a variety of shapes and textures. First, make a quick,
loosely drawn image to get the main proportion and shape of the objects.
2
Move on to a more careful and accurate drawing, outlining all the pieces of fruit
and the bowl. Keep the line light and thin so that you can easily erase it if
necessary.
3
Now block in the main areas of shade, all in the lightest tone that you can
achieve.
4
At this stage put in the darkest tones, which are mostly on the inside of the bowl
and between the pieces of fruit. Also notice the markings on the fruit and put
those in.
5
To finish, work over the whole picture, making the textures on the fruit more
obvious and grading your tones to give a depth of focus. Adding the deeper
shadows on the interior and the cast shadow around the base will give your bowl
weight and make your depiction more realistic.
TWO BOTTLES
1
Mark the basic shapes of the two bottles in a faint outline. If it helps, draw a
central line so that you can balance out the two sides of the bottles more easily.
You can erase this later.
2
Now make a firm outline of the bottles’ shapes, their labels and tops, and the
edge of the surface they are on behind them. Don’t be afraid to erase and correct
as much as you need to at this stage.
3
The next step is to lightly indicate the marks on the labels. You can also outline
the highlights and shadows on the bottles and the tabletop.
4
Then put in all the shading you can see, but very lightly marked. The dark
colours of the bottles can be indicated in the same way. Leave the white paper
showing through where the highlights on the bottles are brightest.
5
Now work over the bottles carefully, building up the dark tones and blending
them where they appear to be so. Don’t forget the cast shadows on the table.
When you come to the labels on the bottles, don’t try to reproduce every detail
since if you do that they will distract the viewer’s attention from the pleasing
shape and texture of the bottles.
A WINE GLASS
1
With the aid of centre lines for the whole glass and the axis of the ellipse for the
top, lightly draw in the main shape as you see it.
2
Now, with more care and focused attention, draw an accurate outline of the main
shape of the glass.
3
Erase the central and axis lines and draw in the shape more definitely. Use your
rubber to lighten some areas of the outline, closely observing what you see in
front of you.
4
Next, very carefully and not too strongly, put in the areas of tone, reserving
white paper for the highlights.
5
Finally, work over the tones until you have the darkest and lightest carefully
blended with mid-tones. Don’t take this stage too far: the trick with drawing
glass objects is to put in as little shading as possible so that the final picture
doesn’t become too dark and lose the effect of transparency.
A TEAPOT WITH CUP AND SAUCER
1
As usual, begin with some loosely drawn lines that give you a good idea of how
the elements of the composition relate to each other. Proportion is the most
important thing here.
2
Now make a very careful drawing that shows the exact outline of each of the
objects. The hardest outlines to get right are the ellipses of the saucer and the top
and bottom of the teapot and cup. Work on these until they look right to you.
3
With your pencil, put in the lightest tone you can manage over all the areas of
shade on the objects. Because the objects are mostly white it’s particularly
important in this drawing that the tone is very light.
4
Now mark in the dark tones, which in this case are few and far between. Put in
the beginnings of the floral pattern on the cup and saucer.
5
Finally, work over the whole picture, blending the tones and making the details
of reflections and the floral pattern work more subtly. You can use your eraser to
pick out any highlights that have been smudged or covered with tone.
A KITCHEN STILL LIFE
1
Here is a simple still life of three objects that you might find in any kitchen: a
glass bowl, a small pot with a handle and a mug with teaspoons in it. First,
lightly draw the rough area of all the shapes in relation to each other. Take care
not to make the lines heavy, because you may want to erase them later.
2
The next stage is to draw in an outline that shows everything in the composition
as accurately as possible, erasing your initial lines if necessary. Make a light
indication of the pattern on the mug and the pot.
3
When the outline is complete, the next stage is to put in a lightly drawn version
of all the areas of shade that you can see on the objects. This begins to give the
composition some body.
4
Now build up the very darkest shadows in the picture, putting them in as
strongly as you can. The greatest area of dark tone is in the interior of the mug.
5
Lastly, build up all the mid-tones over the whole composition. Working carefully
and patiently, make your marks as subtle as you can, describing the gently
rounded forms.
A KNIFE, FORK, SPOON AND CAN OPENER
1
First sketch in the main dimensions of the objects and their relative positions to
each other. The main thing here is to get the size right and the spaces between as
you see them.
2
Now, with a more accurate line, draw in the exact shapes of the cutlery and can
opener.
3
Next, put in the main areas of tone, all in the same strength. Don’t forget to leave
any highlight areas on the shiny utensils. Add some tone to suggest they are
resting on a cloth.
4
Now put in the very darkest areas of tone, blocking them in strongly. They
derive from reflections on the surfaces and cast shadow from the can opener.
5
Finally, put in all the mid-tones that help to blend the darks and lights together.
Take your time with this, as the more accurate you make it, the more convincing
the result will be. This is a good subject for practising your tonal skills and
accuracy of form; the drawing will only succeed if you convey the metallic
nature of the objects and their very familiar shapes.
A WINE BOTTLE AND GLASS
1
In this picture the bottle of wine has been uncorked and some wine poured into
the glass. The cork lies alongside the bottle, emphasizing the narrative element.
First, indicate with sparing marks the main shape and proportion of the objects in
the composition. Note how they relate to each other in place and size.
2
Now draw the outline more carefully to show exactly how the objects appear to
you. Note how the part of the bottle seen through the side of the curved wine
glass will have a slightly different shape from the actual bottle.
3
Make a start on the tonal work, giving all shaded areas the same light strength of
tone at this stage. As you can see, most of the picture is covered in tone – but be
careful to reserve white paper for the minimal areas of highlight.
4
Now put in the darkest tones, which in this case are mostly on the bottle and the
wine in the glass.
5
Finally, work over the whole picture, graduating the mid-tones smoothly to give
more conviction to the rounded forms.
A MUG AND COFFEE POT
1
Start with the lightest possible sketch of the coffee pot and mug, adding just a
line to indicate the edge of the surface they are on. A few quick marks give an
impression of the main shapes.
2
Now you have to take more care to draw the objects as accurately as possible.
Keep the line light and correct anything that doesn’t quite fit at this stage.
3
The next step is to put in all the areas of tone observed in the picture, keeping the
tone as light and even as possible.
4
Next build up the tone with the darkest areas, not worrying at this stage about the
mid-tones. The lid and handle of the coffee pot are obviously rather darker than
most of the mug.
5
Finally, build the tone more carefully, getting all the varieties of mid-tone in to
build a three-dimensional effect. Don’t rush this stage, as it needs careful
consideration.
A POCKET STILL LIFE
1
Here is a group of miscellaneous objects which might be found after someone
has emptied their pocket or handbag. They are all quite small, so this is an
exercise in miniature drawing. Make a quick sketch of the main shapes that you
can see without aiming for precision.
2
Next draw the shapes of all the objects with as precise an outline as you can
manage, then put in the fine details such as the numbers on the face of the watch.
3
Put a light tone over all the areas where there is shade, including the cast
shadows on the surface that the objects are lying on.
4
Now mark in the strongest tones, which are mainly found on the watch and
wallet. Because the objects are all small, you will have to look hard to see
exactly where these dark tones are.
5
Now put in all the medium tones, showing the different textures of the objects as
well as you can – they vary from the hard reflective surface of the keys to the
matt paper of the banknote. A themed still life such as this is interesting for the
viewer as it has a narrative that is lacking from a collection of disparate objects.
A DESK LAMP
1
This small desk lamp is relatively easy to draw, but it does require a bit of
precision. To start with, just sketch in the main areas of the shade, stem and base,
also indicating the surface area that the lamp stands on.
2
Next draw in the whole shape of the lamp with as much precision as you can
muster. You will probably find that the hardest bit is getting the ellipses of the
shade and base correct.
3
Now cover all the areas that are in shadow with a light, even tone of pencil
marks. Note where the light catches the rim of the shade and base.
4
The next stage is slower but important, because now you need to show where the
darkest areas of tone are to be seen. At this stage I used a thick 4B pencil, which
gives a pleasing soft black mark.
5
Now you can take your time to blend the tones, strengthening them here and
there, and generally building up the quality of the picture. Note how the play of
light and dark on the flex gives a three-dimensional quality even on such a
narrow surface.
A VASE OF FLOWERS
1
Loosely sketch the main shape of the vase and flowers, using shorter, more
diffuse marks for the latter.
2
Next draw everything in a more defined outline, so that you are sure that the
shapes of the flowers and the vase are pretty accurate. Lightly outline the
highlights and cast shadow.
3
Now work over the whole picture with a light, uniform tone. Leave the lightest
areas on the vase, table and flowers as white paper.
4
Now work over all the areas where the shadow is deepest, so that you have all
the very dark areas marked in.
5
Working over the whole composition, blend in the darks and lights with midtones and put in any definition that is still needed. Take your time, since this is
quite a complicated subject. Here the background is just as important as the vase
of flowers; the contrasting textures emphasize the pale, bright flowers and the
solidity of the vase, giving them more reality.
A PINE CONE
1
Draw in the main shape loosely, gaining an idea of the angles of the pine cone’s
sections.
2
Define it next with a careful outline of all the parts, showing the blocky shapes
of the opened scales of the cone.
3
Put in the areas of shade lightly, all over the darker parts of the cone. The
highlighted areas are at the ends of the scales.
4
Mark in the darkest parts, noting how the deeper hollows in the cone look much
darker.
5
Blend the tones together until the cone starts to look solid and structural, with its
very matt surface. The pine cone is an example of natural form that looks so
well-designed it seems as if it might almost have been made for your interest.
Drawing forms such as this makes you begin to realize the essential creativity in
nature.
LILIES
1
These lilies were laid on a tabletop, giving a high viewpoint for the artist. Begin
with a quick sketch of the main shapes.
2
Next, explore the flowers and leaves in more detail. Plants have a tendency to
move, but don’t let this put you off: if you draw the basic shapes as accurately as
you can the overall effect will be convincing.
3
The next step is to put in a light tone over all the shaded areas, including the
background.
4
Next come the very darkest tones, which are mostly on the leaves and stamens.
Take care to leave light lines along each leaf to give them their characteristic
look.
5
Lastly, build up areas of tone to give a more naturalistic look to the whole
picture. Be careful not to overdo it, as flowers can start to look a bit stiff and
unreal if you put in too much tone.
THREE SEASHELLS
1
Sketch in the main outlines of the shells. As they have a similar shape, I have
placed them at varying angles so that there is a different view of each one.
2
Draw them in more carefully next, getting the spiral form of the shells as
accurate as possible.
3
Put in light tone all over the shells apart from where highlights can be seen. Add
cast shadows on the surface on which the shells rest.
4
Mark in the darkest tones to define the shapes. Some of these tones will
emphasize the texture of the spiral patterns running across the surface of the
shells.
5
Now work over the whole picture, adding the mid-tones and blending them in
until the shells have substance and look convincingly three-dimensional. Objects
such as these are subtle in their shapes and textures and it is worth spending
some time building up the qualities you can see in them.
BOOKS
1
This is a rather unusual still life subject that provides plenty of interest, because
it is a group of objects of similar shapes but haphazardly arranged. These books
are loosely piled, with one open and one standing on edge. Start with a quick
sketch, showing the shapes of the books relative to each other.
2
Next draw up the shapes as accurately as you can, noting the perspective effect
that makes the far end of the books slightly smaller than the nearer end.
3
Now put in the areas of shading, including the cast shadows of the books on the
surface of the table. Keep the tone evenly light throughout at this stage.
4
Put in the darkest tones where they are most obvious. These are mainly around
the edges of the book covers.
5
Working over the whole picture, add all the necessary variations of tone and
texture to give the subtle effects of the assembled books. If you choose to
recreate this composition rather than drawing the one shown here, include only
as many books as you feel comfortable with.
STONES
1
Here I took a few attractive pieces of stone and arranged them in a group. These
are interesting to draw, because they all have rather different textures. As usual,
draw the first marks very lightly, just to indicate the various sizes and shapes of
the objects. Don’t get into too much detail yet – just notice the main differences
of the stones.
2
Now draw everything as accurately as you can, describing the irregular facets on
some of the stones. Notice the hand-cut transparent piece in the foreground,
which is carved from a larger stone but is a naturally occurring mineral.
3
Then put in the main areas of tone so that you can begin to see the roundness or
angularity of the pieces of stone. Keep the tone very light as yet.
4
Mark in the very darkest tones – as you can see, there aren’t very many of these.
Most of them are where the stones meet the surface that they are lying on.
5
Now comes the final stage, where you need to be as careful as possible to show
how each stone differs from the others. Take your time over this – you won’t
regret it, as getting the subtleties of each mineral texture is quite an interesting
effort to make.
A PAIR OF BOOTS
1
Sketch in the main shape loosely, taking care to draw what you really see rather
than your preconceptions of what boots look like.
2
Now draw the outline more carefully and more definitely. It should be obvious
from the irregular surface of the leather that these boots are not straight from the
box.
3
Then put in tone all over the boots except the highlighted areas, using only a
light tone. Add some light lines to suggest floorboards.
4
Next, put in the darkest tones to add to the definition – in this drawing they are
minimal and quite linear. Add some cast shadow.
5
Finally, add the mid-tones and blend them in. Deepen the cast shadows around
the soles of the boots. As with the running shoes on pp. 138–40, the well-used
look of the boots helps to define their characteristic qualities. Notice the
relatively subtle difference between the left and right one. The lines of the
floorboards help to suggest the weight and solidity of the boots.
A LEATHER HOLDALL
1
The overall shape of this large leather bag is pretty straightforward, though the
details of the folds are a little complex. Again, start with a loosely drawn rough
outline that gets the essential shape of the object.
2
Next, carefully draw the whole outline of the bag, including the handles and
straps and the main folds in the material. This is where you will most likely
change and redraw quite a bit before you get it quite right.
3
Next comes the tonal work, which is quite extensive on this object. Make sure all
the brighter highlights on the folds are left clearly reserved as white paper.
4
Then put in the darkest tones, which are few except for the large area of the
inside of the bag.
5
Now work over the whole piece, melding in the dark and light tones to give the
effect of the leather texture. Also put in the details of the stitching where it is
obvious. Although it might not be the obvious choice for a drawing, a large bag
like this with all its folds and contours can be a good test of your abilities.
A ROCKING CHAIR
1
First draw a rough outline of the whole rocking chair, correcting your marks if
necessary until it looks the right size and shape.
2
Now draw in all the parts of the chair, taking great care to get the shapes and
positions of the parts in correct relation to each other. This may take some time,
as there are many subtle relationships between them.
3
Next, start to show where the main areas of shadow appear, using a very light
tone. Notice how the position of the light source (a window) affects where the
shadows and highlights fall.
4
Put in the very darkest tones. Some of these will be against the lighter
background and others will be on the parts of the chair facing away from the
light.
5
Put in all the mid-tones, blending the darkest towards the lightest. Where there is
maximum contrast, between the seat and the foremost edge and arm of the chair,
increase the intensity of the dark tone. This is a complex and decorative object,
and as long as you get the main shape accurate enough it will make an attractive
drawing. Just be careful to record the tonal areas correctly, because this will give
more solidity to the whole work.
A COAT ON A HOOK
1
First make a rough sketch of the overall shape of the coat and the collar and
sleeves.
2
Now draw a more accurate outline of the whole coat and the hook it hangs from.
As it is bulky fabric there will be few absolutely straight lines.
3
Put in the areas of tone, as yet quite lightly.
4
Mark in the darkest areas strongly. The deepest shadow of all is beneath the
collar.
5
Work over the whole shape with tones that convey the feel of the material by
darkening and lightening around its folds. Really concentrate on showing the
folds accurately so that the viewer will be convinced of the weight of material
suitable for a coat.
A PAIR OF RUNNING SHOES
1
The aim of your initial drawing is to show the main areas of the two shoes and
roughly indicate the laces.
2
Then you will need to draw the shapes and details of the laces, rather more
carefully. Begin to add the pattern on the visible sole and show the lines of the
floorboards.
3
Next, put in more detail, including the very strongest lines that define the shape
clearly. Begin to add indications of tone on the laces and shoes.
4
Put in uniform light tone over the shoes, reserving white paper for highlights,
and add the cast shadows on the floor.
5
Add the very darkest tones inside the left-hand shoe and deepen the cast
shadows. To finish, blend in the tones by drawing in all the medium-tone areas.
Ordinary objects that have seen a lot of use such as these running shoes are often
interesting to draw in detail as you can show the wear and tear on them, giving
character to the drawing.
A LEATHER CHAIR
1
This armchair is quite a simple shape to draw and shouldn’t tax you too much.
The main thing is to get the proportions of the shape right from the start, and
then the rest will be fairly easy. First comes a rough outline of the whole shape.
2
Now draw the whole shape in some detail, showing the wooden armrests and
stand. There are not many interior lines or edges, so this can be done fairly
quickly.
3
Next put in the tone lightly, not forgetting to leave the areas of the brighter parts
untouched. If you shade over them by mistake, use your eraser to pick out the
white areas again.
4
Following that, put in the darkest tones very strongly, and immediately you will
start to see the solidity of the chair becoming evident.
5
Lastly put in the mid-tones over the whole area to make the darker and lighter
tones work together, giving an impression of the smooth roundness of the leather
shapes.
A TABLE LAMP AND CANDLESTICK
1
Draw very loose marks that give you some idea of the shapes and proportions of
the two objects. The top of the cupboard they are on is seen in foreshortened
perspective.
2
Now draw both objects and the cupboard top more carefully in a clearly defined
line that gives you all the main shapes.
3
Put in a uniform light tone where shade appears to fall on the objects, cupboard
and background, omitting only the highlights.
4
Now block in the darker parts of the composition more heavily. Notice how the
highlight on the candlestick is helping to create an impression of bright metal.
5
Then, with great care, blend the tones together until the transitions from light to
dark are convincingly graduated. The materials of all the parts of this
composition are different and your textural shading should take this into
consideration. The metal of the candlestick provides more contrast than the
ceramic lamp base, which in turn has more contrast than the lampshade. The
darkness of the smooth cupboard top and background wall helps to give an
impression of depth in the picture.
TOOLS
1
Here I have taken two items from my home toolbox to draw. They are quite
difficult because of the reflections on the shiny parts of the steel, but as long as
you tackle the drawing bit by bit it is not going to defeat you. First, lightly draw
in lines to indicate the main shape and proportion of the two pieces.
2
Now draw in the shapes in a precise outline, showing all the main parts. Be
careful to get the tools the right length in relation to each other. The perspective
effect of foreshortening should be taken into account.
3
The next stage is where you put in the overall tonal areas so that you start to get
an idea of the dimensions of the two objects. Include the cast shadows on the
surface they are resting on.
4
Now put in the darkest areas of tone and the areas of texture, such as the dotted
marks on the hammer handle. This immediately gives a more convincing look to
the solidity of the instruments.
5
Lastly you need to go over the whole picture slowly and carefully, putting in
variations on the tone and texture until you think that the tools look like the real
objects. Be careful not to fill in the bright areas with any tone, or you will lose
the contrast between bright areas and dark ones that indicate a reflective surface.
A CROWN
1
This example is rather special, in that most of us are not in possession of a crown
to draw from life. However, it is not difficult to find a really good photograph of
one. First make a general set of marks to indicate the size and shape that you are
drawing.
2
Then draw a more carefully judged outline, showing all the main details of the
crown clearly.
3
Next, using the lightest tone, shade in all the areas except the highlights. The allover tone of the velvet will look darker than most of the metallic and jewelled
parts.
4
Now mark in more definitely the darkest tones that you can see. They are most
apparent on the irregular surface of the velvet.
5
To finish the drawing, put in all the mid-tones, blend the marks for a smooth
effect and carefully delineate all the intricate details. As I drew this crown using
a photograph for reference, I chose a very detailed and photographic effect. It is
not an easy subject to tackle, but even if you are not entirely satisfied with your
own work you will have improved your observational and drawing skills.
AN ARMCHAIR
1
First draw a loose set of lines to give some feeling of the shape and proportion of
the armchair. This should give you a basic area in which to construct your
drawing.
2
Next, working more carefully, draw a fairly accurate outline of the whole shape
so that all the features of the armchair are firmly established.
3
Block in the main areas of shadow, using as light a tone as possible. All areas
should be covered with the same strength of tone, irrespective of how dark they
really are.
4
Now block in the main areas of very dark tone, not yet putting in any of the inbetween tones.
5
Last of all, build up the mid-tones, so that the subject matter starts to look
convincingly three-dimensional. This can take rather longer than the earlier
stages, as it is a more subtle exercise.
A BICYCLE
1
Draw in the main shape of the bicycle, which shouldn’t be too hard. However,
look carefully at the ellipses of the wheels, as these are not both the same.
2
Now make a very careful outline of the bicycle to lay the groundwork for your
finished drawing, taking care to get the proportions correct.
3
Now draw the areas of tone, which are mainly across the background pavement.
4
The darkest tones come next; these are principally found in the tyres and saddle.
5
Finally, work over the whole picture to make the more subtle expression of the
tonal shades. This is where the drawing becomes convincing to the eye. If you
have a bicycle, you can set it up and draw your own version of this composition.
The ellipses of the wheels are the hardest part to get right, but when you are
successful in that respect it will really make the drawing truthful to the eye.
A POTTED PLANT
1
Make a very loose outline to start with to indicate the main shapes of the plant
and pot.
2
Next make a more defined drawing to mark out the leaves, flowers and stems
and the shape of the pot.
3
Describe the outlines of the leaves, flowers and stalks more carefully. You don’t
have to be totally accurate about the position of each leaf – just attempt to draw
the way the leaves point in several directions. Then mark in quite lightly the
main areas of shade.
4
The next stage is to darken some of the tones and begin to show the exact shapes
and textures of the plant, pot and background.
5
In the final stage you can let yourself go, building up texture and tone until you
are satisfied that the picture looks as much like what you are seeing as you can
make it. Leave some leaves white to show how the light catches them.
A WATERING CAN
1
Draw a rough guide to the main shape and proportion of the watering can and
mark the edge of the surface on which it stands.
2
Now draw the outline more precisely, making sure that any mistakes are erased
and corrected before you embark on the next stage.
3
Put in the main areas of tone, using just the lightest tone observable, and reserve
white paper for the highlights.
4
Now put in the dark tones and sketch the lines of the decking quite quickly –
don’t worry if they are not straight as this will come with practice. Some roughly
vertical marks are enough to suggest grass.
5
Finally, blend in all the mid-tones to give the watering can a three-dimensional
solidity and the decking increased substance. Concentrate on the textural interest
of the watering can rather than adding detail to the background – leaving the
grass as sketchy marks will increase the solidity of your main subject.
A TREE IN CLOSE-UP
1
This drawing is not of the whole tree, but of the main base area of the trunk and
large branches, so you will not have a lot of leaves to tackle. First, draw in the
main shapes of the spreading branches and the trunk, so that you have a good
representation of the main shape of the tree. This will not include the ends of the
branches.
2
Now, as accurately as you can, draw in a simple outline of all the main shapes
and this time include any leaves that come into your area of drawing. Don’t try
to draw every leaf – just the main masses of foliage that you can see.
3
Next comes putting in the main tonal areas, and as you can see these are over
most of the branches and trunk, which are shaded by the leaf canopy. Put them in
with a uniform light tone and include the grassy ground under the shade of the
tree.
4
Now you can put in the darkest tones as well and you will see how this begins to
give a three-dimensional feel to the whole picture. Shade only the very darkest
areas at this stage.
5
Now comes the slowest part of the drawing, where you have to blend all the
necessary tones together until they begin to make more sense to the eye. Some of
this will be the textural differences that you find on the trunk and branches and
in the grassy area under the shadow of the tree. Continue until you feel that you
have a reasonable likeness of the tree.
A ROSE
1
Draw a rough shape to indicate the main form of the flower and its leaves.
2
Next, describe more carefully the exact shapes of the petals and leaves. Keep
your outline edges as light and delicate as possible to convey the fragility of the
petals.
3
Put a light tone over the whole composition except where you can see there are
highlights.
4
Block in the dark tones behind the flower and add the more linear dark tone on
the petals, stem and leaves.
5
Now blend all the areas of tone until you have achieved a lively and interesting
portrayal of a rose. It is best to draw flowers in one sitting as they are likely to
wilt or slightly change their position and angle in a short space of time.
A MOTOR-SCOOTER
1
This drawing could be tricky as the parts of the scooter have to be in the right
proportion to each other, but are not always easy to see clearly. Keep stepping
back to check the shapes when you are drawing. First make the usual rough
outline that will give you all the main shapes as correct in proportion as possible.
2
Now make a very careful line drawing of the whole scooter. It is important to get
the angle of the front wheel in relation to the handlebars right.
3
Next, put in the tonal areas in one quite light tone all over. This is quite a large
area of the whole.
4
The very darkest tones come next – a solid black for those areas that seem to
require it.
5
Finally, put in the hard work of making it all look as convincing in tone as
possible, showing areas of sharp contrast and other parts with gradually blended
tone. Once you feel confident about this drawing, find a scooter to draw from
life and see if you can make it look convincingly real. With a stationary object,
you have all the time you need to do it well.
A BLACKCAP
1
Draw a quick sketch to get the main shape of this bird, which is a little smaller
than a sparrow. Birds are rarely motionless, so this blackcap was drawn from a
photograph.
2
Draw in the bird more carefully, with attention to detail. The legs are barely
wider than the thickness of the pencil line, contrasting with the rounded body
and head.
3
Block in the main tonal areas quite lightly, including the branch on which the
blackcap is perching.
4
Next put in all the dark tones, which include the black marking on the head from
which the blackcap gets its name.
5
Work over the whole bird in some detail to give a convincing effect of its
feathery body and the very different surface of its legs. At this stage I realized
that the centre of the bird’s black cap was too light, so I added more shading.
A CAT
1
Drawing animals can be rewarding, but difficult if they won’t keep still. You can
try it when they are asleep or else work from photographs. To draw this cat, very
lightly sketch in the main area of its body, head and tail just to indicate size and
shape.
2
Then make a more careful drawing of the main outline, indicating the fluffy fur
of the main shape and the legs, head and facial features.
3
At this stage, lay a uniform tone over all the areas where there is some colour or
shadow, keeping the tone very light.
4
Next put in the darkest points of tone, particularly around the eyes, mouth and
nose and where the coat is striped.
5
Then finally work into the tonal areas to give a better idea of the texture of the
fur and the pattern of the markings. You can also soften some of the marks by
lightly rubbing an eraser over them.
A DOG
1
Lightly sketch in the main shape. I worked from a photograph, so that I would
have plenty of time to draw the dog’s expression and lolling tongue.
2
Next, draw in some detail to get the likeness of man’s best friend.
3
Put in the shaded areas next, using a light uniform tone. Even with a roughcoated dog, there will be areas of highlight.
4
Mark in the darkest tones to help define the dog’s shape. The colour of the fur is
quite pale, so these are not extensive.
5
Now work over the whole picture to build up an impression of fur and gleaming
eyes and nose. To describe the fur texture, make pencil marks in the direction
that the hair grows. This varies over the whole body of the dog.
A PORTRAIT PROJECT
1
Here is a drawing of one of my daughters grinning at something. Because she
can’t keep the smile on her face for a long time, I took a photograph and used
that for most of the drawing. As usual, start with a light outline.
2
Having made a rough guide to the head, now start to draw more carefully to get
the right look of the whole head and features. This is crucial if you want the
portrait to resemble the sitter. The relationship of the eyes, nose and mouth is
most important, so take your time on this.
3
Now put in the main areas of tone, all in the same light weight.
4
Next come the darkest tones, such as the hair and the eyes and in this case the
clothing.
5
Finally, carefully work over the whole head, getting the subtle relationships of
light and shade as accurate as you can. Allow quite a bit of blending of tones to
render the features soft and human. A portrait is easier if the sitter is not smiling,
but the resulting drawing will be less lively. Expressions are fleeting, and
catching them is tricky – but just observe the face carefully, especially around
the eyes and mouth.
A FATHER AND DAUGHTER
1
Sketch in the main shapes of the figures, correcting your marks as necessary
until you feel that you have the right proportion of the two seated bodies.
2
Now draw the whole composition with as much accuracy as you can manage –
this subject is quite a challenge.
3
Now put in tones quite lightly all over the areas that have shade on them, leaving
white paper where highlights occur.
4
Next put in the darkest tones, quite heavily. As you can see, the picture starts to
come to life now.
5
Next blend in all the tones between dark and light so that the picture gains a
feeling of solidity. The extent to which you do this depends on whether you want
a highly finished picture or a more loosely drawn effect – both can be successful.
When you are drawing figures, the most important thing is to make the person
look natural rather than worrying about facial likeness. The pose gives a lot of
information to the viewer and the expression on the face can be kept at its
simplest.
A GIRL’S PORTRAIT
1
Make a quick sketch to gain a feel of the head and shoulders, taking a bit of care
to get the angle of the head against the hand right.
2
Now draw in the whole outline of the face, hair, hand and shoulders as
accurately as you can.
3
Now add a light tone all over areas where there is some shadow, including the
background.
4
Now add the darkest tones, which are mainly on her hair and in the shadow
behind her arm but also occur in her eyes and the folds in her clothes.
5
Now blend in all the other tones between the lightest and darkest until you are
satisfied with the result. The light is falling on quite a large area of the girl’s
face, represented by leaving white paper. Using a child as a model for a portrait
is never easy, as children do not usually want to sit still for any length of time.
Even if they like the idea of posing for a portrait, it is a good idea to photograph
them from the same angle so that you can complete the picture if they become
bored and want to call it a day.
A PROFILE PORTRAIT
1
A profile, or side view, is easier than a full-face portrait, because the nose is
simpler to draw and only one eye is visible. Draw in the main shape loosely and
note that the height and width of the head are the same size from this angle.
2
The eyes are about halfway down the length of the head and the end of the nose
is roughly halfway between the eye and the chin. Now begin to draw in the main
outline of the face and head. Notice very carefully the exact shape of the nose
and whether the upper and lower lips are both protruding the same amount or if
one protrudes further than the other. Also, how does the angle of the chin look in
relation to the mouth and nose?
3
Now start to build up tonal and textural values on the face and hair. Keep all the
marks fairly light at this stage.
4
Next work in the darkest marks, especially around the eye, the end of the nose,
the mouth and the lower chin. The hair can also be darkened at this stage.
5
Lastly work over the whole portrait, building all the mid-tones and increasing
the texture of the dark hair. In my picture the light is overhead, so the darkest
area of the hair is in the lower part. When you come to draw your own profile
portraits look at the whole head, not just the face, since people have
characteristic head shapes too.
HANDS
1
Here is a pair of hands, lying on someone’s lap. Draw in the main shapes very
simply in order to get the proportion and shape correct.
2
Now, with a gently sensitive line, make sure that all the shapes of the fingers,
back of the hand and wrists are drawn. Mark in the creases on the knuckles.
3
With a slightly scribbly texture, put in the main areas of shade, including the
darker background area.
4
Next mark in very definitely the dark tones noticeable in between the fingers and
in the background.
5
Lastly, gently work in the in-between tones so that the hands start to become
more rounded in shape. Hands are quite complex to draw correctly so do not be
discouraged if your first attempt is not to your satisfaction.
FEET
1
This pair of bare feet belonged to a friend of mine who didn’t mind sitting for a
while so that I could draw them. For a drawing from life you will need to
persuade someone to sit for you, unless you draw your own feet in a mirror.
First, draw in the main shape of both feet here and their position.
2
Now, more carefully, draw the whole outline shape of the feet, without worrying
about any tonal values. Alter any shapes that don’t seem right to you.
3
Put in a light tone all over the feet to show where shadows appear, reserving
white paper for highlights. This helps to give them some three-dimensional
form.
4
Now put in the dark tones. As you can see, the darkest here was the area of the
background, the feet being fairly well lit in contrast.
5
Now work over the whole picture, enhancing the quality of the tones and the
edges of the feet. You may want to soften the background by building more
tones over it, or by smudging the tone with a paper stump. When you make a
drawing from life, look carefully at the feet in front of you, because all will have
their own particular shapes. Older feet will look rugged, and younger feet will be
smoother.
A MALE FIGURE
1
Sketch in the main shapes to help define the drawing area. The particular attitude
of the subject, caught in the midst of a task, helps to make the picture more
lively. To draw a pose like this you have to be quick because your model will
soon look stiff and unnatural if you ask him or her to hold it for long.
2
Now, more accurately, draw in the outline of the whole scene. Don’t worry if
you have to make extensive corrections to get everything right.
3
Block in all the areas of shade, using the same light tone.
4
Put in the darkest tones for maximum effect.
5
Now blend the tones until the drawing starts to gain life and a feeling of three
dimensions. Here the facial expression is quite important, because it helps to
convey the character of the individual posing. It is a good idea to take a
photograph too as expressions change rapidly, especially when the subject is
apparently caught in action like this.
A BABY
1
Drawing a very small child is not easy, as they only keep still when they are
asleep. I chose to take a photograph of my youngest grandchild while she was
playing in a blow-up cushioned ring. She was very interested in my efforts to get
her picture and stared at me intently. First, make a light sketch of the shapes of
her head and arms and the cushion around her.
2
Next, draw a careful outline of those shapes and the surroundings. Keep the lines
very light at this stage and erase mistakes where necessary.
3
Now put in the areas of tone that are quite extensive, again keeping your pencil
marks very light.
4
Put in the very darkest tones, which are not extensive in the circumstances of
this composition. The light wasn’t very strong, so the shadows are not dramatic.
5
The last stage is to harmonize the tonal differences. At this age the features are
less distinct than in older children and all the shapes blend in as the surface is so
soft. Drawing a child of under one year is one of the hardest things you can do,
so don’t be surprised if your first attempt at this exercise isn’t entirely successful.
A FAMILY GROUP
1
Here is a family group posing for a photograph. First of all, draw the main
shapes to make sure that they will all be in the right proportion to each other.
2
Next, draw in all the outlines of the figures without going into a lot of detail.
Several of the figures are wearing dark clothes, so quite large areas have few
visible contours.
3
Next put in all the areas of tone over the whole composition to gain some idea of
how the tonal values will look. Don’t use heavy tone at this stage.
4
Now put in the very darkest tone, gaining a better idea of the structure of the
figures under their heavy winter clothing. As you can see, some areas look much
darker than others.
5
Now make a more refined rendering of the forms and textures of the scene. Do
not put a lot of tone in the faces, because at this size they are too small to
accommodate much detail. When you are drawing a group of people that you
know, you may find it easier to draw each one individually and then fit them
together, or you could take a photograph like I did and draw from that.
A PORTRAIT AFTER JOSHUA REYNOLDS
1
One method of improving your skills is to copy the work of acknowledged
master artists. The painting I have chosen here is a 1756 portrait of Captain
Robert Orme by Joshua Reynolds. It is a typical 18th-century flamboyant style
of portrait with dramatic lighting. Begin by drawing a rough outline of the head.
2
You will need an outline drawing in some detail before you move on. Making a
tracing of the finished drawing here is one way you can ensure that your
proportions are exactly correct. This isn’t cheating – many artists do it when they
can.
3
Next put in the areas of shade, all in the same light tone. Be careful to leave a
white space in the eyes to act as a highlight near the pupil.
4
Now put in the darkest areas of tone, especially on the hat, eyes and mouth.
5
Work over the whole area of the portrait, noticing all the fine variations in tone
that Joshua Reynolds uses to get maximum effect. Of course, he worked in paint,
so your marks will be slightly different from his, but get as close to what he
appears to be doing as you can. It will teach you a lot about the way an artist
sees his subject.
A DECIDUOUS TREE
1
Make an outline sketch to acquaint yourself with the whole shape of the tree.
When drawing trees, make sure you are far enough back in relation to their size
for you to easily see them in their entirety.
2
Now make a more careful outline of the tree, showing the way the foliage breaks
the skyline and the gaps in the canopy where the branches can be seen.
3
Block in a uniform tone all over the foliage and trunk, as the tree is silhouetted
against the light sky. Add the same tone on the grass below it.
4
Now put in the darkest tones, especially on the trunk and on the ground
immediately beneath the tree.
5
Now work over the whole picture, building the texture of the leaves gradually
with variations of tone. You can erase small areas to break up the dark tones.
With a large, heavily foliaged tree such as this, there is no need to differentiate
each branch and clump of leaves – instead, draw areas in masses and the
viewer’s eye will make the correct interpretation.
A PALM TREE
1
Start with just a simple outline to establish the general shape of the tree.
2
Now draw it in more detail, getting the effect of the branches and characteristic
leaves. This type of tree needs careful observation of how the fronds grow out
from the trunk, especially those projecting towards you. Define its planting
location more clearly.
3
Put in light tone over the whole area except the spaces between the leaves and
add the cast shadow on the ground.
4
Mark in the very darkest tones next, indicating the shadowed areas beneath the
leaves and trunk.
5
Now, working over the whole tree, build the tones to express the quality of its
textures and shape. You will need to leave some areas almost untouched to get
the effect of the leaves catching the light against the darker fronds behind.
A PARROT
1
Start by getting the main shape and proportion of the bird on your paper, using a
few lightly drawn lines.
2
Then start to draw the whole outline shape more carefully, getting some detail
into the picture.
3
Put a layer of tone over all the areas where the colour and shade can be seen, but
keep it very light at this stage.
4
Next put in any darker tones and the texture of the feathers. Draw in the eyes,
beak and claws more sharply.
5
Lastly, work in the more subtle tones on the bird until you are satisfied with the
result. Birds are constantly on the move, so to find your own subject your best
plan is probably to work from a photograph. This will also give you the chance
to choose from a range of exotic birds.
A SEAGULL
1
Unlike most birds, seagulls sometimes stand still for long enough to make a
good subject. Even if a bird moves away another similar one will probably be
close by. Start with the usual very lightly marked drawing.
2
Then make a more accurate outline so that you have got all the main parts
indicated in the drawing.
3
Next, put in the main areas of shade with an evenly light tone.
4
Then turn to the very darkest tones, which are mainly some of the edges and the
very dark wing and tail feathers.
5
Finally, work carefully over the whole shape, putting in all the variations of tone
as accurately as you can. To push your skills further, find a location where gulls
congregate and see what you can do when working from life.
A CATFISH
1
First make a loose outline of the fish, which has an easy enough shape to follow.
2
Next make a more careful, precise outline that gives you all the detail you need.
3
Put light tone all over the fish except for the highlights, which are essential to
convey the shiny skin.
4
Add the very darkest areas next, to define the fish further. These are mainly the
markings on the skin.
5
Work the mid-tones all over the fish to give more subtlety to its appearance. To
increase the shiny effect of the skin, smudge and blend the softer areas of shade.
If you are making your own drawing, place a fish on a large plate or slab so that
you can see it clearly; you will have to finish the drawing in one sitting as the
fishy smell will rapidly increase. Alternatively, draw fish in an aquarium or work
from a photograph.
A CRAB
1
Make a rough outline to find the general shape. The main consideration is to get
the angle of the crab’s claws and legs correct and in proportion to its body.
2
Draw a more detailed outline, getting the shapes as accurate as possible. You
should now have what is unmistakably a drawing of a crab, with the
characteristic jointing in the legs.
3
Now add some uniform light tone to start building a three-dimensional feel,
reserving white paper for the highlights.
4
Put in the really dark tones next. These will emphasize the ends of the legs and
the tips of the powerful claws.
5
Now work over the whole crab, blending in the mid-tones, until you are satisfied
with your drawing. Crabs are easily available from fish markets and fish
counters and the best way to really study the detail is to buy one so that you can
see the textures on the surface.
A WHITE HORSE
1
As usual the first stage is a simple sketch showing the size and proportions of the
horse’s shape, here seen from a side view.
2
When you are satisfied by the shape, draw in the outline in some detail, making
all the corrections necessary as you go along. The more accurate you are at this
stage the easier the final work will be.
3
Next put in all the tonal areas with a very lightly drawn tone, including the cast
shadow and the background area.
4
Now mark in the darker tones, such as the saddle and bridle and in this case
some of the background.
5
Lastly, working over the whole picture, graduate all the tones to describe the
contours of the horse’s body. To find more equine subjects, ask permission to
draw the horses at a local stables. If you cannot complete a drawing, take a
couple of photographs so you can finish working on it at your own pace.
A MOVING HORSE
1
Make a quick sketch to show the main shape. The moving horse is not easy to
draw and this was taken from a photograph.
2
Next comes a careful outline that defines the shapes of the horse’s body, legs,
mane and tail.
3
Now add a layer of tone to build the solidity of the animal. Pay particular
attention to the highlights around the eye and muzzle, as these will determine
how realistic your horse’s head will look.
4
Work in the darker areas strongly now, particularly beneath the belly and
between the hind legs. You may have noticed that the rear, right-hand hoof has
come off the edge of the paper. This can happen if you draw slightly larger than
your paper.
5
Now work over the whole shape of the horse to create a more realistic effect,
blending your pencil marks to create a smoother look for the horse’s coat but
leaving them more distinct in the mane and tail.
AN EAGLE
1
Make a quick sketch to show the size and shape, trying from the start to show
the movement in the wings and the dynamic position of the bird.
2
Now make a more accurate drawing of the main outline, including the
impressive talons.
3
Block in the tonal areas all over the eagle, using a light tone throughout.
Hatching that follows the direction of movement can help to convey the feel of
the bird in flight.
4
Put in the darkest tones strongly – these are mainly on the underside of the wings
and body.
5
Finally, put in the medium tones which help the light and dark tones to blend
into an apparently three-dimensional form.
A CROCODILE
1
First make a rough outline of the crocodile’s shape, noting the proportion of the
huge jaws in relation to the body.
2
Now make a more careful rendering of the shape and texture, lightly but
precisely drawn. The details of the sharp teeth and the scaly fins along the tail
are important here.
3
Now block in the main areas of tone, including the cast shadow beneath and
behind the crocodile to give it more weight.
4
Mark in the strongest tones. The texture of the scales is important here in order
to suggest the reality of the animal.
5
Finally, blend in the mid-tones all over the crocodile to make it more lifelike,
with a smooth progression of tone describing its contours and textures. If you are
drawing your own crocodile and are not able to draw one at a zoo, try to take a
photograph rather than using an image from a book or the internet. Referring to a
photograph of your own will remind you of the crocodile’s physical presence.
A LION
1
First make a quick sketch to get the main shape right. Working from a
photograph is obviously the easiest way to draw this animal; look carefully at its
powerful attitude and try to get this down now.
2
Next make a more careful outline, as accurately as possible. Your lion should
now have gained features such as the whiskers and teeth.
3
Then put a uniformly light tonal layer over all the shaded areas to start building
the solidity.
4
Next mark in the darkest parts more strongly, including more textural detail on
the mane to give the feel of the thick longer hair.
5
Finally, work over the whole animal, blending mid-tones until you have made
the drawing as convincing as you feel you can. If you visit a zoo to draw lions
you should be lucky enough to find them relatively motionless some of the time.
Take photographs too that you can use as reference later.
A TABLE AND CHAIRS
1
Outside my local café stand tables and chairs made of flat iron parts. Although
the shapes are clear, the crisscrossing of iron pieces is a bit bewildering to the
eye. Make sure that you have a simple set of marks that define each piece of
furniture.
2
Now comes the most difficult part – drawing all the outlines of the ironwork as
accurately as you can. Take plenty of time over this, because it’s easy to get the
various parts confused with each other.
3
Put in the main areas of tone, which are mostly on the background and the
pavement. Notice how a few parts of the ironwork are also in shadow.
4
Now put in the darkest tone. This is simply the background wall and one or two
edges.
5
Now work over the whole picture until you feel you have got a good feeling of
the scene. Take extra care where the legs of the chairs and the table cross over
each other.
A GARDEN SCENE
1
With a quick sketch, get an impression of the main shapes of the large trees, the
hedge and gate, and the nearest groups of plants. This should be very lightly
drawn so that you can erase it easily later on when you have a stronger line put
down.
2
The next stage is to draw as accurately as possible all the main outlines of the
hedges, plants and trees, and even some of the edges of the clouds. This should
be done very lightly.
3
Put in the main areas of shade, including the blue sky, keeping your marks very
light in tone. Smudge the areas of blue sky with a paper stump to get an even
softer effect of tone.
4
Now put in the darkest shadows, which will begin to give the picture more
solidity and depth. Notice that the nearer parts appear much darker than those
that are further away.
5
Now, working over the whole composition, make the tones merge into each
other where necessary, softening some of the contrast to get the maximum effect
of texture and depth. If you have a garden with plants and other features, even if
it is small, it will make for a good scene. Choose your viewpoint with care,
because this will help to give a more effective composition to draw.
A COTTAGE
1
Make a loose drawing to gain a degree of certainty about the shape and
proportion of the building.
2
Refine the drawing until you have a fairly accurate feel for the whole cottage and
surrounding trees.
3
Put in the shaded parts all in one light tone, leaving highlighted areas as white
paper.
4
Mark in the darkest tones, which are to be found in the windows and door and
the shaded areas of the trees.
5
Build the rest of the toning across the whole picture until the cottage and
surrounding vegetation are fully realized. To give your drawing a final lift, try
rubbing out a few small areas on the front of the cottage to break up the tone.
CLOSE TO HOME
1
This project is about exploring your own locality and finding a way to make it
into an interesting scene. Here I drew an attractive group of buildings in the
suburbs. To follow my process, sketch in the outlines very simply to start with.
2
Then carefully draw the essential outlines of all the buildings and the massed
trees, with one particularly tall palm tree near the front and the distant tower in
the background.
3
The sun was shining strongly, so it is easy to see all the areas of shade here. For
this stage, put them in using only the lightest tone.
4
Next draw in all the darkest shadows where they define the shapes of the
buildings and vegetation. The car in the foreground is an important device to
give a sense of scale to the whole picture.
5
Lastly, working across the whole picture, graduate the shading to give a more
convincing appearance of reality.
A STREET LAMP
1
Sketch in the main shape loosely, finding the angles of the structure.
2
Draw in the whole outline of the lamp and the architecture behind it more
accurately, correcting any mistakes as you go along.
3
Block in the lightest tone possible all over the areas that have some shade on
them.
4
Add the dark tones quite boldly, using them to bring out the decorative wroughtiron pattern.
5
Finally, blend in all the mid-tones to bring the drawing to a satisfactory
conclusion. Fragments of urban scenes such as this are interesting to draw but
are often missed, because they are above eye level. Remember to look all around
you to find inspiration in an urban environment.
A CLASSIC CAR
1
The intricate form of this classic Hillman Minx makes it a good subject to draw.
Sketch in the main shape of the vehicle very lightly, as you might need to erase
quite a bit of it later.
2
Now produce a more careful and accurate outline drawing that shows all the
main features of the car. Keep the lines lightly drawn at this stage.
3
Put in an overall tone where the shadows appear on the car, keeping this
uniformly light.
4
Now you need to put in the dark tones such as under the mudguards and around
the wheels. Put these in very strongly, but don’t blend them in at this stage.
5
Now comes the blending process, where you add all the medium tones to help
the vehicle look three-dimensional. Take your time on this in order to get the
best result you can achieve.
A VILLAGE SCENE
1
Here is a drawing of a village close to where I live, just showing a jumble of
houses and their roofs. First of all, sketch in the main shapes to make sure that
you get the size and proportions right.
2
Then carefully draw the whole thing in outline, making sure that each shape fits
in well with the rest of the composition. The hardest bit is getting the roof shapes
correct in relation to each other.
3
Put in the main areas of tone, which in this case are quite extensive. Make the
foreground vegetation more textural than tonal to keep the contrast between the
buildings and the plants.
4
Now put in the very darkest tones, which are particularly obvious on the roofs
and in the windows.
5
To finish, work over the whole scene, getting the strengths of tone as accurate as
you can. This gives the final composition a more three-dimensional and realistic
feel to it. Next, have a go at a place near where you live that catches your
interest. If you can see a good composition from your window you can even
draw it in rainy weather, but note that the tonal contrasts will be lessened in dull
light.
WOODEN BUILDINGS
1
This group of 19th-century buildings near Sonoma, California, are the remains
of the original establishments from the Californian Republic days. As usual first
mark in the main shapes of your composition.
2
Next we put in all the shapes in a simple but accurate outline. This should be as
accurate as can be made at the time, and careful alteration of the shapes at this
stage is worth the trouble.
3
Next we can put in the areas that appear in the shade, all in a very light tone.
Include the blue sky at this stage so that the clouds can be seen.
4
Now we mark in all the very darkest tones to begin to get some idea of depth.
The dark sheds in the centre background help with this, because they make a
break between the two main buildings. Use a paper stump to smudge the marks
denoting the blue sky. This will make it look further away.
5
Now generally work over the whole picture until we can see it is beginning to
look more like the actual scene. The more you can put into this the more
convincing the final picture will be.
A SEASCAPE
1
This project is a seascape showing an area that is fairly empty, with big waves
crashing on the shore. Draw in the whole scene with very simple, sketchy lines.
2
Now draw in everything that you can see with a light outline. The far hills are
partly hidden by mist, so you can allow the line to disappear altogether here.
3
Next, put in all the shaded areas in one light tone, including some in the white
foam. Add a little texture on the nearer shore and sea.
4
Now put in the darker tones, especially the rocks in the foreground. At this stage
a bit of smudging with a paper stump on the sky and far hills will help to give
more depth to the scene.
5
To finish, work over the whole scene with the paper stump to soften some of the
tonal and textural effects. Keep the white foam as white as possible to create
maximum contrast with the rest of the scene.
BATHERS
1
Here we have a group of family members bathing in the sea. The waves are
strong, so they are facing towards them and floating up on their surge. First,
sketch their heads and shoulders and try to get their proportions right in relation
to each other.
2
Next, carefully make an outline drawing, keeping it as simple as possible. Mark
in the areas of the waves as well to give some background effect.
3
Now block in the main areas of tone, not forgetting the wave areas around the
figures. Keep it all very light at this stage so that you can put in the darker tones
effectively at the next stage.
4
At this stage put in the very darkest tones, of which there are not many. They are
mainly the dark hair of the two children, the edges of the arms and the shoulder
strap of the adult.
5
Now work over the whole picture, adjusting the marks of tone and texture until
the drawing looks convincingly three-dimensional. Go carefully here and don’t
overdo the dark areas too much.
A SPORTS CAR
1
Make a quick sketch to show the main shape. I have drawn the car from a front
corner, foreshortening the body and thus making the car look more powerful.
2
Make a more detailed outline, putting in all the details necessary such as the
radiator grille. On a man-made object such as this you need to strive for very
even lines.
3
Now block in some light tone to give more dimension to the chassis, leaving
white paper for the highlights. Add the cast shadow beneath the car.
4
Then put in the darkest tones where the deepest shadows are seen.
5
Finally, carefully work over the whole shape, blending in the mid-tones, to get a
good-looking version of this glossy machine. The shading needs to be carefully
graduated to give a slick, smooth appearance.
AN OLD BARN
1
This project combines architectural structures with softer natural forms. The first
step is to get the main shapes sketched in to place everything correctly on the
page.
2
Now draw, in a light single line, everything that you can see, very simply,
without much detail. At this stage you need to put in all the information that
guides the rest of the drawing.
3
Next is the laying on of an all-over light tone to show where the shadows are.
This was easy for me, drawing from life, because the sun was strong and all the
shadows were fairly well defined.
4
Now you need to get some idea as to how the darkest parts of the scene contrast
with the light and define the depth of space. At this stage don’t overdo it, putting
in only the very dark tones.
5
Finally, build up the medium tones to bring more reality into the balance of light
and shade. Also add textures, such as the leaves on the trees and the ground.
A MOTORCYCLE
1
Draw in the main shape loosely. A motorbike is quite a complex subject, but
don’t worry about all the fiddly details at this stage.
2
Now make a more detailed outline, taking care to get all the many marks as
accurate as possible.
3
The next step is to block in all the shaded areas in the same light tone and add
the cast shadow.
4
Now put in the darkest areas quite strongly. Your drawing should be looking
three-dimensional by the time you have finished doing this.
5
Finish by going over the whole picture, adding and blending mid-tones. Use an
eraser to pick out highlights if necessary. If you take your time and work
methodically you will be pleased with the result.
SHEDS AND A BOAT
1
This scene of an old boat and sheds nearby is typical of many coastal areas. Start
with a few lightly drawn lines that indicate the extent of your composition in
terms of shape and proportion.
2
The next stage is to delineate the whole scene in a carefully drawn outline.
Again keep the lines light because you may need to work over quite a lot of them
later.
3
Put in the main areas of shade all in the same light tone, however strong some of
them really are. Use tone to indicate the striated texture of the wooden planks of
the sheds.
4
Now put in the very darkest tones, notably the spaces in the planks of the shed
facing the viewer, where the dark interior is seen. The overlap of the planks that
form the boat is another dark area.
5
Finally, work over the whole picture, building up texture and tone. Numerous
small marks give a weatherbeaten feeling to the painted boat and the old shacks.
Boats and sheds are easy to find if you live near some expanses of water, but if
not, just look for some old sheds that are fairly dilapidated. Allotments are often
a good source.
AN OLD JETTY ON A RIVER
1
First make a lightly drawn sketch to get the main shapes of the old planks and
their surroundings.
2
Now make a more detailed drawing of the constituent parts of this rather
weathered and old construction. Be as accurate as you can, but it doesn’t matter
if your drawing is not quite spot on.
3
Put in light tone over all the areas that are shaded. Apart from the main ramp
there are few highlights on the jetty itself as this is not a very reflective surface.
4
Mark in the very darkest tones and smudge the background of the far bank of the
river with a paper stump to soften the tone.
5
Lastly work over the whole scene, blending tones to get the maximum effect of
solidity and three dimensions. When you are drawing a scene such as this it is
not necessary to get everything totally accurate. Viewers of your work will
probably not have seen the exact place, so as long as the whole picture holds
together it is a good drawing.
A CABLE CAR
1
A cable car in San Francisco gave me an interesting setting and of course a
number of people to draw. You can omit the people in your version if you prefer.
Mark in the main shapes to start with.
2
Then carefully draw in everything in a simple outline, trying to make all the
shapes and their relationships as accurate as possible.
3
Put in the main areas of tone with light layers of shading, including the texture
on the street surface.
4
Next, mark in all the dark tones to begin to give the picture some depth. These
are mainly the shadowed areas on the cable car.
5
Finally, work over the whole scene, aiming for as much subtlety of shading and
definition as possible. For drawing from life, public transport in your local area
should offer you plenty of opportunities. A big advantage is that if the bus, cable
car or train you are drawing departs, the next one will probably look exactly the
same.
A MOTOR BOAT
1
Start as usual, with a sketchy outline to get the main shape correct. Of course the
water around a moving boat is moving too, so you will have to decide where to
place the shapes of the waves.
2
Next draw in the whole picture in outline as accurately as you can, correcting as
you need to. Take your time over this.
3
The next stage is to block in areas of shade in a light uniform tone, leaving white
paper for highlights.
4
Mark in the darkest tones, which are minimal. This is because the sky was
overcast so light was flatter than it would be in full sunlight.
5
To finish, build the rest of the tonal values until you are satisfied that the result
looks convincing. A boat is harder to draw when it is moving as the angle may
rapidly change, so if you are making your own drawing you may want to take a
photograph and work from that. Alternatively, you can draw a moored boat and
add the waves and helmsman later on.
PEOPLE ON THE BEACH
1
This picture of a mother and daughter throwing pebbles on the beach is drawn
from photographs as they were in constant motion. Begin your drawing with a
light sketch to establish the composition.
2
Now carefully draw everything, making sure that the shapes and proportions are
as accurate as you can get them. Don’t forget to put in the horizon line in the
distance to give the feeling of space.
3
Put in the tonal areas in as light a tone as you can manage. Include the distant sea
and all the foreground sand and water.
4
Now put in the strongest tones where they occur. They are mainly on the figures
and the old wooden posts.
5
To complete the drawing, work over the whole picture with texture and tone to
build the depth and feel of the scene. Take your time on this to make it as subtle
as possible. This kind of scene doesn’t have to be set on a beach if you don’t live
near one – just find a couple of people playing around in the open.
AN OLD BOAT ON THE SHORE
1
Make a rough outline of the main foreshortened shape of this old and battered
boat, drawn up on the shore.
2
Now draw the main lines more accurately, looking very carefully at the curving
shape of the boat.
3
When your outline is correct, put light tone over all the shaded areas of the boat
and the surface around it.
4
The next step is to strongly define the dark areas of tone on the boat and the
shore.
5
Put in the mid-tones and the more obvious textures to convey the roughened
surfaces of this old craft. Treating the immediate surroundings in a similar way
completes a convincing picture. As this boat shows, it is not always smart new
items that are the best to draw. For an artist, battered old objects are much more
interesting in terms of their surfaces.
A SKYSCRAPER
1
This is a drawing of a building in the main part of San Francisco which struck
me as being very typical of skyscrapers of a certain period. Start your own
drawing by sketching in the main bulk of the skyscraper with suggestions of the
foreground building and tree branches nearby.
2
Then carefully mark in all the main shapes of the building including the large
Stars and Stripes flying from the top. The sea breeze from the bay extended it
nicely for my picture.
3
Put in the main tonal areas of the scene, keeping them all quite light at this stage.
Draw in the tree branches that cut across the picture in more detail.
4
Next, put in the very dark parts where the shadows are strongest. In this drawing
they are only minimal.
5
Finally, work over the whole picture, strengthening parts and adding any little
marks that will help the final look.
A CATHEDRAL
1
This building is the great medieval cathedral in Lincoln, England, which
dominates the city. Lightly mark in the main shape and the houses around it.
2
Next, draw in more precisely the detailed shapes of all the buildings that form
the composition. The nearer buildings lead the eye to the cathedral in the
background.
3
Now put in the lightest area of shade, which is quite tricky as the surface of the
cathedral has many indentations and pieces of statuary projecting from it.
4
The next stage is to put in the darkest accents of tone, which are mainly in the
deepest recessions in the cathedral front, the trees and the backs of some of the
closer houses and their windows.
5
Finally, work over the whole picture, building up the variety of tones to bring a
more three-dimensional appearance to the scene. This can take a bit of time with
such an intricate subject as this.
A HOTEL INTERIOR
1
This interior is to be found in an old hotel in the main thoroughfare of San
Francisco. It is the main vestibule of the ground floor, and is styled in a grand
mid-20th-century manner with a large series of chandeliers lighting it. Begin by
marking in the main structures of the architecture and furniture.
2
Now put in all the shapes of the walls, pillars, lighting and furniture in a more
carefully drawn line. This stage of the drawing is most important as the whole
effect of the final piece depends on how well it is done, so take your time here.
3
Now put in the main areas of tone. You will immediately notice how much tone
there is all over the area, with only the chandelier lights and the nearest pillar
edge as highlights. The whole effect is one of shadow with a couple of bright
points.
4
At this stage you need to put in the darkest tones, especially on the ceiling and
on the furniture. Darker tones around the lights will make the light area look
even brighter in contrast.
5
Now work over the whole scene, blending tones where necessary, and building
texture on the carpeted areas and the decorated wall space. Continue until you
think you have really got a good depth and tonal range to the picture.
A LANDSCAPE
1
This rugged, wild landscape is seen from a hillside above a lake with a small
island. Begin your drawing by putting in the main areas quite lightly so that the
composition of the picture is established.
2
Now draw all the main parts of the scene in simple outline. Put in the
background very lightly indeed, and the middleground and foreground with
increasing emphasis.
3
Now comes the tonal stage, where you can make the far landscape much fainter
than the rest. In the foreground, most of the tones will be produced by texture
rather than smooth shade.
4
Rub the sky and far hills with a paper stump to soften the effect, then put in all
the darkest tones and textures. Note how dark the island and foreground shadows
look against the lake and highlighted rock.
5
Now work on the mid-tones, some of which can be smudged with a paper stump
to create more subtle effects. The nearest rock shadows are the very darkest
tones, almost solid black. You may not have a local landscape as dramatic as
this, but try to imbue the scene you choose with as much drama as possible,
mainly by means of contrast of tone and shape.
ALCATRAZ
1
This example is of an island, but instead of an idyllic palm-fronded location I
have chosen the old prison island of Alcatraz. Draw in the main bulk of the rocks
and buildings and indicate the sea.
2
Next, carefully draw in all the shapes of buildings, rocks and vegetation and
describe some of the nearer waves.
3
Put a light tonal layer over all the shaded areas. Include the main colour of the
sea here, just leaving white slivers for the wave tops.
4
Now put in the darkest areas of tone, which are mainly the dark shapes of the
windows in the buildings and the shadows on the edges of the rocks.
5
Finally, work over the whole composition, grading and texturing various parts of
the picture until you are satisfied with the result. If you don’t live near an island
that you can draw from life you will be able to find plenty of photographs of
islands, ranging from windswept locations in northern seas to hot tropical islands
with sandy beaches and palm trees. Try drawing a variety of them, seeing how
well you can describe the different types of waves and shores.
INDEX
A
Alcatraz 315–17
animals
Blackcap 174–6
cat 177–9
catfish 225–7
crab 228–30
crocodile 240–2
dog 180–2
eagle 237–9
horses 231–3, 234–6
lion 243–5
parrot 219–21
seagull 222–4
apples 45–7, 57–9
armchair 153–5
B
baby 204–6
barns 279–81
bathers 273–5
bicycle 156–9
Blackcap 174–6
blenders 6
blue cheese 63–5
boats
motor 294–6
and shed 285–7
on a shore 300–2
body proportions 14
books 120–2
boots 126–8
bottles 81–3
bowl, ceramic 39–41
bowl of fruit 78–80
bowl of lemons and an orange 60–2
bread 33–5
C
cabbage 24–6
cable car 291–3
cars
classic 261–3
sports 276–8
cat 177–9
catfish 225–7
cathedral 306–8
chairs
armchair 153–5
leather 141–3
rocking 132–4
and table 246–8
close to home 255–7
coat on a hook 135–7
cottage 252–4
crab 228–30
crocodile 240–2
crown 150–2
D
desk lamp 105–7
dog 180–2
drawing board 7
dustpan and brush 36–8
E
eagle 237–9
eggs and crockery 72–4
ellipses 11
erasers 7
F
family group 207–9
father and daughter 186–8
feet 198–200
food
apples 45, 7, 57–9
blue cheese 63–5
bowl of fruit 78–80
bread 33–5
cabbage 24–6
eggs and crockery 72–4
grapes 48–50
lemons 60–2
onions 54–7
oranges 60-2, 75–7
pears 18–20
pineapple 27–9
G
garden scene 249–51
girl’s portrait 189–91
glass tumbler 30–2
grapes, bunch of 48–50
gravy boat 66–8
group portraits
bathers 273–5
family group 207–9
father and daughter 186–8
people on the beach 297–9
H
hands 195–7
head proportions 15
horizon line 13
horses 231–3, 234–6
hotel interior 309–11
human proportions
body 14
head 15
J
jetty 288–90
jug 21–3
K
kitchen still life 90–2
knife, fork, spoon and can opener 93–5
L
landscape 312–14
landscapes
Alcatraz 315–17
barn 279–81
cathedral 306–8
close to home 255–7
cottage 252–4
garden scene 249–51
hotel interior 309–11
jetty 288–90
landscape 312–14
seascape 270–2
shed 285–7
skyscraper 303–5
street lamp 258–60
village scene 264–6
wooden buildings 267–9
leather holdall 129–31
lemons 60–2
lilies 114–16
lion 243–5
M
male figure 201–3
materials 6–7
motor-scooter 171–4
motorcycle 282–4
mug and coffee pot 99–101
O
objects
bicycle 156–9
books 120–2
boots 126–8
bottle 81–3
ceramic bowl 39–41
chairs 132–4, 141–3, 153–5, 246–8
coat on a hook 135–7
crown 150–2
desk lamp 105–7
dustpan and brush 36–8
eggs and crockery 72–4
glass tumbler 30–2
gravy boat 66–8
jug 21–3
kitchen still life 90–2
knife, fork, spoon and can opener 93–5
leather holdall 129–31
motor-scooter 171–4
mug and coffee pot 99–101
pocket still life 102–4
running shoes 138–40
salt and pepper pots 69–72
saucepan 42–4
seashells 117–19
stones 123–5
table and chairs 246–8
table lamp and candlestick 144–6
teapot with cup and saucer 87–9
tools 147–9
vase of flowers 108–10
water filter 51–3
watering can 162–4
wine bottle and glass 96–8
wine glass 84–6
one-point perspective 13
onions 54–7
oranges 60–2, 75–7
P
paper 7
parrot 219–21
pears 18–20
pencil grip 8–12
pencils 6
people on the beach 297–9
perspective 13
pineapple 27–9
plants
lilies 114–16
pine cone 111–13
potted plant 159–61
rose 168–71
trees 165–7, 213–15
vase of flowers 108–10
pocket still life 102–4
portraits
baby 204–6
bathers 273–5
family group 207–9
father and daughter 186–8
feet 198–200
girl’s portrait 189–91
group 186–8, 207–9, 273–5, 297–9
hands 195–7
male figure 201–3
people on the beach 297–9
portrait after Joshua Reynolds 210–12
portrait project 183–5
profile portrait 192–5
portrait after Joshua Reynolds 210–12
portrait project 183–5
posture 8–9
potted plant 159–61
profile portrait 192–5
propelling pencils 6
R
Reynolds, Joshua 210–12
rocking chair 132–4
rose 168–71
running shoes 138–40
S
salt and pepper pots 69–72
saucepan 42–4
seagull 222–4
seascape 270–2
seashells 117–19
shape drawing 10–12
sheds 285–7
skyscraper 303–5
street lamp 258–60
T
table and chairs 246–8
table lamp and candlestick 144–6
teapot with cup and saucer 87–9
tone 10, 12
tools 147–9
transport
bicycle 156–9
boats 294–6, 300–2
cable car 291–3
cars 261–3, 276–8
motor-scooter 171–4
motorcycle 282–4
trees
close-up 165–7
deciduous 213–15
palm 216–18
two-point perspective 13
V
vase of flowers 108–10
village scene 264–6
W
water filter 51–3
wine bottle and glass 96–8
wine glass 84–6
wooden buildings 267–9
This edition published in 2018 by Arcturus Publishing Limited
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