1. Introduction
Welcome to The Fundamentals of Drawing course! In this video I will introduce myself and the course content that we will explore in our online lessons.
Additional Resources
Please find below a link to my instagram profile where you can tag me if you post any of your drawings using @camilleserisier or #camilleserisier https://www.instagram.com/camilleserisier/
If you need to contact me you can do so via email at studioserisier@gmail.com
2. Setting up a workstation
There are a few essential reasons why setting yourself up properly in your home studio really matter. In this lesson we go through some of these reasons and guide you through how to set yourself up at home.
Materials & Equipment
Pencil
Paper
Something tall to draw eg. a water jug, vase or bottle
Something wide to draw eg. a banana, glasses case, biscuit box
Activity One
Please choose something tall to draw, such as a vase, bottle or small sculpture.
I will ask you to draw this object twice
The first time I would like you to draw it with your paper flat on the table in front of you.
The second time I would like you to draw it with the drawing surface tilted towards you, either on an angled easel, drawing board, or using a rolled up towel etc.
What differences do you notice? The first drawing is likely to be elongated and out of proportion when you hold it up and compare it with the second. This is why, it is always wise to use an angled drawing surface. Drawing is enough of a challenge without self sabotaging from the outset.
Activity Two
Please choose something wide to draw, such as a banana, glasses case, biscuit box
Again, I will ask you to draw this object twice.
The first time I would like you to draw with your paper on the right of your body and the subject on your left.
The second time I would like you to draw with your paper on the left of your body and your subject on the right.
What differences did you notice while drawing? Which position felt more comfortable. In theory it is better to keep your body still and not lean across your body to draw, as you will move each time you do and change your perspective in relation to your subject. Did you find this true when you were drawing? Whether you are right or left handed will have a strong influence on which side suits you best.
Activity Three
Once you have worked out your preferred drawing angle and which side you would like to place your drawing in relation to your subject, please take some time to consider the most ergonomic layout for your home studio set up.
Helpful guiding questions might include:
Where can you place your drawing equipment so that it is in easy reach?
What other things do you need to help facilitate your comfort? For example, do you need a pillow for your lower back or the seat of your chair?
Where might you put your subjects when drawing? For example, are you at a table or easel? Will your subjects be placed on the same table to on a small movable table?
Additional Resources
A short video on how to set up your workstation at home. Although focused on a home office, these factors are still relevant for a home studio set up.
Below is a link to the angled drawing easel mentioned in video. I am not recommending this product in particular, but more giving you an example of this type of easel.
3. Materials
- pencils
In this lesson we discuss pencils, one of the most recognisable drawing materials. We will learn about pencil grades, construction and application.
Materials & Equipment
Any pencils you already have
Paper to draw on
Activity One
Please take out a piece of paper or a sketch book along with any pencils you have in your kit.
Working from softest and darkest through to lightest and hardest please recreate the pencil grade scale shown in the slide as best you can. What grades are you missing? You do not need all of the pencil grades, but it is handy to have a few spread across the pencil grade scale from about 6B through to 2H.
Activity Two
Another way of getting the feel for pencil grades is to practice making shapes or patterns with the various pencil grades. For example, if you start with a blank page you could draw a grid using a soft B pencil. Then you could draw a diamond shape in each square using an HB or F. Then within each diamond you could draw a circle using a hard 6H. This will help you get a feel for how the different grades handle when drawing lines instead of shading.
Additional Resources
How are pencils made?
Below is a video that discusses pencil grades if anyone is interested in reviewing this information.
4. Materials
- erasers
Many artists might argue that a pencil is little use without an eraser. In this lesson we discuss the different types of erasers and the best options for artists.
Materials & Equipment
Any erasers you have
Paper to draw on
Pencils of various grades
Activity One
Create a pencil grade scale using the different graphite pencils in your kit. Then take out any erasers you have and experiment with erasing the pencil grade scale. Which pencil grades are easiest to erase? Which erasers do you prefer to use? Do any damage the paper you are using? Do any erasers smudge the graphite?
Activity Two
Another way to experiment with your eraser is to use it as a drawing tool. To try this, draw two rectangles next to each other on a piece of paper. Colour one in using a soft B pencil and colour the other in with a hard H pencil. Then draw the same subject twice using your eraser to make the lines instead of the pencil. If it gets a bit smudgy you can lean your hand on a piece of paper towel from the kitchen or a bit of printer paper.
Additional Resources
Below is a link to a short film about erasers if you would like to revisit this topic.
The film linked below shows how some erasers are made for anyone who is interested.
5. Materials
- paper
Paper comes in many different forms and it is important to know how to choose the best paper for your drawing. In this lesson we take a deep dive into the wonderful world of paper.
Materials & Equipment
Any pencils and erasers you already have
A range of papers you have in your home, such as absorbent paper towel, newspaper, magazine pages, cards, drawing paper, printer paper etc.
Adhesive of some kind eg. a glue stick
Water and a plastic syringe or small container
Activity One
Please collect a few different types of paper from around your home. These might include printer paper, newspaper, drawing paper etc.
Choose an object you would like to draw and try drawing the same object on these different types of paper. This will hopefully give you a sense of the differing qualities of paper and what they are like to work with.
Activity Two
A great way to get a feel for paper is to cut or rip it up.
Using the range of papers you have already collected such as printer paper, newspaper, drawing paper etc. please create a collage of the same subject you drew in activity one. The aim of this activity is to get a feeling for the different types of paper, so don’t be precious, really dig in and have some fun making a collage image (collage is when you stick different types of materials and/or fabrics onto a backing).
Activity Three
I recommend you test paper sizing (absorption) as it gives you a great sense of different types of paper and their suitability for wet and dry art mediums.
Please take out the range of papers you have collected, being sure to include some absorbent paper towel from the kitchen. Please also get some water and a small plastic syringe or container.
Lay out your different papers and add a small blob of water to each. Which absorb the water? Which absorb the water and then loose their structural integrity? Which repel it? How much water do you need to add to each before they turn into mush?
Additional Resources
The link below leads to a website that explains the importance of using acid free paper
Here is a blog post about paper sizing (relating to absorption rather than scale) that I hope you will find helpful
https://www.paperslurry.com/2016/03/10/sizing-and-paper-watch-this-to-learn/
6. The imagined vs the observed
This lesson is essential to understanding the difference between drawing using observation and drawing the imagined, as well as the inherent links between the two.
Materials & Equipment
Pencils
Drawing paper
Eraser
An old cardboard box
Activity One
This activity does not require any resources, just your mind, a pencil and paper.
First, I would like you to draw a square
Next, I would like you to draw a box using only what you imagine in your mind when you think of a box.
Activity Two
This time I would like you to find a resource – an old box that is as crumpled and sad looking as you can. It might be a postage box, cereal box, shoe box etc. If it is in pristine condition, I recommend squishing it or giving it a little hug, so that it is no longer pristine.
Once you have secured your less than pristine box, I would like you to draw it. Please do so carefully observing as much detail as you can.
Activity Three
I recommend trying to draw a few other subjects in this way. Imagine a horse and draw what you see in your minds eye, then draw a picture of a horse or a real horse if you have one nearby. Then try a few other subjects, such as trees, people you know, your house, a cat - anything really. Mark the difference between the imagined and the observed each time.
7. Learning to look with contours
This lesson is all about seeing our subject using contours.
Materials & Equipment
Pencils
Drawing paper
Eraser
Good subjects include your hands, feet, fruit, shoes and bags. But it is best to have the objects physically in front of you than to draw from a photograph.
Activity One
Please complete a blind contour drawing of a physical object (not a photograph). Move your pencil slowly and do not look at the page or worry about the supposed accuracy of the resulting image. Rather focus on the accuracy of the line slowly tracking the contour.
Activity Two
Please complete a continuous line contour in which you do not lift your pencil from the page, but instead draw with one unbroken line. I recommend doing so without looking at your page as this helps maintain a sense of authentic observation, rather than image making.
Activity Three
Please complete a modified contour drawing, in which you can look at your paper and make multiple broken lines instead of a single continuous line.
Activity Four
Please create an expressive contour drawing, in which you look at your page more than your subject and attempt to create a looser more interpretive drawing.
Additional Resources
Below is a link to a video about contours, which I hope you will also find helpful https://www.youtube.com/watch?v=6n5TaEitmKE&t=35s
8. Finding The axis
In this lesson we explore some key tips and tricks for looking carefully at your subject and hopefully by consequence developing a greater appreciation for the world around us.
Materials & Equipment
Pencils
Drawing paper
Eraser
Transparent vessel eg. glass jar, glass bottle
Activity One
Please find a transparent vessel, such as a drinking glass, vase or bottle with an open top (as in without a lid). Place the transparent vessel in front of you flat on the table. Please draw the transparent vessel
Activity Two
Please find a transparent vessel, such as a drinking glass, vase or bottle with an open top (as in without a lid). Place transparent vessel in front of you flat on the table. Now we are going to use our pencil to find the internal axis (or true centre) of the jar. Place the tip of your pencil in vessel touching the centre of the base and stand your pencil upright (completely vertical). The pencil represents the axis of your transparent vessel.
Activity Three
Now that you have found the axis of your transparent vessel, it is time to draw. Please draw your transparent vessel again, this time before you draw anything else, please draw a straight vertical line on your page that represents your axis. When you are ready, start to ‘hang’ the big shapes that represent your subject on your vertical axis line. This should result in a more symmetrical and believable representation of your subject.
Activity Four
Please select a new transparent vessel. This time I would like you to draw it in a dynamic position. By that I mean a position where the side and top are both visible. Please start with the vertical axis defining the centre of your object. Then try to find the horizontal axis for any handles, oval openings and such that may be visible in your subject.
Activity Five
How can an axis be manipulated for abstract purposes?
Please look at your transparent vessel and attempt to make a manipulated version by adapting your axis.
9. Measuring: Gridding
Measuring is one of the key ways to control the proportions of your subject on the page. This is an essential skill for anyone who would like to move onto more complicated subjects, such as the figure.
Gridding is an essential approach to measuring when drawing that many people enjoy.
Materials & Equipment
Pencils
Drawing paper
Eraser
Tall object eg. wine bottle, cereal box, vase, jar etc.
Activity One
Please select a very tall object to draw (for example a wine bottle, tall cereal box, tall jar, tall vase etc). Please draw your subject using whatever style or approach suits you.
Activity Two
If you would like to give gridding a go, please make yourself a viewfinder and have a go at drawing the same object you drew in the warm-up using the lines in the viewfinder.
Activity Three
If you are working from a 2 dimensional reference, like a photograph, you can also draw grid lines onto your image or overlay lines using a grid drawn on plastic.
Ensure your grid is made of consistent shapes, eg. If you use squares on your viewing window, use squares on your drawing. Then please draw a 2 dimensional reference using the grid method.
Activity Four
This time I would like you to find a new two dimensional image to work with. I would like you to grid your image using an overlay or lines direct on the image. And do the same to your paper.
Next I would like you to cut a square window in an additional piece of paper that is the same size as one of your grid sections.
Then I would like you to cover the area around the grid section you are drawing with the window, so that you cannot see the rest of the page or the grid areas adjacent.
Please draw one grid at a time, but instead of working consistently through your image left to right, I would like you to choose random grid areas to draw.
Activity Five
This time I would like you to find a new two dimensional image to work with. I would like you to grid your image using an overlay or lines direct on the image. Please grid using SQUARES.
Then please take a piece of paper and grid that using RECTANGLES.
Now draw your image using the grid as best you can. You should end up with a manipulated image.
10. Measuring: Comparable Measurements
Comparative measurement is another helpful approach to measuring when drawing.
Materials & Equipment
Pencils
Drawing paper
Eraser
Tall object eg. wine bottle, cereal box, vase, jar etc.
2d image of something tall
Activity One
Please find an object that has a few identifiable components that can be used for measurement referencing. By that I mean something with multiple parts, a tall rectangle with no identifiable features (or heads) will not be of use with this approach. For example, potted plants, sculptural forms, jars with things in them, glasses half filled with water etc.
Please try drawing your subject using one reference measurement (eg. A head) to find the height of the whole. How many times does that ‘head’ fit into the rest of the object?
Activity Two
Please find an image of a subject that has a few identifiable components that can be used for measurement referencing.
Please try drawing your subject using one reference measurement (eg. A head) to find the height of the whole. How many times does that ‘head’ fit into the rest of the object?
11. Measuring: Sighting
In this session, we discuss sighting as an additional approach to drawing and measurement.
Activity One
1.Please find the overall size of a real life subject (top of pencil at top of object and fingernail on pencil at bottom of object)
2.Make marks on your paper to define the top and bottom of your subject
3.Find the centre of your subject
4.Find the centre on your paper and mark it
5.Draw your central vertical axis
6.Using the sighting marks you have already made, draw in your big shapes. Take additional measurements as necessary.
Tip: If you are struggling just find the centre point and draw in relation to that. Constantly ask, is this above or below the centre point.
Activity Two
1.Please find the overall size of 2 dimensional reference image as your subject (top of pencil at top of object and fingernail on pencil at bottom of object)
2.Make marks on your paper to define the top and bottom of your subject
3.Find the centre of your subject
4.Find the centre on your paper and mark it
5.Draw your central vertical axis
6.Using the sighting marks you have already made, draw in your big shapes. Take additional measurements as necessary.
Additional Resources
The below references are particularly helpful for sighting if you are interested in exploring these subjects further.
12. Measurement & scaling
In this lesson we discover the amazing power of measuring as a way to scale images up or down.
Materials & Equipment
Pencils
Drawing paper
Eraser
A physical object eg. pot plant, vase, mug, chair
A 2 dimensional reference image of a single element, whether that is a person or object
Activity One
Please choose a household object to use as your subject like a cup, plant, vase, jug, chair etc.
Using one of the measurement techniques we introduced in the last class (gridding, comparative measurement or sighting), please attempt to draw an object twice the size it is (2 x bigger).
Activity Two
Once you have tried drawing an object bigger please choose an image reference and attempt to draw it 3 times bigger using one of the three measurement techniques (gridding, comparative measurement or sighting).
Activity Three
Using one of the measurement techniques (gridding, comparative measurement and sighting), please attempt to draw an object half the size it is in real life.
Activity Four
Next I would like you to choose a reference image and make it 3 times smaller than it actually is, using your preferred measurement technique.
13. foreshortening
There are few ways to reaffirm the power of sighting than learning about foreshortening. This is a key principle for understanding that truth is stranger than fiction when it comes to observing the natural world.
Materials & Equipment
Pencils
Drawing paper
Eraser
Long object eg. Wine bottle, tube, box, table etc
Activity One
Please select a long object (eg. Wine bottle, tube, box, table etc). Place the object so that it is moving away from you at an angle. Choose the measurement approach you prefer (whether gridding, comparable measurement or sighting). Choose your scale (how big your drawing will be?) using a line at the top of your page and another at the bottom. Find the centre of your object using sighting, gridding or the recurring heads approach. Then find other key measurements. Draw in your central axis. Hang your big shapes upon your axis with reference to your measurements. Expect things nearer to you to be bigger and things further away to be smaller.
Additional Resources
Below is an additional reference about foreshortening if you would like to learn more about this subject. https://youtu.be/_enw8gnHNX4
14. Negative space
Having established how to observe and represent individual objects, now we will learn how to introduce multiple elements into the one image.
Materials & Equipment
Graphite pencils
Coloured pencils
Coloured paper
Drawing paper
Scissors
2 x Still life elements eg. cups, mugs, tea cups
Activity One and Two
Please grab yourself a cup or mug to draw. Using the skills you have learnt so far, please draw the mug.
Activity Three
Please take out your earlier drawing of the two cups. I would like you to trace the original drawing then cut the two cups out of your tracing.
Now place the cut out cups on a coloured background. Can accurately simulate the negative space between the two cups using your cut out elements? Is the gap/ negative space between the cups the same on the drawing as it is in the collage? Or is it more accurate in the collage?
Activity Four
Practice moving the real cups closer and further apart, then reflecting that movement using the collaged elements in front of you.
Activity Five
Please begin a new drawing using a coloured pencil. Please choose one coloured pencil eg. Red. Using that coloured pencil please draw the positive shapes in your still life set up. Please select another coloured pencil. Eg. Blue. Using the second coloured pencil please draw the negative shapes.
Do your positive and negative shapes line up?
Activity Six
Please set up a still life (inanimate objects from the human made or natural world) ensuring you have multiple elements with spaces in between.
Please start a new drawing. Draw all the shapes and spaces in your still life set up with a single coloured pencil. If you prefer blocks of colour please colour in the negative shapes. Then move 30 degrees relative to your still life, take up a new coloured pencil and draw it again. As is move your body a foot to the left or right and draw your subject again with a new colour.
You should end up with a playful image of overlapping negative and positives shapes.
Additional Resources
Below is a link to a short video about sighting multiple objects that I hope you will find useful https://www.youtube.com/watch?v=Otv_l_qkML4
Below is a link to the introductory film we watched about the subject in class. https://www.youtube.com/watch?v=EYk_ZXTHdD8
Giorgio Morandi used a relatively limited number of objects in a seemingly endless variation of configurations, to create powerful and immersive still life paintings. Below is a link to a short introductory film about Morandi’s life and work. https://www.youtube.com/watch?v=lg0liNsNRCc
Rachel Whiteread uses negative and positive shapes in a sculptural way. Please find below a link to a video about her work, which I hope you enjoy. https://www.youtube.com/watch?v=h3BqweEOGm4
15. Overlapping shapes
In this lesson we start to build the illusion of space in a flat piece of paper, which if you think about it is nothing short of magic!
Materials & Equipment
Graphite pencils
Drawing paper
2 x Still life elements eg. cups, mugs, tea cups
Activity One
Please choose two objects to draw. Please place them on a surface next to each other, but not touching. I recommend you draw the objects using the approach we have discussed so far.
Activity Two
Returning to your two objects, please move one further away from you. Again so that they are not overlapping or touching. Please draw your objects again, taking particular note of the negative space between the two objects.
Activity Three
Returning to your two objects, please move them so that they are overlapping and draw them again.
16. The perfect Tondo
Materials & Equipment
Activity One
Please draw a circle (freehand without a drawing aid).
Next, please draw an ellipse or an oval (again freehand).
Activity Two
Please draw a circle on a page using only your wrist. Ground the rest of your arm and lock your shoulder.
Next, please draw a circle using your elbow, but keeping your shoulder locked.
Next, please draw a circle using your shoulder, being sure to keep your paper anchored on the side of your body you are drawing with.
Which approach did you find the most fluid? Which approach gave you the nicest circles?
Activity Three
Tracing circles & ellipses to encourage muscle memory
https://www.youtube.com/watch?v=Cbt7zTSei6U
Activity Four
Please grab a plate and draw it in three orientations using the axis approach. The three positions could include: vertical so it looks like a big circle; flat on a table so it looks like a large ellipse; and flat on a shelf so you mostly see it from the side.
Activity Five
Please set up a still life to draw (make sure you include lots of circular forms in various orientations so that they become ovals when you look at them)
Draw your still life using the approach we have discussed so far.
Activity Six
Please draw the same still life again. This time however, experiment and play with what would happen if you drew all the ovals as circles. How would that impact your image?
Alternately, if you are interested in more complicated play, try drawing your subject from multiple perspectives. So that the top of a jar is more rounded, while a base is more in profile.
Additional Resources
Below is a link to a video about drawing circles that I hope you will find useful. https://www.youtube.com/watch?v=Cbt7zTSei6U
Below are two links to the circle and ellipse drawing sheets from the My Drawing Tutorials team, which are a great way to work on muscle memory and develop your circle and ellipse drawing skills.
Below is a link to a short article I hope you will find interesting about the story of Giotto di Bondone, Pope Boniface VIII as well as the relationship between art and mathmatics. https://medium.com/human-restoration-project/giottos-circle-e9dd0de87b9b#:~:text=Simply%20because%20all%20Giotto%20submitted,Peter's%20church.
The below links to another short text, this time contemplating the relationship between Giotto’s perfect circle and the celebrated imperfection of the Japanese ensō. https://www.williamlanday.com/2010/10/05/drawing-circles/
Here is a link to another text about the elusive perfectly drawn freehand circle. https://www.smithsonianmag.com/arts-culture/perfect-circles-180940946/
The link below is to an article by Normal Land about stories about great artists drawing the perfect circle Appelles and the Origin of Giotto's O by Norman Land
17. Relative scale
Building on our previous learning, we focus on relative scale and how it can be used to create the illusion of space.
Materials & Equipment
Pencils or charcoal
Eraser
Objects of a similar size eg. tea cups or other crocker
Drawing paper
Fairy tale or fantasy story book
Activity One
Please draw two objects of a similar size next to each other.
Starting a new drawing, please draw the objects of a similar size again, but this time please move one of the objects so that it is much further away from you and by consequence much smaller. However, ensure it is not overlapping the other object.
Please complete a third drawing. This time ensure the second object is overlapping the first, so that it is both further away and smaller, as well as overlapping.
Activity Two
Please select between 4 to 8 similarly sized objects and set them up on the table in front of you so that they are moving away from you in a line. Each object should overlap the one in front.
Please draw the line of objects using the sighting techniques you have learnt so far and remembering the idea of relative scale. The objects should get smaller as they move away from you.
Activity Three
Next, I would like you to create a fantastical drawing that misrepresents the actual size relationship between two subjects.
The aim of this activity is to manipulate relative scale to distort the illusion of space between the two objects.
18. Materials
- charcoal
There are many different types of charcoal. In this lesson we discuss the unique qualities and forms of this enticing drawing material.
Materials & Equipment
Charcoal (willow or compressed)
Graphite pencils
Eraser
Drawing paper
Activity One
1.Please set up a still life of different objects in front of you.
2.Please ensure you include foreshortening, overlapping and relative scale in your still life.
3.Cover an A4 piece of paper with charcoal (either willow or compressed, depending on what you have).
4.Using your eraser (rubber not putty) and a charcoal stick please draw the objects. Get mucky and have fun!
Additional Resources
Below is a link to a William Kentridge film that features a lot of charcoal. It is an excellent example of how this medium can be pushed and pulled. I hope you enjoy this short film.
19. The tonal scale
Rendering is fun! It can bring images to life. In this lesson we talk about the tonal scale and what it means to drawing.
Materials & Equipment
Tonal Scale Activity Sheet (Download & Print)
Charcoal (willow or compressed)
Graphite pencils
Eraser
Drawing paper
Activity One
1.Download the Tonal Scale Activity Sheet from the lesson notes.
2.Please complete one of the blank tonal scales using pencil.
3.Then, please complete the second blank tonal scale using charcoal.
Activity Two
Please draw the spheres in the lesson video and experiment with laying down tones using a variety of mark making.
Additional Resources
Below is a link to an upbeat short film about the tonal or value scale.
An interesting artist who uses pencil to create spectacular photorealist images is CJ Hendry. To learn about her work please visit the link below.
20. Rendering shadows and light
This lesson is key to understanding tone in relationship to shadow and light.
Materials & Equipment
Charcoal (willow or compressed)
Graphite pencils
Eraser
Drawing paper
An egg or piece of fruit that is round or oval
Activity One
I would like you to close your eyes and visualize a dark room, then attempt to draw it on the page using either charcoal or pencil.
Next, I would like you to imagine a bright beach at midday in the middle of a tropical summer and draw that.
In the next scenario, I would like you to imagine a grey Autumnal day in England and draw that.
Activity Two
Please draw three imaginary cones:
•The first should be on a bright summer day.
•The second on a cloudy Autumn day.
•The third, in the dark of night lit by only a lamp.
Activity Three
For our next activity, I would like you to draw the sphere on the slide. However, this time I would like you to work through the tonal scale as it is outlined on the slide. All the way from the White highlight through the mid tones to the black for the cast shadow.
Activity Four
Please set your egg (or similar subject) by a window with natural light.
Draw your egg, taking note of the highlight, core shadow, cast shadow and any reflected light your egg might collect.
Activity Five
Please set your egg (or similar subject) using a fixed studio light (aka a lamp).
Draw your egg, taking note of the highlight, core shadow, cast shadow and any reflected light your egg might collect.
Activity Six
For our next drawing activity we are going to move the lamp around and draw egg under these different lighting conditions.
1. Set the lamp to the side of your subject so you can see the highlight clearly.
2. Set the lamp so it is directly above your subject and the highlight is on the top edge.
3. Place your lamp so it is directly between you and your subject, in what is called flat lit.
4. Move the lamp so that it is behind your subject, backlit as such, so that there is a halo around your subject.
21. Shading plans
A good shading plan can stop a drawing descending into unintentional anarchy. In this lesson we learn about shading plans and how to make them in a drawing.
Materials & Equipment
Charcoal (willow or compressed) and or graphite pencils
Eraser
Drawing paper
Objects you would like to draw, these should include one reflective object (eg. a metal spoon or cup) and one transparent object (eg. a glass jar)
Activity One
1. Please choose a subject.
2.Next, draw your subject using line and shape to create your underdrawing.
3.Complete a tonal drawing of that subject without any planned approach. Just dive in and see what happens.
Activity Two
Please choose an unlikely subject, something disposable or mundane. Find or take a photo of your subject and print a copy at the scale you would like to draw. Using a lightbox or window, lay your paper over your photo and trace the outline. When you are ready, start adding your tones, carefully and slowly.
Activity Three
1.Please find an image of something with lots of detail or parts. This might be an intricate flower, still life with multiple elements etc.
2.Please grid up the image and match your grid on a corresponding piece of paper. You can make your drawing smaller or larger than your reference image but remember to match the proportions of the rectangle. Eg. If it is a square reference image, but you draw elongated rectangles you are going to end up with an elongated image. If that is what you are after, please continue.
3.Draw the underlying shapes and lines of your subject on your paper.
4.Next, working from the top left or top right (opp. of your drawing hand) complete the tones in one grid section at a time moving systematically through the drawing.
Activity Four
1.Please find an image of something that tickles your fancy.
2.Please grid up your reference image.
3.Draw the shapes and lines of your reference onto your piece of paper.
4.Before you start to render, look at your image. What parts are important? What do you want to emphasize?
5.Selectively render your image, using the grid or additional shapes to define the outer edges of the areas you will render.
6.Once you have finished rendering, select some lines that you would like to pull our and exaggerate.
Activity Five
1.Choose a single subject, such as a piece of fruit.
2.Draw your subject using shape and line.
3.Lightly sketch in the outlines of highlights, core shadows, cast shadows, and reflected light on your subject.
4.Working from darkest to lightest add the tones in your tonal scale
Activity Six
1.Choose two objects to draw, one matt and one reflective, such as a piece of fruit and a metal cup.
2.Draw your subject using shape and line.
3.Lightly sketch in the outlines of highlights, core shadows, cast shadows, and reflected light on your subject.
4.Working from darkest to lightest add the tones in your tonal scale.
Activity Seven
1.Choose three objects to draw, one matt, one reflective and one transparent, such as a piece of fruit, metal cup and glass jar.
2.Draw your subject using shape and line.
3.Lightly sketch in the outlines of highlights, core shadows, cast shadows, and reflected light on your subject.
4.Working from darkest to lightest add the tones in your tonal scale
Additional Resources
Below is a link to a great shading plan demo that I hope you will find useful.
Below is a link to some information about Lee Krasner.
Below is a link to CJ Hendry’s instagram, which has a lot of examples of her work and working method.
https://www.instagram.com/cj_hendry?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==
Here is a link to the website of Lucy Pass, which I hope you will also find interesting.
22. Relative tone
Once you see relative tone, you can never unsee it and I suspect you will look at tonal drawings with a new sense of criticality moving forward. In this lesson we will learn about this key principle and how to apply it.
Materials & Equipment
Activities
Additional Resources
23. Review
In this lesson we review the technical skills we have learnt during this course so far, in preparation for taking our drawing to the next level.
Materials & Equipment
Activities
Additional Resources
25. Thank you
Thank you for spending this time with me! I sincerely hope you have enjoyed this online course!
I would love to hear your feedback via the form below so that I can improve what I do and how I do it.
I hope you continue to enjoy your drawings and that the lessons from this course prove useful moving forward! Please keep me updated with your drawing. You can contact me via my email or tag me on instagram.
Happy drawing!