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Tag: learn to draw

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Monday Morning Art School: angle drawing

Slightly more obtuse than 90°, almost exactly 90°, more acute than 90°. It’s far easier to see when you can compare it to accurate reference (and no, you don’t have to know those terms).

During last week’s workshop, Beth, Sharon and I were looking at a house on Pearl Street in Camden. I’d given them a lesson on two-point perspective and then said, “That’s just so you understand the principle. In real life, you’re going to measure angles rather than draw to a vanishing point.” That’s harder to do, because angle drawing takes practice. However, all drawing rests on angles and measurement.

“That gable end looks like it’s at a 90° angle,” Sharon said. Beth and I immediately disagreed. Of course we were roughly twenty feet away from her, so what we were seeing wasn’t what she was seeing. I heaved myself up (it was a hot day) and looked at what she was doing. She was holding an L-shaped composition finder up to the sky. Immediately I grasped an important new idea.

The angles that matter, very roughly, because it’s hot as a pistol in my driveway.

If you hold something that you know to be a right angle up to the angle you’re measuring, you can see how it deviates.

We’re all carrying around something that’s got a right angle: our sketchbooks. Failing that, we always have our cell phones.

Sharon’s view was, in fact, exactly 90°, but the idea was also useful to Beth and me. From our location, the angle formed by the gable end was about 10° flatter than Sharon’s view. I experimented holding my sketchbook up to various angles in the landscape and was pleased at how easily I could see angles.

(By the way, a roof where the gable end is at 90° looking straight-on would be a 12/12 pitch, which is pretty steep. Most of the time, when you see a 90° angle, it’s because you’re looking at it from off to one side.)

What if it’s so far off 90° that it’s hard to make a comparison?

I was on a roll, so I estimated other angles using Sharon’s idea. That was fine until I was so far off 90° that making a comparison no longer worked.

Drawing a hashmark parallel to the top and bottom of the fence was easy. Taking a photograph of those marks was hard.

What if I held my sketchbook level with the ground and marked that angle as a hash mark in the corner, I asked myself. Then I can easily translate that line into a parallel one where it belongs in my sketch. And, yes, that worked too.

My neighbor’s fence. Three minutes, tops, because I was standing along Route 1.

Angle drawing is important

Angles are critical to representing perspective. They also create the illusion of depth and space. Being able to sight-draw them allows us to draw objects from different viewpoints.

But, wait, there’s more. Angle drawing is important for:

Measurement: it’s often easier to see spatial relationships through angles than with the thumb-and-pencil method of drawing. (Fast, loose  painting rests on a base of good drawing. If you haven’t been taught to measure with a pencil, start here, here and here.)

Anatomy: Angles are essential for capturing the relationships between different parts of the body. This is particularly important in drawing limbs, posture and facial features.

Shading: Angles influence how light falls on an object and how shadows are cast.

Dynamism: Angles contribute to a sense of movement and energy in a drawing.

Foreshortening: You can’t foreshorten an object if you can’t see the angles, period.

That means any trick that makes angle drawing easier, I’m going to use, and I hope you do, too. Thank you, Sharon.

Reserve your spot now for a workshop in 2025:

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Sketching vs. drawing

Little Village, 6X8, oil on archival canvasboard, 435.00 framed includes shipping and handling within continental US. This is a field sketch.

“What’s the difference between sketching and drawing?” a student asked me. Since we were drinking cappuccino and watching a spectacular sunrise together, I asked my friend and fellow artist  Jane Chapin.

“Sketching is a thumbnail, while drawing is more careful and measured,” she said. “In sketching you’re trying to work things out in your mind; in drawing, you already have your idea.”

The simplest of thumbnails is still a sketch.

Both sketching and drawing use the same essential tools: pencil, charcoal, ink, and pastel. However, these materials can be deployed in an almost infinite variety of ways.

The terms sketching and drawing are often used interchangeably, but they have slightly different meanings. These depend on the work’s purpose, level of finishing, and technique. There’s no hard line separating one from the other; that is subjective. Neither one is inherently better or more valuable than the other.

This is a drawing even though it’s in my sketchbook.

For me, sketches are quick, rough, informal representations of something I want to capture on the fly. Or, they’re experiments in design and composition before I commit myself to painting. Sometimes I use sketches to explain ideas. I’ve even sketched out ideas of things I want to build. (That’s almost always a mistake; I’d make far fewer errors if I drew plans with a ruler.)

Then there are the stupid cartoons I sometimes make for my grandkids. But whatever their purpose, sketches are immediate and without extraneous detail. They’re loose and imprecise.

This is an idea for a painting reduced to its simplest elements and value steps; it’s a value drawing, but I’d call it more of a plan.

In painting practice, sketches capture basic shapes and values without focusing on fine details. The term value drawing is really a misnomer; most of the time what we really mean is a value sketch. That’s especially true when we’re making thumbnails.

Then there is the field sketch, which is the painting equivalent of a pencil sketch. It is invariably on the small side. It can be used to record color notes or light effects, but it’s as different from a highly-finished painting as a pencil sketch is from a highly-detailed drawing.

This is a character sketch for a larger studio painting. Those old Italian aunts!

Drawings involve more careful measurement with thought-out perspective and proportion. They are usually more detailed, with a greater emphasis on accurate representation. Drawings can include subtle modeling, refined linework and intricacy. They can be highly complex. However, sometimes they’re starkly simplified; detail is deleted in favor of abstraction. The drawings of Vasily Kandinsky are just one example.

Sketches are generally done with quick strokes, using pencils, charcoal, or ink. No great emphasis is placed on sophistication or finish; instead, a sketch is all about spontaneity and intuition. Drawings, in contrast, are more cerebral, as is the case with mechanical and architectural renderings. Drawings are more likely to be made as final works of art, and are often done with better materials.

This is another drawing that started out as a few diagonal lines in my sketchbook. I define it as a drawing because it’s fully realized.

Of course, sometimes sketches evolve into drawings, as happens to me when I draw in church. I start with a germ of an idea, often nothing more than the intersection of two or three lines. As my subconscious mind drives my pencil, my conscious mind begins to see threads and connections. I erase, redraw, erase some more, and in less than an hour I have a finished drawing. It helps that my sketchbook is highly-erasable Bristol; I have endless opportunities for revision.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: please learn to draw

The illustrations in this post were from Monday Morning Art School: Drawing a Globe, and done by Sandy Quang and me on a stormy night before Christmas. The original post is here.

Ten years ago I wrote about teaching Amy Vail to draw. She’d made the cardinal error of telling me she “lacked the gene to draw.” Since I know there’s no such gene, I challenged her to let me teach her, and she made great strides in just one week. Drawing is not a magic trick; it’s not a talent. It’s a technical skill no different from reading, writing or arithmetic.

Drawing is first and foremost a technical skill.

I know people who paint by tracing photos or photo-montages, but that prevents the non-linear part of the mind from getting involved. Art has always been about deeper things: reflection, aesthetics, ideas, feelings, spirituality and other forms of higher-order thinking. It makes no sense to shut out the part of your mind that processes these.

I’m writing syllabuses for my January-February classes (and I’m sorry, but they’re both sold out). This is the first time I’ve taught drawing outside the context of painting. What is important and how do I teach it?

Most complex shapes are riffs on simpler shapes.

Observation Skills

The ability to closely observe and analyze a subject develops hand-in-hand with the physical act of drawing. One can photograph a scene without paying too much attention. Drawing and painting from life is how skilled realist painters sort out what matters. The best way to really see something is to draw or paint it.

Details are almost the least-important part, although it’s amazing how much one glosses over them until one actually sits down to draw. What really matters is proportion and the relationship between elements. That comes down to distance and angles. That is why painters can get away with leaving out detail if they get the proportions and relationships right. Anyone interested in abstracting the landscape had better have top-notch drawing skills.

Even a line drawing conveys volume, but shading is that much more expressive.

Basic Shapes and Forms

Almost every complex shape is a combination of basic shapes like cones, boxes, spheres and columns. For example, the spinet piano next to me is fundamentally a tall box with another boxlike structure (the keyboard) attached to the front and supported by two columnar legs. Get the size relationships of those big shapes right, and the fluting and scrolls are almost extraneous.

In their 2D form that means circles, squares, triangles, and ellipses. That doesn’t mean, however, that you get to ignore dimensionality, which leads us to…

Perspective

Everyone should learn how 1-, 2-, and 3-point perspectives work, and then never use them again. They’re a theoretical construct that shows you how to avoid errors, but they’re not ‘true’. The vanishing points in the real world are infinitely distant, and that’s hard to achieve on paper. However, understanding perspective will save you from lots of mistakes.

The more you draw, the more fluid your painting will be.

Volume and shading

Yes, one can imply volume with line drawing alone, but shifts in value tell a broader story. They will also form the basis of painting composition.

Expressive mark-making

This is where drawing suddenly gets fun. Expressive mark-making takes time to develop, but experimenting with different line weights and styles is the first step in that exploration.

Work up from simple objects and nothing will be too difficult for you. (Drawing by me.)

So how do you start?

Drawing is the cheapest and most liberating of all media. All you need is a sketchbook (this is the one I use, and I go through them like candy), a mechanical pencil, and some kind of straight-edge.

Then start drawing every day. It’s that simple. This is the text I recommend to those who like learning from books, but you can also find a lot of free instruction on this blog.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: why you should draw

I draw every week in church, riffing off the sermon. Today’s was about persistence and hard work.

Nobody can master painting until they master drawing. That’s true for both abstractionists and realists, because drawing is how you express depth and dynamism. Painting is really nothing more than drawing with a brush. To build facility in paint, you first must draw.

Tens of thousands of years before there was written language, there was art on cave walls and cliffs. When words started being written down (around 3000 BC) they were first written in the form of pictographs. That tells us something about the importance of drawing to humankind.

I can draw things out of my head because I know how to draw from life.

Drawing is liberating

Drawing allows us to express ideas, emotions, and narratives non-verbally. For painters seeking to escape being literal, that’s critical. I can’t think of a single great painter who couldn’t draw. Vincent van Gogh famously taught himself, and his early drawings are bad enough that they should give us all hope that we too can do better. “Drawing is the root of everything, and the time spent on that is actually all profit,” he wrote.

It’s not just about putting pretty things down on paper. Drawing tightens up our observational skill. We develop a keen eye for details, shapes, proportions, and visual relationships. That helps us analyze and map both the world around us and our inner world.

All I need is a sketchbook and a #2 mechanical pencil. Anything else is just a refinement.

Much of drawing is about translating a three-dimensional reality onto a two-dimensional surface. That teaches us about structure and spatial relationships. If you don’t see the value in representing depth and space in a painting, take a deep dive into the work of Edgar Degas.

A lot of us stopped working on hand-eye coordination when we mastered cursive writing. Then we let it go when we started relying on computers, which is why so many of us have terrible handwriting. We need that hand-eye coordination for painting, and we develop it through drawing.

This is partly from my imagination, but the window is high up in our church building.

A study showed that drawing helps memory in young and old alike. Researchers speculated that it was because drawing draws on varied brain paths simultaneously. I think it’s because in drawing we must attend much more intensely. That reaps benefits not just in art but in life overall.

There is a gap between what we draw or paint and what is ‘really’ there. We like to think of that gap as a shortcoming, and to some degree it is. But it’s in that gap that we develop style, and where we do a lot of non-verbal creative thinking. Tracing from photographs will never allow for the soul to creep in like drawing does.

This was drawn when I had to sit in the foyer because there were no seats. I amused myself by imagining what was going on inside.

So why don’t we do it? The sad answer for many of us is that we’ve never been taught, so we’re frustrated and afraid to try again. We don’t grant ourselves the grace and patience to persist.

I’ve butted my head against this since I started teaching. Drawing and painting are closely related but I can only teach one at a time. That’s why I’m breaking a promise to myself to not work six days a week and offering a Saturday class on Fundamentals of Drawing, starting January 6. By Ash Wednesday, you’ll be well on your way to good draftsmanship. That in turn will lead to better painting.

Reserve your spot now for a workshop in 2025:

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Paralyzing performance anxiety

Sunset Sail, 14X18, oil on linen, $1594, Carol L. Douglas

“My friend is paralyzed at the thought of painting something that does not turn out good,” a reader wrote. “I keep telling her that experimenting is liberating and the goal is not to end up with a masterpiece every time.”

Everyone experiences performance anxiety occasionally. It may be prompted by demoing, by being in a competitive event, or even just when we encounter a tricky passage in a painting. “I’ve experienced it a few times when I am far into the painting and it looks good but it’s not finished yet,” my correspondent added. “This leads to a ‘don’t mess it up now’ attitude that affects the result.

“How can I help my friend get past this?”

Skylarking II, 18X24, oil on linen, $2318.00, Carol L. Douglas

Process, not results

Focusing on the results instead of the process is a great way to rob yourself of the joy of creativity. Many years ago, I had a student who announced at the beginning of each class who she planned to give her painting to. She was setting herself up for failure, week after week. Her painting would get all bound up in her fear of disappointing someone she loved. It’s no surprise that she didn’t stick with it.

We call concentrating on process being ‘in the zone.’ It’s a transcendent feeling, and worth striving for.

Drying Sails, oil on archival canvasboard, 9×12, $869, Carol L. Douglas

Desensitization

The more you do something, the less anxious you’ll be. I used to be terrified of public speaking, so much so that I needed beta blockers to do any kind of presentation. Years of teaching have burned that out of me. Today I can comfortably speak to large groups. Through repeated, escalating exposure, I desensitized myself to my trigger.

Desensitization is a powerful tool in Cognitive Behavior Therapy, so we know it works. How can we apply it to painting? By starting with the small steps – drawing, color mixing, and thumbnail paintings – we can slowly build our confidence for more expansive works. That’s yet another good reason to draw every day.

Of course, it helps to ask what is the root of your fear. Is it lack of knowledge? That’s fixable. Perfectionism? It helps to realize that there’s nothing perfect in art; in fact, that’s its charm.

Are you telling yourself that you can’t rise to the occasion? I do this when I clean my house. “It’s too much; I’ll never finish this!” I say, and then I’m mad. If I can shut off those negative thoughts and just concentrate on the work itself, I have a fine time scrubbing.

One of the best ways to reduce anxiety is to be prepared. Whether that means learning to draw or mastering the steps of painting, the more confident you feel, the less anxious you’ll be.

Ever-changing Camden Harbor, 24X36, oil on canvas, $3,188.00, Carol L. Douglas

Is it anxiety or excitement?

Both make your heart race and give you butterflies in your stomach. A little nervousness can be helpful; it can elevate your performance. The difference is that when you’re anxious, you worry about everything that can go wrong, instead of seeing the potential for success. Instead of trying to calm yourself down (which never works anyways) try to channel that energy into excitement.

How do you rate your overall well-being?

I’m a proponent of physical exercise. We all know it releases endorphins (whatever they are), but it also calms us down. People frequently comment about my dog’s perfect deportment; he is well-behaved because he does many trail miles with me every morning. As a bonus, I’ve survived two cancers and have no blood pressure, blood sugar, or cholesterol problems at the grand old age of 64.

Seek Support

If you are still unsure and troubled, take a class or workshop. The best of them are supportive communities that will help you master technique and feel great about doing art.

Reserve your spot now for a workshop in 2025:

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Reverse aging by learning to draw

Stuffed animal in a bowl, with Saran Wrap. 6X8, oil on archival canvasboard, $435 includes shipping in continental US.

For decades, I’ve been telling my husband: “When they come to take me away, tell them I never could remember anything.” It’s true; I have a terrible memory for names and dates. I’ve watched a loved one take a digit-span test and shuddered; I couldn’t recite a string of numbers backwards at age 25, let alone now.

Recently I’ve noticed my short-term memory is improving. I’ve attributed that to the infernal modern need for passwords, which we need to unlock everything from our bank accounts to our house.

We take for granted that older people lose cognitive ability – especially memory – over time. But what if that is preventable, or even reversible? That would be tremendous not only for the people involved, but for our aging society.

Pull up your Big Girl Panties, 6X8, oil on archival canvasboard, $435 includes shipping in continental US.

I’ve got good news for you

Recent research suggests that not only can cognitive loss be delayed, but in some cases even reversed. Researchers had elderly (55+) participants engage in intensive learning for three months in a program designed to mimic the schooling we put our kids through. Not only was there cognitive improvement, it lasted through the one-year follow-up test.

This wasn’t a casual learning program. Study participants took twelve weeks of classes in three subjects about which they had no prior knowledge, choosing from Spanish, photography, iPad operation, drawing, and music composition. They had homework (hah!). That and their attendance were tracked.

Both the six-month and one-year scores were significantly higher than the subjects’ pretest scores. The researchers were careful to note that they’d tried to replicate the environment in which young people learn, so the social bonds created in classes could have been as important as the learning itself.

This wasn’t a lone study, either; they were duplicating the results of earlier research.

Back It Up, 6X8, oil on archival canvasboard, $435 includes shipping in continental US.

A half-hearted approach won’t work

What’s equally important is what doesn’t promote cognitive improvement. Just listening to classical music doesn’t cut it-you must pick up that cello and try to master it. There’s no duffing it to mental acuity. You must focus, intently, on a new skill for it to make a difference.

Most painting students are older adults. The ones who stick with it are the ones who are slightly obsessed. They don’t just paint during class; they work tirelessly during the week. Most of my students stick with me over long periods of time, and build an esprit de corps among themselves. Perhaps their peer-to-peer learning and encouragement are as essential to their success as artists as anything I tell them.

Hiking, 6X8, oil on archival canvasboard, $435 includes shipping in continental US.

It seems that any skill that requires long-term effort and concentration will help the older mind, and drawing and painting certainly qualify. The beautiful-and maddening-thing about painting is that it’s not ever really mastered. I’ve been at it for decades and there’s still always something to learn.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: what do you use for drawing?

For figure drawing, I prefer softer materials, primarily willow charcoal.

“I wonder if you can give me some tips on getting back into drawing,” a reader asked recently. She’s a retired professional artist, so she didn’t need help with the mechanics, just the materials.  “I only have those hard leads that I put in mechanical pencils.  I like drawing with a mechanical pencil and lead but I need leads that are much softer for the kinds of thing I might be drawing, along with the thinner lines I use now. I don’t like clumsy crayon-type of drawing or anything like that.  I am not at all interested in drawing with ink.”

“I also need a good quality sketching paper.  Later I might move into a higher-grade paper if I keep up with this kind of work.”

I always carry a sketchbook with me when painting, and I always start with a drawing.

Although this reader doesn’t need help with the mechanics of drawing, many of my students and readers do. I recommend Sketching from Square One to Trafalgar Square by Richard E. Scott. Drawing is a technical exercise, not a magic trick. Anyone can learn it.

These days, I do 99% of my drawing in a Strathmore Bristol Visual Journal with a #2 mechanical pencil, using my finger for a stump. I like the hard-press finish and can go off on watercolor or gouache tangents when I feel like it.

My winter mittens. I’ve been saved a world of boredom by always carring a sketchbook and #2 mechanical pencil with me.

But that’s not the kind of finish my reader is seeking. I’m never doing more than a quick sketch for a painting, or drawing in church. Neither need the depth of shading that better materials would supply.

I prefer mechanical pencils because they don’t need a sharpener and eraser. If that appeals, you can buy replacement leads in a variety of densities. These, however, are wider than the pencils one buys at Staples, so they require a matching lead holder, only some of which come with internal erasers.

That exceeds my tolerance for fuss. When I’m doing more finished pencil work, I use woodless pencils. They can be sharpened with a sandpaper pointer. If you like a bigger, bolder look, liquid charcoal and graphite blocks cover a lot of area quickly.

The animals in our annual church Christmas service suddenly came alive.

Another reader suggested I try Uni Mitsubishi Hi-Uni pencils for a traditional lead pencil that has satisfyingly smooth graphite. And there’s Blackwing, which a writer friend swears is the best pencil in the world. But since I don’t use traditional pencils, your suggestions would be helpful.

Good graphite deserves good paper. You could take a deep dive into a wove paper, but for everyday drawing, I rely on that old standby, Canson Mi-Tientes. It has a different surface on either side and comes in a plethora of colors.

Moving away from mechanical pencils means a good eraser. I use a Pentel stick eraser, but the softer the lead, the less precision you’ll need. I used kneaded erasers for years, but I’m finding them too gummy these days. The Koh-I-Noor Hardtmuth Soft Eraser is made of old-fashioned rubber.

Drawing in church leads to some priceless observations, including this teenage boy falling asleep.

And last but certainly not least, there’s the question of pencil sharpeners. I have several, including a wall-mounted one in my studio. None are as durable and reliable as the old metal ones from our school days. In the end, I find the simple, cheap, handheld metal ones where you can replace the blades to be the most reliable.

What products do you love for drawing, and why? Just remember to put your recommendations in the comments below, not on Facebook. That makes them universally accessible to readers from any platform.

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