I’ve been to many different art schools and have seen many many student go from complete beginner to working professional. I saw things in myself as well. There are so many different methods of how to introduce the topic of drawing. And I’ve seen what works and what doesn’t. This page is made up of the things I feel you honestly need to learn first. Its written in a very easy format to understand easy things to draw for beginners. Our ultimate goal is to create cool pictures to draw.
So Let’s Begin…
Here is what I go over:
- Sketching made easy.
- The real Soul of Sketching.
- Sketches depict your artist mind.
- Observational drawing
- 10 Truths About Artists
- Look at what you are drawing
- Draw From Rel Objects Whenever Possible
- Don’t Trace
- Use Grids and Rough Forms
Sketching: – make it easy
The following are some of the simple steps you should follow to make the sketching easy
If you are just bored and have nothing to do, or like to draw but do not like to make fancy, you should sketch. Sketching is a wonderful way to express your feelings, or create a quick doodle. This article isn’t a full in-depth guide to drawing because there is definitely no rules to drawing/sketching at all. These are merely tips to make your sketching experience fast, least painful, and fun. I hope you enjoy my guide, and find it useful.
To start off, think of your planned sketch. Visualize it in your mind and if you can, rotate it in your brain, to better understand what you’ll be drawing.
Look for shapes such as circles, squares, triangles, etc. to relate to. This will aid in the shading process, and even help you sketch look better if you understand the basic shape of what you are about to draw.
Position yourself comfortably. If you are uncomfortable, your drawing will look worse than what it should, so get a nice chair, fix the lighting and put on some favorite music.
Good hands: How does that help? If your hands are all sticky, wet or cold, your hand will not perform as well as it should.
Position your paper: This goes along with being comfortable, so put your paper at an angle that you feel comfortable with. There’s no set way.
If your item is small, place it in front of you where you can effectively sketch it. If it is something large, such as a car or tree, then get a clip board, sit down by it, and start sketching.
The real soul of sketching
First, just so that we are on the same page, here is how I define sketching: The purpose of sketching is to capture the main idea of your drawings. Sketches do not have to have detail. Some sketches are drawn before a big art piece to help layout the main ideas.
Other sketches are a collection of quick drawings. The purpose is not to spend a long period of time. That is drawing. Sketches should be rough, fast, and meaningful.
With this in mind, here are the key elements that I look for in my own sketches, along with what I notice in others:
- Creativity: this elements can still be applied to realistic drawings like still life. I strive to show a creative use of perspective, color, composition, etc. So even if my subject matter is not necessarily creative, I try to use the elements of art as creatively and interesting as possible. The elements of art should all support the message of the art piece itself.
- Lines: I consider lines to be the essence of my sketches. When I draw a sketch, I try to erase as little as possible and keep my structural lines. (Structural lines are what I use to create the form of an object). I also try to be as confident in my line stroke as possible. Confidence is a noticeable and attractive feature in art, and is what creates strong form in line drawings
- Perspective: This is one of the many important element of art. But the reason I am highlighting this is because in sketches, you are not focusing on value or color. You are creating a layout of the drawing. And perspective is the key element to layout. Having accurate and interesting perspective is important to me in sketches.
- Rough: No, this does not mean have a rough texture. Rough means that your sketch is not perfectly precise. I try to not over think my sketches because over thinking causes me to draw bad. The way I stay “rough” in my sketches is that I sketch lightly and do not make dark lines. I also sketch quick. Finally, I sketch with little detail. It is important for me that I do not go too much into the sketch, and let the sketch be a rough outline or foundation to my overall drawing.
- Message: The main idea that I am trying to communicate to my audience should be clear and in focus. Again, sketches are just a layout to map out the main idea. So I make sure that the main idea is what I focus on when I sketch, rather than the technical elements of the art.
These are different things that I notice and appreciate in sketches. One of the reasons why sketching is so important (especially for self-portraits) is that it is a checkpoint to make sure the idea (or person) you have in mind will actually play out on paper. If there is something you realize you do not like about your drawing, it is much harder to go back and erase when you have shaded in detail. But with a light sketch, things are much easier to change and move around. Sketching and making a rough plan is essential to drawing, in my opinion.
Sketches depicts your artistic mind
The artists are interested in depicting the sensation of motion. Inspired by advanced photographic techniques and other new forms of technology and transportation, these artists chose dynamic, active subjects like the hubbub of a train station and the energy of a nightclub. Have your students make two kinds of drawings that focus on capturing movement or the sensation of movement…
Possible subjects include children playing at a playground, or a sporting event or dance performance on television. See how many different kinds of movements—running, jumping, standing, sliding, and so forth—they can depict on a page. For the first drawing, they should make quick, small sketches of figures in motion. For the second drawing, they should use different shapes, lines, and symbols to indicate the same kinds of movements sketched in the first drawing. The goal is achieve an easy things to draw for beginners.
Have your students write a narrative of a trip from beginning to end, including as much visual information and description (such as sounds, smells, and feelings) as possible. Afterward, have them translate their experiences into three sequential drawings and give the series a title. Have them share their work with the rest of the class. In this way you can groom their artistic mind
10 truths about Artists
10 honest truths about work, life and leisure in the creative industry.
- Many artists work freelance. A study by the Arts Council finds that 41% of creative workers are self-employed. Temporary work contracts can make for an interesting and varied career, though periods of unemployment between jobs are a reality for some artists.
- Freelance artists budget carefully. Being self-employed means you are without pension, holiday pay or maternity benefits. Contingencies such as falling ill or having children require pre-emptive financial planning.
- Artists self-promote. Many showcase their talents on Facebook, Twitter, and Linked in, as well as on their own websites. Having a good online presence shows employers that you are self-motivated and digitally literate.
- Artists love socializing. Networking events are the art world’s equivalent to job hunting, but with less misery and more booze. Whether you’re searching for commissions or trying to advance your career, networking gives you the chance to meet industry professionals and expose yourself to new opportunities.
- Many artists form collectives to publicize and exhibit their work. Kate Rowland, an illustrator from the collective After School Club explains: “Being in After School Club is great for motivation. It allows us to utilize each other’s skills, therefore we have more resources to help one another. It’s kind of like a creative support system. And lots of fun.”
- It’s all about your portfolio. The visual arts are less grade-centric than other disciplines. An art director at a graphic design company once told me he’d think twice about hiring someone with a first-class degree, as he worried they’d have no time for hobbies outside of work. In his words, not mine, “they might be really boring”. This isn’t to say you shouldn’t aim high – another employer might appreciate a first-class candidate. Rather, you should focus on making your portfolio the best you can possibly make it. A good body of work speaks louder than grades.
- Some artists supplement their income with a second job. Doing so gives them financial security while they exercise their creative passions. Take a look at some of these prolific “double jobbers”
- Many artists take on internships to help kick-start their career and easy things to draw for beginners alike. Working for a company can prepare you with essential industry skills and improve your employability. The question of payment is a hot potato – in general, the shorter the internship, the less likely you are to get paid.
- Job opportunities are growing. There are currently over 1.9 million people working in the creative industries. However, by 2016, the government expects this figure to skyrocket, with an additional 1.3 million new jobs in the private sector alone.
- The creative sector is characterized by high levels of job satisfaction. As a result, the industry is highly competitive and jobs are sought after. If you have the passion and the motivation to stay ahead of the game, then a creative career can be an exciting and rewarding experience.
Observational drawing is an integral component of many high school Art courses, including GCSE/IGCSE and A Level Art. Often, drawing is the core method of researching, investigating, developing and communicating ideas.
While it is accepted that there are many wondrous types of drawings – and that non-representational drawing methods have an important role in student Art projects – it is usually advantageous to demonstrate competent, realistic observational drawing skills to the examiner (particularly in the early stage of a project).
What follows is a list of tips that have been written specifically for high school art students who are looking to improve the realism of their observational drawings. It is for those who have already selected something appropriate to draw (see this guide for selecting subject matter if you need help with this) and who understand how to compose a drawing well (this will be covered in a subsequent article).
Look at what you are drawing
Failing to look at what you are drawing is one of the most fundamental errors an Art student can make
This sounds obvious, but it is the most common error made by art students. Many students attempt to draw things the way that they think they should look, rather than the way they actually do look.
The only way to record shape, proportion and detail accurately is to look at the source of information. Human memory does not suffice. Forms, shadows and details are hard enough to replicate when they are right there in front of you; if you have to make them up, they appear even less convincing.
In order to produce an outstanding observational drawing, you must observe: your eyes must continually dance from the piece of paper to the object and back again. Not just once or twice, but constantly.
Note: even if you pursue a theme about mythical creatures, fairy tales or some other imaginary form, you should work as much as possible from observation.
Piece your creatures together from fragments of life. Dress people up and then draw them or merge different parts of insects or creatures together (using artistic license as appropriate) rather than creating an entire form or scene from your head.
Draw from real objects whenever possible
The phrase ‘observational drawing’ typically implies drawing from life (see the superb observational drawing exercise set by artist and teacher Julie Douglas). Ask any art teacher and they will list the benefits of drawing from objects that are sitting directly in front of you. You are provided with a wealth of visual information and stuff to draw…changing light conditions; rich textures; views of the subject from alternate angles; as well as information from other sense…smells and noise from the surroundings etc. Transcribing from three-dimensions to two is ultimately much harder than drawing from a photograph, but it often results in drawings that are ‘richer’ and more authentic.
(This doesn’t mean, however, that you should never draw from photographs. Students frequently traipse from home to school and back again: it can be impractical to carry and set up complex still life arrangements over and over again. Some subjects – such as landscapes and nude models – are also unavailable in most classroom settings. It can therefore be good practice to set up a still life arrangement in the flesh (or visit a location) and begin drawing directly from the subject, using photographs to complete the work at home).
Don’t Trace – Find Cool Things to Draw
Throughout history, great realist painters have traced from photographs or worked from projections blown up onto walls. But these painters are not high school art students; nor are they assessed on their ability to replicate form.
There is a place for tracing in IGCSE or A Level Art (such as when tracing over something you have already drawn or creating a repeat pattern), but tracing from photographs and then simply applying color or tone is not acceptable. Such methods of ‘drawing’ involve minimal skill, teach you little and run the risk of producing clunky, soul-less outlines. Don’t do it. Try to push yourself for an achievement of easy things to draw for beginners style of learning.
As objects get further away they appear smaller. The replication of this change of scale on paper (through the use of vanishing points) is called ‘perspective’. The fundamentals of perspective are usually taught in junior high school; by Year 10 at the latest. If you are a senior art student and have somehow missed this lesson, remedy this situation urgently. There are not many theoretical aspects of art that are essential to learn, but this is one of them.
Use grids, guidelines or rough forms to get the proportions right before you add details
Many students start with a tiny detail (the eye on a face, for example) and then gradually add in the rest of the image…ending up with a drawing that is badly proportioned or doesn’t fit on the page (or floats aimlessly in the middle of it). This can be avoided by approximating the basic forms before adding details or by using guidelines to ensure that proportions are correct.
If working from a photograph, using a grid can result in highly accurate work. It allows students to focus on one small segment of the image at a time and gives arbitrary lines from which distances can be gauged. This can be a helpful strategy when precise, detailed images are required and can itself become a celebrated component in an artwork. As gridding is methodical and involves meticulous plotting of lines, however, it is important to acknowledge that this approach runs the risk of producing tight and regimented drawings that lack in ‘spirit’ and should thus be approached with care.
Be wary of ellipses
Ellipses – the oval shapes that are visible at the top of cylindrical objects such as bottles or jars – frequently ‘trip up’ a weak drawer. They can send an immediate signal that a student is not looking at what they are drawing as in easy things to draw for beginners. All ellipses, no matter what angle they are viewed from, should be rounded (not pointed) at the ends, as illustrated in the image to the left (by Rachel Shirley) and below (sourced from ID sketching).
If you go over and learn all the things on this page, you will be on your way in no time. These were a series of hings I felt were best to start off learning. There is so much more to learn so I recommend you dive into your drawing time hard. Use this site ans its videos as a resource.