A herbarium is simply a collection of botanical specimens found in nature. These specimens are often collected and preserved in the pages of books or mounted on large sheets of paper. They are flattened and dried. As a result, they maintain their structure. In most cases, a herbarium is created for scientific study. As artists however, we can create them for reference and inspiration.
Chances are that at sometime in the past you gathered various leaves, flowers, cones, twigs, and other natural curiosities. Materials of this kind could be stacked in a box, like a precious treasure in a chest. Others might find their place in books – or under anything flat and heavy enough to create pressure.
Dried leaves fade in color but keep their shape. They become a silent reminder of seasons that were long gone. There is something nostalgic and magical about them in their frozen state.
Perhaps you still like gathering these wonderful gifts of nature and collecting them. In this post, I’ll show you the benefits of having a herbarium and how we can use those special “botanical treasure chests” to create ink drawings from nature.
We’ll transform your raw materials into drawings, which leads to new possibilities for your art.
So let’s find inspiration and create a drawing from nature!
Using a Herbarium for Nature Drawing
We’ll create a drawing of fern leaves, acorns, maple catkins, a chestnut, and small parts of coniferous twigs. The objects are quite varied, which makes this project more interesting.
I’m not striving for a precise representation of one specific leaf or chestnut. Professional botanical/scientific illustrators do this when they work on an illustration. Here we’re simply creating a drawing from nature where our concerns for aesthetics outweigh exact accuracy.
However, if you wish to make an exact copy of any subject, feel free to do so. You may also choose to deviate from the subjects that I demonstrate below. Perhaps you’ll prefer drawing a maple leaf instead of fern or a fir cone instead of acorns.
My goal is to capture the distinctive features of each specimen and translate my observations into a pen and ink drawing. I recommend collecting several specimens of the same kind so that you have a few to compare. If you don’t have access to any real materials, try finding several photos to work from.
The sketches that we create are aimed at broadening the artist’s visual library and gaining more confidence when creating new drawings. At the end of this post, I’ll share a couple of examples of drawings created from imagination. These drawings were created only after having some experience drawing from direct observation.
Pen and Ink Supplies for This Drawing
For this project, I’ll be using:
Three ink liners; the width numbers are 0.05, 0.1 and 0.2.
An HB graphite pencil;
A sheet of thick paper (the standard A4 size).
Also, if you have a tendency to redraw your initial lines, which is completely fine, keeping an eraser at your disposal will be quite useful.
Any brand of the liners will work just fine. If you prefer a sketchier, looser approach, feel free to work with liners that provide wider lines – like 0.3 or even 0.5.
If you’re more comfortable with other tools or media like a nib pen or graphite pencils, please use them. For this project, the idea and principles are more important than the technical details of media application.
Sketching the Natural Subjects
We’ll first arrange the subjects on a sheet of paper. It may be useful to create a mini version of the sketch, marking the borders of paper and blocking the areas where each object should be.
I decided to draw the main fern leaf a bit smaller than it is in reality, just to fit it into the composition.
With the graphite pencil, I create a rough outline, paying attention to the contour lines of our subjects. The contour line determines the character of an object and makes it more recognizable.
Drawing the fern leaves is time-consuming, so I use a spontaneous line to imitate the flow of their contours. I decided to add a fragment of another fern leaf – this time, a twisted one.
Note that many natural objects, such as fern or oak leaves, may have slightly asymmetrical features. Again, flora varies from region to region and from species to species.
For example, ferns can be found nearly worldwide. In fact, there are more than 10,000 species of them and there is a visual difference among each one of them! If your goal is to draw the exact species, having a several specimens or references is crucial.
A chestnut fruit (also called “burr”) is basically a sphere. To draw the thorns, take a close look – you’ll notice how their pattern behaves. As thorns point towards the viewer, the become shortened. This is called foreshortening.
The maple catkins present a special challenge. It’s necessary to mark not only the top elements, but also the visible parts of those underneath.
The fir and thuja (it’s the one at the bottom) twigs are different in terms of shape. The first one is voluminous, with all the needles forming a cylinder. The second one is flat.
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How you arrange the objects is completely up to you. For example, you could place objects that you find more interesting towards the front, allowing them to overlap the others.
Adding Ink to the Drawing
I outline the main contours, using the 0.2 ink liner. I’d recommend avoiding a continuous outline with no gaps – it will make your drawing too stylized, similar to that of a page from a coloring book. Using broken lines in areas makes the drawing more interesting and creates a bit of variety.
Feel free to change your drawing as you go – add new elements or ignore details that you don’t find important anymore.
Keeping a sheet of blank paper between your hand and the drawing is a good idea – this prevents any smearing of the graphite marks and the fresh ink lines.
With the 0.1 liner, I add some hatching to emphasize the darker values. The chestnut fruit is the darkest object in my drawing, so I cover it with layers of contour and cross contour hatching right away. Now I can use this object to develop the rest of the values in the scene. We can make comparisons between it and the other objects.
The direction of hatches is important because it can create the illusion of a three-dimensional form. The lines that we add should flow over the form of each object.
The fir twig is relatively dark. I pay special attention to the gaps between the needles, leaving the tops untouched.
The ‘cap’ and the ‘body’ of an acorn have a different texture. Dots are added to the top where the texture is coarse.
At this step, we can add important details. Veins are added to the leaves while small spots are added on the chestnut.
With 0.2 and 0.1 ink liners, I add some more hatching to the fern leaves. The leaves have both core shadows and cast shadows (cast by the upper objects).
To make the chestnut look more realistic, I add a cast shadow under it.
The ‘bodies’ of the acorns have a subtle pattern. I draw thin lengthwise lines with the 0.05 liner to develop this pattern.
I increase the contrast and develop the texture of the chestnut and the oak leaves, covering them with 0.1stippling. The pattern of dots may have some gaps. The density of dots depends on the darkness or lightness of that area.
We’ll work on other elements (the maple catkins and the conifer needles) in the next step.
It’s time for some refined, delicate work. With a 0.05 ink liner, I add groups of hatch marks to darken the core shadows of the objects, especially on the leaves.
The maple catkins have a subtle relief. This illusion is created with short hatches that look like subtle folds from a distance.
The fir needles are slightly touched with fine hatching, too. This creates a smooth transition of value from dark to light. However, the tips should remain relatively light to create the illusion that the needles are spread apart.
The thuja twig is flat (as we noticed before) but its tiny segments have a subtle relief. I darken the periphery of each segment, then cover the whole twig with hatches.
The drawing is complete!
Another Option for Your Sketches
Digitizing ink sketches and enhancing them in a graphics program is outside the scope of this tutorial, but I thought that showing you a transformed version might be interesting.
I removed the white pixels in Adobe Photoshop, added a tinted background with a grungy texture, and here it is – a stylized vintage drawing!
Which version do you prefer – a strict black and white or a warm brownish one?
To learn more about editing your drawings in Photoshop and making creative transformations, please check out this tutorial:
I hope you enjoyed this creative journey! Just imagine the possibilities with real botanical elements that you may find.
Earlier, I promised to show you an example of how you can use your studies to enlarge your visual library and create new works.
Here are a couple of sketches. If you look at them closely, you’ll notice several objects from our tutorial. Can you tell what they are?
These sketches were drawn without using any reference material. I just imagined a bouquet and gradually transferred an image to the paper. It’s quite simple if you have dozens of flowers, leaves and other elements, stored away in your memory! But they’ll only be there if you take the time to practice drawing from observation first.
I wish you much fun and luck on your artistic journey!
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Do you give much thought to your personal artistic stye? I know that many of you do, and for some of you – the search to find your own style can be overwhelming. The search to find your own style shouldn’t be a search at all. Instead, we should allow our personal styles to emerge. It cannot be forced and shouldn’t be forced.
Today, we’ll take a look at the artist, El Greco, and examine his unique style. Perhaps, you’ll take away a few things in regards to your own style and see that sometimes we can throw out conventional wisdom in order to create something truly unique.
On occasion an artist will stretch the conventions of his/her own time and produce work that is undeniably unique. El Greco was such an artist. His work bridged the gap between artistic periods, and even between worlds. El Greco’s mystical paintings inspired devotion to God in his own time. Later, in the Twentieth century, Cubists and Expressionists found his painting inspiring in a different way. The abstract artists of the Twentieth century drew their own inspiration from the way El Greco freely manipulated color and proportion. Though El Greco’s artwork speaks for itself, some context may help one to appreciate how he came to develop the distinct style for which he is known.
Who was El Greco?
El Greco was born Doménikos Theotokópoulos. Hailing from the Island of Crete, he moved, as a young man, to Venice and eventually Rome. Nothing is known about his early education on Crete. It is assumed, however, that he was receiving an education since he continued studying art after moving to Italy. El Greco was known to read both philosophy and religious commentary in his mother-tongue, Greek.
If El Greco was educated as a boy on Crete he would have learned in a monastery. Monasteries were the educational centers on Crete at that time. There he would have seen and studied the Byzantine style of painting that persisted in Greece, being somewhat insulated from the ground breaking artistic innovations happening just next door, in Italy, during their Renaissance.
Of course, upon moving to Venice, El Greco was thrust into that explosive world of artistic skill and expression. It was at this time, in El Greco’s early adulthood, that he first came to occupy a place between two things.
El Greco came under the influence of Titian while studying in Venice. Titian was perhaps the greatest representational artist in the world at that time (Michelangelo had just died). He left his stamp on El Greco. Taking the opportunity to travel, however, El Greco headed north toward Florence. In doing so, he saw and incorporated ideas common to the Mannerist artists that ushered out the Renaissance.
Eventually, some would call El Greco the greatest Mannerist of all. His art, however, utilizes Byzantine, Renaissance, and Mannerist concepts, all the while pointing to the Baroque period that would blossom after his death.
What is Mannerism?
Mannerism is the name given to art that seemed more of a rebellion against the complex naturalism of the Renaissance, instead of a distinct, cohesive style of its own. The unrelenting preoccupation with human proportions and mathematically accurate perspective common to Renaissance art gave way to exaggerated proportions, stylized facial features and utterly impossible, flat spaces. Some Mannerists used unnatural colors for expression, fighting the inclination to simply copy the observable colors of a subject. In short, Mannerism was interested in style over accuracy. It challenged accepted Renaissance solutions to artistic problems.
El Greco in Toledo
El Greco eventually moved on to Spain where he would remain for the rest of his life. It was here, of course, that he received the “nickname”, El Greco, which simply means the “the Greek” in Spanish. It was in Spain where Byzantine symbolism and Mannerist ideas would synthesize into the style that set El Greco apart.
El Greco’s Proportions
El Greco was a pious individual living in Toledo, the spiritual center of Spain. His artwork meant to show both the earthly and the heavenly, at once. These are the two worlds El Greco sought to reconcile in his art. Exaggerated proportion was a convention used in Byzantine art to solve such a problem as it related to, Jesus, being both God and Man at once.
Look at the examples below. See how Jesus’ proportions are not that of a baby but a man. The head is too small for a baby and the limbs seem long in relation to the torso. This stylization meant to convey the otherworldly or heavenly nature of Jesus. El Greco may have remembered how Jesus was represented in Byzantine art as he was trying to find a way to communicate his own subjects’ closeness to God.
See how El Greco elongated the body of John the Baptist. Did El Greco extend this Byzantine stylization to include saints and even earthy subjects, as an expression of their piety?
Whether El Greco found inspiration in the Byzantine version of Baby Jesus or not, his figures do appear out-of-this-world. Their stretched proportions and fluid poses make them human like, but not merely human. Beyond human. Spiritual.
El Greco’s Space
Look at The Agony in the Garden at Gethsemane (below). This painting illustrates Jesus praying in the Garden just before he is arrested. On the right, the land and sky in the background seem to merge in to one solid shape, light in value. The abrupt change from light to dark in the sky seems to serve a compositional purpose more than a representational one – an example of style over accuracy.
On the left side of the canvas the space is even more uncertain. The angel in yellow seems to be both in the foreground and background at once. The size or scale of the angel matches Jesus, leading one to believe that he, the angel, is next to Jesus. The placement of the angel, however, says otherwise. The yellow garment matches the contour of the grotto in which the disciples sleep, leads one the believe that he, the angel, is resting over the disciples and is just larger than the other figures.
The imagery on the left beyond the angel is open to interpretation as well. Do the lighter values describe land or are there clouds as well? Again, the values in the negative space seem to have more of a compositional purpose that a representational one. The uncertain space in the background gives the painting a flat quality. In this way, El Greco leans hard toward Mannerism.
El Greco’s Color
El Greco thought of color as a means to differentiate between the earthy and the heavenly. He used high intensity colors when depicting saints and angels, but low-intensity colors for his subjects still bound to this earth. Compare the portrait of Dr. de Pisa with the representation of St. Catherine. The primary color scheme El Greco used in the painting on the right, along with the dynamic, high contrast background are from of a different realm altogether when juxtaposed against the portrait of Dr. de Pisa.
El Greco used intensity of color to distinguish between the two worlds, even in the same artwork, on occasion. The Burial of Count Orgaz (below), perhaps his greatest work of art, is a fine example. The difference between how color is used in the lower and upper halves is stark. Here again, El Greco used a primary color scheme to describe the heavenly.
Perhaps he loved applying this scheme to heavenly imagery because one cannot make primary colors by mixing any other pair of colors together. El Greco might have described the primary pigments as those that only God could make, qualifying them to represent the holy.
Of course, El Greco was, while in Venice, a student of Titian, the High Renaissance Master. He would have known the painting, Assunção de Nossa Senhora (below), By Titian. Titian’s use of color and tonal contrast is more subtle that El Greco. Still yet, the generally dark mass of figures at the bottom, and also the red and blue clad figures set against the intense yellow background in the heavens, must have played a part in the stylistic decisions made in The Burial of Count Orgaz.
Conclusion
El Greco, like Byzantine painters, used unnatural proportions for effect. He employed intense color relationships and flat spaces common to Mannerists. He used the natural, authentic color mixtures and color schemes mastered by Renaissance artists. Then, when one considers the general darkness of his compositions and painterly brushwork, one can see a foreshadowing of the coming Baroque period. Here again, El Greco’s style rides the fine line between definable periods – a man between worlds.
We can learn quite a lot when we look to artists from the past that have made a significant impact. Many times, we can see that our own personal styles can emerge when we reject conventional opinions on what art should look like or be. El Greco is fine example of this.
Sources:
Hamlyn, Paul. El Greco. London: Paul Hamlyn Limited, 1967.
Tansey, Richard G. and Kleiner, Fred S. Gardner’s Art Through the Ages, tenth edition. Orlando: Ted Buchholz, 1996
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Want to try something new with your art? Chances are, you’ll answer “yes”. Everyone understands the potential that exists when you try something new.
But sometimes our thoughts about what we want to do and our actions are completely different. Expanding our “comfort zone” isn’t always easy, no matter what it is – art, learning, or anything that relates to our everyday life.
There are several reasons for this:
We don’t know what to undertake or how to divide the task into smaller, digestible parts.
We don’t assign a specific time to the new pursuit and may end up forgetting about the whole thing.
We just aren’t sure that we’ll succeed, and this prevents us from starting (or continuing).
I’ve fallen into these pitfalls many times with various tasks, habits, and pursuits. For example, this past year I have been thinking about new techniques or artistic media that I wanted to try, and the weaker points in my skill set that needed my attention. Unfortunately, those three pesky reasons above kept me from actually doing anything – especially, the time reason excuse.
What’s the solution? How do we overcome these obstacles? We know that we need to expand our artistic experiences, but we keep finding excuses and end up not taking action. I’d like to share a few strategies for overcoming these excuses. I’ll also share a simple colored pencil drawing lesson that will help to ease you into something that may be brand new to you.
Become More Disciplined with Your Art
First of all, it’s necessary to make a list of everything that you are interested in (or what needs improvement).
The second step is classifying the interests, depending on the priority. In other words, if you are eager to “level-up” with a certain skill or feel like something holds you from creating better art – this should be your top priority.
Then, make the time for this thing. The best approach is to practice on a daily basis – but if this is not possible, once or twice a week is the minimum. Need a reminder? Set up a notification on your phone or write a note and keep it visible to remind you of your decision to improve.
Usually, we have so much to do every day that it’s almost impossible to carve out a whole hour to devote yourself to anything else. If that sounds like you, take a closer look at everything you do regularly and track your time. Chances are that you’ll find a block of time. You may see that some routine tasks or entertainment can be abandoned and replaced with a new pursuit (if that’s really the thing you want to be doing).
Also, we often waste so much time just waiting. It may be waiting at the doctor’s office, for the bus, or for someone we’re meeting to arrive. Of course, this time can’t be 100% focused but it’s better than nothing. Keeping a sketchbook near you provides a little opportunity for a some drawing practice.
I recommend starting with short blocks of time, like 15 minutes for sketching. Our brain has a fear of lengthy, complex tasks. It knows that we may be tired and annoyed at the end. But 15 minutes is not that big of a deal!
The fear of getting poor results can be eliminated through awareness. It’s true that our results become better with time and practice. There is nothing wrong with the process of practice – it can be messy, with a touch of uncertainty and improvisation.
Let yourself be a beginner and transform your fears into a resource. Nothing happens if you don’t try! Chances are that your results will be even better than you expected.
Or, try to expect nothing – any outcome is good just as it is.
These thoughts allowed me to inject studies and various experiments into my creative routine – and I hope they’ll help you, if you’re in a similar situation.
The Idea Behind This Project
This demonstration is an example of such an artistic quest. One day, I caught a sudden idea of drawing a pomegranate on a red paper. I found a proper surface. It’s color seemed somehow bright and dark at the same time.
It also is similar to the overall color of a pomegranate, which makes this concept interesting and challenging.
On the other hand, this closeness of colors may be an advantage because we don’t have to build up the layers of pigment to create a solid covering, as we have to with ordinary white paper.
I wanted to limit the time dedicated to this project. What can be done within 45 minutes? Even though my goal is to complete the drawing in 45 minutes, it doesn’t mean that I will stop there if the drawing is incomplete.
Of course, this limitation isn’t obligatory if you decide to follow along. Having a clear deadline – with a good attitude – may help you to reach a more focused state of mind. We also know how much time we are going to commit to this – it is not entirely open-ended.
Creating the Pencil Sketch
I’m working with no particular expectation. The overall set up, including the materials, is new to me. That’s why I decided to create a pencil sketch to test the concept and make notes on the positioning of values.
Creating a sketch is a great way to think through your artwork beforehand and become better prepared (especially if you feel slightly uncomfortable with red paper). This step isn’t required – if you prefer a more spontaneous approach, it’s completely fine. This preparatory sketch is also not included within the 45 minute time constraint that I’ve placed on myself.
As you can see, the sketch is far from perfect; it’s teetering on the edge of accuracy and roughness. If this was a separate project, I would soften the contours and add some more hatching here and there. However, since this is preparatory sketch, it’s more than enough.
Choosing the Supplies
The paper for this drawing is thick and rather smooth, but has a subtle texture – it becomes visible after some applications of color. However, it doesn’t allow many layers of color and we should be aware of this.
I picked a limited color palette for this sketch. There are ten pencils from the Faber-Castell Polychromos line (pictured above – from top to bottom):
Red-Violet
Dark Red
Deep Scarlet Red
Cadmium Orange
Cream
Light Flesh
Warm Grey II
Warm Grey V
Payne’s Grey
Helio Blue Reddish
Please note that the photo distorts the actual colors of pencils and paper!
It seems that Polychromos colored pencils work great on this kind of paper. When I was preparing this post, my first attempt included Prismacolor Premier pencils, but the result was less successful. I ran out of tooth very quickly and there were difficulties with creating details. However, your paper might behave differently, so don’t hesitate to try things out beforehand. And, if the first attempt isn’t successful, you always can create another one!
As a side note, Polychromos pencils are oil-based, while Prismacolor pencils are wax-based. These pencils behave differently becaue their binders are different. For more on the differences between these types of pencils, check out this lesson…Oil-based vs. Wax-based Colored Pencils.
This is what the pencil strokes look like on the red paper:
As you can see, the color of the paper influences the result greatly.
By the way, it’s possible to add fine liners to this set of tools – it will quickly and easily mark out the contours, but your sketch will become even more stylized.
Drawing the Pomegranate with the Colored Pencils
I outline the main contours, using the Cream pencil. It’s important to use light lines – we don’t want to create furrows on the surface.
Then, I use both Cream and Light Flesh to mark the lightest areas of the drawing. As I need to work quickly, my hatches are rather long and not as polished as they would be in a realistic botanical illustration.
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The color of the paper is very strong, so both pencils create similar marks.
With the Dark Red pencil, I create a base for the core shadow of the pomegranate and accent the seeds. I also add some subtle brightness with Deep Scarlet Red, emphasizing the lighter parts of the fruit.
These colors are very close to the paper’s color, but this subtle difference makes the object a bit more clear.
I add some orange marks, mostly to the lighter areas, using the Cadmium Orange. It’s important to brighten the seeds, but avoid creating a monotonous pattern.
A pomegranate has an uneven texture, so I use dots to accent this feature.
I emphasize the core shadow of the fruit, using the Helio Blue Reddish. Just a soft touch with this pencil is enough! To mute the intensity of color, I apply Dark Red right on top of blue strokes.
The upper part of the pomegranate needs some darker tones too, so I repeat the process there.
To create a cast shadow under the subjects, I mix the strokes made with the Helio Blue Reddish, Dark Red, and Warm Grey V.
It’s time to increase the contrast in value, so I add some Red-Violet strokes to the darker areas, including the cast shadow.
Then, I emphasize the lighter spots with Cream. Again, dots in the center of the highlight create a nice illusion of texture.
The sketch becomes more stylized, but that’s the effect I was going for.
With Cream and Warm Grey II, I work on the relief details of the isolated piece of the fruit. Deciding which color to use depends on the side of the piece that’s visible and the amount of light it catches. I see its left side as a more neutral tone.
It’s time for the final hatches. I evaluate my sketch and add colorful strokes here and there.
For example, I complete the shadow using the Payne’s Grey pencil and define the contours of the pomegranate a little more with Cream. However, allowing the sides of the fruit to be a bit soft will make your sketch more natural – so avoid outlining everything.
The work is now complete and we’ve met our time limits! The sketch was completed within 45 minutes, thanks in part to the choice of paper color.
Conclusion
I hope you liked this experiment and it inspired you to set your own goals and challenges. Let’s be brave and make something that we have put off for a while – and do it today!
I wish you much luck and inspiration on your journey!
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In this timed drawing exercise and challenge, we’ll create a sketch of a lemon with pastels. We’ll work quickly and attempt to complete the drawing within a 30 minute time constraint. Even though we’re only devoting a few minutes to this exercise, we’re still exercising the same visual “muscles” as we do when we create a more finished and complete drawing.
The key to developing your drawing skills lies in repetition and practice. As little as a few minutes each day in practice will lead to stronger drawing skills. Grab your pastel materials and let’s dive in.
One of the wonderful aspects of pastels is that we can layer colors quickly. This means that we can build up an image in a short period of time. Even though the process of working with pastels is clearly one of drawing, the thought process is more closely related to that of painting.
When we paint with an opaque painting medium like acrylics or oils, we block in shapes with a base color. We can then develop the values and textures over the shape, which leads to a representational illusion. Pastels function in a similar way. We’ll start with blocks of color and develop them with additional applications over the top to develop the form and texture of the subject – in this case – a simple lemon.
Materials for this Drawing Exercise
In this drawing, we’ll use just a few basic colors and a pastel surface suitable for multiple, layered applications. Any brand of soft pastels will work – you can even use pastel pencils if you prefer. In this lesson, Rembrandt pastels are used. These are considered professional-quality pastels and are very rich in pigmentation. Having used many different brands over the years, these pastels are my favorite – in fact, I own just about every color you can.
The surface is Mi-Teintes pastel paper. A warmer gray is chosen since most of the colors on the lemon and surrounding areas are warmer. However, you could chose a surface that is cooler to produce contrast if you wish. The paper is mostly covered up with pastel applications in this case, so the paper has a minimal effect on the final image.
Mi-Teintes pastel paper is a high quality paper for pastels, but it’s priced fairly low. It features two distinct sides. One side of the paper is coarse and heavily textured. The other side is smoother, but still provides ample tooth for multiple, layered applications. We’re working on the smoother side of the paper here.
Photo Reference
The photo reference that we’re working from comes from pixabay.com. This is a wonderful site for finding photo references. Finding suitable photo references has always been difficult in the past. But with new websites like pixabay.com popping up, it’s becoming a lot easier to find great images that are appropriate for practice.
Here’s a look at the photo reference of the lemon…
How to Draw a Lemon with Pastels – Step by Step
Now let’s break down the process into to easy to understand chunks. We’ll start with a simple and loose sketch using a light brown pastel pencil. We’ll avoid using black since it’s such a strong color and would undoubtably overpower the yellows that we’ll add later. You can use any warmer color that you wish here, but I’d suggest staying away from cooler colors, like blue.
Since pastels can be applied opaquely, we’ll start blocking in colors in sections that are further away from the viewer and work forward. This means that we’ll address the background first and then move to the middle ground, and lastly – the foreground.
The background appears to be black in our reference. Black is an incredibly strong color. On its own, black can make an image appear flat and unnatural. For this reason, we’ll add a bit of color. Since most of the colors in the foreground are warm, we can use a cooler color to create a subtle contrast in color temperature. We’ll first lay down some blue and smudge the application with our finger. Over the top, we’ll add black and continue to smudge the pastels. This will produce a very dark background, but one that is slightly tinted with color. This prevents the dark, “black” background from overwhelming the drawing.
We’ll also address the table in which the lemon is sitting at this stage. Remember, the lemon overlaps the table as well, so it makes sense to address it before developing the lemon. A reddish-brown, or burnt sienna, is used to address the basic shape.
Cast shadows are then added over the top of the table and underneath the shape of the lemon with a black pastel pencil. These black applications naturally mix with the color added for the table, toning down the strength of black.
With the background in place, we can turn our attention to the lemon. We’ll start with a medium yellow, which serves as our base color. The entire shape of the lemon is blocked in using this color.
Now we can begin to adjust the values to develop the form and texture of the lemon. We’ll start with the darker tones in the area of core shadow on the body of the lemon. A medium brown is applied first. Brown is used since it is warm like the base color of the lemon, but darker in value. As this brown is added, it is blended with the yellow already in place.
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A bit of color is also added in the shadow. First a touch of red is applied, followed by a little orange. This adds a bit more depth to the color and additional interest.
To address the darkest areas of shadow, found near the base of the lemon, a darker brown is applied. Again, this color is blended to create a gradation.
Now we’ll begin developing some of the lighter values. Since the light source originates from the upper right corner, most of these lighter tones will exist on the upper right portion of the lemon. We’ll start with a slightly lighter yellow than our base color. Marks are made with a light touch with circular stroking to mimic the coarse texture of the lemon.
Next, we’ll add a strong highlight in the upper right quadrant of the lemon with a very light yellow, again using circular strokes. This color may appear white but there is a slight tint of yellow.
We’ll add a base application of yellow-green for the stem. Then, as we did with the body of the lemon, we’ll begin developing the lighter and darker values. A dark brown is used for the shadow on the underside of the stem and a gray is applied on the tip.
A lighter yellow-green is applied on the stem to act as the highlight. Since this area is quite small, a blending stump is used to blend the applications.
At this point, much of the drawing is complete. We’ll now enhance the illusion of light and clean up the drawing.
A touch of light yellow-orange is added to the table for added variety. As an added benefit, the addition of this color increases the contrast between the cast shadow produced by the lemon and the light on the table.
Pastels naturally produce colored dust. During the drawing process, this dust finds its way into areas that you may not intend. Periodically, we’ll clean these bits of dust by blending. Now that we’re at the end of the drawing, we’ll need to conduct a final “tidying up” of this dust that still remains on the surface. In this case, we’ll simply use our finger to work any of the colored dust into the paper, restoring the intensity of the color and completing the drawing.
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Maybe you’ve taken a look at a work of abstract or non-objective art and gotten confused. Maybe you said to yourself, “How is this art?” or “Why is this art?”
Maybe abstract art or non-objective art has even angered you. Perhaps you’ve thought to yourself, “Anyone can do that!” Or perhaps, “That’s not art!”
The problem with abstract art is that most people simply don’t take the time to understand it or appreciate it. They simply look at the skill required to physically paint and draw the image and that’s how they evaluate it.
The truth is that the skill involved in abstraction is not in the application of the medium. The true skill is in the vision of the artist and how they communicate through the works they produce.
It’s easy to miss the skill that exists in abstraction and non-objective art if you don’t understand what’s going on. So let’s dive a little deeper with an open mind.
Different Forms of Art
The world of art is vast – with many different styles, movements, mediums, and artists. It’s rather easy to become overwhelmed and confused. But fortunately, this expansive world can be simplified. All works of art will fall into one of three categories. An artwork is either representational, abstract, or non-objective.
Representational Art
As the name implies, representational art seeks to replicate the observed world. When the intent is to create a representational work of art, the artist is concerned with proportion, the light source, depth and space, perspective, realistic textures and so on. The artist uses the elements of art to fool the eye of the viewer and to create a convincing illusion in a drawing or painting.
There are various degrees of representational art – but for now – let’s consider it as one category. (For some people, this is the ONLY form of art in their mind, but there is more to discover and appreciate.)
Abstract Art
The most misunderstood form of art is abstraction. Abstraction occurs when the intent of the artist is to create an altered depiction of the subject or concept. The rules of representational art may be thrown out completely, if so desired by the abstract artist. In this form of art, the artist uses the elements of art to distort how we see the object in reality. This can be accomplished in a number of ways – simplification, color alteration, altered views and so on.
With abstract art, the artist starts with a concrete subject from reality, even though the subject may not be fully recognizable in the finished work.
Non-Objective Art
The third category of art is termed “non-objective”. This form of art differs from representational art and abstract art in that it takes nothing from reality. The sole intent is to produce a piece of visual work that is created purely for aesthetics. While an abstract work may appear similar to a non-objective one, the starting point and the intent of the artist is different. For this reason, non-objective art gets its own category.
The Earliest Forms of Abstract Art
To understand abstract art, we must first look at the history of how it came to be.
Abstract and non-objective art have existed as long as art itself. Cave paintings like those from Lascaux, France are abstract. These flat, simplified animal shapes would inspire artists thousands of years later, during the twentieth century. The abstraction lies in the simplicity. This means that the earliest and oldest forms of art are works of abstraction.
Abstract and non-objective art later dominated the early twentieth century. In the preceding centuries however, most artists worked toward a representational depiction of their subject.
To understand abstract and non-objective art, one must first consider representational art. Often referred to as realism, representational art attempts to copy the natural experience of seeing. The prefix, “re”, means again. The root word, “present” can mean to show. So, one is “showing again” what was first seen when working representationally – a copy of nature.
In the early twentieth century, abstract art was a response to representational art. Abstraction is changing the natural way of seeing something. Distorted proportions, unnatural colors and the simplification of shapes are just a few ways an artist might change how a certain subject is depicted.
A Painting is a Painting
In 1929, Magritte completed his influential and controversial painting, “The Treachery Of Images”. In this painting, Magritte presented a realistic painting of a pipe with the words underneath, “Ceci n’est pas une pipe.” Translated from French, these words read, “This is not a pipe.”
For those of us stuck in the world of realism, this statement may be extremely confusing. After all, we can clearly see that it is a pipe in the painting – right?
But is it a pipe? Can you stuff tobacco in it and smoke it? Can you hold it in your hand?
You can’t do any of these things because it is NOT a pipe. Instead, it is a painting of a pipe.
This painting can help us better understand and appreciate any form of art created outside the realm of realism. A painting is a painting. A painting is not the reality it attempts to copy. It doesn’t have to be derived from reality in order to be a successful painting. A painting can be anything we want it to be. It doesn’t have to mimic reality.
With this concept in mind, we can open ourselves up to the world of abstraction and non-objective art. We must remove ourselves from the fact that a painting or drawing must be representational to have merit. Let’s first dive a little deeper into abstract art.
Abstract Art Definition
Change is at the center of abstract art. Abstraction is a form of a changing the subject in a manner that is different than how it is viewed in reality. It can be as simple as changing the color; or as complex as changing the subject so that it is completely unrecognizable.
The merit found in abstract art is two-fold. One can appreciate how the artist has changed the subject, but also the formal qualities of the resulting work.
In some cases, we may not know the thought process behind the abstraction, but we can appreciate the resulting work – the color relationships, the composition, the use of the elements and principles of art, etc. But in some cases, we may know the intent of the artist and how they have decided to change the subject – which gives us another way to evaluate the piece.
For people that do not understand the purpose of abstraction, it’s easy for them to dismiss it as a lesser form of art – especially if they judge it based on how representational an artist makes their work. However, once you dive deeper into the meaning and purpose of abstraction, we can better appreciate it. You may even find that you have an even greater appreciation for it when you try to do it yourself.
Comparing the Various Forms of Abstraction
As mentioned before, there are various degrees of abstraction in art. Visual abstraction is best understood as existing on a continuum. Imagine a line. At one end of the line is photorealistic artwork. At the other end is non-objective artwork with no recognizable, nameable subject matter. Abstract art lies in the middle, somewhere between representational art and non-objective art.
There are points along this line representing varying degrees of abstraction. Take your favorite cartoon. Does the cartoon include black outlines? Lines are abstract. Think about it. There are no lines in “real life”. There are only edges of color and value. Using a line to define a contour is actually a change from the natural way of seeing.
Does that mean that a cartoon is abstract art? Not exactly, but it does mean that cartoons are stylized. Think of stylization as the first stop along the way to abstraction.
The continuum above is an attempt to organize a few artistic movements according to their degrees of abstraction. The artists and Movements on the line are not in chronological order. Farthest to the right is Chuck Close, a photorealist. His artwork has evolved over time but the work he was producing in the late sixties and early seventies defined photorealism, the most representational art thus far. Both Winslow Homer and Claude Monet represent movements in the 1800s, during which time artists worked representationally. The following painting by Monet used value and color to create a believable, realistic space.
The point at which Paul Cezanne appears on the continuum marks a turning point in art history. Paul Cezanne is often referred to as the “Father of Modern art”. Cezanne’s art (seen below) has a flat quality that artists that followed would emphasize. See how the plate on the left looks more round than the plate on the right. They do not appear to belong in the same space together.
Moving leftward on the continuum, Precisionist artists such as Charles Demuth and, to a lesser degree Georgia O’ Keefe, painted easily recognizable abstract imagery. Both would “zoom-in” to their subjects, reducing the distinction between foreground, middle-ground and background.
Instead, their subjects seem crammed up against the surface of their picture plane, again, created a sense of flatness. Additionally, Demuth would draw long straight lines right through his compositions to make new shapes (see below). In this way, he was taking something from reality and changing it.
Deeper into the world of abstraction is Pablo Picasso. A cofounder of Cubism, Picasso would paint his subject from several points-of-view at once. Think of a cube. It has six sides but one can only see, at most, three at a time. Knowing that the other three sides exist, Picasso might have painted some of them. Picasso’s way of changing reality was to paint more than what is visible from a single point of view.
Look at the image below. It is a still life painted in the cubist style. The yellow vessel is round on top but flat on its bottom. The top of the vessel represents the view from above while the bottom is a view from the side, all at once. Also, the tomatoes are painted from points-of-view that eliminate the overlapping seen in the reference photograph. Less overlapping adds to the flat quality of the image. Compare the painting to the reference photograph.
Still further left on the continuum we find Willem de Kooning and other abstract impressionists. These artists are more interested in the quality of their paint strokes than the depiction of their subject. These artists are really painting their emotional response to a subject.
Below is an example of an artwork that emulates de Kooning’s approach to abstraction. The reference photograph used for the cubist example was used again for the example below. Having already painted two abstractions of the same still-life, I was beginning to feel as certain disdain for the arrangement. Therefore, the emotion expressed in this artwork is, in fact, disdain. Can you see it?
Non-Objective Art
Non-objective art is defined as having no recognizable subject matter. The starting point takes nothing from visual reality. Instead of drawing people, trees, buildings or any other observable things, non-objective artists use the elements of art as their subject; lines, shapes, forms, values, colors and textures. See these elements are used by Kandinsky in the painting below.
Non-objective art can be difficult to classify. Without ancillary information, the next image may appear to be non-objective as well. It is based on the same reference photo used for the cubist example. However, this artwork is only highly abstract and not non-objective. Having been reduced to flat, disconnected shapes one cannot, with certainty, identify any of the objects depicted.
Conversely, a viewer may see an artwork that is non-objective but believe it to be abstract due to the imposition of their own creativity. All people are creative to varying degrees when compared with other animals.
Think about it. Have you ever seen a cloud that looked like something else? That’s creativity. The same thing happens with non-objective art, to the chagrin of non-objective artists. People believe they see things that are not intended by the artist. For this reason, non-objective art is challenging to discern from abstract art.
Is the following artwork abstract or non-objective? How can you be sure?
It is, in fact, meant as a non-objective artwork. Is it successful? Does it look like something you have seen before? If the image above is unique to the viewer, then it is a successful non-objective artwork.
In cases where we don’t know the intent of the artist, it may be impossible to tell the difference between an abstract work or a non-objective one. But this isn’t the point. We don’t have to know to enjoy and appreciate the work.
No matter where the artist started, the goal of the end result is the same – to create an aesthetically successful work of art.
Conclusion
And this is the goal of any work that we create – to create something that didn’t exist before that is beautiful, thought-provoking, or enriching in some way. It may be representational, abstract, or non-objective. But it’s all art, and it can all be appreciated.
This should give us freedom. Freedom to create what we want and freedom from the critics that live within our minds. What are you going to create today?
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In this lesson, we’ll take a look at how to draw a rose with pastels. We’re using pastels and pastel pencils to complete the drawing, but the process and techniques that we’ll explore can be used for any other drawing medium with similar characteristics such as graphite pencils, charcoal, and colored pencils.
This first lesson describes the process of drawing a rose with pastels. A second lesson is included on this page on drawing a rose with colored pencils. You can skip to this lesson using the following link…
For this demonstration, we begin with a simple contour line drawing of the rose. This line drawing can be drawn freehand or you may choose to transfer the outline of the rose directly to the drawing surface.
If you want to begin with the same contour line drawing that was used for this lesson, I’ve provided a template of the rose outline for you to use below.
If you want to learn how to draw a rose from imagination, you will need to practice drawing it from observation. So if this applies to use, it’s best to skip using the outline.
You may also draw directly from observation using this template if you prefer…
Rose Photo Reference
The photo reference we’re using for this lesson is from pixabay.com, a wonderful resource for royalty-free images submitted by users. I have manipulated the photo slightly by reversing the image and played around a bit with the contrast. Here’s the reference photo…
Suggested Materials
This lesson features the use of several forms of pastels as well as several different brands. You may, of course, use any medium that you wish. The concepts that we explore here are fairly universal and can be applied to any drawing medium that you wish. But, before dive into those concepts and take a look at the step by step approach, let’s discuss the materials used here.
PastelMat Paper
The surface we’re using is PastelMat paper (See my review of this paper). This paper is specifically branded and designed for pastel applications, but any drawing medium can be applied to it. The surface is relatively smooth compared to other pastel surfaces. This makes it suitable for subjects where smooth gradations of tone and value are a must. Even though the surface is fairly smooth, it still has enough grit to accept multiple, layered applications of pastel – which is important for any pastel drawing that you create. It is available in various tones.
The paper features one side suitable for mark-making and is supported on the backside with a waxy, thick backing. Each sheet includes its own cover sheet which also doubles nicely as a protective barrier while working on the art.
Rembrandt Pastels
Rembrandt pastels are artist-grade pastels that are used by professionals. They are quite rich in pigmentation and are available in just about any color you can imagine. The pigmentation does affect the behavior of the pastels. Some colors are more difficult to layer over, while others are covered with ease. This characteristic steers some artists away from this brand. However, after using several different brands of pastels over the years, these are still my favorite.
Conte a Paris Pastel Pencils
These artist-grade pastels are very pigment-rich. They are extra-soft, spreading strong color as they are applied. They easily cover applications underneath and are blended with ease. They are a bit pricey, and their life is relatively short (since they are so soft). The pencils are thicker than ordinary pencils, so a larger pencil sharpener may be used. They can also be sharpened with blade (which is how I prefer to sharpen them). They are so soft that they are easily broken during use. However, this trade-off is relatively minor since the quality of the mark is exceptional.
CarbOthello Pastel Pencils
While the softer Conte a Paris pastel pencils are great for coverage and some of the details, the CarbOthello chalk pastel pencils handle the details with more precision. These pencils provide excellent control, which can be difficult to achieve with pastels in general. They are harder than some of the pastel pencil options, but this characteristic is also what makes them great for precision. They are the size of a regular pencil, so sharpening them is a breeze with a regular pencil sharpener.
How to Draw a Rose Step by Step
Now, we’ll look at the step by step process and how to draw a rose with pastels. As mentioned before, we begin with a simple contour line drawing (or graphite transfer). It’s important to avoid placing too much pressure on the tip of the graphite pencil when creating the line drawing. It’s easy to create indentations in the PastelMat paper which will be visible when applying the softer pastels.
After the line drawing is in place, we’ll start addressing the background. Since we can cover pastel applications with additional pastels, it makes sense to work from the areas farthest away from the viewer to the foreground. We’ll begin with an application of black and cover the entire background space. Black on its own, however, is very strong and can make a color drawing or painting appear flat and unnatural. In this case, we want to create strong contrast between the rose and the background, but we still need the image to appear natural.
To preserve a strong contrasting background while keeping a natural appearance, we’ll apply a dark red over the black applications and blend them with a finger or blending cloth. After applying the dark red, an additional application of black is applied and blended. The result is a dark background that maintains a hint of color.
Drawing the Rose Petals
For this image, we’ll address each petal of the rose individually. You could address the rose as whole if you prefer, but since we’ll address each petal with the same set of colors we’ll still create a sense of unity approaching the subject in this manner.
Just as we considered the background as the area that is farthest from the viewer, we’ll approach the petals in the same way. We’ll begin with the petals that are the farthest away and work forward. The only caveat to this is the positioning of your hand. If possible, we want to avoid laying the palm of our hand over areas of the drawing that we have already addressed. This means that you may have to skip around in the drawing, and abandon the “front to back” approach for some the petals.
We’ll begin our first petal with a solid application of a base red. It’s a good idea to choose a base color that is close to a middle value. This allows us to “push” the values for each of the petals either darker or lighter to create the illusion of form and texture. By using the same base color throughout the drawing, we also ensure a bit of harmony.
After the base color is in place, we can layer both warm and cool reds of slightly different values over the top.
We can add a bit of black with a pastel pencil to push the darker values and subtle shadows on our first petal. These applications are then blended with a blending stump. Be sure to blend the applications using directional stroking that matches the texture of the petal. The PastelMat paper provides a great surface for work with blending tools, providing a bit more precision.
We’ll continue to gradually push the value range and increase the contrast with additional applications of black over the red underlayment. We’ll also add a few strong highlights with a pink and light peach pastel pencil, before blending again with the blending stump.
With our first petal in place, we have a set of colors and a repeatable technique that we can use on the remaining rose petals. By using the same colors and the same approach for each of the petals, we ensure consistency and create harmony in the drawing.
The Secrets to Drawing
The Secrets to Drawing is a comprehensive learning experience designed to guide absolute beginners and intermediate artists through the core foundations of drawing.
We’ll next continue to the next set of rose petals that overlap the first. Remember, we’re also considering the placement of our hand as well. Since I’m right-handed, I’ll stay primarily on the left side of the drawing as long as I can to prevent any unwanted smudging.
Again, this is the process that we’ve developed…
Lay down the base red with a solid application.
Apply cool and warm reds of various values.
Adjust dark values by applying black.
Add highlights with lighter red (pinks and red-oranges).
Blend layered applications with a blending tool.
As we progress through these steps, we’ll also continue to consider the directional strokes that we make. These strokes, often referred to as “cross contour lines“, should flow over the form of the petal. This means that the directional strokes will change direction for each new petal and most circumstances, change direction within each petal.
Drawing the Stem and Leaves
We’ll take a break from drawing the rose petals for a moment and address the stem and the leaves. Even though this section is different in color, we’ll still use the same technique for developing the form and texture.
We’ll start with a base application of yellow-green using a pastel pencil. I would suggest staying away from greens that are dominated by blue for the base application. (Blue-dominated greens can appear unnatural when used for leaves and stems, although we’ll still use a blue-green for portions of the core shadow on the stem.)
Once the base application of yellow-green is in place, we can develop the darker values with black and the lighter tones with a lighter, earthy yellow-green. Each layered application is blended with the blending stump.
On the stem, the same colors are used with the exception of a darker, blue-green which is added in the area of core shadow. Notice that since we have two light sources, the core shadow is found near the center of the stem. We see highlights, addressed with light yellow-green, on either side of the body of the stem.
Continuing with the Rose Petals
With the leaves and stem in place, we’ll go back to developing the rose petals. As we work closer to the dominant light source, on the right side of the picture plane, we’ll begin adding more of the warmer reds and less of the cooler ones. Most of the cooler reds exist mainly on the left side of the rose.
We’ll also use more of the lighter red-oranges (peach) to address the highlights.
As we develop each petal, we’ll gradually work our way to the center. Take note of how the large, exposed side of the petal pictured below is rather smooth in surface texture. Instead of leaving defined strokes, as we have thus far, we’ll smooth these applications with the blending tool to reflect the texture observed.
At this point, only a few rose petals remain. But before addressing the very center of the rose, we’ll add the petals on the extreme right side of the flower. These petals are developed first, since the center of the rose overlaps them.
We’ve finally made it to the center of the rose. Now we’ll just draw in the last remaining petals. We’ll continue to follow the same approach – using the same technique with the same order of colors.
The drawing is almost complete. Just a few finishing touches remain. We’ll next address the small portion of the petal that overlaps near the center. This area is rather small, so after the base color is applied, only pastel pencils are used to develop the value.
Cleaning Up the Drawing
Like with any pastel drawing, some excess dust will inevitably find its way into areas that you did not intend. While we make efforts to clean things up as we go, we may find that we need to tidy up the drawing further when we’re complete. In this case, quite a bit of pastel dust has made its way into the darker background. In order to preserve the strong contrast, we can use a finger or a blending cloth to blend this excess dust away.
To refine the edges of the rose, a black pastel pencil is used where a finger would do more harm than good.
Now, our drawing of a rose with pastels and pastel pencils is complete.
Next we’ll take a look at a step by step break down of drawing a rose with colored pencils…
Drawing a Rose With Colored Pencils
This lesson has been prepared by artist, Eugenia Hauss.
In this lesson, we’ll take a look at how to draw a rose with colored pencils.
We’ll explore the possibilities of toned paper. If you’re new to this theme, here’s a great article that will guide you through the advantages of drawing on toned paper…
For this drawing, I’ve chosen a sheet of pastel paper. It has a delicate yellowish tint and a subtle texture. The selected colored pencils will harmonize with the color of the paper.
The goal of my project is to create a beautiful drawing (or, if we put it more precisely, a sketch) of a rose. Such experiments can be a fun thing to do – and they don’t require much time to complete. Also, it’s possible to consider this project as preparation for a larger and more ambitious artwork on toned paper, if you like.
The Materials for Drawing a Rose on Toned Paper
My drawing is small. I’ll use about a half of a standard A4 paper size for it. The color of paper is called “Vanilla” and this name is quite appropriate for this light yellowish tint.
The colored pencils I’ll use are from the Faber-Castell Polychromos set (please feel free to use any pencils you like). I usually preselect a range of colored pencils that seem to be a nice fit to the idea in my mind. This limitation helps to unify the drawing.
The pencils for this project are:
Red-Violet
Olive Green Yellowish
Raw Umber
Pompeian Red
Phthalo Blue
Medium Flesh
Warm Grey II
White
Light Flesh
Cream
May Green
It’s useful to try out the selected pencils on a piece of paper that is the same or very similar to the one you’ve chosen for your project. Colored pencils create a semi-transparent covering, so the color of paper influences the result greatly.
Plus, keep in mind the texture of our paper. Since the paper is textured, it will play a role in the finished result.
Also, I recommend keeping a sharpener at hand. Sometimes having a sharp tip of the pencil is crucial, especially if you’re working on the fine details or outlining any contours.
For the graphite sketching part, which is the next step below, we’ll need a pencil – or a couple of them, for example, HB and 3B – and an eraser.
Drawing a Rose with Graphite Pencils
Completing this step isn’t required of course. Feel free to skip it if you prefer to start drawing with colored pencils right away. But keep in mind, it’s helpful to “study” your subject with a quick sketch before committing to colored pencil applications.
I’ve decided to create an improvised guideline that will help me in the creation process. I’m going to create the general design of petals and allocate values before picking up a colored pencil.
A rose may seem intimidating to draw – it has many bending petals that curve slightly and fold in different directions. However, this task is not that complex. Just remember that the petals are organized around the center of the flower.
It’s useful to study a live rose to grasp the subtle value transitions and structure of this subject. In the case with roses, studying nature may work more efficiently than trying to figure out the important nuances through a photo reference.
To simplify the task, you may decide to begin with a stylized outline. First, I mark the shape of the rose’s inner portion, which looks solid and resembles the top part of a wine glass. With this central element in place, we can arrange single petals around it.
Now let’s refine the outline by changing the contours of the petals and erase any unnecessary lines.
Feel free to change the initial sketch or add new elements. As I made refinements to the sketch, the petals of my rose became more angular.
With an HB pencil, I start allocating the values. I use both hatching and soft pencils marks, which are made with circular motions of my hand. If lines repeat the contours of an object, it gives the drawing more volume. The circular strokes are especially great for conveying the beautiful, velvety texture of the petals.
I increase the contrast gradually, working with both HB and 3B pencils. The areas between petals, where the cast shadows are found, become noticeably darker.
The bending parts of the petals remain lighter in value. I leave the tips of the petals almost untouched.
Now, as the tonal sketch is complete, I feel confident in my vision of the future colored pencil work I’ll create. However, this part of the process is simply preparation.
Drawing a Rose with Colored Pencils
I transfer the main contours of the rose to the pastel paper sheet, using the window as a light board. The daylight is our friend!
The lines are very light, made with Warm Grey II. I avoid applying any graphite pencil marks to the pastel paper because it may smear and contaminate the subsequent colored pencil applications.
Also, I mark the darker areas of the flower, using Medium Flesh. I continue to refer to the graphite sketch to make decisions regarding the locations of the values.
With Cream, I create a base of the light yellowish tint. It also softens the transition between the existing pencil applications and the color of the paper itself.
However, I leave some gaps of untouched paper here and there, especially on the tips of the petals.
With White, I lighten the tips and the bent portions of the petals. I keep a medium pressure on the pencil, but avoid pushing too hard as it may damage the tooth of the paper.
Also, I increase the contrast just a little by applying Pompeian Red to the darker parts of the rose. These applications are soft and light, but add a touch of color.
I add some Red-Violet strokes, which is a darker color. I use only the tip of the pencil which is very sharp, only to the darkest areas of the drawing.
It’s time to work on the green sections of the rose. I develop them with May Green as a base color and use Olive Green Yellowish to accent shadows.
I carefully burnish the petals with Light Flesh, applying the light color on top of existing pencil marks with circular motions with medium pressure. I also add a bit of this color to the green elements to create visual harmony.
If any details are lost while burnishing, it’s possible to restore them with Red-Violet or Pompeian Red.
I evaluate my drawing. It looks nice, but I’d like to give some more warmth to the petals. So I add natural brownish touches with Raw Umber, keeping light pressure on the pencil.
My intent is to suggest a warmer hue in the areas that are close to the shadows. I also add this hue to the greens.
If any applications of Raw Umber become too strong for our delicate drawing, I dilute them with Medium Flesh. Or, if there is a need to lighten them a bit, burnishing with a light tint (for example, Light Flesh or Cream) does the trick.
To deepen the shadows, I carefully add just a bit of Phthalo Blue to the darkest areas of the drawing. This creates more contrast and makes the drawing vivid!
Summing it Up
I’m happy with the result of my rose drawing. I think it’s a beautiful colored pencil sketch and reminds me of vintage floral postcards. And, completing this piece took little time, thanks to the tint of the paper that provided us with the base color and saved us a lot of effort.
Conclusion
Now we’ve had a look at how to draw a rose with pastels and colored pencils. The process is similar with any medium that you choose to use. Just remember to avoid getting overwhelmed with all of the folds and details. Take the process slowly and you’re likely to be successful.
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Early fall is a season of beauty and rich colors. It also inspires us as artists to look around and notice all the remarkable things that can be easily transformed into new sketches and drawings.
Today, we’ll create a nature-inspired drawing. Our tools will be an ordinary graphite pencil and three ink liners. This set of supplies is a great choice for capturing the general shapes and textural details of the objects we’re depicting.
If you’re going to follow along, please feel free to draw any mushroom you like. It may have an completely different shape or texture from my example. You can draw from a reference photo or find a real, tangible mushroom (or even imagine one that probably doesn’t exist). The point of this tutorial is to apply the basic principles, sharpen our artistic skills, and have fun.
So let’s skip the long introductions and dive right into the process!
Art Supplies For Our Mushroom Drawing
As I said, you don’t need anything fancy for this project; just a graphite pencil, an eraser, and some ink liners from a very thin (0.05) to a rather thick (0.3) line width.
Also, you can choose a nib pen instead of ink liners.
I recommend using a heavier paper – just in case you decide later on that your drawing will be even better with a subtle inclusion of watercolor or some other media.
Create a Pencil Sketch of the Shape of The Mushroom
If your goal is to create a spontaneous, quick ink drawing, feel free to skip this part. However, having a graphite sketch allows thinking the artwork through beforehand and may provide you with a little confidence.
I start with a miniature sketch. The goal is to lay down the proportions and the silhouettes of the shape.
I decided to draw a mushroom with a triangular, elongated cap and a long stem. I’ll also place a small snail on top of the cap, just to make the drawing more interesting and add a bit of narrative.
I begin directly on the final paper, drafting the general shape of the mushroom.
I imagine that I can see through the object, like it’s transparent. A subsidiary core line and ovals help me to visualize that my model is three-dimensional.
The Pen and Ink Experience
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Don’t strive for perfection here – a mushroom is an organic object, so it can’t be absolutely even or symmetrical.
In the image below, you’ll find our mushroom sketch alongside the miniature.
I refine the sketch, adding some details of the cap’s texture and outlining the spiral of the snail’s shell. Snails have two longer tentacles (those with the eyes at the tips) and two shorter ones. The latter usually point to the ground. They are used for olfactory orientation and help the snail in searching for food.
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To fill the bottom part of the drawing, I add some fallen leaves, grass blades, and coniferous needles. For now, we’ll leave out some of the details in this area.
I’m happy with this pencil sketch – it has all the necessary elements, so we can proceed to the next part.
Let’s Add Ink To The Mushroom
I use both 0.1 and 0.3 ink liners to outline the contours. A thinner line is better for the lighter objects (or the lighter parts of the objects). I’m going to create a tonal gradient at the mushroom’s cap, so its bottom part needs a thicker contour.
I try to find a visual rhythm in the lower part of the drawing, where we have all the leaves and grass. The elements should look like a uniform system and redirect the viewer’s attention to the mushroom.
With the 0.05 liner, I work on the lighter areas of the drawing, such as the cap’s top and the body of the snail. Groups of short hatches and dots are a great way to create a basic texture and give a hint at core shadows.
In the bottom part of the drawing, I use mostly relaxed hatches to plan the darker values.
With the 0.3 ink liner, I darken the lower part of the cap, accenting the lower portion. I use cross hatching and stippling to describe the value and the texture. Combining these techniques allows me to achieve the sense of texture and volume at the same time. The cap has some prominent, relief parts – they should remain light for now.
We need a smooth, soft transition from nearly white at the cap’s top to almost black in the bottom portion. The sides of the cap become slightly darker to create the illusion that this element is three-dimensional.
I also increase the contrast in the lower part of the drawing.
In the image below, you’ll find a close-up fragment of the mushroom’s cap.
With the 0.05 ink liner, I add the details. The short hatches create the texture of the snail’s body and the long contour lines accent the volume of its shell.
I also add some hatching to the mushroom’s cap to soften the transition from lighter to darker values.
The stem has a smooth texture, so I apply very fine contour hatching and stippling to reflect this texture.
With the 0.05 liner again, I darken the shell with the long, curved hatches.
I’m going to make the shell rather dark to balance the lightness at the top of the mushroom. Don’t forget about the cast shadow under the snail. The cast shadow here should be darker than the snail’s core shadows!
I also accent the sides of the stem and darken the cast shadow that is created by the massive cap. The leaves underneath require some additional hatching, too – we need to balance the light stem and the leafy foundation.
The drawing looks quite believable at this step, but to add to its realism, I add some thin veins of the leaves. Small spots on the leaves’ surface reflect the Fall season and help to convey the mood.
As a finishing touch, I add some dots to the background in the lower part of the drawing, so the natural elements blend into it.
Conclusion
Congratulations – we’ve made it to the end! I hope that this creative journey was fascinating.
The world of mushrooms is an endless opportunity to be inspired. Just think of those dozens or even hundreds of possible shapes, textures, and colors.
I became so excited about this theme that mushrooms of all kinds started filling the pages of my sketchbook. Here is an example:
Luckily, mushrooms perfectly fit the size and orientation of many sketchbooks. One mushroom sketch a day for a week, two weeks, or a month is a nice artistic challenge, isn’t it?
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Composition is perhaps the most overlooked aspect of art creation. It’s also one of the most important aspects to get right. If your composition is weak, then your work is also weak. Even if you have a full range of value, your proportions are correct, and you’ve used the medium as a master – if your composition is poorly planned and executed, then your art could be considered a failure.
Thankfully, composition is one of those things that we can get right with a little planning and knowledge. It doesn’t require “talent” and it definitely isn’t about “guesswork”. There are a few “rules” we can consider when we plan our works so that we can be successful every time.
What is Composition in Art?
There’s obviously more to creating a successful work of art outside of mark-making and medium mastery. Our composition plays an important role in how our works are viewed and experienced by our audience.
But before we define composition in terms of art, let’s look at a related subject.
If you’re a musician, then you know that musical works can also be referred to as “compositions”. There is a structure to a song. Each musician plays “their part”. If a musician plays at the wrong time or plays the wrong notes, then the song becomes a mess. Each part is carefully crafted so that the song is the best that it can be. In some songs, the guitar may have more parts and dominate the song. In others, it may be the piano.
We can compare this musical analogy to art-making. Just like a song, each work of art that we create has a structure (or should have a structure). As artists, we plan this structure and execute it as we create the art.
If we don’t carefully plan the elements that we include, our art can become a real mess.
So when it comes to art, composition is the arrangement of elements within the pictorial space (or three-dimensional space with a sculpture). The positioning and arrangement of elements within a work affect how a viewer interacts with what we create.
Just like with a song, the possibilities are endless. We have total creative freedom regarding how we arrange the elements within our works. But even though the possibilities are endless, it doesn’t mean that we can approach composition with a haphazard approach without planning. We must craft our compositions, just as a skilled composer would.
In some works, a specific element may dominate. In others, a different element may dominate. However, we should always make sure that we don’t have too many elements competing for attention. In a song, we wouldn’t expect to have a guitar solo, a piano solo, and a drum solo all taking place at the same time. In a work of art, we also wouldn’t expect to have all of the elements we include competing for attention.
Instead, we should focus the attention of our viewer on one or two elements within the scene. These elements become the focal point(s). All of the other elements within the work then become the supporting cast members.
Creating Focal Points
A focal point is the area or areas within a scene that command the visual attention of the viewer. In most cases, focal points include the main subject. Every work of art should have at least one focal point.
Focal points should be limited. In many cases, only one focal point is required. You can have more than one focal point, but any number beyond three will be difficult to pull off. If your work has more than one focal point, then there should be one that dominates the others. In other words, there should be one main focal point and perhaps a supporting or secondary focal point.
Focal points can be created in a work using a variety of techniques. These techniques include…
Contrast
Isolation
Placement
Convergence
The Unusal
Although we’ll briefly cover each of these techniques here, we cover them in more depth in these lessons…
Now, let’s briefly look at each technique for creating a focal point.
Contrast
Contrast deals with difference. This could be difference in value, color, texture, size, etc. When we include an area of strong contrast, it pulls the viewer’s eye to that location in the work and creates a focal point.
Isolation
If you ever got in trouble as a kid and the teacher put you in the corner, then you know what isolation is all about. When you’re sent to the corner, every other kid in the classroom stares at you. What a terrible punishment!
When we isolate a subject or an element in a drawing or painting, then this element naturally commands attention and becomes a focal point.
Placement
We are visually pulled to the center of shapes. If we think of the picture plane of our work as a shape such as rectangle, then we can expect our viewer to be pulled to the center. If we place a subject close to or exactly in the center of our picture plane, then this subject becomes a focal point.
Van Gogh “Head of a Woman” 1882
Although this technique works to create a strong focal point, it’s usually not the best technique to create a visually stimulating composition. When we place subjects in the center of the work, the result is typically static and boring. It’s better to place the subject slightly off center, or better yet – on one of the thirds. More on that in a moment.
Convergence
Convergence refers to the act of guiding a viewer’s eye within a work using visual cues. These may be lines, shapes, contrasting colors, etc. Each element that we include may guide a viewer’s gaze to the focal point. Sometimes, we are drawn to an area within a work simply because the artist has manipulated elements to force our attention to a specific area. We can do this too!
The Unusual
Anything out of the ordinary commands our attention. In the same way, anything that we include in our work that isn’t expected or is drastically different from the other elements within the scene will become a focal point.
Creating a defined focal point is important in creating a strong composition, but there’s more to it than that. We also should consider a few of the principles of design.
25 Days to Better Drawings Learn a new drawing concept and skill every day for 25 days. Each drawing concept taught includes a short drawing exercise (less than one hour) that reinforces the concept taught.
The principles of design deal with the arrangement of the elements of art in work. The elements of art are the basic components or building blocks of art creation.
You can learn more about both the elements of art and principles of design here…
(Some art specialists also include contrast as a principle. But since contrast can create emphasis, most people leave it off of the list of eight.)
Not all of the principles of design directly affect our compositions, but most of them do. Here’s a closer look at the ones that do…
Balance
In terms of art, balance refers to the overall distribution of visual weight in a composition. Each object that we include in a work carries with it a visual weight. When we add an element to one side of our composition, we’ll like need to add another or several elements to balance the visual weight on the other side.
Visual balance can be achieved by adding elements or by using negative space. (More on negative and positive space in a moment.)
We can compare balance to a teeter totter or a seesaw. Imagine we have one large object (or person) on one side of the seesaw. The seesaw won’t be balanced.
But, if we add a couple of medium sized objects (or people) to the other side of the seesaw, we achieve an equilibrium. The seesaw is now balanced.
If a work is not balanced visually, it may feel “heavy”. For example, if we include too much visual weight at the bottom of a composition, the weight will pull a viewer’s eye to the bottom. The composition will feel unsettling.
But if we counter-act this weight with an element or two at the top of the composition, then it becomes more balanced.
We should also be aware of how our composition is cropped as this can also influence balance.
Many times, we’ll have elements that extend beyond the confines of the picture plane. If the edges of these elements are positioned in a way so they are close to the edges of the picture plane, this will create added visual weight and perhaps unwanted attention.
Take a look at the images below. In the image on the left, notice how the bird is positioned too close to the edge of the picture plane. The edge of the branch at the top is also too close to the left side of the picture plane.
In the second image, there is enough space provided on both sides of the picture plane to provide a bit of balance resulting in a better composition.
If we position the subjects in our works so that their edges either end a bit further from the edges of the picture plane or extend well beyond the confines of the picture plane, then this visual weight is minimized.
We should also consider each one of the edges of the picture plane. If we have elements that extend off the picture plane on two sides, we may create too much visual weight on those two sides. But, if we allow the subjects to extend off the picture plane on all four sides, we may create a more balanced composition.
Movement
Movement can refer to the illusion of actual movement in a drawing or painting; or it can refer to the movement that a viewer’s eye takes when experiencing your art. In terms of composition, we are most concerned with the latter.
When a viewer interacts with your art, their eyes move from one element to the next. Usually the most commanding element demands immediate attention. After that, the viewer may move on to other supporting elements within the scene.
As artists, we can control this “eye movement” based on how we plan our composition. We can guide the viewer to the most important elements and many times, control how most people will “ingest” our creation. In most cases, we want the viewer’s eye to flow through the work in a certain oder.
Depending on the subject, the order may look something like this…
The viewer is drawn into the work.
The viewer is guided to the focal point(s).
The viewer is guided to supporting elements.
The viewer is guided out of the work or back to the focal point.
This visual movement is usually achieved by creating contrast, guiding lines, diagonals, and overlapping elements.
Take a look at the work below. When you examine it, take note of how your eyes move through the work.
Willard Metcalf “Flying Shadows” 1909-1910
Perhaps your eye followed a similar route as mine. I entered the work at the bottom of the valley, near the stream. I was guided by the line of darker trees to the center of the pictorial space, then back into the forest. I then followed the line of trees, just in front of the distant mountains. From there, I was guided back to the center.
The positioning of these elements allowed me to see all of the important parts within the work, while appreciating each section of the painting on its own.
We can use the same techniques to have a bit of control on how a viewer interacts with our art. Although we can’t fully control how people will view our art, we can have some influence over their visual experience.
Rhythm
We understand rhythm through repetition. For example, we can hear the beat of a song and its rhythm because it repeats – many times in predictable way. Without repetition, there is no rhythm.
In art, the same is true. We must have repetition in order have rhythm. Visually, rhythm is created by repeating elements. This could be a regular or irregular pattern of repeating shapes or it could be a repetition of a specific subject. Either way, repeating elements produce a rhythm.
Take a look at the painting below. Notice how it has a sense of rhythm.
Van Gogh “Irises” 1889
This rhythm is created through repetition. We can see here how the shapes created for the blades of the flowers are repeated…
And also the shapes for the smaller flowers in the upper left corner…
The shapes created for the irises are no different. They also repeat…
A repeating element within a work is often referred to as a “motif”. Including a motif in your work can often lead to a sense of harmony and unity.
Let’s go back to the music analogy. Most popular songs feature a consistent rhythm throughout the song. The dynamics of the song may change, but the time signature rarely does. And even though the notes may change drastically, the consistent rhythm unifies the song from start to finish.
Our artworks should have this consistency, which leads us to the next principles – harmony and unity.
Harmony and Unity
Our art compositions should also be harmonious and unified. Harmony and unity are so closely related that it’s easy to assume that they’re the same thing. They are very similar, but each should be considered separately in our compositions.
Unity deals with a feeling of “oneness”. This is usually accomplished in a work of art by using the medium in a consistent manner and to a level of completion. We can also think of unity in terms of artistic style. If the style and use of media are consistently used in a work and the work feels complete and finished, we usually can say that the work is unified.
Unity can also be created in a work through simplification. This can be achieved by simplifying shapes, subjects, or color schemes.
The work below is unified and harmonious for a number of reasons. The most obvious way it’s unified is through its use of color.
Robert Harris “A North African Interior” 1877
Harris has simplified the color scheme and used mostly the complementary colors of red and green. The green is very earthy, but still present.
Harmony helps to create unity in a work. While unity deals with the work of art as a whole, harmony deals more so with the individual parts of the work. If the individual parts of the piece all work together, then the art could be considered harmonious.
Another way to think of this is to consider a family. A family is made up of different members. Let’s look at a family in a traditional sense for this analogy. A family may have a father, a mother, a son, and a daughter. Each family member is different and is their own unique person – but the family is still a unit. Some families get along well with one another, while others don’t.
We can create harmony and unity in our compositions by…
Using the medium in a consistent manner throughout the work.
Simplifying shapes, subjects, or color schemes.
Using a consistent style throughout the work.
Making sure the work appears finished.
Ensuring that each individual part of the piece works (and makes sense) with the other parts.
Emphasis
We often use emphasis to define the focal point or points within a composition. We’ve already discussed several ways an artist can create a focal point within a work. Each one of these methods relies on emphasis for its success. Emphasis is usually created in a work through some form of contrast.
Take a look at the work below. What do you think is emphasized?
Edgar Degas “The Absinthe Drinker” 1876
Most of us are drawn to the woman in the scene, more specifically – to her face. Degas has pulled our attention to her using several methods. For starters, she’s centrally located within the picture plane. There’s also strong value contrast around her. Notice how the man next to her is dressed in black, while she wears white. There’s even a dark cast shadow on the wall right next to her light face.
Then there’s the lines of convergence created by the tables and the back edge of the bench.
You’ll also notice that the face of the woman has more details compared to the other elements within the scene. This also helps to pull the viewer’s eye.
All of these characteristics help to influence how we interact with the subject.
Variety
Like emphasis, variety also deals with difference. Our drawings and paintings should include some variety.
Consider your favorite food for a moment. Now consider what life would be like if you had to eat your favorite food for every meal for the rest of your life. For breakfast, lunch, and dinner – you have your favorite food and nothing else. It may be great the first day – but after that, you’d grow very tired of your favorite food.
We can think of our artworks in the same way. We don’t want to bore our viewer’s with the same visual information. Instead, we should include some variety to keep them engaged and make our artworks more interesting.
The trick here is balancing both harmony and variety. If we take variety too far, the work will likely not be harmonious. If we take harmony too far, the work may be lacking variety.
Take a look at the image below. Notice how much variety is present…
Wassily Kandinsky “Composition IV” 1911
Kandinsky has created variety by using a broad range of color, but kept the painting unified through simplification.
Positive and Negative Space
Space is one of the seven elements of art. When we think of space, we often consider it in terms of depth or the illusion of depth in a drawing or painting. However, when it comes to composition, we can think of space in terms of the actual pictorial space on the drawing or painting surface.
The space that is taken up by important subjects or design elements is considered positive space. The areas that surround these locations are considered negative space. Often, it is the negative space that provides an area of “rest” for the viewer.
Take a look at the images below. We first see the original image on the left. In the middle image, the negative space is highlighted with red. In the third, we see the positive space highlighted with red.
Positive and negative space work together to create the composition. A composition can be made up of mostly positive space, an even balance of the two, or mostly negative space.
The following image illustrates a composition made of mostly positive space…
Here’s an example of a composition made of equal parts of positive and negative space…
And here’s one made of mostly negative space…
Each one of these compositions is derived from the same subject and each could be considered “successful”.
Successful use of positive and negative space within a composition is dependent on balance. How this balance is achieved will depend on the subject, the use of the medium, the level of detail included, contrast, and other visual factors.
The best way to craft a balance in a work and ensure that the positive and negative space works for the good of the composition is through careful planning.
Planning Your Composition
Planning is perhaps the most important aspect of finding success with your compositions. Unfortunately, it’s the step that most people skip completely.
Let’s say you decide to go on road trip to a place you’ve never been before. It wouldn’t make sense to just pack your bags, hop in the car, and leave without knowing how to get to your destination. You’d likely take a look at a map or enter your destination into your navigation system. You’ll never arrive at your destination without some form of preparation and guidance.
In the same way, we should plan our compositions before we attempt to execute them. We need to know “where we’re going” with our artworks. We should plan the final result before we set out to create it. We can change our ideas as we work if we wish, but we should have a general idea of what we want the finished work to look like before we dive in.
By planning, we can work out all of the compositional puzzles that go into making a strong piece of art. When we do this, we can focus on the actual process of drawing and painting since most of our decisions regarding composition have already been made.
In most cases, planning a composition involves creating small drawings that lack details. These small drawings are often called thumbnails or preliminary sketches. Thumbnails should be created quickly and should be approached with an attitude of experimentation. The more thumbnails that you create before starting on the final surface, the better your chances are at creating a successful composition.
As you create your thumbnails, be open to trying different things. Experiment with the positioning of subjects and with the balance of positive and negative space. Consider how a viewer’s eye may move through the work. Try vertical-based compositions and compare them with horizontal ones. Experiment with different colors. Keep your mind open.
Many times, we have a vision in our minds of what we want to create and naturally assume that it is this vision that is the most successful. However in most cases, our initial vision is just the “tip of the iceberg”. With a little more “digging”, our original vision evolves into something much more successful. This only happens when we are open to experimentation and we take the time to plan.
The Rule of Thirds
The rule of thirds is a compositional theory that is based on the placement of subjects within a composition. It is based on The Golden Mean, which is a mathematical formula that deals with proportional relationships. Since the Golden Mean is quite complex, most artists and photographers rely on the rule of thirds to create a similar effect.
Here’s how it works…
Let’s take a composition and divide it by thirds – both horizontally and vertically. We can imagine lines that run along each of the thirds. These lines intersect in four locations within the picture plane. By placing important subjects or focal points on or near these locations of intersection, we create a more aesthetically successful composition.
Armand Guillaumin “Hollow in the Snow” 1869
Notice how Guillaumin has positioned the figure almost directly on one of these points.
We can also create more dynamic and interesting compositions by placing subjects directly on these lines.
Creating Diagonals
Compositions can be dynamic or static. Static compositions are fairly straight-forward and direct. A static composition makes sense for an informational image – like a scientific illustration. In contrast, a dynamic composition creates a greater sense of story and engages a viewer. In most cases, we want our compositions to be dynamic.
Dynamic compositions can be created by incorporating diagonals into the work. These diagonals may be created with actual lines and shapes or implied lines. They can also be used to help guide a viewer’s eye through the work, as we discussed before.
Fredric Remington “The Cowboy” 1902
Look for interesting ways to include diagonals in your work. This may mean that you change the angle of the vantage point of the viewer. Instead of drawing or painting the subjects from a standard point of view, consider the view from above or below, or even from a tilted angle.
Odd Numbers Are Better
When we compose our artworks, we should also consider the number of subjects or elements that we include. The human mind finds balance in odd numbers. The most optimal number to use is 3. This means that if you are composing a still life, it’s best to use 3 objects. This doesn’t mean that we are limited to 3 objects. We can, of course, include more if we wish. But if we do include more, odd numbers are best.
Let’s consider an image with two objects. With two objects, there seems to be a sort of visual competition between the two. It’s difficult to decide which subject is the focal point.
However, when we include a third, the other two subjects act to frame the third, resulting in a more balanced composition.
Conclusion
Composition is not “guesswork”. A great composition is not the result of luck and it’s certainly not about talent. It’s about understanding how a viewer will visually interact with what we create and careful planning.
We’ve covered quite a bit here. It’s a lot of information to soak in. But by practicing these concepts and incorporating them into your artworks, they will gradually become intuitive and your compositions will improve.
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