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The Secrets to Drawing: Drawing From Life

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Lesson Description

Lesson Eleven of The Secrets to Drawing Course introduces students to one of the most important skills an artist can develop: drawing from life. While previous lessons focused on mastering the fundamental elements of art—line, shape, form, value, space, and perspective—this lesson shifts attention to observational drawing, the practice of drawing directly from real-world subjects. Drawing from life helps artists understand proportion, scale, depth, and the subtleties of light and shadow in a way that images or photographs cannot fully convey.

Instructor Matt Fussell emphasizes that life drawing is not just an advanced skill—it is a critical practice for artists at every level. By observing objects in three-dimensional space, students train their eyes to see the shapes, angles, and relationships that make drawings believable, improving both accuracy and confidence.

Using a View Finder to Compose Your Drawing

A key tool introduced in this lesson is the view finder. The view finder is a simple frame—often a rectangle or square with an open center—that helps artists isolate and focus on a portion of a scene. It allows the artist to see the composition as it will appear on the page and to make better decisions about proportion, placement, and cropping.

Matt demonstrates how to use the view finder to:

  • Identify the edges of the subject that will fit within the drawing area
  • Simplify complex scenes into manageable sections
  • Focus on the most important shapes, lines, and relationships
  • Maintain consistent perspective and spatial organization

Students practice looking through the view finder before making their first pencil marks. This approach encourages careful observation, reduces errors, and creates a strong foundation for a finished drawing.

Observing Light, Shadow, and Form

Once the composition is framed, the lesson guides students in observing light and shadow on the still life arrangement. Drawing from life requires patience and careful study, and this lesson reinforces that value and form are discovered through observation rather than assumption.

Matt explains how to identify:

  • Highlights where light hits the objects most directly
  • Core shadows where the form turns away from the light
  • Reflected light that bounces off surrounding surfaces
  • Cast shadows that ground objects in space

By taking note of these elements before beginning to draw, students can accurately depict the three-dimensional forms and relationships within the still life. This careful observation ensures that the drawing will be both realistic and visually compelling.

The Still Life Drawing Exercise

The main exercise for Lesson Eleven involves drawing a still life arrangement on white drawing paper using graphite pencils. Students begin by lightly sketching the overall composition, focusing on the basic shapes of the objects first. The lesson encourages them to see each object as a combination of shapes and forms, a skill developed in earlier lessons.

Students are guided to:

  • Measure relative proportions between objects
  • Place objects accurately within the composition
  • Maintain perspective and spatial relationships
  • Build the drawing gradually, starting with light lines that can be refined

Once the basic forms are established, students move into shading and rendering. Using techniques learned in Lesson Ten—hatching, cross-hatching, blending, and stippling—they begin to develop volume and texture. This stage of the exercise emphasizes observing how light interacts with each object and how shadows fall across the scene. The goal is to create a drawing that captures the essence of the still life with realism and depth.

Developing Observational Skills

One of the most important outcomes of this lesson is strengthening observational skills. Drawing from life teaches artists to look carefully, notice subtle differences, and translate three-dimensional reality onto a flat page. Students learn that careful observation—not guesswork—is the key to accuracy and realism.

Matt encourages students to practice regularly with different subjects, varying the complexity of objects, the lighting conditions, and the compositions. Over time, this builds confidence and flexibility in drawing from life, allowing students to handle both simple still life and more complex real-world scenes with skill.

The Power of Drawing from Life

By the end of Lesson Eleven, students have learned how to approach drawing from life with focus and confidence. They have practiced using a view finder to compose a scene, carefully observing light, shadow, and form, and applying shading techniques to bring a still life to life on paper.

Drawing from life bridges the gap between technical skill and artistic observation. It reinforces all the lessons learned so far and prepares students for advanced studies in figure drawing, landscape, and complex compositions. Most importantly, it instills a deeper awareness of the visual world, helping students see and interpret it with the eye of an artist.

Lesson Materials

2 or more spotlights, still life objects, drawing paper, drawing media of your choice.

Lesson Resources

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Your Instructor
Matt Fussell - Instructor
Matt Fussell

Founder of The Virtual Instructor, artist and teacher. Matt makes learning art easy to understand and enjoyable.

Lesson Discussion

  1. Hi Mark,

    I am loving your videos and instruction so far, you make everything so easy to understand!

    I just had a question about the sighting technique though? I’m still not getting how to do this the right way.
    I know it’s supposed to help you measure but how do you use that for the compositions?

    Thanks!

  2. Hi Matt, I set up a still life but it took me so long to draw it that the lighting changed. I had a spotlight on the subject but natural light was also coming in through the windows. Are we supposed to sit in a dark room to draw with only artificial light? We don’t have curtains on all our windows. How do you manage changing light when you are doing a detailed drawing?

  3. Hi Matt, thanks so much for your useful lesson. Would it be possible to explain a little bit more about viewfinder? More particularly, where can we get it or even better, how can we make it? What material, what dimensions, how to use it, etc….. Consider most of us are absolute beginners and have never used a viewfinder before. Thank s a lot for your help and support

    • Hi Federica,

      A viewfinder can simply be a piece of heavier paper that is cut proportionally to the drawing or painting surface. You can make one yourself. Manufacturers do make adjustable ones if you want to go that route. Viewfinders simply help to frame the composition when you are drawing from life. Just hold it up in front of what you are drawing and observe the relationships of negative space and positive space that occur within the frame.

      • Thanks Matt for your prompt reply. That shows that you are very serious and you are there to interact with the students of your course. What a support! I’m really satisfied about this course and enjoying it very much. Thank you again

  4. I’m so overwhelmed with joy …learning from you….I had been into painting since 5years, but the basics were very bad. Now you are teaching me my alphabets …like father teaching ….Thank you…I can’t thank you enough….your style is so easy and crystal clear…I’m sure I’m going to learn other courses from you after finishing this course….Thanks again

  5. Thank you Matt for this amazing course. I’ve been wanting to learn the basics of drawing but hadn’t found a course that met my needs and then recently found “The Virtual Instructor”. Now I’m like a child who wants to learn everything that you are offer. Art has become a very important and enjoyable part of my existence now a days. My heartfelt gratitude to you Matt!

  6. Hi Matt

    I would like to thank you and your team for all of the work put into the classes and countless tutorials. They are all fantastic I am especially enjoying discovering pastels and there robustness. Thankyou again keep up the great work.

  7. One of my apples look a bit ovoid, the values really makes the drawing stand up., Not happy with the periphery outside the bowl. Practice practice.

  8. Hey Matt,
    I was wondering how long these drawing generally take you? I want to make sure that I am not rushing through this, and so like setting a certain amount of time for the drawing, so that I have to take longer. Do you have any suggestions on how long a drawing like this should take roughly? Thank you!
    Brianna Thomas

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