365 Days of Drawing Lorna Scobe
365 Days of Drawing Lorna Scobe
365 Days of Drawing Lorna Scobe
T H R O U G H THE CREAT I VE YE AR
x X ^ • 5
r------1
0 m • !• : 10
12 13 14 15 10 I 17 I 18 20
19
21 22 25
24 4-------1 20 27 28 30
23
31 32 3 3 ; 34 35 j 30 37 ! ; 39 40
I------4 38 1------- 1
1----
41 42 43 44 1 45 j 40 48 50
5
51 52 i 53 ; 54 1 55 1 50 I 57 : 58 59 00
a G2 03 % 05
j____i 00 07 08 : 69 i 70
71 72 73 74 75 70 ii .. 77 J 78 1! _79__L 80
• 82 83 84 85 80 ■ • ' 88 90
j •
91 92 93 94 i 95 : 190 97 98 :I 99 I 100
101 102 103 104 105 100 107 108 109 110
111 112 113 114 115 110 0 118 i 119 i 120
121 122 123 124 125 | 120 : 127 128 129 130
131 132 133 134 135 130 137 138 139 140
141 142 143 144 145 140 147 148 149 150
151 152 153 155 ; 150 158 159 100
j _ _| 154 j _ „i 157
101 102 103 1G4 105 100 107 108 109 170
171 172 173 174 1 175 170 177 178 179 180
m ; 182 183 184 ; 185 186 187 ; 188 189 190
m j 192 193 194 195 196 197 ; 198 199 200
201 202 203 204 205 206 207 208 209 210
4. ----------------- ----------------
Zll 212 213 214 215 216 217 218 219 220
A---- ---------------
221 222 223 224 225 226 227 228 229 230
231 232 233 234 235 236 237 238 239 240
241 242
i_ _ _ _ i
243 244 245 246 i 247 i 248 249 250
i
251 252 253 254 255 256 257 1 258 259 260
2G1 ____
262
™ _ _____ j
263 264 ! 265 266 267 268 269 270
271 272 273 274 i 275 276 277 278 279 280
281 282 283 284 285 286 287 288 289 290
_
291 292W r l 293 294 295 296 | 297 298 299 300
301 302 303 304 305 306 307 308 309 310
311 312 313 314 315 316 317 318 319 320
321 322 323 324 325 326 327 328 329 330
331 332 333 334 335 336 337 338 339 340
341 342 343 344 345 346 j 347 348 349 350
....................
351 352 353 354 355 356 j 357 358 359 360
i
361 362 363 364 365
Drawing doesn't have to involve pencils, although
they are a great place to start. You can use any
materials you like to complete this book. If you
feel uncomfortable using the materials suggested,
or feel inspired to try something completely
different, that's absolutely fine. Just remember
that the focus o f this book is on your enjoyment
o f the tasks, and not necessarily the end result.
Here are some other materials you may like to Tracing paper: Stick this over draw ings which
have in your a rt kit: are a bit messy, using masking tape.
— Scissors: For collages and cutting paper. Bulldog clips: Useful for holding back the rest of
your pages w hilst you w ork on an activity.
— Glue: PVA or a gluestick can be used to
stick dow n collages. W ater dow n PVA to
make it less gloopy.
1. Begin by roughly drawing the shape 2. Eventually, you are aiming to draw the outline
of the object. If it is round, sketch a circle straightaway, without roughly sketching a shape
with roughly the correct shape. Then add beforehand. Practise drawing the object until you
more detail and accurate lines until you can do this. M ove your eye slowly around the edge
are happy with it. of the shape, drawing the outline as you go.
'7ifi: CoKsides each &M. thaitupu,pui tt,e.paper, s& tL at^ sirenJtend, op totfU
a, thick m ass o f tines. C onstant^ m nve,psnr e^e,front/ (Ae, ob ject to- the,popes.
Use the opposite page to d ra w trees. Use any materials
you like. Start with the trunk and branches and then add
the leaves or flowers.
i t as a wltate, sim ptitp i t into- its ba sic shape,. CaretftMu. adst Ik the,
branches frant, thicb, to- thin,, where,pau. s e e theme, startina w ith th e
trusts,. Danttwarrp a b a u t capturin p euerp detart, as J u s t a few tin es
ca st b e used, to- d&cribe the, essen ce aft th e tree.
A Draw the statue that the people are looking at.
* <►
y
% 73
v v
Fill the page with leaf shapes.
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'
A colour wheel can be used to see the relationship between colours and helps
w ith choosing palettes. Three o f these colours - red, ye llow and blue - are
prim ary colours. M ix these together to make the rest o f the colours.
0 .0 ^
*
* 4
/ V \
*
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Continue adding dashes to complete the pattern and fill the page.
* *«###.
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««< i n »
Explore colours that look good together. Fill in the boxes
with the colours that you think w ork well as a set.
Visit a museum or exhibition. Using coloured pencils,
dra w items that interest you. You may like to add
information about the items alongside your drawings.
1. Roughly draw a horizontal line on the page. Then close one eye and hold up your pencil so
that it forms a horizontal line along the side of the object. Carefully observe the angles made
between the pencil and the object. Replicate these angles in your drawing.
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m
wfp*
vest>iM i#n.
Find a photograph o f a face. Turn it upside dow n, and d ra w it here. W hen
we look at an image upside down, we see the tone and shape rather than a
recogniseable face. This is a useful draw ing technique as instead o f draw ing
w hat we think a face should look like, w e d ra w w hat w e actually see.
'Jlfi: VtKttoo-rrp ajfutm adin^ mistakes, this exescise. is aieuiprastisui^ taaiin^, cudhuitdin^
cp&us cs-nfide/vte,. hjaur dstuvijb^s ccut, avestafl, cud^ chc, cjmM , cantuuse, drajv/j^ eudside, efi this hs-d.
36 Continue the pattern.
37 Draw the animal these hooves belong to.
7lfi: dfate, th,e, width. o f the,fir s t b a st an d then, use, th a t as a. au ide-fat the, r e s t o f the,
widths. Perhafts the-nex tbash is twice, the, w idth o f th e,first boat.
M) Find an image that appeals to you. Glue it here if you can. Pick
out the colours that you can see in the image, and paint colour
swatches o f them below, creating the colour palette o f the image.
lift: Hesn&ni&f ta ta a t a t the- a b ject, tra cin g tk eir w JliK e, uitA ipaus r a tte r
tin x k tk cft after. trip ckaasin^ a b ject u it k fta ttern s fa r o k extra. cA atten^e.
The colour palette you choose can affect the mood of your draw ing.
A dd colour swatches of cool colours below. W h a t mood is created?
a Draw an object from your home that was given to you as a gift.
45 Draw things you love about spring.
1. First, create swatches o f 4 tones that you can see in the o b je ct from light
to dark. You could use 3 B -5 B pencils for this, pressing harder to achieve
the darker tones. You w ill refer back to these tones to w hilst dra w in g .
m
j r.
S'/tiatcAes:
1 2
L g
i h te s t TJashest
2 . D raw the w h o le shape o f the o b je c t using your lightest tone (swatch l ). Sim plify
the ob je ct as much as possible so you are just focusing on the tone, not detail.
3. A d d the medium tones, 2 - 3 , into the areas w here you see them on the object.
You are building up the tone on the im age from lightest to darkest.
4 . Finally, a d d your darkest tone (swatch 4). You may w a n t to sharpen your pencil
to a d d the final dark details.
n o o o O o o
O O
u 0 O o
o O
o ° O
(
0 0 o O
O O O 0 ° O ° ° 0
0 o
oO o o 0 o o ° 0
„ o 0 0 ° o 0 O
° o -o o o o ° - o 0
0 0 o 0 o o o c o o
0 o o O o o
o o o o O O
o
o o 0 o o o ( o
o
0 o o o o o
o 0 o o o
o
r. o
o o
o o
0
o o
o O o
0o o
o o
o o
o o o o o
o
o
o
Fill the squares w ith different marks. You could try dashes,
lines, spots, swirls and cross-hatches.
/ / / I I / / t / / >t
//»//////*/*»
y w w w
/ i u / / / / / « / *
y\AAAAA^
h f i r f r ft it • y \A A A /W V
t t t u f l i H I t »
frr m itrttn -A /X A A A A A .
n m i i n i i n
I I I i tu t tn i
50 Draw a cold crisp day using only shades o f blue. You
could d ra w from your im agination, d ra w the view from
your w indow , or even from a photograph.
~
7]fi: kuAc uiM fun-ve, tuv .
Z tu M e jn fk a s is e , fA& o M .
■
The primary colours cannot be made from mixing other colours. These are red, blue and yellow.
# #
You can use these 3 primary colours to mix secondary colours, and once you have these, you
can make many more colours by mixing.
P rvna su
0 0 0
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£e& & hdaru
0 0 0
r
Complete a series o f 3-minute draw ings (as many as you can fit on this
page) of an object or a person below. Set a timer, and, using a pencil,
aim to get as much o f the object draw n as possible in the time. Don't
w o rry about whether you are creating a 'g oo d d ra w in g ' - the purpose of
this activity is to warm up, and it is a great exercise to practise every day.
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63 W hen draw ing out and about, try using a variety of
different materials in one d raw ing. Use the page opposite.
M aterials s o r t as
u a tercela a r an d nay
p a s til can, ce-vef tarpz
areas, an d ca n he '•C .
q eu flip . ljau.ce-uldas&
thrse first, to-map e a t
if
yea r mam, sh
there I h a v e, ctsed them,
an, the, shun, an d ja ch et. '
Standard
^ — ---------- Softness and blackness writing pencil Hardness ----------
(good for shading] (good for precise lines
6 8 5 8 ¥ 8 3 8 2 % 2 # 8 # 2 P
# # ♦ # # *
1. Look carefully at your object. On the opposite page, draw a swatch of the
lightest shade you can see, after white. You can use the paper as the lightest
shade. Applying minimal pressure with the pencil w ill make it light. Next,
add a swatch of the darkest shade you see. This will be used to outline the
darkest areas and give the object a crisp edge. Add 2 -3 medium tones that
you can see in between, from light to dark.
Ttfi: Perhaps c u t a n t stick a.p iece ejf cs-taur&sipaper to-farm the, takte top is,pater
drsuvinp. tjsu, ca u tt then ctraro a ffects set tap ofp a ter taM eroitk a,pen, s c even
crea te th e en tire /ranjinp toikk cattapedpaper.
Using w atercolour and a brush or w ater brush pen, practise
controlling the thickness o f the marks you make. Use this space
to explore moving from thin to thick marks, and back again.
7J p p tp m in im a lp re s s u re on,
[ th e b ra s h to c re a te a th ln
m a s k ,. c fu s t th e , tip W itth e
o e r.
7o esta te, a, thick er
tins,, ^rasCuatt^
apptp m o rep ressu se f te lc a s e . th e p re s s u s e
so- Tam, m o re orf the, o p (use , c ^ ra A n a lty , to
trash, is in, co n ta ct c re a te a. th in n e r m a s k .
w ith the.popes.
. fr* f .
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/ 2 3 4 5 6 7
4
'- J J P Look at objects around your house.
Swatch all the colours you see.
Draw an object using the opposite hand to the one you usually d ra w with.
100 Draw the faces o f the cats.
m Using B pencils, add tone to each o f the boxes. There are lots
o f ways you can a p p ly tone, and there is no right o r wrong.
103 Draw things you love about autumn (fall).
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m ®
Tift: aw r&acAfa r a colaar, con sid er uhicA specific, shade, uau- are, a ftu
- raih&r zA anJastsedeetin^ anp perhaps choose, a ca st, banishftrzfy.
0 .2 5 ta n
0 4 5 enM ,
0 .2 m a t/
M ake a draw ing from life using coloured tA \ .
I I I H t I I 1/ / I I I I I I I
y jf i: Z n s t u u C t f t f a n , a jw n a £ u v r z a £ t p im c & t iM
kinitcA t/ide/s-s tuusnads w.Cine, aJvd* cafltuse, thlm/AS ntiwe,.
113 Choose an object. Draw it 4 times, each time in a more abstract styl
Look carefully at the object for draw ing 1. Then for each subsequent
d raw ing, sim plify the elements you have draw n previously.
( f a in
Oiesaefic.
T ift: R
’ .&W J'tb&f- tk a t a. itiiu L is /ohetvp a n drew w h & t
p a n . sm , w itA /n tt ta a lw p a t the,popes a tp a n s dsajaLhp.
Using a limited amount of coloured pencils, d ra w people out and about,
spending just a few seconds on each d raw ing. Sometimes you may only
have time to d ra w a key detail, such as hair or shoes, before they move
away. Practising these draw ings w ill help build your confidence and you
w ill also learn w hat you are naturally draw n to when sketching.
U5 Draw a flock o f birds. Are they close or near?
Fill the space with stars.
m
T ift: Iftf/M t. are, w a i/ d-k s a is u t dreauui^ e-n, ts- tpe-tts f t s c is o f Cja&aha, tafte, a,
ftaftzA to- IfIVI fi ff^guAft>a^.&, a n d dstM^^/hcAtui&cUtaits
fK this instead,, tj&u. u i l t te, alte, t&se&jp&uAc&iaitr&dit&als b&Iw.
Fill the page with coloured triangles. Use any m aterial you like.
135 Practise d ra w ing circles using a fine liner pen. Start
slowly, using the guides, then continue practising below.
136 The colour palette you choose can affect the mood of your draw ing.
A dd colour swatches of warm colours below. W h a t mood is created?
T ip : th & la *s e ,te x iu s e ,
a jie t -a n d - n o c t u r e ,
a fitk e , M a x ,p a s te ls — d a h lt
M a rr^ ta a h>m£.A a j/a a tm a M n ^
p recise, masks.
3 . C ontinue to build colour and tone from light to dark. Use the
finer po in t o f the w a x pastel to create areas o f definition.
Call up a friend. Ask them w hat their favourite place to visit is. D raw it!
Use this page to create doodles which
explore using different materials.
Complete a g rid dra w ing here using a photograph
of a scene and creating your own grid.
Tift: ike, frtfrfe. e-us QfLeC, the, enare: a£ci*sate, tpe-us / oittie,, as
fa c u s tK IK ‘ft&Kcil ss- th a t a t the, estd, t is fie- visihte,.
U9
•s
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150 Draw the earth from 3 different views.
5% w
T ift: C yftttrre, b ru s h ss a jiT
sfteesU f t M it ih a - m v u ijiA uo-ur b ru s h
s le w iy um L q u M ih iff t>- a M tr xA& sa fe st.
T ost
Sketch a person's face. Ask somebody to sit still for you for
about 10 minutes whilst you d ra w them. Begin with a rough
pencil sketch, and then observe the areas o f tone you can see,
adding cross-hatching.
Tip: y&tir eyes m a les i t ea sier ts see, the. areas t*M. Ttdct te-M.frstn , tiy h t ta tU rl,
fiM shiny sjffhy osiny tut. eraser sn. the. huyhliyhits, and. a sharp, harttpeM .il sk the, dark est areas.
Fill a page with doodles as soon as you w ake up. How
are you feeling now, and about the d a y ahead? W h a t are
you looking fo rw a rd to?
159 A dd designs to the flowers.
160 D raw a warm day using only shades o f red and orange.
You could d ra w from your im agination, d ra w outside or
even from a photograph.
161 Create a patchw ork of circles using a range of materials.
Fill the page w ith im a gina ry plants.
Experiment w ith different materials and styli
163
71ft:
in d ii/ie tiu i/,
A p p ly w atercolour to a w et brush and make small strokes from
left to right. N otice how the colour g ra d u a lly fades as you
move across the page.
I & M l
UUtlttltttUM ttM M I
Fill the pot. Perhaps with pencils.
D rawing out and about can feel intim idating. Today, when in a cafe,
lib ra ry or just outside, d ra w a small part of the room or scene which
you feel com fortable looking at. in the space below, d ra w quickly
on the paper.
0k.-
169 You can create tone in many different ways, with lots o f different
materials. Use the materials suggested below to create tonal drawings
o f spheres in the boxes on this page. Observe a round object as you
draw, such as a ball o r an orange.
Coloured pencil:
Follow the curve o f the
sphere, pressing harder
as you move to the parts
o f the sphere that w o u ld
be darkest.
Pencil:
Rub the side o f the nib
onto the p a per to create
tone. Start b y pressing
lightly, for the lightest
tone, and then g radua lly
build tone from light to
da rk by pressing harder.
W atercolour paint:
Start b y mixing one
colour w ith lots o f w a te r
and pa in t a flat circle
out o f your lightest tone.
Build up the tone using
layers o f g ra d u a lly more
intense colour, a llo w in g
layers to d ry in betw een.
You could use a tissue to
d a b a w a y colour from
the lightest areas.
Ink pen:
There are many w a y s to
build tone w ith an ink
pen, but you could try
cross-hatching. A d d more
hatching to the areas
w hich are darkest. It may
be easiest to start from
the darkest point, and
g ro w the cross-hatching
outw ards.
170 Your draw ings d o n 't need to be very com plicated. Find an
object or group o f objects with shapes that interest you,
and d ra w them in their simplest form.
'T ip : 4W c m v u s e , th e ,s u (&
ckm a a. th in k tcM .
Turn the splodges into animals.
m u.
§
m Consider the positions of the facial features when draw ing a
face. The eyes and ears are roughly halfw ay down the face.
Use the space below to practise draw ing a face using an axis
as a guide. Follow these steps below, and d ra w as many faces
as you like. You could look at photographs for reference.
180 Draw a car in the simplest w a y you can, using just a few
lines or marks. Perhaps use cut paper to form the shape.
m Complete the mountain scene.
7tfi: This CJMttdie, upa ae, q f a b stra ctd o o d d es o r a- stem .. etp esiejite.
ofi crftoddrp / ohi(st (isttK ihp to tke. se-ujuts. i’/ou do- th ep m od i,p in t
------------------ Fill this quarter page with blue dots. Notice how some
shades are warm , and others cold.
6
* 0 0 0
1. Roughly d ra w
the shapes that you
see for the w h o le v
o b je ct or scene. \ i
3 . A d d colour in blocks.
Fill the page w ith lines.
m
Fill the glasses.
101 Create a draw ing using collaged paper today. Choose your
subject, which could be anything that inspires you. D raw with the
scissors rather than a pencil, and cut the paper as you observe the
shape. Start with a rough shape and then refine with the scissors.
1. Start by choosing 2 com plem entary colours from your colour w heel. C reate swatches
o f them on the p a g e opposite. Use watercolour, gouache, or even acrylic if you have it.
#
2. G ra d u a lly mix a little bit o f one colour into the other, creating a swatch each time you
mix a new colour. You may w a n t to mix the colours in a clean mixing palette.
/
Browns and blacks are m ade from
mixing com plem entary colours.
3. Repeat for the other pairs o f com plem entary colours. You may w a n t to w o rk
vertically do w n the page, so you have enough room.
~7ip: tjsu, csu td the*. these,padettes ts- dfsw ings, nuvdhe csh^ idestt aM the.
cst&uss lk ea ch cstnpteunesitafip scale. ui£l toesh. soeM B
“ e, selective. - peskufls
J u s t cAssse, 2 3 csCsujs f/sm ecsA s&sde, ts ar&stAe, a. draM/iA^.
W h a t is on the shelf?
m
Look closely at your hand. Swatch all the colours you can see.
215 Draw a friend or fam ily member
from life. You could use pencils,
and start by roughly dra w ing the
shape of the head. Then mark where
the features on the face are, being
careful to measure the distance
beween each part of the face.
A d d areas o f tone w here you see it,
but w ork quickly and d o n 't w o rry too
much about detail.
Using fine liner pens, explore ways o f adding tone to
each o f the boxes. You could use different nib sizes.
IV ---------------- Today, create an analogous palette. Analogous colours are those found
alongside each other on the colour wheel. M ixin g tw o or three analogous
colours together, by gra d u a lly adding more o f one colour to another, w ill
create a palette of harmonious hues. Any colours taken from this palette w ill
go well together in a draw ing.
1. Using paint, choose a n y 3 colours w hich are next to each other on a colour w heel.
C reate swatches o f these colours.
2. M ix these colours together in as many w ays as you can. You can also use w hite.
There is an enormous number o f possible new colours that you can create, by mixing
the colours in different quantities. Fill the opposite p a g e w ith swatches.
g - u iv '. u ti _ J 0 t
4 .. i w m m ^ a Ik o v te s tu i& as
a U io v fn s u t. f mm M ^H L# ' * . . ,
J? M H r if&bt C&*p afat<oicC o k a reflestZ.
\
m Fill the page with faces in profile.
Using w hichever materials you have chosen, create swatches o f the tones you can see, from light to dark.
* o m 9 *
1 2 3 4 5
Tip: s it epp&site, a. fn.i/’f frt Mul drew tjo&s tu n kajids His euctivix
Fill the page with coloured triangles.
Consider which colours look appealing
alongside each otheri Perhaps you w ill
discover new com binations you like.
m A rrange a still life scene. This could include a vase of flowers,
some fruit, or anything else you like. D raw it below, in colour.
You could use watercolours.
t7p: C hoose a ffe cts a iith sim p le sh apes f a t a. (ess com plete, hrasuinp. tfou . co u th sk etch o u t
the, a ffe cts in, ro ta tio n to ea ch o th er fir s t, at, f o r a. (ooser, m o te o r g a n icp iece, p o ts co u th
hrajo fr& etp a n d n o ta io trp so frm ch a t o u t o ccu ra cp .
Explore using different materials alongside and on top o f each other.
Create abstract circle shapes.
Draw an image from your favourite book.
Perhaps visualise a phrase that inspires you.
'lift: I f draw ing a,f f i m d , pan, ce u id drtw e^cA e ttv tf a t tk&.seun& tu n e,!
m D raw some footprints.
251 W rite dow n 3 things you adm ire about other people's artwork.
Fill the page with draw ings of shells.
253 Put the hand you d o n 't d ra w w ith on the table. Draw it
below. Look carefully at the negative shapes between the
fingers, the position o f the knuckles and the shapes of
the nails.
1. Look carefully at the fruit. On the opposite page, paint or colour a swatch
of the lightest tone you can see. Then paint or colour a swatch of the darkest,
and 2 -3 medium tones you can see in between, from light to dark. Look
carefully at which colours you can see.
S to a id e s :
1 2 3 4
L ig h te s t D a s le s t
2. Draw the whole shape of the fruit using your lightest tone.
3. Add the medium tones, 2 -3 , into the areas where you see them on the fruit.
You are building up the image from lightest tone to darkest.
4. Add your darkest tones, and then add detail using sharp coloured pencils.
You could also add the shadow to the fruit. Avoid using black, instead look
carefully at what colour the shadows really are.
tTtodtches:
255 Complete a g rid draw ing here, but this time, use a photograph o f a face.
Rather than draw ing a g rid straight on to the photo, you could create a
photocopy, or d ra w your g rid on tracing paper and attach it over the top
o f your photo. Remember to make sure your g rid on the photograph is
proportionally the same as the g rid you d ra w below. The simplest w a y
to do this is to make sure all your cells are square, and that there are
the same number o f lines and columns.
r y
W hen you find a composition
you like, create a thumbnail
sketch below.
tlfi: Repetition unpraves an r tran/ina because the,enore,kie, ta-oh a t something, the,better ate,see, it
and,sa, the,better ue can, draw it. Thus atsa helps to buxtd con^id&nee, inpour drawing. Z tretieoes
the,pressuse. to- '^ etit ri^ h t 'firs t tim e.
W h a t w ould sand look like if you drew it close-up?
Create an abstract dra w ing o f an object. W h a t makes it
identifiable? Use any material, and make it as simple or
complex as you like.
W rite 3 things you like about your own drawings.
Z G 5
Colour 1 Colour 2
Blend 1
Blend 2
Blend 3
7 ip : tjo-o- n ta p m m iX t&- m itepew s c& t& urs Lh, a. tu ttin g p a X e ttz . fir s t.
2G8 Continue the pattern.
Draw the negative shape between a row o f bottles.
Don't be a fra id to ruin or 'g o w ro n g ' w ith a draw ing as practise and
also enjoying the process are as im portant as the end result. Draw
something here w hich you struggle w ith, for example hands or faces.
Try not to use an eraser, a llo w the mistakes to happen. Enjoy taking
the time to create.
m Begin a draw ing o f a building by focusing on the negative
space around the structure. This m ight be the sky, so start by
just draw ing the shape the sky makes around the building.
Then add details to your buildings.
T ip : c & iM , (etase, th e
h tu td u ia iZseflh w h ite (u s i
Create a tonal dra w ing o f a vegetable using coloured pencils. Start
by creating swatches o f your tones, using the white of the paper
as your lightest tone. You can choose a variety of different colours,
being sure to ap p ly them to your draw ing from light to dark.
m Explore controlling the thickness o f your marks when using
a brush o r water brush pen and watercolour. Create lines
of loops.
y 9 y
a ir ,h e r e ^
/ * /
- — „
,/
^ ,
§
C re ate , x tU & h
deHvtuvarfs stroke.
then, refieve,p ressu re, jKm Loup a rou n d
\/ aspou. sta r t to cu rve, 1 a n d repen t.
tU tn e .
l
/ f '■ Create a pattern here. You may w a n t to more
elements and shapes into the design.
Monochromatic colours are tones of just one colour - different c x l& u s txK es
intensities of the same hue. To create monochromatic tones,
choose your base tone, and then add more white or slightly
more black to make tones lighter or darker.
i i i. i a?4#i*ss
Complementary colours are those which appear • .... &
directly opposite each other on the colour wheel.
•»
1. Choose a colour for your bowl, and draw it using
monochromatic colour tones. Perhaps create a pattern.
fkium hnails can, be, u sed b efore, an y k in d o f drawiny - yu tra its, kandscaftes, unayinary e-r
shseri/atiunal. Vainy a quick,, ru uyh sketch, should, he, th e.first tA inyym cdu befare, sta rtin y a
su sta in ed ip ie ce o f draMiny, sis it's th e tune, t» sp a ta n y y la rin y issu es toith com position . A fter
ys-tdi/e, drawn y a u r thum bnail, take, a step hack a n d check , the, b a la n ce, -Are, there, any awkward
sh apes? Z f i f dues*. 'tf& el quite, riyh t, sketch, a d iffe r e n t csm pasitian.
m Draw an alphabet o f items. Start from A , then B .
the w a y to Z, dra w ing an object for each letter.
m Today, try a painting - perhaps use gouache or watercolour. Choose a
subject, it could be a plant, some fruit or anything you are interested in
draw ing. Start by looking carefully at the subject, and for each of the
colours you see, swatch your 4 - 6 tones from light to dark. Draw your
subject in paint, w orking from the lightest to the darkest tones. You may
find it helpful to sketch a rough outline and then paint a base for the
entire shape first, using one o f your lightest swatches.
^M a tc h e s:
# #
: ^xu xcA e , x r uxZ escxtxu /', ipxa, nuup lite , tx />te n e t^ x x t txnes to g e th e r, <?/■
vV V V V V sA A A A /
310 Colour each orange in a different style or m aterial.
Practise dra w ing the human figure by dra w ing on top
o f these sketches, or 'maquettes'. Flesh out the bodies.
A dd bulk to them, skin, hair and clothes.
3. Add tone,
4. Add detail with
from light to dark.
sharp coloured
Squinting your eyes
pencils. The final
as you look at the
stage should be
flower may help to
adding a small
see the light and
amount of the
dark tones.
darkest tone you
see, and highlights
with white pencil.
m Draw a face using just a few (8 -1 0 ) lines. Perhaps you just suggest
the edge o f the face with one line, rather than draw ing the whole
face shape. The lines can be curved, straight or round, but try not
to remove your pen from the page more than 10 or so times.
Create thick downwards strokes by applying pressure to the brush. O nce you've completed
one stroke, lift the brush from the page and move from left to right.
Create thin downwards strokes by applying minimal pressure to the brush. Once you've
completed one stroke, lift the brush from the page and move from left to right.
Using one long stroke, drag the brush from left to right.
M ove the brush up and down in tight zig-zags from left to right, without lifting it from the page.
313 D raw tropical leaves using watercolour. Perhaps the leaves
overlap each other, to form an abstract print.
Using the coloured background as your base, use light coloured wax
pastels to draw. Perhaps d ra w a drinking glass, rain or a puddle, so that
the blue can become part of your draw ing.
330
331 Fill the space with tiles o f green. Notice
how many different hues of green
there are.
I
335 Fill the page with observational draw ings o f flowers.
You could try using a variety o f different materials.
There are lots o f ways you can d ra w the human body, and a
good w a y to start is by blocking out the main bulk o f the figure.
’T ' I* /:* !
Draw lilypads. Perhaps add water, frogs and flowers.
349 Draw the profile o f a face (the side view) using only the negative shape.
Fill each segm ent w ith d iffe re n t patterns, using
3 - 5 a n a lo g o u s colou rs. You m ay like to refer to
y o u r c o lo u r w hee l fo r this task.
351 Draw a meal or food that you enjoy.
Tip: is a ^ reatw eup to-be, crea tive,, a ju i k elp s to- b u Jtd ca rifid tn ct,
(ok itst d ron in g a s tkere, is re-p ressu re, t r crea te, an^tkin^ in ,p a rticu la r.
355 Complete the shoal o f fish.
ACTIVITY:
O n the next pages, d ra w your favourite place in the w o rld . This could be
an im ag inary travel destination, or som ewhere closer to home. C lose your
eyes and think ab out that place. W h a t colours can you see? W h a t shapes or
objects are there?
Is it a tropical island? A peaceful forest? Perhaps a city you 've never visited?
Then, using any materials you like, d ra w your scene on the next pages. You
do n 't need to use the full space. Perhaps your d ra w in g just shows a small
w in d o w into a scene.
THINGS TO CONSIDER:
- If you are stuck for ideas, have a look back through the book, w h a t d id you
enjoy d raw ing? W h ic h colours d id you get excited by?
* © s ' - 9
0
: -W
Use this spa ce to p re p a re fo r y o u r d ra w in g . N o te d o w n idea s, sketch
thu m bn ails a n d cre ate c o lo u r sw atches o f y o u r palette.
Spend a period of time completing a draw ing on the next page,
using the skills you have practised in the TUTORIAL activities.
ACTIVITY:
O n c e you are clear on w h a t you w ill be d ra w in g , turn over the pa ge, and
start your d ra w in g b y creating a rough sketch in pencil. Remember to check
your angles and be sure the rough looks right. If not, do n 't be afraid to erase
large areas and redraw . It's important to get the basic shapes and distances
correct a t this stage, so take as long as you need.
THINGS TO CONSIDER:
- Be sure to really look, and d ra w w h a t you see, rather than w h a t you expect
to see.
- O bserve the negative shape to help your mind sim plify com plex objects.
W a rm up here w ith q u ic k sketches o f y o u r sub je ct a n d studies o f
key features.
ACTIVITY:
Firstly, set aside a g o o d chunk o f time for yourself, so that you can d ra w
* w ithout any time pressures an d w ithout interruption. Put on some calm ing
music, or perhaps sit outside if you can.
Fill each circle on the next p a g e w ith a pattern or design. Take your time on
each design, so that you are being mindful o f your decisions. W h ic h colours
w ill you choose? W h ic h materials w ill you use?
You m ay like to try the w arm up exercise on the opposite p a g e first, to loosen
your w rist an d help w in d do w n .
THINGS TO CONSIDER:
- Focusing your mind entirely on the task, choosing colours, thinking about
pattern and enjoying being in the moment is a great w a y to bring
mindfulness into your day.
- D raw ing is a great w a y to distrsct your mind from eve ryday w orries.
If you feel like you need to give yourself a break, pick up a pen and just
start d o odling .
-Tasks that do n 't require too much thinking can be therapeutic and relaxing.
- A t the end you w ill have created a beautiful piece o f artw ork w hich w ill be
something to be proud of.
ACTIVITY:
C reate a com plem entary palette. C hoose tw o com plem entary colours,
w hich are found opposite each other in the colour w heel. Using the steps
on the opposite pa ge, create a palette o f colours using just these tw o these
com plem entary colours and w hite.
Then, create a pattern using these colours. You can be sure the colours in
your pattern w ill be harmonious if they all com e from this palette you have
created.
Use the darker colours in your palette to create tone, rather than being
tempted to use black. You can also use w h ite for highlight w here needed.
Tift: tjeu , fv-tup tike, to- r e fe r t a c t ts-^ w tr co& ws fvh& zlfer th is ex ercise.
THINGS TO CONSIDER:
2. Then, mix the two colours together, creating swatches as you go, to create a complem entary
scale across the top o f your page.
3. For the second row o f swatches, mix a little bit o f w hite into each tone.
4. Continue to add w hite to all your swatches so that with each row your hues get less
saturated.
# • • •
• • •
00 0 • A d d w hite
mm 0 0 ''V'
365 Complete a sustained OBSERVATIONAL d raw ing, by carefully
studying something from life.
ACTIVITY:
Set up a still life scene in front o f you. This could be a vase o f flowers and
fruit, or something less traditional. C hoose shapes an d objects that interest
you, and that you feel inspired by.
Remember to look carefully a t the scene. O bse rve the scene for a couple
o f minutes before you start d ra w in g . M o v e your eye around the outside o f •*
the shape.
C om plete a blind d ra w in g o f the scene before you start, to w arm up, and
also so that you can focus on w h a t you can see in front o f you.
THINGS TO CONSIDER:
- You m ay like to com plete a quick sketch before you start a d d in g the details.
- C onsider the palette you m ay like to use. H o w d o the colours affect the
mood o f the draw ing?
- Perhaps d o some fast w arm -up sketches o f the scene, to get an idea of
w here everything belongs on the paper.
- O bserve the negative shapes around the outside o f the objects, and use this
to help you d ra w accurate shapes.
- Build up your tone from light to dark. Swatch your tones before you start.
#*
Complete a blind dra w ing of the scene. D raw w hat you see, without
looking at the page. You could use a number of different colours to help
identify various objects in the d raw ing.
Lorna Scobie grew up in the depths of the English
countryside, clim bing trees and taking her rabbit
for walks in the fields. She is an illustrator and
designer, now based in south London. G row ing up
surrounded by nature has heavily influenced her
illustrations and her w ork often revolves around
the natural w o rld and the anim al kingdom.
hardiegrantbooks.com
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3 6 5 Days o f Drawing
ISBN: 9 7 8-1-78488-195-5