Part 4: Process
Part 1: Course
In practice, most artists do not follow a strict step-by-step process. However, when learning, having a clear process to rely on can take some of the guesswork out of drawing. A consistent and repeatable approach also supports experiential learning by reducing the number of changing variables between attempts. For example, if an artist draws the same subject several times but uses a completely different process each time, it becomes difficult to tell which changes were helpful and which were not. By using a consistent process, it is much easier to identify problems and make adjustments to improve.
In this course, the drawing processes are divided into clear steps to help you identify and isolate specific issues. Each step focuses on a particular aspect of the subject, such as form, position, or light. If your drawing falls short in one of these areas, you will know which step you need to work on. You can then strengthen that skill by practicing the corresponding exercise from Part 3.
The Sketch Process
The sketch process is a line-based approach that focuses on communicating the edges and forms of the subject. The goal is to create a drawing that conveys edges and forms so clearly that the viewer can imagine touching the subject. This process works well with pens, pencils, and markers, but it can be done with any medium that produces a fine line.
The sketch process is the faster of the two drawing methods in this course. With practice, it can be completed quickly, though taking extra time allows for refinement and added detail. Its speed allows more drawings to be completed in the same amount of time compared to the slower rendering process. It is useful when working from life under time constraints, such as sketching outdoors or drawing a subject that does not stay still for long.
Step 1: Position
Draw a gesture drawing of your subject. Use visual measurement to check and correct proportions.
Corresponding exercise: Checking a Gesture
Step 2: Form
Refine the forms of your subject by drawing contour lines. Observe the contours by moving your eyes along their edges. Pause to decide how best to describe each contour using C, S, or I lines.
Corresponding exercise: CSI Line Drawing
Step 3: (optional) Form
Describe the light falling on your subject by using hatching and varied line weight. Cross-contour lines that are darker than the page can describe both form and shadow. Lighter lines can be used to suggest highlights. You can create darker or lighter values by increasing the number or thickness of lines.
Corresponding exercise: Cross-Contour
The Rendering Process
The rendering process is a slower, value-focused approach that emphasizes light and form. This method works best with mediums such as paint or conte that allow smooth gradations of value. It gives artists time to capture subtle details of how light interacts with a subject, making it excellent practice for observing and representing light accurately.
Because it is slower, the rendering process is best suited for subjects that can remain still under consistent lighting. Fewer studies can be completed in the same amount of time compared to the faster sketch process. This process works best when the subject is lit by a single light source, such as a desk lamp, creating clear areas of light and shadow.
Step 1: Position
Start with a gesture drawing of your subject. Use visual measurement to check and correct proportions.
Corresponding exercise: Checking a Gesture
Step 2: Light
Divide the subject into areas of light and shadow. Then refine the light by adding two more values: a darker value within the lit areas and a darker value within the shadows. Keep the darkest values in the lit areas lighter than the lightest values in the shadow areas.
If your subject has multiple local values, such as surfaces made of different materials with varying brightness, you may need a separate set of values for each local value area.
Corresponding exercises: Three-Value Study, Five-Value Study
Step 3: Form
Blend the values from the previous step to describe the surfaces and forms of your subject. Rounder surfaces should have gradual transitions between values than more abrupt plane changes. Depending on your medium, you may need to blend some values as you apply them, combining this step with the later part of the previous step.
Corresponding exercises: Value Transitions and cross-contour
Experimenting With Process
Once you are comfortable with the sketch and rendering processes, it can be helpful to experiment with your own approach. The experiential learning cycle can make this experimentation more effective. In the planning stage, you decide on the process you want to use. Every process involves a series of choices. Will you prioritize describing form, position, or light? How will you use line, shape, value, proportion, or color to describe those aspects of your subject? For example, the sketch process emphasizes form by using lines to describe the contours of surfaces and forms. Follow the process you planned to create your drawing. Afterward, you can evaluate the results to decide which aspects of the process worked well and should be repeated, and which aspects you want to adjust or change. Use this feedback to refine your plan the next time you go through the cycle.
For example:
Conclusion
Thank you for taking the time to go through this course. I hope it has been helpful and given you effective study methods that you want to use to keep learning. If you want to continue improving, my book provides the resources you need to keep building your skills. It includes both theory and exercises that allow you to apply this study method to other drawing fundamentals, such as perspective, light, anatomy, and composition.
If you enjoyed this course, please share it with others who might benefit from it. While the course is free, if it has helped you make progress, please consider making a donation to show your appreciation. Think of it as a tip for excellent service. If you would like to learn from me one on one, you can also sign up for mentorship.