Reflected Light: A clear-cut explanation for painting reflected light 2021

Reflected Light - A clear-cut explanation for painting reflected light

Welcome to Reflected Light with CecelyV!

Hello and welcome, fellow artists! Thank you for taking some time to read my article on reflected light.

There is a lot to understand about The Fundamentals of Light and The Fundamentals of Art, and sometimes it can all feel large and overwhelming. In this article, I’ve broken out reflected light, a small and vital piece of light fundamentals, to explain and demonstrate what it is and how it works.

I hope to help you build your understanding of light one small step at a time, so it all feels less daunting. To make this article helpful, I’ve kept the focus narrow. This article is only about reflected light. I’ll explain what reflected light is and how it’s different from other light effects, and I will give examples and demonstrate how to paint reflected light.

Understanding light

To fully understand how light works, we need to study it. In my Fundamentals of Light article, I explore and explain the basics of light fundamentals. But, first, let’s review a few points that will help with understanding reflected light.

Light source

A light source is anything that produces its own light. Typically, we draw and paint light effects from familiar natural sources such as the sun and fire and artificial sources like light bulbs.

Each light source has its own properties and characteristics, and most produce a lot of heat to emit light. A couple of exceptions are bioluminescence and chemiluminescence, which see light photons produced without much or any heat (“cool light”). We see bioluminescence in fireflies and jellyfish, and we see chemiluminescence in glow sticks.

Reflectors

Objects and organisms that do not create the light that comes from them are called Reflectors. So, for example, our moon, mirrors, eyes, and other things with reflective surfaces are all reflectors–they all reflect light from a light source but do not emit (or produce) any light of their own.

Understanding light means exploring light sources as well as objects that act as reflectors.

Light rays

reflected light - light rays
Rays of strong sunlight

Light always travels in a straight line called a ray. However, the direction of light rays is changed through reflection and refraction, and what I’m covering is fundamental light reflection.

Direct light and Indirect light

For a surface to receive direct light means there is nothing between the light source and that surface. Therefore, the lighting is directly contacting the surface with no interference to affect the direction of the light rays.

Indirect light is light that is being diffused or reflected in some way before it reaches the lit surface–its direction is changed. This means before light hits an object’s surface, there is quite a lot of light bouncing around off other surfaces.

A sunny day experienced through a bedroom window is an example of indirect light. The sun’s light is being diffused and reflected off clouds, the atmosphere, the ground, the window glass, and the bedroom walls and objects to light the bedroom. The light source, in this case, the sun, is not shining its light directly into the bedroom, but its light is illuminating the room in an indirect way.

Primary light source

In the example of a bedroom on a sunny day, the primary light source is the sun. There aren’t any other light sources acting on the bedroom in this scenario. When light bounces off so many surfaces to illuminate an area like that it’s also an example of ambient light.

When lighting a scene, the primary light source is the strongest (most intense and bright) light source that is responsible for most or all of the light and shadows occurring. A primary light source can be any type of light as long as it is the main source of lighting.

Secondary light sources tend to be smaller, closer to the subject, less intense, and less bright.

What is reflected light in art?

Reflected light in art is the same as reflected light in nature. The only difference is nature doesn’t need tutorials like we do 😉.

Reflected light happens when light emitted from a source bounces (or reflects) off objects and surfaces and illuminates other areas/surfaces/objects with that reflecting light.

Here are some examples of reflected light.

What is the difference between light and reflected light?

Context, intensity, and whether or not absorption is happening are the main differences between the terms “light” and “reflected light.”

Light and reflected light in context

When we refer to light, we’re usually talking about a light source–something that is producing and emitting its own light that we can see. So, when we say, “turn on a light”, “light a candle”, or “hand me that flashlight” we know we’re talking about light sources like lamps, candlelight, or a flashlight.

If you were to walk into a bedroom ambiently lit as in the earlier example, you’d probably say the room appears “bright” because of the light falling through the bedroom window and light bouncing off various reflective surfaces. It’s not likely you’d say, “what a nice bedroom with reflective light.”

So, the context is important. Typically, we don’t refer to most lights as reflected lights unless we are specifically calling out the fact that light is being reflected.

Intensity

There is a significant difference between the intensity of source light and that of reflected light. Source light loses most of its intensity when it begins bouncing around off surfaces and objects, so reflected light is much weaker than the source that creates it.

An exception to this rule happens when light is bounced off a highly reflective surface, such as glass or water.

Absorption

Let’s use direct sunlight as an example. When it is reflected (or bounced) off highly reflective surfaces such as water, glass, or a mirror, direct sunlight loses little to none of its intensity because almost none of the sunlight is being absorbed by those materials. It is all being reflected.

Most reflected light we see has been bounced off surfaces with considerably lower reflectivity than water or glass, meaning much of the light is being absorbed. The absorption results in lost intensity for the bit of light that gets reflected, which is why reflected light appears so much weaker than source light.

What is reflected color in art?

This isn’t really a thing. “Reflected color” is really just light that has reflected off a colored object and taken on the local color of that object, or it’s colored light that is being reflected or both. We cannot see color–or anything else–without light, so there is no such thing as “reflected color” only reflected light that has a color.

What is reflected light in drawing?

Reflected light is the same whether you’re drawing or painting, or observing light in real life. The medium you use to describe light in your image doesn’t change the behavior of light. Reflected light in a drawing is still light that is coming from a source and being reflected off an object or surface to illuminate another area, surface, or object with the light reflected.

The main concept to understand with reflected light is the light’s behavior when it is being reflected, and the materials it is reflecting off of. Technique changes with the medium used, but the behavior of light will remain consistent and predictable.

What is the difference between reflections and reflected light?

The reflectivity of the object/surface material and the light intensity involved is what separates reflected light from what we usually call a reflection. The behavior of the light is the same for both, but the refractive index and reflectivity of materials play a big role in how light’s behavior is conveyed to our eyes.

With reflected light, we see an indication of an object’s reflection on a matte surface, whereas we see clear to mirror-like forms with reflections.

Examples of Reflection vs. Reflected Light

Differences and changes in materials’ characteristics can alter light’s direction and the appearance of reflections. As you can see in the images below, the quality of reflected light and reflections is noticeably different as materials, form, and light intensity change.

Below are more images to demonstrate the differences between reflected light and a reflection.

In the first image, everything above the horizon–sky, clouds, mountains, and treeline–is reflected perfectly on the mirror-like (specular) flat surface of the lake’s still waters.

In the second image, we have much the same effect but with even more reflections happening on the glass sphere. The spheric form and highly reflective–and transparent!–quality of the glass further alter the direction of the light through refraction as well as reflection, so there’s a lot going on there.

The same is true of the third image, but the soap bubble has an additional characteristic of iridescence that drastically alters the appearance of the reflections cast upon its surface.

All three images show highly reflective materials, each with its own sets of characteristics that greatly impact the quality and appearance of the reflections.

The next three images show how changes to the materials can alter the specularity of the reflections, creating more of a Lambertian effect.

In the first image above on the left, we have an evening/night scene with artificial light reflected on the surface of a large body of water. In our earlier example of light reflected off water, we had a daytime scene and still water that created a mirror image of the objects above the horizon line. In this image, the water is not still and the light sources are smaller and less intense.

This change to the material and light intensity creates a Lambertian reflection rather than a specular reflection. The main difference between the two is the texture of the surface material receiving the reflection. The water is still highly reflective, but it is now choppy and textured instead of still and smooth and that creates more of a matte (diffusely reflecting) surface on the water.

Smaller, lower intensity light that is bouncing around more on a now matte surface means we see reflected light on the water rather than reflections of forms.

The next image with a person’s reflection on wet sand applies the same principle. The surface material here is actually wet sand, not water. Sand is not reflective, but soaking wet sand on a shore when the tide is in? That scenario combines the texture of the sand with the reflectivity of the water, and we get a reflection that is somewhere between Lambertian and Specular.

The last image shows a wooden cylinder next to a purple plastic cup. The cylinder has a matte surface, the plastic cup shiny and reflective. When lit and placed near each other, we see reflected purple light (Lambertian reflection) on the wooden cylinder, and a more specular form reflection on the plastic cup.

Notice on the cup we can clearly see the reflection of the wooden cylinder, the light source, and a couple of other items on the shadow side of the cup. All of the reflections on the cup also have a purple tint, reminding us that local color for each object is always a factor.

Understanding how reflected light works

First things first, let’s review some basic light and shadow terminology, shall we? In the image below, I’ve labeled all the stuff and gubbins and you can always refer to my Fundamentals of Light article if you need an in-depth explanation.

We’ve discussed materials, reflectivity, and light intensity as a few factors that affect how light reflects. A couple of other factors to consider when we’re studying reflected light are distance and position.

The next few callout images demonstrate how the distance between objects impacts the amount of reflected light that is able to reach the subject.

In this next round of callouts, I’ll demonstrate more about how object position and materials affect reflected light.

You might have noticed that most of the time when we observe light bouncing onto an object or surface it does so in the form shadow (dark side, shadowed areas) and/or in the cast shadow areas. The reason is all about positioning. When one object is in front of another it will cast a shadow on that object, reflecting little to no light onto it. This is because the light falling on any object will reflect out at the same angle it came in (Law of Reflection).

In the image with the red box and the wooden cylinder, we see a slight exception because of the proximity of the objects. The intensity of the light, and the proximity of the objects to the light source and to each other, means the light is able to bounce around from the source to the cylinder, to the box, and back onto the cylinder giving the red box’s cast shadow a red tint.

Since materials play such a big role in how light interacts with objects, it’s worthwhile to examine a few more instances of how changes to material characteristics affect everything from form shadows to cast shadows, to the tint and shade of reflections and shadows, and the edge of a shadow or reflection.

Light transmission is a separate but obviously related light effect. When materials are translucent or transparent light is allowed to pass through to varying degrees, and can then bounce around on other objects and surfaces. Since it is a separate area, I won’t lose focus by delving into it here, but I thought it would be helpful to offer a few examples so you’ll know the differences in the light effects you observe as you study and practice the Fundamentals of Light.

How to paint reflected light

I created a basic demonstration that I hope helps bring all this together in a simple example. My demo uses simple matte forms so the focus remains on reflected light. Painting reflections and specularity are a whole other demonstration and require a lot more explanation of additional factors like global illumination, so I’ll save that for another time.

Just a few more points

I wanted to mention a few things about local color, colored light, and shadows. In my examples and demonstration, I focused on how light reflects onto objects rather than in shadows or on surfaces. It’s important to mention that the same behavior happens in shadows and on surfaces as on objects. Even a dark shadow can be illuminated with some reflected light, and create interesting visual tonal contrast.

One exception to this, however, is occlusion shadows. The absolute darkest part of any image is where no light can reach– and bounce light is far too weak to penetrate occlusion shadows. Darker shadows will still have color and temperature even if they aren’t illuminated in any way (shadows aren’t really black), and they are still impacted by the local color of the object casting the shadow and the surface the shadow is being cast upon.

When the light source is a colored light, like blue light or the yellow light of the sun, the hue and temperature of the shadows and bounce light will be affected. Of course, we must still account for light intensity and changes to materials.

These are all things we should keep in mind as our understanding and practice of lighting effects grows, and there are a lot of moving parts. If it feels overwhelming, just break down your practice into smaller steps with fewer factors and build up over time.

At first, I recommend tackling basic lighting and simple bounce light on objects, in forms shadows, and in cast shadows with matte materials.

Another Light and Shadow installment, signing off!

As always, Thank you so very much for stopping by my site and reading what I hope you found to be a great article. If not a great article, I hope you found it helpful. If it wasn’t helpful, then yikes! Please let me know that, too, so I can find areas to improve.

If you have any questions, need guidance, or have feedback for me, please send them in the comments section below. I would love to hear from you.

Good luck and best wishes on your practice! Stay safe, take care, and happy drawing!

How to draw a circle: A thorough exploration of a simple and subtle shape 2021

How to draw a circle

Welcome to my how to draw a circle drawing tutorial!

Hi and Happy drawing to you all! 😉

Welcome to my how to draw a circle article!

The first thing to know about a circle is that it’s a tool. Each of the two-dimensional shape tools and lines we learn to recognize and draw as kiddos are the foundation for all other forms, patterns, and designs.

In my Understanding Form in Art article, I go into this concept of shapes and lines as building blocks a bit more.

The most common building blocks for everything we draw are the circle, the square and rectangle, and lines. Most other shapes can be created from these base shapes, similar to how each color can be mixed with the base colors of red, yellow, and blue. The only elements simpler than any of the base shapes are the line and the point (or dot).

Without getting too technical, let’s explore what a circle really is.

Let’s learn about circles!

A circle is a shape whose points are all equally distant from the center.

When points are not equally distant from the center point, you will get something different. This is where we find the main difference between a circle and its team of similarly round shapes: the oval and the ellipse.

Circles have been a known shape since before the start of recorded history, and the study of circles in mathematics helped the development of other disciplines such as geometry, astronomy, and calculus. Thankfully, we don’t need to get into the weeds of circumference, diameter, radius, distance, etc in order to draw circles.

Now, let’s look at some examples of natural and man-made circles.

Exploration and study: Natural & Man-made Circles.

A circle is an easy thing to find. Here are a couple of reference boards I created to demonstrate how prolific circles are in our lives.

Shape breakouts and natural variations (ovals and ellipses!)

Normally at this stage of my how to draw articles I like to cover the explorative study sketches I create, and break out all the naturally occurring variations in shape and form, but…that’s not really a thing with circles 😅.

The ways of how to draw a circle are so simple and subtle, and a slight change to any point on a circle brings you into different shape territory. So, let’s all agree that you guys don’t need me to break down or dissect an already simple shape 😉. We’ll just agree, as the intelligent and sensible people we are, that circles are circles, and when you stretch them out a bit they become ovals and ellipses.

How to draw a circle step-by-step: Several methods and tutorials

There are several different methods for how to draw a circle. There are a few that I don’t find terribly practical, such as the paper clip, string, and compass methods. Nevertheless, I’ve created or found an example for each method to offer you a variety to choose from.

PSA for this article: I am not teaching you how to draw a perfect circle. Why? Because it’s not practical or necessary. If perfect circles are your goal…this probably isn’t the best drawing tutorial for you. The wonderful search services of Google will get you to content all about ways to draw a perfect circle, but I’m not the one–sorry 😅.

Okay, moving right along! Let’s get into my how to draw a circle tutorials! I have come up with several methods of my own, and I will cover a few of the others I’ve come across (like the string, paper clip, compass, and rubber band methods). Each of the methods that I came up with emphasizes how to draw a circle freehand.

In my humble opinion, when you’re sketching and pulling out ideas, it’s cumbersome to need an additional tool for simple shapes. Plus, a sketch isn’t meant to be perfect; it’s a vehicle for your expression and problem solving.

I will now jump off my soapbox and list the methods I’ll be covering for how to draw a circle.

Methods for How to draw a circle

  • Square method
  • Crosshairs or ‘X’ method
  • Parallel lines method (my favorite!)
  • Shapes method
  • String and paper clip methods, and more!
  • Rubber band method
  • Compass method
  • Rectangle method (for ovals & ellipses)

The Square Method

The square is pretty straightforward and freehand. We use a square as a bounding box to help us learn how to draw a circle. Here are some step-by-step visuals for this learning project.

how to draw a circle_square method step 1

Square Method, Step 1

Draw a square as your first step. I like to find the middle point on each side of the square and mark it with a line or a spot/dot because it’s helpful in the following steps.

how to draw a circle_square method step 2

Step 2

Next, begin drawing your circle by connecting those middle points with curving lines/arches, as shown.

how to draw a circle_square method step 3

Step 3

Once you’re happy with your circle, begin darkening it.

how to draw a circle_square method step 4

Step 4

Lastly, erase your square leaving only your completed circle.

The Crosshairs or ‘X’ Method

Using crosshairs (like a plus ‘+’) or an ‘X’ to practice how to draw a circle is another super simple method, and it also allows you to vary the size of the circle as much as you like–and still draw freehand!

how to draw a circle_crosshairs or 'x' method step 1

Crosshairs or ‘X’ Method, Step 1

Begin by drawing a simple plus sign (‘+’) or ‘X’.

how to draw a circle_crosshairs or 'x' method step 2

Step 2

Next, begin connecting the end points of your ‘+’ or ‘X’ using curved lines/arches.

how to draw a circle_crosshairs or 'x' method step 3

Step 3

Continue connecting the end points.

how to draw a circle_crosshairs or 'x' method step 4

Step 4

Complete your circle by connecting the last end point.

how to draw a circle_crosshairs or 'x' method step 5

Step 5

Erase your crosshairs or ‘X’, leaving your completed circle.

The Parallel Lines Method (my favorite!)

This method is my favorite for line work and circle/ellipse drawing practice. The parallel lines offer just enough support while leaving plenty of freedom for practice and experimentation.

how to draw a circle_parallel lines method step 1

The Parallel Lines Method, Step 1

Begin by drawing a series of straight parallel lines with a ruler, as shown. Varying the distance between the lines helps you practice drawing circles, ovals, and ellipses of different sizes.

how to draw a circle_parallel lines method step 2

Step 2

The parallel lines act as guides for placement of the top and bottom of your circles/ovals/ellipses.

Staying within the lines, freehand draw as many circles/ovals/ellipses as you can fit onto each line, as shown.

how to draw a circle_parallel lines method step 3

Step 3

Fill up all your parallel lines with circles, ellipses, and/or ovals. This is excellent line work practice, and a great warm-up exercise.

Here are a few videos to help make this how to draw a circle method more clear:

Using my trained right hand 👍🏽. A ruler works, but any straight edge will do.
Using my mostly untrained LEFT hand, Eek!
If you have any questions, please leave them in the comments section below or in the comments section of any of my videos!

Shapes method

This is essentially the same concept as the square method. The point is to use your chosen shape as a bounding “box” from which to create your circle. Shapes create a contained space, so most of them lend themselves quite well to circle drawing. The simplest to use are the square and the triangle, but other shapes can be used just as well.

how to draw a circle_shapes method step 1

The Shapes Method, Step 1

Draw any shape to create a bounding “box”. Here, I’ve used triangles and trapezoids. It helps to mark the midpoints of each side on all the shapes.

how to draw a circle_shapes method step 2

Step 2

Using curving lines/arches, connect the midpoints of each side.

how to draw a circle_shapes method step 3

Step 3

Erase your shape bounding “boxes”, leaving only your completed circles.

String & Paper clip methods, and more!

I found a helpful YouTube video from DaveHax that demonstrates several examples of how to draw a circle, so I’ll share it here:

Rubber band method

Here’s a YouTube video from DrawingWithDeeArtist on how to draw a circle using the rubber band method. The idea behind all these “hacks” for drawing circles is to get perfect circles, not freehand circles.

Compass method

This next YouTube video comes from Lorri at Sunshine22854. In it, she’s kind enough to cover how to draw a circle using a compass.

Rectangle method (for ovals & ellipses)

Once again we’re utilizing the bounding box concept for how to draw a circle–we’re just using a longer box to create ovals and ellipses instead of circles.

how to draw a circle_rectangle method step 1

Rectangle Method, Step 1

Draw rectangles of any width and length you’d like, and mark the center point of each side (or at the corners for angled ellipses).

how to draw a circle_rectangle method step 2

Step 2

Connect your sight marks with curving lines/arches, as shown.

how to draw a circle_rectangle method step 3

Step 3

Darken your lines once you’ve achieved the oval/ellipse you want. Here, I also used this method to create a tear drop shape.

how to draw a circle_rectangle method step 4

Step 4

Erase your bounding boxes, leaving your completed oval/ellipse.

Drawing circles in Perspective

Learning how to draw a circle in perspective involves first learning how to draw planes and boxes in perspective. In this next video, I’ll demonstrate how I set up boxes in 1-point perspective and draw circles on the planes of each box.

Since circles are flat shapes, the process for drawing them in perspective doesn’t change, even when the perspective changes.

Drawing a circle from Imagination!

Drawing circles as part of your line exercises or warm-up is important training that is beneficial to do regularly. Then there are times we just need fun and interesting–and there’re other ways of practicing how to draw a circle.

In these last couple of videos, I demonstrate a few simple ways of practicing circle drawing by adding depth to transform circles into forms/objects, and by dissecting some forms built from simple ellipses and circles.

Thank you!

Thanks for hanging in there with me! I’m sure you came across lots of choices in your search, and I appreciate being the author whose content you chose.

I hope I’ve been able to do my part to help you see another side to drawing circles, and I hope my article has helped your art journey.

I’d love to hear from you, so if you have any feedback or questions for me please leave them in the comments section below. I hope we can meet each other again for another “how to draw” article!

Take care, stay safe, and Happy Drawing! 😊


More how-to-draw articles on CecelyV.com:

How to draw a cube

How to draw a sphere

How to draw a mushroom

How to draw a banana

How to draw a pumpkin

How to draw a basketball: Fantastically fun step-by-step tutorials, 2021

How to draw a basketball

Welcome to my how to draw a basketball tutorial!

Two teams meet with one ball in the middle. This describes a lot of sports, but today our focus is on basketball. This basketball how to draw tutorial is all about the ball itself. Its current design is quickly and easily recognizable, with its view of four lines that join at each end of the ball.

First, I’ll go over a little bit of the ball’s evolution because a little history is always helpful to our process. Then I’ll show you how to draw a basketball by breaking down its design to demonstrate that those lines we see can also be viewed as two lines and one shape, or three shapes.

I’ll cover how to construct a sphere, which is the form of a basketball, and then take you one easy step at a time through drawing the shape, form, and curved lines to create your own basketball drawing.

Let’s learn about basketballs!

The game of basketball was invented in 1891 and started out more like a soccer ball, which wasn’t dribbled. Basketball didn’t get its own ball until 1894, getting a brown four leather-paneled ball with stitching similar to a football. Dribbling a basketball was introduced into the game in 1897, and by 1937 basketball was popular enough to have its own league, which began as the NBL–The National Basketball League.

With its growing popularity as a sport, basketball needed a redesign to its ball because fans had a hard time following a brown ball on a brown court. So, around 1950, the ball was redesigned to be the orange color we’re all familiar with today. In 1971, the NBA redesigned the basketball once again, evolving it from four leather panels to eight leather panels which improved players’ ability to grip and dribble the ball.

I’ve included a helpful video I found below in case you’d like to see how the design of the basketball has changed over the years, and if you’d like to learn more about basketball’s history click here. In this drawing tutorial, we’ll focus on how to draw a basketball in its current design.

Exploration and study: Basketball drawing sketching

Whenever I draw something new, I start with study sketches to help me understand the shapes, forms, lines, and other features of my subject. Since this is how to draw a basketball, I did a few sketches to learn what makes a basketball look the way it does.

As always, let’s start with a few reference boards to help us get familiar with basketballs.

Typical basketball features: Curved line and horizontal line

How to draw a basketball: form construction

A basketball is a hollow sphere made of eight leather panels. To learn how to draw a basketball, first, we must understand how to draw circles and spheres.

For help with drawing a circle or a sphere, please check out my how to draw a circle and how to draw a sphere article.

Here are a couple of videos for a quick recap:

How to draw a circle
How to draw a sphere

Now that we understand the basketball’s sphere form, let’s take a brief look at its insides with form dissection.

How to draw a basketball: Form dissection

I mentioned earlier that basketballs are hollow. In case you need to draw a deflated or cut open basketball, it helps to practice dissecting a sphere.

Here are some step-by-step images for simple sphere dissection. I have more on my how to draw a sphere page, and here is an example I created for a hollowed-out sphere half.

How to draw a basketball step by step instructions

Drawing a realistic basketball

Drawing a cartoon basketball

The texture and colors of basketballs

How to light a basketball

Light and shadow for a realistic basketball

Lighting a cartoon basketball with Cel shading

Basketball drawing in perspective – start with a sphere!

Start with a sphere in perspective.

Thanks for joining me to learn how to draw a basketball!

How to draw a cube: A creative and comprehensive look, 2021

How to draw a cube with CecelyV

Welcome to how to draw a cube!

Happy drawing, everyone! I hope you’re all doing well and ready to learn how to draw a cube with me today 😊 .

Cubes are one of the five basic forms. Drawing cubes freehand and in perspective are important skills to build on your art journey. Every form you need, for anything you want to draw, can be carved out of or built from a cube.

I’ll be demonstrating a few different methods for cube drawing here with step-by-step images and videos. I’ll show you how to draw a cube freehand, as well as cube drawing in perspective.

Learning how to draw a cube is simple and straightforward. It gets challenging when you need to turn them in perspective, but that’s a bridge to cross later 😉. For now, let’s take a look at what cubes are.

Let’s learn about cubes!

The most helpful description I found of a cube comes from a website search on Kiddle:

“A cube is a block with all right angles and whose height, width and depth are all the same. A cube is one of the simplest mathematical shapes in space.”

https://kids.kiddle.co/Cube

The main thing to understand is that a cube is a three-dimensional shape, meaning it has Volume. While a square has width and height, it has no depth–no volume. A cube, and all other three-dimensional forms, have width, height, and depth.

The sides of a cube (also called faces) are squares. Each side is connected to the others by straight lines (called edges) and by corners (called vertices). Each of a cube’s corners is at a right angle. A cube has 6 faces, 12 edges, and 8 corners.

If you’re interested in a more mathematical explanation of what a cube is, you can find it here.

You might have heard people refer to all kinds of boxes as 3D cubes, especially when they’re talking about drawing in perspective. Technically, not all boxes are cubes, but for drawing purposes, it really doesn’t matter one way or the other 😉.

Exploration and study: Natural and man-made cubes

Interestingly, there aren’t a lot of examples of naturally occurring cubes. Since it’s such a basic visual building block, I thought that was a little surprising, but 🤷🏾‍♀️. Naturally occurring cubes are found primarily in rock, mineral, and crystal formations, and it’s super easy to find examples of man-made cubes in almost anything.

Here are a couple of reference boards I created to illustrate both natural and man-made cubes.

Shape breakouts and natural variations

Normally, I would make a bunch of exploration and study sketches of my subject and break out all the different shape and form variations. But…cubes are pretty simple, so that’s not really a thing for this drawing tutorial 😅.

The shapes on a cube are just squares, and the variation is limited: we’re either drawing a cube or a rectangular “cube” (box). When we learn how to draw a cube, those are our base options. But simple is good, right?

Okay, let’s dig into this how to draw a cube business. I’ll go over a few freehand methods I came up with, and I’ve included a few video demonstrations about drawing cubes/boxes in perspective and showing the drawing process for the methods.

How to draw a cube step-by-step tutorials

I made up names for the freehand cube drawing methods I came up with 😁:

  • The basic method
  • Upside-down L’s
  • The Headless stick figure
  • Connect the squares method

The basic method

This way of drawing a cube is one that I learned early on in my art journey. It begins with a simple square shape and builds into a cube by adding depth with additional lines.

how to draw a cube_basic method step 1

The basic method, Step One

For the basic method of how to draw a cube, step 1 is drawing a simple square of any size you’d like.

how to draw a cube_basic method step 2

Step Two

Next, start creating depth by drawing lines out from each corner. This begins to give you the edges of the cube.

(I missed the bottom left corner here, but I’m sure you’ll rock it 😉).

how to draw a cube_basic method step 3

Step Three

Begin connecting the edges of the cube you drew in the previous step. The goal here is to create each square face of the cube, so each complete connection should give you a square face.

how to draw a cube_basic method step 4

Step Four

Connect the last edges and vertices, and you will have completed your 3D cube.

Upside-down L’s

This is just a spin on the basic method that allows us to shift our thinking a little bit. Instead of starting with a familiar shape, we begin with an upside-down letter ‘L’. This way we start out thinking in terms of edges and vertices rather than shapes and faces.

how to draw a cube_upside-down L's step 1

Upside-down L’s, Step One

As its name suggests, step 1 is drawing two upside-down capital L’s. Their size and how far you space them apart will determine how your cube looks.

how to draw a cube_upside-down L's step 2

Step Two

Connect the two L’s to complete the first face of your cube.

how to draw a cube_upside-down L's step 3

Step Three

From the two bottom vertices of the square face, draw edges back in space that each run parallel to the tops of the original upside-down L’s, as shown.

how to draw a cube_upside-down L's step 4

Step Four

Begin connecting the ends of each of the edges you added in the previous step to create additional faces for your cube.

In this example, the bottom and left faces were created.

how to draw a cube_upside-down L's step 5

Step Five

Finish connecting the last three vertices to create the last three faces of your cube and voila! You now have a completed freehand cube!

The Headless stick figure

This how to draw a cube method is straightforward like the others. We begin with the back corners of the cube and work our way forward in space until the cube is complete, and starting with a headless stick figure gives us that back corner start as you’ll see in this next demo.

how to draw a cube_headless stick figure step 1

Headless stick figure, Step One

We have five edges and two vertices. If we were to add a circle at the top, we’d have a stick figure. Without the head, we get the back corner of our cube.

how to draw a cube_headless stick figure step 2

Step Two

Connect the “arms” and “legs” of our headless stick figure to get the first two planes of our cube, as seen here.

how to draw a cube_headless stick figure step 3

Step Three

Connect the top two outside corners with straight edges to create the top plane of the cube.

how to draw a cube_headless stick figure step 4

Step Four

Drop an edge down from the front-most corner of the top square plane. This sets us up to complete the last three planes of the cube.

how to draw a cube_headless stick figure step 5

Step Five

Connect the two bottom outside corners to the end of the vertical edge you dropped earlier and boom! You have a completed cube 😉.

Connect the squares method

The focus of this how to draw a cube method is connecting corresponding points (vertices) of the squares. This way of drawing cubes is a lot of fun and opens up possibilities for more interesting cubes and boxes.

how to draw a cube_connect squares method step 01

Connect the squares, Step One

Drawn any size square you’d like to begin.

how to draw a cube_connect squares method step 02

Step Two

Draw a second square with roughly the same dimensions as the first, and consider its position in relation to your first square since you’ll be connecting them.

Here I chose to overlap them slightly to make the connection a little more intuitive.

You’ll notice my second square is a little smaller than my first, and that’s okay. The point is to understand and practice the process.

how to draw a cube_connect squares method step 03

Step Three

Choose a square corner to start with and connect it to its matching corner on your second square with a straight line (edge).

how to draw a cube_connect squares method step 04

Step Four

Continue connecting the matching edges of both squares to each other.

how to draw a cube_connect squares method step 05

Step Five

After connecting the last corner, you’ll have a completed freehand cube drawing!

How to draw a cube medley!

To make this how to draw a cube tutorial more clear, I created a couple of videos to demonstrate the process for each method shown above. Establishing our processes in our work is extremely important, and my goal is to make the processes I use as clear as possible to help you decide on your own.

How to draw a cube: 3D cube drawing.
Cube drawing by connecting squares.

How to draw a cube in Perspective

Perspective can get a little hairy and confusing when you try to explain it with words and images alone, so I think the best approach for this particular art fundamental is a video demonstration.

To be clear, I didn’t make this video to explain drawing in perspective point by point, but the setup and process stay the same whenever you’re drawing basic forms in perspective.

How to draw a cube: 3D cubes in perspective.

You may have noticed from the video that I did the entire demo on a 3-point perspective grid–meaning a three vanishing point setup. For practice like this, it doesn’t matter which perspective you use so long as you have each vanishing point you need. I find it helpful to work from a 3-point perspective grid even when I’m not drawing in that perspective because it gives me the option of drawing in three different perspectives without having to change my paper format.

As long as you use the appropriate vanishing point, or points, for the perspective you intend to use on your object/form, then you’re good to go! 👍🏾

How to draw a cube: Form dissection

Normally, at this point, I would go over how to draw a cube with a dissection demonstration that dives into interior forms. However, with basic cubes and boxes, which aren’t representing anything specifically, there aren’t any interior forms to explore.

Still, a demonstration on cutting into/cutting away/dissecting the cube form is still helpful and useful, so that’s what this next video shows.

How to draw a cube: 3D cube dissection.

More cube drawing – building other forms

As I mentioned earlier, all manner of forms can be built from or carved out of cubes and boxes. Here are a few simple examples to demonstrate what I mean:

Freehand forms from cubes.

How to light a cube

Rather than get into an entire discussion on the fundamentals of light, I decided to show a few photographic examples of lighting on a cube. With a few simple art supplies and wooden 3D shapes, I photographed some images to use as a visual tutorial for how light falls on a cube.

This first set of images were taken in my make-shift still life box. It’s an old diaper box whose inside I’ve covered with black butcher paper. I cut out a couple of holes on each of the short sides and partially cut away the top so I can control the lighting. The cube in these images was lit with white light from a spotlight.

These next set of images demonstrate the light on a cube from my overhead studio light. It’s a small ceiling fan with a light kit, which essentially functions as a large diffused light source for these examples. Once again, you’ll notice that the shadow gets longer as the cube moves further away from the light–however, the shadows (shading) are different with a different light source. There are multiple shadows because the light source is composed of 3 light bulbs.

This gives us multiple shadows that are also brighter and quite soft.

In this last set of lighting/shading reference images for how to draw a cube, I used a candle–a much smaller, but quite bright, light source–to light the wooden cube. A candle would be a point light source, and it makes for much darker and more crisp shadows.

For some of these, the candle (point light) was low and closer to the cube, while at other times it was positioned above the cube. As usual, the closer the cube is to the light source, the sharper and darker the shadows are.

Here are a couple of examples of how to light a cube and place the cast shadows using a traditional medium, graphite pencils.

How to draw a cube from Imagination!

Let’s practice how to draw a cube from imagination 😊.

There isn’t really much to explain or guide you through here. Just grab a pencil and some paper, and let your imagination fly! I chose to draw some everyday objects to keep things simple and clear, but the sky is the limit with cubes. Go for it!

How to draw a cube from imagination – demo.

Happy cube drawing!

Well, that’s everything I have on how to draw a cube for now.

Thank you so much for hanging in there with me! It’s my goal to write for beginners, students, experienced artists, and hobbyists alike on this walk of art life, so I hope you found the content of my cube drawing tutorial helpful.

I truly appreciate the opportunity to be a guide and participant in your artistic journey, and I hope I’ve helped you make your cube drawing pop! I know you have a lot of options when you search the web, so thank you for spending some time on my little side line of the internet ❤. I hope you enjoy your cube drawing!

I’d love to hear from you, so if you have any feedback or questions for me, please leave them in the comments section below!

Take care, stay safe, and happy drawing!


More how-to-draw articles on CecelyV.com:

How to draw a circle

How to draw a sphere

How to draw a mushroom

How to draw a banana

How to draw a pumpkin

How to draw a mushroom (A clear and complete tutorial for 2021)

How to Draw a Mushroom_Featured Image_June 2021

In this “How to draw…”

Welcome to the first of my “How to draw…” drawing tutorials!

In today’s “How to draw…”, we’ll talk about how to draw a mushroom! I’ll cover everything you need to create your own mushroom drawing and explain the different kinds of forms your mushroom drawing will need, like mushroom caps, stems, and rings.

I’ll cover how to draw a mushroom from basic shapes to form construction, from imagination, in Perspective, how to light your mushroom, and more.

Just a heads up, this is not an easy drawing tutorial. It’s not difficult, but it is technical. I’m a professionally trained Designer, Illustrator, and Concept Artist, and my explanations tend to be technical and thorough. There is more than one step-by-step guide here. My goal is to teach you to create a different kind of mushroom drawing–your own! I want to teach you to draw every different kind of mushroom you want, in various sizes, so your mushroom drawing looks like whatever you want it to.

I’d rather not give you a static template to copy. Where’s the fun in that? Also, I don’t think it counts as teaching if I say “copy this,” you know? After this drawing tutorial, you won’t need another step-by-step guide.

If you want easy drawing tutorials, this may not be the article you’re looking for. If you like a thorough step-by-step guide and drawing tutorials that teach you to draw whatever you want, I got you! It’s a different kind of drawing tutorial, and I hope it works for you. 😉

There’s a lot to get into, so let’s get started!

What is a mushroom exactly?

It may not seem obvious, but it’s important to know what you’re drawing, and that means learning a bit about your subject. After all, it’s impossible to draw something you know nothing about. So, let’s talk about what mushrooms are.

A mushroom is “the fleshy, spore-bearing fruiting body of a fungus, typically produced above ground, on soil, or its food source” (from Wikipedia). When we refer to mushrooms, we’re usually referring to those with a stem (or stipe), a cap (pileus), and gills (lamellae) on the underside of the cap. The gills produce spores that help the fungus spread.

There are over 50,000 mushroom species globally, and they tend to be grouped into four general categories: edible mushrooms, toxic mushrooms, psychoactive “magic” mushrooms, and medicinal mushrooms.

Mushrooms represent food, a hobby (mushroom hunting), or fantasy entertainment as part of stories like Alice in Wonderland, characters like Toad from Nintendo’s Super Mario, or part of the deliciously drawn food in anime series’ such as Food Wars!: Shokugeki No Soma. Fantasy allows us to play with what a mushroom could be.

Before we play in possibilities, let’s explore and study the structures that give mushrooms their character.

Mushroom drawing: Understanding the structures.

To draw a mushroom from imagination, we must first study the shapes and forms that create its structures. Once we understand the basic anatomical structures, we can draw mushrooms in any way we choose. Let’s begin by gathering references to study.

Exploration & study

The first step in exploring and studying a subject is to find or create references to study from. For this step, I recommend creating a reference board.

Here is the reference board I created:

How to draw a mushroom-Reference board

I create my reference boards in Photoshop, but I imagine it works in any digital painting application. A reference board is essentially a collage of images. It can also be created with a Google image search (or books), a printer (or copy machine), scissors, poster board, glue, and plenty of patience.

As you follow along here to practice how to draw a mushroom, please feel free to use my reference board.

To learn how to draw a mushroom, we need to really observe what mushrooms look like naturally. First, look for repeating shapes and consistent characteristics, like how a mushroom’s cap is always on top of the stem. Then, look for naturally occurring variations in the shapes, like how a mushroom stem can be long and thin or short and thick, etc.

Step 2 for learning how to draw a mushroom is to draw several from reference (or from life) to understand the shapes and forms that make up its anatomical structures and how they are put together. Again, it helps to keep your earlier observations in mind as you draw.

Here are my exploration and study sketches for how to draw a mushroom:

How to draw a mushroom_Exploration & study sketches

It’s helpful to draw the flat shape combinations you see literally. As you can see in my sketches, I drew small flat versions next to each study. This helps me get an overall grasp of which shapes are present in the subject.

The major structures of a mushroom are:

  1. Mushroom cap
  2. Stem
  3. Ring
  4. Gills

There are other areas to note, such as the margin and scales on the mushroom cap, but it’s easy to tell that these are much smaller shapes–which makes them details, and we leave those alone until we get toward the end of our process.

Two more forms grow underground, the Cup (Volva) and Mycelial threads, and they look cool–but if it grows underground, it’s less likely to be visible. If it grows underground, we don’t often see it and are less familiar with it–so it’s less likely to make it into your design. If you’d like to study these forms, you can find references here.

Here are a few more of my mushroom studies:

How to draw a mushroom_Exploration & study sketches 02
How to draw a mushroom_Exploration & study sketches 03
Skirt up and Oyster mushrooms! (That’s what I call them anyway 😂)

Remember, these are studies to help you understand mushroom shapes and forms. So I encourage you to let loose! I mean that literally–draw loosely! These are for your learning, so they should be whatever you need them to be. I make a hideous mess in my sketchbook when I’m trying to understand something, and that’s fine.

I had to clean things up to make them clear for this tutorial, but otherwise, my sketchbook looks like a messy sanctuary of notes and funky drawings. I love it 😋

Your sketchbook is where you can think out loud on paper and be yourself. There is no need to censor yourself. ❤

Shape breakouts and natural variations

After drawing several mushroom studies, you’ll understand how to draw a mushroom well enough to begin breaking out the shapes and natural variations of major mushroom structures. I like to think of it as visual tinkering. 😊

Let’s ask ourselves: what are the basic shapes and shape variations for those structures? Let’s have a look:

How to draw a mushroom_Shape Breakouts & Variations

Each mushroom structure has a limited variety of shapes. For example, a mushroom cap appears most often as either a lima bean, a half oval or ellipse, a fat crescent, cone-like, or an upside-down and rounded trapezoid shape.

A stem, the second mushroom form of import, has a box or rectangular shape (which makes a cylindrical form) and can vary in length, width, and proportion. A mushroom ring (annulus) is usually a conical skirt shape, and in some cases, can look like a tube wrapped around the stem near the base of the cap. Lastly, mushroom gills resemble exposed fish gills, but it’s simpler to see them as a pattern of lines or skinny wedge shapes for drawing purposes.

I know this sounds technical and nuanced. That’s intentional. My goal is to help you draw mushrooms any way you want. I’d rather offer you wings than limit you to a static template to replicate.

Our next step is to construct mushroom forms using the shapes we observed from our studies.

Construction

Form construction is essentially the process of connecting shapes with lines and other shapes. Beyond that, advancing your drawing involves adding movement and volume with contour and cross-contour lines, gesture, and light & shadow. It sounds like a lot, but with practice, you’ll get the hang of it! 👍🏽

Let’s build some mushroom forms!

Below I’ve demonstrated the form construction process using the knowledge and shape information from my study sketches. Now I can create mushrooms that look any way I want, and so can you!

How to draw a mushroom_Construction - Shapes to forms 01

I started with the standard white mushroom you can find easily in a grocery store and constructed a cap slice.

Step 1 was to draw the shapes that help define the overall form.

In step 2, to create the lima bean form with depth and volume, I drew another set of the same shapes on top but slightly shifted down and to the right. This creates the space between the shapes that give us the illusion of depth and volume once we connect everything.

Adding contour and/or cross-contour lines helps reinforce the sense of depth and volume of the form.

How to draw a mushroom_Construction - Shapes to forms 02

In my second mushroom form construction demo, I chose a cone-shaped mushroom cap and repeated the process. Again, I began by drawing in the form’s major shapes: a circle first, then an exaggerated arch, connected by an ellipse.

Once again, I used contour lines toward the end to add to the illusion of depth and volume. I also added a circular “lip” on the views that show the very bottom of the cap. This gives a sense of thickness, which aids the illusion of volume.

How to draw a mushroom_Construction - Shapes to forms 03

For this mushroom drawing demo, I chose a slightly oblong half oval shape. The process remains the same. I used two different sized circles to create the oblong feel of the shape and enclosed them with lines to connect them. To create depth, I added an ellipse at the base that connects the two corners of the oval. Next, I added a smaller ellipse to create an opening for a stem and a plane change boundary for the gills.

I constructed a few mushroom stem forms with the same process. The stems tend to be cylindrical, but sometimes they look almost completely round.

As a rule, I like to create my demos in traditional media because 1) it’s best to start learning with traditional media and get really familiar with sketching in your sketchbook, and 2) I don’t want anyone to think they need digital tools to learn how to draw. You do not need digital tools to learn how to draw a mushroom or anything else. I have suggestions about tools for beginners, but digital can be a later thing.

That being said, I created this next sketch on the fly digitally (as I was writing😅) because I felt there should be a construction demo that included both major mushroom forms: the mushroom cap and the stem. The very bottom of the construction demo section seemed like a good place for it, too.

How to draw a mushroom_Construction - Shapes to forms 04

These demonstrations are of basic form construction. Additional shape information can make the forms more complex add detail, but I strongly encourage you to make a habit of first getting comfortable studying and constructing the larger forms. Details and complexity live on top of major foundational forms. They don’t exist on their own.

A word about details

Details are a treat for the eyes and can be fun to draw, but for as much attention as they command, their place in the process is toward the end.

Here’s an example along with the original reference:

I’ve shown the major forms for the mushroom cap, the stem, and the plane for the gills in my sketch. The mushroom on the left of the sketch is an example of the major forms without details, and the mushroom on the right has some of the details drawn on top of the major forms. Details add fun, interest, and more information–but we can still tell the drawing on the left is a mushroom without them.

I highlighted the details on the right-hand side mushroom and then broke them out independently. When details are the focus, they give very little information about what the actual subject is.

Sometimes additional details are necessary for clear visual communication. For example, when you’re drawing the inner portion or the dissected view of your subject. However, since mushrooms already have a large variety of possible surface texture shape information, I chose not to dive into inner portion or dissected view drawings for this drawing tutorial.

How to draw a mushroom from Imagination: Invention and Experimentation

At this point, you know how to draw a mushroom! Congratulations!

Let’s tackle how to draw a mushroom from imagination! Don’t worry; the process is still the same! The only difference is that now you choose the gesture and shapes your mushroom drawing will have. You’ve got this!

I find it helpful to play around with shape combinations before settling on a shape design to construct. Time to use what you’ve learned and using it to develop your own ideas! Booyah! 👊🏽

Here’s an example of my ideation and playing on paper:

If you want to try more adventurous shapes with your sketches to get a different kind of look, go for it! I kept it a little low-key here to ensure everything stayed clear, but I encourage you to try whatever variety, character, and zest you want!

Once you’ve developed an idea you like, follow the same process to build your forms. I’ll demonstrate with one of my sketches from above by going through how to draw a mushroom step-by-step.

How to draw a mushroom Step-by-step

Step 1:

With your rough sketch next to you, lay down a gesture line (curved line) to start building from. Since my mushroom is upright, I used mostly vertical lines. The gesture line will add a sense of movement and character to help your drawing feel more dynamic.

How to draw a mushroom_Step-by-step 02

Step 2:

On top of your gesture line, add the basic shapes that make up the form you’re building. Here I’ve added a circle at the top for a rounded tip, two curved lines for a curvy cap of the mushroom, and a circle at the bottom for the base of the stem.

How to draw a mushroom_Step-by-step 03

Step 3

Next, it’s time to add the illusion of volume and depth by connecting the basic shapes. I’ve added an ellipse at the mushroom cap base and connected the ellipse of the stem base with the circle at the top of the mushroom cap.

How to draw a mushroom_Step-by-step 04

Step 4

With all the major shapes and forms roughed in, now is a good time to build in the form information for smaller structures like the mushroom’s ring. If you want more shape info for your mushroom drawing, like scales on the mushroom cap, this is a good stage to begin blocking those in.

How to draw a mushroom_Step-by-step 05

Step 5

At this stage, with most, if not all, of your forms roughed in, it’s a good time to start “truing up” or darkening the lines of the major forms for your final mushroom drawing.

How to draw a mushroom_Step-by-step 06

Step 6

I lightly blocked in the mushroom gill pattern. Following the gesture established earlier, I used vertical lines to create the gill pattern. You can do this step earlier than I did if you prefer. I made it a separate step for clarity’s sake.

How to draw a mushroom_Step-by-step 07

Step 7

I darkened the gills and added some thickness to the bottom margins of the mushroom cap and ring.

How to draw a mushroom_Step-by-step 08

Step 8

As part of the finishing stage, I erase the construction lines.

How to draw a mushroom_Step-by-step 09

Step 9

I used cross-contour lines to add depth and give more plane-change info. You don’t have to do this, but it does come in handy when you add light & shadow.

How to draw a mushroom in Perspective

Don’t worry; I’m not going to squish an entire lesson on Perspective drawing into a how to draw a mushroom tutorial. Perspective is its own thing, but I thought some examples of a mushroom drawing in perspective might be helpful.

Start with a horizon line, a vanishing point (VP), and some squares to set up boxes of various sizes in one-point perspective.

How to draw a mushroom_in one point perspective 04
Divided boxes in perspective

Once I’d drawn my boxes, I divided them to match my mushroom design proportions. This made constructing my design in perspective a bit easier.

How to draw a mushroom_in one point perspective 05
The process of constructing forms stays the same once you’ve set your perspective.

I begin constructing my forms with the same process as before. The only difference is that shape placement needs to happen within the bounds of the boxes and planes to maintain the perspective.

How to draw a mushroom_in one point perspective 07
How to draw a mushroom in perspective, complete!

The process for how to draw a mushroom doesn’t change for two or three-point perspective, but the set up for the perspective does change. I’ll cover perspective in separate articles, but I wanted to visually demo the process for you.

Here’s two-point perspective:

And here’s three-point perspective:

How to draw a mushroom from Imagination: Sketching in Perspective.

I thought it would be fun to demo how to sketch in perspective briefly. So I created my own perspective grids in Photoshop, printed them, and sketched on top of them. The basic idea is that your lines need to go in the same direction as the grid lines, and from there, you construct forms. I chose two-point perspective for this demo.

Light and Shadow: How to light your mushroom

Now that your sketchbook is overflowing with fabulous mushroom drawings & designs, of course, you’ll want to pick your favorites to take to finish! That means adding light and shadow.

I created a visual step-by-step demo below for how to light your mushroom design. For more in-depth info on light, please check out my Fundamentals of Light series.

A word about color

It was tempting to break out the colored pencils after this light and shadow demo, but…I firmly believe that Color & Light, like Light & Shadow, are their own thing. Using colored pencils here would certainly add another dimension to the sketch, and if that’s your jam, then go for it! I prefer to dive into that separately to help all my readers build a solid drawing foundation, and I think whipping out the colored pencils would distract from that. So, that’ll be a “later later” thing for me. 😜

Fun with mushrooms: Exploring shape language and style variations

I thought it would be fun to show other types of shape language examples to wrap things up. My default is representational drawing, but that’s not everyone’s jam. Plus, we have to speak different shape languages, so here are some fun sketches I came up with to play around with different kinds of shapes in various sizes.

How to draw a mushroom_shape variations_anime-manga style

Anime/manga shape language

The shape language for anime and manga seems a little more “realistic” to me in how characters and other subjects are drawn, but just like other cartoons, it’s also very light on detail. It’s also exaggerated, of course.

This is my version of an anime/manga style set of mushrooms.

How to draw a mushroom_shape variations_cartoon style

Cartoon shape language

The shape language for cartoons tends to be pretty flat, with very exaggerated shapes to fit the story’s tone. As a result, you can really stretch believability, experiment with different kinds of designs, and have a lot of fun.

This is my version of a couple of cartoon character mushrooms.

How to draw a mushroom, signing off!

Well…I’m exhausted, how about you? 😂😉

That was a lot of stuff, I know. As always, Thank you so very much for hanging in there with me. There are so many options out there for drawing tutorials. You could’ve chosen any drawing tutorial, easy drawing tutorials, but you chose mine and hung in there with me. Thank you.❤ You are awesome!

I sincerely hope you found this article helpful and that you now feel more confident about drawing a mushroom. Please remember to have fun with it! This is your art, and it’s about you. Enjoy it! ❤

If you have any questions or feedback, please leave them in the comments below. Thank you again, and happy mushroom drawing!


More how-to-draw articles on CecelyV.com:

How to draw a circle

How to draw a cube

How to draw a sphere

How to draw a banana

How to draw a pumpkin

Top 5 Art Fundamentals for Beginners

Top 5 Art Fundamentals for Beginners

Welcome fellow artists! Thank you for sharing part of your day with me to talk about art fundamentals 😊.

Since you’re here it means you are looking for answers regarding the fundamentals of art and other art concepts like painting, color, composition, anatomy, value, and many others I’m sure. When we start our art journey, we have tons of questions about art and its elements. I’m happy to share everything I have learned as an artist because I remember the struggle of becoming.

There are almost always pre-established paths, curriculum, video courses, books, and other avenues for getting whatever knowledge we seek. These avenues lay out what the essential or fundamental parts are for any discipline and stress the importance of learning those fundamentals to achieve success—and for good reason, as our work and understanding tend to fall flat without them. Everything there is to learn has fundamentals intended to serve as our foundation.

A foundation is our primary source of essential knowledge and skills, and once completely established it supports us as we grow from it and built on it. Have you ever heard the phrase “We stand on the shoulders of giants”? The artists that came before us, from masters to hobbyists, have already laid the groundwork for us. We don’t need to reinvent anything, all we must do is learn the basics, each art concept, and do the work to make our art.

Yes, it is a process. Yes, it does take years. That’s okay! It’s worth it, and so is your art dream.

What are the Fundamentals of Art?

Search for “art fundamentals” or “what are the fundamentals of art?” online and you quickly get a cornucopia of mish-mashed information about art and design.

There is a difference between a fundamental, a principle, and an element. A fundamental is something you start with and then build on. A principal is similar to a fundamental, but it can also be a set or list of things that make up one encompassing fundamental. I think about it this way: if there are multiple principles, then whatever heading they’re all listed under is the actual fundamental.

Take the Principles of Design, for example. There are at least seven of those, but Design is the fundamental. Make sense? An element is literally a component, one part, of a whole. All fundamentals have elements, but no single element is a fundamental on its own.

Why Learn the Fundamentals of Art?

Because you want to draw and paint awesome stuff without tearing out your hair, that’s why.

Making quality art requires us to understand all the fundamentals of art as well as their elements, including painting, color theory, composition, color mixing, anatomy, perspective, design, etc. Understanding each of the fundamentals, each concept, in depth is a process and an investment in ourselves as artists. You have goals as an artist that you dream of meeting, and your journey is about equipping yourself to get where you want to be and rocking it when you arrive. So let’s gear up by going over this list.

My Top 5 Art Fundamentals for Beginners

To be completely honest and transparent, this list represents the top 5 art fundamentals according to me. Others may disagree, but I have been working at this long enough—and I have classically trained enough—to present this list with confidence. The order I list them in is based off years of study, practice, and wall smacking.

  1. Forms
    • Line
    • Shapes
    • Structure (Construction)
    • Proportion (Illusion of Mass and Dimension)
  2. The Fundamentals of Light (Tones/Values, includes basic Color Theory & Mixing)
  3. Drawing from Life
  4. Gesture Drawing & Anatomy
  5. Perspective

My key reasoning for the order of this art fundamentals list is quite simple: Historically and to this day, most times when I hit a wall it’s in one or more of these five areas that I find the solutions I need. Had I built a stronger background in these earlier on, I would’ve hit fewer snags. The strength of our foundation plays an important role in how we navigate our way through any challenge, and no matter how experienced we become, problem solving and corrections will always be part of our creation process.

It’s good to get different perspectives on things, so here’s the awesome Bobby Chiu on what the fundamentals of art are:

With all that in mind, let’s start digging into these top five fundamentals and help you on your way.

1. Form

When we talk about Form in art, we’re referring to an object’s overall shape, volume, and contours which include line, depth, and mass. Seeing and constructing Forms are the first and most vital skills we must develop as artists.  Practicing the analysis, understanding, and building of Forms creates a strong foundation for developing and growing all other fundamental art skills. Line, shape, structure, and proportion are essential building blocks for anything you draw or paint.

The process of practicing each of these skills builds our visual library and the muscle memory needed to allow us to create whatever artwork we want. As artists we are in the business of communicating feelings, thoughts, impressions, messages, and stories, so let’s look at how developing our skill with Forms helps us.

Benefits of developing skill with Forms

1. We Learn to See

Practicing seeing and creating Forms helps us become familiar with the physical make-up of all the things that surround us and how all their parts come together to shape part of our experience.

2. We Learn to Analyze, Explore, and Take Risks

We begin to see connections, relationships, repetition, and similarities between and across forms and objects. This readies us to look more closely at each subject and better understand the fundamentals beyond the basics.

When you feel ready for more on Forms, I take a deeper dive into the topic in my Understanding Form post.

2.   The Fundamentals of Light: A Few Words on a Massive Topic

The study and practice of The Fundamentals of Light allows us to create Tones/Values in our work. Where Forms add the illusion of volume and dimension, light and shadow give objects a sense of mass, help further clarify surface texture and plane changes, explain the objects’ local tone and color, indicate mood, and show objects’ context within the picture plane.

Studying Light teaches us how it interacts with everything in the real world and helps us reproduce an illusion of its effects in two-dimensions. This practice helps us illustrate the properties, mood, and the character of the objects and people we draw and paint. With these two art fundamentals in our toolbox, we can create the illusion of any type of material, choose any level of detail, and guide the story to wherever it needs to be.

The process of practicing with light and shadow in art begins to bring us into other areas, such as color theory, color mixing, color key, light key, and painting. During this learning process, I recommend you to try to keep color simple. While color theory is relatively simple, a deft use of color takes years of practice and there are several elements involved when dealing with it. I also recommend using digital painting tools in addition to traditional painting to help with the study of color.

Digital tools are much more forgiving and are great for practicing and experimenting with value and color. My favorite thing about playing with color and value in a digital painting app, like ProCreate or Photoshop, is that they allow you to learn all the elements of color without having to mix color.

Mixing is its own thing–not a big thing, but still. Painting traditionally involves understanding the characteristics of each product (whether those are painting colors or mediums) and paint colors can vary wildly within a single color range and from brand to brand. Since traditional color mixing is so involved, it is best practiced separately from these five fundamentals.

Practicing each of these art fundamentals requires us to also practice Drawing from Life, which is the next area of fundamental practice I recommend for beginning artists.

3.   Drawing from Life: Growing Your Skills & Visual Library

Every time we make art from life, we are doing something very important for our art and for ourselves as artists. We are taking into ourselves the life around us and engaging with it. Sketching and Drawing from Life are how we have a dialogue with the object we are re-creating. The relationship we have with the world through this process develops and maintains our visual libraries.

To begin, I suggest starting small and simple.

Think of the different types of shapes and find objects from your daily life, and from nature, that include many of those shapes. Then, draw them a lot. Start with the basic shapes you see—i.e., circles, squares, triangles, etc.—to practice seeing the elements that come together to construct the forms, such as cylinders, spheres, cubes, boxes, pyramids, cones. Leave out details like the surface designs, textures, and colors for now, focusing only on the forms, local tone, and basic light and shadows.

Draw the objects from different viewpoints, at different times of day, in different positions, under different lighting conditions, on their own, and grouped with other objects. Some printer paper or a simple sketchbook and pencil are really all you need to get started.

Once you feel comfortable with the simple forms, take yourself to the next level of form complexity and alternate between organic and inorganic forms to help to keep things varied, fun, and to keep expanding your visual library. As you become comfortable with more and more complex forms, you will find yourself ready to begin tackling the most challenging ones: Humans and animals.

4.   Gesture Drawing & Anatomy: Massively Challenging, Awesomely Rewarding

For an artist, gesture drawing is essential for infusing a sense of motion, energy, and life into our artwork. As artists, we want to share art that feels alive, and gesture drawing and anatomy help achieve that. Gesture helps us add to the observation skills we build when creating from life by teaching us to see, accentuate, and exaggerate the motion in the poses of our subjects.

Every subject has gesture and motion; they are not exclusive only to humans and animals. Even when an object is static, like the trunk of a tree, it still has a gesture—it just doesn’t convey motion because it is not moving. Gesture is an area of study unto itself because creating the illusion of dynamic motion has its own set of terminology and guiding principles.

However, as with the other art fundamentals, gesture drawing builds on the other skills that were listed before it. Just as we construct our objects from lines and shapes, so too do we build our gestures. In a traditional gesture class (usually called Figure Drawing), we learn to identify the line of action for each pose and then build the forms around it. This also involves much practice in seeing, and accurately placing, the angles, proportions and distances between shapes and forms.

It is another form of drawing from life, with the specific life form being a human model.

Figure Drawing for Gesture Practice

At first, working with the figure feels quite daunting and challenging (and hilarious cuz there’s a naked stranger in front of you). I put it this far down on my list because it is a much more demanding skill. Even so, when you feel ready, I strongly encourage you begin adding gesture/figure drawing to your practice routine. It’s as fun as it is challenging, and it will help your hand and eye mature.

When I first started waaaay, back in 2001—OMG I’m totally aging myself—I was like all the rest of my first-time figure drawing artist classmates: giggly and terrible at drawing naked humans. I had no idea what I was doing, and that was fine. At first it’s quite humbling, but with a good instructor (Thank you, Professor Tacang!) I improved. If I can do it, so can you—with all the art fundamentals.

Remember, this is your journey so make it work for you and your art. I am here to act as a helpful guide and faithfully pass on what I learn.

The last skill in this first round of art fundamentals is one that helps pull everything together and adds an extra kick of believability to our creations.

5.   Perspective: Exciting and Technical…mostly.

The first four art fundamentals are all about building the solid drawing foundation we need to support us as we work to communicate through our art. Perspective is another powerful tool for our visual storytelling, and it is a bit different from the others. Whereas the other areas of fundamental study are focused on constructing, lighting and enlivening objects, Perspective focuses on the space the objects occupy.

It deals with how the orientation of each object changes depending on its position within that space, and where our point of view is set (POV). Perspective allows us to understand the spaces our objects and stories occupy, and to examine each from different points of view.

Access to any point of view in the story is the gift we gain by developing our skills with Perspective, and the impact of a story can change dramatically depending on the viewpoint from which it is told.

As with the other fundamentals of art, Perspective is an area of study unto itself and has its own set of terminology, rules, and ways of practicing. It is certainly one of the more technical areas of study in art.

Creating objects in perspective is a more guided way of working that calls for a lot of lines and points: horizon line, vanishing points, and construction lines. I think it can be exciting when it helps an idea come to life—but it can also feel dry and ass numbingly dull (or painfully frustrating) depending on where you are with it. Perspective is important to learn, important to understand, and, unfortunately, is also a skill many artists avoid early on. I know I did.

It made my head hurt, so I said “no, thank you”…to the detriment of my artwork. Eventually, I sucked it up and learned better (plus it really, really helps with composition!).

So…What About the Other Art Fundamentals? 

Believe me, there is no rush and the five we’ve just gone over will do the vital work of helping you build the foundation all your work rests on. The other art fundamentals: Color & Light, Principles of Design, Composition, and Line & Brushwork…they’re not going anywhere, and I’ll be here to help you make sense of them.

Thank you for hanging in there with me! I hope you have found this article helpful. If you have any questions, feedback, or if I have confused you at all, please let me know in the comments so I can help.

Drawing Tools for Beginners 2021 – Keep it Sweet & Simple

Drawing Tools for Beginners 2021 - Keep it Sweet & Simple

Have you ever flipped through a super thick art supplies catalog and felt surprised at the huge number of drawing tools out there? Have you ever felt confused or overwhelmed at the massive variety of art materials, drawing materials, drawing paper and other surfaces available? Have you asked yourself, “How do I choose drawing tools for beginners? What about quality? Should I go for high-quality, professional quality, or student grade? Can I get what I need for less? Why is there so much product out there?

There are so many different kinds of pencils, paint, eraser, brush, pastels, pens and other materials. How do I pick what is good for me? How will I know? What do I want? It’s all so new…maybe I should go to the art supply store to shop for drawing supplies…

I’ve been there. Let’s dig into this topic and see if we can answer these questions.

I started drawing! Yay! Now what?

 Congratulations! You’re on your way and that’s good, so keep drawing! Draw daily and keep learning the fundamentals of art. Now that you’ve begun, it’s a matter of maintaining your will to continue and finding resources that work for you. Let’s introduce some essential drawing materials and art materials that will serve your art education journey.

The Purpose of Art Materials

Mark making.

The purpose of all drawing materials, and paint, is to make a mark. The purpose of each mark is to help us express our stories. Other art materials, such as paper and canvas, are the places our stories live in the world.  

Drawing Tools for Beginners

 The tools & materials I’ve listed here are structured with a focus on the art fundamentals, and based on my recommended Top 5 Art Fundamentals for Beginners.

1.  Graphite Pencil set or Lead Holder & Leads

graphite pencils and lead holders

 Standard medium 12 pencil sets will contain several grades of graphite pencils, usually 4H to 6B. A full range set, from 9H to 9B, contains 24 pencils and offers a broader tonal range. For more information on pencil grades, check out my post All About Drawing Pencils: Graphite Pencil Scale Explained.

Another drawing option is a lead holder with several grades of graphite leads. Using a lead holder means less of the graphite stick is wasted. I prefer lead holders over drawing pencils because I find them to be more reliable, efficient, and longer lasting.

 Drawing pencils and pencil sets are the least expensive route for starting your art materials toolbox.  A set of 12 medium graphite pencils (4H-6B) has a price of about $18, and a more expansive set of 24 (9H to 9B) goes for about $35.

The price of a lead holder runs about $9 – $18 depending on the type and brand. I’ve always used a Staedtler lead holder, which runs about $12.  A selection of lead grades goes for $40 to $192 depending on the number of lead grades you purchase and the lead count for each grade (packs of 2 or 12). The initial cost for the lead holder and leads is higher but balances out a bit by lasting much longer.

Access to the full range of tones, from lightest (9H) to darkest (9B), is extremely valuable–especially when you are training to see and control tones. This is true for any graded pencils, including charcoal pencils.

2.  Sharpeners & Pointers: Pencil Sharpener, Lead Pointer, X-Acto Knife, and Sandpaper Pointers

 Crisp lines, small shapes and details require materials that can be sharpened to points or edges. Sharpening requires pencil sharpeners, lead pointers, and X-Acto knives. Sandpaper pointers help achieve an extra sharp point or crisp flat edge after sharpening, but are more of a useful sharpening accessory.

Pencil Sharpeners

All pencil sharpeners are not created equal. Having tried several over the years, I can say two things with confidence:

1) Those little pencil sharpeners that come with most drawing pencil sets are almost always crappy and useless, and

2) Nearly every German-made pencil sharper or lead pointer I have ever used has worked beautifully with minimal lead breakage or waste.

 Once you find a pencil sharpener that works for you, stick with it (and get a backup). Reliable sharpening tools contribute to a smooth workflow by keeping your pencils sharp without breaking or splitting.

Unfortunately, trial and error is still the best way to discover which pencil sharpener best suits you. The two pencil sharpener brands I’ve used for years now are KUM and Dahle. Both are German made, and I find they work best and are of excellent quality. I have the KUM Ellipse pencil sharpener and the Dahle Canister pencil sharpener. For more pencil sharpener options, check out the Blick. Amazon is another option; the search there cast a much wider net, so results are broader, but there are a few products that look promising.

 X-Acto Knife and Sandpaper Pointer: A Reliable Backup

As important as it is to have a reliable sharpener, it’s just as necessary to have a reliable backup sharpener. An X-Acto knife with a fresh blade is an inexpensive and easily accessible backup that always works, and you can find them at your local art supply stores and websites, such as Blick, as well as big box stores such as Home Depot, Walmart, and Target.

Using the X-Acto knife to sharpen your pencils allows you to choose how much of the graphite core is exposed, and how you sharpen it. Pair an X-Acto knife with a Sandpaper Pointer (or a sheet of low grit sandpaper) to have more control and customization of the point of your pencils rather than being beholden to the specs of your other sharpener(s). Having each option for sharpening allows for more flexibility and variety in your mark making and workflow.

Lead Pointers

When a lead holder and graphite sticks (or “leads”) are your choice, a lead pointer is the necessary sharpening tool. While a pencil sharpener must cut and sharpen the wood casing around the graphite as well as the graphite core, lead pointers need only bring the graphite stick itself to a point—without breaking the stick, of course.  Lead sizes range from 2 mm up to 5.6 mm, so be sure to choose the pointer(s) that fit your tool(s).

I use the 2 mm graphite sticks, and my experience with lead pointers has been with the Staedtler Mars lead pointer and “The Gedess” rotary lead pointer by DUX.

I didn’t like the Staedtler Mars because its design was not smooth enough to prevent frequent breaks of my lead, and I found this extremely annoying and wasteful. Then I discovered “The Gedess” and it’s great! Interestingly, both brands are German made. It’s possible they’ve improved, or that the one I had was a dud. Who knows? Still, “The Gedess” works exceptionally well, never failing and rarely breaking my leads.

I definitely recommend “The Gedess” lead pointer, but it is more difficult to find. I have found it in two places: CultPens & Amazon (via a third-party seller). The most expansive list of lead pointers I have found so far comes from Cult Pens. They are a UK-based company, so factor in currency conversion and shipping when making purchases. I ordered two Gedess lead pointers from them years ago and both still work perfectly.

3.  Erasers: Kneaded, Mechanical, Mars Plastic, & Pink Pearl

Erasers
Closeup of white used eraser and pencil on sketchbook

 We all love “happy accidents”, but most of the time what we get are regular “oopsie” marks that need correcting, which makes having a few types of eraser helpful. I use three kinds: a kneaded eraser, a mechanical eraser, and a Mars Plastic eraser. Creating different types of drawings, on different surfaces, with different materials necessitates a bit of variety in how we lift, lighten, adjust, or remove our marks.

Kneaded Erasers

A kneaded eraser can be used for lifting media off a surface to lighten an area or erasing to remove a mark almost completely. I say “almost” because how well the kneaded eraser removes a mark depends on how dark the mark is and how much pressure was used to lay it down. A very dark mark pressed deeply into the surface will not be completely removed with a kneaded eraser.

Mars Plastic Eraser

While very versatile, kneaded erasers are not my tool of choice for heavy duty erasing. To erase a large area completely, I turn to my Mars Plastic eraser. It’s big and sturdy enough to cover a large area, but soft and effective enough to remove the marks without tearing up my surface. Mars Plastic erasers can also be cut or trimmed with an X-Acto knife to achieve an edge or a point.

Mechanical Eraser

Sometimes an area calls for smaller, more precise mark editing or removal. Kneaded erasers can be great for this because they can be shaped in whatever way you want. Its malleability, however, means it is not firm and cannot keep a point for long. A mechanical eraser works great for erasing with more precision. It pairs well with an eraser shield, and can also be cut with an X-Acto knife to achieve a sharper point or more crisp edge.

Pink Pearl Erasers

Pink Pearl erasers work great for erasing on most surfaces. Similar to the Mars Plastic, it’s a good everyday work horse type of eraser but there are a couple of caveats. In my experience, the Pink Pearl erasers can often leave unwanted, pink “ghost” marks behind after erasing. It’s like next level eraser poop, and often can’t be removed—which is very irritating since the point of using it was to remove an unwanted mark.

Additionally, a heavy hand and excessive erasing can mean wear and tear for your surface, so keep that in mind. Still, Pink Pearl erasers are quite durable, so I still recommend having one.

4. Lithographic Crayon or China Marker 

While practicing gesture drawing in art school, I found myself looking for a less messy alternative to charcoal pencils and charcoal and Conte sticks. A schoolmate recommended I try Lithographic Crayons, and I’m glad I listened. Lithographic crayons are great! They have all the benefits of a stick tool with much less mess, apply smoothly, and are not easily smudged.

I find them ideal for figure drawing because they’re comfortable, versatile, and help me from stay away from small details while sketching because they don’t naturally come to sharp point. Lithographic crayons come in six degrees of hardness: Extra Soft, Soft, Medium, Hard, Extra Hard, and Copal.

China Markers offer a similar feel to lithographic crayons, though “Marker” seems a bit of misnomer to me as it’s more a cross between a colored pencil and a crayon in its consistency. If you appreciate a tool with smooth application and no smudging, give china markers a try. The only slightly annoying thing about china markers is the peeling mechanism, by which you expose more of the tool by pulling the inserted string, which cuts the paper covering and allows you to peel it away .

Sometimes the string becomes too long and gets in the way of drawing, or becomes detached completely and makes it difficult to pull more of the paper covering away. Keeping an X-Acto knife or scissors in your pencils toolbox is enough to remedy these minor irritations and get you back to drawing.

5.  Col-Erase Colored Pencils

 As we progress through our art fundamental studies, we come to a point where our practice needs the help of color. I am not a fan of diving deeply into colors early on, but when we practice Perspective it becomes necessary to have multiple colors to work with because perspective drawing yields a lot of lines on a page.

All those construction lines get confusing when they are all the same tone and graphite grey color, so having a set of Col-Erase pencils, or regular colored pencils, is amazingly helpful. Col-Erase pencils are an erasable type of colored pencil made by Prismacolor, and they are especially useful for perspective, layouts, and design. So, when you’re drawing construction lines to practice forms in perspective, you’ll be able to tell which lines go to what forms without all the eye crossing and hair tearing.

Regular sets of Crayola or generic brand of colored pencils work fine, but they cannot be completely erased. Still, the point of using colored pencils is to have clarity during construction. Erasing ability is helpful, but not essential. If you already have some colored pencils in your toolbox, get those used up first. It will give you a feel for the materials, assist in your practice, and give you an excuse to buy new ones 😉

6.  18” or 24” Ruler

 A straight edge tool is more often necessary for technical drawing and design, such as Perspective. Once you’re familiar with how perspective works, your eye becomes trained to see when the perspective is off in a drawing—or so I’ve been told. I haven’t yet managed to develop this skilled and magical sight, but it sounds awesome. Practically speaking it’s extremely helpful. I’ve had the perspective of more than one drawing or painting corrected because I had instructors or schoolmates who could “see” my funky perspective.

Even when I develop this awesome skill, I will still need the assistance of a ruler, the horizon line, and vanishing points to make adjustments. Construction lines can get wildly long and go off the page, which is why I suggest using an 18”or 24” ruler rather than the standard twelve inch.

7.  Fixative spray

When we finish work that we want to preserve, we must seal or “fix” it with fixative

spray so our work is protected from smudging, erasing, and yellowing. Fixative spray is a transparent protective coating that dries to a uniform finish (matte or glossy) without yellowing. Fixative sprays are available for charcoal, pencil, and pastel drawings. These spray fixatives must be applied in several coats and tend to have a strong smell, so I highly recommend applying them outside. Once the spray is dry, your work (and your nose) should be protected.

Surfaces: Art Materials to Draw On

1.  Sketchbooks (with at least one having toned paper)

 Sketching is our bread and butter. We must think on paper to pull out and develop our ideas before they are ready to be taken to finish. A sketchbook is not only a working space. For me it’s a place to make a colossal mess in pursuit of the art I want to create, as well as a repository for jotted down notes, thoughts, and ideas. Primarily it’s another tool for our expression and learning, so it is important to choose one you are comfortable with.

For example, I prefer hardbound sketchbooks to spiral-bound. I like my pages to stay put in my sketchbook, so spiral-bound or perforated page sketchbooks don’t work for me because I find loose or falling out pages irritating.

A toned paper sketchbook is useful for practicing with tones and values, and is a nice change of pace from blank white paper. Toned sketch paper most often comes in grey or tan, but the idea works the same regardless of color. Using different colored construction paper would work too.

Toned paper has a visible fibrous texture to it, and, for me, drawing on it adds a certain comfort to my process—like the space is a ready-made supportive presence, or background, for my sketches. I guess I find a toned surface more welcoming.

2.  Pad of toned paper

 I recommend a pad of toned paper for the same reasons I think a sketchbook of toned paper is important. With a larger pad of toned paper, you can complete larger drawings (portraits, illustrations, figure drawings, etc.) with all the benefits of a toned surface.

3.  Newsprint Pads, Printer Paper, Mixed Media Pads, & Drawing Paper

Let’s talk about papers to draw on!

Newsprint

Newsprint is a great work horse surface. It’s inexpensive, durable, and works with any dry media tool. I prefer using newsprint for all my gesture drawing short pose practice, and I particularly like the Blick Studio Newsprint Pads. They are available in a variety of sizes (9”x12”, 12”x18”, 18”x24”, and 24”x36”), three of which are available in both 50 and 100 sheet counts.

Newsprint is ideal for practice and is meant to hold dry media such as pencil, charcoal, pastel, and ballpoint pen. Wet media does not hold up well on Newsprint–it’s not thick enough to hold much moisture, so bleeding and tearing happen quite easily.

Printer Paper

Pen and ink and markers are amazing to practice with, especially with gesture drawing, so having another surface option here matters. Printer paper is cheap, easily accessible, and will hold marker and pen and ink much better than newsprint. Printer paper is loose, and stacks of it can be challenging (and weighty) to store. You may find binding it in some way, with staples or a three-ring binder, to make a DIY sketchbook helpful.

Mixed Media Paper

For more versatility with easier storage Mixed Media paper is a good choice. The sheet count is limited (30 to 60 sheets) and the cost a little higher, but for that you get a surface that will hold both dry and wet media such as watercolor, pastels, pencil, collage, and pen and ink. Mixed media paper is a good addition to any surfaces repertoire that you’ll want to have on hand. It adds variety to your toolbox, and is one of the best options for experimenting with other materials like paint, charcoal, pens, and more.

Drawing Paper

Practice isn’t all sketches. Finished pieces, such as still lives, figure drawings, and illustrations are also part of our practice, and for this type of work I recommend using Drawing paper. Drawing paper is usually off-white with a uniform surface, and will accept any dry media, marker, pen and ink, and light washes. Drawing paper can be used for sketches, but given the sheet count and cost I recommend keeping your use of it to “finished” work.

Must Have vs. Nice to Have

The most important thing to remember is your purpose. What is it that you’re working to learn and do? There are many different artist materials out there–certainly far more than we will ever need at one time–so focus on choosing those that support the work you’re making now.

I encourage you to choose materials that support your current goals without getting distracted by the multitude of other shiny supplies out there. Your future self, your wallet, and your storage space will thank you.

Simple Essentials for Digital Practice

For practicing most of the art fundamentals, the materials I have listed so far will take you far. For a few of them, like Light and Color, a digital painting app is extremely helpful.

Here is my list of tools and materials for digital practice:

1.  Working device (desktop computer, laptop, or tablet)

2.  Drawing tablet (without display) or tablet compatible stylus

3.  Digital Painting application

Please forgive how super generic this list is. The area of digital tools is quite large and involved, so it would be too much to delve into here. Every aspect of your digital setup must be based on what works best for your artwork and also your budget. Thankfully, these days most of what we need (powerful video cards, plenty of storage space, quality screen resolution, pressure sensitivity, etc.) come standard with most computers and devices. To make this a bit more helpful I found some sites with additional information:

Best Drawing Software and Apps 2020

Best Drawing Tablets for Beginners

My focus is to be a helpful resource for your art journey, so I’m focusing my writing on all the aspects of how we make art. For now, I best serve you by pointing you in the direction of others who’ve already covered the best currently available digital resources.

Working digitally is a more forgiving (and less frustrating) way of studying Light than using traditional paints and brushes because it allows us to practice without needing to mix tones and colors manually. I find color theory is much less complex than it seems, but color mixing with traditional media is far more challenging than you’d expect. So, noticeably absent from my list are painting supplies, and that is intentional.

Learning must be done at a sustainable pace with digestible pieces of information spread out along the way. Introducing colors and brushwork too early can be distracting, overwhelming, and detrimental to our study of the other fundamentals, and it is absolutely essential that we have a firm grasp of line, form, and tones first.

Get that Mileage

Put in your mileage
hiker walking along the road to the mountains.

We are makers, builders, creators, and storytellers. The best way to pull out our visions is to think on paper. No matter how you end up filling out your art supplies, the most important thing you can do with them is to sketch.

Sketch, sketch, sketch, and sketch some more! Sketch. Every. Single. Day. Draw and draw until you’ve filled your sketchbook. Then get another sketchbook and fill that, too. Don’t know what to draw? Start with the Fundamentals and Forms!

No matter where you are now, you will reach your goal. All you must do is breathe, believe, and draw. You got this 😉

The Pencil Grading Scale Explained 2021: Absolutely Everything About Graphite Drawing Pencils

The Pencil Grading Scale Explained 2021_ Absolutely Everything About Graphite Drawing Pencils

Understanding Your Materials

Understanding is a beautiful, and usually beneficial thing. On our journey for knowledge about art, and as we study and practice the Art Fundamentals, we should make a point of understanding the materials we use. Even a basic grasp of the many factors that determine the quality and grade of our materials—such as graphite pencils and charcoal—will improve our skill in using them.

A basic knowledge of your materials’ origin, history, composition, grades, characteristics, and form varieties will improve your drawings and inspire a deeper appreciation and understanding for your art craft. Understanding which grades of graphite pencil to choose as we create a still life or a portrait allows us to make drawings with confidence and access the full range of values needed for our projects.

Frequently Asked Questions About Graphite Pencils

Some of the most frequently asked questions about graphite pencils are related to graphite itself (what is it, anyway?), the pencil grading scale, what the numbers and letters on pencils mean, how to sharpen pencils, when and where the pencil was invented, how pencils are made, why graphite sticks are called “lead”, and the safety of using graphite (can one get lead poisoning from pencil lead?).

I want to give you a heads up here that this is a more technical subject. I’ve tried to keep it succinct, clear, and interesting without adding too much fluff or going into information overload, but facts based in science don’t lend themselves to word artistry or prose so hang in there with me, ok? Besides, it’s the information we’re after so our improved understanding can begin to shine through our art.

So, let’s dig into the science, history, life, making, and safety of pencils so we can answer as many of those questions as possible.

The Science—What is graphite?

Graphite is a naturally occurring form of crystalline carbon, and the most stable form of carbon. Graphite is a mineral, and its extreme properties (extremely soft, extremely heat resistant, etc.) give it a wide range of uses in metallurgy and manufacturing. It is highly conductive for heat and electricity, and flexible but not elastic, which make it useful in electronic products like batteries. Graphite is primarily used in pencils and lubricants.

Graphite is composed of flat sheets of carbon atoms stacked on top of one another, which slide apart easily because the bonds between them are weak. This means natural graphite has incredibly low hardness, so when we drag our graphite pencil across paper those flat sheets of carbon are left behind and create a mark.

A Mark Maker: The History of Graphite

In a place called Borrowdale, near Keswick in the Lake District of England, a large deposit of graphite was discovered by locals after it was revealed by a storm in the 16th century. Due in part to its resemblance to lead in color and appearance—and the infant state of relevant sciences like Chemistry and metallurgy at the time—the substance we know to be graphite was at that time named plumbago (Latin for ‘lead ore’) because it was believed to be a form of black lead rather than carbon.

For many years, the graphite deposit in Borrowdale was the only large source of graphite, which gave England a monopoly on graphite sticks. Trade embargos during the 18th century Napoleonic Wars forced the French Republic to come up with their own version of the graphite sticks that did not rely on imports.  French army officer, painter, chemist, and balloonist Nicholas Jacques Conté had the idea of mixing powdered graphite with clay and water, and then firing the mixture in a kiln.

Conté’s innovation ended England’s monopoly on pencil production, and he continued to develop his manufacturing process by varying the quantities of clay and graphite to change the hardness of the graphite core. Conté’s experimentation and refinement of his process lead to the range of graded pencils we enjoy today, which use the alphanumeric grading scale we’ve become familiar with.

Graphite Pencil Grading Scale Explained

I have never been a fan of standardized testing, but I liked those spiffy #2 pencils. You know you have a maker’s heart when freshly sharpened pencils make you smile, but I digress. When we were filling in our answer bubbles on those tests, we were unwittingly being introduced to the middle of the graphite pencil grading scale.

The #2 pencil is part of the American system for grading “lead” hardness, and it corresponds to the HB pencil on the European grading system. HB is the middle grade pencil, meaning that it contains equal parts graphite and clay for a balance of softness and harness.

The Alphanumeric Scale

Now let’s talk letters and numbers so we can understand this alphanumeric system. The letters used are “H”, “F”, and “B”.

“H” stands for hard; “F” stands for fine, because it can be sharpened to a fine point; and “B” stands for Black.

Higher numbers in front of the “H” mean a harder pencil, while a higher number in front of the “B” means a softer pencil. The harder the graphite core of the pencil, the lighter the mark it makes, and the softer the core, the darker the mark.

Together the numbers and letters create the alphanumeric system used to describe the pencil’s hardness or softness, also called a grading system. This system refers to the ratio of binder to graphite present in the mixture of the pencil’s graphite core, commonly called “lead” (a persistent misnomer, as there is no lead in graphite pencils). The variety of ratios for this mixture is what Nicholas Jacques Conté innovated, and it is what gives us the 24 graphite pencil grades—and full value range—we enjoy today.

The harder the pencil (the “H” end of the scale), the more clay is present in the mixture recipe. Graphite, not clay, is the mark maker of this mixture, so less graphite means less mark making material is present. Marks by pencils from the “H” side of the scale will stay on the lighter end of the value scale.

The opposite is true for the “B” side of the grading scale. The more graphite is present in the mixture, the softer the graphite core will be. More graphite means more mark making material is present in the pencil, keeping marks from “B” pencils on the darker end of the value scale.

Graphite Pencil Grading Scale

How the mixture of graphite powder and clay powder are formulated determines a pencil’s “lead” grade. Below are the charts for both the European and American hardness grading systems.

European Grading System (alphanumeric):

Harder Graphite Core = Lighter Marks

10H ◀ 9H ◀ 8H ◀ 7H ◀ 6H ◀ 5H ◀ 4H ◀ 3H ◀ 2H ◀ H ◀ F

Middle Grade = Balanced

F ◀ HB ► B

Softer Graphite Core = Darker Marks

B ► 2B ►3B ►4B ► 6B ► 7B ► 8B ► 9B ► 10B ► 11B ► 12B

American Grading System (with corresponding equivalents to European System for clarity):

#1 – B

#2 – HB

#2 ½ — F

#3 – H

#4 – 2H

The American grading system is much more abbreviated and appears to have been conceived primarily for pencils used for general writing and drafting purposes. The more expansive, full range of values of the European grading system is preferred and used by artists.

Binders

As you begin learning about artist materials, you’ll hear the term “binder” mentioned, especially when discussing paints. Binders, or binding agents, are substances or materials used to hold or bring together other materials so a cohesive whole can be formed to create the tools and surfaces we use. Binders are part of the mixture (or recipe) for creating art materials, such as graphite and charcoal “leads” and sticks, pastels, paints, etc.

Binders are often liquid, powder, or dough-like substances that bind other materials together through mixing and then hardening via a chemical or physical process. In the case of artists’ materials, binders are used to hold together pigments and other materials—like graphite powder—used to create the tools and supplies we need for our art-making.

Binding agents include materials like wax, linseed oil, natural gums, proteins (egg white or casein), and clay—which is the binding agent for graphite “leads” and is usually a mixture of calcium bentonite and kaolin.

When the world was younger, materials like egg, wax, honey, lime, casein, linseed oil, or bitumen were mixed with pigment by artists to form paints. From the Middle Ages through the early 16th century, egg-based tempera was a popular binder in Europe. Oil and acrylic polymer have been the binders of choice for paint for quite some time, with oil beginning in 15th century Belgium and acrylics getting their start in 1953 (aww, like a baby paint compared to oils!).

A Pencil’s Life: Making Marks and Keeping Its Edge

The grade of pencil leads affects not only our choices about their use in our work, but also how frequently they must be sharpened, their smudge resistance, strength, smoothness, and pigmentation. Harder pencils retain a point longer and require less sharpening, while softer pencils lose their point faster and require more frequent sharpening. So, if you have a drawing with a lot of dark and velvety blacks, you are likely to run through your softer leads much more quickly.

On the flip side, while softer leads do require more frequent sharpening, they also offer a softer and smoother application on your surface. Comparatively, harder pencils can feel a bit rougher and scratchy, but they’re helpful when you need lighter values.

Drawing Further: Journey to Modern-Day Pencils

There is a bit more history involved to bridge the timeline between the Conté process and the pencils we use today. When it comes to whose idea it was to place the graphite core between to half-cylinders of wood, I have found competing information. Some sources say Conté had the idea, while others say the addition of a wooden casing was first conceived by an Italian couple by the names of Lyndiana and Simonio Bernacotti.

If it was indeed the Bernacottis, that would mean many of those British sourced graphite sticks were finding their way into rudimentary wooden casings as early as the 1560s. Conté, on the other hand, received a patent for his invention in 1795 and formed La Société Conté to produce his pencils. That is a time gap of over 200 years, but I imagine the truth is somewhere in the middle.

Regardless, the pencil manufacturing process has evolved over time to use the wooden casings we’re familiar with and to include the range of 24 leads so helpful to our art.

How Pencils Are Made

It is during the early stages of the manufacturing process that a pencil’s degree of hardness is determined. The first stage in making graphite pencils is to create a mixture of graphite powder, clay, and water. The variation in the degree of hardness (the graphite to clay ratio) is what gives us so many grades of graphite pencils, most commonly ranging from 9H to 9B in a set.

As I mentioned earlier, softer and darker graphite pencils are created when the mixture contains increasing amounts of graphite; hard grades are created when the proportion of clay is higher than that of the graphite powder.

Making the “Leads”

Once the desired mixture is created it is then pressed through a machine to create the cylindrical core shape (“lead”) and cut to a consistent length before being set to dry. Once dry, the leads go through a firing process and then on to a wax bath. Before the pencils are complete, the wood that will create the casings must go through its own process to be ready to hold the leads.

Making the Wooden Casings

To become the casing for graphite “leads”, pre-cut wooden slats have grooves machine milled into them. Glue is applied in the grooves, the leads are then inserted into the grooves, and a second milled slat with glue is applied on top to close the “slat sandwich”. These “slat sandwiches” are then placed into a large drying wheel before being sent through another machine to mill (cut) the individual pencils from the sandwiches.

The pencil cylinders are available in multiple shapes, such as hexagonal, circular, and rounded triangles. The hexagonal shape is the most common casing shape and keeps pencils from rolling off our desks.

The next step is to paint and stamp the pencils. Paint is mixed and each pencil receives a coat of it through a lacquering head machine before being stamped, dipped, and finally set to dry in a drying room. The finishing process for pencils involves a series of quality tests, including withstanding pressure, sharpening, and visual inspection before packaging.

The pencil making process I have been describing here refers to artists’ drawing pencils. The process is largely the same for standard writing pencils, like the #2 HB pencil, but there are a few differences. Primarily those differences involve the additional step of attaching a ferrule and eraser to one end of the pencils through a rubber tip assembly machine.

Here are a couple from FaberCastell USA, Insider, and NPR’s Skunk Bear of videos that illustrate the pencil making process:

Some Fun Bits About Pencils

It is important to understand our materials, but there’s no reason we can’t make it fun, right? Here are some fun tidbits I found about pencils, their history, and people who have used them:

The average pencil can draw a line 35 miles long, write about 45,000 words, and be sharpened 17 times.

Graphite’s ability to leave marks on paper and other objects is what earned it its name, which was given by German mineralogist Abraham Gottlob Werner in 1789.

Graphite comes from the Ancient Greek γράφειν (“graphein”), meaning to write or to draw.

Breadcrumbs were used to erase mistakes before erasers were invented.

The average size Cedar tree can be used to make about 300,00 pencils.

Pencils have been to space! They can write in zero gravity and have been used on space missions by astronauts.

Pencils can write underwater! (I’m skeptical, but it sounds cool)

Henry David Thoreau used to design pencils at his father’s pencil factory.

Thomas Edison liked to use specially made pencils that were shorter and thicker, 3 inches instead of the standard 7.5 inch size.

Hymen Lipman was the first person to attach an eraser to the end of a pencil on March 30th, 1858. Bye-bye breadcrumbs!

The darkest grade of artist’s graphite pencil is 12B, while the lightest is 10H.

Ernest Hemingway recommended writing fiction with a pencil because it “gives you one-third more chance to improve it [your writing].”

John Steinbeck and Ernest Hemingway both wrote their novels in pencil first.

The Best Lead Grade: Choosing Graphite Pencil Grades for Drawing

Now that we’ve familiarized ourselves with some of the science, history, life and making of graphite pencils, it’s easier to understand how and why pencil marks behave as they do on paper.

“H” pencils are quite smudge-resistant because they contain more binder than graphite powder. This means they give cleaner lines and makes them helpful for lighter toned work such as technical drawings, outlines, light sketching, and under-drawings in preparation for painting. One tradeoff is their increased scratchiness the further up the H scale you go, but this can be remedied by pairing them with middle grade (F and HB) and B pencils.

“B” pencils are amazingly smooth to draw and write with. Their higher graphite to clay mixture means they smudge easily, but their marks are generally just as easily erased. Their softer nature offers artists the ability to make more expressive and brush-like marks, especially from the higher end of the B scale.

This knowledge and understanding helps us make decisions about which grades of graphite pencils to choose for our drawings.

If the goal for a drawing is to illustrate a frozen tundra in the arctic on a sunny day, the soft and dark leads won’t play much of a role in that project because the scene calls for light tones—and light tones are achieved with hard and middle grade pencils, not soft ones. Of course, the opposite is true for a scene with a clandestine meeting—the cover of darkness is best drawn with soft, B graded pencils.

I recommend having a set of 24 graphite pencils so you have the full value range available to you. It’s best to choose tools that serve the goals and stories of your art, rather than trying to make the story fit the supplies. Here are a couple of examples from my portfolio to give you an idea of what you can do with a full set of graphite pencils (or “leads” and a lead holder), tons of practice, and a healthy dose of patience.

Beyond the needs of your project, the other considerations primarily revolve around your own preferences, workflow, and budget. In my Drawing Tools & Materials for Beginners post, I discuss my recommendations for the supplies beginning artists need to practice the fundamentals of art. Still, at the start, a lot of practice sketches and finished drawings can be accomplished with a simple sketchbook, a pad of quality drawing paper, and a full set of drawing pencils.

Again, having tools that give you access to the full spectrum of values is incredibly important; after that, it’s a matter of tons of mileage and practice. Once you commit to that, nothing can stop you.

Safety & Toxicity: Can One Get Lead Poisoning from Pencil Lead?

The short answer is No. It’s impossible to get lead poisoning from graphite pencils because they contain no lead. Graphite and lead are chemically and atomically completely different substances and are only slightly similar in appearance—but even visually they are clearly different, as you can see below.

Graphite pencils are usually classified as nontoxic because graphite is a minimally toxic carbon-based substance when swallowed or drawn onto the skin. So, when you accidentally poke your hands with your sharpened pencil, you won’t be poisoned or infected by the graphite—but, as with any injury, you should immediately clean and tend to the affected area.

The biggest danger with pencils lies in where you poke or stab yourself (or someone else, but…let’s avoid stabbing people, shall we?) and how severely the resulting injury is. If you somehow are stabbed with a pencil forcefully enough to draw large amounts of blood, the bleeding and severity of the wound is a more immediate concern than the presence of graphite and immediate medical attention would be necessary.

Avoid having pencils (or any other tool) anywhere near your eyes, mouth, nose, and any other sensitive body part or orifice. It’s never a good idea to insert or ingest foreign materials, so if you tend to fidget please get a fidget toy instead of chewing on your pencil!

Working with graphite powder, rather than pencils, can get a little dicey. Powders and dusts always come with inhalation and respiratory risks, so when using graphite powder as a medium be sure to wear a simple mask or face covering and keep your workspace well ventilated. Inhalation of graphite powder can cause irritation to the respiratory tract, coughing, shortness of breath and black sputum.

Long term or chronic exposure to graphite powder has been associated with the development of a lung disease called pneumoconiosis. Ingestion of large amounts of graphite powder may cause gastrointestinal irritation.[1]

Basically, graphite pencils and powder are safe to use and minimally toxic so long as you don’t eat, inhale, or seriously stab yourself with them. Getting a bit of graphite onto your skin while you work won’t harm you at all, but do be sure to wash your hands when you’re done working.

Hey, look! You’re still here, and we’re done! Thank you for hanging in there with me. I know this topic was more technical, but I hope I was able to keep it interesting and answer your questions about graphite pencils, the pencil grading scale, and the safe use of pencils. If you have any questions or feedback, please let me know in the comments below.

Further Reading

The History of the Pencil by Pen2Paper


[1] http://www.physics.purdue.edu/primelab/safety/MSDS/graphite%20%20-%20Mega%20Graphite.pdf

How to draw a banana (Simple fruity fun 2021)

How to draw a banana drawing tutorial

Welcome to my how to draw a banana drawing tutorial!

Hi everyone! 🖐🏾

Hopefully, you’re all well and ready to learn about bananas and how to draw them. This drawing tutorial is a little different from my others. We’ll still go banana banana for bananas, but I decided to try going heavier on the visuals since they’re such simple forms–until you start peeling them.

First, we’ll learn about what bananas are because it’s important to know something about what you’re drawing. Then, we’ll start getting into the process of how to draw a banana from exploration and study to how to draw a banana step by step, as well as banana drawing with light and shadow and in perspective. There will be quite a few videos in this drawing tutorial to better demonstrate the drawing process.

Most of them are only a few short minutes long and do not have sound–I didn’t think you guys needed to hear my pencil scratching or my kiddos playing in the background 😉.

Alright, let’s get started! As usual, there’s more to them than you can tell from a trip to your local market.

Banana banana! Let’s learn about bananas!

Did you know that a banana is, botanically speaking, a berry? Me either! In some countries, bananas used for cooking might be called “plantains,” which distinguishes them from the dessert variety most common here in the West from the Cavendish group.

A banana is a fruit that varies in size, color, and firmness while usually appearing elongated and curved. It has soft flesh that is abundant in starch and covered with a rind that also varies in color–green, yellow, red, purple, or brown–when ripe.

The banana is grown in 135 countries primarily for its fruit and make banana wine and beer, fiber, and for use as ornamental plants. A raw banana without its peel is 75% water, 23% carbohydrates and contains a very small amount of protein with almost no fat. They offer a modest amount of potassium, vitamin C, manganese, and dietary fiber, but they are most often used as a staple starch for many populations around the world.

There are as many ways to cook and eat a banana as there are people, and its plant’s flower, leaves, and trunk are used as well. The flower of a banana plant, called a banana heart, is eaten as a vegetable in South Asian and Southeast Asian cultures, and its leaves are regularly used as Earth-friendly disposable plates and food containers. Foods are also cooked inside banana plant leaves during steaming or grilling.

Exploration and study: Banana drawing focused on shape and form

As with any form we draw, the first step is to explore and study the major shapes and forms. That begins with gathering references and drawing from them and from life.

Here are a few reference photos I took, along with reference boards I created. You’re welcome to use these in your study if you like.

Shape breakouts and natural variations

The banana is a super simple form, making studying it fairly easy–until you start peeling it 😉. Most of its variation comes in proportion, color, and surface texture.

From here on out, there will be several videos and a few images demonstrating each stage of how to draw a banana.

How to draw a banana: form construction

How to draw a banana: Form dissection and interior studies

Form dissection is all about opening up our forms so we can start understanding and playing with the internal shapes and details. This helps us have fun, learn, and tell stories.

How to draw a banana step-by-step tutorial

How to draw a banana (unpeeled) step-by-step.

In case my video wasn’t clear enough for how to draw a banana step by step, I’ve broken out the steps here with another step by step drawing tutorial of a partially peeled banana.

how to draw a banana_step by step 01

How to draw a banana Step 1

Lay down your gesture line (or line of action). You’ll build your shapes on top of this.

how to draw a banana_step by step 02

Banana drawing Step 2

Begin building each shape you need on top of your gesture line. Lines and shapes build form, so we start there.

how to draw a banana_step by step 03

Banana drawing Step 3

Once you have all the shapes you need blocked in, use lines to connect them, as shown here.

how to draw a banana_step by step 04

Banana drawing Step 4

Start with an ellipse shape around the middle and more gesture lines to begin constructing the peel forms.

how to draw a banana_step by step 05

Banana drawing Step 5

The peel forms are plane shapes, so once you have laid down your gesture lines, it’s a matter of building the plane shapes on top. Next, you choose the length, width, and direction of each peel shape.

how to draw a banana_step by step 06 final

Finishing up!

With all your forms constructed, now is a good time to clean up your sketch and darken it for clarity and finishing.

Here’s the video to go with the step-by-step from above.
Bananas come in bunches, so let’s practice that, too!

How to draw a banana peel step-by-step tutorial

Banana drawing in Perspective

For setting scenes, you need Perspective drawing practice. Here are a couple of videos that demonstrate how to set up your boxes in 1 and 2-point perspectives and how to use them to build in your forms. The process is the same; we’re just adding perspective into the mix.

How to draw a banana with Light and Shadow

Next, in this how to draw a banana drawing tutorial, I’ll cover how to approach basic lighting for the banana bunch I drew earlier. Additionally, I’ve started a series on The Fundamentals of Light if you’d like more in-depth information.

How to draw a banana_Light and shadow step-by-step_finished sketch

How to draw a banana with Light & Shadow, Step 1.

The first step is always a solid drawing–no one wants to waste time polishing a turd 😉.

How to draw a banana_Light and shadow step-by-step_add local tones

Step 2 – Local tone.

Next, we need to add the local tones. Local tones are your subject’s areas of native lightness or darkness–where each part of the subject lives on the value scale.

How to draw a banana_Light and shadow step-by-step_add light source

Step 3 – Light source.

Now, decide on your light source’s direction and intensity (exposure). I’ve kept it simple here, having the light come from the upper right-hand corner with intensity similar to sunlight. If we were tackling color, this would be the time to decide on the light source’s color and temperature.

How to draw a banana_Light and shadow step-by-step_first shadow pass

Step 4 – First shadow pass.

Using your light direction and form construction as guides, do a rough pass with a darker tone to block in the basic shadows.

How to draw a banana_Light and shadow step-by-step_first light pass

Step 5 – First light pass.

Here is the same idea as the previous step, only now you’re blocking in where the light lands on the bananas.

How to draw a banana_Light and shadow step-by-step_2nd shadow pass darker and occluded

Step 6 – Deepen & refine shadows.

With the basic scheme in place, it’s time to deepen the shadows and refine them through blending. There are nearly always places where the light won’t reach, so we need to include occlusion shadows to demonstrate that.

How to draw a banana_Light and shadow step-by-step_with hightlights and reflected light_Completed

Step 7 – More light & finish.

Now the lighting for our how to draw a banana light and shadow demo is nearly complete.

All we need to do now is refine the lights through blending, adding highlights, and adding any necessary bounce or reflected light. Then we’re done!

I didn’t go full-tilt high render here, but it’s enough to illustrate the basics of how to light your own banana drawings.

The fruits of your labor: A bit about details and colors

If you’ve spent any time with me in previous how-to-draw articles, like for mushrooms or pumpkins, you know that I prefer to keep color and surface details separate from the drawing stage. Drawing tutorials are about drawing. When drawing tutorials start trying to cover color and surface textures, things can start to get confusing. Don’t get me wrong, they’re all connected, and everything needs to be addressed and explained. I will do that; I promise–just not here.

My goal here is to give you a solid foundation for drawing a banana without a reference. From a solid drawing foundation, you can build whatever other mood or story elements you want.

Fun with fruit: Let’s draw a banana from Imagination!

I’m not gonna lie; I had a hard time with this. Bananas are so simple that I found it difficult to come up with more than a few funky ideas for imaginative drawings. I’m sure you’ll do better than I did 😉.

Thank you!

It has been my pleasure to create this how to draw a banana drawing lesson 😊. I hope you’ve enjoyed it and found it helpful.

If you have any questions or feedback for me, please leave them in the comments section below. I’d love to hear from you and learn a lesson myself in what you found helpful and what you think could be improved. If any of you have kids, please let me know how well you’re able to go through this with them in the comments! I don’t usually write with kids in mind because of the advanced nature of the drawing process, but I’d love to make my process work for kids, too. Happy drawing, everyone, and take care!


More how-to-draw articles on CecelyV.com:

How to draw a circle

How to draw a cube

How to draw a sphere

How to draw a mushroom

How to draw a pumpkin

How to draw a sphere: A flexible approach to a valuable form, 2021

How to draw a sphere

Welcome to how to draw a sphere!

Hello and welcome fellow artists!

Thank you for visiting this article on my site to learn how to draw a sphere!

I’ll go step-by-step through a few methods for sphere drawing, and most of them focus on drawing spheres not lighting spheres. There’s a distinct difference between drawing forms and adding light and shadow to them.

Drawing solid forms should always come first, then light source, shadows, highlights, etc can come into your picture plane. The goal is to have a solid drawing first, with form space you understand. This makes adding light and shadow so much easier.

I don’t shoot for perfect spheres in all of my examples because there are lots of sphere-like or ovoid forms whose drawing process is nearly identical to spheres. These sphere-like forms are basically variations of a sphere, and it helps to know how to construct those as well.

Let’s dig in! We’ll start by looking at what defines a sphere.

Learning about spheres: The technical stuff and gubbins

Don’t worry, I won’t get too mathematical on you, I promise 😉.

Just as every point on a circle is equidistant from its center, so it is with a sphere. The major difference is a sphere is a three-dimensional form, while a circle is a two-dimensional shape. Shapes, edges, and vertices, and depth create forms, which we also call objects.

So, a sphere is a geometric three-dimensional form whose surface is composed of points that are all equidistant from its center. In general, we use the terms sphere and ball interchangeably, and that’s fine.

Exploration and study: Natural and man-made spheres

We need reference photo materials! We all know what a ball, sphere, sphere-like, and ovoid forms look like, so the value of a reference photo here isn’t really for learning how to draw a sphere. Its value is as a source of inspiration. After learning how to draw a sphere, we’ll want to add surface texture and light–which is where the reference photos come in handy.

Shape breakouts and natural variations

Most objects we see in day-to-day life are spherical or spheroid. That means things like apples, oranges, grapes, water droplets, the human skull, etc are three-dimensional forms that are round, or more or less round. They are not perfect spheres, but they’re visually close enough to be referred to as spheres or spherical.

Here’s a reference board for spherical/spheroid and ovoid objects:

How to draw a sphere step-by-step tutorials

There are three methods I’ll cover here that are strictly drawing only–meaning no tonal value, or light and shade, is used to create the spheres. The first two methods demonstrate how to draw freehand spheres, while the third covers sphere drawing in perspective.

The fourth method I’ll cover here goes step-by-step through how to draw a sphere using light and shadow, both digitally and using graphite. I will demonstrate how to add a light source, form shadow, mid-tone (or half tone), a core shadow, a cast shadow, and a highlight to a flat circle shape to model a sphere. I’ll also demonstrate cast shadow placement using the angle of the light rays from the light source.

In this first method, we’ll draw a sphere by using ellipses to add the illusion of depth to a flat circle shape.

how to draw a sphere_depth with ellipses method 01

Step One

Draw a circle of any size you like, and try to make it as round as you can.

how to draw a sphere_depth with ellipses method 02

Step Two

Draw horizontal ellipses within your circle. The band of each ellipse should look and feel like it’s wrapping around the surface of the sphere you’re creating.

This feeling of a contour line wrapping around a form is what ultimately gives our sphere drawing a sense of three-dimensional depth on our picture plane (paper).

how to draw a sphere_depth with ellipses method 03

Step Three

Next, repeat the same process from step 2 with vertical ellipses wrapping around the sphere from top to bottom.

how to draw a sphere_depth with ellipses method 04

Quick Tip!

The way your ellipses wrap around the edges, or outline, of the circle you started with, is very important.

The illusion of depth is created by giving the viewer the feeling the contour lines are wrapping around the form. This creates a sense of depth because it shows plane changes/turns on the form.

2D forms have no depth, so they have no plane changes to indicate a presence in 3D space. Plane changes are the realm of three dimensions.

how to draw a sphere_depth with ellipses method 05

Step Four

Once you’re happy with the sense of depth created by your ellipses, begin darkening the contour lines on the front-facing side of your sphere.

Darkening the contours on the front side, while leaving those in the back lighter, will add a greater sense of depth through value. Darker tones appear to come forward, while lighter tones appear to recede into the background.

To make this process as clear as possible, I created a video to demo the sphere drawing process for this method.

Another method for how to draw a sphere more or less does away with using a circle shape as a starting guide. I don’t find this next method as intuitive or helpful as the method above, but it is another option to consider. It begins with ellipses instead of a circle.

How to draw a sphere: Form dissection

I created the next few videos to demonstrate the form dissection part of how to draw a sphere. When we need to draw something broken, split open, cut up, etc., visual dissection drawing skills come in handy. It’s also useful for investigating and drawing internal shapes and forms, like the juicy insides of a sliced orange or the bloody bits of a battle wound or a sliced-off limb.

The most important thing to remember about the dissection of any form is to do it along believable contour lines, even if you’re not going for a clean look.

Getting a crescent shape from spheres.

Sphere drawing in Perspective

If you’ve visited any of my other how-to-draw articles, first of all, Thank you!

Second, you will have noticed that part of the way I craft these lessons is to demonstrate how to draw the subject in perspective. Perspective drawing is one of the fundamental drawing skills, so I give it a shout-out in each of these articles.

Next, I’ve created a video to demonstrate how some of the process for how to draw a sphere in perspective. As you’ll see in the video, the process is simple but requires quite a bit of repetition.

Below are some images from the video to act as another reference for how to draw a sphere in perspective.

How to draw a sphere with Light and shadow

The first thing to know about how to draw a sphere with light and shadow is that there isn’t a lot of drawing involved, per se.

I consider drawing to be the use of line marks and segments, shapes, forms, etc., which is a bit different than adding value/tones through shading. I think of light and shadow more like painting and coloring, which is why I’m not terribly fond of covering them in how to draw articles. I’m always concerned that it will cause confusion, but it is all connected so we gotta get into it at least a little.

Please try to bear in mind, for how to draw a sphere and anything else you draw, that you always want a solid drawing with solid forms first. Light and shadow, tones and shade, and color and paint all come after you have solid forms.

Okay, I promise I’m done ranting about it. For now 😜.

Know your light source

When you’re comfortable with how to draw a sphere, the next step is to add a light source to create light, shade, shadows, and the other values and tones.

First things first, you must know a few things about your light source.

Without diving into the Fundamentals of Light, the four things you must know (or invent and decide on) about your light source are its angle in relation to your object, its height, its color/temperature, and its intensity.

To help you practice, I recommend keeping it simple so there are fewer variables to juggle. I suggest sticking to black and white for now and using a simple light of average intensity. That leaves the height and angle of your light source to play and experiment with.

Here are a few references to help with visualizing your light source.

Form shadow and cast shadows

When lit, all forms will have at least three shadows: a form shadow, a cast shadow, and an occlusion shadow. Of course, in reality, the tones/values are much more involved than that.

Here are a few diagrams to illustrate most, if not all, of the areas and terminology involved in how to draw a sphere with light and shadow.

Lighting your sphere drawing step-by-step (digital)

Now that we’ve very roughly covered a few lighting basics, let’s dive into some demonstration. From experience, I believe the fundamentals of light are more easily practiced with digital tools–they’re much more forgiving. So, this example has been created in Photoshop.

Basic Light and Shadow Demo 01-plain circle

Step One

Start with a medium-size flat circle. It helps to use one with some tone rather than a white circle. Here I’ve used a mid-tone gray circle.

In the case of how to draw a sphere with light and shadow, we need to start with a toned flat circle and build the depth with light and shade. Normally, I would not start lighting without a form.

Basic Light and Shadow Demo 02-add light source and light guide

Step Two

We have a shape to add depth to, now it’s time to decide on the light source.

I chose to emulate the sun here, keeping the source up high, at about a 45-degree angle to the object, far away, and intense.

Basic Light and Shadow Demo 03-add center light

Step Three

With the light source set, let’s make the first rough light pass on the object.

The focus here is on determining where your sphere’s terminus/terminator will be by judging where the plane change happens–where the sphere would begin to turn away from the light.

Basic Light and Shadow Demo 04-add form shadow-terminus-core shadow

Step Four

Now it’s time to get into the shade and shading part.

Light helps us see forms, while shade and shadow give us form definition.

In this step, select a dark grey (about 80-85%, or a 2b pencil to 4b pencil if you’re working traditionally) and begin blocking in the form shadow.

The form shadow will begin at the terminus/terminator and cover all parts of the form facing away from the light.

This is also a good time to start blending in your halftone/mid-tone. The halftone/mid-tone area is where the form has started to turn away from the light but hasn’t turned enough to be in shadow. So, this area is roughly half the value of both the center light and form shadow combined.

It helps to remember these are all first passes. It will be necessary to go back over each area to darken, lighten, blend, and adjust as needed.

Basic Light and Shadow Demo 05-add cast shadow-occlusion shadow

Step Five

With your form shadow roughed in, it’s time to add your cast shadow.

The shape and angle of your cast shadow are determined by the shape of your form and the angle of your light source.

It’s okay you’re a little off at first. I’m pretty sure my example here is slightly off, but it works.

A written explanation gets confusing, so I’ll include a diagram for placing cast shadows after this step-by-step tutorial.

Learning how to draw a sphere with light and shadow is a really good exercise for learning about the other important shadows, like the core and occlusion shadows.

You’ll see in the diagrams from steps four and five that I’ve labeled the core shadow. The terminus/terminator is where the light no longer reaches and the form shadow begins. Right next to that is the core shadow, the darkest part of the form shadow.

Occlusion shadow areas are places where the light cannot reach at all–they are occluded, obstructed. Occlusion shadows can be present on or inside of forms as well as part of cast shadows. Wherever the light does not reach, you should have occlusion level darkness of tone/value.

Basic Light and Shadow Demo 06-add highlight-reflected light

Step 6

The last step in how to draw a sphere with light and shadow is to add the reflected or “bounce” light.

Reflected light happens when light from the source bounces off other surfaces and is reflected back onto the object–in this case on its form shadow area.

How to determine cast shadow placement

Next, I’ve included a few images to demonstrate how to locate and place the cast shadow for a sphere. Here we’re looking for where the light rays meet the outer contours of the sphere and intersect the ground plane.

How to draw a sphere with light and shadow using pencils (traditional)

Not everyone is interested in working digitally, so I thought it would be helpful to demonstrate how to draw a sphere with light and shadow traditionally as well.

If you’d like to follow along with this demonstration, you’ll need a few pencils. I recommend a blend of the soft and hard leads: 4h, 2h, and h pencils; as well as an hb pencil and a 2b pencil. 4b and 6b pencils will help in the shadow areas. I like to go all the way up to 8b because I love velvety shadows, but usually, 6b is dark enough. I have articles about graphite pencils and drawing tools if you need more information in those areas.

As a rule, I don’t use a blending stump, cotton swab, or cotton ball for this kind of exercise. They smudge more than they blend, so I avoid them.

How to draw a sphere from Imagination!

Here is where those lovely references from the beginning of this article come in handy! While important, sphere drawing on its own isn’t the most exciting exercise. With some imagination and reference, you can create some fun and awesome things from spheres.

How to draw a Sphere, signing off!

Well, this one was quite a few mouthfuls, wasn’t it?

Thank you so much for reading how to draw a sphere and spending some time with me here. I appreciate you hanging in there and I hope you found this helpful and valuable to your artist journey.

I’m always trying to improve and come up with more useful articles to write, so if you have any feedback or questions for me, please reach out to me in the comments below.

Take care, stay safe, and happy drawing!


More how-to-draw articles on CecelyV.com:

How to draw a circle

How to draw a cube

How to draw a mushroom

How to draw a banana

How to draw a pumpkin