101 Drawing Ideas

& SKETCHBOOK EXERCISES

Ne ve r b e s t u ck for ar t i s t i c i ns p i r at i on again

BY P HIL DAV IES

INTRODUCTION
I’ve created t h is g u ide to s ave yo u tim e think ing o f thing s to s ke tc h a n d to gi ve yo u s o m e f re s h i n s p i rat i o n .
I’m also h o pin g yo u’ l l s ignif ic antl y im prove yo u r draw ing s k il l s a l o n g t h e way to o :)

Wh en I was lo o k ing fo r s im il ar ins piratio n a w hil e bac k , I fo u nd l o t s o f l i s t s o f ‘s t uf f to d raw ’ o n t h e I nte r n e t.

B ut t h ey didn’t h el p m e m u c h…

Th ey were eit h er j u s t a l is t o f ver y g eneral o r s tereo t y pic al o b j e c t s, o r t h e y we re b a s e d a ro un d a c re at i ve

ch allen ge (such as draw yo u r hand m ade o u t o f ro bo t par ts ). Th e c re at i ve c h a l l e n g e s t uf f i s gre at fo r a
mo re det ailed por tfo l io piece, bu t yo u t y pic al l y need to s pend l o t s o f t i m e o n re s e a rc h a n d p re p.

An d, if yo u’re fe el ing s tu c k , a them ed c hal l eng e l ik e ‘draw yo ur f avo ur i te [ f i l l i n t h e b l a n k ] ’ i s n’t a l ways

specif ic en o ugh to g et yo u exc ited.

Wh at is much more hel pf u l w hen yo u’re in a pic k l e over w hat to d raw n ex t, i s ve r y s p e c i f i c s ub j e c t m at te r

ch o sen f ro m an a r tis t ’s per s pec tive, w ith an ar tis t ’s eye.

Th at ’s wh at t h is c heats heet gives yo u.

I’ve listed 101 interes ting s u bj ec ts that w il l m ak e great s k etc h e s a n d d raw i n g s. I’ve s p l i t t h e i d e a s up i nto
a few b ro ad categ o r ies s o it ’s eas ier fo r yo u to s c an.

Fo r each sugges tio n, I’ve prov ided l ink s to a reference pho to ( o r s e ve ra l ) . Th e p h o to s a re i n t h e p ub l i c

do main so yo u c an u s e them as yo u w is h - no need to as k per m i s s i o n o r gi ve c re d i t, e ve n i f yo u wa nt to
sell ar t wo r k b ase d o n them .

As an ar t ist myse l f, I s pend a l o t o f tim e l o o k ing at reference m ate r i a l. I k n ow w h at k i n d o f p h o to s a re gre at

to draw an d sk etc h f ro m … and w hic h o nes are dif f ic u l t and ted i o us !

Wh erever po ssibl e I’ve g o ne fo r pho to s w ith a s ing l e o r do mi n a nt l i g ht s o urce. I t c re ate s t h o s e s t ro n g

sh adows an d will m ak e yo u r draw ing l ife m u c h m o re enj oyabl e !

2 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
contents
4 Whe r e to g e t f r ee r efe r e n c e ph oto s f o r yo u r d r aw i n g ideas

5 7 t i m e savi n g t ips f o r d r aw i n g & s k e tc hi n g

10 i n t e r es t i n g o b j e c t s

11 a n i m als

12 F OO D

13 F I GUR E S & FA C E S

15 B U I L D I NG S & UR B A N

16 HANDS & FEET

18 TR A N S P ORT

19 A ROUN D T H E H OU S E

21 7 - D AY D R AW I NG & S K E TC H I NG C H A L L E NG E

3 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
w here to g et f ree
re f erence p hotos f or y our
dr a w in g ide a s

Th ere are lo t s o f s ites now w here g enero u s pho to grapher s s hare t h e i r wo r k un d e r a CC0 l i ce n ce ( e f fe c t i ve l y
p lacin g it in t h e pu bl ic do m ain). Yo u c an s pend ho u r s brows in g e a c h o f t h e s e s i te s b ut to s ave t i m e, j us t
use t h ese t wo…

ht t p://w w w.pixab ay. com

Pix ab ay sco urs a l l the o ther pu bl ic do m ain im ag e s ites s o yo u d o n’t h ave to. Th i n k o f i t l i k e a m i n i G o o g l e
just fo r pub lic dom ain pho to s.

I f yo u want to go s traig ht fo r the ver y hig hes t q u al it y, m o s t s t un n i n g p ub l i c d o m a i n p h o to s, t h e n g o to :

ht t p://w w w.uns p l as h . com

Th eir images do s how u p in Pixabay bu t as a m u c h s m al l er co l l e c t i o n ( a n d s o q ui c k e r to b rows e ) , i t ’s o f te n

my f irst po r t o f c al l.

4 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 ti m e s a v in g ti p s
f or dr a w in g & S ketchin g
R ight ly o r wro n g l y, ho bby tim e is s c arce fo r m o s t o f u s. And ce r t a i n fo r m s o f d raw i n g c a n b e ve r y t i m e
co n sumin g.

B ut sketch in g do es n’t have to be. Yo u c an f il l yo u r s k etc h bo o k w i t h gre at- l o o k i n g d raw i n g s i n a s l i t t l e a s

15-20 min ute sess io ns.

I’ve h ad to lear n to s peed u p my draw ing s s o that they are m ore co n s um a b l e a s l e s s o n s o n c a m e ra . H e re’s
a ran do m co llec t io n o f tips that have hel ped m e do that…

1 Us e c harco a l pen c i l s

D o n’t beco me to o rel iant o n graphite. C harco al penc il s

h ave a ver y simil ar feel to their graphite co u s ins except
yo u can b lo ck in l arg e areas m u c h f as ter. They al s o
fo rce yo u to be le s s o bs es s ive over s m al l detail bec au s e
yo u can’t k eep t hem s har p l o ng eno u g h! O h and yo u
basically wo r k wi th o ne grade - as o ppo s ed to s w itc hing
bet ween h arder and s o f ter penc il s w ith graphite.

2 M ake u s e o f i s o l ated s t u d i es

Draw an eye o r a m o u th s tu dy ins tead o f a f u l l po r trait,

o r a t ree an d ro c k s tu dy ins tead o f a f u l l l ands c ape. Yo u
get a sen se o f co m pl etio n s o o ner. Pl u s, if yo u m es s a
small st udy up, it do es n’t m atter - m es s u p par t o f a f u l l
p o r t rait an d yo u’re ef fec tivel y throw ing away ho u r s o f
wo r k .

5 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 ti m e s a v in g ti p s f or dr a w in g & S ketchin g
( cont . )

3 Whe n d raw i n g po r t ra i t s, co n s i d er zo o m i n g i n

Th e mo st t ime - co ns u m ing par t o f draw ing a po r trait is s hadin g a n d re n d e r i n g t h e h a i r. I f yo u c ro p yo ur

referen ce so t h at o nl y par t o f the hair s hows, it s aves a l o t of t i m e. Al te r n at i ve l y, c h o o s e s ub j e c t s w i t h
so me k in d o f h eadwear o r even j u s t do o ne s ide o f the f ace.

4 G o fo r t he u n f i n i s h ed l o o k

S o me o f t h e mos t eye - c atc hing draw ing s yo u’ l l s ee

co nt rast an area o f hig her detail w ith ver y l o o s e
sk etchy mar k s aro u nd. Yo u m ak e the hig hes t detail
aro un d t h e fo ca l po int and as yo u m ove away f ro m
t h at po int t h in gs g et l o o s er and s k etc hier. This wo r k s
so well b ecause it pu l l s the v iewer s’s eye to w here
yo u want it fo cus ed - and that is the m o s t im po r tant
element o f st ro n g co m po s itio n. I u s e this tec hniq u e
a lo t !

6 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 ti m e s a v in g ti p s f or dr a w in g & S ketchin g
( cont . )

5 Whe n re nd er i n g, bl o c k i n l a rg e a rea s o f s h a d ow fi rst

Fo r a lo n g t ime, I u s ed to c aref u l l y s hade my draw ing s o ne s q ua re i n c h at a t i m e - l o o k i n g at a l l

t h e det ail wit h in that area and render ing it to co m pl etio n. B u t w h e n I l o o s e n e d t h i n g s up, I fo un d
t h at blo ck in g in l arg e s hadow s hapes (igno r ing any detail s w ith i n t h o s e s h a d ow s h a p e s ) re a l l y s p e d
t h in gs up. Yes, yo u m ay have to u s e yo u r k neaded eras er to l ig hte n b a c k a re a s a n d a d d d e t a i l l ate r
o n , but it ’s a mu c h q u ic k er pro ces s. J u s t do n’t g o to o heav y w h e n yo u b l o c k t h e s h a d ow s h a p e i n
in it ially.

7 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 ti m e s a v in g ti p s f or dr a w in g & S ketchin g
( cont . )

6 Po s te r is e yo u r referen ce ph o to s

Po ster ise mean s yo u redu ce the nu m ber o f pixel s in yo u r re fe re n ce. S o un d s co m p l i c ate d a n d

tech n ical to b ut it ’s s im pl e! Here’s w hat an im ag e l o o k s befo re a n d a f te r i t h a s b e e n p o s te r i s e d :

Th is makes it muc h eas ier fo r yo u to s ee the var io u s val u es. R e c re at i n g t h i s ‘ b l o c k y ’ fe e l a n d t h e n

gent ly smo o t h in g o u t the trans itio ns is great way to s peed u p t h e s h a d i n g p ro ce s s.

Here’s a quick gu ide fo r how to u s e a f ree o nl ine to o l to po s ter i s e a ny i m a g e :

https:/ / w w w.ar t t uto r.co m /b l o g /201608/us ing - p ix l r- cre ate - p o s te r i s e d- re fe re n ce - p h o to s

B efo re an d a f ter po s ter is ing. N o tice how the im ag e o n the r i g ht h a s ve r y d e f i n i te e d g e s to e a c h

o f t h e values ? Whil e yo u w il l need to s m o o th thes e o u t fo r a p h o to re a l i s t i c d raw i n g, s e e i n g
t h em lik e t h i s m ak es it m u c h eas ier to c reate the overal l for m f i r s t.

8 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 ti m e s a v in g ti p s f or dr a w in g & S ketchin g
( cont . )

7 G i ve yo u r s el f a t i m e l i m i t

On e o f t h e best ways to l o o s en u p yo u r s k etc hing is to give yo ur s e l f a t i m e l i m i t… a n d s t i c k to i t.

I created a co urs e fo r Ar tTu to r c al l ed S k etc hing Pl aces Q u ic k l y, w h e re t h e t i m e l i m i t wa s un d e r 1 5
min utes fo r each s k etc h.

Yo u can see o n e o f tho s e l es s o ns fo r f ree o n Yo uTu be here:

https:/ / w w w.yout ub e.co m /watch? v = e S Uw J7JS Pqs

9 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 interestin g ob j ects
Yo u can f in d lo t s o f ever yday thing s aro u nd the ho u s e to draw a n d yo u c a n t ur n e ve n t h e m o s t m un d a n e
o b jec t into so mething ver y interes ting. That ’s the beau t y o f ar t !

B ut so met imes yo u c an do w ith s o m ething a bit o u t o f the o rd i n a r y fo r s p a r k yo ur e nt h us i a s m to c re ate.

Here are 10 item s yo u wo n’t t y pic al l y f ind aro u nd the ho m e, e a c h t a k e n i n n i ce l i g ht i n g to m a k e s h a d i n g
an d ren der in g m o re f u n!

1 A p air o f b al l et s ho es l ike t he s e o r l ike t he s e

(p re te n d yo u’re Edgar D egás fo r a day )

2 Th ese o ld co p p e r co f fe e p o t s o r ke t t l e s o r j u s t o ne o f the m o n i ts own

(a n o th e r g o o d exerc i se fo r seeing value and c reat ing fo r m )

3 Th is o ld keros e ne l a m p o r this s im il a r o ne
(a n o th e r o n e I’d like to have a go at )

4 S o me chess p ie ce s l ike t he s e
(p e r fe c t fo r p rac t i si ng ‘ t ur ni ng o f t he fo r m’ and m o re interest ing t han
d raw i n g g e o m e t r i c shap es like c y li nder s and co nes! )

5 A human sk ul l o r t his o ne w ith s tro ng s hadows

(s k u l l m a k e s for great p en and ink drawi ngs - here’s o ne I di d fo r Ar t Tu tor)

6 Th is brow n le at he r s atche l
(l ove l y tex tu re s to render here)

7 An old leath e r s ho e w ith s o m e l ovel y s hadows

8 An old metal d o o r ha nd l e w ith s tro ng s hadows o r a r u s t y p a d l o c k l i ke th i s o r th i s o n e

9 A st ack o f ver y o l d b o o k s
(gre at pe rs pe c t ive exerc i se and a c hance to render so m e ver y interest ing patter ns )

10 A classic N iko n c a m e ra

10 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 Ani m a l s
Drawin g an imals is tr ic k ier than draw ing l ands c apes, f l o ral s o f m o s t s t i l l l i fe co m p o s i t i o n s. B ut t h e y ’re
simp ler t h an t h e hu m an f ig u re s o they prov ide a nice m iddl e gro un d fo r p ra c t i s i n g g e t t i n g yo ur p ro p o r t i o n s
r ight.

Use b asic sh ape s ! G et the overal l pl acem ent and pro po r tio n o f t h e us e co r re c t f i r s t b e fo re yo u s t a r t
sk etch in g in det a il. I have a v ideo l es s o n o n Yo uTu be that w il l t a k e yo u t h ro ug h t h e b a s i c p ro ce s s - watc h
it here.

11 A p elic an with a f is h in its m o u th

(s u pe r b i m a g e )

12 A giraffe
(gre at fo r p ra c t i si ng p ro p o r t io ns t hat yo u ac t ually see, no t what yo u t hink you s ee)

13 Th is st un n ing p ro f il e o f a ho rs e
(a n o th e r o n e on my list wi t h it s b eaut if ul shadows! )

14 A stag walk ing

(u s e ba s i c s h a pes and negat i ve sp ace to get t he p ro p o r t i o ns co r rec t )

15 A flamingo
(a n i ce e a s y o ne wi t h si m p le shap es)

16 Th is st ir r in g po r trait o f a fox
(d o n’t wo r r y a b o ut f ur det ai l if it ’s a qui c k sketc h)

17 Th is w hite dove at an interes ting per s pec tive o r t his o ne a b o ut to l a n d

(th e l a ck o f m a r k i ngs m akes i t a quic ker sketc h fo r yo u)

18 An elephant wal k ing towards yo u

(e l e ph a nts a re great fo r sketc hi ng wi t h b asi c shap es and usually have nice s trong s hadows for
cre ati n g fo r m - here’s a 10min sketch o f m ine)

19 A grey sq uir re l eating a nu t

(s i m p l e s h a pe s wo uld m ake t his relat i vely easy fo r t he o ut li ne)

20 A farmyard he n
(d o th e h e a d i n so m e ni ce det ai l and go lo o ser fo r t he rest o f t he b o dy )

11 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 FOOD
Fo o d is n o t n o r mal l y my f avo u r ite s u bj ec t m atter to s k etc h an d I t h i n k i t l e n d s i t s e l f b e t te r to co l o ure d
mediums. B ut I’ve inc l u ded ideas and pho to s bel ow that I think wo ul d m a k e te r r i f i c s k e tc h e s o r f ul l b l ow n
drawin gs in pen , penc il o r c harco al.

21 O range p ee l a nd s e g m e nt
(m a k e th i s p h oto b lac k and whi te and lo o k at all t ho se i nterest ing values for you to s ha de) or this ora nge cu t in ha lf with
t h e k n i fe at t h e sid e

22 Break fast ce re a l a nd m il k
(k e e p th e ce re al f lakes lo o se and sketc hy to save t im e - fo c us o n get t i ng the s hape of the milk container r ig ht)

23 This burger w it h a k nife t hro ug h

(re a l l y i nte re s ting tex t ures here and wi t h t he light ing yo u co uld go as s ketchy or a s deta iled a s you like)

24 A pair o f b el l p e p p e rs w ith dram atic l ig hting

(gre at pra c ti ce fo r lo o k ing at values - m ake t he p ho to b lac k and white if it helps you )

25 Peas in a p o d
(d o n’t d i s m i s s t he si m p lic it y o f t his i m age - I c an see a really interest ing and qu ite ea s y g oing drawing from this )

26 Clo se up o f a s ing l e ra s p b e rr y
(th i s wo u l d m ake a go o d exerc i se fo r lo o k i ng at ref lec ted light, highli g hts a nd s ha dows a nd if you u s ed a cha rcoa l or ver y
s o f t gra ph i te p enc i l, it wo uldn’t t ake lo ng)

27 A h usk o f co rn
(n o n e e d to d raw ever y co r n ker nel - t he t r i c k here is drawi ng a few to te ll the v iewer what they are look ing at a nd then giv ing
a n l o o s e i m pre ssio n o f t he rest )

28 An d h ere’s a s ho t o f b ro cco l i in s tar k l ig hting. Creating the to n a l va l ue s i n t h e s t a l k s i s a g o o d exe rc i s e

in it self. Or yo u co u l d g o in q u ite dar k w ith the bro cco l i fl o re t s t h e n p ra c t i ce yo ur s k i l l s w i t h a p ut t y
eraser by p in c hing it to a po int and l if ting o u t hig hl ig hts to c re ate s h a p e a n d fo r m .

12 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 F I G U R E S & FA C E S
Drawin g ran do m peo pl e f ro m l ife is dif f ic u l t and c an feel a bit aw k wa rd. I f yo u’re n o t re a d y fo r t h at, t h e n
p rac t ice by draw ing them f ro m pho to s.

Th e pro b lem wit h m o s t s to c k pho to s is that they u s e s tu dio l ig ht i n g, s te re o t yp i c a l m o d e l s a n d a i r b r us h i n g.

Fo r us ar t ist s, t he l ac k o f s hadow m ak e it dif f ic u l t to c reate fo r m a n d, a s b e a ut i f ul a s t h o s e m o d e l s m i g ht
b e, it mak es fo r ver y du l l s u bj ec t m atter.

Th e suggest io n s bel ow and the pho to s I’ve c ho s en fo r yo u are o f ‘e ve r yd ay ’ p e o p l e i n e ve r yd ay e nvi ro n m e nt s,

an d mo st o f all, i n interes ting l ig hting. I think yo u’ l l real l y enjoy s k e tc h i n g s o m e o f t h e s e ( I k n ow I w i l l ! ) .

29 Th is couple r iding bic yc l es ho l ding hands

30 A f ro nt o n sy m m e t ric a l p o r t ra it
(th e h a i r i s a s ilho uet te wi t h lit t le det ai l m ak ing i t ideal fo r a qui c ker sketch)

31 Th is man on a p l a ne reading in an interes ting l ig ht

(I’ l l b e s k e tch i ng t hi s so o n! )

32 A par t ially o bs c u red f a ce

(a g a i n , m a k e s the sketc h qui c ker and easier )

33 A profile of a n o l d e r wo m a n in a heads c ar f
(h e a d we a r pl u s a p ro f i le is a great t i m e saver )

34 Th is lady lo ok ing t ho ug ht f ul in a c afe

35 A woman ou t s id e an interes ting do o r way

36 Th is gracef ul b a l l e t d a nce r
(tr y i n g g e tti n g t he shap e o f t he dress f i r st, t hen t he p o si t io n o f t he he ad, then the leng th of the ar ms a nd leg s - like a s tick
fi g u re - th e n a dd t he st r uc t ure and m ass)

37 G et so meo n e to tak e a pho to o f yo u l o o k ing at yo u r s el f in t h e m i r ro r a n d d raw t h at. S o m e t h i n g l i k e

this.

38 A couple hu g g ing
(a g o o d re fe re n ce if yo u want to avo id det ai led f aces and fo c us m o re on the pos e)

13 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 F I G U R E S & FA C E S
39 Th is front on p o r t ra it w ith nice s hadows dow n o ne s ide o f t h e f a ce
(wo u l d m a k e for a lo o se sketc h where yo u c an fo c us o n t he p o si t io n, p ropor tion and s ha pe of the featu res )

40 A figure stud y f ro m an interes ting over-the -s ho u l der ang l e

41 A great 3 / 4 p o s e w ith real l y interes ting s il ho u ette s hapes a l l a ro un d

42 Th is cur ved bac k o f a yo ung wo m a n

(th e h a i r co u l d b e qui te si m p le if yo u fo c us o n b lo c ks o f value)

43 A ph o to o f yo u r s el f tak ing a pho to o f yo u r s el f in a c ar w in g m i r ro r

(h ere’s an ex ample)

44 A woman pre p a ring s t re e t fo o d

(n o ti ce th e v i gnet te ef fec t o f t he p ho to - rep eat t hat in yo ur sketc h by render ing the lady in deta il a nd g etting ver y loos e
a n d s k e tchy a ro und t he edges)

45 Th is young m a n pl ay ing the cel l o

(p e rs o n a l l y I’d leave t he t at to o - yo u co uld get a great sketc h f ro m t hi s !)

46 A profile of a n o l d g e nt l e m a n w ith to ns o f c harac ter

(d o n’t g e t ove r whelm ed by t he det ail - go fo r a simple sketch in this st yle or ju s t a clos e u p of the eye a nd nos e like I did
fo r s o m e o n e e lse)

47 A really inte res ting po s e o f a b a l l e t d a nce r

(d e fi n i te l y a d d so m e shading to t hi s o ne to c ap t ure t hat dram at ic lighting )

48 Th is beaut if ul d ra p e d p o s e
(n o d e ta i l n e e d ed here - i t ’s all ab o ut get t ing t he shap e o f t he lim b s and feet r ig ht)

49 Th is amaz in g p o r t ra it
(w i th th e a d d e d b o nus o f no t havi ng to render hai r ! )

14 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 BUILDINGS & URBAN
Ur b an sk etch in g is real l y in vo g u e r ig ht now. I f yo u’re no t co n f i d e nt e n o ug h to s k e tc h o utd o o r s, w i t h t h e
p o tent ial fo r many peer ing eyes over yo u r s ho u l der, then s tar t w i t h re fe re n ce p h o to s. I l i k e s k e tc h i n g o l d,
ch arac ter f ul buil ding s and tow ns c apes bes t.

Oh , an d sketch in g u r ban s cenes o f ten invo l ves draw ing f ig u re s ( w h i c h I k n ow c a n b e d a unt i n g to m a ny) .
We’ve go t a t wo -par t, s tep -by-s tep g u ide fo r adding s im pl e f ig ure s to l a n d s c a p e s ce n e s o n o ur b l o g ( S e e
par t 1 - wh ere to pl ace f ig u res co m po s itio nal l y and p a r t 2 he re - h ow to a c t ua l l y d raw t h e m ) .

50 A lighthouse l ike t his

(I d i d a s k e tch o f so mething similar as a 10- m i nute exerc ise)

51 The G olden G ate B rid g e

(k e e p tex tu re a nd det ail to a m i nim um , fo c us m o re o n b lo c ks o f value) or Bro ok lyn Br idge (here’s a f ine line r p e n ve r s ion)

52 An interest ing inter io r l ike t his o ne , o r t his o ne , o r t his o n e , o r th i s o n e

(gre at fo r pra c t isi ng yo ur vani shi ng p o int s)

53 Th is traditiona l b ic ycl e o u ts ide o l d do o r s

(th e s e wo u l d make a great si m p le p en sketc h)

54 Or just an ol d wo o d e n d o o r o n its ow n
(l o o k at th o s e s t ro ng shadows - I see ano t her nice p en sketc h here)

55 An o ld Anda l us ia n s t re e t s ce ne
(fo cu s o n yo u r p er sp ec t i ve, keep t he t rees si m p le, no need fo r to o m uch intr icate detail on the tower)

56 An old hous e in 3-po int per s pec tive

(3 po i nt pe rs pec t ive m eans t he ver t ic als o f t he b uilding are co nvergi ng - they aren’t pa ra llel to one another)

57 Th ese w indow s hut te rs and o l d l am p in s tro ng s u nl ig ht

58 Th e face of t he St at ue o f L ib e r t y
(po te nti a l l y tr i c k y b ut yo u c an do i t ! )

59 A rustic c afé f ro nt s uch a s t his

(h e re’s a 1 0 - m inute sketch wi t h a st y le yo u co uld rep lic ate)

60 A narrow stre e t w ith ver y dram atic vantag e po int

(gre at fo r pra c t isi ng yo ur 3- p o int p er sp ec t ive)
15 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 HANDS & FEET
Han ds an d feet are great to s k etc h. They s tretc h yo u r abil it y to re - c re ate co r re c t p ro p o r t i o n a n d s h a p e b ut
wit h o ut b ein g as dau nting as a f u l l f ig u re s tu dy.

Yo u’ ll f in d st udie s bel ow that are ver y s im pl e, al l the way u p to co m p l ex h a n d p o s e s. Th e b e s t t i p I c a n

give yo u fo r sketc hing hands and feet is to s tic k to bas ic s hap e s f i r s t a n d t h e n s p l i t t h o s e s h a p e s up i nto
in dividual f in ger s o r to es.

61 A hand holding a cig a re t te

62 Sneakers an d fe e t f ro m an u nu s u al ang l e
(a d d a n i m p re s sio n o f t he ref lec t i o n to o)

63 A pair o f han d s o n a s te e ring w he e l o f a c l as s ic c ar

(I l ove th i s o n e ! )

64 A clo se up p ro f il e o f m a n’s s ho e s
(o r h ave s o m e take a sim i lar sho t o f yo ur fo o t )

65 A hand pick ing up a d a is y

(yo u co u l d s wa p t he di sh fo r alm o st any t hing sm all)

66 A feet self ie s uch a s t his o r tak e a s el f ie o f yo u r ow n feet, s h o e s o n o r o f f

67 A hand on a s a xo p ho ne
(d o th e h a n d i n det ail and keep t he saxo p ho ne as a b asi c line drawi ng wou ld make a great compos ition!)

68 Th is p air o f fe e t o n t ip to e s

69 Hand t ying a t ie o r g et s o m eo ne tak e a pho to o f yo u t y i n g yo ur ow n t i e o r d o i n g up a b ut to n o n a

b lo use

70 A simple p air o f fe e t o n ro ck s
(s i m pl e th e y m ay b e b ut st i ll a great sketc hi ng test )

71 A hand hold ing s o m e che rr y to m ato e s

(a te r r i fi c p h o to t hi s! )

16 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 HANDS & FEET
72 Th ese legs a nd fe e t hanging o u t a c ar w indow
(w h at a gre at s ub jec t t hi s i s - yo u co uld easily re - c reate yo ur own ver sion of this with you r ca mera phone)

73 A clo se up o f ha nd s o n a t y p ew rite r
(u s e ba s i c s h a pes to b lo c k in t he hands at f ir st and just give an i m p res s ion of the t ypewr iter)

74 A hand hold ing a n ice - cre a m o r ho l d ing a f is hing ro d

75 Th ese four fe e t hanging over a po o l

(gre at l i ttl e s k e tc hb o o k exerc i se t hi s)

17 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 TRANSPORT
Th ere are so me real l y interes ting s hapes w ithin m anm ade vehi c l e s. Th e y w i l l te s t yo ur a b i l i t y to d raw w i t h
go o d p ersp ec t ive and pro po r tio n and the f inal res u l t c an be ve r y s at i s f yi n g.

Yo u do n’t h ave to draw ever y intr ic ate detail if yo u do n’t want to - i f t i m e i s s h o r t, j us t fo c us o n g e t t i n g

t h e overall sh ap e and s hel l co r rec t, and m ay be a few k ey featu re s.

76 An old trac to r f ro m a l ow vantag e po int

(s i m pl i fy th e e ngine b lo c k and fo c us o n t he shadows o f t hat b i g t y re t read)

77 Th e f ro nt o f a V W c a m p e r va n o r o ne o f my f avo u r ites - th e i co n i c V W B e e tl e

78 A wo o den ding hy b o at in a nice l ands c ape

(fo cu s o n th e b o at and just add a ver y sketc hy li ne drawi ng fo r t he b ackdrop)

79 A t radit io n al re d Lo nd o n b us
(wo r r i e d a bo u t p er sp ec t ive and st rai ght lines - go delib erately wo b b ly with a pen)

80 Th e f ro nt o f a cl a s s ic M e rce d e s c a r

81 An o ld aban do ned s hip p ing b o at o n a beac h s ho rel ine

(th i s i s cr y i n g out fo r a quic k sketc h) o r p er hap s this o ne instead

82 Th is classic m o p e d in an I tal ian bac k s treet o r this s l ig ht l y s i mp l e r o n e

(fo cu s o n b a s i c geo m et r i c shap es - great p rac t ice fo r si m p lif y ing fo r m s)

83 A classic pla ne l ike t his o ne o r t his o ne

(I’ve n e ve r a c tu ally drawn a p lane so I m i ght have a go at t hat f i r st o ne)

84 Or go fo r a mo d e rn f ig hte r je t ins tead

(gre at a n g l e o n t hi s p ho to showi ng t he det ail o f t he underc ar r iage and landing g ear)

85 Th is subway t ra in co m ing towards yo u

(l o o k s d i f fi cu l t and t im e co nsum ing b ut yo u co uld use a c harco al o r c a r bon pencil to a dd lots of the da r ks qu ick ly - s o the
tra i n i s e m e rgi ng o ut o f ver y lit t le det ai l aro und it )

18 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 AROUND THE HOUSE
No referen ce ph o to s fo r this l is t - j u s t ever yday item s yo u s houl d b e a b l e to f i n d a n d s e t up a ro un d yo ur
h o me.

Any item yo u ch o o s e f ro m this l is t c an be m ade m u c h m o re i nte re s t i n g a n d d ra m at i c w i t h s o m e s i m p l e

light in g. Just place s aid item in a dar k ened ro o m (it do es n’t have to b e p i tc h b l a c k by a ny m e a n s ) , t h e n us e
an an gle p o ise or des k l am p and l ig ht f ro m o ne s ide. Pl ay abo ut w i t h t h e p o s i t i o n a n d a n g l e unt i l yo u g e t
sh adows t h at yo u l ik e. Tak e a pho to and wo r k f ro m that o r tr y d raw i n g i t f ro m l i fe !

86 A screwed up piece o f paper

(l i n e d p a p e r w ill add an ex t ra level o f interest and wi ll help yo u c reate really believa ble folds ) or a cru mpled paper ba g

87 A clo se -up o f any pl ant o r f l ower in yo u r g arden o r a po tte d p l a nt f ro m a ro un d t h e h o us e

88 Th e in side of a drawer o r yo u r ref r ig erato r

89 A DIY o r garden to o l o r to o l s

90 A teddy b ear o r do l l

91 A pile o f dir t y l au ndr y o r a s tac k o f f res hl y iro ned c l o thes

92 A glass b o t t l e hal f f u l l o r a g l as s o f water / s o da / m il k

(a d d a s traw for ex t ra interest )

93 A co llec t io n o f ar t s u ppl ies

(l i k e p a i nt tu bes, b r ushes, p enc i ls, m et al shar p er etc.)

94 A musical ins tr u m ent l ik e a v io l in o r g u itar o r f l u te

95 A ch ildren’s toy
(s o m e th i n g g e o m et r i c like a toy c ar rat her t han a so f t toy )

96 Ch o o se any bedro o m w ith a w indow. S it as f ar f ro m the w i n d ow a s p o s s i b l e b ut s t i l l d i re c t l y f a c i n g

it. Draw t h e wal l o f the ro o m co ntaining the w indow, inc l ud i n g w h at yo u c a n s e e o ut s i d e. M a k e t h i s
sk etch quite s m al l s o that it ’s q u ite q u ic k (i. e. draw the wa l l n o m o re t h a n 6 i n c h e s w i d e )

19 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
 AROUND THE HOUSE
97 A bun ch o f k eys. S o u nds bo r ing bu t ac tu al l y, w ith s o m e nice l i g ht a n d a m i x o r t ra d i t i o n a l m o r t i ce l o c k
keys an d a mo der n c ar k ey, this wo u l d m ak e q u ite a nice st ud y.

98 A crush ed so da c an
(e m p t y th e ca n and st and o n i t li ght ly o r i t wi ll b eco m e to o c reased and complicated) or ha lf empt y (s lig htly defor med) tu be
o f to o th p a s te

99 Yo ur un made bed fo c u s ing o n l arg e c reas es and fo l ds in t h e b e d d i n g a n d t h e s h a p e o f t h e re ce nt l y-

slep t- o n p ill ows (u nl es s yo u’re as m es s y as Tracey E m in, th e n I’d p a s s o n t h i s o n e )

100 Yo ur ph o n e w ith yo u r m o s t u s ed app o pen

(a n d m ay be a set o f headp ho nes i f yo u use t hem )

101 Any h o bby e q u ipm ent that m eans s o m ething to yo u

(s e t u p a s ti l l li fe - i t co uld b e a go lf c lub and b all wi t h so m e tees, o r k nitting needles with you r lates t, u nfinis hed k nit and
ba l l o f wo o l, fo r ex am p le)

20 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 - D a y D r a w in g &
sketchin g ch a l l en g e
Th is week-lo n g c hal l eng e is des igned to im prove yo u r draw ing s k i l l s by p us h i n g yo u o ut o f yo ur co m fo r t
zo n e. Yo u’ ll be t a c k l ing a var iet y o f s u bj ec t m atter al o ng w ith s o m e s k e tc h i n g exe rc i s e s.

Yo u can t ak e t h e c hal l eng e over s even co ns ec u tive days o r o n e to t wo d ays a p a r t ( b ut n o m o re t h a n t h at

o r yo u’ ll lo se valu abl e m o m entu m ! ).

R eady? Let ’s go…

DAY 1
Draw a lamp o r a po t o r k ettl e. Add s o m e bas ic s hading to c reate fo r m b ut fo c us o n g e t t i n g t h e s h a p e r i g ht
f irst. Sp en d n o mo re than 2 0 m inu tes o n this and u s e either a ch a rco a l p e n c i l o r a ve r y s o f t gra p h i te p e n c i l
(8 o r 9B ) to spee d u p the s hading pro ces s. Here are s o m e pho to s to c h o s e f ro m :

PHOTO 1 PHOTO 2 P H OTO 3 P H OTO 4

DAY 2
Draw a f acial featu re s tu dy o r t wo - an eye and a m o u th fo r ex a m p l e. Wh e n yo u d ow n l o a d a n i m a g e f ro m
Pix ab ay o r Un spl as h, dow nl o ad the hig hes t res o l u tio n (yo u ne e d to s i gn up fo r a n a cco unt at Pi x a b ay to
do t h is, b ut it ’s f ree). The hig h res ver s io n al l ows yo u to zo o m i n o n t h e fe at ure a n d s t i l l s e e e n o ug h d e t a i l
to sketch f ro m.

Here’s a co uple of pho to s yo u co u l d u s e:

P ORT R AI T 1 PO RTR AI T 2 PORTRAIT 3

(yo u n g m a n ) ( yo ung wo m an) (older ma n)

A great t ip fo r draw ing any thing w ith intr ic ate c u r ves (s u c h as a n e ye ) i s to b re a k t h o s e c ur ve s d ow n i nto
st raight lin es. Tak e a l o o k at my s ho r t b l o g p o s t o n draw ing a n e ye l i k e t h i s b e fo re yo u s t a r t.
21 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 - d a y dr a w in g &
sketchin g ch a l l en g e

DAY 3
Draw an an imal u s ing bas ic s hapes. Watc h my v id e o l e s s o n f ir s t, t h e n c h o o s e a p h o to b e l ow :

ANI MAL 1 AN I MAL 2 A N I MA L 3

(e l e ph a nt) ( f lam ingo) (giraffe)

DAY 4
Draw t h e p eas in a p o d o r b ro cco l i pho to bu t real l y s pend s om e t i m e o n s h a d i n g to re c re ate s o m e n i ce
fo r m. Give yo ursel f an ho u r if po s s ibl e. Q u ic k tip: m ak e the ph o to s b l a c k a n d w h i te to h e l p s e e t h e va l ue s
mo re easily.

DAY 5
Draw a f igure fo cu s ing o n pro po r tio n and s hape rather than s ha d i n g a n d d e t a i l. H e re a re t h re e I re co m m e n d
ch o o sin g f ro m:

EASY M O DER ATE D I F F I C U LT

(fe m a l e’s ba ck ) ( wo m an at c afe) (baller ina )

DAY 6
Ch o o se an item f ro m the ‘Aro u nd Yo u r Ho u s e’ l is t and s k etc h i t. I f yo u’re h avi n g t ro ub l e c h o o s i n g, g o fo r
t h e b un ch o f k eys and ideal l y s k etc h them f ro m l ife w ith a ta b l e l i g ht l i g ht i n g f ro m o n e s i d e ( to c re ate
so me n ice st ro n g s hadows ).

22 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises
7 - d a y dr a w in g &
sketchin g ch a l l en g e

DAY 7
Draw a simp le b u il ding, l ands c ape o r s til l l ife three tim es. Fo r t h e f i r s t at te m p t gi ve yo ur s e l f a m a x i m o f
15 min utes. Fo r t he s eco nd attem pt give yo u r s el f a m axim u m o f 1 2 m i n ute s. An d fo r t h e t h i rd at te m p t, a
max imum o f 10 m inu tes.

Have a visib le sto p watc h (yo u r pho ne w il l al m o s t cer tainl y have a b ui l t i n a p p) t h at yo u c a n c h e c k o n a s

yo u sketch .

Ch o o se o n e t h ese references o r o ne o f yo u r ow n:

EASY M O DER ATE D I F F I C U LT

(wo o d e n d o o r) ( o ld b o at ) ( reclining fig u re)

23 1 0 1 D r a w i n g I deas a n d s k e t c hb o o k e x e r c ises