SKETCHBOOK MASTER CLASS

DRAWING BASICS AND BEYOND

TRANSFORM OBSERVATION INTO IMAGINATION

SORIE KIM
CONTENTS
Introduction

GETTING STARTED

Why Sketch?

My Approach to Sketching

A Couple of Things to Remember

In My Pencil Case

My Sketchbooks

The Fundamentals of Sketching

ELEMENTS OF SKETCHING

The Eight Elements of Sketching

Line

Volume and Form

Perspective

Form Sensitivity

Rendering
Movement and Weight

Proportion

Design
BASIC FORMS

The Six Basic Forms

Planes

Boxes

Cylinders

Spheres

Pyramids

Cones

SKETCHING ON LOCATION

Studying a Subject

Distance

Detail
Duration

Thumbnails

Types of Subjects

ANATOMY OF A SKETCHBOOK

Simple Props

Abstract Organics

Skeletal Forms

Plants and Trees

Animals

People

Complex Props

Scenes and Environments

Travel Sketchbooks

Café Sketching
BEYOND OBSERVATION

Drawing from Imagination

Doodles

Solid Drawing

From Observation to Imagination

Reinterpreting Subject Matter

Abstraction

Gathering Additional References

Outside the Sketchbook

Final Notes

Acknowledgments

About the Author

Index
INTRODUCTION
Sketching has always been my favorite thing to do, and I’m so
grateful I get to share my process with you here. This book is a
practical guide to working in your sketchbook. We will cover
sketching basics, the process of sketching on location, and ideas
for adding imagination to sketches, and then go through some
pages in my personal sketchbooks.

Before we start, here are a couple of things to keep in mind:

Everyone learns differently. What works for me may not work
for you, so take any advice in this book with a grain of salt.
There is no singular or correct way to draw; it’s essential to find
what works best for you. I’m still learning, and I can only share
my limited perspective. Even if I were able to distill everything I
know into this book, it would still be only a fraction of all that is
out there to learn. Use this as a starting point to explore your
own process.

Last, for those of you who are just starting to draw, I’m so
excited for you. Please don’t feel like you have to learn as fast as
you can or become the best artist in the world. Take your time,
don’t take it too seriously, and enjoy the process. I’m so curious
what you’ll like and what you’ll create. I hope you fall in love
with sketching.
GETTING STARTED
WHY SKETCH?

Think of the sketchbook as a sandbox

where you can play, experiment, and
make a mess.

It’s a space that allows you to explore

different processes, take your
thoughts in different directions, make
mistakes, and push boundaries. For
career creatives, a sketchbook could
be a place to have fun and explore
personal projects and ideas outside of
work.

Sketchbooks don’t have to look a

certain way. Some artists include
many loose sketches and notes, while
others create sketches that look like
finished illustrations. A sketchbook can also serve as a source of
inspiration and point of reference for future work. Scribbles
and rough ideas can be revisited and developed into finished
pieces or used as starting points for further exploration and
experimentation. A sketchbook is also where we can work on
building up our foundational skills and establish sketching as a
daily or routine practice.

Sketchbooks aren’t just for professional artists; they can be

used by anyone looking for a creative outlet or a way to express
their thoughts and ideas. People from all walks of life can
benefit from keeping a sketchbook. It’s just a space you can
make your own: to jot down notes, brainstorm, or explore your
imagination.

Basically, it’s up to you. There are no rules, and you make your
sketchbook what you want or need it to be. If you aren’t sure
where to begin, I hope this book can give you some ideas on
different ways to approach sketching.
Here is a page of doodles from imagination, focusing on form and volume.
MY APPROACH TO SKETCHING

In this book, I’ll be mainly focusing on representational drawing

from direct observation. Representational drawing means we’re
aiming to accurately depict real-life objects or scenes. The goal
is to depict the likeness of the subject in our drawing. Sketching
from direct observation means creating a sketch by closely
observing and studying a subject in real life, rather than from a
photograph or another source. This process pushes us to
actively engage with our environment to notice the details and
nuances of what we see.

Put simply, I go to a location, draw what I see, and try my best

to make the drawing resemble what I see. This kind of sketching
allows us to build technical skills and practice the fundamentals
of sketching.
WHY I LIKE SKETCHING ON LOCATION

There are many reasons why I love sketching on location.

Because it’s fun. It feels like I’m playing a game. Whether I’m
drawing something that I’ve never drawn before, or
something I’ve done a hundred times, it feels like a new
puzzle that I get to solve.
The parameters. I like that when I draw on location I’m
limited to the place, time, and whatever materials I brought.
It forces me to loosen the grip on perfectionism, and I find it’s
easier to just have fun.
It gets me out of the house. Since most of my work is from
home, I find it easy to get into a habit of sitting at my desk all
day. Observational sketching helps me get out of the house,
even if it’s just a walk around the neighborhood.
It’s like a visual journal. Sketching from direct observation
over time naturally becomes a log of your life. It’s a different
way to collect memories and engage with your surroundings.
It can feel meditative, especially in nature. I have a hard time
staying present sometimes, but whenever I get to sketch
outside it feels really grounding.
The world is interesting. There is a never-ending stream of
data and inspiration in the world. You could draw the same
subject for more than a year and still find new ways to
engage with it. The more you draw from life, the more you’ll
start noticing all the interesting things around you.
To study. I’ve just started learning animation this year, and it
feels like I’m learning how to draw all over again. Going back
to the basics and doing a lot of observational sketching has
been extremely helpful.
Here is an example of a sketch mixing observation and imagination.
A COUPLE OF THINGS TO REMEMBER

Even when the intention is to work on fundamentals, the point

isn’t to make a perfect drawing or sketch. Our focus is on the
learning process, or the act of drawing itself. Think of your
drawing as just a souvenir from the experience that you get to
keep.

What is shown in this book isn’t the only way you should draw
or use your sketchbooks. I encourage you to experiment outside
of all the approaches and techniques shown here.
This spread was drawn from imagination after many studies from reference. When I
sketch from observation or reference, the aim is to get to a point where I understand
the form completely.
This page of doodles is from imagination, but I’m sourcing the forms and patterns
from nature.
IN MY PENCIL CASE

I currently use a metal tin by Derwent to store my supplies. It

won’t stay closed anymore, so it’s held together by a massive
rubber band. It has a middle compartment for added storage
that can also be used as a palette.
BALLPOINT PENS

I think of ballpoints as a hybrid between graphite and ink.

Although ballpoint pen is a permanent medium, it allows you to
gradually build up opacity (indicates the transparency of the
medium) like a pencil and gives you access to a full range of
values (how light or dark something is). It also allows for really
thin, delicate lines.

PILOT COLOR ENO MECHANICAL PENCILS

I don’t like graphite right now, so I use these mechanical

colored pencils instead. These are erasable if you sketch lightly
enough, but I also love the look of the color layered under ink
or on top of gesso. I’m trying to become more gestural and loose
as I sketch, so these have been fun to scribble with.
FELT-TIP PENS

The ones I use the most are the Faber-Castell Pitt Artist Pens
and Pentel Stylo Sketch Pens. These pens have a static line
weight and are also permanent mediums. Because of these
constraints, they’re actually great pens to begin sketching with.
Every mark you put down has to be intentional, and line weight
and values all have to be manually built up. It forces you to
think about each decision you make and let go of mistakes.

BRUSH PEN

Brush pens are some of my favorite tools to use. They may take
some time to get used to, but I think it’s well worth the effort.
These pens allow you to control not only line weight but texture
and opacity as well. Look for brush pens that have an inkwell
that allows you to control the amount of ink. If you allow the
pens to dry out, you can achieve some beautiful textures.
MARKERS

The ones I have right now are from Zig and Faber-Castell. These
are water-soluble pens that diffuse like watercolor when mixed
with water. I love blocking out big shapes with one of these to
carve in two-value studies. I also keep a regular yellow
highlighter in my case.

ERASERS

I carry a regular plastic eraser and a pencil-shaped eraser that I

can sharpen to carve out details.
MY SKETCHBOOKS

These are the sketchbooks that I currently use, with some

details of the different formats. Remember that you don’t need
these specific brands, and you don’t have to have multiple
sketchbooks going at once. Depending on your objectives and
creative process, your needs will be unique.

MAIN SKETCHBOOK

This pocket-size Moleskine is the main catchall for my sketches.

The size makes it easy to carry in most bags, and the paper
receives most mediums well, even some paints. This sketchbook
acts almost like a visual journal for me, as I use it to draw from
direct observation. It is 3.5˝ x 5.5˝ (9 x 14 cm) and contains
seventy-two pages of 120-gsm acid-free paper.
UGLY SKETCHBOOK

I used to really struggle with perfectionism in my sketchbooks,

but I also love rendering or adding detail and values, so I tend
to get lost in that aspect of sketching. By designating a cheap
sketchbook from the dollar store as a space for “ugly” sketches,
it helps me get out of my head and experiment outside of my
comfort zone. This practice 100 percent changed the way I
sketch.
WATERCOLOR SKETCHBOOK

I use a Moleskine watercolor book for gouache, watercolor, and

markers—any medium that a regular sketchbook can’t hold. It
has cold-pressed, cotton-blend paper and can handle paint on
both sides without bleeding through or warping too much. The
one I use is 3.5˝ x 5.5˝ (9 x 14 cm) with 72 pages of 200-gsm,
acid-free paper.
TRAVELERS NOTEBOOK

As the name suggests, a travelers notebook is a really fun option

to travel with. It allows you to switch out books of different
kinds of paper, such as grid, watercolor, and regular drawing
paper. The books are held together by a rubber string in the
center. I also keep a small zipper pouch in mine to store little
scraps of paper, receipts, and the like that I pick up. The
watercolor sketchbooks for the travelers notebook only have
about thirty pages, so I try to dedicate one book per trip.
TRAINING SKETCHBOOK

This 8.5˝ x 11˝ (22 x 28 cm) sketchbook is the biggest I use, and
it comes from Artist’s Loft. I use it for warm-ups, studies, and
demos. These are affordably priced and the 110-gsm paper
holds even gouache and watercolor to an extent. The binding of
these sketchbooks does come off easily, but it can be quickly
mended with duct tape or bookbinding tape.
DIGITAL SKETCHBOOK

Digital sketching is like having access to every medium at once.

I use Procreate on an iPad Pro. The software is pretty intuitive,
and it records your sketches as well. I’ve been trying to paint
more en plein air recently, and digital sketching is handy when
I don’t want to carry physical paints and brushes.
STACK OF PAPER

If you have a habit of tearing out pages, this might be a great

option for you. I have a clipboard that opens up to store a
variety of papers. I use this often for demos, for bigger sketches,
and when I need more polished drawings.
THE FUNDAMENTALS OF SKETCHING

In the next couple of chapters, we will take a close look at the

basic skills and principles, which are helpful to understand as
you grow in your sketching practice.

WHAT ARE THEY?

The fundamentals of sketching are the basic principles and

techniques that serve as the foundation for sketching. They are
the building blocks of drawing. Understanding principles such
as perspective, form, rendering, and composition will be helpful
in creating sketches that accurately depict the subject matter. If
you’re new to sketching, it can be overwhelming to think about
all these components at once. Isolating one principle of
sketching (e.g., perspective) can be a great way to practice and
build your understanding of the fundamentals. We will go
through some exercises in the upcoming pages.
WHY DO WE NEED THEM?

Building up your technical skills gives you freedom. Before you

write music, you need to learn how to play your instrument and
how to play the notes. Ultimately, the goal is to learn the
fundamentals of sketching so you don’t need to focus so heavily
on them. Understanding the basics allows you to let go and
engage in designing, storytelling, or just drawing whatever you
want.

Technically advanced art isn’t the peak, but the more you learn,
the more range you have to say what you want exactly the way
you want to say it. Building technical skills also gives you a
direction and reference point to start with when learning to
draw.

That being said, you don’t need to fixate on this part. You don’t
need to master technical skills before creating what you want.

This isn’t an exhaustive guide by any means, so I encourage you

to dive deeper into each topic with more research and practice.
Understanding the basic principles and techniques of sketching will allow you
freedom to manipulate shapes and objects in your drawings and create anything you
can imagine!
ELEMENTS OF SKETCHING
THE EIGHT ELEMENTS OF SKETCHING

These are eight elements of sketching that can be useful to

learn. Each of them plays an important role in creating
dynamic and grounded drawings. Don’t be intimidated,
however—these won’t come into play with every single sketch
you make, nor do you have to think about addressing all eight
elements every single time you sketch. We’ll go through each
one in detail in this chapter.
LINE

Line is the base ingredient of sketching. We use line to construct

and define our subjects; and to convey texture, movement, and
depth. Line weight can create visual interest, weight, and
contrast. The quality and type of linework used can affect the
overall look and feel of your drawing.
PERSPECTIVE

Perspective is what creates the illusion of three-dimensional

space on a two-dimensional surface. Think about taking a
camera and shooting your subject from different angles.
Perspective allows you to choose how you frame your subject.
VOLUME AND FORM

In drawing, form will convey the dimension of a subject and

give it volume. Focusing on form helps to create a sense of
depth and solidity. Form can be conveyed through a variety of
ways, such as the use of contour lines or rendering.
FORM SENSITIVITY

Once you have established basic forms and perspective, the

next step is to add form sensitivity. We can build up form
sensitivity by carving out more and more planes to achieve
more intricate and complex forms. This will make your sketch
appear more grounded and realistic.
RENDERING

Rendering is the process of adding values and further carving

into your subject. By paying attention to the details and
characteristics of the objects or subjects being depicted, you can
create a highly convincing and lifelike representation of them.
Rendering can be used to show the physical properties of
objects, such as the material or texture.
PROPORTION

Certain subjects, such as humans, animals, and manmade

objects, have fixed proportions. Learning accurate proportions,
shapes, and components of your subjects creates a sense of
realism and believability, but remember that you can always
manipulate these proportions later on.
MOVEMENT AND WEIGHT

Often when we focus on basic forms and construction, the

sketches can turn out a bit stiff. Introducing weight and
movement in your sketches can bring a lot of life and energy to
your sketches.
DESIGN

We can still think about design even as we’re sketching a

subject from life. Designing something involves making
intentional choices about how we portray or interpret the
subject. We can utilize elements of design to convey a feeling, or
to emphasize certain forms in our sketches.
LINE

Being able to execute clean, confident lines will bring a lot more
clarity into your sketches. I think the best thing you can do to
develop better line control and confidence is to just draw a lot.
It will naturally come with time.

That being said, if you would like to practice, especially if you’re

new to drawing, here are some exercises. I would recommend a
pen with a static line weight (such as a fineliner) for these
exercises. I’m using a Faber-Castell 0.3 mm pen.

CONNECTING DOTS

Plot two points first and connect them in a straight line. Be

mindful of the quality of your lines and the pace that you move
your hand. Find a tempo that is comfortable.

If you find that your line is too jittery, you may be moving your pen too slowly.
If your line is getting wispy toward the end, you may be moving your pen too fast.

Try to find a nice tempo that creates clean, confident lines.

After you practice connecting two dots, try connecting multiple dots in a zigzag line.
This will help you get comfortable changing direction.

HATCHING

Hatching is a wonderful technique for rendering and mark-

making, particularly with ink. You can draw hatch lines in any
direction and also draw them on top of each other in different
directions to create density.
Create some thumbnails and practice hatching in different directions and
frequencies (distances). Try to keep the lines equally spaced from each other.

You can also practice hatching outside of boxes, which does not have to be as rigid.

LINE WEIGHT

Line weight, or line quality, refers to the thickness of the line.

By manipulating the weight of your lines, you can create depict
depth and add subtle variation to your drawings.
Create a thin line with a static line weight. It can be any length you’d like.

Go in and manually build varied line weights at different points of the line. If you’re
working digitally, try out different variations on the same line and see how each
version reads.
VOLUME AND FORM

Volume and form help show the dimension of the subject. This
is what brings the illusion of three dimensions to our two-
dimensional sketches. Mastering form, volume, and perspective
will give you the freedom to sketch freely and build from your
imagination.
CONTOUR LINES

To begin, let’s say you have a circular ball of clay.

If you were to draw a line or two (contour lines, lines that describe the volume of a
form) wrapping around the circumference, it would look something like this. Notice
how suddenly the form has become clearer. The contour lines are describing the
volume of the subject, creating the illusion of three dimensions.
Straight lines can flatten out a form.

Curved lines can give it more volume.

CHANGING VOLUME

The volume you assign to a shape is arbitrary. We could take the

same silhouette or shape and assign it different kinds of volume
by sketching different contour lines through it. For example, we
have this ovular shape. I’m going to use contour lines to create
three different examples of volume. Notice what the contours
say about the form, while the silhouette remains the same.
This isn’t limited to organic blobs. We can use contour lines to indicate volume on
any subject—simple or complex. Think about building a topographical map on a
surface.

We don’t have to show an entire grid on our subjects to effectively describe form. It
can be as simple as just showing the X- and Y-axes or the center line on the form.
For example, if we were to look at this box from a bird’s-eye view, we might see the
X- and Y-axes looking like flat perpendicular lines. As we change the camera angle
and look at this box from an angle, we can see how the center line shifts with the
perspective.
PERSPECTIVE

Perspective introduces depth and space into a sketch. Here we

have an aquarium with some fish inside. If we look at the
aquarium from the side, it may look like this.

If I rotate the aquarium to make a more dynamic perspective, it

might look like this. Notice how the fish closer to you seems
bigger. Even in the fish closest to you, the head is much larger
and the tail tapers. As the fish recedes into space, it gets smaller
and smaller.
HOW TO ESTABLISH PERSPECTIVE

To establish perspective grids in a drawing, start by defining

your horizon line. The horizon line is the viewer’s eye level and
the point where the sky appears to meet the ground. It is used
as a reference point for for placing objects within a space.
Place one or more vanishing points on the horizon line
depending on the desired perspective. Here I placed one
vanishing point for one-point perspective. The vanishing point
is a specific point on the horizon line where the perspective
lines will converge to a point.
Draw lines radiating from the vanishing points, creating a grid.
Use this grid as a guide to accurately depict objects in the
chosen perspective, ensuring a consistent sense of depth and
scale throughout the composition. Let’s take a look at different
kinds of perspective.
ONE-POINT PERSPECTIVE

One-point perspective uses a single vanishing point on the

horizon to create depth. It works well for linear objects and
interior spaces, giving a sense of distance and scale.

TWO-POINT PERSPECTIVE

Two-point perspective utilizes two vanishing points to create

more complex depth and to add more dimension.
THREE-POINT PERSPECTIVE

Three-point perspective includes a third vanishing point above

or below the horizon line for a dynamic view. It is ideal for
large-scale scenes and objects with extreme foreshortening,
providing an immersive experience.

You don’t necessarily need to set up a full perspective grid

every time you sketch, and I wouldn’t recommend it. Practicing
freehanding perspective sacrifices a bit of precision, but I think
it’s an extremely useful skill to learn.

Start with simple singular subjects and try expanding to include

more objects in a shot. When sketching a full scene, it can be
helpful to quickly block in some loose lines to establish a rough
guide for perspective within the space or to make a tiny
thumbnail to get a feel for the space.
FORM SENSITIVITY

Let’s talk about adding form sensitivity. Form sensitivity is

sculpting further into the basic form to create a more grounded
and believable depiction of the subject. The best way I can
explain form sensitivity is by comparing low-poly video games
from the 1990s (low form sensitivity) to the highly rendered
models of today (high form sensitivity). Once we have broken
down the subject into basic forms, we can start sculpting or
carving into those forms to create more dynamic or grounded
sketches.

Studying form sensitivity in reality will help when drawing

from imagination—and allow you to bring more realism into
your sketches. Here are some exercises that can help improve
form sensitivity.
Low form sensitivity (left) and high form sensitivity (right).
OVERSATURATE DETAILS, ELIMINATE PERSPECTIVE

An exercise I really like for practicing form sensitivity is to

exaggerate texture and detail 110 percent. It helps to flatten out
perspective by choosing a side or front view of the subject, so
that you can focus solely on texture and detail.
TEXTURE STUDIES

Like the examples above, texture studies are a great way to

improve form sensitivity. Pay closer attention to the surface of
textured objects and try to re-create the texture in a sketch. As
above, it can be helpful to start by flattening the texture out into
a thumbnail.
BLIND CONTOURS

Blind contour sketching is a drawing technique designed to

improve observation skills and hand-eye coordination. In this
exercise, let’s focus on the subject’s contours and edges, while
refraining from looking at the drawing surface. Keep your eye
on the subject as much as possible and don’t lift your pen off
the paper.

Although the resulting sketches may appear unconventional or

abstract, the primary goal of the exercise is to train the eye and
hand to move together.
RENDERING

Rendering is where we think about light, detail, volume, and

texture. It can be a little daunting, so let’s begin by taking a look
at three basic forms: a box, a cylinder, and a sphere. Because all
subjects are made of basic forms, understanding how shadows
sit on each of these forms can be very helpful. Notice how the
hard edge of the box shows a clean cut of values, while the
rounded edges of the cylinder and sphere show more of a
gradient.
TWO-VALUE STUDIES

A great way to practice rendering is with two-value studies.

Let’s apply this concept to basic shapes and some more complex
subjects. The point of these two-value studies is to simplify
values to the highest contrast of light and shadow. Pay attention
to the shadow shapes and try to group together the shadows as
much as possible. For two-value studies from direct
observation, we want to look for direct lighting with high
contrast.
SURFACING EXERCISE

Following the texture studies, these surfacing exercises are a

great way to practice rendering. Pay closer attention to the
surface of textured objects and try to re-create the texture in a
sketch. As above, it can be helpful to start by flattening the
texture out into a thumbnail. Once you get comfortable, try
applying the texture to a three-dimensional form.
SIDE VIEWS

As you practice rendering more complex subjects, it can be

helpful to begin with side views. Eliminate perspective and
form so you can just focus on rendering. Then try rendering the
same subject in perspective, while maintaining a similar
texture.
MOVEMENT AND WEIGHT

Introducing movement and weight into your sketches can add a

lot of life, energy, and believability to them.

Flattening this sphere immediately gives it a feeling of weight.

GESTURE DRAWING

To practice capturing movement and weight, try gesture

drawing. Set a timer for short intervals (for example, 30
seconds to 2 minutes) and quickly capture a moving subject,
such as a dancer, athlete, or animal. Focus on capturing the
subject’s rhythm and motion rather than details. Observe how
weight distribution affects the subject’s posture and balance.
WIREFRAME

Using a wireframe can be a great foundation to build different

subjects or characters on top. This allows you to focus on the
pose/movement without having to think too much about details.
For example, here is a pose with two different creatures
applied.
SEQUENCES

We can learn a lot from studying subjects in motion. Find a

reference of a subject in motion and break the movement down
into a sequence of key frames or stages. Sketch each frame
quickly and notice how the forms rotate and change shape.
PROPORTION

Certain subjects, such as animals, humans, and vehicles, have

fixed proportions. To be completely honest, I don’t think
accurate proportions are super important. So much of design is
altering or exaggerating proportions anyway. But if we’re trying
to depict accurate proportions, we can start with side views.
SYMMETRY

Most subjects either have bilateral or rotational symmetry.

Rotational symmetry revolves around a fixed central point.
When viewed from above, every slice is identical to one
another.
MEASURING PROPORTIONS

When we’re able to see all the information on the side or from
above the subject, we can get a full read of it to visually
measure out proportions. It can be useful to use a piece of the
subject, such as the head or a wheel, as a unit of measurement.
For example, let’s look at these figures. We’ll use the head as a
unit of measurement. This human figure is about 7 heads tall,
and the horse is about 6 heads tall and 6 heads long.
COMPARISONS

It can also be helpful to compare and contrast similar subject

matter. For example, what makes a zebra different from a horse
or donkey? When we study these similar creatures side by side,
it gets easier to identify the idiosyncrasies of each subject.
CARICATURES: PLAYING WITH PROPORTIONS

I find that especially with animals, it’s easier to think about

defining characteristics than to attempt perfect proportions.
There are components or features that we can exaggerate while
still retaining the subject’s essence.
For example, let’s look at this rooster.
We can take away certain components that would make it less of a rooster, such as
the comb, wattle, wings, or tail. At a certain point, the rooster isn’t a rooster anymore.

We can do the same thing with a subject’s proportions and forms. Let’s try changing
up the proportions of the neck, legs, or body. Even small changes to recognizable or
essential proportions will detract from the likeness.
Now let’s try leaning into these proportions. Even though the proportions aren’t
realistic or perfect, the sketch still is a recognizable caricature of the subject.
DESIGN

Even when we’re studying from direct observation, we can

think about design. You don’t need to feel pressured to re-create
what you see verbatim; your sketch is an interpretation
through your eyes and hands. Think of designing, or stylizing,
as all the choices we make when we draw. Think about what
you want to push or pull in a sketch. Here are some ways we
can practice designing what we see.

SILHOUETTES

Focus on just the silhouettes of what you see and keep them
fairly small. Start reducing the subject to just shapes. On the
first thumbnail, I could just try to block in exactly what I see,
but on the second, third, etc, I’m pushing the silhouette in
different directions. I love sketching organic subjects such as
plants, rocks, trees, and foliage, because there is so much
information and different directions you can pull toward.
CIRCLES, TRIANGLES, AND SQUARES

This exercise is similar to the silhouette practice on the

previous page, but we’re focusing on designing the subject with
specific shapes that convey ideas or emotions in mind. Here are
some rocks that are inspired by circles, triangles, and squares.
Notice how the feel of the subject changes with each shape. For
example, sharp angles could suggest precision or danger, while
rounded shapes may evoke feelings of fluidity, softness, or
comfort.
INTRODUCE NARRATIVES

I think an intuitive and fun way to introduce design language to

everything we see is to assign a mood or narrative to it.

Let’s take these trees as examples. These are just silhouettes, but
the tree on the left appears happier than the one on the right.
We can reinterpret the same subject in a variety of different ways. Notice how each
tree conveys a different tone.
BASIC FORMS
THE SIX BASIC FORMS

These six basic forms and their modifications and combinations

make up everything that we draw: planes, boxes, cylinders,
spheres, pyramids, and cones. We’ll go through them one by
one in this chapter, but first we’ll look at some principles of
working with forms.
PUTTING THEM TOGETHER

Understanding how to construct and manipulate these six

forms helps us to sketch more complex forms. Practicing with
these basic forms also helps us think three-dimensionally
instead of just in flat images. For example, learning how to
draw a box from any angle also helps us sketch more complex
subjects in different perspectives. We can also practice
modifying and combining the base forms to create more
interesting variations. These modifications can be rigid or
organic. Remember that these technical skills aren’t
prerequisites to sketching what you want. Think of them as
helpful skills that you learn alongside your creative work that
will give you more freedom to make what you want.

Any object you want to draw is made up of one or more of the basic forms.
SHAPES VS. FORMS

Shapes live in a two-dimensional world, meaning they are flat,

like a square or a circle. Forms exist in a three-dimensional
world, meaning they have height, width, and depth, like a box
or a cylinder. Two-dimensional shapes can be placed in space to
create three-dimensional forms. For example, a cube is made
up of six different squares, while a cylinder is made up of two
circles and a rectangle.
X-, Y-, AND Z-AXES

One of the most useful skills for sketching is understanding how

to visualize space and perspective. Every object has three axes,
which we call X, Y, and Z. If we look at the sheet of paper below,
we can assign a Y-axis in the vertical center. We can also assign
an X-axis cutting across the horizontal center.
In order to see the Z-axis, let’s first place the sheet of paper on
an imaginary table. The X- and Y-axes now sit in the same
perspective with the paper, flat on the table. The Z-axis runs
vertically through the paper at the intersection of X and Y.
Now if we place the piece of paper upright at an angle, we can
see the Z-axis running through the center of the paper.

We can start practicing by sketching lines that sit on the X-, Y-,
and Z-axes in different combinations and angles. They can be
difficult to see at first, so be patient with yourself!
PLANES

Planes are flat surfaces that are used to depict the forms or
surfaces of a subject. By adding more planes to a drawing, you
can create a more lifelike representation. Planes can be used to
depict the curves and contours of an object or subject and can
help to create the illusion of form and volume.

1. Begin with a rectangle. The dimensions of the rectangle don’t

matter.
2. Find the center by adding two diagonal lines from the
corners.
3. Using the diagonal lines as a guide, add an X- and Y-axis on
the plane.
4. Optionally, you can also add additional vertical and
horizontal lines to create a grid.
When we rotate the plane in space, we can see how the X- and Y-axes adjust with
perspective. We can use these planes as a guide to construct flat subjects.
PRACTICE

We can practice sketching planes in perspective using a sheet of

paper. Place the paper on a table and sketch what you see from
different perspectives.

MODIFICATIONS WITH REFERENCE

Next, fold your paper into different shapes and sketch what you
see.
FROM IMAGINATION

Once you feel comfortable, begin sketching planes and modified

planes from imagination (see example at left). Try sketching
multiple planes that exist in relation to each other in
perspective.
BOXES

A box, or cube, is arguably one of the most useful forms to learn

how to sketch. Because we can technically fit any subject into a
box, learning how to rotate boxes and cubes in space will allow
us to sketch more complex subjects in perspective. Drawing
cubes can be very helpful in practicing how to maintain
proportions and volume. We can also build hard-surfaced
subjects, such as vehicles and architecture, with boxes.

There are several ways to construct boxes in two- or three-point

perspective, but I find the following two to be most helpful
when freehanding perspective.
PLANE METHOD

1. Start with a plane in perspective.

2. Draw diagonal lines that align with the perspective (think of
the Z-axis).
3. Draw in the rest of the edges. In two-point perspective, all
vertical lines should be parallel.
4. Optionally, sketch through the form to check perspective and
show the other side.

Y METHOD

1. Start with a Y. The two diagonal branches of the Y will be the

center lines for each side.
2. Draw the vertical lines for the edges.
3. Starting with one side, sketch in the diagonal lines. Use the
center diagonal as a guide. The two lines on the outside
should wrap inward toward the center, as these lines will all
converge eventually.
4. Finish with the diagonal lines on the other side.
Ellipses

Ellipses can be considered modifications of planes, and they are

extremely useful in drawing cylinders and other subjects. In
sketching, an ellipse is a circular shape seen at an angle. The
flat shape we see in a drawing is an oval, but we are actually
depicting a circle seen from different perspectives.

1. Let’s start with a square.

2. Cross diagonal lines from opposing corners.
3. Find the X- and Y-axes.
4. Use these parameters to draw a circle inside the square. The
edges of the circle should meet the X- and Y-axes on each
side.

We can achieve the same thing using a plane in perspective.

1. Cross diagonal lines from the corners again.

2. Find the X- and Y-axes. The Y-axis goes straight down, but
notice how the X-axis sits diagonally in perspective, following
the top and bottom edges of the plane.
3. Sketch an ellipse following the edges of the plane.
We can practice sketching ellipses using the plane exercise. Fill
a page with planes sitting at different angles. Then sketch
ellipses to fit in each plane.

As we did with the spheres, we can practice drawing ellipses inside a grid. Try filling
a page with ellipses leaning both to the left and to the right.
CYLINDERS

Cylinders and their variations are also commonly used forms.

Getting comfortable sketching ellipses will be extremely useful
for building cylinders.

A cylinder is made up of two circles and a plane. If you roll up

the plane into a tube, it creates the body of the cylinder. We can
add the two circles at the end to complete the form. There are
several methods to construct a cylinder in perspective.
BOX METHOD

We can use a box in one-point perspective as scaffolding for the

cylinder. Note that the size, shape, and angle of the cylinder can
be adjusted by changing the size and shape of the ellipses, as
well as the placement of the vanishing points. Notice how the
plane on top of the box is slightly flatter than the plane on the
bottom. This is because the plane on top is closer to the horizon
line. Next we can fit ellipses inside the planes to create the
cylinder.
PLANE METHOD

We can also just start with a plane, which will require some
freehanding of perspective. Sketch a plane at any angle and find
the X-, Y-, and Z-axes for the plane. The Z-axis will be the
direction that the cylinder points in. Draw an ellipse inside the
plane, and then follow the Z-axis for the walls of the cylinder.
Complete the other side with an ellipse slightly wider than the
first.
Here are some examples of cylinders and modifications.
SPHERES

We can find spheres in a wide range of subjects both organic

and complex, and they can be used as the base structure to
build many other subjects. Modifications of the sphere can also
be found in all kinds of organic forms and can be used to
practice conveying weight and volume.
CONSTRUCTION

We can practice freehanding circles first by sketching them

inside lines or grids. Be mindful of the speed that you’re moving
your pen or pencil, as line quality is very important here. After
you feel comfortable sketching circles, try drawing ellipses
through the form to indicate the dimensions of the sphere.
ROTATIONS

Although we don’t see sides in a sphere, we can still indicate

rotations by drawing through and building out the X-, Y-, and Z-
axes. We can also show rotations by drawing the contours of the
sphere facing various directions.
MODIFICATIONS

Organic modifications of the sphere can look like any rounded

blob without hard edges. Think about taking a sphere made of
clay and stretching it out. Using a piece of clay for reference can
actually be a great resource to practice sketching these blobs.
Try assigning the contours and center line to these forms.
We can also add hard modifications to the sphere by making precise cuts or
intersecting other forms. This requires us to really think through the form and
understand the volume.
PYRAMIDS

Pyramids are constructed by using a square as the base and

four triangles for the walls. We can find pyramid forms in
architecture, animals, and complex, hard-surface subjects.
Pyramids and cones are used less frequently than boxes or
cylinders, but they’re still helpful to learn. By freehanding
pyramids, we can practice building the X-, Y-, and Z-axes,
finding the center, and sketching tilted planes.
ONE-POINT PERSPECTIVE

1. To sketch a pyramid in one-point perspective, start with a

plane on the ground in one-point perspective, and sketch out
the X- and Y-axes.
2. Next sketch the Z-axis, a vertical line going straight up from
the center of the plane.
3. From each corner of the plane, sketch diagonal lines that
converge at the end of the Z-axis.

TWO-POINT PERSPECTIVE

1. To sketch a pyramid in two-point perspective, start with a

plane in two-point perspective. Find the center.
2. Sketch the Z-axis in the center.
3. Sketch diagonal lines meeting at the top of the Z-axis.
Technically, we only need to sketch two lines at the
outermost edge of the pyramid if we aren’t drawing through.
4. Erase the extra lines to create a solid-looking pyramid.
Here are some freehanded rotations of pyramids. Be mindful of that Z-axis and think
of how the X-, Y-, and Z-axes relate to each other as this form rotates.
Here are some more freehanded rotations of pyramids. I mainly pay attention to the
perspective of the base plane to build off of. Be mindful of that Z-axis and think of
how the X-, Y-, and Z-axes relate to each other as the form turns.
CONES

The cone is like a cousin to the pyramid, as it can be constructed

in a similar way. It’s made up of a circle as the base and a
continuous plane wrapping around its body.

1. Begin by sketching a plane that is in one-point perspective.

2. Find the center and sketch in the X- and Y-axes.
3. Sketch an ellipse inside the plane.
4. Add the Z-axis going straight up. In this perspective, notice
how the Y-axis and Z-axis align.
5. Sketch diagonal lines from the corners of the ellipse, meeting
at the end of the Z-axis. Erase the extra lines.
Here are some rotations of the cone. Start with sketching ellipses in different angles.
Here are some modifications of a cone.
SKETCHING ON LOCATION
STUDYING A SUBJECT

There are many ways we can approach sketching subjects from

direct observation.

SCRIBBLING

This method is perfect for quick sketching and subjects in

motion. With this approach, we’re trying to capture the
movement or essence of the subject. For example, we can start
with an action line that runs through the subject.

Then we can build forms around it. We can loosely build the
scribbles to describe the form, or just the overall silhouette. It
can also be helpful to use a translucent medium to leave room
for values later on.
SILHOUETTES AND SHAPES

Another approach is to just look for the two-dimensional shape

of the subject. I can create tiny thumbnail silhouettes of my
subject, or I can add some detail. I also love blocking in a
silhouette and then revisiting it with line work.
BASIC FORMS

We can break down the subject into the basic forms we looked
at before. Every subject, regardless of how complex, can be
simplified in a similar way, and there isn’t a singular way to
break down a subject.

We can use these simplified forms as the foundation to carve in

detail and add values. Getting comfortable sketching the basic
forms in perspective is extremely useful and will assist you in
sketching everything else you see.
DISTANCE

Distance is a key component when it comes to sketching, and

how we depict subjects. You wouldn’t treat a tree that is the
main character of your illustration the same way you would a
row of trees sitting in the background. Sketching the same
subject at varying distances will help you to think about
different ways you could approach the subject. Let’s use a tree
as an example.
CLOSE UP

I’m starting at the closest distance. At this point, what I can

observe is limited. I could do texture studies of the bark or take
note of the color changes I see up close. I might look up and
sketch out individual leaves and branches. Right now I’m not
drawing the entire subject itself, but observing its components.
MIDDLE DISTANCE

Next, I’m going to take a step back so that I can see the entirety
of the tree. I’m still close enough to make out some detail, but
some of it starts to fade. At this distance, I can sketch out the
entire tree, and I have to balance light, shadow, and detail. If I
were to detail the subject at this point as I did in my first texture
study, the sketch might be way too busy. I’m also refraining
from drawing individual leaves, and I’m starting to group them
into bigger shapes.
LONG DISTANCE

Finally, I’m stepping way far back until the subject is very small.
I may not be able to make out much detail at all. At this point,
we can just simplify light and shadow and focus on the overall
shape or silhouette. I can still use interesting shadow shapes
and mark-making that will inform the texture of the subject.

This idea can apply to any subject. Think of things that you tend
to see in your daily life and how they might start to change as
subjects or sources of inspiration depending on the scale, or
distance.
DETAIL

Adding details can be a tedious but rewarding part of drawing.

The amount of detail in a sketch can determine the visual
impact of the piece. Thinking about components such as
texture, lighting, and values can help to create a more realistic
representation of a subject.

At the same time, adding too much detail can sometimes detract
from the overall impact of a sketch, by scattering the focal point
and overwhelming the composition. Finding balance between
detail and rest in your sketch or composition is key.
ESTABLISH AN OBJECTIVE

The amount of detail to include in an image depends on the

objective of the sketch. Is it a quick sketch that doesn’t call for
much detail? Are you rendering the main subject of your
illustration? Think about how you can utilize the amount of
detail to convey your intent.
FORM IS KING

Adding too much detail can sometimes oversaturate or

unintentionally flatten out a drawing. The tree on the left has
more information than the three following, but it’s leaning
towards having too much information. Focus on establishing
form first, and be mindful when finding a balance of light and
shadow.
CLARITY

Does the amount of detail inform or detract from your

objective? Does your image communicate what you are trying
to say? Here is an example where I find the amount of detail to
be distracting. To establish more clarity, I could reorganize the
amount of contrast to bring back focus to the subject.
BREAK THE RULES

Maybe you want to intentionally overwhelm your sketch with

as much detail as possible. Here is an example where I
overloaded the sketch with detail and gave every part of this
plant equal attention. There’s no correct approach; it all goes
back to your objective.
DURATION

Time is another factor to consider when working in your

sketchbook. Every sketch doesn’t require hours of careful
rendering. Depending on the amount of time you have, you can
sketch from life with different approaches.

QUICK SKETCHES

Quick sketches are such a great way to learn and study subjects
when you don’t have much time. They’re used to capture the
gesture or movement of a subject, rather than trying to render
it in great detail. This can be especially useful when working
from life, as it allows you to capture fleeting poses and
movements. When working quickly, the marks on your paper
are just artifacts of what your eye is following. Take the
pressure off yourself to make these sketches perfect or accurate.
I have a senior dog that walks very slowly, so I love doing some
quick sketches while he wanders around outside.
10-MINUTE SKETCHES

If you have more time, ten- to twenty-minute sketches provide

an opportunity to add detail and explore the subject further,
while still working quickly. Working with a permanent medium
can also force you to move forward without constantly erasing.
LONGER SKETCHES

Longer sketches, which can take an hour or more, allow for a

more comprehensive and detailed exploration of the subject or
scene. We can plan and think about value, color, and texture.
These longer sketches allow us to create more finished and
polished pieces, or to take the time to experiment with different
techniques and styles.
THUMBNAILS

Composition refers to the placement of objects in an artwork. A

thumbnail sketch allows you to arrange objects and values in
different ways to achieve a pleasing composition. Composition
is something I’m still working to improve on, and thumbnails
are a great way to practice it. Using small thumbnails can also
make the sketching process much more approachable. It also
allows you to go through many compositions quickly without
burning too much time on one image. I find that the more
iterations I do, the faster I become comfortable approaching the
subject or drawing from imagination.

These thumbnails are a lot more detailed than they need to be,
but I had a lot of fun drawing them. These were done in the
middle of the woods in Idyllwild, California. When I’m looking
for or trying to build a composition, I like to think about the
scene in abstract shapes. How can we organize abstract shapes
to make interesting arrangements or create a narrative? A great
exercise is to make some thumbnails and fill them with abstract
compositions using two values.

There are many different approaches and no rules to creating

thumbnails to practice composition, but here are three
processes that may be helpful.
TWO-VALUE STUDIES

Using only black and white, create a very simplified thumbnail

of your scene. Focus on using shapes rather than lines.
THREE-VALUE STUDIES

The white of the paper is your lightest value. Using a toned

marker, block out basic shapes for your composition. Take a
black pen and add one more value to indicate areas of shadow.
These three thumbnails are variations of the same scene. In the first thumbnail, I felt
the rock was too big and too centered, so I tried lowering the ground plane and using
the rule of thirds in the second. The rule of thirds means dividing up the composition
into thirds and placing the focal point in one of those sections. This creates visual
balance in an image. In the last thumbnail, I tried introducing a figure and creating
more contrast between the rock and the background to frame the subject.
TYPES OF SUBJECTS

Everything that we see can be broken down and simplified in

similar ways, but different subjects allow us to focus on specific
techniques. Drawing different types of subjects can also help to
broaden your visual library that will provide inspiration for
future artwork or designs. By practicing drawing a variety of
subjects, you can develop a well-rounded set of skills and
techniques that can be applied to any subject matter.

We can simplify all subjects into two groups: organic and

structured.

Organic subjects include plants, food, animals, and humans.

They are softer and more fluid. Organic subjects call for more
form sensitivity, movement, and weight.
Structured subjects include hard-surfaced props, machines,
vehicles, and architecture. They tend to need more precision,
symmetry, and perspective.
This doesn’t mean that these subjects have fixed properties. We
could add tons of structure to organic subjects and organic
interpretations to structured subjects.

In the next chapter of this book, I’ll go through how I approach

each type of subject matter, with examples.
ANATOMY OF A SKETCHBOOK
SIMPLE PROPS

In this chapter, we’ll be going through my sketchbooks to take a

look at different types of subject matter and approaches to
sketching. The examples shown here go from simple to complex
and are a mix of sketches on location, from personal photo
reference, and from memory or imagination.

Let’s start with subject matter you can use as a reference

without even leaving the house. To practice sketching from
direct observation, we can look for specific subjects to start
with. If you’re new to sketching, or just want to practice
fundamentals, look for subjects that resemble the six basic
forms, especially boxes and cylinders. Think of simple objects
around the house such as cups, furniture, and appliances. Focus
on form and simplify the subject into basic shapes.
This page was done in ballpoint pen and colored pencil. I simplified the subjects
directly around me and tried sketching them from a different perspective.
This page is a mix of doodles from direct observation and imagination. Again I’m
focusing on basic shapes and keeping the sketches under five minutes each.
Here are some more sketches of simple props. I usually try to draw the same subject
from multiple perspectives, or once from observation and then from imagination. I
try not to linger on one sketch for too long. If the perspective or form is off, I just let it
go and move on.
ABSTRACT ORGANICS

Abstract organics are subjects that don’t have fixed or defined

forms or proportions, such as food, rock formations, coral,
driftwood, and bones. These subjects can be great for exploring
volume, texture, and form sensitivity without having to
concentrate too much on proportions.
I love looking for interesting rocks, shells, and pieces of wood for reference when I’m
out in nature. When we look closely at these smaller subjects, we can find an infinite
amount of detail. These subjects are great for exploring how much detail we want to
include in our sketches.

Food is one of the most accessible references we have and provides an infinite
combination of interesting shapes. We can use the container holding the food to
block in perspective. These are photo studies and sketches from imagination created
in Procreate.
Rock formations are a mix of structured and organic forms. When sketching rocks, I
prioritize establishing the dimensions before showing texture. These studies were
done in ballpoint pen and ink.
Drapery and fabrics are also great abstract subjects to study. These fabric studies
were done in ballpoint pen and graphite and are a mix of direct observation, photo
reference, and imagination.
SKELETAL FORMS

When it comes to sketching skulls and skeletons, we do need to

start thinking about proportion and structure. Natural history
museums are wonderful places to sketch skeletons, as well as
taxidermy animals and their environments.

We can use simplified skeletal forms as a wire frame to build

animals and creatures. This is helpful for figuring out the pose
and proportions before starting to add details.
We can treat them as the main subject.
These are some more polished studies from various natural history museums.
PLANTS AND TREES

Now let’s add some more form and proportion. Plants have the
following defined components:

Roots + trunk + branches + leaves = tree

They don’t have fixed proportions. This makes them extremely

approachable subjects that can be as simplified or as detailed as
you want. It feels almost meditative when I get to sketch plants
from life. There is so much nuance and detail to get lost in.
I like to divide plants into three categories: forms, groups, and
sheets.
FORMS

Form-heavy plants are subjects such as cacti, fungi, fruit, and

any plant that has a clear mass or volume. When sketching
these plants, I focus heavily on defining perspective and
volume.
GROUPS

We often see plants that exist in groups, such as trees and leafy
plants. This also applies to plants or groups of plants at a
distance. When we look at a bunch of small elements together, it
can be more economical to group them together into a mass
and indicate detail through texture, rather than drawing out
every single leaf.
SHEETS

Examples of sheets in plants include petals and leaves,

especially up close. When you look at plants that resemble
sheets, think about folding or turning a piece of paper. Pay
closer attention to the subtle turns and plane changes in the
subject. You can also exaggerate detail and form sensitivity.
ANIMALS

Animals are my favorite subjects to draw. Next to humans,

animals are the most complex organic subject matter. They
have fixed proportions, moving parts, textures, and complex
features. It can be extremely helpful to observe and sketch
animals in real life, but because they’re constantly in motion,
you can also supplement with reference photos, videos, and
taxidermy specimens. Some places to find references to draw
are natural history museums, zoos, parks, and nature
preserves.
It’s easier to start with the side views if you’re studying proportions, so you can see
everything. Most animals have bilateral symmetry, so you can get all the information
you need from one side.
Study of a display from the Natural history museum in Los Angeles.
DRAWING ANIMALS FROM LIFE

When drawing from life, I usually focus on familiarizing myself

with movement, simplifying basic forms, or capturing
interesting perspectives of the animal—what I can’t get from a
still photo. I can always add details and polish up the sketches
at home with additional photo reference.

I sketched these ducks in different positions.

There is a family of chickens that lives in the arts district that I’ve been visiting
regularly. I mostly do gesture drawings on location, then I’ll try to draw them from
memory at home.
ZOOS AND SANCTUARIES

Here are some sketches from various zoos and animal

sanctuaries where I got to sketch some animals from life. I
began with some small thumbnails focusing on the basic forms,
then worked up to more detailed sketches with colored pencil
and ballpoint pen.
These sketches were from a drive through a bison reserve in Missouri. I had a lot of
difficulty getting the likeness and sense of weight while sketching these animals. This
spread was done in pencil and brush pen.
DRAWING PETS

Pets are great subjects, especially because you get to observe

them so closely at all times of the day. Because we’re intimately
familiar with their features and proportions, we notice any
inconsistencies with proportion or likeness. This means that
sketching people or animals we know well is more challenging
than an animal we’ve never seen in real life, but this is also
what makes them great subjects.
These pages are from observation and photo references of my dog.
SPECIMENS

A few years ago I started collecting insects. I find them so

fascinating, and they make wonderful subjects to study. Insects
sit somewhere in between organic and structured subjects, so
they’re extremely useful (and challenging) to draw.
This cicada was the first insect in my collection.
NATURAL HISTORY MUSEUMS

When you sketch at a natural history museum, you get to

closely observe subjects that would otherwise be in motion.
Displays that include multiple animals are great for practicing
perspective and composition because the subjects are already
arranged and posed. There is also sometimes an added bonus of
an environment in the backdrop, and animals are usually
portrayed in a representation of their natural habitat.

I highly recommend visiting a natural history museum if you

have the opportunity and taking advantage of the opportunity
to sketch the same subject from multiple angles.
Although these examples are mostly rendered, don’t feel like you have to spend a
really long time on a single subject. Giving yourself a time limit of ten to twenty
minutes per subject, and then just moving onto the next can be a fun exercise and
prevent you from getting bogged down in the details.
Museums have been a great resource to practice placing subjects in environments.
Here are some sketches from the Natural History Museum in
Los Angeles. These pages were done in colored pencil, ballpoint,
and ink.
PEOPLE

Human beings are some of the most complex organic subjects

to draw.
Just like any other subject, humans are made up of shapes, and
we can always simplify. For example, the head could be
simplified as shown below.
The body can be simplified, as shown below. Notice how most of
these forms can be simplified into boxes or cylinders. Being
able to sketch these basic forms and rotate them in perspective
will help in sketching more complex subject matter.
Here are some sketches from figure drawing sessions at the Drawing Club LA. These
range from 2- to 10-minute poses. The models often wear costumes, making for really
fun sketches and a great opportunity to practice drawing clothing. I started with a
rough scribble with a marker and or colored pencil and inked over it with a brush
pen or digitally.
COMPLEX PROPS

Moving back toward more structured subjects, let’s take a look

at some complex props. Earlier we focused specifically on boxes
and cylinders, but now we’ll be adding more challenging forms
and modifications.
SIMPLIFYING COMPLEX OBJECTS

This type of subject asks for a bit more construction and

precision. Even as these forms get more complex, remember we
can always simplify down to those basic forms.

It can be easier to look for small modifications of basic forms to

start out, or to look for more intricate subjects that still have a
simple base shape.
VEHICLES

Sketching vehicles can feel intimidating, but they can be broken

down like this: the “head,” “body,” and “tail.” We begin with a
side view to get a read of the proportions, and we can project
this into a three-quarter view.
SCENES AND ENVIRONMENTS

Sketching scenes and environments gives us the opportunity to

put everything together, like shooting a movie or setting a stage.
We can also separate environments into organic and structured
scenes. A scene in the middle of a forest, for example, is made
up of more organic and erratic shapes, while a cityscape is
more structured. Start with whichever type seems more
accessible, approachable, or appealing to you.

ADDING CONTEXT

If taking on a complete environment feels intimidating, start by

just adding a bit of context to the main subject you’re sketching.

Here again I’m playing with the same scene using different
distances and distant angles. Doing this tells a whole story
about a place.
If taking on a complete environment feels intimidating, start by just adding a bit of
context to the main subject you’re sketching. We can start with the main subject--
which is this Mosasaur skeleton.

Then I can add some additional elements to add some depth and interest
surrounding the subject.
I can go further and add even more context to this image. Now we have a full
environment surrounding the subject.
TWO-VALUE STUDIES

Using two values to simplify what we see can also be helpful.

Look for interesting shapes not only from the subjects around
you but from the way light interacts with thespace. This is
easier to see when there’s direct sunlight and high contrast.
LIGHT AND SHADOW

Here are some small studies I’ve done. I’m still loosely thinking
in terms of two values, shadows/details and light/negative
space. When looking for interesting compositions, I’ve
personally found it more helpful to look for arrangements of
light and shadow instead of the objects in the scene.
This page was from a trip to Big Sur. I blocked in some loose structure with a blue
ballpoint and switched to black to draw details. I had a lot of trouble here in terms of
balancing out detail.
TRAVEL SKETCHBOOKS

When I take a trip, I always like to start a new travelers

notebook insert. I usually take the watercolor insert, which has
about thirty pages to fill.

BACKPACKING

These sketches are from a backpacking trip to Fall Creek Falls,

Tennessee, and are done in watercolor, ink, and gouache. Most
of these sketches were not finished on location because we
were walking continuously.
This spread was done with a Pentel brush pen and watercolor.
This spread was painted in gouache with a limited palette. I was still getting used to
the medium, so I tried out little thumbnails of trees using different color
combinations. On the right side, I tried using the paint like I would with a brush pen
and only painted certain sections.
This entire spread was painted in watercolor. On the left side, I tried focusing on light
and shadow and carving out the form using negative space. On the right side, I tried
using the paint for line work again, but seeing if I could create a gradient-like finish
with it.
Before I left on the trip, I went through the sketchbook and drew in some little panels
throughout. This forced me to look for compositions that fit those dimensions
throughout the trip.
When painting with gouache, I usually start with the silhouette of the subject, as you
see on these pages. I use these shapes as the base to add shadow, highlights, and
other details slowly to build up dimension. This is also a great way to quickly jot
down something from observation when you don’t have too much time.
I started the sketch using a Col-Erase pencil on location, and then finished it with
colored pencils from photo reference. Using colored pencil takes a lot longer than I’m
used to, but I really love being able to build up the colors in layers and layers.
On this spread, I used a Pentel brush pen to draw some trees from direct observation.
I grouped shadow shapes, and then added the shadows on the ground plane and in
the background from imagination.
I drew this spread from imagination, using what I had observed for inspiration and
information. The left side is ink, and the right is watercolor.
This was an exercise in pushing form. I sketched loose shapes of backpacks in
watercolor and filled them in from imagination with ink.
ROAD TRIP

These pages were created on a road trip from Fayetteville,

North Carolina, to Los Angeles. They were all painted on
location. The main struggle was finding time to draw on the
trip, but it was a great experience regardless. In retrospect, I
wish I had created many more five- to ten-minute quick
sketches along the way.
CAFÉ SKETCHING

Here are some sketches from cafés and restaurants. I’ll usually
do these sketches in little chunks whenever I take breaks from
work. Sketching in cafés is a wonderful way to draw people
because they are usually sitting still for a period of time, as well
as furniture, food, and other props.
BEYOND OBSERVATION
DRAWING FROM IMAGINATION

Drawing from imagination can be challenging, but with some

practice and techniques, it is possible to create compelling
artwork from your mind’s eye.

Here are some tips on how to draw from imagination:

Observe the real world: Even when drawing from

imagination, it’s important to have a strong foundation in
drawing from observation. Studying the way objects are
shaped, lit, and textured can help you create convincing
drawings from your imagination.
Use reference materials: While you’re drawing from your
imagination, it can be helpful to use photographs, sketches,
or other images as a starting point. These materials can
provide inspiration and guidance as you develop your own
ideas and concepts.
Practice drawing from memory: Drawing from memory can
help you develop your visual memory and imagination.
Experiment with different techniques: Try using different
techniques such as loose sketching, detailed line work, or
painterly strokes to create a range of effects and textures.
Practice regularly: Like any skill, drawing from imagination
takes practice and dedication. Try to set aside time to practice
drawing from your imagination and focus on developing
your skills and techniques over time.
DOODLES

I consider doodling to be one of the most important parts of my

creative process. This kind of stream of consciousness drawing
feels the most natural and keeps me from overthinking. My
mom used to always scribble on something when she was on
the phone, and she passed down the habit to me. These pages
don’t really have any kind of direction or objective behind
them. I’m just making fun little shapes. Doodles can be a great
way to practice basic forms and rotations in your free time.
SOLID DRAWING

Lately I’ve been heavily focused on trying to understand and

define volume in what I’m drawing. I’m also trying to
familiarize myself with my subject enough that I can
manipulate or rotate it freely. In animation, this is called solid
drawing. The goal is to be able to create three-dimensional
sketches that you can bring to life.
In these pages, I’ve played with form and practiced solid drawing on a variety of
subjects.
FROM OBSERVATION TO IMAGINATION

As we sketch more and more from observation, we start to

retain what we see. Think about building a collection of
different shapes, angles, and perspectives in your mind. Then
we can also start to design and play with proportions and
forms. For example, we can take this tiger and make slight
adjustments to the shapes. I still want to keep the subject
recognizable, but I’m thinking about ways I can change it.
BASIC FORMS

We can take perspective and form from reality, and then

redesign. Let’s take these studies of fish from the Monterey Bay
Aquarium as an example. The first step is construction and
simplification. I’m trying to get an understanding of the basic
forms, while I also want to greatly simplify. I want to
understand all the components of the subject and how they
might fit together or turn in space.
STYLIZATION

I’m referencing the forms I learned from observation, but now

I’m attempting to exaggerate or change certain aspects of these
fish. My biggest struggle has been trying to maintain the
characteristics and volume of whatever I’m drawing, so it helps
to practice with simple subjects that I’m already familiar with.
REINTERPRETING SUBJECT MATTER

One way to incorporate elements of imagination into your work

is to reinterpret your subject matter while sketching on
location.

In this exercise, I am completely changing aspects of the subject

and incorporating more elements of imagination. For example,
here are some creature heads inspired by different animals.
The animals were used as base for structure, but I changed
most of the components.
Here are some examples from themed figure drawing. Each
week the models dress up in costume. I took the perspective
and subjects from observation and incorporated some
narrative elements.
A great way to practice sketching from imagination is to begin
with slight adjustments to observational sketching. These
sketches were based off of a display from a museum. I started
out with sketching the subjects, and tried sketching them from
different perspectives.
While sketching the bear and wolves at a natural history museum, I invented a
storyline and put them in a scene.
Sketching and understanding a variety of subject matter will
help in drawing from imagination. For example, when we
sketch with a goal of understanding our subjects, we learn how
to apply what we learn to our own designs. For example, here
are some zombie creatures based on animal skeletons.
ABSTRACTION

Just because we’re drawing from direct observation doesn’t

mean the sketches always have to be representational. We can
incorporate elements of abstraction and stylization to make our
interpretations more interesting.

Abstraction in art refers to a departure from realistic

representation. We can distort, simplify, or exaggerate forms to
create a more subjective or expressive work. This approach
allows you to convey ideas or concepts that may be difficult to
express through purely realistic representation.

Here are some examples of taking a more abstract approach to

sketching a flower.
Here are some abstract interpretations I drew of some sunflowers.
Here I played with sketches of squid, simplifying them, adding personality, and
creating fun shapes.
GATHERING ADDITIONAL REFERENCES

Drawing from direct observation is a great way to learn

sketching, but remember that you aren’t limited to the
resources and references directly around you. Naturally some
ideas and concepts will require other references, and you can
supplement what you see directly with books, the Internet, and
all kinds of other media.

SUPPLEMENTING OBSERVATION

Today we’re able to look through historical images, artwork,

films, and other media that we don’t have direct access to, so
take full advantage of all the resources around you.

If you started a sketch from life, you can supplement it with

references to further help you understand its form and details.
Try to compile references from various angles to inform your
studies. It can also be helpful to reference videos to take a look
at movement.
MASTER STUDIES

Master studies are also a great way to improve your craft. Look
at films, games, and art that inspire you and copy them. Instead
of getting too wrapped up in replicating the piece perfectly,
analyze what you like about the piece or the artist, and break
down those specific components to bring them into your own
work.
CREATING REFERENCES

You can also start building your personal reference library by

taking your own photos. This allows you to capture the exact
angles, lighting, and details that you need for your artwork.
All of these sketches are from references from the Internet.
A Note on Copying

While using additional references in art can be helpful, make

sure that you’re using them ethically and appropriately. This
means being mindful of copyright laws, being respectful toward
other artists, and avoiding plagiarism. Use a variety of
references to avoid relying too heavily on a single source, and
think of your references as guides rather than copying them
verbatim.
OUTSIDE THE SKETCHBOOK

Your sketchbook is a place to explore and experiment, and it’s

often where some of your best ideas will originate. Once you
have an idea that you’re excited about, you get to explore
different ways to develop and expand upon it.

For example, I started with these bird designs from my

sketchbook that I created at natural history museum. Although I
was looking at the birds from life, I was trying to redesign them
and explore different proportions and shapes.

I scanned the page and colored it digitally on Photoshop,

keeping the colors flat and using simple shadows to just
indicate form.
From there, I wanted to take one of these birds and make a
character turn around. I realized I had to simplify, so I took off
the wings and legs and landed on something that looks like a
rubber duck. Not the most interesting design, but I went with
something that I felt like I could try to rotate.
The final turnaround breaks down into eight shots: front, two
sides, two three-quarter views, two three-quarter backs, and
back. I started with line work and added color and shadow.
FINAL NOTES
Thank you so much for spending time with this book.

Sketching is a skill that you will develop over time with a lot of
practice and patience. The techniques and principles outlined
in this book were designed to help you build a strong
foundation in drawing, from understanding perspective and
proportions to exploring different mediums and styles. I know
we’ve talked a lot about fundamental skills in this book, but at
the end of the day, they’re not a requirement to make what you
want.

You can express yourself and just have fun without any
technical knowledge of art or design. The most interesting thing
about art is the creative experience and getting to know your
own point of view.

If you really enjoy the technical aspects of art—by all means,

dive in and study as much as you want. I personally find it
really fun, and the more you learn your craft, the more it will
bring you freedom and creative control.

If all of this feels overwhelming, or if it’s just not relevant to

what you want to make, then that’s okay, too.
Either way, don’t wait till you’ve mastered the fundamentals to
start thinking about what you want to create. Take time to get to
know your own creative process, figure out what you want to
create, and reverse-engineer from there. You’ll learn what you
need to along the way.

Whether you’re a beginner or an experienced artist, remember

there will always be something new to discover and explore.
There’s no finish line. Keep drawing, keep practicing, and keep
seeking out new challenges and opportunities for growth. I
hope this book has inspired you to go outside and draw just for
yourself.
Thanks for being here.

Go draw.

Have fun.
ACKNOWLEDGMENTS
Thank you so much to my wonderful editor, Michelle Bredeson,
who walked me through this entire process from the beginning.

Thank you to Marissa Mikolaities, Brooke Pelletier, and the

team at Quarto for all the help with this book. I couldn’t have
done this without you all!

I also want to thank every single one of my students. Becoming

a teacher completely transformed my creative process and
perspective in the best way possible, and it’s all thanks to you
guys. I thought of y’all a lot while I was writing this book!
ABOUT THE AUTHOR
Sorie Kim is a Los Angeles—based artist and instructor. She has
taught courses and workshops for Domestika, Covenant House
California, Create Now, Dreamworks Animation, and many
other schools and organizations. Her personal work
predominantly centers around observations and
interpretations of the natural world, and keeping a sketchbook
is an integral part of her personal practice. She has shown her
work through Giant Robot, WOW x WOW, and Gallery Nucleus.
INDEX

abstraction
forms, 132–133
history, 132
organics, 80–81
thumbnails, 72
animals. See also organic subjects
bilateral symmetry, 40, 88
caricatures, 42–43
drawing from life, 89–91
familiarity with, 94
fluidity, 74
gesture drawing, 38
insect specimens, 95
museums, 94–97
observation, 88
pets, 94
proportions, 27, 40, 42–43
pyramid forms, 60
reinterpretation, 128, 131
sanctuaries, 92–93
 skeletal forms, 82–83, 131
zoos, 92–93

backpacking sketches, 13, 110–113

ballpoint pens, 18
bilateral symmetry, 40, 88
blind contour sketching, 35
boxes, 31, 36, 48, 53, 78, 99
box-method cylinders, 56
brush pens, 18

café sketching, 116–117

caricatures, 42–43
circles, 45, 48, 54, 56, 58, 61
cones, 48, 61
context, 106–107
contour lines, 26, 30, 31, 35, 58, 59
copyrights, 135
cubes, 48, 53
cylinders, 36, 48, 54, 56–57, 78, 99

design, 27, 44–45

detail, 19, 68–69
distance, 33, 66–67, 86, 106
doodling, 122

ellipses, 54–55, 56, 58, 61

environments, 82, 94–97, 106–109
erasers, 19

felt-tip pens, 18
form
balance, 68
boxes, 31, 36, 48, 53, 78, 99
cones, 48, 61
cylinders, 36, 48, 54, 56–57, 78, 99
ellipses, 54–55, 56, 58, 61
planes, 51
plants, 85
pyramids, 60
sensitivity, 26, 34–35
shapes compared to, 48
simplification, 127
spheres, 58–59
studies, 65
and volume, 26
X-, Y-, Z-axes, 49
fundamentals
design, 27, 44–45
form sensitivity, 26, 34–35
line, 26, 28–29
movement and weight, 27, 38–39
perspective, 26, 32–33
proportion, 27, 40–43
purpose, 22
rendering, 27, 36–37
volume and form, 26, 30–31
G

gesture drawing, 38, 70, 89

grouped plants, 66, 86

hatching, 29
horizon line, 32

imagination, 34, 120, 126–127, 128–131

insect specimens, 95

light and shadow, 36, 67, 68, 108

line, 26, 28–29
line weight, 29
location sketching
10-minute sketches, 70
benefits, 14–15
clarity, 69
 detail, 68–69
distance, 66–67
duration of sketching, 70–71
form balance, 68
form studies, 65
imagination and, 120
long-distance sketches, 67
long sketches, 71
objective, 68
organic subjects, 74
quick sketches, 70
scribble studies, 64
shape studies, 64
silhouette studies, 64
structured subjects, 75
subject studies, 64–65
subject types, 74–75
three-value studies, 73
thumbnail sketches, 72–73
two-value studies, 72

markers, 19
master studies, 134
measurement, of proportions, 41
mechanical pencils, 18
memory, drawing from, 120
motion and movement, 27, 38–39, 64, 74, 88
museums, 82, 88, 94–97, 130, 136

narratives, 45, 129

natural history museums, 82, 88, 94–97, 130, 136

observational sketching
basic forms, 65
benefits, 14, 15
blind contours, 35
design and, 44
imagination sketching and, 130
media and, 134
scribbling, 64
shape, 64
 silhouettes, 64
simple props, 78
supplementing, 134
one-point perspective, 32, 33, 56, 60
organic subjects. See also animals; people
abstract organics, 80–81
design and, 44
environments, 106
form sensitivity, 74
movement, 74
spheres in, 58
structured subjects with, 75
weight, 74

pencils and pens

ballpoint pens, 18
brush pens, 18
case for, 18
felt-tip pens, 18
line quality and, 58
markers, 19
mechanical pencils, 18
 people. See also organic subjects
café sketching, 116
familiarity with, 94
forms, 99
proportions, 27, 40
shapes, 98
perspective, 26, 32–33, 127, 130, 137
pets, 94
Photoshop, 136
plagiarism, 135
plane-method cylinders, 56
planes, 51, 55, 56
plants, 84–87
plant sheets, 87
proportion, 27, 40–43
pyramids, 60

reference library, 134

reinterpretation, 128–131
rendering, 27, 36–37
representational drawing, 14–15
road trip sketches, 114–115
rotational symmetry, 40

sanctuaries, 92–93
scenes, 106–109
scribble studies, 64
shadow, 108
shape studies, 64
sheets, 87
side view rendering, 37
silhouettes, 44, 64
skeletal forms, 82–83
sketchbooks
appearance of, 12
as creative space, 12
digital sketchbook, 21
idea development, 136–137
inspiration from, 12
main sketchbook, 20
purpose of, 12
 stack of paper as, 21
training sketchbook, 21
travelers notebook, 21
ugly sketchbook, 20
watercolor sketchbook, 20
solid drawing, 124
spheres, 58–59
squares, 45
structured subjects, 75
supplies
ballpoint pens, 18
brush pens, 18
erasers, 19
felt-tip pens, 18
markers, 19
mechanical pencils, 18
storage for, 18
surfacing exercises, 37
symmetry, 40, 75

texture
 abstract organics, 80
brush pens and, 18
distance and, 66, 67
form sensitivity and, 35
line and, 26
long sketches, 71
plant groups, 86
rendering and, 27
studies, 35
three-dimensional sketches, 26, 48, 124
three-point perspective, 33, 53
three-value studies, 73
thumbnail sketches, 72–73
travel sketchbooks, 110–115
trees, 84–87
triangles, 45, 60
two-point perspective, 33, 60
two-value studies, 36, 72, 108

vanishing points, 32, 33, 56

vehicles, 40, 53, 75, 104–105
volume, 26, 30–31, 51

weight
brush pens and, 18
felt-tip pens and, 18
line weight, 26, 29
movement and, 27, 38–39
organic subjects and, 74
spheres, 58
wireframe, 38

X-axis, 49, 51, 54, 56, 58, 60

Y-axis, 49, 51, 54, 56, 58, 60, 61

Z-axis, 49, 53, 56, 58, 60, 61

zoos, 88, 92–93
This book is dedicated to my mom.

엄마 사랑해요!
Quarto.com

© 2024 Quarto Publishing Group USA Inc.

Text, Photos, Illustrations © 2024 Eunsol Kim

First published in 2024 by Rockport Publishers, an imprint of

The Quarto Group, 100 Cummings Center, Suite 265-D, Beverly,
MA 01915, USA.

T (978) 282-9590 F (978) 283-2742

All rights reserved. No part of this book may be reproduced in

any form without written permission of the copyright owners.
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contact the Special Sales Manager by email at
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10 9 8 7 6 5 4 3 2 1

ISBN: 978-0-7603-8527-2

Digital edition published in 2024

eISBN: 978-0-7603-8528-9

Library of Congress Cataloging-in-Publication Data

Names: Kim, Sorie, author.

Title: Drawing basics and beyond : transform observation into

imagination / Sorie Kim.

Description: Beverly, MA : Rockport, 2024. | Series: Sketchbook

master class | Includes index. | Summary: “Sketchbook Master
Class provides the tools, techniques, and inspiration artists need
to improve their sketchbook practice and use the information
they gather to create imaginative artwork”-- Provided by
publisher.
Identifiers: LCCN 2023050490 | ISBN 9780760385272 (trade
paperback) | ISBN 9780760385289 (ebook)

Subjects: LCSH: Drawing--Technique.

Classification: LCC NC730 .K56 2024 | DDC 741.2--

dc23/eng/20231122

LC record available at https://lccn.loc.gov/2023050490

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