beginners often forget this, and not to be

equipped with this in mind is like starting out

on a journey and not knowing your
destination. When drawing from nature our
aims should be to identify drawing
techniques that are a visual parallel to the
subject we have chosen to draw. In the
following chapters in the book, I constantly
refer to many approaches and techniques
that will enable you to make drawings of
nature. Historically artists have constantly
drawn from nature especially as a information
gathering exercise to ll their minds with
visual knowledge that is stored for future use.
7/ Presentation Drawings
!his is usually referred to by its Italian name,
the "odello. !hese drawings are usually for a
patron or are a commissioned piece of work.
!hey are also referred to as artist#s
impressions. !heir aim is to give the patron
an idea of what the nished work will look
like. $oth the artist and the patron can reach
an agreement before the main piece of work
is started. !hese serve the purpose of
preventing mistakes being made, sometimes
at great expense to the artist or patron.
8/ Calligraphic Drawings
In calligraphic drawings, the artist has a
repertoire of marks that act as signs or
symbols for cultural meanings. %s students or
beginners of drawing we should develop an
inventory of marks for the di&erent mediums
that enable us to express our ideas, observa '
tions, and feelings. We should experiment
with making marks, lines, shapes, tones,
textures, and so on. !hese type of experi '
ments with the various di&erent mediums are
evident in the chapters in the book, and they
are an extremely important part of our
experience when starting to draw, so do not