S K E T C H A N D P A I NT Y O U R W A Y

T H R O U G H THE CREAT I VE YE AR

hardie grant books

 W h ilst the notion o f draw ing may autom atically
evoke images o f black-and-white tones, the term

X uiiM w draw ing has come to encompass a broader

range of artistic styles, techniques and mediums,
including those making use of colour. W hether
you use a crayon to create simple expressive

365 t)a u \ marks, or complete a detailed sketch o f the human

face, all draw ing can provide a welcome break
from our busy lives. I firm ly believe that absolutely
everyone can d ra w - and as with other skills,

c| JJfyjwina! draw ing can be learnt, practised and honed.

W e can d ra w in the sand w ith our hands, on
a w in d o w pane with our finger, with pastels
in colour and, in my opinion, even using paint.

W ithin this book there is a creative activity for you

to complete every d a y o f the year, however, you
can do them in any w a y you like over any period
o f time, so that it best suits your lifestyle. Don't feel
any pressure to complete all the tasks or approach
them in any particular order. This is yo u r book,
and there isn't a right or w rong w a y o f working.
Just use the chart on the next page to tick off the
activities as you go.

Each activity has been given a category. These

include Im agination, Tutorial, Relaxation, Colour
Theory and O bservational and have all been
colour-coded so that you can identify them inside
the book. The categories help give you a broad
approach to d raw ing, and over the course of the
book, you can try out a range of different ways
to d ra w and discover w hat you enjoy most. Every
activity in this book encourages and nurtures your
creativity, regardless o f how simple or complex
they may seem. Setting time aside every day to
d ra w w ill help you improve your confidence, skill
level and provide a little relaxation.

IMAGINATION Drawing doesn't have to be
realistic, and the im agination tasks offer the
chance to enjoy yourself w ithout w o rryin g about
accuracy. A key part o f dra w ing is allo w in g your
mind to wander. Using your im agination is an
integral part of being creative, so it's an excellent
skill to practise.
TUTORIAL The guided tutorial activities introduce
draw ing techniques to help sharpen your skills.
Explore sketching objects, investigate adding tone
and practise dra w ing people - it is your chance
to tackle a technique you find difficult or tend to
avoid; or maybe you sim ply w ant to concentrate
on a more structured activity that requires your full
attention. It's a good idea to have a go at these
tasks when you have a little more time available,
in a calm setting where you can focus completely.
RELAXATION The relaxation tasks encourage you
to be mindful w hilst you draw. They require less
focused thought than other tasks, and w ill provide
a calm ing w a y for you to switch off from the busy
w orld. They are perfect to do w h ile listening to
music or even on a long journey. Let yourself lose
track o f time and any other tasks on your mind
and take pleasure in being in the moment. Explore
colour, shape and pattern w ithout feeling any
pressure about w hat the finished dra w ing w ill be.
COLOUR THEORY In the colour theory activities
you w ill be exploring the relationship between
colours, how different hues can change the mood
and feel o f your dra w ing and which colours you
personally enjoy w orking w ith. A p p lyin g colour
to your draw ings can feel overwhelm ing at times
so these activities are designed to help sim plify
the challenge and to help you understand the w a y
colour works.
OBSERVATIONAL The observational draw ing
activities w ill give you the opportunity to practise
dra w ing from life. It is by learning to really look,
and see, that enables us to improve our draw ing
skills. Sketching outside, whether it be people,
buildings or nature, can be a useful w a y to
practise observational d ra w ing , and you may
w ant to complete these activities out and about.
I hope that these tasks encourage you to see
everything with fresh eyes, as all the things arounr
you become possible subjects for your drawings.
Although there is no end goal for your creativity,
there is a chance at the end o f the book to put
your accumulated skills into practise. Completing
a sustained dra w ing for each category w ill help
to recap everything you've discovered about how
you like to draw.
The most im portant thing to keep in mind is to
enjoy the process. Use this book to add a little
more creativity into your d a ily life and have fun!
Don't w o rry about your dra w ing being 'g o o d ' or
'b a d ' as any form o f creative mark making is a
success. Just go for it. I hope that the tasks inspire
you to continue dra w ing outside o f the book, and
that your own personal style develops over time.
W hatever happens, I am optimistic that once
com pleting your year o f d ra w ing , you w ill be
more confident about your artistic abilities and
feel excited by w here this could lead you.
Your creations can be personal and private, but
if yo u 'd like to share them, do so w ith pride! Use
the hashtag #365DaysOfDrawing to share your ar
with the online community.
■ Imagination Tutorial Relaxation Colour theory Observational

x X ^ • 5
r------1
0 m • !• : 10
12 13 14 15 10 I 17 I 18 20
19
21 22 25
24 4-------1 20 27 28 30
23
31 32 3 3 ; 34 35 j 30 37 ! ; 39 40
I------4 38 1------- 1
1----
41 42 43 44 1 45 j 40 48 50
5
51 52 i 53 ; 54 1 55 1 50 I 57 : 58 59 00
a G2 03 % 05
j____i 00 07 08 : 69 i 70
71 72 73 74 75 70 ii .. 77 J 78 1! _79__L 80
• 82 83 84 85 80 ■ • ' 88 90
j •
91 92 93 94 i 95 : 190 97 98 :I 99 I 100
101 102 103 104 105 100 107 108 109 110
111 112 113 114 115 110 0 118 i 119 i 120
121 122 123 124 125 | 120 : 127 128 129 130
131 132 133 134 135 130 137 138 139 140
141 142 143 144 145 140 147 148 149 150
151 152 153 155 ; 150 158 159 100
j _ _| 154 j _ „i 157
101 102 103 1G4 105 100 107 108 109 170
171 172 173 174 1 175 170 177 178 179 180
m ; 182 183 184 ; 185 186 187 ; 188 189 190
m j 192 193 194 195 196 197 ; 198 199 200
201 202 203 204 205 206 207 208 209 210
4. ----------------- ----------------

Zll 212 213 214 215 216 217 218 219 220
A---- ---------------

221 222 223 224 225 226 227 228 229 230
231 232 233 234 235 236 237 238 239 240
241 242
i_ _ _ _ i
243 244 245 246 i 247 i 248 249 250
i
251 252 253 254 255 256 257 1 258 259 260
2G1 ____
262
™ _ _____ j
263 264 ! 265 266 267 268 269 270
271 272 273 274 i 275 276 277 278 279 280
281 282 283 284 285 286 287 288 289 290
_

291 292W r l 293 294 295 296 | 297 298 299 300
301 302 303 304 305 306 307 308 309 310
311 312 313 314 315 316 317 318 319 320
321 322 323 324 325 326 327 328 329 330
331 332 333 334 335 336 337 338 339 340
341 342 343 344 345 346 j 347 348 349 350
....................

351 352 353 354 355 356 j 357 358 359 360
i
361 362 363 364 365
Drawing doesn't have to involve pencils, although
they are a great place to start. You can use any
materials you like to complete this book. If you
feel uncomfortable using the materials suggested,
or feel inspired to try something completely
different, that's absolutely fine. Just remember
that the focus o f this book is on your enjoyment
o f the tasks, and not necessarily the end result.

Your materials d on't need to be expensive. I have

suggested a few of my favourite ones here, but
these are by no means a necessity. I have seen
artists creating the most incredible artw ork with
the humble blue biro (ballpoint), and if this is w hat
you most enjoy using, use it! W ith in this book
I do encourage you to use a range o f different
materials so that you can explore new techniques,
and have fun expanding your collection over time.

Visit art shops for a large range of materials,

and make use of the staff w h o can offer excellent
advice about different pens, pencils and paints to
suit your needs. Explore stationary shops which
have a great variety o f pens and pencils too and
browse online for m aterial recommendations.
You could also swap tips w ith friends and discuss
thoughts with fellow creatives on social media.

If you are concerned about the materials you use

bleeding through the page (as some ink pens and
paints might), you could prime the paper with
clear gesso before you start your activity. This w ill
form a layer between the paper and the material
and w ill prevent bleeding - just be sure to a llow
plenty o f time for the gesso to d ry before you start.
Pencils range in softness, most comm only from a
9B, which w ill create a very soft black line, to a
9H, which is very hard and creates a very sharp,
light line. It m ight be useful to have a variety of
pencils so you can experim ent w ith the different
effects they make. Try a 3B for shading and an
H or 2H for crisp lines.

M echanical pencils are also a great tool to have.

Despite still containing a pencil lead, these feel
more like a pen to hold, as they are metal or
plastic and often have a rubber g rip for your
fingers. I enjoy using the Staedtler M ars M icro
0 .5 , and the Pentel P205 0 .5 . M echanical
pencils d o n 't need sharpening, but you w ill
need to buy extra refills for them. M ake
sure you choose the correct size o f refill for
your pencil. (The mechanical pencil w ill say
the refill it takes on its side.)

If you are using pencils, yo u 'll also need a good

eraser and pencil sharpener.

fin e ItH f V p e ttv

It's really useful to have a few black fine liner

pens in your kit. These can be used for anything
from jotting down notes and ideas, to quick
sketches and adding details to artwork. There is
a w id e range o f brands and nib sizes to choose
from, so I recommend experim enting w ith the
testers in an a rt store to see which you prefer.
M y favourites include the Uni Pin Fine Line pens,
the Sakura Pigma M icron pens and the Derwent
G rap h ik Line M aker pens, but there are plenty
6 e lW t e 4 / p e n c ils
Coloured pencils are a quick, easy and
relatively mess-free. M y favourite sets are the
Staedtler Ergosoft pencils, which are hard and
create a very solid, bright colour, and the Caran
d 'A che Supracolor pencils, which have a softer
lead and come in a huge range o f colours. In
a rt stores you can also buy individual coloured
pencils, so you can choose the perfect colour
and style. I really enjoy the hues available in
the Faber-Castell Polychromos range. Some
coloured pencils are water-soluble, so you can
blend them w ith w ater and a paint brush to
create colour blends.
I find it very handy to have some extra black
pencils as I seem to go through these quickly.
You could also try thicker black pencils like
the Conte a Paris Pierre N o ir HB, which has
a charcoal feel to it.
p a in ts
Sizes of w atercolour palettes can vary. It's
convenient to have more colours in your palette,
but the smaller sets are also great and you can
mix colours to create a whole rainb o w of hues.
Daler Rowney and W insor & Newton both
produce w onderfully vibrant colours. W hen
you run out o f a particular colour, you can even
purchase individual replacements so your set of
watercolours can last forever!
Paint brushes va ry greatly too, and it's useful to
have a range o f brush sizes and shapes. Tips
can be pointed, rounded and even flat, and each
w ill produce a different effect. Experiment with
different types. You'll also need a container for
your water, which can be anything from a mug
to an empty yoghurt pot, and some paper towel
for blotting water off your brush. M ake sure
your brush is wet before you use it to pick up
w atercolour paint, and rinse it in the w ater before
changing colour to keep your colours clean. You
could also try water brush pens. These brushes
can be filled with w ater and provide a useful
alternative w a y o f painting w ith watercolours.
M ost palettes come with a space inside the lid to
mix the colours - a mixing palette. These can be
revisited even when the paint has dried out, just by
a pplying a bit o f water from your brush. You can
also buy additional m ixing palettes if you prefer to
have more space.
X \a \ P a \tr A \

These are a really fun material to use as they slide

easily over paper and you can cover large areas
quickly when using them on their sides. There is
a great range o f colours which can be bought
in d ividually o r in sets, and you can even buy grips
to stop your hands getting too messy! I like the
C aran d'A che N e o color II Aquarelle pastels which
are water-soluble. Just add a little w ater to your
w a x pastel dra w ing using a brush or sponge for
an interesting effect.

Here are some other materials you may like to Tracing paper: Stick this over draw ings which
have in your a rt kit: are a bit messy, using masking tape.

Charcoal: A great m aterial to explore tone.

— Sketchbooks: Use these to continue your
creative journey. They are a great place
to experiment and record your ideas, and
come in a huge range o f sizes.
— Clear gesso: A primer to a p p ly with a
clean brush to paper or board to
prevent materials from bleeding.
— Gouache: These are water-based paints,
sim ilar to watercolour, but provide a more
intense colour as they are more opaque.
They d ry quickly, but are great if you're
interested in layering colours.
They can get messy.
Acrylic paint: Strong, bright colours, which dry
quickly and can also be watered down. Be sure
to wash brushes before the paint on them dries.
Coloured paper: This always comes in handy
and you could collect it is as you go. You could
even use g ift w ra p or brown paper bags.
O rig a m i paper is useful as it is thin, and easy
to tear.
Brush tip pens: These come in great colours
and can be an excellent tool to d ra w with.

— Scissors: For collages and cutting paper. Bulldog clips: Useful for holding back the rest of
your pages w hilst you w ork on an activity.
— Glue: PVA or a gluestick can be used to
stick dow n collages. W ater dow n PVA to
make it less gloopy.

— Masking tape (sticky tape): Handy for sticking

down things quickly, and easy to remove and
dra w on.
 Practise sketching the outline o f an everyday object using a pencil.

1. Begin by roughly drawing the shape
of the object. If it is round, sketch a circle
with roughly the correct shape. Then add
more detail and accurate lines until you
are happy with it.
2. Eventually, you are aiming to draw the outline
straightaway, without roughly sketching a shape
beforehand. Practise drawing the object until you
can do this. M ove your eye slowly around the edge
of the shape, drawing the outline as you go.

'7ifi: CoKsides each &M. thaitupu,pui tt,e.paper, s& tL at^ sirenJtend, op totfU
a, thick m ass o f tines. C onstant^ m nve,psnr e^e,front/ (Ae, ob ject to- the,popes.
 Use the opposite page to d ra w trees. Use any materials
you like. Start with the trunk and branches and then add
the leaves or flowers.

tip trees cox, appear ta b e c&mplejc to-

: d ra w instead. luatinp a t
, so - o fi

i t as a wltate, sim ptitp i t into- its ba sic shape,. CaretftMu. adst Ik the,
branches frant, thicb, to- thin,, where,pau. s e e theme, startina w ith th e
trusts,. Danttwarrp a b a u t capturin p euerp detart, as J u s t a few tin es
ca st b e used, to- d&cribe the, essen ce aft th e tree.
A Draw the statue that the people are looking at.

* <►
y
% 73
v v
Fill the page with leaf shapes.

| f ■#

'
 A colour wheel can be used to see the relationship between colours and helps
w ith choosing palettes. Three o f these colours - red, ye llow and blue - are
prim ary colours. M ix these together to make the rest o f the colours.
0 .0 ^

cxixurs xre,atxups thr&e, t r me-re,

cxtxixrs ne.xtt* ejxcA xthes. Tlmse. uiiC f xf f n x
kaStn&fu&xspalztbl tokiK txs&titfffe&Wf.

each xtk&f in, xmLtkts&pxirs toM

cr&xti. striking c&tdrxsts vCtkin, t^ct-ustoxr/i.
Create your own colour wheel by ad d in g in the colours. You can use any m aterial you
like, but it may be easier to mix colours with paints such as w atercolour or gouache.

71ft: ty&u,tuaff tike, r&fcs ietsb

fj9- th is C&ttUS tok& & i wh&K IftU . X fl
ce-Mftetui^ tikes activities. Z t
ftCtvides a. usefttt refiesesce, kikes,
ce-nsidesuia aim sftalette cksices.
7 Draw the shoes you are w earing today.
 W h a t is in the cups? Pencils? Flowers? Spoons?

10 W h a t w ould be the one w ord yo u 'd like to use to describe your

year ahead? W rite it here.
11 Create a 'b lin d d ra w ing ' on the opposite page. A blind draw ing is when
you d ra w an object w ithout looking at your page. Choose a subject, and
focus entirely on the object, follow ing the shapes you see with your eye but
moving your pen or pencil at the same time. If you can, use a continuous
line, so d ra w w ithout lifting your pen or pencil from the page.
16 Complete this flock o f birds.

*
* 4
/ V \
*
* ■» m •
 Continue adding dashes to complete the pattern and fill the page.

* *«###.
• M , / / #

««< i n »
Explore colours that look good together. Fill in the boxes
with the colours that you think w ork well as a set.
 Visit a museum or exhibition. Using coloured pencils,
dra w items that interest you. You may like to add
information about the items alongside your drawings.

U fi: D ra w in g i n f & e / - b u t/o tth

p ra c tis e ., M a jt& u ith & e tk & f-
Fill the vase w ith flowers. You could cut the petals out of
coloured paper or experim ent w ith different materials.
II Explore mark making using the side o f B pencils here. Tilt
a pencil on it's side, and use your index finger to press
down on the w ooden area above the nib, and create soft,
broad marks.

u Draw a tin or packet o f food from your kitchen.

w j ------------------ Using watercolours, experim ent
with different brush strokes.
Try applying different pressures
to the brush and explore turning
the brush as you move it.

Draw something that makes you happy.

Fill the page with all the fruit you can think of.
 Today, d ra w an everyday object and this time, pay particular
attention to measuring the distances and angles by eye.

1. Roughly draw a horizontal line on the page. Then close one eye and hold up your pencil so
that it forms a horizontal line along the side of the object. Carefully observe the angles made
between the pencil and the object. Replicate these angles in your drawing.

2. Continue to draw the object, Z C M t.s& & thattke.arftke,aftpte, Zafis Zhvk a t

continually checking the angles rs-H^ht^ this aj^t&ffatii/tA&kari^antat Zm ,.
by closing one eye and holding
up a pencil either vertically
or horizontally to your object.
Observe the angles the object
forms against these vertical and
horizontal lines.

3. As you work your w a y

around the drawing, notice how
certain parts of the object relate
Z fi: h ljitti.p ra c tis e .,
to others. For example on this
Manitti&ed, to- ZaM
apple I have drawn a vertical
th&ti/ies omZ assies
line down from the stem, and by
tilting my pencil as I hold it up to
a/v th&f>apes,
the apple, I can roughly work out shauttfuuL i t ttsetftti
the angle between the stem and to* co fttu u M sta - m e a stin
the base of the fruit.
23 Continue the diam ond pattern using different materials.
 30 Create swatches o f your coloured pencils. You can then
refer to this page when you are choosing your colours.

#
m
wfp*
vest>iM i#n.
 Find a photograph o f a face. Turn it upside dow n, and d ra w it here. W hen
we look at an image upside down, we see the tone and shape rather than a
recogniseable face. This is a useful draw ing technique as instead o f draw ing
w hat we think a face should look like, w e d ra w w hat w e actually see.

Tip: ^ buS fi/iished. uiTti/e,

upside* Town , so- uIaji,^ bu. VefutsiAed., r&Cate. IAa- AbbAb ree ii.
33 Fill the frames with artwork. Perhaps people, scenes, or a
still life? If you like one o f your mini paintings, you could
recreate it as a larger scale painting.
 Fill the page with fast observational
draw ings o f objects from around
your home. You could use a fine
liner pen for this, as it w o n 't
smudge whilst you draw.

'Jlfi: VtKttoo-rrp ajfutm adin^ mistakes, this exescise. is aieuiprastisui^ taaiin^, cudhuitdin^
cp&us cs-nfide/vte,. hjaur dstuvijb^s ccut, avestafl, cud^ chc, cjmM , cantuuse, drajv/j^ eudside, efi this hs-d.
36 Continue the pattern.
37 Draw the animal these hooves belong to.

Build your confidence by sharing your artwork. Create a

piece o f w ork (it can be as big o r small as you like) and
share it with anyone. Perhaps a friend, o r fam ily member,
or even on social m edia. Note down how it made you feel.

Tip: ftiaw in p people. ukat/pm. 'ue, crea ted , can, b e scarp,

b u t i t can, be, surprisinpip reM/artinp. ~
7?p i t !
39 Complete a line d ra w ing o f your bookcase using a
fineliner pen or sharp pencil. For example, just d ra w the
outlines o f w h a t you see, but d ra w the exact amount o f
books, carefully considering the relative widths o f the
spines, to make the dra w ing as accurate as possible.

7lfi: dfate, th,e, width. o f the,fir s t b a st an d then, use, th a t as a. au ide-fat the, r e s t o f the,
widths. Perhafts the-nex tbash is twice, the, w idth o f th e,first boat.
 M) Find an image that appeals to you. Glue it here if you can. Pick
out the colours that you can see in the image, and paint colour
swatches o f them below, creating the colour palette o f the image.

7 I f i: tj& u , c p u ld , te d z e , U ts ftir tttie -K

fr&tM/thispa/ette, in,gjtHtf- mm drawing.

u Create a blind draw ing on the opposite page, this time in
colour. Choose w hat you are going to d ra w and select the
colours yo u 'll need for each o f your objects. For every colour
you see, d ra w in a continuous line, w ithout lifting the pencil
off the page. Then, switch colours and repeat.

lift: Hesn&ni&f ta ta a t a t the- a b ject, tra cin g tk eir w JliK e, uitA ipaus r a tte r
tin x k tk cft after. trip ckaasin^ a b ject u it k fta ttern s fa r o k extra. cA atten^e.
 The colour palette you choose can affect the mood of your draw ing.
A dd colour swatches of cool colours below. W h a t mood is created?

a Draw an object from your home that was given to you as a gift.
45 Draw things you love about spring.

Practise mark making with a d ry paintbrush and paint. You

could use watered down acrylic, watercolour or ink. Either
use a completely d ry brush, or d ip it in a very small amount
o f water, and experim ent with making scratchy, textured
marks. You may w ant to continue onto a new piece o f paper.

7 if l: -/k te ic C a s u u ^ te e tn u jz h k ie ite s if t j ttte , /o e + ri& c ia j/e u tit s t

tke,papef. ijeu , ce tM td s e expefitn& titetv toatefc& ieuspap& t.

47 To make a draw ing look three-dimensional you can add tone gradually,
from light to dark. Use the space below to d raw a simple obect using tone.

1. First, create swatches o f 4 tones that you can see in the o b je ct from light
to dark. You could use 3 B -5 B pencils for this, pressing harder to achieve
the darker tones. You w ill refer back to these tones to w hilst dra w in g .

m
j r.
S'/tiatcAes:

1 2
L g
i h te s t TJashest

2 . D raw the w h o le shape o f the o b je c t using your lightest tone (swatch l ). Sim plify
the ob je ct as much as possible so you are just focusing on the tone, not detail.

3. A d d the medium tones, 2 - 3 , into the areas w here you see them on the object.
You are building up the tone on the im age from lightest to darkest.

4 . Finally, a d d your darkest tone (swatch 4). You may w a n t to sharpen your pencil
to a d d the final dark details.

T *:T *kU r see, the,

d ijfe s e s tta n e s , trip
sjn uitu tfl a t the, abject.
 Colour in the dots.

n o o o O o o
O O
u 0 O o
o O
o ° O
(
0 0 o O

O O O 0 ° O ° ° 0
0 o

oO o o 0 o o ° 0
„ o 0 0 ° o 0 O

° o -o o o o ° - o 0
0 0 o 0 o o o c o o

0 o o O o o
o o o o O O
o
o o 0 o o o ( o

o
0 o o o o o
o 0 o o o

o
r. o
o o
o o
0

o o

o O o
0o o

o o
o o
o o o o o
o
o
o
 Fill the squares w ith different marks. You could try dashes,
lines, spots, swirls and cross-hatches.

/ / / I I / / t / / >t
//»//////*/*»
y w w w
/ i u / / / / / « / *
y\AAAAA^
h f i r f r ft it • y \A A A /W V
t t t u f l i H I t »
frr m itrttn -A /X A A A A A .
n m i i n i i n
I I I i tu t tn i
50 Draw a cold crisp day using only shades o f blue. You
could d ra w from your im agination, d ra w the view from
your w indow , or even from a photograph.

~
7]fi: kuAc uiM fun-ve, tuv .
Z tu M e jn fk a s is e , fA& o M .
 ■

51 Today, explore blending colours using coloured pencils.

Use this space to experiment.
Fill the page with interlocking coloured shapes.
 Sit outside, perhaps in a garden, a park or on a bench.
Before you start d raw ing, look carefully at w hat you see
around you for at least 5 minutes, and consider what
interests you. Draw this below. Be sure to look at your
surroundings as much as you do your paper; a llo w your
eyes to repeatedly move from one to the other.

T tfi: l/O k a t c a n ,g o tt h& as? P eskafisgent M estizos a. s n ifig e t o f coow essation, tk o t

g o -tt'e tC ite , to- uictit< (& ,in,g em s dsajving to k& tg ca fltu se , tke^m o-m ent?
Use cut paper to create a simple pattern. Glue it in below.
55 Complete the shoal of fish.
Draw and w rite the postcard that you've always wanted to send.
57 Create a design or mini scene in each square. You could try using
gouache here, as it works well on coloured backgrounds.
 Practise colour m ixing w ith paints today.
Use w atercolour or gouache, and explore
different colour com binations below.

The primary colours cannot be made from mixing other colours. These are red, blue and yellow.

# #
You can use these 3 primary colours to mix secondary colours, and once you have these, you
can make many more colours by mixing.

P rvna su
0 0 0
" T -
» " T
£e& & hdaru

0 0 0

e&cd toMpt&du&e,dijffer&k£results. p e r eM unffe, r u x rn .

red toM p rod u ce a, differentot-x n^ e tv- x k m r t n . + es-tdred. EjcpCsre Hus t*?.
59 Find a m irror and look at your reflection. Draw your face with both hands
at once: hold a pencil in each hand and, starting at the top of your head,
d ra w simultaneously using both pencils. Use the left side of this page to draw
the left side o f your reflection, using your left hand. Use the right side of this
page to d ra w the right side o f your reflection, with your right hand!

t lf i: A'e ep h a th ju itv iiis h ta v ijiA a t th e , sasne. tu n c , a s ^ a it/ ip e s /w w s

f/a m , th e , ( e ftt ta th e . r i^ h t o ft^ a u s re ^ te e tia h ,. Z th a ^ A th i ca ste /- to- cM vc& h t/a tc
ah, Z a A ih ^ s a te tp a ty a u s fa e e , ra th e / t t a / i th e p a ^ e tp a it a rc d /a M u i^ ah,.
 Draw lots o f birds just using simple shapes.
6 0

r
Complete a series o f 3-minute draw ings (as many as you can fit on this
page) of an object or a person below. Set a timer, and, using a pencil,
aim to get as much o f the object draw n as possible in the time. Don't
w o rry about whether you are creating a 'g oo d d ra w in g ' - the purpose of
this activity is to warm up, and it is a great exercise to practise every day.

T y:Z t 'sfui& tfgum s Astwisgs 01/estop each otkes

- fAis ceuM esest cseate- asi, uvtesesting effest.
 Create swatches o f the paints in your watercolour palette. You
can then refer to this page when you are choosing your colours.

$
63 W hen draw ing out and about, try using a variety of
different materials in one d raw ing. Use the page opposite.

M aterials s o r t as
u a tercela a r an d nay
p a s til can, ce-vef tarpz
areas, an d ca n he '•C .

q eu flip . ljau.ce-uldas&
thrse first, to-map e a t
if
yea r mam, sh
there I h a v e, ctsed them,
an, the, shun, an d ja ch et. '

D etails cnulst he ad ded tesijp

cela a fn ip iM .il at a f e l t pen,,
as That/?, done, hare,fa r the,
atarses, h a ir a n d caltar.

Dip: I f paa. use, no,*,pastel, p e a co u ld appip a ta p er o f tfarinppaper on, tap o f p o u r

pope,, fitdnp ittoith mas/unp. tape, topnenentpour artn/oth from , sm udpinp.
Create a collage o f coloured circles. You could use a
variety o f materials and add pattern details.
65 W hen choosing which pencils you w ill use for your d ra w ing , note that
pencils va ry in how s o ft/h a rd they are. B pencils get increasingly soft
and H pencils get increasingly hard. B pencils are better for shading as
you can achieve a greater range from light to dark. Use the space
below to explore the differences for yourself.

Standard
^ — ---------- Softness and blackness writing pencil Hardness ----------
(good for shading] (good for precise lines

6 8 5 8 ¥ 8 3 8 2 % 2 # 8 # 2 P

# # ♦ # # *

thesIS the*dafLesi/vuS u itt (>&,/nita/se-, the* ia s ief itM itthi­

ts-stntJUe,. Try. stnnJ^ur^ S 'S - 613p en cilto tth t/o-usfinges. Prste& tthe, fppssbUpa^e,hi/
taping a. sh eetsfi troAUi^/rapes ts- thispafl-e*.
Draw a plant outside. Perhaps you w ill choose to focus
one small element of the plant, and d ra w it close up.
67 Practise dra w ing the features on the faces here.
Draw the eyes about h a lfw ay dow n the face.
 Explore using a fine liner pen to create lines and marks.

7tft: -/h/tHd.pressing to&frifndff us Hus fn.a^ ctwse* daMa^e, to- tA&nii.

70 W h a t activities make you feel relaxed?
Draw or write them here.

71 Experiment with using w a x crayons. You could try using

them as you w ould a pencil, and also on their side. If they
are water-soluble, add w a te r to your dra w ing using a brush.
 -------------------- Spend 5 - 1 0 minutes creating a 'b lin d d ra w in g ' on the opposite
page. This is when you look only at the object or scene you are
d raw ing, not the paper o r your d raw ing. It's a great technique to
practise as it removes the fear of having a perfect d raw ing, and
allows you to practise looking at how objects relate to each other
in a space.

Ttfi: Ikite, is nopressuSe. to hsoue, a. fin ish ed , tr a cin g . In stea d , i t s a ta u t engaging

the-process a n d gettsn g u sed to taohing a t th in gs ca refecttg.
-------------- Today use pencils to create a tonal d ra w ing . A d d in g tone
(light and dark) helps to make your draw ing look more
three-dimensional. Start by choosing an everyday object.

1. Look carefully at your object. On the opposite page, draw a swatch of the
lightest shade you can see, after white. You can use the paper as the lightest
shade. Applying minimal pressure with the pencil w ill make it light. Next,
add a swatch of the darkest shade you see. This will be used to outline the
darkest areas and give the object a crisp edge. Add 2 -3 medium tones that
you can see in between, from light to dark.

2. Draw a light outline of the object.

3. Start by adding the tone from

swatch 2 to the whole object. Then
build up your tones from lightest to
darkest where you see them. Try
squinting at the object to better see
the areas of tone.

4. Use an eraser to add highlight

to the lightest areas by rubbing
aw ay the pencil. Use your darkest
tone (swatch 5) to add definition to
the darkest areas.

7 Ifi: fc iU K & tn iz r, r& tM g . t& & A e d ,th e ,

t-bjict. Drew k /k ats& e,, ratAes

thaji, /oh&tfytoc expzet ts- sze,.
Ik Draw a pencil using a fine liner pen. M ove the pen slowly
when draw ing the straight lines.

75 Fill this area with horsehoes.

77 Draw your desk space, or a table where you like to sit.

Ttfi: Perhaps c u t a n t stick a.p iece ejf cs-taur&sipaper to-farm the, takte top is,pater
drsuvinp. tjsu, ca u tt then ctraro a ffects set tap ofp a ter taM eroitk a,pen, s c even
crea te th e en tire /ranjinp toikk cattapedpaper.
 Using w atercolour and a brush or w ater brush pen, practise
controlling the thickness o f the marks you make. Use this space
to explore moving from thin to thick marks, and back again.

7J p p tp m in im a lp re s s u re on,
[ th e b ra s h to c re a te a th ln
m a s k ,. c fu s t th e , tip W itth e
o e r.
7o esta te, a, thick er
tins,, ^rasCuatt^
apptp m o rep ressu se f te lc a s e . th e p re s s u s e
so- Tam, m o re orf the, o p (use , c ^ ra A n a lty , to
trash, is in, co n ta ct c re a te a. th in n e r m a s k .
w ith the.popes.

J J p : S ta r t stoK i& p u n til tpou,

a a ln c o n tin e n c e u s in p th e b ru s h .
80 Create a pattern using sim ilar colours.

/P<s/e/ h a ck t s c & t s u r tok& e£ Uv 6.

 W hen you d ra w with paper you can create bold shapes and graphic
designs. Create a draw ing using just cut and torn paper. It could be
an abstract im age, or perhaps something from nature. Rather than
concentrating on accuracy, enjoy exploring shape and colour, and
perhaps sketch ideas in coloured pencil before you start.

w ith the. ptMif design, first, h&fs-re,fp&u. stid i i t tkk/a.

33 Fill this area with life.

. fr* f .

-v ^ >

Draw some w indows.

D raw an im aginary book cover.

W h a t activities have you found most challenging so far?

W hy? H ow did you overcome the challenge?
91 D raw a person you saw today, from memory.
 W h a t is the simplest w a y you can d ra w a chair? Explore below.
3 5
 Today, practise draw ing people. Although this may seem a
more daunting challenge than draw ing an object, we can
ap p ly the same skills - observing shape, measuring distances
between parts and concentrating on w hat we can really see,
as opposed to w hat we think w e should be seeing.

A good place to practise drawing people is out and

about. Visit the shops, public transport, or anywhere
people congregate and you can comfortably sit and
draw. Using a fine liner pen or pencil, create lots
of observational drawings of people. Start with the
outlines, rather than thinking about tone.

Tlfi: 7)ah!t/>e, ajraieC, tkis is aM aj/atitpractise,

andpau. m ap m ade, m ahp drawinps l/ifore.pau.
f e e t tide.pent 't/e, cradL ed i t !

Draw quickly but don't rush.

Carefully observe how the person
is sitting or standing. W h a t are they
wearing? W here are they looking?
If you only have time to capture a
small detail rather than the entire
figure, that's fine!

T i l t ' s a sefici ts-practise, sIm m Lhap&qoCe, W w /

ptHt & ok . P&tkafis take. a, snuM s/btcJdtae! Mtfjip/nt. ah,
JtHtrtteps, ih, ca se.p a iip et inspired trstastcO -awihp.
 -------------------- Using watercolour, explore the different widths o f brush
strokes you can make with just one brush. Fill the page.
Vary the width o f the stroke by alternating the pressure
you a p p ly to the brush.

fo r thinner strokes, ho-td, they

brush a t t>.steep er ar^ tc, fkppip moneyp ressu re
apptpin^Just o. tittle.press use,. to- create, thicker strokes.
Design a pattern or im age using this grid.
 Create a grid draw ing. If you are draw ing from a photograph, a great w ay
to make an accurate copy is by using a grid. Here I have draw n a grid over
an im age o f some leaves. Rather than looking at the leaves as a whole, just
look at the angles and shapes you can see in each cell, and d ra w this in the
corresponding cell opposite.

/ 2 3 4 5 6 7

A ftu n b e /'ittA tie

Citts /tteaJtSpt-lt
ccuv L e e fi tr a c t s f As aieM as tuA itff a t tie. shades a.not u n ites
/ o h e s e ,a te .. a t tie. ed^e fu tile, tea^. tsA attk e.shapes fnade.6^
This ceM is (ft. tie. di^f&r&htaAants inside, t a c t ceM to*.
 2 3 7

4
'- J J P Look at objects around your house.
Swatch all the colours you see.

7 1 ft: (fa u , M M p n €&tC

ta mix c& fouss fi r s t
Ik a, m ixing paT eftft
i f msuia WffZeJ-cjfl&ur,
ff-r an, (ft- the,p aft&t
i f usbiA ca if aj'nC
p e n c ils .

Draw an object using the opposite hand to the one you usually d ra w with.
100 Draw the faces o f the cats.
m Using B pencils, add tone to each o f the boxes. There are lots
o f ways you can a p p ly tone, and there is no right o r wrong.
103 Draw things you love about autumn (fall).

Draw the rain.

1 0 A
105 M ake a dra w ing o f this flow er below, using any materials you like.
107 Fill this quarter page with grey dots. Notice how some
shades o f grey are warm , and others are colder. ^

» #
m ®

Tift: aw r&acAfa r a colaar, con sid er uhicA specific, shade, uau- are, a ftu
- raih&r zA anJastsedeetin^ anp perhaps choose, a ca st, banishftrzfy.

m ---------- Explore different widths o f fine liner pen here.

0 .2 5 ta n

0 4 5 enM ,

0 .2 m a t/
 M ake a draw ing from life using coloured tA \ .

lines. Choose your colours, then quickly

d ra w your subject using a different line
colour for each colour you see.

ou. <&/■£ cO-aJvux^ & p e ssfrtv,

A K cLthe^ frt& ve,, tk d s O /C !
d u s t a sL a fttp & p tf d ro n in g a n d
redraw paitr tine, - tkereJs no-
need. to- erase- arm tines.
/
'ftp: CmsuCzf kikefe,ff/>-uS
OflM swtfcA- is an. AacAi&'c
- p&thaps i t s co#Uka frs-M/
a eU ^f& tetC td ife s tig H . gn,
tacA /W'. liih ich sides use,
Uv shadgw ?
nz Different m aterials can mimic the look o f fur or hair. Try creating hair
and fur textures below, for example using pastel rubbings or tight lines.
m Practise draw ing people today. Use pencil or pen and
w ork quickly, trying to capture the personality of the
person in your d raw ing. W h a t are they wearing?
W h a t do you find interesting about them?
115 Explore using the sharper end of a w a x pastel to create marks.

I I I H t I I 1/ / I I I I I I I

D raw one o f your favourite belongings.

117 Create repeat patterns w ithin the stripes. You could use cut
paper, or any m aterial you like.
 M ake quick sketches o f an anim al using a fine liner pen.
Spend just a few seconds on each d ra w ing , and fill the
page with your observational draw ings.

y jf i: Z n s t u u C t f t f a n , a jw n a £ u v r z a £ t p im c & t iM
kinitcA t/ide/s-s tuusnads w.Cine, aJvd* cafltuse, thlm/AS ntiwe,.
113 Choose an object. Draw it 4 times, each time in a more abstract styl
Look carefully at the object for draw ing 1. Then for each subsequent
d raw ing, sim plify the elements you have draw n previously.

71/j: CjcnMifaXe, tke- eA&mmtstih&ti in,

tZ unptify the, shafies tuuhenashs. Pethtafii
120 The colour palettes you choose can affect the mood of your draw ing.
Create your own colour palettes to describe each mood below. There
isn't a right or w rong answer, as it's about how the colours make you
feel. Use any m aterial you like.

( f a in

Oiesaefic.

71ft: Iftp&u. tL&nltliMe. the, ex a st fntK c&t&uss teeth eA

dfhsid/u Iv h u (Mi. use, these,ftaT ettes i/t,gyemf f u h s e astuarhs.
Design labels and add details to the bottles. You could
coloured paper to create bold, g raphic shapes.
111 Spend 15 minutes creating a blind d raw ing. Choose an
everyday scene, perhaps some objects in your kitchen.
Look carefully at how each object relates to another.

T ift: R
’ .&W J'tb&f- tk a t a. itiiu L is /ohetvp a n drew w h & t
p a n . sm , w itA /n tt ta a lw p a t the,popes a tp a n s dsajaLhp.
Using a limited amount of coloured pencils, d ra w people out and about,
spending just a few seconds on each d raw ing. Sometimes you may only
have time to d ra w a key detail, such as hair or shoes, before they move
away. Practising these draw ings w ill help build your confidence and you
w ill also learn w hat you are naturally draw n to when sketching.
U5 Draw a flock o f birds. Are they close or near?
 Fill the space with stars.
m

111 Draw some bicycles. These can seem complicated to

draw, so break them dow n into their simplest shapes.
Design a tiled floor.
 Complete a tonal draw ing o f an everyday object, building
up the tone o f the draw ing from light to dark. You could
use 3B -7B pencils, and an eraser to add highlights.

tip : Trip kM iri^ the,p eM .il C/wsefy a t the, tap.

Z fpfrit are, caM ernest a jra n tp a terp op e sauuipuip,
ta p e a, sh eet troAUippaper- su er it.
130 A d d stripes or patterns.
131 Put on some relaxing, wordless music - perhaps calming
meditation track or something classical. Choose a material
to w ork with, perhaps coloured pencils o r w a x pastels. Draw
below as you listen to the music.

T lfi: 7 h is c & tM , I>z a. <?/ e d /st/’n ^ td & v d lz s .

e xp e rte /to e . pfj- c te a tu iA u /u £ s tlU tm in a . th e -s im tu ls .
Use swatches of paper to create colour palettes.
133 Draw a person sat in a chair. This could be somebody you
know at home, or a stranger in a cafe. Start by applying the
blocks of colour - the clothing, hair, seat and face. Then add
detail with a sharp coloured pencil or fine liner pen.

T ift: Iftf/M t. are, w a i/ d-k s a is u t dreauui^ e-n, ts- tpe-tts f t s c is o f Cja&aha, tafte, a,
ftaftzA to- IfIVI fi ff^guAft>a^.&, a n d dstM^^/hcAtui&cUtaits
fK this instead,, tj&u. u i l t te, alte, t&se&jp&uAc&iaitr&dit&als b&Iw.
Fill the page with coloured triangles. Use any m aterial you like.
135 Practise d ra w ing circles using a fine liner pen. Start
slowly, using the guides, then continue practising below.
136 The colour palette you choose can affect the mood of your draw ing.
A dd colour swatches of warm colours below. W h a t mood is created?

137 Explore using the blunt end of a w a x pastel to create marks.

133 Draw a feather. Choose one with interesting colours.
uo Fill the grid with colour. Think carefully about which colours
you use, so that all adjacent colours look good together.
ui Fill the page with draw ings o f pencils. Experiment with
different materials and styles.
 Today, d ra w an object using w a x pastels on the opposite page.

1. C hoose your lightest colour an d, holding your pastel loosely,

use the side o f the nib to roughly d ra w your object.

2 . Begin a d d in g colour, pressing

harder for darker areas o f tone.
Use the side o f the nib to cover
larger areas.

T ip : th & la *s e ,te x iu s e ,
a jie t -a n d - n o c t u r e ,
a fitk e , M a x ,p a s te ls — d a h lt
M a rr^ ta a h>m£.A a j/a a tm a M n ^
p recise, masks.

3 . C ontinue to build colour and tone from light to dark. Use the
finer po in t o f the w a x pastel to create areas o f definition.

4 . Finally, use your darkest tone to a d d

definition. Be sparing w ith black, and do n 't
be afraid to leave areas undefined.
\1A Create a draw ing that reminds you o f your favourite trip away.
This could be a mix of graphic and abstract, just focusing on the
key colours and imagery. O r perhaps a more detailed draw ing.
D raw w hat is under the sea.

Call up a friend. Ask them w hat their favourite place to visit is. D raw it!
Use this page to create doodles which
explore using different materials.
 Complete a g rid dra w ing here using a photograph
of a scene and creating your own grid.

Choose an im age you'd

like to d raw - perhaps from
a newspaper or magazine.

Using a fine liner pen,

dra w a horizontal line at the
bottom o f the area you'd like
to include in your draw ing.
D raw a vertical line on the
left side of the area.

Then, d ra w lines horizontally

and then vertically, an equal
distance apart, so that you
make square cells. Label your
grid with numbers and letters.

Draw another g rid on the

opposite page, in pencil.
Your g rid doesn't have to
be the same size, just make
sure it has the same amount
o f columns and lines, and
that the cells are square.

Draw w hat you see in each

cell, focusing on the shapes
and negative space.

Tift: ike, frtfrfe. e-us QfLeC, the, enare: a£ci*sate, tpe-us / oittie,, as
fa c u s tK IK ‘ft&Kcil ss- th a t a t the, estd, t is fie- visihte,.
U9

•s
•A
150 Draw the earth from 3 different views.

151 Before dra w ing a scene, it can be useful to d ra w a thumbnail (small

sketch) to test your composition works, and also to help plan the
draw ing. These can be draw n quickly and roughly using a pencil.
You could even use it to test colours that may w ork together in your
dra w ing . D raw some thumbnail sketches o f scenes here.
151 Swatch all the colours you can see in a fire.
Continue dra w ing a leaf pattern until you fill the page.
156 Explore using w atercolour to d ra w outlines o f fruit.

5% w
T ift: C yftttrre, b ru s h ss a jiT
sfteesU f t M it ih a - m v u ijiA uo-ur b ru s h
s le w iy um L q u M ih iff t>- a M tr xA& sa fe st.

T ost
 Sketch a person's face. Ask somebody to sit still for you for
about 10 minutes whilst you d ra w them. Begin with a rough
pencil sketch, and then observe the areas o f tone you can see,
adding cross-hatching.

Tip: y&tir eyes m a les i t ea sier ts see, the. areas t*M. Ttdct te-M.frstn , tiy h t ta tU rl,
fiM shiny sjffhy osiny tut. eraser sn. the. huyhliyhits, and. a sharp, harttpeM .il sk the, dark est areas.
Fill a page with doodles as soon as you w ake up. How
are you feeling now, and about the d a y ahead? W h a t are
you looking fo rw a rd to?
159 A dd designs to the flowers.
160 D raw a warm day using only shades o f red and orange.
You could d ra w from your im agination, d ra w outside or
even from a photograph.
161 Create a patchw ork of circles using a range of materials.
Fill the page w ith im a gina ry plants.
Experiment w ith different materials and styli
163

71ft:
in d ii/ie tiu i/,
 A p p ly w atercolour to a w et brush and make small strokes from
left to right. N otice how the colour g ra d u a lly fades as you
move across the page.

I & M l

UUtlttltttUM ttM M I
Fill the pot. Perhaps with pencils.
D rawing out and about can feel intim idating. Today, when in a cafe,
lib ra ry or just outside, d ra w a small part of the room or scene which
you feel com fortable looking at. in the space below, d ra w quickly
on the paper.

T tfi: tj& u , cjhM ( s a l u fi,

eutsL dtoM to k a tfB -u . s&e,
tiiw e . Qfrti, —p & fk a fls
OK (a,m O ?
th is is a,&sak, a s tw itf
ts- da- aftk& he^iMiiK^
o f a. dstw ijiQ sessi&K
an ta n J , as i t
k>uZ k & tf b tu M ,fa ttr
CBKfitCtKte, O J ld fu t
&as&tokzK
( K fu td c .
 1 W 5 Draw w hat the people are looking at.

0k.-
169 You can create tone in many different ways, with lots o f different
materials. Use the materials suggested below to create tonal drawings
o f spheres in the boxes on this page. Observe a round object as you
draw, such as a ball o r an orange.

Coloured pencil:
Follow the curve o f the
sphere, pressing harder
as you move to the parts
o f the sphere that w o u ld
be darkest.

71ft: CtKsitLzr/oLefe, ip&us so-usce. is ce-tnoi^ fh

Pencil:
Rub the side o f the nib
onto the p a per to create
tone. Start b y pressing
lightly, for the lightest
tone, and then g radua lly
build tone from light to
da rk by pressing harder.
W atercolour paint:
Start b y mixing one
colour w ith lots o f w a te r
and pa in t a flat circle
out o f your lightest tone.
Build up the tone using
layers o f g ra d u a lly more
intense colour, a llo w in g
layers to d ry in betw een.
You could use a tissue to
d a b a w a y colour from
the lightest areas.

Brush tip pen:

Build up layer by layer.
The more layers you
a p p ly to an area, the
darker it w ill be. Follow
the circular shape w ith
the brush as you go .

Ink pen:
There are many w a y s to
build tone w ith an ink
pen, but you could try
cross-hatching. A d d more
hatching to the areas
w hich are darkest. It may
be easiest to start from
the darkest point, and
g ro w the cross-hatching
outw ards.
170 Your draw ings d o n 't need to be very com plicated. Find an
object or group o f objects with shapes that interest you,
and d ra w them in their simplest form.

Focus on w h a t makes the objects

identifiable. For exam ple, w ith these
bottles, it is their distinctive shape. Line
isn't a lw ays necessary, and you can
d ra w shapes just using blocks o f colour.
Fill the page with white stars using a variety of materials.
m Draw things you love about the winter.

173 Use this area to practise making long brush strokes.

 List all the ways in which you are creative.

175 Draw the rest of the scene.

176 Draw the 'negative space' around a simple object. O nly look
at the space and shape around an object, rather than looking
at the object itself. O bserving the negative space is another
tool w e can use to help us d ra w an accurate shape. It helps
to focus the mind on the angles around the shape, rather than
w orrying too much about draw ing a particular object.

'T ip : 4W c m v u s e , th e ,s u (&

t> . 'B p e M u lfn * H u s ,

ckm a a. th in k tcM .
 Turn the splodges into animals.

m u.

§
m Consider the positions of the facial features when draw ing a
face. The eyes and ears are roughly halfw ay down the face.
Use the space below to practise draw ing a face using an axis
as a guide. Follow these steps below, and d ra w as many faces
as you like. You could look at photographs for reference.

1. D raw an oval shape 2. A d d a skin tone 3. D raw an axis, so 4 . D ra w the ed ge of

w hich w ill becom e the that the lines cross in the the face and a d d the
rough shape o f the head. m iddle o f the face. features.
 Fill this area with different shapes.
m

180 Draw a car in the simplest w a y you can, using just a few
lines or marks. Perhaps use cut paper to form the shape.
m Complete the mountain scene.

W h a t have you enjoyed draw ing so far?

D raw the moon using silvers, greys and blues.
Continue creating circles in any m aterial you like, perhaps
also cut from paper or patterns that you have found.
Draw shapes o f leaves, real or im aginary.
Perhaps they overlap to form a pattern.
 Put on some sounds from the natural w o rld - perhaps the
sound of the rain, or a rainforest, which can be found
by searching online. Choose a m aterial to w ork with,
perhaps coloured pencils or w a x pastels. Draw below
as you listen to the sounds.

7tfi: This CJMttdie, upa ae, q f a b stra ctd o o d d es o r a- stem .. etp esiejite.
ofi crftoddrp / ohi(st (isttK ihp to tke. se-ujuts. i’/ou do- th ep m od i,p in t
 ------------------ Fill this quarter page with blue dots. Notice how some
shades are warm , and others cold.

6
* 0 0 0

W hich o f your draw ings are you most proud of so far?

VX) W rite down some ideas as to how you can be more
creative in your everyday life.
m Draw the refection o f your face as you see it in a spoon.
m Doodling can be a great w a y to express yourself and also
to relax. Fill this area with doodles.
136 Draw something you remember seeing today.

137 W h a t inspires you to draw?

138 Choose an object or part o f the room to draw.

1. Roughly d ra w
the shapes that you
see for the w h o le v
o b je ct or scene. \ i

2 . Then look carefully

at your rough sketch,
checking and measuring
the distances between
all o f the edges.

3 . A d d colour in blocks.
 Fill the page w ith lines.
m
Fill the glasses.
101 Create a draw ing using collaged paper today. Choose your
subject, which could be anything that inspires you. D raw with the
scissors rather than a pencil, and cut the paper as you observe the
shape. Start with a rough shape and then refine with the scissors.

7Jfi: uj&u. am/A use.

cud& ur& cC pm & itg te-
a M . tk & h u i um L tf-H Z,
ts-you spu p es skufie.
mi Hold an object in one hand, and a pen or pencil in the
other. W ithout looking at it, d ra w w hat you feel.
W h a t does the texture feel like, and the shape?

Tip: th is n » t end. ufi t/wkiM mujcA tike. ipiHtr s-iject, t u t miff/it

pive, a. sense- &£tke, essen ce CC, and. h&wp/nc in terp ret it.
m Practise draw ing circles using different materials. Start slowly
you can control the direction o f the line.
205 Today, create a complem entary colour scale. Complementary
colours are those found opposite each other on the colour
wheel. M ixing tw o complem entary colours together, by
gradually adding more of one colour to the other, w ill create a
complem entary scale. A ny colours taken from this scale w ill give
you a cohesive palette, when used together in a draw ing.

1. Start by choosing 2 com plem entary colours from your colour w heel. C reate swatches
o f them on the p a g e opposite. Use watercolour, gouache, or even acrylic if you have it.

#
2. G ra d u a lly mix a little bit o f one colour into the other, creating a swatch each time you
mix a new colour. You may w a n t to mix the colours in a clean mixing palette.

/
Browns and blacks are m ade from
mixing com plem entary colours.

3. Repeat for the other pairs o f com plem entary colours. You may w a n t to w o rk
vertically do w n the page, so you have enough room.

~7ip: tjsu, csu td the*. these,padettes ts- dfsw ings, nuvdhe csh^ idestt aM the.
cst&uss lk ea ch cstnpteunesitafip scale. ui£l toesh. soeM B
“ e, selective. - peskufls
J u s t cAssse, 2 3 csCsujs f/sm ecsA s&sde, ts ar&stAe, a. draM/iA^.
 W h a t is on the shelf?
m

m H air always grows in a particular direction, so when you

are dra w ing it, look for the direction it is g row ing. Practise
dra w ing hair here.
Fill the room with plants. Perhaps design a floor too.
Continue the pattern, using w a x pastels.
 Using coloured pencils, add colour to the shapes so
that where they overlap, they create a new colour.

Tifi: 7* cs&a& n&ed.ts' a. fa ce rs c&four.

m Draw a close-up o f an egg. Notice all the different colours
and marks.

Look closely at your hand. Swatch all the colours you can see.
215 Draw a friend or fam ily member
from life. You could use pencils,
and start by roughly dra w ing the
shape of the head. Then mark where
the features on the face are, being
careful to measure the distance
beween each part of the face.
A d d areas o f tone w here you see it,
but w ork quickly and d o n 't w o rry too
much about detail.
Using fine liner pens, explore ways o f adding tone to
each o f the boxes. You could use different nib sizes.
IV ---------------- Today, create an analogous palette. Analogous colours are those found
alongside each other on the colour wheel. M ixin g tw o or three analogous
colours together, by gra d u a lly adding more o f one colour to another, w ill
create a palette of harmonious hues. Any colours taken from this palette w ill
go well together in a draw ing.

1. Using paint, choose a n y 3 colours w hich are next to each other on a colour w heel.
C reate swatches o f these colours.

2. M ix these colours together in as many w ays as you can. You can also use w hite.
There is an enormous number o f possible new colours that you can create, by mixing
the colours in different quantities. Fill the opposite p a g e w ith swatches.

3. You can also introduce very

small amounts o f com plem entary
colours to your colour mixing too,
as these new colours w ill also
w o rk w ell in your palette.
v *
'Tifi: tjou- toulT (AeK afiphp a. stlectioK ojt colou rs (Juspalette, to a. etrxuihA o f pa ttern , anei I t
co n fid en t ( t o t ajxjj ojf the. colourstfo-cc have, treated, ok (Titpa$e M ill uorL u e tl to^e/Jver, Perhaps
t itt le 5 o t 6 colou rs fro oo th isp a lette (T ot^ou'd tite to use, to create, ok ioio^e.
Draw w hat is grow ing beneath the ground

From memory, d ra w a friend from your childhood.

m Explore controlling the thickness o f your marks when using
a brush or w ater brush pen and watercolour. Create lines
of loops.

pressuse. astpau. m w e, the, brush

d&wn, t r create, a, th ic k e r m u rk.

g - u iv '. u ti _ J 0 t
4 .. i w m m ^ a Ik o v te s tu i& as
a U io v fn s u t. f mm M ^H L# ' * . . ,
J? M H r if&bt C&*p afat<oicC o k a reflestZ.

7 tfl: kbeef>jp tn ir w ris t tppse, a n si

relaK & d, M id a im . ta ^ e t ijv ts a
rh ^ th w t a s ^ pu, draw .
m W h a t are you looking fo rw a rd to tomorrow?
D raw it below.

m Draw a desert island.

Draw the contents o f the bottles.

\
m Fill the page with faces in profile.

7 Ifi: (0 9 M , d f t M e u w i tjtw i, e r p z & ftfo < ? *v

A 's ti& e , th a t tke> & a f is h a lj-w u p de-w n th & h & M L .

225
* -"> 0
Fill the page with draw ings o f oranges. Experiment with
different materials and styles.
 Fill this quarter w ith objects that are all your favourite colour.
m

I ll W h a t inspired you today? W h a t d id you see that made you

w ant to draw?
 A d d colour to the fish

m W h a t is your favourite thing to draw? Draw it here.

1
m Draw an everyday object using w atercolour paint.
Sketch the shape in coloured pencil first. You could
also use colouring pencil once you've finished painting,
to add definition.

T tft: 'B u M .u fi u a -tif

c.e-iras fr&M/tioAc ts-
dafL a n d ajtt&u th ep eU rt
ts- /try vers.
(aye.
m Draw an object so it looks three-dimensional using greyscale tones.
Choose an object - it could be as simple or complex as you like.
Also choose the material you w ould like to use. This could be
pencil, paint, cut paper, or even a com bination all o f these.

Using w hichever materials you have chosen, create swatches o f the tones you can see, from light to dark.

* o m 9 *
1 2 3 4 5

l . D ra w a light outline 2 . A p p ly swatch I to 3 . Build up the tone using

o f your object. the entire shape. swatches 2, 3 and 4 .

4. Continue a d d in g 5 . A d d the very darkest tone 6 . Perhaps a d d a shadow

tone from light to dark. last (swatch 5), in small areas. using one o f your midtones
(swatches 3 or 4).

7 1 ft: S q u i n t e j q & s 5 k i i f t id e n tify if y lt e u t2 d e ifL te n a s .

 Draw the negative space around a complex object such as a
plant. O n ly observe and d ra w the space and shape around
the object, rather than looking at the object itself.

7Ip: These, fatup le,nefl.atue,skafies inside, the, ahje&ttaa, snck

as hetaj&en tea ses at branches. 'Be,state ta titan/ Hus t&a.
234 Fill this area with draw ings o f furniture.

Draw an anim al using only colour. Avoid using any black.

236 Spend just 3 minutes on a draw ing today. Draw some hands.
As you draw , focus most o f your attention on the hands,
rather than the paper. If you have completed a draw ing and
have time rem aining w ithin the 3 minutes, check and correct
the angles, draw ing straight on top o f previous lines.

Tip: s it epp&site, a. fn.i/’f frt Mul drew tjo&s tu n kajids His euctivix
Fill the page with coloured triangles.
Consider which colours look appealing
alongside each otheri Perhaps you w ill
discover new com binations you like.
m A rrange a still life scene. This could include a vase of flowers,
some fruit, or anything else you like. D raw it below, in colour.
You could use watercolours.

t7p: C hoose a ffe cts a iith sim p le sh apes f a t a. (ess com plete, hrasuinp. tfou . co u th sk etch o u t
the, a ffe cts in, ro ta tio n to ea ch o th er fir s t, at, f o r a. (ooser, m o te o r g a n icp iece, p o ts co u th
hrajo fr& etp a n d n o ta io trp so frm ch a t o u t o ccu ra cp .
Explore using different materials alongside and on top o f each other.
Create abstract circle shapes.
Draw an image from your favourite book.
Perhaps visualise a phrase that inspires you.

Use a different m aterial to colour each o f the grapes.

ltd
M ake colour palettes using swatches of
coloured paper. Consider shapes and
details which may also w o rk well with
the colours to create a piece o f artwork.
Perhaps make each palette into it's own
abstract d raw ing.
 Draw a friend or fam ily member (or even someone in a cafe) using
tone in just one colour. Using paint, perhaps watercolour, d ra w the
shapes as a block using your lightest tone first, and then build the tone
in blocks from light to dark. Finally, add detail using a sharp pencil.

'lift: I f draw ing a,f f i m d , pan, ce u id drtw e^cA e ttv tf a t tk&.seun& tu n e,!
m D raw some footprints.

Create lines o f pattern using w a x pastels.

m Create a pattern using complem entary colours.

7 tft: a /itiM itip 6 f & f tpM ts cv& fM f u k a it.

 Draw the rest o f the forest scene.
m

251 W rite dow n 3 things you adm ire about other people's artwork.
Fill the page with draw ings of shells.
253 Put the hand you d o n 't d ra w w ith on the table. Draw it
below. Look carefully at the negative shapes between the
fingers, the position o f the knuckles and the shapes of
the nails.

7 Tfi: 1^ands are, di^ficM dtts- draw,

iu ip e-a . can ,practise,
drawing p a cer awn whetM /erpan, tide,, as th&p are, rip/it th ere,!
m Today, try creating a tonal draw ing using the colour o f a piece
o f fruit.

1. Look carefully at the fruit. On the opposite page, paint or colour a swatch
of the lightest tone you can see. Then paint or colour a swatch of the darkest,
and 2 -3 medium tones you can see in between, from light to dark. Look
carefully at which colours you can see.

S to a id e s :

1 2 3 4
L ig h te s t D a s le s t

2. Draw the whole shape of the fruit using your lightest tone.

3. Add the medium tones, 2 -3 , into the areas where you see them on the fruit.
You are building up the image from lightest tone to darkest.
4. Add your darkest tones, and then add detail using sharp coloured pencils.
You could also add the shadow to the fruit. Avoid using black, instead look
carefully at what colour the shadows really are.

T tfi: ’R .ertternhes tr trip ttrkeT p i t h e , ditff&renttfrMs.

tTtodtches:
255 Complete a g rid draw ing here, but this time, use a photograph o f a face.
Rather than draw ing a g rid straight on to the photo, you could create a
photocopy, or d ra w your g rid on tracing paper and attach it over the top
o f your photo. Remember to make sure your g rid on the photograph is
proportionally the same as the g rid you d ra w below. The simplest w a y
to do this is to make sure all your cells are square, and that there are
the same number o f lines and columns.

tip : A fa c e m ap seem mare, trichp ta drew, b u t rem em her ta ju st (oa t a t t a c t c e l l in

p a terp rid indu/idnatlp, an d draw the, shapes an d space,pate see, in, ea ch ce il. Z fpate a re
^tndlnp i t trichp, turn thephata, an d th e hoot, an d draw th e im ape upside dawn .
Put pairs o f colours you like together here. You could use
any m aterial you like, such as torn paper, o r even patterns
you like, cut from m agazines or printed out.
 A dd designs to the vases.
1 5 7

Draw the moon from 3 angles.

 To help find interesting
compositions, you can use your
hands as a viewfinder.

Using your fingers and thumb, create

a rectangle. Hold it out in front of you,
and move it around the room - what you
see through the rectangle w ill be your
composition. It may help to close one
eye as you look through.

r y
W hen you find a composition
you like, create a thumbnail
sketch below.

M ove your thumbs closer together

to change the cropping of your

Tip: Thus is a .^ rea tto o t to- use.token,

ch oosin g a. su jtp eet n trcttir token,
uon, 're, ouT. eu ld ajto-ut. There, cm v he,
hk w ertohekm iK a tun& ujit to- took
a t, so- iisin a p o o r 1/ieMjfi/uie.r h elp s
to- sim p im p a j’J .k e selectiv e,.
260 Choose a small object or piece of furniture in your house.
Draw it 10 times below. You could try many different
materials, or just stick with one. Perhaps d ra w it from
different angles.

tlfi: Repetition unpraves an r tran/ina because the,enore,kie, ta-oh a t something, the,better ate,see, it
and,sa, the,better ue can, draw it. Thus atsa helps to buxtd con^id&nee, inpour drawing. Z tretieoes
the,pressuse. to- '^ etit ri^ h t 'firs t tim e.
W h a t w ould sand look like if you drew it close-up?
Create an abstract dra w ing o f an object. W h a t makes it
identifiable? Use any material, and make it as simple or
complex as you like.
 W rite 3 things you like about your own drawings.
Z G 5

Create 3 colour blends. Start by painting 2 different watercolour colours

at each end of the g rid. Create a gradual blend o f the 2 colours my mixing
them together. Start with colour 1, and gradually add more o f colour 2.

Colour 1 Colour 2

Blend 1

Blend 2

Blend 3

7 ip : tjo-o- n ta p m m iX t&- m itepew s c& t& urs Lh, a. tu ttin g p a X e ttz . fir s t.
2G8 Continue the pattern.
Draw the negative shape between a row o f bottles.

Don't be a fra id to ruin or 'g o w ro n g ' w ith a draw ing as practise and
also enjoying the process are as im portant as the end result. Draw
something here w hich you struggle w ith, for example hands or faces.
Try not to use an eraser, a llo w the mistakes to happen. Enjoy taking
the time to create.
m Begin a draw ing o f a building by focusing on the negative
space around the structure. This m ight be the sky, so start by
just draw ing the shape the sky makes around the building.
Then add details to your buildings.

T ip : c & iM , (etase, th e
h tu td u ia iZseflh w h ite (u s i
Create a tonal dra w ing o f a vegetable using coloured pencils. Start
by creating swatches o f your tones, using the white of the paper
as your lightest tone. You can choose a variety of different colours,
being sure to ap p ly them to your draw ing from light to dark.
m Explore controlling the thickness o f your marks when using
a brush o r water brush pen and watercolour. Create lines
of loops.

-ftpptppressure, a sp m (uap the. brush

araurteC, ta creafe, a thinker mark.
-V

y 9 y
a ir ,h e r e ^
/ * /
- — „
,/
^ ,
§
C re ate , x tU & h
deHvtuvarfs stroke.
then, refieve,p ressu re, jKm Loup a rou n d
\/ aspou. sta r t to cu rve, 1 a n d repen t.
tU tn e .

Lip: W afer brush p en s a re

a. a o o d to o itfo r tkis a s the.
brush d oesn 'td rp out,
m.ennutp p o u r marks
toM be. sm ooth.
m Practise dra w ing bare feet. Feet, like hands, can be tricky.
Look carefully at the angles and distances you can see,
rather than d ra w ing w hat you expect to see.

Tip: Iftov-cf- ore, drowix^ wrfApzMiits, p u d a. sport. sh eet o f

p op es peneoth,pour H id. ospv-u. lo w , to* ovoid, sxutdpixp.
 m Complete a dra w ing o f this flow er using the grid. Look at the angles,
colours and shapes you can see in each cell in the g rid, and copy it
into the corresponding g rid opposite. Begin by draw ing the outline,
then once you are happy, add colour. You could use coloured pencils
for this, as you can achieve detail w ith the sharp point.

~71p: I f p a s t o ffya u s drawing d o esn 't F at

ch eck th a t the, shapes uau. tia,ve, drawn in, ea ch c eU
matcAs th&shapes in, lAa. intake, ajat/e.
 / 2 3 4 5 6 7

l
/ f '■ Create a pattern here. You may w a n t to more
elements and shapes into the design.

Today, share some of your artw ork w ith someone. This

could be online, or in real life. Ask them w hat they like
about your artw ork. W rite w h a t they say here.
m Create a page o f studies of people's ears. Ears are complicated shapes,
so it's useful to practise dra w ing them on their own before draw ing
a w hole face. Look closely at the dark and light areas of tone, and
be careful to d ra w w hat you see, rather than w hat you expect to see.
C arefully observe the angles, and start off keeping your sketches simple.

tip : e o n tt dram people's ears on, trains orperhaps token, sont&otie,

isvu/Hir hou sehold is w atching 7Jt. tjau, can, enetipractise,hip looking a t
photographs, t u t dram fronts li^t,token,possiMe,.
Continue the pattern.
m. Today, complete draw ing studies of an anim al. Perhaps d ra w a
pet, a friend's pet, some w ild birds or even an anim al from an
online video. You may w a n t to use pencil o r coloured pencils
for this activity, as you can w ork quickly w ith them and va ry the
tone depending on how hard you press.

1. Begin by drawing fast sketches of the animal. These shouldn't take

more than 3 0 seconds each. Concentrate on capturing the form of the
animal, and the size of the parts of the body in relation to each other.

2. Continue making drawings of the animal. Introduce

tone, and try using thicker lines to add weight to your
subject. Squint your eyes to observe the darkest areas of
the animal. If your animal has fur, notice the direction of
the hairs and move your pencil in the same direction.

Tift: uotra tw fttMjdi

re a c h in g
stuff& kiith th ese, etraMiM^s.
c/ u st esijo-if etsew ih^
th e (UhiM,a£,
s u re s t.
282 Choose an object and fill a page w ith blind draw ings o f it.
Continue to observe the object and draw , only looking at the
page when you have finished each draw ing.

tip : try. i t in, co lo u r too. tta ve, a llp o u r p e n c ils readu ,

a n d trp n o t to-he, tem p ted to look a t th e,pope, w h ilst
port, swap co lo u r s !
A d d flowers to the bunch.
m Using watercolour, create a simple dra w ing of a bow l using monochromatic
colours, and d ra w it's contents using complem entary colours.

Monochromatic colours are tones of just one colour - different c x l& u s txK es
intensities of the same hue. To create monochromatic tones,
choose your base tone, and then add more white or slightly
more black to make tones lighter or darker.

i i i. i a?4#i*ss
Complementary colours are those which appear • .... &
directly opposite each other on the colour wheel.

•»
1. Choose a colour for your bowl, and draw it using
monochromatic colour tones. Perhaps create a pattern.

2. Draw the contents of the bowl using the

complementary colour of the colour you have chosen
for the bowl. For example, if you have chosen a blue
bowl, the contents could be oranges. A red bowl
could have green contents, such as apples.

3. Finish off the drawing with extra details.

Yip: x tn&McArxtnxiLz c&lxus scAesne, cxti

jp w it YfaM UiA c&hesiue. x n Y y x u , c x tv 6e- s u re -u xh T c x lx u s s
xiitluMtx^.eYA&r. Msihff axmptejne*ctxfu cxfou/z cxn,
cf&YYe, x vcfip striking dfxkibig tx the, ki^A CMxttxst.
Fill this quarter page with green dots. ^ ^

Using the opposite hand to the one you usually d ra w with,

dra w your reflection in a mirror.
Create some images below, where
you are using negative space w ithin
your d ra w ing . For example, to
d ra w a w hite piece o f clothing, you
could focus on the negative space
around the clothes, rather than the
clothes themselves.
m
Turn the book on its side and fill the page with lampshade designs.
m A d d birds to the lines.
m Using coloured pencils, d ra w an anim al as it moves
around, perhaps a pet or a bird. Capture the key details
as quickly as you can, and as soon as the animal changes
position, start a new draw ing.

as fnMoh tutte- a ttte, \iHt, co s., zoithjustth& aecasi& K ot^iasce

ekwti a t popes. T tu s is tohese, Us, skitts -Mviti^ a n n e is,
kond^, aspau, aiM K&esLts'patties as p a ssiite.
's-fi is, each trrsmsJitas
Z93 Use the space below to d ra w thumbnail sketches. These can be used
before you start a final d raw ing, to quickly test whether a composition is
w orking, and adjust it if it isn't. There's no need for detail here, they can
be very simple as they are just a w a y o f jotting dow n ideas.

fkium hnails can, be, u sed b efore, an y k in d o f drawiny - yu tra its, kandscaftes, unayinary e-r
shseri/atiunal. Vainy a quick,, ru uyh sketch, should, he, th e.first tA inyym cdu befare, sta rtin y a
su sta in ed ip ie ce o f draMiny, sis it's th e tune, t» sp a ta n y y la rin y issu es toith com position . A fter
ys-tdi/e, drawn y a u r thum bnail, take, a step hack a n d check , the, b a la n ce, -Are, there, any awkward
sh apes? Z f i f dues*. 'tf& el quite, riyh t, sketch, a d iffe r e n t csm pasitian.
m Draw an alphabet o f items. Start from A , then B .
the w a y to Z, dra w ing an object for each letter.
m Today, try a painting - perhaps use gouache or watercolour. Choose a
subject, it could be a plant, some fruit or anything you are interested in
draw ing. Start by looking carefully at the subject, and for each of the
colours you see, swatch your 4 - 6 tones from light to dark. Draw your
subject in paint, w orking from the lightest to the darkest tones. You may
find it helpful to sketch a rough outline and then paint a base for the
entire shape first, using one o f your lightest swatches.

^M a tc h e s:
# #

: ^xu xcA e , x r uxZ escxtxu /', ipxa, nuup lite , tx />te n e t^ x x t txnes to g e th e r, <?/■

s texve. the. htechs x fi tx tie . MthteJtdeeC, f x t x m xte ,g ra p h ic e ffe c t.

2% Fill the page with pebbles.
297 Create a line dra w ing here of a corner in your home using a
coloured line, instead o f black or grey. H ow does it affect the
mood o f the draw ing?
 Draw this flower.
m

tip : P e rh u ip s s k e tc h a u tth & h a s L c .

s h a fle ,firs t, tt.e n ^ ra s iu a tt^ a d j.
m a te , te ts u iu s in ^ h ta c k s o f
c a ta u r. th u s is a, c a m p le ?
shape,, s a lo o k c a s e fu ttp a t
th e . n e g a tiv e sha pe, a ra u z i s t
the.p>
Fill a page with draw ings o f water. You could use w a x
pastels to create vivid colours, and blend them with a brush
and w ater if they are water-soluble.
301 Draw things you love about summer.

Draw something you really enjoyed about today.

303 Using your hands to make a viewfinder, d ra w an unusual and
interesting composition below. Consider positioning your main subject
off-centre, or even p a rtia lly cropped outside of the composition.
305 Draw the materials in your pencil case.

30G Create a pattern using abstract shapes and marks.

307 Continue dra w ing a line using a fine liner pen, then colour
in the shapes using coloured pencils.

------------------ ^ 5e w a x Pastel to create lines o f simple pattern.

vV V V V V sA A A A /
310 Colour each orange in a different style or m aterial.
Practise dra w ing the human figure by dra w ing on top
o f these sketches, or 'maquettes'. Flesh out the bodies.
A dd bulk to them, skin, hair and clothes.

I t CMt Hszjfut &pra ctise ftOMSt,

toe+djui, 7Ii&se, c m v l>& ifr u fy h tfr & M s
eutst&rts, amLka,ve. jo-ijls.
313
3U D raw your hand using only blue hues.

'I t f i: - /k to e ll a s c re a titi^ a. e d fffe re rttn o o d to

^ o u r tro w in g , u s Lm u n n a tu ra l (lu e s tn e a rs
th a t toe, c rn c e rtra te , a tv th e , to n e , a r t s h n /te
o f th e , o b je c t, to ith io u th e tr^ tis tr o c te t th e ,
c o lo u rs . 7?^ / lo tto - c o n fu s e h u e s o fc o lo u r
k iitA to n e , a r t, s /ju tn ly o u r ee^es to it r r t if ^
tk e , a re a s o ft tru e , sh a d o w .
315 A d d colour to the starfish.
317 Draw a river from your im agination. Perhaps it is a cross-section
showing the w ild life beneath the water, o r an aerial view.
 Complete a study o f a flower using coloured pencils.

1. Carefully draw 2. Start to simplify

the outline. Press the image you
lightly, using a sharp see, by adding the
coloured pencil. blocks of colour
where you see
them.

3. Add tone,
4. Add detail with
from light to dark.
sharp coloured
Squinting your eyes
pencils. The final
as you look at the
stage should be
flower may help to
adding a small
see the light and
amount of the
dark tones.
darkest tone you
see, and highlights
with white pencil.
 m Draw a face using just a few (8 -1 0 ) lines. Perhaps you just suggest
the edge o f the face with one line, rather than draw ing the whole
face shape. The lines can be curved, straight or round, but try not
to remove your pen from the page more than 10 or so times.

U p: S a /n e tU ie s itc a n le , s tiffic u ttte r k n a w /o h m trs to p w ith , a. e trs w in ^ a s it is fin is h e d . -/M & ra i

p e ru rs e if to -k e e p th is stra M /in ^ s iw p te ,, tu id s to p a fte rp a -u 't/e , m a s k th & tO (in e s . th u s m a p ta ie , som e,
c o n s id e ra tio n a n d p ra rtis e ,, h u t it 's a .p re s e te x e rc is e , to if y ifp o s t fe e l (lie ,y o u , o o e rm rt d ra n in p s .
m Practise sketching one person's face in lots of draw ing studies below.
Draw them from many different angles. Creating a few quick draw ing
studies are useful to do before you start a more sustained draw ing of
someone, as it helps you to really understand their face. The more you
look at a face, the more you see, and the easier it w ill be to draw.

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tps-t*. c A x t!’ c&uleL x ls f' d ttw x m u/s r& x tfe f xs They rzxettA e, n&ws /V, x r xpresehtzr.
 Tones, from dark to light, can be created in lots o f ways using
watercolours. Use the boxes below to explore how the colour
goes from dark to light as you move across the page.

Create thick downwards strokes by applying pressure to the brush. O nce you've completed
one stroke, lift the brush from the page and move from left to right.

Create thin downwards strokes by applying minimal pressure to the brush. Once you've
completed one stroke, lift the brush from the page and move from left to right.

Using one long stroke, drag the brush from left to right.

M ove the brush up and down in tight zig-zags from left to right, without lifting it from the page.
313 D raw tropical leaves using watercolour. Perhaps the leaves
overlap each other, to form an abstract print.

W rite a stream o f conciousness. Just w rite w hat comes

into your mind. There's no need to read it back.
325 Even when creating an observational d raw ing, your artw ork
doesn't need to be accurate and technically correct. Use the
space below to create an expressive draw ing.

T p :Z t'ssM ifa p * rta n tta t* wh a t the, su jy ect ofu a u s drtwina,

h u t instead, o f fa&asatrinp an d (ending a t precise, angles, fa cte,
faashs y tu ctlp and fa cets an, the, essen ce o f eohat aaet see,.
326 Fill a page with circles o f warm colours.

A d d layers o f sand and soil,

and then plants, to the terrariums.
Fill this quarter page with purple dots.
N otice how many shades you can make.

Using the coloured background as your base, use light coloured wax
pastels to draw. Perhaps d ra w a drinking glass, rain or a puddle, so that
the blue can become part of your draw ing.
330
331 Fill the space with tiles o f green. Notice
how many different hues of green
there are.

332 W ithout using any written words, d ra w symbols to represent something

that was memorable about your day today. Perhaps a sun for good
weather, or a smiling face for good company.
333 Draw a landscape. This can be any location. Perhaps the horizon
is very low and there is a lot o f sky, o r maybe the landscape is
made from buildings. This could be a vie w from your home, or
even a scene from a documentary.
 Draw w hat is being illuminated by the light.
m

I
335 Fill the page with observational draw ings o f flowers.
You could try using a variety o f different materials.
 There are lots o f ways you can d ra w the human body, and a
good w a y to start is by blocking out the main bulk o f the figure.

Using photographs of friends and family

for reference, explore drawing the mass of
the body using blocks of shape. You can
use any material for this, perhaps try a
range of different ones.

Once you have the hang of capturing the

basic shape and position of the figures,
you can then add detail and tone.

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Liefi im, fnindtk atajv asm ajutfe^ cst^v bejuinataUaM^ ifi- CifttuKplaces.
Design some bunting.
338 Fill a page with cool shades o f colours.

Fill the page with doodles before you go to sleep.

D raw something yellow.
3LI Fill the space with draw ings o f shoes. Use different colours
and techniques.
A dd features to these faces using the axis as a guide. The eyes
and ears are about h a lfw ay down the face. N otice where
the h a lfw ay line is on each face and how this w ill effect the
direction face is looking.
346 Design a stack o f bowls. Consider using pattern and
choosing colours that w ork well together.

’T ' I* /:* !
Draw lilypads. Perhaps add water, frogs and flowers.
349 Draw the profile o f a face (the side view) using only the negative shape.
Fill each segm ent w ith d iffe re n t patterns, using
3 - 5 a n a lo g o u s colou rs. You m ay like to refer to
y o u r c o lo u r w hee l fo r this task.
351 Draw a meal or food that you enjoy.

351 D ra w a c o lle c tio n o f c lo th in g - tops, trousers, skirts.

353 U sing y o u r n o n-do m ina nt hand (the o p p o site ha nd to the one you
d ra w w ith) a n d w ith o u t lo o k in g a t reference, d ra w som e p e ople.

Tip: T itus (UHMpractMscbd&restin^ resatts, as itioiMtal&^e-u, autajfgattr

35i Fill this w h o le a re a w ith do o d le s .

Tip: is a ^ reatw eup to-be, crea tive,, a ju i k elp s to- b u Jtd ca rifid tn ct,
(ok itst d ron in g a s tkere, is re-p ressu re, t r crea te, an^tkin^ in ,p a rticu la r.
355 Complete the shoal o f fish.

356 C o n tin u e d ra w in g circles in a n y m a te ria l.

357 A dd colours to create different palettes.

D ra w a scene a ro u n d the river.

359 Fill this quarter page with orange and yellow dots.

360 D ra w w h a t y o u can see o u t o f a w in d o w .

 Try this sustained activity and use your IMAGINATION to create
an image. Enjoy taking the time to let you mind wander.

ACTIVITY:

O n the next pages, d ra w your favourite place in the w o rld . This could be
an im ag inary travel destination, or som ewhere closer to home. C lose your
eyes and think ab out that place. W h a t colours can you see? W h a t shapes or
objects are there?

Is it a tropical island? A peaceful forest? Perhaps a city you 've never visited?

Your d ra w in g can be as abstract or as g ra p h ic as you like. Perhaps some

areas are de tailed, and others are left looser and more simplistic.

Use the p a g e opposite to plan your d ra w in g . Jot do w n ideas or key w ords

- things yo u 'd like to include in your im age. D raw thumbnail sketches of
possible compositions.You could also use the space to create swatches of
your colour palette. Do the colours look g o o d together? W h a t m ood d o the
colours create?

Then, using any materials you like, d ra w your scene on the next pages. You
do n 't need to use the full space. Perhaps your d ra w in g just shows a small
w in d o w into a scene.

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tre u s & tp & s t& rs . ? / tnid A&licCsui snaps.

THINGS TO CONSIDER:

- There's no right o r w ron g answ er w ith im aginitive d ra w in g .

• . *
- Use this opportunity to think outside o f the bo x and to be as creative as
you can.

- If you are stuck for ideas, have a look back through the book, w h a t d id you
enjoy d raw ing? W h ic h colours d id you get excited by?

* © s ' - 9
0

: -W
Use this spa ce to p re p a re fo r y o u r d ra w in g . N o te d o w n idea s, sketch
thu m bn ails a n d cre ate c o lo u r sw atches o f y o u r palette.
 Spend a period of time completing a draw ing on the next page,
using the skills you have practised in the TUTORIAL activities.

ACTIVITY:

Begin b y choosing a subject to d ra w from life. C onsider w h a t you enjoy

d ra w in g , or perhaps set yourself a challenge b y d ra w in g something new
that interests you. This could be a person, a still life, or a location. You could
d ra w a face or w h o le body. You could even d ra w yourself w hilst looking at
your reflection.

Prepare for your d ra w in g on the opposite pa ge. Use your hands as a

v iew find er to find a com position that ap peals to you. C reate some thumbnail
sketches an d plan out how your d ra w in g w ill look. You could also use the
space to create studies o f the key features in your d ra w in g - for exam ple ears
an d eyes.

O n c e you are clear on w h a t you w ill be d ra w in g , turn over the pa ge, and
start your d ra w in g b y creating a rough sketch in pencil. Remember to check
your angles and be sure the rough looks right. If not, do n 't be afraid to erase
large areas and redraw . It's important to get the basic shapes and distances
correct a t this stage, so take as long as you need.

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cyo-p tke,p r o cess ro th er than, uorripjip ajto-td,w hetherfyour elrtiMih^
i s o - r hari.

THINGS TO CONSIDER:

- Be sure to really look, and d ra w w h a t you see, rather than w h a t you expect
to see.

- O bserve and measure angles and distances betw een shapes.

- If you d e cid e to a d d tone to your d ra w in g , build tone from light to dark,

and squint to help identify the areas o f shadow . S had ow and darker tones
can be a d d e d in any colour, an d it m ight be better to try to a vo id using
black as it can deaden your dra w in g .

- O bserve the negative shape to help your mind sim plify com plex objects.
W a rm up here w ith q u ic k sketches o f y o u r sub je ct a n d studies o f
key features.

You c o u ld cre ate thu m b n a ils o f po ssib le co m p o s itio n s here.

 Spend some time completing this sustained RELAXATION
activity. It may take you longer to complete than the previous
exercises, but enjoy taking the time to just d ra w and create.

ACTIVITY:

Firstly, set aside a g o o d chunk o f time for yourself, so that you can d ra w
* w ithout any time pressures an d w ithout interruption. Put on some calm ing
music, or perhaps sit outside if you can.

Fill each circle on the next p a g e w ith a pattern or design. Take your time on
each design, so that you are being mindful o f your decisions. W h ic h colours
w ill you choose? W h ic h materials w ill you use?

You m ay like to try the w arm up exercise on the opposite p a g e first, to loosen
your w rist an d help w in d do w n .

I I p : lementh& S u? he, in, tte,snesnesC t. I w fen ces fft h i s t o s t is n a tsn

the. en d resu lt, h u t Instead, sn esuapinp the,process efcs ea tia n itself.

THINGS TO CONSIDER:

- These style activities can be used as a w arm up at any time.

- Focusing your mind entirely on the task, choosing colours, thinking about
pattern and enjoying being in the moment is a great w a y to bring
mindfulness into your day.

- D raw ing is a great w a y to distrsct your mind from eve ryday w orries.
If you feel like you need to give yourself a break, pick up a pen and just
start d o odling .

-Tasks that do n 't require too much thinking can be therapeutic and relaxing.

- A t the end you w ill have created a beautiful piece o f artw ork w hich w ill be
something to be proud of.

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sn in dfeel t o s t snce.pesdue, cs-m pleted
th is h w l, fokp n o t p a in t pen es stun
cisctes, a n d f i l l tAem/toCth.pattern. f t «
Before starting the activity on the next page, complete this warm-up exeri
Practise dra w ing curved lines. Feel the rhythm o f the repetitive d raw ing.
■
 Take some time to explore COLOUR THEORY in this sustained
activity. You may like to take this exploration further, outside
o f the pages o f this book.

ACTIVITY:

C reate a com plem entary palette. C hoose tw o com plem entary colours,
w hich are found opposite each other in the colour w heel. Using the steps
on the opposite pa ge, create a palette o f colours using just these tw o these
com plem entary colours and w hite.

Use pa in t for this, perhaps gouache, a crylic o r w atercolour. M ix these

colours in a clean m ixing palette, and swatch them on the next page.

Then, create a pattern using these colours. You can be sure the colours in
your pattern w ill be harmonious if they all com e from this palette you have
created.

It could be a repeating pattern, or something more free and loose.

Use the darker colours in your palette to create tone, rather than being
tempted to use black. You can also use w h ite for highlight w here needed.

Tift: tjeu , fv-tup tike, to- r e fe r t a c t ts-^ w tr co& ws fvh& zlfer th is ex ercise.

THINGS TO CONSIDER:

- It's useful to create a colour palette before you start a d ra w in g . It makes

decisions simpler w hen it com es to considering h o w you w ill a d d tone, as
you can clearly see the darkest and lightest hues.

- You can create palettes just by eye, or perhaps by using 3 - 5 analogous

colours.

- W h e n creating a colour palette for future draw ings, consider using

less saturated hues alongside the bright ones. A d d w hite to create less
saturated colours, such as the hues you w ill create on the next page.
1. To create your com plem entary palette, start by swatching your tw o complem entary colours
each side o f the paint palette, and also on the page o r separate piece o f paper.

2. Then, mix the two colours together, creating swatches as you go, to create a complem entary
scale across the top o f your page.

3. For the second row o f swatches, mix a little bit o f w hite into each tone.

4. Continue to add w hite to all your swatches so that with each row your hues get less
saturated.

# • • •
• • •
00 0 • A d d w hite

mm 0 0 ''V'
365 Complete a sustained OBSERVATIONAL d raw ing, by carefully
studying something from life.

ACTIVITY:

Set up a still life scene in front o f you. This could be a vase o f flowers and
fruit, or something less traditional. C hoose shapes an d objects that interest
you, and that you feel inspired by.

Use everything you 've practised in this bo ok to d ra w the scene in w hichever

w a y you most enjoy, using an y material you like. Use the next pages to d ra w
the scene. Perhaps d ra w the scene a number o f times, so the end result is a
number o f draw ings o f the same objects, in different styles and materials.

Remember to look carefully a t the scene. O bse rve the scene for a couple
o f minutes before you start d ra w in g . M o v e your eye around the outside o f •*
the shape.

C om plete a blind d ra w in g o f the scene before you start, to w arm up, and
also so that you can focus on w h a t you can see in front o f you.

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sczm, usih^ bi&cLs » £ f tuM,ufi th&t&uat

THINGS TO CONSIDER:

- You m ay like to com plete a quick sketch before you start a d d in g the details.

- C onsider the palette you m ay like to use. H o w d o the colours affect the
mood o f the draw ing?

- Perhaps d o some fast w arm -up sketches o f the scene, to get an idea of
w here everything belongs on the paper.

- O bserve the negative shapes around the outside o f the objects, and use this
to help you d ra w accurate shapes.

- Build up your tone from light to dark. Swatch your tones before you start.

#*
Complete a blind dra w ing of the scene. D raw w hat you see, without
looking at the page. You could use a number of different colours to help
identify various objects in the d raw ing.
Lorna Scobie grew up in the depths of the English
countryside, clim bing trees and taking her rabbit
for walks in the fields. She is an illustrator and
designer, now based in south London. G row ing up
surrounded by nature has heavily influenced her
illustrations and her w ork often revolves around
the natural w o rld and the anim al kingdom.

Lorna draws every day, and always has a

sketchbook close to hand when she's out and
about, just in case. She illustrates her w ork by
hand rather than digitally, as she enjoys the
spontaneity and also the 'h a p p y mistakes' that
can happen along the way. Her favourite places
to d ra w are museums and botanical gardens.

If yo u 'd like to keep up to date with Lorna's

w ork, she can be found on Instagram and
Twitter: @lornascobie
To Joseph, Steven, Mum, Jill and Emma
for their tips and ideas. Thank you also
to my super editor, Kajal.
Published in 201 8 by Hardie G rant Books, an im print of Hardie G rant Publishing

Hardie G rant Books (London)

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5 2 -5 4 Southwark Street
London SE1 1UN

Hardie G rant Books (Melbourne)

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Richmond, Victoria 3121

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All rights reserved. N o part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form by any means, electronic, mechanical, photocopying,
recording or otherwise, without the p rior written permission o f the publishers and
copyright holders.

The moral rights of the author have been asserted.

C opyright text and illustrations © Lorna Scobie C opyright Holder 201 8

British Library Cataloguing-in-Publication Data. A catalogue record for this book is

available from the British Library.

3 6 5 Days o f Drawing

ISBN: 9 7 8-1-78488-195-5

Publisher: Kate Pollard

Commissioning Editor: Kajal M istry
Illustrations: Lorna Scobie

Colour Reproduction by p2d

Printed and bound in China by Leo Paper G roup