Reference and Observation

Drawing from Reference

Drawing from reference requires you to look at a two dimensional image or photograph and learn about its shape and components so your drawing is an informed representation of the subject. The reference material is the basic visual information which you then translate onto paper using your own media and techniques to make the image your own. Reference material is useful if what you want to draw is unavailable to draw from observation or if you do not have enough time on a brief to go out and draw things from life. However, this method restricts your view of the subject to the angle and position in the image you are using - this can limit your possibilities to experiment with the subject matter and also not give you the chance to capture a sense of movement. 

Dip pen and ink  

Dip pen, ink and ink wash with brushes

These are the first and last of five drawings from reference (a photograph in a book about street photography). I chose to draw this lady because she had an expressive face and her attitude stood out to me in the photograph. I feel I captured her facial expression best in my initial drawing and didn't seem to improve on this in the drawings after this. With practice, I became familiar with how to draw this image and therefore felt more confident with my lines and adding a few washes of ink to show areas of shadow. I think drawing the figure from reference can be really useful as you can take as much time as you like to get the proportions right whereas when you draw from observation, there is always a chance the person could move and you won't get chance to draw that position again. 

Drawing from Observation

Observational drawing requires you to look closely at a three dimensional object, select a viewpoint and take it through a process in your brain to translate what you see into a two dimensional image. Drawing from observation allows you to look at something as you draw it so you can record all the details of the object that you would not be able to recall if you were drawing from your imagination. Considering tone of voice and what you are communicating is important when expressing your own interpretation of what you see. Drawing moving objects or people from observation requires you to make quick decisions and work with speed which often means you have to be less particular about the neatness of a drawing and just aim to get all the necessary information onto a page. Drawing from observation is not always an option if the subject is difficult to get hold of but if it is available, it is great for capturing exactly what you see - this will be different for everyone which shows each individual's impression of the real world.

Firm brush and ink

Dip pen and ink

Ink washes, dip pen and ink, markmaking with end of paintbrush

These are observational drawings of a potted cactus. I was more experimental with my use of media in this exercise as I wanted to be a bit more expressive and free with my drawing because it was such an organic shape. I realised there are endless possibilities when it comes to drawing from observation because you can always look a bit closer and notice something else to include. 

Ink and brush, dip pen and ink, ink washes patted with scrunched tissue

I was really pleased with the outcome of this picture; I included numerous different techniques in the same image to try and capture the varying textures and surfaces in the still life. I wanted to think of a way to show the texture of the cactus without drawing the spikes so I patted some ink washes with scrunched up paper towel to create this patchy effect. I chose to use the dip pens for the smaller objects as they had a carved/sculpted shape which I felt were represented better with a sharper line. One improvement I can suggest for this drawing would be for the skull to be drawn in a fainter line so that the objects closest to me were darkest and the ones furthest away were less prominent.