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Pencil Sketches Beach Scenes

Jane Stanton, Behind the Scoreboard, 25 x 36 cm (10 x 14 in)

This drawing is one of a series the artist made while sitting behind a cricket scoreboard. Although our attention is immediately drawn to the two seated figures, the artist is also fascinated by the shapes within the room - the intersecting lines of the walls, the repeated image of the doors, and the overhanging cupboards. By placing the figures at an angle, she intensifies our interest and heightens the sense of drama in the scene.

Anne-Marie Butlin, Two Pears, 25 x 30cm (10x 12 in)

This carefully thought out composition transforms a deceptively simple still life into a fascinating study. Viewed from a close angle, the edge of the table that cuts across the picture divides the composition in two so that our attention on the fruit is even more intense. The uneasy positioning of the pears also implies that the artist has sought to generate a certain degree of tension in this picture.

Boudin, Beach Scene, Late 19th century,

29x72 cm (ll'4x28'4 in) This delightful pastel captures the fun ofpeople relaxing on a beach. Boudin has deliberately chosen a long, thin format to reinforce the sensation of gazing out at an endless stretch of coastline. The impressionistic suggestion of figures and shapes in coloured pastels gives a spacious, indistinct feet to the drawing so that the scene appears to exist beyond the confines of the toned paper.

Draw Beach Scene With Ink

Beachcombing is one of the best ways of finding interesting material to draw.

Beach Combing Objects

Drawing Natural Forms

3 rawing natural forms tends to be a genre of its own as it requires a more observant and investigative approach: to record precisely and in detail the appearance and workings of an animal or a plant. You need to work methodically to capture the particular characteristics of your subject, rather than applying your own personal artistic interpretation. Select a medium that is sympathetic to the quality of the object - a bold medium for vigorous drawing and the clean lines of pen and ink for more exacting work.

Beachcombing is one of the best ways of finding interesting material to draw.

the light, the more realistic your drawing will be. Use a pencil first to establish the essential shape and features of the lobster before you move on to the permanent medium of pen and ink.

2> Describe the other objects around the lobster to establish the right proportions before you put in the finer details. You may want to rest your hand on a sheet of paper to avoid smudging the existing pencil marks.


Crustaceans are fascinating to look at and the "mechanics" of a creature such as this lobster are intriguing. The longer you examine how the different joints are connected and the effects of the hard shell reflecting

1> Arrange the lobster and sea shells in a corner where they can be left to enable you to take your time to study and draw them. Sketch in the basic shape of the lobster with light, gestural strokes on smooth watercolour paper, using a pencil with a long, sharpened point.

3< With a medium-sized sable brush and a wash of pale yellow, begin to build up the form of the lobster. Apply the watercolour sparingly if you are worried about over-emphasizing any aspect of the work at this stage.

4 a. When the first wash of watercolour has dried, apply a scarlet-brown wash to the main body of the lobster in a series of dabs to echo the appearance of its mottled shell. The springy hairs of the sable brush should give you good control as you paint.

\1 m drawing natural forms

5> Lightly shade areas of the background with a thin wash of dark brown to give a sense of depth to the drawing and push the form of the lobster forward.

The Sketches With The Darkest Background

6 a. Gently shade the side of the lobster shell with the pencil to build up a series of dark tones. This should help to give the image a three-dimensional appearance.


2B pencil

Size 10 sable brush

Dip pen

Brown coloured pencil

Brown coloured pencil

Layers of watercolour have been built up into a series of subtle tones that mould the form of the lobster effectively.

Coloured Fruit Composition Draw

A coloured pencil breaks up the the flat areas of watercolour and provides texture.

Initial pencil lines which are tect""'ca .. incorrect scd to t-e vitality of the drsv. '-g.

Richard Beli

74 Use a dip pen and sepia ink to redefine the shape and details of the lobster. Accentuate any areas in shadow with thick, dark lines, and highlights with thin, faint lines of ink. Hatched marks drawn in the darkest shadows will also push the image forward.

A coloured pencil breaks up the the flat areas of watercolour and provides texture.

84 Deepen the tones of the shell and claws with a dark brown coloured pencil. The pencil marks will also add texture to the drawing and help to break up any areas of paint that look a little flat.

Norfolk Lobster

The artist has taken his time to study this lobster, and the result is a beautiful and meticulous drawing with a wealth of detail. The layers of colour and texture have been applied carefully to give the lobster a powerful sense of form, while the clean, crisp lines of ink define particular features that turn this drawing into a fascinating reference work.

Layers of watercolour have been built up into a series of subtle tones that mould the form of the lobster effectively.

Initial pencil lines which are tect""'ca .. incorrect scd to t-e vitality of the drsv. '-g.

Richard Beli


Drawing landscapes is a relatively recent development in art and it was not until the eighteenth century that the changing effects of light and weather in a landscape became such a popular subject matter. It is always essential to be aware of the passage of the sun across a scene as the definition of individual features and the length of shadows can change dramatically. Perhaps the greatest problem when you are drawing a landscape is choosing which features to include and which to leave out. A viewfinder is the best way of

24 Look for any features in the foreground and middleground, such as trees or a sloping hill, that give a sense of perspective; a diagonal line on the left helps to lead the eye up to the village. Keep the landscape to the same scale as the village by measuring the different features carefully.

3t- When you are happy with the scale of the composition, add some watercolour with a small sable brush to capture the effect of sunlight on the buildings. Use a wash of warm red for rooftops and cool purples for shadows.

It Use a viewfinder to select an appealing composition. With a pencil, measure the proportions of the hill village and draw it in a series of blocks and triangles on rough watercolour paper. The slightly off-centre positioning of the village creates an unusual composition and the vegetation surrounding it can be sketched in gradually to balance out the drawing.

Village Watercolour

selecting one view from a broad panorama. Watercolour is one of the most suitable mediums to use for drawing landscapes as it enables you to capture the transient effects of the weather quickly landscapes

4*. Describe the trunks and branches of the trees in the foreground with the sable brush and a pale brown wash. Apply the wash lightly to retain the clarity of line and lift out any mistakes you may make with a piece of kitchen roll.

5 Add some yellow highlights for buildings that catch the sunlight and draw in any small details, such as windows and doors, to give each building more of a three-dimensional form.



•-J *

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  • jay
    How to draw a beach scenes in nature with color?
    3 years ago

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