Surveying the contents of this book before finally sending it to press, I am aware of how much remains unsaid, the approaches that remain unexamined and the aspects of the subject that remain unmentioned. But I hope that, in sharing some of my own knowledge and experience, I have been able to open doors for you to some of the great pleasures and rewards I have found through drawing.

One of the oldest truisms about art is that the rules are only there to be broken. This sounds pretty silly on the face of it, but a case can be made that the rules or guidelines offered to you by any teacher or book of instruction will have fully served their purpose only when you have learned how you can successfully disregard them. That is why I hope I have encouraged the development of a streak of perversity within your approach to drawing - an urge to do things differently, even (or perhaps especially) when you have available a tried and tested method that has proved itself perfectly adequate in the past. So, if in reading any part of this book you have disagreed with what I have had to say - if you believed you could find better solutions to the problems I outlined - then it is achieving one of the things I wanted it to.

I set out to show that, through dispensing with the crutch of posed and constructed realities in the studio, you can encourage your imagination and inventiveness to grow. If I have been instrumental in causing you to take one step along that road, my efforts have been worthwhile.

Remember that the key to creativity is in the way you use your sketchbook. It is within its pages that your perceptions are sharpened. Playing with improvisations and exploring possibilities is the way to unlock the door of your creativity. If you draw constantly - relentlessly - until nothing in either the visible world or your imagination is beyond your ability to record, you will indeed have become gifted.

After all, paper is cheap. So are pencils.

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