This easy drawing from memory challenge is for beginners and also more experienced artists. The purpose of it is to inspire you for new drawing ideas and improve your artistic visual memory.
What’s the Drawing Challenge?
Drawing Challenge is a new series by DrawingIdeas.ART intended to help you get into the habit of drawing regularly, improve your skills and provide you with inspiration and a challenge when you need it.
Origin of the Easy Drawing Challenge
I remember when I was in 4th grade, my classmate challenged me to draw a character from the series Transformers. I was obsessed with this anime – despite not being interested in art classes, we were drawing anime and cartoons all the time.
So my friend challenged me to draw Ginrai from the show. I remember that drawing very vividly to this day.
I’m still amazed how at that age we challenged and expected each other to draw a subject from memory, and I’m even surprised how later – when I watched the show again – I could see more details than ever before. And when I did the same drawing again of the same character, my drawings were much more detailed and accurate after that challenge.
I believe as children we are way more creative, but especially more daring. Today I sometimes struggle to sketch a live building that I’m looking straight ahead at from across the street, and at times I get nervous during a life drawing session to draw an object like still life.
Every child is an artist. The problem is how to remain an artist once we grow up.
Step 1: Avoid photos and pictures and certainly no tracers or devices
Ok this is a bit divisive I understand – and not everyone would agree – but the reality is; you can never really learn drawing unless you learn to observe.
And you can never learn to observe by looking and drawing from pictures, because learning to the observer from life is at the heart of this very art.
“Drawing is the basis of art. A bad painter cannot draw. But one who draws well can always paint.”
– Arshile Gorky
Step 2: Find a simple subject or object to draw.
A Banana, Pear or an Apple are perfect for this. Take it easy here, the challenge is hard enough for drawing a simple object. You are going to draw this from memory, so keep it simple.
Step 3: Use a timer and draw the object from life in 2 minutes only
This is not the end but at this stage, we are trying to capture a fresh image from the subject directly and also to warm up for the next step.
Fast 2min sketch
Step 4: Draw the same object from memory
Draw the object again from memory. Don’t look at the drawing of the object – the idea is to see how much your brain can recall and how well it can interpret your visual memory to your motor skills to create what you see in your memory.
Drawing the same object from memory
Give yourself more time but not too much. The idea here is not to overthink but to trust your imagination as much as what you see.
Step 5: Finally Draw again the same object from looking at it directly
In this last step, I want you to again draw the same object under the same conditions, light, angle, position…
Here are some more helpful tips for this step:
Every drawing starts with a sketch and sketching is fast
Trust your first look, your eyes, then your memory
Do not overthink the process – this is a drawing, a sketch; not a photo
Remember that when you look at the object for too long, your eyes will tire, and it will only get harder the longer you spend on the drawing.
Notice now how much easier it is going to be and how much more detail you can see.
Let us assume that you have found a subject that moves you and that, being too fleeting to draw on the spot, you wish to commit to memory. Drink a full enjoyment of it, let it soak in, for the recollection of this will be of the utmost use to you afterwards in guiding your memory-drawing. This mental impression is not difficult to recall; it is the visual impression in terms of line and tone that is difficult to remember.
This is a repost of my reply to a message by one of our members at Drawing Ideas Community on creativity and artist blocks and when you don’t feel like starting.
I expand on it a bit more for some context and offer some tips that I have found to be helpful to me.
I’m more inclined to think that what feels like a creative block is often nothing more than just resistance (as has been well articulated by Steven Pressfield in his classic book The War of Art)
I always had difficulties concentrating and was diagnosed with ADHD in my childhood. This explains why so often during class I would just doodle on paper, which seemed to be a great escape at the time. This mind-wandering activity has resulted in thousands of drawings, sketches, and doodles over the years…
Fast forward to this day. Whether I’m on the phone, waiting for something, or doing anything that requires concentration, drawing is the most effortless, entertaining escape.
Yet, when concentration is needed most, like when I have to sit down to work on an actual commission or a personal project, I end up experiencing the same restlessness that would normally urge me to draw something. So, what’s going on here?
My theory is that the resistance I experience comes not from the act of producing art itself, but from the conditions and setting. In any other scenario, I escape from that effort and concentration by drawing, however I have to force myself into those states if I want to draw to complete my work…
So, how to overcome creative blocks and find the motivation to draw?
This is what I have found that works for me, and I hope you find it helpful.
1 – Learn to be OK with unfinished sketches -Start and quit intentionally
Sketch studies of trees and light
This is often an overlooked, simple hack. Learn to be OK with quitting. It’s ok to just move on to something else, even if you start sketching daily and quit after a few minutes.
A month later you have 20 rough sketches, and probably some decent ones. Even 30 unfinished, rough sketches are better than zero and you get to improve your skill further.
I find that one of the reasons I would get creative blocks and struggle to start on a new project is because I get carried away thinking it all the way through to the finish. I have an obsession with the end in mind. So, to get over this, I have trained myself to quit intentionally before I even start.
Art is never finished, only abandoned.
Leonardo da Vinci
If you are into writing, you’ve probably come across this Ernest Hemmingway quote, where he says:
“I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it. I always worked until I had something done, and I always stopped when I knew what was going to happen next. That way I could be sure of going on the next day.”
— Ernest Hemmingway
So try it. Start a sketch and intend not to finish it (doing this makes me more comfortable with unfinished art, which is still art) and prevents the blocks because one can’t imagine its conclusion.
2 – Draw anything, do it everyday to make it a habit
Draw anything but do it every day. Sketch a flower, leaves, abstract lines, doodles… Do anything that engages your imagination. The aim here is to build a habit.
Habits then stick with you and give you the momentum to keep going, to deliver your art when you lack motivation. For example, I have a habit of drawing when I’m on any sort of phone call.
“Habits stay with you even when you don’t have the motivation.”
Drawing Art Club & Learning Community of DrawingIdeas.ART
Join a local or online Art community or Art Club, be active and interact with the community. This is a great way to get inspired, meet new people, collaborate, and get influenced and motivated by the power of the group.
Better yet, join us at Drawing Ideas Art Club. I’m very active in this community, and we have thousands of like-minded artists from all over the world who come together to discuss many subjects, ideas, and opportunities. This very post was actually inspired by a discussion held on our Facebook group.
4 – Read books on resistance – or a chapter of the WAR OF ART book
You cannot defeat your enemy unless you understand your enemy. One of the best books on the topic of resistance, aka, creative block, is Pressfield’s book War of Art. I highly recommend reading from this book on a regular basis to remind yourself that what you are dealing with is not insurmountable, and is nothing more than resistance.
“Are you paralyzed with fear? That’s a good sign. Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do. Remember one rule of thumb: the more scared we are of a work or calling, the more sure we can be that we have to do it.”
In short, what helps is interaction with other creatives, a push for momentum, and a bit of reading on creativity.
Original Post:
….Under the recent circumstances of being at home …. ALOT I have been consumed by my frustration that my actions do not reflect my wants and desires of getting creative. I asked myself today what do I want to be? and I said an artist, I then asked myself and how can I do that? and the answer is clearly, make art.
Now I know this sounds easy but I keep seeming to bang into a wall time and again. I spiral by thinking what then shall I create? I come up with project plans and study ideas, themes and mediums I want to use but it gets out of control I want to do them all, I’m still trying to find my style and a style of working that keeps my momentum moving but sometimes for weeks I don’t create anything and it upsets me as art brings me unexplainable joy….
While doing some research for content to share to the Drawing Ideas ART Facebook community, I have come across a stunning collection of sketches from 1920 by a little known architect and illustrator names: Noe L
These are excellent examples of the architectural style of 1920s and wonderful to see some vintage urban sketching of the time.
Drawings of Building facades, windows, balconies captured intricately by the artist.
If you find this collection inspiring, check out the Urbansketching community for local outdoor architecture and urban drawing events in your area.
Firstly, before you are put off by the first few lines of the review of this famous Drawing Book, let me make this clear now: This is an excellent theoretical book on Art and particularly the Art of Drawing.
The Practice & Science of Drawing by Harold Speed is not the average art book we are used to with huge glossy pages and tons of photos. Most of these are, honestly, quite useless. This is not a photo-heavy book, nor does it have any instructional tutorials or step by step projects. But one thing is for sure: This one of the most informative, complete books on Drawing and Art that I have read to date.
“It is not sufficient in drawing to concentrate the attention on copying accurately the visual appearance of anything … as the faculty of accurate observation is. Form to be expressed must first be appreciated.”
In this book, Harold Speed has put more focus on artistic theories, the meaning of Art, some philosophy and in-depth explanations on techniques. This is what makes this book an extremely valuable resource for those of us who want to go further than just grab a pencil and draw. The analysis of artworks, technical concepts and ideas conveyed within, is priceless
Selection of Quotes from The Practice and Science of Drawing Book
The book starts quite slow and broad. It’s only after about page 50 that it gets interesting when it goes into the chapter Mass Drawing. In this chapter, the author goes into a great comparison of two drawing techniques by Michelangelo and Degas.
…How remote from individual character is the Michel Angelo in contrast with this! Instead of an individual he gives us the expression of a glowing mental conception of man as a type of physical strength and power – p. 67
Later in chapters such as ‘The Study of Drawing’ he goes into great detail to make a case for the importance of studying the forms:
But at the same time he should study mass drawing with paint from the purely visual point of view, in order to be introduced to the important study of tone values and the expression of form by means of planes. And so by degrees he will learn accurately to observe and portray the tone masses (their shapes and values) to which all visual appearances can be reduced; and he will gradually arrive at the full realisation of form—a realisation that will bring him to a point somewhat similar to that arrived at from the opposite point of view of an outline to which has been added light and shade
Chapter: The Study of Drawing – pp. 80-81
The Line Drawing: Practical Chapter progresses to the practice of drawing and a few technical methods are explained in-depth.
In the case of foreshortenings, the eye, unaided by this blocking out, is always apt to be led astray. And here the observation of the shape of the background against the object will be of great assistance. The appearance of the foreshortened object is so unlike what you know it to be as a solid thing, that much as it is as well to concentrate the attention on the background rather than on the form in this blocking-out process. And in fact, in blocking out any object, whether foreshortened or not, the shape of the background should be observed as carefully as any other shape.
Chapter: The Line Drawing: Practical – p. 93
In the chapters of Rythm and even earlier in the book, Harold Speed speaks very strongly again about copying accurately anything, but to consider and seek rhythm and variety:
…all those who have aimed at an absolute perfection have usually ended in a deadness.
Chapter: Rhythm – p. 133
Later in the book, you will find it goes into great detail on subjects such as composition, variety of lines, mass drawing, proportions, portrait art and many other subtopics.
Finally, the author in a chapter on procedures gives some very practical advice on the importance of rest, intention and the best way to capture the best impression from life.
Look well at the model first; try and be moved by something in the form that you feel is fine or interesting, and try and see in your mind’s eye what sort of drawing you mean to do before touching your paper. In school studies be always unflinchingly honest to the impression the model gives you, but dismiss the camera idea of truth from your mind. Instead of converting yourself into a mechanical instrument for the copying of what is before you, let your drawing be an expression of truth perceived intelligently.
Chapter: Procedure – p. 266
This is one of the best books out there on the Art of Drawing. It remains in the Top 15 most popular art books of all time, and for a book on the topic of Drawing, this is a huge achievement in itself.
This book is useful for beginners to enhance visual literacy, yet is most invaluable when one is just over that stage and a little more experienced.
The copies of this book are widely available on various Libraries around the world including Gutenberg Archive Online Library itself, Amazon, Google etc.
For an even more in-depth dissection of this incredible art literature, I recommend you check the post on James Gurney art blog
Learning How to Draw Buildings and Architecture will improve your understanding of perspective for all other forms of drawing
Your first drawing of anything is just a sketch, so keep it spontaneous
Start your sketch by marking the highest and the lowest points (in relation to your line of sight)
Tips and instructions for drawing architecture fast and easy
By drawing buildings, urban sketching and architectural studies, you train your eye to see and perfect your perspective knowledge and techniques.
One of the most challenging topics for beginners learning to draw is Perspective. This is essential for all forms of drawings. From Portrait to Painting, you have to master the art of perspective, and the best way to improve perspective is by learning how to draw buildings and practising more urban sketching.
Sketch of a Victorian building.
Drawing urban architecture is easier than you think. The trick is speed. I just realised while writing this post, that some of my best drawings were actually quite rushed and on the move. You don’t need much equipment or prep for that.
I just keep a small sketchbook with me at all times with a 2B and Zebra black ink Pens, and if I’m walking or even driving around London and see an interesting building, I will often stop for just 15-30min to sketch it.
Drawing of Christ Church (Turnham Green) London.
5 Tips on How to Draw Buildings Fast
Remember this; Every first drawing of anything you see is a SKETCH. This means, please keep it simple and spontaneous.
If you are outside on a walk and see something for the first time, reach for your sketchbook and do a rough sketch. Aim to scale what you see onto your sketchbook. Do the very first major lines, horizon line and vertical lines.
Stages of sketching a building correctly
Use a very light touch at the beginning. It’s ok to shift some lines and structures around. (see picture above)
Start by marking the top and bottom of what you want to sketch (highest point and lowest) of the building or structure.
Then measure (in comparison to the height) the width of the building and mark that also on paper.
Add the horizon line. This is the line that is perfectly horizontal to your point of view.
From there start adding the major lines, while still measuring and comparing those to the proportions of the height and width you captured at the beginning.
Start adding detail, with more emphasis on details in the shade. So if the light source is coming from above left, the lines to the right and bottom should be heavier than lines on top and on the left.
Examples of the rough first sketches of buildings on location:
Drawing musee des art decoratifsDrawing musee des art decoratifsDrawing musee des art decoratifsDrawing arezzo it 2019Drawing arezzo it 2019Drawing arezzo it 2019
I also use a Zebra Pen (I was inspired to use this pen thanks to the Art of Dina Brodsky) when I have a bit more time and I enjoy the control the Zebra pen gives.
Sometimes I use a Micron 0.05 to 0.5 when I have plenty of time and want to my first sketch to be a final drawing. An artist that I’m a huge fan of who uses Micron pens to produce some of the most fascinating Urban Drawings is Luke Adam Hawker
Drawing from Cast is the act of Sketching, Mass or Tone Drawing from a Statue.
This is a very powerful and essential method to improve your figure drawing and painting techniques. This is why you will find that every respectable Art School, in addition to the regular drawing from life models, they will most likely have dedicated sessions for students to practice drawing from cast or from statues in museums and galleries.
Drawing from statues is not new. In fact, it’s a very well known method of practice during the Renaissance, and as you will see even the Great Masters have practised regularly from cast.
Drawing from Cast is as good – if not even better – for practice than the average life drawing sessions (as in drawing from live models).
Here below I list for you my personal opinion on the advantages and benefits of drawing from the cast and how it can improve your Life Drawing.
A perfect, permanent pose, that’s impossible to recreate in a life drawing from a model
The work for the perfect pose has been done for you by the original sculptor. They’ve probably spent countless hours, or even months in some cases, in prior studies and drawing subjects and compositions to find the perfect pose for the sculpture you see.
To give you some idea; in 1506 The statue of Laocoön and His Sons was discovered missing the right arm. It took the best sculptors of the world at the time over 20 years to come to an agreement and add a single missing arm. In 1510 the Pope set up a sculpture contest for a replacement arm for Laocoon, which was only added to the sculpture in 1532.
Laocoön and his sons statue stretched armLaocoön and his sons statue (current)
Drawing complex compositions and actions that are hard to recreate with a life model
Action poses are hard to set up in life drawing and it’s even harder to arrange multiple elements and complex subjects combined, like this Bernini. It’s practically impossible to set up a life subject to replicate statues such as these.
Bernini’s Apollo and Daphne c1622 is a perfect example of what’s impossible to recreate in Life drawing from a model.
The subject in the sculpture is usually in perfect form
Imagine if you see a statue of Bernini or Donatello – how many drawings preceded that? How many models were auditioned? How many ideas and studies went into this work? All of this is already done for you.
The lighting can be controlled without altering the pose or the model.
With the cast in a studio, you have full control of lighting and the background. As for a statue in a museum, you can just move around to find the best light angle or revisit the statue at different times of the day.
2- adding the midtones – drawing from cast at the va museum3- started adding details – drawing from cast at the va museumFinal touches – drawing from cast at the va museum
This is how I made the drawing (above) recently at the V&A Museum in London. I know the V&A have skylights and depending on the time of the day you get good lighting on different statues throughout the day.
Laocoön and his sons statueLaocoön drawing by rubensDavid by raphael c1505 – british museumDrawing of torso de belvedere by hendrick goltzius c1591Torso de belvedere statueTorso de belvedere drawing by raphael (att)
Conclusion
If Michelangelo, Paul Rubens, Battista, and many great masters used to draw from statues such as Torso de Belvedere for their studies and paintings, you should too. Just head to a Museum with a sketchbook and practice from casts and statues. You will be able to study and draw from incredible compositions, some of which are practically impossible to recreate in any life drawing.
Drawing People In Public and Tips on How to Sketch Someone Outdoor
This is my experience in drawing people in public. Drawing strangers from everyday life and how to sketch someone outdoor, such as on public transport, on a flight and even during sports or live music events.
These are my tips and best practices that I’ve developed from being inspired by other artists and in my own trials and errors.
Please keep in mind; this is how I do it and I don’t proclaim this to be the best or only way. Do feel free to disagree or experiment in your own way and style.
Inspirations and interest in the art of drawing people in public
It may surprise you to know that I used to dislike the art of portraits, characters and drawing people in general.
Why? Because it’s really hard and there is so much to take into consideration when you sketch humans; from shapes, light, movement, impression and likeness. It gets even more complicated when we have to draw people in public.
This requires you to possess an almost superhuman hybrid power of patience and speed (more about that later…)
I honestly didn’t have the patience for that. To constantly be on the lookout for that perfect sketch. It takes time and many tries before you catch a good moment.
Yet, it happens. Sometimes you just stumble on someone interesting, at a perfect angle and with good lighting. Then you may be able to simply move seats or adjust your angle to the subject.
When that happens, and you find the perfect model for your sketch, just remember that you have a limited amount of time before they move, get obstructed or the light direction changes (like during a train ride or flight). This will considerably affect the live drawing, and it gets complicated and harder.
Inspiration: Art of Nicolas Sanchez & Galina Ershova
By @galina. ErshovaBy @nicolasvsanchezBy @nicolasvsanchezBy @galina. Ershova
I would like to credit two particular artists that I followed for a long time (I think you should too), who have inspired me a lot.
I remember one day I came across one of Galina’s posts on Instagram. I saw some of her sketches on a train, which is what inspired me the most to attempt to sketch people during train rides and in coffee shops.
In the last couple of years, I also got really into life drawing and was attending many events in London. It was during that time I started to realise that my technique in drawing expressions and the human form can be improved by drawing people more often and fast. This is what really got me into sketching people anytime anywhere.
Drawing strangers – woman on flightDrawing people on undergroundSketch of manDrawing strangers in public – man in parkDrawing of young girl in filmDrawing of lady in restaurantDrawing strangers manFast sketched of strangers
How to Draw People on Transport.
My favourite way to capture people in public has to be during a train ride. The reason being seated people on a train tend not to move much. Add to that, a regular commuter is often sitting back reading or asleep, and the lighting is usually better than in other places; mostly coming from above or from side windows.
Sketching people during train rides is not as hard as you imagine it.
Now, to draw or sketch someone in public (while they are unaware) is still quite difficult. You have to be fast and discreet. (Although, it’s pleasing if someone finds out you are drawing them as they are almost always flattered). Still, it’s best to be discreet, and fast.
For this, I recommend using a pencil, especially for a beginner. A 2B pencil is best as it’s light to carry around and fast to use. I don’t recommend inky pens in the beginning as they are slower than a pencil. As for charcoal, although it’s fast and usually my favourite medium, it’s also messy and generally requires a larger work surface. This is why it’s not for this kind of sketch.
The type of pencil I use is 2B (not HB). I find this to be the perfect balance between dark and light and I can get some mid-tones with it quite fast.
…honest they are, but honest not to a cold, mechanically accurate record of the sitter’s appearance, but honest and accurate to the vital impression of the live sitter made on the mind of the live artist.
The Practice & Science of Drawing by Harold Speed
Tips for how to draw someone in public:
At the start, keep it simple and choose a person that isn’t moving much (someone reading or sleeping for example). This ensures their movements are limited and you don’t also have to observe their pattern of movement.
Choose someone sitting under or close to a dominant direction of lighting, e.g. someone sitting next to a window (if it’s brighter outside than inside) or close to a strong light source.
Avoid anyone sitting in the centre of brightly lit rooms or train carriages, or under diffused light (until you have more experience).
Choose someone at an angle from you (if possible in profile or a side view). This is easier to sketch than someone facing you directly and more interesting than someone looking away.
If you have to draw someone moving, then start with sketching the big shapes very loosely. Slowly, as you start to see the pattern of movement, you can add the details.
Keep a focal point in mind – it’s totally unnecessary to draw everything. Focus on one area of interest; this could be the face, hair, dress, even a hand or any feature you feel connected to.
Notice in the drawing (below) this timeless Da Vinci sketch: Although he captured the whole face, the focal point and the entire focus is on the gaze. The eyes are so striking, he didn’t even bother with the hair. All other features are there, but you can sense the emphasis and focus is less than the eyes.
Notice in the Da Vinci Drawing how incomplete it appears
Conclusion:
Drawing people in public is fun, and very beneficial to your artistic journey. It’s not easy but it gets easier with time. After a while and some practice you will be able to compensate mentally for changes in lighting, such as the direction and shape of the light. You will also be able to draw much faster.
Back in 4th grade, I remember a classmate asked me if I could draw a cartoon character. I was surprised how it was expected of me. I remember that drawing very vividly to this day. I did and I was amazed how could draw something so complex like a character completely from memory.
I’m sure you did draw things in childhood from memory like Mickey Mouse and other favourite cartoon characters. Then with time, we forget what we are capable of. Everything we see is memorised and we are able to recall and it’s not much different to drawing something from life. It still relies on memory, short term memory, in this case, to be precise.
So on this post, to help you push the comfort zone and the boundaries of your skill, I share with you an exercise that I do at least once a month, in the form of a challenge. It comes in 2 parts.
If you are stuck for ideas or you’d feel more motivated in a group. I recommend you join an @Urbansketchers community – They have regular excellent Free outdoor sketching , painting and drawing events organised all over the world. Urban sketchers Events
Draw Challenge: Do a quick sketch on location and complete the drawing at home or later. From Memory NOT using reference
Difficulty
Easy
Material:
I use a graphite 2B (fast, not very forgiving, but very fast).
Sakura Micron Pens. When I have more time
I use a Charcoal for indoor and when I use a larger paper or sketchbook.
I arrived at this USK event bit late and missed the first meet up, So I walked around to see if I can meet some artists. While walking by the river, I saw an interesting angle to the Royal Naval College
I immediately knew this was an unusual and very interesting angle of view to that building, and the reason is the Thames river at this exact spot curves in for about 15meters and this allows a bit more detail on the two-point perspective view. Still, I’ve walked around the building little more as I always do (to get to know the subject) and see if there is a better or more interesting point of view. I didn’t find a better location to do my sketch, this spot where I first saw the building had the best angle and the least crowd.
You can see below the stages of the final artwork from the first feel light drawing (I will write a spot about this in future and the importance that I make a quick rough sketch before I start any artwork)
The final artwork took 1hr approximately and 15min of initial observation and study walk around the area.
This event in Greenwich was organised by USK London, part of the Global Urban Sketchers Community.
If you are into sketching I’m pretty sure you’ve heard or for sure have attended at least Urban Sketchers events, I’ve joined many groups and communities before, USK has to be one of the best-organised community that is run by volunteers. So this below is my participation at the past Sunday Urban Sketchers in Greenwich event.
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