Draw what you see as you see it and only that, not what you know is there.

• We tend to draw surfaces and edges in the shapes we know them to be, but not in the shapes that we actually view them. In extreme cases, such as children drawing both sides of a house, the distortion is evident, but it can be more subtle in adults.
• Some of the laws of perception will help clarify what you see. For instance, if you understand vanishing points, you can determine whether a line you have drawn is logical.
• Don't try to draw a line only once. Sketch in lightly, then make purposeful lines when you are satisfied with proportion and shape. The light lines can be erased or just ignored.

Generally, attempt to arrange objects or find a view that satisfies the principles of composition.

• If you have problems seeing and composing the real 3-dimensional world in 2-dimensional flat space, try using a viewfinder.
  • Cut a 2- to 4-inch rectangular hole in a piece of cardboard or paper. Hold the finder at an appropriate distance from the eye, select the view, and try to observe it as a flat plane. Close one eye to eliminate bifocal vision.

Always try to bring the whole drawing "up" at the same time.

• Don't render a detail element with the remainder of the sketch only blocked in or not placed at all. You often find the detail is slightly misplaced, or some details wind up considerably more precise than others.
• Major, controlling lines should be blocked in first with thin, light strokes, then corrected to accuracy, and afterward drawn with significance.
• Start with the lines that will control where other lines fall. Don't start with the details.
• Create the major body of a figure before adding detail.
• "Profile" lines or guidelines may be used to align details in relationship to each other and to the object itself.

All parallel lines converge to a vanishing point. Note objects with parallel lines and visualize their convergence at a vanishing point.

• Note where the vanishing point would lie in your drawing environment. Then establish the parallel lines in the drawing.
• The vanishing point for horizontal lines (ceilings, floors, tables) will always be at eye level in the drawing. Eye level is the horizon.

Use Technique

• Measure difficult proportions with the pencil.
• Hold the pencil at a consistent distance from the eye (arm's length) and always at a right angle to the line of vision. Sight a line on the object, compare it to another distance on the object, mark the pencil with the thumb, and then use the information to place the elements on the paper.
• Draw a straight line by sighting the point the line is to end and keeping the eye on it.
• When drawing a curved line, divide it into segments.
• Observe the line and its curvature. Mentally divide the visible dimension of the line into quarters and carefully observe each.
• To facilitate perspective shapes or objects, enclose in blocks or cylinders.
• Sketch in a block or cylinder that would be large enough to contain the irregular object, in perspective. Then draw the object within that block or cylinder.

Drawing Familiarization Exercises

Complete each of the following exercises:

• on white paper no smaller than 81/2 x 11 inches
• using a SOFT lead pencil
• preparing a careful drawing
• considering shadow and light direction.

1. Two careful drawings, each of a single theatre property, without regard to background or support. Each drawing must be a different object.
2. A careful study of a piece of furniture from an ANT'S EYE VIEW. The entire piece need not be shown, but it should contain radical perspective.
3. A careful study of one interior wall of a room in which there is a doorway, meeting another wall, shown at an angle. Show the objects upon the wall. The entire wall need not be shown.

The following exercises are concerned with fabrics and people:

4. A careful study of someone's ear. The view should be with the head in profile.
5. A careful study of fabric of some sort draped over a chair.
6. A careful study of a full-length sleeve with an arm in it, bent.