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Step-by-step drawing tutorials in pencil, on a graphics tablet, in Photoshop and Procreate. Each one covers a single subject — a face, eyes, lips, a figure, a house — from the first line to a finished piece. All free, no sign-up.
Eyes are not drawn by contour but from the sphere: block in the eyeball, wrap it in lids with thickness, then add the tear duct, the iris and the highlight. The upper lid is always heavier than the lower, and the line of the opening curves around the ball, so it is never straight.
A face is built on proportion: the eye line divides the head in half, and from it you find the places of the nose, mouth and ears. Two walkthroughs, a portrait front on and at three quarters, with the helper shapes that keep the axes from drifting on a turn.
A short lesson on the material of wood: the form of a nut, the texture of the shell and soft shading. The curators of the 2D graphics course show the brush settings and blend modes it takes.
A stylised stone with runes and chipped edges. Sketch, line drawing, silhouette fill, shadows, depth pushed with occlusion, light and highlights — with the blend modes and brushes that do the work.
A coin is built from a circle. Rim, struck relief, light and shadow, highlights and reflections, a wear effect and colour correction — drawing a coin comes together over eight steps. A small exercise in metal and fine relief.
Magic fire rests on three things — a confident flame shape, brush settings and blend modes. Drawing fire starts with a rough outline using a pressure brush, then come the glow layers running from the hot core outwards and the light it throws on its surroundings.
A kerosene lamp is an exercise in ellipses and materials. The axis of symmetry, ellipses opening consistently, clear glass, highlights on metal and the warm glow of the wick: drawing the lamp pulls all of that together over twelve steps with a final check.
A shell starts with working out the spiral — how the whorls turn inward and how the ribs and grooves lie along them. Then shadow on the curved surface, cracks and chips, highlights lifted with an eraser. A shell can be drawn in pencil, with the whorls run off a compass.
Stylisation begins with the silhouette. First you study the reference and pull out what makes the tree itself, then draw several variants of the outline and pick the strongest — that is how you get a palm tree that reads at a glance. Colour and detail go on last.
