1. Look for Exposed Roots. Hard and soft pencils on smooth paper, 11 x 14” (27 x 35 cm)

 

2. Capture a Hillside. Watercolor and wash on illustration board, 15 x 20” (38 x 50 cm) 
I focus on a bush and tree on a hillside, eliminating the surrounding forest from my sketch. I start with a minimal pencil underdrawing, then use a large brush to block in the foliage with a medium-value wash. I scratch strands of grass with the end of my brush.When everything is dry, I use a small brush to begin adding tiny details like leaves and small branches. - TK

 

3. Put Trees in Silhouette. Brush and ink on smooth paper, 11 x 14” (27 x 35 cm)

 

4. Dig Up a Weed. Pencil and ballpoint pen on smooth paper, 11 x 14½” (27 x 36 cm)
Even a vacant lot can be a treasure trove of natural subjects. I find this fascinating plant, often dismissed as a weed, in a suburban lot. By sketching it, I try to understand its intricate root structure and leaf arrangement. I begin with a simple pencil underdrawing, establishing the plant’s size on the page. I then add key details in pencil and switch to a ballpoint pen, working slowly for accuracy. Finally, I add delicate tones with a 2H pencil. - TK

 

5. Visit a Friend’s Yard. Gouache on illustration board, 11 x 14” (27 x 35 cm)
My most rewarding plant studies often come from ordinary, easily overlooked subjects. I spend three Saturdays sketching plants in a friend’s yard, devoting an hour to each study. To isolate a section of geraniums, I place white cardboard behind it. Through sketching, I feel like I’m observing geraniums for the first time, understanding how new leaflets grow and mature. This intimate study reveals nuances I have previously missed, despite having seen geraniums all my life. - JG

 

6. Observe Some Leaves. Wash on illustration board, 6½ x 7½” (16 x 19 cm) 
At a restaurant after a delicious chile relleno dinner I notice the table setting with dried leaves. Since I have my sketching materials, I decide to relax by drawing. I carefully examine the leaves, turning them, considering each angle. I choose a viewpoint and lightly sketch the forms in pencil. Then, I pick up my watercolor brushes and begin to paint, carefully brushing in the intricate texture of the dried leaves. I find beauty in these small, overlooked forms.  - TK

 

7. Study a Dog’s Head. Pencil on drawing paper, 9 x 12” (22 x 30 cm) 
If you own a dog or cat, you have the best opportunity for animal drawing you could possibly ask for. I make dozens of pages of studies of this dog, who seems to enjoy posing for me. On this page I was interested in the overall structure of the head from a variety of angles. A lot of quick two-minute impressions such as these can be as valuable as a single long, involved study, because they solidify your understanding of the simple shapes. - JG

 

8. Catch a Bullfrog. Pencil and white gouache on gray mat board, 8 x 9½” (20 x 24 cm) 
I encounter this living specimen in a museum, alive, but holding still. I draw him in pencil on a spare piece of gray mat board, and then apply a thin layer of semi-opaque white gouache. I save the brightest whites for the accents and highlights. When the gouache is thoroughly dry, I lightly drag a white pastel pencil over the surface to make the texture look bumpy. Then I switch back to darks, using a soft pencil to smudge in shadows, accent the wrinkles or drop a few freckles on his back. After 45 minutes I’m done, and the frog decides to hop away. - JG

 

9. Detail a Crocodile. Ballpoint pen on drawing paper, 11 x 14” (27 x 35 cm) 
I often rely on ordinary ballpoint pens for detailed studies of line and texture. In this crocodile sketch, the pen proved equally effective for sweeping lines on the tail and capturing scaly skin textures. I also appreciate how easily I can add written notes alongside my drawings. Unlike pencils, ballpoint pens never need sharpening, making them a convenient and versatile tool for nature studies. - JG

 

10. Look for Variations. Soft pencil on drawing paper, 12  x 18” (30 x 45 cm) 
Whenever I encounter a collection of related species, I enjoy drawing variations of a theme on a single page. Here, I focus on the three-dimensional spiraling of African big game species’ horns. Using a minimal approach, I make quick drawings with a pencil held palm-down, like a screwdriver, allowing for freedom to shift between lines and broad tones. - JG

 

11. Go to the Bones. Pencil and white gouache on brown paper, 11 x 14” (27 x 35 cm)
I’m attracted to a deer skeleton in a museum hallway, dramatically lit by a single strong light source. I focus on the skull, using preliminary pencil stages to master its complex form. I ensure the antlers align in perspective with the rest of the skull. A separate sketch of the complete skeleton helps me capture the animal’s proportions. By studying the bone structure, I gain confidence to sketch the same animal at the zoo with greater authority.  - JG

 

12. Get Close to Birds. Ballpoint pen and white gouache on brown paper, 12 x 15” (30 x 38 cm)
These comparative studies begin as a single study of the cormorant, but as I look around at the other birds on display at the natural history museum, I’m amazed by the variety. I use the ballpoint pen and white gouache to suggest the texture and coloring of the birds. The written notes help me to recall names and features of the birds in case I ever need to refer back to these observations for a personal painting. - TK

 

This article is based on content in the new edition of The Artist’s Guide to Sketching: The Classic Book about Making Art on Location. We have kept everything as much as possible as it was in the original 1982 edition, but we’ve expanded the book with additional artwork created during the same period, and we rescanned all the artwork and printed it for the first time in full color.