The Joy of Close-Ups

For me, this is the fun part. I love to draw close-ups, fantastical or realistic still life drawing; drawing things I can use my imagination to create. There is something about focusing on a single object and tracing its edges in your mind’s eye—like a contour drawing—and creating a piece where the focus is entirely on that subject. You can call them studies, or they can even be pictures in their own right.

Breaking Down Objects into Shapes

So what are the characteristics of an object? There is color, of course, and line and texture, but the foundation of being able to draw an object effectively is to break down the shapes it’s made of.

For example:

• A coffee cup is a cylinder with a handle (a torus or curved tube)
• A daffodil is a fluted cylinder (the trumpet) on top of a basic oval of petals, sitting on a rod (the stem)
• A daisy is a small, squat cylinder (the center) rising from an oval disk of petals on a tube (the stem)

When I sit down to look at something, I first break it down into its parts and then decide how those parts are interrelated with each other. Is the handle attached to the side of the cylinder? Does the flower sit directly on top of the stem, or is there a bulge where they connect? Understanding the structure beneath the surface makes drawing it so much easier.

Observing Texture and Light

I take a second and think about what textures the object has.

• A cup is solid and smooth—to do the shading, it’ll have to be rounded with a negative space cup handle. 
• A daffodil is yellow and luminous, and gives an impression of light glowing from within
• A daisy has soft, papery petals with subtle ridges and a fuzzy, textured center

Texture informs how you render the object. Smooth surfaces need soft, blended shading. Rough surfaces need broken, varied marks. Translucent materials need careful attention to how light passes through them.

Composition: Foreground, Middle Ground, Background

Just like in landscapes, your still life will have a foreground, middle ground, and background. Your objects will be sitting somewhere within those layers.

And just like landscapes, you don’t want to put everything in the center. The Rule of Thirds works for still life as well—place your focal object at one of the four intersections of the grid to create a more interesting and dynamic composition.

Objects Tell a Story

But the more interesting thing to me is that objects tell a story.

If you have a rose laid on top of gloves, then you expect there to be pearls, maybe some other elegant, faded things, a vintage mood, romance, nostalgia.

If you have children’s toys, then you expect to see them scattered, maybe a half-eaten snack nearby, a sense of play and chaos.

If you have weathered tools, you expect dirt, wear, a workbench, the maybe the story of the person who used them. I have my dad’s toolbox and if I were to draw it I would try to invoke his personailty.

The objects you choose and how you arrange them create a narrative. Your job is to tell that story effectively. Think about what mood you want to convey—peaceful, chaotic, nostalgic, whimsical—and choose objects and arrangements that support that feeling.

Setting Up a Still Life

When envisioning your object think about how to arrange it, playing around with the rule of threes is a good way to start.

Lighting: Where is your light source? A single, strong light (like a lamp or window) creates dramatic shadows and highlights. Soft, diffused light creates gentle, even tones. I use a long table with sun lamps and move to get the right lighting if I am lucky enough to have the object.

Arrangement: Don’t arrange your objects in a clumps or rows. I take a picture with my phone and overlay my three my three grid to see what looks most dynamic.

Background – Keep it simple. A plain cloth, a wall, or a soft gradient won’t compete with your objects. You can add subtle texture, but the background should support, not overwhelm.

Variety – Mix object of different shapes, texture, and sizes. Of course they are usually related but having different values makes it interesting. Maybe go for contrast too for visual draw. 

Drawing Objects: Step by Step

1. Observe and simplify

Break the object into basic shapes (cylinders, spheres, cubes, cones). Sketch those shapes lightly first.

2. Refine the contours Add details to object to make it unique. 

3. Establish light and shadow Either through observation or reasoning establish your shadow lines and mark lightly. I mark a pretend lights if I am thinking of for example drawing a dragon, along with using picture lizard reference. 

4. Add texture

Use appropriate mark-making for the surface—smooth blending for glass, rough hatching for bark, soft shading and draping for fabric.

5. Refine and adjust

Step back. Check proportions, values, and composition. Make adjustments as needed. You can prop your work on an easel or come back a day later to observe and think

Common Still Life Subjects and Tips

Fruit – Practice irregualar spheres and loose 3d oblongs. Pay attention to how light wraps around the form and the subtle color shifts in the skin.

Flowers – Start with the basic shape (cone, cylinder, sphere). Don’t draw every petal individually—suggest clusters and let the viewer’s eye fill in the rest.

Glassware – Transparent objects are all about reflections and distortions. Look for the highlights, the darkest darks, and the way objects behind the glass are warped.

Fabric and Drapery – Study the folds. Look for the “V” shapes, “U” shapes, and “zigzags” where fabric bends and gathers.

Everyday Objects – Books, mugs, tools, keys—these are perfect for practice because they’re always around. The mundane becomes fascinating when you really look at it.

Practice Exercise

I would suggest taking out your sketchbook and practicing a few minutes a day sketching things that you see around you. It does not have to be work, you can concentrate of what makes you happy.

Frequently Asked Questions