10 Reasons

Your Drawing
Doesn't Look
Realistic
And how to fix it!

A guide from
THEDRAWINGSOURCE.COM
By Marina Fridman 2023 THEDRAWINGSOURCE.COM

No part of this guide may be copied or reproduced.

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 Introduction

If you’ve worked on your drawing for hours but it just isn’t looking the way that
you want and you don’t know why – then this guide is for you!

On the following pages I present 10 common reasons why drawings tend to

look unrealistic, and how to fix them!

At the end of each chapter is:

An Action Step for you to use, to analyze and adjust your current drawing

A Recommended Course to take if you'd like to delve deeper into the

chapter topic

I’m able to discuss and demonstrate drawing concepts and techniques in

much greater detail in video format, so if you're already looking for more in-
depth instruction, I invite you to check out my Drawing Decoded Membership
here!

-Marina
Author of
TheDrawingSource.com

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By Marina Fridman.
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 10 Common Reasons Why a
Drawing Doesn't Look Realistic

1. Incorrect Proportions

2. Indistinct Shapes

3. Not Enough Contrast

4. Not Separating Light, Half-Tone

& Shadow Values

5. Making Reflected Light Too Light

6. Outlining Forms

7. Not Enough Variation in Edge Quality

8. No Focal Point

9. Too Much Detail Where it's Not Needed

10. Shadows Incorrectly Describing a Form

By Marina Fridman. 2023 THEDRAWINGSOURCE.COM

 r easo n

01 Incorrect
Proportions
‘Proportion’ is the relationship between the heights and widths of a subject. You can
think of it as a width-to-height ratio. For example, in the flower below, the total width is
almost double its height, making its proportional relationship almost 1:2.

Certain drawing subjects are more forgiving than others when it comes to proportions.

For example, if I modify the proportions of this flower by making only the width narrower,
(as in the right image below) my drawing could still look convincingly realistic - it simply
won't represent the specific flower that I was drawing.

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

Draw this flower
with me, step by
step, in my Realistic
Drawing 101 course!

Drawing slightly inaccurate proportions in a portrait drawing, however, can exaggerate

the characteristics of the person, quickly transforming the portrait into a caricature.

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

Action Step: Make a habit of checking the proportional relationships

in your picture regularly throughout the drawing
process. Even if you start out with correct proportions,
they often mysteriously migrate while you’re paying
attention to other aspects of your subject.

Recommended Course: Learn 10 methods of measurement in my Bargue

Drawing Level 1 course, which is included in the
Drawing Decoded Membership!
 reason
Drawing
Indistinct Shapes 02
Shapes create likeness in a drawing. More specifically: drawing the shapes specific to
your subject creates likeness in a drawing. My favorite examples of this are head shapes
and silhouettes.

E X A M P L E 1 - Look how distinctly different all of these head shapes are:

If we were to incorrectly portray this shape in a portrait drawing, we would lose a large
part of the model’s likeness and character.

E X A M P L E 2 - Notice how descriptive

the silhouettes to the right are.

With only this limited information, we can

tell that the figure on the right is likely an
elderly grandparent, and the figure on the
left is a younger child.

We can learn how someone holds themselves, the clothes they wear, their body shape,
the mood they’re in, even elements of their character, all from looking at a silhouette!

We can even recognize someone by looking at their silhouette.

And what is a silhouette? A shape!

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

 Shapes are present throughout any drawing subject.

How accurately and specifically we draw them determines

how closely our drawing resembles our subject.

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

Check the accuracy of the shapes in your drawing by

Action Step: viewing your subject as a series of abstract shapes.
Look for light shapes, half-tone shapes, shadow shapes,
and negative shapes. Compare them to what you have
drawn, make any necessary modifications, and watch
the likeness of your drawing improve!

Recommended Course: Learn how to see and draw complex shapes accurately
in my Bargue Drawing Level 1 course.
 reason
Not Creating
Enough Contrast 03
Contrast refers to the range of values in an image. High contrast occurs when a wide
range of values is used, as in the left image below. In that left image, notice how far
apart on the value scale the lightest and darkest values are. The darkest value is Value 9
(the darkest value on the value scale), while the lightest value is Value 1 (the lightest
value on the value scale).

Low contrast refers to an image with a smaller range of values (or values that are closer
together on the value scale). In the right image below, the contrast (or range of values)
was decreased. The darkest value was lightened to approximately Value 7, and the
lightest value was darkened to Value 2.

The result? The right image looks ‘flatter,’ less three-dimensional, and much less lively.

A lack of contrast (dark areas that aren’t dark enough, light areas that
aren’t light enough, or both) can flatten your drawing and rob it of its
three-dimensionality.

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By Marina Fridman.
All Rights Reserved.
 Action Step: Evaluate the contrast in your drawing by asking yourself:

▪ Where is the darkest area in the scene? Approximately

what value on the value scale is the darkest value? Is it
dark enough in my drawing?

▪ Where is the lightest area in the scene? Approximately

what value on the value scale is the lightest value? Is it
light enough in my drawing?

If you're having trouble determining how dark or how light

a value in your drawing should be, comparing it to a value
Recommended Course: scale may help. Learn to draw a value scale in Drawing
Decoded!

reason

04 Not Separating Light,

Half-Tone & Shadow Values
We see form through the contrast between light and shadow. To draw realistically, we
need to clearly separate the light, half-tone and shadow values in our drawing. This can
also be called ‘establishing a value structure’.

This means that the values in the light value group must be lighter than the values in the
half-tone value group, which must be lighter than the shadow value group, as in the value
scale below:

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By Marina Fridman.
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We also need to correctly determine what areas of our drawing subject fall into the light,
half-tone, and shadow groups, as in the following image:

What happens if we don’t create a clear value structure? We end up with …

Areas that are illuminated by light on the subject looking like they are in shadow on
our drawing

Areas that are in shadow on the subject looking like they are illuminated by light on
our drawing, and so forth.

In short: this creates ‘muddy’ values, and a drawing that looks unconvincing.

This is one of the most common value-related issues that I come across!

How do we steer clear of this?

By analyzing the value structure of our subject before we start shading our drawing. One
of the most effective ways to do this is to draw a three-value study, which you can learn
how to do effectively in my Video Lesson 5 of my free Mini-Course!

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By Marina Fridman.
All Rights Reserved.
 Action Step 1. Watch Lesson 5 of my free Mini-Course: a detailed
video on how to create effective value structures using
the three-value exercise.

2. Using the techniques in the video, determine where the

light, half-tone and shadow values are on your subject.

3. Evaluate the value structure in your drawing and make

any necessary modifications.

reason
Making Reflected Light
Too Light 05
Reflected light is light that indirectly illuminates a form.

For example, in the scenario below, light rays cannot directly reach the underside of the
sphere. How can we tell? Because the underside of the sphere is in shadow. However,
light rays can reach the surface on which the sphere rests and bounce off of it, slightly
lightening the shadow of the form.

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By Marina Fridman.
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It’s exciting to start noticing the nuances of light! However, with this new awareness, a
common tendency is to draw reflected light lighter than it is. This can decrease the
illusion of realism, and be a distracting element that attracts too much of the viewer’s
attention where it’s not needed. Remember that …

Reflected light is part of the shadow on the form.

So, to look convincingly realistic, reflected light needs to read as being in shadow. This
can be done by drawing reflected light darker than the darkest half-tone in your
drawing.

You can think of reflected light as the lightest area of the shadow.

Reflected light often appears, at first glance, to be as light as a half-tone value on your
subject. To trick yourself into seeing reflected light as dark as it needs to be, squint at
your subject and notice what value group it merges with. Usually, reflected light will
merge with the shadows, not the half-tones.

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By Marina Fridman.
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Even if it’s only a single value-step darker than the darkest half-tone, as in the example
below, (this will depend on your drawing scenario, of course), paying attention to this
subtle distinction will add considerable realism to your drawing.

Action Step: If there is reflected light in the shadows of your subject:

Squint at your subject to determine how dark the reflected

light is - compare it to the shadows and the half-tones.

Does the reflected light merge with the shadows?

If so, determine where the darkest half-tone is on your

subject and drawing, and make the reflected light at least
one value step darker.

Recommended Course: Learn how to simplify and shade convincing values in my

Intro to Smooth Shading in Graphite course!
 reason

06 Outlining
Forms
A line drawing, or ‘block-in,’ is a common (and recommended!) way to start a drawing.

This method allows us to get to know our subject before adding values and shading, and
it separates the stages of drawing, making the process easier and more straightforward.

However, sometimes when students start shading, they keep the lines that they drew in
the block-in stage, instead of placing one value next to another. The remaining contour
line creates a third value that doesn’t exist on the subject, decreasing the realism of the
drawing.

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By Marina Fridman.
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Action Step: If you notice this happening in your drawing, simply
remove the third value created by the outline:

Lighten the outline with a kneaded eraser to merge

it with the lighter value, or

Darken it with your pencil to merge it with the darker

value

reason
Not Enough Variation
in Edge Quality 07
Edges are transitions in value. They occur when a form turns, when a form ends, when
there is a plane change, when a shadow ends, or when there is a texture change.

In the image below I've highlighted just a few of the almost infinite edges that can be
found in this apple:

As you’ll learn, there are different ‘qualities’ of edges. Our ability to identify and draw
variations in edge quality greatly affects how dimensional and visually interesting our
drawing is.
THEDRAWINGSOURCE.COM
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A common, edge-related drawing mistake is creating a single type of edge quality

throughout the image (usually sharp edges!)

This is an issue because edges show us how quickly or slowly a form turns.

The slower a form turns = the slower the value transition = the softer the edge.
The faster a form turns = the faster the value transition = the sharper the edge.

Edges can also be used to move an object forward or back in space: sharp edges tend
to create the illusion that an object is closer to us, while soft edges push objects back
in space. Sharp edges come forward, soft edges recede.

Action Step: Determine where the sharpest edge is on your

subject.
Determine where the softest edge is on your subject.
Have you drawn these ‘edge extremes’ on your
drawing? If not, add them in.
Find at least 5 additional edge qualities on your
subject, between the two extremes, and clearly
differentiate them in your drawing.

Recommended Course: Learn how to shade smooth gradations and various edge
qualities in Intro to Smooth Shading in Graphite!
 THEDRAWINGSOURCE.COM
By Marina Fridman.
All Rights Reserved.
reason

08 Not Creating a
Focal Point
Let’s consider how our vision works for a moment: whatever we look at directly appears
the sharpest and clearest to us. From that point of focus, as we move towards the
periphery of our field of vision, everything becomes softer and fuzzier until our field of
vision ends.

Whatever we look at directly (the area of our utmost attention) becomes the focal point
of the scene in front of us.

In drawing, we can mimic this effect by bringing an area of our drawing ‘into focus'. This
creates a heightened sense of realism and attracts the viewer’s eye to a specific area of
our picture.

What causes an area to appear ‘in focus’? Sharp edges, contrast, and detail.

So, to create a focal point - an area of our drawing that attracts the most attention - we
can use exactly that!
First we must decide where we want the focal point to be in our drawing. To determine
that, ask yourself:

Where is the focal point on your subject?

Put another way: where is the area that attracts the most attention?

To find this area, either close your eyes or look away from your subject. When you look
back at it, where does your eye naturally look first? Which area is your eye drawn to?

You can also squint at the subject to see which area stands out the most. Again, notice
that the area that attracts the most attention probably has one or all of these qualities:

Sharp edges
High value contrast
Detail

Use these devices selectively to create a focal point, and sparingly where you don’t want
to attract and hold the viewer’s attention.

Action Step Analyze if the focal point on your drawing is where you
want it to be, by looking at your drawing and analyzing:

Where is the focal point now?

Is it where you want it to be? (Is it where you want to

attract the most attention?)

THEDRAWINGSOURCE.COM If not, adjust your use of sharp edges, high contrast,

By Marina Fridman. and detail.
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 reason
Not Simplifying
(Adding Detail Where it Should't Be!) 09
Drawing is a balancing act. Just as we need to specify some areas of our drawing (like
the focal point), we need to simplify others.

A common tendency is to draw detail just because it’s there. However…

Detail everywhere is very busy and uncomfortable to look at, while simplicity everywhere
doesn’t create enough interest to hold a viewer’s attention. Detail everywhere also:

distracts from the 'main idea' of your drawing, and

can look unnatural because it doesn’t mimic the way our vision works - remember,
what we look at directly is the most detailed, and what’s at the periphery of our
vision is generalized and blurred

Aim to create areas of detail and areas of simplicity. The ideal balance should provide
enough detail for the eye to explore for some time, and simplified areas for the eye to
“rest”.

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By Marina Fridman.
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How do you choose where to simplify and where to specify (add detail)?

If you are ever in doubt, squint at your subject: if the detail disappears instantly,
rethink whether it’s necessary in your drawing. This usually happens in shadow
areas! Generally speaking, for a convincing sense of realism, draw more detail in the
light areas and simplify the shadows (*read my note about this on Page 24).

Because detail attracts the eye of the viewer, employ it around the focal point of your
drawing, while purposely simplifying, generalizing, and softening the ‘supporting
areas’ of your picture (as in the previous image).

THEDRAWINGSOURCE.COM

Action Step By Marina Fridman.

All Rights Reserved.

In your current drawing, analyze where you have included the most detail, and
determine where the ‘supporting areas’ of your drawing are:

Is the most detailed area where you want the viewer to look/where you want the
focal point to be?
Are the surrounding areas simpler than the areas of detail?

Add detail to the focal point of your drawing, and simplify the ‘supporting
areas’ of your image.

How do we ‘simplify’ an area?

By erasing detail, softening the edges, and/or decreasing the contrast.

Just the opposite of what we did to create a focal point!

While it may seem counter-intuitive at first to get rid of detail, remember that specific
detail in select areas is much more powerful and effective than detail everywhere
(both for the composition of your image and for its illusion of realism!)
 THEDRAWINGSOURCE.COM
By Marina Fridman.
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reason

10 Shadows Incorrectly
Describing the Form
The core shadow on a form – the dark band visible where light and shadow meet – tells
us a lot about a subject. It describes the curvature of the form, as well as the direction
and angle of the light source illuminating it.

Depicting an incorrect core shadow can result in:

the form looking flat (less three-dimensional) or simply awkward

lighting that’s inconsistent with the rest of the scene
THEDRAWINGSOURCE.COM
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To avoid incorrectly drawn core shadows, spend time including them in your initial line
drawing before you start shading:

Picture the core shadow continuing to the other side of the object. Imagine what it
would feel like to pick up the object. (Or, if you’re drawing from life - actually pick it up!)
What would it feel like to sculpt the form that you're drawing?

It’s surprisingly easy to forget about the depth of a form when we are focused on values,
edges, and the like. That’s why an excellent drawing education involves learning how to
construct forms from the inside out, as well as elements of sculpture. But that’s a larger
topic for a future course!

Action Step: Revisit the core shadows in your current drawings and
check that they are describing forms accurately.

In your upcoming drawings, take time to analyze and

include the core shadows in the block-in, or initial line
drawing stage.

Recommended Course: Learn how to construct basic forms in Drawing Decoded!

 An Important Note

This has been a guide to some of the most common reasons why a drawing doesn’t
look realistic. However, is it always ‘incorrect’ to do what’s on this list? Not at all!

All of these ‘common mistakes’ can be used intentionally to create various effects in a
drawing:

Can outlining a drawing be a stylistic choice? Absolutely.

Can low contrast be used to create atmospheric effects in a drawing? 100%!

Can reflected light actually be the same value as a half-tone on a subject? Sure can.

Can shadow areas be purposefully drawn in a more detailed way than light areas?
Yes, that could be very interesting (if done well)!

These are more advanced, intentional, creative decisions that take a more
sophisticated understanding of the essential concepts of drawing and how to use
them.

We first learn how to effectively use these concepts to create illusions of realism, and
then we can start manipulating them in creative and expressive ways.

How can you deepen your

understanding of these
essential drawing concepts?

Well, I'm glad you asked!

 Looking for More In-Depth Instruction?

A curriculum
demystifying
realistic drawing

(VIDEO LESSONS!)
Check out the program here

If you have ever wondered: “How do I learn to draw? Where do I start? What do I
practice? How do I practice it? And in what order?” Then you are in the right place!

Drawing Decoded is a curriculum that builds progressively from beginner to advanced.

It's being designed to take you from 'never having drawn before' to 'freely and enjoyably
drawing what you see'.

To learn to draw, we must:

1. Know what to learn, and in what order (because trying to grasp advanced skills and
concepts before you have foundational skills doesn’t work, no matter what you’re
trying to learn!)

2. Be taught essential drawing concepts and techniques

3. Be shown effective exercises to practice, and then

4. Practice regularly and consistently.

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

 In Drawing Decoded, I take care of points one to three, so that all you need to do is enjoy
learning new skills and concepts while practicing consistently!

Let’s take the guesswork out of what to do or practice next, so that you can focus on
the lessons and on your improvement. Build the foundational skills, techniques and
knowledge to confidently face advanced drawing subjects like the figure and portrait.

Watch a preview video of Drawing Decoded here:

Features of Drawing Decoded:

Easy-to-follow, step-by-step video lessons progress from beginner to advanced

A clear curriculum streamlines the learning process (or, pick and choose your
lessons!)
Detailed drawing demonstrations clarify the drawing process and techniques
New lessons are added monthly
Animations simplify complex drawing concepts
Encouraging 'Mindset Minutes' segments help develop a productive mindset for
efficient learning
The self-study program allows you to work at your own pace

By Marina Fridman 2023 THEDRAWINGSOURCE.COM

What's Included?

There are currently 15 modules in the Drawing Decoded curriculum, which you have
instant access to when you enroll.

Drawing Decoded is also my 'drawing lab' where I develop courses: I add a new module
every month, so you don’t have to wait for an entire course to be finished before
accessing it. Each module is between 6 and 12 lessons (about 98% or 99% are video
lessons, with the occasional text-based lesson).

When you sign up, you can either: Sign me up!

Choose the course you want to take
Or focus on the Drawing Decoded curriculum, where all the courses are weaved
together, so you know where to start, and in what order to practice the exercises!

Courses being developed in Drawing Decoded:

Bargue Drawing Level 1 Intro to Smooth Shading Bargue Drawing Level 2

in Graphite

Daily Drawing Drills Mindset Minutes Constructing & Shading

Realistic Cubes

Also Included:
 By Marina Fridman 2023 THEDRAWINGSOURCE.COM

Who this program is for:

This membership is for you if ...

You're a beginner looking to start drawing ('nervous beginners' are welcome!)

Or, you have drawing experience but want to fill in some gaps in your foundational
drawing knowledge and skillset
You sometimes think, "I can't draw," or "I have no artistic talent," but still want to
draw!
You want to learn realistic (representational) drawing specifically
You enjoy my teaching and/or drawing style
You would happily put in the necessary hours of practice if only someone would tell
you what and how to practice!

What Students are Saying About Drawing Decoded:

Sign me up!
“Having bludgeoned my way through several drawing courses before I discovered
Drawing Decoded, I implore you Marina, do not ever stop teaching! Your educational
work is a quantum leap beyond anything I have found, and is an inspiration to me each
time I tune in. Thank you for making your learning and expertise available to so many,
including me. You will certainly elevate the quality of art in the world both with your own
work and with your teaching.” - Peter

“Hi Marina, I used all your suggestions and improved on the first drawing of the eyes
that I did a couple of days ago, and it is perfect now, I am so excited and happy about
the outcome. Thank you.” - Betty

“I am really enjoying the course. I love the way you break down every aspect of the
techniques that are used.” - Anthony

“I have very much appreciated your step by step approach to teaching. This is the first
art class I have taken that makes sense to me. Most of the others have been like this:
“Here is this still life/portrait sculpture. Copy what you see and I will come around and
make suggestions”. - Nancy

“This really was a rewarding exercise in terms of how many inconsistencies I spotted in
my drawing. Observation not being a strong point, it was so satisfying to find myself
able to recognise parts of my drawing that were off (there were many!). On the final
drawing I was actually identifying very subtle differences as well as seeing ones I had
missed on my previous drawings.” - Jan
 About the Author

Hi there! My name is Marina Fridman. I'm

a professional visual artist, arts educator,
and author of The Drawing Source.

In my own creative practice I create drawing

installations: large-scale drawings that
transform a space, such as the one below
(yes, entirely hand-drawn!)

You can read more about me, my artwork, and view my students' drawings here.