The Next In-Person and Online Drawing and Painting Courses Starts on April / May 2025

Soroush Dabiri
Soroush Dabiri
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Graphite & Charcoal Techniques - Fundamentals of Visual Arts

Drawing Level 1: Types and Characteristics of Lines and Textures

Drawing Level 2: Line, Proportion, and Visual Perception - Graphite Techniques

Drawing Level 2: Line, Proportion, and Visual Perception - Graphite Techniques

The first course is an introduction to drawing, seeing, and self-expression. Through 9 different lessons, students practice on observing/seeing varied quality of lines and textures in natural world, as well as exploring and applying varied mediums and applicators over different bases reflecting lines, shapes, patterns, and textures from nature into two-dimensional world. The course objective is to enhancing creativity and encourage students experiencing the self-expression through the practice of art.   

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Drawing Level 2: Line, Proportion, and Visual Perception - Graphite Techniques

Drawing Level 2: Line, Proportion, and Visual Perception - Graphite Techniques

Drawing Level 2: Line, Proportion, and Visual Perception - Graphite Techniques

Practices in this course reinforce the ability of analyzing proportion as well as improving visual perception. Proportion and visual perception are two critical elements for anyone learning drawing fundamentals and techniques because they lay the foundation for creating accurate, realistic, and visually engaging artwork.   

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Drawing Level 3: Form, Proportion, and Visual Perception - Charcoal Techniques

Drawing Level 4: Controlling Values, Texturing and Detailing through Charcoal Techniques

Drawing Level 4: Controlling Values, Texturing and Detailing through Charcoal Techniques

In this course, students learn how to simplify and analyze natural forms by applying charcoal techniques. Simplifying and analyzing forms frequently found in living nature is a crucial practice for improving your drawing skill set. 

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Drawing Level 4: Controlling Values, Texturing and Detailing through Charcoal Techniques

Drawing Level 4: Controlling Values, Texturing and Detailing through Charcoal Techniques

Drawing Level 4: Controlling Values, Texturing and Detailing through Charcoal Techniques

In this course students use different types of charcoal, such as vine and compressed charcoal, to achieve various textures within a single artwork. Charcoal is one of the highly reversible drawing mediums. By creating a wide variety of expressive marks with charcoal, including lines, hatching, cross-hatching, stippling, and smudging students are enable to convey a sense of depth, texture, and detail to their work. This tonal versatility is excellent for creating three-dimensional and highly textured drawings. 

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Drawing Level 1: Characteristics of Line and Texture

About the Course

Through the series of practices, students explore different methods of using drawing materials such as graphite, charcoal, inks, markers, and pen creating textures and gestures reflecting natural forms and figures into their art practice. This course is an appropriate intro for anyone who love to experience creativity. Lessons are helpful for improving two fundamental aspects of creativity that play a crucial role in the daily practice of artists and art students; observation and expression.  


Observation and expression are intertwined aspects of creativity that form the backbone of an artist's daily practice. Observation sharpens the artist's perception and technical skills, while expression allows them to bring their unique perspective and emotions to life through their art. These two elements work together to create meaningful, compelling, and deeply personal artworks. For art students, the development of these skills is essential for their artistic growth and development.   


MATERIALS AND EQUIPMENT
 

Course Outcomes

  • Developing a Keen Eye 
  • Developing Inspiration Muscles 
  • Improving Technical Skills 
  • Developing Observation Skills 
  • Better Understanding of Dimensions  
  • Developing Personal Voice 
  • Emotional Release
  • Creativity Enhancement
  • Self-Exploration and Growth   

Registration

Drawing Level 1 Practice Samples

lessons

Session 1: Descriptive line. Seeing, remembering, and drawing a plant

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

How does the structure of anything alive relate to the variety of lines? 


Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board
  • Tray
  • Jar
  • Paper towel   

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

 Creating lines by modifying a pressure on applicator


 Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Common nail
  • Masking tape
  • Newsprint paper 
  • White Bristol board sheet
  • Drawing Board
  • Tray
  • Jar
  • Paper towel  

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Transferring patterns and textures into paper

  

Materials: 

  • Graphite; 4B and 8B drawing pencil
  • Charcoal stick, medium hardness 
  • Masking tape
  • Newsprint paper 
  • Drawing Board

Session 4: Airy, blended, and defused lines. Reflecting a sensation of the model

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 3: Experimenting with Lines through Frottage. Observing lines in variety

Creating lines through modifying pressure on applicator desaturating the paint

  

Materials: 

  • Charcoal stick, soft hardness 
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Smudge blender
  • Foam brush & roll
  • Kneaded rubber eraser
  • Masking tape
  • Newsprint paper 
  • Bristol paper
  • Watercolor paper 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel  

Session 5: Thick and Thin Line Emphasis. Comparing two types of line

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Combining graphite and inks creating lines 

  

Materials: 

  • Graphite; 8B drawing pencil
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • Bristol paper
  • Drawing board
  • Tray
  • Jar
  • Paper towel 

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces

Creating rough texture by overlapping lines through transmitting inks of sewing thread

  

Materials: 

  • Black Indian Ink 
  • Twine string
  • Kneaded rubber eraser
  • Masking tape
  • Bristol paper
  • White Bristol board sheet 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel 

Session 7: Rough and coarse texture, Practice 2 Simulating natural rough surfaces

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 8: Hatched and reticulated texture. Explaining values of grey through crosshatching

Creating rough texture by transferring texture from aluminum into the base  

  

Materials: 

  • Black acrylic paint 
  • Aluminum roll 
  • Masking tape
  • Bristol paper
  • White Bristol board sheet
  • Newsprint paper 
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel

Session 8: Hatched and reticulated texture. Explaining values of grey through crosshatching

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 8: Hatched and reticulated texture. Explaining values of grey through crosshatching

Overlapping hatched textures 

  

Materials: 

  • Black pen 
  • Graphite, HB drawing pencil 
  • Black marker
  • Black Indian Ink 
  • Sable brush for Ink #8
  • Bamboo reed pens
  • Steel pen and various nibs
  • Newsprint paper 
  • Masking tape
  • White Bristol board sheet
  • Drawing board
  • Tray
  • Jar of water
  • Paper towel

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin

Mixing and overlapping graphite, charcoal, candle, and glue

   

Materials: 

  • Graphite, 8B drawing pencil 
  • Charcoal stick, soft hardness 
  • Smudge blender
  • Kneaded rubber eraser
  • Masking tape
  • Candle
  • Liquid school glue
  • Glue stick
  • Newsprint paper 
  • Bristol paper
  • Drawing board
  • Paper towel 

Materials And Equipment

Mediums

Applicators

Applicators

  • Graphite, 4B drawing pencil 
  • Graphite, 8B drawing pencil 
  • Charcoal stick, soft hardness
  • Black Indian Ink 
  • Black acrylic paint 

Applicators

Applicators

Applicators

  • Bamboo reed pens
  • Steel pen and various nibs
  • Sable brush for Ink #8
  • Smudge blender
  • Foam brush and roll
  • Kneaded rubber eraser

Supports

Applicators

Equipment

  • White Bristol board sheet
  • Watercolour paper 
  • Newsprint paper 
  • Bristol paper

Equipment

Accessories

Equipment

  • Masking tape
  • Liquid school glue
  • Glue stick
  • Candle
  • Paper towel
  • Aluminum Foil
  • Twine string 

Accessories

Accessories

Accessories

  • Drawing board
  • Tray
  • Glass jar

Accessories

Accessories

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Drawing Level 2: Proportion And Visual Perception

About the Course

By considering the perception of line, edges, angles and axes, and comparing the relationship between spaces and the proportions of viewed objects, students practice on sighting and measuring techniques through still life and landscape drawing.


These practices will help to structure drawing skill set by improving the ability of interpretation the surrounding environment into the simple forms and tonal values. It means that, by the end of the course students are expected to draw what they see by following the method of measurement and visual comparison that helps them to improve the accuracy of what they draw. 


Considering circular movements in the subject/model, is the best way to analyze the chaos into simple forms, which helps learners having better perception in relationship between the components in a picture/drawing. Correspondingly, simplifying complicated forms is the most proper technique to consider lightness and darkness to find a proper position for applying relevant values of grey tones into each unit of the composition. 


In this course, trough applying graphite/lumograph techniques students learn how to convey the concept of light and shadow into drawing.    


The ability to analyze proportion and knowledge of visual perception are foundational skills for anyone learning drawing fundamentals and techniques. They enable artists to create realistic and visually appealing artwork, understand what they see, and make creative choices that bring their unique vision to life on paper. Mastery of these skills is essential for artists at all levels, from beginners to experienced professionals. 

Course Outcomes

  • Accuracy and Realism 
  • Anatomical and Object Rendering Skill-set 
  • Harmonic Consistency in Drawing 
  • Fundamental Skill Improvement 
  • Understanding What You See
  • Understanding Values and Shading
  • Understanding Composition and Perspective 
  • Considering Detail and Texture
  • Strengthens Line and Contour Skills
  • Artistic Interpretation Improvement 

Registration

Drawing Level 2 Practice Samples

    lessons

    Session 1: The perception of edge, Sighting / Measuring

    Combination of three object; considering proportions through still life drawing 


    Materials: 

    • Lumograph Graphite set
    • Newsprint paper 
    • White Bristol board sheet
    • Drawing Board

    Session 2: The perception of space, Direction and Movement

    Considering lines dynamics depicting movement in the subject through still life drawing 


     Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board 

    Session 3: The perception of space, Drawing from memory

    Session 4: The perception of relationship – Practice 1, The function of oval forms

    Considering the main line of movement

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board

    Session 4: The perception of relationship – Practice 1, The function of oval forms

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Session 4: The perception of relationship – Practice 1, The function of oval forms

    Considering circular movements in the subject analyzing a model into oval forms 

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board  

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Drawing from memory

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board

    Session 6: The Perception of Light and Shadow, Practice 1

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Session 5: The perception of relationship – Practice 2, The importance of sighting

    Practice on the line weight through cardboard model making. The function of values creating the illusion of a third dimension 

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board

    Session 7: The Perception of Light and Shadow, Practice 2

    Session 8: The Perception of the Whole – Landscape Drawing

    Session 8: The Perception of the Whole – Landscape Drawing

    Practice on shading through compositing 

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper 
    •  White Bristol board sheet 
    • Drawing Board

    Session 8: The Perception of the Whole – Landscape Drawing

    Session 8: The Perception of the Whole – Landscape Drawing

    Session 8: The Perception of the Whole – Landscape Drawing

    Practice on overlapping random lines forming shapes in drawing based on viewed scenery   

      

    Materials: 

    • Lumograph Graphite set 
    • Newsprint paper  
    • White Bristol board sheet 
    • Drawing Board

    Materials And Equipment

    Mediums

    Applicators

    Applicators

    • Lumograph Graphite Set 

    Applicators

    Applicators

    Applicators

    • Smudge blender
    • Kneaded rubber eraser

    Supports

    Applicators

    Equipment

    •  Newsprint paper 
    • Bristol paper

    Equipment

    Accessories

    Equipment

    • Masking tape

    Accessories

    Accessories

    Accessories

    • Drawing board

    Accessories

    Accessories

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    Drawing Level 3: Form, Proportion, And Visual Perception

    About the Course

    One of the main outcomes in this course is the ability of simplifying complex living forms into basic shapes and structures, having deeper understanding of how those forms are constructed. This knowledge provides a solid foundation for accurate and realistic representation in drawings, which we will cover through the next course. The advantage of simplifying complex forms is becoming more versatile in the capability to tackle a wide range of subjects. This versatility is essential for artists working in different styles and genres.


    The other aspect of practices in this course, is creating a well-balanced composition in a drawing. Simplifying and analyzing forms allows students to manipulate the arrangement and placement of elements within a composition. This skill is crucial for creating balanced, visually appealing drawings.


    Simplifying the natural forms is an excellent starting point for experiencing charcoal techniques too. Charcoal is often considered as one of the best drawing mediums for rendering and shading over a solid framework. The benefits of charcoal's tonal range, expressive qualities, and versatility make it a preferred medium for many artists, particularly when working with a strong structural foundation in their drawings. 


    MATERIALS AND EQUIPMENT
     

    Course Outcomes

    • Enhanced Observation Skills
    • Understanding Basic Structures
    • Aids in Proportion and Scale
    • Facilitates Composition
    • Encourages Abstraction
    • Improves Memory Recall
    • Boosts Problem-Solving Skills
    • Fosters Versatility
    • Supports Mastery of Mediums  

    Registration

    Drawing Level 3 Practice Samples

      Lessons

      Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.

      Draw the silhouette; the Mass, to define the spatial limits of objects 


      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 2: Represent the Structure of Form

      Draw not only the outside edge of the form but also internal the characteristics, so that a few well drawn inside outlines can explain the whole form as well as expressing the volume  


       Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 3: Volumetric, Organic, and Curvilinear Forms

      Composition with fruits, following the main structure of the model. Depicting nature using cylinder, the sphere, and the cone

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 4: Linear, Twisted, and Sinuous Forms

      Composition with Trunks, Branches, and Roots, following the main structure of the model. Focusing on the gesture and the rhythm of their lines

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board  

      Session 5: Dynamic and Living Forms

      Composition with structural organic forms based on arcs and ellipses to communicate their movement. Animals moves in different ways. It is necessary to observe the model very attentively, making an effort to capture their volumes and gesture

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape

      Converting three dimensions to two dimensions offering an opportunity to create new forms

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 7: Creative Approach to the Model. Creating a Model Map

      Creating flat cutouts from the last drawing; session 6, rearranging those new forms to create a new composition   

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Session 8: The Final Drawing

      Transmitting outlines into drawing. Extracting forms through manipulating light and shadows by referring to the source image; session 6, creating an atmospheric drawing    

        

      Materials: 

      • Lumograph Graphite set
      • Charcoal stick, soft hardness
      • Newsprint paper 
      • White Bristol board sheet
      • Drawing Board

      Materials And Equipment

      Mediums

      Applicators

      Applicators

      • Lumograph Graphite Set
      • Charcoal stick, soft hardness 

      Applicators

      Applicators

      Applicators

      • Smudge blender
      • Kneaded rubber eraser

      Supports

      Applicators

      Equipment

      •  Newsprint paper 
      • Bristol paper

      Equipment

      Accessories

      Equipment

      • Masking tape

      Accessories

      Accessories

      Accessories

      • Drawing board

      Accessories

      Accessories

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      Drawing Level 4: Values and visual perception, Charcoal Tech

      About the Course

      In this course students practice on blending techniques applying smooth transitions between light and shadow areas. It's an essential feature for creating realistic shading, soft transitions, and textures.


      The other technique covers in his course is layering. Charcoal can be layered to build up depth and opacity. Layering is essential for developing complex shading and rendering realistic features and volume. The unique characteristics of charcoal makes it a favoured choice for students looking to create expressive and dynamic drawings.


      Through the practices students will be encourage to use different types of paper, toned paper, and even textured surfaces like watercolor paper or canvas. This adaptability allows them to choose the most suitable background for their artistic goals.


      COURSE 4 MATERIALS AND EQUIPMENT
       

      Course Outcomes

      • Become skilled at using different types of charcoal
      • Become skilled at controlling tonal values 
      • Become skilled at rendering and shading
      • Become skilled at three-dimensional and highly textured drawings
      • Become skilled at Creating dynamic and intricate textures and details
      • Become skilled at layering technique
      • Become skilled at using different types of paper

      Registration

      Drawing Level 4 Practice Samples

        lessons

        Session 1: A wheat field

        Shading with Charcoal Powder, manipulating the grey values by applying blending tools 


        Materials: 

        • Charcoal powder
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 2: Tree trunk at forest

        Drawing with vine charcoal, shading with Charcoal Powder, manipulating the grey values by applying blending tools 


         Materials: 

        • Charcoal powder
        • Vine Charcoal
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 3: Light and Contrast

        Session 3: Light and Contrast

        week 1: Adjusting proportions and tonal values referring to a source image

          

        Materials: 

        • Charcoal powder
        • Vine Charcoal
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 4: Light and Contrast

        Session 5: Drawing of Half Dome in Yosemite National Park

        Session 3: Light and Contrast

         Week 2: Compressed charcoal and blending techniques 

          

        Materials: 

        • Charcoal powder
        • Vine charcoal
        • Compressed charcoal
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 5: Drawing of Half Dome in Yosemite National Park

        Session 5: Drawing of Half Dome in Yosemite National Park

        Session 5: Drawing of Half Dome in Yosemite National Park

        Week 1: Adjusting proportions and tonal values referring to a source image 

          

        Materials: 

        • Charcoal powder
        • Vine charcoal
        • Compressed charcoal
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 6: Drawing of Half Dome in Yosemite National Park

        Session 5: Drawing of Half Dome in Yosemite National Park

        Session 5: Drawing of Half Dome in Yosemite National Park

        Week 2: Creating texture, extracting light and shadows applying compressed charcoal and blending techniques 

          

        Materials: 

        • Charcoal powder
        • Vine charcoal
        • Compressed charcoal
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 7: Glasses and Reflection

        Session 8: Glasses and Reflection

        Session 8: Glasses and Reflection

        Week 1: Modelling, Study on outlines, forms, proportions, and tonal values 

          

        Materials: 

        • Charcoal powder
        • Vine charcoal
        • Compressed charcoal
        • Charcoal pencile
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Session 8: Glasses and Reflection

        Session 8: Glasses and Reflection

        Session 8: Glasses and Reflection

        Week 2: Applying realistic shading and effects making the drawing accurate toward the model   

          

        Materials: 

        • Charcoal powder
        • Vine charcoal
        • Compressed charcoal
        • Charcoal pencil
        • Mixed-media paper 
        • Painter tape
        • Drawing Board

        Materials And Equipment

        Mediums

        Applicators

        Applicators

        • Charcoal powder
        • Vine or Willow charcoal stick
        • Compressed charcoal stick
        • Charcoal pencil

        Applicators

        Applicators

        Applicators

        • Smudge blender
        • Kneaded rubber eraser

        Supports

        Applicators

        Equipment

        • Canson mixed-media paper
        • Canson Mi-Teintes

        Equipment

        Accessories

        Equipment

        • Masking tape

        Accessories

        Accessories

        Accessories

        • Drawing board

        Accessories

        Accessories

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