100 books like Drawing Landscapes

In this 376-page drawing “bible”, all aspects of drawing are covered in great detail, from portraits and figure studies to still life and landscapes. After the first chapter on materials and equipment, Giovanni illustrates the bone structure, musculature, and features of the head, hands, and feet using pencil, ink, and charcoal. It’s the most comprehensive approach I’ve seen in any portrait book.

Further chapters on shadows, shading, composition, sketching, perspective, and aerial perspective are also extremely helpful. This book is a mine of information, and one I turn to when in need of technical know-how for portraiture.

I love sketching and encourage my students to do as much as possible to improve both drawing techniques and observation. In this comprehensive book, Peter guides us through many different aspects of sketching using pencil, pen, and pen & wash, demonstrating his S-E-T method, reminding us constantly to consider Shapes, Edges, and Tones. His drawings and pen and wash studies are a feast for the eyes; he guides the reader through simple step-by-step drawings as well as larger projects, and everything is conveyed in an easy-to-understand way, making it a pleasure to dip into this book.

If you think you can’t draw, then read this book! It’s a bible for anyone wanting to draw, and is by all accounts “the world's most widely used drawing instruction book.” If you want to start drawing or have been unable to get much beyond a “childlike level,” the exercises in this book will help you gain those skills you have always sought.

I often use the “Upside down Drawing” exercise with my portrait classes; my students are usually astounded at how quickly and accurately they can produce a likeness! This is a fascinating book and whether you are an experienced artist or just starting, it will give you inspiring confidence and deepen your artistic perception.

Perspective is essential for good drawing but something that a lot of people find a struggle. Tim has treated every aspect of perspective in a simple and interesting way so that anyone can understand it. As well as buildings and landscapes, Tim also covers topics not so obvious - people, animals, boats and reflections, and more. He also shows how perspective applies to curved objects and inclined planes, and suggests how to correct common mistakes as well as moving on from rigid rules to a freer and more instinctive way of drawing. 

This book is a good one to consult when one needs a reminder that not all trees look the same. Cole draws upon the Victorian tradition of close observation of nature, and he analyzes trees at the level of roots, branches, stems, blossoms, leaves, and foliage masses. The book transcends the limits of a botanical treatise by exploring artistic issues, such as the grouping of masses and the simplification of contours. The text is profusely illustrated with black-and-white explanatory drawings, as well as compositions by early masters.

Hale’s book uses master drawings as the basis for his analysis. He shows the critical thinking that went behind the draftsmanship and offers a few choice words on conceiving a solid shape before trying to render it. Style is great but style without understanding is just a bad xerox of an idea. Hale offers a deeper dive into understanding what all those bumps and lumps are and more importantly, the hierarchy to where they sit and what to emphasize. Mindless rendering never helped anyone.

My private art school offers classes exclusively in basic to advanced drawing techniques, with a focus on achieving varying degrees of realism across a range of subjects.

To accomplish this, I have designed a method that utilizes exercises and structured instruction. However, I am cautious not to impose too many limitations with my Monart® Method because I believe that too much structure can hinder students' creativity. 

Nicolaides' The Natural Way to Draw was the perfect addition for my lesson plans. The loose style effectively captures the essence of the subject while encouraging students to maintain a realistic interpretation.

The speed that is involved in his quick sketching technique makes it possible for the student to practice shape and feeling. 

The book provides clear and simple instructions with lots of illustrations.

This is another book I got early on in my sketching career. I love James Hobbs's sketching style. He uses a thick black pen for the most part, and his style is simple–the perfect inspiration for a beginner.

He also includes examples of many other sketchers’ work–all of which emphasise that you do not need to have perfect drawing skills to capture the world around you. As someone who did not do very well in art at school myself, I found this book to be my permission slip to draw anyway.

I learned from this book that drawing is a way to record and understand the world in your own way, not a test on how accurately you can copy it in your sketchbook.  

Long out of print and expensive, this classic of illustration techniques has been republished. Although it was first published over 70 years ago, the sections on color and painting will prove useful for any artist, whether they work for concept art, galleries, or illustration. Loomis was a top magazine illustrator and devoted his later years to writing encouraging and practical guides that covered all the key topics.

The Practice and Science of Drawing is one of the few books worth reading every page of. I thumbed through it for years before finally reading it. The author breaks down drawing into two major categories, that of line and that of mass, and how they are distinct from one another, yet how they are intertwined in their ability to render form. An awareness of both concepts is crucial to a full education of the artist.