How to Draw Material: Mastering References

Continuing with our exploration of materials, this is our second guide on the subject. The first part, titled "Guide to Material Drawing: Textures, Reflections and Transparency", delved into the core properties of materials. The next logical step is to focus on references and understand how to work with them and apply advanced techniques on drawing materials realistically.

The Importance of References

References enable us to depict material, even if we’re not entirely familiar with it. To accurately depict a material, it's crucial not only to know but to see the material's properties. Even though we know that metal reflects its surroundings and paper doesn’t, we won’t be able to portray these surfaces convincingly without seeing how they interact with space in real life. Hence, it's imperative to always have references at hand and extract as much information from them as possible. Drawing without references often leads to the repetition of what we already know. Only by utilizing references and noting new observations we can evolve.

Collect and Utilize References Before Drawing Material

In collecting references, remember their primary purpose: to aid in understanding the material. It’s unwise to mindlessly copy something without understanding, merely replicating the reference. It’s not enough to pick photos similar to what will be depicted; it's vital to know exactly why each reference was chosen. If any point in the reference is not clear, it’s better to look for extra images to make the unclear aspect more obvious.

The more references, the better. Don’t limit yourself to one or two photos; gather as many as you can. It's better to leave some references unused in the process than to extract all information from a single photo. Numerous references allow us to compare the material in different contexts, thereby understanding it significantly better. The exact replication of a photo deprives us of understanding the mechanics of the material. It’s more effective to choose a couple of primary references, and as needed, refer to other photos.

Analyze References

When selecting refereⁿces, ask yourself:

• What seems unclear about the material’s properties?
  Try to find references that allow for a detailed examination of complex aspects to make drawing material easier. Gather various examples that best showcase those unclear material properties. Examine them. It’s crucial not only to replicate them in your work based on photos but also to understand why the material appears that way. For such purposes, photos with minimal editing are preferable. Heavily retouched studio photos with cyclorama and multiple light sources often don’t exhibit all material properties or significantly distort them (although such photos may be suitable in rare cases, for instance, when drawing simplified stylized props).

• What type of lighting will be present in the image (bright, pale, warm, cold, etc.)?
  Materials can appear vastly different in varying lighting. Gather several references of the material in the lighting you plan to depict. Compare with photos in different lighting. Reflect on their differences and why.

• What is the shape of the object you plan to depict?
  Much about material depiction depends on the object’s shape. Due to shape variations, the placement of reflections, refractions, shadows, and others will change.

Always take the opportunity to observe materials in real life. Photo references are a great way to quickly find the needed material, but photos make it harder to grasp, for instance, the principle of reflections. The ability to look at a material from all angles, in different environments, and under varying lighting conditions, allows for quicker and simpler analysis. Viewing a material in person is always more effective than looking at several refs.

Also, don’t hesitate to look at other artists’ work. It's not advisable to use others’ work as references, as it can lead to copyright infringement and replicating mistakes. However, observing how other artists simplify and stylize materials can be very insightful.

Once your references are collected, analyze them. Ask yourself:

1. How contrasted is the material? Where is the darkest shadow, and where is the brightest highlight?
2. What is the surface like? Glossy or matte? Smooth or rough?
3. What here is actual texture, and what is visual texture?
4. If it reflects, what exactly and how?
5. If it's transparent, to what extent? What can we see on the material itself?
6. How detailed is the material? Can it be depicted with rough broad strokes or does it require higher detailing?

The picture below shows the results of such an analysis.

Use References Properly

After analyzing the references, you can begin your work. On the right, you can see an example of how to depict the material correctly using references, and on the left incorrectly is an incorrect approach.

The issue with the work on the left is the over-reliance on the reference. Exact replication of the photo might be suitable for some styles, but more often than not, meticulous copying should be reserved for studies or educational works. Meticulously copying a photo doesn’t adapt it to the whole work; the subject will differ in light, style, tone, and colors. Moreover, it might strip the work of accents if every detail from the photo is copied. Replicating the photo will hinder understanding of forms and volumes, making the subject on the drawing too flat.

Pay attention to how many references can be utilized for a single object. When you drawing material, each reference serves a specific purpose, yet none of the photos resemble the end result. Utilizing references in such a manner cultivates spatial thinking: we begin to envision the object from different angles and under various lighting conditions.

Also, it's important to be aware of certain nuances when working with photos. More often than not, photos don't showcase a noticeable difference between cool and warm hues in shadows and lights. They distort contrast, making shadows too dark and lights too bright. Photos can either blur fine details or make them overly sharp. 

Observations and Moving Forward

Remember, references are an excellent aid in your work, but they can't fully replace live observation, so it's essential to develop an observant eye and look at materials around you, noting aspects that photos fail to convey. Each material and light interaction we encounter enriches our understanding and skills. While references bridge the initial gap, real-world observation deepens our comprehension and refines our depiction skills.

Make it a habit to observe materials in your daily life, noting how light interacts with different surfaces and how textures feel. Merge these observations with insights from your references to create compelling artwork. Your growth as an artist is tied to your ability to see, understand, and translate the world onto your canvas. Embrace the continual learning process, refine your observational skills, and let each material you encounter advance your artistic journey.