Less is More

"When a subject feels too busy, simplify it."

There are times when the subject you want to draw is wonderfully busy and complex. If you work in a smaller space, like an A5 visual diary or sketchbook, as I do, tackling these busy subjects with crayons can be challenging due to the nature of the wax medium. You might feel the pressure to render every detail, only to find the results frustrating and discouraging.

Well, the good news is you don't need to feel discouraged! This time, I want to share a key tip for successfully drawing busy subjects with crayons, adapted from another medium.

The Power of Squinting and Simplification

One day, while wondering what to draw, I spotted a bunch of lavender in the garden. It was beautiful, but I immediately realised the challenge: drawing that detail with crayons in my A5 sketchbook. I remember the fundamental lesson from my watercolour days: "simplify it and paint shapes." I knew I could apply the same principle here.

This is your core secret: when you see a busy subject, slightly squint your eyes. That action instantly reduces the scene to something much less detailed. This simplified vision is what you should aim to create in your drawing, rather than focusing on tiny specifics. The main shapes themselves are powerful enough to give viewers the essential idea, and their minds will naturally fill in the missing details.

Case Study: Lavender Bloom

For the lavender drawing, I simplified the process into layers of colour and motion:

1.  Base Layer: I  first applied light strokes of red violet in small, circular motions to suggest the overall shape and texture of a lavender bloom.
2. Depth and Tone: Next, I used violet with the same pressure and motion to create darker tones and depth with the bloom clusters.
3. Defining shadows:  Using blue violet, I defined the darkest parts of the bloom to suggest the shadowed areas between the tiny petals.
4. Final Details: For the very darkest spots, I used a touch of black. I also noticed slight variations in the blooms, where I carefully applied yellow.
5. Lift and Highlight: In the parts adjacent to the darker colours, I carefully scratched the wax with a craft knife, then applied blue for precise highlights.
6. Background & Stem: For the background, I used green, carnation pink, red violet and violet with the same light pressure and motions as the base bloom layer. This suggests that these shapes are soft and "out of focus." Oh, I almost forgot—I used yellow green for the stalk!

There you have it—a method of capturing complexity through simplicity. You can practice this technique with other busy subjects, too. My final thought is that sometimes, drawing isn't about seeing more; instead, it's about seeing what matters.