Learn to see shapes rather than objects—a critical perceptual shift

a pink teacup on a grey background — Image by BRUNO CERVERA

Drawing with Confidence is a free online art course. Develop your drawing skills through playful exercises and thoughtful experimentation. Overcome barriers to self-expression and embrace the joy of mark making.

Part 3 — Key concepts we’ll explore:

The difference between conceptual and perceptual seeing
Breaking down complex subjects into simple shapes
Overcoming symbolic thinking in drawing

Learning to See Shapes Rather Than Objects

One of the most transformative skills in drawing is the ability to stop seeing objects and start seeing abstract shapes.

The Challenge of Symbolic Thinking

From early childhood, our brains are trained to categorise and label what we see. When we see a cup, we don’t consciously register its exact shape, proportions, and value relationships—we think ‘cup’ and move on. This efficiency serves us well in daily life but becomes a barrier in drawing.

Drawing from this symbolic understanding, we tend to draw our idea of a cup rather than the specific cup in front of us. This is why many beginners’ drawings look generic or cartoon-like—they draw symbols rather than observations.

Shifting to Shape-Based Seeing

To break this habit, try these perceptual shifts:

Flatten what you see: Imagine your subject as a flat pattern rather than a three-dimensional object
Identify basic shapes: Look for rectangles, triangles, circles, and ovals within your subject
Observe angles: Notice the precise angles where shapes meet
Track relationships: How does one shape relate to another in size or position?

Activity

Choose a complex natural object (pinecone, shell, or seed pod). Draw it twice: once quickly from memory or imagination and once through careful, sustained observation. Compare the results to see how observation enriches your understanding.

Confidence Boost

Drawing isn’t just about creating something new—it’s about learning to experience the world. When frustration hits because your drawing ‘doesn't look right’, slow down and spend more time noticing. Put down the pencil, and get in touch with your senses. First, use only your eyes to trace the lines and shape of the object or form you’re trying to capture. Then, pick it up to feel its weight, or run your fingers across its surface to feel its texture. When you shake it, does it make a sound? If it’s edible, does it have a taste? Get closer and notice if it has a scent. Developing a refined sensitivity to the world around you will help you grow as an artist as you improve your technical skills. Focus on staying present and trust the process.

a light green mug on a grey background — Image by Melina Bronca

Exercise: Five-Minute Still Life Series

Draw the same object five times, each time focusing on a different aspect (outline, shadow, texture, etc.). This exercise trains you to see your subject in different ways and helps you understand how various drawing elements work together. By isolating different aspects of seeing, you develop a more comprehensive understanding of your subject.

Materials

Simple object with interesting form (fruit, shell, mug, etc.)
Drawing paper (5 sheets or a sketchbook)
Various drawing tools (pencil, pen, charcoal)
Timer

Instructions

Draw the same object five times, spending 5 minutes on each drawing. For each drawing, focus on a different aspect:

Outline only: Draw only the contour lines, both exterior and interior
Value only: Ignore outlines and focus only on light and shadow patterns
Negative space: Draw only the spaces around and within the object
Texture only: Focus exclusively on surface texture, ignoring outline and form
Integrated drawing: Combine all four approaches into one cohesive drawing

Process

Keep the lighting and your viewpoint consistent for all five drawings
Use the timer strictly—stop when time is up, even mid-line
Between drawings, take a moment to reset your focus for the new approach
For the final integrated drawing, decide which aspects require emphasis

Reflection

Which approach felt most natural to you? Which was most challenging?
How did isolating different aspects change what you noticed about the object?
How did the integrated drawing differ from what you might have drawn without the previous studies?
Which approach revealed information about the object that surprised you?

Art in Focus

Edward Hopper (1882-1967)

Edward Hopper, *Automat,* 1927, Oil on canvas. Source

American realist painter Edward Hopper transformed ordinary scenes into powerful studies of light, shape, and solitude. His work demonstrates the importance of seeing geometric relationships within everyday environments.

Hopper’s paintings reveal how shapes define both architectural spaces and emotional atmospheres. In preparatory sketches, he would break down complex scenes into basic shapes before developing details, showing how this fundamental skill informed his finished paintings.

His compositions often feature strong, simplified forms: rectangular buildings, triangular shadows, and cylindrical lighthouses, creating a distinctive sense of order and stillness in his work. Hopper’s methodical observation of light on forms created the iconic sense of quiet drama that defines his work.

Cecily Brown (b. 1969)

Cecily Brown, *A Swan Comforting a Snake,* Oil on linen. Source

Contemporary British painter Cecily Brown creates vibrant, energetic canvases that occupy the boundary between figuration and abstraction. Her work demonstrates how observed forms can dissolve into fluid arrangements of shape and colour.

Brown’s paintings often begin with careful observation of figures, landscapes, or art historical references, which she then transforms through gestural brushwork. This process reveals how recognisable objects can be deconstructed into their component shapes while retaining emotional resonance.

Connection to Your Practice

Edward Hopper and Cecily Brown represent different approaches to the same fundamental skill: seeing shapes rather than objects. While Hopper clarifies and simplifies shapes to create order, Brown allows shapes to blur and overlap, creating visual complexity. Both demonstrate how artists can move beyond literal representation by focusing on underlying forms.

Exploration Activity

Select an everyday scene and make two drawings: one that simplifies objects into precise geometric shapes like Hopper and another that allows shapes to merge and interact like Brown’s work. Notice how this changes not just what you draw but how you see.

Up Next — Part 4: Negative Space Drawing Techniques

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