Drawing: Basic Textures in Pencil. A Beginner’s Guide to realistic Textures in Graphite
Transcript of Drawing: Basic Textures in Pencil. A Beginner’s Guide to realistic Textures in Graphite
BASICTEXTURESINPENCIL
Apencil’spointcanunleashaworldofcreativesatisfaction.Andalthoughmanyartistsmayviewitasasimplesketchingtool,itcanalsobeusedtoexpressthecaptivatingtexturesofboththenaturalandmanufacturedworlds.Apencilcancapturethefragilebeautyofabutterfly’swingortheimposingformofasteelskyscraper.Fromthedelicatelinescreatedbyasharpened,hardleadpointtothevelvety,deepvaluesofasoftgraphite,therangeoftexturalpossibilitiesisinfinite!
—DianeCardaci
CONTENTS
Tools&Materials
GraphiteTechniques
UnderstandingValue
Texture,Light&Form
Botanicals
StillLife
Wildlife
Landscape
Cityscape
Portrait
Pets
TOOLS&MATERIALS
Graphitepencilartworkrequiresfewsupplies,andfortunately
theyarefairlyinexpensive.Chooseprofessionalpencilsand
paper,ratherthanstudent-gradematerials;theywilllast
longerandensureahigher-qualitypresentation.
PencilsPencilsarelabeledbasedontheirleadtexture.Hardleads(H)arelightinvalueandgreatforfine,detailedwork,buttheyaremoredifficulttoerase.Softleads(B)aredarkerandwonderfulforblendingandshading,buttheysmudgeeasily.Mediumleads,suchasHBandF,aresomewhereinthemiddle.SelectarangeofpencilsbetweenHBand6Bforvariety.Youcanpurchasewood-encasedpencilsormechanicalpencilswithleadrefills.
WoodenPencilThemostcommontypeofpenciliswood-encasedgraphite.Thesethinrods—mostoftenroundorhexagonalwhencutcrosswise—areinexpensive,easytocontrolandsharpen,andreadilyavailabletoartists.
FlatCarpenter’sPencilSomeartistspreferusingaflatcarpenter’spencil,whichhasarectangularbodyandlead.Thethickleadallowsyoutoeasilycustomizeitsshapetocreateboththickandthinlines.
Carpenter’sPencil
MechanicalPencilMechanicalpencilsareplasticormetalbarrelsthatholdindividualleads.Someartistsprefertheconsistentfeelofmechanicalpencilstothatofwoodenpencils;theweightandlengthdonotchangeovertime,unlikewoodenpencilsthatweardownwithuse.
MechanicalPencil
WoodlessGraphitePencilThesetoolsareshapedlikedwoodenpencilsbutaremadeupentirelyofgraphitelead.Thelargeconeofgraphiteallowsartiststouseeitherthebroadsideforshadinglargeareasorthetipforfinerstrokesanddetails.
WoodlessPencil
WoodlessPencil
GraphiteStickAvailableinafullrangeofhardnesses,theselong,rectangularbarsofgraphitearegreattoolsforsketching(usingtheend)andblockinginlargeareasoftone(usingthebroadside).
GraphiteStick
PaperPaperhasatooth,ortexture,thatholdsgraphite.Paperswithmoretoothhavearoughertextureandholdmoregraphite,whichallowsyoutocreatedarkervalues.Smootherpaperhaslesstoothandholdslessgraphite,butitallowsyoutocreatemuchfinerdetail.Planaheadwhenbeginninganewpiece,andselectpaperthatlendsitselftothetexturesinyourdrawingsubject.
BlendingToolsThereareseveraltoolsyoucanusetoblendgraphiteforasmoothlook.Themostpopularblendersareblendingstumps,tortillons,andchamoiscloths.Neveruseyourfingertoblend—itcanleaveoilsonyourpaper,whichwillshowafterapplyinggraphite.
StumpsStumpsaretightlyrolledpaperwithpointsonbothends.Theycomeinvarioussizesandareusedtoblendlargeandsmallareasofgraphite,dependingonthesizeofthestump.Youcanalsousestumpsdippedingraphiteshavingsfordrawingorshading.
TortillonsTortillonsarerolledmorelooselythanastump.Theyarehollowandhaveonepointedend.Tortillonsalsocomeinvarioussizesandcanbeusedtoblendsmallerareasofgraphite.
FacialTissueWraptissuearoundyourfingerorrollitintoapointtoblendwhendrawingverysmoothsurfaces.Makesureyouuseplainfacialtissue,withoutaddedmoisturizer.
ChamoisChamoisaregreatforblendingareasintoasofttone.Theseclothscanbeusedforlargeareasorfoldedintoapointforsmallerareas.Whenthechamoisbecomesembeddedwithgraphite,simplythrowthemintothewasherorwashbyhand.Keeponewithgraphiteonittocreatelargeareasoflightshading.Tocreatedarkerareasofshading,addgraphiteshavingstothechamois.
ErasersErasersservetwopurposes:toeliminateunwantedgraphiteandto“draw”withinexistinggraphite.Therearemanydifferenttypesoferasersavailable.
KneadedThisversatileerasercanbemoldedintoafinepoint,aknife-edge,oralargerflatorroundedsurface.Itremovesgraphitegentlyfromthepaperbutnotaswellasvinylorplasticerasers.
BlockEraserAplasticblockeraserisfairlysoft,removesgraphitewell,andisveryeasyonyourpaper.Useitprimarilyforerasinglargeareas,butitalsoworksquite
wellfordoingafinalcleanupofafinisheddrawing.
StickEraserAlsocalled“pencilerasers,”thesehandytoolsholdacylindricaleraserinside.Youcanusethemtoeraseareaswherealargereraserwillnotwork.Usingautilityrazorblade,youcantrimthetipatanangleorcutafinepointtocreatethinwhitelinesingraphite.It’slikedrawingwithyoureraser!
GRAPHITETECHNIQUES
Thewayyouapplyamediumtopapercontributestothe
overallmoodandstyleofapiece.Armyourselfwithavariety
ofeffectsbygettingtoknowthefollowingtechniques.You
canusemanyofthesetechniquesforotherdrymedia,such
ascharcoalandpastel.
GradatingwithPressureAgradationisatransitionoftonefromdarktolight.Tocreateasimplegradationusingonepencil,beginwithheavierpressureandgraduallylightenitasyoustrokebackandforth.Avoidpressinghardenoughtoscoreorcompletelyflattenthetoothofthepaper.
GradatingwithHardnessBecausedifferentpencilhardnessesyielddifferentvalues,youcancreateagradationbyusingaseriesofpencils.Beginwithsoft,darkleadsandswitchtoharder,grayertonesasyoumoveawayfromthestartingpoint.
StipplingApplysmalldotsofgraphiteforaspeckledtexture.Topreventthistechniquefromappearingtoomechanical,subtlyvarythedotsizesanddistancesfromeachother.
ScumblingThisorganicshadingmethodinvolvesscribblinglooselytobuildupgeneraltone.Keepyourpressurelightandconsistentasyoumovethepencilinrandomdirections.
BurnishingItisdifficulttoachieveaverydarktonewithjustonegraphitepencil,evenwhenusingasoftlead.Toachieveadark,flattone,applyaheavylayerofsoftleadfollowedbyalayerofharderlead.Thehardleadwillpushthesoftergraphiteintothetoothofthepaper,spreadingitevenly.Shownatrightis4Hover4Blead.
TIP
ApplyingGraphitewithaBlenderChamoisUsingachamoisisagreatwaytoapplygraphitetoalargearea.Wrapitaroundyourfingeranddipitinsavedgraphiteshavingstocreateadarktone,orusewhatmaybealreadyonthechamoistoapplyalightertone.
StumpStumpsaregreatnotonlyforblendingbutalsoforapplyinggraphite.Useanoldstumptoapplysavedgraphiteshavingstobothlargeandsmallareas.Youcanachievearangeofvaluesdependingontheamountofgraphiteonthestump.
IndentingTopreservefinewhitelinesinadrawing,suchasthoseusedtosuggestwhiskers,someartistsindent(orincise)thepaperbeforeapplyingtone.Useastylusto“draw”yourwhitelines;thenstrokeyourpencilovertheareaandblend.Theindentationswillremainfreeoftone.
“Drawing”withanEraserUsethecornerofablockeraserortheendofastickeraserto“draw”withinareasoftone,resultinginlightstrokes.Youcanusethistechniquetorecoverlightsandhighlightsafterblending.
HatchingHatchingisconsideredoneofthesimplestformsofshading.Simplyapplyaseriesofparallellinestorepresentdarkertonesandshadows.Theclosertogetheryouplacethelines,thedarkertheshadingwillappear.
CrosshatchingTocrosshatch,placelayersofparallellinesovereachotheratvaryingangles.Thisresultsina“mesh”oftonethatgivesshadedareasatextured,intricatefeel.Foranaddedsenseofdepth,makethelinesfollowthecurvesofyourobject’ssurface.
UNDERSTANDINGVALUE
Oneofthemainchallengesofdrawingismakingaflat,two-
dimensionalimagelooklikeathree-dimensionalobject.By
shading(addingdarkvalues)andhighlighting(addinglight
values),youcanproducethevaluevariationsneededto
createtheillusionofdepthinyourdrawings.
CreatingaValueScaleMakingyourownvaluescalewillhelpfamiliarizeyouwiththedifferentvariationsinvalue.Workfromlighttodark,addingmoreandmoretoneforsuccessivelydarkervalues.
BlendingValuesNowcreateablendedvaluescale—useablendingstumptosmudgeandblendeachvalueintoitsneighboringvaluefromlighttodark.Thiswillshowyouhowonevalueblendsintothenextastheygraduallygetdarker.
AddingValuetoCreateFormAshapecanbefurtherdefinedbyshowinghowlighthitstheobjecttocreatehighlightsandshadows.Firstnotefromwhichdirectionthesourceoflightiscoming.(Intheseexamples,thelightsourceisbeamingfromtheupperright.)Thenaddtheshadowsaccordingly,asshownintheexamplesbelow.Thecoreshadowisthedarkestareaon
shownintheexamplesbelow.Thecoreshadowisthedarkestareaontheobjectandisoppositethelightsource.Thecastshadowiswhatisthrownontoanearbysurfacebytheobject.Thehighlightisthelightestareaontheobject,wherethereflectionoflightisstrongest.Reflectedlight,oftenoverlookedbybeginners,issurroundinglightthatisreflectedintotheshadowedareaofanobject.
TEXTURE,LIGHT&FORM
Lightcontributestothetextureofanobject.Asthelightfalls
acrossanobjectwithastrongtexture,eachindividualaspect
ofthetexturewillcreateitsownlightandshadoweffect.But
theseindividualvaluechangesmustremainsecondarytothe
formshadows,ortheformwillbelost.
Whenyouaredrawinganobjectwithtexture,firstimagineitasasmoothobjectwithnotextureatall.Thinkofthetextureoftheobjectasasortoftranslucentcoat,sotheunderlyingvaluesoftheformwillshowthrough.Itisgoodpracticetodrawafewtexturedobjectsanddevelopalight,middle,anddarkvalueforeachoftheobjects.Thenlookathowtheformchangesasthevalueschange.
SeeingFormAcoconut(shownaboveasbeinglitfromathree-quarterangle)hasaformsimilartothatofanegg.Imaginethecoconutwithasmooth,egglikesurface.Onceyouunderstandthewaythelightishittingtheobject,youcandrawitsform.
Formvs.TextureAcoconutisagoodexampleoftextureversusform.Youmightbetemptedtousedark,heavyshadingtoportraythecoconut’ssurface.However,inthiscase,thecoconut’sformismoreimportantthanitstexture.
StudyingShapesTounderstandhowthelightsourcecreatestheformofthistree,breakdownthetreeintoaballandacylinder.Useroughpapertoaddsometexture,andputdownalayerofdarktonewiththesideofthepencil.
AddingDetailUsingshortstrokes,createtheleaves.Don’tgetcaughtupindrawingindividualleaves—insteadsuggesttheleaveswithapatternoftexture.Asyoudrawtheleaves,leavethetexturelighterontopwherethelightsourcehitsthetree.
BOTANICALS
Whendrawingplants,itisimportanttorememberthatleaves
andpetalscomeinmanyshapes,sizesandtextures.Besides
theirgeneralshape,theiredges(irregularorsmooth),
shininess(glossyormatte),andthicknessmustbecarefully
observed.
PETALS
Drawtheoutlineofthepetal,andaddthegeneralshapeofitscolorationandtheraisedcenterarea.
Deepentheshadingusinglongstrokesthatfollowthedirectionofthepetal.Darkenthemarkingsandcenterline,andthenlightlyshadetheareawherethepetalfoldsbackonitself.
LEAVES
CrotonLeafOutlinethemajorpatterns(topleft),andthendrawinthedeepestvalueswitha2B.Blendthetone,maintainingthevaluesthatindicatethecolorchanges.Liftoutthedetailsalongtheedge(topright).
HollyLeafWiththesideofa2B,layinsometone(topleft).Smudgethetoneandliftoutanyareasthatshouldremainwhite.Thehighlightswillbeimportantforcreatingtheappearanceofthisleaf’sglossyshine.Adddeepertoneswitha4B(accentingthesharppointsoftheleavesandtheraisedveins),andthenblend.Liftoutthelighterveins(topright).
HIBISCUS
Arrowabove:UseanHBpenciltoblockintheoutershapeoftheflowerandpetals.Blockintheleaves.
Arrowabove:Indicatethepetalfolds,pistil,andstamen.Drawthebudandsketchlightlinestoindicatevenationontheleaves.
Arrowabove:Tobeginworkingintone,dipalargestumpintographitepowderandstrokeitintotheareasthatrepresentthedeepestshadowsonthepetalsandleaves.Applythedeepesttoneinthecenteroftheflower.
Arrowabove:Continueaddinglightertonetothepetals.Deepenthecastshadowsonthepetalsandthecenteroftheflower,anddothesameontheleaves.Forthethinstemsandbud,usethepointofthestumptoblendthetoneandsoftentheedges.
Toparrow:Forthelighterleafvenation,liftoutwithakneadederaser.Shadethebuddelicately,usinglightpressure.Usethesideofa4Bpencilforthebranchandmakecircularstrokestocreatetheroughtexture.Useakneadederasertocleanupanystraylines.
Bottomarrow:Toshade,useasharpHBandstrokeovertheflower,followingthefoldsofthepetals.Deepenthecastshadowswitha2Banddarkenthecenteroftheflowerwitha4B.Nextdrawthedetailsofthepistilandstamens,addingsomestippling.
STILLLIFE
Stilllifecompositionsallowyoutodesignthecomposition;
choosethetextures,values,andcolors;andcreatetheideal
lightingsituation.Playaroundwithdifferenttypesoffruits
andcheesestoseehowthelightcatchestheirtextures.
FRUIT
AppleApolishedapplereflectsastronghighlight.Applycarbondust(fromsharpeningyourpencils)withcircular,irregularstrokes;thenliftoutthehighlightwithaneraser.
OrangeApplycarbondust,usingstrokesthatfollowthefruit’sform.Liftoutthemainhighlightandthenuseanerasertocreatecurvedstrokesaroundthehighlight,showingthebumpytextureoftheskin.
StrawberryLayindarktonewithcarbondustandusea4Btostartestablishingadottedpattern.Continuetoenhancethedimpled,seededtexturebyaddingthin,curvedhighlightlinesaroundthedarkerdots.
CHEESE
Drawawedgeshapeandusethesideofthepenciltoshadewithlightpressureandloose,ovalstrokes.Useverticalstrokestoshadetheside,anddarkentheveinsandtheshadows.
Usehorizontalstrokesthatfollowtheformfortherind.Thendeepenthetonesoftheholesandjaggedveins.Createaslightcastshadowunderneath.
Withheavypressureandadullpoint,deepentheholes,rememberingtokeepthevariationsintonetoshowvariousdepths.Crosshatchthecastshadowanddeepenthelinesaroundthecheesetoshowtheheavyrind.
BASKETBasketsareincrediblytactile.Thetextureoftheweavecreatesathree-dimensionalpatternwithmanylayers.Tryingyourhandatrenderingawovenbasketisagreatwaytolearnabouttheinterplayoflightandshadowandhowitcanshowtheheavytextureofthebasket.
WINEANDCHEESE
Arrowabove:SketchthescenewithasharpHBpencil,payingattentiontothereflectionsontheglassobjects.
Forsmoothobjectslikeglass,startbyapplyingcarbondustwithastump.Useovalshapedstrokestomimicthehardsurfaceoftheglassandthenusetheremainingdustonthestumptoindicatethedarkreflectionsintheglass.
Toprightarrow:Forthestrawwrappingonthebottle,followthebottle’sformwithlong,verticalstrokes,whicharebrokenanduneventoshowthenaturalfiber.
Bottomrightarrow:Applycarbondusttothegrapeswithquickstrokes,whichcreatesrandomvariations.Forthecheese,usethestumptocreatelongstrokesthatfollowtheflatshapeofthecheese’sform.
Buildinguptheglassysurfaceofthewine,usea2Bpenciltocreatelong,curvedstrokes;thenblendwithastump.Useverticalstrokesfortherigidstemoftheglasswheretherearereflections,andusecurvedstrokeswheretherearesomedarkertonesatthebaseoftheglass.
Arrowright:Adddarkformshadowstothegrapesandblendyourstrokestocreatetheslickskin.Addmoretonetothecheesewithastump.Thenaddtonetothecastshadowsonthetableandblendthestrokes.
Toparrow:Followingthecontoursoftheforms,usea2Hpenciltoaddsomeshadingtotheglass,stem,andbasetogivethemsharp,crispedges.Thendarkenthewineusinga2B.
Bottomarrow:UseasharpHBtoredefinethegrapes’distinctedges.ShadethecheeseusinganHB,followingthedirectionoftheform;thendarkentherindwitha4B.
Usingthedullpointofa4B,furtherdeepenthetoneofthewineintheglassandbottle.Useanerasertoheightenthesmoothqualitybylightlyliftingoutsomereflectionsinthewine.Forthebottle,blendthetone;thenliftoutthelonghighlightalongtheneckwithastrokethatmimicsthehardedgeoftheglassbottle.
Addafewsmall,verticalshadowstotheupperlabeltocreatetheirregularfolds.UsinganHB,addmoreshadingtothestraw,andcreatecastshadowswiththesideofthepencil.
Lowerleftarrow:Witha4Bmaketiny,circularstrokestodarkenthegrapes;then
Lowerleftarrow:Witha4Bmaketiny,circularstrokestodarkenthegrapes;thenliftouttodefinethehighlights.Blendandliftouttocreateasmoothertextureforthecheese,anduseasharppointtodrawinitsthincastshadow.
Lowerrightarrow:Addmoretexturetothetableclothusingcrosshatching.UsethepointofanHBtodrawmorewoodgrain.
WILDLIFE
Natureprovidessomeofthemostexquisiteandinteresting
textures.Drawingwildlifeisespeciallyhelpfulbecauseeach
animalcomprisesanumberofdifferenttexturalelements.
Thinkaboutabirdwithitssleekfeathers,scalyfeet,smooth
beak,andglisteningeyes.Thereisawealthoftexturesin
yourownbackyardjustwaitingtochallengeyou.
FEATHERS
Tocapturethewispy,fragiletextureofapeacock’sfeather,startbydrawingthinlinesthatstemfromaverticalcenterline.Thendrawacirclewithinanovalforthe“eye”—drawthecurvedlinesthatsurroundthe“eye”sothattheyfollowtheovular
“eye”—drawthecurvedlinesthatsurroundthe“eye”sothattheyfollowtheovularform.
Darkenthecenterofthe“eye”toemphasizethepeacockfeather’sdistinctivepattern.Keeptheareaaroundthecenterverylighttoindicatethechangeincolorandthedelicatefeathertexture.
Afterdarkeningallmylines,useakneadederasertoliftoutasmallcurvealongtheedgeofthedarkcenter.
SCALESANDSKIN
AlligatorUseasoft,broadpencil,payingattentiontothedirectionofthelightsource—alligatorskinismadeupofmanysmallridges,andeachridgemustbelitproperlyforthedrawingtoappearrealistic.
FishOutlinethescales;thenaddshadingatthebaseofthescaleswheretheyoverlaptoshowthedistinctiveflakytexture.Notethateveryscalehasahighlight—thishelpscapturethefish’sshimmerynature.
ButterflyDrawanoutlinewithasharpHBpencil.Lightlydrawthethinveins,usinglongstrokes.Addanotherlayeroftonecoveringthelighterareasofthewing.Nextusea2Bpenciltodeepentheveins,graduallyincreasingthepressureandusinglongstrokesthatfollowtheshapeofthewing.SwitchbacktotheHBanduselongstrokestodeepenthelighttones,allowingsomestrokestobedarkertocreateaslightvariation.
FrogUsethesmudgingtechniquetolaydownthebase.Usedarkertonestocreateraisedbumpsandliftoutsomegraphitetoaddhighlightstothesurface.
BLUEJAY
BeginwithacarefullydetailedoutlinedrawnwithasharpHBpencil.Whendrawingthehead,useshortstrokestocreatethesofteredgesofthefeathers.Indicatetheblackmarkingsofthebirdwithsomequickshading.
Arrowleft:Withasharp2Hpencil,darkenthelinesaroundthefeatherstodefinethem,andaddsomedarkmarkingsusingshortstrokes.Asyoudraw,makesurethatallofyourstrokesfollowthedirectionofthefeathers.
Arrowright:Shadeunderthewings,thendarkentheeye,rememberingtoleavethehighlightwhite.Putsometoneinthebeakbutleaveitlighterontheupperparttoshowthereflectionoflight.
WorkingbackandforthbetweenanHBanda2Bpencil,startdevelopingvalues,concentratingonthebird’sbodyandhead.Usingshort,unevenpencilstrokes,startputtingsometoneontheback,thebelly,andthebackofthehead.Applysomedarkertonetothecrownoftheheadtoindicatethebluecolor.
Arrowright:Darkenthebeak,butkeepsomehighlightstoemphasizeitssmoothtexture.Onthewings,uselongstrokestoshade,makingsuretokeepthewhitemarkingsevident.Useabroad-point6Bpenciltoshadethebranchwithcircularstrokes.Lightentheshadingasitrecedesintospace.
TIP
Balancethevaluesoftheformwiththevaluesofthebird’scolor.Thetextureemergesfromthewaythesedifferentvaluesareapplied.Ifyourunintoconflict
betweentheformandcolorvalues,giveprioritytotheformvalues.
Shadewitha4Btogiveformtothesmallbranches,anduseablunt4Btoaddtonetosomeoftheneedles,givingthemmoredepthandapricklytexture.Useakneadederasertoliftoutjustatouchofgraphite,emphasizingthereflectedlightatthebottomofthemainbranch.
Arrowtop:Leavingsomesmallfeathersstickingoutsoftensthebluejay,butatthesametimedoesn’tlookunkempt.Cleanupthedrawingwithakneadederaser
thesametimedoesn’tlookunkempt.Cleanupthedrawingwithakneadederaserandliftoutanywhitemarkingsyouneedtoaddtothefeathers.
Arrowbottom:Deepenthewingsevenfurtherwitha2Bpenciltocreatemorecontrast.Thendarkenthegraysoftheshadowedbellytones.Addafewmoredetailedtexturestothefeetwitha2B,usingheavypressure.Alsoaddafewlong,sharplinestoindicatethesmoothedgeswherethefeathersoverlap.
LiftingOutforFeathersUseanerasertoliftoutthewhiteedgesofthefeathers.Gobackinandreinforcetheedgeswithpenciltoshowthedefinededgesofthefeathers.Useshortlinesthatfollowthedirectionofthefeatherstocreateadditionaltexture.Thenblendthebackgroundwithanerasertohelpmakethefeathersstandout.
LANDSCAPE
Whentherearealotofnaturalelementsinalandscape,it
canseemoverwhelmingtocaptureallofthetextures.To
simplifytheprocess,startbymappingoutthemajormasses,
breakingthemdownintomanageableshapes.Thenyoucan
addothertexturalaspects,suchascloudsandwater,tobring
thescenetolife.
CLOUDS
CumulusForfluffyclouds,dabyourerasergentlyforlightgrayareasandusemorepressuretoliftoutthewhites.
CirrusTodrawthesewispyclouds,liftoutusingacurvingmotionandthenextendthatmotionhorizontally.
CumulonimbusTocapturethesedarkstormclouds,dabthegraphitewithaneraser;thenadddarktoneandblend.
TREES
PainterlyStrokesUseawide,softleadtolaydownlarge,denseareasoftone.Finishingwithsomeshorterstrokes,stippletocreatedetailandaddtexture.Thisgivesatreeanopen,leafypattern.
LinearStrokesUseasharperpencilandsmall,thinstrokes.Varythedirectionanddensityofmylinestodevelopthedarkandlightvaluesthatestablishtheformofthetree.Thistechniqueisidealforpricklypinetrees.
CombiningTechniquesPutdownsometoneandthensmearitwithablendingstump.Thenuseshort,linearstrokeswithasharppenciltocreatethetexture.Thiscreatesatreewithasofter-lookingtexture.
WATER
StillWaterWhentheairisperfectlystill,watercanappearalmostlikeamirror,reflectingobjectsclearly.Tomakethereflectionsevident,usedense,darkstrokes.
RougherWaterDeliberatelyallowthelinestobemorewavythaninthepreviousexample.Liftoutwithlong,horizontalstrokes.Noreflectionscanbeseen.
WavesWavesproduceasenseofmovementthroughfrothywhitecaps.Startwiththeshapeofthewave,createthedarkerpartsofthewaterwitha4B,andblend.
Createafewwhitelinesinthedarktonewithmyeraser,showingthebuildingwhitecaps.Dabtheerasertocreatethesprayandliftoutwavyshapestomakethefoam.
ROCKYCREEK
Beginshadingthetreesinthedistance;thenworkyourwaytothemiddlegroundandforeground.Don’tcompletelyshadeeachobjectbeforemovingtothenextone.Workontheentiredrawingsoitmaintainsasenseofunity.Youdon’twantoneareatounbalancethelandscapeorappearasthoughyouspentmoretimeonit.
CreatingTextureRocksurfacesaregenerallyunevenandbumpy.Trytocreateavarietyofshadingvaluesontherockssotheyappearjagged.Hatchinvariousdirectionstofollowtheshapesoftherocks,andmakethevaluesdarkerinthedeepestcrevices,onsharpedges,andintheareasbetweentherocks.
Arrowabove:Continuetobuildformthroughshadingusinghatchmarks.
UsethesideofanHBpencil,shadinginevenstrokestocreatereflectionsinthewater.Keepinmindthatanobject’sreflectionissomewhatdistortedinmovingwaterandmirroredinstillwater.Forexample,thereflectionofthesharprockedgeshereappearsblurredanduneven.Closelystudyyourlandscapesoyoudon’tmissanyofthedetails.
Arrowright:Applystrokesindirectionsthatcorrespondwiththerocks’rugged,uneventexture,andfillintheareasbetweenthecrackswithasharp2Bor4Bpencil.
CITYSCAPE
Spendanafternoonwalkingthroughatownwithyour
cameraandsketchbook,lookingforuncommontexturesin
commonplaces.Photographorsketchthelittledetailsthat
willbringyourdrawingstolife.Woodendoorscanhelpadd
rustictexturestobuildings,andstuccoandbrickcanbring
depthtootherwiseflatwalls.
BRICKSWITHSTUCCO
Firstoutlinethebrickpattern,andthenlooselydrawhorizontalstrokeswithinthebricks.Smearthetonewithastump,fillingineachbrickshape.
Drawsomewavylinestosignifytherough,brokenedgesofthestucco.Thenlightlygoovertheentiredrawingwitha6Bsothepaperpicksuptinyspecksofgraphite.
NowuseasharpHBtocreateverythin,slightlywavylineswheretheoldstuccoisbreakingawayfromthebrick.Thendarkenandrefinethehardedgesofthebricks.
DOORS
Addtonetotheoutlinewithwavy,verticalstrokestoindicatethegrainofthewood.Useheavierpressuretomakethewooddarkerwherethepanelisrecessed.
Addmoreshadingandthengentlysmudgeitwithastumptosoftenthelook.Nextputdarktoneintherecessedgroove.UseaverysharpHBtoaccentuatethelineswherethewoodpiecesjoin.
Nowdarkenthetoneofthewoodandaddlinestoshowthegrain.Layersoftoneaddmorenaturalvariationstothetextureofwood.Addathin,darkstripatthebottomofthepaneltohelpadddepth.
OLDTOWNPLAZA
Beforebeginning,thinkaboutthepaperyouwanttousetocapturethevarioustexturesofthescene.Oldstonebuildings,shutters,andastonefountainwouldrenderwellonroughpaper.UseasharpHBtocreateaheavyoutlinethatwillshowthroughyourinitialshading.
METALSDullmetalsdonothavedistinctiveborderstotheirhighlights.Weatheredmetalsfeaturelittlebumpsthatcatchindividuallightsandshadows,breakingupthetoneandhighlights.Shinymetalshavebrighthighlightswithsharpedges.
Dull
Weathered
Weathered
Shiny
Usebroadstrokesandthesideofa6Btolaytoneacrossthebuildings;thenapply
Usebroadstrokesandthesideofa6Btolaytoneacrossthebuildings;thenapplyunevenstrokestothelengthsoftheroofs.Lightlyshadethesmoothstoneofthefountain,andswitchtoathinnerleadtodepicttheslattedtextureofthewoodenshutters
Takealargeblendingstumpandspreadsomeofthegraphiteacrossthebuildingsandinthedoorways.Applycarbondustonthedarkmetalfountain,usingsmoothstrokes.Nowusea6Btodeepenallthetonesonthebuildingandroofs.
Nowdeepenallthetones,darkeningallthecastshadowsandareasthataren’thitbythelightsource.Smudgeacrossthebuildingbutnotontherooftomaintainitshighlygranulartexture.Addmoredarkstothemetalandinteriorofthefountainwiththecarbondust,andsmeartheshadowthatrunsacrossthebackofthepiazza.
Toestablishthebumpytextureofthetiles,addlinesacrossthewidthoftheroofwitha4B.Sharpentheedgesofthewindowsanddoorways,usinganeraserwhennecessarytocorrectlines.Refinemoredetailswitha2B,suchasthelanterns,thecrest,andumbrella.Addmoretonetothemainbuildinganduseastumptosmearit.
Furtherdevelopthetonesofthefountain,alternatingbetweena4Bandastump.Alsousetheeraseronthebuildinghereandtheretoaddmoretexturalrelief.Adduneven,curvedstrokestotherooftogiveasenseofthebarreltileswithoutdrawingthemindividually.Addsomelinesacrosstheshutterstocreatetheimperfecttextureoftheslats,andthensharpentheedgesandarchitecturaldetails.
PORTRAIT
Carefulobservation,coupledwithathoroughunderstanding
oftheformofthehead,isthefoundationofasuccessful
portrait.Considerationmustbegiventohowthelightflows
overtheheadandfacialfeatures,aswellastheverydifferent
texturesofhair,teeth,skin,andeyes.
HAIR
LightandWavyCarbondustandastumpcreateabaseoflight,subtletone.Addlong,flowinglines,followingthesoftwavesofthehair.Thestrandsintheforegroundstayverylighttoemphasizethecolorofthehair.
DarkandWavyDrawthemain,curvinghairforms;layerinsomecarbondust;anddrawwavylineswiththepointofa2Bpencil.Usea4Bforthedarkestdarksandliftoutthelighter,highlightedstrandswithakneadederaser.
DarkandStraightFirstoutlinethesculpturedshapeofthishairstyleandthenapplyalayerofcarbondust.Becausethehairissosleek,thereisastrongbandofhighlights.Applyeventonewithlong,curvedstrokesanda2B.
LightandCurlyOutlinethemainmassesofcurlsandsomeindividualhairs.ThenuseasharpHBtoshade.Layinsomecarbondustforthehairthatisinshadow.Thenliftoutsomehighlightswithcurvedstrokes.
EYES
Startwithanoutlineoftheeye;thendipastumpintosomecarbondustandapplyalightlayerofshading,followingthecontoursoftheeyeandeyelid.Useradialstrokesfortheiris.
Nextusethepointofthestumptoapplyshadingtothefoldoftheeyelid.Darkentheirisbutmaintainthesharpnessofthehighlight,liftingoutwithakneadederaserwherevernecessary.
SwitchtoanHBfortheeyelidsandeyeball,usingsmooth,curvedstrokesonthelid.Nextdeepentheiriswitha2B;thenliftoutafewspeckstogivetheeyeamorerealisticlook.
LIPS
Startwithanoutlineofthemouthandapplylighttonewithcarbondustandastump.
Addanotherlayeroftonewiththecarbondustanddarkenunderneaththebottomlipandinthecornersofthemouth.SwitchtoanHBpencilandstrokeoutwardwithshort,slightlycurvedlines.
Nowusethesideofthepenciltoaddmoretonetothelips,liftingoutthehighlights.Usea2Btodrawtheseparationofthelips;thenaddmorecontourlineswithanHB.
YOUNGGIRL
UseasharpHBpencilfortheoutlineofthebasicfeaturesofthehead.Checktheaccuracyofthedrawing,astheslightesterrorsinobservationwilltakeawayfromthelikenessofthesubject.
Usingthesideofa2Bpencil,drawlong,flowingstrokesthatfollowthedirectionofhersmooth,straighthair.Developtheshadowundertheeyebrowofherlefteye.Forthesideofthenose,uselongerstrokeswithaslightcurve,butforthetip,useshorter,curvedstrokes.Onthesideoftheface,Iuseverylightstrokesthatcurvewiththeshapeoftheface.
Begintoblendthehairwithalargestump.Withthelightesttouch,slightlyblendthepencilstrokesaroundthesideoftheface,beingcarefultofollowthesoftlyroundedcontourofthecheeks.Withasmallerstump,lightlyblendtheareasaroundtheeyes,mouth,nose,andeyebrows.Takea2Bpencilandputsomedeepertoneinthenostrils,thecornerofthemouth,andthepupiloftheeye.
Arrowabove:Usingthepointofa2Bpencil,buildupthetoneandflowofthehair.Workontheface,usingadelicatebuildupofcrosshatching.Drawverylight,longstrokeswithanHBacrossthesmoothskinoftheforehead.Shadearoundtheeyearea,alwaysfollowingthecontouroftheform.Dothesameforthenose,lips,cheeks,andchin,buildinguptoneslowly.
Arrowabove:Continuebuildingupthetoneofthesilkyhair,usinga4Bforthedarksanda2Bforthelights.Deepentheshadowareasbetweenthefaceandthehairthatwillhelpgivedepthtotheface.Deepentheeyebrowswithshortlinestoshowthevariationsintone.Usingradialstrokeswitha2B,darkentheirises.Continuetobuilduptheneck,keepingitdarkerthanthefacetoshowthecastshadow.Shadethenecklace,usingseparatecurvedstrokestoindicatetheheavyfibers.
Arrowabove:Againbuildupthetoneofthehairandlightlyshadetheplasticbarrette,puttinginsmallcastshadowswithasharppoint.Continuetocrosshatchthefacetorefinethetransitionbetweenthetones,whilekeepingthesmoothnessofherskin.Deepentheupperandlowereyelasheswithshortlines.Thenrefinethenoseandmouth,usingcurvedlinesthataremoreprominentinthelowerliptogivesometexture.Finallyworkontheshirt,simulatingtheknitfabricwithcrosshatching.
PETS
Animalsholdavarietyoftexturalchallenges,fromwirycoats
toshiningeyesandwetnoses.Becauseapencilissucha
versatiletool,youcaneasilysketcharough-coatedgoator
finelystrokeasmooth-haireddeer,inadditiontoadog,cat,
orotherdomesticatedpet.
FURANDHAIR
SilkyOutlinetheprominenthairpatternswithanHB,andthenputinsometonewithstrokesthatfollowthegentlewavesofthehair.Thenuseanerasertopickoutshinyhighlights.
CurlyCreateabasetoneusingcarbondustandastump.Thenliftoutlong,curly,whitelinestoachievethekinkytextureofthehair.AddcurlylinesontopofthewhiteareaswithaverysharpHBpencil.
ShortandSmoothLayintoneusingcarbondust.Thenmakeseveralveryshortstrokeswiththesideofa2Bpenciltoachievethesmooth-texturedappearance.
LongandFluffyPutdownthebasetone,thenaddsomelong,slightlycurved,lightstrokeswiththesideofa2B.Ontopofthat,putinthinlineswiththepointofthepencilandaddsomeheavierlineswherethehairisdarker.
ShortandWiryPutdownsomecarbondustandblendwithastump,usingshortstrokeswhenblending.Drawshortlinestodevelopthepatternsandmakeslightchangestothedirectionofindividualhairstoproducethewirytexture.
LongandSmoothDrawlong,wavylines,thenaddtonewithcarbondust.Alternateshadingwiththesideofthepencil,drawingfinelineswiththepointofanHB,andliftingoutwhiteareaswithanerasertogetthesoftlook.
CANINEEYES
Outlinetheeye;thenusecircularstrokestocreateabasetone.Putdarkershadinginthecenteroftheirisforthepupil,aswellasaroundtheouteredge.Leavethesquare-shapedhighlightwhite.
Nextdeepenthetoneinthepupil,aroundtheoutsideoftheiris,andalongtheeyelids.Thecontrastofthedarkpupilagainstthewhitehighlightmakesthehighlightappearevenbrighter.
Maintainasharpedgeforthehighlight,whichgivestheeyeawet,glossylook.Shadearoundtheeyesusingshortstrokeswiththesideofthepencil;thendrawa
Shadearoundtheeyesusingshortstrokeswiththesideofthepencil;thendrawafewhairsaroundtheeyewithasharppoint.
CANINENOSES
Firstdrawanoutlineofthenosewiththehighlightsclearlydelineated.Usecircularstrokeswitha4Btocreatethebasetone.Thenputdarkertoneinthenostrils.
Addanotherlayeroftone,stillusingcircularstrokestobuildtheleatherytexture.Leavewhitespotsforthehighlightsonthetopofthenoseandaroundtheedgesofthenostrils.
Makethedeeppartofthenostrilsasdarkaspossible.Breakupthehighlightswithafewstrokes,butmakesuretokeepthemwhiteandvisiblebecausethehighlightscreatetheillusionofwetness.
SPRINGERSPANIELPUPPY
Arrowabove:Drawabasicoutline,ensuringthatproportionsareaccurate.Usea2Bpenciltoblockinthepupils,workingaroundthehighlight.Addthinlinesofdarkskinaroundtheeyes;thenbegindevelopingthedarkestareasofhairaroundtheeyesocketandface,withintheears,anddowntheback,drawinginthedirectionofhairgrowth.
Arrowabove:Aftertoningthedarkestareas,increasethevaluebystrokingoverthemwitha4Bpencil,payingcloseattentiontothecurvingandswirlingpatternswithinthehair.Applyalayeroftonetothenoseusinglightcircularstrokes.
UseanHBpenciltoapplythelightesttonestothedog’sears.Strokealongsidethepreviouslayersofgraphite,creatingasoft,silkylook.Developtheeyesandnose,addingmidtonesandpullingouthighlightswhereneeded.Usethe2Btopulltoneoverthelightareasofthebody,connectingthesectionsofhair.
Arrowabove:ContinuetobuilduptoneovertheSpaniel’sbackusingablunt2Bpencil.
Arrowabove:WithanHBpencil,indicatethehaironthepup’smuzzle,keepingsomeareaswhite.Usea2Bpenciltosuggestthedirectionofhairgrowthwithminimalstrokes,addingcurves,sprouts,swirls,andspotstocreatethemarkingsonthefur.
Arrowabove:WithanHpencil,addfinestrokestodeveloptheareaofwhitehair.Useatissuetogentlyruboverareasinshadow,focusingonthepup’sunderside.Thenaddalightlayerofgraphiteforasoftcastshadowunderthepup,blendingthestrokeswithatissue.