Drawing: Basic Textures in Pencil: A beginner's guide to realistic textures in graphite (How to Draw & Paint) [Illustrated] 9781633225923, 1633225925

Table of contents :
Tools & Materials
Graphite Techniques
Understanding Value
Texture, Light & Form
Botanicals
Still Life
Wildlife
Landscape
Cityscape
Portrait
Pets

Citation preview

BASIC TEXTURES IN PENCIL

A pencil’s point can unleash a world of creative satisfaction. And although many artists may view it as a simple sketching tool, it can also be used to express the captivating textures of both the natural and manufactured worlds. A pencil can capture the fragile beauty of a butterfly’s wing or the imposing form of a steel skyscraper. From the delicate lines created by a sharpened, hard lead point to the velvety, deep values of a soft graphite, the range of textural possibilities is infinite! —Diane Cardaci

CONTENTS Tools & Materials Graphite Techniques Understanding Value Texture, Light & Form Botanicals Still Life Wildlife Landscape Cityscape Portrait Pets

TOOLS & MATERIALS Graphite pencil artwork requires few supplies, and fortunately they are fairly inexpensive. Choose professional pencils and paper, rather than student-grade materials; they will last longer and ensure a higher-quality presentation.

Pencils Pencils are labeled based on their lead texture. Hard leads (H) are light in value and great for fine, detailed work, but they are more difficult to erase. Soft leads (B) are darker and wonderful for blending and shading, but they smudge easily. Medium leads, such as HB and F, are somewhere in the middle. Select a range of pencils between HB and 6B for variety. You can purchase woodencased pencils or mechanical pencils with lead refills. Wooden Pencil The most common type of pencil is wood-encased graphite. These thin rods—most often round or hexagonal when cut crosswise—are inexpensive, easy to control and sharpen, and readily available to artists.

Flat Carpenter’s Pencil Some artists prefer using a flat carpenter’s pencil, which has a rectangular body and lead. The thick lead allows you to easily customize its shape to create both thick and thin lines.

Carpenter’s Pencil Mechanical Pencil Mechanical pencils are plastic or metal barrels that hold individual leads. Some artists prefer the consistent feel of mechanical pencils to that of wooden pencils; the weight and length do not change over time, unlike wooden pencils that wear down with use.

Mechanical Pencil Woodless Graphite Pencil These tools are shaped liked wooden pencils but are made up entirely of graphite lead. The large cone of graphite allows artists to use either the broad side for shading large areas or the tip for finer strokes and details.

Woodless Pencil Graphite Stick Available in a full range of hardnesses, these long, rectangular bars of graphite are great tools for sketching (using the end) and blocking in large areas of tone (using the broad side).

Graphite Stick

Paper Paper has a tooth, or texture, that holds graphite. Papers with more tooth have a rougher texture and hold more graphite, which allows you to create darker values. Smoother paper has less tooth and holds less graphite, but it allows you to create much finer detail. Plan ahead when beginning a new piece, and select paper that lends itself to the textures in your drawing subject.

Blending Tools There are several tools you can use to blend graphite for a smooth look. The most popular blenders are blending stumps, tortillons, and chamois cloths. Never use your finger to blend—it can leave oils on your paper, which will show after applying graphite. Stumps Stumps are tightly rolled paper with points on both ends. They come in various sizes and are used to blend large and small areas of graphite, depending on the size of the stump. You can also use stumps dipped in graphite shavings for drawing or shading.

Tortillons Tortillons are rolled more loosely than a stump. They are hollow and have one pointed end. Tortillons also come in various sizes and can be used to blend smaller areas of graphite. Facial Tissue Wrap tissue around your finger or roll it into a point to blend when drawing very smooth surfaces. Make sure you use plain facial tissue, without added moisturizer. Chamois Chamois are great for blending areas into a soft tone. These cloths can be used for large areas or folded into a point for smaller areas. When the chamois becomes embedded with graphite, simply throw them into the washer or wash by hand. Keep one with graphite on it to create large areas of light shading. To create darker areas of shading, add graphite shavings to the chamois.

Erasers Erasers serve two purposes: to eliminate unwanted graphite and to “draw” within existing graphite. There are many different types of erasers available. Kneaded This versatile eraser can be molded into a fine point, a knife-edge, or a larger flat or rounded surface. It removes graphite gently from the paper but not as well as vinyl or plastic erasers.

Block Eraser A plastic block eraser is fairly soft, removes graphite well, and is very easy on your paper. Use it primarily for erasing large areas, but it also works quite well for doing a final cleanup of a finished drawing. Stick Eraser Also called “pencil erasers,” these handy tools hold a cylindrical eraser inside. You can use them to erase areas where a larger eraser will not work. Using a utility razor blade, you can trim the tip at an angle or cut a fine point to create thin white lines in graphite. It’s like drawing with your eraser!

GRAPHITE TECHNIQUES The way you apply a medium to paper contributes to the overall mood and style of a piece. Arm yourself with a variety of effects by getting to know the following techniques. You can use many of these techniques for other dry media, such as charcoal and pastel.

Gradating with Pressure A gradation is a transition of tone from dark to light. To create a simple gradation using one pencil, begin with heavier pressure and gradually lighten it as you stroke back and forth. Avoid pressing hard enough to score or completely flatten the tooth of the paper.

Gradating with Hardness Because different pencil hardnesses yield different values, you can create a gradation by using a series of pencils. Begin with soft, dark leads and switch to harder, grayer tones as you move away from the starting point.

Stippling Apply small dots of graphite for a speckled texture. To prevent this technique from appearing too mechanical, subtly vary the dot sizes and distances from each other.

Scumbling This organic shading method involves scribbling loosely to build up general tone. Keep your pressure light and consistent as you move the pencil in random directions.

Burnishing It is difficult to achieve a very dark tone with just one graphite pencil, even when using a soft lead. To achieve a dark, flat tone, apply a heavy layer of soft lead followed by a layer of harder lead. The hard lead will push the softer graphite into the tooth of the paper, spreading it evenly. Shown at right is 4H over 4B lead.

TIP Applying Graphite with a Blender Chamois Using a chamois is a great way to apply graphite to a large area. Wrap it around your finger and dip it in saved graphite shavings to create a dark tone, or use what may be already on the chamois to apply a lighter tone. Stump Stumps are great not only for blending but also for applying graphite. Use an old stump to apply saved graphite shavings to both large and small areas. You can achieve a range of values depending on the amount of graphite on the stump.

Indenting To preserve fine white lines in a drawing, such as those used to suggest whiskers, some artists indent (or incise) the paper before applying tone. Use a stylus to “draw” your white lines; then stroke your pencil over the area and blend. The indentations will remain free of tone.

“Drawing” with an Eraser Use the corner of a block eraser or the end of a stick eraser to “draw” within areas of tone, resulting in light strokes. You can use this technique to recover lights and highlights after blending.

Hatching Hatching is considered one of the simplest forms of shading. Simply apply a series of parallel lines to represent darker tones and shadows. The closer together you place the lines, the darker the shading will appear.

Crosshatching To crosshatch, place layers of parallel lines over each other at varying angles. This results in a “mesh” of tone that gives shaded areas a textured, intricate feel. For an added sense of depth, make the lines follow the curves of your object’s surface.

UNDERSTANDING VALUE One of the main challenges of drawing is making a flat, two-dimensional image look like a three-dimensional object. By shading (adding dark values) and highlighting (adding light values), you can produce the value variations needed to create the illusion of depth in your drawings.

Creating a Value Scale Making your own value scale will help familiarize you with the different variations in value. Work from light to dark, adding more and more tone for successively darker values.

Blending Values Now create a blended value scale—use a blending stump to smudge and blend each value into its neighboring value from light to dark. This will show you how one value blends into the next as they gradually get darker.

Adding Value to Create Form A shape can be further defined by showing how light hits the object to create highlights and shadows. First note from which direction the source of light is coming. (In these examples, the light source is

beaming from the upper right.) Then add the shadows accordingly, as shown in the examples below. The core shadow is the darkest area on the object and is opposite the light source. The cast shadow is what is thrown onto a nearby surface by the object. The highlight is the lightest area on the object, where the reflection of light is strongest. Reflected light, often overlooked by beginners, is surrounding light that is reflected into the shadowed area of an object.

TEXTURE, LIGHT & FORM Light contributes to the texture of an object. As the light falls across an object with a strong texture, each individual aspect of the texture will create its own light and shadow effect. But these individual value changes must remain secondary to the form shadows, or the form will be lost. When you are drawing an object with texture, first imagine it as a smooth object with no texture at all. Think of the texture of the object as a sort of translucent coat, so the underlying values of the form will show through. It is good practice to draw a few textured objects and develop a light, middle, and dark value for each of the objects. Then look at how the form changes as the values change.

Seeing Form A coconut (shown above as being lit from a three-quarter angle) has a form similar to that of an egg. Imagine the coconut with a smooth, egglike surface. Once you understand the way the light is hitting the object, you can draw its form.

Form vs. Texture A coconut is a good example of texture versus form. You might be tempted to use dark, heavy shading to portray the coconut’s surface. However, in this case, the coconut’s form is more important than its texture.

Studying Shapes To understand how the light source creates the form of this tree, break down the tree into a ball and a cylinder. Use rough paper to add some texture, and put down a layer of dark tone with the side of the pencil.

Adding Detail Using short strokes, create the leaves. Don’t get caught up in drawing individual leaves—instead suggest the leaves with a pattern of texture. As you draw the leaves, leave the texture lighter on top where the light source hits the tree.

BOTANICALS When drawing plants, it is important to remember that leaves and petals come in many shapes, sizes and textures. Besides their general shape, their edges (irregular or smooth), shininess (glossy or matte), and thickness must be carefully observed.

PETALS

Draw the outline of the petal, and add the general shape of its coloration and the raised center area.

Deepen the shading using long strokes that follow the direction of the petal. Darken the markings and center line, and then lightly shade the area where the petal folds back on itself.

LEAVES

Croton Leaf Outline the major patterns (top left), and then draw in the deepest values with a 2B. Blend the tone, maintaining the values that indicate the color changes. Lift out the details along the edge (top right).

Holly Leaf With the side of a 2B, lay in some tone (top left). Smudge the tone and lift out any areas that should remain white. The highlights will be important for creating the appearance of this leaf’s glossy shine. Add deeper tones with a 4B (accenting the sharp points of the leaves and the raised veins), and then blend. Lift out the lighter veins (top right).

HIBISCUS

Arrow above: Use an HB pencil to block in the outer shape of the flower and petals. Block in the leaves.

Arrow above: Indicate the petal folds, pistil, and stamen. Draw the bud and sketch light lines to indicate venation on the leaves.

Arrow above: To begin working in tone, dip a large stump into graphite powder and stroke it into the areas that represent the deepest shadows on the petals and leaves. Apply the deepest tone in the center of the flower.

Arrow above: Continue adding lighter tone to the petals. Deepen the cast shadows on the petals and the center of the flower, and do the same on the leaves. For the thin stems and bud, use the point of the stump to blend the tone and soften the edges.

Top arrow: For the lighter leaf venation, lift out with a kneaded eraser. Shade the bud delicately, using light pressure. Use the side of a 4B pencil for the branch and make circular strokes to create the rough texture. Use a kneaded eraser to clean up any stray lines. Bottom arrow: To shade, use a sharp HB and stroke over the flower, following the folds of the petals. Deepen the cast shadows with a 2B and darken the center of the flower with a 4B. Next draw the details of the pistil and stamens, adding some stippling.

STILL LIFE Still life compositions allow you to design the composition; choose the textures, values, and colors; and create the ideal lighting situation. Play around with different types of fruits and cheeses to see how the light catches their textures.

FRUIT

Apple A polished apple reflects a strong highlight. Apply carbon dust (from sharpening your pencils) with circular, irregular strokes; then lift out the highlight with an eraser.

Orange Apply carbon dust, using strokes that follow the fruit’s form. Lift out the main highlight and then use an eraser to create curved strokes around the highlight, showing the bumpy texture of the skin.

Strawberry Lay in dark tone with carbon dust and use a 4B to start establishing a dotted pattern. Continue to enhance the dimpled, seeded texture by adding thin, curved highlight lines around the darker dots.

CHEESE

Draw a wedge shape and use the side of the pencil to shade with light pressure and loose, oval strokes. Use vertical strokes to shade the side, and darken the veins and the shadows.

Use horizontal strokes that follow the form for the rind. Then deepen the tones of the holes and jagged veins. Create a slight cast shadow underneath.

With heavy pressure and a dull point, deepen the holes, remembering to keep the variations in tone to show various depths. Crosshatch the cast shadow and deepen the lines around the cheese to show the heavy rind.

BASKET Baskets are incredibly tactile. The texture of the weave creates a three-dimensional pattern with many layers. Trying your hand at rendering a woven basket is a great way to learn about the interplay of light and shadow and how it can show the heavy texture of the basket.

WINE AND CHEESE

Arrow above: Sketch the scene with a sharp HB pencil, paying attention to the reflections on the glass objects.

For smooth objects like glass, start by applying carbon dust with a stump. Use oval shaped strokes to mimic the hard surface of the glass and then use the remaining dust on the stump to indicate the dark reflections in the glass. Top right arrow: For the straw wrapping on the bottle, follow the bottle’s form with long, vertical strokes, which are broken and uneven to show the natural fiber. Bottom right arrow: Apply carbon dust to the grapes with quick strokes, which creates random variations. For the cheese, use the stump to create long strokes that follow the flat shape of the cheese’s form.

Building up the glassy surface of the wine, use a 2B pencil to create long, curved strokes; then blend with a stump. Use vertical strokes for the rigid stem of the glass where there are reflections, and use curved strokes where there are some darker tones at the base of the glass. Arrow right: Add dark form shadows to the grapes and blend your strokes to create the slick skin. Add more tone to the cheese with a stump. Then add tone to the cast shadows on the table and blend the strokes.

Top arrow: Following the contours of the forms, use a 2H pencil to add some shading to the glass, stem, and base to give them sharp, crisp edges. Then darken the wine using a 2B. Bottom arrow: Use a sharp HB to redefine the grapes’ distinct edges. Shade the cheese using an HB, following the direction of the form; then darken the rind with a 4B.

Using the dull point of a 4B, further deepen the tone of the wine in the glass and bottle. Use an eraser to heighten the smooth quality by lightly lifting out some reflections in the wine. For the bottle, blend the tone; then lift out the long highlight along the neck with a stroke that mimics the hard edge of the glass bottle. Add a few small, vertical shadows to the upper label to create the irregular folds. Using an HB, add more shading to the straw, and create cast shadows with the side of the pencil.

Lower left arrow: With a 4B make tiny, circular strokes to darken the grapes; then lift out to define the highlights. Blend and lift out to create a smoother texture for the cheese, and use a sharp point to draw in its thin cast shadow. Lower right arrow: Add more texture to the tablecloth using crosshatching. Use the point of an HB to draw more wood grain.

WILDLIFE Nature provides some of the most exquisite and interesting textures. Drawing wildlife is especially helpful because each animal comprises a number of different textural elements. Think about a bird with its sleek feathers, scaly feet, smooth beak, and glistening eyes. There is a wealth of textures in your own backyard just waiting to challenge you.

FEATHERS

To capture the wispy, fragile texture of a peacock’s feather, start by drawing thin lines that stem from a vertical centerline. Then draw a circle within an oval for the “eye”—draw the curved lines that surround the “eye” so that they follow the ovular form.

Darken the center of the “eye” to emphasize the peacock feather’s distinctive pattern. Keep the area around the center very light to indicate the change in color and the delicate feather texture.

After darkening all my lines, use a kneaded eraser to lift out a small curve along the edge of the dark center.

SCALES AND SKIN

Alligator Use a soft, broad pencil, paying attention to the direction of the light source—alligator skin is made up of many small ridges, and each ridge must be lit properly for the drawing to appear realistic.

Fish Outline the scales; then add shading at the base of the scales where they overlap to show the distinctive flaky texture. Note that every scale has a highlight—this helps capture the fish’s shimmery nature.

Butterfly Draw an outline with a sharp HB pencil. Lightly draw the thin veins, using long strokes. Add another layer of tone covering the lighter areas of the wing. Next use a 2B pencil to deepen the veins, gradually increasing the pressure and using long strokes that follow the shape of the wing. Switch back to the HB and use long strokes to deepen the light tones, allowing some strokes to be darker to create a slight variation.

Frog Use the smudging technique to lay down the base. Use darker tones to create raised bumps and lift out some graphite to add highlights to the surface.

BLUE JAY

Begin with a carefully detailed outline drawn with a sharp HB pencil. When drawing the head, use short strokes to create the softer edges of the feathers. Indicate the black markings of the bird with some quick shading.

Arrow left: With a sharp 2H pencil, darken the lines around the feathers to define them, and add some dark markings using short strokes. As you draw, make sure that all of your strokes follow the direction of the feathers. Arrow right: Shade under the wings, then darken the eye, remembering to leave the highlight white. Put some tone in the beak but leave it lighter on the upper part to show the reflection of light.

Working back and forth between an HB and a 2B pencil, start developing values, concentrating on the bird’s body and head. Using short, uneven pencil strokes, start putting some tone on the back, the belly, and the back of the head. Apply some darker tone to the crown of the head to indicate the blue color. Arrow right: Darken the beak, but keep some highlights to emphasize its smooth texture. On the wings, use long strokes to shade, making sure to keep the white markings evident. Use a broad-point 6B pencil to shade the branch with circular strokes. Lighten the shading as it recedes into space.

TIP Balance the values of the form with the values of the bird’s color. The texture emerges from the way these different values are applied. If you run into conflict between the form and color values, give priority to the form values.

Shade with a 4B to give form to the small branches, and use a blunt 4B to add tone to some of the needles, giving them more depth and a prickly texture. Use a kneaded eraser to lift out just a touch of graphite, emphasizing the reflected light at the bottom of the main branch.

Arrow top: Leaving some small feathers sticking out softens the blue jay, but at the same time doesn’t look unkempt. Clean up the drawing with a kneaded eraser and lift out any white markings you need to add to the feathers. Arrow bottom: Deepen the wings even further with a 2B pencil to create more contrast. Then darken the grays of the shadowed belly tones. Add a few more detailed textures to the feet with a 2B, using heavy pressure. Also add a few long, sharp lines to indicate the smooth edges where the feathers overlap.

Lifting Out for Feathers Use an eraser to lift out the white edges of the feathers. Go back in and reinforce the edges with pencil to show the defined edges of the feathers. Use short lines that follow the direction of the feathers to create additional texture. Then blend the background with an eraser to help make the feathers stand out.

LANDSCAPE When there are a lot of natural elements in a landscape, it can seem overwhelming to capture all of the textures. To simplify the process, start by mapping out the major masses, breaking them down into manageable shapes. Then you can add other textural aspects, such as clouds and water, to bring the scene to life.

CLOUDS

Cumulus For fluffy clouds, dab your eraser gently for light gray areas and use more pressure to lift out the whites.

Cirrus To draw these wispy clouds, lift out using a curving motion and then extend that motion horizontally.

Cumulonimbus To capture these dark storm clouds, dab the graphite with an eraser; then add dark tone and blend.

TREES

Painterly Strokes Use a wide, soft lead to lay down large, dense areas of tone. Finishing with some shorter strokes, stipple to create detail and add texture. This gives a tree an open, leafy pattern.

Linear Strokes Use a sharper pencil and small, thin strokes. Vary the direction and density of my lines to develop the dark and light values that establish the form of the tree. This technique is ideal for prickly pine trees.

Combining Techniques Put down some tone and then smear it with a blending stump. Then use short, linear strokes with a sharp pencil to create the texture. This creates a tree with a softer-looking texture.

WATER

Still Water When the air is perfectly still, water can appear almost like a mirror, reflecting objects clearly. To make the reflections evident, use dense, dark strokes.

Rougher Water Deliberately allow the lines to be more wavy than in the previous example. Lift out with long, horizontal strokes. No reflections can be seen.

Waves Waves produce a sense of movement through frothy white caps. Start with the shape of the wave, create the darker parts of the water with a 4B, and blend.

Create a few white lines in the dark tone with my eraser, showing the building white caps. Dab the eraser to create the spray and lift out wavy shapes to make the foam.

ROCKY CREEK

Begin shading the trees in the distance; then work your way to the middle ground and foreground. Don’t completely shade each object before moving to the next one. Work on the entire drawing so it maintains a sense of unity. You don’t want one area to unbalance the landscape or appear as though you spent more time on it.

Creating Texture Rock surfaces are generally uneven and bumpy. Try to create a variety of shading values on the rocks so they appear jagged. Hatch in various directions to follow the shapes of the rocks, and make the values darker in the deepest crevices, on sharp edges, and in the areas between the rocks.

Arrow above: Continue to build form through shading using hatch marks.

Use the side of an HB pencil, shading in even strokes to create reflections in the water. Keep in mind that an object’s reflection is somewhat distorted in moving water and mirrored in still water. For example, the reflection of the sharp rock edges here appears blurred and uneven. Closely study your landscape so you don’t miss any of the details. Arrow right: Apply strokes in directions that correspond with the rocks’ rugged, uneven texture, and fill in the areas between the cracks with a sharp 2B or 4B pencil.

CITYSCAPE Spend an afternoon walking through a town with your camera and sketchbook, looking for uncommon textures in common places. Photograph or sketch the little details that will bring your drawings to life. Wooden doors can help add rustic textures to buildings, and stucco and brick can bring depth to otherwise flat walls.

BRICKS WITH STUCCO

First outline the brick pattern, and then loosely draw horizontal strokes within the bricks. Smear the tone with a stump, filling in each brick shape.

Draw some wavy lines to signify the rough, broken edges of the stucco. Then lightly go over the entire drawing with a 6B so the paper picks up tiny specks of graphite.

Now use a sharp HB to create very thin, slightly wavy lines where the old stucco is breaking away from the brick. Then darken and refine the hard edges of the bricks.

DOORS

Add tone to the outline with wavy, vertical strokes to indicate the grain of the wood. Use heavier pressure to make the wood darker where the panel is recessed.

Add more shading and then gently smudge it with a stump to soften the look. Next put dark tone in the recessed groove. Use a very sharp HB to accentuate the lines where the wood pieces join.

Now darken the tone of the wood and add lines to show the grain. Layers of tone add more natural variations to the texture of wood. Add a thin, dark strip at the bottom of the panel to help add depth.

OLD TOWN PLAZA

Before beginning, think about the paper you want to use to capture the various textures of the scene. Old stone buildings, shutters, and a stone fountain would render well on rough paper. Use a sharp HB to create a heavy outline that will show through your initial shading.

METALS Dull metals do not have distinctive borders to their highlights. Weathered metals feature little bumps that catch individual lights and shadows, breaking up the tone and highlights. Shiny metals have bright highlights with sharp edges.

Dull

Weathered

Shiny

Use broad strokes and the side of a 6B to lay tone across the buildings; then apply uneven strokes to the lengths of the roofs. Lightly shade the smooth stone of the fountain, and switch to a thinner lead to depict the slatted texture of the wooden shutters

Take a large blending stump and spread some of the graphite across the buildings and in the doorways. Apply carbon dust on the dark metal fountain, using smooth strokes. Now use a 6B to deepen all the tones on the building and roofs. Now deepen all the tones, darkening all the cast shadows and areas that aren’t hit by the light source. Smudge across the building but not on the roof to maintain its highly granular texture. Add more darks to the metal and interior of the fountain with the carbon dust, and smear the shadow that runs across the back of the piazza.

To establish the bumpy texture of the tiles, add lines across the width of the roof with a 4B. Sharpen the edges of the windows and doorways, using an eraser when necessary to correct lines. Refine more details with a 2B, such as the lanterns, the crest, and umbrella. Add more tone to the main building and use a stump to smear it.

Further develop the tones of the fountain, alternating between a 4B and a stump. Also use the eraser on the building here and there to add more textural relief. Add uneven, curved strokes to the roof to give a sense of the barrel tiles without drawing them individually. Add some lines across the shutters to create the imperfect texture of the slats, and then sharpen the edges and architectural details.

PORTRAIT Careful observation, coupled with a thorough understanding of the form of the head, is the foundation of a successful portrait. Consideration must be given to how the light flows over the head and facial features, as well as the very different textures of hair, teeth, skin, and eyes.

HAIR

Light and Wavy Carbon dust and a stump create a base of light, subtle tone. Add long, flowing lines, following the soft waves of the hair. The strands in the foreground stay very light to emphasize the color of the hair.

Dark and Wavy Draw the main, curving hair forms; layer in some carbon dust; and draw wavy lines with the point of a 2B pencil. Use a 4B for the darkest darks and lift out the lighter, highlighted strands with a kneaded eraser.

Dark and Straight First outline the sculptured shape of this hairstyle and then apply a layer of carbon dust. Because the hair is so sleek, there is a strong band of highlights. Apply even tone with long, curved strokes and a 2B.

Light and Curly Outline the main masses of curls and some individual hairs. Then use a sharp HB to shade. Lay in some carbon dust for the hair that is in shadow. Then lift out some highlights with curved strokes.

EYES

Start with an outline of the eye; then dip a stump into some carbon dust and apply a light layer of shading, following the contours of the eye and eyelid. Use radial strokes for the iris.

Next use the point of the stump to apply shading to the fold of the eyelid. Darken the iris but maintain the sharpness of the highlight, lifting out with a kneaded eraser wherever necessary.

Switch to an HB for the eyelids and eyeball, using smooth, curved strokes on the lid. Next deepen the iris with a 2B; then lift out a few specks to give the eye a more realistic look.

LIPS

Start with an outline of the mouth and apply light tone with carbon dust and a stump.

Add another layer of tone with the carbon dust and darken underneath the bottom lip and in the corners of the mouth. Switch to an HB pencil and stroke outward with short, slightly curved lines.

Now use the side of the pencil to add more tone to the lips, lifting out the highlights. Use a 2B to draw the separation of the lips; then add more contour lines with an HB.

YOUNG GIRL

Use a sharp HB pencil for the outline of the basic features of the head. Check the accuracy of the drawing, as the slightest errors in observation will take away from the likeness of the subject.

Using the side of a 2B pencil, draw long, flowing strokes that follow the direction of her smooth, straight hair. Develop the shadow under the eyebrow of her left eye. For the side of the nose, use longer strokes with a slight curve, but for the tip, use shorter, curved strokes. On the side of the face, I use very light strokes that curve with the shape of the face.

Begin to blend the hair with a large stump. With the lightest touch, slightly blend the pencil strokes around the side of the face, being careful to follow the softly rounded contour of the cheeks. With a smaller stump, lightly blend the areas around the eyes, mouth, nose, and eyebrows. Take a 2B pencil and put some deeper tone in the nostrils, the corner of the mouth, and the pupil of the eye.

Arrow above: Using the point of a 2B pencil, build up the tone and flow of the hair. Work on the face, using a delicate buildup of crosshatching. Draw very light, long strokes with an HB across the smooth skin of the forehead. Shade around the eye area, always following the contour of the form. Do the same for the nose, lips, cheeks, and chin, building up tone slowly.

Arrow above: Continue building up the tone of the silky hair, using a 4B for the darks and a 2B for the lights. Deepen the shadow areas between the face and the hair that will help give depth to the face. Deepen the eyebrows with short lines to show the variations in tone. Using radial strokes with a 2B, darken the irises. Continue to build up the neck, keeping it darker than the face to show the cast shadow. Shade the necklace, using separate curved strokes to indicate the heavy fibers.

Arrow above: Again build up the tone of the hair and lightly shade the plastic barrette, putting in small cast shadows with a sharp point. Continue to crosshatch the face to refine the transition between the tones, while keeping the smoothness of her skin. Deepen the upper and lower eyelashes with short lines. Then refine the nose and mouth, using curved lines that are more prominent in the lower lip to give some texture. Finally work on the shirt, simulating the knit fabric with crosshatching.

PETS Animals hold a variety of textural challenges, from wiry coats to shining eyes and wet noses. Because a pencil is such a versatile tool, you can easily sketch a rough-coated goat or finely stroke a smooth-haired deer, in addition to a dog, cat, or other domesticated pet.

FUR AND HAIR

Silky Outline the prominent hair patterns with an HB, and then put in some tone with strokes that follow the gentle waves of the hair. Then use an eraser

to pick out shiny highlights.

Curly Create a base tone using carbon dust and a stump. Then lift out long, curly, white lines to achieve the kinky texture of the hair. Add curly lines on top of the white areas with a very sharp HB pencil.

Short and Smooth Lay in tone using carbon dust. Then make several very short strokes with the side of a 2B pencil to achieve the smooth-textured appearance.

Long and Fluffy Put down the base tone, then add some long, slightly curved, light strokes with the side of a 2B. On top of that, put in thin lines with the point of the pencil and add some heavier lines where the hair is darker.

Short and Wiry Put down some carbon dust and blend with a stump, using short strokes when blending. Draw short lines to develop the patterns and make slight changes to the direction of individual hairs to produce the wiry texture.

Long and Smooth Draw long, wavy lines, then add tone with carbon dust. Alternate shading with the side of the pencil, drawing fine lines with the point of an HB, and lifting out white areas with an eraser to get the soft look.

CANINE EYES

Outline the eye; then use circular strokes to create a base tone. Put darker shading in the center of the iris for the pupil, as well as around the outer edge. Leave the square-shaped highlight white.

Next deepen the tone in the pupil, around the outside of the iris, and along the eyelids. The contrast of the dark pupil against the white highlight makes the highlight appear even brighter.

Maintain a sharp edge for the highlight, which gives the eye a wet, glossy look. Shade around the eyes using short strokes with the side of the pencil; then draw a few hairs around the eye with a sharp point.

CANINE NOSES

First draw an outline of the nose with the highlights clearly delineated. Use circular strokes with a 4B to create the base tone. Then put darker tone in the nostrils.

Add another layer of tone, still using circular strokes to build the leathery texture. Leave white spots for the highlights on the top of the nose and around the edges of the nostrils.

Make the deep part of the nostrils as dark as possible. Break up the highlights with a few strokes, but make sure to keep them white and visible because the highlights create the illusion of wetness.

SPRINGER SPANIEL PUPPY

Arrow above: Draw a basic outline, ensuring that proportions are accurate. Use a 2B pencil to block in the pupils, working around the highlight. Add thin lines of dark skin around the eyes; then begin developing the darkest areas of hair around the eye socket and face, within the ears, and down the back, drawing in the direction of hair growth.

Arrow above: After toning the darkest areas, increase the value by stroking over them with a 4B pencil, paying close attention to the curving and swirling patterns within the hair. Apply a layer of tone to the nose using light circular strokes.

Use an HB pencil to apply the lightest tones to the dog’s ears. Stroke alongside the previous layers of graphite, creating a soft, silky look. Develop the eyes and nose, adding midtones and pulling out highlights where needed. Use the 2B to pull tone over the light areas of the body, connecting the sections of hair.

Arrow above: Continue to build up tone over the Spaniel’s back using a blunt 2B pencil.

Arrow above: With an HB pencil, indicate the hair on the pup’s muzzle, keeping some areas white. Use a 2B pencil to suggest the direction of hair growth with minimal strokes, adding curves, sprouts, swirls, and spots to create the markings on the fur.

Arrow above: With an H pencil, add fine strokes to develop the area of white hair. Use a tissue to gently rub over areas in shadow, focusing on the pup’s underside. Then add a light layer of graphite for a soft cast shadow under the pup, blending the strokes with a tissue.