Drawing. Basic Textures In Pencil

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2. BASIC TEXTURES IN PENCILBASIC TEXTURES IN PENCIL

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

4. CONTENTSCONTENTS
Tools & MaterialsTools & Materials
Graphite TechniquesGraphite Techniques
Understanding ValueUnderstanding Value
Texture, Light & FormTexture, Light & Form
BotanicalsBotanicals
Still LifeStill Life
WildlifeWildlife
LandscaLandscapepe
CityscapeCityscape
PortraitPortrait
PetsPets

5. TOOLS & MATERIALSTOOLS & MATERIALS
Graphite pencil artwork requires few supplies, andGraphite pencil artwork requires few supplies, and
fortunately they are fairly inexpensive. Choose fortunately they are fairly inexpensive. Choose professionalprofessional
pencils and paper, rather pencils and paper, rather than student-grade materials;than student-grade materials;
they will last longer they will last longer and ensure a higher-qualityand ensure a higher-quality
presentation.presentation.
PencilsPencils
Pencils are labeled based on their lead texture. Hard leads (H) arePencils are labeled based on their lead texture. Hard leads (H) are
light in value and great for fine, detailed work, but they are morelight in value and great for fine, detailed work, but they are more
difficult to erase. Soft leads (B) are darker and wonderful fordifficult to erase. Soft leads (B) are darker and wonderful for
blending and shading, but they smudge easily. Medium leads, suchblending and shading, but they smudge easily. Medium leads, such
as HB and F, are somewhere in the middle. Select a range ofas HB and F, are somewhere in the middle. Select a range of
pencils between HB and 6B for variety. You can purchase wood-pencils between HB and 6B for variety. You can purchase wood-
encased pencils or mechanical pencils with lead refills.encased pencils or mechanical pencils with lead refills.
Wooden PencilWooden Pencil The most common type of pencil is wood-encased graphite. The most common type of pencil is wood-encased graphite.
These thin rods—most often round or hexagonal when cut crosswise—areThese thin rods—most often round or hexagonal when cut crosswise—are
inexpensive, easy to control and sharpen, and readily available to artists.inexpensive, easy to control and sharpen, and readily available to artists.
Flat Carpenter’s PencilFlat Carpenter’s Pencil Some artists prefer using a 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 easilywhich has a rectangular body and lead. The thick lead allows you to easily
customize its shape to create both thick and thin lines.customize its shape to create both thick and thin lines.

6. Carpenter’s PencilCarpenter’s Pencil
Mechanical PencilMechanical Pencil Mechanical pencils are plastic or metal barrels that hold Mechanical pencils are plastic or metal barrels that hold
individual leads. Some artists prefer the consistent feel of mechanical pencilsindividual leads. Some artists prefer the consistent feel of mechanical pencils
to that of wooden pencils; the weight and length do not change over time,to that of wooden pencils; the weight and length do not change over time,
unlike wooden pencils that wear down with use.unlike wooden pencils that wear down with use.
Mechanical PencilMechanical Pencil
Woodless Graphite PencilWoodless Graphite Pencil These tools are shaped liked wooden pencils but are These tools are shaped liked wooden pencils but are
made up entirely of graphite lead. The large cone of graphite allows artists tomade 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 anduse either the broad side for shading large areas or the tip for finer strokes and
details.details.

7. Woodless PencilWoodless Pencil
Graphite StickGraphite Stick Available in a full range of hardnesses, these long, rectangular Available in a full range of hardnesses, these long, rectangular
bars of graphite are great tools for sketching (using the end) and blocking inbars of graphite are great tools for sketching (using the end) and blocking in
large areas of tone (using the broad side).large areas of tone (using the broad side).
Graphite StickGraphite Stick
PaperPaper
Paper has a tooth, or texture, that holds graphite. Papers with morePaper has a tooth, or texture, that holds graphite. Papers with more
tooth have a rougher texture and hold more graphite, which allowstooth have a rougher texture and hold more graphite, which allows
you to create darker values. Smoother paper has less tooth andyou to create darker values. Smoother paper has less tooth and
holds less graphite, but it allows you to create much finer detail.holds less graphite, but it allows you to create much finer detail.
Plan ahead when beginning a new piece, and select paper that lendsPlan ahead when beginning a new piece, and select paper that lends
itself to the textures in your drawing subject.itself to the textures in your drawing subject.

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

9. TortillonsTortillons Tortillons are rolled more loosely than a stump. They are hollow and 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 tohave one pointed end. Tortillons also come in various sizes and can be used to
blend smaller areas of graphite.blend smaller areas of graphite.
Facial TissueFacial Tissue Wrap tissue around your finger or roll it into a point to blend 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,when drawing very smooth surfaces. Make sure you use plain facial tissue,
without added moisturizer.without added moisturizer.
ChamoisChamois Chamois are great for blending areas into a soft tone. These cloths 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 thecan 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 washerchamois 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 lightor 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 theshading. To create darker areas of shading, add graphite shavings to the
chamois.chamois.

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

11. Block EraserBlock Eraser A plastic block eraser is fairly soft, removes graphite well, and is 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 alsovery 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.works quite well for doing a final cleanup of a finished drawing.
Stick EraserStick Eraser Also called “pencil erasers,” these handy tools hold a cylindrical Also called “pencil erasers,” these handy tools hold a cylindrical
eraser inside. You can use them to erase areas where a larger eraser will noteraser 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 finework. 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!point to create thin white lines in graphite. It’s like drawing with your eraser!

12. GRAPHITE TECHNIQUESGRAPHITE TECHNIQUES
The way you apply a The way you apply a medium to paper contributes to themedium to paper contributes to the
overall mood and style of a piece. Arm yourself with aoverall mood and style of a piece. Arm yourself with a
variety of effects by getting to know variety of effects by getting to know the followingthe following
techniques. You can use many of techniques. You can use many of these techniques forthese techniques for
other dry media, such as other dry media, such as charcoal and pastel.charcoal and pastel.
Gradating with PressureGradating with Pressure A gradation is a transition of tone from dark to light. A gradation is a transition of tone from dark to light.
To create a simple gradation using one pencil, begin with heavier pressure andTo 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 togradually lighten it as you stroke back and forth. Avoid pressing hard enough to
score or completely flatten the tooth of the paper.score or completely flatten the tooth of the paper.

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

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

15. ScumblingScumbling This organic shading method involves scribbling loosely to build up This organic shading method involves scribbling loosely to build up
general tone. Keep your pressure light and consistent as you move the pencil ingeneral tone. Keep your pressure light and consistent as you move the pencil in
random directions.random directions.
BurnishingBurnishing It is difficult to achieve a very dark tone with just one graphite 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 heavypencil, 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 thelayer 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 rightsofter graphite into the tooth of the paper, spreading it evenly. Shown at right
is 4H over 4B lead.is 4H over 4B lead.

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

17. IndentingIndenting To preserve fine white lines in a drawing, such as those used to 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.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 areaUse a stylus to “draw” your white lines; then stroke your pencil over the area
and blend. The indentations will remain free of tone.and blend. The indentations will remain free of tone.
“Drawing” with an Eraser“Drawing” with an Eraser Use the corner of a block eraser or the end of a stick 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 useeraser to “draw” within areas of tone, resulting in light strokes. You can use
this technique to recover lights and highlights after blending.this technique to recover lights and highlights after blending.

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

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

20. UNDERSTANDING VALUEUNDERSTANDING VALUE
One of the main challenges of One of the main challenges of drawing is making a flat,drawing is making a flat,
two-dimensional image look like a two-dimensional image look like a three-dimensionthree-dimensionalal
object. By shading (adding dark values) and highlightingobject. By shading (adding dark values) and highlighting
(adding light values), you can produce (adding light values), you can produce the value variationsthe value variations
needed to create the illusion of needed to create the illusion of depth in your drawings.depth in your drawings.
Creating a Value ScaleCreating a Value Scale Making your own value scale will help familiarize you Making your own value scale will help familiarize you
with the different variations in value. Work from light to dark, adding more andwith the different variations in value. Work from light to dark, adding more and
more tone for successively darker values.more tone for successively darker values.
Blending ValuesBlending Values Now create a blended value scale—use a blending stump to Now create a blended value scale—use a blending stump to
smudge and blend each value into its neighboring value from light to dark. Thissmudge 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.will show you how one value blends into the next as they gradually get darker.
Adding Value to Create FormAdding Value to Create Form
A shape can be further defined by showing how light hits the objectA shape can be further defined by showing how light hits the object
to create highlights and shadows. First note from which directionto create highlights and shadows. First note from which direction
the source of light is coming. (In these examples, the light source isthe source of light is coming. (In these examples, the light source is

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

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

23. Seeing FormSeeing Form A coconut (shown above as being lit from a three-quarter angle) 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,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,egglike surface. Once you understand the way the light is hitting the object,
you can draw its form.you can draw its form.

24. Form vs. TextureForm vs. Texture A coconut is a good example of texture versus form. You 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.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.However, in this case, the coconut’s form is more important than its texture.

25. Studying ShapesStudying Shapes To understand how the light source creates the form of this 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 addtree, 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.some texture, and put down a layer of dark tone with the side of the pencil.

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

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

28. Draw the outline of the petal, and add the general shape of its coloration andDraw the outline of the petal, and add the general shape of its coloration and
the raised center area.the raised center area.
Deepen the shading using long strokes that follow the direction of the petal.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 theDarken the markings and center line, and then lightly shade the area where the
petal folds back on itself.petal folds back on itself.

29. LEAVESLEAVES
Croton Leaf Croton Leaf  Outline the major patterns (top left), and then draw in the deepest 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 colorvalues with a 2B. Blend the tone, maintaining the values that indicate the color
changes. Lift out the details along the edge (top right).changes. Lift out the details along the edge (top right).
Holly Leaf Holly Leaf  With the side of a 2B, lay in some tone (top left). Smudge the tone 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 beand lift out any areas that should remain white. The highlights will be
important for creating the appearance of this leaf’s glossy shine. Add deeperimportant 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),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).and then blend. Lift out the lighter veins (top right).

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

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

32. Arrow above: To begin working in tone, dip a large stump into graphite powderArrow 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 petalsand 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.and leaves. Apply the deepest tone in the center of the flower.

33. Arrow above: Continue adding lighter tone to the petals. Deepen the castArrow 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 theshadows 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 theleaves. For the thin stems and bud, use the point of the stump to blend the
tone and soften the edges.tone and soften the edges.

34. Top arrow: For the lighter leaf venation, lift out with a kneaded eraser. ShadeTop 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 thethe 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 kneadedbranch and make circular strokes to create the rough texture. Use a kneaded
eraser to clean up any stray lines.eraser to clean up any stray lines.
Bottom arrow: To shade, use a sharp HB and stroke over the flower, followingBottom 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 thethe 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,center of the flower with a 4B. Next draw the details of the pistil and stamens,
adding some stippling.adding some stippling.

35. STILL LIFESTILL LIFE
Still life compositions allow you to Still life compositions allow you to design the composition;design the composition;
choose the textures, values, and colors; choose the textures, values, and colors; and create theand create the
ideal lighting situation. Play around with different types ofideal lighting situation. Play around with different types of
fruits and cheeses to see how the light catches theirfruits and cheeses to see how the light catches their
textures.textures.
FRUITFRUIT
AppleApple A polished apple reflects a strong highlight. Apply carbon dust (from A polished apple reflects a strong highlight. Apply carbon dust (from
sharpening your pencils) with circular, irregular strokes; then lift out thesharpening your pencils) with circular, irregular strokes; then lift out the
highlight with an eraser.highlight with an eraser.

36. OrangeOrange Apply carbon dust, using strokes that follow the fruit’s form. Lift out 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 thethe main highlight and then use an eraser to create curved strokes around the
highlight, showing the bumpy texture of the skin.highlight, showing the bumpy texture of the skin.
StrawberryStrawberry Lay in dark tone with carbon dust and use a 4B to start establishing 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 addinga dotted pattern. Continue to enhance the dimpled, seeded texture by adding
thin, curved highlight lines around the darker dots.thin, curved highlight lines around the darker dots.

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

38. Use horizontal strokes that follow the form for the rind. Then deepen the tonesUse 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.of the holes and jagged veins. Create a slight cast shadow underneath.
With heavy pressure and a dull point, deepen the holes, remembering to keepWith heavy pressure and a dull point, deepen the holes, remembering to keep
the variations in tone to show various depths. Crosshatch the cast shadow andthe variations in tone to show various depths. Crosshatch the cast shadow and
deepen the lines around the cheese to show the heavy rind.deepen the lines around the cheese to show the heavy rind.

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

40. WINE AND CHEESEWINE AND CHEESE
Arrow above: Sketch the scene with a sharp HB pencil, paying attention to theArrow above: Sketch the scene with a sharp HB pencil, paying attention to the
reflections on the glass objects.reflections on the glass objects.

41. For smooth objects like glass, start by applying carbon dust with a stump. UseFor 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 theoval 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.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 formTop 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 naturalwith long, vertical strokes, which are broken and uneven to show the natural
fiber.fiber.
Bottom right arrow: Apply carbon dust to the grapes with quick strokes, whichBottom right arrow: Apply carbon dust to the grapes with quick strokes, which
creates random variations. For the cheese, use the stump to create long strokescreates random variations. For the cheese, use the stump to create long strokes
that follow the flat shape of the cheese’s form.that follow the flat shape of the cheese’s form.

42. Building up the glassy surface of the wine, use a 2B pencil to create long,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 stemcurved 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 areof the glass where there are reflections, and use curved strokes where there are
some darker tones at the base of the glass.some darker tones at the base of the glass.
Arrow right: Add dark form shadows to the grapes and blend your strokes toArrow 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 tonecreate 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.to the cast shadows on the table and blend the strokes.

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

44. Using the dull point of a 4B, further deepen the tone of the wine in the glassUsing 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 outand 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 thesome 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 thelong highlight along the neck with a stroke that mimics the hard edge of the
glass bottle.glass bottle.
Add a few small, vertical shadows to the upper label to create the irregularAdd 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 shadowsfolds. Using an HB, add more shading to the straw, and create cast shadows
with the side of the pencil.with the side of the pencil.

45. Lower left arrow: With a 4B make tiny, circular strokes to darken the grapes;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 smootherthen 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.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. UseLower right arrow: Add more texture to the tablecloth using crosshatching. Use
the point of an HB to draw more wood grain.the point of an HB to draw more wood grain.

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

47. To capture the wispy, fragile texture of a peacock’s feather, start by drawingTo 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 anthin 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 theyoval for the “eye”—draw the curved lines that surround the “eye” so that they
follow the ovular form.follow the ovular form.

48. Darken the center of the “eye” to emphasize the peacock feather’s distinctiveDarken 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 inpattern. Keep the area around the center very light to indicate the change in
color and the delicate feather texture.color and the delicate feather texture.
After darkening all my lines, use a kneaded eraser to lift out a small curveAfter darkening all my lines, use a kneaded eraser to lift out a small curve
along the edge of the dark center.along the edge of the dark center.

49. SCALES AND SKINSCALES AND SKIN
AlligatorAlligator Use a soft, broad pencil, paying attention to the direction of the light 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 besource—alligator skin is made up of many small ridges, and each ridge must be
lit properly for the drawing to appear realistic.lit properly for the drawing to appear realistic.

50. FishFish Outline the scales; then add shading at the base of the scales where they 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 aoverlap to show the distinctive flaky texture. Note that every scale has a
highlight—this helps capture the fish’s shimmery nature.highlight—this helps capture the fish’s shimmery nature.
ButterflyButterfly Draw an outline with a sharp HB pencil. Lightly draw the thin veins, 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 theusing 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 thewing. 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 backpressure 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 strokesto the HB and use long strokes to deepen the light tones, allowing some strokes
to be darker to create a slight variation.to be darker to create a slight variation.

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

52. BLUE JAYBLUE JAY
Begin with a carefully detailed outline drawn with a sharp HB pencil. WhenBegin 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.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.Indicate the black markings of the bird with some quick shading.

53. Arrow left: With a sharp 2H pencil, darken the lines around the feathers toArrow 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,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.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 leaveArrow 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 upperthe highlight white. Put some tone in the beak but leave it lighter on the upper
part to show the reflection of light.part to show the reflection of light.

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

55. TIPTIP
Balance the values of the form with the values of Balance the values of the form with the values of the bird’s color. The texturethe bird’s color. The texture
emerges from the way these different values are applied. If you run into conflictemerges 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.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 addShade 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. Usetone 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 reflecteda kneaded eraser to lift out just a touch of graphite, emphasizing the reflected
light at the bottom of the main branch.light at the bottom of the main branch.

56. Arrow top: Leaving some small feathers sticking out softens the blue jay, but atArrow 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 kneadedthe 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.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 moreArrow 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 morecontrast. 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 fewdetailed 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.long, sharp lines to indicate the smooth edges where the feathers overlap.
Lifting Out for FeathersLifting Out for Feathers
Use an eraser to lift out Use an eraser to lift out the white edges of the feathers. Go back the white edges of the feathers. Go back in and reinforce thein and reinforce the
edges with pencil to show the edges with pencil to show the defined edges of the feathers. Use short lines defined edges of the feathers. Use short lines that followthat follow
the direction of the feathers to create additional texture. Then blend the direction of the feathers to create additional texture. Then blend the background withthe background with
an eraser to help make the an eraser to help make the feathers stand out.feathers stand out.

57. LANDSCAPELANDSCAPE
When there are a lot When there are a lot of natural elements in a landscape, itof natural elements in a landscape, it
can seem overwhelming to capture all of can seem overwhelming to capture all of the textures. Tothe textures. To
simplify the process, start by mapping out simplify the process, start by mapping out the majorthe major
masses, breaking them down into masses, breaking them down into manageabmanageable shapes.le shapes.
Then you can add other textural aspects, such as cloudsThen you can add other textural aspects, such as clouds
and water, to bring the scene to life.and water, to bring the scene to life.
CLOUDSCLOUDS
CumulusCumulus For fluffy clouds, dab your eraser gently for light gray areas and use For fluffy clouds, dab your eraser gently for light gray areas and use
more pressure to lift out the whites.more pressure to lift out the whites.

58. CirrusCirrus To draw these wispy clouds, lift out using a curving motion and then To draw these wispy clouds, lift out using a curving motion and then
extend that motion horizontally.extend that motion horizontally.
CumulonimbusCumulonimbus To capture these dark storm clouds, dab the graphite with an To capture these dark storm clouds, dab the graphite with an
eraser; then add dark tone and blend.eraser; then add dark tone and blend.

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

60. Linear StrokesLinear Strokes Use a sharper pencil and small, thin strokes. Vary the direction 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 theand 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.form of the tree. This technique is ideal for prickly pine trees.

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

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

63. Rougher WaterRougher Water Deliberately allow the lines to be more wavy than in the Deliberately allow the lines to be more wavy than in the
previous example. Lift out with long, horizontal strokes. No reflections can beprevious example. Lift out with long, horizontal strokes. No reflections can be
seen.seen.
WavesWaves Waves produce a sense of movement through frothy white caps. Start 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, andwith the shape of the wave, create the darker parts of the water with a 4B, and
blend.blend.

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

65. ROCKY CREEKROCKY CREEK
Begin shading the trees in the distance; then work your way to the middleBegin shading the trees in the distance; then work your way to the middle
ground and foreground. Don’t completely shade each object before moving toground 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. Youthe 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 spentdon’t want one area to unbalance the landscape or appear as though you spent
more time on it.more time on it.

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

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

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

69. CITYSCAPECITYSCAPE
Spend an afternoon walking through a town with yourSpend an afternoon walking through a town with your
camera and sketchbook, looking for uncommon textures incamera and sketchbook, looking for uncommon textures in
common places. Photograph or sketch the little common places. Photograph or sketch the little details thatdetails that
will bring your drawings to life. Wooden doors can helpwill bring your drawings to life. Wooden doors can help
add rustic textures to buildings, and stucco add rustic textures to buildings, and stucco and brick canand brick can
bring depth to otherwise flat walls.bring depth to otherwise flat walls.
BRICKS WITH STUCCOBRICKS WITH STUCCO
First outline the brick pattern, and then loosely draw horizontal strokes withinFirst outline the brick pattern, and then loosely draw horizontal strokes within
the bricks. Smear the tone with a stump, filling in each brick shape.the bricks. Smear the tone with a stump, filling in each brick shape.

70. Draw some wavy lines to signify the rough, broken edges of the stucco. ThenDraw 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 speckslightly go over the entire drawing with a 6B so the paper picks up tiny specks
of graphite.of graphite.
Now use a sharp HB to create very thin, slightly wavy lines where the oldNow 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 edgesstucco is breaking away from the brick. Then darken and refine the hard edges
of the bricks.of the bricks.

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

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

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

74. OLD TOWN PLAZAOLD TOWN PLAZA
Before beginning, think about the paper you want to use to capture the variousBefore 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 wouldtextures 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 willrender well on rough paper. Use a sharp HB to create a heavy outline that will
show through your initial shading.show through your initial shading.

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

76. WeatheredWeathered
ShinyShiny

77. Use broad strokes and the side of a 6B to lay tone across the buildings; thenUse 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 smoothapply 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 texturestone of the fountain, and switch to a thinner lead to depict the slatted texture
of the wooden shuttersof the wooden shutters

78. Take a large blending stump and spread some of the graphite across theTake 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,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 buildingusing smooth strokes. Now use a 6B to deepen all the tones on the building
and roofs.and roofs.
Now deepen all the tones, darkening all the cast shadows and areas that aren’tNow 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 tohit 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 interiormaintain 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 acrossof the fountain with the carbon dust, and smear the shadow that runs across
the back of the piazza.the back of the piazza.

79. To establish the bumpy texture of the tiles, add lines across the width of theTo 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 anroof 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 aseraser 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 andthe lanterns, the crest, and umbrella. Add more tone to the main building and
use a stump to smear it.use a stump to smear it.

80. Further develop the tones of the fountain, alternating between a 4B and aFurther 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 texturalstump. 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 tilesrelief. 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 towithout drawing them individually. Add some lines across the shutters to
create the imperfect texture of the slats, and then sharpen the edges andcreate the imperfect texture of the slats, and then sharpen the edges and
architectural details.architectural details.

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

82. Light and WavyLight and Wavy Carbon dust and a stump create a base of light, subtle tone. 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 theAdd 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.foreground stay very light to emphasize the color of the hair.
Dark and WavyDark and Wavy Draw the main, curving hair forms; layer in some carbon dust; 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 darkestand 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.darks and lift out the lighter, highlighted strands with a kneaded eraser.

83. Dark and StraightDark and Straight First outline the sculptured shape of this hairstyle and then 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 bandapply 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.of highlights. Apply even tone with long, curved strokes and a 2B.

84. Light and CurlyLight and Curly Outline the main masses of curls and some individual hairs. 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 inThen 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.shadow. Then lift out some highlights with curved strokes.

85. EYESEYES
Start with an outline of the eye; then dip a stump into some carbon dust andStart 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. Useapply a light layer of shading, following the contours of the eye and eyelid. Use
radial strokes for the iris.radial strokes for the iris.
Next use the point of the stump to apply shading to the fold of the eyelid.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 aDarken the iris but maintain the sharpness of the highlight, lifting out with a
kneaded eraser wherever necessary.kneaded eraser wherever necessary.

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

87. LIPSLIPS
Start with an outline of the mouth and apply light tone with carbon dust and aStart with an outline of the mouth and apply light tone with carbon dust and a
stump.stump.
Add another layer of tone with the carbon dust and darken underneath theAdd 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 strokebottom lip and in the corners of the mouth. Switch to an HB pencil and stroke
outward with short, slightly curved lines.outward with short, slightly curved lines.

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

89. YOUNG GIRLYOUNG GIRL
Use a sharp HB pencil for the outline of the basic features of the head. CheckUse 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 takethe accuracy of the drawing, as the slightest errors in observation will take
away from the likeness of the subject.away from the likeness of the subject.

90. Using the side of a 2B pencil, draw long, flowing strokes that follow theUsing the side of a 2B pencil, draw long, flowing strokes that follow the
direction of her smooth, straight hair. Develop the shadow under the eyebrowdirection 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,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 verybut 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.light strokes that curve with the shape of the face.

91. Begin to blend the hair with a large stump. With the lightest touch, slightlyBegin 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 theblend 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 thesoftly 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 putareas 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 thesome deeper tone in the nostrils, the corner of the mouth, and the pupil of the
eye.eye.

92. Arrow above: Using the point of a 2B pencil, build up the tone and flow of theArrow 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 veryhair. 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. Shadelight, 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 foraround the eye area, always following the contour of the form. Do the same for
the nose, lips, cheeks, and chin, building up tone slowly.the nose, lips, cheeks, and chin, building up tone slowly.

93. Arrow above: Continue building up the tone of the silky hair, using a 4B for theArrow 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 anddarks 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 shortthe 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 thelines 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 showirises. 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 indicatethe cast shadow. Shade the necklace, using separate curved strokes to indicate
the heavy fibers.the heavy fibers.

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

95. PETSPETS
Animals hold a variety of textural challenges, from Animals hold a variety of textural challenges, from wirywiry
coats to shining eyes and wet noses. Because a pencil iscoats to shining eyes and wet noses. Because a pencil is
such a versatile tool, such a versatile tool, you can easily sketch a rough-coatedyou can easily sketch a rough-coated
goat or finely stroke a smooth-haired deer, goat or finely stroke a smooth-haired deer, in addition to ain addition to a
dog, cat, or dog, cat, or other domesticated pet.other domesticated pet.
FUR AND HAIRFUR AND HAIR
SilkySilky Outline the prominent hair patterns with an HB, and then put in some 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 erasertone with strokes that follow the gentle waves of the hair. Then use an eraser

96. to pick out shiny highlights.to pick out shiny highlights.
CurlyCurly Create a base tone using carbon dust and a stump. Then lift out long, 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 topcurly, 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.of the white areas with a very sharp HB pencil.

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

98. Long and FluffyLong and Fluffy Put down the base tone, then add some long, slightly curved, 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 thelight 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.point of the pencil and add some heavier lines where the hair is darker.

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

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

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

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

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

104. CANINE NOSESCANINE NOSES
First draw an outline of the nose with the highlights clearly delineated. UseFirst 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 thecircular strokes with a 4B to create the base tone. Then put darker tone in the
nostrils.nostrils.

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

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

107. SPRINGER SPANIEL PUPPYSPRINGER SPANIEL PUPPY
Arrow above: Draw a basic outline, ensuring that proportions are accurate. UseArrow 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 linesa 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 hairof 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 inaround the eye socket and face, within the ears, and down the back, drawing in
the direction of hair growth.the direction of hair growth.

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

109. Use an HB pencil to apply the lightest tones to the dog’s ears. Stroke alongsideUse 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 andthe 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 tonose, 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.pull tone over the light areas of the body, connecting the sections of hair.

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

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

112. Arrow above: With an H pencil, add fine strokes to develop the area of whiteArrow 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’shair. 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 theunderside. Then add a light layer of graphite for a soft cast shadow under the
pup, blending the strokes with a tissue.pup, blending the strokes with a tissue.