s t e p ·b y ·s t e p s t u d i o

Drawing
C O N C E P T S

With Diane Cardaci, Ken Goldman,

William F. Powell, and Carol Rosinski
© 2021 Quarto Publishing Group USA Inc.
Artwork on back cover (bird and still life) and pages 1, 3, 6–7, 82–117 © 2006, 2009 Diane Cardaci. Artwork on front cover, back
cover (flowers), and pages 14–51 © 2006, 2009 Ken Goldman. Artwork on pages 2, 52–81 © 2006, 2009 William F. Powell.
Artwork on page 11 (“Building Up Forms”) © 2005 Walter Foster Publishing. Artwork on back cover (horse), pages 8-9, 10, 11
(“Applying Smooth Hatching”), 12-13, 118–143, and photographs on pages 4–5 © 2006, 2009 Carol Rosinski.

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ISBN: 978-1-60058-898-3

Digital edition published in 2021

eISBN: 978-1-60058-899-0

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Printed in China
10 9 8 7 6 5 4 3 2 1
CONTENTS
Tools & Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Chapter 3: Realistic Textures . . . . . . . . . . . . . . . . . 82
Handling the Pencil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 “Painting” with Pencil . . . . . . . . . . . . . . . . . . . . . . . . . .84
Shading Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Working with Different Techniques. . . . . . . . . . . . . . .85
Drawing What You See . . . . . . . . . . . . . . . . . . . . . . . . . 12 Following Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Chapter 1: Understanding Values . . . . . . . . . . . . . . .14 Botanical Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Basic Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Bellflower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Understanding Value & Shape . . . . . . . . . . . . . . . . . . . 17 Traditional Still Life Textures. . . . . . . . . . . . . . . . . . . . .92

Seeing Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Wine & Cheese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Placing Shapes Accurately . . . . . . . . . . . . . . . . . . . . . . 22 Floral Still Life Textures . . . . . . . . . . . . . . . . . . . . . . . . .96

Drawing Values as Shapes . . . . . . . . . . . . . . . . . . . . . .24 Pitcher of Lilies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Depicting Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Wildlife Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Establishing a Light Source . . . . . . . . . . . . . . . . . . . . . 28 Blue Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Reinterpreting Values . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Landscape Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Attracting the Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Lake Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Creating Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Animal Textures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Capturing Light on Black-and-White . . . . . . . . . . . . 44 Yorkshire Terrier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Combining the Elements of Design . . . . . . . . . . . . . .46 Portrait Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . . . .50 A Young Girl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Chapter 2: Dynamic Composition . . . . . . . . . . . . . 52 Chapter 4: Step-by-Step Exercises . . . . . . . . . . . . 118

Choosing a Viewpoint . . . . . . . . . . . . . . . . . . . . . . . . . .54 Teddy Bear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Choosing a Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Basic Composition Methods. . . . . . . . . . . . . . . . . . . . .58 Horse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

The Golden Mean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Floral Still Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Dividing the Picture Plane. . . . . . . . . . . . . . . . . . . . . . .62 Portrait of a Girl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Symmetry & Asymmetry . . . . . . . . . . . . . . . . . . . . . . . .64 Fruit & Wine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Using Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 About the Artists . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Creating a Focal Point . . . . . . . . . . . . . . . . . . . . . . . . . .68

Forming & Placing Elements . . . . . . . . . . . . . . . . . . . .70
Arranging a Floral Composition. . . . . . . . . . . . . . . . . . 72
Placing People in a Composition. . . . . . . . . . . . . . . . . 74
Composing Landscapes . . . . . . . . . . . . . . . . . . . . . . . . 76
Using Negative Space . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Composing from Photographs. . . . . . . . . . . . . . . . . . 80

3
 TOOLS & MATERIALS
One of the great things about drawing is that you can do it anywhere, and the materials are inexpensive.
You do get what you pay for, though, so purchase the best you can afford, and upgrade your supplies
whenever possible. All you really need to start are a pencil, eraser, and paper, but there are a few other
items that will come in handy as well.

PENCILS I
Artist’s pencils (A) contain a graphite center (“lead”) and E
are sorted by hardness (“grades”), from very soft (labeled
H
9B) to very hard (labeled 9H). You don’t need a pencil of
every grade when you first begin drawing; a good starting D
collection for this book is 6B, 4B, 2B, HB, B, 2H, 4H, and A
6H. Pencil hardness is not standardized, so when buying
this first group of pencils, make sure they are all the same F
brand. Lead holders (B), which take lead refills, are an
alternative to wooden pencils. Usually made of metal and
plastic, lead holders are convenient and easy to use but
less economic than wooden pencils.
C B
G

ERASERS Purchasing the Essentials Your local arts and crafts store is sure to
carry the basic items shown above. Keep in mind that it’s best to purchase
There are three basic types of erasers for use in pencil the highest quality materials you can afford, as these produce the best
results.
drawing: kneaded (C), stick (D), and pillow (E). Kneaded
erasers are very soft and can be molded into different
shapes. Stick erasers come in pen-shaped holders and
easily can be carved into a point using a craft knife or
razor blade. Pillow erasers are made of a loosely woven
cloth filled with loose erasing material, allowing you to
clean up smudges and accidental marks on large areas. PAPERS
For practice sketches, purchase a medium-weight (50-
to 60-lb) paper pad, which is bound with tape or a wire
spiral (I). For more finished drawings, buy a heavy-weight
paper (about 70- to 80-lb). Paper texture (the “tooth”)
also varies: Plate or hot-pressed paper is smooth and
allows for softer blends and smooth shading, whereas
SHARPENERS vellum or cold-pressed paper is rough and allows for
strokes with more texture.
If you are using wooden pencils, a simple hand-held
sharpener (G) that catches the shavings is a good choice.
Electric sharpeners also are great, as they quickly produce
a very sharp tip. If you are using lead holders, be sure to
buy the appropriate sharpener for your brand (H).

4
BRUSHES
Brushes aren’t usually thought of as a drawing tool,
but they can be extremely useful for creating smooth
blends and gradations and for applying graphite dust
directly to the drawing surface. You can use any flat,
soft-bristle paintbrush for this method. Small brushes
with short bristles allow for more accuracy, so you may
have to trim the bristles to the desired length with a
small pair of sharp scissors.

Trimming Bristles When trimming the bristles of a paintbrush, cut the

bristles at a slight angle (you’ll be holding the brush at an angle to the
paper). The trimmed brush has stiffer bristles that give you much more
control when working with graphite.

B
EXTRAS
A blow bulb comes in handy for blowing away loose
graphite dust and eraser crumbs without disturbing
E the drawing (A). A small craft knife is an ideal tool for
shaping erasers (B). A blending stump—soft paper
D
packed into the shape of a slim cylinder—helps smearing
and blending (C). Emery boards allow you to sharpen
pencils and create piles of loose graphite (D). Pencil
C extenders add length to your short pencils so you can
grip them properly (E), and spray fixative prevents
smudging on your finished piece (F).

A
F SETTING UP YOUR WORKSPACE
Set up a comfortable workspace to match your style. You
may choose to stand to allow free arm movement or sit at
a table for more precise work. Make sure that your body
or hand will not block good lighting. Ensure good lighting
with a floor lamp, desk light, or clamp-on light with a
“natural” or “daylight” bulb, which mimics sunlight and is
easy on the eye.

Gathering Additional Items Most of the items pictured above can be

found at your local arts and crafts store. Others, such as tissues and cotton
swabs, you may already have in the house.

5
 HANDLING THE PENCIL
You can create an incredible variety of effects with a pencil. By using various hand positions and shading
techniques, you can produce a world of different lines and strokes. If you vary the way you hold the
pencil, the mark the pencil makes changes. It’s just as important to notice your pencil point. The point is
every bit as essential as the type of lead in the pencil. Experiment with different hand positions and pencil
points to see what your pencil can do!

There are two main hand positions for drawing. The writing position is good for very detailed work that requires fine hand
control, as well as for texture techniques that require using the point of the pencil. The underhand position allows for a
freer stroke with more arm movement—the motion is almost like painting.

Using the Writing Position This familiar position provides the most Using the Underhand Position Pick up the pencil with your hand
control. Hold the pencil as you normally do while writing. The accurate, over it, holding the pencil between the thumb and index finger; the
precise lines that result are perfect for rendering fine details and accents. remaining fingers can rest alongside the pencil. You can create beautiful
shading effects from this position.

Protecting Your Art Use a piece of tracing paper as a barrier between your hand and your drawing. The tracing paper not only prevents you from
smudging your drawing, but it also keep oils from your skin from damaging the art.

6
PRACTICING LINES
When drawing lines, it is not necessary to always use a sharp point. In fact, sometimes a blunt point may create a
more desirable effect. When using larger lead diameters, the effect of a blunt point is even more evident. Play around
with your pencils to familiarize yourself with the different types of lines they can create. As you experiment, you will
find that some of your doodles will bring to mind certain imagery or textures. For example, little Vs may bring birds to
mind, or wavy lines might suggest water.

Drawing with a Sharp Point

Make every kind of stroke you can
think of, first using sharp point.
Practice the strokes at right to help
you loosen up.

Drawing with a Blunt Point

Take the same exercises and try
them with a blunt point. Even if you
use the same hand positions and
strokes, the results will be different
when you switch pencils. Take a
look at the examples at right.

7
 SHADING TECHNIQUES
As you’ll see in Chapter 1, value is essential in suggesting the form, or three-dimensional quality, of a subject.
There are many ways to apply and manipulate graphite on your paper to create a range of values, but how
you apply the graphite is what determines the texture of the subject. Explore the techniques on the following
pages so that you can learn a variety of shading styles and pair the appropriate technique with a subject.

HATCHING AND CROSSHATCHING

The most direct way to lay down a layer of graphite to create a darker value is by simple hatching, which is a series
of parallel strokes. If you squint your eyes and look at a hatched area, the lines seem to mix together to form a value
that is darker than the paper yet lighter than the actual lines of graphite. The closer you place the parallel strokes, the
darker the value.

Overlapping Lines A simple way to create Using the Side of the Pencil Create a softer
a darker value using hatching (upper left) is by look by hatching with the side of your pencil
adding the same pattern of lines perpendicular (upper left). Darken the area more by cross-
to the first layer of hatching (lower right). This is hatching over it (lower right). This type of
called “crosshatching.” Crosshatching is a quick, hatching might be a good choice for drawing a
all-purpose way to add value and texture to a lightly textured cloth or a field of weeds.
drawing.

Making Scribbles Make an even, but rough- Combining Methods Use loose, uneven scribble Varying Values Loose hatching, with the lines
textured, scribble hatch (upper left) and then movement to hatch and crosshatch. This yields spread far apart (upper left), is best for areas
crosshatch (lower right) for a seamlike quality an interesting texture that would be perfect for of light value. Tight hatching, with closer lines,
that might be used to draw loosely woven fabric, rendering distant foliage. creates a darker area (lower right).
mesh, or basketry.

8
APPLYING SMOOTH HATCHING
Although hatching with bold, rough strokes is great
for quickly identifying areas of shading in a sketch,
applying finely hatched lines yields a more finished
look. This technique is called “smooth hatching.”
Smooth hatching takes a bit of practice to master,
but it is essential for creating gradations that suggest
evenness of texture, curvature, and form. Like so much
of drawing, your ability to make a smooth hatch will
improve as you gain more control over your tools.

Mastering Smooth Hatching After some practice, you will be

able to create a tight hatch that needs no further smoothing or
blending with stumps or brushes, as demonstrated with this egg.

BUILDING UP FORMS
Values tell us even more about a form than its outline. Value is the basic term used to describe the relative lightness or
darkness of a color. In pencil drawing, the values range from white to grays to black, and it’s the variation among lights
and darks (made with shading) and the range of values in shadows and highlights that give a three-dimensional look
to a two-dimensional drawing. Once you’ve established the general shape and form of the subject using basic shapes,
refine your drawing by applying lights and darks. Adding values through shading allows you to further develop form
and give depth to your subject, making it really seem to come to life on paper!

Shape The first step is to draw the basic shapes Form Because your subject also has depth and
of your subject. Circles, rectangles, squares, and dimension, or form, you will need to make those
triangles make up the basic shapes of just about initial circle, rectangle, square, and triangle shapes
anything you will draw. into spheres, cylinders, cubes, and cones. Sketching
the shapes and developing the forms is the first
step of every drawing. After that, add values to
further develop the form.

9
 UNDERSTANDING THE PROPERTIES OF PENCILS
Two important factors to consider when creating a value with graphite are the degree of hardness of the pencil
and the sharpness of the tip. It’s much easier to create a dark value with a soft pencil than with a hard one, and
the softer pencil will leave a rougher-looking texture when stroked over the grain of the paper. The diverse
looks created by different grades of lead can be used to mimic textures of objects in your drawings. Also try
creating samples with both sharpened and dull pencil points; you’ll see that the sharper the pencil, the darker
your value will be, even when you’re using the same amount of pressure.

Sharp B pencil, Dull B pencil,

medium pressure medium pressure

2B pencil, Dull 2B pencil,

medium pressure medium pressure

Using Sharp and Dull Points Sharpen a B pencil to a very fine point and fill a box using medium pressure (top left). As your pencil dulls, create
another box using the same pressure (top right). You will see that the sharpness of the lead creates different values and textures. The second row above
shows the same exercise done with a 2B pencil.

Affecting Value Through Grade Each of these graduated samples is made with a different grade of lead (from left to right): 4H, 2H, B, 2B, and 4B.

10
CHANGING GRADES TO ACHIEVE A DARK VALUE
Although it’s easier to create a dark value with a soft lead than with a hard lead, you’ll find that the soft lead actually
skips over parts of the paper, leaving behind little white spots that dilute the value. It’s tempting to just press harder
with the pencil to achieve a dark value, but this only flattens the grain of the paper, creating an especially shiny and
distracting spot on your drawing. To create a very dark value without flattening the grain of your paper, first go over
the area several times with a very sharp, soft lead, using light to medium pressure. Follow this with a slightly harder,
sharp lead. The harder lead pushes the previously applied, softer graphite into the grain of the paper that was skipped
over before, so the entire area is coated; there won’t be any white areas or shiny spots.

Layering First shade with a soft

lead (7B). Then use a slightly harder
lead (4B) to go over the top half
using the same pressure. Compare
the two areas and notice the effect
of the hard lead on the value.

Hard over Soft Apply 7B first in the top two thirds, Soft over Hard Apply 2H first in the bottom two
followed by 2H in the bottom two thirds. The center thirds, followed by 7B in the top two thirds. The center
area of overlap shows how hard lead applied over soft area of overlap shows how soft lead doesn’t stick on
lead darkens the value. surfaces coated with hard lead.

11
 DRAWING WHAT YOU SEE
Most people are accustomed to drawing what they think they see, which is simply the idea of the object in our
minds. Our brains aren’t accustomed to recording detailed observations, so we must concentrate on retaining
and recalling details for our drawings. Practice drawing what you see.

Portable Window Create a portable window from a piece of rigid

acrylic, you can purchase from your local hardware store. Try the same
window outline exercise indoors; it will help you understand how to
reproduce the challenging angles and curves of your subject.

Window Outline Exercise To train your eye and brain to observe,

stand or sit in front of a window and trace the outline of a tree or car onto
the glass with an erasable marker. If you move your head, your line will no
longer correspond accurately with the subject, so try to keep it still.

Foreshortening in a Window Drawing Foreshortening—when an

object is angled toward the viewer—causes the closest parts of an object
to appear much larger than parts that are farther away. This can be a Looking at Photos Another beneficial way to observe impartially is to
difficult concept to master, so practice with window drawings. find an interesting photo and outline the shapes and values you see with a
pen. Take your time and indicate even the smallest change in value.

12
MEASURING WITH A PENCIL
Drawing the correct proportions—the size relationships between different parts of an object—is easier if you learn to
take measurements directly from your subject and then transfer those to your paper. You can measure your subject
with just about anything (for example, your thumb). Using a pencil is an easy and accurate way to take measurements,
as shown below.

Measuring Width Close one eye and hold out your arm with your pencil
positioned horizontally between your fingers, and line up the tip of your
pencil with one side of the subject. Move your thumbnail down the pencil
until it just touches the opposite side of your subject.

Transferring Measurements Mark the length of your pencil Measuring Height Using the same procedure, measure the distance
measurements on your paper. If you want to enlarge the subject, multiply between the highest and lowest points of your subject.
each measurement by two or three. If you extend the initial markings to
this new measurement, you can form a box around your subject that will
work like a grid to help you draw your subject using correct proportions.

Adding Up the Numbers After you’ve Mapping Out Elements As long as you Correcting Calculations While progressing
created the basic rectangle, sketch the subject’s stay in the same position with your arm from a basic shape to a gradually more detailed
general shape within the rectangle. Keep the extended at full length, you can take additional outline drawing, take measurements before
shape simple and add details later. measurements. applying any marks to keep your drawing in
proportion.

13
14
 chapter 1

UNDERSTANDING
VALUES
WITH KEN GOLDMAN

This is not just a “how-to” chapter; it is a “how-to-see-and-do”

chapter. When seeing and drawing shapes and their values—lightness
or darkness—you are not drawing “things.” Rather, you are creating
areas of value as various shapes; those shapes become recognizable
only when they are drawn accurately in combination with other
shapes. This is an effective, time-tested approach, but its application
requires some rethinking of childhood drawing preconceptions, as
well as discipline in seeing and drawing differently. The exercises
in this chapter will take you through a step-by-step process of
seeing shapes, identifying their light and dark values, and fitting the
pieces together to form recognizable images. By seeing and drawing
objectively, rather than by thoughtlessly copying, you will be able to
create a realistic subject.

— Ken Goldman

15
 PRACTICING BASIC STROKES
The moment your pencil touches paper, you have made a statement. Value, line, texture, and shape are
elements that you, the artist, can use to convey ideas. In the drawing below, the various strokes create a
rabbit sitting alertly in a field. In artistic terms, the recognizable shape is a rabbit, surrounded by various
combinations of textures, values, and lines that tell us about the field. Practice these strokes and note how
and where they are used throughout this chapter.

Adding Texture Note the effect created in the drawing by each basic
stroke shown here. Experiment with a blending stump to see which
additional textures you can create.

F
E
Long lines G
Medium
lines Dots

D
Short lines
H
Tonal grading

C C H
Sidestrokes

I
I
Blending

B
F J
Corrugated B K
lines
E G
A
J Blending +
erasing shield +
dots
D L

A
Corrugated lines/
pebble combination N
M K
Blending +
P
Q O lines

Q
Pebble
L
texture
Crosshatching

P
Dirt/pebble
M
combination
Grass texture
O
Dirt texture N
Grass/pebble
combination

16
UNDERSTANDING VALUE & SHAPE
Value is defined as the relative lightness or darkness of a color or of black. In nature, values have infinite
gradations, or degrees. The shapes that we see are a result of these changes in value. Because artists cannot
visually comprehend such unlimited subtleties, they reduce nature’s vast scale into values that they easily
can see. Many artists use a scale of nine values ranging from black through gray to white. Sometimes only
five may be used: highlight, light, medium, dark, and low dark.

ESTABLISHING A VALUE SCALE

1 2 3 4 5 6 7 8 9

6H 4H 2H HB 2B 4B 6B

Highlight Light Medium Dark Low Dark

Rendering Values The nine-value scale shows the transition from white through gray to black. The numbers and letters underneath the scale show
you the pencils used for each value. The 6H is the hardest lead and barely makes a mark; it works well for delicate shading, such as value 2. The 4H is
slightly softer and, depending on how much pressure you apply, will create values 2, 3, and 4. The 2H is good for light lay-ins; it works well for value 4, and
its soft lead will not leave grooves in fragile paper. The HB is a great pencil for all-around drawing, and it’s perfect for the middle-value 5. The 2B has a wide
range: It represents values 6 and 7 on the scale. The 4B is a soft, dark pencil that corresponds to values 7 and 8 on the scale. The 6B is slightly darker than
the 4B; it creates a velvety black corresponding with value 9, but it easily breaks when being sharpened.

RECOGNIZING SHAPES

Basic Shapes For non-artists, Shaded Shapes Imagine a silhouette of an

a shape is an object with a label, apple. A non-artist recognizes it by its shape.
such as an apple, a vase, or a bird. But artists need to go further. Artists need to
However, artists attempting to draw look closely at the shapes of light and dark
these objects need to learn new values that form on the surface of the apple
ways to analyze these shapes. and then give those shapes names. In this
way, artists can observe, analyze, remember,
and draw what they actually see.

17
 SEEING VALUES
There is a saying among artists: “Color gets all the
attention while value does all the work.” Whether you
draw an object with a two-, five-, or nine-value scale,
it is value, not color, that is mainly responsible for the
visual strength of the image. With practice, you can
train yourself to view objects and scenes in terms of
their values.

Translating Color to Value This photo of

fuchsia was shot in brilliant color. But the range
of values is what gives the image strength in
black and white.

Recognizing Contrasts An artist can achieve a wide range Simplifying Values The first stage in seeing values is to simplify. Two
of contrasts with the help of simultaneous contrast—the illusion values (white and a middle-value 5 gray) are perfectly adequate to convey
that a middle-value (5) gray appears darker when surrounded the idea of this fuchsia.
by white (1) and lighter when surrounded by black (9). The
middle-value gray column and border in this image actually
have the same value from top to bottom and all around.

18
USING LINES AS A SHORTHAND FOR VALUE
Lines do not exist in nature, but they certainly exist in drawings! Use lines as a shorthand method for transferring
nature’s three-dimensional world of light and dark onto two-dimensional paper.

Representing Shapes with Lines The second

stage in learning to see values is to find and draw
the shapes within the overall form. Compare the flat,
outlined silhouette on the opposite page with this line
drawing. Instead of having a middle value, add internal
lines that break up the large main shape of each flower
into smaller shapes. This creates a linear sense of three
dimensions and overlapping.

Combining Value and Line This drawing represents

the third stage in seeing values. It combines the two
values of the first stage with some of the lines from the
second stage to further divide the shapes into smaller
areas. Because this subject has the complexity of small
veins, frills, and other details, it’s much simpler to begin
the drawing with large, simple shapes like these.

19
 INTRODUCING A THIRD VALUE
As you begin to render additional details to the shapes of light and shadow, add a third value. This new, slightly lighter
value allows you to incorporate the transitional subtleties that help give the fuchsia a sense of volume. Crosshatching
and sidestrokes are two methods for building up lights and darks. Try some of the strokes and textures shown on
page 16 to see the effects you can create.

Creating Transitions Through the addition of a third middle value, the image begins to assume depth and volume. Because there are no
areas darker than value 4, you can use an HB pencil for the whole drawing. The HB pencil is soft enough to make darks but also hard enough
to render delicate lights, such as the outer petal of the left-hand flower and the inside petal of the right-hand flower.

1 4 5

Adding a Lighter Middle Value For this version of

the fuchsia drawing, add value 4, one step lighter than the
middle-value 5 used in the earlier drawings.

20
CREATING DRAMA WITH ADDITIONAL VALUES
Compare the final drawing on this page with the three-value drawing on the opposite page. This version is closer to
the actual photo because of the added contrast and transition, due to the adjusted middle values (3 and 6) and the
use of black (9). This is an important point: How much should an artist deviate from a reference? The answer is that it
depends on what degree of “finish” an artist prefers. Some artists like to copy a photo just as it is, and that’s fine. The
main difference between a photographic, realistic interpretation, and the drawing on this page is that a super-realist
will use the full value scale with its subtle gradations, whereas a drawing like this one uses only four values, resulting in
less subtlety but more drama.

1 3 6 9

Adding Contrast The four values used for the final

drawing are 1, 3, 6, and 9.

Interpreting the Subject Although the values in this drawing are similar to those in the photo, the use of
looser, cross-hatched strokes makes this rendering more of an artistic interpretation than a strict copy.

21
 PLACING SHAPES ACCURATELY
Knowing that drawing is a matter of seeing forms as shapes and values rather than preconceived objects
is one thing; the next question is, “How do I find correct proportions and place those shapes accurately?”
There are two techniques, in addition to measuring (as shown on page 13): seeing negative shapes, and
drawing upside down.

FOCUSING ON NEGATIVE SHAPES

A non-artist can enjoy the graceful “positive shape” of this beautiful cypress tree and go no further. But an artist needs to
see and be aware of the space around the cypress—the negative shape—in order to draw its outer shape. When you begin
a drawing, use negative shapes in conjunction with measurement. Before evaluating the negative shapes, look for common
measurements and make light construction lines.

Cropping In After
taking measurements
to find the height and
width of the cypress,
simulate a grid by lightly
drawing rectangles
and boxes around the
canopy, trunk, and distant
trees. “Cropping in” like
this allows you to see
positive-negative shape
relationships better.

Interpreting Space
The darkened sky and
grass areas represent
“negative” space around
Measuring with the Eye Note that the overall height of the tree is the trees; drawing the
exactly the same as the width of its canopy. This will help you draw the edge of these negative
correct proportions when transferring the tree. areas creates the
“positive” shapes (trees).
Conversely, drawing the
edge of the positive trees
creates the negative
Creating Atmosphere These are the values used for this drawing: 1, 3, 6, shapes (sky and grass).
and 8. There is no value 1 because any black in the distance would destroy
the illusion of atmosphere and depth. (See page 36 for more on this.)

1 3 6 8

22
DRAWING UPSIDE DOWN
Sometimes preconceptions are so strong that it becomes almost impossible to draw shapes and values objectively.
The best solution is to turn both your reference image and drawing paper upside down. Seeing the image upside down
almost immediately negates the preconceptions of what your subject should look like.

Step 1 With an HB pencil, lightly sketch the dog’s basic outline

using shape identification, measurement, and negative shapes.

Looking for Shapes This sheepdog is a perfect candidate for you to

attempt drawing upside down because it is composed of such simple
shapes. Lay in the drawing with an HB, and then use a 2B, 4B, and 6B,
respectively, for lights, middle values, and darks.

Step 2 Now add the dark (positive) shapes. Note how drawing
the positive shapes creates the light (negative) shapes. Also take
note of the “flow,” or movement, in the subject. Follow the arrows
here, and then look for those flow lines in the final drawing at left.
Flow lines not only help you get better proportions (as negative
shapes do), but they also convey the overall rhythm in a drawing.

Step 3 Refine the edges of both the positive and

negative shapes, and the sheepdog will miraculously
begin to appear. Because you are drawing abstract
shapes, upside down, you won’t know just how accurate
your dog really is until you turn it right-side up.

23
 DRAWING VALUES AS SHAPES
This demonstration is a summation of all the shape- and
value-seeing tools discussed so far. You can attempt
copying it either right side up or upside down. If it looks too
difficult, try drawing it upside down. Stick with the basics
and avoid preconceptions, and you will be amazed at what
you can accomplish.

Observing the Subject Before

drawing, observe your subject and look
for basic shapes and measurements.

Step 1 With an HB pencil, sketch a vertical line and mark

off three equal divisions: hairline to brow, brow to top of lip,
and top of lip to bottom of beard. Draw the basic shape of
the head and place the nose and lips on the left side of the
vertical plumb line; then sketch in the shapes of the shadows.

Step 2 Erase the construction lines and carefully shade the Step 3 Now render details and the smallest shapes. If you can
shadow shapes. Don’t bother with details at this point. accurately draw these shapes, you can achieve a likeness.

24
 TIP Step 4 To finish, use various strokes (especially
crosshatching) and blends to suggest textures and
transitions in value.
By using a stump to blend
cross-hatched areas and
adding crosshatching
over blended areas, your
strokes will convey a unified
richness and direction while
still remaining subordinate
to the larger overall shape.

25
 DEPICTING FORM
Light and shadow create the illusion of solidity, or form, in drawing. This exercise will help you observe the
light and shadow “families,” or groups of values, in any composition.

Step 1 Set up your still life box, place a pear or another object in the Step 2 Draw the pear with a simple division between light and shadow.
corner of the box, and shine a spotlight on the side of the object to create The value scale below the pear demonstrates this division.
a division of light and shadow.

Step 3 Make another sketch of the pear, showing each plane. Step 4 Draw the pear again, but this time use a range of values. By
adding subtle halftones between the extremes of light and dark, you can
create a feeling of solid roundness.

A Understanding Terms This illustration

shows the terms used to describe the lights
and shadows that create form. The very light
areas, A, are highlights (which are fairly sub-
tle on a pear). B is a light area surrounding the
E highlights. C is a halftone; it forms the import-
A ant visual transition between light and shadow.
D is the shadow core, or the area where light
ceases and shadow begins. E is reflected light,
both on the wall (within the cast shadow) and
B on the object (along the core shadow). Without
the contrast provided by reflected light on the
dark side of the pear, there would be no shadow
C core—only shadow. F is the cast shadow, which
begins dark and hard-edged and grows lighter
D
and less distinct as it recedes from the light
E F source and object.

26
DIRECTING THE EYE WITH VALUE EDGES
“Value edges,” or the lines where contrasting values
meet, play an important role in directing the eye around a
drawing and holding the viewer’s attention.

Establishing a Focal Point When value

contrast is high and hard edges dominate one
area, the viewer’s eye will be directed to that
area. This area is called the “focal point,” and
it should also be the center of interest.

Capturing Attention Medium values and medium edges

create secondary areas of importance. A picture should
primarily contain these elements so the hard-edged focal
point will stand out and seize the viewer’s attention.

Representing the Periphery Close values and soft

edges represent the periphery of vision. When you
look directly at an object, everything else is mostly out
of focus. If you keep the least important areas of your
drawing soft edged, the viewer’s eye will then travel to
the hard-edged contrasts of the more important areas.

27
 ESTABLISHING A LIGHT SOURCE
Most indoor situations have too many light sources to make a good drawing from life. Ambient light from
windows, lamps, open doors, and so on produces conflicting highlights and makes it difficult to show
solidity. A single, controlled light source works best.

Double Lighting Two opposing incandescent sources light this Asian teapot, creating two highlights and two vague
shadows. The double lighting makes the teapot look flat.

28
Fluorescent Lighting Because they come from a long-wave light source, fluorescent lights tend to diffuse and soften
forms. Here, the teapot is set in the same place as in the first photo, but now all the light is coming from eight-foot
fluorescent bulbs above. As with other multiple light sources, the result is that the teapot still appears too flat to make an
interesting drawing.

29
 Single Lighting With the addition of an apple and a pear, there are now a variety of shapes, values, and surface types.
The scene is lit from the right and slightly above. Compared to the first two setups, the light, shadows, and cast shadows
here not only add a sense of volume but also create an interesting design.

30
Building and Gradating Values Use HB, 2B, and 4B pencils and a single light source to render the composition.
Employ crosshatching to build up values, and use underhand sidestrokes for gradated areas.

2 5 8

Value Scale This drawing makes use of values 2, 5, and 8.

31
 REINTERPRETING VALUES
When an amateur photographer points a camera
at a bright sky or glaring ocean and clicks, the
2 9
darks in the resulting image can end up too dark, 4
and the lights are often washed out. The optimum
exposure for a camera—and for the human eye—
is middle-value gray. An artist must understand
9
this phenomenon when working from a photo and 9
attempt to correct the values accordingly.

Adapting from a Photo Compare this photo with the

drawing below, and note how the readjusted values in the
drawing add more balance and atmosphere. The drawing
includes a full range of values, but the darkest darks serve
solely as accents in the tree and the human figure. 7

2 8

1 2 5 8 9

32
ADJUSTING VALUE “KEYS”
Like a pianist, an artist can choose any “key” and play in it. A virtuoso musician knows how to use different keys to
evoke different emotions. Similarly, by using value variations, artists can convey a range of moods, from bright and
cheery to dark and somber, or even portray weather conditions and times of day. Think of a value scale as a piano
keyboard, with each group of numbered values representing a different key.

1 2 3

High Key When you keep your values on the upper

(lighter) side of the scale, the effect will be that of a foggy
morning. It could also evoke a dreamy, pensive feeling from
the viewer. This drawing makes use of values 1, 2, and 3.

4 5 6

Middle Key Limiting yourself to the middle part of the scale

creates the look of a cloudy day. These middle values can
create a calm, soothing atmosphere. This drawing makes use
of values 4, 5, and 6.

7 8 9

Low Key The lower (darker) part of the scale is perfect for
depicting dusk, dawn, or a stormy day. Emotions elicited from this
drawing could range from peaceful and tranquil to passionate and
turbulent, depending on the intensity of the darks. This drawing
makes use of values 7, 8, and 9.

33
 ATTRACTING THE EYE
The eye will normally enter a drawing where the largest positive shape touches the border. If such a shape
does not touch the border, the eye will jump inside the composition to the most interesting positive element.
By placing your center of interest (or focal point) carefully and giving it the greatest amount of contrast, you
can create visual interest and draw in the viewer’s eye. From this point on, it is the artist’s sense of design
that will direct the viewer’s eye. The eye follows paths created by (1) edges of light and dark; (2) the bulk of
light or dark areas; and (3) light or dark dots, dashes, and accents.

Creating a Focal Point

The viewer’s eye immediately goes to the tree trunk and
perched bird in this composition because they hold the
greatest contrast to the medium-dark background. The
background is a touch lighter behind the bird to better set
off the darks.

Circulating the Eye The viewer’s eye travels up the thick branch to the
high-contrast bird at the apex of a stabilizing triangle. Secondarily, the light
branch at far left attracts the eye and holds it, and then circulates the eye
back to the bird.

Directing Attention The darker rabbits

blending into the background of this drawing
makes the contrasting white rabbit the center
of interest. Its black eye is like a visual magnet;
then the beady eyes of the darker rabbits
attract the viewer’s attention and create a
triangular flow between the three rabbits.

34
 Attracting and Directing Attention In this
photograph of California mission-style buildings and
their surrounding gardens, light guides the viewer’s
eye into and through the scene. Lines, dots, and
accents add interest.

Drawing Attention Look at the photo above, and then follow

the arrows in this diagram. Note that the eye enters where the
foreground hedge touches a border and then moves through the
shadow to the people, who act as accents. Speaking of interest,
cover up the flowers with your hand, and see how much sparkle the
picture would lose if they were eliminated.

Maintaining Interest Have you ever looked at a long, blank wall

or an empty sky? Think of how your eye begs for something solid
to focus on. Without accents and edges, the eye will simply become
bored and move on to someone else’s drawing. Once again look at the
photo; analyze how your eye moves within it, and see if the arrows in
this diagram are similar to the paths your eye follows.

35
 CREATING DEPTH
Linear perspective lends the illusion of dimension to a composition, but an artist has additional tools: over-
lapping objects, creating contrasts in value and texture, using aerial perspective, and introducing shadows.

USING SHAPES, VALUES,

AND TEXTURES
The way you place values in the
foreground, middle ground, and back-
ground affects the perception of depth in a
drawing. Contrasting these values and their
textures conveys a sense of dimension.

Adjusting References Although the foreground in the photo above came out too dark,
this is still a usable reference photo. The thumbnail sketches below each have a different value
arrangement; both sketches have a more balanced composition.

Overlapping Shapes Overlapping is an excellent

way to create the appearance of depth. The addition
of aerial perspective increases the illusion further.
Although the composition shows depth, it still
lacks interest because it remains overly true to the
photograph. The composition also is unbalanced with
the dark right side drawing the viewer’s eye.

36
 Balancing Value Contrasts Having the same
value structure as the first thumbnail, this sketch has
a lightened foreground shed and grassy areas, as well
as an added door, window, and branches to create a
balance of value contrasts throughout. After creating
your thumbnails, choose the one you find more
interesting, and use it in conjunction with the photo as
the basis of your final rendering.

Step 1 Sketch lightly with an HB pencil to

mark out the foreground shed, two distant
buildings, diagonals on the ground, and
general areas of foliage.

Step 2 Now transform the light, straight lines into more

specific shapes and details. Using a softer 2B pencil, darken
the contour lines and apply a flat tone over the entire
composition, except for the light areas in the sky and the
roof of the background building.

37
 Step 3 To set the range of
your value scale, use a 4B
pencil to darken the windows,
the shed door, and some of the
branches and leaves. This tells
you where to place your middle
values, as the lights and darks
already are established.

Step 4 Continue to darken

the meadow and its diagonal
lines with crosshatching. Using
an underhand shading stroke
in the trees, darken the largest
areas with blending strokes.
This brings out the light, which
you can further accentuate
with a kneaded eraser.

38
 Step 5 To complete the
rendering, bring out the
lighter and darker values to
emphasize the focal point
and imbue it with an intimate,
inviting atmosphere. Note
how the detailed textures
and dark values in the
foreground push the lighter
distant structures into the
background. This is an
example of aerial perspective.

H
Contrasting Textures This is a
sampling of the various strokes to use to
build textural interest in this drawing: On
G
the left and right sides, darken around
light areas and then blend over parts to
make branches (A). Light cross-hatching
on the distant building (B) and heavier
crosshatching on the middle structure
(C ) enhance the perspective in the
rendering. Employ medium lines (D), long
B
lines (E), and grassy texture (F) to lend A
interest to the foreground vegetation.
Dark, blended strokes (G) and dots J
(H) work well for the trees in the
background. For the near shed, use dark
crosshatching (I) and heavy dark strokes I
C
(J). See “Basic Strokes” on page 16 for
additional textures.

F
D
E

39
 EMPLOYING AERIAL PERSPECTIVE & SHADOWS
In nature, impurities in the air (such as moisture and dust) block out some rays of sunlight, making objects in the distance
appear less distinct than objects in the foreground. This phenomenon is referred to as “aerial perspective,” and it creates
the illusion of depth. Both aerial perspective and foreground shadows give this drawing dimension.

Choosing a Scene This location would be more interesting

with long shadows come from the side. Feel free to shift the
direction of the shadows by modifying the composition. Despite
the limitations of a photo, it can still be a useful reference when
building an appealing composition.

Thumbnail Sketch Draw a thumbnail sketch. After blocking in the basic

shapes, lay in the new shadow areas. Lead the viewer’s eye into the scene
by establishing dark, contrasting shadows across the foreground. This
thumbnail is now your value guide; the photo is only a reference for the
shapes and details.

Rough Value Study Shade in the three main values you intend
to use: The tree is the darkest value, the shadows and background
are middle values, and the rest is light. This is not a final, detailed
value study—just a rough guide for you to recognize the light and
dark families as you proceed toward the final rendering shown on
page 43.

1 5 8

Value Scale I use values 1, 5, and 8 in this drawing.

40
Step 1 Using an HB pencil, lightly block in the general composition, paying special attention
to the perspective on the benches, table, and barrels. These shapes, if drawn correctly, will
give an indication of the artist’s eye level, which is slightly above them.

Step 2 Now further refine the shapes and begin to lay in darker values with underhand
strokes. Don’t get as dark as the value study yet because you still need to be sure that the
shapes of the foreground shadows are placed correctly.

41
 Step 3 Carefully refine the areas of value using softer 2B and 4B pencils. Because the
darkest shadows are about as dark as the value study, you can focus on adding textures
while maintaining the correct values.

Step 4 Experiment with various textures, but don’t completely finish any particular area.
Add details such as palm trees in the background, the gradated sky, and the dark windows
and doorways.

42
 A
Adding Textures Here are the strokes to use to finish the
drawing: Darken the tree with 4B and 6B pencils, combining
B
sidestrokes and cross-hatching (A). For the sky, combine
sidestrokes, linear strokes, and some erasing to lift out lighter
streaks (B). For the background, use sidestrokes and an eraser
(C). For the grassy area in the foreground, use sidestrokes
and grassy strokes (D). Darken the barrel with sidestrokes
and linear, vertical strokes (E). The dirt is—appropriately—dirt
texture (F).
C

D
F
E

Step 5 Complete the drawing by adding value and texture. Create depth with larger figures in the middle ground and smaller
figures in the background, and employ aerial perspective by giving the objects in the foreground the most detail. Darker foreground
shadows add to the illusion of depth by contrasting the lighter middle ground and background.

43
 CAPTURING LIGHT ON BLACK-AND-WHITE
As you learned on page 18, a middle value looks darker on white
than it does on black. This is the phenomenon of simultaneous
contrast. A black-and-white drawing only needs an extra value or
two to be added to transform a flat shape into a three-dimensional
form. But how does an artist show volume on black? This
photograph of a zebra’s head offers a perfect opportunity to
show how to solve this problem.

Working with Strong Contrasts This subject

presents a challenge in depicting the contrast
between black and white without flattening the
shape of the zebra’s head.

Step 1 Draw lightly with an

HB pencil and use straight
lines to carefully delineate
the top plane, side planes,
and anatomical landmarks of
the zebra’s head. Freely use
construction marks to line up
the ears, eyes, and nostrils. The
underlying blocklike shapes will
ultimately determine the values
of the black stripes.

Step 3 Lightly draw additional Step 2 Once the proportions are correct,
contours in order to clearly carefully go over the straight lines and
understand which planes and transform them into light, accurate, outer
volumes receive lights, middle contours. Soften and delineate the blocks
values, and shadows. and cylinders on the head.

44
 Capturing Variations in
Value Study the lines, contours,
and arrows in this drawing. A
bright source of light bleaches
out the dark stripes that face
upward toward the light; those
same stripes darken in value
as they curve away from the
light. Also note how reflected
light bounces back up to the
underside of the head. By
capturing these variations in
value, you convey the underlying
form of your subject.

Step 4 Outline the stripes; then subtly shade

the planes and cylinders you established in
steps 2 and 3.

TIP

If you find the stripes too

complicated to freehand, make
a copy of the photo the same
size as your drawing paper, and
then transfer the stripes from the
photo onto tracing paper. Place
the tracing paper against a bright
window, tape your drawing over
it, and trace the stripes.

Step 5 The changing value on the black stripes in this

drawing reveals the structure that was rendered with
contour lines in step 3 and in the detail drawing (above
right). Artists call this principle “local value.” As light and
shadow hit the forms and the black stripes overlaying
them, the black stripes appear lighter or darker. This
consistency in change of value reveals form, rather than
flattening it.

45
 COMBINING THE ELEMENTS OF DESIGN
Line, value, texture, shape, size, and direction are the elements, or main ingredients, of which every
drawing is made. As an artist, you must decide how and why each element should be used. On the following
pages, you will analyze each element of the seascape below, which makes effective use of each of the
elements of design. As you study each individual diagram, compare it with the final rendering on this page
to see how each element functions properly in context with the others.

Making Use of Design Elements This seascape makes effective use of each of the elements of design. Over the next three
pages, you’ll see how each of the elements is used.

46
 Line You learned on page 19 that lines do not exist in nature; they only
exist in the two-dimensional world of drawing. Lines in this seascape
are mainly used to separate values of light and dark. In the foreground,
a variety of thick and thin lines adds textural complexity and interest
(A). The lines around the boulders separate the foreground and
C background planes (B). The distant rocks use lines to show crevices on
the sunlit side (C).

Value Never underestimate the importance of value in drawing.

Shapes, lines, and textures hold little interest without variations in value.
The distant rocks are the center of interest, so they stand in greatest
A
contrast to the lightest lights (C). The middle-ground boulders are
basically middle values with only small accents of light and dark (B). The
foreground rocks possess the same value as the more distant boulders,
but they are shaped differently to avoid monotony (A).

47
 D Texture Conveying texture is a challenge because it is an invention of
descriptive strokes. Texture is an antidote for monotony but can itself
become monotonous if overemphasized. The foreground boulders are
granite; small dots show their texture effectively (A). Farther back, the
C rocks become more atmospheric, and their textures become softer,
with fewer dots (B). The distant rocks are a blend of dark softness and
small linear markings because they need to stay atmospheric (C). The
sky is shaded softly with lights lifted out with an eraser (D).

Seascape Textures The textures used

for this seascape are shown above. Also see
“Basic Strokes” on page 16 for additional
textures and strokes.

C D

Shape It is useful to identify shapes as square, round, and

triangular, or modifications and combinations of these three basic
categories. (See “Understanding Value and Shape” on page 17 for
examples of these and other shapes.) None of the shapes in this
seascape are clear-cut. The shapes in the foreground are short
or long rectangular variations of a square (A). The boulders are
round and oval variations of a rectangle (B). The distant rocks in
the center are variants of a square (C), and the distant rocks on
the right come closer to being triangular (D). Variations in size and
value are key in eliminating monotony.

48
 Size In this seascape, size refers to both positive and negative shapes,
especially in relation to the contrast between large and small. The eye
requires variation to remain engaged, and a successful drawing keeps
F the viewer engaged. The smaller foreground area (A), with its diagonal,
hard, straight edge, sets off the larger, softer area with its rounded
boulders (B). The foreground boulders (C), middle-ground boulders (D),
and background boulders (E) become progressively smaller, suggesting
depth. The distant rocks differ slightly in size against the rectangular
negative space (F).

B D

A
C

F
Direction Vertical, diagonal, and horizontal lines all engender emotional
responses. A vertical direction expresses austerity and uprightness. Diag-
onal thrusts imply movement and dynamism. A horizontal line conveys
tranquility and repose. All three directions are present in this seascape.
Diagonal thrusts provide movement into the picture (B). The diagonal
thrust is gently tempered by a counter-diagonal (C) and a horizontal E
foreground movement (A) that echoes the stable horizon (E). As diagonal
thrusts come closer to the horizon, they flatten out and become more
passive, as laws of perspective dictate they should (D). Finally, verticals
reflect the overall uprightness of the picture itself (F). D

B
C

A
Primary Directions The three main direc-
tions of movement are diagonal, horizontal,
and vertical.

49
 PULLING IT ALL TOGETHER
This straightforward portrait sums up many of the lessons you’ve learned. The reminders on the next page
are important to keep in mind because they cover the essence of building up any drawing.

The Sum of Many Parts To create this portrait, first establish the basic values and shapes of the composition.
Then add texture and refine the lines, shapes, and values.

50
 Modifying the Original Image This is a good Creating a Thumbnail Value Study When reinterpreting
photo from which to work, but the background is a a photo, make small thumbnail drawings. You can still use
bit distracting. The solution is to darken and unify the photo for details, but the thumbnail value study is your
the background. reference map for light and dark values.

Recognizing Positive and Negative Shapes Block out Refining the Composition With the basic shapes and
the large shapes before adding details. Most people think values worked out, fill in the gradations of line, shape, and
concentration means focusing on a specific detail. To artists, value that will give the final rendering depth and dimension.
it means focusing on the whole first and the parts later.

51
52
 chapter 2

DYNAMIC
COMPOSITION
WITH WILLIAM F. POWELL

Creating dynamic compositions involves the careful selection of

subject matter and placement of elements within the area on which
we have chosen to draw (called the “picture plane”). When we
decide to make a drawing, we have to ask ourselves some questions:
What should this picture say? What is its purpose? What should be
included to make my message clear to the viewer? Often we look at
a drawing and feel that something about it is not quite right. Plan
your drawings carefully and apply good compositional principles
throughout the process, satisfying the viewer’s sense of interest,
order, and beauty, while providing a rewarding experience for you.

— William F. Powell

53
 CHOOSING A VIEWPOINT
After selecting a subject, consider the viewpoint—the position from which you will observe and
portray the subject. The viewpoint incorporates the angle of view (from which direction—right, left,
or centered—you observe the subject) and the elevation of view (how high or low your position is when
viewing the subject). Your viewpoint must stay the same throughout the entire drawing process.

B B A C

Angle of View When setting up a composition for a drawing, survey your subject from all angles to find the view that will enhance it best.
Consider the surrounding elements that you believe will most dynamically highlight the subject. When the artist moves from the A position
to B or C, as shown in the diagram above, the composition changes; notice the differences in how all the objects appear and relate to one
another. Also observe the change in the composition as a whole. Shifting your angle of view changes virtually everything in the composition.

High

Level Level High Low

Low

Elevation of View High, level, and low elevation views of the same subject result in very different depictions. From a high angle, the viewer
looks down on the object and sees the top and front; in this case, the object’s placement on the picture plane is above the horizontal center.
In a straight-on view, the viewer sees only the front of the object; its position is at eye level, near the middle of the picture plane. From a low
angle of view, the bottom and front of the object is seen; its location on the picture plane is below the center.

54
SELECTING AN ELEVATION
The choice of elevation of view for a subject greatly
affects the composition of a drawing. Experiment with
sketching different subjects from various viewpoints.
For each composition, decide which elevation
portrays your subject in the most harmonious way.
Note the differences in the same scene below shown
from three elevations: high, level, and low. Elevation
can dramatically change any subject: landscape,
seascape, still life, or portrait.

High Elevation

Level Elevation

Low Elevation

EXTREME ELEVATIONS
For a dramatic effect, try viewing everyday objects from an extremely high viewpoint—a “bird’s-eye” view—or a
very low elevation—a “worm’s-eye” view. Even common subjects look very important from these exaggerated
elevations. Try sketching from extreme elevations using small objects, and see how each changes in shape
and presentation.

Bird’s-Eye View Worm’s-Eye View

55
 CHOOSING A FORMAT
The two most common formats are vertical (also called “portrait”) and horizontal (known as “landscape”),
but artists use everything from squares, ovals, and circles to free-form shapes to showcase their drawings.
Although some formats are best suited for certain subjects—and vice versa—nearly any format can be
used for any subject as long as the drawing is composed correctly. Make simple, small sketches (called
“thumbnails”) of your subject using different formats; then select the one that makes the best presentation.

Square A portrait of a person can

be presented in many formats, but
the vertical or square formats are
best because they focus the viewer’s
attention on the details of the face.

Portrait Although this vertical format is called

“portrait,” it also is a wonderful shape for presenting
cloud scenes and skyscape. Notice the low angle of
view with large sky areas and just enough foreground
to support the sky.

Landscape A horizontal format provides the width needed

for the sweeping panorama of a seascape or landscape.
However, it can be just as appropriate for a car, flowers, or
any subject if the elements are thoughtfully placed.

Circle A composition
with vertical lines, angles,
and opposing lines works
well in a circular format,
such as this winter scene.

Oval Whether horizontal or vertical,

oval compositions immediately draw the
viewer’s eye to the subject. Each piece of
fruit carefully fits within the oval, and all
the extraneous sky and land support the
lighthouse.

56
 Panorama The bushes on the left side of
this panoramic drawing are balanced by
the clouds on the right. The bird is slightly
off center and acts as a point of interest,
bridging the elements on either side and
encouraging eye movement.

Extreme Horizontal This long, horizontal picture plane allows for a

balanced view of the expansive desert. The vastness of the scene spreading
across the exaggerated format seems to surround the viewer.

Irregular This sketch of a

dog on an organically shaped
artist’s palette creates an
interesting and unexpected
presentation, which echoes
the shape of the animal’s head
while reflecting the owner’s
love of art and the pet.

Extreme Vertical The waterfall

has plenty of room to cascade down
the tall, narrow picture plane and
flow out toward the viewer at the
bottom. The surrounding plants and
rocks follow the line of the waterfall
to heighten the dynamic force of the
moving water.

57
 BASIC COMPOSITION METHODS
A successful composition directs the viewer’s eye through the drawing, emphasizing the center of interest,
or “focal point.” Although many factors are involved in creating an effective composition, the way in
which you arrange the elements within the drawing is key. Artists use value (lights and darks), depth (the
illusion of distance or a three-dimensional quality), and line (the direction or path the eye follows) to create
a natural movement and flow of the elements. There are several basic techniques you can use to achieve an
interesting composition.

S Shape This composition uses a flattened S shape in the river (see arrows) and is balanced by the
large tree mass and the distant mountain and the smaller foliage at the right.

Repetition In this example, one type of flower

is repeated in different sizes, strategically
overlapped to create the composition. The
repetition produces smooth eye flow and
rhythmic movement throughout the picture.

Contrasting Angles and Lines This sketch

shows the use of the dramatic, rugged angles
of the mountains in contrast with the long, Three-Spot Design This common design places three elements in a picture plane in a triangular
horizontal lines of the ground. arrangement to create balance and harmony within the entire scene.

58
U Shape This shape moves the eye X Shape Here an X shape is the Curved Forms Curved lines are soft
from one side to the other. The U can be composition guide for a dramatic and calming. Diagonal and horizontal
distorted by varying the length of the scene in which the tree almost seems lines in the middle ground support
“legs” to achieve a more dynamic effect. to be falling. and contrast the curved forms, adding
interest.

Cross Shape The use of a cross shape draws the viewer’s attention to the
point where the cross members meet.

O Shape To draw the

viewer’s eye to the center of a
composition, place elements
around the area in an O shape.

Opposition The sketch on the left uses opposing lines to focus on a point. In the center, a fluid up-and-down movement is achieved by using curved lines
to direct the eye. The intersecting lines on the right are formed by the open ground and the tree; the elements on the opposite side balance the scene.

59
 THE GOLDEN MEAN
The composition of most classical art is based on the Golden Mean, also known as the Golden Ratio, Golden
Section, or the Divine Proportion. The Golden Ratio is found all around us in nature: the structure of
seashells, leaf and petal groupings, pinecones, pineapples, and sunflowers, for example. This ratio of 1 to
1.618 is also used by designers and artists in all media because it is commonly accepted as the most aesthetic
division. Below you will find how to find the Golden Mean of a line.

Method 1: Calculator

4 cm 2.47 cm 1.53 cm
A B A C B

Step 1 Begin by drawing a line of any length and Step 2 Divide the length (4 cm) by 1.618. The number
label the two endpoints as A and B. This particular line you get (in this case, 2.47 cm) is the distance between
is 4 cm long. A and C above. The line is now divided into two
segments of the perfect proportions. You can continue
to divide each smaller section of the line by 1.618 to
create more divisions in the Golden Mean ratio.

Method 2: Geometry

A B

A B
Step 1 Draw a line. Label the endpoints A and B, and
mark the center point. Draw a perpendicular line at Step 2 Draw a circle with the center at point C and BC as the
point B that is equal in length to half of line AB. Label radius. Then draw a line from A to C. Label the point where line AC
the end point of this new line C. passes through the circle as point D.

D
Step 3 Using point A as the center and AD as
the radius, draw a partial circle which intersects
line AB; that intersection is at point E (EA = AD).
The line is now divided into two segments of the
perfect proportions.

A E B

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CREATING A GOLDEN MEAN RECTANGLE
The square and the rectangle are two of the most important picture planes for two-dimensional art compositions.
Infinite numbers of width and length combinations for these areas exist, but none are more pleasing to the eye and
aesthetically proportioned than the Golden Mean rectangle.

D F C D F C D F C H

A E B A E B G A E B G

Step 1 Draw a perfect square Step 2 Use the compass or ruler to drop the diagonal Step 3 Draw lines to complete the rectangle,
(ABCD); then draw a vertical center line (EC) down until it becomes horizontal, on the from B to G, G to H, and C to H.
line (EF) through the square. Next same line with A, E, and B. Line EG = EC and BG is the
draw a line from point E (the halfway extension length which will create the Golden Mean
mark on the line AB) on a diagonal rectangle. The sides of the rectangle (AD and AG) are
up to the right corner of the square in proportion at the 1:1.618 ratio.
(C). Set your drawing compass to the
length of EC as its radius or measure
the length with your ruler.

CREATING A GOLDEN MEAN SPIRAL

The Golden Mean rectangle above can be further divided, and a natural spiral can be created within it, using curves
drawn on the radius of the square within the rectangle. If you rotate your paper ¼ turn counterclockwise each time you
draw a curve, you easily can see where to work next.

Step 1 Erase the extra lines on the Golden Mean rectangle Step 2 Divide the smaller portion of the rectangle (on
you just created but not the side of the square (BC). Next, the right) into another Golden Mean proportion, drawing a
draw a 1/4-circle curve in the square with the length of the square within it using the length of the shorter side of the
side as its radius and positioned as shown above. rectangle as the length of the sides of the square. Continue
the curve as shown.

Step 3 Divide the smaller portion of that rectangle into Step 4 Continue dividing each smaller rectangular
another Golden Mean proportion. Draw a second square proportion and drawing the gentle curve in the square as
using the shorter side of the rectangle as the length for before. This progression can be repeated until you have
the sides of the square. Continue the curve with the new reached the immediate center point from which the curve
radius, as shown. originates, if desired.

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 DIVIDING THE PICTURE PLANE
In addition to the Golden Mean, many other methods can be used to divide the picture plane into a pleasing and
balanced composition. The rule of thirds, for instance, is accomplished by drawing lines that divide the picture
plane into thirds, both vertically and horizontally, to form a grid that is used as a guide for placing elements.
Other methods of dividing the plane use diagonals and right angles. All of the examples are shown using a Golden
Mean rectangle as the picture plane, but they also can be applied to other formats.

Basic Rule of Thirds

This diagram shows the basic
rule-of-thirds division and
object placement.

Thirds with One Diagonal

Here the rule of thirds is used
with a diagonal. Grid lines divide
the plane into three equal parts,
vertically and horizontally.

Thirds with Two Diagonals

Draw a diagonal line from one
corner to the other. Then add
diagonal lines at 90° to the
corners. Then place horizontal
and vertical grid lines at the
intersections of the lines. This
forms a grid of thirds with a larger
central area and also creates
pathways for placing elements.

62
Horizontal Division This scene
is divided into three major parts:
background, middle ground, and
foreground. Elements in each of those
areas—the birds, waves, foam, and
rocks—contrast the primarily horizontal
orientation of the scene.

Golden Mean Spiral The spiral created in a Golden Mean

rectangle (see page 61) is a wonderful guide for graceful floral
designs and even landscapes. You can rotate the spiral on the
picture plane, reduce its size, use only a portion it, or combine
a spiral with one of the other division methods.

Diagonal with Opposition

Draw a diagonal line across the
picture plane; then draw a line
at 90° to the diagonal extending
to a corner. Place the focal point
where the two lines meet.

Off-Center Division To place

elements just slightly off-center, draw
a vertical line in the area where you
think the primary subject should be
placed (avoiding the center of the
paper). Then draw a diagonal line from
corner to corner. Add a horizontal
line where the first two lines cross.
This line is a perfect guide for placing
secondary elements.

63
 SYMMETRY AND ASYMMETRY
Symmetry is the balanced similarity of form on either side of a dividing line. Asymmetry is the lack of
symmetry. Generally, asymmetry in compositions is more interesting than symmetry, which can be
monotonous and fail to capture the viewer’s interest. A combination of symmetry and asymmetry makes a
composition compelling to the viewer.

Radial Symmetry A sea urchin has five sets of plates arranged Mirror Symmetry A landscape scene can be “mirrored” or repeated
symmetrically around an axis at the base. A salt crystal is an example of upside down in still water. If there were movement on the water’s surface,
three-dimensional symmetry with all the surfaces equidistant from the the reflection would be distorted and the composition less symmetrical.
center.

Honeycomb:
hexagonal

Icosahedron (20 faces)

Closed

Open

Geometrical Symmetry A honeycomb has a naturally precise Non-Geometrical Symmetry Natural elements, although not
hexagonal pattern of repeating symmetry. An icosahedron has 20 absolutely symmetrical, suggest symmetry through repetition of
symmetrical triangular faces. shape and line and balance of weight.

64
Bilateral Symmetry These trees are exactly alike on both sides of the Bilateral Asymmetry Here are the same two trees drawn with slightly
dividing line. Such shapes rarely occur in nature and present an unnatural different sides. This asymmetry makes the trees appear more natural and
look within a landscape composition. appealing.

Symmetrical Placement The basically symmetrical form and Asymmetrical Placement The rounded asymmetry of the large,
placement of the pine trees is dominant, balanced by the asymmetrical broadleaf tree in the foreground on the diagonal horizon line is dominant,
shapes of the broadleaf trees, mountain, and clouds. This composition balanced by the placement of the pines and the horizontal floating clouds.
shows the use of “translational symmetry,” an element repeated to direct This composition is based on the “Contrasting Angles and Lines” method
the eye into the distance. (see 58).

65
 USING VALUES
As you learned in Chapter 1, values are the light to dark shadings that give a composition a lifelike
depiction of depth. The viewer’s eye is naturally drawn to areas of great contrast between values—where
the darkest darks meet the lightest lights. Artists intentionally use values to direct the viewer’s eye and
to set the mood of a composition. The three drawings here illustrate different ways you can use value as a
compositional element.

Directional Value Rendering The values in

this sunset sky range from the bright highlight
of the setting sun to the dark sky behind the
clouds. The background values of the sky
are made with radiating strokes that seem to
converge at one point in the middle ground,
and all foreground shading and lines lead to the
center of the composition for emphasis.

Minimal Use of Values This scene uses dark

values to make the leafless tree the focal point of the
composition; other elements are in a narrow range of
light to middle values, so they don’t draw attention
away from the tree.

66
 Maximum Value Range
The middle ground of this composition
shows the greatest range of values.
The lightest values emphasize the most
important elements; the light areas
are contrasted with adjacent dark
shading to draw the viewer’s attention
to these elements. Note how the
diagonal shading of the sky balances
the opposite action of the waves and
movement of the water.

Value Sketch To render a drawing

with a wide range of values, begin
by developing a small value-pattern
sketch, which shows the main subjects
and preliminary shading. As you see
the areas develop in the sketch, you
can move, lighten, or darken values to
enhance the statement of the work.
Then use this sketch as a guide for the
final drawing.

67
 CREATING A FOCAL POINT
A key element in creating a successful composition is including more than one area of interest, without
generating confusion about the subject of the drawing. Compositions are often based on one large object,
which is balanced by the grouping, placement, and values of smaller objects. Directing the viewer’s eye with
secondary focal points helps move the viewer through a scene, so that it can be enjoyed in its entirety.

PRIMARY, SECONDARY, AND DISTANT FOCAL POINTS

The primary focal point should immediately capture the viewer’s attention through size, line quality, value, placement
on the picture plane, and the proximity of other points of interest which call attention to it. The secondary focal
point is the area that the eye naturally moves to after seeing the primary focal point; usually this element is a smaller
object or objects with less detail. Another secondary focal point may be at some distance from the viewer’s eye,
appearing much smaller and showing only minor detailing, so that it occupies a much less important space in the
drawing. This distant focal point serves to give the viewer’s eye another stop on the journey around the composition
before returning to the primary focal point.

From Point to Point The size and detail on the pelican designates it as the primary focal point, and it immediately
catches the viewer’s eye. The pelican’s gaze and the point of its bill shifts the attention to the small birds in the foreground
(the secondary focal point). This leads the viewer’s eye to another, more distant focal point—the lighthouse. Here the two
subtle rays of light against the shaded background suggest a visual path, bringing the viewer’s eye back to the pelican, and
the visual journey begins again.

68
Lack of Focal Point When all lines in a composition are drawn with the Focal Depth and Flow By simply changing the weight of the lines of
same depth of intensity (value) and width, the entire design appears flat the foreground rectangle, and by varying the quality of lines in the road and
and uninteresting, with no focal point. mountain, the scene has more focal interest.

Focal Curve A graceful curve leads the eye Focal Depth The focal curve is one way of Multiple Focal Curves To further accentuate
into the composition. creating depth in a composition; here it serves the feeling of distance, use more than one curve,
as a road in a natural setting. along with multiple elevation lines.

Sketching Focal Patterns While creating a preliminary sketch, look Develop the Pattern Now lightly add details to build the feeling of
for the focal pattern—how the eye moves around the picture and what is rhythmic movement and depth. Vary line weights and refine the shapes of
important—and adjust as needed. the elements. Use value to further accentuate the focal pattern.

69
 FORMING & PLACING ELEMENTS
The basic shapes used in creating visual art—the square, rectangle, circle, and triangle—are two-
dimensional (2-D). The diagrams below show how to create the illusion of depth (three dimensions or 3-D)
by extending each 2-D shape. When drawing, you will combine and modify these 3-D forms to create the
elements in your composition. For an effective composition, overlap these 3-D forms on the picture plane
to unify the elements and provide depth. At the same time, make sure the arrangement displays a balance in
which the elements’ size, placement, and value occupy the space to create a harmonious composition.

Square 2-D Rectangle 2-D Circle 2-D Rectangle 2-D Triangle 2-D

Cube 3-D Box 3-D Sphere 3-D Cylinder 3-D Cone 3-D

ARRANGING ELEMENTS IN A STILL LIFE

Turning Shape into Form You can see these Monotonous Composition Elements in a
forms, all derived from basic shapes, in many still life continuous line creates a monotonous and boring
compositions. Cut a sphere in half for a bowl. A circle composition. There is a slight sense of depth
can become an orange; a cylinder, a can. Stretch a achieved by overlapping, but all the attention is
circle horizontally to create a lemonlike ellipse. focused on the last item, the vertical can.

No Depth or Balance This C-shaped Pleasing Composition Here some elements

composition offers a slightly better placement, overlap—the orange sits in the bowl for further
but when elements are just touching—not interest. The elements balance one another and
overlapping—nothing creates depth or balance. hold the viewer’s interest.

70
 One Dominant Element This arrangement Unbalanced Placement This composition
is fairly comfortable, even though the cylinder leaves the viewer with the feeling that
is quite dominant. If you wish to emphasize one everything is falling off the page. In addition,
major element, be sure that it is worthy of the the side of the cylinder is at the center of the
attention and that the other elements support bowl, visually cutting the composition in half.
it. Overlapping the objects creates depth and
supports the cylinder.

Placing Still Life Elements This finished sketch uses the “Pleasing Composition” thumbnail as a guide. With shadows, textures, and a
surface (the wooden table), the finished composition shows depth and dimension.

71
 ARRANGING A FLORAL COMPOSITION
Few drawing subjects require more intensive composition than a floral arrangement, which is a work of
art in its own right. Carefully consider balance, line, value, and form, and limit the number of flowers so
each can be seen and appreciated. Avoid arranging the flowers so that they visually “pair up,” as this stops
the viewer’s eye. For that reason, try grouping the flowers in odd numbers or arrange them so that they
form a triangle. Also be sure to limit the amount of greenery to allow the flowers to be the primary focal
point, choose a complementary container to hold the flowers, and carefully consider the drapery beneath
and behind the floral arrangement.

Step 1 Block in the magnolias and large leaves to

form a triangle, which mirrors the cone-shaped top
of the vase.

Step 3 Begin shading and concentrate on value changes

in each segment as shapes overlap to create depth.

Step 2 Refine the lines, letting the curve of the

leaves lead the eye down to the vase and then up
the stems to the flowers.

72
Step 4 Continue shading the individual parts of the entire composition, using delicate value changes and detailing in the
flowers, leaves, and vase. Add the background and tablecloth, using cast shadows and the values in the folds to enhance the
composition.

73
 PLACING PEOPLE IN A COMPOSITION
The positioning and size of a person on the picture plane is of utmost importance to the composition. Practice
drawing thumbnail sketches of people to study the importance of size and positioning.

CREATING BALANCE
Good
Because the eyes catch the viewer’s attention first, place placement
them above the center line. Avoid drawing too near the
sides, top, or bottom of the picture plane, as this gives an
uneasy feeling of imbalance. The open or “negative” space
around the portrait subject generally should be larger
than the area occupied by the subject, providing a sort of
personal space surrounding them.

Placement of a Portrait The smaller

thumbnails here show the girl’s head placed too
far to the side and too low in the picture plane,
suggesting that she might “slide off” the page.
The larger sketch shows the face at a comfortable
and balanced horizontal and vertical position.

Too far right Too low

C A

Full Figure Placement In thumbnail A, the subject is too

perfectly centered in the picture plane. In thumbnail B, the
figure is placed too far to the left. Thumbnail C is an example
B of effective placement of a human figure in a composition.

74
DRAWING MULTIPLE SUBJECTS
If you are drawing several, similarly sized subjects, use the rules of perspective to determine relative size. See the
diagrams below for drawing proportional faces and full figures.

Proportional Faces Draw a

Vanishing point Horizon line or eye level vanishing point on a horizon line
and a pair of perspective lines.
Receding guidelines extended
from the perspective lines will
Perspective lines indicate the top of the head and
(solid) chin of faces throughout the
composition. The heads become
smaller as they get farther from
the viewer.

Horizontal placement
guidelines (dotted)

Horizon line Perspective lines

Vanishing point
Sizing Multiple Figures Start by drawing a
horizon line and placing a vanishing point on it. Then
draw the main character (on the right here) to which
all others will be proportional. Add light perspective
lines from the top and bottom of the figure to the
vanishing point to determine the height of other
figures. To draw figures on the other side of the
vanishing point, add horizontal placement guidelines
from the perspective lines, and then add perspective
lines on that side.

Horizontal placement guidelines

Line of Sight Figures in a composition can relate to each

other or to objects within the scene through line of sight (shown
here as dotted lines). Show line of sight with the eyes, head
position, or even a pointing hand. The viewer’s eye follows these
indications and is guided around the picture plane.

75
 COMPOSING LANDSCAPES
When composing a landscape, consider the elements you want to include and adjust their size, placement,
values, and lines to create a pleasing and balanced composition. The following examples show the relationship
of basic elements to one another and to the picture plane in a landscape. The lines could represent trees,
buildings, flowers, or other elements in a composition.

Too Uniform When objects are Some Interest Angling the object Too Much Opposition These Unsteadiness Although this
all uniform, centered on the picture in the center creates interest, but elements have balanced placement, arrangement is secure and
plane, and absolutely balanced, the this design is still too uniform; it but the outward angle of the balanced, it still imparts a feeling
composition can be monotonous. doesn’t lead the eye through the side elements gives an unsettling of unsteadiness. Less severe angles
composition. feeling. might help.

Unbalanced The tree is not Overpowering The tree

balanced by any other object overwhelms the picture plane,
on the picture plane, which dividing it in half. There’s no­
makes it seem uninteresting where for the viewer’s eye
and isolated. to move.

Uncomfortable The tree Comfortable The tree at

is the sole focus. It is too far right is partially out of the
forward and too far to the left picture plane. Its leaves lead the
for a balanced placement. viewer’s eye to the small tree.

76
Balanced Mass The foreground trees are Repetition for Unity The shape of the stand of trees on the left repeats on
balanced by the rock, land, and bush to the right, the right in the more distant grouping. The curve of the clouds echoes the tree
with the lake and background trees for support. shapes and hills, which also helps to unify the composition.

Variation of Focal Element Draw the scene above, substituting each of the boats shown below. Changing the focal element will alter the
composition dramatically, leading the eye to different areas of the drawing.

77
 USING NEGATIVE SPACE
Negative space is the area of a composition that is around or
between the focal elements. Often this negative space is as
important to the composition as the focal elements, providing
balance and unity. Observing and drawing the details within the
negative space—even before completing the other elements—
is an important technique in creating a realistic composition.
The negative space supports the focal elements by offering both
repetition and contrast in line, values, textures, and shapes to
heighten interest in the composition.

Blocking in Negative Spaces In this sketch, everything between the foreground trees is
negative space. Use light guidelines to define the large tree trunks. For interest, contrast those
strong verticals with the horizontals that form the sky, foliage, and open middle ground to
create a pleasing composition. Begin to add the shading within those negative spaces.

Adding Details for a Balanced Composition

Now add details within the negative shapes to give
the composition depth, contrast, and balance. By
adding the darks to the negative space around
the white­barked birch trees, you define the trees’
edges. Balance the deeply shaded, heavily textured
tree in the foreground with the lighter, smoother
area of the sky. Make the foreground grass strokes
and details soft to support to the scene without
catching the eye and disrupting the carefully
balanced composition.

78
Delineating Contrasts Lightly draw guidelines for some blades Developing Complexity and Unity Develop intricacy in the
of overlapping grass, and then shade the middle values in the composition by working darker values into the negative spaces,
negative spaces to define those grasses. This composition repeats as well as by shading the grasses. The composition becomes
the actively opposing elements of the grasses, contrasting them more interesting through the negative space, which unifies the
with the rectangular negative spaces. grass into one mass.

Creating Depth and Repetition

To create the shape of an old wooden
fence, draw objects in the negative
spaces around it (upper left). Add dark
and light value patterns to suggest the
distant sky and foliage. Then shade
the white boards to create texture and
shadows (right). Within the negative
space, develop patterns of secondary
negative shapes by adding more darks
to convey depth (such as the space
between blades of grass). The single
horizontal board and sky help contrast
the mainly vertical elements while
offering clear indications of depth.

79
 COMPOSING FROM PHOTOGRAPHS
Photos are great references for creating compositions. Use one
photo or take elements from a number of photos and combine
them in one composition. One photo can offer several different
compositions; just crop the photo in a way that emphasizes the
main elements and makes a statement about them. Use your
“artistic license” to move or eliminate elements, or to add detail.
When composing a scene from a photo, look for the qualities
that make a dynamic composition: depth through shadows and
overlapping, asymmetrical placement, rhythm and flow, value
contrasts, interesting lines and textures, and balance.

CROP 1

Shifting Focal Points In crop 1 at right, much of the vertical cliff face is
cut away; the lone tree is the central focal point, and the clouds and cliff
rocks are balanced secondary elements. In crop 2, the cliff face becomes a
much stronger element, drawing the eye first, then leading up to the tree. CROP 2

CROP 2

CROP 1

CROP 3

Three Crops from One Photo The trees, mountains, and sky shown here provide the source for three different compositions.
Each crop accents an important part of the scene. Lay strips of paper around each crop to isolate it and study the
differences.

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 CROP 1 2
CROP

CROP
CROP 12

Vertical and Horizontal Crops This beautiful beach scene in Hawaii is an example of how two very different compositions can
come from one photo. The vertical crop (1) accents the lone person with the open sky and foreground beach. The horizontal crop (2)
accents the long expanse of land and sea and makes the individual on the beach appear much smaller and isolated.

Maximize the Crop This photo, taken on Kauai, shows the mysterious afternoon clouds that float into the canyons. The single
crop removes featureless cloud areas and focuses the viewer’s eye on the foreground tree against the dramatic cloud formation.

81
82
 chapter 3

REALISTIC
TEXTURES
WITH DIANE CARDACI

Over the years, my continuous fascination with texture has inspired

me to use the pencil as a powerful tool of artistic expression. I have
learned from teachers and fellow artists, as well as from studying
the drawings of the Old Masters. Some of my favorite techniques,
however, have come from just taking the time to experiment with
hand position, pressure, the grade of the graphite, and different types
of papers. This chapter is designed to share some tried-and-true
techniques, as well as to inspire you to play with pencil textures. In
addition to standard step-by-step lessons, I’ve also included creative
exercises that focus on your artistic nature. Explore the world of
textures and see what you can create on your own. See what your
pencil is truly capable of and let it become a part of your creative
palette. Enjoy!
— Diane Cardaci

83
 “PAINTING” WITH PENCIL
When you use painterly strokes, your drawing will take on a new dimension. Think of your pencil as a
brush and allow yourself to put more of your arm into the stroke. To create this effect, hold the pencil
between your thumb and forefinger and use the side of the pencil. (See page 6.) If you rotate the pencil in
your hand every few strokes, you will not have to sharpen it as frequently. The larger the lead, the wider
the stroke will be. The softer the lead, the more painterly an effect you will have. These examples were all
made on smooth paper with a 6B pencil, but you can experiment with rough papers for more broken effects.

Starting Simply First experiment with

vertical, horizontal, and curved strokes.
Keep the strokes close together and begin
with heavy pressure. Then lighten the
pressure with each stroke.

Varying the Pressure Here randomly

cover the area with tone, varying the
pressure at different points. Continue to
keep your strokes loose.

Using Smaller Strokes Make small

circles for the first example. This may
remind you of leathery animal skin. For
the second example, use short, alter­
nating strokes of heavy and light pressure,
similar to a stone or brick pattern.

Loosening Up For grass (at right), use

vertical strokes. Vary the pressure for
each stroke, and you’ll start to see long
grass. At the far right, use somewhat
looser movements that could be used for
water. First create short spiral movements
with your arm (above). Then use a wavy
movement, varying the pressure (below).

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WORKING WITH DIFFERENT TECHNIQUES
The techniques shown below are important for creating more painterly effects in your drawing.
Remember that B pencils have soft lead and H pencils have hard lead; you will need to use both for
these exercises.

Creating Washes Create a watercolor effect by Lifting Out Blend a soft pencil on smooth paper, and
blending water­soluble pencil shading with a wet brush. then lift out the desired area of graphite with an eraser.
Make sure your brush isn’t too wet, and use thicker You can create highlights and other interesting effects
paper, such as vellum board. with this technique.

Rubbing Place paper over an object and rub the side Producing Indented Lines Draw a pattern or design
of your pencil lead over the paper. The strokes of your on the paper with a sharp, non­marking object, like a
pencil will pick up the pattern and replicate it on the knitting needle or skewer, before drawing with a pencil.
paper. Try using a soft pencil on smooth paper, and When you shade over the area with the side of your
choose an object with a strong textural pattern. A wire pencil, the graphite will not reach the indented areas,
grid was used for this example. leaving white lines.

SMUDGING
Smudging is an important
technique for creating shading
and gradients. Use a tortillon,
blending stump, or chamois
cloth to blend your strokes.
Do not use your finger
because your hand, even if
clean, has natural oils that
can damage your art. Smudging on Rough Surfaces Smudging on Smooth Surfaces
Use a 6B pencil on vellum­finish Bristol Use a 4B pencil on plate­finish Bristol
board. Make your strokes with the side board. Stroke with the side of the
of the pencil and blend. In this example, pencil, and then blend your strokes with
the effect is granular. a blending stump.

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 COMBINING TECHNIQUES
Various techniques can be combined to create unique effects. By experimenting with them, you can see how many
different effects you can create by just changing your pencil, the amount of pressure you place on the pencil, or your hand
position. For example, making an indented line and applying tone over it is a great way to show the fine veins of a leaf. By
letting loose, you may come across an accidental technique that is perfect for what you are trying to express.

Crosshatching and Stippling Use the side of a 2B Indentations and Water Before making any
pencil, and quickly stroke back and forth across the marks with the pencil, use a knitting needle to make
paper in a zigzag manner. Next take a sharp HB and impressions in the paper. Then use the side of a
create cross­hatched lines on top. Switch to a large water­soluble pencil to lay down some tone. Next
lead holder with a 6B lead and use heavy pressure to take a wet watercolor brush and smear the graphite.
put some stipple on top. This effect looks like a chain This technique is very useful when you want to create
link fence covered by flowers. a scratchy, rough look, such as old leather or
weathered metal.

Smearing and Lifting Smudging is a great Using Textured Paper and Soft Pencil Here
technique for rendering softer textures, such as fur. rough paper combined with a soft pencil creates the
Use a soft 6B pencil to make some horizontal strokes appearance of rocky dirt. Use a vellum paper and
and then lightly smear them with a blending stump. draw with the side of a 6B. Put down heavy tone and
On top of this, place some very heavy, curved, short dab a few spots with a kneaded eraser, but don’t
strokes. Then use a kneaded eraser to lift out random worry much about texture because the paper is
spots of graphite. This texture is reminiscent of a creating it for you. Then use a sharp 2B to draw a few
nubby sweater. individual rocks. This evokes the feeling of a gravelly
road without adding much detail.

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FOLLOWING FORM
In addition to creating form, light also creates 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.
For example, if you draw a very thick texture all over an object and forget to include highlights to show
the object’s shape, the object will appear to be flat and without depth.

Seeing Form A coconut (shown above as being lit Form vs. Texture A coconut is a good example of
from a three­quarter angle) has a form similar to that texture versus form. You might be tempted to use
of an egg. Imagine the coconut with a smooth, egglike dark, heavy shading to portray the coconut’s surface.
surface. Once you understand the way the light is However, in this case, the coconut’s form is more
hitting the object, you can draw its form. important than its texture.

Studying Shapes To understand how the light source Adding Detail Using short strokes, create the leaves.
creates the form of this tree, break down the tree into Don’t get caught up in drawing individual leaves; instead
a ball and a cylinder. Use rough paper to add some suggest the leaves with a pattern of texture. Leave the
texture, and put down a layer of dark tone with the side texture lighter on top where the light source hits the top
of the pencil. of the tree.

87
 BOTANICAL TEXTURES
Botanical drawings are portraits of plants that are drawn with realism. They show the beauty of flowers and
other plants with their intricate and delicate detail. When drawing botanical compositions, remember that
plants come in many shapes, sizes, and textures. Besides their general shape, carefully observe their edges
(irregular or smooth), shininess (glossy or matte), and thickness.

LEAVES
PARTS OF A FLOWER
Croton Leaf The challenge here
stigma
is to capture the hard surface
pistil and lovely variations in color
petal anther with graphite. Outline the major
patterns, and then draw in the
stamen deepest values with a 2B. Blend the
tone, maintaining the values that
indicate the color changes. Lift out
the details along the edge.

sepal
style

ovary filament
stem

Flower Detail A flower is made up of more than just petals and

leaves. There are many small details that you should be familiar Holly Leaf With the side of a
with to be able to bring realism to your art. 2B, lay in some tone. 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

PETALS 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.

Cactus Paddle The dark shading

along the edge of this leaf defines
Step 1 Draw the outline of the Step 2 Deepen the shading of its thickness. Add the shadows
petal. Then add the general shape the colored areas, using long cast by the cactus fruit. Shade
of the coloration, some of the strokes that follow the direction the diamond­shaped depressions
darker spots, and the raised center of the petal and bring out its on the leaf with a 2B, and lift out
area. The strokes emphasize the smoothness. Darken the markings the raised areas. Place dots to
petal’s softness. Next darken the and the center line, and then emphasize the points where the
irregular spots and deepen the area lightly shade the area where the sharp spines connect to the cactus.
along the center of the petal to petal folds back on itself.
bring out the raised parts.

88
BELLFLOWER

Step 1 Sketch the outline of the

bellflowers on smooth, plate­finish
Bristol to capture the shapes of the
individual flowers and leaves. Step 2 Using the side of an HB pencil
and very light pressure, start applying
the shadows of the flowers (the single
light source is coming from the upper
left). Pay close attention to the edges
of the petals where they fold outward;
these curled petals are more delicate.
Apply slightly heavier pressure for
the leaves to create the hard edges,
abrupt curls, and sharp twists. For the
stigma, use small, circular strokes to
gain the pollen­covered texture.

89
 Step 3 Lay in the tones for the
finer details with a light touch and
lighten any outlines that appear too
dark. The lower petals are light and Step 4 Now establish the value
smooth, and the leaves have small, relationships. The values for the
irregular folds that create many leaves and stems are between
crisp shadows. middle and dark tones, and the
flowers are lighter. For the leaves,
use heavy pressure with the blunt
point of an HB, adding deeper
shadows where there are folds in
the leaves.

90
Step 5 For a flower of such delicacy,
approach even the smallest details
with great care. Using a 2B and an HB
pencil, add tone, texture, and shadows Step 6 The last stage is the polishing
throughout the drawing. Then lift out stage, a time to bring out the soft curves
the lightest parts of the flower and of the petals in contrast to the angular
highlights on some leaf veins with a leaves. After some refining, check the
kneaded eraser. drawing in a mirror—which offers a fresh
viewpoint—to see if there are any more
adjustments to be made.

91
 TRADITIONAL STILL LIFE TEXTURES
Still life compositions allow you to have complete control: You design the composition; choose the range
of textures, values, and colors; and create the ideal lighting situation. The best compositions have many
contrasting textures, such as a smooth piece of fruit in a coarsely woven basket. Play around with different
types of fruits and cheeses to see how the light catches their textures. It’s always an added bonus to be able
to share your food subject after your drawing is done!

FRUIT

Apple A polished red apple Orange Apply carbon dust, Strawberry Lay in dark tone Cantaloupe With the side of a
reflects a strong highlight, using strokes that follow the with carbon dust and use a 4B to 4B, lay down some tone and then
which contrasts with the skin’s fruit’s form (top). Lift out the start establishing a dotted pattern randomly blend the graphite. Lift
dark tone. Apply carbon dust main highlight and use an eraser for the strawberry (top). Continue out a few lines to see how the
(shavings collected from pencil to create curved strokes around to enhance the dimpled, seeded lights contrast with the dark tone
sharpening) with circular, the highlight, showing the bumpy texture by adding thin, curved (top). Because the skin is very
irregular strokes (top). Then lift texture of the orange’s skin highlight lines around the darker rough, there are no highlights—
out the highlight with an eraser (bottom). dots (bottom). just the upper veining.
(bottom).

BASKETS WOOD

Weaves The texture of the Knotty Pine Zigzagged lines Ash For this fine­grained wood, Zebrawood With a 4B, create
basket’s weave creates a three­ create the rough pattern of the make long, inverted U shapes the dark lines of this straight­
dimensional pattern with many grain. Use concentric ovals to with a slightly uneven motion. grained hardwood. Group some
layers. Render a basket to learn draw the knots. Then use an HB Then draw very long grain lines, closer together to indicate the
about the interplay of light and to add light, straight vertical varying their density and allowing color variation. Use a 2H to add
shadow and how it can show the strokes and individual shorter the lines to curve naturally. Go very light tone with long, vertical
heavy texture of the basket. strokes to show the raised grain. over these lines with light, strokes, adding a smooth quality.
vertical lines.

92
WINE & CHEESE

Step 1 This composition contrasts the hard,

smooth glass with the rough straw of the bottle
cover, while the grapes, cheese, and wooden
tray offer intermediate textures. Sketch the
scene on smooth plate­finish Bristol with a very
sharp HB pencil, making sure the ovals of the
glass and bottle are accurate.

Step 2 For smooth subjects, start by

applying carbon dust with a stump. Use
oval­shaped strokes to mimic the hard
surface of the glass and then use the
remaining dust on the stump to indicate
the dark reflections. Do the same for
the wine. For the straw wrapping on the
bottle, use long, vertical strokes, which
are broken and uneven to show the
natural fiber. Apply carbon dust to the
grapes with quick strokes, and use long
strokes on the cheese.

93
 Step 3 Build up the glassy surfaces with a 2B
pencil and a blending stump. Lightly shade the
labels of the bottle. Blend the graphite on the
straw and then establish soft shadows. Add
shadows to the grapes and blend to create the
slick skin. Apply more tone to the cheese with the
stump and darken depressions in the cheese with
the pencil. Add tone to the cast shadows on the
table and then blend the strokes.

Step 4 Use a 2H pencil to give the glass

sharp, crisp edges. Darken the wine in the
bottle with the 2B. Then blend reflections in
the glass and on the bottle with the stump.
Deepen the grapes; redefine their distinct
edges with a sharp HB and use the side of the
pencil to add the thin stems. Shade the cheese
with the HB and darken the wax rind with a 4B.
Refine the delicate wood grain with an HB and
draw in some details on the bottle labels.

94
 Step 5 Further deepen the wine and grapes
with a dull 4B pencil. With an HB, shade the
glass and form the reflections, and blend the
tone on the bottle. Lightly lift out reflections
and highlights on the bottle, wine, and grapes.
Blend and lift out to create a smoother
cheese texture. Then add the cast shadow at
the bottom of the cheese, more detail in the
wooden tray, and texture to the tablecloth.

Step 6 Now refine the drawing. Make

the glass a little darker with a 2H and lift
out some light areas for more contrast
and to further emphasize the hard
surface. Apply some crosshatching to
the base of the glass stem to indicate
the transparency. Add some shadows
and more details to the labels. With an
HB, add more shading to the straw, the
shadows cast by the grapes, and more
wood grain and crosshatching to the
tablecloth. Lift out highlights on the
cheese. Then redefine or touch up any
other areas to complete the still life.

95
 FLORAL STILL LIFE TEXTURES
Flowers come in so many interesting forms, colors, and textures; it’s no wonder they are an endless
inspiration for artists! When setting up a floral still life, keep your containers and arrangements simple,
with a textural quality that won’t overwhelm the flowers.

GLASS

Opaque Gloss Vase Apply carbon dust, and Opaque Matte Vase This vase hardly has Clear Vase This vase is transparent, so the
then lift out the bright highlights. For the subtle any highlights. Use an HB and make crisp back of the vase can be seen from the front.
highlights, drag an eraser lightly across the tone edges to show the hard, smooth surface. There also are sharp highlights and reflections.
of the vase. Use a 2H for shading.

CERAMIC

Step 1 Glazed ceramic clay is hard and Step 2 With a sharp HB, draw light, vertical Step 3 Build up the values of the teapot with
reflective. Create a “wash” with carbon dust and strokes that follow the contour of the teapot. vertical and horizontal strokes, and then use the
a stump; then establish the shadow patterns. Then use strokes that reach across the teapot stump to blend. For crisp contrasts, use an eraser
Follow the form of the teapot with vertical horizontally, particularly around the base. to lift out highlights and spots of reflected light.
strokes.

FABRICS
Fringe Use a sharp Crochet Lace and crocheted fabrics
HB to draw a detailed have holes that add a lovely textural
outline of the fringe element. The holes create heavy
and knots. The strands shadow, but the fabric is still light
should be slightly and delicate.
frayed, reflecting the
softness of the thread.

96
PITCHER OF LILIES

Step 1 In this composition, delicate tiger lilies are

contrasted with a heavy brass pitcher. First draw an
accurate outline with a sharp HB pencil on plate­finish
Bristol paper.

Step 2 Apply the first layer of shading with carbon dust

on a stump. Follow the direction of the leaves and petals,
adding a little more tone where the leaves are darker and
lifting out some light tone in the flower petals. Keep the
tones light and retain the white borders of the flowers.
Use the tip of the stump to give a soft texture to the
anther, and then use a large stump and circular strokes to
shade the brass pitcher.

97
 Step 3 Use a 2B pencil and long strokes to
add more tone to the stems and the leaves.
Start adding tone to the petals, using a little
more pressure in the centers and at the base
of the petals. Use a 6B on the anthers and
the stigma, and a 2B on the style and at the
base of the flower where the pistil and stamen
emerge. For the two flower buds, add just a
little shading where the soft petals join the
stem. Deepen the pitcher with circular strokes,
placing darker tone at the base and along the
handle. Then blend the strokes.

Step 4 Use a 2B and long strokes to deepen the

shadowed sides of the stem. Shade the leaves, using
a 4B in the darkest areas. While working on the
leaves, alternate between a pencil and a blending
stump. Allow some strokes to be more obvious to
capture the appearance of the veining in the leaves.
Darken the undersides of some of the petals, keeping
the strokes soft looking. Use the side of a 6B pencil to
shade the pitcher irregularly. Then lift out to maintain
the highlight. Add some tone to the table where the
cast shadow falls and then wipe it with a chamois
cloth to smooth it.

98
 Step 5 Now refine the shading to show more
texture. Use a pencil, a stump, and an eraser to
create even tones and delicate transitions between
strokes. With the pencil point, add small cast and
form shadows, such as where the buds and the leaves
attach to the stem. Delicately shade the buds using
an HB and long, light strokes. Smooth the tone on the
velvety, soft petals and then touch up the edges. Use
a 4B with tiny, circular strokes to shade the anthers.
Then add more tone to the pitcher with a 6B, leaving
the strokes rough for the metallic texture. Lightly lift
some tone from the edge of the right side.

Step 6 Again darken the leaves with smooth, steady

strokes, and lift out some thin venation lines. For the
petals, further refine the tonal shading, lift out the white
borders, and add the flat spots that are so characteristic
of lilies. Smooth out the pitcher using a 4B with small,
circular strokes, and then use the point of the pencil to
better define the edges at the base. Stipple in some dots
with a 6B and randomly dab with the tip of the eraser to
create the feel of the pitting. Add light tone on the table
using horizontal strokes with the side of the pencil. Use
just a little pressure to deepen the embroidery pattern of
the tablecloth. Finally, darken the shadow cast by
the arrangement.

99
 WILDLIFE TEXTURES
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. What more could an artist ask for?

FEATHERS
LIFTING OUT
FOR FEATHERS

After using an eraser to

lift out the white edges of
the feathers, reinforce the
defined edges with pencil.
Use short lines that follow
the direction of the feathers
to create additional texture.
Then blend the background
with an eraser to make the
Step 1 Start drawing the peacock Step 2 Darken the center of Step 3 After darkening all of
feather with thin lines that stem the “eye” to emphasize the the lines, use a kneaded eraser
feathers stand out.
from a vertical centerline. Then distinctive pattern. Keep the to lift out a small curve along
draw a circle within an oval for the area around the center light to the edge of the dark center.
“eye”—curve the lines that surround indicate the change in color and
the “eye” so that they follow the the delicate feather texture.
ovular form.

SCALES AND SKIN

Alligator Use a soft, broad Butterfly Outline the wing with a Frog Frog skin is usually moist, so Fish First outline the scales, paying
pencil with plate­finish paper, as sharp HB pencil, and lightly draw the smudging technique (see page careful attention to the details.
rough paper will interfere with the the thin veins. Then put down a 85) is appropriate. Use darker tones Then add shading at the base of the
leathery, bumpy texture of the layer of tone all over. Deepen the to create the raised bumps and lift scales where they overlap to show
alligator’s skin. Pay attention to the veins with a 2B, gradually increasing out some graphite to add highlights the distinctive flaky texture. Note
light source; alligator skin is made the pressure on the pencil. With the to the slimy surface to give a wet that every scale has a highlight—
up of many small ridges, and each HB and long strokes, deepen the look to the entire skin. this helps capture the fish’s
ridge must be lit properly for it to light tones, allowing some strokes shimmery nature.
appear realistic. to be darker for slight variation.

100
BLUE JAY

Step 1 Begin by drawing a detailed outline with a

sharp HB mechanical pencil. Use short strokes on
the head to create the softer edges of the feathers
there. Indicate the blue jay’s black markings with
some quick shading.

Step 2 With a sharp 2H pencil, darken the lines

around the feathers to define them, and add some
dark markings using short strokes. Make sure your
strokes follow the direction of the feathers. Shade
under the wings, but don’t make the shadows
too dark at this point. Darken the eye, leaving the
highlight white and using tiny strokes that follow
the form of the sphere. Switch to an HB to outline
the rigid beak. Put some tone in the beak but leave
it lighter on the upper part.

101
 Step 3 Begin the shading that will contribute
to the sense of the bird’s form but remember to
maintain the softness of the feathered body. Work
back and forth between an HB and a 2B pencil and
begin developing values throughout the bird using
different strokes. Then use a broad-point 6B pencil
to shade the branch with circular strokes, lightening
the shading as it recedes into space.

TIP

Balance the values of the form

with the values of the color while
keeping the textural elements
intact. The form values are the
values created by the light hitting
the blue jay, whereas the color
values are the ones representing
the different colors of the actual
bird. The texture emerges from the
way these values are applied. In
pencil, white is expressed as light
shading, blue is the midtone, and
black is the darkest shading. If you
run into a conflict between the
form and color values, give priority
to the form values.

Step 4 With a sharp HB pencil and short strokes,

deepen the black markings, leaving the white
markings free of any tone. Indicate shadows using
the side of a 2B pencil. Then deepen the tone on
the back and the belly. Leave a few little lines that
extend beyond the edge of the bird, producing the
feathered texture.

102
 Step 5 Now focus on creating smoother and more
natural tonal transitions. Further develop the eye,
darken the beak, add some longer, deeper lines
to the back of the crown, and add a few short,
light strokes in the white area of the head. Keep
those lines light, so as to not lose the value of the
white. Switch to a dull 4B to darken the feet with
circular strokes and add a small shadow under
them. Deepen the tone of the branch with heavier,
irregular, circular strokes, using a broad 6B. Then
add some light shading in the pine needles using a
few long strokes and an HB.

Step 6 With a 2B pencil, further deepen the

wings and darken the shadowed belly tones. Add
a few long, sharp lines to indicate the smooth
edges where the feathers overlap, and add some
short, sharp lines for the small feathers at the
upper base of the beak. Use a 4B to give form to
the small branches and a blunt 4B to add tone
to some of the needles. Lift out just a touch of
graphite for the reflected light at the bottom of
the main branch. Clean up the drawing with a
kneaded eraser and lift out any white markings
you need to add to the feathers. Look the art in
a mirror to see if there are any areas that you
are not satisfied with, and adjust the drawing
accordingly.

103
 LANDSCAPE TEXTURES
When there are a lot of trees, rocks, and other natural elements in a landscape, it can seem overwhelming
to try to capture all of the textures. To simplify the process, start by mapping out the major masses of the
landscape elements, breaking them down into more manageable shapes. Then add other textural aspects,
such as clouds and water, which bring the scene to life.

LAND
Sand For the sandy beach, use
broad strokes and very light
pressure so that the grain of the
rough sketchbook paper picks up
the specks of graphite
to resemble sand.

Rocks Use parallel strokes that reach

across the face of the rock to create
the illusion of a hard surface. Add
darker shading where the rock is in
shadow. The sharp edges are formed
by angled lines.

Cliffs Vary the angles of your strokes to represent

the layering in the rocks and the rough texture
formed by it. The tones get darker toward the
bottom of the cliffs, where there is more shadow
and the texture of the stones is more apparent.

104
CLOUDS

Cumulus For fluffy clouds, dab an eraser Cirrus To draw these wispy clouds, lift out Cumulonimbus To capture these dark storm
gently for light gray areas and use more using a curving motion and then extend that clouds, dab the graphite with an eraser; then add
pressure to lift out the whites. motion horizontally. dark tone and blend.

WATER

Still Water When the air is perfectly still, water Rougher Water Allow the lines to be
can appear almost like a mirror, reflecting objects wavier than in the previous example. Lift out
clearly. To make the reflections evident, use with long, horizontal strokes. No reflections
dense, dark strokes. can be seen.

Waves Waves produce a sense of movement To finish the wave, create a few white lines in the
through frothy white caps. Start with the shape dark tone with an eraser, showing the building
of the wave, create the darker parts of the water white caps. Dab the eraser to create the spray
with a 4B, and blend. and lift out wavy shapes to make the foam.

TREES

Painterly Strokes Linear Strokes Combining

Use a wide, soft lead to Use a sharper pencil Techniques
lay down large, dense and small, thin strokes. Put down some tone
areas of tone. Finish Vary the direction and then smear it with
with some shorter and density of your a blending stump.
strokes, stippling to lines to develop the Then use short, linear
create detail and add dark and light values strokes with a sharp
texture. This gives a that establish the pencil to create the
tree an open, leafy form of the tree. This texture. This creates
pattern. technique is ideal for a tree with a softer-
prickly pine trees. looking texture.

105
 LAKE SCENE

Taking Artistic License You have the freedom

to change elements of your photo references. To
improve the composition of this drawing, the
direction of the boat is changed.

Step 1 Think of a scene as a sort of jigsaw

puzzle of light and dark shapes. Look for the
major organic shapes and leave the smaller
ones for a later stage. Draw in just a few major
shapes, such as the trunks and branches of
trees, and don’t include any details or worry
about textures yet. Indicate just a few lines
for the water so you know where the darkest
areas are.

Step 2 Using the side of a 6B pencil, lay in tone for

the large masses of foliage. Use long strokes for the
trunks. With the side of an HB pencil, lightly put down
some preliminary tone in horizontal strokes to show
the calm water.

106
 Step 3 Continue developing the masses with a thick
blending stump. You are painting more than drawing,
creating a wash effect by loosely smearing the tones
you have already put down. Then use a sharp HB to
create the hard edges of the tree trunks and branches.
Dip your stump into some carbon dust and apply it to
the darker areas of the water. With a thin stump, apply
a “wash” to the boat.

Creating Bark Use the side of a 2B to shade the

bark of the trees, varying your lines so the patterns
aren’t rigid. Once the tone is built up, go back and
accentuate the grooves with the point of your pencil.
Then lift out with an eraser. The more range you
create between the lightest and darkest tones, the
rougher the bark will appear.

Step 4 Now start defining the shapes and textures of the foliage masses. Using a 6B,
go back in with loose strokes and put more tone in the darker, smaller masses. Break
down the light and dark areas and refine their shapes. For the water, use the side of an
HB, allowing your hand to create slight waves in the lines. Add another layer of carbon
dust with the stump where the tonal variations occur in the water.

107
 Step 5 Work back and forth between the stump and 6B pencil, darkening and breaking up the foliage masses and defining differences in
the textures they create. Work freely, allowing accidental effects to create more atmosphere. Use a sharp 2B for some branches. For the
small trees near the water, use a 6B to stipple, creating more stippling where the form turns away from the light. Repeat the same process
used earlier for the water and darken the shadowy areas. Use the deepest tone along the bank, leaving some areas lighter based on the
shape and textural quality of the reflections.

108
Step 6 Lightly stipple along the branches that extend into the sky to create an illusion of leaves; use the 2B to put in a few more branches;
and draw some small, curved strokes with a 4B, adding individual texture to the trees. Use the stump and add a few pencil strokes for the
grassy area. With the kneaded eraser, pick out additional lights in the foliage, boat, and water. Carefully define the shape of the bird by the
shore and the trunks of the small trees with the sharp point of an HB. Finally, add just a little shading to the people.

109
 ANIMAL TEXTURES
Once you‘ve mastered the subtleties of rendering fur and hair textures, you‘ll be able to draw a whole zoo full
of animals! Animals are more than their coats. For example, a dog has a wide array of textures to experiment
with, from the shining eyes to the wet nose.

FUR AND HAIR

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.

Silky Outline the prominent hair patterns with Short and Wiry Put down some carbon dust
an HB and then put in some tone with strokes and blend with a stump, using short strokes
that follow the gentle waves of the hair. Then when blending. Draw short lines to develop the
use an eraser to pick out shiny highlights. hair growth patterns and make slight changes to
the direction of individual hairs to produce the
wiry texture.

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 a base tone; then Long and Smooth Draw long, wavy lines,
add some long, slightly curved, light strokes and then add tone with carbon dust. Alternate
with the side of a 2B. On top of that, put in thin shading with the side of the pencil, drawing
lines with the point of the pencil and add some fine lines with the point of an HB, and lifting out
heavier lines where the hair is darker. white areas with an eraser to get the soft look.

110
YORKSHIRE TERRIER

Step 1 Use plate-finish Bristol paper to best

capture this dog’s smooth, silky, long hair. When
drawing a portrait—of an animal or a person—pay
extra attention to the details because sometimes
the tiniest detail can throw off an expression.
Spend time on this initial drawing, making sure
every line is as perfect as you can make it.

Step 2 Start shading with a broad 6B pencil.

With the side of the pencil, make long strokes
that follow the direction of the hair, keeping the
strokes relatively free and loose for a soft texture.
Use heavier pressure to start indicating the dark
areas, and use shorter, curved strokes, around the
mouth, bow, and ears. Leave white areas for the
bow and the lightest strands of hair.

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 CANINE EYES
Step 3 With a stump, go back Eyes are the windows to
over the shaded areas, following the soul. It’s important
the direction of the hair. Blend to draw them with
and drag the graphite, varying plenty of expression. A
the pressure. Go back in with the dog’s eye is different
side of a 2B pencil and lay in some
than a human’s, so pay
heavier strokes, emphasizing the
close attention to the
darker tones. Outline the eyes
with a sharp HB pencil and use the
tones you use.
side of a 2B pencil to shade them,
leaving the highlights white. Shade
the nose with small, circular strokes
and use deeper tone for the nostrils.
Blend the tone inside the mouth to
show more depth.

Step 1 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.

Step 2 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.

Step 4 Now define the texture of the

silky hair patterns. With a sharp 2B,
draw long strokes, curving them where
the hair is wavy. Use short, curved
strokes where the hair gathers at the
bow and the shorter hairs around the Step 3 Maintain a sharp edge
face. With the side of an HB, add deep for the highlight, which gives
shading around the edge of the eyes. the eye a wet, glossy look.
Also continue to deepen the value on Shade around the eyes using
the nose while maintaining the distinct short strokes with the side of
texture. Then use an eraser to lift out the pencil; then draw a few
some highlights in the hair. hairs around the eye with a
sharp point.

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 CANINE NOSES
Step 5 Using the side of the 2B, A dog’s nose is wet and
darken the area behind the long hairs leathery; it’s an interesting
that drape over the ears. Start shading combination of rough and
the bow and indicate the shadow it
shiny textures.
casts. Further define the shape of
the eyes and use a 4B for the pupils.
Continue to shade and define the nose
and mouth. Develop the silky-smooth
hair by alternating between the side
and the point of a 2B. Lift out the
highlight areas, especially important in
the face, and blend some of the heavy
lines around the face to soften it. For
the hair that touches the floor, lay
down some heavier darks and smudge
so the area remains soft. Step 1 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.

Step 2 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.

Step 6 Now bring everything into sharp focus.

Darken some areas throughout. Create a crisp
highlight in the eye with an HB pencil and be
careful to leave the highlights on the nose. Then Step 3 Make the deep part of the
develop the strands of hair that stand out around nostrils as dark as possible. Break
the face. To do this, alternate between lifting up the highlights with a few strokes,
out the light areas and softly shading the darker but make sure to keep them white
areas. Then add some sharp, fine lines around and visible because the highlights
the face, including the shorter, dark hairs below create the illusion of wetness.
the mouth. Work on the body hair, lifting out
more highlights to add a silky shine. Finally, use
circular strokes with a broad 6B to create a soft,
carpetlike texture for the floor.

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 PORTRAIT TEXTURES
Capturing a likeness can be one of the greatest challenges for an artist, yet it also can be incredibly rewarding.
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 Dark and Straight First outline
and a stump create a base of light, the sculptured shape of this
subtle tone. Add long, flowing lines, hairstyle and then apply a layer of
following the soft waves of the hair. carbon dust. Because the hair is
The strands in the foreground stay so sleek, there is a strong band of
very light to emphasize the color of highlights. Apply even tone with
the hair. long, curved strokes and a 2B.

Dark and Wavy Draw the main, Light and Curly Outline the
curving hair forms; layer in some main masses of curls and some
carbon dust; and draw wavy lines individual hairs. Then use a
with the point of a 2B pencil. Use a sharp HB to shade. Lay in some
4B for the darkest darks and lift out carbon dust for the hair that is
the lighter, highlighted strands with in shadow. Then lift out some
a kneaded eraser. highlights with curved strokes.

FABRICS

Flannel Apply carbon dust Satin Draw the main folds.

using circular strokes. Then layer Then apply a layer of carbon
in long strokes with a 2B and dust. Define the highlights with
blend, keeping the highlights an eraser for shine, and lift out
soft and subtle. for the stitches.

Woven These highlights aren’t Lacework This fabric is matte, so

sharp, but the tone is lighter where the tonal transitions are very soft
the light hits. Use crosshatching to with no bright highlights. Make the
shade, achieving a heavily woven dark holes with a sharp 2B.
texture.

114
YOUNG GIRL

Step 1 Smooth Bristol paper is best for capturing the

subtle details in portraits. Use a sharp HB pencil for
the outline of the basic features of the head. Check
and recheck the accuracy of your drawing because the
slightest errors in observation will take away from the
likeness of the subject.

Step 2 With the side of a 2B pencil, draw long,

flowing strokes that follow the direction of her
smooth, straight hair. Put light tone in the irises with
small, circular strokes. Use long strokes with a slight
curve for the side of the nose, but for the tip, think of a
small sphere and use shorter, curved strokes. Add light
strokes on the side of the face. Indicate the shadow
directly under the eyebrow on the left and the lower
lip. Then draw lines that indicate the shape of the neck
and add some darker tone for the cast shadow under
the collar.

115
 DRAWING
EYES
Step 3 Begin to blend the hair with
a large stump. Then go back and lay
in more tone with a 4B for definition
around the area where the hair parts
and around the side of the face.
With the lightest touch, blend the
Step 1 Start with an outline of
pencil strokes around the side of the
the eye; then dip a stump into
face, following the contour of the
some carbon dust and apply a
cheeks. With a smaller stump, lightly
light layer of shading, following
blend the areas around the facial
the contours of the eye and
features. Then use a 2B pencil to put
eyelid. Use radial strokes for
some deeper tone throughout the
the iris.
face. Work in light layers to slowly
develop the form, studying the
subject as you draw.

Step 2 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 the
area might have become shaded
from the carbon dust.

Step 4 Using the point of the 2B Step 3 Switch to an HB for

pencil, build up the tone and flow the eyelids and eyeball, using
of the hair. Alternate between a smooth, curved strokes on the
pencil and a stump, being careful lid. Deepen the iris with a 2B;
to retain the highlights. Work on then lift out a few specks to
the face, using a delicate buildup give the eye a more realistic
of crosshatching. Draw very light, look. Darken the pupil and add
long strokes with an HB across delicate eyelashes.
the smooth skin of the forehead.
Shade around the eye area, nose,
lips, cheeks, and chin, and put
very subtle shading on the teeth.
Deepen the irises with a 2B and lift
out for the highlights. Work on the
neck and necklace. For the collar
of the shirt, keep your strokes
farther apart to develop a feel of
the knit fabric.

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 RENDERING
LIPS
Step 5 Now begin refining the face.
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 to give depth to the face. Use Step 1 Start with an outline of
a kneaded eraser to delicately lift out the mouth and apply light tone
where tones are built up too much. with carbon dust and a stump.
Darken the eyebrows and irises. Use
an HB in the detailed areas where you
need a sharper point, like the folds of
the eyelids or the edges of the lips.
Continue to build up the neck and
shade the necklace.

Step 2 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,
leaving white highlights.

Step 3 With the side of the pencil,

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. Add a touch of carbon dust
Step 6 Continue to build up the to the corners of the mouth.
tone of the hair and lightly shade
the barrette, putting in small cast
shadows with a sharp point. With the
HB, continue to crosshatch the face
to refine the transition between the
tones, using a 2H in the lightest areas
of the cheek. Deepen the eyelashes
with short lines. Then refine the nose,
mouth, gums, and teeth. For the fiber
texture of the necklace, use a soft 6B
to pick up a bit of the paper’s grain.
Then lift out the sharp highlights of the
metal beads. Finally, work on the shirt
with crosshatching. Then add a line for
the buttonhole and the round button.

117
118
 chapter 4

STEP-BY-STEP
EXERCISES
WITH CAROL ROSINSKI

Pencil drawing is the most simple and basic art form, yet the range
of possible expressions is almost limitless. From energetic sketches
of figures in action to simple studies of serene still lifes, drawing
can capture time and movement, light and shadow, line, texture, and
form—and so much more! As a pencil glides across paper, emotions
can be recorded and memories preserved.

Drawing is affordable—a pencil, a piece of paper, and an eraser are

all you need. And drawing is a skill that can easily be developed.
Mastering the basic techniques is easier than you may imagine.
With a willingness to learn and time to devote to practice, your
efforts will be rewarded with a new way to express yourself.

— Carol Rosinski

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 TEDDY BEAR
Texture can be broken down into patterns of light and shadow, making the texture easier to reproduce on
paper. When drawing a large textured area, use this sequence of actions: hatch and blend the middle value of
each area; hatch and blend the large shadow areas; pull out the large highlighted areas with an eraser; draw
in the small and dark details; and use an eraser to pull out the smallest, lightest details. This step-by-step
exercise will help you focus on replicating the soft fur of a teddy bear. You’ll need 2B, B, and 2H pencils; a
kneaded eraser; and small and large trimmed brushes for this project.

Step 1 Block in the basic outline of the subject Step 2 Using medium pressure and a dull B Step 3 Stroke over the entire drawing and
using a B pencil with medium pressure, taking pencil, hatch in the middle values of each area. smooth it using different sized brushes.
care not to dent or score the paper. Keep the values relative to one another.

Step 4 Hatch in the large facial shadows to Step 5 Smooth the hatching again with a brush, Step 6 Shape your kneaded eraser to a
a value of 6 (see below) with a dull B pencil. blending just enough to produce a soft and rounded point to lift out highlights. If you lighten
Perform the same process on the muzzle and fuzzy appearance. Work the same way on the an area too much, re-darken it by rubbing the
bow, using a 2H pencil and very light pressure. bow and muzzle, using very slight pressure on brush back and forth over the highlight.
the brush.

VALUE SCALE
For the projects in this chapter, please refer to the scale below.

1 2 3 4 5 6 7 8 9 10

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Step 7 Use a sharp 2B pencil to draw dark details,
including the bear’s eyes, nose, ears, and muzzle.
Switch to a sharp B pencil to create the dark details
on the muzzle and bow. To achieve these dark
values, stroke over the soft areas with a sharp, hard
pencil. To finish, carefully lighten the highlights
under and in the eyes with a kneaded eraser
pinched into a fine point.

Step 8 Draw the rest of the plush body in the same manner as the head, starting
with an outline and building up the values and textures in layers. The cold-press
watercolor paper with a slightly rough texture contributes to the plush look of this
teddy bear. The recessed areas of the paper catch the graphite, creating a pattern
that mimics the soft, furry quality of the material.

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 LANDSCAPE
One photographic reference for this dramatic landscape scene captures an interesting sky, and the other
presents a pleasing foreground. Merging these elements creates a better composition with a soft feel and
subtle gradations in value. To best depict these qualities, use smooth paper without much texture.

Capturing Contrasts This photo, taken near Shavehead Pulling Out the Sky This photo, taken from the same spot,
Lake in Michigan, includes a range of values, textures, and captures the drama of the sun veiled by sheets of soft clouds.
lines—from the detailed foreground to the distant hill. This project combines these two photos.

Step 1 Measure and frame the scene, roughing in a few details. Designate Step 2 Mask the edges with tape to keep them clean and neat. Using
certain prominent trees to serve as reference points and also add the loose graphite and a short, wide brush, fill in the entire sky area to a
most obvious dark tree trunks. Then delineate the trees, meadow, and sky number 4 value. Brush the graphite down over the skyline and into the
according to the differences in value. Once this “map” is in place, assign treetops, and smooth the sky with a tissue, avoiding the sun. Do the same
a number value to each section, using the value scale on page 120 as for the meadow, working from a value number 5 in the bottom right and
a reference. gradating to lighter values.

122
 Step 3 Fill in the light- and middle-value trees using smooth hatching
made with medium-soft pencils. Brush over the hatching after each layer
to help even out the tone, repeating this process until each tree reaches
the desired value. Then lightly rub the tree shapes with a tissue wrapped
around your finger for an extra smooth texture.

Step 4 Using smooth hatching (see

page 9), fill in the darker tree shapes
and smooth each area with a brush.
Where two or more trees touch,
darken one edge to push it back. Next
brush loose graphite over the darkest
parts of the drawing, repeating until
you achieve the darkest value your
paper allows.

PENCIL KEY
• Very hard: 4H–6H • Medium soft: B–2B
Because pencil hardness varies from brand to brand,
• Hard: 3H–4H • Soft: 3B–4B
the exercises and projects in this chapter generically
call for “hard” or “soft” pencils. Use the conversions • Medium hard: H–2H • Very soft: 4B–6B
at right to help determine which pencils to use in the • Medium: HB–F
projects of this chapter.

123
 Step 5 Apply loose graphite with a brush, using horizontal strokes to darken the sky, and smooth out the graphite by sweeping a tissue in a
horizontal motion over the entire area. Then darken the distant trees and swamp area to a number 5 value using a hard lead and horizontal hatching,
taking care to leave the tops of some of the tree clumps lighter for easy identification in the next step. Darken the sky above the hills with a hard
pencil to help separate the tree line from the sky. Using the point of a stick eraser, shape and lift out the water visible in the swamp area. Then pinch
a kneaded eraser to a point and use it to lift out all the highlight areas of the middle-ground trees. Prepare the base for the grass texture in the
foreground meadow by applying rough vertical hatching with a medium-soft pencil.

124
Step 6 Mottle the clouds using very hard pencils and a clean blending stump, and then complete the sun (see “Brightening the Sun” below). To
further define the treetops, redraw the skyline with a series of scalloped strokes; then darken the branches and twigs (see “Creating Twigs” below).
Soften the meadow by blending the hatching from step five using a stump held on its side. Using the point of a stick eraser, stroke blades of grass in
the foreground; then add subtle shadows to the base of the clumps with a medium-soft lead.

Creating Twigs To render the dark, thin lines of the tree Brightening the Sun To form the sun, pull out graphite with
branches, use a soft pencil honed to a sharp point. a kneaded eraser, leaving an imperfect circle for a realistic
appearance through the clouds.

125
 HORSE
This sturdy black horse’s mane falls on either side of his neck in
twirling tendrils, providing an interesting contrast to his robust
features. To render this abundance of textural details, work with
watercolor paper that has a medium tooth, which will hold dark
values and allow a supple look to be created for the coat.

Distinguishing Values The values of the horse shown

here are mostly dark, so there won’t be much contrast. So
that portrait won’t be too monotonous, lighten the mane a
bit in the drawing.

Step 1 First block in the general shape of the horse’s profile

on a large piece of paper, taking care to maintain the same
proportions as the reference. Take a bit of artistic license and
lengthen the back of the neck for balance.

Step 2 Now indicate the eye, nose, mouth, and ears,

constantly measuring and assessing the angles of each
position; adjust them as you see fit. Then sketch the halter
and define the shape of the chin and jaw. Add the brow ridge
at left, noting how it angles away from the face; then draw
the forelock (the hair between the ears).

126
 Step 3 Using your initial blockings as a guide, refine the outlines of the
eyes, nostrils, muzzle, and mane. Next focus on the halter, curving the
lines of the straps slightly so they show the form of the horse’s head.
Then erase any initial guidelines that you no longer need. Draw the
horse’s mane, adding tendrils that taper to a point. Round off the neck
with a long horseshoe shape that contrasts with the angular quality of
the horse’s profile.

Step 4 Now transfer the drawing to a separate sheet of paper, and take
note of the values based on the reference image. (You may want to use
a photocopy of your drawing from step three instead.) Start by outlining
the highlights and shadows on the horse’s coat; then further delineate the
variations in value. Next designate a value number to each area, using the
value scale on page 120 for reference.

Step 5 Return to your original drawing and use a medium-soft

pencil to fill in the lighter value in the horse’s neck and a soft
pencil to add the darker value. Hatch the area, and then smooth
the hatching with a brush. Repeat those steps until each area
reaches the desired value. Where the neck joins the body, lighten
the hatching to delineate the area.

127
 Step 6 Use a medium-hard pencil to fill in the mane. Determine
what grade of pencil and combination of strokes will work best
for the mane by experimenting on a separate piece of paper that
has the same texture as your final drawing. Apply varied long and
short parallel strokes, deliberately leaving visible streaks within the
vertical hatching to create a base for the mane’s texture. Fill in the
forelock in the same manner.

Step 7 Fill in each value area with hatching and smooth it

out with a brush until it matches the desired value. If a value
becomes too dark in an area, use a kneaded eraser to pull out
the graphite. Round the extension of the neck even more and
continue to fade the edge. Pull out highlights in the metal parts
of the halter with a kneaded eraser.

128
Step 8 Soften the texture on the cheek and neck, blending to draw more attention to the wispy mane. Then pull the medium-hard pencil over
the mane with long strokes that follow the line of each twisting strand, making some areas darker for variations in depth. To finish the mane, add
twisting highlights to some of the strands of hair, using a stick eraser cut into a point. Darken the far strands of hair and add a bit of fuzz on the
horse’s chin. Add the final details, including the shadows and stitching on the halter.

129
 FLORAL STILL LIFE
When creating a flower arrangement, follow the rules of effective
composition that you learned in Chapter 2. In this arrangement, the
vase is slightly to the left to avoid a stagnant, overly symmetrical
organization of the elements. Draped fabric curves around the base of
the vase, bringing it off the opposite edge of the composition to lead the
viewer’s eye into the drawing. Some flowers lay on the table to give an
informal touch to a classic subject. Lastly, the fabric in the background
creates interesting folds and curves in the negative space.

Creating Large Areas of Texture For this mixed floral

arrangement, use paper with a medium-rough texture; the tooth helps
create interest within the large fabric background and makes the leaf
and petal textures easier to render.

Step 1 For a complicated subject like this floral arrangement, block in the Step 2 Add the rest of the flowers by simplifying their forms, indicating
basic shapes of the largest objects before adding the smaller elements. To only a general outline; you will add details later. After outlining every
establish accurate proportions, use the vase as a reference for measure- object, erase any initial sketch marks you don’t need. Then transfer the
ment. (In this case, the main bunch of flowers measures 13/4 vases high and outline (or make a photocopy) and break each object down into values.
wide.) Then loosely sketch the corner of the table and some of the large Create a “map,” referencing the value scale on page 120 to assign a value
flower shapes within the bouquet and on the table. number to each area.

130
 Step 3 To protect the edges of your drawing from smudges of
graphite, mask the edges with tape. Then use a soft lead to lay down
the hatching in values that correspond with your “map.” Crosshatch
the darkest shadows first; then add a layer of hatching over the entire
background to unify the darks and lights.

Step 4 Smooth the entire background with a tissue. To work in the

negative space between the flowers, fold the tissue several times and
use one thick, pointed corner to smooth the hatching. The crosshatched
shadows will remain darker than the single-hatched areas. Hatch the light
flowers with a medium-hard pencil, following the shape of the flower’s
petals. Add the flower centers with a softer lead; then add values to the
vase and tissue paper on the table using a brush and loose graphite.

131
 Step 5 Now add the middle- and dark-value leaves and flowers. Begin
by hatching the stem and leaves on the right with a medium-soft pencil,
blending with a brush for a soft, even value. Next apply horizontal hatching
with a soft pencil over the carnations and the dark daisies; then blend the
strokes with a brush. If any lights are lost in the blending process, pull
them out with a kneaded eraser.

Step 6 Now that you’ve established the basic value pattern, begin
to add detail and give form to the elements. Shape the petals of the
flowers by drawing into the edges of the flower shapes or by using
a stick eraser to “push out” edges. Then use the same eraser to lift
out highlights on the petals, as well as to pull out stems from the
background. Use a medium-hard pencil to add more accents to the
petals and flower centers.

132
Step 7 Now add the raised pattern to the vase by further smoothing the gradation of value and pulling out the design with a
kneaded eraser. Then lightly add shadows beneath the highlights of the raised area. As you proceed, hold your drawing at arm’s
length to check and adjust values. Heighten contrasts by erasing to form lights and penciling in darks until you are satisfied.

133
 PORTRAIT OF A GIRL
The adult human face features universal proportions, and subtle
variations of these proportions create a likeness of a particular
individual. Imagine a rectangle surrounding a face: The eyes are located
about halfway down the center and are positioned about one eye-width
apart; the bottoms of the ears line up with the bottom of the nose; and
the corners of the relaxed mouth line up vertically with the pupils.
A child’s facial proportions are slightly different than an adult’s, as
they haven’t yet “grown into” some of their features. Children’s eyes
are farther apart, and their noses are broader, flatter, and shorter.
Their eyebrows usually are centered halfway down the head.

Paper Choice for Emphasis Smooth paper will accentuate

this child’s youthful and flawless complexion, as it will allow the
subtle gradations necessary to replicate her skin.

Step 1 Begin by marking the width

and height of the face on your paper,
and then use these marks to create a
rectangular framework for the face.
Indicate the position of the major
features with dashes, taking care to
maintain accurate proportions. Then
lightly sketch in the features.

Step 2 Lightly sketch in the hair, sweater, and neck, using the rectangle as a guide for placement.
The right side of the neck flows into her jawline, and the left side flows out midway between her
bottom lip and chin. Continue to use comparisons for size and placement of the features.

134
Step 3 Complete the sketch, adding smile lines, pupils, and
teeth. Erase all the guidelines used for measuring, including the
rectangle. Then transfer (or photocopy) the sketch and begin to
indicate the value numbers. Use this numbered sketch as a guide
for value intensity and placement on your drawing.

Step 4 Returning to your drawing, lighten all the lines on the

face with a kneaded eraser using a gentle tapping motion. Apply
loose graphite onto the face and neck with a large brush to
achieve about a number 2 value. Then use a medium-hard pencil to
smoothly hatch the shadow areas; hatch the shadows with a value
that is a shade lighter than desired. Next use a medium-hard pencil
to fill in the irises, lips, and gums.

Step 5 For the hair, match the middle value by

hatching with medium-soft pencils. Stroke in the
direction that the hair grows so that the pencil marks
help to create the proper texture. The hair is not
as important as the facial features in a portrait, so
you can use minimal detail. Simply hint at the hair’s
mass by laying down the basic values, pulling out the
highlighted areas with a kneaded eraser.

135
 Step 6 After completing the hair, work on
the sweater texture by cross-hatching with
a medium-soft pencil. Add darker hatching
where the arm creases the sweater, but
keep the markings indistinct so that the face
remains the focus.

DRAWING THE EYES

Step 1 Use a medium-soft pencil to outline Step 2 The “white” portion of the eye is a Step 3 Using a medium-hard pencil, lightly
the iris, pupil, and lids. Then indicate the number 2 value, so darken the entire area hatch in the shadow areas around the eye,
curvature of the eyebrow and the edge of accordingly using a brush and graphite powder. including the upper lid and the top of the
the nose. cheek.

Step 4 Darken the outline of the eye and iris, Step 5 Outline the iris and fill in the pupil, Step 6 Use a soft pencil to stroke in the upper
radiating the strokes outward from the pupil. working around the highlight. Smooth the iris with eyelashes, followed by the lower lashes with a
Then darken the shadows using a brush, loose a stump; then darken the eyebrow and corners of hard pencil. Pull out highlights in the corner of
graphite, and a stump. the eye. the eye.

136
Step 7 Use a brush and a stump to gently rub and stroke the hatching, darkening and smoothing the skin. Graduate the values along the
nose and add a highlight on the tip using the sharp point of a battery-powered eraser. Use a medium-soft pencil to add dark details to the
eyelids, pupils, irises, nostrils, and corners of the mouth. Then lift out a highlights in the corner of the left eye, on the bottom lip, and on
two of the teeth. Finally, smooth the texture of the hair and add thin highlights with a kneaded eraser formed to a point.

137
 FRUIT & WINE
When using only pencil—essentially a range of grays—
incorporating contrasts of texture and value into your
drawings is important for creating interest. In this scene,
the sharp, crisp highlights on the wine glass, bowl, and
pieces of fruit nicely contrast against the soft, velvety
fabric background. Also the light values of the pears and
grapes are a great complement to the dark background.

Choosing Paper The soft folds of the

fabric and sleek surfaces of the fruit’s skin
call for a smooth watercolor paper.

Step 1 Using the technique on page

13, measure the height and width of the
triangular composition formed by the wine
glass, grapes, and bowl of fruit. Transfer this
basic shape to the center of a large piece
of paper. Then block in each element of the
scene. Because the viewpoint is high, the
circular shapes of the bowl and wine glass
become ovals.

Step 2 Now begin refining the outlines of each

element. Indicate the level of the wine in the glass and
each grape in the cluster below the glass. Then add the
edge of the bowl, and sketch the fruit, taking care to
maintain the proportions shown in the reference photo.
When everything is in place, erase the initial guidelines.

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Step 3 Next draw the upper curve of the cloth, noting how far it is above both the glass and the bowl in the reference. Then draw the wrinkles and folds of
the cloth. When you are finished, transfer the drawing onto another sheet of paper (or photocopy the sketch) and assign a value number to each area.

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 Step 4 Prepare a pile of
loose graphite and fill in the
far wall (at top) using a wide
brush. Graduate to a slightly
darker value on the right side
to add interest to the negative
space. Take your strokes down
past the top of the fabric to
make it appear as though
the fabric is in front of the
background. Then add a range
of medium and light values in
the folds, on the fruit, and in
the glass using a smaller brush
and loose graphite.

Step 5 Apply darker values

to the composition, bringing
form to the fruit and further
establishing the folded pattern
of the fabric. Use medium-hard
and soft pencils, depending
on the value. Hatch each area,
smoothing the hatching with a
small brush and repeating the
process until the area reaches
the desired value.

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CREATING A WINE GLASS

Step 1 Draw the Step 2 Use tight

outline of the glass, hatching to fill each
and then squint your area with a range of
eyes to see the shapes dark and medium
of the values in it. values.

Step 3 Smooth the Step 4 Add details

separations in value using a sharp soft lead
using a small brush. for the shadows along
Then begin hatching the base of the glass
and smoothing the and within the stem.
darkest areas of the Then lift out highlights
wine glass. with a stick eraser,
accenting the edges
of the glass for a
sharp contrast to the
dark cloth.

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 Step 6 To create the very dark values in the surrounding cloth, use sharp, very soft leads for hatching. Follow each layer of hatching with a brush
to smooth out the lines, repeating this until you achieve the darkest darks. Because it’s possible to lift graphite by brushing it, keep your brush
smoothing to a minimum as you approach the final value.

TIP

When applying graphite dust directly to your drawing surface, use several
brushes: a small one for little areas that require cleaner edges, and a larger
one, which doesn’t require as much control of the bristles, for bigger areas.

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Step 7 In this step, gradually blend the dark areas of the cloth into the highlighted areas of its folds using soft leads and a brush. The dark grapes are
similar in value to the bowl, so pay careful attention when separating the grapes’ edges from the bowl and from one another. Looking carefully at the
shadows that the lighter grapes are casting on one another, apply more graphite to the bodies of the grapes using a small brush. Add a grainy texture to
the pears with hard lead followed by light brushing. For the apple, use a kneaded eraser to lift out highlights and a hard lead to add subtle dark stripes. To
finish the drawing, create the sharpest contrast possible by pulling out crisp highlights on the fruit, bowl, and wine glass with a battery-powered eraser.

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 ABOUT THE
ARTISTS
Ken Goldman is an internationally known artist, author, teacher, and art juror.
A recipient of numerous awards, Goldman has exhibited widely in various group
shows and solo exhibitions in the Netherlands, Paris, Italy, Greece, China, Colombia,
Mexico, China, New York, Boston, and Washington, D.C. In California, Goldman
has shown at the Oceanside Museum of Art, USC Fisher Museum of Art, and Autry
Museum of the American West.

William F. Powell was an internationally recognized artist and one of America’s

foremost colorists. A native of Huntington, West Virginia, Bill studied at the Art
Student’s Career School in New York; Harrow Technical College in Harrow, England;
and the Louvre Free School of Art in Paris, France. He was professionally involved
in fine art, commercial art, and technical illustrations for more than 45 years. His
experience as an art instructor and consultant included oil, watercolor, acrylic,
colored pencil, and pastel—with subjects ranging from landscapes to portraits
and wildlife.

Diane Cardaci was classically trained at the Art Students League of New York
City, Parsons School of Design, and the School of Visual Arts. She began her art
career working as a Natural Science Illustrator in New York City, but after studying
portraiture, commissioned portrait work soon became an important part of her
artwork. She is a signature member of the American Society of Portrait Artists
and has contributed writing for the organization’s publications. Diane is also a
member of the Colored Pencil Society of America, the Graphic Artists Guild, and
the Illustrator’s Partnership of America.

Carol Rosinski, from an early age, could pick up a pencil and transform paper
and pencil into a living scene with depth and texture. Since 1985, Carol has worked
exclusively with graphite pencil, and she has more than 30 years of experience. Carol
has worked as an illustrator and shown her artwork in galleries, and her drawings
have appeared in a number of publications.

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