Dragon motifs appear frequently in modern literature, particularly within the fantasy genre. The popular examples are:

• The Hobbit by J. R. R. Tolkien
• Harry Potter series by J. K. Rowling
• A Song of Ice and Fire by George R. R. Martin

Beliefs about appearance and characteristics of dragons vary from region to region.

The earliest dragons that are known today resemble giant snakes. In western cultures, since the High Middle Ages, dragons have been depicted as creatures that have four legs, wings, and horns – capable of breathing fire. Dragons in eastern cultures are usually portrayed as wingless serpentine creatures.

It’s necessary to emphasize that dragons are fictional and so are any assumptions about their anatomy. Nobody has ever seen a real dragon! This means that we enjoy a wide range of options while designing our creature. Feel free to use the tutorial to create a base for your own dragon, changing or adding the details according to your vision.

I’m going to keep my dragon’s appearance closer to the image found in western culture. My art will be rather stylized. The balance between a realistic look and stylization is always up to you.

For this project, we’ll need a graphite pencil, an eraser, an ink liner (my choice is 0.1 number), and drawing paper. I’ll be using just a single liner. However, if you prefer having a greater choice of line width options, feel free to use a variety of different pens. In this tutorial, I’m going to show you that it’s possible to get a moderate variation of the line width using the same pen.

How Many Legs Does a Dragon Have?

This question may seem strange, but we have to dwell on this topic just for a moment.

Originally, dragons could have any number of legs. However, since the sixteenth century, English, Scottish, and Irish heraldry began to distinguish between a “dragon” and a “wyvern”. It was believed that dragons have four limbs and wings, and wyverns have only two back legs and wings.

Other features that were commonly attributed to wyverns are the inability to breathe fire and strongly pronounced fierceness.

If we rely on the number of legs as the main distinguishing feature, it is possible to say that wyverns are more often represented in movies these days. (Just remember Game of Thrones television series.) That sometimes causes heated arguments whether a particular creature is a dragon or a wyvern.

However, wyverns are quite similar to dragons. In many languages, cultures, and contexts, we won’t find a clear distinction between the two creatures. For example, in the heraldry of other European countries, it is entirely acceptable to have dragon-like creatures with two legs being called dragons.

On the other hand, there is an opinion that a model of a dragon with two legs plus wings is more correct from a “biological” standpoint. No creature found in nature has four legs and wings at the same time. The layout of all vertebrates follows a simple principle: four limbs plus a head. Animals with the ability to fly have sacrificed two of their limbs that evolved into wings.

If we rely on examples of creatures that actually exist (or existed in the past), this point of view is quite sensible. As you probably see by now, there is no clear answer as to how many legs a dragon should have. Still, knowing about the nuances may be useful.

I’m going to depict a four-legged dragon. This layout seems more fitting to the pose and composition that I have in mind.

Sketching Dragon Poses

As long as I’m working with a relatively small A4 paper size, I won’t be able to depict a dragon in a monumental posture — flying or sitting with its wings outstretched. However, it’s still possible to find a pose that is both interesting and compact.

My dragon will be lying or sitting on a hill. Its wings will be unfolded. This will make the pose more dynamic. One wing will be almost hidden behind another.

I create some rough sketches, presenting the dragons’ figure in a simplified, stylized manner. At this stage, I don’t strive for perfection.

It’s difficult to choose a specific option, but we have to. Let’s say the lower one is my favorite. I feel like this dragon is up to something! Let’s proceed to the final surface with this pose as our choice.

How to Draw a Dragon with a Graphite Pencil

We’ll draw a dragon in the most simple way possible.

I outline the rough, rounded shapes of the dragon’s head and body. Then, I add a core line representing the neck and its general shape.

Several lines are drawn from the head and neck. They symbolize the future horn-like ridges I’m going to adorn the dragon’s body with.

A long, curved line marks the direction of the tail. Make sure that there’s enough space for the limbs as we’ll add them in the next step.

I add a simplified framework of limbs. The lower shapes are for the paws and the toes and claws. We don’t see the other hind leg because of the pose.

Then I draw a stylized framework of the wing that is closer to the viewer. Small circles mark the joints. Several long lines are going from the upper circle, indicating the direction of the wing fingers.

I also give some thickness to the tail, outlining its contours.

It’s time to refine the drawing. Feel free to remove the unnecessary pencil lines with an eraser as you go.

I make the head slightly narrower in the muzzle, then add the eye, nostril, and some ridges. It’s a good idea to make a couple of head ridges slightly wider and longer — they will become the “horns”.

The contours of the limbs evolve too. I accent the wrists and ankles and then draw the separate fingers and toes that end with long claws.

I add a small wing “thumb” and outline the contour of the membrane. The dragon looks quite unnatural with only one wing, so I mark the second one behind.

With light pencil lines, I draw the hill under the dragon.

I’m going to add the details, such as scales and various ridges on the dragon’s body.

As we’re working on a fantasy creature, we can’t find a credible photo reference to rely on — only artworks that were created by other people or movie screenshots. When it comes to the body texture or other details of the dragon’s appearance, we have to be creative.

One of the options that may help is observing lizard’s skin on a real reptile or on a photo. It will suggest a variety of scale patterns. Pay attention to the rhythm of scales, their size, and shape.

Some of the texture examples are in the image below. It’s useful to create your own samples beforehand. Of course, we won’t see scales in detail in our final artwork, but having a clear vision helps in the process.

One thing to keep in mind is that scales should conform to the general shape of the object. This shape has volume. The principles of perspective will affect the pattern too. The cylinder in the image below is an illustration of this concept.

Feel free to invent your own patterns of scales or body adornments if you wish. The number of details is up to you. In many cases, a looser approach works great even with detailed images.

I add more ridges to the head and neck, gradually building rows of them. The dragon’s back and tail have various bumps and pointed spines. Again, the design is up to you.

I draw groups of bigger scales in the neck and limb areas. The size of scales will help to distinguish between larger and smaller body parts. The neck and legs of a dragon may be covered with larger and harder scales.

The scales will affect the silhouette, making its line slightly uneven. Take a look at the contours of the neck to see what I’m describing.

The groups of bigger scales alternate with gatherings of smaller scales. This makes the overall pattern more interesting and versatile.

To make our dragon’s character more interesting, I add some ragged holes in the wing membrane. How did this dragon get them? What do you think? These small details add a bit of story to our drawing.

See also: How to Draw a Rabbit with Pen and Ink

How to Draw a Dragon with Ink

With 0.1 ink liner, I outline the main contours and scales, starting with the head of our dragon. I use short hatches and dots to create soft shadows on the scales. They shouldn’t be too contrasting.

I assume that the light comes from above because it’s a natural environment. This means that the area just below the head will be in shadow. I slightly darken the areas between the neck ridges to distinguish them visually.

I continue working on the body. Smaller scales are drawn in a looser, “sketchier” manner.

I also apply hatching to the underside of the dragon’s body to give it more volume. There is a shadow in the chest area and on the front leg. With the shadow in place, the front leg that is closer to us stands out visually.

See also: Basic Pen and Ink Techniques

The creature is lying on a hill covered with tall grass, so I avoid creating any solid contours of the body here.

Next I’m going to add ink dots to the drawing, paying particular attention to the darker areas. Stippling allows us to create the illusion of beautiful texture that feels rough or bumpy. Vary the space between the dots to get interesting effects and to broaden the range of tone. The more dots, the darker the area will be.

I darken the area around the eye and at the underside of the muzzle, revealing the volume and relief.

I also strengthen the contours on the bottom part of the head. This area gets less light, and a broader contour indicates this. I use the same 0.1 ink liner to create a thicker contour. It is always possible to broaden the line with your existing tool.

In the image below, you’ll find the dragon’s head in detail.

With stippling and long lines, I start working on the wing that is closer to the viewer. This combination of techniques will allow us to create the illusion of texture that feels both smooth and organic.

I continue working on the wing. The hatches accent the form while dots convey the feel of the texture. We’ll see this process in detail in the next steps.

I also proceed with the bottom part of the art, increasing the contrast. I add more dots to the underside of the dragon and its limbs. At the same time, I draw the grass with long organic lines.

When it comes to the wing, I recommend starting with lines that show the direction and the general contours.

I cover the wing with dots, creating smooth transitions of value. The wing fingers remain relatively light to accent their relief. I just add a few dots to them.

If you feel like stippling is way too time-consuming, you can use cross hatching instead.

In the image below, you’ll find a fragment of the wing in detail.

I draw the second wing, using dots and light hatches. I aim for creating a hazy silhouette rather than a detailed element of the body.

Again, it’s possible to vary the width of the lines with the same ink liner. To create thinner lines, move your hand quicker and place a lighter pressure.

I work on the limbs in combination with the grass. We don’t have to draw individual blades. Instead, we can group lines together to create the illusion of texture. Then we can create shadows with an additional layer of hatching.

See also: Line Drawing Techniques

There is a cast shadow under the dragon, so I make sure that this area is dark and contrasting.

The lower parts of the dragon’s legs are relatively thin and have small sections, like the claws. For the most part, stippling is used here.

I complete the hill. The foreground can be slightly darker and more accented, so I draw groups of longer grass blades with more intense shadows.

It’s time to evaluate the drawing. Does everything feel right in terms of value, contrast, and texture? Is the silhouette clear? Are important details in place? Sometimes it’s necessary to take a break to see what needs improvement.

And as soon as you’re happy with the result, the artwork is finished!

Drawing a Dragon with Pen and Ink – Conclusion

Congratulations! We now have created a wonderful ink drawing of a majestic fantasy creature! I hope you enjoyed every step of the process. Even complex things don’t have to be too difficult, right?

Have fun as you explore the world of imaginary creatures and drawing them with ink!

Drawing a Sports Car with Colored Pencils and Markers

In this colored pencil lesson, we’ll take a look at drawing a convertible sports car with colored pencils and markers. This combination of drawing media works extremely well together. The markers act as an underpainting, allowing us to cover broader areas in a shorter period of time. The colored pencils allow us to develop details and strong contrast. We’ll make the most of each medium as we develop the drawing.

Materials for this Lesson

The surface that we’ll work on for this drawing is especially important. In fact, the surface plays an important role in any drawing that you create. The surface we’ll use is marker paper by Canson. This surface is designed to accept marker applications while minimizing bleeding. Even though this surface is very smooth, it’s still suitable for accepting a few layers of colored pencil applications over the top.

See also: All About Drawing Papers

We’ll first develop an underpainting using alcohol-based markers. The alcohol-based markers we’ll use are by Prismacolor. There is a broad spectrum of markers available and you are welcome to substitute any brand that you wish. However, it’s important to work with alcohol-based markers since water-based markers will not behave in the same manner.

Alcohol-based markers are easily layered and are semi-transparent when applied. This characteristic allows us to gradually build up intensity in the color and gives us greater control over the values.

We’ll use wax-based Prismacolor Premier colored pencils to enhance the colors and develop the details. These soft and pigment-rich pencils are excellent for creating strong colors. They layer nicely and blend easily as well.

See also: Wax-based Colored Pencils vs. Oil-based Colored Pencils

Here’s a look at the specific materials used to create the art. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)…

• Prismacolor Premier Markers
• Prismacolor Premier Colored Pencils
• Canson Marker Paper

The Photo Reference

Since accuracy is very important, we’ll work from a photo reference to complete the drawing. Here’s a look at the photo reference that is used. You don’t have to work from this image. Instead, you can use what you learn from this lesson and apply it to your own drawing.

The Pencil Sketch – Transfer or Use a Light Board

With a drawing like this, accuracy is very important. For this reason, we’ll begin with a light board transfer. Marker paper is somewhat transparent making it an excellent surface for use with a light board. However, if a light board is not available, you may use a graphite transfer or the grid technique to ensure accuracy in your sketch.

A light H graphite pencil is used to create the transfer. The addition of values (or shading) is avoided. A very light touch is used in order to avoid indentations in the paper and to minimize the amount of graphite on the surface.

Marker Applications

Markers are great for covering larger areas in a drawing. They are quick but it’s difficult to develop details. For this reason, we’ll use the markers as an underpainting. Over the top, we’ll layer colored pencils to increase contrast, broaden the range of value, and develop the details.

We’ll begin with our first marker applications on the body of the car. A bit of Poppy Red, Blush Pink, and Crimson Red is applied. Poppy Red is used for the bulk of the body of the car, while Blush Pink is used as a transition color near the highlights. Crimson Red is applied in the darkest areas of shadow.

Be sure to be mindful of the highlights. Leave open spaces for them since it is difficult to make these areas lighter later in the process.

Next, we’ll layer a few grays. Warm grays are used mainly behind the seat, on the windshield, and the larger shadow under the car. Cooler grays are applied in the areas of darkest shadow right underneath the body and on the tires.

It’s a good idea to start with lighter grays and progressively layer darker versions. Remember, we’ll layer colored pencils over these applications which will make these areas darker later in the process.

See also: Warm vs. Cool Grays

Colored Pencil Applications

Once we have a suitable underpainting in place, we’re ready to begin with colored pencil applications. We’ll begin on the left side of the drawing and progressively work our way to the left and downward.

One of the advantages to working with the same brand of colored pencils and markers is that the same colors are found in both marker and pencil form.

We’ll begin on the body with Poppy Red, intensifying the highlights with white. In the darker areas, we’ll use Scarlet Lake. A dark warm gray is applied around the headlight.

We’ll continue working our way down the body of the car, alternating between Poppy Red, white, and Scarlet Lake. We’ll also enhance the colors within the headlight.

After addressing the interior with a variety of grays, we’ll move down to the darker values underneath the car and around the tires. To create a more natural “black”, we’ll layer Dark Umber and Indigo Blue. This combination of colors gives us control over the temperature of the black that we create. For a cooler black, we can allow the Indigo Blue to dominate. For a warmer black, we can allow the Dark Umber to dominate.

In this case, we want the tires and the darkest shadows around them to have a cooler appearance. To achieve this, we’ll apply the Dark Umber first followed by the Indigo Blue.

We can then enhance the highlights on the tires with a light warm gray.

We’ll continue with this approach underneath the car where we see the strongest area of cast shadow. The color that we create here by layering Dark Umber and Indigo Blue should be slightly lighter than the tires. We want to create enough contrast so that the tires are not lost while keeping the value dark.

The wheels are quite intimidating. Fortunately, we don’t have spell everything out for our viewers. Instead, we can hint at the details using strategic lines and shapes of value.

Using a variety of grays, we’ll draw a few broken lines for the spokes. Then, we’ll fill in shapes of various grays to create shadows within the wheels.

After the wheels are complete, we’ll add a warm gray to the remaining portions of the cast shadow using small circular strokes. Then we can use a colorless blender to burnish these applications, giving them a smoother appearance. Some faint coarse texture is encouraged here since it mimics the texture of the asphalt.

Our highlights are fairly strong but we can enhance them further. We’ll first take them as far as we can with a white colored pencil. But to make them even stronger, we’ll apply a bit of white gouache. Gouache is opaque watercolor and works well over marker and colored pencil applications.

See also: Realistic Painting with Gouache

Using a small round brush, we can apply undiluted white gouache in areas where want especially strong highlights. These highlights exist throughout the drawing, but are especially strong around the highlights, the glass, and on the body of the car. The addition of these highlights helps to create the illusion of a reflective surface that is shiny.

After the highlights have been enhanced, we can use a kneaded eraser to clean up any stray marks and carefully brush away any remaining fragments of colored pencil. Now, our drawing of a sports car with colored pencils and markers is complete…

Drawing a Sports Car with Colored Pencils and Markers – Conclusion

Drawing any car can be a challenge. Accuracy, of course, is extremely important. To ensure accuracy, use a transfer technique or a grid to get the contours in place.

Be sure to work on a surface that is suitable for this particular combination of media. This will make a big difference in the finished appearance.

Be patient as you add each layer of color with the markers and colored pencils. Your patience will pay off. Use a variety of different versions of the same color to gradually build up the intensity and the value range within the drawing.

Tackle subjects that challenge you and push your limits. Doing so will make you a better artist.

A phoenix is usually associated with the sun, fire, time, and long life. Some legends say that this creature may live for several hundred years before rebirth. A variety of cultures have stories of this fantastic bird.

Water-Soluble Graphite Supplies

For our project, I’ll be using three water-soluble graphite pencils from Daler Rowney Artists’ Sketching series. In the dry state, they behave just as ordinary graphite pencils, allowing you to hatch, layer, or blend the strokes.

See also: Graphite Drawing Techniques

Other than that, applications of water-soluble graphite pencils can be activated with water. This feature is quite unusual for pencils that represent a scale of gray tones. However, it’s possible to find water-soluble graphite pencils by other brands.

See also: How to Draw with Water-Soluble Graphite

I’ll be using an ordinary non-water-soluble HB graphite pencil and an eraser to create sketches and the underdrawing for the final drawing. The initial lines should be water-resistant. This ensures that they’ll remain visible at every step of the process.

The size of the original artwork is A3. I’ll be drawing on a sheet of thick watercolor paper (140 lb) with a rough texture. Of course, the choice of the surface is personal, but you should consider paper that is water absorbent.

See also: All about Drawing Papers and Surfaces

We’ll need a container for water and a brush. Any soft watercolor brush that feels comfortable will be fine. Alternatively, you can use an aqua brush – a special tool with a reservoir for water.

See also: All About Artist Paint Brushes – Hair Types, Shapes, Marks, and Parts

Drawing an Imaginary Creature

There are various approaches to designing creatures that can’t be found in real life. I usually start with an idea and associations.

Obviously, a phoenix is a bird, but we know little about its appearance. Some sources describe it as having a crest of feathers on its head, or endowed with a halo, which emphasizes its connection with the sun.

There is no clear information about the creature’s coloration. We just know that the phoenix was generally believed to be colorful and vibrant.

I think that this lack of guidelines is a good thing. It leaves much room for us to fill in the gaps and use our imagination.

The prototype will have a contour that is characteristic of other birds. Said simply, it should have two wings, two feet, a head, a neck, and a body – with feathers of different types covering the creature.

You can give your phoenix any features that seem appropriate. At this step, it may be useful to research various species of existing birds. Ask yourself what features and details may fit the appearance of this fantastic creature.

For example, your phoenix may have a head that resembles the one of an eagle or a falcon. This will emphasize the majestic, even imperious air that is inherent to predatory birds.

Alternatively, the appearance of your phoenix may be close to a pheasant, a peacock, a rooster or even an ostrich. Why not? It’s possible to combine the features of different birds together. Everything comes down to the vision that you have in mind.

The Behavior of Water-Soluble Graphite Pencils

If you don’t have any experience with water-soluble graphite pencils (or at least pencils of the particular brand), it may be beneficial to try them beforehand.

In the image below, you’ll find three samples made with HB, 4B, and 8B water-soluble pencils. Each sample can be divided into three parts. In the image, these sections are ordered from left to right – their borders are marked with a red line.

• The first section is “dry” – no water was added.
• In the second section, a moderate amount of water was applied on top of the strokes using a brush.
• The third section was made by pulling the graphite with a wet brush over blank paper to the right.

Let’s compare the samples.

“Dry” parts of the samples look relatively close in value, which is unusual for graphite pencils – at least the common non-water-soluble ones. Usually, applications of an HB pencil are much lighter than that of a 4B or an 8B pencil.

Marks made with the HB water-soluble pencil become lighter after activation (after we’ve applied water). Other samples demonstrate an opposite variation – they become darker after activation.

And lastly, marks made with each pencil can be washed out, forming a semi-transparent “trail”. It’s possible to control the result by varying the amount of water on your brush.

With these pencils, you can lift graphite from one area and transfer it to another part of the drawing with a wet brush. It’s similar to working with watercolor pencils, but without colors.

Sketching a wing’s fragment may be a nice way to prepare for our drawing. (You can find my sketch in the image above.)

If you choose to do this exercise, don’t go deep into details – draw some abstract wing feathers. First, use your pencils like an ordinary pencil. Then, add water and see what happens. Observe how the pencils behave in both dry and wet states.

Sketching and the Underdrawing

As soon as you have a general vision of how your phoenix will look, it’s time to begin on the final drawing.

I recommend sketching a miniature first. Its purpose is to design a pose and decide on the composition. You’ll find my mini sketch in the image below, on the left side.

My creature will resemble a goose with its relatively small head and a long neck.

I’ve decided to give it some features that are characteristic of peacocks, including long tail feathers with interesting endings and a crest (feathery head adornments).

The tail feathers and feet will be arranged in a way to create an interesting effect, as if the phoenix is dancing in fire.

The drawing on the right side is a simplified scheme of the phoenix’s body, presented as a set of shapes and guidelines. In particular, a line that goes from the head shape to the bottom part of the body suggests the direction of the pose. It also conveys a sense of movement.

Feel free to use this scheme for your drawing or create a unique one.

Now it’s time to create an underdrawing on the final sruface.

As the paper size is relatively large, it may take some time and effort to place the main shapes. I recommend marking out the masses first. Add the details only after you’ve set the figure in general terms and everything feels “right”.

At this step, make sure that the overall composition is harmonious. Pay attention to the negative space on the sides of the creature. It shouldn’t be too much here or there.

See also: Positive and Negative Space

The same is true for the wings. Add individual feathers only after the wings’ general shapes are in place.

To simplify the process of drawing feathers, divide the wing’s space into rows or levels. In my case, feathers that are closer to the wing’s upper edge are shorter. The feathers in the lower rows are very long. Also, they are much wider than their upper neighbors.

To create the illusion of slight foreshortening, I make the left wing slightly smaller than the right one.

Drawing a Phoenix with Water-Soluble Graphite Pencils

With a 4B pencil, I mark the darker areas. They include the lower part of the body and the gaps between the wing feathers. Vary the level of pressure and quantity of layers to achieve the desired result.

I lightly add a subtle spotty pattern to the sides of the phoenix’s body and near its eye. This pattern of the plumage is typical of pheasants. We can add any details to our imaginary creature!

I also mark the eye, leaving a small highlight.

As the strokes are applied onto a textured paper, they look quite rough and grainy. At this step, no water is added on top of graphite marks.

With the HB pencil, I add more strokes to suggest a wider variety of values. This variation will be more evident after we apply water. There should be enough graphite on the surface. Otherwise, we won’t be able to create beautiful washes in the next step.

I emphasize the tail feathers to make them stand out, then add some light shading nearby. The pencil barely touches the paper. I’m going to transform these marks into washes, too. They’ll be resemble stylized flames after we add water.

I dip my brush into the water and start creating washes. The darker the area, the less water I apply to it, working only with the tip of the brush. This careful approach ensures that I’ll get an accurate result.

I add more water to the lower part of the artwork, where the stylized flames are. Now the belly of the brush is involved, not just its tip.

Graphite applications may become significantly darker right after activation. This is especially true for the stokes made with a very soft pencil. However, they fade slightly after drying.

I gently touch the strokes with a brush, softening the transition between lighter and darker values. The texture becomes less rough, too.

Using a wet brush opens up some interesting options. For example, it’s possible to create small semi-transparent dots and lines. With this approach, you can easily add small details of texture.

I mute the lightest areas by covering them with graphite already on the wet brush. I also make soft “trail” marks that go from the outer tips of the wing feathers to the sides. They accentuate movement, making the scene more dynamic.

Here is a fragment of the wing. Look at the interplay of rough and washed textures. Isn’t it fascinating?

I recommend waiting until the drawing completely dries before adding any new lines.

With a sharp 8B pencil, I work on the final details, applying thin parallel hatches in groups.

I pay close attention to the wing feathers and to the lower area of the artwork, where the flames are. I touch the eye once again.

I give more depth to the darkest parts, intensifying them. Graphite marks may become lighter after washing, so the drawing loses contrast. That’s why it may be necessary to evaluate the artwork and restore the darker areas and details.

Here are some close-up fragments of the finished artwork:

Phoenix with Water-Soluble Graphite – Conclusion

Congratulations – the artwork is complete!

I hope that you’ve enjoyed working with water-soluble graphite pencils. They are an amazing tool! This art material is so versatile and fun to draw with. It allows creating painterly effects within a controlled graphic approach.

I wish you much inspiration for your future projects!

Drawing a Doughnut with Colored Pencils

In this colored pencil lesson, we’ll take a look at drawing a delicious, frosting covered doughnut, sprinkled with colorful candies. We’ll work on smooth Bristol paper and use Faber-Castell’s oil-based Polychromos pencils to complete the drawing.

Materials for this Lesson

The colored pencils we’ll use for this lesson are the oil-based Polychromos colored pencils by Faber-Castell. These professional pencils are rich in pigmentation and are designed for layered applications. They are pricey when compared to lesser brands, but the difference in quality is clear when they are applied.

Oil-based colored pencils differ from wax-based colored pencils in the binder that is used. Oil-based colored pencils have an oil-based binder (which holds the pigment together), while wax-based colored pencils feature a wax-based binder. Most colored pencils on the market are wax-based.

Because the binder is oil-based, these pencils behave in a slightly different manner than their wax-based counterparts.

See also: Wax-based Colored Pencils vs. Oil-based Colored Pencils

The surface we’ll use is smooth Bristol paper by Strathmore. I love this particular surface and use it for a variety of media including pen and ink, graphite, and colored pencils.

The tooth (or texture) of this artist’s quality paper is very smooth. This is both and advantage and a disadvantage.

The advantage of this paper is the control that you have when applying colored pencils. Since the texture is less pronounced, you aren’t fighting against it to create intricate details. The pencil marks are smooth and well-controlled.

The drawback is the lack of tooth. More tooth on the paper means more layers of colored pencils can be applied. Layering colored pencils builds depth in color, which results in more natural, realistic imagery.

More on drawing papers…All About Drawing Papers

Here’s a look at the specific materials used to create the art. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)…

• Polychromos Colored Pencils
• Smooth Bristol Paper

The Photo Reference

We’ll work from a photo reference to complete the image. Keep in mind that we aren’t trying to create an exact copy of the reference. Instead, we’ll use the reference for shapes, contours, color, and texture. We can deviate from the reference as much as we like. Remember, it’s the finished art that matters – not how well you copied a photo.

Start with a Sketch

We’ll begin our drawing with a light sketch using a graphite pencil. A hard graphite pencil, such as an “H” or “2H” will do. Try to avoid using anything harder than “2H” as it may create unwanted indentations in the surface of the paper.

See also: Artist’s Graphite Pencils Explained

Avoid using a softer pencil, such as a “2B” or darker. Darker pencils may leave too much graphite on the surface which may result in muted colors and bits of gray showing through the colored pencil applications.

The image that follows has been darkened to allow you to see the sketch a little easier. Your sketch should be as light as possible.

Adding Colors to the Doughnut

We’ll begin with colored pencil applications on the doughy part of the doughnut. We’ll layer a few colors to build up depth.

The first color that we’ll layer is Raw Umber. This color is carefully applied using a circular stroking pattern. This is followed by Cream, Terra Cotta, and Van Dyke Brown. The Cream applications are made primarily in the areas of lighter tone, while the Van Dyke Brown is applied mainly in the areas of darker tone.

Wax-based pencils can be burnished using a colorless blender while oil-based pencils are less receptive to a colorless blender. For this reason, we’ll blend the applications using a solvent. The solvent used in this drawing is Turpenoid Natural.

Using a soft brush, just a touch of Turpenoid is applied to the applications. This dissolves the color slightly, resulting in a smoother, more even distribution of color.

Next we’ll move on to the frosting. We’ll begin with a light application of Medium Flesh, taking care to preserve shapes of lighter value in areas where we see the strongest highlights.

To make the highlights slightly lighter, an application of White is applied.

To add to the complexity of the color, we’ll next layer a bit of Pink Madder Lake. This color is layered primarily over the areas where the values are darker.

This color is followed by Rose Carmine, adding a bit more to the complexity and intensity.

A few stronger shadows exist around the candies and the body of the frosting. Again, we’ll use Payne’s Grey to make the shadows a little darker. To warm up the shadows, we’ll layer Medium Flesh over the top.

As we did with the doughy sections, we’ll layer a bit of Turpenoid Natural with a soft brush to even the color.

If needed, you may go back over portions of the frosting with any of the pinks that we applied initially to intensify the color.

Next, we’ll address the sprinkles. We’ll use a variety of colors, using both a dark and light version on each sprinkle. Highlights are intensified with White, while shadows are darkened with Payne’s Grey. Remember, each candy sprinkle is a small form, meaning that is has highlight, mid tone, and shadow. Be sure to keep your shadows and highlights consistent for each sprinkle that you draw.

With the sprinkles in place, we’re now ready to address the bite mark in the doughnut.

We’ll begin by coloring in the entire shape of the bite mark with an application of Cream. This is followed with Raw Umber, drawing in textural marks to mimic the flakey dough. Strokes are mostly horizontal on the right side of the shape and are more circular on the left side. Be sure to leave bits of the Cream showing through – it’s the contrast that leads to the illusion of texture in a drawing.

We’ll then darken the shadows in this area with a bit of Van Dyke Brown. Walnut Brown can also be used if the value needs to be darker. The more that you push the darker tones, the more pronounced the illusion of texture becomes.

Next we’ll add a bit of cast shadow underneath the doughnut. Instead of using black, we’ll layer a couple of grays. First, Warm Grey V is applied, followed by Payne’s Grey. Cold Grey II is applied around the outer edge of the shadow to ease the transition to the white background.

We’ll also extend a cast shadow on the left side, using the same combination of colors. The shadow is much larger on this side.

Sticking with Payne’s Grey, we can enhance some of the shadows inside of the doughnut hole and in areas where the icing overlaps the dough.

Now our drawing of a doughnut with colored pencils is complete…

Doughnut Drawing with Colored Pencils – Conclusion

Like is the case with any colored pencil drawing, patience is important. Take your time when developing each layer of color to build up depth in the color. Perhaps you’ll create a drawing that’s good enough to eat!