Many types of markers are available on the market today and for good reason. No matter the type, markers are easy to use and carry around. They allow the artist to create in any circumstances and in any location.

This tutorial is dedicated specifically to alcohol-based markers. As their name suggests, the color (dye) of these markers is suspended in alcohol, making it a fast evaporating solvent.

An advantage of alcohol-based markers is their ability to make smooth gradients of color. You don’t need to add water to blend colors, as would be necessary in the case with water-based markers. In today’s post, you’ll learn an easy way to create beautiful gradients, which can be a challenge for water-based markers.

Another plus of this medium is that you can use markers in a combination with other supplies – for example, colored pencils. It opens up a completely new world of possibilities!

The first part of this tutorial is theoretical. We’ll talk about choosing your first set of markers and explore some basic techniques. Then we’ll apply all the knowledge to a quick and fun project. If you’re interested in the practical part, feel free to skip down the page. Let’s begin!

Alcohol-Based Markers

Like all of the other forms of art media, there are many brands of alcohol-based markers to choose from. Here are some of them:

• Copic
• Touch
• Winsor&Newton
• Spectrum Noir
• Prismacolor Premier
• Finecolour

I bet you’ve heard of at least one of those names. However, the list of all existing brands, including the local ones, would be excessively long.

Perhaps the most popular question that beginner artists have is “what brand of markers should I choose?” There are so many different opinions. I’m afraid that there isn’t a perfect answer. Choosing any artistic tool requires doing some research and experimentation.

We won’t be conducting a comparative review of art products that exist on the market today. Instead, we’ll cover the basics of how alcohol-based markers are used, since most of the brands listed above all behave in a similar way.

The common rule of thumb is that investing in a qualitative product pays off. It allows you getting better results and having a more pleasant experience in general.

On one hand, the safest option may be choosing a well-known brand with a strong reputation. Most likely, the prices on their products are closer to the higher end. You can be sure that the components of their markers are safe and non-toxic. Such brands usually have a well-thought collection of colors. Moreover, they give you an option to buy refills, which is a nice thing.

However, the quality difference between very expensive and budget markers have significantly decreased in recent years. You can still create stunning works of art with inexpensive markers.

Many products that are moderately priced also have a wide range of colors. In addition, you can refill their markers – no need to buy new ones.

It’s up to you to decide what brand to choose and how numerous your first set of markers should be. But for now, keep in mind the following: if your goal is to create realistic art, you’ll need many colors of alcohol-based markers. And here’s why…

In contrast to watercolors or other paints, you can’t simply make a new color by blending applications of two markers. In most cases, mixing is limited, even if you layer several marker applications. This is especially true for light and vibrant colors.

In other words, if you need orange, it will be much easier to get a marker of the proper hue and saturation than to mix orange using red and yellow. This nuance may be an obstacle for some people. Not everyone feels ready to invest in a big set of expensive markers right from the start.

It’s important to find a happy medium between quality, price, and quantity, and this is different from person to person.

Regardless of the markers that you have at your disposal, I recommend focusing on the techniques. Master them using any brand of markers you have. If you understand the logic of using this medium, you’ll be able to produce nice results with any decent markers.

Also, many brands sell markers “open stock”. It may be a great opportunity to try different brands without a huge investment.

There’s no strict rule that you should use only markers of the same brand together. In most cases, products of different brands do blend and work well with each other.

(For this tutorial, I used Finecolour Brush and Double Line markers.)

Creating Your Basic Collection of Markers

When beginning your collection of markers, pay attention to inscriptions stamped on the cap or body of each marker. For some brands, there is a letter (or two letters) and some numbers.

Letters indicate the color family. For example, B is for Blue, V is for Violet, and BV is Blue-Violet. You can easily continue the row by guessing other examples…

• R – Red
• Y – Yellow
• G – Green
• RV – Red-Violet
• YR – Yellow-Red
• YG – Yellow-Green
• BG – Blue-Green

Letter E may cause confusion, but the answer is quite simple. E is for the Earth tones.

Many brands provide a naming system that is logically sound. In this case, you can see the connection between the increasing or decreasing numbers and changes in the color’s saturation and brightness. In other cases, the given numbers seem rather random, so you have to rely on the swatches.

Always make color samples of your markers. The color that you see on the marker’s body or cap is usually not the same as the color of the mark that it makes.

Color charts make it easier to see what colors you have and will help you make the correct decision on what color to use in your drawings.

The choice of colors depends on the primary theme of your art. For example, botanical sketching requires an extended set of greens with the addition of reds, yellows, blues, and browns.

Take a moment to analyze your goals and favorite themes. You’ll get a basic understanding of what colors you use more often. This is a good place to start.

As mentioned above, the possibilities of mixing new colors with alcohol-based markers are limited. Therefore, it’s best to gather your set based on the following principle: get a lighter and a darker variant for every color that you plan to use.

These lighter and darker colors may be slightly warmer or cooler than the middle value.

The image below illustrates this principle.

I didn’t add the indications of colors because those numbers mean something mainly within a specific brand’s naming system. You may be using any markers in the world, so only the actual colors matter.

Depending on your favorite themes, it may be that you don’t need three different reds or yellows (but need a couple of violets and a turquoise marker instead).

A set of grays is a must-have for any collection of alcohol-based markers. I recommend having at least three gray markers.

Each gray shade has its designated place in the color chart system. Take a closer look at the caps or body of your gray marker. You’ll find a letter – it indicates the hue. For example:

W – Warm Gray

C – Cool Gray

N – Neutral Gray

Cool Gray has a hint of blue; Warm Gray has some brown in it. Neutral Grey, which can be found in some brands, is neutral, as its name suggests.

See also: Warm vs. Cool Grays

Also, some manufacturers offer us another family of grays called “Toner Gray”. Usually, it is halfway between neutral and warm.

Compare the swatches in the image below to see the difference.

By the way, many manufacturers of markers use another spelling – “Grey”. I use the American English version throughout this post, but don’t be puzzled by this seeming difference.

After the letters comes a number. Usually, the higher the number, the darker the shade is. The image below illustrates this.

It is recommended to pick gray markers, skipping every other number in the row. For example, your set may include Cool Gray 1, Cool Gray 3, and Cool Gray 5.

The Tips of Alcohol-Based Markers

A marker usually has two tips, one at each side of the body. Here are some common types:

• Fine nib is pointed (it is the upper one in the image below.) It is best for drawing thin lines of approximately equal width and working with details.
• Brush nib is a soft and flexible tip that allows creating varied, organic lines.
• Chisel nib is relatively big and broad, so it can quickly cover large areas. However, it is still able to make thin marks with its edge.

Again, it’s up to you to decide which combination will serve your goals best. In my experience, Brush tips perform blending substantially easier and quicker than Chisels. They allow for so many varieties of marks! So it’s worth giving Brush tips a try.

Basic Mark Making with Markers

In this part of the tutorial, we’ll explore several techniques that will enhance your skillset. They are simple yet effective.

First of all, the paper that you use matters.

I recommend working on a special paper that is designed for markers. It is smooth, allowing the tips of your markers to last longer. With that paper, you won’t run out of your markers too quickly. This paper doesn’t prevents the marker dye inks to soak into the paper fibers. Some papers have a coating that prevents inks from bleeding through.

It’s also easier to achieve smooth blending on special marker paper, which is very important.

See also: All About Drawing Papers and Surfaces

Quickly or Slowly – The Speed at Which You Make Your Mark

Look at the two samples below. They were made with the same Cool Gray 3 marker.

We can easily see that the sample “a” isn’t uniform. It consists of some horizontal strokes which are clearly visible. This sample was created by a series of relatively slow hand motions, so the inks had time to dry (at least, partially).

In contrast, sample “b” is uniform and smooth. We can see hints of separate strokes only near the outer edges of the sample. It was drawn quickly, so the paper was still wet during the process.

Remember – marker applications dry very fast! If you need a smooth covering, apply inks in a swift and confident manner. And vice versa: if you don’t need any blending between two colors, let the first layer dry completely.

Layering with Markers

To put it simply, adding a new layer of the same color darkens the color. This value shift is subtle.

To achieve a smooth transition from a lighter to a darker value, we should make marks quickly, while the marker applications are wet.

Compare the two samples below.

Sample “c” demonstrates a relatively smooth transition between layers. It’s fair to say that it was created using the “wet on wet” technique.

Sample “d” demonstrates a noticeable seam between lighter and darker shades. In this case, the second layer was applied after the first one had dried completely.

Both samples were created with one marker – Cool Gray 3. The difference in value was achieved only by layering.

Textural Marks

In some cases, we don’t need our marker applications to look smoothly blended. Sometimes, those visible strokes are our friends. They break the visual uniformity and create the illusion of texture.

In the image below, you’ll find some textural marks. They are spontaneous, even chaotic. Such marks can be created with swift hand motions.

While drawing, vary the angle and pressure on the marker. The wrist is active yet relaxed; the fingers may be involved if necessary.

Take a moment and consider all the possible ways to use these types of marks.

Samples “1” and “2” are perfect for wooden textures, while sample “3” is ideal for a variety of organic textures. Sample “4” looks like a tree’s crown from a distance.

How to Blend Markers

I hope that the amount of information that we’ve covered so far doesn’t overwhelm you. Blending markers is fairly straight-forward, we’ll be following just one sequence of actions.

1. Start with the lighter color;
2. Add the darker color (or any second color of your choice) with an overlapping layer;
3. Add more strokes of the lighter color to the border between two colors, where the “seam” is visible.

Why is it recommended to keep this order? The lighter color is your guideline. With markers, you can’t go lighter once colors are in place. It’s very difficult to lighten the applications, so save the “airiness” in your works as long as possible.

Please note that the order of applications may change. There can be exceptions when it’s appropriate to apply the darker color first.

Creating Gradients with Markers

If your goal is a seamless blending of two colors, the best option will be picking two colors that are close in value.

Cool Gray 3 and Cool Gray 7 can’t form a smooth transition between shades, but Cool Gray 5 and Cool Gray 7 can.

I used CG5 as a middle link to make a smooth gradient between CG3 and CG7.

Blending Practice

Let’s blend two green colors. To do this, I pick two colors that are relatively close in value, YG24 (left) and YG27 (right).

1. I start with the lighter YG24;
2. I add the darker YG27 with an overlapping layer;
3. I add more strokes of the lighter YG24 to the visible “seam” area.

Does it mean that only colors of the same color family can be blended? Luckily, no. It’s possible to experiment with any of them! Some combinations blend in a nicer and smoother manner, but there are no limits.

Even contrasting colors can be blended to a certain extent.

Try different options – who knows, maybe you’ll find your next favorite color combination? In the process, pay attention to the value gap between the lighter and darker colors.

Making complex, challenging gradients may be a great exercise. Try to create a row of colors that consist of as many steps as possible.

How to Draw a Banana with Markers

Let’s put to practice everything that we learned today. Our project will be quick and fun!

First, I prepare a set of markers that seem to be a good fit for the art. I refer to my pages of swatches. When in doubt, try the markers in a combination on a spare piece of paper.

I’m going to draw a banana that has some brown spots on its peel. Therefore, I’ve chosen several variants of yellow and some browns. Also, we’ll need gray markers to change the tone and intensity.

I’m going to include a little bit of light violet, which is the opposite of yellow on the color wheel. This tint will make the sketch more realistic and interesting.

All markers are by Finecolour Brush.

As we already know, marker applications dry fast and that dictates the tempo of drawing. If you don’t have enough experience with alcohol-based markers, selecting colors on the fly may lead to frustration. Preparing the tools beforehand allows you to save time and mental energy.

The Pencil Sketch

I’ve prepared a sheet of marker paper with the main contours of the banana. The object is sketched with an HB graphite pencil.

The lines should be light because excessive graphite may contaminate marker applications. Soften the contours with a kneaded eraser, if necessary.

Adding Color with Markers

I start with lighter colors, Y2 Maize and Y3 Mid Yellow. The working tip for all of the steps that follow is a Brush.

I apply Y2 mostly to the upper part of the banana. It is assumed that this area gets more light from the environment. I cover the rest of the banana with Y3, which is more saturated.

Remember how to make seamless gradients? Apply the first color, then add the second one, and quickly blend the border between them with the first color. The same principle goes here – don’t let this new shape overwhelm you.

In this case, the lighter Y2 is our first color, and the darker Y3 is the second.

I’m holding both markers in my hands all the time. (When I’m drawing with Y2 in my right hand, Y3 stays ready in my left hand, and vice versa.) This allows for changing the tools as fast as possible, before the inks dry.

Now it’s time to add some yellows that are more vibrant. I add Y225 Acid Yellow mostly to the top of the banana. Y5 Deep Yellow is applied as its companion to the bottom part.

The border between both colors is blended with Y225.

If you still see separate strokes, it may be a sign that your art needs another layer of marker applications. Adding more inks of the lighter color is a way to create a smoother transition.

However, in this case, we can leave some visible strokes to accent the texture of the overripe peel.

With Y17 Pale Ochre, I work on the form of the banana, giving it more volume. I create some soft core shadows and mark the edges.

If we apply this color alone, it may create a harsh contrast with existing yellow layers. That’s why I blend Y17 with Y3 Mid Yellow. It will soften the brownish strokes.

Pay attention to the order of applications for this step! Sometimes we apply the darker color first, and then blend it with the lighter one. But this happens mostly after the base layers (formed with lighter colors) are already in place.

I add some spots on the banana peel, using Y9 Olive Gold. The Brush tip is great for creating such varied, spontaneous marks of various sizes.

I blend some of the spots with Y3 to make them softer and more blurry.

With YG10 Green Parka, I add darker spots. Y3 can be used again to blend them.

I use YG10 to outline the edge between the sides of the banana peel.

I use TG257 Toner Gray #8 to add a few more spots on the peel. (They are really dark!) I soften them with Y17 Pale Ochre. I also accent the stem.

If you don’t have any Toner Grays, it’s possible to use a marker from the Warm Gray or Neutral Gray family.

I used thin marker paper for this drawing (it’s 100 gsm), so this amount of inks makes it buckle a little. Luckily, we’ve completed the banana!

I add a cast shadow under the banana, using CG268 Cool Gray #2. This shade covers a relatively large area. Then I add some YG262 Yellow Gray #4 closer to the banana.

Then I blend the border between the two grays with the lighter marker.

With TG257 Toner Gray #8, I increase the contrast in the area where the banana touches its cast shadow.

I blend this shade with lots of YG262. There is a substantial gap in value between those grays. The surface of the paper should be wet with an alcohol solvent to make this gradient happen.

The sketch is almost complete. To make our banana more realistic, I add some BV197 Mauve to the lower part of the banana. I accent the core shadow and mute the area of reflected light. I also add this color to the cast shadow.

I use CG268 Cool Gray #2 to blend this color a bit more.

Light violet brings some depth and credibility to the sketch. Yellows look more vibrant due to this contrast.

Conclusion

Congratulations – we’ve come a long way from the very basics of using alcohol-based markers to a wonderful practical project! I hope that you enjoyed our journey.

Markers open up a big world of creative possibilities. I wish you much inspiration!

Value (lightness and darkness) is undoubtedly the most important element of art and design. Most successful pieces of art use a wide range of value. To master a medium is essentially to master the techniques used to create value with that medium.

Some art media are straight forward with regards to creating value. When working with graphite or charcoal, for instance, the artist uses pressure changes to adjust his/her values – light pressure creates light values while heavier pressure results in darker values. Therefore, shading with graphite and charcoal is intuitive.

However, not all drawing media is as straight forward as graphite and charcoal. A pen and ink drawing, for example, may use only black ink. Changing the pressure placed on the tool does not change the value. So how does one create a wide range with only black?

Fortunately, There are several well-established techniques used to create a range of value with ink. They are…

• Hatching
• Crosshatching
• Stippling
• Scribbling (or random lines)

See also: Pen and Ink Drawing Techniques

In this lesson, we’ll focus on only the first technique listed above – hatching. Hatching is perhaps the most difficult technique for developing values with black ink alone. So mastering the techniques of hatching will carry over to the other techniques you could use.

Hatching is shading with drawn lines, all traveling in the same general direction. These lines can be straight or curved. They can be close together or spaced apart from each other. When hatching, the artist has a couple of choices as to how he/she manipulates line to create a range of grays. These techniques are…

• Line frequency – the number/amount of repeating lines in a given space. Line frequency is sometimes referred to as line density.
• Line weight – the visual lightness or darkness of a single line. When using ink, line weight manifests through the thickness or thinness of the line. This is also sometimes referred to as line quality.

Both techniques rely on a visual phenomenon called optical mixing. Optical mixing occurs when colors appear to be a mix of two or more colors from a distance, but are actually two or more different colors. With hatching our “colors” are black and white. With a little distance, these colors appear to be mixed, creating the illusion of a gray.

Shading with Line Frequency

Look at the two point perspective image above. The forms in this image are made up of mostly flat planes that either face rightward, leftward, upward or downward.

Now look only at the planes that face to the right. Notice that the line frequency is the same for all planes that face this direction. In this case, the light is coming from the top-right, so these planes are lighter in value. Adequate space is left open between each of the hatching marks, allowing more of the paper to show through compared to the other planes.

The left facing planes are a medium value created by placing lines closer together. By placing the lines closer together, less of the white of the paper shows through, resulting in a darker tone.

The flat planes facing downward are in shadow. These planes are the darkest with the most densely packed hatching lines.

Planning a Drawing with Line Frequency in Mind

Using line frequency to develop values requires some planning. One must consider, before shading, how close together lines must be place in order to properly capture the desired contrast between planes. This is the case whether drawing simple, non-objective forms (as seen above) or complex, representational subject matter like cityscapes and portraits.

Hatching is not a forgiving technique. It is difficult to “correct” values once they are in place. Think about it. If the artist accidentally spaces his/her lines too far apart on a given plane, resulting in too light of a value, then the most intuitive solution would be to simply draw an extra line between each of those that were first put down. However, this solution would dramatically darken the value in question. That value now would now be twice as dark. So much for subtle adjustments.

See also: How to Correct Mistakes in a Pen and Ink Drawing

So, the question should never be, “How can I correct value created by hatching”. The better question is, “How can I avoid needing to correct my values in the first place”. The simple solution is to create a value scale and then assign values to individual planes before shading. Then, just follow the plan.

See how the value scale was used to plan where specific values belong. Assigning values to specific planes prior to shading prevents mistakes that might otherwise force an artist to start over.

Shading with Line Weight

Another approach to adjusting values with hatching includes varying the width of the line. The thickness or thinness of the line is called line weight and is sometimes referred to as “line quality”.

Take a look at the value scale above. See how the last block in the scale is an inversion of the first block. All of the squares that make up the value scale have the same number of lines per square. Therefore, each value has the same line frequency. The only change from block to block is the thickness and thinness of the lines.

Shading with only line weight requires “mapping out” all of the lines with a pencil, then thickening them as needed with a pen. See the marks at the bottom of the paper in the image below. Those marks are 1/8 of an inch apart and correspond to marks at the top of the paper. These marks were used as guidelines across all of the planes in the image before using the pen. This step ensures consistent line frequency throughout the drawing.

Once guidelines are in place, the artist should then use a values scale to assign appropriate values to specific planes. Inking each value one at a time is not a required part of the process but doing so does helps the artist to maintain consistency in the drawing.

Line Weight – The Next Level

Using line weight to render geometric forms is a great way to familiarize yourself with the concept. Taking the concept to the next level means applying it to organic forms – that is forms with irregular, natural contours. The process is the same as described above but with one clear distinction. Even a single line, itself, may have variable line weight. So planning ahead is even more important.

Look at the group of images below. The first image is, of course, a reference photograph. Image 2 is a light pencil drawing. The purpose of the initial drawing is to clearly define the shape of each distinct value that is observable from image 1. Four distinct values will be used to render the eye.

Both images 3 and 4 look just like the first steps used to start rendering the geometric forms from earlier in this lesson. See how, in the top left of image 4, the line segments inside of a single shape are slightly thickened. Those thicker segments represent the second lightest value in this drawing. All shapes that match that value should be thickened in the same way during this step.

In image 5 (below), all shapes have the second to lightest value are complete and one shape in the top left has the third value in place. Notice that an attempt has been made to transition from one value to the next. In image 6, all values are in place except the darkest value.

Finally, image 7 shows the completed drawing of an eye rendered with only line weight. The drawing is small – possibly smaller than it may appear on a desktop or laptop computer. If you are viewing this image on a larger screen, then move farther back from the screen to see these lines work together to describe the undulating surface seen in and around an eye.

As I write these lines, the warmth of late spring is gaining its strength. The sun shines brighter and brighter. The abundant, colorful summer is around the corner. Almost every day presents new flowers, birds, butterflies, and other beautiful creatures of nature. Everything is full of life.

Let’s make the most of this wonderful time — it gives so many opportunities to observe, study, and hone our artistic skills. In this tutorial, I’ll show you my process of sketching cherry blossoms with ink on toned paper.

Supplies You’ll Need…

For this project, I’ll be using:

• A cool grey ink liner (0.1)
• A black ink liner (0.05)
• Liquid white ink
• A pointed nib pen for applying the white ink.

If you don’t have a grey liner, you can replace it with an ordinary HB or B graphite pencil. The pencil’s sharp point can create thin lines that imitate ink marks. Of course, the result will be slightly different, but still beautiful.

Likewise, it’s possible to replace white ink with a white gel pen. I prefer liquid ink because it allows for developing a dense, solid covering. If we combine it with a pointed nib used as an applicator, we’ll get sharp lines that are both crisp and thin. A gel pen’s lines will be wider, but sometimes this adds a more spontaneous feel to the sketch.

(The following links are affiliate links, which means we make a small commission if you purchase without additional cost to you.)

The underdrawing is created with a graphite pencil and an eraser.

Choosing a Toned Surface

When we consider drawing with ink, toned paper may not be first thing that comes to mind. However, for quick, expressive sketches, I recommend using toned paper. It creates a pre-made midtone base that saves time and effort, allowing us to complete the work faster.

Starting with a middle value for your “ground” allows us to push values outward from the center of the value scale. So instead of starting at one end, we begin in the center. This helps us to make evaluations regarding the value with more accuracy and helps us to create a drawing with wider variety of tone.

Since we’re applying ink to the surface, it’s best to choose a paper that has a slightly heavier weight. This will help to prevent buckling of the paper as ink is added. The drawback to using a thicker surface is that many heavier papers also feature a heavier tooth. And while this tooth is great for liquid applications, it may interfere with smoother marks made with a pen.

Many mixed media papers are suitable for this approach of working with black and white ink. These papers are thick enough to accept watery applications (if desired) without buckling and are also available in various tones.

(The following links are affiliate links, which means we make a small commission if you purchase without additional cost to you.)

See also: Six Reasons to Draw On Toned Paper

Find Your Flowery Inspiration

Unless you live in a place where no flowers are in bloom or if you’re allergic to pollen, I recommend that you go outside and take a close look at flowers. Do you see anything that sparks your creativity?

My inspiration was a twig covered with small white flowers. Cherry blossoms are a symbol that represents both the beauty and fragility of our life.

Of course, any type of flower (or even other objects) are suitable for this process. Floral motifs are a nice option because of their natural contrast and organic forms.

A tangible object provides more information than a photo. It’s possible to observe it from different angles, study in detail, rotate, or even smell this object. Drawing directly from a live object will improve your drawing skills faster than drawing from a photo.

See also: Is It OK to Draw and Paint From Photos?

After you’ve found your nature-inspired subject, pick a small fragment that is sufficient for drawing. Unsure of what type of flower you’ve chosen? There are apps that may help to determine the exact name of the flower based on a photo.

Observe and Sketch the Flowers with Graphite

Now the flowers are ready to be transformed into an artwork. Observe them carefully, find a position that you like and consider the composition.

While drawing, you can keep the flowers on the table, in a vase, or even hold them in your hand. While you observe the subject you may ask yourself a few questions…

• Can you simplify the object?
• Can you see the different values?
• Do you notice unique textures or shapes?
• What basic shapes are most prominent?

My twig can be presented as a line with four rounded shapes. These shapes mark the clusters of flowers.

I create a quick graphite pencil sketch, based on a simplified framework of shapes. There are single flowers outside the clusters and groups of leaves as well.

At this stage, my goal is to position the elements as accurately as possible. However, their shapes remain rough and simplified.

I observe the physical cherry blossom twig as attentively as I can. Then I transfer some of the observations to the drawing. It is a constant back and forth process of observation and mark making.

It’s much easier to draw an object that is already familiar. A blank sheet of drawing paper may seem intimidating and puts additional pressure to get everything right on the first attempt. This is especially true if this paper has a pleasant texture and a pleasing or unusual color.

In this case, we’ll create a simple sketch of our subject with a graphite pencil on regular drawing paper or in a sketchbook. This preliminary step isn’t necessary, but it does help us become familiar with the subject.

Creating the Underdrawing

Now we’re ready to start our drawing on the toned surface. With a graphite pencil, I mark the contours of the cherry twig. It’s time to combine everything that I’ve learned about this object with fresh observations.

The outline of the twig and the main shapes of the flowers are drawn first. Once the basic shapes are in place, the details follow, resulting in a light contour line drawing. I pay attention to the direction of each shape of the flowers and the unique bending of the leaves.

Even though you may think there’s nothing more to see after creating a contour sketch, continue to observe the subject throughout the following steps.

It’s up to you how accurate to make your drawing. This drawing is a sketch where aesthetics are the goal, instead of a full-fledged botanical illustration. Feel free to exclude portions of excessive visual information and allow for some stylization.

To be honest, I felt that something is missing in this image. The flowers themselves are beautiful, but what if we add a hint of a story?

To make the drawing more interesting and to include a bit of story, I decide to include a small bee buzzing around the flowers.

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

Drawing the Flowers with Ink and Liners

The color of our paper presents the middle of the value scale. The lines drawn with 0.1 grey liner are just a bit darker than the surface. This means that we can create a soft, subtle value transition in the midtones.

It is important to determine where the light comes from before starting the work. The light source will need to be defined by the positioning and strength of the values.

See also: Shading Basics

With fine lines, I mark the central areas of flowers, outline the contours of the twig, and give the flowers more volume by applying contour hatching. The petals are the lightest elements in the drawing, so I’m going to add fewer grey or black ink marks to them.

The leaves are darker — we can adjust the value and increase the contrast. I apply grey hatches to reveal the shadows here.

At this stage, our drawing has low contrast. Playing with values inside the midtone range allows us to develop the drawing gradually and push the contrast in values incrementally.

I start including darker lines made with 0.05 black liner.

I emphasize the contours, strengthen the shadows, and reveal the delicate textures of petals and leaves. Again, the flowers are the lightest elements in our sketch, so they should remain barely touched at this point.

For this step, I use both hatching and dots to create the desired effect of the petals’ soft texture. It’s important to be careful, work slowly, and not rush the process.

I continue working in the same manner, adding black marks to the sides of the twig (which were grey before now), and the core shadows.

I also increase the contrast on the bee by emphasizing the darker stripes on its body. The contours of the wings are marked with a minimum number of lines, keeping them light and transparent.

The sides of the twig (more precisely, the outer contours) still have lower contrast than the central part. This is done to attract the viewer’s attention to the most important elements, including the bee.

The sketch looks nice, but it lacks the lighter values and highlights.

Adding Highlights with White Ink

I’ll mark the lightest areas with white ink, applied with a nib pen. The flowers will receive a heavier concentration of white marks in the drawing. White ink is applied to the tips of the flowers, accenting the soft folds.

I add some white ink to the upper part of the twig, to the leaves’ tips, and just a couple of thin lines to the wings of the bee. Keeping the relationships between the darks and lights in balance is important.

Sometimes, just a small dot of white is all you need. This is the case with the highlight in the eye of our bee.

Finishing the Drawing of Cherry Blossoms

The sketch is almost complete, so let’s make a quick evaluation.

We can add more ink marks here and there if necessary. It’s up to you to decide which tool to use. You can include more grey, black, or white lines (or dots) to balance the values. The more midtones you include, the more subtle the light source will appear. Omitting midtones will result in higher contrast, which will make the light source appear stronger.

I decided to add just a bit more of black and grey to strengthen the shadows and create more variation in the midtones. The change is subtle, but it makes a difference.

Conclusion

Congratulations — we’ve completed our quick sketch! I hope you enjoyed working with inks of different values and toned paper.

Any season is full of inspiration and countless beautiful objects are waiting for you to draw. Let yourself be curious and draw everything and anything you like! Consider working on toned paper – even with ink. It speeds up the process and allows you to create a broad range of value.

In this pen and ink drawing lesson, we’ll take a look at how to draw a colorful butterfly.

Did you know that butterflies can be found everywhere in the world except Antarctica? I think this fact is just mind-blowing. Actually, these insects have some surprising features and abilities. Let’s learn more about them while drawing!

I’ll show you my process of creating a stylized artwork. By the way, this butterfly drawing can be used as a wonderful decoration for a greeting card. What do you think?

I’ll be using an ordinary an graphite pencil and a couple of black ink liners (mine have the numbers 0.1 and 0.2). A nib pen instead of liners is a nice option, too.

To be honest, I intended to keep this project within the traditional black and white style that presents a visual image in such an elegant manner. However, I found myself thinking about including some color in the middle of the process. That’s why you’ll see two versions of this butterfly drawing at the end of the post. It’s up to you to decide which one is closer to your personal preference!

If you like working with color and enjoy vividness in your art, arm yourself with some colorful tools like gel or ink pens. Anything of that kind will work, and the colors are up to you. My choice was bright blue, dark blue and violet.

Drawing a Butterfly with a Graphite Pencil

As usual, we’ll start with an underdrawing. This will make the inking process much easier and allows us to work with confidence. Feel free to take a moment and imagine the butterfly that you are going to draw. Think about its pose, pattern, and the composition. Don’t feel that you have to copy what I’m doing exactly. Use what you learn here and apply it to your own drawing.

If you’re going to depict a specific species, having a reference image is crucial. However, my goal is to draw rather a generic butterfly or a composite image.

The preparatory stage of the process can be creative. For example, you can sketch some miniature butterflies that have different wing shapes and patterns. Which one is your favorite?

The figure of a butterfly, including the wings, can be divided into symmetrical halves. This symmetry is clearly visible if you observe a butterfly from above, when it is holding its wings flat.

To ensure that we have this symmetry in our drawing, we’ll start with a lightly drawn center line. It will help to take measurements and check the symmetry. If you decide to go for a more complex position of your butterfly, you may still choose to draw a core line. Just note that this line may be drawn at a diagonal.

The butterfly’s body consists of a small head with antennae, a thorax, and an elongated abdomen. Butterflies have six legs but, in my case, we can’t see them because of the overlapping wings. By the way, butterflies taste with their feet – or, more precisely, with special receptors that are located there.

There are two fore wings (the upper ones) and the hind wings (the lower ones). Usually, butterflies hold their wings vertically above their bodies when they rest.

I roughly sketch all the listed body parts. This loose sketch doesn’t have to be perfect – we can refine it later. Actually, even symmetrical objects may have irregularities. A human face is an example of this. This is called approximate symmetry.

To make the drawing more interesting, I position the butterfly in a way so that one set of wings is directed towards the viewer.   

I next refine the contours of the wings, making the lines smooth and organic.

The body parts need refinement and additional details too. There are two large compound eyes on the head. These eyes are capable of distinguishing flower shapes or motion. Color perception of a butterfly is exceptionally good, especially in the blue and violet range.

I next add some thickness to the antennae. Butterflies use them to test the air for wind and scents.

The thorax and abdomen usually have a number of segments, but I allow a touch of stylization here. My goal is a drawing of a simplified model of a butterfly, rather than an accurate representation of any real species.

I add an improvised pattern of the wings, based on imagination and various patterns that I have seen on butterflies. This pattern should be more or less symmetrical, so the wings are mirroring each other. Of course, a complex pose may create minor distortions.

By the way, the colors and patterns we see on the wings are made by the reflection of the tiny, pigmented scales that are covering them.

With our pencil sketch complete, we’re ready to add ink to our drawing.

Drawing a Butterfly with Ink

As mentioned above, my goal is to create a stylized, decorative drawing. That’s why I’m going to simplify the drawing, filtering out the visual information that may be too excessive.

With a 0.2 ink liner, I outline the general contours of the upper part of our butterfly. The head and thorax have a “hairy” texture, so I draw their contours as a sequence of short hatches.

Moving the liner back and forth, I create the darker areas in the pattern of the wings. This application is quite dense. As you can see in the image below, these areas don’t have a solid, clear contour, which makes the pattern appear more natural.

Tiny gaps are left open between the ink marks. This creates the illusion of a texture that has a fleecy or velvety quality. I find this to be much more interesting than just a flat texture formed by an even, almost printed-like covering.

The veins on the wings are thin, so we have to be delicate with our applications. I use a dotted line to mark them.

Now it’s time to work on the hind wings and the abdomen.

Using the same approach, I outline the contours and darken some areas of the wings’ pattern. Both sets of wings, the upper and lower ones, should look like an congruent system. 

With a 0.1 liner, I add hatching to the wings. The goal is to make a visual connection between areas of strong contrast.

Also, I fill the body (the head, thorax, and abdomen) with short hatches and dots. The sides of the body become slightly darker to give the butterfly more volume. The head and abdomen of our insect have a rough texture, so the direction and length of hatches should reflect this. 

It was at this stage that I got the idea to bring in some color. If I decided to complete this artwork with only black and white, I would add more fine hatching and dots to the wings, probably making them just a bit less flat and stylized.

However, as we turn to color, I put aside the black liners. When it comes to adding any type of color media to black ink art, balance is very important. This balance is achieved in a different way in artworks. But, leaving your drawing at a slightly unfinished state is much better than overdoing it right in the middle of the process. At least, this principle applies to traditional media in which you don’t have the “Undo” button.

So, are you excited to add some color? Let’s do it.

Adding Colorful Stippling to the Butterfly

With a bright blue pen, I add dots to the wings. Stippling is a great technique as it gives the artist control over the density of marks. The density of the marks gives us control over the value and intensity of the color.

For example, there is a wide curved shape in the fore wings’ pattern. I cover just one side of it with dots, creating a gradient from white to bright blue.

I also encircle the black spots found on the hind wings with a dense collection of dots to emphasize these areas.

Generally, I leave some gaps between the dots allowing the white paper to show through. This allows the drawing to “breathe”.

A moderate quantity of dots may be added to the body of our butterfly to create visual unity.

I add more dots with dark blue and violet. There aren’t any rules telling us the particular way or order of combining stippled marks of color. All the hues I picked are close to each other on the color wheel, so they harmonize with each other.

See also: Color Theory – The Elements of Art

I strengthen the inner edges of the wings (those closer to the body), alternating between dark blue and violet. The dark blue dots create an illusion of depth, replicating a soft shadow.

When it comes to the small segments of the wings’ pattern, I choose one side of each segment and insert new dots there. Again, the opposite wings should mirror this, so we’ll repeat this applications on the other side.

Colorful stippling may also be applied to the body parts of our butterfly if so desired.

The artwork is complete!

Conclusion

Thank you for being with me on this creative journey – I hope you had some fun in the process!

It is fair to say that we have two artworks as a result. Both of them have a stylized, decorative feel. However, there is a huge difference in perception, which depends on the presence or absence of color. I’d say, there is no “better option”. These artworks (or, more precisely, two stages of the same process) are just different. Some will prefer the black ink drawing, while others will prefer the colorful drawing.

Which variant do you prefer? Please let us know in the comments!

I wish you much inspiration and luck with your art projects and your pen and ink drawings!