Nature has so many curiosities, and cones are one of them. We see various cones on a walk in a forest or park and in holiday wreaths and floral decorations. In this pen and ink drawing lesson, we take a look at drawing several pine cones with ink.

In other words, pine cones become a habitual part of our life. Chances are that we don’t even pay much attention to these small jewels of nature. But does it mean that cones are just something simple or ordinary?

In the recent past, we worked on an interesting project called “Ink Herbarium”. Today we’ll explore a similar idea, but at a different angle. The subject of our inked collection will be pine cones of different sizes and shapes.

Cones are a wonderful candidate for a project. Why? They can be found even in winter, when all the beautiful leaves, flowers and other numerous wonders of the natural world are temporarily not available.

I consider this drawing as a set of sketches that we create to study nature. That’s why I’m going to use cones from my collection. Some of the exemplars were brought from another country!

I recommend that you gather some physical pine cones before starting the project. We’ll talk about the reasons for that in the next chapter.

To introduce some challenge to this project, I’ll be using one ink liner (number 0.2) to draw the whole artwork. This tool doesn’t allow much variation of the line width, in contrast to nib pens.

However, we can achieve a slight variation by changing the level of pressure on the liner. The lighter the pressure is and the faster we draw, the thinner our lines will be.

Also, using a tool that creates lines of medium width by default will add a sketchier, more spontaneous feel to the artwork.

So, please use any kind of inking tool you have or prefer. Maybe you’ll even choose graphite or colored pencils for this idea!

How to Understand the Structure of a Cone

A Wonderful Responsiveness to Humidity

It’s useful to know that scales of seed-bearing cones move in response to changes in relative humidity. The scales gape open when it is dry. But when it’s damp, they close up.

To a certain extent, you can use this mechanism to adjust the appearance of your cones so they fit your vision. One of the methods to ‘close’ a cone is to put it into a container that is filled with water.

Two Basic Shapes of Cones

We usually use the term “pine cone” to describe any cone we come across, but that’s not technically correct. Evergreens come in many types: for example, fir, pine, hemlock, cedar or spruce. They are called conifers and bear cones.

Basically, cones are found in two common shapes – we’ll talk about them in a moment. It’s necessary to mention, this classification is just something that I invented to simplify the explanations and the further process of drawing.

Of course, the world of cones is much more complex than just two categories of shapes.

For example, each evergreen has two distinct cone types – female and male. They usually differ in size and appearance, too! If you are interested in this topic, please take your time to explore it. Additional knowledge will only enhance your project, making it more credible.

The first type of shape is an egg-like cone (like fir tree cones). It looks rather solid and massive. The top tips of scales can move away from the general shape of the core, creating an uneven silhouette, but the main egg-like mass is still visually dominating. Such cones usually have a predictable, symmetrically organized rhythm of scales.

Another type is more complex – it features extended scales arranged around a core. In this case, scales go aside from the core quite noticeably. Scales have a rhythm too, but it isn’t as strict and obvious as with the first model. Pine tree cones are an example of this second type.

Chances are that you’ll come across a cone that has features of both types, too. Nature is versatile!

In the image below, you’ll find a scheme that represents the first step that you can undertake to analyze and draw a cone of any of those types. However, your drawing doesn’t have to resemble any scheme – please feel free to develop your own approach. 

Analyzing Your Cone

The best way to analyze a cone is to get a real one and observe it at different angles.

How does it look in from a side view or from above? Can you see the rows of scales on top of each other? As a general principle, look for the guidelines (like separate scales that attract your attention more than others) and rhythm in the pattern. This will help to develop your observational skills.

Also, it’s useful to study the separate scales – especially those bending aside of the “stem” quite noticeably. How do they look if we change the angle of view? Is there anything special about the shape of their tip?

Compare the scales at the center of the cone and at its periphery. How do the location and the shape of the cone itself affect the appearance of the individual scales?

Pay attention to the density and height of the scales’ rows. How do they change from top to the bottom? If we observe a cone from above, we’ll see how the scales fill in the shape of the cone. It’s possible to draw a scheme with imaginary lines that mark each row of scales.

Just keep in mind that cones may be slightly – or significantly – asymmetrical. Especially the cones of the “pine type”. Sometimes an exaggerated inclination or distortion of the cone’s core adds natural charm and expressiveness to the artwork.

A cone may seem to be a simple object, but when it comes to drawing, its complexity uncovers itself. Take the time you need. It will pay off.

Qualitative photos used as a reference can be helpful. But, they may lack important nuances that allow us to understand the structure and volume of the object. By the way, any step-by-step instructions on how to draw a generic cone may lead to a similar point of confusion – the goal is to study, not to repeat a scheme that somebody has made.

That’s why having real nature at hand is quite useful, if not crucial. You can deviate from that object’s shape which is completely normal.

Working on the Composition

I’m going to draw several kinds of cones of different shapes and sizes, emphasizing the priority of cones with additional elements – like fir twigs and small cone seeds. A combination of smaller and larger elements will make the composition more balanced.

I plan to gather my sketches inside one sheet of paper, so this collection will look like an art poster. That’s why a harmonious composition is absolutely desired here.

See also: Composition in Art

I create several miniature sketches, playing with various possibilities.

The depicted elements may be stylized. The only thing that is important is your understanding of what is going on the final surface. For example, the meaning behind that relatively large shape on the left side of my sketches may seem dubious, but I know – it is a symbol for a big fir cone. 

Creating the Graphite Pencil Underdrawing

In my experience, having a preparatory drawing that serves as a structure for ink lines is invaluably helpful. It allows being more confident and, at the same time, relaxed while inking.

So I sketch our objects, adding as many details as I feel necessary to start applying ink. It’s important to reflect your observations in the underdrawing and be deliberate.

For example, I don’t just repeat the pattern of scales on the biggest cone. The top scales are smaller, featuring a minor change in the rhythm.

Also, a couple of cones in my drawing may seem very similar – the only difference is their size. In reality, the discrepancy between their shapes and their tips suggest that these cones belong to different trees. However, we already know that conifers are relatives. 

Drawing the Cones with Ink

I outline the main contours of the cones and their scales, paying particular attention to the silhouette of each object.

As I work with only one ink liner, it’s necessary to vary the pressure on the tool. When I draw with a lighter pressure and at a higher speed, the lines become just a bit thinner. That’s exactly what we need!

The cones of an alder tree are the smallest in our drawing. They present so many compact scale-like shapes! I avoid making their contours too complex as this may overload the drawing right away. 

To allocate the shadows, we need to determine where the light source is. In the case with relatively small objects, a common model is an illuminance from above. As we have several sketches gathered together, the model of light and shadow should be the same or similar for all your sketches.

With groups of hatches, I accent the darker areas of the cones, focusing on the individual scales. Keep in mind the general shape of the cone. The bottom rows of scales usually present darker values, owing to the cone’s core shadow or numerous drop shadows from the upper elements.

See also: How to Shade a Drawing

Also, practice shows that darkening the area near the pine cone’s core helps to move forward the tips of the front scales visually.

Hatching can be a powerful tool – if the characteristics and direction of lines conform to the shape of the object, you’ll easily create an illusion of volume. That’s why I use contour hatching to make the cones more three-dimensional.

To learn more about the common hatching techniques used in ink drawings, check out this course: The Pen and Ink Experience

Also, the direction of hatches accents various planes (sides) of an object – for example, the upper plane of the pine cone scale, its width, and the side plane. Sometimes it’s helpful to see everything you draw in a simplified manner.

The alder tree cones require a different approach. To darken the gaps between the rows of scales, I use a spontaneous scribble line.

Feel free to erase the graphite lines as you go. At the time, I prefer to keep them – grey marks create interesting tonal nuances here. 

I increase the contrast in my drawing. The fir cone, which has a solid, massive shape, needs a more pronounced core shadow, so I apply a couple of hatching layers to the sides and the bottom part. The pressure on the liner is minimal because the lines should be as thin and unobtrusive as possible.

Also, I darken the areas between the scales to separate the rows visually.

I pay special attention to the contours – they should blend into the sides of the cones smoothly.

There is an advantage in working on several sketches at once. For example, such an approach increases the chances to notice new nuances as you go, because you see your drawing with fresh eyes each time. Also, you can digress from one object and have a beneficial moment of rest while working on another part of the artwork. 

I add dots here and there, especially to the tips of the scales, to reveal a beautiful organic texture. Also, dots help me to soften the transition between darker and lighter values on the scales. Some areas seem too light, even highlighted, so I mute them with the deliberate use of dots.

As a final touch, I make sure that the fir tree needles, which are relatively dark in real life, have enough ink marks. The individual needles remain lighter than their neighbors. They stand out because of the contrast. 

Drawing Pine Cones with Pen and Ink – Conclusion

Congratulations – we’ve completed this special project! I hope that you found cones truly fascinating and made another step in developing your artistic skills. The great news is that now you can apply this knowledge to the new projects.

Thanks for being with me on this journey. I wish you much inspiration and luck!

Cupcake Drawing with Pastels and Pastel Pencils

In this extended lesson on drawing with pastels we’ll draw a colorful cupcake. Soft pastels and pastel pencils are applied to PastelMat paper to complete the drawing. This lesson is presented in real-time. The intention for this type of video format is for the student to draw along and create their own drawing.

Here’s a look at the completed drawing…

Materials Used in This Pastel Drawing

You are welcome to use any brand of pastels and pastel pencils as well as any surface that you wish. Keep in mind that your results will vary depending on what surface and materials you use. PastelMat paper is a unique surface and while it is a bit pricey, a substitute is not currently available. Also keep in mind that different brands of pastels will behave differently.

Here are the materials used in this lesson (the following links are affiliate links which means that I make a small commission if you purchase at no additional cost to you.)…

• PastelMat Paper
• Rembrandt Pastels
• CarbOthello Pastel Pencils

Cupcake Photo Reference

A photo reference is used to complete this drawing. Here’s a look at the photo reference…

Surfaces for Drawing with Colored Pencils

I’ve had quite a bit of experience drawing with colored pencils and I love colored pencils. Colored pencils are one of my favorite drawing mediums to work with and I’ve found some pretty exciting surfaces over the years. They all have their advantages and disadvantages.

In this post, I’m going to share with you each one of those surfaces, the advantages and disadvantages of each one of those surfaces, and the unique characteristics of each one. (Some of the links that follow are affiliate links which means that I make a small commission if you purchase at no additional cost to you.)

See also: Comparing Colored Pencils

Bristol Paper

The first paper I’m going to share with you is Bristol paper, specifically the vellum surface. Bristol paper comes in other surfaces other than vellum which are smoother surfaces. Bristol Paper, even with the vellum surface is relatively smooth, but the vellum surface does have a little bit of tooth or texture associated with it. It is capable of accepting multiple applications of colored pencils, but it’s still limited because of the overall smoothness of the paper.

This paper is a little bit heavy. It’s very similar to card stock, but its rigidity makes it a great surface for working with colored pencils.

Notable Characteristics of Bristol Paper:

• Easy to find.
• Inexpensive.
• Easy to develop details.
• Limited layering.
• Only available in white.

Canson Mi-Teintes Pastel Paper

The second surface that I love to use with colored pencils is Canson Mi-Teintes Pastel Paper. Even though this paper is called pastel paper, it is a wonderful surface for colored pencils.

This paper features two distinct sides. One side is heavier in texture compared to the other side, but both sides have ample texture or tooth for multiple layered applications of colored pencil. This paper is easy to find and it comes in a variety of different colors. So if you want to allow that color to show through or if you just want some of that color to be your background, this is a major advantage.

As I mentioned, this paper comes in two distinct sides, or it has two distinct sides associated with it. One side has a very heavy tooth, which will require multiple layered applications of colored pencils to fill in the tooth. The other side has a less pronounced tooth, but it’s still enough texture to accept multiple layered applications of colored pencils.

Notable Characteristics of Canson Mi-Teintes Pastel Paper:

• 2 distinct sides.
• Easy to find.
• Variety of colors.
• Heavy to medium tooth.
• Encourages layering.
• Tooth may be too heavy for some.

See also: How to Sharpen Any Pencil

PastelMat Paper

The third paper that’s absolutely fantastic for colored pencil drawing is PastelMat Paper by Clairefontaine. This paper has a heavy tooth, almost like fine grit sandpaper. This paper definitely encourages layering.

It is a great surface for use with other media like soft pastels. Again, this paper is called PastelMat Paper, but even though it’s called PastelMat Paper, it’s still great for colored pencils. If you want to use soft pastels in conjunction with the colored pencils, then this is a great surface for that. This paper comes in a variety of colors, so you have that middle value to start with and that’s going to encourage a full range of value in your drawings.

This paper is heavy and high quality. But because of this, it’s going to be expensive. In fact, compared to the other papers, this is probably the most expensive paper on the list and it is hard to get in some locations. For where I am in the world, I do have to order it online, and it does take quite a while to get to me.

Notable Characteristics of PastelMat Paper:

• Heavy tooth.
• Encourages layering.
• Great for combining with pastels.
• Variety of colors.
• Heavy, high quality paper.
• Expensive.
• May be difficult to find.

Stonehenge Paper

Stonehenge Paper is a soft paper, but it does feature a fairly heavy tooth. You can easily create multiple layered applications on the surface, which again is so important to building up that depth and color that you want in your colored pencil drawings.

This paper is 100% cotton, so it’s really soft. But, there’s plenty of tooth for layering. It’s available as large sheets and smaller pads. So if you want to create larger colored pencil drawings, you’ve got that option. It’s probably my favorite surface for colored pencil drawing.

Stonehenge paper is great for using other drawing mediums such as graphite. If you’re interested in creating graphite drawings and colored pencil drawings, Stonehenge Paper might be a great choice for both.

Notable Characteristics of Stonehenge Paper:

• Soft paper with a medium tooth.
• 100% cotton.
• Available as large sheets and smaller pads.
• Great for other drawing mediums.
• Expensive.
• May be difficult to find.
• Limited colors.

Dura-Lar Polyester Film

One of the major disadvantages to using colored pencils is that they can be extremely difficult to erase. However, this next paper on the list takes care of that problem for us. Dura-lar is a polester film.

This paper is unique on this list because it has a very, very smooth surface. The tooth of this paper is very weak and that means that it’s going to be difficult to create multiple layered applications. There is a limit to how many layers you can apply to the surface, so you really have to think about your color choices when you’re using this paper.

The major advantage is that this paper is very easy to remove colored pencils. You can erase from the surface, and you can even use tools like the slice tool to remove the colored pencil from the surface. It’s almost like there has never been colored pencils applied to the surface at all. It’s really fantastic for that.

This paper is also semi-translucent, meaning that tracing and transferring images is pretty easy. One of the disadvantages of this paper is the smooth tooth or texture. It can only handle a few layers on the surface, but that disadvantage may be outweighed by the advantage of erasing, which is a completely unique aspect of this paper

Notable Characteristics of Dura-lar Polyester Film:

• Smooth surface with a weak tooth.
• Limited layering.
• Easy to erase and remove colored pencils.
• Translucency makes it easy to trace or transfer images.

Marker Paper

The last paper on this list is somewhat of a bonus paper because you do have to use it with another medium to get the most out of it. And the paper I’m referring to is Marker paper. Again, this is a paper that doesn’t have anything with colored pencils in the name, but it’s actually a pretty good surface for colored pencils if – and that’s a big if – you are using it alongside alcohol-based markers.

You can apply the alcohol-based markers as a base, which will cover large areas of the surface quickly. This saves time because colored pencil drawing is a time-intensive activity. But when we combine colored pencils with markers, we save quite a bit of time.

The disadvantage is that this paper is super smooth, so layers are limited. But when you’re using colored pencils in conjunction with markers, this isn’t really a big deal. Marker paper is a surface that you might consider that you might not have considered before but it’s dependent on using it with markers in order to get the most out of it.

Notable Characteristics of Marker paper:

• Great for use with alcohol-based markers.
• Saves time.
• Smooth surface has a weak tooth.

The Best Papers for Colored Pencils – Conclusion

Colored pencils are at their best when they are used on a surface or paper that allows you to use them to their full potential. Each paper has its own advantages and disadvantages. No paper is perfect, but each can be used to develop wonderful, professional colored pencil drawings.

In this tutorial, we’ll be talking about line art and different ways to enhance our ink drawings. We’ll observe and practice some techniques that lead to crisp, impressive, line art.

Why is this topic worth our attention? An ink drawing is basically a collection of straight and/or curved lines. A line operates as a building block – a small, yet important element. Used together, lines can communicate a subject so that we understand it as a three-dimensional object.

But line does more than this. Lines help to define edges and planes. They can be used to convey texture and indicate form. A line can also suggest where the light source is. When hatching and cross hatching is used, lines play an important role in developing value.

See also: The Elements of Art – “Line”

Practical Applications of Line

Let’s practice using line with a few drawing exercises.

For this first project, I’ll be using three ink liners. Their numbers are 0.05, 0.1, and 0.3. We’ll also need an HB graphite pencil and an eraser for sketching.

I consider this project an exercise. We won’t be creating full-fledged artworks. That’s why I’m going to use some thin paper of A4 size with similar characteristics to that of printer paper.

The goal of my demonstrations is to show you examples of the analysis process. They are also an invitation! Choose an object that you like and draw it, keeping in mind the line hierarchy principle that we’ll discuss momentarily.

Line Quality

Line quality, also known as line weight, is a visual characteristic. It refers to the thickness or thinness of a line within a drawing. By varying the line quality, you can accent certain parts or elements of the image. You can also create depth and the illusion of volume by changing the width of your lines.

See also: Line Weight (Quality) and Cross Contour Lines

In other words, the interplay of line weights allows organizing different components of your drawing into a cohesive hierarchy. Various elements (edges, forms, textures, and so on) are presented according to some level of priority or importance. This helps the viewer to read the image.

Let’s consider four levels:

1. Edges and primary shapes – Here we tackle the main contours (the ones that create silhouettes) and the larger forms in our drawing. These lines are usually the thickest.
2. Focal points and elements or areas of high importance. These areas usually represent some significant features of the main object or point to the key visual idea. They tell a story, so we should do our best to attract the viewer’s attention to these areas.
3. Secondary objects and shapes. Here we deal with the lines that help to define the form and relief. At this stage, we’re deconstructing the complex parts into smaller, simpler ones.

   In some cases, this “level” can be merged with the previous one, so we have only three levels in our line hierarchy. For example, this may be the case for sketches of a single object.

4. Lines that suggest texture, plus all the accent lines. At this level, we’re rather decorating the drawing than working on its volume or depth.

You can think of these levels as layers or stages of drawing. The second step happens only after the first one is complete. Alternatively, you can jump from one level to another and back. Just keep in mind the general scheme of hierarchy.

The Hierarchy of Ink Liners

Ink liners (pens) are a good fit for our project. They produce lines of a predictable consistent width.

Each liner has a number on its body. The larger the number, the wider the line. You can achieve some variation by pressing heavier or lighter, but the difference won’t be very significant.

Some tools, such as nibs and brush pens, allow for greater line weight variation. They can be used to create bold, expressive contour lines that generally fall into the first level in our classification.

For example, here are a few brush pen strokes.

However, a line that was drawn with an ink liner still can be broadened. You can achieve the desired effect by adding new marks near the existing line and merging them.

In the image below, both sets of lines were created with the same tool.

The choice of liners is a matter of personal preference. Also, drawings of a larger size may require much wider contour lines.

Here is the scheme that I use most often for my drawings:

• I use my 0.3 pen for drawing the main contours.
• I use 2 and/or 0.1 are for focal points and secondary elements.
• I use 0.05 for details and texture.

Note that line weight is relative – it’s a matter of comparison and rhythm. But there is logic behind the sequence of line widths.

We’re making one line subtly thicker or thinner than its neighbor, depending on the level. The 0.3 line is slightly bolder than the 0.1 line. In turn, the 0.1 line is slightly thicker than the 0.05 line.

The difference between 0.3 and 0.05 lines becomes quite noticeable. However, as long as there are 0.1 lines as a middle link, our artwork stays balanced.

When it comes to drawing lines, no matter what tool is used, some beginners feel overwhelmed. It may seem scary to let your hand draw freely and spontaneously. If this is you, take some sheets of cheap paper and draw as many flowing lines as you need to become more confident.

See also: 10 Exercises for Confident Lines and Accurate Hatching

Avoid making shaky, uncertain lines that consist of numerous back and forth movements. (See the example a in the image below.) This style of mark-making is not a mistake, since there are situations when it makes sense to use looser marks.

Also keep in mind that if you leave the tip of your pen on the paper for too long, it may create an unpleasant blob at the end of the line. (See the example b in the image below.)

Tips for Your Contour Line Drawing

When you’re drawing a light-colored object, using a thinner liner to create an outline. Make the contour thinner to accent the area where the light hits the object.

Compare the stylized spheres in the image below. There is no hatching to give them more volume, but they don’t look completely flat because of the varied contour line. The line is thinner in the lighter area. It becomes wider in the area of shadow.

Each contour line gives us valuable information about the position of the light source.

Let’s observe the interaction between the contour line and texture. Compare the models in the image below.

The cylinder a is drawn with 0.1 liner. The contour is broadened in the lower part of the figure to make it look as if it is in shadow. The line in the upper part is thinner because this area is lighter in value. This cylinder doesn’t have any additional details of texture or relief- just a contour.

The contour line of the model b is created in a similar manner. This cylinder uses some long parallel lines and short hatches that give us a hint at its texture. These details were drawn with 0.1 liner.

The main contour line accents the texture as well. It’s uniform and direct, which suggests that the surface is relatively smooth with little relief.

Cylinder c doesn’t have a uniform contour line. Its edges are presented as a set of short hair-like lines that were drawn with 0.3 liner. The strokes are placed closer together in the bottom part of the figure to make it feel as if the light is less intense.

The inner area of the cylinder is filled with short 0.1 lines that imitate the texture of fur or grass.

As you can see, not every case requires that you use three or more tools of different widths to keep the line hierarchy. We’ve applied lines of two weights, and the main contours are a bit thicker than the secondary elements. This subtle difference creates an impression of orderliness and believability.

Styles of Contour Lines

Choose the style of a contour line wisely. A line can convey mood and movement and also suggest the features of the object. Let’s examine a few examples…

Sample a presents a flowing, spontaneous, relaxed line. This sketch has an artistic feel.

Sample b looks rough and sketchy, as if someone was making technical measurements to construct the silhouette.

Example c looks polished. We don’t see any gaps in the line. Other “happy accidents” are missing as well. The bottom area of the contour is widened.

In the case with sample d, the difference in line quality is rather subtle. In the upper part, the line breaks into smaller pieces to indicate the area of light.

Example e is truly extravagant. Its contour is presented as a set of short lines, which creates the illusion of an odd hairy texture. In the lower part of the figure, we see an increased density of ink strokes. This conforms to the principle of hierarchy that we already know.

The Practical Application of the Line Hierarchy Principle

Now, let’s put what we’ve learned in practice…

Drawing a Flower

We’ll have an organic object as a subject matter for our first artwork.

This form of flora resembles a sunflower. It has two rows of petals and a round core with seeds.

I sketch the object with a graphite pencil. As you can see, some lines are heavier than others already at this stage.

The pattern in the central part of the sunflower may be difficult to draw. Below is a simplified scheme. It may help you to understand the general principle.

1. Mark the center of the flower’s core.
2. Draw several curved lines that go from the central point to the periphery of the circle.
3. Draw more lines inside one or all segments.
4. Add another set of curved lines that follow the opposite direction. The overlapping lines will create intersections. Place the sunflower’s seeds into these diamond-shaped “windows”.

Now let’s start inking.

With a 0.3 liner, I outline some contours of the petals focusing on the elements that are closer to the viewer. They should attract attention, so it’s important to make them stand out. If needed, we can broaden the contour in some areas, such as near the flower’s center.

The petals’ tips are partially left untouched. The same is true for the petals from the back row. I’m going to give them a thinner outline. This trick will create a beautiful variation of line quality.

I add thinner lines, using a 0.1 pen. I complete the contour of the petals, so now we have a solid silhouette. I add some delicate lines that repeat the direction of each element. These lines reveal the relief of soft wrinkles, giving hints of the petals’ texture.

I mark the edge of the flower’s core. The peripheral part of the core demonstrates a peculiar fluffy texture – I mark it with some spontaneous scribbly lines. You’ll find a sample in the image below.

The seeds in the central area are very small, almost indiscernible. I add some short lines to the core’s center to make this area stand out. It will be the focal point.

With a 0.05 liner, I darken the area that surrounds the seeds in the flower’s core. I divide the rows with thin lines. Then I increase the contrast with additional scribbly lines. The seeds remain untouched.

I also add some fine textural lines to the core’s periphery and the petals.

Now, this sketch looks crisp and fresh. We could add some ink hatching to elaborate on the volume and texture of the petals. The core shadows could be intensified. However, bearing in mind that the petals of a sunflower are light, I prefer to leave this line art exercise just as it is. Less is more!

Drawing an Ax

We’ve now dealt with an organic object. The flower featured soft, curved, delicate lines. Now we’re going to draw a man-made object.

With a graphite pencil, I’ve created a sketch of an ax. To make it a bit more interesting, I’ve added a piece of wood. These two contrasting subjects will allow us to play with different textures.

With a 0.3 liner, I outline the thickest contours. An ax is an artificial object. Its contours require a steady, confident hand with precision.

If drawing accurate lines is intimidating for you, try adjusting your breathing patterns. Some people find it helpful to hold their breath for a moment while drawing. Others say that drawing on the exhale allows producing perfect marks.

The tree is another story – here the contour line can accent various bumps, hollows, and other details of relief. Your marks can be organic.

I leave the upper part of the ax’s contour untouched. The handle is made of wood, and I’d like to accent its lightness. Therefore, I’ll work on its upper contour with a thinner liner.

I’ve accented the trunk’s cut (the upper flat plane) with a broad line, making it stand out.

With a 0.1 liner, I complete the outlines, forming the silhouettes. The bottom part of the trunk becomes somewhat blurred or blended. This effect is achieved by leaving some gaps in the lines.

I add more ink marks that create the illusion of texture and relief. Vary the pressure on the tool to create subtle line weight variation. This trick may help even if you use only a couple of liners.

With a 0.05 liner, I add some parallel lines to the ax, accenting the smoothness of metal. The lines conform to the planes.

Although we carefully evaluate the use of every line in this project, I decided to include some elements of cross-hatching to give the ax and the trunk more volume.

I add a pattern of wood grain texture to the handle.

With several lines, I create a cast shadow under the ax. The trunk’s top surface gets fewer ink marks to communicate light hitting this area.

Conclusion

We’ve completed the project! Thank you for being with me on this journey.

I hope that you’ve enjoyed exploring the topic of line hierarchy and learned some useful tips. I wish you much joy and inspiration for your future artworks!

Which Colored Pencils are the Best?

There are so many different brands and types of colored pencils out there. How do you decide which brands or which types of colored pencils are best for you as an artist? In this lesson, we will attempt to answer that question.

Let’s be honest, the quality of the materials that you use to create art matters and we all want to use the best. But what exactly is the best? How do we determine what art materials we should use as artists?

Some of us are trapped in an endless search for the best, constantly buying the next best colored pencil or any other art material for that matter. You know who you are.

With so many types and brands of colored pencils out there, it’s easy to get lost and wrapped up in all of this stuff. There’s colored pencils, colored graphite pencils, watercolor pencils and more. In this case, we’re only going to focus on true colored pencils – those with a wax-based or oil-based binder. We’re also only going to focus on professional colored pencils.

See also: Comparing Colored Pencils

So Many Colored Pencils

I’ve created so many colored pencil drawings with so many brands of colored pencils – I’ve learned quite a bit. I’d like to share with you what I’ve learned so that you can make an informed decision on what colored pencils are best for you.

Before we get into this, I want to make it clear that all brands and all types of colored pencils have their pros and cons. You need to weigh these in order to decide which brand or which type of colored pencil is best for you.

Instead of examining every single brand of colored pencil out there, I’m going to simplify things and focus on three of the most popular brands available. These brands are Prismacolor Premier colored pencils, Faber-Castell Polychromos colored pencils and Caran d’Ache Luminance pencils.

Prismacolor Premier Colored Pencils

Prismacolor Premier colored pencils are soft core, wax-based colored pencils that are now widely available nearly everywhere. They’re rich and buttery, layer easily, and the pigmentation is quite nice and consistent.

Perhaps the biggest drawback to these pencils is how brittle they are. Because the core is so soft sometimes they break when sharpened.

For this reason, some people hate them. But for me, they’re my favorite. I deal with the brittle cores because the way they work on the surface matters more to me. These pencils are available in 150 colors, so there’s quite a bit of variety as well.

See also: How to Sharpen Any Pencil

Faber-Castell Polychromos Colored Pencils

Now let’s look briefly at Polychromos pencils by Faber-Castell. These oil-based pencils feature cores that are harder than Premier pencils. They’re a bit more expensive, but the pigmentation is strong and consistent.

Since these pencils are a bit harder, layering is a must. But layering leads to depth in color. Those who like to layer applications with a lighter touch may prefer these pencils for this very reason.

As an added bonus, the tip of these pencils tend to stay sharper for a longer period of time. I absolutely love these pencils, and they’re available in 120 colors.

The biggest drawback to these pencils is that they may accentuate the tooth or texture of the paper.

So those that require a solid application will need to be patient to achieve this look. Plus, less colors are available compared to the Premier pencils, and these pencils are quite expensive as well. They may not be available everywhere in the world.

Caran d’Ache Luminance Pencils

Now, let’s talk about Luminance pencils by Caran d’Ache. Of the three, these pencils are the brightest. The pigmentation of these wax-based pencils is very strong.

These pencils work great on darker surfaces. Luminance pencils are harder than Premier pencils, but softer than Polychromos pencils. But colors unfortunately are limited, with only 100 available in this line.

But Which Pencils Are the Best?

So, which pencils are right for you? Should you go with the softest, the brightest, or the ones that layer easily.

I could spend hours and hours weighing the pros and cons of all the different brands and types of colored pencils out there. But here’s the truth…

Any brand of colored pencil will perform in the hands of a trained and practiced artist.

It’s not the colored pencil that makes the art. It’s the artist.

I suggest finding a brand that feels best to you and the way you like to work, and then practice your technique. It may very well not be one of the brands that we discussed. Buy a starter set or just a few pencils to try so you don’t break the bank. When you find a brand that jives with you, then buy a larger set of colors.

Stop the endless searching for the “best colored pencil”. Instead, focus on your drawing skills. Yes, quality matters, but your skills matter more. Once you find a brand that you like and you practice, your confidence will build. And that confidence will show in what you create.

The Best Colored Pencils – Conclusion

So what are the best colored pencils? Well, that really depends on you. What might be best for me may not be best for you. It all depends on how you like to work and what materials give you the confidence to create at the highest level.

Smooth Applications of Graphite Without Pencil Strokes

Many times with graphite drawings, we want to create smooth transitions of value or simply areas of smooth applications where you don’t see the pencil lines.

Most of us simply adjust the amount of pressure we place on the pencil and then use a blending tool such as a blending stump to soften the applications. And while this technique works okay, it’s often inconsistent and it’s also time consuming. Well, there is a better way – a secret weapon, if you will, to get these same effects.

See also: 6 Reasons to Draw on Toned Paper

The Secret Weapon – Powdered Graphite

This interesting form of graphite is called powdered graphite. As the name implies, it’s simply pulverized graphite. Pictured below is powdered graphite manufactured by General’s.

Making Your Own Powdered Graphite

Powdered graphite may be difficult to find a local art store but we can make our own. Just use a sandpaper pad and rub some soft graphite over the surface. Then using a brush, we can lift up the powdered graphite that we’ve created and apply it to the surface.

Applying Powdered Graphite

You’ll notice that your initial applications of powdered graphite are quite soft and light, but we can revisit the powdered graphite and put an additional layer, gradually darkening the value.

If you choose to use the manufactured powdered graphite, it’s best to put it in a smaller container. I like to use the lid from the container that contains the powdered graphite and use the brush to apply it to the surface. As we rub the brush over the surface, less of the graphite remains in the brush, making a lighter mark. We can keep revisiting the powdered graphite and adding additional applications to make the value slightly darker.

Powdered Graphite Usage

All of the remaining excess powder that remains on the surface can be blown away gently or brushed away with a drafting brush. Powdered graphite can also be applied with a cotton swab or a tissue paper.

Just like with any drawing medium, the surface of the paper plays a role in the application and look of the powdered graphite. The texture of the paper will affect the appearance of the powdered graphite.

One method of using powdered graphite is somewhat like painting. In this particular case, I’ve sketched out the contour lines of the subject.

In this particular drawing, I’m adding the powdered graphite much like I would in a painting. I’m just adding bits of value, and if I need a darker value – I apply more layers of the powdered graphite to the surface. Then over the top of my “underpainting” with powdered graphite, I can apply pencil marks with a traditional pencil.

Here’s a look at the finished drawing…

Another way you might choose to use powdered graphite is to create a base value on the surface of a drawing. In this drawing, I again draw the subject using just the contour lines. I apply powdered graphite with a mop brush, but this time I’m applying it over the entire surface. This basically tones the paper, giving me a nice starting value that’s a little bit darker than white. This layer of graphite allows me to erase out some of the highlights and add some of the darker values.

Instead of just adding darker values, I can also remove some of the graphite to create lighter values or tints. This leads to a broader range of value in the final drawing and additional contrast. Essentially we can push and pull the values, adding lighter values by erasing and adding darker values by adding additional graphite. This helps us create a full range of value in the drawing, which leads to a greater illusion of realism.

Here’s a look at the finished drawing…

Let’s look at one more example. In this case, I’m drawing a jellyfish. I start with a light contour line drawing.

Once our contour line drawing is in place and our picture plane has been taped off, we can apply powdered graphite. This time, I’m going to apply a heavy application to create a darker value to begin with.

Using the mop brush, I can evenly spread it around on the surface. If I need to blend it additionally, I use a blending stump or a chamois.

I reinforce my lines using a pencil and begin using the eraser and the pencil to create a full range of value. This time, we’re starting with a value that’s closer to the middle of the value scale. Again, this will lead to a greater illusion of realism thanks to a broader range of value. You can appreciate how important the eraser is as a mark making tool when we use powdered graphite in this manner.

I love using an electric eraser as well, and this surface – Stonehenge paper – is very tough and won’t tear when we use an electric eraser.

When the drawing is complete, we can carefully remove the tape away, revealing a nice sharp border. Here’s a look at this finished drawing with powdered graphite…

Powdered Graphite – The Secret Weapon – Conclusion

Powdered graphite allows the artist to create smooth transitions of value without visible pencil strokes. It also saves time in many cases. Perhaps the most important benefit is how powdered graphite encourages the use of a full range of value which ultimately leads to more convincing drawings. Whether purchased or made, powdered graphite is a tool that we can use to improve our drawings.

Mice can be found in nearly every country and type of terrain. They are friendly, which makes them great companion pets. In some cultures, a mouse is a symbol of wisdom and discovery.

In this drawing tutorial, we’ll create an ink drawing of an adorable mouse. Also, we’ll discuss the distinctive features of these animals and, hopefully, learn a couple of fun facts about them.

For this drawing, I’ll be using just one ink liner of 0.1 width number. The paper is standard A4. Please feel free to use any inking tool that you prefer – a nib pen instead of a liner will be a great option.

Also, we’ll need a graphite pencil and an eraser to create the underdrawing.

How to Draw a Mouse with a Graphite Pencil

What do we know about this animal? A mouse is a small rodent with 30 different species. A typical mouse has a pointed snout, relatively large ears and eyes, and a long tail.

Mice are social animals. They have facial expressions that are used to communicate with other mice and express their mood.

Whiskers found on the snout allow sensing smooth and rough edges, breezes and temperature changes.

Mice have soft feet with nails on each of their toes. Nails enable the mouse to climb well as it can wrap its feet around things. A mouse has five toes on its back feet and four toes on its forelimbs. A greater number of toes on back feet gives the animal more stability while standing on them.

Mice also range in color. There are examples of coat colorings from white to light brown, dark brown, grey or black.

I start with a miniature sketch. It may be rough and stylized. The goal is to define the animal’s pose and develop the general concept. You’ll find my small sketch in the corner of the image below.

I decided to create a drawing with a hint at a story. What if we put a small bit of cheese in the “hands” of our mouse? Chances are that our drawing will resemble an illustration from a fairy tale. Let’s go for it.

Interestingly, real mice don’t like cheese — it’s a myth. They even actively shy away from certain types of cheese that have strong or specific odors.

I draw the mouse in simple shapes, starting with the rough contours of its head and body. Then I add stylized shapes of ears, eyes, and all four limbs. Don’t forget about the tail! A long line marks its direction. I think this tail position adds interest to the composition — there is plenty of room in front of the animal’s snout (enough space for its “look”).

See also: Drawing Basics – Construction

We’ll draw the cheese in the next step. For now, I leave some space for it.

I refine the contours of the head. Then I add the nose, whiskers and the details of the ear’s opening.

The tail gets some thickness, transforming from a single line into a shape. Also, I refine the limbs and add the toes. (There are four toes on front limbs and five on back ones.)

The upper parts of the limbs will be covered with short fur. We’ll deal with this texture in the next part.

As a final touch, I draw a small cube of cheese and add some random holes to it. However, the pattern of holes and hollows should look harmonious.

How to Draw a Mouse with Ink

The eyes are very important — the character’s look defines the overall mood of the artwork. That’s why starting with the eyes seems to be a sensible idea. I darken the visible eye with short, dense, rounded hatches, leaving a small highlight in its upper part.

As I mentioned, the mouse is covered with fur. That’s why we can’t use a solid line to create the contours as it will look unnatural.

I mark the contours of the animal’s body with short ink lines. Their direction and character imitate the flow of hairs. The tail is nearly hairless, so I draw it with a broken line supported with short hatches.

Also, I apply this hair-like hatching to the darker areas of the drawing, such as fur under the front legs, the ear opening, and the belly area.

I create a base for a deep cast shadow under the mouse.

With relatively long ink hatches, I create an illusion of fur in the lower part of the mouse body. This area needs particular attention. According to my vision, it gets less light compared to the snout and the upper part of the body. The more layers of hatching we apply, the darker the area will be.

Also, I apply ink hatching to the limbs. The direction of rounded lines conforms to the contours of the form.

See also: Pen and Ink Drawing Techniques

I outline the contours of the cheese cube and mark the holes.

I work on the upper part of the animal’s body, using hair-like hatching that is already familiar to us. The direction of lines may vary which will make the drawing more natural.

I evaluate the drawing as a whole system at each step, applying ink hatching to the areas that don’t seem dark enough.

I start adding short rounded hatches to the tail. The lines repeat the contours of this body part, giving it more volume. I apply the same type of hatching to the ears and right under the snout to give the mouse more volume.

I continue working on the tail. If short hatches seem too heavy for these thinner areas, it’s possible to use dots instead. I leave a subtle line of reflected light near the bottom contour of the tail.

I add long parallel lines to the cheese, keeping light pressure on the pen. The direction of these lines accent the position of each particular plane of the cube. I decided to create a crust pattern on the side of the chesse.

There are subtle shadows inside the holes. I mark them with rounded ink lines.

I apply some dots to the head of our mouse. A few stippled marks create the illusion of soft fur. When it comes to making a smooth value transition and deepening the shadows, this technique is a great help.

In a similar manner, I add dots to the remaining body parts, aiming at the gaps between the lines. If this process seems too time-consuming, stippling can be replaced with hatching that imitates flowing fur, or cross-hatching.

I deliberately create an intense shadow around the cheese. Strong contrast will attract the viewer’s attention to this area.

I apply dots and short hatches to the “hands” and “feet” of our mouse.

Also, I add some small dots to the cheese to create visual unity.

I strengthen the bottom contour line of the tail to make the mouse look more stable. However, I leave the contour of its tip almost unchanged because we don’t want to distract attention from the facial expression of the mouse. The main story happens there, closer to its “face” and “hands” that hold the cheese.

As a final touch, I extend the cast shadow, using both stippling and hatching. I also add some rounded shapes that imitate large particles of sand or soil (or bread crumbs as another option).

Drawing a Mouse with Pen and Ink – Conclusion

Congratulations! We’ve done a great job. Now we have a wonderful ink drawing of an adorable mouse holding a bit of cheese.

I hope you enjoyed every step of the process, and wish you much luck with your future creative projects!