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 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…

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.

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!

The Problem with Graphite Pencils

I love using my graphite drawing pencils to create drawings and I bet you do too, but there are two major problems when it comes to graphite drawings.

The first is graphite is actually a dark gray and not black. No matter how hard we push it, we’ll never be able to create true black with a graphite pencil.

Have you ever created a graphite drawing and noticed it was super shiny when you were finished and it was incredibly frustrating when you looked at the drawing from a certain angle and all you saw was the reflection of the light? Well, this is something called graphite shine.

The second obvious issue with graphite is that graphite drawings sometimes have this shine associated with them. Graphite is inherently a shiny medium, so graphite drawings are a bit shiny. Thankfully, there are a couple of products on the market that will help to eliminate that graphite shine and also make our blacks a little bit blacker.

See also: Black Wing Pencil Review

Matte Drawing Pencils That Reduce Shine

The pencils we’ll discuss and use here are Mars Lumograph black pencils by Staedtler. Staedtler, of course, is one of the most reputable brands out there for drawing products. I love their products and I’ve used them on many occasion. In fact, I love Staedtler products. I found these pencils and started using them during our last season of Getting Sketchy (Season 7).

See also: Gettin’ Sketchy – Season 7 Review

First we’ll do a little bit of a comparison between these pencils and traditional graphite pencils. I’m going to be comparing them to my favorite wooden graphite pencils by Derwent. Here’s a look at my Staedtler black pencils. Inside of my case, I’ve got six pencils. There is an HB pencil, 2B, a 4B pencil, a 6B pencil, a 7B pencil and an 8B pencil. As you can tell, these are mostly the darker values.

Making Marks with Matte Pencils

You’ll notice below that the black pencils are noticeably blacker, as they should be. You’ll also notice that they are less shiny as well. If we take the paper and bend it, we can still see there’s a little bit of shine – especially with the lighter pencils. But the darker pencils shine considerably less. This is due to a higher concentration of carbon content in the black pencils. They’re actually not called graphite pencils at all. The carbon content is making these pencils a lot darker and a lot blacker but also reducing the shine.

Blending and Erasing Matte Pencils

Both pencils are easily blended using a blending stump. The graphite pencils are only slightly easier to blend.

See also: Do You Really Need Blending Stumps?

Let’s take a look at how these two different types of pencils erase using a kneaded eraser. You can see that the graphite is a bit easier to lift than the black pencils, but the black pencil is still erasable just to a lesser degree, especially with the kneaded eraser.

Matte Pencil Feel

These pencils are nice and smooth as they make marks but they feel a little bit different than graphite. They feel closer to using a colored pencil. I do feel like this is due to the carbon content. If you’ve ever used a colored pencil on drawing paper, you know how that definitely feels a little bit more waxy. These pencils have that type of feel when you’re moving them across the drawing paper.

Creating a Drawing with Matte Black Pencils

Now that we’ve had a quick look at how these pencils behave and how they compare with traditional graphite pencils, let’s go ahead and create a drawing from start to finish using these pencils along with some white charcoal on gray drawing paper.

See also: 6 Reasons to Draw on Toned Paper

For this drawing, I worked on Strathmore gray toned drawing paper. Graphite and white charcoal is a combination of drawing media that I really enjoy. This combo allows me to push the value range outward from a neutral gray. Essentially I can start with a neutral value – the gray, and add both darks and lights to build out a full range of value. Of course, one of my complaints with using traditional graphite pencils is the graphite shine and the fact that traditional graphite pencils will never get totally black.

Creating the Sketch of the Bird

I start the sketch like I would any other ordinary sketch – basically focusing on the shapes that I see that make up the bird. These include shapes of both dark and light value but also the shapes of the different parts of the bird – the eye, the beak, the branch, the talons, and so on. I use only the black pencil, so there’s no graphite pencil used at all in the development of this drawing – just the black matte pencils.

Shading and Developing the Values

Once I’ve got some of the basic contours in place, I’m ready to start applying the material with more vigor. We’ll next begin developing the value. I start at the top of the picture plane and work my way down. I take each section of the subject one at a time while being careful to keep the palm of my hand of out of the way.

A blending stump or a blending tool works great with this medium. It blends predictably, and you can still erase and lift up the medium.

Just like I would with any drawing, I’m considering the texture. The key to creating the illusion of texture in a drawing lies in your relationships of values and the directional strokes that you make. As we work down to the branch, the process remains the same. We can gradually build up the range of value through careful applications of the matte drawing pencils and white charcoal.

While I want this drawing to be representational, I’m not tied too much to the reference. I’m picking up information from the reference regarding the texture – the patterns that I see – that can translate into the texture of the branch. Then I’m just translating those patterns that I see into the drawing. Every little single mark that I see in the photo reference is not necessarily included in the drawing, but rather the suggestions that I’m getting from the photo reference.

One of the things that I’ve noticed about these pencils is that they do seem to accentuate the tooth or texture of the paper slightly more than traditional graphite pencils. Of course, this can be alleviated by using a blending stump. Depending on the desired look of your drawing, this could be a positive or a negative.

As we continue to work down to the lower part of the drawing, you’ll note that the matte drawing pencils do mix with the white charcoal to a certain degree. When they do mix, a cooler gray develops. We can see how cool this gray is when we compare it to the warm gray tone of the drawing paper.

Matte Drawing Pencils – No More Graphite Shine – Conclusion

Now our drawing of a bird with black matte drawing pencils and white charcoal is complete. Here’s a look at the completed drawing…

Although these matte pencils don’t totally eliminate graphite shine, they do reduce it greatly. If you can get past the waxy feel of the pencil, then these pencils may belong in your drawing box – for those times you need serious blacks without the shine.

In this drawing lesson, I’ll show you the principles of drawing realistic horns and antlers. My goal is to show you that even the most whimsical form can be broken down into simple, easy to draw components. We’ll explore a method of transforming a complex task into a sequence of steps, where each action can be easily replicated.

The concluding section of our tutorial is a fully practical texture study. We’ll draw antlers with colored pencils using a reference photo.

Are They Horns or Antlers?

In colloquial speech, the words “horn” and “antler” are often used interchangeably. Sometimes they refer to any kind of head extension, even those of certain lizards, birds, and insects. However, there is a distinct difference between horns and antlers.

The Difference Between Horns and Antlers

Antlers can be found exclusively on members of the Cervidae family. It includes species of deer and moose. Antlers are paired and branched and are made entirely from bone.

In most cases, antlers present for only a few months before annual shedding. Such structures usually occur in males. (Reindeer is an exception – females have antlers, too.)

In the image below, you’ll find three examples of antlers. (1 – red deer; 2 – white-tailed deer; 3 – moose antlers.)

As antlers have such a complex branched structure, it’s good to know the basic terminology since this will help us draw the sturctures. Here are several characteristics that are worth remembering…

• Main beam refers to an antler’s stem.
• Secondary outgrowths are called tines.
• Burr is the lowest part of the antler – it has an interesting prominent texture.

Horns on the other hand, are found on members of the Bovidae family. It includes cows, sheep, goats and also antelopes, gazelles, and even water buffalo. Horns can appear on both males and females depending on the species.

Horns are unbranched. They typically grow in symmetrical pairs. Usually, horns have a curved or spiral shape with ridges.

Another difference is that, unlike antlers, horns are a permanent feature. In many species, they grow continuously throughout an animal’s life.

The size and shape of horns vary from species to species. Below you’ll find several examples of horns. (Marking: a – Markhor; b – Saiga; c – Mouflon; d – Valais Blackneck Goat; e – Giant Eland.)

Pronghorn antelopes are the exception among horned species. They have branched, upright horns with a sheath that is shed each year.

Usually, animals have only one set of horns. However, some sheep breeds possess multiple sets of such structures. (For example, the Navajo-Churro sheep – see the image below.)

The Inner Structure and Growth Cycle

As was mentioned earlier, horns have a bony core. It is fused to the skull with connective tissue.

The core is covered with an epidermal layer. Keratin (found in the epidermis) thickens, forming the protective surface of the horn.

Antlers grow out of pedicles – two bony structures on top of the animal’s head. Pedicles support the antlers as they grow.

The antlers are made of bone. They are coated in a so-called velvet – a skin layer that supplies oxygen, blood, and nutrients to developing antlers. When the structures have grown to their full size, the velvet falls away.

In antlers, there is no covering of keratin as it is in true horns.

Below, you’ll find a comparison of the antlers and horns in early and developed stages.

Functions of Horns and Antlers

Both antlers and horns serve quite similar purposes. Their primary function is to establish social hierarchy, dominance, and territory.

Antlers are often used in fights against other males during the mating season. They also serve as a means to impress and attract females – antlers are a prime indicator of health and genetic quality. They also provide some protection against predators.

Beyond that, there are some special functions. For example, a moose with big antlers has better hearing than one without them.

Reindeer use their antlers to clear away snow to eat plants that are hiding underneath. It is interesting to know that reindeer females keep their antlers during the winter months. They are shed only in the spring – after the calves’ birth. Most likely, the antlers are retained because of their important role in the nutrition process.

Males of the Bovidae family also use their horns in fights during the breeding season. In species where females also sport horns, they’re usually smaller and serve rather as a defensive tool.

How to Draw Antlers and Horns

Now that we know quite about antlers and horns, let’s look at a simplified way to draw them.

A Structured Approach

Now I’ll show you a sequence of steps that you can apply to any drawing process. We’ll use it to draw deer antlers.

Our initial task is to simplify the subject as much as possible. Try to imagine the antlers’ inner structure, as if they’re made of glass or another transparent material.

The form of real antlers’ main beams can be stylized to an elongated conus. The tines are smaller cones that are attached to the main form.

First, I mark the basis of each antler with an ellipse. It helps to create a space that this element takes up on the head’s surface.

Then I mark the direction of each stem with long core lines. They reflect mild twists that are inherent to antlers. (In the image below, point 1.)

I often use a subsidiary line that intersects the top center of the skull. It allows me to check the symmetry of the antlers. However, such natural structures usually look slightly unequal in comparison, so symmetry is relative.

Then I add the outer contours of the main beams. (Point 2.) If you’re using a reference, evaluate how thick or thin the stems are – compare their width with the animal’s head or other body parts.

See also: 7 Drawing Techniques For Accuracy

Now it’s time to add the secondary outgrowths – the tines.

I mark the foundations of the tines with ellipses, too. There may be smaller elements that grow out of tines – they are added last. (See point 3 in the image below.)

The framework is complete and now we can refine the contours.  It may mean widening or narrowing certain parts, and also making the lines smoother or more curved. For example, I’ve broadened the lower part of the antlers where the burr is located.

We can shade the darker areas – this will give the drawing some volume. Also, it’s time to add textural details. (Point 4.)

Note that texture affects the look of the antlers’ main contours, making them somewhat irregular.

How to Analyze the Shape of Horns

Any process of drawing horns or antlers can be broken down into the same steps that we’ve followed in the previous paragraph.

1. Mark the starting and ending points. Outline the direction of each horn.
2. Add the outer contours of forms, starting with larger ones.
3. Add the appropriate details. Refine the drawing, if necessary.
4. Complete it with shading and texture.

Sometimes the horn-like structures present such a complex appearance that we may feel overwhelmed. This part of the tutorial includes a collection of tips that will help you to analyze such forms.

Please note that I’ll be using the word “horns” in the majority of cases, but these methods can be applied to antlers, too.

See the Form as a Set of Shapes

Try to imagine the horns as a combination of flat shapes or planes. You can do it just in your mind – or, draw a simple scheme on a piece of paper. The goal is to create a visual distinction between the parts or sides of a horn.

Notice where different planes change direction. A specific part of the horn may go forward or backward or it can turn aside. Observe these bends and transform them into stylized shapes.

Imagine That the Form of the Antler Is Transparent

In the case of curved or spiral horns, it may be useful to envision the inner structure. Pretend that the object is made of glass. Look for repeating patterns or imaginary lines of relief.

Below you’ll find an illustration of this concept. The green line follows the curve. It envelops the whole form – from its top to bottom. This line becomes interrupted at the horn’s back side.

“Chopping” the Form

If you draw ribbed horns, try to simplify the form so that it looks chopped. As a result, curved areas will become flat, straightened. This trick makes the planes (or facets) clearly readable.

Observe each plane’s direction in space and its visibility to a viewer.

Also, pay attention to the areas near the horn’s edges. Chances are that you’ll be able to trace an imaginary line that follows the contours of the form. In the image below, such lines are marked with blue and green colors.

Drawing Horns and Antlers in Perspective

It’s necessary to remember that horns, just as any other object, conform to the principles of perspective. However, we don’t have to create a strict technical design that includes a horizon line, vanishing points, and guides.

See also: Linear Perspective

The best way to grasp this concept is to observe live animals with horns. (Alternatively, use reference photos.) You’ll notice how these head extensions look in different perspectives causing foreshortening.

Adding Color to the Drawing with Colored Pencils

It’s time to sharpen our pencils – we’re ready to start drawing with colored pencils! Let’s reinforce our newly discovered drawing knowledge.

It’s important to set a goal for your drawing practice. What’s your desired outcome – a detailed scientific illustration, a quick loose sketch, or a study of a texture’s fragment? The purpose determines the amount of effort and time that should be invested.

My goal is to observe the subject and learn something new about its structure and texture. Such valuable takeaways can be used in a more complex and elaborate artwork. I aim to complete this drawing within several hours, so probably it won’t be perfectly detailed. My result won’t be an accurate copy of the reference.

The Art Supplies for This Drawing Exercise

For this project, I’ll be using Faber-Castell Polychromos colored pencils. You’ll find the swatches in the image below.

Please note that it is possible to complete this drawing with fewer pencils. An absolute minimum includes three greys (light, medium, and dark) and one brown. Of course, an extremely restricted palette won’t allow creating subtle color nuances, but you’ll still be able to draw and learn by doing.

See also: How to Draw a Seashell with a Limited Palette with Colored Pencils

I’ll be drawing on an A4 sheet of thick drawing paper with a subtle texture.

Also, keep a graphite pencil, a soft eraser, and a pencil sharpener at hand.

See also: 9 Must Have Colored Pencil Supplies

The Reference Photos Used for This Drawing

Our subject matter is Roe deer antlers. Feel free to use this image to follow along!

And here are some fragments of texture in close-up. Note that each area of an antler has specific textural qualities.

The burr is coarse and has prominent relief. The antler stem demonstrates a rough surface with long shallow furrows. The top part of the main beam and the upper tines have a smoother, more unified texture.

Create an Sketch of the Antlers

Let’s sketch the antlers. At this stage, the drawing will be rough and approximate. It is like a “box” for our object.

I present the skull as a set of shapes. Shape 1 is the side that is turned away from the viewer. Shape 2 presents the upper plane and shape 3 is the lower part of the bony area. The top projection is marked with green.

I also add the rough borders of the closer antler and its tines.

In this case, I don’t use many subsidiary lines, such as a core line and various ellipses that mark tines’ bases. These Roe deer antlers have a simple structure.

Keep the graphite marks as light as possible, and please note that I’ve intensified the lines in my sketch for your convenience. Heavy marks may be difficult to erase.

Now I refine the contours of the subject, removing unnecessary lines. Take your time to observe the reference and notice important details. Transfer them to your drawing.

At this step, I add the second antler.

Besides the contour line, I don’t include the details of the antlers’ texture. However, if that helps you to study the subject, please mark some furrows and bumps.

When the underdrawing is complete, soften the graphite marks with an eraser.

A Quick Note on Working with Texture

Before we proceed to colored pencils, let’s make a quick digression.

Some materials present a greater challenge for the artist. The surface of horns or antlers may be considered as such an example. This texture has so many details!

Here is one of the tricks that may help you to grasp the essence of this material. Take a photo of your subject matter and switch it to a black and white version. When you remove the colors, the relief of the surface becomes much more visible. The values will be clearly readable too.

Also, it may be a good idea to start with a study of texture. Focus on one fragment at a time, and you’ll find that complexity is just an illusion.

And the last piece of advice – make sure that you spend enough time observing the texture. It might bring you unexpected insights!

Drawing the Antlers With Colored Pencils

Let’s start with a color base.

I cover the bony part, using Cold Grey I. Some areas of the skull seem to have a cool undertone. A subtle contrast in color temperature will make the drawing livelier.

See also: Warm vs. Cool Grays

With Warm Grey II, I cover the lighter areas of the antlers.

I add Nougat to the darker parts of the antlers. The antler that is farther from the viewer gets a more unified covering because it should stay in the background. Too many details of texture will push it forward visually.

The applications of Warm Grey II and Nougat may overlap each other.

I make sure that I spend enough time observing my model. When I notice a specific detail, I transfer it to my drawing. However, we don’t have to make a hand-drawn copy of the subject matter. It is more important to convey the perceived feel of the texture.

I keep light pressure on the pencils. My fingers create a back-and-forth movement that is also known as directional lines.

See also: Colored Pencil Techniques: A Practical Guide

With Warm Grey III, I work on the midtones found on the skull.

Then I use Warm Grey V to accent the shadowed areas. The applications of these two greys may overlap – this will create a soft value transition.

I carefully observe my reference, still searching for valuable details. Those nuances will make our drawing more credible.

I add Walnut Brown to the antlers. The covering is slightly irregular. It has gaps that conform to the overall look of the texture. I create furrows with longer lines. The marks repeat the direction of the hollows.

I accent the burr and the main beam with an additional layer of pigment.

In my reference photo, the farther antler demonstrates lower value, so I darken it additionally.

I increase the contrast, using Payne’s Grey. This pencil has a nice cool undertone that is great for creating shadows.

While working on the antlers, make sure that you keep light pressure. Also, avoid covering the prominent details of the texture.

I use Walnut Brown to strengthen the bone’s core shadows. The pressure is very light. The inclusion of this shade will unite the artwork in terms of color.

Note that we usually see fewer details in the highlighted and the shadowed areas. Let the covering be slightly unified there.

Also, decide what area should get an emphasis. Something similar happens when we take a photo. We focus on a particular area, while other parts of the image become a bit blurry. They’re out of focus, and the details are not as crisp there.

I’m going to accent the middle part of the main beam that is closer to the viewer. This area will require a more detailed elaboration.

With Ivory, I cover the upper areas of the skull. I use the pencil’s tip to move the pigment found on the paper, so the covering becomes more polished. This tint creates a slight change in the color temperature. It conveys the gentle touch of light.

I apply this color to the antlers, accenting the lighter areas.

The tines have a smoother texture, and Ivory can be used to express this feature. I keep an increased pressure to polish those areas.

I add Raw Umber to the burr and bony part. It creates interesting color nuances that make the drawing more vivid.

At this stage, I pay less attention to the model. Instead, I start treating my drawing as an independent art object. I prioritize its visual credibility over the conformity to the reference.

I apply Walnut Brown and Payne’s Grey interchangeably to increase the contrast and deepen the shadows. I cover the antlers, leaving the most prominent details untouched. The darker areas of the skull get an additional layer of shading, too.

When we work on a textured object, it may be tempting to dive into creating all kinds of details. At the same time, it’s necessary to evaluate the main form – does it look three-dimensional? Are the core shadows dark enough to create a sense of volume?

I mute down all the areas that still seem plain and unexpressive. The texture in the darker areas becomes slightly smoother. I get rid of excessive roughness, including the specks of paper that may be showing through the applications.

It’s possible to use Nougat to create additional color nuances and details of texture.

I use Sky Blue at a light pressure to create a nice cool accent at the upper tines. Also, we can add this color to the side of the skull that is turned away from the viewer.

I recommend taking a break before you call this artwork finished. Come back with fresh eyes and chances are that you’ll find something that requires a final touch.

Here are close-up samples of hand-drawn textures. They include the bony part area, the antler stem, and tines.

I create a cast shadow, using Payne’s Grey and Walnut Brown.  I work with long lines, holding a pencil at an angle, so its body produces the marks.

I layer the applications on top of each other. The cast shadow should be dark enough to emphasize the antlers. Let its edges be blurry.

The darkest areas of the cast shadow are near the points where the object is touching the supporting surface.

Drawing Antlers and Horns – Conclusion

Congratulations – we’re at the end of this lesson! Time flies when you’re focused and having fun. We’ve created a wonderful texture study and, hopefully, gained some insights and new knowledge.

Thank you for being with me on this journey. I wish you much inspiration for your future projects!