Draw a Diamond with Pencil and Charcoal

We all have a natural tendency to label subjects that we draw or paint as “difficult” or “easy”. Usually, subjects whose forms are basic or are lacking clear details receive the “easy” label. We typically designate subjects with lots of details or complex shapes as “difficult”.

While it is true that some objects are potentially “easier” to draw than others, the reality is that the process of drawing complex subjects is essentially the same as drawing simple ones. Less complex subjects simply take less time to draw compared to complex subjects. So, we should say that some subjects are “less time-consuming” to draw while other, more complex objects, simply take more time and attention.

One subject that continually captivates artists and audiences alike is the reflective and transparent object. Glass and shiny metals fall into this category and when the artist successfully captures them in a drawing, the result is often impressive.

See also: How to Draw a Glass of Water

These highly reflective, awe-inspiring subjects may seem very difficult to draw, but they’re a lot easier than most people think. Successfully capturing these subjects in a drawing boils down to the basics of observational drawing.

In this lesson, I’ll share with you just how easy it is to capture a “difficult” complex subject like a diamond in a drawing. You’ll see just how simple this process can be and how anyone can do it.

It’s not about talent, it’s about patience and knowledge. Let’s get started.

Here’s a look at the completed drawing…

Materials and Surface for Drawing a Diamond

Let’s start by briefly discussing the materials and surface that are used for this drawing. It may seem trivial, but the surface and the materials play an important role in developing this illusion.

The surface is gray toned drawing paper by Strathmore. A gray surface provides a neutral, middle value. Starting from a middle value allows us to push the lights and the darks to create a full range of value which leads to a more realistic drawing.

We see the world around us in a full range of value. This means we see the darkest darks, the lightest lights, and a whole range of values in between. Therefore, we need to replicate this range in our drawings as well.

Working on a surface with a middle value encourages a full range of value in the final drawing. We simply need to add lighter values with a light drawing medium and darker values with a dark drawing medium.

See also: 6 Reasons to Draw on Toned Paper

Our lighter values are created with white charcoal. While this medium is called “white charcoal”, it is speculated that this material is actually calcium carbonate. Nonetheless, this drawing medium performs identically to compressed black charcoal. This means that it is easily blended and smudged with a blending tool.

Our darker values are developed with graphite. An H, HB, and 2B pencil are used in this lesson, but you may need to go darker by adding a 4B or even 6B pencil. If you find it difficult to make the values as dark as they need to be, adding a darker pencil will help.

Charcoal and graphite are two different mediums and as a result, behave differently on the drawing surface. For this reason, we need to consider the order and manner in which they are applied on the surface.

Graphite pencils will mostly cover applications of white charcoal. However, the reverse of this is not true. White charcoal will not cover graphite applications easily. To combat this, areas where lighter values are to be applied must be preserved with white charcoal before getting too dark with graphite pencil applications.

Drawing the Diamond with Accuracy

There are several methods for ensuring that the contour lines of your subject are accurate on the drawing paper. You could use the grid technique or a graphite transfer. In this lesson, I’d like to share a third method. This method requires a printout of the photo reference that is exactly the same size as the drawing surface and designated picture plane.

Here’s a look at the photo reference used for this drawing…

If you play around with your printer settings, you should be able to print the reference so that it is the size you wish the drawing to be.

We’ll use measurements taken from the photo reference to position the lines for our diamond on the drawing paper. You can use any measuring device, like a ruler to take these measurements. However, you can also use a simple piece of paper as I have in this drawing.

Using small piece of paper, measurements are recorded with small dashes over the reference photo. Since the designated picture plane is exactly the same size and shape as the photo reference, these measurements are easily reproduced on the drawing paper.

In this case, I recorded the locations of the top, bottom, and middle of the diamond. I then recorded the outer edges of the diamond and specific points where the top of the diamond angled down to its outer edges. You can take and record as many measurements as you wish.

Using these basic measurements, we can “find” the shape of the diamond and essentially “connect the dots” to draw the lines. These lines are drawn with a light touch using a light, H graphite pencil.

Drawing the Basic Shapes of the Diamond

With the outer contour lines of the diamond drawn, we can now focus on the planes of the form. In this case, these planes can be simplified into triangles and a few trapezoids.

Starting at the top of the diamond, I carefully begin drawing each shape by connecting lines. At first, these lines are drawn “freehand” with light, loose marks of the H graphite pencil. But once I feel confident with my loose lines, I reach for the ruler and make the lines as straight as possible.

It’s important to place only light pressure on the pencil when making these lines. If you place too much pressure on the pencil, small grooves will develop on the paper. These grooves may be visible when the drawing is complete so it’s best to make very light marks that don’t indent the paper.

Before moving on to the next step, you may consider using a kneaded eraser to gently lift up some of the graphite. This should leave you with a light contour line drawing of the diamond that is still faintly visible on the surface.

Shading the Diamond

Now, it’s time for the magic of this process. It’s at this stage where the drawing will transform and the realism will begin to take shape. To do this, we will methodically add both white charcoal and graphite to mimic the values in each shape.

Within each shape, you’ll notice additional shapes of differing values. We’ll simply copy the shapes and match the values to create the illusion.

Some shapes feature gradations of value, or gradual changes from dark to light. Some shapes feature dark shapes right next to lighter shapes. It is the contrast in the values and the shapes that will ultimately lead to realistic drawing.

With highly reflective or glass-like objects, we often see dark values right next to light values. Capturing this in your drawing is the secret to creating this realistic illusion.

Considering the nature of the combination of media for this drawing, we’ll preserve areas of lighter value with the white charcoal before adding graphite. Essentially, we’ll start with middle values and progressively push them both darker and lighter.

In sections that feature smooth transitions of value, blending tools like stumps are used. To help prevent contamination introduced with a blending stump, I like to use one stump for lighter values and one for darker values. It doesn’t hurt to have one stump reserved for middle values as well.

Not all areas are blended and some applications are made using just the pressure of the pencil. If you blend everything, you’ll loose the variety that you need to create a convincing illusion in the drawing.

It’s at this point in the drawing where the process begins to slow and the importance of patience is realized. Work slowly as you move from shape to shape and take breaks. While taking a break, analyze your drawing and look for values that you may have missed.

So as you see, it’s not necessarily difficult to draw the values, but it is time-consuming. But if you work slowly and take your time, then anyone can do this. This isn’t difficult at all – it’s just a slow process.

Adding Shadow Underneath

Even though a diamond is mostly transparent, it still produces a shadow. At this point in the drawing, we have a floating diamond without a shadow, so let’s add one.

But before we grab that graphite, let’s take a closer look. Because light passes through the diamond, the light is intensified in areas. This produces locations of light values where we would typically expect to see darker ones. We’ll use the white charcoal pencil to address the lighter values and the graphite pencil to address the darker tones.

A blending stump is used to soften the cast shadow, completing the drawing.

How to Draw a Diamond – Conclusion

Now our drawing of a diamond is complete. Here’s another look at the completed drawing…

Having the ability to push values lighter or darker on a toned surface is an advantage. We can essentially work the values until we are pleased with them. The combination of white charcoal and graphite gives us this advantage.

No subject should seem too hard to tackle. It’s simply all about observation and sometimes – analyzation. A drawing may look complex when complete, but often the process to create it is much simpler.

This drawing lesson is dedicated to crocodiles – wonderful animals that are closely related to birds and dinosaurs. Crocodiles are the largest and the heaviest of present-day reptiles. They live throughout the tropics in Africa, Asia, the Americas, and Australia.

The term crocodile is sometimes used more loosely, referring to other members of the order Crocodilia. It includes alligators, caimans, and gharials.

In this tutorial, we’ll observe and draw the general appearance of crocodiles. These reptiles present a unique collection of textures, but I’ll show you a simple way to draw crocodile scales.

Art Supplies and Materials for this Lesson

I’ll use an ordinary HB graphite pencil and a plastic eraser to create an underdrawing.

See also: Artist Graphite Pencils Explained

Also, it’s good to have a kneaded eraser at hand. It will help us to soften the graphite marks.

For the inking part, I’ll be using three ink liners. The width numbers are 0.05, 0.1, and 0.3. A nib pen and liquid black ink are also an option.

My paper is of a standard A4 size (approximately 8.5″ by 11″) with a very subtle texture.

Drawing a Crocodile with a Graphite Pencil

Crocodiles have a relatively long snout with powerful jaws. The head’s shape and proportions may vary from species to species.

The body and tail are long, too. This feature of a crocodile’s appearance makes our task slightly more complicated, as we have to fit the whole animal into the limited space of our picture plane. The most obvious way to solve this task is to give the crocodile a turned pose. The animal’s massive tail will be twisted to the side.

I first draw the head and the body as a set of simplified shapes. Then, I add a line that marks the direction of the body and tail. I also draw the rough shape of the tail.

A curved line shows the border between the lower and upper jaws.

I draw a simplified framework of the crocodile’s short limbs.

One of the forelimbs won’t be visible due to the angle in which we are viewing the animal.

Let’s refine the head. I add the nostril and the eye with a vertical pupil.

The ear of a crocodile usually looks like a long narrow opening behind the eye. I add one.

I also change the main contour of the muzzle, accenting the jaws. The crocodiles’ body design allows the eyes, ears, and nostrils to stay above the water surface while most of the animal is hidden below.

I add the teeth of conical shape, following the pattern – one above, one below. Some teeth are larger than their neighbors. They can be found at the curves of the jaw line.

I slightly refine the contours of the limbs and erase the unnecessary graphite marks.

Let’s add the toes. Crocodiles have five toes on their front feet. Hind feet have four toes each.

Usually, there is a webbing between the toes of the back feet, but the front ones may also have it. The character of webbing depends on the species. Also, three bigger toes of each foot have sharp claws at their ends.

I add long lines to the crocodile’s back and tail. They follow the form of the animal. These lines will help us to draw the pattern of scales.

I add another set of subsidiary lines that go in the opposite direction. They follow the animal’s contours, creating an illusion of volume.

Keep these lines as light as possible, as we’ll need to erase them later.

Scales of different shapes and sizes cover almost the entire body of a crocodile.

The reptile’s back and tail feature non-overlapping keeled scales. They look like thick rectangular plates with small upright outgrowths. Such scales are arranged in a relatively regular, repetitive pattern.

See also: How to Draw Animal Scales

I use the existing marks as guides, fitting the elements into the grid. We don’t have to be completely precise with the arrangement of vertical rows. However, the pattern should look recognizable.

At this stage, I focus on the bases of scales. The keeled outgrowths in the scales’ central parts can be added later.

Scales that are close to the edges of the body will look reduced. We see them in profile, or nearly so. The farther scales will look smaller than the ones closer to the viewer.

The scales of the side rows are somewhat protruding, forming an interesting bristling relief. They may cast shadows on the scales underneath.

Now it’s time to add the smaller scales. They are relatively flat. The shape of such scales is close to a square or a rectangle with rounded corners.

I add the elements to the body and tail, leaving regular gaps. It’s possible to vary the size from one line of scales to another.

The scales near the belly and the tail will look smaller and reduced.

I cover the limbs with similar flat scales of a smaller size.

Feel free to add subsidiary lines first (just as we did with the crocodile’s back and tail) and then arrange the scales. The elements should conform to the contours of the legs.

I fill the resulting empty space of the body with the smallest scales of a rounded shape. They don’t follow any strict pattern.

The surface of the reptile head, including face and jaws areas, may resemble cracks on dry soil or sand. Also, we can see distinct polygonal shapes. It is supposed that the skin cracking process forms this specific design.

I add a pattern of somewhat random lines to the animal’s head.

Drawing a Crocodile with Ink

It’s time to start inking! Before we proceed, it might be a good idea to soften the graphite marks with a kneaded eraser. Gently remove the subsidiary lines, but leave the significant textural details.

Let’s agree that soft light is coming somewhere from the upper left corner of the scene.

I use 0.1 ink liner to outline the contours of our crocodile’s upper parts. These areas catch more light from the environment. Thinner contours convey this impression.

Note that I change the shapes of the larger keeled scales on the reptile’s back. I make those elements taller, more protruding.

I also outline the eye and other details of the head.

I use 0.3 liner to draw the contours of the tail, limbs, and the lower part of the snout. This difference in line quality creates an illusion of weight, giving the figure visual mass.

The texture affects the character of the outline. I use organic lines that look somewhat shaky, irregular. There may be gaps between the marks, especially in the lighter areas.

With 0.1 liner, I draw the scales, referring to the pencil underdrawing.

I recommend avoiding stiff, technical lines – those can give the artwork an unnatural look. Let some marks be spontaneous and quick. Also, allow gaps and any variation that seems appropriate.

For example, I mark the smallest scales with semicircles. Using such quick marks also streamlines the process.

In the image below, you’ll find a close-up sample of the head and neck areas.

I widen the contours of the protruding scales that are found on the tail. This part of the animal is closer to the viewer. We can bring it to the foreground (in a visual sense) by increasing the contrast and broadening the lines.

This step may seem time-consuming, but the result will be worth the effort.

Let’s work on the largest, keeled scales next. In our case, the tips of the protruding ridges catch more light than the vertical sides of the outgrowths. The stylized schemes in the image below illustrate this concept.

Point a features a scale in a top view. The thin area of the ridge’s tip is lighter than its support. From this perspective, we see very little of the ridge’s vertical planes.

Point b illustrates the difference between two view angles. The first one is close to a profile view. In this case, we see the vertical plane of the ridge. At the same time, the farther horizontal side of the scale’s basis isn’t clearly visible.

We should keep these observations in mind while drawing the scales.

I use 0.05 liner to accent the vertical planes of the ridges and the borders between the scales. I also cover the flat bases of the scales with a layer of hatching. The tips of the keels are left untouched.

I aim for a balance between texture and visual integrity. The artwork should look unified despite the large number of small elements.

I accent the pattern of cracks on the crocodile’s snout, using 0.05 liner. The short marks are arranged in groups.

Then I give the head some volume by covering it with layers of cross-hatching. The first set of lines repeats the direction of the snout. Another set of lines with curved hatches follows the form.

See also: Pen and Ink Techniques

I darken the eye and the areas of jaws below and above the teeth. I add dots to the right side of each tooth to create a hint at value transition.

See also: How to Draw Animal Eyes with Pen and Ink

With a 0.05 liner, I add layers of hatching to the crocodile’s body. The lines follow both the direction and the contours of the form. This distinction is conditional and used here for simplification. A scheme in the image below illustrates this concept.

I apply as many layers of hatching as it feels necessary to create an illusion of volume. We can’t see many details of texture in the darkest areas. However, the scaly pattern still shows through the subsequent ink layers.

It’s possible to use a wider (0.1) liner in the most shadowed areas, such as the belly and the limbs.

We can accent some scales in the midtones to communicate the texture. This can be done by strengthening the elements’ contours. Also, we can divide the scales or their rows visually with soft, subtle shadows.

In the image below, you’ll find a close-up from the lower body area.

With a 0.1 liner, I accent the core shadows, applying another layer of contour hatching.

I darken the upper part of the crocodile’s head. This area has a relatively delicate texture, so we can use dots instead of hatching.

I also create a cast shadow under the tail’s protruding scales.

With a 0.05 liner, I add fine lines to the scales on the reptile’s back, muting down the brightness of the ridges. I leave the scales of the tail just as they are.

Such accentuated contrast creates the illusion of gloss – as if our crocodile has just got out of the water. It also draws the attention to the tail, which is in the foreground.

Now we can add a subtle cast shadow under our reptile. A quick way to do it is to apply graphite pencil marks and gently blend them. (It’s possible to use a softer type of pencil.) Also, feel free to add some ink marks.

Now, drawing of a crocodile with pen and ink is complete!

How to Draw a Crocodile with Pen and Ink – Conclusion

Congratulations – we’ve created a beautiful ink drawing! I hope that you enjoyed the process. Just be sure to be patient and allow the drawing to slowly develop as the pen and ink is applied.

The world of nature is an endless source of inspiration. Have fun with your future art projects!

Since ancient times, roses have been a symbol of beauty, purity, love, passion, and grace. These elegant flowers have occupied a special place in cultures around the world.

Roses are cultivated for their beautiful flowers. They exist in a variety of colors – and the palette is truly extensive! The coloring ranges from white through various yellow, orange, and pink tones to dark crimson, maroon, and purple.

The roses’ delightful fragrance and soft, velvety petals are an inspiration, too. These flowers provoke creativity! It’s hard to find an artist who has never drawn a rose in their life.

Today’s lesson is dedicated particularly to wild roses – close relatives of well-known garden roses. The Rose (Rosaceae) family also includes apples, peaches, pears, strawberries, raspberries, blackberries, and many other species.

It is interesting to know that fossil records show the rose to be one of the most ancient flowers. All garden roses are descendants of original wild roses.

Wild roses can be found in a variety of places, such as open woods and prairies. They often grow along the roads, and also in wet soils along streams and swamps.

Uncultivated plants grow naturally, without the benefit of fertilizer or supplemental watering. The need to adapt to harsher conditions was amplified by millions of years of evolution. As a result, wild roses developed superior vigor and endurance.

These flowers are known by a variety of common names, including pasture rose, prairie rose, dog rose, eglantine, sweetbriar, and others.

Are you excited and inspired? Let’s begin your creative journey – we’ll learn more interesting facts along the way!

Drawing a Wild Rose – The Art Materials

We’ll create a vivid drawing of a wild rose using alcohol-based markers and colored pencils. This combination of media has several benefits.

For example, markers allow making a solid base of color in no time. They also have a wonderful ability to create smooth gradients of color. This medium is easy to use – it gives the artist full control over the creative process.

On the other hand, colored pencils can produce very accurate, precise marks. When it comes to adding details, a sharp pencil may be the best possible option. Also, layers of colored pencil applications are semi-transparent. This feature helps to create subtle color nuances and various textural effects.

For many artists, summer is an opportunity to spend time outdoors, enjoying sunny days and beautiful nature. Bright seasonal flora is a source of constant inspiration!

See also: How to Draw a Rose

However, depicting natural objects (especially from a real model) requires speed and efficiency. Used together, alcohol-based markers and colored pencils streamline the process.

My markers are Finecolour. Each marker has two tips; a brush and a chisel. I’m going to use the brush nib only as its softness and flexibility allows for creating varied, organic lines.

In the image below, you’ll find the chosen colors.

This project can be completed with fewer markers. Make sure that you have at least one yellow, three cool reds (light, medium, dark), and two greens (medium, dark). Unfortunately, a limited range of markers can’t provide for a significant hue variation, but it is always possible to compensate for such limitations with additional colored pencils.

If you need more information on alcohol-based markers, please check out this post. It provides thorough explanations on the types of nibs, color families, and marker techniques.

And here are the colored pencils – they’ll be applied to refine the drawing. My pencils are oil-based Faber-Castell Polychromos.

Also, keep a graphite pencil at hand – we’ll use it to create an initial outline. A couple of erasers (a plastic and a kneaded one) will help us to remove or soften the pencil marks.

See also: 9 Must Have Colored Pencil Supplies

I’ll be drawing on an A4 sheet of smooth marker paper. Its back side has a coating that prevents inks from bleeding through.

A spare piece of ordinary thin paper will be used to create a miniature sketch.

The Appearance of a Wild Rose

First, let’s observe the plant that we’re going to draw.

The flowers of wild roses are single and wide-open. They usually have five petals.

The most common color of petals is pink. The tone may vary from pale to bright. It is also possible to find flowers that sport white, red, or yellowish petals.

Multiple stamens and a pistil form the central part of the flower. (See point a in the image below.)

The sepals are the modified leaves that can be found beneath the petals. Usually, there are five sepals of green color. They may be long enough to be visible when a flower is viewed from above. Sometimes they appear as greenish points alternating with the petals.

Also, sepals form an envelope that protects the developing flower bud. (See point b in the image below.)

The shape of petals may vary from species to species. In most cases, a petal is rounded and divided into two distinct lobes. (Point c.)

Wild roses also have hips. (Point d.) They are berry-like structures of a rounded or slightly flattened shape. The color of hips usually ranges from red to orange. Rose hips of some species are edible. They are very rich in vitamin C and antioxidants.

The leaves are compound (comprising several small leaflets) and alternately arranged along the stem. In most cases, wild species have seven or nine leaflets. The leaflets are located close to the stem.

There are pairs of leaflets at the sides of the stem and a single leaflet at its end. The ending elements are often slightly larger than their neighbors. (See point a in the image below.)

The leaf blades are dark green. They have one large mid-vein. (It is also called midrib.) There are from six to thirteen secondary veins that are diverging from the midrib. They form opposite pairs.

Usually, the leaflets have an oval shape and are sharply toothed. Just as in the case with the petals, the shape of leaflets may vary. (Point b.)

Now we know enough to draw a wild rose!

Developing the Composition

I create a miniature sketch first. The goal is to transfer the concept that I have in mind onto paper. Then we’ll evaluate the result in terms of composition and balance.

It takes several minutes to create a rough sketch, which may seem like an unwelcome distraction, but the importance of such work cannot be overstressed. A preparatory sketch helps to see the image as a whole. We can rearrange the elements of the future artwork until the final composition looks just right.

I start with general shapes – the masses. I’ve given them different colors for your convenience. The red rounded shape marks the position of the wide-open flower. The orange shapes are the buds. The green borders show areas that will be taken by the foliage. (See point a in the image below.)

I allow some asymmetry – it makes the composition more lively and organic.

The upper-left corner of the sketch has some empty space, but I think that a big pink bud can become a nice eye-catching accent. The final artwork must look balanced enough.

After the general masses are arranged, we can refine the objects within the shapes. You can change your drawing at any stage of the process. Add or remove the elements if that feels necessary. The final sketch doesn’t have to be very detailed.

Also, it may be a good idea to add shading to some elements of the miniature. It will help you to determine where the lights and shadows should be in your final artwork. (Point b.)

The petals of wild roses can’t boast of a whimsical value pattern that is created by various bents and drop shadows. Compared to their cultivated relatives, the flowers of wild roses look somewhat flat. Usually, there is a soft shadow near the flower’s center. The petals may cast drop shadows on their neighbors.

Creating an Underdrawing of a Wild Rose

It’s time to start on the final drawing. Let’s outline the contours of our flower.

I draw a rounded shape that marks the rough borders of the rose. A smaller circle within this shape indicates the area of stamens. We can add separate petals later.

Three lines go from this rounded shape to the periphery of the drawing. These lines mark the directions of the leaf stems.

I keep my preliminary mini sketch at hand and refer to it now and then.

I mark the leaflets. They have an elongated shape with pointed tips. The goal is just to arrange the elements. We’ll add the details later.

There are two buds. In the image below, I’ve marked them with a reddish color for your convenience.

I refine the drawing. The contour line of the petals becomes curvier. I mark the pistil and define the area of stamens more precisely.

I add the veins of the leaflets and the sepals surrounding the buds. I also mark the stem in the lower part of the drawing, under the flower.

I don’t draw every single vein or stamen, keeping only the most significant details. Excess graphite may contaminate further applications. I’m going to remove it with a kneaded eraser, so the tiniest bits of visual information will be lost anyway.

Applying Alcohol-Based Markers

With Buttercup, I cover the whole area of the flower’s core with a single flat layer.

Then I apply Begonia to the petals and buds. I work with broad marks, using the brush nib. The strokes go from the center of the flower to its sides. The first layer’s covering is somewhat striped, so I add another one.

I add some Buttercup to the border between yellow and pink colors to blend it. If the pink applications are still wet, you’ll get a smoother transition. Such soft gradients usually make the artwork more vivid and picturesque.

See also: How to Draw with Markers and Colored Pencils

I cover the leaflets with Leaf Green. (Apply a second layer if necessary.)

I touch the edges of the leaflets, creating an effect of a toothed margin. My movements are swift. I don’t aim to be perfectly precise as this first applications is done in a sketchy manner.

I include Raspberry in the darker areas of the petals that are near the stamens. I also add some strokes to the buds and the petals’ tips. The strokes follow the direction of the objects’ cross contour lines.

I apply Begonia on top of the “seam” between the colors of different values, blending these applications. As usual, if the existing layer is still slightly wet, you’ll get a softer transition. It’s possible to reapply the inks to moisten and reactivate the covering.

We’ll be working in the same manner throughout the tutorial. The lighter marker will be used to blend the border between the colors that present different values. (And, sometimes, hues.)

I use Deep Beige to mark the stamens with long curved lines and dots. I also accent the area under the pistil, making this element more prominent.

I touch the flower’s center with Mid Yellow to vary the colors. The marks are short, almost dot-like. I make them with the side of the marker’s brush nib.

Please note that marker applications may look different before and after drying. Sometimes it’s a good idea to wait for a minute. Let the inks dry completely before evaluating the color intensity or smoothness of blending.

I add broad sketchy strokes of Deep Olive Green to the leaflets. They mark the pattern formed by the secondary veins. I also use this marker to cover the darker areas of the leaves.

I blend the applications with Leaf Green.

I add Red Violet to the darker parts of the petals and buds, increasing the contrast. The strokes follow the contours of the elements. They are made in a similar swift, sketchy manner.

I use Raspberry to blend the applications.

Let’s add some Begonia to the petals. This tint creates a smooth gradient from medium to light pink. We can also apply it to the yellowish core of the flower. This inclusion will unite the artwork in terms of color.

I add Pine Tree Green to the foliage. This cool shade creates a nice color variation. It also softens the transition between the contrasting darker olive strokes and the lighter base.

I use Leaf Green to blend the applications. I also add this color to the shadowed areas of the petals. Layering such colors (that are contrasting in hue) decreases the saturation of the resulting tone. We get a nice complex color that looks more realistic.

I add some Olive Green to the leaflets, aiming mostly at the lighter areas and the midtones. This warm color livens up the artwork.

I also create more teeth at the leaflets’ edges, touching the paper with the tip of the nib.

As usual, Leaf Green may be used for blending any stripes or borders in the colors of the green family.

Let’s add some color to the area that is surrounding the object. I apply broad strokes with Buttercup and Pistachio. These tints are close in value, so they blend easily.

My wrist (not the fingers!) makes this free and quick movement. Sometimes I add single hatches and large dots. I just let the marks happen naturally.

Optionally, we can add some Leaf Green or Olive Green to this base while it’s still wet. These darker marks will become blurry and blended to a certain extent.

I also add some Buttercup to the tips of the petals to unite the elements in terms of color.

Refining Our Wild Rose with Colored Pencils

We’ve created a wonderful color base. Now it’s time to add the details. We’ll also spend some time working on the textures.

I apply Fuchsia to the petals and buds. I’m softening the transition between different pinks.

Petals of a wild rose aren’t perfectly smooth. They have a subtle texture. I leave soft, loose strokes with a slightly dull pencil to convey the desired feel. The lines may be longer or shorter – this creates a pleasant variation.

In this case, pencil marks are placed on top of marker applications and smooth marker paper. This combination of materials gives the pencil strokes a slightly rough, chalky look. It is similar to dry pastel. This character of marks adds some pleasant charm to the artwork. It accents the textures, too.

I use Earth Green Yellowish to soften the color transitions in the green areas. I also refine the leaflets’ contours where necessary.

To unify the artwork in terms of color, I add some pink strokes to the foliage. They create an illusion of a reflected light on the glossy leaflets.

Similarly, I add some green strokes to the petals. The colored pencil applications are semi-transparent, so the initial color won’t change much.

I deepen the petals’ core shadows, using Red-Violet. The covering is smooth. My pencil moves in small circles. It’s also possible to add longer lines that imitate vein-like structures.

I also strengthen the shadows in the flower’s central area.

I use Walnut Brown to draw the veins of the leaf blades. I deepen the shadows, accenting the interesting relief of the leaf blades.

I use this shade to refine the stamens. I add short lines and dots to the flower’s center. The inclusion of this color makes the drawing more realistic. I also apply a thin layer of this shade to the flower’s environment, close to the petals.

With Ivory, I accent the lighter areas of petals, where the slight bent is. I work mostly with long lines to show the texture.

I lighten the midribs and the areas near the secondary veins. I accent mostly the leaflets that are close to the flower, which is the focal point. Elaborate details usually attract the viewer’s attention, so let’s make sure that it is led to the bright, accentuated petals.

It’s time to evaluate the artwork and add or refine anything that needs a final touch.

Drawing a Wild Rose with Markers and Colored Pencils – Conclusion

Congratulations – we’ve created a wonderful artwork! I hope that you enjoyed the process and also appreciated the advantages of mixing media.

These simple yet effective techniques may be used in a variety of cases. It doesn’t matter whether you draw from nature or from a reference photo, outdoor or indoors.

I wish you much inspiration for your future art projects!