DR

L
earn these simple drawing basics at home and
soon you'll work instinctually and with confi-
dence. Anyone can master the techniques after
just a few lessons and with a little practice.
To get the most out of your materials, you need to
understand what each has to offer. Graphite is easy to
handle and suitable for quick sketches as well as
detailed work, while charcoal is more effective for
drawing complete forms rather than the finer points.
Colored pencils are clean and convenient to carry
around, which makes them ideal for working out-
doors. Or use paint to create washes of color that
lend a feeling of spontaneity to a drawing.
While it's important to become proficient at cer-
tain techniques like chiaroscuro and sgraffito, it's
also essential to learn rudimentary concepts you'll be
applying time and again, from creating a composi-
tion to determining proportions. Then you're able to
master and apply the techniques of your choice to
achieve the effects you want.
Put your skills to work on projects that introduce
you to popular subjects. Try a still-life with sanguine,

(continued on back flap)

 art
draWing
Translated from the Spanish by Maria Constanza Guzman and Olga Martin

Library of Congress Cataloging-in-Publication Data Available

5 7 9 10 8 6

Published in 2003 by Sterling Publishing Co., Inc.

387 Park Avenue South , New York, NY 10016
Originally published in Spain in 2002 under the title
Fundam entos def Dibujo Artfstico by Parram6n Ediciones, S. A
Ronda de Sant Pere 5, 4th Floor Barcelona, Spain 08010
Copyright © 2002 Parram6n Ediciones, S. A
English Translation© 2003 Sterling Publishing Co., Inc.
Distributed in Canada by Sterling Publishing
c;o Canadian Manda Group, 165 Dufferin Street
Toronto, Ontario, Canada M6K 3H6
Distributed in United Kingdom by GMC Distribution Services
Castle Place, 166 High Street, Lewes, East Sussex, England BN7 1XU
Distributed in Australia by Capricorn Link (Australia) Pty Ltd.
P.O. Box 704, Windsor, NSW 2756, Australia

Printed in China
All rights reserved

Sterling ISBN-13: 978-1 4027-0932-6

 r
of I

■ ■ ■
The Complete Course
Introduction, 6

KNOWING YOUR MATERIALS, 8

Drawing by Fiction, 10
Graphite: Line, Control , and Properties, 12
Charcoal: The Oldest Medium , 16
Tone Techniques with Charcoal, 20 J
Artists' Chalks: W
. arm and Opaqu e: 2/ · -~.._,, :!-~_,.,... ,_ ~
f::
Sang~~12.e: C~a~sic•Mediuni, 28 · ~:, .... :"?f1~i~~\
The Blending.:-Stump: Many Possibilities, 32 •: '
The Eraser: A Very Versatile Tool,_;?6
Colored Pencils: A Love for Detail, 40

BEGINNING &TEP,S, 64'_,

Achieving a Professional Stroke, 66 ,,
Training the Hand, 68 .., , j - - . ~ ,;
f ,,
Basic Strokes, 70 ? • ,,

Automatic Drawing, 72
Techniques to Improve Pencil Control, 74
Lines, Spirals, and Gradations, 76
Creating Volume in Drawings, 78
Hatching: Possibilities and Combinations, 80
Rings: Three-Dimensional Forms, 84
Pointillism: A Divisionist Technique, 86
Gestural and Outline Drawing, 88
Drawing Proportionately, 90
Strokes and Profiles, 92
A Linear Landscape: Controlling the Stroke; 94

A THEME: SELECTION AND COMPOSITION, 96 ,/ ,,.
Factors in Selecting a Theme, 98
Composition and Blocking In Shadows, j OO ~.
Using P.erspective in the Preliminary Outlirfe ·sketch , 104
Galt ulating Prop~rtions, 108
Drawing with Grids, 112
The "Lorrain Method: " Harmony in the Composition, 114 ~ .;,_
Point of View: Transformations in the Model, 116
Composing Outline Sketches: Balancing the Image, 118
· alance and Rhythm : A Visual Order, 120
-.;-,,_
LIGHT AND ATMOSPHERE, 124 · ' ~
Tonal Techniques, 126 ~.;,._,."'..-
Shading, 128 .,.
How to Shade: Stains, 'Tones, and Hatchings, 132
How to Control the Qualrty'°of a Shading, 134
Dividing Areas: Controlling Shadows, 136
The Importance of Tonal Gradation , 138
Tonal Backgrounds: Drawing on Colored Paper, 140
Contrasts and Volume Effects, 142 ·•
Blocking In and Modeling, 144
Light and Ambiance: Illuminating th~ Atmosphere, 148
Chiaroscuro: Maximum Contrasts between Light
and Shadow, 150 · t
Blending Techniques, 152 · .f ~if
_! 1, ·t •
Sfumato: Smooth Contours, 154 ' · i 'f
Flow to Use a Pape(•s Texture,J1 56 l J~ ;'·
,~-
Correcting without Erasing ,-15'8 jg. } ,
Depth Effects in Drawing, 160 I ii
Perspective: Basic Notions, 162.. f •
Drawing with Atmospheric Pe~specti'te, 168 •
The Coulisse Effect: Successive Planes, 170
A Contrasted Foreground, 172
. .,
...... '
/
/·~1-'! ! ! : : ; ~ ' ...-~
, -<!" ........
- ~~
· ..
\
!
,• COLOR DRAWING, 174
i' Colored Pencil and Pastel Drawing, 176
Conventional Techniques with Pastels, 178 __ _ / '
~ How to Mix Colors, 182 _ _......,::.,./
\. Colored Penc!I Techniques, 184 -
~'"'.,.~~ M,i:<}ng wifh Hatching: The Optical Effects of Color, 186
- " 'FEiathering and Whitening Techniques , 188
Scratching and Sgraffito, 190
STEP BY STEP, 192 .
Drawing a Nude, 194
A Still-life with SanguinJ:), 198
,( ·, /' ; Erasure Jechniq1:1e: Df awing Higfllights, 200
~ A Land&dape o~n Gray Paper, 202
'-!(~ /J .,.)€ \fn lntfrior w(th th_e White-on-White Technique, 204
The-«Three Color~ Technique: Drawing with
,., ~ .,.. :r,.
· Pictorial Qualities, 208 ' · -
The Blending Stump Technique: Just a Blurred Stain , 212
A Landscap~ with Cbalk Powder, 214
Sketching with a Charcoal Pencil , 216
A Still-life,witb Chiaroscuro Effects, 218
White Chalk' Highlights: An Explosion of Light, 222
_A Landscape with Graphite, 224
~-
A Flower with Abundant Water, Fluidity, and Sinuosity, 226
An Interior Patio in Wash , 228
A Rural Landscape in Washes and Line, 230
Metal Point Drawing: Texture and Hatching, 234
The Reed Pen and Its Effects, 236
Drawing on Colored Paper with White and Black Inks, 238
A Still-life with Colored Inks, 240
Controlling the Line: Hatching , 242
A Dog with Colored Pencils, 246
•' .......
A Girl in -Waterc;Qlor, 248
The Dry Pastel Technique on a Tonal Background, 250
An Urban View with Oil Pastels on a
Tonal Background , 252
 6

Introduction

training the artist's

eye

D rawing allows us to represent a three-dimensional image on a one-

dimensional surface by using basic elements of form such as composi-
tion, proportion, and volume effect. Drawing is the fundamental basis
for all types of artistic works. Sculpture, painting, architecture, and
even film and photography use drawing as the initial medium to con-
ceptualize, understand , and develop the various components that will
work together in the final project. Drawing is many times an original
work in itself, giving us the ability to reproduce our surroundings and _ .;{;-\'."'""-;;.~:.~;""'1,,h ~
environments ..,.~r ?# ~ B 1.,; t
As is the c~se for any art form, drawing can be learned; it is not a
special talent that only a fe~ p~ssess. Like writing, which_begins_ with · _•.,-,·
~ ~;-11~fr'·~
/
l fl
.£
F i *
f j f,
letters that form words, which in turn form phrases, drawing begins : ••,.} f 5 J 1fi :t
with a succession of points that form lines, which create shapes, ~ 1,, f f 1 .~ j:
~hades, and stains_- The se~ret of any dra"'.ing does n~_t lie in one's abil- _l~ J' i _ i, • j ;: { J
1ty to apply a certain technique, but rather in one's ability to learn how f ~ ,! J .~ f : .f" ~/: ,j ~
to observe and analyze a theme, create the drawing's outline, arrange Jl · i i r ,~-'f ~L :J ;
its _composi_tion, a~d calcul~te its pr~p?rtions. Therefo_re, training the }fJ' ;J..:j (§$ ,J I ; .· :~
k{
artist's eye 1s the first step in any art1st1c work. The trained eye pre-
cedes the drawing and helps create what may be called a drawing of
the drawing that is based on a set of both abstract and schematic ap-
-:;_; ff
,tJ'
rl
,t;_:
""
~

'?}
.r4ti;&· If,;,.
j :.. · "'·
preaches to better understand a model , establish a relationship be- ,.
r-
rJ
--~- ~
tween the seemingly disorderly gesture and the clarity of the structure. ;i, _;: :.
Since we are aware that the lack of this basic knowledge is the 'A-I' ~
greatest o~stacle a beginning a~ist ma~ encounter, this b~ok is i~t~ ~,. -·.· • ·. ~ .-, !'.-;.""· ~ ~--,,,.-..; i • ,,,-,~:\-~":,~
ed to provide all the necessary 1nformat1on needed to begin drawing. ~ - ~ ~--~...-:: .-~
We explain clearly and methodically each of the processes and tech- ;-,.,,.
niques that professional artists often apply instinctively. In addition to '-¾;,,:-=r;;:. : . :./~
these, you will find information about other important aspects, such as
training the hand, controlling the stroke, composition , and volume ef-
fects offered by various mediums, tools, and materials. It is essential to
understand and master these basic lessons in order to draw confidently.

,., .~.~~?~:I~if::.~
~

Composition and
structure are the
basis of any
drawing.
 7
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knowing your

-
I

"AN ARTIST TRANSFORMS HIS EXPERIENCE TO A WORK OF ART. THROUGH CONTINUOUS

PRACTICE, THE ARTIST LEARNS HOW TO USE HIS MEDIA. THERE ARE NO SET OR DEFINED RULES
IN ART; THE RULES FOR EACH ARTWORK ARE DEFINED BY THE ARTIST'S OWN PERSONALITY,
STYLE, AND GOAL..
EMIL NOLDE
10

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 11

friction.
Believe it or not )
but just a bit of friction
l
' . ·, ,,,. /t·i will start you on your drawing course. When a paper's surface
• ,, , ,~
, ' . • • If,, i ' Ii'
' is scratched with any pigment medium particles are left behind.
•1:1,/ 11:.,f,f 'f'
I - , 'r A ,;
\ f· i . . '~ ·, ( ; '
These particles leave an intense, yet delicate stroke. A simple touch
with your finger and the stroke will vanish as charcoal dust. Due to
its delicate properties, charcoal is the ideal medium to begin drawing with , since mistakes can be
easily corrected .
Although an artist has a considerable amount of freedom regarding how he or she chooses to
apply various techniques, the inherent characteristics of mediums and materials and how they are
used cannot be ignored and must be learned . Anyone interested in drawing and in obtaining the
most benefit from a given material should know and follow its "rules." Each tool and material gives
specific and unique results that no other medium can duplicate.
 :5
0
>-
OJ
C
-~
C
.::<'.

G raphite is one of the most popular drawing mediums among both art
students and professionals. Compared to other media, it is durable and very
easy to handle. Graphite is the most immediate, versatile, and sensitive
drawing medium that is suitable for quick sketches as well as for detailed
work. Graphite is fragile, oily, and soft to the touch , and comes in several
forms: sticks, pencils, and powder. It can be used on almost any kind of sur-
face. Due to its oily texture, its marks are permanent and do not require a fi-
A nal fi xative, although in some cases it might be advisable to do so. When
used for shading, graphite has a smooth , velvety appearance, which can
appear sharper and more intense when the point is pressed directly against
the paper. The artist has great line control with graphite, since it can be
erased and redrawn as many times as necessary.

B JII
It is a good idea to experiment with graphite sticks and
pencils that have different degrees of hardness.

C The shape of a graphite stick's The graphite sticks below have various degrees of hardness. The hardest sticks
point and how it is positioned produce a soft stroke and are commonly used in preliminary sketches. The softest
on the paper are essential in sticks provide a thicker, more intense stroke and are used for sketches with movement
controlling a stroke's quality. and tonal properties.
Different effects can be
obtained with {A) a sharp
point, (B) a dull point, or (C)
the side of the point.
 13

When held on their flat

side, graphite sticks are
used for drawing wide
strokes and for shading
Graphite sticks come in different sizes and various large areas.
degrees of hardness. Above are rectangular graphite
sticks.

FLAT GRAPHITE STICKS

Some types of graphite sticks, such as flat
sticks, are used for large-scale works in which
large areas need to be shaded . They also create
intense strokes. Flat graphite sticks do not have
When held upright, the
a point and are many times drawn on their flat
graphite stick's point
side. Since graphite sticks are not covered in
creates a thin and
wood or plastic, their point configuration is not
intense stroke.
limited , which means you can draw a large
variety of strokes.

Here you can see a sample of the strokes and effects that
can be obtained from flat graphite sticks: (A) linear stokes
with the flat side, (8) ringlets with the point held upright,
(C) wide strokes with the flat side, and (0) wide strokes
with the point.

C D
 14

'-
:J
0
>-
OJ
C
-~
0
C
_'<'.
Mechanical pencils are very
convenient to use since they
can be carried around easily.
Like pencils, refills come in a
wide range of soft and hard
leads.

DEGREES OF HARDNESS
The various possibilities of a stroke's intensity
depend on the graphite stick or pencil's hard-
ness. This variation in hardness allows us to use
light and dark lines to create light or dark shad-
ing. A number and letter, engraved onto the pen-
cil's side, indicates its hardness. Pencils with the
letter H have hard leads and make thin, light lines
that are commonly used in technical drawing.
Pencils with the letter B have soft leads and
make strong, dark lines. The number that ac-
companies the letter also indicates the pencil's
hardness or softness; the higher the number, the
harder or softer the leads is. A good selection to
begin with is: 5B, 3B, B, and HB. Artists usually
use the softer leads because they create intense
lines, which makes shading much easier. It is
also a good idea to have some mechanical
pencils, so that you have different options to
Elaborate linear figure work can be achieved with
choose from.
graphite pencils. Draw firm strokes with a well-
sharpened point. Since tone (shading, hatching, cross-
hatching) is not built up in these types of drawings,
It is a good idea to have a selection of pencils with use very soft pencils.
various degrees of hardness in order to obtain different
strokes with different values.

,f
}!f;t
;~
 15

Soft pencils allow you to create continuous gradations.

LINE QUALITY
Blend the gradations with your fingers or with a
If you need to draw wide strokes, we recom -
blending stump in order to create an atmospheric
mend using flat graphite sticks. Combining
effect. Look at the different shadings in the drawing
graphite stick and pencil produces fascinating
below. The combination of different strokes give variety
results. The graphite pencil gives you a lot of
and depth to the work.
control of the line and its tone, while the graphite
A. shading
stick's width enables you to cover large areas
B. finger blending
quickly. Hard leads are used for the detailed ar-
C. superimposed shadings with various intensities
eas and for the initial shading, while softer leads
0. intense, parallel sketching Just rubbing your
are used to accentuate the darker areas. Many
E. parallel stroke hatching with an eraser finger over a graphite
artists combine pencils with different degrees of
F. tonal gradation stain will blend the
hardness to create complex drawings with lines
G. tone contrast to emphasize different planes strokes and create an
and strokes.
H. doodling for vegetation textures atmospheric effect.
I. eraser marks made on blended shading

A B C D E F G H
 16

C harcoal is one of the oldest and simplest means of drawing. Because it

is carbonized willow branches, charcoal makes a strong and intense black
stroke. The basic difference between graphite and charcoal is that charcoal
is dry and graphite is oily. Because charcoal is dry, it does not stick to the
paper very well, which means you have a considerable amount of control
over it and can correct mistakes easily. Just running your finger over char-
coal will erase it; be careful though , because doing so will also create gray
tones. Blowing on charcoal will lessen the stroke or the shading's contrast.

Charcoal:
the oldest medium
TONE
One of the best qualities of charcoal is that it is the easiest medium for
shading, which creates tone. Tone is the degree of lightness or darkness of
a color-with charcoal the tonal range runs from black to white. With a little
practice, there is nothing that is more pleasing or fun than making quick
smudges, reapplying them, erasing, etc. with charcoal. Because of its ver-
B
satility, charcoal is an ideal medium for beginners, since it allows for correc-
tions and for th,e treatment :f a variety of themes without requiring too much

l
\
.. attention to detail. \

\ _1 \ '\ \
, /tis vety easy to combine
·~--':,:;,_>strokes: tones, blenps, and
«~
X•-~
1
. ;,, ~
-1; :; _/.,.i.
,,,-/

, ·@radations with charcoal. ;~ J ·/'

- "'·
~ \
,
\1;;_

...,,\
},-.....
r
.W . .
C

Above are some

r examples of charcoal
\' strokes: (A) with the
\ stick's point, (B) with the
point held upright, and
(C) with the stick held on
its side.

Above are strokes made by rotating the

charcoal stick while drawing.
 17

You can break

charcoal sticks in
order to obtain the
.' !?:i't:~ size you need. The

':tl1i:\, ideal length for

drawing is about 2 to

'}~{ -J.... . ~
~ - - -~
2 112 inches. This size
will allow you to
create almost any
~~= ~
-~::;-
_ ·,?:' :
desired effect.

Above are natural charcoal sticks, which Charcoal will come off the paper with the
are very fragile and brittle. Natural sticks lightest touch.
are more expensive than compressed
charcoal sticks.

Since charcoal does not stick to the paper very well,

it can be erased easily. However, even when the
particles are removed, parts of the strokes
remain visible.

Charcoal allows you to sketch or outline quickly, using

the stick's point or its side interchangeably.
 18

:S
0
>,
Ol
C
·3:
0
C
.Of'.
A dull point makes extremely
intense strokes.

Dragging the charcoal stick on its side produces wide

strokes.

A beveled point creates wider,
more regular strokes.
USING CHARCOAL
Charcoal can be used in many different ways.
The way the stick is held determines a stroke's
effect. For example, holding the point horizontal-
ly or on an angle will create different lines. Also,
by turning the point or varying the pressure you
place on the charcoal stick will produce either
soft, delicate strokes or bold and intense strokes.
Soft charcoal is more granulated and therefore
adheres better to the paper than hard charcoal ,
which is better for detail and line work since it
does not erase as easily.

Charcoal drawings no longer have to be temporary

works. Spray fixatives allow charcoal to remain on the
paper and retain its classic and noble reputation.

Drawing on the charcoal

stick's flat side makes linear
lines thinner, firmer, and more
defined.
 19

A B

STROKES AND EFFECTS

If you hold the charcoal stick like a pencil, the
strokes will be neater and more controlled by
your hand movements. If you drag the stick on
its side over the paper, the stroke will be thin and
sol id. With the charcoal stick held transversely
(on its side in an upright position), you are able to
create shadings that are as wide as the charcoal
stick. Drawn with one continuous hand move-
ment, transverse strokes become lateral (length-
wise) strokes.

C D

To the right are the basic effects that can be

achieved by mastering the use of charcoal: (A) even
shading, (B) different strokes and intensities,
(C) blending, and (0) gradation. By learning these
four skills, you will be able to draw any shape
and master any tonal effect.

Charcoal allows for an

initial schematic
approach to a theme
without relying on a lot of
detail.
 20

's
0
>,
Ol
C
·~
0
C
.Y

tone techniques
with charcoal
An artist must be much more courageous when using Compressed charcoal
charcoal than when working with a pencil. Charcoal calls for pencils are ideal for linear
drawing complete, whole forms instead of bringing out detail lines and strokes.
in a work, which is why this medium is more effective for
large-scale drawings. Appropriately combining different
strokes will allow you to draw seemingly complex shapes.

DRAWING WITH STROKES

Compressed charcoal pencils are the best medium for draw-
ing strokes. These pencils are very useful for small-scale
works in which lines prevail over stains. Intense charcoal
strokes add greater expressiveness and intensity to a drawing
than those produced by graphite. Shadings begin with small
strokes, their intensity depending on the dark areas. Pressing
the charcoal pencil harder against the paper will create darker
shaded areas.

Charcoal pencils create

even shades of intense
tone, and their pigment
is better than charcoal
sticks.

Charcoal pencil strokes

C4
can be blended, but they
are less malleable than
charcoal stick strokes.

Above are some basic blending effects with a charcoal

stick. You can see how volatile this drawing medium is.
Simply rubbing your finger or a blending stump over a
smudge or stroke will quickly blend it (A and B).
To test the pliability of charcoal sticks, draw a line or a
circle (C1). Drag the pigment inside the circle with your
fingertip to obtain a very basic shading effect (C2) . This
can become a tonal treatment by blending the charcoal
pigment on the paper's surface with your hands or with
a blending stump (C3 and C4).
 21

After applying different If you need to draw

charcoal stick strokes, neatly defined
the body is outlined with shapes, cut the
a defined line, thus desired shape out of
preventing any possibility a piece of paper and
of another "ghost" line. use it as a stencil.

Linear charcoal strokes produce strong, expressive
effects. It is important to keep in mind the kind of
strokes that you will apply in each area in order to
create definition and contrast.
GHOST LINES
Charcoal drawings are built up by superimposing
many juxtaposed lines on top of one another,
which are later erased and corrected as the work
progresses. This accumulation of erased lines, or
"ghost lines, " produces an interesting tonal effect
on the background . Many times these lines add
more emotion and variety to the drawing. A
good outline of an object is one that is intense
and firm .

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 (/) 22
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SFUMATO
Charcoal enables us to create a drawing simply
by blending strokes, which gives the drawing an
atmospheric effect. Th is technique is cal led sfu-
mato. Lightly blend the charcoal strokes when
using the sfumato technique so that you retain
the paper's texture. The only problem with this
technique is that due to the absence of defined
lines and strokes, which give pictorial effects, the
drawing could appear artificial.

In these two sequences you can see how an

atmospheric effect can be created just by running your
hand or a piece of cloth over the charcoal strokes. The
malleability of this medium enables you to modify the
surface several times.

Sfumato is used to create pictorial and

atmospheric effects.

Some artists use

charcoal powder to
create smooth
gradations and
shadings in large-
scale works.
Powdered charcoal
is applied by rubbing
the powder onto the
paper with cotton rag.
 23

USING A PAPER'S TEXTURE TO YOUR ADVANTAGE

One of the most interesting characteristics in charcoal drawing is how well it
adjusts to a paper's texture. If you draw on a highly textured sheet, the
strokes will have a granulated appearance, an even semitone effect that will
make the drawing more interesting. The rougher the paper, the more intense
the strokes will be, given that the sheet will hold the charcoal particles. The
pressure you apply on the stick will determine the darkness or lightness of
the drawing.

Compressed charcoal
sticks and natural
In the darkest areas,
charcoal stick offer
(here the arch), intense
similar effects, but
shading covers the
compressed sticks give
paper's tooth.
more intense and
contrasted strokes.

Even shading is used for

the walls of the house.

The sides of the walls

and corners are shaded
with tonal gradations.

Interesting tonal effects

can be achieved
by simply using
compressed charcoal
sticks.
 Cl) 24
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Ttie appearance and consistency of artists'

chalks , also called conte crayons, are similar to
those of pastels, but they are harder and more
oily. Artists ' chalks have a warm and opaque ap-
pearance and offer the same blending possibili-
ties as charcoal. However, chalks are more
stable and can be used along with charcoal and
with compressed charcoal pencils.

COLOR VARIETY
Strictly and traditionally speaking, artists' chalks
are limited to the following colors: white, black,
sepia, bistre (dark-brown), and sanguine (red-
brown). Their color tones perfectly balance each
other and make them especially suitable for
monochrome drawings, which relie on harmonic
shadings and gradations. Artists ' chalks are ideal
for medium-toned and dark-colored papers.

Artists' chalks are available in

various colors and are perfect
for creating blended shades.
Their best results are seen
when applied on medium-
toned, neutral-colored paper.
 25

Shading with the flat side

of the chalk.

·; .....
•, · ,· ... ·;- ·:'

Blending the shades with

MIXING
a blending stump.
Being that artists ' chalks are soft, they blend
easily and create beautiful color combinations by
either rubbing the strokes with your finger, a
piece of cloth, or a blending stump. Because
they are less powdery than charcoal, they can be
mixed by laying one color over another, allowing
the colors underneath to show through. This
technique will enable you to find different values
of gray tones more easily - if needed , the two
tones can then be blended by lightly rubbing the
strokes with your fingertip.

Directly mixing two colors.

There are two ways to intensify chalk tones: (1) increase

the pressure on the chalk stick or (2) direct mixing,
which is to draw over a previously laid down color and
press until both colors are blended into a mixed color.
The blending stump
blends two shades in to a
smooth color transition.
 (j) 26
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As you can see, chalk strokes cover the paper more

densely than charcoal. To the right is (A) shading, (B)
intense strokes, (C) gradations, and (0) white chalk
outlines on dark shading.

EFFECTS WITH ARTISTS' CHALK

C D
Since artists' chalk is more delicate than char-
coal, the strokes it produces are slightly less in-
tense and much subtler. Like charcoal, you can
use the whole chalk stick to draw, leaving Shades and strokes are combined to create forms. It is
strokes that can be easily modified and blended. best to begin practicing with simple sub1ects or models.
Before beginning to draw, break the chalk stick
to the desired size. Then, begin to make strokes,
holding the stick lengthwise. Use the point to
draw the outline of the model. Finally, run your .·~.~-1\>
finger over the contours to blend the strokes. .(

When drawing with chalks, it

is important to maintain a
continuous stroke and to
vary the position of the stick
on the paper.
 27

1 For the best results,

1. When drawing with chalk, begin by outlining the
apply chalk on
tonal areas. Here, shading was completed with the
colored paper.
flat side of the stick in an abstract manner.

2
2. Little by little, the initial shape is completed
until the dorsal profile of the female figure can be
distinguished .

3. The best technique to use when drawing with

chalk is to apply continuous shades with the
stick held lengthwise, then to combine them with
3
intense linear strokes.
 (f) 28
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Sanguine:a classic medium

Some examples of
A mong artists' chalks and chalk pencils, san-
sanguine chalk and
guine, due to its unique characteristics, is the
pencil strokes applied
most commonly used color. Somewhere be-
with different amounts of
tween brown and terracotta red , sanguine is
pressure and different
made of iron oxide and endures as a favorite
hand positions.
and classic medium among artists . The popu-
larity of sangu ine is due to its warmth and sen-
sitivity to the paper's texture. In combination
with other mediums, sanguine is at its best.
A sanguine stroke and
line is primarily plain and
flat. Therefore, it is
necessary for you to get
familiar with shading. If
you place the sanguine
stick's flat side on the
paper and turn your
wrist, you will see the
interesting shading and
gradation effects that
can be achieved.
Remember, the effects
also depend on the
amount of pressure you
apply.

Sanguine offers a huge variety of drawing treatments:

A
(A) naturalist, with soft shading, (BJ structural, with the
stick held lengthwise, (C) hatching, and (0)
expressionist, with lively, hurried strokes.
 29

Sanguine, like
BETTER WITH STICKS
charcoal and chalks,
Like artists' chalks, sanguine combines the best
comes in sticks,
of pencil and charcoal in that it produces line and
which are used for
also texture in a single stroke. It is better to work
medium - to large-
with sanguine sticks than with sanguine pencils,
scaled drawings.
since the sticks offer a broader, more dramatic
stroke than pencils. Like charcoal sticks, you can
draw lines with the end or cover large areas with
the flat side of the sangu ine stick.

2 3 4

Familiarize yourself with sanguine sticks by creating

different effects on various textures and papers. Above
are examples of (1) a sanguine stick shading, (2) a
sanguine pencil shading, (3) sanguine stick shading, (4)
sanguine stick shading on rough paper, (5) sanguine
pencil hatching, and (6) sanguine pencil cross-hatching.

5 6
 30

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When drawing with

DRAWING LINES AND STOKES
artists' chalks or
WITH SANGUINE
sanguine, do not work
In order to achieve the best stroke or line from a
on textured papers;
sanguine stick, draw a continuous line without
these papers tend to
lifting the point from the paper. Extend the line
break up strokes
and vary the amount of pressure to create more
and shading.
color intensity and darker tones. Then do the
same with a sanguine stick pencil. Given its
sensitivity to texture, sanguine should not be
used on very rough papers because the strokes
will be fragmented . Also , try to avoid shading
toned areas.

Learn to draw in a single stroke, barely lifting the

sanguine stick from the paper. Modify the line's width
and quality by turning the stick or varying the amount of
pressure you apply.

Sanguine gives a unique,

. warm
,..., .
feeling tp cl
 31

Sanguine is also available as lead Sanguine and

for mechanical pencils, ideal for charcoal are almost
small-scale works or for those in identical in use;
which line and texture dominate. however, the results
and finishes are
very different.

Sanguine pencil is easy to control and offers a rich variety of tonal gradations, as can
be seen in this landscape sketch. A fairly good landscape drawing can be achieved by
alternating between three or four values (tones) of sanguine. The contrast among the
different planes increases the effect of depth.

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the b1ending stump:

many possibilities
A blending stump is made from a soft paper felt
that is double-ended and pointed. It is used for
rubbing and blend ing . Blending stumps come in
different degrees of thickness. Use the point for
darker tones and the blunt end for lighter tones.

BLENDING STROKES
Blending stumps are very useful tools for the
artist because, as the name suggests, they allow
us to transform the drawing through the use of A blending stump allows you to blend a line, giving the
soft gradations and blended shadings. Blending drawing an atmospheric effect.
allows you not only to integrate strokes but also
to elim inate the white areas within them. When
the tones are gradated , a perfect representation
of the object's volume can be achieved. The
blending stump can be held in any manner;
however, using it excessively will reduce a
stroke's vibrancy.

Blending closes the paper tooth

completely, turning an irregular shading
into an even one.

Blending the strokes with a blending

stump gives volume to a figure and
softens t~e transition between light
and dark.
 33

When, after blending

in a dark area, you
move toward a lighter
area, clean the stump
on a separate piece
of clean paper, so
that you do not dirty
the drawing or the
shade.

G
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Rubbing the stump on a stroke or hatching will

smooth tone transitions.

It is a good idea to have

several blending stumps
of various widths. This
will allow you to work
with different colors and
with large or small areas
at the same time.
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To draw with a blending stump, starfoy Then saturate the stump 's end with the Draw strokes on the paper. The
rubbing the charcoal stick with rough
..,,_ sand-
'
charco?I powder. more charcoal on the stump, the
paper to make charcoal powder. more intense the strokes will be.

DRAWING WITH A BLENDING STUMP

_ . Ble~ding stumps can also be used as drawing tools. To do so, rub the
stum'p's point in charcoal powder until it becomes saturated. Then, draw
with the blending stump. For darker tones place more pigment onto the
point, less pigment fo'r lighter tones. The final result is a smooth drawing
without defined lines.
There are two basic blending techniques with the stump: (1) use the
point for smooth, intense strokes or profiles and (2) use the wide, blunt end
for wide areas. Your hand movements should follow the directi0n of the
model 's texture. If working on an undefined background or plane, use
circular movements.

Your hand can a/so

be very useful to
blend, shade and
stain. The upper part
of the palm is ideal for
applying wide stains
with even tones,
whereas the fingertips
are normallyused to Blending stumps give.an evanescent, atmospheric
blend and shade effect to any drawing. Since it is an effect technique, the
local areas. drawings do not require a high degree of qefinition.

I
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 35

With soft strokes and without a great deal of tonal
contrast, a blending stump will produce a drawing with
many pictorial effects.
A. Light hatching on the roofs
B. Spaces between strokes on the balcony
C. Soft shading in the illuminated street areas
0 . Erasures for more graphic effects
E. Intense hatching on the church bell tower
F Cross-hatching on the building 's fac;ade
G. Intense tones in blended dark areas

.
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E rasers provide artists with a wide creative margin in ~ hich to work. An

eraser can be used to clean an area, blend a stroke, place light markings on
a darker color, or draw erasures on top of previously laid colors .

EFFECTS FROM AN ERASER

The eraser offers a wide variety of effects, all of which are not particularly
complex. For instance, with the tip of the eraser held at a slant, wide strokes
can be obtained; if held upright, you will create fine _strokes.
The eraser can also be used as a drawing tool in itself, a medium to
produce line and tone quality. With charcoal , you obtain different tones of
black depending on the pressure you apply; similarly, the eraser works in
the same way, although the opposite results . The more the pressure, the
whiter the erasure mark will be on the paper. When lightly rubbed over a
tone, a light blend is created.

the 8raser:
a very versatile tool

A kneadable eraser is an essential tool for

charcoal and chalk works.

How you hold the eraser; the amount of pressure you

exert on the eraser; and how you hold your hand will all
control the eraser marks.
 37

PRACTICING YOUR STROKES

In order to practice and observe the different
effects an eraser offers, cover a paper with the
flat side of a charcoal stick. Then make different
eraser marks, alternating the position of your
hand and the pressure you exert on it to see
the results .

There are several

types of eraser. Soft
erasers are the best
Similar to graphite pencil work, different hatching for graphite pencil
combinations with a mechanical eraser provide an works and kneadable
interesting variety of shading and textures. erasers are ideal for
charcoal works.

A kneadable eraser will give you an interesting

range of effects.

Since they are ideal for hatching and creating detail,

mechanical erasers are very useful for
"eraser drawing. "
ff) 38
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THE KNEADABLE ERASER IN

CHARCOAL DRAWINGS
Given that charcoal drawings rely on erasers
more than graphite drawings, it is extremely im-
portant that you know how to use them correctly.
When used with charcoal , the eraser allows you
to add details and introduce light areas. Hard
erasers damage the paper surface and smudge
much more than kneadable erasers. Preferably,
use soft, malleable erasers when working with
chalks and charcoal. Kneadable putty erasers
are particularly convenient because when the tip
gets dirty, it can be turned inward and reused .

Aside from being used to make white marks, erasers

also make excellent blending tools.

With the eraser you can

also blend contours and
work on stains and tonal
values, giving the
drawing a more pictorial
effect.
 39

1 Always clean the

1 . This sequence follows the I
I
eraser before reusing
eraser technique. First, white I
I
I it. Simply rub it on a
marks are made on an even-

~
clean piece of paper.
shaded background.

2. Strokes with a graphite stick

are added to the light areas; these
strokes will finish outlining the
shape of the pitcher and fruit.

3. Finally, the light areas are

shaded and gradated , giving
volume to the objects.

2
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colored Pencils:
a love for details
C olored pencils are clean , practical, and easy
to carry around, which make them an ideal medi-
um for drawing outdoors. Colored pencil lead is
made of pigment, a filling-usually chalk, talc, or
kaolin-and an agglutinant, usually a cellulose
gum. Colored pencils are handled just like regular
pencils, but offer a less oily, smoother, and glossy
finish . Colored pencils allow you to work with the
precision of a graphite pencil, while at the same
time adding color to a drawing. They are soft
enough to create delicate shadings and can be
sharpened to draw intense and linear strokes.

Colored pencils are perfect for optical mixing.

Colored pencils can be purchased as single pencils or

in boxed sets. In this book, we used Artists' quality
colored pencils.
 41

Optical mixing gives great results. In order to

OPTICAL MIXING
achieve chromatic depth, mix the colors (A 1,
The most significant characteristic of colored
A2, A3) instead of drawing with Just one
pencils is the subtle optical blends that they pro-
color (B).
duce. This medium relies on the rich intensities
of color tones and on the ability to mix colors. To
optical mix, a lighter color is placed on top of a
darker color. The result is a glaze-a colored film
that gives the effect of mixture. Remember to al-
ways put down the darker color first and the
lighter ones on top. Light tones cover less and The colored pencil's sharpened point
allow the base color (the darker color) to be visi- and ability to draw progressive values
A1
ble, which is necessary in order to achieve a allow the artist to produce high-
thoroughly mixed color. resolution works.

The combination of subtle scumbling and rough

strokes gives colored pencil drawings interesting
chromatic color variations.
A2

A3

B
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FINE AND THICK LEADS

There are two types of colored pencil leads avail-
able: 3.5 mm, which are used for special works
that require a lot of detail , and 4 mm , which are
thicker and ideal for wide and intense lines
and strokes.

Soft and wide leads are recommended when you are

combining techniques. They produce wide lines, which
contrast nicely on a colored background.

There are several kinds of colored pencils, whose

differences reside in their lead compositions. Although
percentages vary, a waxy pencil's pigment is
agglutinated with kaolin (a type of clay) and wax. Oil
pencils are the most common and are available in hard
and soft leads - the softest allow you to color the
most easily.
 43

WATER-SOLUBLE COLORED PENCILS

Also called watercolor pencils, water-soluble colored pencil leads are made
with coloring pigments that are agglutinated with waxes and varnishes .
They have a soluble ingredient which enables them to dissolve when water
is added. Watercolor pencils were created for graphic designers and illustra- Watercolor pencils have the same
tors, and only recently have they been incorporated into the Fine Arts. Even characteristics as colored pencils.
though watercolor pencils combine two techniques into one, they are, However; with a wet brushstroke the
nonetheless, considered a mixed-media technique. pigment dissolves, creating a stain that
Drawing with watercolor pencils is just like drawing with conventional brings washes and strokes together.
pencils. Because of their waxy composition , conventional pencils do not
dissolve when they come in contact with water; they resist it. Watercolor
pencils, on the other hand , explode with color when water is added. Hatch-
ing will vanish after a wash is applied , but hard strokes will still be visible.
Additional colors and details can be added after the wash dries. If you add
them while the paper is still damp, they will blend into the paper.

In this drawing, colored

pencils and watercolor
pencils were combined.
Watercolor pencil strokes
need not be mechanical
and symmetric. Note the
fine, thick lines and how
the shapes of the trunk
and branches are
rounded, producing a
great graphic and
chromatic richness.
Pastels:
drawing or painting?

C onsidering pastels encompass both drawing and painting prop-

erties, it is difficult to link this medium exclusively to only one of
these two disciplines. This dichotomy is due to the fact that pastels
allow for a wide variety of techniques, from lines to strokes, like
those drawn with chalk, to blends and tonal gradations, which re-
semble pictorial effects of gouache and oil paint. Therefore, al-
though pastel is applied like the previous drawing mediums we have
studied, their chromatic richness , blending effects, gradations, and
tone mixtures place them in a category of their own. Pastel work is
commonly used to introduce painting techniques to art students.
There are two types of pastels: soft and oil.

SOFT PASTELS
There are three basic ways to draw with pastels: (1) dragging the
pastel lengthwise over the paper, (2) with the point, and (3) with your
fingers. When dragging the pastel, the quality and intensity of the
stroke depends entirely on the amount of pressure applied. The
more pressure, the more saturated and opaque the color will be. A
pastel 's opacity allows for an easy application of light colors over
darker ones. With the edges of the stick, the artist can draw fine
lines, for detailing , or thick strokes, for covering large areas. Finally,
since soft pastel sticks crumble easily, you can apply the powder
onto the paper with your finger and create a more diffused
color stain .

There is a wide range of soft pastels to choose from, all of which give a drawing
a rich, chromatic, and pictorial finish .
 45

\ Oil pastels have an oily texture and provide a In order to mix the
~
. ::i stroke that is more expressive, although less color strokes with the
.~~ ~ ../:.':~~~ malleable, than soft pastels. wax, the artist may
i\':,J;F·•. ,, , , ,
use a solvent such as
turpentine. When
rubbing the color
stroke with a damp
piece of paper on
which solvent has
been applied, the
OIL PASTELS
k,.~'''·.
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wax will dissolve,
Oil pastels are a relatively new invention and have become ex-
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;~t{;f/,,., .. producing translucent
r,, •, . -:~f···-~: tremely popular among artists, given their ability to produce color
washes.
sketches and finely detailed works. Oil pastels are small sticks,

t~dtlfr~ similar to those of traditional pastels, but containing a combina-

tion of animal fat or wax pigments. Due to an oily agglutinate, oil
pastels are softer, stronger, and less brittle than soft pastels.

A pastel's opacity allows you to build up

color and mix colors by laying a lighter
color over a darker one.

Drawing with the point will give you intense, chromatic strokes and lines. Because soft pastels are very brittle and malleable, you can make nice
blends easily with your fingers.
 MIXING COLORS WITH OIL PASTELS
While soft pastels are known for their velvety tex-
ture, oil pastels give bold, intense strokes. Im-
ages created with oil pastels are flexible enough
to be worked on; however, start with light strokes
and lines in the first working phases because
erasing is not easy. Unlike paints and inks, both
oil and soft pastels do not cover the paper very
well, unless heavily applied. Hatching and cross-
hatching are also suitable for the whole range of
A B C D
pastels. For broad effects made with side
strokes, you can overlay colors more directly by
simply placing one stroke over another. Oil pas-
tels cannot be blended by rubbing, but the color
can be "melted " with turpentine or white spirits.
Another advantage of using oil pastels is that
they do not need to be fixed, so you can build up
layers of color without worrying that the top layer
will fall off. One popular technique with oil pastel
D
 47

One half of this drawing was made with dry Simple themes can
pastels (left) and the other half was made with be interpreted with
is sgraffito, in which one layer of color is
oil pastels (right). Here you can see how these bright colors. If you
scratched away to reveal another below. This can
two media respond to (A) blending effects, (BJ nr:-.~l!lllllil!! want an element to
be done with soft pastels, but the first layer of col-
sgraffito (cutting away parts of a surface layer contrast with the
or will have to be fixed-it is a little more difficult
to expose a different colored background), (C) background, work on
and the effect is not as good as with oil pastel.
blending, (0 ) scumbling, (E) impasto (thick a dark-toned
application of color), (F) gradations, (G) water background, using
or turpentine dilution, and (HJ superimposition dull, blended colors.
of intense strokes. These effects are next to
the drawing, shown separately and with
different colors.

E F F F

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different drawing papers:

different characteristics
I n addition to a theme, technique, and medium,
paper is also a major protagonist in a drawing.
The drawing 's final result will vary considerably
depending on its color and whether it is smooth,
rough , thick, or thin .

CHOOSING PAPER ACCORDING

TO THE MEDIUM
Each medium requires a particular type of paper.
Smooth-grained papers, with an extremely fine
tooth, are hot pressed and come in a wide range
of grays that maximize the quality of blends
when working with graphite pencils. Fine papers
are also suitable for detail drawing with colored
pencils. Medium-grained papers are appropriate
for charcoal and chalk work because they retain
the charcoal and chalk particles. Laid paper is
traditionally used for charcoal work. Its texture
enables the artist to draw fluidly and
blend shadings.

A rough paper breaks the

trace of the stroke, giving a
granulated appearance
to shading.

There are different paper types for every

drawing technique and medium.
 49

Smooth-grained paper with a fine tooth A paper's tooth and

is more appropriate for graphite or texture determine the
colored pencil drawings and for final result of a
making sketches. drawing.

COLORED PAPER
There are many brands of high-quality colored
papers available. In order to create a vibrant
effect, you should choose a paper color that
contrasts with the dominant color of the drawing
you are about to start. To achieve a harmonious
effect, choose the closest color to the dominant
color of the drawing. Colored papers are avail-
able commercially in a wide range of textures;
therefore, you should remember the effect that
not only the color but also the surface will have
on the materials. In addition, colored papers
allow for white chalk outlines.

PAPER WEIGHT AND TOOTH

The heavier the paper, the thicker and more re-
sistant it will be. It is easy to perforate very fine
paper with the point of the pencil when drawing;
therefore, low weight papers should be used with
special care. Fine tooth papers show a pencil 's
varying gradations, allowing for the creation of
shadings and for clear, high quality lines. Rough
Medium -grained and rough watercolor paper provide
paper, instead, breaks lines and strokes, giving a
more energetic shadings to the drawing.
discontinuous and fragmented look. This type of
paper also allows for rugged shadings, which
give the drawing a much more atmospheric ef-
fect. Pigment particles remain fixed to rough pa-
The medium texture offered by
per, in the grooves of the granulated surface, like
Basik paper is ideal for almost
small color specks. This effect allows for the re-
all of the dry techniques.
flection of the light of the paper, which gives the
colors more translucence.

Laid paper is traditionally

used for charcoal work.
50

·'
- · liquid
echniques:
 51

brushes and inks.

Drawing with brushes
is the first step towards
drawing with liquid techniques. In principle,
working with washes and strokes is very simple: you
just add water to a color with a brush. Whether you
are an experienced artist or not, you will see that the
effects offered by the brush and quill pen drawing
techniques are closely related to those of drawing.
This creative medium allows you to combine line with
areas of color and tone. It can be used in mono-
chrome or in multicolored drawings. Experiment with
different pens. Try an old quill pen, a modern fountain
pen, ballpoints, or technical pens. Once you are familiar with all the possibilities
this medium offers, you can begin your study of color and its techniques.
52

~i~ that the wash is watercolor or ink, this technique is inti-

mate!~. rel_?t@d t ' drawing. Wash is a simple technique. It consists of loading
the color om .a d,c!mp brush and laying it on the paper with various amounts
of w_~t~qo ·achii ve light tones in illuminated areas, dense tones in the dark
' areas, @f QfaGi]tions to blend in with the background. Before beginning to
draw ~ith liquJd media, we must learn the basics of the monochrome wash.

' 'fl:" ,
~J
the Wash:
a range of tones

The brushstrokes, or gradations, created

with wash are extremely spontaneous.
Superimposing several washes will result in
darker tones.

Mastering the brush

and wash medium will
produce sensual
drawings that can be
quickly rendered.
 53

It is easier to create
gradations on
previously dampened
paper; however, this
~------'--,

makes it harder to
control the color
because it will spread.
To move the wash, first lay the
color down on the paper.

TONE VARIATIONS
The tone of a wash depends entirely on the
amount of water added to the color on the
palette. The smaller the amount of water
added to the color, the darker and more
opaque it will look and vice versa. More
watery colors are the lightest and most
transparent; this makes it easy to imply that
white does not exist in the wash technique .

Then add water to the initial stain, dragging the brush and
extending the wash.

To make white marks with

wash, run the tip of the dry
brush over the damp area;
the brush hairs will
immediately absorb part of
the color.

The more the wash is extended, the broader the tonal

gradation will be.
 Practice making tonal
grada tions in order to
see the rich shadings
that washes can offer.

1
EXTENDING THE WASH
Wash allows for wide and rich tonal gradations.
In order to create these gradations you should
stain the paper with a very saturated and intense
color, wash the brush with water, and then dis-
solve the color over the paper. As it slides, the
color expands through the dampened area, since
the water on the paper transports the color. As
you extend the color, the tone turns lighter. The
more times you repeat this operation, the lighter
the tones of the gradation will become.
1. This simple example shows the easy execution
~fa wash drawing. First, draw the outline of
A VERY SIMPLE METHOD \ pear.
The best way to learn how to extend a wash is
through practice. Start with a very simple exam-
ple: a pear. After making the pencil drawing, the

2
first step will be to outline the fruit with the tip of
the brush, with a constant and continuous brush-
stroke. Then, apply a very light wash in the inner
area of the pear, leaving a small white space.
This space will be the reflection. Before the wash
is dry, add a second wash , with a much more in-
tense tone. When painting over the damp sur-
face, the tones will mix rapidly. Squeeze the
brush and help distribute the tones with very
When working with light brushstrokes.
washes, it is always a 2. Then, with very diluted washes, begin to stain
good idea to have a the inner section, extending the color of the initial
piece of cloth handy to outline.
remove any excess
water; this will keep the
stroke from spreading all
over the paper and
losing precision.
3. Finally, add new colors to better define the
light and shadow effect on the fruit. 3
 55

In order to achieve
effective backgrounds
with broad gra-
dations, the paper
should first be
dampened with
A B C D E F G H
clean water. Before
the sheet dries, put
the color on the brush
and make the stroke.
The humidity of the
paper will cause the
colors to expand and
distribute, forming
gradations.

Wash drawing enables

the artist to develop a
rich variety of tones.
Tonal juxtaposition,
contrast, and gradations
are fundamental to
appropriately represent
the various planes within
a landscape, which in
this case is a succession
of roofs with a small pier
in the upper part of the
drawing. Notice how the
tones complement each
other in the drawing.
 56

· I'"
II '" i:jil i il '.~I , 1;j !'.
l I

: 11, ·' I ;I ! l''

, 'I ' ,II I 'I ,..

brush
1 ' i f!
) I ,! l I i;
! (1· . : i;
I ,,, . :'!',.

effects I ]/:
f i
!'

Inwash , it is very important to be able to manipulate the brush correctly, Brushstroke allows for
rapid strokes with either
being that it is the most common drawing tool for liquid techniques. Al-
a firm or wavy line (A, B,
though wash is classified as a drawing technique, the brushstroke is the
CJ. Washes and various
main medium used to create stains, values, and strokes. Due to the rapid
kinds of tonal effects can
absorption of the brush, no other medium can compete with it. The brush
be applied, which range
expresses movement, light, and atmosphere; however, the artist needs to
from gradations to dry
rely on his or her repertoire of techniques and ability since wash cannot be
brush applications (0, E,
corrected and the addition of too many lines will create confusion , all of
F, G).
which will damage the end result.

A C

D E F G
 57

It is necessary to have a
variety of brushes in
order to achieve diverse The brush enables
brushstroke effects. you to create the
definition of a dark
silhouette from a
single stain, as well as
to outline the contour
of the shapes from
broken and loose
FROM LIGHT TO DARK
strokes.
Brush drawing begins from a completely trans-
parent background in which the value work is al-
ways made from light to dark; this means that
the tonal additions should always be made to the
lighter tones, and not vice versa. Therefore, it is
extremely important to establish from the very
beginni119 the work areas of the drawing . This al-
lows you to obtain an exact measure of the gray
tones that correspond to each area.
LINE WITH WASH
Among the watercolor techniques, linear wash is
closer to drawing than painting because it has
the same characteristics of drawing: mono-
chrome; value ; and the combination of strokes, If you practice making strokes with the brush on a
lines, and shapes. Through wash you can come damp background, the lines will expand, producing
to a truly drawing-like understanding of the mod- interesting pictorial effects (H, I, J).
el , alternating the brush stain and the line. Be-
cause of its purely drawing-related character, the
wash enables you , besides applying chiaroscuro, Washes on a damp surface produce atmospheric
to outline the volume of shapes from the direc- tones, useful when painting rainy or foggy landscapes
tion of the stroke on the darkest areas. (K, L, M) . The same application of wash over a dry
surface will produce more intense strokes, where the
paper's tooth will remain visible (NJ.

H J

K L M
•
N
 58

nks:
strokes and effects
~ e stoke is the basis of drawing. From this simple gesture on the paper,
volume will be constructed by modeling the shape, caressing the paper with
· the medium, or simply by drawing the shapes with a clean and direct stroke.
If wash, as explained before, allows for the location of the various planes of
the model according to their tonal values , drawing with a brush helps to
make the object's outline stand out against the background by
creating contrast.

Black India ink is a more intense black than black

watercolor, has greater tonal richness, and expands
more easily (A, B, C).

When drawing with a brush, shifting from lines to stains

depends only on the hand movement and the amount
A B C of pressure placed on the hairs (D, E, F, G, HJ.

A fine and round brush offers an interesting stroke

range. Superimposing hatchings of different colors
creates bright and colorful effects (/, J).

D E

Once you understand the basic

principles of wash and learn to
handle the brush, you will be able
to produce interesting sketches
by combining washes and
strokes.

J
 59

THE BRUSHSTROKE
The brush is a very flexible drawing medium and
is easier to handle than the quill pen. You can
move brushes very rapidly and fluidly. If you vary
the pressure on the tip as you draw, you can
achieve lines of varyi ng widths in a single stroke.
You can easily shift direction by bending and
rounding corners , where pencils and quill pens
would fail to do so. A round sable brush in good
condition transmits stroke, rhythm, and modeling
in one stroke.
In brush drawing you may use one or, at the
most, two colors. If more tones are used there
will be mixes on the paper, wh ich will produce a
mingling of the shape outline. This limitation in
the use of color is compensated by the tonal
variations derivi ng from a "higher or lower" dis-
solution of color in the water.

Different stroke possibilities achieved through shifting

pressure and inclination of the hairs against the paper:

(AJ A fine brushstroke with the brush's end.

(BJ A wide brushstroke by pressing harder on the paper.

(CJ A wider brushstroke if you flatten the hairs against

the paper.

(OJ A slightly damp brush applied in short and rapid

strokes will give the texture effect of a broken line.

[7
~
If your work involves a
lot of thick color, the
strokes will reveal the
paper's grain. The
brush will not flow
easily and will leave a
granulated and
discontinuous trace.
 8 60
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QUILL PEN STROKES

The quill pen makes a fine and clean line, which can be used to outline any ob-
ject's form in a drawing. But if you want to shade and give texture and volume to
an object without using a wash, you will need to use the white of the paper and
different strokes. Each type of hatching, depending on the proximity and shape
of the lines, will create various shades of gray. You need only a simple theme in
order to build up volume and texture.

The quill pen and reed pen offer various stroke possibilities
according to the position of the hand. Here are some
examples:

We begin with cross-hatching on an angle, one of the most

characteristic effects of quill-pen drawing (A).

The classic zigzag shading can a/so be drawn with the quill
pen, although using this medium will result in a more
unstable and irregular line. 2

You may shift the stroke pressure in order to vary the line's
width (C).

The greatest advantage of this medium is that you can go

from fine and sensual lines to firm and intense strokes, like
the ones shown in (0).
3

On the right side of this

page are various
samples of a quill p en
and ink drawing: (1)
parallel, (2) zigzag
hatching, (3) spiral
6
hatching, (4) curved
hatching, (5) cross-
hatching, and (6) spiral
shading.
 61

When the areas of absolute white are combined with A saturated color is
intense strokes, a strong, clear contrast is made used to emphasize
between the illuminated areas and the shadow areas. the essential lines or
c=-:--::-----,J,., the shadow areas
and a color diluted
1,;;;:~~--1 until it becomes
L..:~====::::~:::1 almost transparent
is used to create
smooth contours.

In order to shift the stroke intensity, dilute the ink with a

little bit of water; this will allow you to combine intense
strokes with soft gray strokes.

Brush and quill pen ink drawing require a subtle

The direction of the lines should always follow treatment. The white of the paper represents the light
the object's volume. on an object.
 C ombined with other media, washes, whether made with watercolor or
with ink, allow for countless effects, which may make the drawing more aes-
thetically interesting. In these next pages you will be introduced to some of
the most common effects that drawing professionals use to create texture .

Washes:effects and techniques

APPLYING SGRAFFITO
Sgraffito is applied by Sgraffito creates white marks or strokes on dark
scratching lines on top of backgrounds. This operation should be done on
the wash while it is still a recently painted area, while the watercolor is
wet. still wet. There are two ways to "open" these
white strokes. One is scratching strongly and
firmly, using the edge of a brush handle; the
other way is to use the tip of a razor blade or
cutter. The strokes made with a razor blade will
be deeper, thinner, and more intense.

Salt produces the richest

textures. Sprinkle salt on
the wet wash and wait a
few minutes until you
begin to see small marks
forming on the surface. TEXTURE EFFECTS WITH SALT
If you paint a regular, mid-tone wash and, while it
is still wet, sprinkle a little bit of cooking salt over
it, you will see, as the wash dries, the grains of
salt absorb the pigment and produce interesting ,
light blended stains. Once the paper surface is
In order to apply a smear, load the brush with a completely dry, you can easily shake off the salt
small amount of water. It will leave a dry, brittle, and grains.
discontinuous trace, which will give an interesting
texture effect to your drawing.
 63

After applying the wash

you may see that, while
the paper absorbs the
color, the wax strokes
resist and become
clearly visible, producing
an interesting effect.

Make white marks with wax or an oil pastel. The wax

will resist the wash.

SMEARING OR SCRUBBING
Also known as the dry-brush technique, this
technique consists of using a brush saturated
with color and a little water, to produce a rough
texture when applied to the paper. The dry-brush
technique is perfect for making contrasts and for
representing the rough texture of certain objects.

WAX RESISTS
If you draw with an oil pastel or with wax, you will
be able to preserve a series of thin lines on the
paper's surface. Afterwards, you can cover them
with washes and the waxes will resist the water.

This drawing uses wax resists to give texture to the

foliage and to the tree trunks.
 -

I
" IF THE POET KEEPS IN HIS VERSES THE PROPORTION OF NUMBERS AND SYLLABLES , THE PAINTER AND OTHER SKETCH ARTISTS KEEP
THE GEOMETRIC AND ARITHMETIC PROPORTIONS."
FRAY JUAN RIZI , TREATISE OF THE WISE DRAWING, 1 7TH CENTURY
66

chieving a
 67

professional
ne of the
challenges for the beginner
is drawing long and continuous lines with just one stroke. People
who do not draw regularly have the habit of drawing in a static manner,
placing their hand firmly on the paper, the same way they write.
The hand of a person who draws should not rest on the paper, but in-
stead should move and slide, brushing over and caressing the paper.
The secret to a professional stroke lies in the mobility of the hand and the
forearm , trying to make them work together as a whole. To be successful in
drawing, it is fundamental to acqui re the ability to draw continuous lines with-
out lifting the pencil from the paper, to know how to hold a pencil, to train the movements of the
hand , and to master the basic strokes. Learning all of these skills will allow you to obtain the most
from texture effects and will give expressiveness to your drawings.
 (J)
co,:_ 68
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20.
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training
the hand
To render a drawing spontaneously and with a variety of strokes, you need
to train your hand movements. You must also learn the different ways to
hold a pencil and how to control the amount of pressure you exert on it.

DETAILS
For precision and detail work, hold the pencil as you do for writing , but a bit
higher towards the end. Holding the pencil this way gives mobility to your
hand and flexibility to your fingers.

SHADES f'-;:,l/,;;~~--;,;)
With the stick' ·:~:· ·· · i•~'{I~ : cff"'f,eld inside your hand, you can make wide
/ t"'. ✓<:/,£:.' '

shadJ~S\~W,t · ·18.~i"'.t ~~side or up-and-down movement of the wrist

,,;;J}T!J~' jitl~f.:tt-""
,,
there are three basic forms of holding a
pencil to achieve graphic effects: (A)
with the stick inside your hand for
shading, (B) holding the pencil firmly to
exert more pressure, and (C) holding
 69

Slanting the Pencil

SKETCHING
Holding the pencil at
Sketching is the form associated most often with
a 45-degree angle w ill
a rough draft or a quick sketch. It is also the
produce a very
phase in which the drawing is first tried, espe-
intense and regular
cially when working in relatively large sizes. By
stroke. If you slant the
having the point of the pencil slanted you will ac-
pencil more, say to
quire faint strokes that are easy to erase.
30 degrees, from a
wedge-shaped lead,
the stroke w ill be
MASTERING THE STROKE
much w ider. By
Any drawing beginner should investigate and be-
turning the pencil to
come familiar with the variety of strokes before
the opposite side of
starting to work. You can do this using the same
the wedge in the
pencil lead, the sharpened point (for fine
lead , very fine lines
strokes), or the side of the point (for wider
can be drawn.
strokes). Simple linear drawing is the most diffi-
cult approach because the artist has to create
tones and textures in the model without resorting
to shading or tonal gradation . In the hands of a
skillful artist, the mere line is capable of depicting
almost all the visual effects that a drawing can
present. In the following pages are some practi-
cal exercises for you to practice making strokes.
Mastering hand movements, lines, loops, spirals,
circles, and ovals will start you on your way to
becoming an artist.

• :,"-\='_4~r'fi~·".'i

, I" !~--
'",:iit: ~~~1; ..

. ~;t•,:i_.,~-,,·; ').1:J<;i:;,"'~<l:' . .
~,1;f:":_.,. ;'•:~'
. . >\,~,;,l',!~>:;i'l';P,·;,,,_
 ::•' · '

,;:;}ffl;:.
,1r)f.J~··
iJtjt;f:···
,,Jff"'·.

lflr_a'wing par-
tai~ the ef-
f'~,rallel
-~, ,-~\l;~ istance, can
\'QUgtity,,tnan plain tonal
lffe,tf~~, 1rieties of short,
,9-fri ~~tterns, you will
,J~Ic,J\¢ir.
WIN ".. •. Ei LIN_ES
ng,.t~'e pencil to obtain a wider line, draw a
,t·• ..".
iJ; s i .f; c9nseputive parallel, vertical , short
li:ii'es, l fyir:ig to maintain the same space between
r1f j,/ :·,
.f.l1ne;f· :-'·
- ,l Ji/.ll
;f;· b.
/, asic
strokes

The following figures

show different strokes
made with: (A) a wedge-
shaped point for wide
B
lines and (B) the edge of
the same lead for
thin lines.
 71

CROSS-HATCHING
Cross-hatching consists of a series of parallel
lines crossing each other at an angle. These lines
can be straight and systematic, or freer and im-
precise. The closer the lines are, the darker the
shading, which will allow for different shade
tonalities in the same drawing. Cross-hatching
does not have to be done with straight lines only.
By crossing curved or wavy lines, or doodles,
you can achieve a wide variety of effects.

DRAWING LOOPS
With a slight slanting of the pencil, draw several
loops swiftly, as if cracking a whip. If you do a
gradation with loops without lifting the pencil
from the paper, you will have spiral strokes.

Vary the Pressure

The intensity and
quality of the line can
be changed and
controlled according
to the hardness of the
pencil , how sharp it
is, and the amount of
pressure you apply.

SHADING WITH SPIRALS

Some of the most interesting shadings and gra-
dations are those made with small circles or spi-
rals. Just draw small spirals, resting the point of
the pencil slightly slanted on the paper and turn-
ing the pencil as if cracking a whip. Filling all the
space gradually and controlling the amount of
pressure on the pencil will produce a homoge-
neous shading.
 Q)
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72
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automatic
drawing
The most interesting works in any artist's port-
folio are usually found not in his or her finished
drawings, but in his or her sketchbooks. Artists
To gain competence in doodling, draw this view in only
express themselves in their sketches, reg istering
two minutes. This process is very useful for drawing
in them the most immediate impressions of the
notes from life.
world that surrounds them.
Doodles and random hatching are strokes
made in a quick and hesitant manner. These are

~
strokes that the artist makes automatically and
intuitively, as an exercise in expression. Artists
usually turn to this technique when they have
only a few minutes to make a note, to practice a
loose, spontaneous stroke-with no academic
concerns-or when they want to give the draw-
ing a more expressive effect.
Artists use doodling as a form of shorthand to
include information in their sketchbooks; it
should be developed in an intuitive, putting fore-
most the spontaneous aspect of expression . /
1. First, start with a quick, seemingly
disorganized and somewhat abstract, doodling.
To establish the first composition lines you
should study the model, and draw swiftly and a

~~~~..~- J'
bit unconsciously.

(ft-
2 ! t~=~~::o: ~~::,
~
r~ ,
,
rfl' \ 1I
1 \

,·••'1~ f' ---:t('.:J. -

1
'

\
~
~
\ ·-
'

' ·
'._.tj :::_ i -,. ~--/J
D
11 ,
:)
this time varying the
pressure and the
width of the line to
f ----§~art establishing
/ •--~ f i oa:---J several values and
..]/ the forms that stand
...,
·~--,,, out the most.

I
3. Finally, you can try shading-one or two tones
will be sufficient. The drawing must not be
completely finished; it should remain somewhat
sketched and imprecise.
 73

Automatic drawing performs two basic

functions: exercising the control of the arm and
enhancing the ability to capture and translate
the live model.

COMMAND OF EXPRESSION
Automatic drawing allows imagery to be translat-
ed to the paper through swift and spontaneous
movements. A gestural drawing does not try to
describe the model in detail, but uses confident
and wide strokes to capture its essence. In this
type of drawing, spontaneity emerges from the
vivacious movements of the artist's forearm,
while the theme is translated through rhythmic
and dynamic lines.

The required swiftness and spontaneity allow the

development of a vivacious and accurate line.

The drawing should not be completely carried

out: it should summarize the theme in a few
strokes and tonal combinations.

\
\
echniques to

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 75

improve pencil
control.
Controlling the
pencil is important not
0 nly for those who see pencil drawing as an end in itself, but also for
painters, engravers, and sculptors. A line's quality is an important element
in the finished work. The lines may be wide or fine, straight or wavy, with an
endless diversity. Only in technical drawing are straight lines with consistent
widths essential. The weight and width of the line, its fluidity and its charac-
ter, whether continuous or discontinuous, are all devices that can create ef-
fective visual illusions in a drawing.
 ·u 76
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1nes,
spirals, and gradations
O nce you have learned the basic strokes you are ready for exercises that
will teach you to control the drawing tool. Perhaps what is most difficult for
the beg inner is managing a firm and continuous stroke. In fact, many people
who have never drawn usually make a line with short, successive strokes,
lifting the pencil each time, drawing first one line and then another and an-
other. The problem is that they rest thei r hands on the paper in the same
way that they write. The drawing hand does not rest on the paper; instead, it
should move, slide, and caress the paper.

IN A SINGLE STROKE
Your fi rst goal will be to acquire the skill to draw continuous lines without
lifting the pencil or stopping your hand. To achieve this you will have to hold
the pencil just as you would for writing but a little higher up towards the
end . Hold the pencil on a slant; the more the slant the more fluid , longer,
and wider your strokes will be. Now, barely pressing the point of the pencil,
draw several straight diagonal lines. Draw some slowly and others lightly.
Try to make the space between the lines even . Then practice hatching with
vertical and horizontal lines. Without turning the paper around but still keep-
ing it vertical , draw vertical lines and then cross them with horizontal lines.
Try to leave the same space between all of the lines.

The beginner tends to make hesitant, interrupted

strokes. To be able to draw you need to control the
stroke in a firm, direct, and steady manner.

The ideal position for Practicing a series of diagonal straight Vertical and horizontal strokes require
drawing is to hold the lines with one stroke and keeping the more care since they have to be
pencil as if you were same distance between them will help performed without turning the page.
going to write, holding it you achieve more fluency.
a little bit higher than
 77

Fill in the geometric forms with diagonal and horizontal Another interesting
lines, and with spirals to acquire dexterity in controlling exercise consists in
the calculated line. drawing circles and
ovals inside squares
and rectangles. It is
essential that you
begin and end the
stroke on the same
point. The
circumference should
LINES AND GRADATIONS
be perfect and
Now draw a series of simple geometric forms of
without interruptions.
different dimensions and fill them in with the
hatching , loops, and spirals that you developed
on the previous page. You r goal is to draw them

·n □
□□~-
uniformly. Drawing squares, ci rcles, and rectan-
gles of different sizes , repeat the exercise again
but inscribe within the forms several gradations '
of various lengths, in diagonal , vertical , and hori -
• .-=:::.a_~-- ___....,~
zontal directions. Repeat these exercises several

□□
times. Be aware that by practicing you will
achieve the control of the line from begin ning to
end , which will allow you to be confident later
when drawing forms.

This is the ideal position for making gradations.

Inscribe gradations within the geometric forms, holding

the pencil with the stick inside your hand.
 0 78
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creating Volume
in drawings
Ttiesimple linear drawing is the most difficult to
draw in that the artist has to achieve the tones
and textures of the model without resorting to
shading or tonal gradation. In a skillful artist's
drawing, the line itself should be capable of de-
scribing the form and the volume, as well as the
contrasts of lights by merely controlling the di-
rection of the stroke.

THE DIRECTION OF THE STROKE

Not only is the intensity and the width of the
stroke important when it comes to drawing , but
also the direction you give to the stroke. In other
words, the way the lines are drawn form the par-
ticular texture of each object. Lines are also use-
ful to express an object's shading. Drawings
seek to represent the "roundness" of objects, as
they appear in nature. Of course, this refers not
only to spherical forms, but also to some curved
Strokes should represent an object's volume. The
surfaces. There is a rule among artists: "The di-
intensity and width of the stroke should a/so describe its
rection of the stroke should envelop, follow, and
tonal variations. Here are some examples of simple
explain as much as possible, the volume of the
geometrical figures built up with lines. On the cube and
object. "
the prism, the lines should be straight, while on the
sphere and the cone they should be curved.

A STROKE FOR EACH SURFACE

When analyzing a model, you should keep in
mind the direction of the lines at all times. In
other words , on flat surfaces the stroke should
be straight, on curved surfaces it should be
curved. For example, in a drawing of a wheat
field vertical lines .;;ould represent grass and The best way to.understand theprint;;iRf! of representing
some doodles would represent the vegetation 's volume is thr0t,Jgh the di~ectior/ o! t~JJ\(Pke.
texture. On the other hand, in a drawing of a
house, .cross-hatching would successfully build
_up th~ volume of the floors and walls. On cylin-
drical figures, the stroke should envelop them.
Wavy and sharp lines give the natural appear-
ance of people and animal hair. Also take into
account that st~ l<~s can be grouped together or
spread out to rep~\ent light and shadm,y,,as well
as the object's texture.
 79

A stroke should never

A STROKE'S FUNCTION
be broken or appear
The function of the stroke will vary according to stroke recreates the sensation of volume in a
"uncertain." Also,
the artist 's needs. It can be used for shading, drawing. Th is helps to understand that in nature
unnecessary,
modeling, or toning , or it can have a purely de- elements are not simple spheres or cylinders, but
repeated strokes
scriptive ornamental role. The combination of dif- present very irregular forms composed of
should be avoided.
ferent kinds of strokes in a drawing creates different segments.
different planes in a drawing. A well-drawn

C When drawing a
model, you should be
aware of the direction
of the strokes in every
area:
A. A fluttering stroke
D for the vegetation
8 . Spirals to recreate
diaphanous clouds
C. Curved strokes to
increase the
volume of the
rocks
0. Wavy lines on the
roofs
E. Intense parallel

I~ F
strokes in the
shutters
F. Straight
perpendicular
strokes on the
fa9ade
G. Soft doodles to
suggest the tree's
foliage
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H atching is a technique that is used for draw-

Successive strokes
ing areas of tone with fine , parallel strokes. The
create hatching, which
closer the strokes , the deeper the tone. Si milarly,
gives volume to a
the amount of pressure exerted on the pencil will
drawing.
determine the intensity of a stroke. Hatching and
cross-hatch ing techniques for building tone.
Practice drawing them , since each one provides
a different finish to the drawing. Graph ite and
mechanical pencils are ideal instruments for
hatching. There are several ways of making a
type of stroke or hatchi ng , according to the ef-
fect you are looking for. In just one drawing it is
possible to use several different hatchings, alter- Hatchings can be made
nating shad ings and colorings. with fine or thick strokes.
What is important is that
the strokes appear
orderly.

hatching:
possibilities and combinations
Hatching can consist of
straight, curved, or wavy lines.
The important thing is the
tonal result.

! • !
The tonal result of the

I
hatching depends on two
basic factors: (A) the intensity
and the thickness of the line
and (B) the space between
them.
A

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essential to vary the type of
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stroke or hatching according
T ' to the surface texture you
want to reproduce.
\
B
HATCHING
Soft drawing materials, such as charcoal and chalk, allow us to
build up a solid area of tone by blending lines and strokes. But it is
also possible to create tone with lines alone. Building up a series When drawing
of hatched lines will suggest solid tone and color. Varying the freehand, the easiest
space between the lines will make the tone or color darker or lines to draw are
lighter. The broken nature of hatching, when looked at from a dis- those that go up from
tance, can produce a more vibrant effect than simple, flat areas of left to right or vice
tone. Since the white part of the paper is not entirely covered, the versa. The ones that
tone maintains luminosity, which is one of the characteristics of go down from right to
the technique. By manipulating the space between the strokes, left, if they are drawn
you can obtain a variety of shading effects. too quickly, will have
hook-like ends.

The classic shading is based on a continuous and

swift stroke, usually diagonal, in a zigzag form.

Hatching is composed of
straight or curved parallel
strokes. The amount of
pressure applied to the
' hatching will provide
differing tonal intensities. The combination of hatching and
shading provides a sketch with
interesting tonal work.
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CROSS-HATCHING
Below on the right-hand side of this page are different
Cross-hatching is a series of parallel lines that
samples of cross-hatching. Depending on the degree of
cross each other at an angle. These lines can be
inclination of the line and the quantity of superimposed
straight and systematic or free and imprecise.
hatching, we have: (1) crossing at an angle, one of the
The closer the hatching , the darker the shading
most commonly used; (2) perpendicular crossing; (3)
will be. Cross-hatching does not have to be
diagonal crossing at right angles; (4) triple crossing at
made exclusively of straight lines. Crossing
right angles and diagonally; (5) quadruple crossing,
curved or wavy lines or doodles may also
which superimposes a diagonal crossing on the
achieve a wide variety of effects. Likewise, you
perpendicular crossing; and (6) triple crossing
can modify the tone by varying the angles of
the lines.

A C D

-· 2

G
Take a look at some of
the hatches you have
been studying in a 5
drawing. The variety of
cross-hatchings allows
you to obtain different
gradations, textures, and
surfaces in a work.

6
 83

TONAL VALUE
Varying the amount of
Tone depends on the amount of pressure you exert on the pencil. Applying
pressure on the pencil and the
more pressure makes the tone darker; with less pressu re the tone is lighter.
thickness of the line
With or without hatching, each shading presents its own tone. Hatching will
determines the tone of the
be darker if it is denser and more pressu re is applied to the pencil. You can
shading and hatching. In this
obtain a tonal range from exerting different pressures on each tone. You
drawing you can see a
must also take into account that the stroke may be darker over the light de-
sample. The variation in the
pending on the pencil 's hardness. Also, if you use a softer medium, the tone
intensity and in the spacing
of the colors will be more intense.
represent the different planes
in the landscape.

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 84

Rings:
three-dimensional forms
To achieve a three-dimensional effect, shade with rings . In this type of When working with linear
techniques in chalk, it is
shading the succession of juxtaposed rings creates the illusion volume in a
better to use chalk
cylindrical object.The application of this type of shad ing depends on the
pencils.
form , structure, and texture of the theme you want to draw; it is more appro-
priate for sketching cylindrical or semicylind rical bodies.
In this example, the trunk of a tree, a cyl indrical shape, can be represent-
ed with curved strokes in the form of a C. The texture of the shrubs can be
represented through free and superimposed strokes.

A B C D

)))))))))))ll)\~))))J)))Jl)
}))))}l))))))»)))»J))))')') ))>}))l) A. Ring strokes begin with loops. A good exercise is to
l»J))»»>»)ll>»w»JJ»1)Jlll»>» practice this type of curvilinear stroke.
»>>»)))))l)ll.l))))»))U>»»UI)) B. You will gradually obtain greater control of the
)JJ))))l))))l})))).,))))'.I))~~ \ )
stroke. A swift whip-like stroke should suffice.
>>>»))'))))))))»)))))))»)))»)).)))
C. When you have enough practice, you should be able
E F to perform the ring strokes without lifting the pencil
from the paper.
D. It is important to practice several strokes, horizontal,
diagonal, etc., until you achieve the desired
cylindrical effect.
E. Practice any variant of the stroke, always taking into
account the intensity of the stroke as well as its size.
F. if you need to draw or sketch quickly, use a more
carefree stroke.
G. The ring stroke allows you to give a sensation of
volume to a cylindrical body through a subtle play of
curves.
 ''
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T)le ring stroke gives a perfect volume effect to cylindrical

forms. Using this type of shading with two colors will allow
light to be represented in the drawing.
(

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In this detail, notice

the interaction
" between the black
'
and white chalk
colors, which give
volume by
representing the dark
and light areas.
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pointillism:
a divisionist techniquE
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Pointillism requires lots of
patience. Different tonal areas are
achieved with intense dots or by decreasing
the distances between them.

P ointillism is a technique in which small dots of

color are applied to the paper in a way that ,
when the drawing is viewed from a distance, the
lights reflected on each one of the individual
spots appear to blend . Thus a unified effect is
achieved, which provides an attractive texture
with very uncommon effects. In the pointillism
technique tonal effects are achieved by combin-
ing groups of points together: an agglomeration With a very sharpened graphite pencil, clean and
of different particles of different colors that inter- uniform pointillist shading can be obtained.
act. The quantity of points will automatically be
interpreted as tonal areas by the observer. This
drawing method became popular at the end of
the nineteenth century with the Divisionists, who
interpreted nature through juxtaposing tiny dots
of color to provide the model or object with an
even distribution of light. In monochrome draw-
ings, tonal areas can be achieved by combining
dots or small strokes of different sizes and spac-
ing. By altering the size of the dots, the distances
between them, and the amount of pressure you
apply on the pencil, it is possible to create a
complete tonal range.

You can create tonal variations by varying the size of the

dots, intensifying pencil pressure, and compressing the
dots together.
 87

The small dots can be converted into short lines that Compressed doodles visually give an effect similar to
follow a direction to create texture. Here are two pointillism. It is a resource that can be combined with
hatchings of linear marks, in vertical and horizontal other pointillist effects.
directions.

• , .. ~ • ,I • " .. " ~ • • ,. • • .__ i

•• :· - ... , -1,",1

C D

Pointillist shadings should not be

applied mechanically; the dense
hatching of small dots applied,
sometimes in two or three
superimposed layers, should never
have the aspect of a uniform
application.
A. The points should be small and
distant from one another to
represent the clear area of the
sky.
B. For the foliage, the pointillism
should be denser and the
distance between points should
be reduced.
C. Grass should present an
intermediate tone. To achieve
this use a pencil with a flat and
worn out point.
0. The forms of the vegetation on
the foreground are achieved by
the contrast between two tonal
areas with different intensities
and dot size.
 Ti 88
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QeS tLJr~~doutline drawing

G estural drawing and outline drawing allow
you to represent the model with linear, sinuous,
and carefree strokes. Artists resort to this tech-
nique when they want to form the rough basis of
a more finished work or when they want to give
the sketch a more expressive effect.
When drawing a landscape, the elements nearest to
you should be represented with more intense, marked
strokes, while the strokes should be softer and
imprecise in the areas farther away..
Random hatching allows you to draw several lines on
top of one another to describe the profile of a fruit.
Then, the artist selects and emphasizes the one that is
most defining.
GESTURAL DRAWING
Gestural drawing is made with quick, nervous,
rough strokes, which the artist executes intuitive-
ly as gestural training. In this type of drawing,
spontaneity emerges from the vivacious move-
ments of the artist's forearm , while the theme is
translated through rhythmic and dynamic lines.
Gestural drawing is a good method with
which to begin drawing. Even if the strokes seem
to be made in a nervous and casual manner, a
certain degree of control must exist. Artists use
gestural drawing as a form of shorthand to in-
clude information in their sketchbook. This tech-
nique could be applied when working outdoors
or with themes that requ ire the artist to draw
quickly, such as a landscape where the weather
conditions are changing or a pedestrian area
with the constant movement of people.

Look at the application of the definition in this urban

view. The elements in the foreground appear more
streamlined and are more emphasized than those in the
background.
 89

OUTLINE DRAWING A fun variant is blind

0
Outline drawing describes the model through drawing. It is a
lines that outline the object's profiles. The lines drawing technique
that consists in not
can be compared to the contour lines in a map,
looking at the paper
in which the graded lines represent the relief of a
landscape. while drawing. The
A B
eyes remain focused
In a fin ished work performed with these types
on the theme while
of strokes (vigorous, fine, short, or long), the lines
the hand draws the
are combined to describe a pleasing scene. To
contours on the
attain a three-dimensional effect in the contours
paper.
of the drawing, it is necessary to vary the quality
and value of the strokes. An isolated line may be
ambiguous, but if its intensity varies, it may C
transmit the illusion of space or volume, even
when used only as a contour. Widening the line
may indicate shadows or proximity to the viewer,
and a thin line may indicate light and distance. In this sequence you will see an
Success in silhouette drawing has to do much apple interpreted through outlines.
more with knowing how to observe than the act First draw a circle (A). Then start
of drawing itself. This technique is an excellent sketching the inside form and add
form of training the hand to interpret what the new lines to the profile (B). With a
eye sees. line, differentiate the illumina ted parts
from the shadowed ones (C). Finish
the form gracefully by drawing the
fruit's casted shadow (0).

If you do not lift the pencil from the paper while outline
drawing, you will achieve a sketch that will seem to be
made from a long wire.

Outline drawing brings to mind a

map 's contour lines. The lines not
only describe the profile of the figure
but also the border between the light
and dark areas.

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dr proportionately A

Objects that are part of an ensemble require you to study their

positioning in order to construct a proportionately balanced draw-
ing. We do this by first setting up "boxes" to define the height and
width of the different objects in a composition. You could call this
beginning phase the outline sketch; it will be used as a preliminary
composition throughout the rest of the drawing phases.

A square is a good
aid when drawing an
object. By marking
the outer borders,
height, and width, you
obtain useful
reference points from
which to draw the
object's contours.
SYMMETRICAL OBJECTS
To learn how to draw a well-proportioned symmetrical object, you B
will draw a cup as an example. Positioned in front of the cup, first
draw a line to define its height. Mark with line segments the upper
and lower limits. Draw another line across the first one to define
the cup's width. Again, mark with two segments the cup's outer
borders. Connect the cup's border segments and height segment
with a perfect ellipsis. Extend the outer border lines and draw a
square; you will draw the cup's form inside the square. Draw the
body of the cup using the vertical line as a reference. Finally, draw
the base in the same way you drew the neck. This method is ideal
for drawing symmetrical objects (bottles, cups, pitchers, etc.) and
is very helpful in drawing still-lites as well. C
In the next drawing, try to use the least number of lines possi-
ble to define the positioning of each object.

This example demonstrates how to draw an object in proportion: (A) First

draw a vertical straight line to define the object's height. (B) Then, cross
the vertical line with a horizontal line to define the object's width. (C) Extend
the lines to obtain a square. (D) Where the horizontal and vertical lines
meet, draw an elliptical circle with the ellipsis at the base. (E) Finally, you
only have to erase the initial outline sketch, streamline the contours, and
add a handle to finish the drawing.
E
 91

Occasionally, an
DRAWING AS IF THE OBJECT
object's contours
WERE TRANSPARENT
should not be closed
To draw an object, it is necessary to understand
in, since this could
its structure. For this purpose, it is often helpful
spoil the transition
to draw the object as if it were transparent, that
between light and
is, drawing the parts that would be hidden from
shadow.
the observer. This allows you to study more easi-
ly the object's structure as well as its form . It is
always easy to first place forms within the con-
text of a square and then develop the drawing
later.

Starting from a vertical axis will allow you to obtain

proportionally symmetrical objects.

Imagining that the objects are transparent is a good

method to study and understand their internal structure.

•-··---•MU
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Starting from a simple geometric form enables you to

construct more elaborate ones, in this case a chair.

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O nce the funda ' ental fa:~of an object has been drawn , you can begin
to work and build up its texture by drawing the profiles and emphasizing the
the object's contours; do not worry about the tonal zones at this point. You
should work with soft lines and strokes that can be easily erased in these
next steps.

Strokesand profiles
REAFFIRMING THE LINES
When the external part of the model is complete-
ly finished , reaffirm the lines with a much freer
and firmer, but not too rigid, stroke. You will see
that it is easier to accent the more definitive lines
when you have drawn a previous sketch. Now
you can begin to superimpose different strokes
Outline sketches are usually riddled with lines that give
on the previous ones to make the forms more
too much information, sometimes even contradictory,
concrete . As you continue drawing , the lines will
so it is necessary to clean the profiles.
be firmer and more intense and will define the
forms with more precision.

After the initial form of the object has been completed,

you must then select the lines that define the drawing
and accent them with more intense strokes.

Finally, shadings and intense strokes have to be mixed.

It is not necessary to keep the initial, preliminary lines.
 93

After finishing the outline

sketch with soft strokes
that can be easily erased,
you need to accent the
drawing with more intense·
strokes.

PROFILES ,.., . .., ;z;.. "'

After the preliminary outline sketc_fl __(s fini ~,he~:U t now time to hfghlight the .,~- •k

profiles and build up the tones. Do not make the mistake of drawing the· . General profiles are
whole object with an intense stroke, only the zones that define the object lost if there are too
have to be emphasized. When the outline sketch is considered definitive, many strokes. It is
you can start superimposing different strokes on the previous outlines to necessary to clearly
make the forms concrete. Remember, the strokes you are drawing represent indicate where there
the different borders, internal as well as external, of the theme. Using pencil 1s a crease, a fold, or
gradations will give more three-dimensional character to the object as well a shadow.
as present some diverse strokes. Thicker lines will make the object stand
out from the background, while finer lines should be reserved for hatching
and for the object's internal details.

The outline sketch may be a simple

doodle or sketch; later you will select
and reaffirm the more important
strokes and profiles.

Working with an even, continuous line

will not suffice; you need to use
different gradations in the lines to
establish a hierarchy in the drawing.
 ·o 94
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a linear andscape:
controlling the stroke
~ e following exercise will demonstrate how to develop linear
hatching and shading in a landscape, in this case a cliff.
Combining these tonalities allows for rich transitions between light
and shadow. It is gratifying to draw a landscape in which you have
to represent an object in the foreground , where the observer can
clearly see its texture. You can create three-dimensional effects in
a drawing based on hatching made with directional strokes.
Frequently, you can include strokes that go across or surround the
model to support the representation .

1. The first step consists in dividing the paper
into four equal parts; this will make the layout
easier. On this grid, start sketching the plant with
an H pencil. The strokes should be light in case
you have to correct them with an eraser. The
cliffs in the background are lightly sketched and
laid out.
2. Once you are satisfied that the proportions
are correct , reaffirm the lines and draw the
contours and basic forms of the plant in the
foreground with an HB pencil. Do not worry
about the details; you must concentrate on the
general structure of the drawing.

1 _,:,-.'7'""·--
'--'"·

I
2
The hatchings of the
objects situated on
the first plane should
be more intense and
defined than those in
. the farther planes.

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 95

3. Start shading the plant in the foreground with parallel hatching. Then Drawing a vertical and
proceed to shade the cliffs and coastline in the background planes with a horizontal line
cross-hatching . In the finished work notice the quality that can be obtained before you start
by drawing with lines only. These lines are combined in a skillful way to working can help you
create a three-dimensional illusion,suggest texture, and have a range of in establishing
tones. Observe below the different types of strokes used in the different dimensions and
zones of the drawing. placing the elements
on the plane of the
picture.
a theme:
selection and

"DRAWING FROM LIFE IS NOT COPYING THE OBJECT, BUT RATHER MATERIALIZING YOUR OWN SENSATIONS. TWO TH INGS THE ARTIST POSSESSES, SIGHT
AND BRAIN, HAVE TO HELP EACH OTHER. THEY SHOULD BE DEVELOPED AT THE SAME TIME: THE SIGHT THROUGH NATURAL VIEWING AND THE BRAIN
THROUGH THE LOGIC OF ORGAN IZED SENSATIONS."
PAUL CEZANNE, AUTOBIOGRAPHICAL NOTES

I I
98

actors in
 99

selecting a theme.
Everybody has the
ability to find
In any theme something that is extraordinarily significant. This
is the skill that transforms a person into an artist. However, select-
ing a theme is not enough; it also has to be presented to the ob-
server in an attractive and interesting way. There are several
factors that you should take into account if you want to turn a
model into a visually stimulating drawing, among them: observing
an a y, se ecting an interesting point of view, selecting an original framing, and compos-
ing the different elements within the drawing . To develop these factors, look for drawing
themes in your natural environment (a nearby park, the street where you live, the plants on
your balcony, etc.) and study their composition and values. If you sketch persistently, your vi-
sual perception will soon heighten and you will discover themes that for others go unnoticed.
 (j) 100
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Composition
and blocking in shadows
The best approach in constructing a rough outline is to
C omposition refers to the way in which a
start with simple blocks (boxes) in which you draw the
theme is presented and laid out within the differ-
forms. These forms should be simple, flat, and very
ent planes of the drawing. Before you begin
basic.
drawing, you have to break down, sketch, and
evaluate the different elements in the theme and
try to understand how each one balances the
other for a well arranged drawing. Think of how
the object or model will effect the overall draw-
ing. In order to compose, you must first learn
how to make a rough outline. A rough outline is
the first step that an artist takes to define the
form of the model, its limits, and its proportions.

BREAKING FORMS DOWN

INTO A FEW LINES
All forms in nature can be broken down to a few
outlines, whether it is a chair, vase, jug, or tree.
You will see that these structures in turn can be
reduced to spheres, cubes, and cylinders. This is
a good starting point for a sketch; that is, to i
make a rough outline of the model or object on +---====~f-------f------1
paper. A rough outline is not the same as con-
structing a frame into which the whole subject
will fit. The artist must know how to identify the You should learn how to break down objects into simple
most important basic shapes to be included in geometrical forms. Here are three examples: (A) a vase
the rough outline. with a flower arrangement can be reduced to an
inverted trapezoid and a circumference, (B) a jug can be
drawn into a triangular form, and (C) squares of different
sizes can be used to frame a group of trees.

A B C
11~,
' In a drawing, you
should alternate
pencils of different
DRAWING WITHOUT AN OUTLINE
hardness to vary the
You can also begin to draw objects and models
width as well as the
without the aid of geometrical forms by instead
intensity of the stroke.
drawing a general form directly and repeating the
process until you achieve the adequate form.

) )i
\\
A B
Observe in these two drawings the difference between
a structured outline and a free one. (A) The structured
outline allows you to analyze the form from a previous
sketch. (BJ The free outline differs from the first one
because you try to draw the form directly, without a
previous rough outline of the different forms.
The free outline allows you to be less concerned with
proportions and gives the drawing a more expressive effect.
The strokes must be swift and spontaneous. Try
to include composition and proportion at the
same time. This kind of quick sketch will help
you understand the model's form and will help
you later in more developed drawings. The lines
that define the contours do not have to be fine
and elegant; they can be broken lines. To begin a
a draw ing without an outline, it is best to draw
the ensemble freely, without streamlining or
shading every form. The lines may be reaffirmed
as many times as needed, but remember that
you should give form to each object with only a
few free strokes.

Direct outlining, without

geometrical forms, is
more appropriate for
simple compositions. In
this example, it was
better to develop a
structured outline in
order to avoid errors in
the form and avoid
arranging the elements
disproportionately.
 ~ 102
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The rough outline should simplify the model into

geometrical forms . These forms will provide the initial
composition of the ensemble. Here are two examples,
one with a triangular composition and another with a
circular one.

ARRANGING THE BLOCKS

After you have broken the objects or model
down to basic geometrical forms, they must now
be arranged within the drawing. This means that
if you fit the model completely inside its block,
the drawing will be limited to that particular ob-
ject, thus creating a concise representation.
When the model is composed of many objects,
each block, with a form, is added to the main
block. It is easy to complete a drawing if you
start with the basic forms. The guiding lines can
always be easily erased.

The main model must be able to fit into the main

block, in this case a tea kettle. Once the form of the
tea kettle has been drawn, new blocks (for the handle
and the spout) can be added.

The first step in creating an outline sketch should be to

place each element into small, simple blocks. Then
according to the dimensions of the blocks, place each
one of the forms inside them, paying close attention to
their profiles.

If you learn how to break down simple still-fifes, you

gradually will be able to draw more complicated models
by combining more forms and lines.
 103
°' ----------
·"'.'."'-~
\

Using outline
BLOCKING IN SHADOWS
In cases where the model is strongly illuminated, a useful tech-
nique called blocking-in allows you to establish shadows which
l '\
sketches helps you to
compose and
establish the various
will later be built up. Blocking in dark zones becomes part ofJhe elements so that you
initial drawing process, to the point where it is common to 9t'art a can use it as a
drawing by alternating between initial lines and preliminary fstains. ,. ,
I ./ I
I
general reference
Do not worry about details at this point; you are simply establishing throughout the later
the main areas of tone. The profiles of shadows are a good-~ f er-
ence point for blocking in, especially in models that have a strong
light and dark contrast. You can also establish 'the illuminated areas
by outlining them with dark lines-again , do not worry about de-
tails at point.

Blocking in shadows
during the early stages of
a drawing serves as a
reference when working
in later stages. Below,
compare the blocked-in
shadows with the final
result.

Blocking in shadows is good when you are sketching a

landscape. Working with a chalk stick on its side, you
can create a sketch like the one above in a few minutes.

The shadows in a
model, when clearly
contrasted, can be a
good reference for
blocking in a theme.
 ~ 104
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using
Perspective
in the preliminary outline sketch
To draw three-dimensional forms, it is a good idea to become
comfortable with drawing geometrical forms in which to lay
out the model.

It we seem to be laboring the point that drawing is based on geometric

shapes, it is not because we enjoy theorizing, but because it is quite true
and has an undeniable practical value.
When you want to begin a drawing, there are several techniques you can
use to approximate a model's dimensions in order to lay it out proportionate-
ly in the outline sketch. The most common is based on geometrical forms:
spheres and polyhedrons. As we have explained in the last section, .you can
draw anything if you can break down the moqel into a few basic.forms.

When analyzing any object, see if it can be drawn in one of the basic forms below.
 105

For blocking in, you

DRAWING AN OBJECT INSIDE
should start the
A GEOMETRICAL FORM
drawing with a soft
When analyzing an object's form (a table, vase,
gradation pencil such
cup, car, tree, etc.), you will find that it can usual-
as the HB. Continue
ly be drawn inside a cube, a prism, or a cylinder,
to work with softer
which later becomes its structure. Therefore, the
pencils whose strokes
artist will derive his or her drawings initially from
' can be modified with
any one of those above-mentioned basic forms.
an eraser.
First you will have to observe the object and de-
cide which geometric form will be the most ade-
quate. Once the form has been drawn, you can
then draw the profiles. The geometric figure only
serves as a guide to draw the object or model
and establish its proportions; after you define
and detail it you can erase the initial
1
geometric figu re.

1. If you have to draw an apparently complex

object, the first step is to draw a rectangular
form that will hold the object inside. Draw an axis
and suggest, with ellipses and spheres, an initial
layout of the most important forms that
characterize the object.

3. To finish , join the

different forms and
define the object's
structure. The last
step will be to apply a
2. Gradually streamline the object's form , adding light shading to give
new geometrical forms to the previous ones until volume to the
you have the object's structure. drawing.
 m 106
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Th e geometric forms can be applied to any model. Here

is an example of a pyramidal prism used to
lay out a figure.

If
COMPLEX OBJECTS tl
[(
A complex object can be broken down into sev- j)
t§

eral geometric forms that can then by laid out in L7

one general geometric form. First start with a It
f!
simple form and then combine or superimpose
new geometric forms according to the object or f!
fj
mode's composition. Use simple and straight
lines and do not worry if at first the geometri-
/'
I
cal forms are not similar to the object. These
geometrical forms are simply that, mere
geometrical forms. Also, do not use a ruler
to draw the lines; draw freehand , even if
they are not perfect. Later, you can go I
over them until you obtain the desired
result.

1. A drawing based on three-dimensional

geometric forms is used for drawing objects in
perspective or for those that present certain
foreshortened effects.

You should practice

drawing cubes,
orthogonal shapes,
and prisms by
freehand. A simple
m ethod is to first
draw the flat
geometric form and
1
then project its
volume in
perspective.
 107

2 2. Once you have When trying to lay out

drawn the geometric
form , draw the first lines
of the model.
Remember that a
rectangle is always a
good reference point to
determine the size of
the object.
objects within
geometric forms,
remember to draw
the geometrical axis:
a perpendicular
straight line that
divides the figure in
two. It will act as a
reference to draw the
model symmetrically.

3. Gradually, you will

define the profile of the
object with firm and
decisive lines. This first
3
linear layout will act as a
guide to develop the ·
drawing 's tonal effects.

4 . The last phase

culminates in build ing
up volume in the model.
Once the drawing is
complete, you can
erase the geometric

4
form .
,, ✓

,;,
F

In ali' models ,it is possible to find corresponding

dist~nces that can be compared to one another,
.be it as whole parts, as halves, as fourths , etc.
Thfs analytical task of comparing sizes and es-
tablish ing proportions is essential before starting
ihe actual drawing.

THE PROBLEM WITH PROPORTIONS

The problem with proportions begins when the
artist tries to reduce the size of the real model to
proper scale for the drawing paper. When it
'", comes to drawing, it is essential that you keep
the .same relation of proportions among the di-
verse elements that comprise the subject Logi-
cally, there will be some dimensions that will not
adju~i exactly to the measurements you have es-
tablishrf, but it will not be difficult to approxi-
mate them.

iJ

The first problem any artist faces in laying out a subject

is transferring the real size of the model to the paper.
 109

To arrange and draw

the elements in a mod-
el proportionately,
place the subject be-
side the drawing board
and draw directly onto
the paper the lines that
indicate the height and
width of the different
elements.

When studying a model,

align points and draw
imaginary lines to
represent the positioning
and layout of the elements.

Upon observing this group of

figures, you can see different linear
relationships that have to be taken
into account when making the
composition.

ALIGNED POINTS
The drawing space can be divided into different zones that relate
to the model or subject. Perhaps, the best way to study the relation
of distances between different zones of the model is by the
method of making aligned points. This method consists in finding
vertical and horizontal reference points that will help you to view
the model 's structure, contours , distances , and forms. The model's
basic structure is a result of constantly comparing heights, widths ,
and lines through imaginary vertical and horizontal lines that run
through basic points.
 E 110
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SEARCHING FOR EQUAL PROPORTIONS

The search for equal proportions among the dif-
ferent objects of a model can be a very helpful
exercise in learning to relate the different parts of
the structure. This consists basically in compar-
ing and determining (as has been done already in
the previous chapter) that the height of the pitch-
er is approximately equal to half the total height
of the bottle and that it is almost twice as wide
as the apple found on the second plane.
When you are in front of a model, you should
It is very helpful to first mentally take it apart and study how the propor-
divide the drawing
with a cross in order
to break the area
into four clearly
distinguished zones.
tions among the different parts of the model re-
late to each other. You may, for example, decide
that one zone will be one third the other zone, or
that another zone will measure exactly twice as
much as the previous one. Many t imes, especial-
ly when approaching architectural themes, you
should compartmental ize the favades in equal-
sized segments in order to place correctly the
windows and the balconies.
.t.
t

Tu
~ ..,._._ ·-~- ..
~ ,..,_ .. ' ..... y--... -•• , •••

,t

·,., L
i

-~,

You will see in these images
the importance that the
relation of dimensions has in
blocking in. First, draw the box
where you are going to
develop the theme.
To draw a balcony, divide the Divide the upper straight line
box in half, making sure that into four segments and use
the upper limit of the rail the two central portions to
coincides with this project the vertical lines.
measurement.

Once the first measurements
have been studied, finish the
vertical lines to obtain the
principal lines that define the
balcony.
Progressively add new Now you only have to erase
partitions to define the the initial lines and define the
decorative elements of the texture of the blind, the
balcony, its projection, and the ornamental forms on the
doorframe. balcony, and the light and
shadow effects.
MEASURING WITH A PENCIL
A simple pencil, stick, or ruler is commonly used to establish
proportions. To do so: raise a pencil to the level of your
eyes, extend your arm (return to this position every time you
take a measurement) and situate the pencil in front of the
part of the model you want to measure. Move your thumb
up and down until the visible part of the pencil coincides
with the measurement of your model. Translate this mea-
surement onto your paper and continue to use the pencil to
measure the remaining proportions. Compare distances fre-
quently. Work meticulously, correcting proportions, relating
them to one another, and indicating points of reference.
Suddenly, without noticing it, you will find that your mind is
working in a logical way. Remember to calculate horizontal
measurements as well as vertical ones, without ever altering
the distance between your arm and the subject.

PROCESSING THE MEASUREMENTS

Starting from these first measurements, the artist creates the
forms using a minimal number of lines. All the elements of
the model go through a first outline sketch before being
drawn in definite forms. This outline sketch, with its proper
relation of proportions, will slowly be built.

To measure, stretch your arm and visualize the height

and width of an object using a pencil. With your thumb,
calculate the measurements and proportions of the
object that you want to transfer to the paper.

Using an initial outline sketch and geometrical forms

provides good reference points by which to measure the
height of a torso, checking that the total height of the
sculpture is adjusted to the dimensions of the three
segments. This measurement system can be applied to
any subject.
 ~ 112
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Drawing
with grids
Ttiethird method to ensure that the different
parts of the image have correct proportions is
the grid, which interprets the direction of the
model's lines and its structure. The more divi-
sions the grid has, the more exact it will be, thus
avoiding the possibility of errors in the drawing.
Besides being a perfect method for copying, the
grid also allows you to enlarge a model propor-
tionately. This method may seem boring and me-
chanical at first, but you must remember that this
is just another base from which you can start
working.

A grid allows you to adjust and draw a model's features

to the highest degree.

■■■■■■■■
■■■■■■■■
■■■■■■■■
■■■■■■■■
■■■■■■■■
■■■■■■■■

On a different piece of paper, draw a grid with a pencil

You can make your own grid with a cardboard square
and transparency paper that has a grid drawn on it.
Place the grid on the photograph that you want to copy
or enlarge.
and try to draw the model's features, paying close
attention to each one of the squares and the particular
feature that is in each square.
 113

After first blocking in the tones, go

over the drawing's outlines carefully
with a we/I-sharpened hard pencil
until you achieve clean, defined lines
and almost no gray shadings.

The advantage of drawing with a grid

on the model is that you can choose
the size of the squares. If you want to
concentrate on the complex area of
the model, draw more sections on
that particular area.

A VERY SIMPLE METHOD Use a ruler to

The technique of drawing with a grid consists of measure the space
laying squares on top of the model, usually a into horizontal and
photograph or preliminary sketch, to enlarge a vertical thirds. Place
drawing . To copy an image with a grid, draw the centers of interest
squares on the model and repeat the same on the points where
squares on a blank piece of paper; each one of the lines cross each
the squares is a part of the image. other. This very
Even though learning to draw from life is more simple system
advisable, there are occasions in which copying produces balanced
a photograph or drawing with this method may and proportioned
be necessary. compositions.

A PROPORTIONED DRAWING
The grid is a good method if you still have diffi-
culties making a proportionate drawing. The
object of this system is to help you see, under-
stand, and draw with more fluency and
exactitude. As you acquire dexterity and fluidity,
this system of drawing will seem excessively
mechanical. With time, you will not need the aid
of a grid to compose; you will draw with
imaginary lines.
 <l) 114
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The "Lorrain method:" harmony in the composition

As you can see, the
principle of the grid is
basic and applicable
to any forma t,
whether vertical,
horizontal, narrow, or
elongated.
We will now study an ingenious grid system
that was popular in the seventeenth century by
the great landscape painter Claude Lorrain. In his
preliminary landscape drawings, this French
artist would first draw geometric lines that would
cover the paper's surface like a net. It was a sim-
ple grid that partitioned the paper rectangle ac-
cording to its medians and its diagonals. This
geometric partition allowed the articulation of the
surface of the square according to the composi-
tion and the depth effect that the artist wanted to
suggest, ignoring the mechanical requirements
of perspective.
To apply Lorrain's composition method, first partition
The system allows you to harmoniously place
the surface of the paper into four segments by drawing
the different elements of a landscape, moving, if
a vertical and a horizontal line that converge in
necessary, some tree or shrub so that it coin-
the middle.
cides with one of the intersections of the diago-
nals. This method helps to balance the
emptiness, distribute the elements throughout
the surface, and obey the logic according to how
the elements influence one another.

Draw two diagonals that converge in the middle of each

one of the four resulting rectangles. These four points
will be reference points for the composition, Just like
the diagonals that aid in strengthening the effect of
depth in a landscape.

The diagonal system of composition created by Lorrain

is very useful for composing landscapes and helps to
arrange and distribute the elements in a more
harmonious way.
 115

Here is a view of a town

A SENSE OF COMPOSITION
on a mountain with a
By practicing the principles described in this
balanced, although
chapter you will acqui re a sense of composition.
monotonous,
And although most artists usually theorize about
composition that was
the motives that have led them to organize the
applied with the "Lorrain
theme in a certain way, you will be surprised to
Method."
realize that most of the drawings conform to the
conventions that have been explained in these
pages.

If you draw the diagonal grid on a paper you can

displace the center of attention, the town, towards the
upper right-hand side. The profile of the mountains and
the nearby meadow is adapted so that it coincides with
the main diagonals that cross the picture.

After developing the drawing and applying the tonal

values, you will see how the new distribution of the
elements turns the initial photograph into a more
attractive work. You should never be satisfied with the
real model; learn how to interpret it and transform it
according to your convenience.
 <JJ 116
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point of View:
transformations in the model
W hen you are looking at a landscape, trees,
animals, figures, etc., you are not completely
conscious that your view depends on the posi-
tion you are in vis-a-vis the real model. Before
drawing, it is necessary to move around the
model in order to find the point of view that will
best express the variation within the unity of the
model 's forms, sizes, and colors.
VARIATIONS IN THE POINT OF VIEW
A "normal" level of observation, when the theme
is situated at the artist's eye level , is most
adequate for simple and descriptive images. A
model observed from a higher point of view sep-
arates even more the different elements of the
scene and allows you to play with the different
spaces that open up among them. When , to the
contrary, you draw a scene from a point of view
lower than the usual one, there is a tendency to
have the different elements that compose the
drawing overlap each other.

If you look at the model from a frontal point

of view, the horizon line is positioned in the
middle, dividing the model into two halves.
The still-life appears compact and the
A
objects appear together although clearly
identifiable .

........,i......-~-:-----,_.....~ t ; ' ) ' " \ l i_ _

#_,- - -

If you stand up and look at the still-life from

a higher point of view, the horizon line will
appear higher, the objects will reveal more
space between each other, and the
shadows will appear rounder.
B

If you look at the model from a lower point

of view, the horizon line descends
drastically, the projected shadows
disappear, and the objects are
superimposed one on top of the other,
C somewhat hindering the identification of
certain details of the group.
 117

The variation in the point of view affects

the individualized perception of the
\ objects. (A) Drawing a cup from a high
\
point of view makes the circular opening
have an oval form. (B) Cup seen from
the same height produces a profile view
of the object. From a point of view
A B C situated below the object (C), the cup's
upper border appears convex.

THE POSITION REGARDING THE MODEL

The best way to learn how the view of the model
changes if the point of view is changed is to
compose a still-life on a table and try to look at it
from different points of view, as you can see in
the images on the previous page. Notice figure -. ,
A, in which the objects that form the composition
have been drawn below the line that demarcates
the table {horizon line); this means that the per-
son is observing the scene from a high position.
You can deduce then that the viewer is standing.
On the contrary, if the viewer is sitting in a lower
position than the previous one, the line of the
model will also be lower, and the elements will be
observed from a more level position with the
table (figure C) . Observing both images you will
also see that the forms, as well as their respec-
tive shadows, have changed noticeably. When
looked at from the higher position (B), they pre-
sent more rounded forms, while when you
crouch down the shadows are elongated and are
nearer the horizon line. Through this brief obser-
vation exercise, you can see that what you want
to draw relates to your position vis-a-vis
the model.

The principles of point of

view explained through
the previous figures can
also be applied to
landscape drawings,
such as the view of the
cupolas of this church
observed from a high
position.
 Q) 118
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f requently, nature itself suggests the composi-

tion to the artist. You should take advantage of
these occasions, but do not rely on them too
much: if you don't have a previous composition
outlines sketch , confusion will soon come into
the picture. This impact depends greatly on the
combination of the principal forms on the surface
and on the divisions of space in the drawing
in general.

composing Outline sketches:

balancing the image

A good artist should

introduce a bit of
asymmetry in the
composition, breaking
the formal equilibrium
between both sides of
the drawing. This adds
more interest to the
composition.
SYMMETRIC OR
ASYMMETRIC COMPOSITIONS
The first and most basic rule is the one'that de-
termines whether you are going to draw a sym-
metric or an asymmetric composition-the
global equilibrium of the theme must be taken
into account. A too symmetric composition can
appear boring and static. The symmetry will pro-
vide equilibrium to an image, but will take emo-
tion away from it. However, this is not always so,
since a landscape composed of interesting forms
and angles can sometimes offer variation enough
to the sight. Asymmetric compositions are the
ones that create the most tension in a drawing.
They may be apparently unbalanced , but a close
analysis of the work will show that even though
the landscape is asymmetric, the balance among
the different color masses and the elements
composing the scene complement each other
and give a certain sense of equil ibrium .

A diagonal composition
is one of the more
recurrent in the world of Symmetric compositions
art since it provides appear balanced, static,
asymmetry and stability and monotonous.
 119

SIMPLE FORMS COMMON SCHEMAS

Composition also implies combining forms within The use of geometrical schemas in a drawing's
the picture's area. It has been demonstrated that composition was already being used the Renais-
most people prefer compositions based on geo- sance, with a general predominance of the trian-
metric shapes on account of their simple and gular schema. The arrival of the Baroque caused
concrete configurations. When three simple more use of the diagonal composition , suggest-
forms such as a triangle, a rhombus, and a circle ed and applied mainly by Rembrandt. Besides
are placed separately or superimposed in a com- these schemas, which may be considered clas-
position, the viewer can identify each form and sic, and other traditional ones such as the rec-
enjoy their interaction. tangle, the square, and the oval, some common
Therefore, we suggest that at the moment of schemas are those that refer to typographical
selecting a theme and determining its composi- forms that remind us of the letters L, C, Z, etc.
tion , you should begin with an outlines sketch, a
schema, that responds to a precise geometrical
form . Experience has shown them to be pleasing
to the majority. This way, you can be sure your Since making a
drawing will present a visually satisfactory pic- composition schema
A
ture. of a model is a
preliminary step in the
drawing process, you
should draw it with
soft strokes, hardly
exerting pressure, so
These outline sketches show different composition
that it can be easily
schemas for the drawing space. (AJ an architectural erased once its
element presented through an oval form, (BJ a human
function has been
figure based on a triangular schema and on a circular
CO(T)pleted.
form for the torso, and (CJ a marina with the
Experiment with all
composition schema of an inverted L.
types of geometrical
forms to find the most
appropriate one.
B

C
 Q) 120
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balance /\
and Rhythm:
a visual order
O ne of the most important factors when ap-
proaching the composition of a drawing is ob-
taining a visual balance-in other words, the
order and disposition of the different elements
that comprise the model. Everybody has a cer-
tain intuition which can give balance to a work,
but this is not enough. You also have to learn to
look at a model from a drawing point of view, as
an ensemble of strokes and tonal surfaces. The
equilibrium in a composition depends a great
deal on the harmony it expresses.

BALANCE IN THE FRAMING

When framing, you are placing borders on the
view you want to represent. An appropriate fram-
To achieve a balanced
ing takes into account the color masses confined
drawing, it is necessary
within its boundaries. In a landscape it is suffi-
to make allowance for
cient to modify the framing , since there are sev-
the tonal zones. Observe
eral possible compositions, and many of them

■
how the artist has
can be interesting. In selecting the framing , be
balanced the tones and
aware that centered elements reinforce the bal-
forms of the roofs
ance of the composition, while those placed to
the sides may unbalance it. A

■
B

The most balanced drawing is, without a doubt, the symmetric one, that is, the one
that presents equally distributed masses and the one that repeats the same forms on
the left and right sides of the paper (A). If you want to create unbalance, you should C
not equalize the distribution of the tonal masses. You should look at the paper as if it
were a scale to indicate that the right side of the image weighs more than the left or
vice versa (B). But this unbalance has an easy compositional solution, which consists

■
in placing the small square in a more elevated position in relation to the larger one; the
visual effect does the rest (C). Quadrangular forms are heavier than rounded ones, so
the circle should be placed higher if you want a visual equilibrium (0).
D
 121

CHECKING FOR BALANCE

You can verify the balance among the masses through a simple
analysis in order to assure that a composition be pleasing and not
disproportionate or prone to errors. Turn the drawing upside down,
180 degrees. This will create some distancing from the work. The
work has been well fashioned when the object or figure is support-
ed and does not seem like it is going to fall down. A composition
gives the impression of falling when you have not taken balance
into account. You can also analyze the composition by observing
the schema reflected in a mirror. You can better identify the errors in
the reflected image than in the real drawing.

DISTANCING
A first impression of something
strange in the drawing could in-
dicate that you have made and
error. This may not always be
evident. You can leave the
drawing for some time, since
with time you distance yourself
from the work and thus will be
able to distinguish the errors in
proportion or balance.

There are several

methods to analyze the You should work at a moderate
drawing to see if you are distance from the model as well as
doing it right. The from the support. If you work too
simplest ones are (1) to closely to the paper you will be
turn the sketch upside prone to making errors in proportion,
down to check its balance, or perspective.
balance or (2) to look at
it reflected in a mirror,
which will reveal its
compositional defects.
 <D 122
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RHYTHM
Rhythm in a drawing has the same function as in
music: it joins the different elements and pro-
vides a distinct character to the composition .
Rhythm can be achieved through the systematic
repetition of motifs, through the control of an
ordered stroke, or through a succession of lines
that direct the gaze of the viewer onto the sur-
face of the work.
When the content of a framing is analyzed ,
everything is reduced to simple forms in straight,
curved , broken, or mixed lines. The repetition of
The following exercise will demonstrate how to translate
these directions gives the work rhythm. In a
this photograph with the use of rhythmic and repetitive
drawing , rhythm may be obtained through the
strokes that guide the gaze of the viewer over
repetition of strokes; an example of this can be
the picture.

1
seen in the law of continuity developed by some
British artists during the nineteenth century.

THE LAW OF CONTINUITY

The law of continuity is a method of expressing J{"\\,_,, --- 1
,..,._
/ J

the unity of the work starting with a succession

of ordered strokes or elements from the scene:
"For example, the succession of the columns in
r/tir,\ -.~~ ·-_
, J/, r
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the wing of a cathedral is more interesting when \ ~/ - - ', ,

they are recessed in perspective and become ;- I.
r·
,,,
darker the farther away they are. The same thing \ .·'·',,..--,, .,__ "--· . / . ,,.. ,- _

happens with a succession of hills, when some } ..,._ ,~ ":, -- J

1
follo~hothhers on th~ slopfes sudrroundh!ngh ba valley, /_ / - - - - - - - - ~ ~ ~ ~ ~ ~ ~ _ . )
or wit t e succession o c 1ou s, w 1c ecome ..~-"";.
hazier towards the horizon. Each hill and each 1 _ Before bt:!ginning to ctrfvy; the.artist sketghes .,
cloud have a different form, but each element ev- ,,.,., ,;: ,,_.,..,..,.;;,-r
"id ently follows another in a tranquil and expected th e model. 01\ tt1Jl?,1 a series of arrows ~re .drawn ·.~,
,, which mark th~,dire_ctiQA of the stroke •i~ r ctV ;;, . (/,
order. . . . one of the zones) f. the .drawing. Notice that- t~~ ~ .,
_ The law of con.t1nu1ty guides the gaze of the arrows start on thef~~a, a~cend tbrough the)?~,/
1 1
,1. z,-/
-~ ~ e~ yer ~ p~cture th~ough the st rokes. In in the foregrqund, and continue through Jh~-t Y · I/ ~1fJJ;.
I
these cases, the success,o.,D,of stro~es~ rea~es , %; '\, and then back to·u;e sea to the starting point. ;, i •' ·~ .
currents that flow as rivers, or as waves, on the~\~~. .. ·" · , . ·· · : ·, ' d 1
'hJr .r, o/J t
surface of the drawing. You can observe this ef- ~ ~ ' \ . ~ .. ~'-~\-. · ., - ~ "-.-:::.'-:-"'...~-:_ _,. -~d//p•ll
feet· on1:he beach drawing in the follo:,.,vi og exer- ........,____ ~- E -- - - ·
. -~,--- ., ~ -
"""' ..9i~ The purpose ot tb.e artL~
in tbis-~ awing .t1esc,,..= 2 :='With a-gr-apni{e- "' -
1 been to transmit a greatE(r;":i~J ~~sive effect, -- ·~
f 10
thanks to the control of the sfro1<es, t0get h.e£:witg .,;;'2~J;l£l "" f::-medi ld.~ .
the bewitching, swaying, and undulatingftl◊ve- ,_ ...;: hafd ness, st af.'t~~-

\:
- covering the wh ite
ment of the clouds and the waves. As yotican-- •·
- spaces of the paper,•. - ..
see, the strokes describe clouds !,.._hat move in · ..,._
~ especting the
countless rows that follow the sun and converge , .:::.directions indicated
on a point in the sky. There, the ~trokes,;:?f the
I clouds find their continuation on the beae:;h and ~
,___b y the initial arrow s.

/\.·
.
i \
flow to the sea, where in the swell , the.same un-';.:' ~
.......:·~ '# ...-
dulating forms of the clouds are rep_@~ted. This .··· -~
rhythm of continu ity joins the different elements ·
and provides the composition with""- ,.;:,.
distinct character. C,~ ._

)_1
 123

3 3. With the drawing almost To organize a

complete, you can see that the balanced model,
application of the "law of continuity" imagine the group of
renders a surface covered with objects as if they
undulating strokes that show the ~ were on the plates of
direction the gaze should follow pi? a scale. Make sure
over the picture's surface. f - - -- - - - 1 that the objects
distributed on the left
half of the model have
t he same visual
~ - - - ~ weight as those on
the ri ght half.

4. In adding more lines over the previous ones

and contrasting the darker zones, you will obtain a
more satisfactory final effect. Observe how the

4
direction of the lines is kept in relation to the initial
arrows. The control and direction of the strokes
provide the work with an undulating rhythm.
 Cl)
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I
"A REALLY GREAT ARTIST, AS HE INCREASES THE DISTANCE, REDUCES THE SUBJECT UNTIL REACHING THOSE
SHADOW ABSTRACTIONS( ... ) WITH ABSOLUTE PRECISION AND INTENSITY."
JOHN RUSHKIN, DRAWING TECHNIQUES, 1859
 i

rv
CT)

( I
0
GABRIEL MARTiN , A STREET IN ZAFRA, 2002.
SANGUINE AND CHALK
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 127

techniques.
The combination of shading and
Ii ne widens the range of drawing possibilities. Studying light and
shadow allows a closer approach to the elements that give realism to
a drawing. Establishing the value scale of a subject means registering
its tonal development, clarifying and comparing tones and hues, and
deciding which ones are lighter and which ones are darker. To under-
stand the value of a tone, you should establish on the model a range of
_'lif shadings that is complete enough for the drawing to acquire corporeity,
volume, and atmosphere. When outlining any object, it is necessary to view it
\tense stains that vary according to the incidence of light in the various zones. A
rig value cannot be achieved through sharp contrasts of light and shadow zones.
progressive value must be rendered, with smooth transitions between shadings.
 i{l 128
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Shading
S hading is a painterly resource that evenly cov-
ers the paper's surface. Applying various types
of shading requires a great deal of practice be-
cause it is a fundamental element for modeling
objects.

THE LIGHT AND THE MODEL

It is essential to learn to see certain concrete
things in a model. All the elements grouped in a
composition can be represented if there is
enough light, with all their shape and color attrib-
utes. To study the trajectory of light you should
locate the darker zones and those more exposed
to the light (the maximum points of light). The
next step is establishing an order among the dif-
ferent intermediate values within the dark and
light zones. The comparison is always based on
the concepts "one is darker than the other" or
"one is lighter than the other."

When the models are illuminated by an artificial light

source, you should study the ligh t trajectory and try to
loca te the darker zones and those under greater light
exposure.

;
I
/

After linear drawing, shading is

fundamental to provide the model
with a greater volume effect.
 129

VALUE SYSTEM
When the tones are arranged on the drawing , a val ue system is established.
The value system consists in determining the different tonal values and the
way they are assigned. Delimiting the darkest zones allows you to frame the Working with t he side
shapes. The shapes begin to take form as you shade these very dark zones. of a charcoal or chalk
The darkest tone corresponds to the darkest zone. stick, you can
establish the first
tonal value through
rapid stains.

Only with tonal work

does the drawing
acquire a pictorial finish.
The contrast between
E light and shadow gives
volume to the elements.
In order to reach this
modeling, it is necessary
to learn to use the
various tonal values
F correctly, keeping in
mind that blacks will be
more intense in the
darkest shadows and in
the objects located
toward the foreground,
G
and softer and more
blended toward the
background.
 A B C

SHADING
There are two ways to create tone with pencil. D E
The first method is to use a soft pencil to ach ieve
the desired tonal intensity through the amount of
pressure exerted while drawing. The most com-
mon shadings are vertical shading, made with
lines perpendicular to the lower margin of the pa-
per or to the line of the drawing, and diagonal
shading, which is made with diagonal strokes.
Diagonal shading is one of the easiest and,
therefore, the most commonly used in drawing.
The second method is to use a harder pencil and
create a series of tones, producing layered shad-
F G
ing. For shading it is essential to maintain the
pressure all the time and move at the same pace
in order to achieve a uniform texture.

DRAGGING
The most common way to produce shadings
with charcoal and chalk is by dragging the stick
lengthwise, in order to create a wide and thick
stroke that allows the paper's texture to be visi-
ble immediately. In order to control the stroke it
is necessary to cut the stick accord ing to the line
width. The amount of pressure you apply will de-
termine the darkness or luminosity of the draw-
Above are basic examples of shadings made with
ing. A zone can be covered until the paper's
graphite pencils, charcoal, and chalk, on fine coated
tooth is completely covered. Tones can be soft-
paper:
ened by rubbing, as if using graphite. A soft
(A) Homogeneous shading made with the side of a
shading applied by barely pressing the stick
sanguine stick, (B) classic shading made with a dull-
against the paper surface will produce a very
pointed graphite stick-pencil, (C) homogeneous shading
delicate range of tones.
drawn with the side of a rectangular graphite stick, (0)
classic shading extended with a sanguine pencil, (E)
classic shading with an oily pencil, (F) textured shading
made lengthwise with a charcoal stick, and (G)
homogeneous shading made with the side of a black
chalk stick.

By gradually increasing the pressure of the sanguine

stick, you will be able to cover the paper's tooth almost
completely Practice tonal value scales of this kind to
master shading quality
 131

TONAL EXERCISES Below are four samples of the most common shadings:
Select simple themes and try to create them by (A) classic shading based on hatching, (BJ
applying different approaches to tonal work. First homogeneous shading made with a slanted graphite
try to apply shading to create shapes. Then , al- stick, (CJ shading by dragging the side of a chalk stick,
ways working with a single color, draw a theme and (DJ staining with a small charcoal stick.
by defining large tone blocks-three to five tones
will be enough-and use the tones to create the
object's shapes, regardless of whether the tones
in the theme are visible or not. Once you have
simplified the theme to three to five tones , look
at the tonal zones as abstract shapes, and leave
some zones of the drawing indefinite so that the
eye can complete them . Keep in mind that, of-
ten, the most efficient drawings have a minimum
of elaboration. As you become more experienced
you will be able to assign to the drawings a wider
value range which, when applied to the model,
allows for a great variety of light intensities. The
good use of shadings will make it possible for Once the shading has
you to create a more volumetric representation of been drawn, it can be
the model. A B
extended with your
finger.

i.J
j
C D

In order to shade quickly

and without much
variation, the quickest
and most effective
method is the classic
hatching shading.

When developing a
variety of tones and
gradations, it is
recommended to use the
most homogeneous
shadings. You can even
combine different types
of shadings in one
drawing.
 132

how to Shade:
stains, tones, and hatchings
~ e value system can be established thanks to
the effect of light and shadow on a model. We
then assign a tonal value to each zone, and
each tone corresponds to a particular exposure
to light.

BEGIN THE SHADING WITHOUT STROKES

At the beginning, it is advisable to apply shading
without strokes, using the side of a charcoal,
graphite, or chalk stick. With some practice you
can master, or at least have a good understand-
ing of the tonal value system. Once you get used
to relating and establishing tone values, it will be
easier to use strokes.

Staining is the first step

Shading with strokes is best for outdoor drawing, when in shading; it consists of
the sketch has to be drawn. You should always keep in homogeneous stains
mind the direction of the strokes in order to render the with hardly any tonal
model correctly. value. The goal is to
diminish the effect of the
white of the paper.

SHADING WITH STROKES

It is possible to cover the paper's surface by us-
ing strokes repeatedly. Hatching can be pro-
duced in many different ways. For instance, you
can practice a hatching that consists in varying
the stroke density, or another one, which con-
sists in superimposing stroke series or various
hatchings. The final intensity of the shading will
depend on various elements: the distances be-
tween lines, the pressure of the pencil, and the
type of repetition .
 133

If you are a beginner, try to darken the shading To correct a shading,

progressively, in a slow and soft manner, you may erase wide
superimposing shading layers. Here you may zones with an eraser,
see four examples using different media: (A) . holding the paper to
A graphite, (B) chalk, (C) sanguine, and (0) prevent wrinkling. It is
charcoal. The last stain with each medium advisable to begin the
shows the difference between the first and the shading by applying
last shading. thin layers of tone,
since these can be
erased more easily.
B

SEARCHING FOR THE TONE

If you make a tone darker than you want it when
shading or coloring, the only way to correct it is
by blending or erasing the surface. Given that
this operation reduces a paper's adherence ca-
C pacity, it is advisable to apply the layers more
softly than you would deem necessary, so it is
easier to approach the appropriate tone by ap-
plying successive layers and superimposing ap-
plications.

HOMOGENEOUS SHADING
When charcoal is used to cover the paper uni-
formly and applied without making strokes, the
result is a shading without a stroke. In order to
create this shading, take a piece of charcoal,
chalk, or sanguine and draw with its side, with
smooth movements to create a uniform color
layer. This method allows for atmospheric shad-
ing, of granulated texture, without sudden line or
tone changes or stroke contours.

Homogeneous shading, that

is, one made by softly rubbing
the stick against the paper,
produces tones without
strokes. This results in high-
quality gradation and
modeling.
 (f)
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134
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how to Control
the quality of a shading
" f you press hard against the paper with the
~•. drawing medium you will produce dark lines.
However, by controlling the amount of pressure
on the medium, the shading will be more tenu-
ous, resulting in a lighter color. A saturated tone
is a tone that has the most intensity, the darkest
tone. The least saturated tone is a lighter one.
Many tonal values can be created. To begin a
drawing you should locate the darkest tone and
the lightest one, as well as three or four other in-
termediate values. To create tonal gradations it is
important to have several tones, which can be
achieved by alternating the amount of pressure Here you can see a series of arranged tonal values
you apply on the paper while drawing. made with graphite and sanguine. These samples show
various tonal intensities, which enable you to assess the
hardness and quality of the medium. It is advisable to
alternate leads of various hardness levels in the same
drawing.
Sketches allow you to explore the possibilities of each
drawing m edium. In this chase the shading has been
made with a 4B graphite pencil

THE QUALITY AND HARDNESS

OF THE DRAWING MEDIUM
It is convenient to use As we have explained, developing the shading
pieces of the same possibilities of the different media is fundamental
paper used for the for value work. Therefore, an artist should know
drawing for samplers of the possibilities of each of the hardness levels of
tonal ranges. Keep in the graphite pencils or sticks used. Once you
mind that the color, know the limits of each material, applying it will
weight, and texture of be a more logical operation , extending the
the paper will technical scales of grays in the context of the
significantly affect drawing.
the final result of the
shading.
 135

With you r eyes half

closed you will have a
blurry vision of the
It is necessary to have a good knowledge of
'\ model. This enables
the properties of every drawing material in you to simplify the
order to develop the best shading method to forms and have a
b e used in each case. better perception of
the general light and
co lor characteristics;
then you can
PRELIMINARY PRACTICE OF DIRECTION
establish the
TONAL RANGES When applying shad ing , it is essential to follow
distri bution of the
Before beginning to draw, you may find it useful the correct direction. This is why it is so impor-
large tonal zones.
to practice developing the tonal range on a piece tant to start out using life models, since it is only
of the same kind of paper you will use to work. through observation that you can analyze and
When applyi ng charcoal , sanguine, or chalk on synthesize the gesture needed to produce the
the final paper, you should always start by exert- desired effect. In general terms , the gesture is
ing less pressure, increasing it according to the perpendicular to the direction of gradation , al-
lines outlined in the sketch. though sometimes you may need to blend in a
curve or impart circular direction to express
cylindrical or spherical volumes.

::::::._-- ----➔

'"'----- -------

l
.-·/
A B C D

Shading should not follow a random direction. You

should follow a certain direction, which will depend on
the volume of the object being drawn. For instance, on
a spherical body the shading will be circular (A), on a
curved surface the shading should a/so describe the
curve (B), if the surface is flat the shading should be
straight (C). This will also apply when, instead of using
the slanted stick, you create strokes. The form of the
strokes should be consistent with the undulations of the
object's surface (0).

) \
• I

If you want to further develop the shading direction,

draw simple still-lites, such as the one shown in the
figure, and try to create the shading following these
principles.
 136

dividing 8reas:
controlling shadows
Youshould visualize, in each model, the differ-
ent tonal zones. A tonal zone consists of an area
with a similar tone, which distinguishes it from
the others. Each tonal zone is related to its corre-
sponding tone; this is the way the value system
is established.

REDUCING VALUES
One of the most important things we can do is to
establish a system that can analyze and identify
the relations of the tone values. It is essential to
learn how to break down the system into steps.
In general , models have color. The first step is to
imagine the theme reduced to black and white
with several gray values. This will facilitate the
representation of the model with various tone
values.

Very often the soft gradations of the shadows of a

model may be daunting and confusing. Do not worry
When observing a model, learn to clearly synthesize
and distinguish the zones of light, intense shade, and
intermediate tones.

1
In order to distinguish the tones it is helpful to
imagine an achromatic version of the model:
that is, black and white.

1-. Before shading it is necessary to

outline the model with linear strokes.
The drawing does not need to be very
exact, since the forms will be built up
later in the process.
 137

SHADOW SYNTHESIS BLOCKING IN SHADOWS

Once the model is reduced to black and white
values, an intent to synthesize will enable the lo-
cation and delimitation of various values of differ-
ent value. The limits of the tonal zones can be
specified on the preliminary outline sketch. Two
basic tones will allow you to define the value
system. The lighter one is associated with the
zones that present the highest light intensity and
the darker tone for those areas that are darker.
Through simple sketches where shadows have
been blocked in, you may group the zones that
have the same tonal value. You may represent
with lines the limits that divide the paper in vari-
ous spaces. Each zone has a tonal value. It is
easy to establish the relation among the zones
that share the same value. Th is is the system that
allows for relating and classifying all the tones.

2. With a sharpened graphite pencil, draw a more
precise profile of the objects. You should block in
the contours of the most clearly distinguishable
shadows and their reflections. Once the drawing
is finished , shade the most intense shadows of
the model with a black oil pencil.
3
3. Now extend the intermediate tones,
evaluating the quality of the grays in the cast
shadows-which also contribute to the
impression of volume.

4. The block-in work

of the shadows is
finished now. This
system allows the
beginner to study the
shadows of a model
without much risk.
After applying this
system several times,
you should move on
and attempt to draw a
model without drawing
the lines that delimit
the different shadow
intensities.
the mportance · A

of tonal gradation
G radations are smooth transitions from a light
tone to a dark one and vice versa. The goal is to
achieve, in a shading, the organization of all the
tonal values in a progressive range, that is, with-
out tone changes. In order to make a gradation it
is necessary to use a tonal range, arranging it
gradually in order to minimize the sudden tone
changes.

ACHIEVING A GRADATION
B C
A gradation is created by caressing the paper
softly with a slanted pencil, beginning with a
constant pressure and a zigzag drawing. This
Above are some examples of gradations of various
pressure is diminished gradually in order to go
lengths created using different dra wing media: (A)
through the range of grays, from the maximum
gradation with black chalk, (B) gradated shading with a
darkness point to the lightest point, according to
graphite stick, and (C) a gradation with a sanguine
the possibilities provided by the hardness of the
pencil.
pencil or charcoal. In order to create gradation
through shading, besides controlling the amount
Below are various samples of grada tions made with a
of pressure placed on the pencil, it is necessary
sanguine and a graphite stick. As you can see, the
to juxtapose the strokes. However, to start it will
gradations can a/so be created by dragging the
be easier to work on a gradation without using
sanguine stick (0 ) and (E), and by dragging the graphite
strokes and using the dull point.
stick (F).

GRADATION BY DRAGGING
When drawing with a charcoal, chalk, or san-
guine stick you can also create gradations by
If you add one dragging ·the stick lengthwise. You just have to
gradation after exert higher pressure on one of the tips of the
another, have them fit stick, so that the resulting shading will be a gra-
appropriately. To do dation. This method of shading is very popular.
so, make sure that Through practice you will be able to master this
there is type of gradation.
correspondence
D
between the tonal
values. A thin layer is
usually applied to
avoid sudden tone
changes or visible
gradation borders.

E F
 Blending tones with your finger, a piece of cloth, a
malleable eraser, a blending stump, or a fan brush is a
common technique for making gradations.

BLENDED GRADATION WITH HATCHING

Whether you use charcoal, sanguine, or chalk,
you will obtain different effects if you blend a
gradation. This very soft blending can be made
with a fan brush or by blowing on it after it is
blended. The strokes disappear more easily
when using charcoal , a little less when using
chalk, and they stay almost completely fixed
when using sanguine.

ATMOSPHERIC GRADATION
One of the most interesting methods of grada-
tion, which is perfect for landscape drawing, is
producing a gradation by drawing small circles.
This results in a completely atmospheric effect.
You should begin by drawing small circles, pro-
gressively filling the whole space and regulating
the amount of pressure on the pencil, to create a
progressive gradation effect.

Atmospheric shading can be achieved by slowly

rotating the slanted stick on the paper's surface. This
method is ideal when drawing landscapes with
interposed atmosphere.

If you create gradations by only varying the pressure on

the charcoal stick held lengthwise, you will achieve a
synthetic drawing with a strong volume effect.
 (f)
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140
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tonal backgrounds:
drawing on colored paper
I nstead of always working on white paper, you can also draw on a tonal There is a huge variety of
surface, a colored background. It makes for an easier and appropriate tone colored drawing paper
and color value and for drawing light and dark zones easily. The color for the available. Your choice will
drawing will depend on the theme. Keep in mind the following: (1) drawing depend on the warmth
on a dark colored background will strengthen the light colors, (2) a mid tone and expressive effect
will produce a tonal equilibrium with a background color that will harmonize you want to give to your
with most colors, and (3) a light background will display the dark strokes work.
stronger. Tonal backgrounds are ideal to use with charcoal or colored
chalks , and are also a perfect base for drawings with white highlights.

CHOOSING THE COLOR OF THE PAPER

There are several options for choosing the color of the paper. The model
can indicate the dominant color. For instance, a sunset may suggest an or-
ange paper; a nude will lead you to choose an ochre, pink, beige, or salmon
color to match the skin color. For a pier, you may consider using a light blue Neutral-colored and gray
paper, such as sky blue. But you may also intend to create more dramatic or brown papers are
and expressive effects and choose a paper color that has no direct relation those most commonly
to the theme, which will instead allow for a great contrast effect. used by artists because
they enable them to
Lncorp0rate chalk and
" ... highlights.
;~, _,v: ·,
,t'
 141

t,«tli
~-
' '

SHADINGS ON COLORED PAPERS

Drawing a charcoal tonal range on colored paper
will enable you to see the effect on different paper
colors. In the most tenuous layers, this color
shows through the shading, while in more intense
applications the color of the paper will be com-
pletely covered. Blendings with charcoal or chalk
on colored paper, though applied identically as on
white paper in technical terms, produce different
effects that result from the combination of the
charcoal applications and the particular color of
the paper.

WHITE CHALK: HIGHLIGHTS

AND COMBINATIONS
On a tonal background you may use white chalk
to highlight the light. If you combine other chalks,
in darker tones or charcoal, you will achieve
many intermediate tones. In fact, you may play
with three ranges: charcoal, chalk ,and the color
background, and increase the possibilities of
defining the value system.

If you want to check the way a drawing medium

functions on a colored paper, do one of these tests and
evaluate the results. Here you can see three illustrative
examples: shadings with charcoal and white chalk on a
yellow paper, then on a blue one, and finally on a neutral
gray. Practice blending and observe how the paper
color integrates into the shading.

If you choose colors with more intense tones you

should keep in mind that the paper color will have to
"coexist" with the strokes of your drawing, imposing an
intense dominant color. If your goal is to transmit the
coldness of the snow in winter, a blue color is very
appropriate.
 143

volume effects.
Knowing the effects
of shading
with the various grays allows you to achieve not only the outline of
the position planes of the drawing, but to also render the volume of the
forms. When outlining any voluminous object, it is necessary to consider
it as a set of intense stains that vary according to the effect of light on the
different zones.
First, you arrange the general forms. Then , you outline the different vol-
umes of the shadows. Finally, you establish gray values, increasing the
tonal value in the zones with the most contrast and opening white spaces
with the tip of an eraser.
 © 144
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b1ocking in
and modeling
B 1ocking in starts from the initial outline sketch that has the general
shapes of the model. A value system is established from the begin-
ning , according to the planes that will define the limits and forms of
the elements. The most important shadows should be schematized
with planes in which the direction of the stroke will envelop the forms.

BLOCKING IN FOR MODELING

Blocking in starts from the initial outline sketch that has the general
shapes of the model. A value system is established from the begin-
ning, according to the planes that will define the limits and forms of
the elements. The most important shadows should be schematized
with planes in which the direction of the stroke will envelop the forms.

Blocking in should
always be
progressive,
beginning with thf
lightest values and
moving toward the
darkest ones.
A good modeling exercise consists in drawing simple
geometric shapes, for example spheres or cubes, with
a charcoal stick. Begin with a sphere: first draw the
outline, then shade it, and finally model by blending with
your fingers. Our goal is to create a sphere with a
strong volume effect.
Do the same with a cube. Here you should keep in
mind that each side will have light with different
intensities. The drawing process is similar to the one of
the sphere; however, work more carefully in order to
avoid blending the shadings from the different sides.
 145

BLOCKING IN
Blocking in is the beginning stage of modeling
and drawing; this is why the value system of a
drawing should present a detailed study of the
zones that will require special shading. The first
values should be made without exerting any
pressure on the paper, in order to avoid subse-
quent problems when manipulating forms . If the
paper has medium or coarse tooth , the texture
will become visible when rubbed.

MODELING
When the first value is blended, the pigment pen-
etrates the paper tooth , creating different tones
from those of the initial drawing and losing part
of the spontaneity of the drawing. This stage is
necessary for studying the lighting and volume of
the bodies. The modeling process goes from es-
tablishing on the model a range of shadings that
will be complete enough to give volume to the
form. The various tones start out from the pa-
per's tone, unless colored papers or chalk high-
lights are used. Once the values of the d·ifferent
grays are understood, it is possible to create not
only the outl ine of the drawing planes, but also
the volume of the forms.

These two images show the difference between the

blocking in with uniform tones and the modeling with
more complete and contrasted shading. The first stains
help situate the masses, while the second ones define
the drawing in terms of tone and volume.
 (]) 146
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WORKING WITH SIMPLE SHAPES THE NOTION OF MODELING

The best way to illustrate the concepts of block-
ing in and modeling is to begin working with sim-
ple shapes: spheres, cylinders, cubes, prisms,
and different combinations of these shapes. In
some sense, any object is, to a greater or lesser
extent, a combination of several simple shapes
of various sizes. It is instructional for the begin-
ner to start modeling simple volumetric figures
and practice with these shapes the blocking-in
and modeling exercises with graphite shadings.
In this case blending is crucial in describing the
volume of the bodies.
If the artist has created a correct blocking in of
the theme, the forms will be modeled and their
volume and relief will be displayed. Modeling in
drawing may be compared to the sculptor's work
in that it is a two-dimensional imitation of what
the sculptor does in three dimensions: giving
body to the theme and rendering its presence.
The best way to model, whether you are working with
an oil pencil (AJ or with a compressed charcoal pencil
(BJ, is to treat the shadows very smoothly, almost
caressing the paper with the point of the pencil. This will
produce gradual tonal transitions that will better explain
the volume of the bodies.

A B
Here you can see the modeling of a cylinder. First, the
contours are drawn in the right proportion. The borders
of the darkest and lightest shadows are indicated with a
soft shading in the middle (AJ.
The central shadow is intensified, the lightest value
being on the left- the one that receives direct light. On
the right border line, the value turns lighter again due to
the reflected light.

The correct relationship

between values and,
thanks to the transition
among them, the
modeling of a cylindrical
volume has been
achieved. Now the only
thing that needs to be
done is to intensify the
modeling by darkening
all the values in order to
maintain the relationship
among them (CJ.

A B C
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 (]) 148
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light and 8mbiance:

illuminating the atmosphere
M any artists choose to draw in a particular
place or landscape because of the atmosphere
generated by the light. Not only do the individual
elements, forms, composition, and direction of
light appeal to them, but also the ambiance cre-
ated by the combination of all these elements.
THE ATMOSPHERIC FACTOR
One of the most interesting effects that can be
achieved through good tonal values is the cre-
ation of atmosphere in a drawing. Through a cor-
rect value key of each plane of the drawing you
can recreate a dense atmosphere by observing
what range of grays corresponds to each. The
difference between tonal and atmospheric value
is that the latter is produced by minimizing the
background 's definition. The blurred effect,
through progressive blending, eliminates the es-
sential lines as the plane becomes more distant
from the position of the viewer.

A B C D E

A stroke can create atmosphere and ambiance, as can

be observed in this drawing made with graphite pencils.
This is due to the accumulation of different strokes,
which tend to distort the image and blur the outline of
the forms, harmonizing the elements with the drawing's
background.

In the least contrasted zones, the various stroke

gradations are juxtaposed (A).
Varying the pressure on the graphite pencil creates the
forms of the trees (B).
The tonal zones are clearly differentiated in spite of the
fact that they are not delimited by contours (C).
The maximum contrast is reached by juxtaposing very
light graphite pencil strokes with intense ones (0).
If you intend to create an imprecise impression or
integrate the forms with the background, you only need
to accumulate strokes (E).
 149

Your hand can be

STROKE AND ATMOSPHERE
used to blend and
The stroke is a fundamental element in drawing.
your fingerti ps for
Independent from the atmospheric effect created
local b lending .
with the various gray tones, the stroke should be
adapted in relation to its distance. The stroke is
understood not only as a line, but also as a
gesture. As a certain ambiance begins to be
created in the different planes of the drawing ,
the stroke should vary in relation to the gradation
and direction.

Artificial light transforms colors and gives a different

atmosphere from that of the daylight. Shadows are
~
I

more contrasted and the objects look lighter and more In a tonal drawing (A) the
brilliant. zones are clearly
A B differentiated and their
borders are well defined.
In an atmospheric
drawing (B) the profiles
are dissolved and the
forms integrate with one
another; there are no
marked borders.

When drawing with a source of artificial light, you will

notice a very distinctive aureole of light that surrounds
it. You should keep in mind that, in this case, the light
source is radial, so the strokes should follow that
direction.

By con trolling the light effect in an interior, diminishing

the contrasts among tones, and avoiding intense linear
strokes, you will achieve a certain ambiance.
 (]) 150
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Chiaroscuro:
maximum contrasts between light and shadow
n chiaroscuro, the artist attempts to represent objects through developing
light and shadow zones as a tonal contrast. Modeling forms from a
shrnly of light is an exercise that requ ires a detailed study of tonal values
and of gradations of grays. The main dark contrasts outline the luminous
zdnes and increase the three-d imensional impression in the model.

The chiaroscuro is a value system that affects not only the main element but
. also all the elements within the frame of the drawing. The value of each one
of the elements of the drawing will vary depending on the situation of the
model in relation to the light focus. The less light the still-l ife zones have, the
darker they will be; this allows for greater contrast where there is less illumi-
nation. Chiaroscuro proposes an exhaustive analysis of the model in relation
to the illumination it receives ; therefore, the treatment of the surfaces in rela-
1ion to the light is indispensable in rendering the different objects composing
e model.

illustrate the difference between a

f)edy rendered with modeling effects
(A) and a body rendered with
chiaroscuro effect:;, (B). The first
shows softer tonal transitions,

contrast between the illuminated

A
and the shaded zones.

he tonal range offered by charcoal

ideal for chiaroscuro works. The
nly thing you should keep in mind
that the tone is controlled with the
pressure of the charcoal on the B
,,..paper, and also by how much the
paper surface is covered.
 151

ILLUMINATION IN CHIAROSCURO
The model's value for ch iaroscuro is determined The compressed charcoal
according to the background and the light focus pencil is ideal for chiaroscuro;
it receives. It is essential to understand that the it allows you to outline the
light is not the same in the whole surface, given forms and create more intense
the fact that once it falls on the first plane of the and contrasted blacks than
model, it gets distorted and bounces off, chang- natural charcoal.
ing each zone. When coming laterally from an
electric source, the light is direct and creates
well-defined and outlined shadows; when the
light is diffuse it comes either from a natural fo-
cus or as a reflection of the electric light, which
produces soft shadows without edges.

THE ZONE OF GREATER ILLUMINATION

The zones that show brilliance, as well as those
with great illumination, should be free of char- The chiaroscuro effect is
coal, sanguine, or chalk. However, if there is a characterized by a
mistake these zones can be corrected with an strong contrast b etween
eraser. lights and shadows,
which gives a much
THE DARKER ZONES more volumetric and
The zones of maximum darkness, corresponding drama tic appearance to
to the darkest tone in the tonal value system, can the model.
also be treated with a special method. Once the
desired tone is achieved; it should not be
touched. This zone will be definitive. Doing this
will help avoid limiting the adherence capacity of
the paper, which would impede achieving a darls-
er tone if such tone were necessary.

The edges of a new eraser may be used to work on

small surfaces and details.

To learn how to work

with lights and
shadows, direct
intense light directly
onto the model. This
w ill clearly create
d ifferent dark and
light intensities .
lending
 153

techniques.
B1ending is one of the
various studies of

tonal value; it facilitates gradations by applying

soft tonal gradations on a zone with an established value sys-
tem. Blending is directly related to tonal value, which is why it
should not be used to create effect. Blending is a practical tool
used to elaborate the drawing. Soft media, such as charcoal and
chalks, are the most appropriate materials for developing layers
of blended stains, which will give the drawing a more pictorial
appearance. Blending not only produces subtle tone effects, but also gives the surface and
attractive texture. Blending softens and combines the different zones in the drawing.
 gi 154
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Stumato:
smooth contours
S fumato means "a softening of the tones. " When applied to
drawing, the term refers to producing very subtle tonal grada-
tions, similar to the misty effect of the wash. After an initial com-
position is made, sfumato is created by blurring the strokes and
shadings with your fingertip. The sfumato effect in a sketch is
very soft, given that the uniform gray tone integrates light and
dark tonalities.

Sfumato can be used as
a medium to create
atmosphere and to unify
the different values of a
drawing.
ATMOSPHERE IN LANDSCAPES
The atmospheric landscape requires , more than precise forms,
sfumatos, blurred strokes, open lines, and suggested forms. The
general atmospheric appearance of the drawing is usually more
important than the precision of each detail. For this type of draw-
ing, blending links the different parts and gives unity to the work.
The misty effects should be carefully mixed so that the objects
are rendered without explicit drawing .

Observe above how a sfumato

drawing has a more pictorial
appearance than one made with
clean and precise strokes.

Because graphite is very soft and

allows for a very delicate finish, it
blends well.
 155

I
I

With cotton you can

DIRECT BLENDING A flat charcoal stick can be
produce softer anc:y.,
On a support treated with graphite, charcoal , or applied on the zones that
more continuous ,
chalk, forms can be dissolved by blending direct- require a general shading.
-~· shadings than those
ly with your finger. For sfumatos to be soft and
obtained with a
well integrated to the white of the paper, without
blending stump .
a trace of strokes, rub the drawing with papers.
This method is not as precise as blending but
may work for treating large zones of the work,
such as the sky or water, wh ich require an espe-
cially soft and delicate treatment. You can also
rub a graphite shading with a cotton ball to ob-
tain a soft blend , allowing you to create the gen-
eral tone of a form .

THE IDEAL MEDIUM

Charcoal may be the ideal medium for the sfu-
mato technique, due to the fact that it has rich
tonal qualities and can be mixed and dissolved
very easily. The sfumato tones can be achieved
by rubbing the charcoal on the paper with your
fingers, so that the foreground integrates with
the background.

Charcoal is the best the medium for sfumato effects.

 156

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how to Use
a paper's texture
C oarse paper has a pronounced tooth . When a
stroke or shading is applied to this type of paper,
a medium's pigment is left in the ridges of the pa-
per, leaving the holes free of pigment. Coarse pa-
per breaks lines and strokes, producing a mottled
and discontinuous appearance. As the shading is
not get completely integrated into the paper's
surface, it has a blended, atmospheric effect in
the drawing.

TOOTH AND ATMOSPHERE

Working on coarse
papers and using the
side of a chalk stick is
ideal for making tonal
sketches with interesting
atmospheric effects.
In order to create an atmospheric effect on tex-
tured paper, do not exert too much pressure on
the drawing medium. Apply shadings, avoiding
any trace of strokes and combining gradated
scumbles. You should also avoid defining the
outlines of objects, so that the contours of the
objects seem blended and blurred.
Above are some examples of the various types of
textures that the surface of a coarse paper can offer.
 157

The best way to work

CHARCOAL BLENDING
on coarse papers is
One of the most interesting characteristics of charcoal is its ability to adjust
by scumbling. When
to any paper texture. Charcoal , when applied on its flat side as a shading on
a shading is
toothed paper, creates a uniform tone. According to the amount of pressure
superimposed on the
exerted on the stick, you can vary the drawing's darkness or luminosity.
previous one, the
Coarse papers enable the artist to work repeatedly with charcoal on the
result is an increase in
zone where two tones meet so that they are imperceptibly blended. Blend-
the tone and a
ing is obtained by rubbing a tone on the contour of the one next to it so that
reduction of the
they merge smoothly, creating the impression of a soft and misty light.
visibility of the paper
tooth.

The textured effect of the paper's tooth harmonizes and

integrates all the strokes in the drawing, creating an
atmospheric effect.

By pressing progressively with the charcoal stick, you

will be able to cover the paper's tooth completely.
 ~ 158
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Because of its
malleable character,
Correcting without .
charcoal enables you
to hide the pentimenti
erasing
more easily, although Asit develops, the drawing undergoes a
they remain as sketch process of continuous change, to the point that
lines. the initial block-in is only an initial reference. The
artist should transform the work constantly, in-
creasingly marking the stroke that defines the
different planes and forms.
As the drawing approaches its final stages,
lines gradually cover previous ones. The process
is a continuous correction of forms. The final
lines are defined with greater decision than the
first ones-this correction does not necessarily
have to be done with an eraser.

DELIBERATE CORRECTIONS
In many of the drawings by the great artists, the
corrections and repetitions are left in the drawing
deliberately, as a practical resource, which gives
vitality to the work. These corrections are known
as pentimenti-ltalian for "repentance." These
corrections add interest to the work; they express
a strange fascination for the unfinished, the
sketched, and for the drawing process, as op-
posed to an interest in finished and detailed work,
which appeals to the romantic side of every hu-
man being . Therefore, we encourage you not to
pay much attention to your mistakes, Instead,
draw next to them with more precise and vigor-
ous strokes. Every drawing should be an experi-
mental and changing process, correcting is a
fundamental action in this creative process.

In the contour of this figure you can see the

superimposed strokes, which resulted from the various
attempts of the artist. Notice the detail of the correction,
for instance, in the position of the arm.
 159

Drawing with a quill

pen is good practice.
If you make an
incorrect stroke, you
cannot correct it;
therefore, you wi ll

~-~~
have to draw another
· stroke next to the
incorrect one.

SKETCH AND MOVEMENT

The pentimenti are very often related to the effect
of movement in the drawing. The sketch impres-
sion is considered fundamental to transmit the
sense of mobility. The sfumato effect, through
which a figure's contours are blurred, is a com- A rapid, vigorous, non-defining stroke helps
mon resource for suggesting action. This is the transmit the impression of movement to a
same principle of the image that is out of focus figure.
in photography. The dispersed mass of the figure
gives a vibration and movement effect. The sil-
houette of the model is not outlined; rather, the
model is given an imprecise profile or various
overlapping profiles, which indicate the effect of
movement. Sometimes, a more loose style, with When drawing very quickly, it is common to
gestural lines, is more appropriate to suggest ac- make mistakes because the work is a result
tion. Long, disorderly, and relaxed strokes, as if of a process. Here you can observe how the
capturing a subject 's high-speed movement, also positioning of the church was finally decided
produce a certain effect of mobility. upon ..
 160

epth
/ effects
 161

in drawing.
Any object has three dimensions:
height, width, and depth. However, in drawing
the artist only has a flat, two-dimensional surface to work on . In or-
der for the representation to have the appearance of volume, you
must follow the principles of perspective. When a model presents
difficulties of drawing and if you want to get the most realistic rep-
resentation possible, you should note in the sketch all the lines
that will help better represent its volume: the principles of perspec-
tive are very useful to draw these lines correctly. The notions of perspective and learning how
to measure will enable you to compose with strokes that will configure the sketch. In this sec-
tion we will discuss perspective and depth effects, two very important elements.
 Ul 162
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Perspective:
basic notions
Trie reality we perceive has three dimensions.
To represent this reality on paper or canvas the
artist only has a flat , two-dimensional surface.
However, appropriately projecting the represen-
tation will express depth. Thanks to the basic
principles of perspective, parallel, oblique, and
aerial, you can create a realistic representation of
a model on paper or canvas . Besides being one
of the most commonly used formulas, perspec-
tive is also one of the most effective in represent-
ing depth. You just have to choose the point of
view and the composition that will best repro-
duce the distance effect.

LOCATING THE HORIZON LINE

Our surroundings are represented in three dimensions.
The first thing to do when drawing a landscape
Some of the simplest objects are polyhedrons formed
in perspective is to locate the horizon line. This
by four-planed surfaces or more.
line is very easy to locate: it depends on the po-
sition of your eyes when you are looking forward .
It is an imaginary line on the horizontal plane that
crosses exactly at the height of your eyes. The
position of the horizon will depend on the com-
position and will be a point of reference through-
out the drawing process.

The horizon line is the

principal line to be
located in the model.
After locating it, all the
objects are placed in
relation to this imaginary
line. By raising the
horizon line and placing it
closer to the top of the
composition, you will
enlarge the area of the
ground included in your
field of vision.
 163

The point of view

indicates the
perspective of the
bodies that appear in
it. Some themes are
more easily depicted,
whereas others
require a detailed
study of the vanishing
points and receding
lines.

The more distant an object, the smaller it becomes. The distance effect causes
the forms to dissolve progressively, the contours to become increasingly
imprecise, and the detail to fade, as the synthesis and abstraction degrees of the
object increase.

BODIES IN THE DISTANCE

Depth works by reducing the size of the body's image. As the distance in-
creases , the object becomes smaller until it becomes a shadow abstraction;
this is often due to the fact that in a distance effect, the shade is more im-
portant than the body. This means that the content of a model should be
classified by determining the particular plane to which each object corre-
sponds (foreground, middle distance, background).
The example that best illustrates the reduction of the
object size with distance is an avenue bordered with
trees. You may observe that there is a reduction not
only of the size of the trees but also of the distance
among them.
 ro 164
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PARALLEL PERSPECTIVE We will draw a cube in parallel perspective below:

The parallel perspective of a vanishing point is
the most simple one and is used when the ob-
jects have a vertical side that almost completely
face the viewer. The lines of the sides converge
into a single vanishing point. In the frontal view,
the vertical lines are parallel , as well as the hori-
zontal lines. In order to find the vanishing point
you only have to draw freehand the lengthening
of the lines of the lateral sides.
A. To develop any simple geometric figure you should
first draw the front line that is closest to you.
B. Then, link the vertices on the vanishing point
located on the horizon line.
C. Move the measure that marks the cube's depth.
D. Draw some straight vertical lines to finish defining
the back profile of the figure.
E. You will finish forming the figure by drawing the
parallel lines that coincide in their vertices.

BEGIN WITH A CUBE

In urban and rural
landscapes it is common
to apply principles of
parallel perspective to
render streets or
far;ades.
The cube is the most useful regular figure to un-
derstand the way perspective works. Afterwards,
you may project any other regular geometric fig -
ure by analogy. From the cube you will be able to
develop new forms of perspective. The simplified
spherical or cylindrical objects are drawn the B
same way in parallel perspective. The foreshort-
ening of the circle, if there is one, does not
change. A horizontal cylinder in oblique position
looks very different from the way it looks when it
is vertical. The two parallel lines seem to be ap-
proaching each other as the distance increases,
receding into a single point (vanishing point) lo-
cated exactly on the horizon line; this is the
case for a road or a path that disappears into
the distance.

To draw a cylinder
you should adapt to
the measures of the
box or cube. Draw the
circles in perspective
on the upper and Now you can see the
lower sides and draw . vertical cylinder. You will just
the border of the need to lengthen the
flanks. distance between the two
sides of the cube and
include the figure inside it.
 165

1 1. To draw this model

you need to apply the
principles of parallel
perspective. In order
to do this you should
begin with a low
horizon line, a central
cube, and a pair of
receding lines that will
converge into two
points located in the
flanks of the
The following steps show how to carry out the parallel geometric figure.
perspective from a life model, in this case an old
Austrian castle. 2. From these
perspective diagonals
you can situate the
PERSPECTIVE IN LANDSCAPES
staircase and the
In general terms, when you draw a natural land-
inclination of the
scape you don't need to work with perspective,
roofs. Divide the
unless there are urban elements that require it.
length of the cube in
Applying perspective to a landscape correctly is
five equal parts and
important in order to give veracity to what is ob-
draw the arches of
served. Although it is not necessary to make
the upper gallery.
complicated mathematical calculations to be able
to draw in perspective, you should keep in mind

2
the vanishing points and the need to reduce the
size of the objects at a distance.

3. The secret to
achieve this level of
development is to
always work with
accurate and secure
lines and to
constantly measure
the distances. This
will allow you to verify
the way the size of
the arches and the
gallery diminish as
their distance from
the viewer increases.
As you can see,
perspective enables
the creation of very
visually interesting
works.
 Cf)
166
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GREATER DEPTH
Oblique perspective produces a greater impres-
sion of depth than parallel perspective. It is char-
acterized by having two vanishing points,
because the vertical lines are the only parallel
ones. The other lines, the non-vertical ones, re-
. c~de to one vanishing point or the other. The
. :a.pile
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of this kind of perspective is due to the
/@fi,Jsion of oblique lines.
)AJJ' ,,.1" ,t' ., ~ B
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. , ,,.,~. ,•' ,/'
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;/_ ,, -,:T here is _a ·s~.9uence to follow in order to develop

. any simple georfi"etric
~ ,.. .,.. -~ figure using oblique per-
.

,spective. First, you locate the horizon line. Taking

into account the'measures, you should draw the
most visible side of the geometric figure. The C
lines that cross each other in this figure establish
a vanishing point on the horizon line. Then, draw
the side next to the first one. This side has more
foreshortening, although it remains visible. You
can also link the lines that cross one another, the
ones that locate the second vanishing point on
the horizon line.
··\C) _ _ _
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When you see the fa9ade of a house from a
front point of view, the lines of the construction ./
will generally be horizontal and vertical; however,
if you observe the same building from a more lat-
eral position, distinguishing several sides at the
same time, these same lines will show inclination
because of the perspective effect.
E

A. To draw a cube in oblique perspective measure the

nearest and most visible edge. Then draw the
horizon line and link one of the vertices of the edge
to the vanishing point.
B. Project a parallel line to the original edge to define
one of the cube 's sides.
C. Locate another vanishing point in the opposite side
and draw the corresponding perspective diagonals.
D. Using the same procedure, raise a third edge to
define the second side of the cube.
E. Wh en you draw the final receding lines you will be
able to verify if the representation of the cube is
correct.

Oblique perspective is very useful when drawing the

corners of a building. It gives a solemn appearance to
architectural constructions.
 167

You may want to develop a When locating the

guide, such as the one shown vanishing points
in the figure, for cases in beyond the edges of
which you need to locate the the paper, there are
vanishing point outside the various ways to
paper. achieve the recession
of oblique lines. For
example, you can
: place a piece of
packing paper
DRAWING WITH A GUIDE
underneath the paper
When two vanishing points are very far from The aerial view consists of three vanishing points. In
on which you are
each other a guide must be established. You order to develop it, draw the upper side of a cube in
drawing and use a
should first draw a bigger box in which the oblique perspective.
thread or a ruler to
model will be framed, keeping the original incli-
draw and lengthen
nation of the receding lines. Secondly, you
the receding lines until
should segment the most visible edge, the verti-
reaching the
cal straight line in the middle, into equal parts.
vanishing points.
Then , draw the vertical lines of the ends to create
a guide in both sides of the paper. In turn, divide
these segments into the same number of equal
parts than the main edge. The two series of
oblique lines are a guide to draw balconies, /
windows, etc.

AERIAL VIEW
This type of perspective consists of three vanish-
ing points. Two are located above the horizon
line. The third one is located on the vertical line
and, therefore, perpendicular to the horizon line.
There are three series of lines. Each one con-
Then, drawing a cross
from the vertices, find a
mid point. After that,
raise the vertical line from
/
verges toward its corresponding vanishing point. the center of vision, at
The particular characteristic of this type of per- the intersection of the
spective is that there are no parallel lines. Some medians.
aerial views may turn out distorted. The best po-
sition is one in which the forms do not become
extremely distorted. A low object, for instance,
does not look very distorted from an aerial view.

-~-

In the lower part of this

~/
vertical, locate the third
vanishing point. From
I
There are no parallel this vanishing point you
lines in the aerial view. will project new receding
Each set of lines recedes lines. The resulting figure
to its corresponding resembles a building
vanishing point. seen from an aerial
position.
 (/)
168
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drawing with 8tmospheric

perspective
~ ere is a type of perspective which is not
made with lines, vanishing points, or division be-
tween spaces, and which also creates a three
dimensional effect. This is atmospheric perspec-
tive, which is achieved through contrasting and
defining the foreground and spreading and fad-
ing the background planes. The depth effect and
the atmosphere are an optical illusion caused by
the water vapor and the dust particles in the air,
which partially fade and blend the colors and the
forms at a distance. The three dimensional repre-
sentation through light and shadow effects and
the sensation of distance are achieved by using
this atmospheric perspective.

In drawings where the three dimensional effect is

recreated through atmospheric perspective, the most When creating the atmospheric effect, the artist's goal
intense tones are located in the foreground and fade will be to work the particles and the water vapor in the
toward the background air.

ATMOSPHERE AND LANDSCAPE

This atmospheric effect is stronger in the
landscape drawing when you are trying to give a
depth effect to the planes that are further from
the viewer. The foreground will always be clearer
· and contrasted than the background planes. As
the planes approach the background , they lose
,. clearness and color, and show more blended
·., ,:; : forms and lighter colors. Having the correct value
~.i;_·:;c·assigned to every plane of the drawing , you will
~::i')''b e able to recreate an atmosphere with greater
., · -r lesser density for each , determining , by
oking at the intensity of the drawing tones,
which range of grays corresponds to each plane.
eep this in mind and try to find this way of
establishing the value to emphasize perspective,
qtmosphere, and , as a result, the three
~ imensional effect. The best time to find this
ffect in a landscape is at first light, when the
''landscape is stil l covered by a gentle mist and a

~.' bluish light.

 169

The depth effect by

THE ATMOSPHERE OF A STILL-LIFE
atmosphere is
Consider that, when looking at an object at a
summarized in this
short distance, your eye immediately focuses on
, figure: A shading that
the object and takes out of focus all the bod ies
fades gradually
that surround it that are not at the same dis-
toward the top of the
tance. When drawing a still-life, try to follow this
drawing.
logic: draw relatively clear, sharp objects in the
foreground , with less precision in those behind it.
You may also create gray tonalities of the still-life
with an eraser or simply with a blending stump;
the goal is to create the atmosphere through the
subtle difference among the planes.

This drawing shows you how to apply the depth effect

with grays. Look how the darker blacks appear in the
lower part of the drawing, while the lighter ones are in
the upper part of the drawing.

:. ·:: .

. ~.;.. .

In this atmospheric sti/1-

life, less importance is
given to the planes in the
back of the apple; this
effect produces a
separation in the
atmosphere of the two
established planes.
 (/) 170
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the Coulisse effect:

successive planes
D epending on the depth of a body in relation
to the viewer, it will be in front or behind other
bodies. You can establish an order by first plac-
ing the closest object in the foreground and the
farthest object in the background. This will allow
you to situate the different planes that are em-
bedded in the framed model. These observations
decide where to situate the planes of the draw-
ing and emphasize the depth effect of the model.
The French word cou/isse refers to the deco-
rations on the side of a theater stage that are
arranged so that the actors can walk on and off
The coulisse effect may be observed in high mountain
stage; they are also called top curtains. In this
landscapes during sunny days.
case, the three dimensions are created by super-
imposing the planes, as if they were drop cur-
tains. Each landscape plane is represented as if
it were a top curtain ; the succession of planes The succession of planes is rendered in homogeneous
emphasizes the depth effect. shadings which fade with the distanc;e. ·.
SUCCESSIVE PLANES The coulisse effect allows for a
French artists adopted this word from stage design in order to define a type of composition successful distribution of tones. The
in which the superimposition of successive planes generates the depth, or three dimension- goal is not only to create a depth
al , representation . The overlapped planes fade as if they were superimposed layers of differ- effect but also to create a more
ent tonalities. The luminosity shifts help create changing distance effects and, therefore, interesting composition.
enhance the depth effect of a landscape.
This depth effect is not appropriate for rainy landscapes or with diffused light. It is prefer-
able to apply the coulisse effect to sunny landscapes, when the various planes are more de- - ___..,__._,,. __. . _..,.., . .___._,,...,.......,.....,=-
fined and clearly delimited.

This blocked-in composition allows us to analyze

the tone distribution in the drawing above.

The depth of a landscape created

with the coulisse effect may be
schematized as a mountain range
that fades as the distance
increases.
 (f) 172
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a contrasted foreground
E mphasizing depth by means of a contrasted foreground is one of
the classical formulas to represent the three dimensional effect.
Placing in the foreground any object of known proportions and di-
mensions-such as trees, cars , or boats-the viewer will be able to
compare the dimensions of the object in the foreground to the ob-
jects in more distant planes, unconsciously establishing the distance
between what is near and what is far, that is, the depth of the draw-
ing. Instinctively you can compare the size of the distant forms, es-
pecially if their size is recognizable, as in the case of an an imal or a
human figure. You can introduce variations with objects of various
sizes or play with the distances among them. In order to emphasize
the theme, you can heighten an element in the foreground, which will
produce a strong visual impact and give additional interest , as the
depth sensation is enhanced.

With a contrasted foreground you

can increase the depth effect,
since the viewer will instinctively
compare the size of the
foreground element with that of

, .f~detailed foreground near the

viewer will provide interesting
~~mpositions, resembling those
f a. photograph.
 173

DIFFERENCE IN LUMINOSITY LOOKING FOR A FOREGROUND

In a still-life, a portrait, or a figure, you can identi-
fy foreground objects by just selecting a single
background on which the objects will stand out.
The effect of the so-called repoussoirs , which are
elements of considerable size placed in the fore-
ground to make the background look more dis-
tant, will be reinforced in landscape drawing if, in
addition, there is a strong difference of luminosity
between the foreground and the background.
When drawing a landscape outdoors, try to find a
point of view in which you can situate a
distinctive foreground : a tree, a hut, a hayloft, etc.
In case there is no tree in the foreground , you
may can apply the formula of the English
landscapists from the end of the 18th century;
these artists represented the third dimension by
drawing some bushes, rocks, or blurry edges in
the foreground without definition, as if the objects
were out of focus.

You can see the

difference between these
two photographs. The
one on the right is,
without doubt, more
interesting, since it
includes a distinctive
foreground, which gives
greater depth effect and
variety to the
composition.

A distinctive foreground
is more effective if the
drawing also has a
difference in luminosity;
the result is a strong
contrast between the
object in the foreground
and the background.
 -
I
"COLORS ARE THE LIFE OF NATURE, THE LIFE OF IDEAS. DRAWING, INSTEAD,
IS ENTIRELY AN ABSTRACTION. THIS IS WHY DRAWING SHOULD NEVER BE
SEPARATED FROM COLOR; DOING SO WOULD BE LIKE TRYING TO THINK
WITHOUT WORDS, ONLY WITH NUMBERS OR SYMBOLS."
PAUL CEZANNE, QUOTED IN THE CATALOGUE OF THE CEZANNE EXHIBIT,
MADRID, MINISTRY OF CULTURE, 1984
176

olored
pencil
and
 177

pastel drawing I

Drawing does
not always have
to be monochrome; this medium included color (despite the fact that
many people tend to think the opposite). Colored drawing gives a very chromatic
brilliance with a clear pictorial appearance. Illustrators and drawing professionals
achieve results of extraordinarily high quality with just a few colored pencils. It is true
that colored pencil work is not very different from graphite pencil work. The differ-
ence lies in that the effort to establish the value of the grays in the monochrome work
is substituted by adding color to the value system; however, the techniques used are
basically the same: hatching, using paper texture, and a type of work that includes line
or tonal stain .
Like colored pencils, pastel is an ideal medium to start learning how to draw and to mix colors. It is also
good to discover the way in which just a few colors and black enable the artist to achieve almost every
tone of the color spectrum. Colored drawing is the first step to learning how to paint, because it allows
you to draw without paying so much attention to the medium itself-which is a habit when you are used to
drawing with pencil. It allows you to focus completely on the basic problem of mixing and composing.
 cii 178
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To draw wide strokes,
just hold the pastel with
't, your thumb or index

P
"\
astel enables the artist to outline a drawing from the beginning , just Iii<\
fingers, using the latter
for support.
any other medium. However, according to the way it is applied , this materi'
which is both luminous and opaque, may be used only as part of the •\
process or as part of the media involved in rendering the final result. The ·\

"~
point, line, and shading are the most commonly used methods with pastel. '.

conventional techniques ~
with pastels
STROKES AND LINES
The linear and dry stroke of pastel enables you to
outline a profile, although it can also be used re-
peatedly to apply color to a space. The strokes
can be juxtaposed or superimposed to represent
hatching. If the blended colors give more depth to
the composition , the line and stroke control
makes it comprehensible to the viewer, by unify-
ing and harmonizing the composition . They give
texture and "touch " to the materials. The direction
of the stroke helps explain the theme as much as
possible. For instance, if you draw portraits or fig-
ures, given the cylind rical or spherical tendency
of the model 's volume, the stroke should be en-
veloping; for example, it should be vertical in a
wheat field; irregular, like doodling , in a dense for-
est ; and undulating and sinuous in flowers. If you
are able to achieve a well-rendered stroke for the
Tonal ranges can be achieved through overlapped
model, the work will have an enhanced sensation
strokes. The more strokes you draw, the darker the
of volume.
tone. Tone ranges can also be achieved by
superimposing hatchings. The denser hatching will
correspond to the most intense tones.

The stroke will be as

wide as the contact
surface of the pastel and
the paper. The degree of
contact will depend on
the way you hold and
drag the stick.
The detail of the paper
surface will remain visible
in a soft shading; the
more intense the
shading, the more it will
cover the surface.
 179

THE OPAQUE STROKE TECHNIQUE THE TONAL STAIN

Given the ability of pastel to cover the paper, the The tonal stain is made by varying the amount of
technique of opaque strokes involves superim- pressure exerted on the pastel. The most
posing various strokes without mixing, blending, intense tone is produced with greater pressure
gradation , or sfumato. In this technique, tonal or superimposing shadings. For lighter colors
blendings are produced by adding opaque and you just have to reduce the pressure. The shad-
dense strokes, covering an initial color with the ings are usually made with the longitudinal part
same thickness. Therefore, one of the main char- of the stick, and they express the shadow zones
acteristics of this technique is its ability to draw a or values, which will give the volume effect to
dense stroke. The stroke becomes visible, the the object.
color fusion is achieved through superimposition ,
and the color density produces more brilliance
and contrast among the various areas. In order
to apply this technique it is necessary to make
the strokes directly onto the paper, using the ap-
propriate color for each case if possible. Keep
mixing and blending to a minimum. The resulting
opacity makes it easy to work on tinted or col-
ored papers, enabling you to alternate the use of

I
tonal values and to add opaque strokes that will
blend them .
I It is important to know
how to differentiate
stroke from coloring. The
I
stroke always follows
one direction, while
coloring covers a zone
with color.

The technique of opaque

strokes utilizes a pastel's
ability to cover the
surface. This technique
is characterized by a
juxtaposition of
directional strokes, which
will give vivid colors to
the composition.

For wide shadings, hold the pastel

with three fingers and apply the color
lengthwise.
180

The technique of opaque strokes preserves a

color's impact and purity Blending tends to
smudge the colors.

COMBINING LINES AND TONES

When combining lines and stains avoid using
both to express a single form. For instance, if a
stroke or series of strokes expresses the form of
an arm with energy and visual grace, it would not
be advisable to add shaded stains or anything
else, because that would make it difficult to ex-
·plain what has already been expressed through
strokes. The same applies to a drawing made
only with shading; finishing with a continuous
line will be redundant and the result will be a sol-
id, heavy mass and a lack of lightness.

HATCHING GRADATION AND

BLENDED GRADATION
Practicing these tech niques will allow you to cre-
ate gradations with complete tonal ranges . The
hatching gradation is made on coarse paper or Gradation through coloring is obtained by gradually
with linear strokes, letting the white of the paper modifying the pressure you apply In stroke gradation
remain visible through the strokes. The general the drawing pressure is alternated progressively
appearance will be soft, to prevent the shading
from covering the paper's tooth completely. If
you waAt to create a blended gradation, juxta-
pose the two colors to be gradated, pressing
strongly against the paper to make either a shad-
ing or a stroke. When a gradation between two
colors is blended, the movements of the fingertip
'will produce very different effects. When blend-
ing a gradation, a lot of attention should be paid
to maintaining the direction of your fingertip
while gradually passing from one side to the oth-
er. In addition, different effects will result from
blending a light color to a dark one and vice ver-
sa.

With dry gradation you can let the white of the paper be
By combining stains and strokes in the same drawing visible; it produces shadings with a granular
you will obtain graphic variety and a rich modeling in the appearance, which allows two or three different colors
to be superimposed.
 181

A dense blending
allows you to cover
any area of the paper,
even when it is
colored paper.

BLENDED DRAWING
Blending modifies the appearance and texture of
a color through smudging and dissolving the sur-
face . This will turn the paper into a layer of fine
and semiopaque color. Besides giving depth to a
composition, blending also fulfills the artist's
need to smooth contrasts and unify colors from
various zones of the work.

To make a gradation, first apply a color. Then with a

superimposed zone, apply the second color. The two
colors are blended until the dense transitions between
them are achieved.

To blend strokes or a shading, rub a cotton ball against

the pastel. Pastel's volatility enables you to extend and
blend it until it has almost disappeared, which is a very
popular method for this medium.
 182

how to mix
colors
One of the most attractive characteristics of pastels is their ability to mix
with different colors to produce soft and velvety tonalities, as well as subtle
gradations from light to dark. The artist's personality is reflected in his work,
the material used , and the way he or she mixes colors.

MIXING WITH STROKES

Superimposed mixtures of pastel hatchings produce the so-called "optical
mixtures." The eye, from a certain distance, establishes the mixture between
the strokes of both colors. If you want to crate a zone of tonal mixture, draw
soft random strokes with the tip of the pastel or use it on its flat flat to draw
When working with wide strokes; do not apply too much pressure because if the pigment
three or four different adheres too much to the support's surface, the mixture will be more difficult
colors at the same to make.
time, place a piece of
cotton cloth on the
table. This will protect
and isolate the
surface, and can a/so
be used to clean the
colors that have
come in contact with
other colors.

The blended mixtures where more than two colors have

been mixed look dirty and imprecise compared to the
corresponding manufactured colors. •

Through blending you can reduce

the width of the pigment layer and
smooth the color contrasts on the
paper.
 183

In order to measure the amount of each pigment Even though you may
involved in the mixture, control the amount of pressure have the habit to
exerted on the pastel and the size of the area being store pastels in a safe
colored. After that, proceed to blend the tones. place, they break as
you work with them.
You can take
advantage of their
fragility: keep the little
pieces so that you
can make powdered
TONAL MIXTURE
pigment and have
To create a tonal mixture, draw a series of
pieces of various
strokes with the tip of the pastel, exerting little
sizes available.
pressure, with the two colors you intend to mix.
Then , rub gently with your fingertip the painted
surface to obtain a uniform color; this way the
mixed colors will be equivalent to a pictorial
background, which gives a greater depth effect
and subtlety to the drawing . To measure the
amount of each pigment involved in the mixture,
you should control the pressure and the area of
the surface being colored .

BLENDING
Blending is the action of rubbing two juxtaposed
or superimposed colors with your finger or a
blending stump. The goal in blending is not to
extend the color or blur the contour of the color-
ing, but to merge the powder of the colors.
Blending can be applied to gradations. Blending
keeps the intensity, while softening the color or
tonal changes in the mixture.

When blended, gradation

displays a more gradual
tonal transitions.

In order to blend two tones, rub the

colors with the tip of your index finger
until they mix.
 (D 184
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colored Pencil
A purely linear approach
is the most difficult
approach to use in a
drawing. At the same
time, it is the beginning
of any work.
techniques
t;,e characteristics of colored pencils allow for
the combination of some of the basic resources
of drawing and the polychrome effect in a sing le
work. With a good knowledge of the material and
an appropriate technique, the expression possi-
bilities of this medium are ideal for practicing, ex-
ploring, and discovering the nature of color, its
combinations, harmony, and variations.
Colored pencils use optical superimposition. The
A MORE LINEAR DRAWING different tonal variations are achieved by superimposing
The characteristics of colored pencils enable you new scumbles to an initial color.
to develop some of the most basic techniques of
the linear stroke. The weight and width of the
line, its fluidity, its experimental character, and its
possibilities of being continuous or discontinu-
ous produce effective optical illusions in a draw-
ing. Besides the fact that it is the most
elementary form of drawing, linear drawing is the
basis of all the other techniques.
Before beginning to draw, the first step any
beginner should take is to explore the variety of
possible strokes and familiarize him or herself
with them. This can be done using the sharp-
ened point of the pencil (for fine strokes) or the
side (for wide strokes). Purely linear drawing is
In order to master the techniques of colored pencil
the most difficult approach: the artist must ren-
drawing, first experiment with the stroke, the degree of
der the colors, tones, and textures of the subject
pigmentation of the p encil, and the hardness and shape
without creating shadings or tonal gradations. A
of the point - whether it is sharpened or wedge-shaped.
skillful artist is able to describe, with a single line,
all the possible visual .strokes for a drawing.
. ··•~:
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 185

COLORING FROM LIGHT TO DARK

The colored pencil technique is based on pro-
gressively intensifying tones, hues, and contrasts
and on superimposing color layers, that is paint-
ing from light to dark. This will result in a more
efficient control of values and tendencies. Other-
wise, the paper surface will rapidly become satu-
rated , making it difficult to overlay colors.
Besides scumbling, you may also use hatching A modulated line
or cross-hatching. shows shifts of width,
which are achieved
THE AMOUNT OF EACH COLOR by turning the pencil
Each color may have one or more tones. These in a controlled
values depend on the amount of pigment that is manner.
applied onto the surface, which will constitute
the amount added to the mixture. A small
amount of color should be added for scumbling The most common technique in colored pencil drawing
is to always draw from light to dark, beginning with very
or for applying tenuous layers, whereas the first
shadings should be more intense and opaque. soft shadings and finishing with the most intense and
contrasted colors.

SHADING WITHOUT STROKES

In order to obtain homogeneous shadings, try to
choose a direction and maintain it while drawing.
Each stroke is drawn next to the preceding one,
exerting the same amount of pressure at all
times. This will produce a homogeneous shad-
ing. When the area to be covered is large, the
color should first be applied to a small zone. An-
other adjacent coloring should be added after-
wards and so on, trying to hide the borders of
the zones.

Shading with spirals

provides a very
homogeneous result
without color changes.
This allows you to return
to the drawing at any
point without creating
scales or sudden
changes.

The continuous superimposition of colors gives colored

pencil drawings tonal gradations without sharp color
changes, as well as an attenuated atmosphere.
 © 186
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mixi~g with hatching:

the optical effects of color
P encils are the ideal tool to create hatchings.
There are many ways to establish the right type
of stroke or hatching, depending on the goal to
be achieved in a given drawing. It is possible, in
a single composition, to use various hatchings
and to alternate them with shadings and color-
ings. It is advisable to practice hatchings since
each type gives a different appearance to the
drawing. The mixtures with hatching are different
from uniform shadings in that in these mixtures
the strokes of the pencil point are visible. Super-
imposing a hatching mixture with two different
colors creates an optical mixture between them .
Drawing different-colored lines next to each oth-
er or superimposing lines at right angles will cre-
ate the illusion of a third color. As mentioned Above are a couple of examples of hatching and cross-
before, a mixture produced by stroke hatchings hatching. The succession of strokes turns into
is mostly optical, which means that if the viewer homogeneous shadings when viewed at the right
is standing at the right distance, the retina will distance.
create the mixture.

WHICH COLOR SHOULD BE ON TOP?

Above is an example
of cross-hatching.
Cross-hatching is one
of the most common
forms of hatching in
linear drawing. The
inclina tion of the lines
and distance between
them determines the
intensity of the
shading.
When using colored pencils, applying a first color
Colored pencils allow for many possible mixtures; the
and then a second one on top produces a differ-
two most common ones are superimposing very soft
ent effect than applyi ng them in the reverse or-
color layers, avoiding to cover the tooth of the paper
der. The order greatly influences the result. This
completely, and crossing strokes of various colors.
is due to the waxy consistency of the colored
leads, which turns the first layer into a resist for
the following layers. If you superimpose a light
color on top of a dark one and vice versa, you
will see that the resulting mixture will be different.
 187

The pressure exerted

with t he pencil w ill
The color should be added progressively, trying to let it determine the tone.
breathe by leaving some white zones of the paper free
of color. The scumbles allow for a very subtle, low-
contrast work, which produce very high color quality

COMPOSING WITH SCUMBLES

Working with scumbles may be a long process,
given that this technique involves the gradual de-
Drawing on this type of background with
positing of the color on the paper. It is important
light colors is traditionally related to the
to exert little pressure on the pencil in order to
chiaroscuro effect, in which the contrast
avoid saturating the paper. Similar to using wa-
between the totally or partially illuminated
tercolor, the secret of scumbling is to take ad-
objects and the dark-colored background
vantage of the white of the paper. Instead of
is heightened. The final result is a
applying dense layers, you should darken the
blended and vaporous drawing, in which
colors gradually, allow ing the white zones of the
the light effects illuminate the
paper to be visible through the hatching.
atmosphere.

WHITE ON DARK
The positive effects , ;i working on a dark back-
ground can be seen in this example. Colored
pencil drawing acquires interesting plastic con-
notations when it is appropriately combined with
a dark background ; the highlights look more in-
tense and the ch iaroscuro effect is enhanced ,
showing an interesting range of luminous and ex-
pressive connotations.
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POINTILLISM ' ,. J /•' t/ , /' I

',,,. .,r/ _.: ."

Pointillism is a technique in which the colors are
appl ied onto the support in the form of small
dots of pure color so that, when viewed from a
certain distance, the reflected light in each of the
individual dots blends in the eye. When using
colored pencils to apply this technique, you can
obtain a great deal of brilliance and luminosity, in
add ition to an interesting atmospheric effect.

Applying the pointillism technique using colored pencils

is an interesting exercise and offers excellent and very
surprising results to the beginning artist.
 w 188
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F eathering and whitening are perhaps two of the most interesting , comple-
mentary colored pencil. While in feathering the goal is to achieve harmoniza-
tion and obtain atmosphere through the stroke, whitening gives luminosity
to the color by lightening the colors with superimposed layers of white .

feathering and Whitening

techniques
FEATHERING
Feathering is a method in which a soft drawing is
made on an area covered with a different color
with gentle, juxtaposed strokes, always in the
same direction, to achieve an atmospheric effect
and harmonic rhythm and direction. In this tech-
nique, delicate directional strokes are drawn over
the subjacent color, with a loose wrist and exert-
The feathering technique is based on the Juxtaposition
ing little pressure. Th is technique is ideal for in-
of short and directional strokes, which give a
tervening with colored pencils on a monochrome
characteristic texture to the drawing.
drawing, smoothing pronounced margins, and
creating smooth light and shadow transitions .

A CHARACTERISTIC APPEARANCE
With this technique the drawing surface presents
a very characteristic appearance, reminiscent of
a feather-hence its name. The accumulation of
vertical strokes modifies the basic colors, pro-
ducing subtle and dull mixtures. These mixtures
are sometimes similar to those of impressionist
artists like Degas, who often used this method in
his pastels. As the whole surface of the drawing
shows a tonal range of the same intensity and
the same vertical stroke, the work acquires
greater harmony. The feathering stroke also sug-
gests dynamism, movement, and a vaporous ef-
After the first tonal values have been applied, more
fect. In the figure you can see a vertical
colors are added, covering the whites of the drawing
feathering which contrasts interestingly with the .,
completely except for the zones wit/:J maximum
horizontal emphasis of the sleeping figu re.
luminosity.

In the feathering technique the accumulation ot:strokes'

. •: _
'

1
modifies the basic colors, producing a clear l!i0ding , .., ·" '
effect of color. . ~~/ J./ ·
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 189

First render the drawing with tonal

techniques; then you may apply the
white strokes, saturating the paper With whitening you
tooth. can obtain creamy,
pastel-like tones,
whose texture will be
very different from
WHITENING that of the direct
Colored pencils, due to their physical colors. It will cause
consistency, have a particular character- the tone to become
istic: they allow for the blending or soft- lighter and the color
ening of strokes by adding light gray or will acquire a different
white on top of other colors. This gives quality.
the drawing a more harmonious appear-
ance and a softer, less contrasted chro-
matic effect.
The whitening technique consists in
pol ishing, balancing , and mixing the colors
on a surface covered with shadings by only
rubbing them with a blending stump, a white
pencil, or an eraser. Besides the combination of
colors, this process makes the pigment particles
finer and gives the drawing a glossy, brilliant
finish.

WHITENING THE TONES

The best way of whitening is to apply the white
color intensely on the shad ings, which causes
the initial colors to look duller, more pastel-like
that is with softer and less saturated tones. The
strokes are blended with the white pencil and the
effects of the paper texture disappear. It is not
necessary to completely cover the paper's sur-
face with white tones; you may also obtain gra-
dations from more vivid , intense colors to more
whiter, lighter ones. When using this technique,
be aware that the paper can break easily be-
cause of the amount of pressure exerted on it.

If you apply successive color layers and whiten each

layer, you can create a very soft, marble-like surface
<i'i 190
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scratching and Sgraffito

D rawing with colored pencils on a previously
engraved paper is an ancient procedure used by
illustrators and one which many art professionals
are beginning to use again. When applied on a
previously engraved paper, the colored pencils
produce a very unique result.

COLORED PENCILS AND SGRAFFITO Above are two examples of sgraffito with colored
The sgraffito technique with colored pencils is pencils. In the first example the sgraffito has been
depends on the impression that is left by paper's applied directly on the paper, hence the white color of
texture. First you will use a metal lancet to the line. In the second example the sgraffito has been
scratch the paper and draw an invisible drawing applied to a tonal background, which resulted in a
on the paper surface. Then you will create a soft yellow line.
shading , without applying too much pressure.
The shading will remain intact and a scratched
white line will appear through the color. When
applying sgraffito on t he surface of the paper be
careful to not tear it, so if a lancet is not avail-
able, do not use a very sharp tool. If you intend
to use this technique regularly you can have
lancets of various widths or custom-made
lancets in order to have a better control of the re-
sults. In order to mark straight lines you can use These graffito examples were created by eliminating
a metal ruler, since the lancet would damage the part of the color layer with a metal lancet - you could
edge of a regular plastic ruler. also use a nail-to produce a iines with different graphic
effects.

In these examples of colored sgraffito, oil pastels and

various colors were rubbed so that the stroke of the line
would change color with the successive strokes.

The sgraffito technique offers several practical

applications when applied with waxes. In this case any
instrument can be used to produce the white marks,
even nails.
 191

SGRAFFITO
The sgraffito technique consists in producing a
i I
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1
layer of impasted color and then scratching the
surface with a stylus. Oil pastels, because of
-~ >
their waxy consistency, are very good to use for
this technique. Each scratched stroke will re-
move the upper color layer, which easily comes
)
off, uncovering the first layer color and allowing it
to be visible. In the sgraffito technique any sharp
tool may be used to create a great variety of
lines, from dense scratches to fluid and thin
lines.

COLORED SGRAFFITO TECHNIQUE

This is a common technique when drawing with
waxes , which offers spectacular chromatic re-
2
sults. This technique consists in drawing various
superimposed layers of dense and thick color
and using a sharp tool to scratch lines through
the color areas to reveal the colors and paper
underneath. Dark colors are usually applied over
light colors .

1 . In order to use the colored sgraffito technique

with waxes you should first create a very basic
outline of the drawing. You should avoid adding
details, because they would end up being
covered with the dense wax layer.

2. Then with bright-colored oil pastel, cover all

the model 's zones with thick stains-do not
worry about defining them. After that, cover the
initial color outline with a thick layer of black
wax. Only use enough pressure to cover the
surface fully.

3. Now you can scratch the black layer with a

lancet or sharp tool to uncover again the
underlying colors. Remember to control the
direction of the stroke to achieve the desired
effect. The darkest zones will remain intact.
"THE ARTIST TRANSFORMS HIS EXPERIENCE INTO A WORK OF ART. THROUGH CONTINUOUS PRACTICE, HE LEARNS TO USE HIS OWN MEDIA. THE
RULES FOR EACH ARTWORK ARE DEFINED AS IT GOES ALONG AND ACCORDING TO THE ARTIST'S PERSONALITY. THE STYLE OF HIS TECHNIQUE,
AND HIS OWN GOAL."
EMIL NOLDE
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drawing a nude
in charcoal
E ven though charcoal may seem like an extremely messy drawing
medium and one difficult to control due to its powdery characteristics,
its abil ity to reflect tonal gradations is so great that this technique is
worth learning. Charcoal is difficult to manipulate in small format draw-
ings, so it is better to work on a large sheet that is mounted on a rigid
support. Here the model is a female nude with interesting light and
shadow contrasts, partially illuminated from the front with chiaroscuro
effects. In this exercise, presented by Carlant, use the charcoal's point
to perform the fine strokes, the charcoal 's flat side to introduce the large
tonal areas, and your fingers to create the various tonal intensities.

1 . The two initial outline sketches are created with the model 's forms
correctly proportioned and the model 's contours defined. To start, do a
couple of quick sketches while observing the mode. In these sketches try
not only to register the form of the figure but also to capture the pose
correctly: an oval for the head , arched lines for the height of the
shoulders, the position of the arms, and the support of the legs. In the
second sketch, pay attention to the blended shadings and the light on the
model.

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A good aid in drawing

1
a proportioned figure
is to establish a
relation between the
different parts of the
body through
geometric forms.
 195

2 2. Place the forms in their correct proportions Erasing is common

and reaffirm the contours, working linearly when working with
and schematically. Then create the principal
volumes . The drawing should be very linear,
concentrating basically on the contours of the
8
~
charcoal. In most
occasions, you erase
to ,pectly the ro,m
figure with firm strokes. You should be able to
see the figure in terms of simple forms that
relate to each other.

3. Emphasize the profiles of the model's anatomy with the end of the
charcoal stick, describing precisely the forms of the members. To
analyze the pose better, draw a series of lines: the diagonal on the
breasts is an indication that there is a slight inclination of the body
towards the right, which means that one of the shoulders should be in
a higher position than the other. The proportions should be carefully
established since they are fundamental to the correct equilibrium of the
figure, especially with figures that are standing up.
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4. With the end of the charcoal stick, block in the shading, all with
the same intensity, filling in and clearly delimiting the main
shadows. Make sure that the relief of the forms takes on the
appropriate aspect. The lighter parts of the model 's skin should be
completely void of any strokes. The profiles, drawn with th ick
strokes and reinforced with the shadowed areas, give the figure a
solid construction. If at the beginning you have defined two basic
light zones, you should now reaffirm these zones until they are
exactly right. The most effective technique for achieving mid tones
is blending and mixing the intense strokes from the previous step
with your fingers or a blending stump. The light and shadow zones
are well indicated , which facilitates the modeling. You achieve the
modeling for the most part through the gradation of tones.
 Many people tend to
make the upper part
of the figure too large,
failing to notice that in
the classic canon the
head represents
approximately a
seventh part of the
model's height and
that the height of the
legs equals half of the
body.

5. In this phase we
complete the
processes of adding
and eliminating
charcoal , and of
modifying the model 's
contours so that you
can create more
precise forms .
Proceed making
gradations of various
tones and intensifying
the shadows until you
achieve a good
modeling effect,
which will contribute
to defining the body's
volume and
roundness .
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a Still-life
with sanguine
S anguine is a very interesting monochromic drawing medium. It has a
wide range of tones, but because of its color, it is much softer and
warmer than charcoal, providing more luminosity to the drawing. In this
exercise, carried out by Mercedes Gaspar, giving relief to a still-life by
using the modeling technique with sanguine is illustrated based on gra-
dating and blending. Pay attention to the changes of direction in the
lights, shadows, and reflections, since, as you know, these factors de-
scribe the object's form and curvature .

1. First sketch the basic

1
forms of the model with a
blending stump that is
saturated with sanguine.
This is the perfect medium to
describe form without worrying
about details, staining the paper,
drawing profiles, and looking at the
object's size and angle. Drawing with a
blending stump also has the advantage of
being easily erasable.
The beginning of the drawing requires
careful hand movements and strokes. Even a
form as simple as an apple or a dish should
be drawn with a great deal of attention and
with the least number of lines, since any small
irregularity will be immediately visible. You
have to concentrate on the contours, erasing
and redrawing them if necessary until they are
suitable.
 199

3 When modeling with

sanguine, it usually
extends past the
object's outlines. If
this happens, simply

2 erase the lines or

strokes and profile the
drawing again.

3. After the blocking-in is completely developed,

2. With the sanguine stick on its side, block
you can start to add the mid tones and model the
in the shadowed areas. The first shadings
forms with tonal gradations and blending. With the
should only be blended lightly; they should
sanguine, draw softly and insistently on the more
simply separate the different planes within the
intense zones.
drawing . Do not place any stains on the more
illuminated zones. Afterwards, rub your finger
on the contours to fade the stroke's profile on
the paper.

4
4. Blend the
shadings and the
initial strokes to
clearly define the
contrast between
light and shadow
and also to make
each one of the
drawing's
component's form
and texture stand
out. As you can see,
the modeling does
not appear heavy,
but rather light and
atmospheric, thanks
to the sangu ine
color.
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Younow will draw, with the erasure technique, a rural scene outlined
by Ester Llaudet. The only difference between this drawing procedure
and others is that you erase the strokes instead of adding them . Look
for the illuminated zones and erase the background shading to obtain
lighter tones, or even pure white. The model is an interesting rural view.
Drawing with an eraser is especially needed when the theme presents
chiaroscuro contrasts.

erasure technique:
drawing highlights

1 1. Prepare the tonal background by covering

the paper even ly with charcoal shading, using
the stick on its side. It is important to work
the whole plane at the same time if you want
to obtain a homogeneous background. Then,
rub the surface with a blending stump to
eliminate any traces of strokes.

2
2. Draw a very synthesized contour of the
model's forms, being careful not to apply too
much pressure. Pay special attention in this
phase of the drawing, since the next steps
will be based on these results. Avoid
excessive erasures.
 201

3 3. The advantage of working with an eraser is Using a piece of

that the light is integrated into the image from paper as a mask lets
the very beginning .You can add and erase you obtain straight
tones until they are adjusted in the image. □ borders.
The erasures will be the light zones; the
background color will be the mid tones; and
the charcoal will be the dark zones. Shading
will stand out more if you apply it by using the
side of the eraser.

4.The final result is a vivid and interesting

composition . To obtain the texture of the
vegetation , vary the angles of the eraser
strokes or even cross them over one another.
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I n this next exercise by Gabriel Martfn, shading and white highlights"' '~""-
are combined to give volume to the trees and mountains. The texture ..,.,,_
of the landscape's elements will vary according to their distance from
the viewer: the farther away the trees are, the more uniform their tex-
ture will be; the closer they are to the viewer, the more detailed they
have to be. This is not a drawing with a realistic character; its intere.st
lies in the composition and the study of the light.

1. The main elements of the landscape are

defined with simple strokes, made with a
black oil pencil. The sizes and proportions are
then determined and the composition is laid
1
out. This first phase of the drawing is
extremely important, since it deals with
arranging the elements correctly in order to
balance the picture. When you decide that
the location of each plane is correct, reaffirm
the forms with more definite strokes.

2
2. Block in the shadows with short strokes,
varying their intensities according to their
zone. In this phase it is not important to
create extremely intense dark zones; it is
much more important simply to establish
each dark zone. The darker areas are
achieved by superimposing the same stroke
as many times as needed until you obtain the
desired tone.
 203

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3. Finish the drawingA5°i ustng a white pencil . ''\", 1
.,J.f When you
to highlight the illu lnated zones in the 't ....,../~ · superimpose white
landsc9pe 0 .l_1c1stea~ of studyjng the details strokes on top of
~<-~,. 5md huahc-es, br-E:a~ down the. landscape into ., • black strokes, they

-
light and dark zones'~that are combined and ·
,

juxtaposed , The white-'Higt,lights play a

. may get messy. You
should take into
fundamental role in defining t!]e foreground 's ~--..,.... account this factor
texture. The result is a landscape with its when drawing on a
most significant elements clearly emphasized. sa tura ted shading.

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an nterior
with the white-on-white technique
The white-on-white technique uses artists' chalks and oil
pencils on a tonal background. The monochrome work
method which we see applied in this exercise by Gabriel
Martin, allows one to construct the model without distrac-
tion from local colors or shadings, directing all our atten-
tion to representing its vivid luminous effects.It could be
said that to work with the white-on-white technique is to
draw light.
The selected model is an interior corner with mixed
lighting, meaning daylight and artificial light are combined.
The framing, the scarce furniture, and the absence of or-
namental motifs will help us to understand space, texture,
and volume.

1. First we have to express the perspective of the corner. To do

2
so, draw the horizon line, which is located somewhere below the
middle of the paper. After adding a vanishing point, project two
diagonals, which will be the lower limits of the two walls. To finish
the schema, draw another diagonal and a curve to delimit the
vaulted ceiling. In order to place the furniture correctly, imagine
that they are simple geometrical forms. Remember, draw the
objects as if they were transparent.

2. Reaffirm the basic forms, taking into account how the oblique
perspective affects them. Use a white chalk pencil with a very
sharpened point.
 205

3.Cover the walls with soft shading in order

to block in the first tones. Apply a small
amount of pressure on the white chalk pencil
and avoid hatching . Tones should be regular
and homogeneous. Work softly to ease the
impact of the stroke on the background walls.
Then, exerting more pressure on the white
chalk pencil, draw the curvilinear arms of the
ceiling lamp. Draw the light bulbs in absolute
white, very saturated strokes. Surround the
bulbs with a soft aura to indicate t hat the
lights are on. As you progress in the drawing
and increase the tone, you should also
intensify the light that is radiating from the
light bulbs.

Work with the point of

the white chalk pencil
somewhat slanted;
otherwise, you will
obtain extremely
intense strokes.
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4. Start to lightly shade the folds of the

tablecloth. Increase the density and the tonal
gradation on the background walls.
Streamline the form of the doors and the
furniture in the room . Draw the perspective
lines of the floor tiles and of the vaulted
ceiling .

4
5. Forms will not appear suddenly, but gradually, as you build the illuminated
zones and as you continue to shade. Thus, you obtain a very atmospheric
drawing, where the furniture 's profiles are perfectly integrated into the
environment. The brightness of the lights should not stand out too much in the
drawing, but it should have general tones without any sudden changes.
Enhancements are not effective when they are scattered and unwarranted over
an entire drawing . They should be placed on those zones that increase the
contrast and enhance the volume effect.

5
 207

6.The lines of the chairs are linear and follow

the design of the wicker. The contrasts in the
tablecloth are meticulous and have visible
Radial strokes create
hatching so that they differ from the textures
the effect of light
of the other furniture. The shading on the
radiating from a light
doors should be minimal and should follow
bulb.
the direction of the wood .
 [il- 208
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the "three Color" technique:

drawing with pictorial qualities

~ e "three color technique" uses three different chalk colors to create

intense, light, and mid tones on a drawing with a colored background.
The following exercise, performed by Oscar Sanchfs, combines colored
chalks and a colored background to achieve a drawing with pictorial
qualities. The theme is a picturesque dock in Venice, which was select-
ed because of the simple forms in its composition and because of the
different light variations within it.

' .·
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1
1. A medium-grained brown paper was
selected for this exercise. Begin by drawing the
outline sketch with a graphite pencil. Then , with
schematic strokes, draw the houses on the
background. B~gin with geometric forms that
have an unfinished and imprecise appearance.
·.,
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209

2 2. The foreground will require a bit more Avoid clear, open

effort on your part since it contains spaces on the paper,
complex arch itectural elements, such as since the brown-
boat slips, stairs, and balustrades-aside colored background
from the foreshortened forms of the will be a component
gondolas and their reflections on the in the drawing.
water. You will most likely have to
frequently adjust the structural lines
with an eraser.

3. The contours should remain open , not closing the

lines completely, in order to leave the option of
shading, rounding, and defining the forms.
Block in the shading with sanguine, which will give
the drawing a second gradation with mid tones. With
very soft strokes, work on the shadows on the
houses' fa9ades and on the water, trying not to make
them too intense. The beauty of sanguine lies in the
warmth and softness it imparts to the drawing.

3
 0.
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4. Add the more intense shadows with a bistre-colored

chalk pencil with discrete shadings and gradations, which
will be different depending on their zone. The darker parts
of the gondolas are achieved with a series of strokes.
While you are drawing, run your finger softly over the
strokes to better integrate them into the paper.

5
5. Add the clear, illuminated areas as highlights with wh ite
chalk pencil so that there is a strong light and dark
contrast. Highlight the lighter tones of the gondolas and
define the bridge 's balustrade. With the same white chalk
pencil , apply scumbles with light, slanted strokes. These
will enrich the houses' fac;:ades and provide an
atmospheric feeling to the drawing.

6. Once the colors are all laid

So that you do not
create any smudges
on the drawing, place
a clean piece of
paper on top of the
drawing and rest
your hand on it while
drawing.
out, keep working on modeling
the entire ensemble, drawing;
blending; and adding lights,
shadows, and new colors. The
effect of the "three color"
technique is extraordinary, as
you can see in the finished
drawing.
 o.
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the b1ending stump technique:

just a blurred stain
Now we will use the blending stump as a drawing tool. You will need
compressed charcoal powder and blending stumps of different sizes.
Works performed with blending stumps, like this one by Carlant, pro-
duce soft, atmospheric drawings without any hard and pronounced
profiles or lines.

1
1. Draw the horizon line at approximately one
third of the way up the sheet. Since you will
be starting with light tones, take the largest
blending stump and add a small amount of
the compressed charcoal powder to its end.
Block in the sky's shading completely. The
sea's shading should be lighter and more
transparent.

2. The blending stump spreads the charcoal

and creates graduated tones. Make the
profile of the buildings on the coast with
blurred, vague stains. Use even strokes to
create the clouds' forms. The more saturated
the stump is with charcoal and the more
pressure you apply on it, the darker the tone
will be. If you make a mistake, correct it with
a kneadable eraser.

2
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Using two or three

blending stumps of
different thickness is
common in this type of
exercise.

A brush can also be a

good blending tool.
Since it is softer than
a blending stump, it
lightens a tone much
more.
3. Continue the drawing, modifying the intensity of the shadows by
adding more charcoal powder. Emphasize the building 's outlines and
bring out the contrast between the coastal line and the sea, which
appears much brighter.
Apply horizontal strokes on the water with the blending stump to
describe its calm and crystalline surface. Use the white of the paper to
represent the sunlight's reflection on the water.
 0. 214
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a andscape with
chalk powder

To carry out this drawing you will need a

cotton ball, a clean rag , and chalk powder. In-
stead of buying chalk powder, you can make
your own by filing a bistre-colored chalk stick
with a knife or heavy sandpaper to obtain a
fine powder. Use a piece of paper as a dip-
ping tray and place the chalk powder in it.
Chalk drawings require a medium-grained pa-
per in order for the pigment particles to stick
on the paper's surface. Oscar Sanchfs drew
this next drawing.

1. With the cotton ball saturated with the

chalk powder, start sketching the forms of
some of the coastal rocks. Continue to build
up their tones and main forms minimally.
Quick and spontaneous chalk stains are
more adequate than careful shading . This
technique, which creates a drawing through
tones instead of strokes and lines, makes
chalk powder a unique and fun medium.

If you want to create chalk stains with

one of the borders clearly defined, use
a sheet of paper as a mask to cover
the area you you do not want marked.
Apply the chalk powder with a piece of
cotton, blending from the drawing
paper towards the mask. The result is
a blended tone with we/I-defined
borders.
 215

2 2. Intensify the tones by continuing to shade

the initial stains, thus creating several tones in
the drawing. Working with a cotton ball will
make the transition between tones soft and
gradated. The more illuminated zones are
achieved by letting the white of the paper
show through. The water's surface requires a
more uniform treatment.

3. Finally, draw the lines that finish

contrasting the dark zones and add detail to
the complex structure of the rocks. Perform
these strokes with a chalk pencil that is the
same color as the chalk powder. The chalk
pencil is an excellent aid in modeling with
hatching and cross-hatching.
 f5- 216
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Sketching with
a charcoal pencil
I n this exercise by Marta Bermejo Teixidor, you will learn how to make
a quick sketch of a forest landscape with a compressed charcoal pen-
cil and without any blending. Although this exercise is not very difficult,
you must closely study the dark and light zones so that you can draw
them with soft strokes. The combination of finished and unfinished ar-
eas gives the sketch a fresh look.

1
I 1. The first forms of the trees and their branches are built up with very I
ii simple strokes. Do not worry about the thick vegetation; it will just
confuse you.
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2
2. Carry out the tree's texture with the
compressed charcoal pencil. First outline the
trunks and branches in the foreground by
shading their bark with ringlets , which will
give them volume. Then apply the first
shadings to the foliage. Be careful with the
amount of pressure you apply on the pencils,
since light tones are achieved with very soft
strokes. Do not concentrate on any specific
zone; instead , focus on the general structure
of the drawing.
 217 /

Compressed charcoal
does not erase easily,
so you have to think
about a tone's
~ - -- ~
intensity before
applying the charcoal.

3. The pencil strokes will vary according to the area you are working
on . The distant planes are faded , while the closer planes, such as the
vegetation on the riverbanks, are drawn with strong and short strokes.
On the water's surface, the hatching is spaced apart. You do not need
to cover the water's entire surface; just suggest some shading .
Contrasts are applied according to the plane they are on; the farther
away they are, the more blended the tones must be. It is important to
alternate the dark and light zones, that is to leave luminous zones in
the shadows which give volume and density to the leaves.
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a Still-life with
chiaroscuro effects
~ e chiaroscuro effect in a model depends on the location of the main
light source illuminating it. When light falls onto an object, it is distrib-
uted into lighted and shaded zones. The principal dark colors give
shape to the lighted zones. This allows you to study the tones and es-
tablish which ones are denser. When you work with the chiaroscuro
technique , as in this next exercise by Marta Bermejo Teixidor, you have
to take into account how the shadows are gradated little by little until
they blend in with the lighted plane. The study of light and shadow al-
lows you better understand the elements that give realism and volume
to a drawing.

1 \

l - ..cc/

1. After studying the location of the elements, start
drawing with the tip of a charcoal stick. Blocking in will
give you a close approximation of the model's forms. In
fact, the whole structure of the drawing depends on the
blocking in: equilibrium, correct proportions, and the
perspective of the unseen circles in the dishes and the
borders of the cups.
2
2. With firm strokes, using the tip of the charcoal stick,
emphasize the profiles of the objects. The main elements
of a structure will be clearly visible and differentiated when
the lines that form it are completely closed . For a good
study of light distribution, practice combining the two
planes; in other words, omit the middle tones and only
develop the dark tones. Later, the erasing technique will
do the rest.
 219

3. Once the blocking-in has been resolved,

use a piece of cotton cloth to erase the initial
lines, leaving only the trace of a toned-down
gray. By erasing you establish a basic toning
that provides an initial distribution of lighted
and shadowed zones . Use the eraser as if it
were a pencil, opening up strokes and
transforming them into luminous white stains.
During this stage, move between the white of
the paper and the mid-toned shadows.
 0.
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220

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*
4. As the forms of the pitcher and the fruits
are constructed with strong shading,
remember to blend with your finger, using a
circular movement. However, try not to make
the previously laid strokes disappear
completely, as they will help to create volume .

5. Intensify the dark tones in the background

with the point of the charcoal. Simply repeat
the strokes on the same zone and blend the
shading with your fingertips.

4
6. Once the background shadows are completed , retouch the profiles
and the more pronounced contrasts with a compressed charcoal stick.
With compressed charcoal, the blacks are more intense than natural
charcoal. You can still correct lines, as wel l as any badly located You can make your
shadows, as long as you have not drawn extremely intense black own blending stumps
strokes that are difficult to erase. by rolling a piece of
paper into a tube and
then shaping it like a
spatula. If you work
with the wider end of
your handmade
blending stump, you
will achieve pictorial
blends with effects
similar to those
produced by a brush.
 o.
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white Chalk highlights:

an explosion of light
~ is next exercise, by Esther Llaudet, will use white chalk to represent illuminated zones. A be-
ginning art student may think that illuminated zones do not have many tonal variations and con-
trasts; however, after a closer look, you will see that it is just as varied and nuanced as the
previous exercise-where dark shadows dominated. Instead of concentrating on dark areas and
shadows, we have to pay attention to the white and illuminated areas found in the next drawing .

1. When drawing a strongly lit scene, we
must first present the structure. With a natural
charcoal stick, outline the forms of the sofa,
plant, and pillows. Working with the chalk
stick on its side, apply the fi rst white stains to
the pillows, concentrating on their
characteristics and fundamental form .
2. At the same time you are developing the
sofa's form , build up the texture and the folds
in the fabrics using tonal gradations. The
intermediate tones are achieved by letting the
color of the paper show through the white
chalk shading.

2 3. Shade the whole

background with
white chalk.
Blending it with your
hand will give an
unfocused look to
the second plane.
Later, you can add
some finishing
touches with a

1 darker color to
enhance some of
the profiles and
contrasts.
Emphasize the
interior profile of the
sofa and give some
folds more weight
with the natural
charcoal stick.
 a} 224
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a andscape
with graphite

It you want to be an expert in drawing land-

scapes, you will have to become familiar with
obtaining three-dimensional effects and
depth , just as Gabriel Martfn has done in this
exercise. This effect looks best when you are
drawing a landscape in the early morning , a
misty haze, or in snow. In order to give this
theme a convincing sense of depth , the tones
should gradually go from dark and strong in
the foreground to pale and hazy in the back-
ground. This allows for a clear, sharp fore-
ground that contrasts with the distant
landscape.

1. Draw the foreground with an HB pencil. Through linear drawing,

Erase the light zones detail the form of the houses and the main vegetation in the
in the upper part of foreground. Then , add the first tones on the lower part of the drawing
the drawing to make and apply texture to the vegetation.
them clearer, allowing
the tonal transitions to
be smoother.
1
 225

2. As you progress to the top of the drawing, the

shading should be more subtle. It is better to
have less intense shading at first rather than too
much. The whole drawing should present a
gradation; that is, the viewer's gaze should start
at the bottom of the drawing and move up and
through the subtle tonal and textural variations.
3. To accent the sensation of depth in the group of trees in the
background, blend their contours. This way, the vegetation will merge
with the ground and the horizon will disappear.

4. Finish the drawing with a 4B

lead. By intensifying the tones of
the group of houses and by adding
texture to the trees in the
foreground , you will make these
appear closer to the viewer and, as
a consequence, increase the depth
effect. Do not apply texture to the
rest of the vegetation in the
landscape; these effects should
appear only in the foreground .

4
 0.
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a flower with 8bundant water,

fluidity, and sinuosity
It you have learned the processes
in the previous pages, the follow-
ing project, by Mercedes Gaspar,
will not be difficult at all. You will
draw a simple flower in a mono-
chrome wash. To carry out this ex-
ercise, Mercedes used more than
one model, creating her own by
combining several forms from dif-
ferent flower models.

1
,, .... 1. Draw the initial form of the flower with a pencil; it does not have to
... c...~,,....,,,........_.~. . be exact, only approximate. The drawing should not be shaded or have
c.':r' ,,_,.,.. ____ __ - -::-.:>~ excessive detail; it should be simple and concise. Remember that the
~;,
~
wash is transparent and that it uses this initial drawing as a guide to fill
'¾. in the tonal areas.
;

.,
\ \
'--,
>.

2. The brush with watercolor

-" wash technique gives you a

"-- . ------, ,'\ ,.i;, , fl t ;~

I
single stroke that goes from
narrow to wide, or vice versa.
Remember, the accuracy of

✓ ~, \ '. 't /
~::,,,,_t,:.l the ,~ u~~:t;~~n~=~:~~\~:
.. · _!/ ,, ;_·'., . ' f,.-,, .. _, •·)novement of your hand.
\; •f! ' / . · b ~
V ·r:iJr-'?'st~ _are then increased,
✓ f ,/ /,,,,_).. ~~
2
1
i, O- wafef'rs•'a* sorbed in the l_ight
)fj _:If';· / / .1>l ~✓
• '..

zpnes, p'nd the leaves' lines

:l:/Jt. ,..1,.- · " ar.e'drawy{ using large drops-
,. • ·' ~ ··• )' . ..,:t .,:.:~¥ •' y9u can either blow on the
.,.,~. . __ ,_: tffe ;·_r ii/2: } .
,,,; .,.; . ~ f
C..~:_ ..... -~
~ - - - -"-'...
re>J;>S to move them or use
the tip of the brush.
p ;.>, ';' ~ if ,,., ~ "
~;:_i.. ,. ·: ;1·
- . .. ~_....
i/ ir VL·,;> . . -.=
-~' ----~---· ,,"'"-
"~'" '· ~
--~,.,.,.~~,...r-'-'""-\..
\
 227

To paint flowers, it is
important to study
their structure based
on the brushstroke.
First draw the center
of the flower. Before it
dries completely, wet
its lower part and add
a gray gradation,
giving the leaves a
darker tone.

, \

3. If you make another pass with the brush

painted zone will become darker. Fluidity-and ntrol are
essential features in this type of drawing. In this exercise,
empty spaces have as much value as if they were full of
brushstrokes. Remember to always use the color of the paper
to your advantage in drawings.

-.-------
 Q
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an interior ,.~-

l~:f...-. ~-~
r~
1n was:h i ~·

W ashes allow for some scumbles and some delicate lig~'.t a~d d~ ~l j -~

contrasts. This next exercise, by Oscar Sanchfs, is an inter(or patio}tmat

' i\ ;. 1

has strong contrasts between bright light and shadows. Dye t,6 thi~ .,
theme's lighting effects and the richness of mid tones, we ~re .going 6". '..
~

focus on gray tones. ' :

: ..., ✓ ·-,~·-
h"< . . , ..--':·
:.,
\
i :.

I . .... ~/ ~
. \,

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--...(
.,., ;r;

~"' ~>-·,

-- I
l

1 _i-- ~
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.:,:.,.

1. As always, begin by outlining the structure, in this case

an ellipsis in the lower part of the paper and two
perspective diagonals in the upper part. Make the
doorframes line up with perpendicular lines. The initial
outlines are combined with circular forms that define the
arches of the doors and windows. Another circle in the
middle indicates the position of the well. Erase the
geometrical outlines and reaffirm the contours of the
patio's structure.
2

2. After the forms of the drawing have been made, you can
proceed to detailing the drawing. In this stage you have to
You should keep the be very scrupulous in observing the model and presenting
zones that will have the forms in detail.
lighter tones reserved.
 ___ .......

-~,f~';y--,-
.. :_.....-""'__ . \~: \.
,.- 229
/
3
, .. ~ .~41~ . ,. ._\
~·' ~,
(•'/ : ' ~~I
,;·· .✓"'..#6i;.,~· ··. ' . . .. ~ / ,"'

.( ,/·(" ~• ; :: ..,
l . ,....,.. . --· ~ -
-;, l ' _,- i""'" J ~;,, ,.,.r
--·-~--.,.--'· :A ..~ :~ince the white of the paper lightens the The first washes
•.: J
·~ ys, the wash should be applied using a modify the
I f.
' ;
;'
I
f
P.-
1 small range of mid tones, starting from a
·1 i licl ~ter tone and moving towards a darker
background and
prepare the drawing
t
['
\ '. -.._o o;e:·use this technique to block in the mid for the addition of
·•l ; to'nes. A11 of the tones should be applied more grays.
· before the washes dry so that when you add
' i ~ re -tones, they will gradate with the zones
· that are still wet.
}
:' f
,; 1
J 1

:_.-,_ •- ,••-•C•P'- \

~ ... ....._ '

4. With a more intense black and a round , fine

brush, contrast the mid-toned shadow zones with
.t the illuminated zones. In a wash, handling the
.. ,,r
. F brush 9orrectly is very important, since the
~- ....
- . '1
- brnsh~tr?ke-even though it is a drawing
_. ·~,..,:J~chnique-creates the stains, tones, and
·strokes.

·-~.,:

-;·j

5. Using different
brushes, continue
to contrast the
forms and make
them concrete. The
contrasts should
be accented with
dense washes
having less water.
 0.
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W ash stains and strokes give excellent re-

sults when combined in the same work, as
you will see in this drawing exercise in mono-

a Rural landscape chrome wash with black chalk pencil , devel-

oped by Gabriel Martin. If you are a
newcomer to working with washes, it is not
in washes and lines recommended that you choose a figure as
model. It is better if you opt for a landscape
with well-defined lights and shadows.

I ----

1. Draw the horizon line in the middle of the paper. On it place a

vanishing point on the left-hand side from which you will project two
straight lines that will help you to present the architectural forms of
the mosque.
1
Finish defining the forms of the mosque. Observe how the
completed form of the ogival domes is accomplished. Then make it
whole by placing the other elements of the landscape.

2. Once you have studied the composition, emphasize the details.

2
Apply the first wash , working with a very diluted black watercolor. With
an ox hair brush in the form of a spatula, extend a soft wash onto the
sky. With a medium round brush paint the shadowed fac;;ades of the
mosques, leaving the ones illuminated by the sunlight completely white.
·•
 231

Here is a selection of -

3 the hatchings seen in

an isolated way,
which you can
develop before
applying them to the
3. Washes allow for scumbles and contrasts '-"-----'""""--f""
stone houses on the
of great tonal delicacy. Always superimpose background.
lighter tones on top of darker ones. This
makes it possible to establish first the the
softer gradations and then the darker
contrasts.

4. When drawing, do not

expect the first tone you use
to be the correct , definite
one. The tonal values of the
different areas of the drawing
will be modified as you add
new tones to the drawing. As
you progress, you can use

4
more intense tone washes to
reinforce the darker zones.
When you darken the
background, the silhouette
of the mosque presents,
by contrast, a more
defined profile.
 0.
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5. When the drawing dries, proceed to the

phase of contrast and detail using a black
chalk pencil. Apply hatching on the
background to intensify and streamline the
form of the stone houses, trying to highlight
the doors and windows with intense black
strokes.

I I~
 233

I I , r
t,
t ,,,,., t.
'·
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,t
!

6. Draw the detail of the texture of stones, rocks, and the irregularities of the terrain
with the black chalk pencil on the first and middle planes. Here the stroke should be It is very difficult to
hesitating , trembling , and of medium intensity, with the purpose of describing the know which gray will
relief of the rocks. Take into account that the greater the contrast between tones, the work best before the
greater the sensation of volume you will achieve. wa'sh is applied.
Therefore, it is a good
idea to have an extra
piece of the same
~-----'-
paper you are using
on which to
experiment with each
tone.
 /
I

'I

II
1 l'
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Jl metal Point drawing:
texture and hatching
Ink work with a metallic nib is a medium that depends exclusively on
lines and combinations of strokes. The model you are going to draw,
'- guided by Esther Rodriguez, is a narrow street from a small town in the
. high mountains. The main reason for selecting this theme is the variety
of textures it offers and the rich tonal variations that may be found in
,,, .
the shaded street. Pay close attention to the distribution of tones and to
the relief of the stone walls in order to present a comprehensive expres-

r
j
sion of this rural theme.

L ...

1
1. Create an outline sketch, starting from two lines crossed in the form of an X.
From this , other secondary lines will be derived that will define the zigzag of the
street better. Observe how the center of t he X almost matches up with the
perspective center of the work.
Adapt the outline sketch to the real profiles of the model by adding new lines. It
is important to be sure that you are going to start working from the correct
dimensions and proportions of the theme. Gradually, and still with very simplified
lines, finish developing the architectural structure by placing the windows on the
far;:ades of the houses.

2 . After the initial outline sketch in pencil is finished , draw the essential lines in ink. "'·
Only the most significant profiles are important. Then, shade the darker zones
with an almost absolute black with several thick strokes that are well charged
with ink.
 235

3 v-:4. 1
., 1/Y-if
Irt::_ in I
If you change the
pressure exerted on
the pen when
lkL drawing, you can
correct the quality of

l
the strokes. This
L__---=-=- allows you to
streamline the
delicate details in the
vegetation, or to
describe forms.

3. Start shading the drawing from the center,

with different strokes that will create certain
grays. Hatching will define the texture of the
walls of the houses, and circular strokes, as a
net, will represent the road 's paving stones.
The hatching should be presented in the form
of a mesh to simulate a textured gray.
The application of different hatchings,
alternating the th ickness of the lines and the
spacing between them , allows the creation of
different planes in the drawing . Combining
different hatchings in which you alternate
vertical and slanted lines may differentiate
two areas on the drawing .

4 . The last phase in the drawing consists of

finishing the shadings on the fac;:ades of the
two nearest houses, darkening the pavement
on the street, and thickening the lines only on
the darker zones-mainly on the lower part of
the street. On the upper part of the fac;:ades,
open up whites by either allowing the white of
the paper to show through or by applying soft
hatchings on the zones bathed with sunlight.
 Q.
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the reed p~~ its effects

I n spite of its rustic appearance, the reed pen is a very versatile draw-
ing tool. Its stroke is softer than that of the metallic nib, with more vari-
ations in the thickness of the line. You have a certain amount of control
in the intensity of the strokes if you blot the reed pen on a piece of pa-
per before drawing. The theme of this exercise, performed by Mer-
cedes Gaspar, is some bales of hay seen against the light.
The difficulty here is to keep the whites intact, since you will not be
able to make any corrections.

1. Before starting any ink drawing it is important to sketch the theme in

pencil to make sure you will be working with correct dimensions and

1
proportions. In this case, you will start with a quick sketch that will
serve as your outline.

When there is little ink

in the reed pen, the
stroke is softer and
covers less.
 237

2. First, accent the drawing with the edge of the reed pen by
drawing thick ink lines diluted in water. When the ink is diluted ,
in case of an error, you can correct with more intense strokes.
Once the main elements of the theme have been silhouetted,
you can start shading with dense strokes, according to the
degree of darkness of the shadows.

3. The larger width of the reed pen 's strokes allows you to
create solid black stains easily. Draw several superimposed
strokes of different intensities on the bales to give them
texture. On the foreground , several blank spaces have been
left so that the the trees ' shadows can be projected against
the light.
 a} 238
cJ5

drawing on Colored paper

with white and black inks
A 1ternating between white and black inks on
dark paper is a traditional drawing technique.
The white ink is used for the illuminated
zones, the mid tones are provided by the pa-
per, and the black ink is reserved for zones
with intense shadows, as Carlant describes in
this next exercise. The model, in spite of being
very simple, is rich in contrasts and reflec-
tions . Aside from the above, it presents a chal-
lenge in representing the lighting effect and
perpetual movement on the water's surface.

1. The initial outline sketch is very simple. First draw the horizon line
with a white pencil. Then project the diagonal that composes the
picture where the boat is located. A couple of creative strokes will be
sufficient to situate the boat. Once the outline sketch is resolved , you
can begin to draw with white ink and metallic nib.
Draw the profile of the boat and its crew with an intense and firm
stroke; try to capture only the contours. Exert more pressure on the
metallic nib to produce thicker and more intense lines.

2. The profiles and

the proportions has

1 to be absolutely
correct in these first
stages. As you draw
new forms you can
shade with very fine
hatching, which wi ll
give the first tones
to the drawing .

2
 239

3 During the drawing

process it may be
necessary to clean
3 . Concentrate on the reflections on the lake's the tip of the reed pen
surface. Initially, these appear silhouetted as if with a rag in order to
they were perfectly defined oil stains. To get rid of any particles
distinguish these lighter zones from the rest of the of ink that could make
surface, cover their interior space with diagonal the stroke of the pen
stroke hatching. These lighter and broken lines will or charging it difficult.
serve as tonal zones. With another metallic nib,
apply shading with black India ink. Concentrate on
the darker shadows of the vegetation on the upper
part using intense and uneven doodling. The
change from thin to thick in the same stroke can
give certain sensation of fluidity. A freer and
random hatching will give the vegetation an
incomplete and less concrete aspect while
providing a richer tone depth.

4 . Through a careful
observation of the model
4
you can capture all the
details and tonal and
textural variety, especially
those of the water's
reflections. The contrasts
achieved through the black
ink in the upper part of the
drawing help to enrich the
tones that give the drawing
a three-dimensional quality,
accented by the greater
contrasts between lights
and shadows.
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a Still-life
with colored inks
A drawing with colored inks presents the same characteristics as a
drawing done with India ink, except that it requires us to use a specific
work method. Although inks can be mixed with one another, we recom-
mend that you do not mix them often because the colors tend to get
dirty and the tones become cloudy. The only really viable mixes are the
ones that result from combining different color strokes on the paper,
just as Esther Rodrfguez explains in this next exercise.

1. It is extremely important to first construct a very simple outline

1 sketch on which to base the lines of the the still-life. We chose oval and
circular shapes to begin describing the pumpkin and fru it's forms.

2. The silhouettes of each one of the

elements of the still-life are detailed.
The stroke should now be more
When the ink strokes acc;urate and describe the profile and
are still wet, you can characteristics of each fruit and the
blend them with a wet pumpkin. Before starting to apply the
paper towel to strokes with ink, the sketch of the
achieve rich tonal model must be complete, since
effects. shading has to be applied on a
perfectly constructed outline sketch.
 241

3 3. Create the general tone through Gouache can a/so be

shading , giving each object volume. used as a colored ink.
Describe each object's folds, shadows, Dilute it with water
and mid tones by intensifying the until it acquires a
shading with short strokes in two watery consistency.
colors. Instead of using only one tone
to create the shadows, use two tones
with different values. As you can see,
the contrast between light and shadow
is evident and adapts itself perfectly to
the object's form.

4. Give the model value by creating a transition between the light and
shadow. This is done by tonal gradations and optical mixing. Combine
yellow, orange, sienna, and violet inks for the pumpkin; green, yellow, and

4
ochre for the pears; and magenta, violet, sienna, and crimson for the grapes
and plums. Finally, with blue and sienna suggest some folds to give the
models spatial sensation.
 a} 242

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controlling the 1ne:

hatching
~ e hatching technique is a method by
which you draw on an area with soft strokes,
1
always in the same direction, of different jux-
taposed colors to achieve an atmospheric ef-
fect, rhythm , and harmony. Your objective in
this exercise, aided by Mercedes Gaspar, will
be to draw a still-life with colored inks, using
different varieties of reed pens and metallic
nibs.
(.

/ 'f
1. The initial outline sketch is an arrangement ·i
of synthetic lines and contours of the
elements in the composition. In this stage, the
objects can barely be identified; they are
~~ • I
I/ ,, 'i'
summed up by a few geometric shapes. ',, .r'
Once you have created the forms, build up
the picture but leave out the outlines of some 1 \I,/
objects. Thanks to the initial pencil sketch,
_,, \
you attain the profiles of each form and the
linear harmony of the ensemble. The strokes
are not equal , in some areas lines are defined
with thicker strokes that indicate the -------""-- - - - ·~ ~-- --
presence of shadows or pronounced
contrasts in the model. The initial pencil
sketch has to be complete in order to begin
If you have made an
the next phase.
error in ink and
cannot fix it by
rubbing it with a
blade, glue a piece of
paper the size of the
fragment you have to
correct and draw
on it.
 243

, ...; '

,1;
/f

1
·.~.,<
;,
,
It is a good idea to
use several reeds and
metallic nibs so that
the residues of a color

J do not mix with the

next color.

2. You will start working on the background light by

making short, delicate yellow and red strokes. Mix them
until you have an interesting range of pink and orange
tones. It is extremely important that you reserve the
white of the paper when applying the first colors;
therefore, apply them with the ink jar's cap.

3. Finish covering the background by

applying some new yellows to the table. Start
to define some of the objects with diluted
tones or with tones mixed with other colors.
The strokes turn into an elongated stain that
gives variety to the drawing and reinforces its
intensity. Work with strokes that go from less
to more dense and intense.
 Q_
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II

4. In this stage you can see the chromatic

effect of the ensemble after several bluish
and purplish strokes were added to the
objects, contrasting with the warm and
luminous tones on the background. Alternate
the strokes' thickness by combining different
reeds and metallic nibs. Colored inks are very
transparent and can be mixed with each
other; it is possible also to lower their
intensity with a little bit of water.
The enlarged detail shows how the
accumulation of strokes modify the basic
colors, producing a clearly divided color
effect. A stroke's density in a concrete zone
determines the form's shading and volume. If
you want an object to stand out, you have to
give it contrast; that is, you must surround the
object with complementary colors that define
its profile and form.
 245

5. Intense violet and brown inks are the last ones used to darken the
shadowed zones in the composition to contrast with the illuminated
parts. These last finishing touches are performed with a metallic nib.
The hatched stroke suggests energy, movement, and a transparent
effect.

5
 ar 246
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a dog
with colored pencils
~ e careful representation of light and shadow, the soft-
ness of the shading, the delicate modeling, and the soft
chromatic mixtures allow for a very realistic interpretation of
objects. You will see in this exercise by Esther Rodrfguez,
why the results from the sharpened points of colored pen-
cils make them an ideal medium for high-resolution draw-
ings with photographic finishes.

1. When drawing animals, however complex they may be, you must try
to see in them t heir basic forms . Any form can be built up from simple
elements such as the circle, rectangle, or triangle.

2. Once the geometric forms have been developed , draw the dog 's
profile. Establish the curvature of the back, the form of the legs, and
present the features of his face. The colored pencil technique is based
on progressively intensifying tones , nuances, and contrasts by
superimposing layers of color, which allows for a more effective control
of tones . Remember to always lay darker tones on top of light ones;
otherwise, the paper's surface will be quickly saturated , preventing the
application of new colors over the previously laid ones.

2 . I
. 'I
•
I

\.,\~. t
·,
\
 247

3 3. In these types of drawings, the modeling

has to be very soft, with nothing standing out.
The lines and strokes fade, giving way to
tonal gradation. Each fragment of the picture
has to be resolved in detail, describing
everything: luminosity, reflections, and
textures.

4. The details are what instill photographic

realism into the drawing. Nevertheless, these
should not be treated in an isolated manner;
they should always be related to the basic

4
structure. Frequently, the suggestion of the
texture of the represented object is all that is
required to achieve a high-resolution work.
 0.
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a Qirl
in watercolor
W hen working with watercolor pencils, use the traditional pencil techniques to make
the base of the drawing; then incorporate brush techniques as a tool. This fluidity and
ease of control make watercolor pencils and pastels a flexible medium to interpret
themes naturally. In this exercise by Mercedes Gaspar, you will see how to resolve the
portrait of a little girl through watercolor pencils, combining strokes and washes on the
same support.

1 0 I

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1. When you find yourself before a model that may present difficulties,
the first thing to do is always to summarize its components into simple
geometrical forms that will aid you in understanding its structure better.
Thus, you will see this is a symmetric composition dominated by the
girl 's figure, which can be reduced to a block starting from circles and
straight lines.
When the profile is clear enough you can deal with interior details on
the figure, such as the features of the face and the position of the arms
holding the doll.

2
2. Once a soft outline sketch has been completed, build up the drawing,
paying attention to the details that the model presents. It is advisable to
start the drawing with a mid-toned colored pencil. The colors mostly
used by professional artists are purple, pink, blue, or an earth tone,
because these colors are then perfectly integrated into the drawing .
 249

3 3. Here is the first stage in color, still with no

water and brush. Observe that the zones you
will be painting in water have a regularity in
the strokes and the shadings. There is no
need for much color. The layers should be
rather subdued; the water will take care of
intensifying each shading.

4. The best way to work is to paint over the strokes quickly and
confidently. Thus the colors are neither excessively mixed nor
smudged, and the original pencil marks are maintained. You will see
how simple shading will turn into a wash when brushed over with
plenty of water. The water does not fade the color completely. Besides
providing a uniform wash, it respects the hatching with the watercolor
pencil , producing an interesting texture that combines strokes and
stains.

5. In the finished drawing, you should combine areas in which strokes

have been washed and parts with shadings and gradations in which
you can still see the stroke enhanced by the texture of the paper. Later,
when the washed zones are completely dry, finish directly with pencil
strokes, correcting the profile, defining the form, and reaffirming the
contrast-trying to make them stand out in the finished drawing.
 0.
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the dry Pastel technique

· on a tonal background
C olor can bring life to a variety of themes,
such as this still-life by Marta Bermejo
Teixidor. Although mixing colors is based on a
minimum knowledge of color theory, pastel
requires a presentation that will increase the
explosion of nuances expected from these
sticks that are so highly charged with colored
pigments. Pastel is applied from the first mo-
ment, as any other drawing medium.

It is useful to know
that many times you
can make corrections
2
without erasing.
Simply apply more
color on the error to
cover it. A profile may
1
be corrected this way.
In the soft pastel
technique even a
lighter color may
cover a darker one.

1. To start any drawing in pastels, first draw
the outlines (detailed or synthetic) that define
the object's silhouette. Draw them
lightly in case they need to be
erased . These are the main
lines that have to maintain
adequate proportions.
2 . On the model , mentally relate each zone to
a determined tonal value. You have to transfer
this system of tonal valuing to the repre-
sentation. Lighter color values and tonal
values correspond to more illuminated zones.
With pastels, we recommend exerting
minimal pressure in order to construct the
work from less to more, or from lighter to
more intense, without haste and without
dense and doughy colors.
 251

3. Pastels should never be mixed; the result

is always more interesting when colors are
obtained by applying the pastels directly on
the paper. This does not mean that you
cannot blend one color into the other, but that
it should not be done excessively.
4. The build-up of the model requires the artist's special attention to
blending. Pastel is the most direct medium available, but if you are
4
making a drawing based on blended colors , the drawing will lose all its
appeal and spontaneity: you have to alternate the gradation techniques
with the direct stains.

5. One of the attractions

of a soft medium such as
the pastel is the ease with
which it blends to create
soft and velvety tones , like
subtle gradations from
light to dark. The final
blending of some zones
modifies the color of the
tonal background by
applying a fine and semi-
opaque layer of another
color on it. You have to
remember that when
working on colored paper
it is necessary to leave
blank zones, so that the
background color interacts
with the tones of the
drawing.
 0.
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an Urban view
with oil pastels on a tonal b·ackg:round l

f or this exercise, Gabriel Martin has chosen an urban view that allows
the development of a chromatiG drawing with .oil pastels or wax
crayons. What is sought here is .to capture the effect of light on the
landscape, ayojding details and constructing the forms through a set of
short and vertical strokes in the form of color marks. The expressive
capacity ot the stroke, working on a tonal background, and the trace
that the sticks leave are drawing resources that together give a more
expressive treatment to the work, show their versatility, and give spe-
cial results that can become the artist's personal style.

1. Through an outline sketch performed with a

white pastel, create the architecture with simple
and linear lines. Give a more detailed treatment to
the church in the foreground and a more
schematic treatment to the rest of the buildings.
The first thing you do in a landscape is to cover the
sky. You will do this by combining Prussian blue,
ultramarine, crimson , cyan, and wh ite through direct,
superimposed, and directional strokes that create a
small gradation without blending , still retaining the
contours of the buildings.
 253

The positioning of the

2. First add the shadows on the bridge and
on the church 's fa9ade with bluish and violet
tones. Looking for the contrast effect of
complementary colors, cover the rest of the
fa9ade with yellowish and orange contours.
As the buildings recede from the foreground,
the intensity of the color is also attenuated.
Apply strokes with progressively more energy, pastel on the paper
distinguishing more clearly the illuminated produces different
fa9ades from the shadowed ones. Also, strokes with different
increase the sensation of atmosphere by thickness.
fading and making the profiles of the
buildings undefined.

3. The juxtaposition
of the strokes gives
the drawing a
vibrant and dynamic
aspect. To simulate
the reflections of the
fa9ades on the
water, apply
saturated white and
olive-green strokes.
Emphasize the
accented contrasts
of the church
windows and the
shadowed zone of
the arcs of the
bridge with more
intense earth tones
and black.
 254

aerial views, 167 brushes, 51
aligned points, 109 effects, 56-57
analyzing drawings, 121 strokes, 56, 57 , 59
artists' chalks , 24-27. See a/so types, 59
sanguine
blending/mixing, 25 chalks. See artists' chalks
on colored paper, 140-141 charcoal , 16-23
colors, 24 blending, 19, 20, 157
effects with, 26-27 characteristics, 16
exercises, 204-207, 208-211, compressed sticks, 23
214-215,222-223,230-233 controlling , 16
gradations, 138 erasing , 16, 17
paper for, 24, 27, 48 erasure exercise, 200-201
pencils, 84 exercises, 194-197, 200-201,
powder, landscape exercise, 216-217
214-215 fixatives, 18
shading with , 130, 133 forgiving nature of, 16
stroke samples, 26, 27 ghost lines, 21
three color technique, exercise, gradations, 19
208-211 kneadable erasers and, 38-39
tones, 25 natural sticks, 17
white, exercise, 222-223 nude study, 194-197
white-on-white technique, exercise, paper texture and , 23, 48, 157
204-207 pencils, 20, 216-217
asymmetric compositions, 118 point shapes/effects, 18
atmospheric effects powder, 22
. radations/shading , 139 sfumato and, 22, 154-155
hting, 148-149 shading with , 16, 20, 22, 23, 130,
, er texture and , 156 133
ctive, 168-169 sticks, 17, 23
aod,22, 154-155, 159 strokes, 16, 19, 20-21
6~ tones, 16-17,20-23
using, 18
chiaroscuro
characteristics/effects, 150-151
still-life exercise, 218-221
circle exercises , 77
colored drawing, 177. See also colored
pencils; pastels
colored paper, 49, 140-141 , 202-203,
238-239
colored pencils, 40-43
basic techniques , 184-185
characteristics, 40, 41 , 43, 184
dog study, 246-247
feathering tech~ilfl ues, 188
lead types , 42,p
mixing colors, 1~~-187
optical mixing, 4C'l, 41
paper for, 48
pointillism and, 187
sgraffito, 190-1 ~ ~
shading with , 185
strokes, 41 , 43!
water-soluble, 4!1
geometrical forms in, 100, 102, 104,
119
grids and, 112- 115
Lorrain grids and, 114-115
outlines. See outline sketches
points of view, 116-117
proportion and. See proportion
rhythm , 122-123
symmetric, 107, 118
compressed charcoal sticks, 23
conte crayons. See artists' chalks
continuity, law of, 122
contrasted foregrounds, 172-173
copying objects, 112, 113
corrections. See a/so erasers
deliberate, 158
pentimenti, 158, 159
in shading, 133
without erasing , 158-159
coulisse effect, 170-171
cross-hatching
basic techniques, 71 , 82
with blending stumps, 34
defined, 71 , 82
with quill pens, 60
with sanguine, 29
curved strokes, 84-85
cylindrical shapes, 84-85
depth. See a/so perspective
contrasted foregrounds and,
172-173
coulisse effect and, 170-171
detail work, 68
diagonal compositions
asymmetry and, 118
Lorrain grids, 114-115
direct outl ining, 101
distance
from models, 121
perspective and , 163
dividing paper, 94, 95
dog, colored pencil exercise, 246-247
doodling, 72-73
dry-brush technique, 63
enlarging objects, 112
equal proportions, 110
erasers, 36-39
blending with, 38
cleaning, 39
correcting shading, 133
effects, 36, 37
kneadable , 36, 37, 38; :3]
strokes, 37,____
1

whitening technjques, 188, 18"9 study '¾sing , 2{)_0-~ 1

complex objects, 105, 106-1071 typesf 37T ·
composition erasure1teGhnique exercise, 200-201
•• analyzing, 121 eye, o artist, 6

.. . ,,• I
• '' ' . asymmetric, 11 $
balance, 120-1 2 , 123
...
.
.
''
basic forms (shaP,>es) in, 104 119,
144,146 II
breaking forms 1mto lines, 100_
framimg ll>ala.·nce, 1~20-121, 123
free o~tlines, 101
frictio , , 11

•••
•• . • •
I
., II
defined, 100
diagonal , 114-115, 118
· geometr~cal"axis, 107
geometric al fofi:ns
.

basic shape_s_, 104 f 19, 144, 146

 255

common schemas, 119 impasto, 47 oblique perspective, 166, 167

complex objects and, 105, 106-107 ink drawing, 51 oil pastels, 45, 46-47, 252-253
objects inside, 105 black/white, exercise, 238-239 oil pencils, exercise, 204-207
in outline sketches, 100, 102, 104, brushstrokes, 59 optical mixing, 40, 41
119 colored, exercises, 240-241, outline drawing, 88, 89
perspective and, 104-107 242-245 outline sketches, 90
gestural drawing, 88 on colored paper, exercise, 238-239 arranging blocks, 102
ghost lines, 21 effects, 58 asymmetric compositions, 118
girl, watercolor exercise, 248-249 reed pen exercise, 236-237 boxes for, 90, 100
gradations. See also blending strokes, 58-60, 61 common schemas, 119
atmospheric effect, 139 composing , 118-119
defined , 138 kneadable erasers, 36, 37, 38-39 drawing without, 101
examples, 19, 138, 180, 181 geometrical forms in, 100, 102, 104,
hand position , 77 landscapes 119
hatching, 180 atmospheric effects, 154, 168-169 perspective in , 104-107
lines and, 77 chalk powder exercise, 214-215 profiles and , 92, 93
pencils for, 15 contrasted foregrounds, 172-173 structured vs. free, 101
techniques, 138-139 coulisse effect and, 170-171 symmetric compositions, 107, 118
in washes, 53, 54, 55 exercises, 202-203, 214-215, oval exercises, 77
graphite, 12-15. See also pencils 224-225,230-233
advantages, 12 graphite exercise, 224-225 paper, 48-49
blending/gradations, 15 on gray paper, exercise, 202-203 for artists' chalk, 24, 27
characteristics, 12 linear, exercise, 94-95 choosing , 48
flat sticks, 13 perspective, 164, 165, 168-169 colored , 49, 140-141, 202-203,
gradations, 138 successive planes, 170-171 238-239
hardness, 12, 13, 14, 15 law of continuity, 122 dividing, 95
landscape exercise, 224-225 lighting medium and, 48
line quality, 15 atmospheric effects, 148-149 for sanguine, 30
points, effects, 12 chiaroscuro and, 150-151 shading and, 134, 135
shading with, 15, 130, 133, 134 contrasted foregrounds and, paper texture
strokes, 13 172-173 cha~o~and , 23,48, 157
grids, 112-115 maximum contrast of, 150-151 tooth/ weight and, 49, 156
advantages, 112 shading and . See shading parallel perspective, 164, 165
diagonal, 114-115 lines pastels, 44-4 7
Lorrain method, 114-115 breaking forms into, 100 basic techniques, 178-181,
making, 112,113 controlling, exercise, 242-245 182-183
using, 112, 113 effects, 75 blending, 46, 47,180,181,183
graphite, 12-15 broken, saving, 183
hand position/training reaffirming, 92-93 characteristics, 44, 45, 46
for detail work, 68 sanguine, 30 coloring vs. stroke, 179
for gradations, 77 single-stroke, 67, 76, 77 effects, 45, 46-47
mastering strokes, 69 washes with, 57 , 230-233 hatching with, 180
positions, 68, 69, 76 wide, drawing, 70 lines, 178, 180
for shading, 68 loops, drawing, 71 mixing colors, 46-4 7, 182-183
for sketching, 69 Lorrain method, 114-115 oil pastels, 45, 46-47, 252-253
hardness opaque strokes, 179
degrees, 14 materials rules, 11 sgraffito and, 47
graphite, 12, 13, 14, 15 measurements soft pastels, 44
tonal value and, 83 with pencils, 111 still-life exercise, 250-251
hatching , 80-83 proportion and, 111 strokes, 46, 47, 178, 179, 182
basic techniques, 80-81 mechanical erasers, 37 tonal ranges, 178, 179,180
blending gradations, 139, 180 mechanical pencils, 14 washes, 45
with blending stumps, 34 mediums. See also specific mediums pencil control, 75-95
defined, 80 rules of, 11 creating volume, 78-79
effects, 70, 80, 81 shading and, 134, 135 gestural drawing, 88
with erasers, 3 metal point drawing exercise, 234-235 hatching. See hatching
exerc·ses, 94-95 242-245 o ling outline drawing , 88, 89
etal point drawing exercise, basic shapes for, 104, 119, 144, 146 pointillism, 86-87, 187
234-235 blocking in for, 144-147 proportion. See proportion
mixing colors, 186 defined , 146 ring strokes, 84-85
w,m quill pens, 60 exercises, 144 single-stroke lines, 76, 77
witli sanguine, 28, 29 models tonal value and, 83
sliading with , 133 distance from , 121 pencils. See also graphite
tonal value, 83 light/shading and, 128 for blocking in, 105
v.olu e effect wit , 80 movement, showing , 159 chalk, 84
homogenous sbaEli g ~ 33 charcoal , 20, 216-217
horizon lil'.le_ 162
 256

hand position. See hand sgraffito, 47, 62, 190-191 pastels, 46, 47,178,179,182
position/training shading. See also tone profiles and, 93
hardness, 12, 13, 14, 15,83, 101 atmospheric effect, 139 quill pens, 60, 61
holding, 68, 69, 76 beginning, 132 reaffirming lines, 92-93
measuring with, 111 blocking in, 103, 137 sanguine, 28, 29, 30, 31
mechanical, 14 with chalk, 130, 133 shading with, 132
sanguine, 31 with charcoal, 16, 20, 22, 23, 130, single, unbroken, 67, 76, 77, 79
shading with, 15, 130 133 varying, creating planes, 79, 80
strokes, 15 with colored pencils, 185 symmetrical objects, 90
tones with, 130 controlling, 134-135, 136-.137 symmetric compositions, 107, 118
varying hardness, 101 correcting, 133
pentimenti, 158, 159 direction of, 135 themes (selecting), 99. See also com-
perspective effects, overview, 143 position
aerial views, 167 exercises, 94-95, 131, 135, three color technique, exercise,
atmospheric effect, 168-169 136-137 208-211
basic techniques, 162-167 extending, 131 three-dimensional objects
choosing point of view, 116-117, with graphite, 15, 130, 133, 134 · depth and, 161
162 hand position, 68 geometrical forms, 104, 106
coulisse effect and, 170-171 with hatching, 133 tonal zones, 136
distance and, 163 homogenous, 133 tone. See also shading; shadows
geometrical forms for, 104-107, 164 light/model and, 128 balancing, 120-121
horizon line, 162 mediums and, 134, 135 blending. See blending
increased depth, 166 paper and, 134,135 building, 80, 93
in landscapes, 164-165 quill pens, 60, 61 charcoal, 16-17, 20-23
oblique, 166, 167 reducing values, 136 defined, 16
in outline sketches, 104-107 with sanguine, 28, 29, 130, 133, 134 exercises for, 131
parallel, 164, 165 with spirals, 71 gradations. See gradations
volume effect with, 161 with strokes, 132 overview, 127
planes tonal zones and, 136 values, 83
creating, 79, 80 types, 130 value systems, 129, 132, 136
successive, 170-171 shadows. See also shading; tone washes and, 53-55, 57
pointillism, 187 blocking in, 103, 137 transparent objects, 91
defined,86 chiaroscuro and, 150-151
effects, 86-87 controlling, 136-137 value systems, 129, 132, 136
points of view, 116-117, 162 maximum contrast of, 150-151 volume effect. See also cross-hatchin<
profiles, 92, 93 synthesizing, 137 hatching ·
proportion shapes. See also geometrical forms basic techniques, 78-79
aligned points and, 109 basic, 104, 119, 144, 146 light/dark creating, 85
calculating, 108-111 rough outlines for, 100 modeling and, 144-147
distance and, 121 stencils for, 21 overview, 143
equal, searching for, 11 0 volume and. See volume effect perspective and, 161
grids and, 112-115 single-stroke lines, 67, 76, 77 stroke direction and, 78
measurements, 111 sketching for various shapes, 78
problem with, 108 charcoal pencil exercise, 216-217
symmetrical objects, 90 hand position, 69 washes
transparent objects, 91 movement and, 159 basic techniques, 52-55
spirals, shading with, 71. See a/so ring on damp surfaces, 53, 57
quill pens, 60, 61 strokes defined, 52
spontaneous drawing, 72-73 dry-brush technique, 63
reed pen exercise, 236-237 still-lifes effects, 62-63
rhythm, 122-123 atmospheric effect, 169 exercises, 226-227, 228-229,
ring strokes, 84-85 chiaroscuro exercise, 218-221 230-233
rough outlines. See outline sketches colored ink exercise, 240-241 extending, 54
rules (materials/mediums), 11 pastel exercise, 250-251 gradations, 53, 54, 55
sanguine exercise, 198-199 linear, 57
sanguine, 28-31 strokes. See a/so specific strokes with oil pastels, 45
characteristics, 28 artists' chalks, 26, 27 salt effects, 62
gradations, 138 atmospheric effects and, 149 sgraffito, 47, 62
hatching, 29 automatic drawing and, 72-73 techniques, 62-63
lines, 30 blending stumps, 34, 35 tone variations, 53-55, 57
paper for, 30 brushes,56,57,59 wax and, 63
pencils, 31 charcoal, 16, 19, 20-21 watercolor exercises
shading with, 28, 29, 130, 133, 134 colored pencils, 41, 43 flower, 226-227
sticks, 29 erasers, 37 girl, 248-249
still-life exercise, 198-199 graphite, 13 interior patio, 228-229
strokes, 28, 29, 30, 31 hand training, 68-69 rural landscape, 230-233
sfumato, 22, 154-155, 159 ink drawing, 58-60, 61 white-on-white technique, 204-207
(continued from front flap)

an interesting monochromatic medium with a wide

range of tones that imparts luminosity to a drawing.
Pay attention to changes of direction in the lights,
shadows, and reflections. Draw a rural scene with the
erasure technique, erasing strokes instead of adding
them. To evoke the texture of grass and the leaves on
trees, vary the angles of the eraser strokes or even
cross them over one another. Or use a blending
stump with charcoal to produce a soft, atmospheric
drawing of a cityscape without any hard and pro-
nounced profiles or lines.
Now add your own personality, style, and goals to
what you've learned while taking this complete
course.

New York/ London

www.sterl i ng publishing. com
. ART /DRAWING

evelop your skills at drawing, learning the fundamentals so

D that you can focus on expressing yourself. From training your
hand and controlling the stroke to compos1t10n and effects
offered by various tools and materials, these methods are easily
mastered with practice. Whether you want to create drawings as
the basis for other types of media, such as sculpture and painting,
or as finished works, the advice and exercises here will give you a
firm foundation to expand upon.

ISBN-13: 978-1-4027-0932-6
ISBN-10: 1-4027-0932-3

I 111 ,,,,,,
New York/ London 9 781402 709326 1111111111111111 .
www.sterlingpub I ishin g .com