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Art > Pencil drawing techniques: Pro tips to sharpen your skills
Sharpen your skills with these pencil drawing techniques, for both
graphite and coloured pencils.
For many artists, pencil drawing is the skill that introduced them to the art world,
and even if you've moved on to a di erent medium, understanding how to draw Advertisement
with a pencil can help you improve your skills elsewhere. These pencil drawing
techniques cover everything from the basics of mark-making to advanced
processes to push you out of your comfort zone. MOST READ MOST SHARED
We'll also o er advice on the tools and materials you need to know, such as
blending stumps, paper options, and di erent erasers. If you're a total beginner,
or want to upgrade your kit, take a look at our guide to the best pencils.
Short on time? The video above, from character designer Bobby Chiu, runs
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through some pencil drawing techniques in action. For more in-depth advice on
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The rst step is to master how to hold a pencil correctly. Bobby Chiu
recommends holding the pencil like you could a piece of charcoal, and using the
side of the lead to draw, rather than the point. This helps keep the pencil
sharper for longer.
"When covering large areas, I shade with my pencil perpendicular to the line I'm
drawing to get wide, soft lines," he adds. "For details, I hold my pencil parallel to
my lines to get sharp, narrow marks. The only time I use the point is when I'm
working on intricate details."
Using a stump between layers of colour will create a blended e ect [Image: Jennifer Healy]
How you blend your work can have a big impact on the nal result. For a soft
blended e ect, try a blending stump.
"After each light layer, I very gently blend the coloured pencils with the stump,"
says US-based artist Jennifer Healy. "Don’t push too hard or the colour will stick,
making it more di cult to softly blend. I repeat this process as often as I need.
After many layers it produces a very soft and delicate look."
This technique requires a little trial and error, though. Healy warns that if you
blend too softly, the stump can pick up colour that you've already layered on the
paper.
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Shading with uni ed lines versus shading in patches produces a di erent feel [Image: Bobby Chiu]
There are lots of di erent pencil drawing techniques relating to shading. Chiu
uses two main approaches. The rst is with all the lines going in the same
direction. "This makes my shading appear more cohesive, and helps my details
pop out from the lines I'm using for shading," he explains.
Beyond that, di erent artists have di erent approaches to lines – you need to
nd the style that's right for you. "I prefer to use a distinct outline in my artwork,
whether it’s using thin outlines or bold outlines," says Healy. "It can help pinpoint
the viewer’s eye to a certain area. It also gives a stylised look, if that’s what you
are hoping to achieve."
Healy has a speci c process for blending her coloured pencil work. She starts
with an outline, to check the form is correct before committing to coloured
pencil (it's much harder to erase coloured-in areas than an outline). It also helps
her plan where the highlights and shadows will fall.
She then builds up colour using subtle layers. "I like to start out with soft gentle
layers to gain a better idea of lighting placement, shadows and the colour
palette," she says. After each layer she blends gently using the blending stump.
Once she has reached a stage she's happy with, she moves on to the nal step:
adding an outline. For this nal layer, Healy uses coloured pencils alone, and
does not blend with a stump.
The surface texture you're working on will make a big di erence to the e ects
you can create. This is referred to as the grain or 'tooth' of the paper. A rough
tooth is more visible, and the ridges will grip the colour from your pencils.
With a smooth tooth, the ridges are very ne, and there's less grip. Healy nds
this kind of paper provides an easier surface for blending coloured pencils,
although she warns that it's also easy to run the colour o the surface.
Use light lines to explore and dark lines to commit [Image: Bobby Chiu]
"When I start drawing, I plan and explore using loose lines, and avoid committing
too early with hard, dark lines," says Chiu. "As I progress my lines will change, so
checking and rechecking my work is vital. I darken my lines and add details at
the end. I don't focus on one area for too long to prevent overdrawing."
There are a few di erent types of eraser, and each is suited to di erent things.
You'll de nitely need a kneaded eraser. This has a putty-like consistency (it's
sometimes called a putty eraser), and you knead it before and after use.
"A kneaded eraser is best for lightly picking up the coloured pencil binding o
the paper. This works wonders when correcting mistakes, or if you’re
deliberately lifting colour from an area such as the eyes," says Healy.
A gum eraser has a more solid consistency, and is better if you're trying to fully
erase a coloured-in area.
Using coloured paper can help create cohesion in your drawings [Image: Jennifer Healy]
Having a uniform approach to colour will help bring cohesiveness to your work.
"It’s a good idea to make sure that your artwork has unifying colours," says
Healy. "This consists of a particular colour palette, mood and a way of spreading
these across the entire art piece."
She also suggests creating a harmonious base by using tinted paper or adding a
background wash of colour (in paint). "This will show through whatever you lay
down on top of it, thus giving it an appearance of cohesion. When I use coloured
pencils, I’m fond of using tinted paper produced by Kraft."
Before you move on to stronger lines and detail work, it's essential to make sure
you have the correct form down. Chiu's advice is to check and check again. "I
have to nail down my drawing's underpinnings before I can add details. I really
avoid guessing at the details; I want to make sure things are symmetrical and
look right before putting down stronger and harder lines."
Provide a solid basis by mounting your paper on a board [Image: Jennifer Healy]
This is a valuable pencil drawing technique for beginners: put a piece of paper
under my hand to avoid smudging your drawing while you're working. It seems
obvious, but it can be the downfall of a great piece of work!
Healy also prefers to mount her paper on a board, attaching it using a layer of
matte medium. This helps keep things neat, and provides a solid surface to work
on.
The majority of artists have a tendency to tinker with their work – even after
they've signed their name. "I can always nd something to change if I look hard
enough, so it can be di cult to tell when a piece is truly nished," says Chiu.
Juxtaposing beauty with ugliness makes for an interesting composition [Image: Jennifer Healy]
One drawing technique Healy uses in her work is to use contrasting concepts
within a piece of work, for example, juxtaposing beauty and ugliness. "I’ll use the
beauty of colours, owers, the softness of skin or hair, and the female form. I’ll
also tend to use something that’s the opposite to all of that, such as bones,
insects, sharp teeth, or anything that may provide discomfort to the viewer," she
elaborates. "Somehow this provides an interesting concept to a piece. Especially
when the ‘ugly’ parts are harder to spot at rst. To me this is a very stark
representation of what life is like."
Experiment with combining di erent media to create new e ects [Image: Jennifer Healy]
While pencils on their own can be used to create a wealth of di erent e ects, it
can be interesting to combine them with other media. For example, in her work,
Healy likes to combine watercolour and coloured pencils. It's important to start
with watercolour and then layer coloured pencils on top, she explains, because
pencils can create a waxy surface that repels liquid, and prevents the
watercolour from soaking into the paper.
"This is a fun technique to test out," she says. "Both mediums have unique
qualities and textures. Combining the two elements creates a medium all of its
own."
While these pencil drawing techniques should help you understand the
essentials of the medium, sometimes you need to throw the rules out of the
window and nd what works for you. "There’s nothing wrong with stepping
outside of the box if it means achieving the e ect you want," says Healy. "Trial
and error will occur when you step outside of that box. But don’t be intimidated!
The process is entirely fun."
This advice comes from ImagineFX, the world's best-selling magazine for digital
artists. Subscribe here.
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