Chickadee, graphite and silverpoint

LOOK CLOSER, DRAW BETTER

Expert Techniques for Realistic Drawing

KATERI EWING
American Crow, graphite
 CONTENTS

INTRODUCTION

THE HOW AND THE WHY

LEARNING TO SEE

THE DAILY SKETCHBOOK HABIT

The Daily Exercises

GRAPHITE
Graphite Drawing
Tools and Materials
Values in Graphite
Graphite Project: A Single Pear

CHARCOAL
Charcoal Drawing
Tools and Materials
Reductive Charcoal Drawing and Preparing the Paper
Charcoal Project: Turnips

PEN AND INK

Pen and Ink Drawing
Tools and Materials
Creating Values in Pen and Ink
Pen and Ink Project: Pine Cone and Bough

WATERCOLOR
Drawing in Watercolor
Tools and Materials
Watercolor Techniques for Mixed-Media Drawings
Graphite and Watercolor Project: Beech Leaves and Nuts
Ink and Watercolor Project: Autumn Treasures
Graphite and Watercolor Project: Chickadee on a Branch

A FINAL PROJECT–STILL LIFE IN BOTH GRAPHITE AND INK

Still Life in Graphite
Still Life in Pen and Ink and Wash

SOME FINAL THOUGHTS ON DRAWING

MIXED GALLERY

RESOURCES

ACKNOWLEDGMENTS

ABOUT THE AUTHOR

 INTRODUCTION

If I had to choose one lesson that I could pass along to other artists, there is
only one real choice: the importance and joy of learning to see. I have been
absolutely amazed and enchanted—as perhaps you have, too—to discover
what happens to our artwork when we truly learn not just what, but how, to
see. If I had to explain the core of what I have taken into my heart, as an
artist, it is my belief that if we pay close enough attention, we can discover
immense beauty in the most ordinary subjects of our daily lives.
On the front page of every sketchbook I own, I inscribe this phrase:
Remember the Luminous Particular. I keep those words in my mind while I
work, as guiding lights and guardian spirits. For me, the luminous particular
is the spark of individual presence that all things—animate or inanimate;
large or small; animal, vegetable, or mineral—have, if we are observant,
inviting, and open to that presence. It is my constant work to discover how
to truly see and then illuminate the soul, the essence, the spark—the poetry
—of my subjects. My purpose as an artist is to always seek that presence.
Thank you for joining me as we learn to see, and welcome.

Kateri Ewing
Untitled, graphite and charcoal
Found Leaves, graphite
 THE HOW AND THE WHY

I like to imagine that each person who reads this book is sitting across the
studio table from me, eager to draw, to learn, and to share ideas. After we
settle in and begin to get some marks down on paper, I’ll ask you, “How did
you come to drawing? Why are you here and what is it you hope to learn?”
Throughout our time together in this book, we’ll explore those two most
important elements of drawing: the how and the why.
You’ll learn the how—the mark making techniques using graphite,
charcoal, pen and ink, and watercolor. Through them, I hope you will
discover a series of different languages that you can use to portray, on
paper, your own unique way of seeing—the how of learning to see your
subjects when drawing in a realistic style.
And you’ll discover the why. The why is what allows each of us to
imagine things in our mind’s eye differently: No two human beings see,
imagine, or process the world around them in the same way. It is also true
that we come to our art with very personal reasons for why we want to
create in the first place. An emotional response is necessary in our work, as
well as our connection to the reasons that we choose our subjects. Why do
we choose specific subjects for our drawings? What is it about them that
makes our heart sing? This is the why that makes art.
Over the years, I have taught many people the how. I teach them all the
same information, the same approach, the same mark making techniques,
and the very same brushstrokes, but when I give a group of five students the
same subject to draw, every single one of them is vastly different. This is
something to celebrate! In this book, you will not find techniques requiring
measuring or even perspective. Instead, you will learn how to see your
subject’s form in shape, light, and shadow and how to capture the things
you notice about what makes it unique. You will learn how to bring detail
and quiet presence to your realistic drawings in a way that makes the
ordinary extraordinary. Yes, I will teach you how to use the medium of your
choice to mark down what you see, but mostly, I will teach you how to see
through your own artist’s eyes.
My hope is that you leave our time together with skills that you can
practice and refine, but also with the desire to nurture your why and begin to
really see your subjects and what makes them special to you. My job is to
teach you how to capture, on paper, your own unique way of seeing the
subjects that you find meaningful.
There isn’t a moment I spend drawing or painting when I am not
immensely grateful for the opportunity to learn more about the world
around me and then to create something lasting and beautiful from it. With
each drawing or painting, I hope to discover, and then reveal, the intricate
cycles of nature, the luminous particulars that I have come to notice in
natural objects, be it the spark in a bird’s eye, a decaying leaf, a broken
acorn, or the wash of light and shadow as they play over a meadow, pond,
or stand of trees. It is the desire to urge myself and others to pause and to
look a bit more closely, to discover the extraordinary in the ordinary, that
stokes my creative fire each and every day. I wish the same for you.
Privet, graphite
 LEARNING TO SEE

As artists desiring to draw our subjects in a realistic way, our eyes are our
most valuable tool. It might sound strange, but when we are drawing, our
brains are always trying to trick us. What our brains know and what our
eyes truly see are quite different. Our aim should be to rely more on our
eyes and learn to see the world around us in a different way; we want to
train our eyes to see like an artist. Drawing in a realistic style is slow work.
It requires that we take pause and truly notice things like shadow and light,
the subtle turns and transitions between them, and the relationship of our
subject to the environment that surrounds it.
Let’s try a little experiment. Close your eyes and imagine that you are
looking at a coffee mug sitting on your kitchen table. Take a few moments
to really see it in your mind’s eye. Pick up a pencil and a sheet of paper and
draw a line to depict the flat surface of the table. Then, draw a simple
outline sketch of your imaginary mug resting on that surface. Don’t fret
over details, just a quick drawing that shows your mug positioned on the
surface of your table.
If you were to draw that mug without looking it at, you might draw a
straight line depicting where the bottom of the mug rests on the flat surface
of the table. Eight out of ten people will draw the bottom of their mug with
a straight line. Our brains are clever and know that the table is flat, that the
bottom of the mug is flat, but drawing that straight line is not going to
produce the illusion of roundness that we need to realistically portray a 3-D
object, like a mug, on paper.
Now, find an actual mug and place it on the table in front of you. Notice
the line depicting where the bottom of the mug meets the table surface.
What you will see is a curve. Our brains know that the mug is flat and the
table is flat, but our eyes see something different. Our eyes see roundness.
What we need to capture in our drawings is the roundness of that mug. We
do that with a combination of line and values of light and dark, as our eyes
really see them.
 The 19th-century artist and writer, John Ruskin, wrote, “I believe that
the sight is a more important thing than the drawing. I would rather teach
drawing that my pupils may learn to love nature, than teach the looking at
nature that they may learn to draw.” It’s true, learning to draw is the best
way to learn how to truly see, and learning to see is the best way to learn
how to draw. They can’t exist without one another, if our aim is to draw our
subjects in a realistic way. The beauty of it is, not only will your drawings
improve, but you will begin to appreciate the world around you in a more
profound way. You will acquire the artist’s eye.
Leita’s Milkweed, graphite
 THE DAILY SKETCHBOOK HABIT

Imagine for a moment that you decide you want to learn how to play the
piano. You make the investment in a keyboard, buy some instructional
books, some sheet music, and you sit down to begin to play. Unless you are
a musical genius, it would be immediately obvious that you won’t get very
far without some lessons and plenty of daily practice. I’m sure if you asked
seasoned musicians how often they practiced their basic scales in the
beginning years, they would all say, “Far more than I ever thought I would
need to.”
Drawing is no different. Whenever we learn a new skill, it requires
discipline and the awareness that we need to leave perfectionism and the
expectation of lofty performances behind for a while and attend to the most
basic drills and exercises. Musicians play their scales; artists open their
sketchbooks and draw—every day. I can promise you that no matter what
your skill level, once you commit to a daily sketchbook habit, you will see a
vast improvement in the quality of your work. I’ve seen it in myself, and in
my students, over and over again.
I have kept my own daily sketchbooks for years and not only have they
helped me become a better draftsman, but they have also given me a record
of my journey as an artist. They have allowed me a safe space to try out
new ideas and techniques, to fail and make a mess, and even to create
something beautiful. My daily sketchbook habit has given me confidence,
and it has also helped me to refine my observational skills. It has helped me
learn how to see.
I suggest that you keep one sketchbook for everything, not too big and
not too small. The perfect size is about 9 × 12 inches (23 × 30 cm) with a
stitched binding that lies flat. There are so many great brands, but my
favorite is the Strathmore 500 Mixed Media Journal, perfect for all
mediums, both wet and dry. My other favorites are my handmade
sketchbooks created for me by a friend who is a book artist. I use both types
equally and for everything related to my work as an artist. I begin each
book with the date I start it and leave room for the date I when finish. In my
books, I work out ideas, try new things, make lists, jot down quotes that
inspire me—just about anything at all. It is also where I do my daily
drawing exercises, and I suggest it’s where you do yours, as well.

The Daily Exercises

Just like a musician who practices their scales, the artist needs to practice
connecting their eyes and their hand together. The following exercises are
the perfect way to strengthen the eye/hand connection and require only a
few minutes each day.

BLIND CONTOUR DRAWINGS

The blind contour drawing is the single most useful exercise I know of to
train our eyes and our hands to work together. I do them daily, even for two
minutes while I eat my breakfast. Choose a subject that you can see well;
it’s even better if it is something you can set right in front of you. Now,
position your paper to your right if you are right-handed and to your left if
you’re left-handed. Take any drawing tool and set your eyes upon a starting
point of the contour, or outline, of your subject. The aim is to begin and end
at the same place.
Without looking at your paper, move your eyes clockwise around the
outline of your subject, simply drawing that outline with no detail
whatsoever. The trick is to not look at your drawing, but keep your focus on
your subject, moving your eyes and your pencil or pen at a very slow pace.
The reason we do this exercise is not to get an exact likeness of our subject
but to train our eyes and our hands to slow down and work at the same
speed. If you end up with something that resembles your subject,
congratulations! But I hardly ever do.

What I have noticed is that after doing this exercise daily for several
weeks, my ability to slow down and really see my subject has improved
immensely, and my quick sketches have become even quicker, as I do not
have to look back and forth between my drawing and my subject as often as
I did before. If you only do one daily exercise, make it this one. Vary your
subjects, even the complexity of them, and your eyes and hands will
become a team that will serve you well.

ARM-EXTENDED GESTURE SKETCHES

A gesture drawing helps us see our subjects in terms of energy, form, and
value. Think of keeping these to as little as five seconds and then a longer
practice of fewer than five minutes. Tape a piece of paper to your easel or to
the wall and hold your pencil loosely in your fingers, arm extended full
length, so that the tip of the pencil rests on the paper. By extending our arm
and not gripping the pencil tightly, we lose some of our control. This makes
it easier to avoid putting in details and to focus instead on keeping our lines
fluid and expressive, the main intention of a gestural sketch.
Position your subject a short distance from where you have taped your
paper and begin to make sweeping, sketchy lines depicting the general
direction of the main components of your subject. Then, begin to use these
scribble marks to create the darkest areas of your subject. Avoid creating an
outline. Instead, use these swift marks to create form, light, and shadow,
filling out the space that creates your subject.
Doing this exercise before beginning a more serious drawing helps us to
visualize the values and the form of the subject. It also helps to create a
sense of natural energy in our work, rather than painstakingly trying to draw
the outline first. Gestural sketches can also be done by taping several
pencils of different ranges of hardness together or by taping a pencil to the
end of a dowel, further extending the reach of your arm.
BLINDFOLDED SELF-PORTRAITS
I added the blindfolded self-portrait to my morning sketchbook habit about
two years ago, and it has greatly improved my sense of texture and form.
By removing my outward vision, I enhance my inner vision and have
learned to trust my ability to sense contour in my subjects. By choosing to
use self-portraiture as my focus for this exercise, I always have a subject at
the ready and can see different results of the same subject each day.
You can either use a blindfold or simply close your eyes, if you promise
not to open them. Open your sketchbook and place your pencil on the paper
to mark the top of your head; then, close your eyes and lift your other hand
to begin to feel its way around your face. Create marks on the paper that
depict the way each part of your face feels to your fingertips. For example,
my eyebrows feel like tiny upward dashes, while the way my eyelids curve
feels smoother. Where I feel the contours of my face dip in, I create softer,
darker marks that depict shadow.
Work your way around your entire face, meeting back up where you
started at the top of your head. Then, set your pencil down and open your
eyes. Often, I am amazed at how this exercise reveals my current mood. A
few of these drawings have been so remarkable that I’ve framed them. Over
time, I’ve learned so much about intuitive mark making and hope that you
will try this exercise as often as possible.
The most important thing is to show up to your sketchbook for at least
fifteen minutes each day. Make it a habit, as vital as brushing your teeth.
Take the sketchbook with you everywhere, vary your subjects, do quick
sketches, and work out compositions and new ideas. Use your imagination
to create drawings from memory. Try these simple exercises I’ve shared.
But most of all, just show up. Your drawings will reap the benefits in no
time.
GRAPHITE
In considering the techniques for realistic drawings, graphite will be our
foundation. Almost every project in this book, except for the lessons on
charcoal, will rely on the use of graphite in the form of a wood-encased
pencil that we will sharpen to a very fine point. There are so many other
forms of graphite to explore, from the silky, deep-toned powdered
graphite to the watercolor-like effects of water-soluble graphite. All have
their place, and I hope that in time you will experiment with each of
them.
Maple Seeds, graphite
Graphite Drawing
Of all the mediums I have worked with over my career, graphite is my
favorite. There is something so subtle and delicate about its silvery line, the
way it can be so crisp, and yet also smudge under my fingertips to impart a
sense of softness and delicacy that I have not been able to achieve with any
other tool. I turn to graphite when my subject calls for a quietness and
delicate rendering. It is also the foundation for all of my work in ink and in
watercolor. I consider graphite the foundational medium for all forms of art.
Tools and Materials
The supplies we need for drawing are simple and few. I like to stress quality
over quantity. If we keep things simple, we can learn to focus more on
technique. We grow so accustomed to our chosen supplies that using them
becomes intuitive.
I’ve tried many types of drawing materials over the years, from so many
different manufacturers. In the end, I’ve found that quality does matter.
Excellent materials make our job easier and are a pleasure to use. I find
myself purchasing fewer supplies and wasting less when I select quality
products. Whether using graphite, charcoal, ink, or watercolor, there are
really only a few items that are true necessities. Those that I am suggesting
are widely available at many art supply stores and online.

PENCILS
Graphite is a gray, crystalline form of carbon with a metallic sheen, whose
name comes from the Greek graphein (to write). Most of us begin to use the
ordinary No. 2 pencil in our early childhood, so the humble pencil can seem
like a familiar tool. The great American artist Andrew Wyeth said he used
only a cheap No. 2 pencil and whatever paper he could find. I have done the
same, and while it is possible to achieve great results with the most ordinary
pencils and paper, I have found that artist-grade pencils in a few degrees of
hardness have made a difference in my work.
Pencils come in sets of varying degrees of lead hardness, ranging from
10H, the hardest, to 10B, the softest. These sets can be fun to experiment
with, but you really don’t need all of them. You can achieve a full-value
spectrum using just four pencils: 4H, HB, 2B, and 6B.

WHAT IS LEAD HARDNESS?

Artist pencils are labeled with a series of numbers and letters. H stands for
hardness, and B stands for softness, or blackness. The higher the number
that accompanies the H, the harder the lead, so the scratchier and paler the
line will be and the harder it will be to erase and blend. The higher the
number in the B spectrum, the softer or darker the line will be and the easier
it is to blend. A 4H gives a pale silvery-gray tone, whereas the 6B gives a
rich, charcoal-gray tone. HB lead is right in the middle and is similar to a
No. 2 pencil. 2B is a bit darker. For the most part, we will be using pencils
with an HB and a 2B lead hardness.
Using the appropriate lead hardness can greatly improve the look of our
drawings. The best reason for using a variety of levels of lead hardness is to
be able to achieve a lighter and a darker line with a very delicate touch.
When we draw, we want to use the lightest pressure possible, so that we do
not embed the graphite in the paper, develop a sheen by pressing too hard,
or score the paper with a very sharp lead. By using a delicate touch, we also
preserve the textural quality of the paper: This can be an important part of
our drawing, as we’ll cover in the section on paper choice. To keep my
mark making delicate, I imagine that the tip of my pencil is a feather and I
am simply tickling the paper with it.
When selecting pencils, choose an artist-grade quality with a wood
casing made from cedar or other hard wood. Specialty pencils such as
woodless, mechanical, or water-soluble are great fun to explore, but we will
not be using them for the techniques covered in this book. Remember to
keep it simple: Quality over quantity.

PAPER
The look of drawings can change dramatically, depending on the surface we
choose. If you have spent any time in an art supply store, you’ll know that
the array of choices for paper can be dizzying. There are four things I like
to consider when choosing a paper for my drawings:

1. Fiber content. 100% cotton is my choice for fine drawings on paper. It

can be expensive to use for practice, but that is why we have a
sketchbook for daily exercises and for exploring and fine-tuning our
subjects and ideas.
2. Texture. The finish of paper matters. Drawing papers come in varying
degrees of smoothness, from the glossy plate-finish; to the ribbed, laid
texture; to fine-toothed vellum finish; hot-pressed watercolor paper; and
even the rougher texture of a cold-pressed watercolor paper. All of these
have their place. For my purposes, I choose a drawing paper with a fine
tooth such as Stonehenge made by Legion Paper or a hot-pressed
watercolor paper such as Fabriano Artistico or Arches. The finish has
just enough texture to hold the graphite, but is smooth enough to achieve
the finest details. For our lessons together, I suggest a fine-toothed paper
such as Stonehenge or a Bristol Vellum. For our sketchbook work,
choose a drawing paper sketchbook that has a slight tooth, not totally
smooth. This texture is often referred to as a vellum finish.
3. Durability. A good-quality drawing paper stands up to many layers of
graphite application and erasing without pilling or tearing. Inexpensive
printer or notebook paper won’t stand up to the techniques required to
achieve realistic drawings and will make your job more difficult. Find a
paper that can withstand the layering and erasing of graphite. Buying a
paper that is at least 90 lb (165 gsm) weight is a great place to start.
4. Color. Drawing papers come in many colors, but the most common are
white and cream. The hue of our paper does affect the mood and outcome
of our drawing. White is more stark and modern and is best for drawings
that will be reproduced in print. Cream has a softer appearance and a
more traditional look. Stonehenge paper comes in a variety of white and
 cream shades. You can select what appeals to you most. My only advice
is to keep your paper color very light for the techniques we are exploring.
I will be using Stonehenge White in 90 lb (165 gsm) for the graphite
lessons in this book.

OTHER TOOLS FOR GRAPHITE DRAWING

While the choice of pencils and paper are the most important
considerations, there are a few other tools we’ll need to create successful
realistic drawings. These are the materials I rely on for all of my graphite
work on paper:

• Pencil sharpener (A). While a good-quality pencil sharpener is always

handy to have, I use a craft knife (B) and sandpaper (C) to form a long,
fine point on my pencils. The long, needle-sharp point allows me a greater
range of motion in laying down large areas of graphite with the side of the
pencil, and it allows me to use the needle-sharp tip for very fine details.
Once you get used to this method of preparing your pencils, you’ll wonder
how you ever got along without it. If you are at all uncomfortable using a
blade to sharpen your pencils, a good-quality, long-point pencil sharpener
is a great substitute. Long-point pencil sharpeners are available at art
supply stores and online.
• Erasers (D). I use two types of erasers for my graphite work: a kneaded
eraser and a stick eraser that I can sharpen to a fine point. The kneaded
eraser can be molded into many useful shapes and it is very gentle on the
paper, leaving no eraser debris. It will last a long time if properly cared
for. Each time I use it, I pull it apart and knead it to work the graphite into
the eraser, leaving a clean putty. I can also flatten it and press it onto the
paper to remove large areas of highlights. Two stick erasers that I use are
the Perfection 7508, unique to the Faber-Castell brand and available in
wood casing that can be sharpened to a very fine point with a standard
pencil sharpener, and the Tombow Mono Zero, 2.3 mm. These are perfect
for removing very small areas of graphite with ease. While other brands of
stick erasers are available, I have not had much luck in finding others that
are easily sharpened to a fine point.
• Tortillons (E). These slender paper stumps are my go-to for softening
lines and subtle blending. Also called blending stumps, they can
 purchased in bulk at any art supply store. The pointed tips are delicate and
should not be pressed too hard. They are very inexpensive and should be
replaced when the tip wears down. I save older blending stumps that have
accumulated a layer of graphite to use as drawing tools when I need a
softer, smudgier line.
• Brush (F). I use a Japanese hake brush to dust off my paper instead of
using my fingers, which can leave behind an oily film and ruin a drawing
in an instant. You can also use an old cosmetic brush, a feather, or a
drafting brush. Just make sure it is soft and clean.
• A carbon pencil. I keep a carbon pencil handy for times when I need a
very intense black. It is rare that I need it, but it’s nice to have if the
occasion occurs.
• A word about easels. Many artists enjoy using an easel for their work. I
typically do not use an easel for drawing in a realistic style. I find that
having my drawing paper flat on the table allows me more control. If you
prefer to work upright on an easel, a table easel is a great and flexible
choice for smaller works on paper. It truly is a personal preference.
Values in Graphite
Understanding the importance of value is fundamental to achieving realistic
drawings in any medium. Value is defined as how light or dark something
is, and it’s used in drawing to depict light and shadow and to create the
illusion of roundness for 3-D effects in our two-dimensional works on
paper.
When using graphite, there are several ways to achieve different values
in our drawings: pressure, using different lead hardness degrees, and
creating layers.

Pressure: We can achieve different values using just one lead hardness. In
Example 1, I used an HB pencil to create a value scale by switching from
very light pressure to harder pressure. This is fine when we are making
sketches and want the convenience of using only one pencil. The trouble
comes when we use too much pressure. The graphite can become embedded
in the paper, destroying the appearance of the paper’s texture and creating
unwanted shine.
 Take a look at Example 2. I’ve made three swatches: a 6B pencil using
layers to create a deep value without losing the texture of the paper; another
using a 6B pencil with too much pressure, losing the texture and creating a
shine; and another with a carbon pencil, which can achieve the deepest
black values without creating shine or losing paper texture. I keep a carbon
pencil in my tool box for times when I need that black tone, but do not want
to lose the textural quality of the paper. When we use graphite heavily, it
tends to get shiny. Instead of appearing darker, as we are intending, it
creates a reflective finish that is undesirable for most realistic drawing
techniques. Too much pressure with a harder pencil, such as a 4H, can
create an impression on the paper’s surface, which will also negatively
affect the outcome of the drawing.

Using different levels of lead hardness and layering: In Example 3, I

have created a value scale from the very lightest to the darkest tones that I
can achieve by using light pressure with these four pencils. I began with a
4H, using the lightest touch possible, to fill in 1/4 of the rectangle. I then
used a second, light layer of 4H pencil beginning about 1/4 of the way in,
and then one more layer beginning about 1/2 of the way in, and again 3/4 of
the way in. Next, I used my HB lead to repeat the same four layers, moving
across the value scale, and then repeated the activity using the 2B and the
6B pencils. I also created a value scale for each pencil using a single layer
of hatching and then used cross-hatching in three directions to complete the
full range of value for each pencil. It’s really important to get a feel for the
value scales of the pencils you are using. Try these exercises in your
sketchbook several times and keep them as a handy reference for what your
own pencils are capable of.
As you can see, we can achieve a wide range of value with just one
pencil. Having a selection from 4H to 6B gives us even more possibilities
and allows us to use the light touch that is so desirable in achieving realistic
shading and textures in our drawings.
Graphite Project: A Single Pear
While doing daily sketchbook exercises is vital to our progress, diving into
a project is the perfect way to learn and practice new skills and techniques.
Completing a drawing project from start to finish reveals how it flows
together, step by step. When learning new processes, it’s important to keep
subjects simple so that our focus can be on technique and not on trying to
navigate a difficult composition.
Pears are my go-to subject for a first realistic drawing project. They are
readily available, stay fresh and unchanged for quite a while, and have a
fairly simple contour line, easily broken down into a circle and a triangle
that anyone can draw. The skin of a pear can have some fascinating and
varied markings that are just right for learning how to create the illusion of
texture with graphite. Pears are also quite beautiful with elegant line,
texture, and form.
For this project, I will work from a reference image that you can use, as
well. Once you have completed your first drawing, I highly recommend
using a real pear to repeat the process from a life study instead of relying on
a photo. Photographs are perfect to help us flatten a 3-D image so that we
can accurately see contour, shadow shapes, and highlights, but they can also
fool our eyes when we’re trying to see the more subtle details like texture.
Our eyes see best when we are working from life.

Before we begin, I’d like to share a bit of advice I offer to all of my students. The first time we
attempt a project, we’re learning. The second time, we’re practicing. By the third time,
we’re much more confident in the steps we need to complete for the best results. Then, we
can relax and work with a better flow, which almost always results in a better drawing. I
suggest you consider trying each of the projects in this book three times for the very best
learning experience.
 A single pear

THE BIG PICTURE

No matter how simple or complex the subject, begin by finding the basic
shapes that make up each element and then draw those shapes on the paper
to establish the composition. The composition defines how our subject
exists on the space created by the boundaries of our paper. Composition is a
vast subject on its own, and many books have been written about it. If you
are looking to understand composition better, I have listed some great
references at the back of this book.
For this project, our subject, a pear, will be positioned a little off-center
on the paper. This gives a relaxed effect and keeps things simple, so we can
draw the viewer’s attention to the fine details that we create. In most of my
work, I rely on this kind of simplicity. My subject shines when there are no
other elements to compete with it.
 To begin, look closely at the way the subject is built of simple shapes.
For our pear, it’s fairly straightforward; it is constructed of a circle with an
elongated triangle, narrowing to a fine point at the end of the stem. I do not
rely on measuring, but on observation and comparison, and I typically draw
to the same scale as my reference image or subject. If I am drawing from
life, I keep my subject near my paper and will often set it on the paper to
experiment with positioning. Once I’ve made that decision, I begin to draw
the basic shapes.
Using an HB pencil, lightly sketch the circle and then the triangle, as
close to the size of the reference image as possible. In every stage of a
drawing, the eraser is our friend. Use it. Make adjustments to the initial
shapes until you are satisfied with the proportions and composition as
compared to the reference.
When we begin our drawings in this way, we have an immediate picture
of how our entire subject sits on the page. If I were to begin at one end of
my subject and draw it carefully, adding in value and detail all at once,
chances are that I would run out of room or end up with something out of
scale or proportion. If I needed to make adjustments, I would have to begin
again. Getting the big picture down first helps us avoid this disappointment.

REFINING THE OUTLINE

Now that the basic shapes, or big picture view, are down on the paper, begin
to refine the pear’s outline by carefully observing the difference between
the shapes and the actual subject. In the example, I have made the final
outline in blue. Notice how it differs from the shapes I drew first.
Sometimes, the changes are quite simple, and other times, more dramatic.
Really take your time and make sure your final outline is as close to your
subject as possible. Once you are happy with it, use an eraser to clean up
any extra lines that you no longer need.

▸ Tip: At this stage, if you’ve used an eraser quite a bit and it is noticeable, you can trace the
outline and transfer it to a clean piece of drawing paper using graphite transfer paper. You can
also place your outline underneath a clean piece of paper, tape them both to a window or a light
box, and trace a new outline with an HB pencil on a clean sheet of paper.
Direction of Form
How we put graphite down when we’re filling an outline with tone is very important. Notice
the two leaves depicted below. On the le one, I simply filled in the outline, not paying any
mind to the direction of my marks. On the one on the right, I followed something called
direction of form, a way of closely observing a subject for the direction of its contours. When
we pay attention to this, our drawing already has the suggestion of dimension and shape as
we begin. Seeing direction of form in our subjects takes practice and close observation.
Practice this using many ordinary, small subjects such as this walnut and piece of cork or
small stones or dried leaves you might find on a walk. Once we are able to see the contour
direction of our subjects, our drawings greatly improve.
LOSING THE LINES
Now that the outline is complete, add a mid-tone layer of graphite to the
entire form. For the pear, use an HB pencil to lightly fill in the outline by
laying down graphite in the direction of form that you observe. This initial
layer should be uniform and applied with light pressure. Barely graze the
paper for a smooth application that allows the texture of paper to show
through. If you accidentally go too heavy, you can press a kneaded eraser
over the darker areas to gently lift some of the graphite. Again, this takes
practice. Take this step slowly and try to get the smoothest application
possible. The technique of creating a mid-tone layer in direction of form is
one of the most important steps in creating realistic drawings.
REVEALING THE LIGHT AND ADDING SHADOW SHAPES
With the mid-tone layer in place, it is time to add contrast to the pear. The
two qualities that create the illusion of roundness in realistic drawings are
contrast between light and dark and the smooth transitions between them.
Carefully observe your reference for the lightest areas of value. These
are the highlights reflected on the subject. Using the kneaded eraser, begin
to lightly press it onto the areas of the mid-tone layer that you observe as
the lightest in value. Remove the graphite slowly, a little at a time, until you
have revealed the same amount of highlight as you have observed.
 Now, with a 2B pencil, begin to lightly add in darker values where you
see them on your reference image. Pay attention to the shapes that the
darker values make. Re-create the same shapes in light layers until you have
achieved a likeness to your reference. Never forget that the kneaded eraser
can be used at any stage to fix any heaviness of hand or the wrong
placement of graphite.
There are two important things to remember when adding the shadow
shapes in this stage. First, use the softer 2B pencil at an angle to lightly
graze the paper. Notice how, even though I am adding a darker value, the
texture of the paper remains visible. Second, always consider the direction
of form as you continue to apply your pencil strokes.
ADDING TEXTURE WITH GRAPHITE
Now that the pear has a mid-tone layer, highlights, and basic shadow
shapes, it’s time to refine the contrast by adding textural marks. For this
step, we will once again pay very close attention to our reference, noticing
areas of different textures, lightness and darkness, and details specific to
this pear.
When adding textural marks to drawings, we tap into our intuition to use
the pencil as a way to imitate what nature has provided. In simplest terms,
we draw what we see. We want to create the illusion of what our eyes notice
and that is unique to our subject. The pear image that we are using has some
very specific markings to capture in this phase of our drawing. Notice the
subtle variations and blemishes in the patterning on the skin, the rough
texture of the stem, and the tiny water droplet where the top of the pear
meets the table it rests on. These are the nuances that make our subject
unique and give our drawings presence and a story.
▸ Tip: A few things to remember: Keep your marks in the direction of form, as you see them on the
subject. Keep the layers light, using different degrees of lead hardness to create lighter or darker
values. Finally, remember that in this phase of the drawing, we are adding the surface details that
we see. We will add more shading, shadows, and the finest details later.
 Begin with an HB pencil for the areas of the lightest values. Starting
near the stem, begin to use light marks depicting the surface textures and
markings that you see on the pear. I think of this process as going over the
subject with a fine-tooth comb, documenting everything that I see.
Sometimes, we use the pencil to lightly shade; sometimes, we use hatching
or even finely stippled dots. We are mimicking the marks of the pear on the
paper with the tip of the pencil.
After you have completed the textural marks on the areas in highlight,
switch to a 2B pencil to repeat the process in the darker shadow shapes.
When this step is complete, your pear should appear about like the example
shown. Remember, we all see things in our own way. The important thing is
to mark down, lightly and in direction of form, exactly what you see, to the
level of detail you wish to depict.

REVISITING VALUE AND ADDING THE FINE DETAILS

The next phase of the drawing focuses on making sure the highlights are
light enough and that the shadow shapes are dark enough. I like to think of
this as the dance between dark and light. Take a look at your drawing as
compared to your reference. Where do you see more light in the drawing? If
you need to lift graphite from a larger area, press the kneaded eraser on it
lightly to reveal a small amount of light where needed. In a tight area, use
the sharp tip of a stick eraser.

Next, take a look at where the reference might be darker in the shadow
areas. Using a 2B pencil, refine those areas on the pear with a subtle layer
of graphite, keeping your strokes even and soft. I tend to use small, circular
motions with the lightest touch so that the texture of the paper remains.
Add in the cast shadow with the 2B pencil, paying close attention to
where it meets the pear. Once the cast shadow is in place, use your tortillon
or blending stump to softly smudge the graphite so that it becomes darker
where appropriate and lighter the farther away it is from the pear. Look
closely at your reference image and mimic the cast shadow that you see.
Notice that there is a fine sliver of light where the pear meets the cast
shadow. You can use a stick eraser to lighten this area, if necessary.
 Once you are happy with the overall contrast of dark and light, begin to
notice where you might need the very darkest values. These are often very
small details, but adding them creates an impact on the realism of our
drawings. Using a very sharp 6B pencil and light pressure, add a sheer layer
of darkest graphite to where you see it in the reference, most likely a very
small area toward the rounded bottom on the right of the pear and where the
cast shadow meets the pear.
 Last, take another close look to seek out the tiniest areas with the
deepest dark details. Using the very tip of a sharp 6B pencil, add in these
subtle details, paying close attention to the stem of the pear and to the
textural markings.
The last step in our realistic pear drawing is to make sure the transitions
are very smooth between dark and light. Using the 4H pencil as a blending
tool, lightly smooth any areas between shadow and highlight that need to be
more subtle. This isn’t always necessary, depending on how lightly we have
added our darks, but I find that I most often need to do a little smoothing
between my brightest highlights as they transition into shadow. Notice how
I used the 4H pencil to lightly enhance the center tone of the pear, to make
the transition between dark and light more subtle.

From the big picture block-in to the subtle refining of transitions, our
graphite pear is now complete. These steps will be the same for any subject
we might choose. When we pay close attention to contour, values, and
textures, they enable us to achieve a rendering of our subjects with great
detail and a quiet presence.
The finished pear
CHARCOAL
There is a certain mysterious quality to charcoal that can’t be captured
with any other medium. I choose it when my subject calls for dramatic
contrast between dark and light and quiet subtle transitions between the
two qualities. There is something quite poetic about using burnt twigs to
create renderings of objects from the natural world, and to me, the best
way to create this atmosphere is by using charcoal in a reductive manner.

Turnips, charcoal
Charcoal Drawing
Reductive charcoal drawings begin with a dark background of powdered
charcoal smoothed onto the paper and then immediately using a kneaded
eraser to reveal the areas of light in your subject. The rest of the drawing
process becomes a dance between revealing the lights and enhancing the
darks, capturing textural qualities and playing up the subtle qualities of lost
and found edges. Yes, charcoal can be a messy medium when compared to
graphite, ink, or watercolor, but the process is uniquely satisfying as we
reveal the luminous play of light on a subject that is surrounded by
darkness.
As we learn to orchestrate the dance between dark and light, it will not
only help to create more atmospheric charcoal drawings, but will also allow
us to use the same perception of contrast for any other medium we choose
to work in. Welcome to reductive charcoal drawing. It’s all about the light.
Tools and Materials
Charcoal sticks: Just like graphite, charcoal comes in varying degrees of
hardness, but uses a different labeling system: Hard (H), medium (HB), soft
(B), and extra soft. The harder the charcoal drawing formula is, the lighter
the tone will be, and the softer the formula is, the blacker the tone. For our
lesson, I will use charcoal sticks by Nitram. I highly recommend these
sticks, as they are artist grade, easily sharpen to a very fine point, and have
a wide value range from hard to extra soft that allow me to achieve the
subtlest of transitions between dark and light. You can also use vine or
willow charcoal, which is readily available. If you can find vine charcoal in
hard, medium, soft, and extra soft and willow charcoal (which only comes
in one grade of hardness), that would be ideal. Otherwise, stick to vine
charcoal, which will give you the widest array of values with good
blendability.
Charcoal also comes compressed in pencil form and in small sticks of
compressed charcoal. I avoid both as I find them difficult to blend and they
tend to be very black without the possibility of lighter values.
Sharpening block: I use a sharpening block made by Nitram, which is
convenient and very effective. You can also use a 220 grit sandpaper block
that can be found at any hardware store.
Charcoal sticks need to be sharpened to a very fine and tapered point.
This takes some practice, but it will make a big difference in your ability to
render properly. To sharpen a stick of charcoal, position it flat against the
surface of the sandpaper, being careful not to press too hard (it can easily
break). Gently sharpen the stick, moving it across the sandpaper in a
circular or back-and-forth motion. Be sure to rotate the charcoal as you
progress to give even treatment to all sides. It is a slow process, but I find it
meditative and use the time to relax and enjoy the process of preparing my
tools. You want your charcoal stick to be refined to a needle-fine point and
a long taper, as seen in the photo.
Be sure to save your charcoal dust. I sharpen over a clean piece of
printer paper, then transfer it to a small glass jar. I reserve my extra-soft
charcoal dust in a special container, specifically for reductive drawings, and
the rest I combine together in a separate jar.
Erasers for charcoal: Without a doubt, the kneaded eraser (A) is the most
helpful tool for reductive charcoal drawings. I have one set aside to use
only for charcoal, and I replace it when it becomes so black that I cannot
knead it to a lighter gray any longer. I also use a stick eraser with a very
fine point, such as the Tombow Mono Zero.
For reductive charcoal techniques, I also recommend a dry-cleaning
eraser pad (B). These are small bags filled with eraser particles that you
sprinkle over the drawing and then gently massage with the eraser bag. This
helps to achieve a beautiful surface of charcoal to begin the drawing
process. Dry-cleaning eraser pads can be found at art supply stores and
online. I store mine in a small box to keep it clean when not in use.
Blending tools and white chalk: We need a variety of blending tools for
charcoal work. My favorite is a Japanese hake brush (C), about 5 inches (13
cm) wide. You can find these online or in art supply stores where they sell
brushes for Sumi brush painting. The brush is very soft and can be used
with a delicate touch for blending large areas all at once. It also is very
helpful for gently removing charcoal dust from the paper.
I have a variety of old watercolor brushes (D) in varying sizes that I
reserve just for charcoal blending. It’s helpful to have at least one very soft,
pointed round brush in a size 2 for fine detail work. Brushes made
specifically for blending pastels are also great, as are old cosmetic brushes
(E) that have been washed and dried. What matters most is the softness.
Anything too dense and stiff will remove too much charcoal and will make
your work more difficult.
Blending stumps and tortillons (F) are also important to have on hand. I
keep a special container of them just for charcoal work, so that I do not
inadvertently use them on the more delicate tones of a graphite drawing.
Don’t discard them when they become heavily saturated with charcoal dust.
These become treasured tools for creating soft lines and tones in drawings.
Finally, I keep a white chalk pencil, well-sharpened, in my charcoal tool
box. I only rely on it for very small details in the highlighted areas, but it
does make a difference, when needed.

Paper: There are many options for charcoal paper, and not all of them are
meant specifically for charcoal. If you purchase a charcoal paper, I
recommend the Strathmore 500 Charcoal paper (H). It is 100% cotton, has a
beautiful laid finish, and it stands up to heavy applications of charcoal,
erasing, and blending techniques.

One of my favorite papers for charcoal is the Arches Sketch paper

(Arches Esquisse) (I). This paper has a soft, laid texture and results in a
beautiful corduroy-like finish. For a finer, smoother texture, I prefer either
Stonehenge paper (J) or a hot-press watercolor paper such as Arches or
Fabriano Artistico (K). The texture of our paper choice greatly affects the
outcome of our drawing and should be chosen with your subject in mind.
For crisper, finer detailed subjects (birds, flowers, glass, etc.), I will choose
a smoother paper, and for more rustic subjects (such as tree bark, pottery, or
bowls of fruit), I choose a more textured paper. Ultra-smooth papers or very
thin papers, such as Bristol board in a plate-finish or anything under 90 lb
(165 gsm), is not suitable for charcoal. The dust needs something to grab
onto, and the paper needs to withstand layers of work and erasing.
Drawing board and easel: When working in charcoal, I always use an
easel. The main reason for this is that it gives the dust the benefit of gravity,
so that it can fall off the paper as you work. If you have a standing easel, tilt
it so that it leans a bit forward; the dust will fall away even easier. I mostly
use a table easel, as I tend to work small.
You will need a simple drawing board to give your paper a firm
substrate. I use blue painter’s tape to secure all four sides of my paper to a
piece of hardboard. You can even use a piece of stiff cardboard. You can
then secure it onto the table easel and have a sturdy surface to work on.
This also keeps you from accidentally leaning your forearm onto the paper,
which can result in unwanted smudges.

Fixative: Charcoal drawings can easily smudge if not sealed with a fixative.
I recommend Krylon Workable Fixatif Spray. Be sure to use outside or in a
well-ventilated area. A workable fixative is best because you can spray as
you go. It protects your work from unnecessary smudging, but the surface is
still able to be altered.
Reductive Charcoal Drawing and Preparing the
Paper
Before we begin our charcoal drawing, it’s important to prepare our paper
properly. Then, we will take our project step by step as we create a
luminous and poetic reductive charcoal drawing.

REDUCTIVE CHARCOAL DRAWING

In reductive charcoal drawing, the eraser becomes a primary tool. Instead of
building up line, tone, and shadow on white paper, we’ll begin with a
darkened ground and use the eraser to draw in the light. There are many
ways to go about a charcoal drawing, even following the same series of
steps that helped us create the graphite pear shown here. To me, however,
the language of charcoal is more poetically spoken when we use it to reveal
the light from the smoky foundation of charcoal already on the page.
As we begin to erase the primary shapes of light that we see in our
subject, something magical happens—the highlights and illuminated areas
of the subject emerge as the focal point of the drawing, creating an interplay
between light and dark. Think about the dramatic light of black-and-white
photos or of the chiaroscuro paintings of the Old Masters. It is a stunning
form of contrast, but also lends a mysterious quality. This technique can
create a subtle sense of atmosphere for even the humblest of subjects.
For this lesson, we’ll create a reductive charcoal drawing of a turnip, the
most modest of vegetables. Our turnip will be anything but ordinary. Let’s
get started!
PREPARING THE PAPER
Before beginning a reductive charcoal, you need to properly prepare the
paper. Begin by taping a 9 × 12 inch (23 × 30 cm) piece of charcoal paper
to your drawing board. For this lesson, I chose Arches Sketch paper for its
subtle laid texture and velvety finish.
If you have not yet sharpened your extra-soft charcoal sticks, now is a
good time so that you can create some charcoal dust.

Using a small spoon, scoop up some of the charcoal dust and begin to
gently sprinkle it evenly across the paper. Use the reference image as a
guide.
Now, take a clean paper tissue and begin to smooth the dust over the
paper in a serpentine motion. Start at one end and move across the paper
vertically and then begin again and move across the paper diagonally. Be
very gentle, careful not to embed the charcoal into the paper. Let it simply
skim over the surface. Take your board outside and blow the dust off (be
careful not to spit on the paper) or hold it over the sink or trash bin. You
want to excess dust to fall away.
 Next, using your dry-clean eraser pad, hold it over the paper and squeeze
it gently to allow some of the eraser dust to sprinkle on the paper, as evenly
as possible. Notice the amount used in the reference image.
Gently smooth the dry-clean eraser pad over the surface of the paper;
don’t exert too much pressure as you only want to smooth it, not remove the
nice dark background you have achieved.
Blow off the remaining eraser particles and dust. Your paper is now
ready for drawing.
Charcoal Project: Turnips
Before beginning to draw, I’d like to suggest that you make a few pencil
sketches of the turnip reference photo. First, a blind contour drawing, then a
gestural sketch. In the gestural sketch, really focus on laying in the big
shadow shapes and leaving the highlights as pure white paper. These quick
exercises will help you to see the subject more clearly and will greatly
inform your approach when you begin the project.
BIG PICTURE BLOCK-IN
Using your sharpened stick eraser, sketch the basic shapes of the turnips. Be
sure to notice where the line completely disappears into shadow and make
only the faintest line in that area. Indicate the main shapes of the two
turnips, also the roots and the way they overlap one another. Do not worry
too much if your lines are not perfect. The beauty of charcoal is the ability
it gives us to constantly correct and reshape lines. Just get the main shapes
down, using the example shown in the guide. If needed, you will be able to
correct later.
REVEALING THE LIGHT
For this step, it’s important to begin with a cleaned and pliable kneaded
eraser. Take a few moments to warm it in your hand and then pull it apart
and knead it so that it is clean and free of any large smudges of graphite or
charcoal. Now, you can mold it into a teardrop shape and position your
pointer finger at the end, as shown in the example. I find that this gives me
the greatest control while drawing with the kneaded eraser. If it doesn’t feel
natural to you, try other ways of holding it until you feel like you have good
control.
Using your kneaded eraser, begin to lift the areas of light as you see
them in the reference. I tend to use a gentle swiping or pressing motion,
lifting the charcoal in layers. Notice how the areas of light are of different
intensities. The softest values will be one gentle layer of lifting, while the
brightest areas will require that you lift the charcoal almost all the way back
to the white paper. Take your time during this step and enjoy how simply
revealing the highlights creates a lovely illusion of roundness.
ENHANCING THE DARKS
Now that we have the highlights revealed, it’s time to lay in the very darkest
tones. This is where we can really refine the shape of our subject, by
carefully comparing our drawing to our reference. With an extra-soft stick
of well-sharpened charcoal, begin to create the darkest values that you see
in the reference image. We don’t need to pull the darkness all the way to the
edges: having some gradual transition between dark and light in the
background gives a lovely effect.
As you can see in the example, we are not adding in detail, texture, or
mid-tones, just the darkest blacks that we see. This defines our subject and
provides the greatest area of contrast. Pay special attention to the root area
and where the two turnips touch one another. Take your time with this step.
It is a great chance to make corrections to the shapes of your turnips. Our
drawings do not need to be exact copies of the reference. We are trying to
capture the beauty of light washed over two turnips, not a photographic
replica. Also notice that there are places where my fingers lifted charcoal
from the edges. We can try hard to not disturb the background, but if it
happens, no worries. It can be corrected in the next step.
BRUSHING AND FIXING
This is where my students gasp when I tell them the next step. We all worry
about brushing away the careful work we have done so far. Not to worry.
This step brings a soft quality to the drawing and unifies the darks and
lights into subtle contrast. Using your softest brush (I use a sheep’s hair
hake) and the most delicate touch, gently sweep the bristles across, barely
skimming the surface of the paper. Move your brush in one direction only. I
almost always start at the top, moving from left to right. You will see the
image blend to a more subtle version of what it was before. Now, we’ll
begin the dance between dark and light, but first, give your drawing a light
coat of workable fixative and let it dry completely.
DANCE BETWEEN DARK AND LIGHT
In this step, we reveal the brightest highlights and add back in the darkest
darks by using a charcoal that is not quite as soft as the one we used first. If
you do not have a variety of charcoal sticks with different hardness grades,
use a lighter pressure instead.

With a clean end of a kneaded eraser or a stick eraser, pull out the areas
in brightest highlight. In brushing the drawing, we lost some of that, but we
also gained the chance to focus on only the brightest highlights. In the
example, you can see that this is on the upper portion of the right turnip and
a bit on the roots. Use a stick eraser where you need to be very precise.
Next, we need to add the darkest darks back in. With a stick of soft
charcoal (B), use directional hatching marks to build up the background that
surrounds the turnips, letting it gradually blend into the lighter areas.
Pay close attention the edges of the turnip, making sure to keep them clean.
Also, watch out for the shadows cast by the roots and between the turnips.
Move around the drawing with the soft charcoal, adding back the deepest
darks where necessary. This step is a bit more refined than our original
blocking in of shadow, and you will notice the charcoal adheres a bit more
to the surface now that we have used a light spray of workable fixative.
Using a charcoal stick that is one grade harder also helps to refine the layer,
as it is not as smudgy as the extra soft we started with. We can also use a
small, soft brush to soften any transitions between dark and light.
We want to be sure our contrast levels are satisfactory to our own
aesthetic. I prefer a softer contrast in my drawings and do not take my darks
all the way to black. You may prefer a more stark contrast. Either way, this
is the layer for achieving your preference. Keep moving between the eraser
and the soft charcoal, until you are happy with the level of contrast between
dark and light.
 When this layer is complete, spray the drawing with another light layer
of fixative and allow it to dry.
LOST AND FOUND EDGES
Take a close look at your reference image. When we are working with high-
contrast, chiaroscuro lighting, we will always have lost and found edges. In
some places, the outline of the subject gets lost in the shadowy darkness,
and in others, the most illuminated parts of the subject are in stark, crisp
contrast against the dark background. In this step, we’ll crisp the found
edges where there is the greatest contrast and then soften and enhance the
lost edges, where the turnips disappear into shadow. Notice how I use
simple hatching to carry the darkness from the shadow area of the
background into the shadow area of the turnip that almost disappears into
the background. Pay attention to the roots and be sure that they are
surrounded by enough darkness to make them stand out.

I chose to keep them in highlight more than in the reference image. This is a
personal preference. I really wanted to highlight these roots. This step
creates a sense of mystery as well as roundness of form. When finished,
give your drawing another light spritz of workable fixative.
TEXTURAL MARKS IN CHARCOAL
Creating texture in a realistic charcoal drawing is no different than the way
we approached it with graphite; it is all about close observation and using
your tool to create the illusion of what your eyes see. We can use any
variety of mark making as you move around the drawing, adding textural
details where our eyes notice them.
We don’t need to use a magnifying glass to realize the illusion of great
detail in our drawings. We want to portray what our naked eye notices and
no more. Hyperrealistic or photorealistic drawing is not what we are trying
to achieve here. To me, those drawing styles lose the atmospheric quality
that I am looking for—the sense of the artist’s individual vision and
expression. If we draw what we see and what is important to us about out
subjects, that is enough.
Think of your charcoal stick as an extension of your fingertips, combing
over the surface of that turnip. Make marks on the turnip, in the direction of
form, that portray how your eyes and fingertips would experience that
turnip. Use my example as a guide to how much texture and detail you want
to add. Draw what you see, no more and no less.
REFINING CONTRAST AND SHADOWS
Once we have arrived at this stage, it’s really all about small adjustments.
While our drawing might look finished at this point, it’s these refinements
at the end that can make our drawings extraordinary. In this step, set your
drawing in a place where you compare it to your reference image. Now,
take a step back and really notice where you might need to go a bit darker, a
bit lighter, or make your transitions between dark and light a bit smoother.
For this step, I use my hardest charcoal stick, an HB. If you are using a stick
of willow charcoal, make sure it’s very sharp and use the lightest touch
possible. Pay attention to where you might want to adjust the background or
the lost edges. Often, the adjustments at this stage are very slight.
Take special notice of the cast shadows that our subject is creating. Do
you need to strengthen them? Adjust them? Notice my slight changes to the
cast shadow areas, where the turnips touch the table and touch each other.
THE FINEST OF DETAILS AND THE FINISHED TURNIPS
We have arrived at a really beautiful place to be with our project. It should
be looking like a finished drawing, and yet, we can use this last push to add
a few small marks that will make all the difference.
Now, it’s time to put your reference image away and simply look at the
drawing you have created. We want this specific drawing to shine on its
own, without needing to be compared to a reference image. With a
sharpened stick of extra soft charcoal, add in the finest of dark lines to the
areas where you need more contrast. I judge this by where my darkest darks
need just a bit more punch. Often, this is in areas of fine detail or where
dark areas of the subject meet cast shadows. Study the example and the
image of the finished drawing to see where you might want to add these
finest of dark marks. Finally, this is the stage where I might use the white
charcoal pencil to enhance the brightest areas of highlight, paying attention
to the top of the turnip on the right and the top edges and very tips of the
roots. Again, study the example to see where I have added the smallest
amount of white chalk. It is not always necessary.
Our finished drawing of turnips captures the subtle beauty of a humble
vegetable. You’ve learned to create a dramatically lit rendering of the
subject by revealing the light and enhancing the darks. I hope you will try
this technique for other simple subjects, creating something extraordinary
and beautiful from the simplest of materials.
PEN AND INK
Of all the mediums I use for drawing, pen and ink is the most versatile. I
can achieve a crispness of line that allows me to render in great detail,
but I can also get a dreamy wash that can capture a misty atmosphere
reminiscent of Chinese landscape paintings. I can use it to sharply define
the outlines for a watercolor painting, or even use hatching and stippling
techniques that can give every nuance of shading and form that is subtle
and elegant all on its own. Pen and ink can also be combined with almost
every other medium to create wonderful mixed-media art.
Dragonfly I, pen and ink and watercolor
Pen and Ink Drawing
Before we dive into our first project with ink, we should understand the
basic tools and materials needed to successfully create the effects we are
hoping to achieve. Like graphite and charcoal, the supplies for pen and ink
are affordable and simple, but it’s good to understand the different
properties of what is available to us so that we make informed purchases.

Tools and Materials

THE PEN
While there are a variety of pens available, the most basic and traditional
tool is the dip pen (A)—a metal nib and holder. For our lesson, I will be
using a dip pen and black ink from a bottle. While it might seem a bit
inconvenient to continuously dip the nib into the ink, there is a variance of
line and an ease of obtaining different values that cannot be achieved with
any other method. Lines made from a dip pen are simply more nuanced in
shading and form.
Metal nibs come in a vast array of styles, which can be confusing for a
beginner. My best recommendation is to purchase a G Model nib (B) that
was created for Manga and comic artists. The G Model is easy to find in art
supply stores and online, is affordable, and has the perfect balance between
stiffness and flexibility, making it easier to control than a more flexible
drawing nib. You can achieve a very fine line to a very expressive, thicker
line with these nibs. You will also need a nib holder (C) in order to use the
nib, and these come from very basic to very decorative. Make sure the
holder accepts the G nib. There are three kinds of nib holders: one that
accepts regular nibs like the G nib, one that accepts round nibs, and a
combination holder that accepts both. For the G-Model nib, you will need a
regular nib holder or a combination nib holder.
PREPARING THE NIB
Metal nibs arrive with a sealant on them to prevent them from rusting. This
needs to be removed before use. My preferred method is to use boiling
water. Fill one small cup with freshly boiled water and another with cold
water. Insert the metal nib into the nib holder and swirl only the metal nib
(not the holder) in the boiling water for about five seconds. Then, swirl the
metal nib in the cold water. Repeat these two steps two more times and then
gently wipe the nib clean with a paper towel. The nib is now ready for use.
INKS
The type of ink you choose depends upon the effect you are looking to
achieve. There are basically two kinds of inks for dip pens: waterproof and
water-soluble. We will be exploring the use of both in this book.

Water-soluble ink: I choose water-soluble ink for three purposes: (1)

when I want to make a drawing with ink-wash effects by using a wet
watercolor brush to create shading within the drawing; (2) when I want to
create many values of ink to create a more three-dimensional look; and (3)
when I know I will want to use an eraser to lift ink to create even more
values.
Water-soluble ink comes in many colors, and it can be great fun to
experiment with different hues for your drawings. For the best results, I
choose an ink that holds its line even when I apply water.

There are water-soluble inks that completely melt under a wet brush, and
this will cause you to lose the line work. Most dye-based water-solvable
inks fall into this category. For my purposes, I choose a Chinese carbon ink
when I want to create wash effects without losing my line work. I will be
using this type of ink for our projects.
Chinese carbon ink comes in bottles and is very inexpensive. It is also
sometimes sold as Sumi ink or Chinese water-based ink, but be sure you are
getting one that is not labeled waterproof. This ink is typically a beautiful,
warm black that dilutes well to achieve the widest variety of values, straight
from the pen. The technique for diluting the ink will be covered in the next
chapter.
Waterproof ink: Waterproof ink is the best choice when we know we’ll
be using other wet mediums in our drawings, for instance a watercolor
wash. These inks can still be diluted to create variations in value, but once
they’re completely dry, they’re permanent and will not be disturbed by
washes. They are also not erasable.
Waterproof inks come in a variety of colors as well, and can be very
lightfast and archival. India Ink is often waterproof, but make sure the
brand you are considering states it. I typically choose either acrylic inks or
waterproof India ink when I need a waterproof ink or if I want a cool black
versus the warmer black of carbon ink. Both are very smooth, have richly
pigmented color, and can be diluted to a certain degree. We’ll be using a
waterproof ink for a mixed-media project later in the book. I recommend
that you try a variety of inks to see which you like best.
PAPER
Once again, the quality of the paper we choose really matters when we’re
using it for realistic drawings. Cotton paper of artist-grade quality is the
first criterion. We want it to be smooth, but not slick. When paper is
smooth, the pen nib does not get caught in the texture and cause lines to
become uneven. We also have to consider how the paper surface accepts the
ink. Many papers cause ink to bleed and feather, which can be very
frustrating. Another thing to look for is paper that is sized. This means that
the paper was treated with gelatin, which coats the fibers and impedes the
absorption of water. So, it can accept a wash if you choose to use water or
water-based media with your ink drawing.

Of all the papers I have used for ink, three stand out as excellent for my
purposes.
 100% cotton, 2-ply or 3-ply, Bristol paper in vellum finish: Bristol
paper comes in two finishes: plate and vellum. The plate finish is
ultrasmooth with no texture at all. It has an almost shiny appearance that I
find too slick for my ink drawings. It doesn’t accept washes well, so that is
also a deterrent for me. Vellum finish is still quite smooth, but has just
enough texture to accept a wash beautifully. I prefer the Strathmore 500
Bristol Vellum. It is an excellent-quality paper that comes in many weights
and sizes. For this project, I will be using a 2-ply in size 9 × 12 inch (23 ×
30 cm).

Stonehenge: The same paper that is so wonderful for graphite and

charcoal is also excellent for pen and ink. It has just enough texture, accepts
light washes, and is 100% cotton.

100% cotton hot-press watercolor paper: Again, this paper has great
quality, accepts washes very well, and has the perfect amount of texture for
pen and ink drawings in a realistic style. My favorite for pen and ink is
Arches hot press in 140 lb (255 gsm).
PENCILS AND ERASERS
Before I commit to an ink drawing, I create my initial drawing in pencil.
You can use an ordinary HB pencil to create your foundational drawing, or
you can try an erasable colored pencil. This is my preferred method: If I use
a brighter color like red or violet, I can see my line work clearly while I’m
inking. My brand of choice is Prismacolor Col-Erase. These pencils are
readily available, easy to sharpen, and very easy to erase.
To erase the graphite or colored pencil lines once an ink drawing is
completely dry, use a clean, kneaded eraser. This type of eraser is the
gentlest on the paper and will not lift any of the ink. For erasing actual ink
lines to create heightened values, I use a hard, white plastic eraser that I
keep on hand just for pen and ink.
OTHER SUPPLIES
A drawing board can be handy. If you tape your drawing paper to a board, it
provides a nice, firm backing. I typically do not use an easel when I’m
working in pen and ink. I like the control of having my paper flat on the
table. If you are more comfortable working on an easel, by all means try it.
I always keep paper toweling or a small cloth handy to wipe my nibs and
two small glasses of water: one to clean the nib and one to use for diluting
the ink. I also use a shot glass or baby food jar as a container for my ink. I
find it much easier to dip my pen into the wider opening of the shot glass or
jar, rather than the narrow opening of the ink bottle. I simply put the unused
ink back into the bottle at the end of each drawing session.
Creating Values in Pen and Ink
If you ask a room full of pen and ink artists what their favorite method is
for achieving a full-value scale in their pen or ink drawings, you will get a
room full of different answers. Chances are, you come to this chapter with
your own methods, too. I’ve tried many approaches, and I always come
back to the same technique—dipping my pen in a glass of water.
This might sound odd, but it works so well. It is a technique that must be
practiced a few times in your sketchbook, but then, it will become quite
automatic and intuitive. It is as no-fuss a technique as I have been able to
find. Here is how you do it:

1. Your setup should be as follows: A clean glass of water, your ink of

choice poured full-strength into a shot glass or small jar, a flattened roll
of paper toweling (or a soft cloth) for wiping your nib, a sheet of practice
paper, and your dip pen.
2. Dip your nib into the ink and wipe it gently on the rim of the glass. Now,
draw a 1/2-inch (1.3 cm) square and fill it in with cross-hatching marks in
opposing diagonal directions. Then, make a row of short marks
underneath. You want to see what full-strength ink looks like when
drawn on the paper. Underneath your test marks, write the letter F for full
strength.
3. Dip your nib into the ink again, wipe it on the edge of the glass, and then
dip the nib into the clean glass of water, one time. Wipe it on the edge of
the glass. Now, make some marks as you did before and label this section
with the number 1, for one dip.
4. Repeat this process, each time dipping the nib into water one more time
before drawing with it. This means full-strength, then dipped once, twice,
three times, etc., marking each with the number of water dips. You can
end with at least six dips and should have very pale gray lines.

Take a look at the example and notice the gradual shift in values from
full strength to the pale value of six dips. For my purposes, I usually use
one dip for my darkest areas of my drawing, four dips for medium values,
and six dips for lightest. Once you begin to work to work this way, how
much to dip to achieve the value you are looking for becomes an intuitive
process. Practice this exercise several times to see how much you need to
dip to get a dark black line versus a very light gray line.
Another way to achieve similar results is to mix the ink with varying
amounts of water in several shot glasses or glass jars: a dark, a mid-gray,
and a pale gray. For the dark, I use a 1:2 ink-to-water ratio; for the medium,
a 1:4 ratio; and for the lightest value, a 1:6 ratio. I find that the first method
of dipping the nib in water is the most convenient. Try both and use
whichever method is most convenient for you.
MARK MAKING WITH PEN AND INK
When working in pen and ink, our drawing techniques need to be precise.
Unlike the transformable, softer lines of graphite or charcoal, ink is more
decisive, permanent, and crisp. It is important to use marks that allow us to
create value and contour not only gradually, but with the ability to create
each at the same time. I use four types of marks in my realistic pen and ink
drawings: hatching, cross-hatching, stippling, and random textural marks.
Let’s look at some variances with each type of mark. I recommend that
you dedicate some sketchbook pages to practicing all of them so that they
become instinctual in your mark making vocabulary. When you practice
them, think of a subject’s different textures and forms that you can convey
by using each different type of mark.

Hatching: Hatching is a series of lines made in one direction. They can

be short, long, even, uneven, or even curved. When we draw in a realistic
style, the subject should inform us how we use hatching, always keeping in
mind direction of form.
Some examples of hatching:

From left to right: long hatching, short hatching, uneven hatching, and curved hatching

Cross-hatching: When you make hatch marks that overlap in different

directions, you’re cross-hatching. Cross-hatching is very useful for
suggesting both contour and shading, always keeping in mind the direction
of form.
Some examples of cross-hatching:
From left to right: long cross-hatching, short cross-hatching, random cross-hatching, and curved
cross-hatching

Stippling: In stippling, you’ll use the tip of the pen to make tiny dots.
When the dots are very close together, the value created is darker. The
farther apart the dots are, the lighter the value. This technique is wonderful
for very precise shading techniques. It doesn’t always work to convey
contour or textural qualities, but it can be used to show value on textural
areas of drawings.
Some examples of stippling:

From left to right: using only stippling to convey value, using only stippling to convey contour, and
stippling over cross-hatching to show a more refined value in a very small area
RANDOM TEXTURAL MARKS
Just as when using graphite or charcoal, the textural marks you’ll make in
ink are unique to each subject and are based on very close observation of
the subject’s surface textures. Textural mark making is used to create the
illusion of the texture we see. For example, there is no way to draw an exact
replica of sea foam, but we can use random mark making to create the
illusion of sea foam.
Some examples of random textural marks using pen and ink:

From left to right: feathery uneven hatching, random curved hatching, cross-hatching in four
directions giving the illusion of a fabric weave, tiny hatch marks giving a stubble effect, random
circular scribbles, and a basket weave effect from directional hatching
Pen and Ink Project: Pine Cone and Bough
Before you commit your lines to ink, it’s a good idea to create your initial
drawing in graphite. Using a sharp HB pencil, create a detailed line drawing
of your subject. Use the same process you would for beginning a graphite
drawing: block in the picture, refine the line drawing, and erase any extra
lines you do not need. I do these drawings in my sketchbook and then use a
sheet of tracing paper to trace the line drawing in HB pencil. Once this step
is done, I turn the tracing over and trace the same lines on the back side of
the tracing paper. The reason we need to trace twice is to have our image
oriented in the correct way.
 Once the second tracing is complete, turn it right-side up and carefully
position it on the paper you will use for the ink drawing. I use a small piece
of masking tape to hold it securely in place. Without moving the paper, hold
the tracing paper down with the fingers of your nondominant hand while
making a rubbing with a soft graphite pencil. Be sure to not move the
tracing paper at all once you begin the transfer. Continue rubbing the
graphite pencil across the entire traced image. Once you are done, carefully
remove the tracing paper. Your transfer is now ready for inking.
Notice the amount of detail in my pencil drawing. I was especially
careful with the shapes in the pine cone and also made some darker lines for
the spot where the branch is positioned under the pine needles. For the pine
needles, it isn’t necessary to draw every needle, nor for them to be exact.
What matters is where they initiate along the branch and the direction they
take. Even drawing a few representational needles from each cluster will
suffice. The needles will be inked by paying close attention to the reference
image, creating the illusion of many needles overlapping one another.
 When we begin to lay down the initial lines of ink, the goal is to have a
layer, light in value, over the entire image. We’re basically creating the
same outline drawing, but in a light value of ink. Once this is complete and
is totally dry, we’ll erase the pencil lines of the transfer drawing.
Because we want this layer to be light and uniform, we need to mix up a
small quantity of ink to make it easier as well as consistent. In a shot glass
or jar, add 1/2 teaspoon (3 ml) of ink and 21/2 teaspoons (13 ml) of clean
water. Stir them together. We will use this 1:5 ink dilution for the first layer.
When making realistic drawings in pen and ink, be mindful of not
creating a hard or dark outline, especially when areas of the drawing will
have lost, or very light, edges. We do this by using the lighter value of ink
but also by using broken lines.
Look at the reference image and notice where the pine cone has edges
that are very light, or even white, in value. In drawing these in the first
layer, we’ll create this “light” by using broken lines, or even stippling, so
that we do not have a strong outline. Look closely at the example shown to
see how this might look in this particular project.
 Begin to ink the transfer drawing by starting on the left side of the image
if you are right-handed or the right side if you are left-handed. (This will
ensure that our hands do not accidentally smudge the ink while it is still
wet.) Pay close attention to your reference image or subject while inking
over the pencil lines, using broken lines whenever you come to a place that
requires it. Once you’re finished, allow the drawing to dry for at least one
hour before using a clean kneaded eraser to gently remove all traces of the
graphite transfer drawing.

The first layer of ink and broken lines

PEN AND INK: FILLING IN THE FORMS
Now that we have an outline of the drawing created in the first layer of ink,
we’ll use directional hatching to convert the contour of each shape. For this
layer, we’ll focus on the pine cone and the branch. Our goal is to lay down
these directional hatch marks first in a light layer and then to cross-hatch
with a darker value of ink. These steps will create a drawing that shows the
beginning of the illusion of roundness—this is always the goal in creating
realistic drawings no matter what medium we are working in.
Pour some of your ink into a shot glass or small jar and have another
glass of clean water next to it. Have some clean kitchen toweling on hand
for dabbing your nib to remove excess ink. Paying close attention to the
reference image, begin to fill in hatch marks in the direction of form (the
natural line and contour direction of the subject) with a 1:5 ratio of ink (that
is either 5 dips into the water or a premixed dilution of 1 part ink to 5 parts
water). Another reason that I prefer the dipping method is because it gives
me more random variations in value, which I find pleasing. If you prefer a
more uniform value, use the premade dilution of 1:5.
Notice the lighter areas of the sample drawing to see how directional
hatching should look. Keep it simple and light, only filling in the areas that
are light. When you have completed this layer, it’s time to use cross-
hatching marks in a mid-value ink of 1:3 ratio (three dips or 1 part ink to 3
parts water) to fill in the darker areas. Always keep your lines moving in the
direction of form.
 Pay special attention to the areas where the sample drawing has the
darker cross-hatching. We are not putting in the darkest darks or fine
details; we are simply filling in the contour of our outlined subject. When
these steps are complete, allow your drawing to dry completely before
moving on.
ADDING DETAIL, TEXTURE, AND CONTRAST
The drawing is now at the stage where we can address the fine details and
textures and add in the areas of darkest contrast. We haven’t worked on the
pine needles since drawing the initial lines. Those first lines expressed the
direction and flow of the needles, but not the details or values. It’s not our
aim to make an exact replica of each needle in the reference but, instead, to
create the illusion of pine needles growing from the branch in groups.
I try to remember this good bit of advice: When drawing, we’re not
trying to draw pine needles, but the lines, shapes, and values of what our
eyes notice about the pine needles. Let’s look at how this might translate
onto our drawing.
If we closely examine the reference image, we notice two things. First,
the needles are randomly growing from specific areas on the branch. They
grow in clusters. We want to draw them in clusters. Second, the needles
overlap one another and therefore create shadows where this occurs. We can
show this by using different values of ink.
As always, we begin with the lightest values. For this drawing, we did
that when we drew the first lines depicting the needles. Now, we’ll use a
medium-value ink of either three dips or a 1:3 ink to water ratio. Paying
close attention to the reference image, notice how each needle appears to
have two lines defining it. Begin to define each pine needle that you have
already drawn by adding another line, very fine, parallel to the line that is
already there. If the needle crosses another, decide whether it is above or
underneath. If it’s passing underneath, stop the line where it meets the
needle resting on top and begin it again just the other side. If it crosses over
on top, draw the line directly on top of the needle it passes over. Here is an
example of three needles with the additional lines added.

Move across the drawing and create the second line for each needle. I
find it easiest to begin at the tips of the needles and carefully follow them
back to where they began. When this step is complete, allow the ink to dry
completely before moving on. Always allow each layer to dry, so you don’t
accidentally smear as you begin the next step.
 Once the needles are finished, we can turn our attention to details on the
pine cone and branch. Look for any defining marks in the reference image
or subject that stand out and make our subject unique. One thing about the
pine cone is that is has light areas where sap has dried at the tips of cone
segments. I can define these areas by using stippling or cross-hatching
around them, with tiny lines and dots to emphasize the light shapes. Also,
on a few sections of the cone, there are lines in the center. I can add these as
well. Our branch is fairly simple and we have already defined it quite a bit,
but at this stage, I want to be sure I have added marks that portray all of the
subtle details of every part of my subject. I make hatching or stippling
marks with either a light value ink of 1:5 ratio or a mid-value ink of 1:3
ratio for these fine details, depending on the value of the detail I want to
create. Take a close look at the sample drawing to see where I have added in
fine details to the pine cone and branch and where I might I use hatching or
stippling.
ADDING THE DARKEST DARKS
Now that the drawing is almost complete, we need to return to compare the
reference image or subject to the drawing. Squint your eyes and notice
where the darkest areas are on your reference image. These are details we
will add in this final step of drawing.
On the pine cone, it’s fairly clear that the darkest areas are where the
sections meet and are in shadow in the center of cone. We also have dark
areas at the tips of the outer sections of the cone. Our branch shows darker
areas all along the bottom edge as well as the tiny textural spikes along all
sides. Our needles show a darker value where they rest on the table, as well
as where the needles overlap.
Paying close attention to the reference, add in these small areas of
darkness with the tip of your pen using stippling or other types of marks
and a 1:2 ratio of ink to water. I dip my nib into the full-strength ink and
then once into my water glass, lightly dabbing the tip on a paper towel to
remove any excess ink before I begin to draw.
Once this step is complete, allow your drawing to dry completely before
moving on.
ERASING INK
One of the benefits of using Chinese carbon ink is that it can be lightly
erased once it has dried. The marks cannot be erased completely, but they
can be lightened with the gentle use of an eraser. This is helpful for
revealing any areas of the drawing that might have a wash of light on them,
or are generally lighter in value, without losing any of the details we have
added.
Some white plastic erasers will erase diluted carbon ink quite a bit,
while others do not work as well. I have found that using an eraser meant
for ink usually has a grittier feel and works best. Make sure you use an
eraser that is reserved for ink drawings only. This diminishes the chance of
staining the paper with graphite or charcoal that might be left on the surface
of the eraser. I find that Prismacolor’s Magic Rub eraser works quite well
when used with a delicate pressure.
Looking closely at the reference image, notice any area that is generally
lighter in value and compare it to your drawing. You don’t always need to
include this step, but if we do find areas that are darker than the reference,
we can use an eraser to bring some light back.
In comparing my sample drawing to the reference image, I noticed that
the left side of my pine cone was not as light. Using a plastic eraser, I gently
worked it back and forth until I had removed just a bit of the ink. I also used
the eraser on the upper tips of the pine needles toward the top of the
drawing. The change is subtle but effective.
FINAL DETAILS AND THOUGHTS ABOUT PEN AND INK
At this stage, I can consider my ink drawing complete, but as with any
medium I’m using, I like to take a refined look at my work as it stands on
its own. While relying on the reference throughout this process, there comes
a time when the drawing must be regarded as its own representation of the
subject.
Put your reference image aside and simply look at your drawing. Does it
feel balanced in contrast? Are there any areas that stand out to you as
needing a bit more depth or even light? Are you happy with the contrasts
your marks created? Does the drawing need more stippling or hatching or
any kind of intuitive marks to really give it presence? What about a cast
shadow? Does your drawing need one? For this pen and ink drawing, I did
not find the very subtle cast shadow in the reference to be consequential
enough to include it. I made the decision to leave it because I felt it might
confuse the viewer’s eye or simply make the image too busy. The focal
point is the lovely pine cone and the graceful groupings of pine needles.
Also, in botanical illustration, it is quite customary to leave out any cast
shadows. We can prove contour and shadow within the subject itself. By not
adding the cast shadow, we let the subject shine all on its own.
Looking at my own drawing, I felt I wanted to enhance some of the
areas of greatest contrast—the darkest darks. Using straight, undiluted ink, I
carefully adding some fine stippling marks where I felt the added contrast
would be valuable. Then, I felt my drawing was complete. I could sign it
and leave it to dry.
Learning to see is about taking the time to really be present with our
subjects and to examine them closely along every stage of the drawing
process. The few moments we spend with the most subtle details at the end
of our project can make all the difference in our work.
WATERCOLOR
The very first medium that I learned was watercolor, and it remains the
one I go to most o en. Perhaps it is the desire to be immersed in a
rainbow of color, subtly enhancing my drawings when the subject calls
for it. There is nothing like watercolor for adding dreamy washes of color
to your drawings. You can use it as a simple background behind a pen
and ink or graphite drawing, or as a precise form of drawing all its own,
with a finely pointed brush that can rival the sharpest pencil.

Welcome to the beautiful and expressive medium of watercolor.

Pine, graphite on watercolor
Drawing in Watercolor

Sonata 1, mixed media

You might be surprised to find watercolor described as a drawing medium

because you’ve thought of watercolor as a looser, more expressive medium
than graphite, charcoal, and ink. But think of botanical illustrators who use
watercolor to create their refined and realistic portrayals of plants. They’re
painting and they’re also drawing with watercolors. We can use this
versatile medium to enhance our realistic drawings in graphite and ink,
lending dreamy background washes of color that bring a refreshing
expressiveness to our subjects. This chapter is not an in-depth look at
watercolor techniques for realism; rather, it offers several useful techniques
to help you bring some color to your realistic mixed-media drawings.
To prepare for adding color to our portfolio of mediums, we’ll need to
discover the tools and materials that are essential for watercolors.

Sonata 2, mixed media

Sonata 3, mixed media
Tools and Materials
I want to emphasize the importance of quality over quantity in tools, no
matter what medium we choose. Watercolor is a vast medium and there are
thousands of possibilities that confront you when you purchase supplies.
For our purposes, we will keep it simple: the best quality paints you can
afford in a handful of colors that you truly love, artist-grade paper that
allows for wet washes while holding up to drawing techniques for both
graphite and ink, and one or two excellent brushes that will serve you well.

WATERCOLOR PAINTS
If you already have a selection of watercolor paints, whatever you have will
work just fine. If you are looking to purchase some, here are some things to
consider:

• Pans versus tubes: Both work very well, but there are advantages to each
of them. Choose whichever suits you better. Pans are very convenient,
usually less expensive, and are great for on-the-go sketching. However, it
is more difficult to create large mixtures of wash colors from a tiny pan.
Tubes can be a bit more of an investment, but they last a very long time
and can be squeezed into empty watercolor pans to create your own travel
set. They are also much easier to use for mixing larger amounts of paint
for washes.
No matter which paints you choose, make sure they are artist grade and
not student grade. Artist-grade paints have a much higher percentage of
pure pigment and very little binder. Student-grade paints are often dye-
based and much weaker in strength since they have a larger percentage of
binder. This decreases their costs, but it also decreases their brilliance and
intensity. The special properties of pure pigments can make a difference in
the look of your washes.
• Color selection: For the projects in this book, we’ll choose colors that
appeal to us, as well as basic colors such as the split primaries, which can
be mixed to create the entire spectrum of the color wheel. A six-color split
primary palette is all you really need to create almost any color you can
dream of. It consists of both a warm and cool version of the three
primaries: red, yellow, and blue. Artist-grade watercolors are identified
with both a common name, such as French Ultramarine, and also a
pigment number, such as PB29. While different paint manufacturers may
have creative names for their colors, the pigment numbers are a sure bet
that you getting the right pigment. I always shop by pigment number. Here
is a list of pigments that work well for a split primary palette, identified by
both their common name and pigment number.

• Warm Blue: French Ultramarine (PB29)

• Cool Blue: Phthalocyanine Blue Green Shade (PB15:3)
• Cool Yellow: Hansa Yellow Light (PY3)
 • Warm Yellow: Indian Yellow (PY108) or Hansa Yellow Deep (PY65)
• Warm Red: Transparent Pyrrol Orange (PO71) or Pyrrol Scarlet (PR255)
• Cool Red: Quinacridone Rose (PV19) or Permanent Rose (PV19) PV19
can also be more violet or magenta in hue, so look for either of the
names above to be sure you are getting the correct version.

While a split primary palette is ideal, the projects we will cover in this
book can be created with any basic watercolor set. If you want to purchase a
set, buy one with twelve basic pigments in the best quality possible.
I would also like to mention handcrafted gemstone and mineral paints,
which can be wonderful complements as a background for graphite and ink
work. These paints are unique in their coloration and textural qualities and
are quite beautiful in simple background washes. There are many artisans
creating these handcrafted watercolors. I’ve included a list of my favorites
in the Resources section at the end of this book.
WATERCOLOR PAPER
Here again, we enter a realm of myriad possibilities. I recommend keeping
it simple and using a 100% cotton mixed-media paper or hot-pressed, 100%
cotton watercolor paper in 140 lb (255 gsm) weight. These papers tend to
be smooth enough for ink, but with a bit of tooth for the adhesion of
graphite. It’s important to use a paper that has been sized, so that watercolor
flows well on them, and both of the papers mentioned above have this
quality. There are some cold-pressed papers that are smooth enough for
realistic drawing techniques, so if you already have some, check the surface
texture. If the texture is visually noticeable, it’s probably too rough for our
purposes.
Note: When using these mixed-media techniques, you will want to tape your paper on all sides to
a rigid drawing board to keep it from curling at the edges.
WATERCOLOR BRUSHES
You really need only two brushes to cover the techniques we’ll be using for
our mixed-media projects. Again, quality matters. I recommend a size 8
pointed round brush and a size 4 pointed round brush. You might also want
to explore flat wash brushes in varying sizes and even Chinese brushes for
their own unique qualities. Here is what to look for in a watercolor brush:

• Ability to hold water and paint: A watercolor brush needs to be made of

absorbent material, whether it is natural, like sable or squirrel, or
synthetic. Less expensive brushes tend not to hold much water. This
becomes frustrating when you can’t finish a stroke without needing to stop
and reload your brush. Most sable or squirrel brushes hold plenty of paint.
Synthetic brushes that are sold as “synthetic squirrel” or “synthetic sable”
are usually fine. Two excellent brands of synthetics are Princeton Neptune
and Kolibri Squi-Line.
• Springiness: A watercolor brush’s ability to snap back to a fine point after
each stroke is so important. You don’t want it to be too stiff or too floppy.
Again, sable is top notch for springiness, but the synthetics perform very
well also. For finer details, a synthetic brush on the stiffer side can give
you more control. Escoda Perla White Toray are my favorite synthetic
brushes for pointed rounds under a size 5.
OTHER SUPPLIES
• Two jars of clean water: one for rinsing your brush and the other for clean
water
• A roll of paper toweling or a soft cloth for wiping brushes
• A drawing board and paper tape to secure your watercolor paper
Watercolor Techniques for Mixed-Media
Drawings
There are four basic watercolor techniques—the wash, the charge, pulling
and softening, and layering—that we will explore for mixed-media
applications in our drawings. Each of these has its own specific charm and
use, but they can all be used together to create effects to enhance your
mixed-media projects. I suggest practicing them each on their own to get a
feel for how they might be useful to you in your own work.
As you work through these techniques, notice how they build on one
another and work together. You might notice how the techniques shown get
gradually more realistic. Each has a value on its own, and yet all must be
combined when we wish to achieve the most realistic results in mixed-
media drawings.
THE WASH
A watercolor wash background is a perfect complement to realistic
drawings in graphite and ink. A wash can also be used as a toned
background for charcoal drawings. Adding some glowing color to our
drawings is always fun. We want to make sure the color does not draw
attention away from our subjects but enhances them. Subtlety is key. A
sheer and subtle watercolor wash is something that we need to practice a
few times to get the best results.
Often, in first beginning to use washes, we end up with streaking or
overlapping lines. Here are some helpful techniques to practice for the best
results.
There are many types of washes used in watercolor, the main two being
the smooth wash and the graduated wash. For mixed-media work, I have
another that I like to call the dreamy wash.
The Smooth Wash
When a smooth, transparent wash is your objective, the most helpful tip is
to allow gravity to assist you. This is easily done by angling the drawing on
an easel or by resting your drawing board (with the drawing attached) on a
flattened roll of paper toweling.
We’ll want to mix our paint with plenty of water to create the right value
of pigment for the desired effect. I usually do this in a small ramekin,
teacup, or bowl. Make sure to mix enough paint so that you do not run out.
Using a larger pointed round brush or a flat brush, dip it into the paint wash
until the brush is saturated. Beginning at the top left-hand corner, run the
brush across the paper so that you have a bead of paint at the lower edge of
the wash. This is where gravity helps us.

After the first pass, dip your brush in the diluted paint once more and
begin again at the left-hand side, picking up the bead and moving it across
the paper. The bead of paint ensures that the wash remains fluid as you
carry it across and down the paper. Take care never to go over the same line
of paint twice. Simply begin again at the left, picking up the bead and
carrying it across, working your way down through the area where you
want the wash applied. After the final row of paint, dry your brush and use
the tip to wick up any paint that has beaded along the bottom edge. Leave
your paper at an angle until the wash has dried.
The Graduated Wash

This is created in the same way as the smooth wash, except that you add
clear water to your brush, instead of more paint, before each new pull
across the paper. By doing this you achieve a wash that graduates from dark
to light. You can also use the same technique to make a variegated wash, by
simply changing colors as you work your way down the paper.
The Dreamy Wash

This is my favorite wash for mixed-media work, when I want a soft

background to enhance my graphite or ink drawing. I usually stick to one or
two colors, to keep the wash subtle and not draw attention away from the
drawing itself. For this wash, I leave my paper flat on the table, usually
taped to a drawing board.
Using clean water and a large pointed round brush or a flat brush, I wet
the paper in the area where I want the wash of color. Then, using my
pointed round brush, I drop one or two colors of watercolor paint on the
inside area of the water glaze, leaving about 2 inches (5 cm) of clean water
glaze all around.
I allow the paints to move freely across the wet surface and mix and
mingle with one another. I then tilt my paper in each direction, which helps
the paint to move across my clear water glaze, creating soft edges and
subtle mixtures between the two colors. If I want blooms and texture in my
dreamy wash, I might splash some water drops onto the paint or even add a
sprinkle of salt. Once you are happy with the wash, leave it flat to dry
thoroughly.
THE CHARGE
The charge is a perfect technique for adding interesting color to our mixed-
media drawings. It’s especially useful for drawings where we wish to add a
pop of color. The basic idea is that the colors are applied pure, without
mixing the pigments: You create interesting effects by charging one pure
color into another, letting the pigments work their own magic.
We need to be mindful of the colors we choose so that they create the
effect we are looking for. I typically select between two and five colors,
narrowing my choices by considering my subject. Am I drawing a botanical
subject that I wish to have a sense of realism? If so, I select colors that
would be related to my subject in nature. If I want to be bold and
expressive, I will choose colors that reflect this decision. The same goes for
more muted palettes or groups of colors that might suggest a specific
feeling or atmosphere. My best advice is to keep things simple with no
more than five colors. This gives the work a sense of harmony.
 The technique itself is quite simple. In these examples, I have drawn a
simple leaf with waterproof brown ink. In the first example, I chose colors
that would give a more stylized, boldly expressive effect. In the second
example, I chose colors for a more natural, yet still stylized effect.
 This technique is worked wet-on-dry, which means applying wet paint to
dry paper. Begin with one color and then, working quickly so the paint
remains wet, dip the brush into another color and being applying it to the
edge of the first color. Continue this way across the subject, letting the
different pigments charge into one another, mixing and mingling on the
paper. Practice this with many combinations before you begin working on
the actual drawing. It’s often surprising and quite pleasing how different
pigments react to one another, creating effects that are spontaneous and
fresh.
PULL AND SOFTEN
This technique creates more controlled and subtle effects and is perfect for
when we want to add shading with watercolor to our mixed-media
drawings. This technique is worked wet-on-dry.
In the example shown, I have drawn the same simple leaf, but instead of
charging the color in, I created a more realistic effect by adding washes of
color in strategic places and then pulling and softening the edges to create
form and shading.
 To create the illusion of the leaf being curved up at the edges, I began
with a darker wash of green on dry paper toward the center vein. Then,
immediately, I used a clean, damp brush to pull the color out toward the
edges, softening it to a lighter value toward the outer edge. I then repeated it
for the other side of the leaf. Use this technique whenever you wish for a bit
more realistic effect and subtle shading.
LAYERING
Layering watercolor washes from light to dark gives the most realistic
effect when creating mixed-media drawings. By beginning with subtle
washes and gradually building up the values and contrast, we can achieve a
realistic-looking subject with texture and detail. Here is an example of
layering watercolor on a graphite drawing of the same simple leaf.

The Lightest Value Wash:

Mix up a light wash of natural green. (Ultramarine blue and
quinacridone gold, or any warm golden yellow, are choices that will
create a glowing, warm green.) Add lots of water to create a paler wash
for the lightest value. Apply this layer to the entire leaf.
The Mid-Tone Value Wash:
In this layer, create a mid-value green by adding more of each pigment,
plus a very tiny bit of red paint to deepen it. Begin with a water glaze,
clean water applied evenly to one half of the leaf, and then drop in the
green paint toward the edges, leaving the center area of that one side
pale. The water glaze helps to pull the paint across the surface in a soft
manner with no hard edges. Apply the same technique to the other side
of the leaf, leaving a very narrow space where the center vein would be,
free of any paint. This layer must dry before you move on.
Adding the Deepest Values:
Create an even deeper mix of green using more of the blue, gold, and
red. Repeat the same process as with the mid-value layer, using a water
glaze and then dropping in the deepest darks where you see them. If you
do get dark paint seeping in where you don’t want it, use a clean damp
brush to wipe and lift the excess paint away. Let this layer dry
completely.
A Unifying Layer and Fine Details:
For this final layer, mix a pale and glowing warm green in a very
transparent wash. Coat the entire surface of the leaf, being mindful of the
edges. This will unify all the layers and give a glowing finish to your
leaf. While it is still damp, drop in darker tones where you might need
them, including any small blemishes or soft marks. For the leaf, you can
use a deep brown, dropped in when the surface is almost dry, but wet
enough so that the paint blends in softly. You may also wish to add fine
details once this layer dries, using the wet-on-dry techniques covered in
a later chapter.
 Practice all of these techniques until you are comfortable with them on
their own and by combining them in various ways. Then, we will create our
first mixed-media drawing project.
Graphite and Watercolor Project: Beech Leaves
and Nuts

For our first mixed-media, realistic drawing project, we’ll create a drawing
on a watercolor wash background. The reference image provides several
groupings of beech leaves and nuts for you to select from. The composition
and colors can be anything you choose. Make it your own, while following
along with the steps needed to create this unique project.
TOOLS AND MATERIALS
• Two or three watercolor paints in the colors of your choice: I used
Wildthorne watercolors in Viridian (a medium, cool green), French Ochre
Leger (yellow ochre), and Sun Gold Mica (a metallic gold paint). These
paints are handcrafted from minerals and gemstones, which are perfect for
these simple background washes. They create beautiful and subtle
colorations and textures. I chose these colors because I wanted the dreamy
effect of sunlight streaming through leaves in the forest. Any watercolor
paints will work beautifully for this project. Select two or three that appeal
to you.
• Watercolor brush, size 8 (or larger) pointed round brush or a flat brush at
least 3/4 inch (2 cm) wide
• Hot pressed watercolor paper, 9 × 12 inch (23 × 30 cm), either in a block
or taped to a small drawing board
• Graphite pencils in various hardness levels
• Erasers
STEP ONE: CREATING A DREAMY BACKGROUND WASH
Following the steps we learned in the previous section, create a subtle
background wash in the center section of your watercolor paper. Avoid
taking the wash all the way to the edges so your paper does not buckle.
Before you begin, plan the composition, noting how big the drawing will be
and where you want to position it on the paper. Keep this area in mind as
you create your wash, leaving it pale and as free of paint as possible. See
the example below for how this might look once you have your drawing in
place.
STEP TWO: CREATING YOUR LINE DRAWING AND TRANSFERRING IT TO
THE PAPER
To keep the paper clean and not disturb the watercolor wash, create your
outline drawing in graphite. Begin with the big picture shapes and then
refine the contour lines and add in any details that will help you once you
transfer the drawing. (If you need to revisit the steps of creating a drawing
in graphite, see Graphite Project: A Single Pear.) Use the method of your
choice to transfer the outline to the watercolor paper, positioning it where
you wish the drawing to be. I used the tracing paper transfer method to
transfer my line drawing onto the watercolor paper. Note the amount of
detail I chose to include in my line drawing.
STEP THREE: FILLING IN THE FORMS
For this step, paying close attention to your reference image, fill in the mid-
tone layers with graphite, always keeping in mind the direction of form.
Notice how I have left some white space where the veins are on the leaf and
how I filled out the form of the nuts, not adding in any details yet, but
providing the mid-tones and shapes of the parts of each leaf, going a bit
darker where necessary. At this stage, it’s most important to block in the
shapes of each part of the subject, not worrying about detail just yet. Use a
very sharp HB pencil. (Refer back to Graphite Project: A Single Pear, if
needed.) Remember that this layer is all about losing the outlines, so we can
begin to create the illusion of roundness.
STEP FOUR: ADDING TEXTURE AND CONTRAST
Now, we want to begin to add contrast and texture to the drawing. Paying
close attention to the reference, use an eraser to lift out the areas of lightest
value. Then, using a very sharp 2B pencil, add areas of darker values.
Always keep in mind the direction of form and the textural qualities that
you see on your subject, especially the tiny sharp spurs on the nuts and the
veins on the leaf. Notice how I tightened up these areas quite a bit, after
using a kneaded eraser to lift out the lightest shapes I saw in the reference
image. Remember that you can adjust the value of your marks by using
more or less pressure on your pencil, but keep a light touch in general.

You can always refer back to the graphite chapter. The goal for this step
is to create depth and contrast between dark and light and to begin to give
the subject the illusion of texture and details, where you notice it on your
reference image.
STEP FIVE: FINAL DETAILS AND DARKEST DARKS
In the final stretch, compare your drawing to your reference image, noting
areas that might need to be darker or lighter. Make those adjustments as
needed and pay special attention to the very darkest areas. For graphite, use
a well-sharpened 5B pencil for the smallest, darkest details.

These tiny additions of darkest values, details, and the transitions

between them are what really give our drawings that sense of roundness and
refinement. For this graphite drawing, consider where you might want to
use a tortillon or blending stick to soften transitions or even a 4H pencil to
create the smoothest transitions between dark and light. This is not always
necessary, but keep in mind that the smoothness of transitions is one quality
that gives the illusion of roundness and detail in realistic drawings.

The very last step is to add the fine markings you see on the leaf using a
very sharp HB pencil and stippling marks or intuitive mark making to give
the illusion of the surface texture of the leaf. Keep your touch delicate and
subtle.
THE FINISHED DRAWING
The beauty of this drawing lies in its simplicity. The juxtaposition of the
finely detailed drawing against the expressive and dreamy watercolor
background can have a myriad of applications across a range of subject
matters. I hope you will try many combinations of colors and subjects using
these enjoyable techniques.
Ink and Watercolor Project: Autumn Treasures
Ink and watercolor can be an exquisite pairing. In this project, the fine
detailed lines of pen and ink become the structure for loose colorful washes
of pigment, giving a life-like quality to our realistic depictions of treasures
from the natural world. The reference image has a grouping of many
autumnal subjects from nature. Choose three that you would like in your
composition, create line drawings of each on a sheet of paper, and then cut
them out. On a piece of copy paper, arrange them in a composition that is
pleasing to you and adhere them to the paper with a glue stick. This will
become your reference image. I chose the oak leaf, the largest of the
mushrooms, and the chestnut still in its spiky shell.
For this project, we will be making our initial line drawing in graphite
and then use a waterproof black or brown ink to make a detailed drawing,
following the same series of steps as in Pen and Ink Project: Pine Cone and
Bough. Once complete, we’ll use watercolor techniques to bring our
realistic drawings to life. As always, refer back to the Graphite and Pen and
Ink chapters as needed.
STEP ONE: THE LINE DRAWING
Once you’ve settled on your three elements and have arranged them in a
composition on a piece of copy paper, create a line drawing, adding just
enough detail to capture the separate shapes within each subject. Transfer
this drawing to a 9 × 12 inch (23 × 30 cm) sheet of hot-pressed watercolor
paper, either taped to a drawing board or attached to a watercolor block.
STEP TWO: FIRST LAYER OF INK AND FILLING IN THE FORMS
The first layer of ink creates the boundaries of the drawing and replaces the
pencil lines. This first outline should not be too dark, so a dilution of 1:5 ink
to water ratio is ideal. It is very important that your ink is waterproof when
creating a mixed-media drawing with watercolor. I used an acrylic ink in a
transparent raw umber hue and diluted it with water in a shot glass. Using
your dip pen with metal nib, create the outline as depicted in the image,
referring to the reference image to make note of where the subject is dark
for a strong line and where to use a broken line or stippling for lighter
edges.

When this first outline layer is dry, begin to fill in the forms. You can
refer back to the Pen and Ink chapter to refresh, but, in general, fill in the
forms using directional hatching or stippling for more subtle shading and
texture to convert the contour of each shape within your subjects.
When using watercolor on ink drawings, we do not need to fill in the
lighter areas. Instead, focus on the areas of darkest values to create a sense
of roundness without filling in the entire form. Notice how I used stippling
on the smoother areas such as the leaf and mushroom cap, and then
hatching for the directional lines on the mushroom stem, and cross-hatching
for the deep recesses in the chestnut. I used more intuitive marks to create
the illusion of the furry texture of the outer chestnut. Always remember that
we want to really see our subjects, using our mark making decisions to
create the illusion of the textures we see, without trying to copy each and
every line and detail. This gives us a more poetic image that is unique to
each of us.
 The goal is to lay down these directional hatch marks first in a light
layer (1:5 ratio, ink to water) and then to cross-hatch with a darker value of
ink (1:3 ratio ink to water). These steps will leave us with a drawing that
shows the beginning of the illusion of roundness—always our goal when
creating realistic drawings no matter what medium we are working in.
Study the reference image to understand the level of hatching and
stippling that should be added during this stage. We want the watercolor to
have the center stage in our drawing, with the basic forms and shading
provided by the ink. When this layer is complete, allow the ink to dry
thoroughly and then use a kneaded eraser to gently remove any pencil
marks still visible.
STEP THREE: ADDING IN THE DARKEST DARKS FOR CONTRAST
Before we apply watercolor to our drawing, we want to make sure that we
have represented the darkest areas of contrast accurately. Squint your eyes
and study your reference closely, noting where the very darkest areas occur.
Using full-strength ink, add in these very small areas of darks using
stippling (most common) or very slight hatching or intuitive marks. Often,
these areas are very small, but they provide an important refinement in
realistic drawings. Note in the image where I have added some of the very
darkest marks.
Allow the drawing to dry completely before moving on to the next step.
STEP FOUR: WATERCOLOR WASH FOR THE LIGHTEST VALUES
Note: Please read through the remainder of this project before you begin.

Adding a wash of color to realistic drawings can bring to them to life in a

completely different way. The first step is to choose your palette, based on
your reference. For the subjects in our project we need only a few colors:

• A warm yellow such as new Gamboge, Indian Yellow, or Winsor Yellow

Deep
• A warm brown such as burnt umber or a mix of warm red, blue, and
golden yellow to achieve a similar hue
• A deep brown such as sepia or a mix of blue and orange to achieve a deep
brown
• Several shades of green, which can be achieved by mixing different blues
and yellows
• A pale milky ecru that can be mixed with brown and a touch of blue that
has been diluted to a pale tea wash for a hint of color

You will also need a glass of clean water, paper toweling to wipe your
brush, a size 2 pointed round brush, and a size 6 or 8 pointed round brush.
In watercolor, we begin with the lightest hues first. We can always build
color to a darker value, but it’s very difficult to bring a dark color back to a
lighter value. For my project, I began with a warm yellow, using three
different dilutions. A darker value (less water) for the veins on the leaf, a
middle value (a bit more water) for the bottom half of the mushroom cap,
and a very pale wash for the paler sections of the chestnuts.
 For the leaf, I used a number 2 pointed round brush to very carefully add
the darker warm yellow to the veins. For the mushroom cap, I used a
number 6 pointed round brush to paint the middle value yellow across the
bottom half, using a clean damp brush to soften the edge so it fades into the
upper area without a line. I then used the number 2 pointed round brush to
put a pale wash of creamy yellow on the lighter areas of the chestnuts.
Study your reference to find the palest values of color and begin there.
Once complete, allow this layer to completely dry before moving on.
STEP FIVE: WATERCOLOR LAYERS—ADDING THE MID-TONE VALUES AND
CHARGING IN THE DARKS
Next, we’ll add a wash of watercolor to every other part of the drawing,
using a mid-tone value. We adjust the value of watercolor by the amount of
water we add to it. The more water we add, the paler it becomes. I suggest
making a page of test swatches, mixing the colors you’ll need for your
subjects and trying varying amounts of water until you arrive at the mid-
tone value of each hue. You will then do the same to create the darker
values you see in each part of your subjects.
Let’s look at the leaf as an example. For the leaf, I created a wash of
burnt umber mixed to the mid-tone value and another mixed to the darker
value of brown that I could see in the reference image. If you look at the
reference, most of the leaf is in the mid-tone burnt umber range, with a few
areas of darker brown. The mid-tone burnt umber mix is painted over the
entire leaf, carefully avoiding the yellow veins. I used a number 2 pointed
round brush and painted each section of the leaf, moving slowly around the
veins. For the darker areas, immediately after painting each section, I
picked up a small amount of the darker brown paint and dropped it into the
wet paint, just a touch, so that it charged in and created the illusion of
texture and color variation. By working each section in between the veins
separately, it is easy to avoid painting over the bright yellow veins.
 For the mushroom cap, use the same burnt umber mixes and the number
6 pointed round brush. Begin with a water glaze, painting the entire
mushroom cap with a wash of clean water, making sure to remain inside the
lines and to create an even glaze of water so the paint can move freely.
Once the water glaze is on the paper, using your reference image as your
guide (always!), begin at the top of the mushroom cap and apply the mid-
tone burnt umber, stopping a little above the bottom of the cap. Allow the
paint to creep into the yellow area; it will stop short of the lighter, bottom
edge. Then, pick up some of the darker burnt umber mix and drop it into the
wet paint along the very top where the mushroom cap is darker. Refer back
to Layering, if needed. This technique creates soft color and value shifts
and creates the illusion of roundness.
 Clean your brush, dry it, and then use the tip of the brush to clean up the
edges of the mushroom cap.
For the stem of the mushroom, mix a very pale, milky ecru color as
noted previously. Apply it to the entire stem evenly.
The chestnuts are worked in two stages: first, adding a layer of mid-tone
burnt umber on the actual brown nuts; then, dropping in a bit of the darker
burnt umber mix where you see the darkest values on your reference image.
This needs to dry completely before moving on to the furry-textured outer
shell.
When the chestnuts are dry, mix a light spring green as close to the color
of the furry chestnut shell as possible. You can use a lemon yellow with a
touch of warm blue to get a fresh spring green. Also, have a bit of the burnt
umber mix handy on your palette. Always remember to pay close attention
to your reference throughout every step of a project.
 Using a number 2 pointed round brush and a very light and feathery
touch, paint the furry chestnut shell with the light green mix using short,
feathery strokes in the direction of form. Pay close attention to the very
edges and allow those to remain just as ink lines now and again. Once you
have the green sections painted, use a touch of the burnt umber to add a soft
flick of color at the base of some of the little spikes as in the reference.
Finally, mix the burnt umber with the spring green and paint the inside of
the chestnut shell, leaving bits of white paper showing through as needed.
Let your painting completely dry before moving on to the final step.
STEP SIX: ADDING CONTRAST AND THE FINAL DETAILS
Now is when we take a good look at our painting, comparing it to the
reference image. Where do we need more contrast? What areas of the
painting look flat and need more roundness? We will now go over each
subject in our composition to make sure we have captured everything
necessary to give our drawing presence.
This step is about refinement. Take a close look at each subject in the
composition. Do you need any darker marks on the leaf? Should you touch
up the bright yellow veins? The mushroom might need to be darkened a bit
where the cap casts a shadow at the top of the stem. Look closely at the
bottom of the stem. Using the same colors as before, I added more contrast
and deepened the browns. I also added a pale mix of the green and burnt
umber to the stem in small strokes where I saw markings in the reference.
On the chestnut, I added a bit more of the same green and burnt umber mix
to the base of the green spikes where it was needed, and I deepened the
contrast of the dark brown on the nuts. I also added a bit more of the green
mix to deepen where there might be shadows within the green spikes. You
can study the image of the final drawing to see where I added these final
details.
This step is very specific to your painting. It is a chance to really define
the areas of highest contrast, refine any areas that might not have clean
edges, and add any last details that you feel will make your subject unique.
Take some time to comb over each element and add those finishing touches
using a number 2 pointed round brush.
THE FINISHED DRAWING
This style of ink with watercolor has a true illustration feel, but with a
natural and refined elegance. It is well-suited toward more delicate, natural
objects. I hope you will try several combinations from the reference image
and also use this technique to portray some of the small treasures you might
find in nature.
Graphite and Watercolor Project: Chickadee on a
Branch
When we think of watercolor, it’s common to imagine loose and expressive
washes that are very painterly. Watercolor can also be used as a precise
method of drawing in a very realistic style. Think of the fine details and
realism of botanical art or natural history illustrations that are created with
watercolor.
In this project, we’ll use our graphite skills to create an outline of a
chickadee on a branch and then bring our subject to life in full color with
watercolor. There are so many ways to approach this style of drawing with
watercolor, and the techniques I’ll share are the ones I rely on for all of my
depiction of birds and botanical subjects.
Let the reference image of the chickadee be your constant guide. Study
it well at each step along the way. Remember, our main focus is to really
learn how to see our subjects and then to use tried and true techniques to
help us portray the illusion of our subject in a realistic way, on paper. We
don’t need to be a slave to every minute detail; however, we do need to use
our reference as our ally. Take each step slowly and surely and you will be
drawing with graphite and watercolor in a realistic style that can be used to
portray all kind of subjects.
TOOLS AND MATERIALS

• Hot-pressed watercolor paper in 140 lb (255 gsm), either taped to a

drawing board or in watercolor block form: I have used Stonehenge Aqua
paper in hot press block, size 9 × 12 inch (23 × 30 cm). It’s perfect for
watercolor and graphite in fine detail.
• Assorted watercolor paints, artist-grade quality: I used Buff Titanium,
Raw Sienna, Burnt Sienna, Payne’s Gray, Burnt Umber, Sepia, and French
Ultramarine. Most of these are standard in a basic watercolor set. I will
include mixing ideas throughout, if you are using a split primary limited
palette.
• Watercolor brushes in pointed round, sizes 8 and 2: If you have a size 0, it
may be handy for the finest details.
• White ceramic mixing plate or palette for mixing paints
• Paper toweling to wipe brushes
• A jar of clean water
• An HB pencil
• A kneaded eraser or other clean eraser suitable for graphite
• Sketching paper to create initial drawing, which can then be transferred to
the watercolor paper
STEP ONE: CREATING AN OUTLINE DRAWING IN GRAPHITE WITH THE
BIG PICTURE BLOCK-IN
As always, you can refer back to the Graphite chapter to refresh your
memory on the steps needed to achieve a precise line drawing of your
subject. Using a very sharp HB pencil and a piece of sketching paper, find
the basic shapes of your subject and draw them on the paper. Use the
example shown as a guide.
STEP TWO: REFINING THE LINE DRAWING
Paying close attention to the reference image, use an HB pencil to refine the
outline of your subject. Use an eraser to remove any unwanted lines and
redraw the lines as needed. I suggested creating your drawing life-sized to
fit nicely within a 9 × 12 inch (23 × 30 cm) piece of paper. Use the example
shown as your guide. Notice how much detail is depicted in the line
drawing. We want just enough to remind us of specific areas of details, yet
no shading that might muddy the watercolor.
 Once your line drawing is complete, use your transfer method of choice
to transfer your drawing onto the hot-press watercolor paper. Your drawing
is now ready for the application of watercolor.
STEP THREE: PAINTING THE LIGHTEST VALUES
In watercolor, I tend to work from light to dark, and just as with the mid-
tone layer in graphite drawings, I want to cover the entire image with a
layer of paint. In graphite, we begin with a mid-tone layer and reveal the
lightest areas with an eraser. Since watercolor cannot be erased, it is best to
begin with the palest wash of color.
For this subject, there are three main areas/hues of color on the bird and
branch:

• A pale gray for the bird’s head, wing feathers, tail, and for the bottom
section of the branch: I created this with a very watered-down wash of
Payne’s Gray. You could also mix French Ultramarine with a touch of
warm red and warm yellow until you achieve a neutral gray.
• A pale ecru/tan for the bird’s body: I used a mix of Raw Sienna, a touch of
Sepia, a very small touch of French Ultramarine, and plenty of water. You
could also use Buff Titanium watercolor or a mix of warm yellow with a
very slight amount of cool red and warm blue to achieve a pale ecru/oyster
white.
• A pale golden tan for the branch: I used Raw Sienna with plenty of water.
You could also use a watered down mix of warm yellow, warm red, and a
very slight touch of warm blue to mute it.
 Notice where the washes are placed on the line drawing and how very
pale they are. This step maps out the main areas of color without
committing to darker values just yet.
For the bird, use the tip of the number 2 pointed round brush to create
light strokes of color in the direction of form. Use the ecru mix where you
see white or buff hues and the gray mix for black or gray areas. Keep your
strokes light and always mindful of direction of form.
For the branch, use the larger size 8 pointed round brush to fill in the
branch with the pale golden tan mix. Always keep in mind the direction of
your brushstrokes: direction of form. Toward the bottom of the branch,
introduce the gray mix where you see a shift in color and then continue on
with the golden tan mix to finish.
In this step, you will also create the first layer of the bird’s eye. Pay
special attention to reserving the white spaces for catching light in the bird’s
eye. Use a darker mix of Payne’s Gray (or warm blue and warm red with a
touch of warm yellow) and the very tip of a number 2 pointed round brush
to depict the darkest values in the bird’s eye. This is the only place where I
begin with the darkest values. I find that creating the eye in the very
beginning gives the bird the spark of life. If the eye fails, I begin again with
a new drawing. If I wait until the end and the eye fails to come alive, I’ve
lost much invested time.
STEP FOUR: FIRST MID-TONE LAYER
When using watercolor over graphite in a realistic drawing style, we want
to gradually build up layers of color using appropriate brushstrokes in
direction of form. In this step, we continue building layers with a mid-tone
value of each of the color mixes we have previously used or as we see in
our reference.

Begin with the branch by mixing a mid-tone value wash of Burnt

Sienna. You can also mix a warm red with a bit of warm yellow and a very
small touch of warm blue. Use a number 8 pointed round brush and use
your reference image as a guide. Create light brushstrokes of Burnt Sienna
in the direction of form, depicting the mid-tone markings seen on the
reference image. Notice in the example shown how these markings are not
too dark (we will add the darker values later) and carefully follow direction
of form. The marks may stray in size and shape a bit, but applying them in
direction of form is key. This supplies not only texture and color, but also
provides a way to depict form and roundness. It gives the branch a realistic
structure and sense of growth and movement.
Where the branch changes texture and color toward the bottom, continue
with a mid-tone gray mix. Again, I used a Payne’s Gray, but you can also
use the same mix as in the first layer, adjusting the amount of paint added to
create a darker value.
Once the branch is complete, using a number 2 pointed round brush,
begin to add more of the gray mix to the areas of the bird that are of a mid-
tone value, including the eye and the feet. Study your reference image as
well as the example shown.
Again, use fine brushstrokes in the direction of form. For example, the
strokes along the wings would be long, fluid, and thin, while the strokes on
the upper mantle beneath the head would be short and feathery. We are
always trying to use our brushstrokes to mimic what our eyes see in texture,
form, and color.
 Next, mix a slighter darker version of the ecru color and follow the same
steps for the body of the bird, adding a touch of Burnt Sienna to where you
see it on the upper portion of the body.
STEP FIVE: THE SECOND MID-TONE LAYER
When the previous layer is completely dry, it’s time to add a bit more
contrast with a second mid-tone layer, just slightly darker than the last. You
could obviously skip this step, but in watercolor, these incremental layers
are what build roundness and texture and realism into our work.

Enliven the color from the previous layer and make each a bit darker—
not as dark as the very darkest areas in your reference, but somewhere in
between. Using the very tip of a number 2 pointed round brush, follow the
same process as before, but narrow in on the next darkest values that you
see. As always, follow direction of form with your brushstrokes. In this
layer, we really begin to refine the details of our little bird. Take your time,
allowing your eyes to study every area of the subject. (Don’t forget the tiny
legs and feet!) This is slow work and so enjoyable. When we really take the
time to see our subjects, we learn so much that we did not know before.
Allow the painting to dry completely before moving on.
STEP SIX: ADDING HUE AND SHADOW WASHES AND FINISHING THE
BIRD’S HEAD
It’s time to address the larger areas of shadow and hue in our subjects.
Notice on the reference image how the upper section of the bird’s shoulder
area (the mantle) has a warm gray cast to its color. Notice the roundness of
the bird’s belly and the darkness of the area just below the point where the
wings meet the body. Also notice the deep black of the bird’s head and
neck. These areas can be lightly washed with color to give them more depth
and refinement of color. The previous layer needs to be completely dry.

Let’s begin with the mantle area of the bird’s shoulder. Mix a very pale
wash of warm gray using warm blue and then a touch of warm red and
warm yellow. This should be a pale warmer gray, barely a hint of color.
Using your number 2 pointed round brush, carefully apply a light wash of
this color to the upper area where you notice the warm golden/greenish-
gray cast to the bird’s feathers.
Now, take a look at the pale belly of the bird. Whether or not we see a
shadow on our reference or not, here is a place where we might need to use
creative license. To give our subject the illusion of roundness, there needs to
be a subtle transition of value, even if our reference shows the area of
white. Using a very pale wash of a cool gray mix from previous steps,
lightly add a line of this pale gray where the bird’s body would curve away
from you: the area where the head meets the body, the area where the body
meets the wings, and the lower edge of the body. Use the softening
technique to gently transition the pale gray to the pale ecru of the body. This
is a subtle step, but very important. Once done, use this same pale gray
wash to gently add a smooth layer over the wing area, toning down the
bright white of the paper just a bit.

Next, we will add a wash layer to the branch, making the color richer
and unifying all of the layers we already have in place. Use a pale wash of
Burnt Sienna for this layer, gently covering the entire branch, except for the
grayish area at the bottom. While this layer is still wet, drop in a mid-tone
wash of deep brown to the areas on the branch that appear darker in value,
especially where the bird is casting a shadow around the feet. The wet-on-
wet technique of charging in color will create soft transitions between dark
and light and will not affect the details you added earlier. Again, use a
gentle application, barely touching the brush to the paper so as not to
disturb what is underneath. Continue with your gray wash to add a layer
onto the gray area of the branch, toward the bottom.

Now that our wash layers are complete, it’s time to add a layer of black
to the chickadee’s head. Use a very strong mix of Payne’s Gray plus a bit of
Burnt sienna or mix a deep black wash with any three primary colors. Then,
paying close attention to the direction of form, use the very tip of the
number 2 pointed round brush to add in the dark, yet fluid, black mix, with
short feathery strokes. Be very mindful of the edges, paying close attention
to the reference image to observe the texture of the tiny black feathers and
the direction they take. Add an extra layer of black right around the eye,
suggesting the boundaries of where the black feathers meet the dark eye.
Allow this layer to dry completely before moving on.
STEP SEVEN: THE FINISHING TOUCHES
In the final layer of a realistic watercolor drawing, it’s all about looking
over our work to find and enhance the finest details. Use a number 2
pointed round brush for this or if you feel you need a smaller brush, a size
0. I tend to prefer a number 2 because it holds more paint and can achieve a
more fluid line. One trick is to always dab the excess paint from the tip,
making sure the brush is coming to a fine point, before using it to apply fine
lines to the paper.
Make sure you have a very dark mix of all the colors you used in the
drawing up to this point. Beginning at the top of the subject, compare your
drawing with your reference image, making note of any place that could use
some depth or darker values of very fine details. Also, note any place that
might seem like it needs some intuitive markings to depict texture such as
on the branch. Study the sample of the final drawing to see where I have
added those finest, dark details and intuitive marks.
THE FINISHED DRAWING
From detailed outline drawing to finished bird, the slow method of
gradually building layers—from light to dark, from broader stokes of light
washes to the finest details with the very tip of the brush—allow us to
create the illusion of realism no matter what our subject is. I hope you will
try these techniques with many different natural subjects that you wish to
portray with graphite and watercolor.
 A FINAL PROJECT—STILL LIFE IN BOTH
GRAPHITE AND INK

We’ve learned a lot about honing our ability to see subjects along with the
techniques to help us document what we see with many mediums: graphite,
charcoal, ink, and watercolor. One question that I’m often asked is “How do
you decide which medium to use when creating realistic drawings?” For
me, this has to do with my emotional response to the subject I wish to
portray, but also with the unique characteristics of the subject. Is my subject
full of linear surfaces, such as the pine needles on a bough? Then, the fine
lines I can achieve with pen and ink would be a great fit. Does my subject
exude a soft sense of roundness, subtle coloring, and fine textural detail?
Then, graphite would be an excellent choice, such as with the pear. Do I
want to suggest dramatic lighting on a very simple subject? Nothing can
achieve dramatic lights and darks with subtle shading like a reductive
charcoal drawing, such as in the Charcoal Project: Turnips. And then there
is watercolor, which can bring brilliant color to drawings either as a dreamy
background as in the Graphite and Watercolor Project: Beech Leaves and
Nuts or as a way to achieve fine detail and life-like color, as in the Graphite
and Watercolor Project: Chickadee on a Branch. So many choices, but in
the end the choice is yours.
Our final project is actually two projects created from the same
reference image. First, we’ll make a realistic drawing in graphite, then
another in pen and ink with wash. I chose a simple still life that includes a
man-made object. The way I depict man-made objects in my drawings is to
use less focus on them, making the natural subjects the focal point. This is
my own personal aesthetic, but I find it effective. In the reference image, we
have a simple white vase that has a real sense of roundness, but no texture
or other detail. This lends itself to subtle transitions with graphite or dreamy
washes with ink. No other detail will be necessary. However, the branches
of leaves and flowers can be depicted with fine details, making nature the
focal point.
Note: Please read through all instructions before beginning each project and refer back to the
Graphite chapter if needed.
Still Life in Graphite
Let’s use some of the skills and techniques we’ve practiced to create a very
refined still life of a flowering branch in a white glass vase. I chose this
image for its wide variety of textures, from the shiny and reflective glass to
the velvety white petals to the textured foliage and branch. This is a perfect
subject to bring many techniques to one project and requires a refined and
delicate touch.

TOOLS AND MATERIALS

• Well-sharpened graphite pencils in 5B, 2B, HB, and 4H

• Pencil sharpener
• Kneaded eraser and sharpened stick eraser
• Feather or brush to dust off paper as needed
• Vellum-finish drawing paper in size 9 × 12 inch (23 × 30 cm), such as
Stonehenge White
STEP ONE: THE BIG PICTURE BLOCK-IN AND LINE DRAWING
As with all drawing projects, begin on a piece of sketchbook paper by
creating a big picture block-in. Notice the shapes you see in the vase, an
oval for the base with a small square for the neck. Pay attention to the
proportions of each and how they relate to one another and to the
composition as a whole. Also, notice the area of highlight on the vase and
make a suggestion of it in your line drawing.
For the branches, use fluid lines, in segments, as they extend from the
base to the tip. You don’t need to be exact, but create likenesses of each
segment of the two main branches and the places where smaller twigs
branch out and support the leaves and flowers. Notice in the sample
drawing how the flowers are not drawn, but the leaves are. This allows us to
draw the flowers very lightly where they fit in, as the final step, even using
a blending stick for a very soft suggestion of line without committing to a
hard mark that would need to be erased.

This exercise will test your ability to create small, fine shapes and detail.
We tend to think that bigger subjects are more difficult, but often, it is the
smallest subjects that test our skills the most. It’s important to keep your
pencils at their sharpest when drawing small objects. It will make your job
much easier.
Study both the reference and the sample drawing for an idea of how
much detail to add to the line drawing. Adjust your marks as necessary and
once finished, use your transfer method of choice to transfer the line
drawing to a clean sheet of drawing paper. Save the sketchbook drawing for
use in the next lesson as well.
STEP TWO: LOSING THE OUTLINES BY CREATING A MID-TONE VALUE
LAYER
In this step, use a well-sharpened HB pencil to create a mid-tone value layer
of graphite in the direction of form. If there are any areas of white highlight,
leave the paper white. Also, do not fill in the white flowers yet, but do make
marks to suggest the sepals where you see them and also fill in the form of
the branches. Study the example to see how I’ve used direction of form and
to notice where I’ve left the paper white, in comparison to the reference
image. Also make note of where I used creative license to simplify the
composition of leaves where necessary.
STEP THREE: BLENDING TO CREATE AN EVEN TEXTURE
This step addresses the man-made object in our reference image, the white
vase. To create the illusion of its smooth and reflective surface, we’ll use a
tortillon or blending stick with the lightest pressure possible. Pay close
attention to the reference image and follow the direction of form. Start at
the top of the vase and gently smooth the graphite with the tip of the
tortillon in the direction of form until you have an even texture all over. Do
not press firmly or embed the graphite into the texture of the paper. Think
of your blending tool as a feather grazing over the surface. Take a look at
the example to see how this should appear when complete. Remember to
keep the white areas, as seen in the reference image, free of any graphite.
STEP FOUR: REVEALING THE HIGHLIGHTS
Now, it’s time to reveal the light. You will need your kneaded eraser as well
as a stick eraser with a sharp point. For the Tombow stick erasers, cut the
end into a chisel-tip with an X-Acto knife. For pencil-style stick erasers, use
a pencil sharpener. This is very helpful for tiny highlights on smaller
subjects such as the leaves, if necessary, and for subtle lifting on larger
areas. Use the kneaded eraser to delicately press and lift the graphite on the
vase where you notice highlights on the reference image. The stick eraser is
used for small areas of light everywhere else, including the top edge of the
vase, and to blend between areas of dark and light. Experiment with them
both to see how they best work for you, always using the lightest touch.
Study the example to see how your drawing should look after this step,
paying special attention the different values of light in the vase, the shapes
formed by the highlights, and the lighter areas of the cast shadow.
STEP FIVE: ADDING THE DARKS
Here, we begin to add the contrast to the leaves, branches, and the space
where the vase meets the cast shadow. Again, this is delicate work, as our
subject is so small. Using a very sharp HB pencil, begin to comb over the
entire spectrum of leaves and branches, leaving the space for the flowers
blank. Notice where the leaves are darkest and use the very tip of the pencil
to mark in what you see, always following the direction of form. The
branches need to be darkened over all, but pay attention to where they are
darkest, especially at the areas where leaves create shadows on the branch
and on the places where the branches join. This is slow and fine work, and I
cannot stress enough how important it is to really see your reference and
mimic what your eyes see with your pencil marks.
Once the leaves and branches are complete, create a darker area where
the vase meets the cast shadow. Be soft but specific here. We will blend all
together in the next step.
STEP SIX: THE DANCE BETWEEN DARK AND LIGHT
Once we have our lightest areas and darker areas in place, it’s time to soften
the transitions between the two. With your 4H pencil and very delicate
pressure, blend these areas together on the leaves. It doesn’t take much, but
it’s a very important step. Always think in terms of directional form and the
balance between dark and light as you see it in the reference image. Study
the example before you begin.
Once the leaves and branches have been blended, continue to use the 4H
pencil to lightly blend the areas where dark and light meet on the vase. Use
fluid and light pencil strokes, varying between light hatching, cross-
hatching, stippling, circular motions, and intuitive marks. Imagine your
pencil is a fine cloth and you are polishing the smooth white porcelain of
the vase, always taking care to leave the brightest white highlights as the
pure white of the paper and to subtlety darken areas where there is shadow.
Take your time here and closely observe the reference image throughout.
STEP SEVEN: THE WHITE FLOWERS
Before the final step of adding in the darkest details, we need to add the
illusion of the white flowers. Illusion means that we don’t need to be exact.
Use creative license to add the petals where they fit into your drawing, but
be true to the forms of the petals and how they are situated on each stem.
You don’t need to make a photographic copy, and it’s fine to leave off petals
if the area feels congested. It’s never a bad idea to simplify the composition
of the elements to make them better suited to a drawing.
White is rarely white, but when you’re working in a monochromatic
medium such as graphite you need to be particularly careful to not go too
dark. For this step, use your 4H pencil and a clean tortillon. The idea is to
lightly create the outline of the flowers using broken lines and stippling
with the graphite. Then, use the tortillon to blend it into form. Where the
edges are lightest, use stippling, and where they are completely white, use a
broken line. First, use the 4H to draw the outline of every flower and then
go back and gently blend to mimic the forms and values that you see in
each flower petal. This is also slow work, but meditative. Take your time as
you work your way across every flower. You might also need to use an
eraser to lift areas of branch or leaf where a white petal needs to be. Study
the example to see how the flowers might look when finished. We each see
things in our own unique way, and your flowers will be your own.
STEP EIGHT: THE FINAL DETAILS
The last step is about creating the areas of greatest contrast and making
them really pop by using a very sharp 6B pencil and adding the tiny marks
of darkest gray where we notice them on our reference image. These small,
subtle marks will bring dimension to your drawing and truly bring it life.
Squint your eyes when studying the reference image and notice where the
darkest areas are. This is where we want to add small and intuitive
markings, making sure to comb over the entire composition. Take a look at
the finished drawing to see where I’ve made these marks.
THE FINISHED DRAWING
The more we draw, the better we see; and the better we see, the more
honest, realistic, and poetic our drawings become. This drawing of the
flowering branches is a testament to that. When we can accurately create
the illusion of such tiny subjects, we’re truly using our eyes and hands
together. Next, we’ll use the same reference image to see how to create a
different kind of portrait of nature by using pen and ink and wash.
Still Life in Pen and Ink and Wash
For the final project, we’ll use a different approach to the same subject of a
vase with flowering branches. By using pen and ink, we can create the
finely detailed leaves and branches. By using ink wash, we can portray the
vase as rounded, smooth, and a bit expressionistic. I love the juxtaposition
of richly detailed renderings with the dreamier, loose washes of ink. Again,
we’re working with fine detail on a very small subject, which challenges
our rendering skills and delicate touch.

TOOLS AND MATERIALS

• HB drawing pencil for the initial line drawing

• Kneaded eraser
• Metal drawing nib and nib holder: I used a Manga G nib.
• Pointed round watercolor brushes, size 8 and size 2: If you have a size 0, it
might be helpful.
• Chinese carbon-based drawing ink or other water-soluble ink: You can
choose black or sepia, depending on your preference. I’ll use black
Chinese ink.
• Shot glasses or jars or other type of glass wells for ink
• Two glasses of clean water
• Paper toweling
• 100% cotton, sized drawing paper such as Stonehenge White in 9 × 12
inch (23 × 30 cm) or sized, hot pressed watercolor paper, preferably 100%
cotton, in 9 × 12 inch (23 × 30 cm): You can either tape it to a drawing
board or work from a block. I used Stonehenge Aqua Hot Press in 140 lb
(255 gsm).
STEP ONE: TRANSFERRING THE OUTLINE DRAWING
Because you’ve already done the work of creating the outline drawing for
the previous project, simply use that original drawing to create a transfer to
the hot-press watercolor paper or sized drawing paper. Notice in the sample
drawing how the highlights on the vase are included this time. You can
simply add these with light pencil markings to your finished transfer.
STEP TWO: THE VASE
Normally, I propose going over the entire subject step by step, but with this
project, I suggest completing the vase in its entirety before moving on. The
reason is that the vase is the trickiest part, and if we need to begin again, all
is not lost. If I know that a certain component of a composition is going to
be more difficult than others, I will often complete that area first so that I do
not lose hours of work if I need to start over. We learn by our mistakes.
We’ll use a heavily diluted ink and the fine point of a watercolor brush
for the vase. A number 8 pointed round brush that comes to a fine point is
perfect. Make sure you clean your brush very well after using it for ink
washes. To begin, make three dilutions of ink to water in small shot gasses
or a small palette dish with individual wells: 1:8 parts ink to water (very,
very pale!); 1:6 parts ink to water; and 1:4 parts ink to water. The ink
washes for the vase are very pale, and yet the ink version will turn out a bit
darker than the graphite version. Still, we’ll have the same illusion of a
smooth, shiny ceramic surface. All brands of ink have different levels of
darkness. If your dilution seems too dark, add more water.

Step A: With the pointed round brush and the 1:8 dilution of ink to
water, carefully lay a light wash over the entire vase, avoiding all of the
highlighted areas that are defined in the pencil drawing. See the example
for how this should look when complete. Allow this layer to dry
completely and then use a clean kneaded eraser to gently erase all the
pencil lines except for the lines defining the cast shadow.
Step B: Next, we’ll add another wash over the entire vase, using the
same 1:8 dilution, but this time avoiding only the two brightest
highlights shown on the right side of the vase. Study the example to see
how this should look. When the wash is complete, dip the tip of the
brush into the 1:6 dilution and carefully drop just a touch of the diluted
ink into the areas where you see shadow on the vase on the left side.
Again, study the example to see where the 1:6 dilution was added. We’re
slowly creating the illusion of roundness.
Step C: This is the final wash for the vase. We’ll also create the cast
shadow underneath it. Begin with a glaze of clean water over the entire
vase, excluding the brightest two highlights on the right. We’ll leave
these as the white of the paper for maximum effect of shine, but will
soften the edges at the very end of the project.
 After the water glaze is in place, slightly tilt the paper so the ink works
its way downward. Dip the brush into the 1:6 dilution and drop in very
small amounts where you see the darkest areas of shadow. Let the ink pool
at the bottom edge and then dry your brush and use it to wick up any extra
wetness.
Next, dip the brush into the 1:4 dilution and draw a line along the
bottom edge of the vase, being careful not to go over into the wet edge.
Begin to pull the wash down and across the area of the cast shadow,
allowing it to lightly fade as you move the wash away from the vase. Wick
up any extra ink at the bottom with a damp brush and then lay the paper flat
on the table again. Notice the area between the vase and the cast shadow in
the reference. It’s a bit wider and darker toward the left side. Drop in a bit
more of the 1:4 dilution to create this additional darkness. Then, clean and
dry your brush and lightly run the tip along the area where the vase meets
the cast shadow. This will soften the two areas together and create a thread
of light where the two areas meet. Allow the ink to dry completely before
moving on.
STEP THREE: THE FIRST LAYER OF INK AND BROKEN LINES
Once again, our goal is to have a layer, light in value, over the entire image.
We are basically creating the same outline drawing, but in a light value of
ink. Once this is complete and is totally dry, we’ll erase the pencil lines of
the transfer drawing.
Use the extra light 1:8 ink dilution for the first layer. Keep in mind that
different brands and types of ink have different strengths. Refer back to
Creating Values in Pen and Ink. If your ink still seems quite dark at a 1:8
dilution, add more water until you achieve the correct value.
In making realistic drawings in pen and ink, be mindful not to create a
hard or dark outline, especially when there are areas of the drawing with
lost, or very light, edges. Do this by using the lighter value of ink and by
using a very fine line, as well as broken lines and stippling. Refer back to
the Pen and Ink chapter if necessary.
Look at the reference image and notice where the leaves and branches
have lighter edges. When we draw these during the first layer, we’ll create
this “light” by using broken lines, or even stippling, to avoid a strong
outline. Look closely at the example shown to see how this might look.
Make note of the thickness of the branches and stems. Use a more solid line
on the darker edges and a broken line of stipples where lighter. We won’t be
adding the white flowers until the very end, but do work in intuitive marks,
lightly, where you see the darker sepals of the flowers.
Begin to ink the transfer drawing by starting on the left side of the image
if you are right-handed or the right side if you are left-handed. This will
help prevent accidental smudges while the ink is still wet. Pay close
attention to your reference image or subject while inking over the pencil
lines, using broken lines and stippling whenever you come to a place that
requires it. When finished, allow the drawing to dry for at least an hour
before using a clean kneaded eraser to gently remove all traces of the
graphite transfer drawing.
STEP FOUR: FILLING IN THE FORMS
It’s time to fill in the forms using directional hatching and stippling to
convert the contour of each shape. Our goal is to lay down these directional
hatch marks, first in a light layer and then to cross-hatch with a darker value
of ink. These steps will leave us with a drawing that shows the beginning of
the illusion of roundness—always the goal when creating realistic
drawings, no matter what medium we are working in.
For this step, create a 1:6 ink dilution in a shot glass or small jar and
have another glass of clean water sitting next to it. You can also use the
dipping method as discussed in Creating Values in Pen and Ink. You will
also want some clean paper toweling to dab your nib on to remove excess
ink. Paying close attention to the reference image, begin to fill in hatch
marks in the direction of form with a 1:6 dilution of ink. One reason that I
prefer the dipping method is because it gives me more random variations in
value, which I find pleasing, and I can easily take the ink to a lighter value
if necessary. If you prefer a more uniform value, use a pre-made dilution of
1:6.
We are working only on the leaves and branches. Pay special attention to
the areas where the sample drawing has the darker cross-hatching. Don’t
add in the darkest darks or fine details; simply fill in the contour of the
outlined subject. The subject is delicate and small, so use a fine, delicate
touch and work slowly across each leaf and section of branch, always
remembering the direction of form. When these steps are complete, allow
your drawing to dry completely before moving on.
STEP FIVE: ADDING DETAIL AND REFINING CONTRAST
Now begins the dance between dark and light and the fine application of
textural marks. As with the graphite version of this subject, our subject is
quite delicate and small; our marks will be, also. This can seem
insignificant, but it’s what truly defines a realistic drawing with a sense of
presence over a simple drawing made with hatching and basic contrast. We
want to use our eyes to really see our subject and then to use our drawing
tool as an extension of our eyes to intuitively make marks that create the
illusion of what we see. This is nuanced work that gets better with every
drawing you complete. The effort is worth it; you will learn to create
drawings that are realistic, but also poetic.
For this step, have two dilutions prepared or use the dipping method: 1:6
dilution and 1:4 dilution. Carefully, study your reference image for areas
that need more contrast or that require a bit of texture, still avoiding the
white flowers and the vase. Use the 1:6 dilution for lighter areas that need
texture or details and use the 1:4 dilution for areas of darkest contrast. As
always, with such a small subject, use your most delicate touch with the pen
and nib. See the example for an idea of how your drawing might look when
this step is complete. Really get those darkest areas in place. This can be on
the leaves or also on certain areas of the branches. Use stippling or other
intuitive marks to create what your own eyes see. It’s all about the dark and
the light.
STEP SIX: THE WHITE FLOWERS AND FINISHING THE VASE
The final step for this project is adding the illusion of white flowers and
adding contrast to the vase. For this, we will once again use a brush and a
very diluted ink wash. The most important thing to remember is that you
will be creating clusters of white flowers as seen in the reference, but that
you will use your own artistic license about their placement. The main thing
to notice is the shape of each petal and where it is dark and light. This step
is done one petal at a time.
Make a 1:9 ink-to-water dilution and have a glass of clean water nearby.
With the very pointed tip of a number 2 pointed round brush, create a water
glaze in the shape of each petal, not too wet, just a smooth glaze of clear
water in the shape of the petal as you see it. Good lighting really helps here.
Once the glaze is down, dry your brush on a paper towel, dip the tip of it
into your ink dilution, and then blot on the paper towel. Use the very tip of
the brush to drop the ink into the petal where it’s darkest. If it is too dark
once applied, wipe your brush clean and then blot up some of the ink to
make it paler. Use your reference as a guide, but do not be afraid to
improvise. If two petals touch one another, move to another area and paint
that petal. You can go back to paint the petals that are touching when the
first one is completely dry. Move around the entire drawing until all white
flowers are complete. Then, use the pen and the diluted ink to add some
details in the white flowers with tiny dots and lines, where you see the
pistils and anthers. Study the sample drawing to see how this might look
when finished.
For the vase, use the number 6 or 8 pointed round brush and the 1:6 ink-
to-water dilution. Apply a light water glaze with clean water to the entire
vase area. Dip the end of the brush into the ink dilution and then add a fine
line of ink where you see the darkest area, where the vase meets the cast
shadow. Right away, clean your brush and lightly dry it off and then soften
the edges of the ink wash to let it blend into the cast shadow. Study the
finished drawing to see how this should look.
THE FINISHED DRAWING
It’s truly beneficial to experience the difference of creating drawings of the
same subject with two vastly different mediums. It encourages us to see our
subjects in terms of texture and contrast and form and to learn how to make
decisions about how different subjects can be portrayed simply by our
choice of tools and materials. I hope you will try this exercise with several
different subjects and with all four mediums we’ve used in our lessons
together. It will reinforce what your eyes see, instead of what your brain
knows, and give you experience with your entire tool box. This is key to
creating realistic drawings that are personal, unique to you, and filled with
presence.
 SOME FINAL THOUGHTS ON DRAWING

“I believe that the sight is a more important thing than the drawing …
I would rather teach drawing that my pupils may learn to love nature,
than teach the looking at nature that they may learn to draw.”
John Ruskin

This quote from John Ruskin, the 19th century artist, writer, and
philosopher, is why I draw and also why I aim to teach drawing to others. I
draw to learn, to welcome the natural world around me into my life in a
more meaningful way. I draw to find the extraordinary in the ordinary. All
along the way, I have enjoyed the products of my eyes and hands and heart
all working together: drawings in a realistic, yet poetic style that portray a
sense of wonder and awe of the natural world.
Ruskin also wrote: “Your art is to be the praise of something that you
love. It may only be the praise of a shell or a stone.” This is my way. My art
is to portray the world around me, the things that I love, on paper. In this
book, I have shared with you techniques and thoughts about how I go about
this way, in hopes that it might be your way, too. I also hope that you will
find ways to share your own practice of drawing with others. It is my belief
that the world would be a much more loving and peaceful, healthy place if
more people took up a pencil, pen, charcoal stick, or brush to draw the
world around them. Spread your love for drawing and spread it far and
wide. Art is a way for us all.

Kateri Ewing
East Aurora, NY
Bloodroot, watercolor and graphite
MIXED GALLERY

Three Ladies, watercolor and graphite

Crow Fly, Be My Alibi, graphite and ink
Sapling, ink
Fallen Maple Leaf, graphite
Magnolia, watercolor
Study for Knox Pines, graphite, charcoal, and watercolor
Three Pears, charcoal
Titmouse, graphite study for silverpoint
After Wyeth, charcoal and graphite
Three Leaves, graphite
Monarch, watercolor
Junco or Branch, watercolor and graphite
First Snow, ink and graphite
Van Gogh’s Field, graphite and charcoal
Moonflower, charcoal
Missing You, graphite
End of Summer’s Dance, watercolor
Maple, watercolor
Sycamore, watercolor
Red-Breasted Nuthatch, graphite study for silverpoint
Sialis Sialis, graphite study for silverpoint
Dandelion, watercolor
Thaw, ink and graphite
Phoebe, watercolor
Bird Study, watercolor and ink
Flower Study, watercolor and graphite
 RESOURCES

SOME BOOKS THAT I HAVE FOUND INDISPENSABLE AS AN ARTIST:

Andrew Wyeth: Master Drawings from the Artist’s Collection by Henry Adams
Botany for the Artist by Sarah Simblett
The Elements of Drawing by John Ruskin
The Unknown Craftsman by Bernard Leach and Soetsu Yanagi

TOOLS AND MATERIALS:

All of the materials mentioned in this book can be purchased through online resources, or you can
also check your local art supply stores. Here are some of my favorite online resources.

Blue Heron Arts Co.

Rowland Heights, CA
www.BlueHeronArts.com
Chinese art supplies

Earth Mineral Arts

Margot Guerrera
Santa Fe, NM
www.etsy.com/shop/EarthMineralArts
(Handcrafted watercolors)

Hyatt’s Graphic Supply Co., Inc

Buffalo, NY
Hyatt’s All Things Creative
www.hyatts.com
(General art supplies)

JetPens
San Jose, CA
JetPens.com
www.jetpens.com
(Great selection of inks, drawing nibs, and nib holders)

Rochester Art Supply

Rochester, NY
fineartstore.com
www.fineartstore.com
(All supplies, plus a fine selection of Chinese and Japanese art supplies)

Wildthorne
Aptos, CA
wildthorne.com
www.wildthorne.com
(Handcrafted gemstone and mineral watercolors)

I would also like to invite you to my YouTube channel, where you will find live demonstrations of
many of the techniques found on this book.

www.youtube.com/user/kateriewing

Visit me at:
Website: www.kateriewing.com
Instagram: KateriEwingArt
Facebook: Kateri Ewing—Watercolours
 ACKNOWLEDGMENTS

How can I fit a lifetime of thank-yous into one small space? So many
people, even some I’ve never met, have helped me find my way to where I
sit right now. Here are a few that I wish I could gather around an enormous
table for a warm celebration of gratitude.
My mom, Kateri; my dad, Donald; my stepmom, Diane; my brother
Michael, for being my family, the people who are always there for me,
through thick and thin, and who have encouraged me to follow my own
path. I love you all far more than I can express.
My children, Kristoffer and Anna, for being my constant true north, my
reason for pushing through the hardest times, my forever cheering section.
You are my greatest treasures and most beloved. I am so proud of you both.
My sweetheart, Rick, my best friend in the whole world, my fellow artist
who understands the path and walks along beside me. It is an immense gift
to share my life with someone who appreciates the work I do every day, and
every day also celebrates my efforts, achievements, and helps me remember
that my failures are what help me grow, with such steadfast love and
compassion. I am truly, really truly, the most grateful and lucky woman. I
never knew this kind of love, until I knew you. I could not do the work, the
way I need to do the work, without you by my side.
My stepdaughter, Mariah, for also being my cheerleader, and for your
love and acceptance of me in your life. I’m so grateful for you.
My dearest girlfriends, who have lifted me up when I really needed the
lifting. You’ve been the most understanding and supportive friends a
woman could ever hope for. Thank you, for everything, always.
My friend, Grace Meibohm, owner of Meibohm Fine Arts, and her staff
David, Mark, and Nancy, who have become like family to me. Thank you
for seeing in me what I could not see for myself. Thank you for every
opportunity, for your nurturing kindness, for believing in me. How can I
ever say thank you enough?
 My team, past and present, at Craftsy, for all you have made possible for
me by giving me a chance and treating me like a queen. I’ve learned so
much, and I am so grateful.
My editor, Judith Cressy, for your vision of this book, for believing I had
it in me, for your guidance and patience and kindness all along the way. I’m
still amazed that you gave me this opportunity. Thank you, always.
My students, the ones who encourage me to share my love for drawing
and my deep belief in the power of the creative practice. It is my honor to
share it all with you. Thank you for giving me the gift of seeing things
through your eyes, as I continue to practice the gift of seeing through my
own. We are, all of us, eternal beginners … the most wonderful thing to be.
And to my greatest teachers, John Ruskin and Andrew Wyeth, whose
life’s work and words have been a never-ending fount of inspiration and
wisdom.
 ABOUT THE AUTHOR

Kateri Ewing says that her work isn’t so much about creating art or making
a statement as it is an avenue to convey how thoroughly in awe she is of the
natural world around her. She expresses that awe in richly detailed drawings
and paintings of songbirds and treasures of the plant kingdom. Self-taught
and committed to her continuing development as an artist, her technique
evolves as she imagines ways to share the beauty and uniqueness of her
winged and botanical subjects.
Kateri has lived in western New York for more than half her life and
counts Europe, the Midwest, the Desert Southwest, and Texas as previous
homes. In preparation for drawing and painting, she regularly walks,
sketches, and photographs the woods, meadows, and waterways near her
home. She lives with her sweetheart, Rick Ohler, at Three Cat Farm, where
they happily work side by side on all of their creative endeavors. She
teaches at her studio at the historic Roycroft Campus, as well as for
Craftsy.com, NBC/Universal’s Bluprint. com, and at workshops near and
far. Kateri is also a Companion of the Guild of St. George. Visit her online
at www.kateriewing.com.
 To my family: Mom, Dad, Michael, Kris, and Anna, you have
never failed to encourage, believing in me always.

And to my love, Rick, who helped me find my wings, who walks

the path beside me, who is my ever-steadfast soft place to fall.
© 2019 Quarto Publishing Group USA Inc.
Text, illustrations, and photos © 2019 Kateri Ewing

First published in 2019 by Rockport Publishers, an imprint of The Quarto Group,

100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA.
T (978) 282-9590 F (978) 283-2742 QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written permission
of the copyright owners. All images in this book have been reproduced with the knowledge and prior
consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer
for any infringement of copyright or otherwise, arising from the contents of this publication. Every
effort has been made to ensure that credits accurately comply with information supplied. We
apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing
information in a subsequent reprinting of the book.

Rockport Publishers titles are also available at discount for retail, wholesale, promotional, and bulk
purchase. For details, contact the Special Sales Manager by email at [email protected] or by
mail at The Quarto Group, Attn: Special Sales Manager, 100 Cummings Center, Suite 265-D,
Beverly, MA 01915, USA.

Digital edition: 978-1-63159-623-0

Softcover edition: 978-1-63159-622-3

Digital edition published in 2019

Library of Congress Cataloging-in-Publication Data available.

Cover Images: Kateri Ewing

Design and Page Layout: Allison Meierding
Photography: Kateri Ewing; Shutterstock on pages 22, 29 (bottom), 38, 47 (bottom), 56 (top), 76, 81
(bottom), 82 (top), 87 (top), 88, 95 (bottom), and 96; and Mark Strong, Meibohm Fine Arts on pages
2, 4, 16, 48, 62, 113, 114, 116, 120, 121, and 122.
Illustration: Kateri Ewing