TOOLS & MATERIALS

Drawing is just like writing your name. You use lines to make shapes. In the art of drawing, you carry it a bit further, using shading techniques to create the illusion of three-dimensional form. Only a few basic tools are needed to draw. All the tools necessary to create the drawings in this book are shown here.

Pencils

Pencils are labeled based on their lead texture. Hard leads (H) are light in value and great for fine, detailed work, but they are more difficult to erase. Soft leads (B) are darker and wonderful for blending and shading, but they smudge easily. Medium leads, such as HB and F, are somewhere in the middle. Select a range of pencils between HB and 6B for variety. You can purchase wood-encased pencils or mechanical pencils with lead refills.

Paper

Paper has a tooth, or texture, that holds graphite. Papers with more tooth have a rougher texture and hold more graphite, which allows you to create darker values. Smoother paper has less tooth and holds less graphite, but it allows you to create much finer detail. Plan ahead when beginning a new piece, and select paper that lends itself to the textures in your drawing subject.

Wooden Pencil The most common type of pencil is wood-encased graphite. These thin rods — most often round or hexagonal when cut crosswise — are inexpensive, easy to control and sharpen, and readily available to artists.

Flat Carpenter's Pencil Some artists prefer using a flat carpenter's pencil, which has a rectangular body and lead. The thick lead allows you to easily customize its shape to create both thick and thin lines.

Mechanical Pencil Mechanical pencils are plastic or metal barrels that hold individual leads. Some artists prefer the consistent feel of mechanical pencils to that of wooden pencils; the weight and length do not change over time, unlike wooden pencils that wear down with use.

Woodless Graphite Pencil These tools are shaped like wooden pencils but are made up entirely of graphite lead. The large cone of graphite allows artists to use either the broad side for shading large areas or the tip for finer strokes and details.

Graphite Stick Available in a full range of hardnesses, these long, rectangular bars of graphite are great tools for sketching (using the end) and blocking in large areas of tone (using the broad side).

Paper

Paper has a tooth, or texture, that holds graphite. Papers with more tooth have a rougher texture and hold more graphite, which allows you to create darker values. Smoother paper has less tooth and holds less graphite, but it allows you to create much finer detail. Plan ahead when beginning a new piece, and select paper that lends itself to the textures in your drawing subject.

Blending Tools

There are several tools you can use to blend graphite for a smooth look. The most popular blenders are blending stumps, tortillons, and chamois cloths. Never use your finger to blend — it can leave oils on your paper, which will show after applying graphite.

Stumps Stumps are tightly rolled paper with points on both ends. They come in various sizes and are used to blend large and small areas of graphite, depending on the size of the stump. You can also use stumps dipped in graphite shavings for drawing or shading.

Tortillons Tortillons are rolled more loosely than a stump. They are hollow and have one pointed end. Tortillons also come in various sizes and can be used to blend smaller areas of graphite.

Facial Tissue Wrap tissue around your finger or roll it into a point to blend when drawing very smooth surfaces. Make sure you use plain facial tissue, without added moisturizer.

Chamois Chamois are great for blending areas into a soft tone. These cloths can be used for large areas or folded into a point for smaller areas. When the chamois becomes embedded with graphite, simply throw it into the washer or wash by hand. Keep one with graphite on it to create large areas of light shading. To create darker areas of shading, add graphite shavings to the chamois.

Erasers

Erasers serve two purposes: to eliminate unwanted graphite and to "draw" within existing graphite. There are many different types of erasers available.

Kneaded This versatile eraser can be molded into a fine point, a knife-edge, or a larger flat or rounded surface. It removes graphite gently from the paper but not as well as vinyl or plastic erasers.

Block Eraser A plastic block eraser is fairly soft, removes graphite well, and is very easy on your paper. Use it primarily for erasing large areas, but it also works quite well for doing a final cleanup of a finished drawing.

Stick Eraser Also called "pencil erasers," these handy tools hold a cylindrical eraser inside. You can use them to erase areas where a larger eraser will not work. Using a utility razor blade, you can trim the tip at an angle or cut a fine point to create thin white lines in graphite. It's like drawing with your eraser!

SHADING TECHNIQUES

Shading enables you to transform mere lines and shapes in your drawing into three-dimensional objects. As you read this book, note how the words shape and form are used. Shape refers to the actual outline of an object, while form refers to its three-dimensional appearance.

Gradating with Hardness Because different pencil hardnesses yield different values, you can create a gradation by using a series of pencils. Begin with soft, dark leads and switch to harder, grayer tones as you move away from the starting point.

Gradating with Pressure A gradation is a transition of tone from dark to light. To create a simple gradation using one pencil, begin with heavier pressure and gradually lighten it as you stroke back and forth. Avoid pressing hard enough to score or completely flatten the tooth of the paper.

Stippling Apply small dots of graphite for a speckled texture. To prevent this technique from appearing too mechanical, subtly vary the dot sizes and distances from each other.

Scumbling This organic shading method involves scribbling loosely to build up general tone. Keep your pressure light and consistent as you move the pencil in random directions.

Burnishing It is difficult to achieve a very dark tone with just one graphite pencil, even when using a soft lead. To achieve a dark, flat tone, apply a heavy layer of soft lead followed by a layer of harder lead. The hard lead will push the softer graphite into the tooth of the paper, spreading it evenly. Shown at left is 4H over 4B lead.

(A) Draw the basic leaf shape and vein pattern using a pointed HB pencil. (B) Add more vein pattern. (C) Begin middle-value shading using the side of the lead. To create the vein patterns, leave areas clean or use a kneaded eraser to lift out highlights. (D) Add darker shading using a 2B pencil.

APPLYING GRAPHITE WITH A BLENDER

Chamois Using a chamois is a great way to apply graphite to a large area. Wrap it around your finger and dip it in saved graphite shavings to create a dark tone, or use what may be already on the chamois to apply a lighter tone.

Stump Stumps are great not only for blending but also for applying graphite. Use an old stump to apply saved graphite shavings to both large and small areas. You can achieve a range of values depending on the amount of graphite on the stump.

Indenting To preserve fine white lines in a drawing, some artists indent (or incise) the paper before applying tone. Use a stylus to "draw" your white lines; then stroke your pencil over the area and blend. The indentations will remain free of tone.

"Drawing" with an Eraser Use the corner of a block eraser or the end of a stick eraser to "draw" within areas of tone, resulting in light strokes. You can use this technique to recover lights and highlights after blending.

Hatching Hatching is considered one of the simplest forms of shading. Simply apply a series of parallel lines to represent darker tones and shadows. The closer together you place the lines, the darker the shading will appear.

Crosshatching To crosshatch, place layers of parallel lines over each other at varying angles. This results in a "mesh" of tone that gives shaded areas a textured, intricate feel. For an added sense of depth, make the lines follow the curves of your object's surface.

The higher the light source, the shorter the shadow will be; the lower the light source, the longer the shadow will be.

Light source

Cast shadow

SURFACES & TEXTURES

A variety of techniques can be used to render the surfaces and textures found in landscapes. Use a razor blade or knife to sharpen leads into chiseled, uneven, or jagged points; these points create unique lines, textures, and patterns. To vary the line thickness, try changing the direction of your strokes, as well as the angle at which you hold the pencil.

Look at the position and pattern of the leaves to draw the general character of the tree.

Sketch smaller shapes within the foliage.

Use light vertical strokes to create contrast.

Use short strokes for depth.

THE IMPORTANCE OF VALUES

The term value refers to the relative lightness or darkness of a color or of black. Values are important in both painting and drawing because the variation among lights and darks creates the illusion of form. In pencil drawing, the shape of the subject dictates where to place the values to create the form.

Begin the trunk with a simple line drawing using the blunt point of an HB pencil.

Start shading the middle values with the side of the HB.

Continue shading the darker values to bring out the roundness, the grooves in the bark, and the twisting branches. Leave some areas white to represent sunlight on the trunk and branches.

TREES IN PERSPECTIVE

The technique used to represent depth or three-dimensional objects on a flat surface is based on the principle of perspective. The rules of perspective are guides for keeping objects in proper proportion to one another in a composition.

To draw other trees, place a top and bottom guideline. Repeat this procedure for as many trees as you need.

USING THE VANISHING POINT

All objects appear smaller as they recede into the picture toward the horizon. In order to draw all the trees in proper proportion to one another, use some simple tools of perspective. First, draw a line to represent the horizon. Then draw two guidelines to a point on the horizon line, one from the top of the tree and one from the bottom. Place a point where these lines meet the horizon line. This is known as a vanishing point. You can now draw trees anywhere along this plane (between the two guidelines) in proper proportion to the first tree.

PICTORIAL COMPOSITION

When drawing, be sure to arrange the elements in a way that creates a pleasing design, or composition. The overall design is determined by the placement of different shapes and lines. The composition should direct the viewer's attention to the most important area of the drawing.

The landscape (horizontal) composition above represents a panoramic view. The large trees on the left are balanced by a group of smaller trees on the right.

By placing the major elements on the right and left sides of the drawing, the center appears serene.

For the vertical landscape composition, the tall tree in the foreground is complemented by the clouds, mountains, and smaller trees in the distance.

TIP SKETCHES & NOTES

Because many species of trees look similar, the best way to tell them apart is to draw them. Carefully observe and then sketch the distinctive shapes and characteristics of different trees. Make notes about your observations to trigger your memory when using the sketches for reference in the future.

TIP

To help with your sketches, create a personal reference library by collecting pictures of trees from guidebooks or nature magazines. You will also find it helpful to explore scenic areas on your own. Carry a sketch pad and pencil, and draw a variety of trees in their natural environment.

Make strokes that follow the shape of each trunk.

Lightly suggest background.

BASIC SHAPES

As you draw trees either from this book or outdoors, first work out the basic shapes with simple line drawings. For example, this tree is loosely sketched with straight lines for the trunk and branches and curved lines for large groups of leaves.

Sketch the basic shapes using the tip of an HB pencil.

Begin to refine the shapes.

Add darker values.

Suggest the leaves with small, curved lines.

Create depth in the final drawing with varying values.

Make light, sketchy lines with the side of the lead.

Add landscape elements to make the tree look firmly planted.

TREE SHAPES

Tree shapes vary tremendously. Some are tall and thin, while others are short and wide. To provide an authentic quality to your drawings, you must render the many subtle differences — especially among tree families. Each tree has its own characteristics and structural growth pattern. Study the different tree shapes on the following pages.

As you draw, notice the different techniques used for each tree. First sketch the trunk, and then draw the general shape of the whole group of leaves before shading the foliage.

Use the side of the pencil lead for the basic layout sketches.

Variations of value create the thick, dense foliage of the red maple.

Here the foliage is less dense, and the branches and trunk are visible.

Sharp, pointed leaves radiate from the branches.

Use short, thick strokes to create texture on the trunk and branches.

Make short, quick lines with a blunt HB pencil to draw the palm fronds.

Use bold lines to draw the Monterey cypress and thin, delicate strokes for the weeping willow.

Use the sharp point of an HB pencil to draw the needles. Dark variations should be applied using the side of a 2B pencil.

FOLIAGE SHAPES

Like differences in tree shape, differences in bough and foliage shapes are important for illustrating a tree's distinctiveness. Pay close attention to the subtle variations among different tree types. Combinations of bough shapes make up a tree's mass, and slight differences in these shapes are important to the tree's character.

Notice that the slender bough pattern of the sugar pine differs from the dense foliage of the spruce.

The canyon oak has dark bark and draping foliage.

Sugar pine needles form in clusters of five.

The quaking aspen leaf has a round shape and jagged edges.

The red maple has a large trunk and strong branching to support the large mass of leaves.

TREE TRUNKS

A tree trunk is basically a long cylindrical shape. Likewise, the branches are longer cylinders that extend from the trunk. Draw light elliptical lines around the trunk at strategic points to indicate changes in the trunk's direction.

Use broken elliptical lines as guides for drawing the tree trunk and branches.

Use heavy, bold lines to show the tree's sinewy form.

Use the side of an HB pencil to draw the smooth birch trunk.

Dark values indicate grooves and cracks in the bark.

Use variations of lines and values to shade the hollow areas of the tree.

BRANCHES & BOUGHS

As trees grow, they become both taller and thicker. Notice the different growth patterns of the different types of trees. With broad-leaved trees, the trunk divides into many crooked spreading branches, while the pine grows upward with shorter branches at somewhat regular intervals.

Draw a rough sketch of the individual branches, showing where they change directions.

Block in the branch shapes.

Add shading to convey the roundness of the twisting limbs. Your shading strokes should be loose and broken because continuous, smooth shading tends to make an object appear shiny and metallic.

Use cylinders, circles, and ellipses to develop the shape of each branch.

Use the blunt point of an HB for the leaves of the pepper tree.

Sketch the general shape of the tree with the blunt point of an HB pencil.

Use the sharp point of an HB pencil for the young mulberry foliage.

The foliage is made up of small, continuous strokes, and the boughs grow upward.

Use a 2B pencil for the dark areas, and pull out highlights with the point of a kneaded eraser.

Use the side of an HB pencil for the cottonwood foliage.

The texture of the cottonwood leaves is similar to the mulberry, but it is more irregular, broken, and wider. Pay attention to the random branch pattern of this tree.

Use a kneaded eraser to create soft highlights in the leaf areas.