*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :) Would you like to start giving your art the time it deserves, but find it difficult with everything you have going on? Are you frustrated because your day-to-day responsibilities don't allow the time for activities that bring you joy and fulfillment? Follow your passion, be prepared to work hard and sacrifice, and, above all, don't let anyone limit your dreams.
-Donovan Bailey
In today's post, I'll be sharing eight useful tips that will help you make time for your art, even while having a crazy, busy schedule. These are things I set in place myself that allowed me to advance my art skills while working overtime at my last full-time position. By putting these tips to use and staying consistent, you'll be able to make steady progress towards your artistic goals, too. For me, becoming a full-time artist and making a living from my art/art skills didn't even register as an option until I was around thirty years old and having had worked high-stress full-time jobs for over ten years. It was only after I had spent all that time building up personal and professional skills (as well as having saved up enough money) that I finally allowed myself to consider creative entrepreneurship. For the longest time, I let my fears and limiting beliefs stop me from diving head-first into those activities that made me happier than anything I'd ever experienced. Not to mention, those jobs left me tired and completely drained of creativity. The last thing I wanted to do in my free time was focus, yet again, on another task. However, as time went by, it dawned on me that life is too short not to prioritize my dreams and take action now. I had already wasted too much time! It was then that I began absorbing all I could from other artists that were making a living from their art and doing those things I wanted to be doing. I decided to make my artistic growth a priority, no matter how tired I was from adulting and doing those things I had to keep doing in order to pay the bills and put food on the table. In time, people started showing their interest and wanted to buy my work, which led to a huge increase in confidence. This helped me move on to larger, more complex projects which led to even more opportunities. It was after this that I finally planned out how I would be leaving all those years of working at "normal" jobs. It was extremely scary, as full-time work was all I knew. But something inside me told me it was now or never, so I decided to go for it full-steam. This is what I've been doing for the last year and, even though I've been working non-stop day-in-and-day-out, it's the happiest I've ever been! I talk more in depth about how I prepared to leave my last full-time job in my blog post/YouTube video titled How I Left My Job and Became an Artistpreneur. I'm very, very thankful for the job opportunities that I have had in the past, as they allowed me to grow personally and professionally in so many ways. Honestly, if it wasn't for those jobs and the experience they provided, I don't think I'd have the skills and confidence to be doing what I'm doing today.
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
8 Tips to Progress Artistically Even While Being Incredibly Busy
1. Acknowledge (and embrace) that you're an artist/creative at heartGetting to know yourself and learning to love who you are is absolutely essential for anyone to be happy. If your creative spirit and art-making is what distinguishes you from others, embrace it. What's more, actually believe that you have it in you to become an artist if that's what you want and decide to give your true passions the importance they deserve. My greatest fear in life is reaching old age and regretting not having pursued my dreams as best I could. I may be idealistic, but I believe every single one of us was born for a reason, and it's through growing in that area that we're then able to inspire those around us and make an impact in the world. You may be in the same situation I was in, working full-time jobs that don't fulfill you or that have nothing to do with art, but think of these jobs as stepping stones that are allowing you to grow in different ways and are giving you the resources to live and develop yourself artistically while not having to worry that you won't be able to pay the bills. Be thankful for these opportunities but always keep your end-goal in mind, no matter what. 2. Prioritize your artistic growth and rearrange your current routinesTo make significant improvements in any area of our lives, it's essential to prioritize our goals, create plans and stick with them. Accept the fact that this will involve having to make certain sacrifices, but always remember that a year from now you'll be incredibly happy that you started today. As busy people with "regular" jobs, families to take care of, and all the responsibilities that come with being adults, we have to accept the fact that things are going to pop up that we have to take care of. However, focus on the things that you are able to control. You may not be able to change the fact that you'll be busy working 8-10 hours a day at your job, but you can certainly reduce the amount of time you spend watching t.v. or scrolling on social media on your off time. By scheduling in your art time there is a much greater possibility you'll actually do it. Depending on your personal situation, this could mean setting aside one hour three times a week after work to follow a tutorial on your topic of choice or perhaps waking up 30 minutes earlier so that you can do a quick sketch before going to work. If you absolutely can't find time during the week, then schedule in time on weekend mornings. Another huge thing that goes hand-in-hand with using your time wisely is the ability to say 'no' to those activities that aren't going to get you closer to your goals. I know how hard this can be for people-pleasers like myself, but it's imperative to establish clear boundaries with others and to be able to discern between activities (and even people) that are helpful, from the ones that may be a waste of time and energy. Here's a helpful video in which I share my best productivity tips for artists. Remember that time is the most valuable thing we have. One question I always as myself whenever I'm feeling like I'm wasting too much time is: Is this activity helping me improve my work, my health or the relationships I have with my loved ones? 3. Establish deadlines and goalsIn my blog post Time Management for Artists: My Secrets for Staying Consistently Productive I explain how I go about setting yearly goals in personal, professional and interpersonal areas in order to then chunk them down into clear, doable monthly objectives. I then divide those smaller monthly goals into even smaller chunks that must get done each week. Three examples of how to go about applying this in regards to artistic growth: a) Large goal: Complete an online art course in three months. Depending on the amount of modules/classes/assignments included in the course of your choosing, divide them into three "chunks" to be completed by the end of each month. Then, divide those chunks once again into 4 (number of weeks in a month) and schedule your to-do's each week. b) Large goal: Fill 12 pages of your sketchbook in one month. Complete 3 pages each week so that by the end of the month you'll reach your goal. c) Large goal: Get really good at drawing portraits by the end of the year. Set incremental goals each month starting with the fundamental knowledge you should understand and progressing onwards until you get to month 12. Ex. Month 1: Understand basic facial proportions and locations of facial elements within the head shape, Month 2: Drawing eyes, Month 3: Drawing noses, Month 4: Drawing lips, Month 5: Drawing heads in angles, and so on. I'm aware that this process might sound too constrictive or boring for free-flowing creatives out there. While I totally agree that it's incredibly important to stay flexible, if we don't establish deadlines, most of us tend to push things back to the point they never get done. We're constantly bombarded with distractions and it's important to stay focused in order to ensure we're moving the needle forward consistently, even if it's a tiny bit at a time. Access my masterclass on Goal-Setting and Time Management for Artists here. 4. Connect with others that share your same love for artBeing an artist can be lonely and not having other people to talk to that share your same wavelength can make things even harder. If you're lucky to have friends you can chat with or even create art with in person, treasure them and make sure you're scheduling in time to hang out every so often. It's so important to maintain connections with other people we can learn from and who'll inspire us to keep going! The Internet is such an invaluable tool, as it not only enables us to learn and improve our artistic skills through articles and videos, but we're also able to connect with other people all over the world that share our same passion for art. Even if you're in a situation similar to mine, in which you don't have many artists around you that you can hang out with in person, you can very easily meet other artists through social media, groups and art communities. Whether you create and/or share art with others in person, online or a combination of both, make sure you make time for brainstorming new ideas with others, as well as obtaining (and providing) feedback. Learning from more seasoned artists and participating in online art communities has helped me stay accountable and consistent, which has allowed me to progress my skills significantly in shorter periods of time. 5. Keep your art supplies handy Get in the habit of bringing a small sketchbook and a couple of drawing tools of your choice with you wherever you go. This way, you'll be able to progress your drawing and observational skills in free pockets of time throughout the day. I talk about the importance of sketchbooks and tips to make the most of them in my post Why Sketchbooks are Essential Tools for Artists. Aside from this, also place your art supplies somewhere where they'll be visible for you at home. Don't keep them locked away in a closet or drawer! By having them on hand, there is a much greater chance you'll actually remember to use them. 6. Never underestimate the power of quicker studies
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I hope you enjoyed this post and learned something new, or got inspired to go and create a sketch for yourself. I wish you tons of progress and enjoyment in your artistic journey. :)
Thanks so much for popping by today!
*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :)
Are you impressed by artists who are able to achieve high levels of realism in their work and wish you could also get to that point, someday? Interested in bringing realistic form and three-dimensionality to your drawings so that they can really pop out? Have you gained some confidence creating line sketches, and are ready to start adding realistic light and shading effects?
Even though I consider myself much more of a sketcher and a painter than a realistic drawer per se, I think it's essential to make time for these kinds of studies. I also think that it's important for aspiring artists to devote time to achieving believable drawings/paintings because this is what's going to lead them to develop great observational skills and grasp fundamental art topics such as proportion, value, perspective, form, etc.
In today's blog post, I'll be sharing a video time-lapse of a portrait I drew using regular pencils, as well my top six tips to apply when attempting to create a realistic drawing of any type of subject (whether it be a face, animal, arrangement of objects, etc.).
By understanding and practicing the six key points I'll be sharing below, beginner artists will start making much faster progress and will soon be creating impressive, more professional-looking drawings.
I want to make something clear. To achieve realism, we need references. These references are going to allow us to observe what subjects actually look like in real life. If we don't use references, we are going to be working from what we think subjects look like.
References provide us details and remind us of tiny intricacies that we would have otherwise not thought about. And when attempting to achieve realism, it's ALL about observing the subtleties and being able to recreate them accordingly.
References can take the form of photographs or compositions we have arranged to draw from life (otherwise called working from direct observation).
Drawing from direct observation is essential for artists that have gained a certain level of skill using photographic references, as it provides a more challenging opportunity to further our artistic development.
As I've mentioned in other blog posts and YouTube videos, drawing is the basis for everything else in art. I believe all artists, no matter how skilled they've already become or what particular medium they've chosen to gain mastery in, should continue making time to sharpen their drawing/observational skills throughout their journeys.
Personally, I make sure to schedule in time for it on a weekly basis, even though what I sell are my paintings!
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
Tips to Improve Your Realistic Drawing
1. Make sure you're using a quality reference
Whether you're using a photograph or drawing from life, it's essential to put in time to search for a great picture or create a great composition.
If you're using a reference photograph, make sure it has a great resolution that is going to allow you to zoom in as needed, and that it shows a great play between lights and shadows. Do not use an overexposed or underexposed photograph as reference, as this will not lead to a good three-dimensional looking piece.
If you're a beginner just starting out, something that is going to be very helpful is opening up your photograph in a photo-editing software like Photoshop or Gimp and turning it into black and white/grayscale. This is going to allow you to pinpoint lights, darks and mid-tones a lot easier.
Being able to discern between different values in your reference is absolutely key to you being able to recreate them. Make to mistake, value is much more important than color when creating realism.
If you're a bit more experienced and are starting to draw from life, check out my blog post titled Why Drawing from Direct Observation is Essential and 10 Tips to Improve. In it, I explain why drawing from life is so important in order to progress our skills even further, and share a few tips to make the process less daunting.
2. Know and prepare your art supplies
When I first started drawing I used regular printing paper, my pencils from school, and had no idea about the different types of erasers that existed.
While this is perfectly fine when we're just starting out, and I actually am all for creating art with limited and basic tools, when you're ready to really improve your work, it's essential to invest in actual drawing supplies.
Using tools for the type of artwork you're intending to create is going to ensure that you're not making the process extra-difficult for yourself and you'll be able to progress much faster.
All of the following art supplies are products I myself use and would recommend for anyone getting started.
While this is perfectly fine when we're just starting out, and I actually am all for creating art with limited and basic tools, when you're ready to really improve your work, it's essential to invest in actual drawing supplies.
Using tools for the type of artwork you're intending to create is going to ensure that you're not making the process extra-difficult for yourself and you'll be able to progress much faster.
All of the following art supplies are products I myself use and would recommend for anyone getting started.
When I set out to create a drawing that is more on the realistic side, I make sure to have the following supplies on hand:
-A few different pencil grades (2H or HB for the initial sketch, a couple of mid-grade a 2B or 4B to start creating darker values gradually, and a softer grade like an 8B for darkest areas)
-Drawing or sketching paper (smooth paper is going to ensure smooth blending)
-A kneaded eraser or eraser intended for smaller areas
-A regular soft rubber eraser for larger areas
-A blending stump or tortillon to blend smaller areas
-A tissue paper to blend larger areas
-A quality sharpener
-A scrap piece of regular paper or tracing paper to rest my hand on as I'm working
-A few different pencil grades (2H or HB for the initial sketch, a couple of mid-grade a 2B or 4B to start creating darker values gradually, and a softer grade like an 8B for darkest areas)
-Drawing or sketching paper (smooth paper is going to ensure smooth blending)
-A kneaded eraser or eraser intended for smaller areas
-A regular soft rubber eraser for larger areas
-A blending stump or tortillon to blend smaller areas
-A tissue paper to blend larger areas
-A quality sharpener
-A scrap piece of regular paper or tracing paper to rest my hand on as I'm working
3. Always start with a light initial sketch, focusing on largest shapes first
When we're starting with any kind of drawing, it's absolutely essential to learn to visualize what we're looking at as a combination of simple shapes and to tune out details.
The proportion and location of these different elements in regards to each other has to be spot on, before even thinking about moving on to things like shading and texture.
It's the absolute worst to spend hours developing details and even creating beautiful, smooth shading just to step away from our drawings and realize that the proportions/locations of different elements are off.
Also, whether you're creating your initial sketch by tracing over a photograph or freehand, make sure those initial lines are created lightly so that they can be invisible at the end (we want no visible lines when creating realism).
The proportion and location of these different elements in regards to each other has to be spot on, before even thinking about moving on to things like shading and texture.
It's the absolute worst to spend hours developing details and even creating beautiful, smooth shading just to step away from our drawings and realize that the proportions/locations of different elements are off.
Also, whether you're creating your initial sketch by tracing over a photograph or freehand, make sure those initial lines are created lightly so that they can be invisible at the end (we want no visible lines when creating realism).
4. Keep in mind that in realism, there are no visible lines
In real life, the shapes we see are created by subtle differences in values, which are influenced by light and shadow. These shapes are not outlined as they are in cartoons.
It's essential to stay away from creating any sort of stark-looking lines, whether it's around our different shapes/planes or in an area we're intending to create a smooth gradient in.
This said, we are required to draw lines when we are working on creating some kinds of texture (hair, eyebrows, eyelashes, etc.). However, even in these cases, the "lines" we are leaving behind are not uniform from one edge to the other, but have a variety even within them in terms of thickness or value.
They most likely go from thick to thin or from dark to light, etc., which leads to much less stark looking lines.
It's essential to stay away from creating any sort of stark-looking lines, whether it's around our different shapes/planes or in an area we're intending to create a smooth gradient in.
This said, we are required to draw lines when we are working on creating some kinds of texture (hair, eyebrows, eyelashes, etc.). However, even in these cases, the "lines" we are leaving behind are not uniform from one edge to the other, but have a variety even within them in terms of thickness or value.
They most likely go from thick to thin or from dark to light, etc., which leads to much less stark looking lines.
5. Create gradual, smooth transitions between your different values
Unless you're working with a photograph (or with a real-life composition) that shows very dramatic lighting, transitions between lights and darks must be gradual and smooth.
There should be no stark changes between one to the next and there shouldn't be any visible lines throughout these transitions either.
The exercises I share in this video will help you develop better pressure control.
There should be no stark changes between one to the next and there shouldn't be any visible lines throughout these transitions either.
The exercises I share in this video will help you develop better pressure control.
6. Make sure you are creating a very wide variety of values throughout your drawing
In order for your drawing to really pop out and transmit a sense of realistic three-dimensionality, you have to develop a huge range of values throughout your piece.
There have to be very light areas (which will appear almost white at the end), there have to be very dark areas (which will appear almost black at the end) and there have to be a ton of mid-values in between.
Practice creating a beautiful balance between lights and darks.
A lot of beginners make the mistake of not going dark enough where needed. Don't be afraid to go dark (as long as the values are really there in the reference). This said, make sure you're never pressing down too hard on your paper because this can damage it and cause visible scratches that will not be able to be fixed!
For the most part, I like working my way towards the darks gradually. Also, as you're working, you'll probably find that you're darkening some areas that you were intending to leave light.
This is where small, detailing erasers come in super handy because they allow you to go back in and lighten these areas. They also allow you to pull out highlights wherever needed, which is crucial for realistic looking hair.
There have to be very light areas (which will appear almost white at the end), there have to be very dark areas (which will appear almost black at the end) and there have to be a ton of mid-values in between.
Practice creating a beautiful balance between lights and darks.
A lot of beginners make the mistake of not going dark enough where needed. Don't be afraid to go dark (as long as the values are really there in the reference). This said, make sure you're never pressing down too hard on your paper because this can damage it and cause visible scratches that will not be able to be fixed!
For the most part, I like working my way towards the darks gradually. Also, as you're working, you'll probably find that you're darkening some areas that you were intending to leave light.
This is where small, detailing erasers come in super handy because they allow you to go back in and lighten these areas. They also allow you to pull out highlights wherever needed, which is crucial for realistic looking hair.
*Bonus Tip: Make sure that you're looking at your reference, at least, 50% of the time you spend working!
*This post contains affiliate links. I receive small commissions for purchases made through these links at no extra cost to you. These commissions help me keep this site up and running, in order for me to keep providing helpful and inspiring art content. :)
Have you gained confidence with your pen and ink mark-making, but need a bit of guidance when it comes to actually shading more complex subjects? Are you excited to step-up your pen and ink game so that you're able to create drawings that transmit more believable form and three-dimensionality?
When using pen and ink to create drawings that are more on the realistic side, it's essential to remember that we are both creating marks AND using said marks to render a wide range of values.
I've found that believable form is achieved with this art medium by staying mindful throughout the drawing process and placing marks as deliberately as possible.
Ink can be a bit intimidating due to the fact that it's permanent, but if you have enough practice with different mark-making techniques and you understand how to locate darkest areas, mid-tones and highlights in a reference image so that you can then create such values with marks, you'll be just fine!
For this blog post/YouTube video, I picked a subject I consider challenging (a hand) to explain my step-by-step process when adding form and three-dimensionality using the contour line/hatching technique.
This will help break the process up into more understandable chunks so that you can approach this kind of drawing more intentionally.
With practice, you'll gain confidence and you'll be able to enjoy creating more complex pen and ink drawings in no time!
This time, I wanted to jump right into the pen and ink explanation, and focus more on the creation of ink marks to render value/form than anything else. You'll see I start out with a previously created outline drawing of a hand.
To create this outline drawing, I did something I generally don't do, and traced a photo reference.
If you've been following me for a while, you're probably well-aware that I don't like tracing. However, I really wanted to jump right into the pen and ink techniques. Plus, I also wanted to provide both the exact photographic reference I used, as well as the initial outline drawing so we could start at the exact same point.
You can download both pdf's at the end of this post and follow along!
If you'd like to see how I would draw a hand in my usual freehand method, I highly recommend visiting my blog post titled 5 Essential Sketching Tips for Beginner Artists. I'm usually a huge believer in drawing subjects entirely freehand and not tracing.
If you're a beginner just starting out with pen and ink, I highly recommend checking out the blog posts/YouTube videos I released before this one. In those posts, I go much more in depth into different shading techniques and provide great exercises to start off with!
*Find them here:
Pen and Ink Sketching: 6 Shading Techniques
Shading Objects Using Hatching, Crosshatching, Scribbling, and Other Drawing Pen Techniques
Have you gained confidence with your pen and ink mark-making, but need a bit of guidance when it comes to actually shading more complex subjects? Are you excited to step-up your pen and ink game so that you're able to create drawings that transmit more believable form and three-dimensionality?
When using pen and ink to create drawings that are more on the realistic side, it's essential to remember that we are both creating marks AND using said marks to render a wide range of values.
I've found that believable form is achieved with this art medium by staying mindful throughout the drawing process and placing marks as deliberately as possible.
Ink can be a bit intimidating due to the fact that it's permanent, but if you have enough practice with different mark-making techniques and you understand how to locate darkest areas, mid-tones and highlights in a reference image so that you can then create such values with marks, you'll be just fine!
For this blog post/YouTube video, I picked a subject I consider challenging (a hand) to explain my step-by-step process when adding form and three-dimensionality using the contour line/hatching technique.
This will help break the process up into more understandable chunks so that you can approach this kind of drawing more intentionally.
With practice, you'll gain confidence and you'll be able to enjoy creating more complex pen and ink drawings in no time!
This time, I wanted to jump right into the pen and ink explanation, and focus more on the creation of ink marks to render value/form than anything else. You'll see I start out with a previously created outline drawing of a hand.
To create this outline drawing, I did something I generally don't do, and traced a photo reference.
If you've been following me for a while, you're probably well-aware that I don't like tracing. However, I really wanted to jump right into the pen and ink techniques. Plus, I also wanted to provide both the exact photographic reference I used, as well as the initial outline drawing so we could start at the exact same point.
You can download both pdf's at the end of this post and follow along!
If you'd like to see how I would draw a hand in my usual freehand method, I highly recommend visiting my blog post titled 5 Essential Sketching Tips for Beginner Artists. I'm usually a huge believer in drawing subjects entirely freehand and not tracing.
If you're a beginner just starting out with pen and ink, I highly recommend checking out the blog posts/YouTube videos I released before this one. In those posts, I go much more in depth into different shading techniques and provide great exercises to start off with!
*Find them here:
Pen and Ink Sketching: 6 Shading Techniques
Shading Objects Using Hatching, Crosshatching, Scribbling, and Other Drawing Pen Techniques
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
My method for adding believable form to complex subjects using pen and ink techniques
1. Study your reference/subject
I find it extremely useful to take time to study my subject, especially when it comes to drawing or painting something more complex, like a hand. If possible, I make time to learn about its underlying structure (which in this case is a combination of many small bones-muscles-tendons-etc.).
Having at least some knowledge about our subject's underlying structure will greatly improve our ability to render effective form and three-dimensionality!
Since we are drawing a hand, we can take a few minutes to study our own from different angles. Though our hands may look different from the next persons', their underlying structure is the same.
Take note of its convex vs. concave spots, the fleshy and bony areas, how the different elements within it compare with each other, its overall imperfections and the range of movement the different joints allow, etc.
All this said, it's essential to select an excellent photographic reference to work from (if you're not drawing from life).
I talk about the things I take into account when selecting this type of reference in my blog post titled Shading Objects Using Hatching, Crosshatching, Scribbling and Other Drawing Pen Techniques). Observe your photograph thoroughly.
I've included a letter-sized pdf of this hand photograph at the end of the post, in case you'd like to download and print it for practicing purposes.
Having at least some knowledge about our subject's underlying structure will greatly improve our ability to render effective form and three-dimensionality!
Since we are drawing a hand, we can take a few minutes to study our own from different angles. Though our hands may look different from the next persons', their underlying structure is the same.
Take note of its convex vs. concave spots, the fleshy and bony areas, how the different elements within it compare with each other, its overall imperfections and the range of movement the different joints allow, etc.
All this said, it's essential to select an excellent photographic reference to work from (if you're not drawing from life).
I talk about the things I take into account when selecting this type of reference in my blog post titled Shading Objects Using Hatching, Crosshatching, Scribbling and Other Drawing Pen Techniques). Observe your photograph thoroughly.
I've included a letter-sized pdf of this hand photograph at the end of the post, in case you'd like to download and print it for practicing purposes.
Once you've gained enough practice with reference photographs, I highly recommend incorporating at least some amount of drawing/sketching from direct observation (otherwise known as drawing/sketching from life) into your practice, as this will bring you much faster progress.
In my blog post titled Why Drawing from Direct Observation is Essential and 10 Tips to Improve, I explain why this method is so important for an artist's growth and provide a bunch of tips to make the process less daunting.
2. Start with a pencil outline drawing
Depending on your skill level and the objectives you have set for this study, you can decide whether you want to create your initial pencil sketch completely freehand, or if you'd like to focus on getting right into the pen and ink shading like I did for this tutorial.
I like using an HB or B pencil to create this preliminary drawing and keep it as light as possible because I want to be able to erase it completely later on.
If you'd like to download the free pdf that I've used to create this hand, you'll be able to find it at the end of this post.
I like using an HB or B pencil to create this preliminary drawing and keep it as light as possible because I want to be able to erase it completely later on.
If you'd like to download the free pdf that I've used to create this hand, you'll be able to find it at the end of this post.
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3. Outline your pencil drawing using ink
I used my LePen .5 point drawing pen to go over my pencil sketch carefully. Once the ink was set and dry, I erased all initial pencil lines.
At this point, you may also find it useful to create what I call a "value map" for yourself. You do not want to start adding marks without having a good idea of where your light source is located within the picture, as well as where darkest, mid-tones, and lightest areas are.
Draw shapes around these areas so that they can remind you throughout your drawing process where greatest value changes are located. You want to be especially mindful of where the lightest areas are within your reference image, so that those areas can be left untouched by ink.
At this point, you may also find it useful to create what I call a "value map" for yourself. You do not want to start adding marks without having a good idea of where your light source is located within the picture, as well as where darkest, mid-tones, and lightest areas are.
Draw shapes around these areas so that they can remind you throughout your drawing process where greatest value changes are located. You want to be especially mindful of where the lightest areas are within your reference image, so that those areas can be left untouched by ink.
4. Start adding in initial layers of marks
Before starting this hand study, I decided that I would be using mostly contour lines/contour hatching for my shading. If used effectively, this mark-making technique allows us to very efficiently create three-dimensional form to more complex subjects that contain curves all throughout.
I usually like starting my pen and ink shading process with the very darkest areas, so I took a good look at where the deepest values of my picture were located and got ready to start laying down my initial sets of marks.
I switched to my .3 point LePen drawing pen and let the curves of my outline drawing to guide me, as well as my knowledge of the hand structure.
As I mentioned in the past pen and ink tutorials, it's very important to keep a sense of consistency within each group of marks you create.
These initial sets of lines are very important because they will be the foundation for everything else, so make sure to pay attention to what you're doing! Notice how curves start shifting in certain areas to best describe folds, fleshy bits, etc?
I usually like starting my pen and ink shading process with the very darkest areas, so I took a good look at where the deepest values of my picture were located and got ready to start laying down my initial sets of marks.
I switched to my .3 point LePen drawing pen and let the curves of my outline drawing to guide me, as well as my knowledge of the hand structure.
As I mentioned in the past pen and ink tutorials, it's very important to keep a sense of consistency within each group of marks you create.
These initial sets of lines are very important because they will be the foundation for everything else, so make sure to pay attention to what you're doing! Notice how curves start shifting in certain areas to best describe folds, fleshy bits, etc?
5. Work on mid-tone range and deepen darkest values
By this point, all of your darkest areas and perhaps even a bit of the mid-tone areas, should be covered with your first layer of marks. It's time to start developing more mid-tones!
Once you start laying down your mid-tones, you're probably going to want to go back to your darkest areas and deepen them because they're not going to seem dark enough anymore.
To do this with the contour line technique, all you have to do is add another set of curved lines on top of the first, similar to when you're doing crosshatching.
There is no set angle at which you have to draw this second group of curved lines, as long as they are intersecting with the first. Remember there has to be consistency within each group of lines you create.
Throughout the drawing process, keep in mind that, developing a wide range of values is essential when you're attempting to create a three-dimensional effect.
There have to be very light areas in your drawing (which will be represented by those areas of paper that are completely free of ink), a wide range of mid-tones, and extremely dark areas (those small areas almost entirely covered with ink).
Once you start laying down your mid-tones, you're probably going to want to go back to your darkest areas and deepen them because they're not going to seem dark enough anymore.
To do this with the contour line technique, all you have to do is add another set of curved lines on top of the first, similar to when you're doing crosshatching.
There is no set angle at which you have to draw this second group of curved lines, as long as they are intersecting with the first. Remember there has to be consistency within each group of lines you create.
Throughout the drawing process, keep in mind that, developing a wide range of values is essential when you're attempting to create a three-dimensional effect.
There have to be very light areas in your drawing (which will be represented by those areas of paper that are completely free of ink), a wide range of mid-tones, and extremely dark areas (those small areas almost entirely covered with ink).
6. Fine tuning
Still using my .3 LePen drawing pen, I smoothed out values that needed to transition a bit more gradually. Once I was happy with my drawing, I switched back to my .5 LePen drawing pen and traced my initial outline drawing only in certain areas.
*Free downloadables!
hand_outline_drawing.pdf | |
File Size: | 2776 kb |
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grayscale_hand_reference.pdf | |
File Size: | 1325 kb |
File Type: |
Shading Objects Using Hatching, Crosshatching, Scribbling, and Other Drawing Pen Techniques
7/11/2018
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Do you love the look of pen and ink drawings that demonstrate hatching, crosshatching, and other mark-making techniques, and need a bit of guidance to start putting them to use in your own work? How does one go about using the visual information taken in from a reference photograph and translate it into a pen and ink sketch that demonstrates three-dimensionality?
In order to start adding a sense of believable form to a sketch, it's essential to understand how to create a variety in values using the art medium at hand. It's also very important that we practice taking in the visual information presented to us through either photographs or real-life subjects, so that we're able to describe form effectively through drawing.
Using pen and ink can be intimidating at first due to the fact that it's permanent and we need to use mark-making techniques to create different values. There is a large variety of mark-making methods and they all lead to very different results.
In today's post, I will be sharing the process that I go through when creating pen and ink sketches of objects using photographic references. I will be walking you through each step, from the selection of a great photograph, to preparing an initial pencil sketch, to actually filling that sketch in with ink marks.
I will be exploring six different mark-making techniques so that you're able to see how the outcomes compare to each other.
In my previous blog post titled Pen and Ink Sketching: 6 Shading Techniques, I gave a thorough explanation of each of the six techniques I'll be using here today.
I focused on how to go about creating marks successfully using each, and provided essential exercises for beginners to start off with, including how to actually use them to start adding shading and form to an outline drawing of a cube.
If you're a beginner just starting out with pen and ink, I highly recommend checking my previous post out. Both that post and this one include free downloadable pdfs that you can print out at home and practice with.
*Find these free downloadables at the end!
If you enjoyed this video and found it helpful, make sure to subscribe to my YouTube channel. I share a brand new video every week with art tips, drawing and painting tutorials and mindset/productivity tips for artists. *Subscribe HERE*
My Process When Creating Pen and Ink Studies Using Photographic References
1. Preparing our supplies
To create the kind of pen and ink studies we're going to be exploring today, I usually like having the following supplies on hand:
-Pencil (preferably H or HB)
-Soft eraser
-Drawing/sketching paper or Bristol board
-Drawing pens (.3 and .5 points) *Two of my favorite brands are LePen and Micron!
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2. Warming up
I enjoy warming up my hand by practicing the marks I will be using in my studies on a scrap piece of paper. If you're a beginner just starting with pen and ink and you're setting out to sketch an object in a way that actually transmits form, I suggest practicing value strips as well (there is a pdf at the end of the post that you can use to practice with).
It's absolutely essential that you understand how to create a variety in values using marks when it comes to sketching with a drawing pen, especially if you're looking to add believable structure and form to a drawing.
3. Choosing a great reference photo
When searching for a photograph to use as reference for any kind of art study, there are a few things you have to keep in mind. First, make sure that its contents are suited for your current skill level, especially when you are exploring a new medium.
This way, you'll be able to focus more on the new medium or technique. Aside from this, you must select a photograph that is high quality.
When I am choosing a photograph to work from, I make sure that it has a great resolution that will allow me to zoom in to view details as needed.
Photographs should also have great lighting, which means that they are not over or underexposed, and that there is a good range of values/balance between lights and darks.
If you have trouble discerning between light, mid-tone and dark areas, I highly recommend looking for photographs with a single light source and possibly opening up your image in an image-editing software like Photoshop to desaturate it.
Keep practicing this, because it's imperative that you gain practice doing this so that you're able to render values and place them accordingly when you're trying to make your drawings more believable.
To find more free, quality photographs to practice with, visit my post titled My Favorite Free Image Sites and Two Examples of References with Finished Illustrations!
4. Creating an initial outline sketch (and lightest values map)
Once I have taken a moment to observe my reference picture and have pinpointed lightest and darkest areas, as well as mid-tones, it's time to create my initial pencil sketch!
This will entail creating a simple outline drawing of my object, paying attention to proportion and location of separate elements in regards to each other.
Also, at this point I also create a "map" for myself that will remind me where my lightest areas are located, so that I can protect them and leave them untouched by any marks. You can make this "map" as detailed as you'd like if you feel that creating more shapes with your pencil will help you throughout the mark-making process.
If you'd like to skip the outline drawing phase of this study and jump straight onto the ink mark-making, you can download either the large single cherry outline pdf or the six cherry outline pdf so you can practice all of the mentioned techniques!
Both of these free downloadable worksheets can be found at the end of this blog post.
5. Laying down initial layer of marks
First, I outline my initial pencil sketch (minus the smaller "map" shapes) using my drawing pen. Then, similarly to my watercolor painting process, I leave the lightest lights completely untouched by any ink and start adding in my first layer of ink.
What I like to do with these faster studies, is fill in all my mid-tone to darkest areas simultaneously using light pressure on my pen, making sure to work around my lightest areas.
In other words, by the end of this step, my entire mid-tone and darkest areas already are covered with that first "light" layer of marks.
6. Adding darker values
This is the part of the process that is the most time-consuming, as I work back and forth between mid-tone to darkest areas doing my best to create gradual shifts in value until the desired form is achieved.
Throughout this process, I constantly look at my reference picture.
It's essential to not go overboard by adding too many marks in mid-tone areas, but also to not be scared of going dark where needed (which is usually only in small areas).
Remember that there has there has to be a good range of values within your sketch or you risk "flattening" it out!
At the end, you can outline your sketch using your drawing pen once more if you wish! :)
Comparing Different Mark-Making/Shading Techniques
Hatching
Crosshatching
Contour Lines
Weaving
Stippling
Scribbling
I would recommend practicing at least a few different pen and ink mark-making/shading techniques because it's the only way you'll be able to know which ones come more naturally to you, as well as which can best create the effects you're going for.
My personal favorites are hatching/crosshatching and contour lines. I'd love to know which you like best below!
*Free downloadables!
drawing_marks_lines.pdf | |
File Size: | 5191 kb |
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value_transitions_shading.pdf | |
File Size: | 3572 kb |
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cherry_outline_drawing.pdf | |
File Size: | 1545 kb |
File Type: |
6_cherry_outline_drawings.pdf | |
File Size: | 2104 kb |
File Type: |
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to earn advertising fees by advertising and linking to amazon.com.
www.erikalancaster.com
is a participant in the Shareasale.com Affiliate Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Shareasale.com partner companies.