a free guide to

Pencil Shading
Techniques for
beginning artists
33494 I A BRAIN 060-081.indd 71

Table of Contents
A Free Guide to Pencil Shading Techniques for Beginning Artists
Shading the Sphere: How to Shade Drawings Effectively
(Drawing, Spring 2010). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Drawing Board: Modeling Complex Form by Sadie Valerie
(The Artists Magazine, November 2013) . . . . . . . . . . . . . . . . . . . . . . . . . 11
Excerpt from The Drawing Bible by Craig Nelson . . . . . . . . . . . . . . . . . . 14
Excerpt from Drawing With Your Artists Brain by Carl Purcell. . . . . . . . . 25

M o r e R e s o u r c e s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Shading
Drawing
Fundamentals

the Sphere
Depicting light and shadow are essential
to creating the illusion of three-dimensional
space when drawing subjects such as
spheres, ovoids, and the human figure. Illustration 1

by Jon deMartin

C
orrectly depicting how light falls on forms is essential to
a realistic drawing. The previous article in this series cov-
ered how to model values and gradations on the cylinder,
which curves in one direction. Combining two cylindersone
on a horizontal axis and one on a vertical axisgives us double
curvature. (See Illustration 1.) This article discusses how to
draw value on the two basic geometric solids that curve in two
directions: the sphere and the ovoid. (See Illustration 2.)
Spheres and ovoids underlie many natural forms, including
subjects crucial to a draftsman, such as the human head. The
surfaces of most objects found in nature are complex, irregular,
and so unpredictable that they can easily overwhelm us.
However, when artists understand the inherent characteris-
tics of these geometric solids, they are in a better position to
perceive and draw natural forms effectively.

How Light Affects Value on a Sphere

The sphere is the purest example of a double-curved geometric
solid. It is perfectly round, and no matter where you hold it in
space its shape never changes. Every part of a sphere is equally
curved, and all points of its surface are equidistant from its
center. Only a flat plane, such as a side of a cube, can be shaded
an even value. Curving and rounding forms always produce
the effect of graduated values. The sphere is the most powerful
example of this, so well use it as the foundational example for
modeling the surfaces of double-curved forms.
Its useful to know why gradations appear the way they do. Illustration 2
When looking at a curved form, how many gradations can

A Free Guide to Pencil Shading Techniques for Beginning Artists | 3

 Illustration 3 Light Source

Illustration 4 90

Light Source (Incident Light)

An
gl
e
of
In Edge of Shadow
ci
de Side View (theoretical)
nc
e
Highlight

HL

flection
Angle of Re

Viewer (Reflected Light)

S

Edge of Shadow
Side View (theoretical) As seen from viewer

we see? Most artists can tell you they see two, the shadow and the the surface of the object directly) is equal to the angle of reflectance
highlight. Not only are these the most visible gradations but they (at which the light reflects to the eye). In other words, the highlight
are also the most important to identify. As Illustration 3 shows, the is the most direct path from the light source to the object and then to
dividing line between light and shade on a sphere is perpendicular the viewer. Its the brightest of all the lights. Depending on the forms
to the direction the light comes from. The edge of the shadow surface, the highlight may be more or less pronounced than on other
indicates the exact point where the light ends (or where the light surfaces. For instance, a highlight on the glossy surface of a billiard ball
source can no longer reach). All shadows are the result of some- will reflect more light than a highlight on the matte surface of a tennis
thing blocking the light. ball.
As Illustration 4 shows, a highlight occurs at the spot on an object Illustration 5 shows all the gradations that are necessary to give
at which the angle of the light source (which is incident light, hitting form its three-dimensional illusion. These gradations are called

A Free Guide to Pencil Shading Techniques for Beginning Artists | 4

 Drawing5
Illustration
Fundamentals
Light Source (Incident Light)

An
gl
e
of
In
ci
de
nc
e
Highlight

HL
flection
Angle of Re LL

Light Light ML

DL
Viewer (Reflected Light) Middle Light
LHT
DHT
Dark Light S

Light Halftone

Dark Halftone
Illustration 6 Edge of Shadow Modeling Factors on Sphere
Side View (theoretical) As seen from viewer

An
gl
e
of
In
ci
de
nc Highlight
e (Reflection)

flection
Angle of Re

Viewer (Reflected Light)

Dark Light
(Deflection)

A Free Guide to Pencil Shading Techniques for Beginning Artists | 5

Illustration 7a Illustration 7b

Illustration 8

Highlight

Light Light Form Shadow

Middle Light

Reflected Light Shadow

Dark Light

Light Halftone Accent

Cast Shadow
Dark Halftone

Edge of Shadow

Form Shadow

Reflected Light Shadow

A Free Guide to Pencil Shading Techniques for Beginning Artists | 6

 Drawing
Fundamentals

HL
LL

ML

DL

LHT
DHT S

Illustration 9a Illustration 9b

modeling factors. The modeling factors are the planes that represent a sphere modeled with just the halftones and the shadow. As you can
themselves to the illumination at different angles. As a result, they see, the illusion of form is quite apparent, even without the middle
produce different values. Each of these facets is a plane that has a light, light light, and highlight.
name, and if an artist shades each plane with the correct value and in Illustration 7b shows the sphere modeled with all the modeling
the correct sequence, the resulting shape will have three-dimensional factors. The inclusion of all the gradations results in a more realized
form. If the gradations jump or skip, the illusion of form is lost. This illusion of form, and the highlight is now apparent. (In this example,
takes practicelots of practicewhich is why its best to start with a the highlight is the white of the paper.) When modeling any form, the
simple sphere before tackling more complicated objects. shadow is the first value to indicate. The less variation in value you
In order from lightest to darkest, the modeling factors are the high- draw in the shadow, the better start youll have in modeling the rest of
light, light light, middle light, dark light, light halftone, dark halftone, the forms.
and shadow. The side view of the left sphere in Illustration 5 shows the The sphere resting on top of a cylinder in Illustration 8 allows us
relationship between the spheres surfaces, the light source, and model- to explore the full range of modeling factors found in the shadows.
ing factors. The right sphere shows the same modeling factors but from Among the most important types of shadow for the draftsman are
the point of view of the viewer. form shadows and cast shadows. Form shadows are found on the
form itself and begin at the exact point where the incident light ends.
Modeling Values on a Sphere A cast shadow appears when a form blocks out illumination and
The surfaces that face the light (highlight, light light, and middle light) projects a shadow onto another surfacein this case a cast shadow
reflect the light. The surfaces that turn away from the light (dark light, appears near the top of the cylinder where the sphere has blocked
light halftone, and dark halftone) deflect light, and as a result, they the light. Cast shadows either show the shape of the form casting
darken. (See Illustration 6.) In order to model form effectively, it must the shadow or reveal the shape of the surface that the shadow is cast
first be drawn by placing the shadow and the halftones that surround upon. The cast shadow is normally darker than the form shadow. The
it. The dark light, light halftone, and dark halftoneknown collec- reflected light shadow is the result of light reflecting from surround-
tively as the halftonesare the most significant modeling factors to ing surfaces into both form and cast shadows. (Its generally more
creating the illusion of round form in a drawing. Illustration 7a shows apparent in form shadows than in cast shadows.) The accent is the

A Free Guide to Pencil Shading Techniques for Beginning Artists | 7

 left below

Illustration 10a, Illustration 10b,

The Ovoid Girl (Front View) The Ovoid Girl (Side View)
by Jon deMartin, 2009, black and by Jon deMartin, 2009, black chalk
white chalk on toned paper, 24 x 18. on white paper, 24 x 18. Collection
Collection the artist. the artist.
After the sculpture The Ovoid Girl by After the sculpture The Ovoid Girl by
Eliot Goldfinger. Eliot Goldfinger.

absence of light. It can be a deep hole or two forms touching

one another, as seen on the rim of the cylinder touching the
sphere. It is the darkest of all the darks, and it gives richness to
a drawing.

Modeling Values on an Ovoid

The ovoid is a geometric solid that resembles an egg. Its simi-
lar to the sphere in that every part of the surface is curved, but
unlike the sphere its curves are not equal everywhere, and the
angle at which you hold an ovoid changes the shape that you
see. It is longer in one direction than the other, and the larger
end is rounder, and the smaller end is pointed.
The ovoid is an irregular form, so shadows and modeling
factors behave differently than on a sphere. (See Illustra-
tions 9a and 9b.) However, by knowing how light reacts to
a sphere, the artist can take the same principles and apply
them to the ovoid (or to any other form). The ovoid is also
the first step in drawing a naturalistic object; its a useful
shape because of its relationship to the human form, being
similar to the head, rib cage, and other parts of the body.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 8

 left

Julie
Drawing by Jon deMartin, 2007,
Fundamentals black and white chalk on
toned paper, 20 x 18.
Collection the artist.

Next page

Self-Portrait
by Jon deMartin, 2010,
black and white chalk on
toned paper, 17 x 14.
Collection the artist.

Illustrations 10a and 10b show front and side views of an ovoid straight along its axis, whereas the forms of The Ovoid Girl are convex
figure, and these drawings show that the characteristics of double- and continually gradate.
curved surfaces apply to ovoids as well as to spheres. Every form has The head is a perfect form to end this discussion with because
its brightest part. Whether wide, flat, deep, narrow, long, or short, each its a shape that closely resembles an ovoid. The head is a complex
surface still turns in two different directions. naturalistic subject, but reducing it to its most basic shapes makes the
The brightest parts of an ovoid (or a sphere) show a more concen- task of drawing it more manageable. Light falls on the head the same
trated amount of light than the brightest part of a cylinder does, because way as on an ovoid. It has a shadow, highlight, and all the modeling
the cylinders surface only bends one way. The surface of a cylinder runs factors in between.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 9

A Free Guide to Pencil Shading Techniques for Beginning Artists | 10
 drawing board by Sadie Valeri

Modeling Complex Form

Learn to draw a value sphere by using a controlled graphite shading technique
to render light shining on a three-dimensional object.

Understanding how light falls on an

object is fundamental to creating believ-
able illusion. Drawing an imaginary
sphere is a great exercise for learning
how light and shadow behave on a simple
object before you attempt more complex
subjects. This lesson is also an opportu-
nity to master pencil control and a light
touch. Even if you draw and paint with a
different style, developing refined pencil
control and mastering a thorough under-
standing of light will help develop sensi-
tivity in both your hand and eye, appli-
cable to all subjects, styles, and media.

1. Block In the Contour

The first step is to draw a circle, following
this easy method. Lightly sketch a square,
and then slice off the corners to make a
sketchy octagon.
Next, indicate a direct light source
thats angled 45 degrees slightly toward Sketch the cast shadow. The limits of Pencil in the two poles of the ter-
the sphere by drawing a three-dimensional the cast shadow are determined by lines, minator and sketch an ellipse to represent
conical arrow from the upper left. Think parallel to the light source, which are also the terminator between these two poles.
of this as a wall of white light angled as tangent to the circle at both visible ends Erase the back half of the ellipse so the
though its shining from a high, north-lit of the terminator and extend down to the terminator appears to be half an ellipse on
window. right to define the edges of the shadow the visible side of the sphere.
Note: Use a 2H pencil to draw light, cast on the ground. Envision these lines The terminator is an ellipse because
soft lines that you can erase easilywith- and sketch in a horizontal ellipse for the the light source is three-dimensional and
out damaging the paper! I like to draw cast shadow within these limits. angled slightly from the front. If the light
three to four very light lines per stroke so source were directly from the side, the
the graphite is dark enough that I can see 2. Refine the Contour terminator would be a flat line. Many
my lines. Unless otherwise indicated, use Smooth out the circle contour, continuing portrait paintings show a light source
a 2H pencil for this exercise. to slice off corners of the evolving polygon angled from the left upper corner and
Draw the terminator. The direct light shape in progressive stepscarefully and tilted slightly from the front because that
hits the half of the sphere closer to the methodically proceeding until a smooth angle reveals a more sculptural form.
light source, but the light cant reach the circular form emerges. This is a slow,
half turned away from the light source gradual process, so be patient. If your 3. Fill in the Shadows
because light rays dont bend. The dis- circle gets flat or lopsided, think of filling Using the softer H pencil, fill in the
tinct, conceptual line between the two it up with air and pushing out the dents form shadow (the shadow side of the
halves marks the ending of the light, so from the inside. Your lines should all still sphere) and the cast shadow with one
we call the line the terminator and draw be soft, light, and easy to erase. Use a even, medium tone. Make short strokes
it perpendicular to the light source. Later pen-style retractable eraser (see Materials, with a very light touch, and angle your
well make this line blurry and soft, but page 20) to clean up the lines so theyre marks in a variety of directions. If all your
for now its one distinct line. very thin. shading strokes go in the same direction,

A Free Guide to Pencil Shading Techniques for Beginning Artists | 11

 direction of light

terminator pole
li
m
it
o
f
or th
at e

r
in ca

o
m st

at
t er sh in
a rm
do te
w
li ast

cast shadow terminator

m
c

it sh

pole

1 2
o a
f d
th o
e w

your sphere will look hairy, so change darker graphite building up on the paper. Refine the cast shadow. The place
directions often. At this point your sphere You can use your kneaded putty eraser, where the sphere sits on the ground and
should look flat and graphical. twisted into a sharp point, to tap out touches the cast shadow should be very
Dont press hard on the pencil as the black dots and texture. dark since no direct light can reach there.
you fill in the shadow areas; just hover Allow the edges of the sphere and the cast
your pencil softly in one area to build 4. Turn the Form shadow to merge at that spot.
up a medium value without damaging Use shading to make the sphere appear Develop the reflected light as you
the paper. You might notice tiny dots of round. Making an object look three- refine the shading. So far weve only
dimensional is called turning the form. discussed the direct light source and the
Starting at the terminator, with a 2H shadow. Reflected light is caused by ambi-
Materials pencil, shade a mist of light marks up ent light in the room or light bouncing off
Paper: Strathmore 400 Series drawing
toward the highlight, the area where the ground and onto the shadow side of
paper pad, medium surface, 14x17 (Please the light on the object is brightest. Keep the sphere. Dont erase to create reflected
be careful to buy the exact paper pad darkening the values nearest the termina- light or the area will be too light and will
listed; look carefully for the 400. Dont tor until its sharp edge begins to soften ruin the sense of three-dimensional form.
buy sketch or recycled paper; theyre and the form starts to look round. Instead, continue to darken the area just
both much lower quality and will create Think about the surface three- behind the terminator, and the reflected
problems. The correct pad has a brown dimensionally as you work: imagine youre light will naturally emerge.
cover, spiral binding along its short edge; a small ant walking over the surface as Keep the area of reflected light subtle;
and it shows a drawing of a womans face.)
it turns up towards the light. The more you may find you even need to darken it.
Pencils: Staedtler Mars Lumograph 100 you think sculpturally, the deeper will be If its the correct value, it should disappear
(blue wood) 2H and Hat least five of your understanding of the form, and that completely when you squint hard at your
each knowledge will improve your drawing. drawing.
Erasers: kneaded rubber eraser; Dont blend! One goal of this exercise
PaperMate Tuff Stuff retractable eraser is to develop a light touch and an even
stick (This small white eraser has a black
plastic pen-style case and is found with
shading techniquewithout relying on
blending. If you rub the graphite, it will
Pencil Grades
the drafting supplies; other brands are look greasy and sometimes the pigment Graphite pencils are graded by hardness:
too wide.)
will shift toward an unpleasant brown hue. harder pencils (H, 2H, 3H, 5H, etc.) make
Drawing board: Helix lightweight, lighter, finer marks, and soft pencils (HB,
metal-edge, 16x21 5. Refine Shading B, 2B, 4B, 6B) make darker, broader marks.
Other: sandpaper220-grit placed flat on Finesse your modeling on the sphere. (Some brands have an F grade between
a table or mounted on a block or handheld Layer H and 2H pencil shadings one over the hard and soft pencils.)
detail sander; X-Acto snap-off blade cut- the other. An H (softer) pencil will make I encourage you to begin with just two pen-
ter (small utility kniferetractable snap- a darker value, but you will also see more cils (H and 2H) to learn how to get the widest
off stylenot a large blade box-cutter grain and texture. Using the 2H pencil possible range of value just by way of control-
and not a scalpel knife); white artists over the H pencil shading will even out ling the pencil. After you master this, you can
tape (low-stick masking tape called
the texture by filling in all the little white try a wider range of hard and soft pencils.
artists tape, found in art supply stores)
speckles that are left by the deeper crev-
ices of the paper.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 12

 highlight

form shadow

cast shadow

3 4

lost edge

background

reflected light

5 6
lost edge
ground or surface

6. Do the Final Shading dark little cloud hugging your sphere. It

Shade in the background and surface. If can be tempting to make the background Learn More ONline
your goal is a completed drawing, filling dark right around the edge of the sphere, See larger images of Valeris demonstration,
in an even tone for the background and but that will cause the background to plus download her free value sphere worksheet
a lighter tone for the ground the sphere jump forward. To make the background in PDF format, at www.artistsnetwork.com/
rests on will result in a nice, finished look. sit back visually, keep it one even tone and learnmore2013.
Be careful, though, that you dont create a fill in the rectangle of the picture edge.
Refine all values, continuing to adjust
them across the entire drawing, layering
H and 2H pencils as necessary. In some illusion of solid, three-dimensional form,
Sharpening Pencils places the background will be the same along with your refined pencil technique,
A very sharp pencil gets its point down value as the sphere. Allow these edges to will strengthen all your drawings.
into the texture of the paper, which cre- disappear; these lost edges create a feeling
ates a smoother tone, even when you of atmosphere and depth. Sadie Valeri, who has taught graduate students
use a light touch. Sharpen your pencil When your drawing is successful, at the Academy of Art University in San Francisco,
first by whittling away the wood with an your sphere will look as though it could currently conducts workshops and classes at
Sadie Valeri Atelier in San Francisco. Known for
X-Acto snap-off blade cutter (the large roll right off the page, or as though you
her meticulously crafted still life oil paintings, she
box cutters and scalpels dont work as could pick it up. Thats when you know
was judge for the still life category of The Artists
well). Expose an inch of graphite lead, youve captured the illusion of three-
Magazines 2012 Annual Art Competition and has
then rub the side of the graphite on dimensional form. created a video demonstration of how to draw
sandpaper, turning the pencil constantly, Once youve mastered the value the value sphere, available to download. To watch
to create a very sharp point. sphere, you can use this shading tech- a preview and purchase the video, go to www.
nique to draw any subject. You will be sadievaleri.com/videos. Visit her website at www.
thinking sculpturally, and the successful sadievaleri.com.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 13

 Excerpt from The Drawing Bible by Craig Nelson

Using Value to Create Form

You create form in a drawing by using value to your light source when using value varia-
depict light and shadow. Develop value varia- tions to model forms and create shadows. Be
tions carefully and slowly, and only after care- sure that your highlights and shadows are
fully observing the tones on the subject itself. located consistent with the direction of the
Be sure to consider the character of your sub- light. Also consider the differences between
ject. For example, round or soft, turning forms types of shadows. Form shadows are those
will have a soft, gradual value change, while dark areas on the side of an object where the
sharper edges will have a crisp, abrupt value light does not hit; cast shadows are those dark
change. areas where the light has been blocked by
It is also vital to consider the location of another object.

Light and Shadow Are Necessary to Create Form Three Part Composition
The three relatively simple forms here (a squash and two apples) are all light in Charcoal on bristol board
value. This enables shadow tones to show well. A single light source helps define the 12" 18" (30cm 46cm)
forms.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 14

 Detail of Apple
The form shadows in the apple goes from
light to dark as the light source gets further
away. A similar principle applies to the cast
shadows, only they get lighter the further
they get from the object.

Cast shadow Form shadow Light source

Detail of Squash
For the squash, I use form shadows to cre-
ate the effect of the ridges. Notice how
the top of the ridges are lighter (where the
light hits) while the bottom part of the
ridge is darker. I also gradually darken the
values to give more shape to the ridges.

Use a Single Light

Source
To make value changes on
your subject easier to see,
shine one light directly on
Cast shadow Form shadow Light source your subject and block out
other unnecessary light.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 15

Understanding Light and Shadow
Our eyes depend on light and shadow to define Soft edge. A characteristic of rounded
form, so it is important to understand the forms where edges are not clearly defined.
basic properties of light and shadow to create Cast shadow. The shadow created on a
form in drawing. surface when the light on the surface is
Most objects you portray with tone and blocked by another object. It is usually
value will exhibit the following: hard-edged.
Form light. The area facing and struck by Reflected light. Lighter areas within a
the light. This producing the lightest part, form shadow, created when a bit of light is
or highlight, of the object. reflected back onto it.
Form shadow. The area where light does not Core shadow. The darkest part of a form
hit. shadow, not affected by reflected light.
Hard edge. A characteristic of forms with
crisp, well-defined edges.

Cast shadow Form light

Different Aspects of
Light and Shadow
These three simple
white forms show the
various aspects of light
and shadow modeling.
White objects work
best for this because
there is no local color
variation to interfere.

White Forms
Charcoal on heavy
bond paper
10" 16"
(25cm 41cm)

Form shadow Reflected light

A Free Guide to Pencil Shading Techniques for Beginning Artists | 16

gallery
charcoal

Use Charcoal for Texture

In this sketch, I used soft char-
coal to create different textures
for this ram. Although the char-
coal was soft, I did this entire
sketch without blending. Instead,
lines create the shading and give
the animal form. Tone and line
are more concentrated in the
head area for focus.

The Bachelor
4B and 6B charcoal on gray
sketching paper
24" 18"
(61cm 46cm)

Fine, sweeping lines Strongly directional lines

create the texture of hair indicate the contours of
the animal

A Free Guide to Pencil Shading Techniques for Beginning Artists | 17

 de m o n s t r at i o n

Using Values to Create Light

and Shadow
Here youll learn how to map out the patterns of light and shadow as well as
Materials
develop the principles of light and shadow. Since your paper is toned, let it act as
Surface
the middle value for this drawing, applying lights and darks on it.
18 24 (46cm 61cm) light gray
Canson paper

1 Sketch in the Subject

Study your subject.
Then, using a 4B charcoal
Mediums
4B and 6B charcoal pencil
Soft vine charcoal pencil
pencil, lightly sketch on
White charcoal pencil
the smooth side of the
Soft white pastel
paper. Do not worry about
light and shadow yet. Other Materials
Facial tissue

2 Map Out the Value Variations

See the basic patterns of lights and darks by
squinting your eyes as you look at your subject.
Using the side of a 6B charcoal pencil, lay in the
areas where you see the darks. Pay special attention
to darker value patterns such as cast shadows (page
84).

A Free Guide to Pencil Shading Techniques for Beginning Artists | 18

 de m o n s t r at i o n

3 Build Darker Values and Add Shadows

Switch to a piece of soft vine charcoal and use it to
strengthen the dark values. Use a piece of facial tissue to
4 Strengthen the Value Contrast
Add soft whites with a white charcoal pencil. This will
strengthen the value contrast in the flesh tones, the skirt, a
lightly rub the vine charcoal, blending the tones, solidify- bit of the hair and the reflections in the wall on the right.
ing the shadows and unifying the darks. Dont worry if you
smear some of the charcoal into the light areas. Shape your
kneaded eraser into a point and use it to clean up any areas
where you dont want darks. Spray a light mist of workable
fixative over the drawing. Allow it to dry.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 19

 de m o n s t r at i o n

5 Amplify the Value Contrasts and

Finish
Re-examine your subject, looking for
the darkest darks within the shadows.
Use the 6B charcoal pencil to clarify
and refine values and edges of the
shadows. Follow this same procedure
for the lights. Use a white Nupastel for
the lightest lights. With the 6B char-
coal pencil, add the pattern detail in
the dress and, with a soft white pastel,
amplify the value contrasts where nec-
essary.

A Seat in Soho
Charcoal and pastel on gray Canson
18" 24" (46cm 61cm)

A Free Guide to Pencil Shading Techniques for Beginning Artists | 20

Lost and Found Edges
In order to add a dramatic effect to a drawing,
use the concept of . A lost edge occurs where
the edge of the form seems to disappear
into the background. You lose light edges
in a light space or dark edges in a dark area.
Basically, a lost edge fades into an area with a
similar value, while a found edge relies upon
contrasting values to define it.
One strong light source and a dark back-
ground will provide ample opportunities for
dramatic effects. Keep your use of contour
line to a minimum. Use it only in discrete
places as a very subtle accent. Most of the
form should be defined by the edges created
by the transitions between light to shadow.
Add some limited details and softer descrip-
tive values within the light side of the form.

Chiaroscuro
The lost-and-found idea is not new.
Caravaggio, a Renaissance painter,
used this concept to give a sense of
drama to his work. Chiaroscuro, mean- Use Lost and Found Edges to Create a Dramatic Effect
ing light and shadow, is the term The contrast of strong black and white creates drama as this figure almost
associated with such dramatic, highly emerges from the deep shadows of the background. I used midtones and
contrasting tonal effects. In this lights to clarify the details.
approach, the darks basically melt
White on the Rocks
into the background, allowing the Charcoal on artists vellum
subject to emerge out of a dark void. 24" 18" (61cm 46cm)

A Free Guide to Pencil Shading Techniques for Beginning Artists | 21

 de m o n s t r at i o n

Using Lost and Found Edges

Lost and found edges can make your subject look like its in motion, which is per-
Materials
fect if your subject is a dancer in mid-leap. The focus will be the upper body, so
that will have the most detail, while the legs will remain blurry to suggest action. Surface
20 18 (51cm 46cm) artists
vellum

1 Lightly Sketch the Mediums

6B charcoal pencil
Subject
Black soft pastel
Draw a light gesture sketch
with a 6B charcoal pencil. Other Materials
Be sure to maintain propor- Kneaded eraser
tional accuracy. Paper towel or facial
tissue
Workable spray fixative

draw like a painter

When you draw on white paper, let the
white of the paper be your lightest light.
Shape your kneaded eraser into a point
and use it to lift out the highlights, just
as a painter uses a brush to lift paint.

2 Lightly Add the Initial Layer of Shadows

Use the 6B charcoal pencil to lay in the
overall shadow tones on your subject, but keep
them lighter than they appear. (You will build
the darks later.) Lay in the background in the
same manner.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 22

 de m o n s t r at i o n

3 Soften the Edges and Clean Up the Light Areas

Use a soft paper towel or facial tissue to smear these
initial tones. Do not be too concerned about smearing the
4 Add Another Layer of Darks and Refine the Lighter
Tones
With a soft black pastel, add another layer of darks and repeat
tones into the white areas or over edges. You may use a smearing to deepen the darks, losing edges in the background.
kneaded eraser to clean up some light areas. Leave soft Shape a kneaded eraser to a point and use it to carefully to lift
edges in the legs to suggest movement. out the lighter tones and bright, clean lights in the upper body.
Add a light layer of workable spray fixative and let this dry for
23 minutes.

Vary the Pressure as You Lift

Highlights
Use lots of pressure to lift out a nearly white
highlight. Use a little pressure when a soft gray is
what you need.

A Free Guide to Pencil Shading Techniques for Beginning Artists | 23

 de m o n s t r at i o n

5 Add the Final Details

Use a very sharp (page 73) 6B
charcoal pencil to carefully add another
layer of darks. Keep the shadow edges
lost. With a kneaded eraser, delicately
pick out the lights. Add any subtle
line work that may be needed to refine
some areas. Keep the legs and feet
more blurred to suggest action.

Dancers Leap
Charcoal and black pastel on artists vellum
20" 18" (51cm 46cm)

A Free Guide to Pencil Shading Techniques for Beginning Artists | 24

 Excerpt from Drawing With Your Artists Brain by Carl Purcell
DEMONSTRATION

Capturing an Edge With Contour Line

There are two ways to dene the edge of any form: with value changes or with
line. Whenever you create a drawing that utilizes both line and value, you will
have to decide which will be dominant. I am primarily a value artist, but I love
the beautiful line work of such masters as Rico Lebrun and Hokusai. I utilize con-
tour drawing in two instances: I use it to dene some of the edges where gure
and ground are the same value and when I dont have time for a complete value
drawing of a scenein which case, I do a contour line drawing of all the shapes
involved and ll in the values later. The most difcult part is knowing when to
stop. I could use someone to snatch my pencil away.
Reference Photo
I like the way shapes of shadow dene
Alma Larsons face and hand.

The edge of the light shape

here denes the structure of
his cheek. Its not arbitrary.

Each turn of the shapes edge

reveals a different aspect of
the forma depression, a
protruding chin, etc.

The overalls are dened by

unique shadow shapes.

Each nger has a different

shape of light dening it.

1 Dene the Shapes

After the initial search for relationships, my rst
use of contour line is to dene (lightly) the shapes
that will be left as white paper. Instead of drawing
eyes, nose, mouth and ngers, draw the shapes of
light value. If you have trouble seeing them, squint
until you see only the shapes of value. Draw those
shapes slowly with a deliberate line. Be careful to
note each turn and undulation in the edge.

54
A Free Guide to Pencil Shading Techniques for Beginning Artists | 25
 Dene the light edge of the hat
with some dark in the background.

Merge the dark gure and the These lines along the shoulder One careful line can give all the
dark background in a single value. Lose the edge of the hat here were pulled with a 6B pencil. necessary information about the
If you dene this edge, you rob as it merges with the light. zipper ap.
the viewer of guring it out. The pencil can be alter-
nately dragged sideways
Carve out the lights Start near the center of
to produce broad lines,
by placing darks interesthis face. Dene a
Put in the gray, leave then lifted for more deli-
next to them. few contours with deliber-
the light shapes. cate lines. ate, carefully pulled lines.

2 Lay in the Values and Dene the Edges

The idea here is to have the gure emerge from the dark
shadows behind him. Put in the value and let the light shapes pop
3 Select Areas to be Dened
Too much contour line would ruin this drawing. To keep the
dominance on value contrasts, carefully select the areas to be
out. Apply powdered graphite using a piece of thick piano felt as a dened by line. Resist the temptation to dene everything. Leave in
brush. Lay in the background dark and carry it across and into the lost edges, choosing the contours that best describe the form.
gure. It does not have to be recognizable, just dark. Dont let the
photo tell you what to do. Dene the intricate edges with a blend- Alma Larson
ing stump. Lift out small pieces of light such as the edge of the hat Powdered graphite and graphite pencil
brim and the brass button with a kneaded eraser. Some edges will 16" x 12 (41cm x 30cm)
be lost.

55
A Free Guide to Pencil Shading Techniques for Beginning Artists | 26
 Finding value Three things affect the value of any
surface:
Capturing These Relationships
There are numerous ways to render
relationships 1. The local tone, or the actual value
of the surface free from the ef-
the changes of value you see. The
method you choose is completely
fects of light and shadow. personal, a result of your likes and
2. The brightness of the light source. dislikes and your choice of medium.
Even a dark local tone can have Dont worry about developing
a highlight from a strong light a personal style. Learn to see value
source. relationships, become familiar with
3. The direction of the light source. the various media, and your per-
Surfaces at right angles to the sonality will imprint itself on your
light source receive the most. As a drawings naturally. Later, Ill teach
plane turns away, it receives less you how to render these relation-
light and becomes darker. ships using the most common draw-
ing tool, the graphite pencil, so you
can focus your attention on seeing
the relative value in the subject.

Everything Is Relative
Values are only evident in relation to other
valuesa light object will appear lighter
next to something dark and vice versa.

2
The Different Areas of Value
A black and white sphere is a good illus-
tration of the six different areas of values
that form under a light source.
3

5 4

1 Highlight: The area receiving the most direct 5 Reected light: Light bounced back from
light. nearby surfaces. Reected light is still part of
the shadowed area and as such is never lighter
2 Light: The surface area receiving indirect than the shadow area on the lighted side of the
light. sphere.

3 Shadow: Where the form turns gradually 6 Cast shadow: The shadow cast by the object
away from the light source. is almost always darker than the core shadow.
The length of the cast shadow depends on the
4 Core shadow: The most concentrated area of position of the light source. Its darkest and its
dark on the sphere. Since it is parallel to the edges are sharpest nearest the object.
light source (which is coming from above right),
it receives the least amount of light.

66
A Free Guide to Pencil Shading Techniques for Beginning Artists | 27
It is impossible to create with any
medium the full range of value
it. Now shade each of the remaining
segments in even jumps between
Making a
shifts that you can see in nature.
Simplifying the range is a necessity.
these two extremes. You may want
to use a blending stump to even out
value scale
Most artists use the standard value the value in each segment.
scale, which divides the ranges Two problems will arise: First, the
of value into nine increments: a transition from one segment to the
middle gray, four gradations of next may varyyou might have a
darks and four of lights. This may minor jump in one place and a huge
not seem like a lot, but its actually jump in another. If you adjust one,
about as many as most people can you have to adjust all the rest. Note:
easily distinguish. it is easier to make a value darker
Creating your own value scale than lighter.
is a useful exercise for learning to Second, the value in one segment
adjust a value to the values around may become lighter as it approaches
it. Divide a 9-inch (23cm) rectangle the border of the next. This will
into 1-inch (3cm) segments. Using a cause you to shade the next segment
2H pencil and very little pressure, incorrectly because youre basing it
shade the rst segment a very light on the border value and not the in-
gray. Switch to a 6B pencil and make terior. As always, its helpful to step
the last one as black as you can get back and squint.

The Value Scale

Practice With Your Scale Practice With Your Pencil

Gather a few simple items that are light in value. Hold up your Here is a great subject for drawing value relationships and the
value scale and nd the square that most closely matches the effect of light on a curved surface. Squint and use your scale to
value of an area. Comparison is one of the most important abili- capture the values correctly.
ties needed.

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A Free Guide to Pencil Shading Techniques for Beginning Artists | 28
 DEMONSTRATION

Rendering Shapes of Value

All forms, from people to trees, are made of shapes of vary-
ing value. Some of these shapes are very distinct and some
have blurred edges. Accurate drawing requires seeing and
recording the conguration of each value shape, their rela-
tive values, and the edges where these shapes meet. This gull
is made up of light, gray and dark shapes. Forget about the
bird and focus on the value.

Reference Photo
Your intellect sees birds in terms of legs,
feathers, eyes and beaks, not shapes of
value. Take your focus off these nameable
items and put it on shapes.

1 Begin with a Search for Angles

Begin with the angle of the shapes, the
relative size of each shape and the relative
2 Establish a Range of Values
There is no right place to start adding
value to a drawing, but if youre comparing
position of key points. After that, youre ready values (and you should), establish a standard
to conduct a search for relative values. to compare them against. I look for one of the
extremes of white or black and begin there.
Compare the lighter range of values to the
white of your paper. This subject has a black
shape. Perfect!
When you squint, you see that there are
two tones in the dark shape: black and a dark
gray as the rounded plane of its back turns
toward the sky. Put this black in with a 6B pen-
cil. Now you have a standard of comparison for
the gray tones.

68
A Free Guide to Pencil Shading Techniques for Beginning Artists | 29
This is the darkest value on the bird. Notice
how it gets lighter as it moves up the back. These two areas are the same value.

3 Establish the Middle Grays

This is where squinting is crucial. Your intellect
tells you that the bird is black and white. Beginning
students typically accept that information and hesi-
tate to violate the white very much. Consequently,
the shadow area is rendered far too light. Squint and
compare the value on the back of its neck with the
dark gray of the light-struck back. A highlight on the
black shape is the same value as the shadow on the
white shape!
Every dip and turn in the shape of the gray is
important: Each turn, each change in the edge tells
you where the form turns in space, where it dips or
bulges.

The shadow area on these white feathers is the This shadow is the only information
same as the shadow on its neck. about the undulations in the chest and
neck. Change it and you change the bird.

4 Finish with a Renement of Shapes

When we put in the dark of the eye (with
its blurred edge just as we see it), the shadow
area looks right. Now add the value of the legs,
feet, post, etc. Seeing shapes of relative value,
not detail, is the key.

From the Artists Brain

You dont squint to see the exact value of
an area; you squint to see the relationship
of that value to the value adjacent shapes.
Squinting eliminates details and allows you
to see the bigger shapes of value.

69
A Free Guide to Pencil Shading Techniques for Beginning Artists | 30
 The method you choose to create nished work instead or blending
Methods of values using a graphite pencil is them perfectly.

rendering value your choice. Some prefer crosshatch-

ing, some prefer to blend, and some
Getting the value relationships
right is far more important than the
(myself included) prefer to create the method you choose. But, so you can
value with strokes that also dene see how these methods appear in a
the shape. This latter technique is nished drawing, Ive done the same
called broad-stroke. drawing three times, each employ-
For the bulk of my drawing, I ing a different method. In all three,
like the directness of adjusting the the darkest and lightest areas are
pressure of the pencil to achieve the the same as well as the relationship
right value. Its similar to allowing of grays. Only the technique differs.
paint strokes to become part of the

Blending Crosshatching Broad-stroke

Graphite can be blended and rubbed to Cross-hatching is a series of straight par- This stroke differs from cross-hatching in
achieve a nearly photographic effect. In allel lines, overlaid by more lines running two ways. Instead of using a sharpened
this drawing, I used a 2B pencil for the in opposing directions. These are built up point, the end of the graphite is sanded
darker areas and an HB pencil to lay down gradually to achieve gradations of tone. down at an angle to create a chisel point.
the lighter values. I then went over the Cross-hatching should be used for grada- Also, the strokes follow the plane and
strokes with a blending stump. tions in tone, not to establish the shape of vary in length. This is my personal favorite
the rounded form. for use in my sketchbook because its fast
and re-enforces the planes in the subject.

70
A Free Guide to Pencil Shading Techniques for Beginning Artists | 31
 Blended Graphite Method
Clovelly Dry Dock I
HB & 2B Graphite pencil, 9" x 12" (23cm x 30cm)

Crosshatching Technique
Clovelly Dry Dock II
0.5 mm graphite pencil, 9" x 12" (23cm x 30cm)

Broad-stroke Method
Clovelly Dry Dock III
6B graphite pencil, 9" x 12" (23cm x 30cm)

71
A Free Guide to Pencil Shading Techniques for Beginning Artists | 32
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S UM M ER 20 1 4

SUMMER 2014 THE STILL LIFE ISSUE

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TECHNIQUES NEW & OLD

LIFE
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from any angle
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Advanced
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PERSPECTIVE
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A Free Guide to Pencil Shading Techniques for Beginning Artists | 33