Resources: • 1.2.R8 Drawing on Reverse Techniques• 1.2.A13 Taper Lines with Invisible Joins• 1.2.A14 Divide and Draw Individual Sections

Supplies: smooth drawing paper, various grades of pencils, sharpening tool

This activity has two sections:• Divide by Detail• Divide by Tone Layers

Draw Textures with Line and Tone

Draw three different realistic textures by first drawing details with lines, and then adding the illusion of form with layers of tone

Level: BeginnerFlesch-Kincaid Grade Level: 8.5Flesch-Kincaid Reading Ease: 62.4Drawspace Curriculum 1.2.A15 - 4 Pages and 9 Illustrations

ArtSpeak

Tone: (also called value) The degree of lightness or darkness of an area in an artwork. Tone varies from the bright white of a light source through shades of grey to the deepest black shadows. Texture: The surface details of an object that can be identified by sight, touch, and/or a general knowledge of the subject.

Figure 1 Figure 2 Figure 3

The tiny sections of textures in this activity do not represent specific animals. The fur in Figure 1 could be on a wolf, the fur in Figure 2 could be on any shaggy animal, and the feather (Figure 3) could be on one of several different species of birds.

ISBN: 978-1-77193-126-7Copyright © 2016 Mike Sibley (www.sibleyfineart.com) and Drawspace Publishing (www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form

or by any means, including electronic, digital, mechanical, recording, photographing, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.

Divide by Detail1. Use 2B and HB pencils and tapered lines of varying lengths to draw three

textures (Figures 4 to 6).

All three can be drawn relatively small on the same sheet of paper.

Figure 4

Figure 5 Figure 6

Tip!

When working on the first step of each texture (drawing details with lines), focus primarily on establishing any blacks and elements of line. For now, pay no attention to the lighting or shaping.

Tip!

Form a chisel point on your pencils to use during both steps of this exercise. Use the sharp edge for drawing detail, and the flat face for shading.

Tip!

Instead of trying to understand and depict both detail and shaping at the same time, concentrate on the detail without any regard to the actual shaping. This division technique offers you great freedom. The results may surprise you.

The sharp edge of your chisel point is ideal for drawing details. The edge creates sharp-edged lines that fill the tooth of the paper more deeply.

Note that care has been taken to leave white spaces between the pencil lines. These spaces will accept the layer of tone that provides three-dimensional shaping.

The feather (Figure 6) shows the use of a 2B to display its outline and stripe; an HB is used to indicate ruffled filaments.

2 1.2.A15: Draw Textures with Line and Tone

ISBN: 978-1-77193-126-7Copyright © 2016 Mike Sibley (www.sibleyfineart.com) and Drawspace Publishing (www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form

or by any means, including electronic, digital, mechanical, recording, photographing, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.

A kneadable eraser or Blu-Tack can then be used to adjust the top tone layer without disturbing the detail beneath.

Lightly apply layers of tone to build up the three-dimensional shape so it conforms to the direction and quality of the light. Use harder grades for this (HB to 4H); their finer grain structures will enhance the smooth appearance.

Fur (Figures 7 and 8)The HB produced the overall three-dimensional shaping. The 2H refined the shading in the lighter areas.

The 2H was also lightly applied to dull any remaining white content – except where a highlight is allowed to exist.

Figure 7

Figure 8

Figure 9

Divide by Tone Layers2. Use various grades of pencils and layers of

tone to produce the overall three-dimensional shaping that you see in Figures 7 to 9.

The flat face of your chisel point skims over the surface of your paper to produce soft-edged seamless shading, and to physically keep the detail and tone layers separate.

Feather (Figure 9)Only the 2H produced the feather’s three-dimensional shaping.

Note how the central rib is first established by simply omitting any application of tone, and then its lower edge was gently toned with the 2H to suggest its rounded appearance.

This technique always gives a sharper, cleaner image than applying tone overall and then attempting to erase it along the rib.

31.2.A15: Draw Textures with Line and Tone

ISBN: 978-1-77193-126-7Copyright © 2016 Mike Sibley (www.sibleyfineart.com) and Drawspace Publishing (www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form

or by any means, including electronic, digital, mechanical, recording, photographing, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.

Enjoy!

Cheers……….

Drawing from Line to Lifeby Mike Sibley

• Foreword by renowned artist David Shepherd• Over 280 pages of pencil drawing tips, tutorials,

demonstrations and much more...• More than 625 illustrations• Tools, techniques, methods• Step-by-step instructions• For the Novice and Advanced student• From pure line drawing through to near-reality

Based on Mike’s experience of over 30 years as a professional artist and graphite pencil specialist.

www.SibleyFineArt.com/pencil-drawing-book.htm

If you’re a graphite artist or an artist who wants to learn more about how to construct a drawing, a book like this is a jewel. This is the book I have been waiting for... a book where a life-long artist performs a magical brain-dump into a format where you can reference it your whole life. So, if you were on the fence about this book think about it this way: this book can help you perfect your craft for a lifetime and amounts to a night out to a restaurant and a few drinks. Now ask yourself, which is going to stay with you after you wake up the next day?

>Rich Adams<

ISBN: 978-1-77193-126-7Copyright © 2016 Mike Sibley (www.sibleyfineart.com) and Drawspace Publishing (www.drawspace.com). All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transferred, or transmitted in any form

or by any means, including electronic, digital, mechanical, recording, photographing, or otherwise, without the purchase of an educators’ license from drawspace.com or the prior written consent of Mike Sibley and Drawspace Publishing.

4 1.2.A15: Draw Textures with Line and Tone