DME3

BY D I A N E C A R D A C I
 D RA W ING
M A D E
EA S V

REALIST IC
TEXTURES

By Diane Cardaci

Walter Foster Publishing, lnc.

3 Wrig ley, Suite A
lrvine, CA 92618
www.wa lterfoster .com
© 2006 Walter Foster Publishing, lnc. Artwork © 2006 Diane Cardaci. All rights reserved.
This book has been produced to aid the aspir ing artist. Reproduction of the work for study or finished art is
permissible. Any art produced or photomechanically reproduced from this publication for commerc ial purposes
is forbidden witho ut written consent from the publisher, Walter Foster Publishing, lnc.

Di gital edition : 978- 1-61059-859-0 Softcover edi tion : 978-1-56010-997-6

CONTE NTS
lntroduction ............................................................................................................ 3

Tools and Materiais .................................................................................................... 4

Handling the Pencil. .................................................................................................... 6

Practie ing Lines ......................................................................................................................... 7

"Pa1.nt1.ng " w1.t h Penc1·1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

F ind ing Y our Sty 1 e .............................................................................................................. 9

Worki ng with Different Tech niques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1O

Understanding Value ........................................................................................................ 12

Following Form ...............................................................................................................13

A dding Text ure w ith Light .................................................................................... 14

Depicting Distance ..........................................................................................................15

Botaniea 1 Text ures............................................................................................................. 16

Bellf lower ...................................................................................................................18

Tradit iona 1 Sti11 Life Text ures ...................................................................................... 22

Wine and Cheese ........................................................................................................... 24

F1 ora 1 S ti11 Life Text ures ...................................................................................................... 28

Pitcher of Li1 ies .................................................................................................................. 29

Wi1 d 1 ife Text ures ............................................................................................................ 34

Blue Jay............................................................................................................................... 36

Landscape Textures ........................................................................................................ 40

Lake Scene.......................................................................................................................... 42

Citysca pe Textures .......................................................................................................... 46

Plaza Scene ......................................................................................................................... 48

Anima l Textures ........................................................................................................ 52

Yorkshire Terrier ............................................................................................................. 53

Portrait Text ures ............................................................................................................ 58

A Young Girl ........................................................................................................... 59

Final Thoughts ................................................................................................................ 64

I N TRODU CTION
A pencil seems like a simple tool. lt is inexpensive and portable, and no extensive training or high-tech
equipment is required to use it. You've proba bly used one ali your life and never thought much about
it. Yet for those who wish to explore its versa tility, the pencil can provide endless hours of enjoyment.
A pencil's point can unleash a world of creative satisf action. And a lthough many a rtists may view it as
a simple sketching tool, it also can be used to express the captivating textures of both the natura l and
manufactured worlds. A pencil can capture the fragile beauty of a butterfly's wing or the imposing
form of a steel skyscraper. From the delicate lines created by a sha rpened, hard lead point to the
velvety, deep values of a soft graphite, the ra nge of possibilities is infinite.
Over the years, my continuous f ascination w ith texture has inspired me to use the pencil as a
powerful tool of artistic expression. 1 have learned from teachers and fellow artists, as wel l as from
studying the drawings of the Old Masters. Some of my favorite techniques, however, have come
from just tak ing the time to experiment with hand position, pressure, the grade of the graphite, and
different types of papers. This book is designed to share some tried-and-true techniques, as well as to
inspire you to play with pencil textures. ln addition to sta ndard step-by-step lessons, l've also included
creative exercises that f ocus on your artistic nature. Explore the world of textu res and see what you
ca n create on your own. See what your pencil is truly capable of and let it become a part of your
creative palette. Enjoy !

3
 TOO LS AN D MATE RIAL S
You can create almost any texture imaginable with a pencil and paper. You won't need a lot of sup-
plies to follow the exercises in this book, but it's importa nt to get acquainted with the basics. As you
work, you can experiment with different toais to discover which ones suit you best.

Pencils
Pencils are labeled with numbers a nd letters. The letter indicates
hard lead (H) or soft lead (B), and the number descr ibes the grade-
the higher the number, the more intense the hardness or softness
of the lead. So a 9B is the softest of the B leads; a 2B is mildly soft.
HB is in between hard and soft. Soft leads create thicker, darker
lines; hard leads produce thinner, lighter lines.
There a re several types of pencils to choose from: Woodless
pencils feature larger leads that can form fine points; mechanical
pencils create uniform strokes; carpenter's pencils create very wide Choosing Your Pencil Pictured
strokes; water-soluble pencils produce washes that are similar to from left to right are a carpenter's pencil,
a woodless graphite pencil, and large
watercolor paint when manipulated with water; and lead holders
and small lead holders.
are "sleeves" that can hold a ny grade of lead.

Pape rs E ra sers
Your choice of paper is as importa nt as your choice of pencil. Erasers are great for creating
1 mainly use Bristol board, a heavy paper availab le in vellum (rough) highlights and for shading. 1
or plate (smooth) finish. Rough, cold-pressed papers create a prefer kneaded erasers because
deeper tone and break up the stroke, which is great for drawing they can be molded into differ-
stone and landscape textures. Smooth, hot-pressed papers provide ent shapes and sizes to su it my
the ideal surface for delicacy and detail. The rougher the surface, needs. They're softer and more
the more " tooth" (or texture) the paper has . Use acid-free papers flexible than vinyl erasers , the
whenever possible to avoid yellowing and deterioration. type you usually see in schools.
They are great f or cleaning up
a finished drawing beca use they
don 't leave crumbs.

Handmade

Rough watercolor

Cold-pressed watercolor

Heavyweight handmade

Experimenting with Papers There is a great variety of papers you can choose
from. Pictured from top to bottom are a small handmade paper, which has a deckle edge
and is idea l for smaller drawings; a rough waterco lor paper,which has a very rugged, but
regular, pattern; a tinted pastel paper,which has a nice tooth; a cold-pressed waterco lor Cleaning Up Pictured here are a
paper, which is great for laying washes with wate r-soluble pencil; and finally a heavy- battery-powered eraser, a kneaded
weight handmade paper, which has a very rough, irregular tooth. eraser, vinyl erasers, and a pen eraser.

4
S ha rpeners
Carpenter 's pencils and other specialty pencils can be sharpened
manually with a single-edge biade and/or a sandpaper block .
Mechanical pencils have special sharpeners for the leads, called
11 /1
pointers. For my wood pencils, 1 usually use an electric sharpener.
Most artists use a combination of ali these sharpeners, depending Sharpening Your Tools Each
on the type of point they want. A mechanical sharpener will give type of pencil has a specific sharpener .
you a very fine point, but you have little contrai over it. Sandpaper lf you're using a carpenter's pencil, you
can find a biade and sandpaper at the
can make some nice blunt points that are difficult to create with
hardware store. When you're done sharp-
other types of sharpeners. Some artists even use a utility knife to ening, the shavings can be used as graph-
whittle their pencils into hard, sharp shapes. ite powder, also ca lled "carbon dust. "

Blending Too ls
There are severa! toais that can be used to smudge and blend
graphite . A blending stump is a rolled piece of paper that can be
used for blending so you don't get your fingers dirty. A tortillon
is similar, but shaped differently. When you're work ing with a
larger area, you can use a chamais cloth for blending. These are
important to have on hand for c reating certain textures.
Blending Tools Made of tightly
wrapped paper, tortillons are pointed on
S upporting Y ou r A rt one end (right), whereas blending stumps
are pointed on both ends (left).
A sturdy drawing surface is invaluable. Portable drawing boards
are very convenient and can be used at most tables. 1 currently do
most of my fine art at an easel because it enables me to look at the Accessories
piece from a distance to see how the work is progressing. 1 also use R ulers and triangles are indis-
a large drawing table when 1 need more space. pensable for highly realistic
buildings and other hard-edged
subjects. Artist's drafting tape
is a necessity for keeping your
art in position, but do not tape
within the drawing area, as this
can leave residue.

Eraser Shields and Stencils

Another great tool is the eraser shield
Organizing Your Workspace lt's important to have a comfortable chair to work (above), which acts as a stenc il when
in, or you may hurt your back. You don't want to strain your eyes either, so make sure erasing parts of your drawing. Y ou
you have suffic ient lighting. 1 prefer a li my supplies to be within arm's reach at ali times also can use stencils to help you create
so 1 don't have to interrupt my drawing to go look for something. perfect corners and curves.

5
 HAN D L I N G TH E PE N CI L
You can create an incredible variety of effects with a penc il. By using va rious hand positions, you can
produce a world of different lines a nd strokes. lf you va ry the way you hold your pencil, the mark the
pencil makes changes. lt's just as important to notice your pencil point. The point is every bit as essen-
tial as the type of lead in the pencil. Experiment with different hand positions and pencil points to see
what your pencil can do!
1 use two main hand positions f or drawing. The writing position is good for very detailed work
that requires fine hand contrai, as well as for texture techniques that require using the point of the
pencil. The underhand position allows for a freer stroke with more arm movement-the motion is
almost like painting. (See the captions below f or more information on using both hand positions.)

Using the Writing Position The writing position is exact ly Using the Underhand Position Pick up the pencil with
what it sounds like! Hold the pencil as you normally do while your hand over it, holding the pencil between the thumb and
writing. Most of your detail work will be dane this way, using index finger; the remaining fingers can rest alongside the pencil.
the point of the pencil. You can create beautifu l shading effects from this position.

Protecting Your Art lt's a good idea to use a piece of tracing paper as a barrier between your hand a nd your draw ing. The
tracing paper not only prevents you from smudging your drawing, but it also keep oils from your skin from damaging the art.

6
P RACT ICI N G L I NE S
When drawing lines, it is not necessary to always use a sharp point. ln f act, sometimes a blunt point
may create a more desirable effect. When using larger lead diameters, the effect of a blunt point is
even more evident. Play around with your pencils to f a miliarize yourself with the different types of
lines they can create. Make every kind of stroke you ca n think of, using both a sharp point a nd a blunt
point. Practice the strokes below to help you loosen up.
As you experiment, you will find that some of your doodles will bring to mind certain imagery or
textures. When 1 make little Vs, 1 think of birds flying . When 1 make wavy lines, 1 begin to see water.

Drawing with a
Sharp Point First
1 draw a series of parallel
lines. 1 try them vertically;
then 1 angle them. 1 make
some of them curved,
trying both short and long
strokes. Then 1 try some
wavy lines at an angle
and some with short,
vertical strokes. 1 also
have fun making a spiral
-,
and then try grouping

- -
....--:::::...---

---
short, curved lines
together. Then 1 practice
varying the weight of
the line as 1 draw. Little J
Os, Vs, and Us are some /,

shapes.

Drawing with a
Blunt Point lt is
good to take the sarne
exercises and try them
with a blunt point.
Ili
Even if you use the
sarne ha nd positions
and strokes, the results
will be different when
you switch pencils.
Take a look at my
examples . 1 drew the
sarne shapes with
both pencils, but the
blunt pencil produced
different images. My
favorite blunt-point
toai is a 6B large-
diameter lead that 1
use with a lead holder.

7
 "PAI N TI N G" WITH PE N CI L
When you use painterly strokes, your drawing will take on a new dimension. Think of your pencil as
a brush and allow yourself to put more of you r arm into the stroke. To create this effect, 1 usually hold
my pencil between my thumb and forefinger and use the side of the pencil. (See page 6.) lf you rotate
the pencil in your hand every few strokes, you will not have to sharpen it as frequently . The larger the
lead, the wider the stroke will be. The softer the lead, the more painterly an effect you will have . These
examples were all made on smooth paper with a 68 pencil, but you can experiment with rough papers
for more broken effects.

Starting Simply First

1 experiment with vertical,
horizontal, and curved
strokes . 1 keep the strokes
close together and begin
with heavy pressure. Then
1 lighten the pressure with
each stroke.

Varying the Pressure

Here 1 randomly cover the
area with tone, vary ing the
pressure at different points.
1 continue to keep my strokes
loose.

Using Smaller Strokes

1 make small circles for the
-
first example. This reminds
me of leathery a nimal skin.
For the second example (at
fa r right), 1 use short, alter-
nating strokes of heavy and
light pressure, similar to a
stone or brick pattern.

Loosening Up At right, 1
use vertical strokes. Va rying
the pressure for each stroke,
1 start to see long grass. At
the far right, 1 use somewhat
looser movements that could
be used for water. First 1
create short spiral moveme nts
with my arm (above) . Then
1 use a wavy movement,
va rying the pressure (below).