Portfolio Beginning Pen Ink Tips and techniques for learning to draw in pen and ink by Desarae Lee (z-lib.org)

Beginning

PEN & INK

Tips and techniques for learning to draw in pen and ink

Table of Contents

INTRODUCTION

GETTING STARTED

TOOLS & MATERIALS
SETTING YOURSELF UP FOR SUCCESS

BASIC TECHNIQUES

LINE WORK
EXERCISE: CONTOUR DRAWING
HOW TO SEE LIKE AN ARTIST
EXERCISE: GESTURE DRAWING
EXERCISE: LINEAR PERSPECTIVE
PROPORTION
OVERLAPPING & ATMOSPHERIC PERSPECTIVE
VALUE
TONE & MOOD
EXERCISE: VALUE SCALE
LIGHT & SHADOW
TEXTURE
EXERCISE: GRADIENT
COMPOSITION

MASTERING WHAT YOU'VE LEARNED

DRAWING FROM A PHOTO
ADDING COLOR
CAPTURING MOVEMENT
LIGHTS & DARKS

WHAT'S NEXT?

ABOUT THE ARTIST

Introduction

I am surprised by how often people tell me, “I can’t draw at all…not even a stick
figure!” They say this as if drawing is a magical gift bestowed by a melodious
and sparkling fairy godmother. But drawing is something that anyone can do; it’s
simply a matter of taking the time to learn, practice, and grow. By picking up
this book, you are taking a step toward improving your drawing abilities and
exploring a medium that has withstood the test of time: pen and ink.

You don’t have to be a professional artist to enjoy drawing with ink. The
medium is attractive for many reasons, including its portability and relatively
low cost. There is a crispness about a pen-and-ink drawing that many people
(myself included!) find irresistible. The air of finality and commitment to mark-
making is unrivaled in almost any other media.

Pen and ink may seem daunting to some; the inability to erase a mistake can
intimidate even the most experienced artist. But within this unforgiving nature
lies the very beauty of the medium. Your final ink drawing does not just show a
polished piece of work; it also shows the energy you used to get there, the
second-guesses you made along the way, and the unintentional lines that you
somehow made work. As you continue to learn and grow in this medium, you
may or may not make fewer mistakes, but you will certainly improve at
embracing those mistakes and turning them into an advantage.

As you journey through this book and your drawing skills progress, you may
begin to see
how planning ahead helps you avoid needless blunders. Not only will you
increase your
ability to communicate what you see, but you will also learn to communicate
about yourself and your environment. Mastering these skills gives you the
building blocks of a language through which you can communicate beyond
words and reach people with whom you never would have spoken.

Now, let’s get started!



GETTING

Started

Tools & Materials

One of the many benefits of drawing with pen and ink is that it requires few
supplies. You can start with the most basic tools—a pen and a drawing surface—
and then add to your artistic arsenal as you discover your own interests and
preferences.
Let’s begin by exploring your drawing tool options.
PENS
NIB PEN A nib or dip pen consists of two parts: a nib and a handle or holder.
Nibs are made of metal and, as their name implies, the ink is replenished by
dipping the pen into an inkwell.

AN ADVANTAGE TO USING A NIB PEN IS THE WIDE VARIETY OF LINE
QUALITY YOU CAN ACHIEVE BY EXCHANGING ONE NIB FOR
ANOTHER.

FOUNTAIN PEN A fountain pen is similar to a nib pen except that it holds an
internal reservoir of ink, thus eliminating the need to dip the pen into an inkwell.
Some fountain pens require you to refill the internal reservoir, while others offer
prefilled ink cartridges.

TECHNICAL PEN The technical pen is favored by many pen and ink artists,
myself included. It consists of an inner ink reservoir and a tubular nib. Some
technical pens offer refillable inks and interchangeable nibs, while others are
disposable. Originally used for architectural and technical drawings, these pens
offer consistent line width and come in various sizes.

BALLPOINT PEN A ballpoint pen dispenses thicker, oil-based ink via a small
sphere at its tip. It contains an internal reservoir, which makes it easy to transport
and use. It is one of the most popular writing pens out there.

USE A BALLPOINT PEN TO CREATE DIFFERENT VALUES
SIMPLY BY APPLYING MORE OR LESS PRESSURE WHILE
DRAWING.

NATURAL MATERIALS Some of the earliest pens were made from materials
found in nature. Among those still in use today are the quill pen, made by
shaping the molted primary feather of a bird, and the reed or bamboo pen.

ROLLERBALL PEN This pen uses a mechanism similar to the one in a ballpoint
pen. However, it contains water-based inks, which create a smoother, even flow
and a more consistent line.

FELT-TIP PEN A felt-tip pen has an internal ink reservoir and a nib that’s made
from a porous material. It comes in a wide variety of colors and sizes.

Brush A pen is not the only way to transfer ink onto paper. A brush can create
an endless variety of strokes and allows for techniques that can’t be achieved
using pens.



INK
There are two basic types of drawing ink: pigment and dye-based. Pigment ink
tends to be more durable—it lasts longer, resists fading, and is water-resistant—
while dye-based ink is available in a wide range of vibrant colors. There are
several things to consider when deciding which ink to use, including:

• Flow: How easily does it flow onto the drawing surface?
• Water-resistance: Will it change when exposed to water?
• Smear-resistance: Is there a danger of smudging?
• Permanence: How long will it last?
• Dry time: How long does it take to dry?
• Finish: What does it look like after it dries?

SURFACES & SUPPORTS
Walk into any art-supply store, and you will find an endless array of drawing
surfaces from which to choose. As with ink, your choice depends on your taste
and desired effects. For sketching and practicing, any basic printer paper will do,
but when working on a final piece, choose a surface with more weight and
permanence.

WHEN CHOOSING A DRAWING SURFACE, THERE ARE THREE
BASIC ELEMENTS TO CONSIDER:


• Weight: How thick is it?
• Texture: Is it smooth or rough, and how will that affect your marks?
• Permanence: How long will it last without warping or changing color?

COMMON SURFACES
BRISTOL BOARD A thick, strong paperboard with a smooth surface and a
working surface on either side, it comes in a variety of thicknesses.
WATERCOLOR PAPER This also comes in various thicknesses, which are
measured by weight, including 90, 140, and 300 lbs. The various textures in
watercolor paper can lend interesting effects to your finished piece. Hot-pressed
watercolor papers have a smoother finish, while cold-pressed types have a
rougher texture.
PEN AND INK OR MIXED-MEDIA PAPER Paper that’s made specifically for ink
and mixed media is typically smooth and available in a wide variety of weights.
VELLUM This semi-transparent paper is very thin and has a relatively mild
texture.
OTHER SURFACES Try your hand at drawing on a variety of creative surfaces,
including colored papers, acetate film, wood, and paint.

ADDITIONAL SUPPLIES
PENCIL & SHARPENER All of the projects in this book start with a pencil
sketch. Feel free to explore using a fine-art pencil, or follow my lead and use a
simple mechanical pencil.

ERASER I recommend having at least three different types of erasers. A gum
eraser is useful for erasing large areas, but it will shed as you use it. A rubber
eraser (the classic pink kind) is useful for erasing straight lines but will damage
your paper if used too vigorously. A kneaded eraser can be molded into any
shape you like and is the most useful for erasing small, precise areas.

RULER This is a helpful tool whenever you need to draw, cut, or tear in a
straight line.

SKETCHBOOK Many artists keep a sketchbook handy to jot down visual ideas,
to work out compositions, or as a drawing surface while traveling. Consider the
weight and texture of the paper inside, and look for a book that will lie flat while
you work.

Setting Yourself Up for Success

Good drawing begins with the proper setup. Here are some things to keep in
mind as you get started.

LIGHTING

Pay attention to lighting when choosing your drawing space. Natural light is
always best, so consider setting up next to a window. A neutral lamp will also do
in a pinch. The key is to stay away from dim lighting or light that is too warm or
too cool.

GOOD POSTURE

As you begin to work, be sure to pay attention to how you sit. Hunching over
your drawing can cause muscle cramps and/or back pain, so sit up straight with
both feet on the floor, and get in the habit of maintaining good posture while you
draw. Take breaks to walk away from your drawing and shake out or stretch your
hand and arm muscles.



HOW TO HOLD YOUR PEN
Your choice of drawing instrument will largely determine the way you hold your
pen. With nib and fountain pens, it’s important to avoid turning the pen while
you work and to hold it lightly with some distance between your hand and the
paper. A technical pen works well with your natural writing grip, but you should
keep your wrist and elbow free and loose. The angle at which you hold brush
and felt-tip pens relative to the paper will affect their marks. A ballpoint pen’s
lines will change depending on how much pressure you apply while you draw.

WARM-UP EXERCISES
Your drawing muscles and joints are just like any other muscle or joint in your
body: They perform best when they’ve had the chance to stretch out and warm
up.

Take some time to shake your wrists, stretch your fingers, and circle your
shoulders and wrists. Pick up your pen and, holding it lightly, use your whole
arm to make a continuous circular motion on your paper. Try holding your pen in
different ways, and practice making various types of lines. The key is to keep it
loose and use your whole arm as you move your pen across the paper.





BASIC

Techniques

Line Work

The first step to using pen and ink is learning how to control and communicate
with line. Let’s go over a few types of lines to give you some ideas.

STRAIGHT LINES
A straight line may seem fairly static; it goes in only one direction. But flip that
line onto a diagonal and give it some friends, and you’ve got a party!

When using straight lines, keep in mind that horizontal lines communicate rest,
peace, relaxation, and stagnation, while vertical lines imply strength, dignity, and
power. Diagonal lines imply movement, dynamism, and activity.

CURVED LINES

What if we change that taut, straight line into a loose, curvy one? Curved lines
bring an organic touch to a drawing. Shallow, gentle curves communicate
comfort, ease, and sensuality. Steep, tight curves may suggest confusion, intense
movement, and chaos.

USE CURVED LINES TO SUGGEST FORM, CREATING THE
ILLUSION OF THREE-DIMENSIONALITY.

THICK VS. THIN LINES

Another way to change how your line communicates is by adjusting its weight,
or its thickness or thinness. Thickening a line makes it seem heavier and more
imposing. Thinning a line communicates delicacy and lightness.

By varying the weight of a single line, you can make parts of that line stand out
or appear darker in some areas, creating the illusion of three-dimensionality.

ADD VARIETY

You can change the quality of your line by varying its length and repetition.
Long, continuous lines feel visually smooth, while short, choppy lines look
rougher.

HATCHED LINES

Repeatedly using straight lines in a drawing is called “hatching.” Crosshatching
means repeatedly layering straight lines in different directions. We’ll go into
more detail about this when we talk about texture (shown here) and value
(shown here).

IMPLIED LINES

You can also form a line without drawing it at all. This is called “implied line”
and requires using the negative space in a drawing to make it seem like there is a
line. Another way to imply a line is by almost-but-not-quite connecting two
separate lines. In both cases, your eye makes sense of the negative space by
creating a line where there’s nothing.

CONTOUR LINE
A contour line delineates the visual edge of an object. It’s very possible that
you’re already using contour line to draw! Any time you draw the outline of an
object, you use contour line.

Take a close look at this drawing. Do you see any of the types of lines we just
discussed?



Exercise: Contour Drawing

Let’s practice what you’ve learned so far. As we discussed shown here, contour
line uses a line to delineate the edge of an object. For this set of exercises, you’re
going to use contour line to draw the edges and defining lines of an object.
Choose an object with a relatively simple shape, such as a shoe, a flower, or your
hand. First, use a pen to slowly draw the outline of your subject without looking
at the sheet of paper.

The goal of this exercise is not to create the perfect drawing, but to really look at
your object. Notice all the various lines that define it. Draw every divot, curve,
and protrusion. You will probably get lost at some point. Don’t look down at
your paper, though!
Next, draw the same object, again using contour line, but view your work this
time. Look at the object while you draw and check that your drawing is
proportionate and on the page.

The point of these exercises is to get you to really look at a three-dimensional
object and translate the lines that you see onto paper. Avoid thinking about the
object as what it is. Instead, think of each line individually: “This line curves up
and to the right” or “This line zigzags back and forth.”

AS YOU WORK ON THIS EXERCISE, YOU MAY FEEL
FRUSTRATED WITH HOW YOUR DRAWING LOOKS. IF SO,
YOU ARE IN GOOD COMPANY! ARTISTS NEVER DRAW
BEAUTIFULLY RIGHT AWAY. WE’VE ALL SPENT TIME
PRACTICING AND HONING, AND YES, WE ALL
OCCASIONALLY FEEL FRUSTRATED BY OUR INABILITY TO
COMMUNICATE WHAT WE SEE AND FEEL. THE BEST RESPONSE?

YOU GUESSED IT: PRACTICE, PRACTICE, PRACTICE!

How to See Like an Artist

As children, we quickly learn how to categorize the world. It is important for us
to know that this thing is OK to eat, while this thing is just for playing. This
animal is friendly, and that one is not. We create symbols to aid in categorizing,
and it is from this place of symbols that we make our first attempts at drawing.
“Mommy” becomes a circle with lines that point outward and two dots for eyes.
This, of course, is not what Mommy looks like, but it is the symbol we have
made to categorize her and thus what we put on paper.

The brain is programmed to create these emblems, making it difficult to keep the
mind from meddling when you try to draw something as you see it.
When you draw an eye, you may end up drawing something that looks like a
football with two circles in the middle. While you know that an eye is not shaped

like a football, your brain has found it to be a useful shape that your hand
reproduces on the page.

The goal, then, is to get into the habit of circumventing this analytical part of the
brain and drawing what is actually in front of you. There are many tips and tricks
that can help you with this. When I draw from life, I imagine the information
going straight from my eyes to my hand with little input from my mind. Some
artists recommend drawing an object upside down or from right to left. Drawing
without looking at your paper (see here) is another helpful strategy.

Your symbolic mind is powerful. At first, you might have to go back and repeat
various exercises to get it to quiet down. However, as you persist, you will find it
easier to look at what you are drawing and see it as it appears instead of how
your mind thinks it should appear.

ONCE YOU’VE MASTERED REALISM, OR DRAWING THINGS
AS THEY APPEAR, YOU MAY WANT TO PUSH PAST THE
BOUNDARIES OF HOW THINGS LOOK. PABLO PICASSO
FIRST MASTERED REALISTIC PAINTING, AND THEN BECAME
KNOWN FOR REPRESENTING THE WORLD IN A COMPLETELY
DIFFERENT WAY. REALISM IS NOT THE ONLY GOAL IN ART, BUT IT
IS AN IMPORTANT SKILL ON WHICH TO BUILD.



Exercise: Gesture Drawing

Another way to develop your artist’s eye is to learn how to break down your
subject into its most basic shapes. Circles, ovals, and rectangles can represent a
person. A circle topped with a cylinder and a crescent becomes a pitcher.
For this exercise, grab a pen and a stationary object to draw. Set a timer for 30
seconds, and block in your subject using quick, confident strokes. Ignore the
specific edges and lines, and don’t worry about textures or shadows. Right now,
you’re just trying to get the proportions and position right.

Then move on to a different object, or draw the same object from a different
angle. Most objects will give you a different set of shapes if drawn from above
or below. Continue this exercise until you feel comfortable drawing quickly and
confidently.
Now you can challenge yourself by moving on to moving subjects. Pets, kids,
and random strangers at the train station make great subjects for gesture

drawings.

MORE ON GESTURE DRAWING

Gesture drawing serves many purposes: It helps you figure out the positions and
proportions of your subject matter, lets you capture unique gestures and
movements, and assists you in translating the three-dimensional world onto a
two-dimensional surface. By using pen for this exercise, you will build trust in
your ability to draw with something that you can’t erase.



Exercise: Linear Perspective

In this section, we’ll cover a couple of basic concepts that will help you in your
pursuit toward realistic representation. Linear perspective uses angles and points
to determine how objects appear as they recede from the viewer. Let’s learn
more about this concept through the following exercise, which I recommend
doing in pencil, as you can erase as you go. A ruler will also come in handy.

ONE-POINT PERSPECTIVE
One-point perspective uses a single vanishing point to demonstrate depth in a
drawing. It is used when one full side of an object faces you (such as drawing a
house while looking at the front door). This is particularly handy for
representing buildings, interiors, and geometric shapes.

To draw a cube in one-point perspective, the first step is drawing a
straight line to represent the horizon. Add a dot for the vanishing point,

where lines appear to converge as they move out of sight.

Next, draw a square below the horizon line, to the left of the vanishing
point. This is the beginning of a cube. With a ruler, draw lines that
connect the square to the vanishing point. This makes it look like the
square is rushing toward you.

IMAGINE YOURSELF STANDING NEXT TO A SET OF
STRAIGHT TRAIN TRACKS. IF YOU LOOK DOWN THE TRACKS
IN EITHER DIRECTION, YOU WILL SEE THAT THEY APPEAR
TO MEET AT THE VANISHING POINT JUST AS THEY
DISAPPEAR FROM SIGHT.


Draw lines around the cube to find its top and side. Use a ruler to
check that the lines are horizontal (parallel to the top of the square)

and vertical (parallel to the sides of the square).

Erase the lines between the cube and the horizon line, and you’ve
made a cube.

Now repeat the exercise, but this time, draw a cube above and to the
right of your vanishing point.

Then draw a cube that sits on the horizon line.



TWO-POINT PERSPECTIVE
In two-point perspective, there are two vanishing points. This is useful when the
edge of an object faces you (like when drawing a building with its corner facing
you), and it comes in handy when working on a cityscape or any geometric
shape.

To create a cube using two-point perspective, draw a vertical line
below the vanishing point to represent the cube’s front edge. Then
draw lines to connect your first line to the left vanishing point. Add a

vertical line that connects the two receding lines.

Repeat on the right side. To form the top of the cube, draw a line
connecting the two sides.

Draw a line that connects the top of the vertical line on the right to the
vanishing point on the left.

Erase any superfluous lines, and you’ve made a cube.

Now you can create cubes above and on the horizon line.