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

PERSPECTIVE PRACTICE

Now practice both one- and two-point perspectives using different shapes. Try
triangles, circles, and even block letters. As you practice, think about all the
things you draw that can be broken down into basic geometric shapes and how
you can use linear perspective to represent these objects more realistically.

Proportion

In art, proportion refers to how the size of an object compares to the objects
around it. When drawing realistically, check that an object looks proportionate to
what surrounds it.

Proportion comes in handy for implying that some objects are closer than others.
Look at the world around you. Notice that objects that are farther away from you
appear smaller, while objects closer to you appear larger. This principle works
for just about everything. As an object moves off into the distance, it appears
smaller and smaller.

YOU CAN USE THIS PRINCIPLE OF PROPORTION TO YOUR
ADVANTAGE. BY DRAWING AN OBJECT SMALLER, YOU CAN
MAKE IT LOOK FARTHER AWAY. BY DRAWING SOMETHING
LARGER, YOU MAKE IT APPEAR CLOSER.



Overlapping

One way to create space in a drawing is by placing some objects behind others.
While it may seem rather simple, this technique is a powerful tool for increasing
depth and creating a sense of weight in your subject matter.
Using what you’ve learned about linear perspective (see here), try drawing some
three-dimensional shapes that overlap.

IN THE DRAWING ON THE LEFT, NOTICE HOW
OVERLAPPING THE CUSHIONS AND TEAPOTS BEHIND ALICE
CREATES A SENSE OF DEPTH.



Atmospheric Perspective

When you look at a mountain range, you may notice that the mountains that are
closer to you appear darker and more detailed than the mountains in the distance.
This concept of atmospheric perspective makes things that are far away from
you look lighter in value with fewer visible details, while things that are close to
you appear darker in value and feature crisp details and high contrast. It’s called
“atmospheric perspective” because the atmosphere—dust, air, water droplets—
gets in the way and blocks distant objects.

WHEN YOU ARE CREATING LARGE SPACES IN YOUR
DRAWINGS, PAY ATTENTION TO THE DETAIL, VALUE, AND
CONTRAST YOU PUT INTO DISTANT OBJECTS.



Value

When we use the word “value” in art, we are simply talking about how light or
dark something is. This is a fundamental principal for any visual artist, but it is
particularly significant for a pen-and-ink artist, who often works only in black
and white.
Value provides the foundation for how the eye “reads” artwork. Variations in
value tell us what is in shadow and what is in light, giving form to objects as
well as depth to scenes.

WITHOUT A RANGE OF VALUES, ARTWORK CAN APPEAR
FLAT, LIFELESS, AND UNINTERESTING.



VALUE & EMPHASIS
Value is also a powerful tool for leading the viewer’s eye through a drawing. The
eye is naturally drawn to the lightest part of a drawing. By slowly progressing
from dark to light, you can lead your viewer gradually through a piece.
Conversely, by placing very dark and very light values right next to each other,
you immediately draw in the viewer’s eye.

THE SPECIFIC POINT THAT YOU WANT YOUR VIEWER TO
SEE FIRST OR TO LOOK AT REPEATEDLY IS CALLED THE
“FOCAL POINT.”



VALUE & DEPTH

The way that light hits an object defines its shape. Knowing how to reproduce
those variations in value helps you create the illusion of three dimensions on a
two-dimensional surface. To learn this concept, let’s look at a classic example:
the sphere. Drawn with a contour outline, a sphere is just a circle. Adding value
makes it appear three-dimensional.

A: LIGHT SOURCE Before you start adding depth with value, or shading, you
must first know which direction the light is coming from. This determines which
areas of your object are lighter and which areas are in shadow.

B: HIGHLIGHT The area of the object that is closest to the light source has the
lightest value.

C: MIDTONES The values in between the lightest and darkest areas of the
object. On a smooth sphere, the values will progress steadily without a break.

D: CORE SHADOW The darkest area of the sphere, where the least amount of
light reaches the surface.

E: REFLECTION Some light bounces off of the table underneath the ball and
reflects back onto its far side.

F: CAST SHADOW Light cannot travel through a sphere, so the sphere casts a
shadow onto the surface beneath it. This shadow’s shape is an ellipse because the
surface of the table recedes away from the viewer.

TONE & MOOD
In your own experiences viewing art, you may have noticed that the lightness or
darkness of a piece can influence how that artwork makes you feel. A drawing
that is mostly light with very few dark values is called “high-key.” A piece that is
mostly dark with very few light values is called “low-key.”

HIGH-KEY DRAWINGS MAKE THEIR VIEWERS FEEL HAPPY
OR CAREFREE. LOW-KEY DRAWINGS INSPIRE FEELINGS OF
TENSION OR SOLEMNITY.



Exercise: Value Scale

Now that you know how to use value, let’s discuss how to create it. When using
a different medium, such as paint, you can achieve value by adding either white
or black to a color. However, pen doesn’t give you that option. Instead, white
values come from the white of the paper. Darker values are created by covering
up more or less of the paper with black ink. You can achieve varying degrees of
darkness by making more marks, making larger marks, and/or placing your
marks closer together.

Let’s practice this concept by making a value scale, which I’ll refer to
throughout the rest of the book. Using a ruler and a pencil, make nine boxes of
equal size. Label the boxes with numbers 0 through 8. The lightest value, the
white of the paper, will be 0, so this box can be left empty. The darkest value
will be box 8.

Now fill in boxes 1 through 7 using hatching and crosshatching. Each box
should be slightly darker than the one to its left and slightly lighter than the one
to its right. The goal is to create an even progression from light to dark.

IT’S BETTER TO START BY MAKING YOUR BOXES TOO LIGHT
RATHER THAN TOO DARK. YOU CAN ALWAYS GO BACK AND
MAKE A BOX DARKER, BUT YOU CANNOT LIGHTEN
SOMETHING WHEN WORKING WITH PEN.

Light & Shadow

One of value’s most obvious jobs is to communicate light and shadow. Pen and
ink is a visual medium, and it’s useful to understand that everything you see—
light, shadow, color, and texture—is based on light’s reflection and absorption
into the world around you. Anything you draw, then, can be represented
according to what parts of it are light, what parts of it are dark, and what parts of
it are somewhere in between.

The value scale you just created (see here) will come in handy as you prepare to
draw a scene or an object. Hold the value scale next to your subject, and look for
the darkest values (numbers 7-8 on your value scale).

How much pen work will you need to capture those values? Where are the
lightest values (numbers 0-1)? How can you plan from the beginning to make
sure those areas maintain their lightness? Where are the midtones (numbers 2-6),
and how will you manage your strokes to maintain the integrity of each value?



Texture

You may have noticed that adjusting the way you move your hand when you’re
drawing will change the way your artwork looks. By moving your hand in a
circular, short, or long motion, you can alter the texture of your marks.

Here are some of the most common ways to create texture in your work.

OVERLAPPING LINES
Short lines that overlap each other create a rough texture that is useful for fur,
grass, and short hair.

RANDOM LINES

Short lines that move in all directions without rhyme or reason, creating a rough
texture.

SCRIBBLING

Circular lines that overlap and move in random patterns. Scribbling creates a
messy texture that is useful when drawing foliage.

STIPPLING
Use dots instead of lines. This creates a granular, sandy texture.

HATCHING

Short, parallel lines going in one direction. This creates a relatively smooth
texture.

CROSSHATCHING

Short lines going in two or more directions. Crosshatching also creates a smooth
texture.

CONTOUR HATCHING

Hatched or crosshatched lines that follow the contour of an object. This creates a
smoother texture and brings depth to a drawing.

CONTINUOUS LINES

Long lines that may or may not follow the contour of an object. Continuous lines
create a fluid texture.

MARK-MAKING FOR TEXTURE

Now it’s time for you to try out some textures for yourself. Use the ones from
the previous pages, and see if you can make up some of your own as well. I’ve
come up with a few ideas to help you get started.



Notice all of the different textures in this piece. Consult this section, and consider which techniques you can
see here.

Exercise: Gradient

In art, the word “gradient” refers to the gradual transition from one value to
another. For a beginning pen-and-ink artist, this gentle slope between light and
dark can be difficult to achieve. With some practice, however, you can soon
apply this skill to your drawings.
Begin with a long, thin rectangle. Use a pencil to lightly block in five equal
sections.

Working from one side, fill in the first section with vertical hatch lines.
When you reach the dividing line for the next section, place the lines

farther and farther apart until they fade out altogether.

Working from the same side, fill in the first and second sections with
horizontal hatch lines. Keep the lines close together until you reach the

dividing line between the first and second sections, and then again
space your hatch lines slightly farther apart. As you progress into the

third section, place the lines farther apart until they fade out.

Repeat this process with diagonal hatching. Fill the first three sections
with lines that are close together. In the fourth section, space the lines

farther and farther apart until they fade out completely.

Finally, fill in the first four sections with diagonal lines going the other
direction.

IF YOUR FIRST ATTEMPT RESULTS IN A BEAUTIFUL,
SMOOTH GRADIENT, CONGRATULATIONS! FOR MOST
ARTISTS, HOWEVER, IT TAKES PRACTICE TO ACHIEVE A
SMOOTH TRANSITION. CONTINUE PRACTICING UNTIL YOU
START TO FEEL COMFORTABLE WITH GRADIENTS AND CAN
APPLY THEM IN VARIOUS CIRCUMSTANCES (OVER SHORTER
DISTANCES, USING DIFFERENT PEN SIZES, AND SO ON).

Composition

Simply put, composition is the way in which objects and elements are arranged
on a surface to create a piece of art that pleases the eye.

There are many things to consider when composing a drawing. Think about how
the basic shapes of your drawing relate to each other, how they relate to the edge
of the drawing, and all the negative space in between. Over the next few pages,
we will explore each of these ideas in detail.

CONSIDER WHETHER YOUR COMPOSITION IS BALANCED
AND IF YOU HAVE A STRONG FOCAL POINT THAT DRAWS
THE VIEWER’S ATTENTION.



BASIC SHAPES
When you simplify a drawing down to its most basic elements, you will notice
that it’s composed of just a few shapes. As you start working on a drawing, it can
be helpful to think in terms of these basic shapes. In fact, many artists begin their
drawings this way: sketching out some large shapes to help them visualize how
the objects and subjects are going to relate to each other. If these large shapes
don’t work together for a pleasing composition, it’s likely that the finished
drawing won’t meet your expectations, either.

You may also consider planning an entire composition around one basic shape. If
you look at drawings and paintings from art history, you will notice that many of

them center around a simple shape—often a triangle, an “S,” or a circle.

NEGATIVE SPACE
Negative space is all the space in your drawing that isn’t occupied by the subject
or its supporting objects. It can consist of empty white space, but it can also be a
sky with clouds, a wallpapered wall, or leafy trees. Any part of your drawing
that isn’t inhabited by something the audience is intended to focus on is
considered negative space.

The red area is the negative space.

As you begin a drawing, consider the space around your subject. How can you
use the “empty” parts to balance your composition and bring attention to the
focal point?



FRAMING
Another important factor to consider when creating your composition is how
your subject and negative space relate to your frame. In this context, frame
means the edge of your paper, or where your artwork ends.
If your subject bleeds off into the edge of your frame, it creates a certain amount
of visual weight, which can make your composition feel off-balance unless you
match it with something bleeding out of the frame on the other side as well.

AN OBJECT THAT JUST TOUCHES OR BLEEDS OFF THE
FRAME WILL CREATE VISUAL WEIGHT, WHICH CAN MAKE A
DRAWING FEEL UNCOMFORTABLE.


This artwork feels balanced, with equal visual weight on both sides.

Well, this is awkward. That feeling of imbalance comes from the right side of the image running off the
frame, while the left side doesn’t come near it.

THUMBNAIL SKETCH
A useful strategy for planning your composition involves creating a thumbnail
sketch. A tiny sketch (about the size of your thumbnail) can be a quick, simple
method for brainstorming.

Start by drawing a frame, and then fill it with the basic shapes of your
composition. Try putting these shapes in different locations until you find the
one that is most pleasing to the eye.

BALANCE
In art, the word “balance” refers to how visual weight is distributed across a
drawing to create a pleasing sense of equilibrium. You can create visual weight
using size, color, value, complexity, negative space, and other elements.
As you sketch out a composition, pay attention to how your drawing is balanced
from left to right and top to bottom.

BALANCED. Even though the composition is not exactly the same on both sides, the size of the circle on the
left is offset by the dark value of the circle on the right, so the composition feels balanced.

NOT BALANCED. Different shapes, complex patterns, variations in value and size, and shapes falling out of
the frame add visual weight on the left, whereas on the right side there’s only a simple circle. This
composition feels uncomfortably heavy toward the left.

Symmetry is an easy way to create balance. When a composition looks the same
on both sides, with similar elements creating an equal amount of weight, it’s
symmetrical.

This composition is asymmetrically balanced from side to side. If you drew a vertical line through the
center of the drawing, you would see that the flying bird balances the element of the dancing woman. The

bird is smaller, but it has a darker value than the rest of the piece.

Asymmetry is a more complex way to create balance. When a composition feels
balanced but is not the same from side to side, it is called “asymmetrical.”

This composition is symmetrically balanced from top to bottom. If you drew a horizontal line through the
middle of the drawing, you would see that the top and bottom contain the same elements, even though

they are not exactly mirrored.

FOCAL POINT
The focal point of a piece demands the most attention. By mastering the focal
point, you can control what your viewers see first and keep them interested in
your drawing. Without this area of emphasis (or with too many significant
points), a viewer can get confused and lose interest.

CONTRAST

One way to make your focal point stand out is to create contrast, or an area of
variation. You can do this using value, color, shape, or size, or just by putting an
object somewhere unexpected.

The flowers stand out because they have lighter and darker values than the negative space around them.

You notice the penguin in the center because it’s a different color than its companions.

The baby elephant stands out due to its smaller size.