A Guide to Pencils
What Do I Need to Get Started?
What Are Pencils and How Are They Made?
What Differences are there Between Pencils?
What Tools or Brushes Can I Use for Applying Pencils?
How Easy is it to Clean Up My Workspace After Using Pencils?
What is the Best Surface for Pencils?
Can I Prepare My Surface With a Ground?
Introduction to Pencils
Pencils are a practical and versatile drawing tool. A pencil is a stick of dry drawing media. It is usually encased in wood. You can use pencils to make notes, a quick sketch, or spend hours creating a large, detailed artwork.
Artists can choose from a wide range of pencils. This includes graphite, charcoal, coloured wax and oil, watersoluble, and pastel pencils.
The hardness of the material in your pencil influences how heavy a mark you can make with it. A soft pencil will be capable of intensely saturated and smudgy marks. Hard pencils will make lighter, crisp fine lines.
The surfaces that you can use vary according to what kind of pencil you’re working with. Generally, pencils require a surface that has some texture to help deposit a mark. This is known as ‘tooth’.
You can work with pencils on their own; just find a surface to draw on and away you go. However, tools such as blenders, tortillions and brushes can be used to help with blending techniques.
What Do I Need to Get Started?
You only need a small selection of art supplies to get started with pencils:
- Paper: Cartridge paper, Ingres paper, Bristol Board, Layout Paper
- Sharpening Tools: Sharpener, knife, sandpaper block
- Erasers: Hard plastic eraser, putty eraser, precision eraser
Optional:
- Blenders: Paper stumps, tortillions, silicone blenders
- Drawing Surface: Drawing board, easel, masking tape
- Storage: Pencil case, box, or roll
Pencils can be applied to any kind of paper. That being said, purpose-made papers for specific art techniques will help you get the best results. They can also make for a more fulfilling experience. Cartridge paper, Ingres paper, Bristol Board, and Layout Paper are different types of drawing paper.
A sharpener or a knife with which to sharpen your pencil is important to have close to hand when drawing. There are sharpeners made specifically for graphite, charcoal, soft pastel, or coloured pencil. A tailor-made sharpener can be kinder to softer leads in particular. A sandpaper block is sometimes all you need if you just need to sharpen the very tip of a pencil lead and maintain its ability for fine detail work.
To learn more, read 'A Guide to Manual and Electric Pencil Sharpeners' on Jackson's Art Blog.
Erasers are available in a range of shapes and sizes. They are made from varying materials too. Find one that will work with your pencils. Hard plastic erasers are useful when you may have a stubborn mark to remove. Putty erasers can be shaped in your hand to lift marks from small areas. Some erasers fit into a pencil of their own and are useful for precise erasing.
Blenders, paper stumps, and tortillions are great for blending pencil marks. Paper stumps and tortillions are made from compressed paper. They are shaped like a pencil. Blenders are usually made from silicone. They are available in a range of hardnesses and with different shaped tips.
In addition to these materials, you will need space to draw. A drawing board is a great choice. This can be useful for in the studio, or leaning your drawing against when you’re out and about. An easel might be handy if you like to draw on a vertical surface. Masking tape is invaluable for fixing individual sheets of paper in place while you are working. Finally, a pencil case, box, or roll can help keep your pencils safe when you’re not using them.
What are Pencils and How Are They Made?
Graphite pencils are made by mixing graphite powder with clay and water. The proportions of each ingredient used in the mixture determine the hardness or softness of the pencil lead. The more clay there is, the harder the pencil. Pencils that contain a greater proportion of graphite will be softer and darker.
Pencils are usually graded from 2H - 9B. 2H is the hardest and faintest, and 9B is the softest and darkest. HB pencils are popular in stationery shops because they are the happy medium.
In graphite pencil manufacture, the first stage is making the leads. A formula made primarily of clay and graphite is blended evenly and mixed with water to form a paste. It is then extruded into long rods, which are dried and then cut to the right lengths of the pencils. The leads are then fired in a kiln. This removes any remaining moisture and strengthens the leads. The fired leads are then coated in a thin layer of wax or oil. This helps the drawing material apply to paper smoothly. Then, the leads are glued within their wooden casings, or given a coating of lacquer if they are woodless pencils.
Charcoal pencils are made using compressed charcoal powder mixed with a binder, such as gum arabic or wax. The mixture is then extruded into a long, thin rod and dried to create the charcoal core. The core is inserted into a wooden casing, similar to graphite and coloured pencils. It is usually coated with a protective layer to prevent the charcoal from rubbing off. Charcoal pencils are often available in a variety of softnesses.
Extra care must be taken when sharpening the softer leads as they are more likely to crumble. For this reason, you might like to use a sharpener that has been designed for use with pastel or charcoal pencils.
Coloured pencils require a mixture of pigments, binders, and fillers to create the coloured core. Gum arabic is usually used in the formula for watersoluble coloured pencils. Wax is used for regular coloured pencils. As with graphite pencils, the formula is blended and mixed with water before being dried and formed into leads. They are then encased in wood which is coated with a protective lacquer. This helps to prevent it from absorbing water and splitting over time. The best quality pencils have a greater pigment content. This results in a more colour saturated mark.
To learn more about pencils and how they first came about, read ‘The Dark History of the Pencil’ on Jackson’s Art Blog.
What Differences are There Between Pencils?
- Graphite pencils: Can be wood-encased or woodless. Available in various softness levels. May be watersoluble or water-resistant.
- Charcoal pencils: Provide smudgy black marks.
- Watersoluble pencils: Can be blended with water. Some remain re-wettable, while others become waterproof when dry.
- Oil-based pencils: Adhere to multiple surfaces, including metal, wood, and glass.
- Pastel pencils: Offer powdery colour with fine-line precision.
Today, the variety to be found among artists’ pencils is bigger than ever. Graphite pencils can be encased in wood or can be 'woodless'. They are available in a range of different softnesses. They can be watersoluble or water-resistant.
Charcoal pencils allow you to make expressive smudgy black marks without having to handle the charcoal directly.
Watersoluble pencils can be moved around on the paper surface with a wet brush. Some remain re-wettable and others are waterproof when dry.
Some oil-based pencils can be applied to almost any surface, including metal, wood, and glass.
Pastel pencils offer powdery colour that can be applied in delicate fine lines and details, with accuracy and control that is much harder to achieve with regular soft pastels.
How To Use Pencils
In order to get the most out of your pencil, it pays to explore ways to apply marks. As well as varying pressure to get heavy and soft applications, exploring how you hold your pencil can also add some variety to the appearance of marks.
Holding a pencil very close to the lead tends to give you more control. Extending the pencil on a long stick and holding it at length can help to achieve loose flowing lines. This is a technique Matisse was known to embrace.
We have a wide range of articles about how to use pencil and drawing materials on Jackson's Art Blog. This includes 'How To Use Watercolour Pencils', 'Why Use a Clutch Pencil?', and more.
What Mediums Can I Use with Pencils?
Solvents can be used to help blend or spread oil and wax-based pencil marks. Use with care as solvents may leave a stain on the paper if used heavily. Water can be used to blend or spread watersoluble pencil marks.
Fixative can be applied to help secure layers of a drawing in more delicate mediums such as charcoal or pastel. However, this can darken the appearance of colours.
What Tools or Brushes Can I Use for Applying Pencils?
Paper stumps, blenders, and tortillions are all useful if you want to burnish your shading work and enhance its sheen. They are also used to blend areas of shading to make them appear as smooth as possible.
If you’re working with solvent or water, a soft synthetic brush will be useful for working into colour and spreading it out of the shaded area. A watercolour brush is best for this. A pencil extender allows you to hold your pencil from further away. This helps to make the most out of your pencil and is useful for a looser approach to drawing.
How Easy is it to Clean Up my Workspace After Using Pencils?
Pencils could be considered the cleanest art medium. Pencil shavings and eraser rubbings are the messiest aspect, but if you have a bin close by then any mess can be brushed away in seconds. A drawing or dusting brush can help you keep shavings and eraser rubbings away from your work.
Soft pencils are smudgy and may come off on the side of your hand. To avoid smudging your work by accident, it can help to place a bit of tissue paper or glassine over the area of your drawing that your hand is resting on.
What is The Best Surface for Pencils?
Cartridge paper is the ideal surface for most pencil artwork. Cartridge paper is available in a variety of weights. Some are smoother than others. The heavier, toothier papers are recommended for drawings with a wide tonal range. They allow you to make the darkest marks with a soft pencil and are more able to withstand heavy erasing and blending.
Other art papers for drawing include pastel paper, Ingres paper (which has a unique ribbed texture), and coloured paper. Recycled papers for drawing are also available. It is worth noting that most papers made from non-recycled paper are made from sustainable sources. The difference in environmental impact between the two is considered to be marginal.
Other than paper, pencil can also be applied to wooden panels – either gessoed, primed, or unprimed – and canvas (unprimed or primed). Most pencils can also be applied to abraded metal, as long as there is some tooth to the surface. Some oil-based pencils can also be used on plastic, glass, and smooth metal.
Can I Prepare My Surface with a Ground?
Priming a thick sheet of paper, card, or wood panel can offer a different surface to draw on. Sandable primers and gesso will allow you to get a very smooth surface with enough tooth. This allows for both dark and smudgy marks, as well as fine, crisp, silverpoint-like marks.
As with all priming, you will need to size your surface with rabbit skin glue or an acrylic size before applying oil-based primers. Acrylic primers should be applied without sizing.
How Can I Protect My Work?
If you are going to store your drawing in a pad or a planchest drawer, it is a good idea to cover your work with a sheet of glassine. This helps to protect it from dust, dirt, and the risk of smudging. If there’s any risk of creasing the paper, keep it in a folder or a plastic sleeve. Fixative can help secure drawn marks on paper, although it is likely to darken colours.
When framing your drawing, it is a good idea to use UV-resistant glass. This helps to prevent colour fade.
Use a mount or spacers so that there is a gap between the glass and your drawing. This will stop moisture gathering on your drawing on hot days, which could lead to mould or wrinkling of the paper. Read 'Choosing the Right Frame for Your Artwork' to learn more.
Glossary
A
Abrasion
The roughness or texture of a surface. Affects how a pencil applies. High abrasion surfaces hold more pigment and allow for layering but may wear down pencils faster.
Acid-Free
Paper treated to remove acidic components. Prevents paper from yellowing or deteriorating over time. Ideal for artwork intended to be exhibited or kept for a long time.
Archival
Materials made to last for long periods without deterioration. Used in fine art and conservation.
B
Binder
A substance that holds the pigment together in a pencil. Graphite pencils use clay, while coloured pencils use wax or oil.
Blackness (B)
A measure of the darkness and softness of a pencil. A Higher B number means the pencil will be softer and darker.
Blending
The technique of mixing pencil marks to create smooth transitions. This can be done with a tortillion, paper stump, or brush.
Burnishing
Used to create a smooth, polished finish. To burnish, apply heavy pressure with a colourless blender or a lighter colour.
C
Cartridge Paper
A type of drawing paper with a slight texture. Commonly used for pencil and ink drawings. The term 'cartridge' refers to its historic role in early firearms.
Charcoal
A dry drawing medium made from burnt wood or organic material. Often used for expressive and dramatic marks.
Chiaroscuro
The use of strong contrasts between light and dark to create a sense of volume and depth in a drawing.
Clutch Pencil
A mechanical pencil with a lead holder. Allows for interchangeable leads of varying thickness and hardness to be used.
Colour Shaper
A rubber-tipped tool. Used to alter pencil marks, blend colours, or remove excess pigment.
Complementary Colours
Colours that are opposite each other on the colour wheel. When placed together, they create strong visual contrast.
Composition
The arrangement of elements in an artwork. This can include shapes, colours, and lines.
Conté Crayon
A hard pastel made from pigment and binder. Often used for fine art drawing. Available in graphite, charcoal, and various earth tones. Made by Conté à Paris.
Crosshatching
A shading technique. Uses intersecting sets of parallel lines to create tonal effects.
E
Eraser Shield
A thin, metal or plastic tool with cut-out shapes. Allows for precise erasing without affecting surrounding areas.
F
Feathering
A technique where light, feathery strokes are used to create soft textures or transitions in pencil work.
Fixative
A spray used to secure pencil, charcoal, or pastel marks to prevent smudging. It can darken the artwork.
Frottage
A technique where a pencil is rubbed over a textured surface. Used to transfer patterns onto paper.
G
Glassine
A smooth, translucent paper. Used to protect drawings from smudging and dust.
Graphite
A form of carbon. Used as the core material in most pencils. Available in different grades of hardness.
Graphite Shine
The reflective quality of graphite when heavily applied. Can affect the overall appearance of a drawing.
Ground
A prepared surface. Enhances the application of pencil or other media. It can be smooth or textured.
H
Hardness (H)
A measure of how hard and light a pencil is. Higher H numbers indicate harder, lighter pencils.
Hardtmuth Scale
Another grading system for graphite pencils. Similar to the standard H/B scale. Named after the Koh-i-Noor company founder.
Hatching
A shading technique. Uses closely spaced parallel lines.
Highlighting
The use of light tones or erasers to create bright areas in a drawing.
I
Ingres Paper
A lightly textured paper. Ideal for soft pencils and pastels.
Indenting
A technique where a sharp tool is used to press lines into the paper before shading. Creates highlights or texture.
K
Kneaded Eraser
A soft, pliable eraser. Can be shaped to erase fine details. Can also lift graphite and charcoal without damaging the paper.
L
Layering
The process of applying multiple layers of pencil. Helps to build up colour, depth, and texture.
Lightfastness
The resistance of pigments to fading when exposed to light. Rated by standards such as ASTM and the Blue Wool Scale. The opposite of a 'lightfast' colour is a 'fugitive' one.
Luminance
A term often associated with coloured pencils. Refers to the brightness and clarity of a pigment.
O
Oil-Based Pencils
Pencils that use an oil-based binder instead of wax. Offers durability and resistance to smudging.
Overworking
The act of repeatedly layering or blending to the point where the paper becomes damaged or the colours lose vibrancy.
P
Paper Stump
A tightly rolled paper tool. Used for blending and softening pencil marks.
Pastel Pencil
A pencil containing pastel colour encased in wood. Allows for detailed pastel work without excessive dust.
Pencil Extender
A tool that allows short pencil stubs to be used comfortably by extending their length.
Pigment Load
The concentration of pigment in an art medium. It determines its vibrancy and opacity.
Pressure Sensitivity
The effect that different levels of applied pressure have on the intensity of pencil marks.
R
Resist
A technique where a wax-based pencil or crayon is applied to paper before using water-based media. Prevents the area from absorbing colour.
Rubbing
Another term for frottage. Texture is transferred onto paper by rubbing a pencil over a surface.
S
Saturation
The intensity or purity of a colour in a drawing.
Scumbling
A technique where light, broken strokes are applied over a darker layer. Helps to create texture and depth.
Sfumato
A technique that creates soft, gradual transitions between tones. Often used in realistic pencil drawings.
Sgraffito
A technique where a top layer of pencil is scratched away to reveal a lighter layer beneath.
Sharpening
The process of refining a pencil tip for precise drawing. Different sharpeners are available for all types of pencils.
T
Tooth
The texture of paper that helps grip pencil marks. Papers with a rougher tooth hold more pigment.
Tortillion
A cylindrical tool made of paper. Used to blend pencil and charcoal marks.
U
Underdrawing
A light sketch made before the final artwork. Often used to plan composition and proportions.
V
Value
The relative lightness or darkness of a colour or shade in an artwork.
W
Wax Bloom
A hazy, whitish layer that can appear on heavily layered wax-based coloured pencils. This can occur due to the wax rising to the surface.
Watersoluble Pencil
A pencil that can be blended with water. Creates effects similar to watercolour painting.
Woodless Pencil
A solid stick of drawing material without a wooden casing. Allows for broader marks and greater versatility.
Workable Fixative
A fixative that allows for continued drawing on top of the sprayed layer without sealing the surface permanently.