1. Drawing Techniques:
In this demonstration the following will be covered:
2. Hatching Types:
In Pencil Art there are 3 basic type of hatching.
3. Hatching Types:
The first is Single Stroke Hatching.
4. Hatching Types:
(SSH) Is a sequence of single lines drawn in parallel.
5. Hatching Types:
Probably the most widely used is Return Stroke Hatching.
6. Hatching Types:
(RSH) Is a series of strokes done without lifting the pencil.
7. Hatching Types:
With cross-hatching it is fundamental to shading.
8. Hatching Types:
Finally the Irregular Stroke Hatching.
9. Hatching Types:
Not widely used but it has some useful purposes.
10. Hatching Types:
Similar to SSH but for the spacing of the lines.
11. Hatching Types:
With cross-hatching SSH usually produces bold textures.
12. Hatching Types:
Whereas RSH produces soft textures.
13. Hatching Types:
And ISH produces patterns.
14. Hatching:
In ink studies hatching is used to define shadow. The closer the darker the shadow.
15. Hatching:
And the contour of the form.
16. Hatching:
However, in pencil studies tone replaces the hatching.
17. Hatching:
Hatch can be used to create tone
18. Hatching:
And variety of types of textures.
19. Whip-edge:
Depending on your drawing style RSH can create a problem.
20. Whip-edge:
As each stroke does a 'U' turn it may leave a dark spot known as a whip-edge.
21. Whip-edge:
If these spots are in a row with create a line that is difficult to hide.
22. Hatching Example:
To prevent this hatching should be sparse and randomly placed.
23. Hatching Example:
Let's take this further and add cross-hatching in much the same way.
24. Hatching Example:
Now a layer of vertical hatching is added.
25. Hatching Example:
And finally a layer of horizontal hatching.
26. Hatching Example:
Now let's clear that up. What does that remind you of?
27. Hatching Example:
Now let's use the same technique to create a soft texture.
28. Hatching Example:
Here we have the first layer of RSH. Note the symbol in top left corner.
29. Hatching Example:
Thereafter we add the cross-hatching to remove the grain.
30. Hatching Example:
Next an erasing shield is used to map out the joints to a sandstone wall.
31. Hatching Example:
Thereafter the shadow is added to the appropriate cambers.
32. Hatching Example:
Nearly done!
33. Hatching Example:
There! Finally an additional layer of hatching is added.
34. Hatching Example:
This is a typical example of how to create a soft texture.
35. Hatching Example:
The same method can be used to create a number of textures.
36. Hatching Example:
Linen & Fabric
37. Hatching Example:
Paving
38. Hatching Example:
Skin tone
39. Hatching Example:
Sand & most matt surfaces
40. Hatching Example:
RSH can create a number of textures and effects.
But first we need to understand what is layering?
41. Layering: Here is a line draw with a 4B flat point.
42. Layering:
Now let's zoom in on a portion of it to see it closer.
43. Layering:
The computer-enhanced image shows those areas where the graphite is binding to the paper.
44. Layering:
Then with a 2H rounded point some hatching is added.
45. Layering:
Here we see that 2H can only bind to those areas where there is exposed paper.
46. Layering:
And cannot bind to the 1st layer of graphite.
47. Layering:
Next the line is drawn with the 2H pencil.
48. Layering:
Thereafter, some 2B hatching is added.
49. Layering:
Here again, the second layer can only bind to exposed paper and not to the 1st layer.
50. Layering:
This means that no matter what mix of pencils you use -
51. Layering:
the base layer will set the tone.
52. Layering:
That same principle can also be used to create textures and special effects.
53. Masking:
Let me give you an example. With a process called masking.
54. Masking:
This time I am going to use a 4H sharp point pencil.
55. Masking:
And draw 3 parallel lines.
56. Masking:
Now I am going to erase to 3 lines.
57. Masking:
Next I add a second layer of 2B hatching.
58. Masking:
Can you see what is happening.
59. Masking:
Well, let's add some more hatching.
60. Masking:
Add a 3rd layer.
61. Masking:
Even it I add a layer parallel to the original 3 lines.
62. Masking:
The base layer will still shine through.
63. Masking:
No matter how many layers is added the 3 lines will still be seen.
64. Masking: This has its advantages, as seen in follow examples. Or disadvantages see
Note 1. 
65. Masking:
It is a technique that can use to draw whiskers -
66. Masking:
Hair, fur and grass.
67. Masking:
Or something that has a grain such as wood, thatch & the like.
Or create your own 'Watermark' somewhere on the drawing.
68. Rought Textures:
In this example the base layer is a 4B flat point to create a rough texture.
69. Rought Textures:
Then with a HB the second layer of hatching is added.
70. Rought Textures:
There after a 2nd -
71. Rought Textures:
3rd -
72. Rought Textures:
& 4th layer of hatching is added.
73. Rought Textures:
Then I have used a putty eraser to tone down part of it.
74. Rought Textures:
And done the same in a smaller area.
75. Rought Textures:
The reasons why I erased part of the texture is to support the next example.
76. Rought Textures:
Here I have done much the same, but instead of erasing part of the texture -
77. Rought Textures:
I have erased little 'blobs' of the texture with a putty eraser.
78. Rought Textures:
The 'blobs' are random and vary is size.
79. Rought Textures:
All add to the variation to the texture.
80. Rought Textures:
Okay, Let's clean it up. Now what does that remind you of? Maybe polished granite?
81. Rought Textures:
This techniques can use to create a number of rough or bold textures.
82. Rought Textures:
Damp plaster wall
83. Rought Textures:
Tree bark
84. Rought Textures:
Stubble
85. Rought Textures:
Sea surf
86. Rought Textures:
and Rock
87. Light:
Before review methods on toning, I want to briefly look at light and the tonal range.
88. Light:
The first is True light, where the object receives 100% light.
89. Light:
The High light is a reflection of the light source and is more obvious on glossy objects.
90. Light:
Fading light is usually that area where the majority of toning is done.
91. Light:
Then the darkest area is referred to Night light.
92. Light:
Reflected light vary depending on the reflective properties of surfaces around the object.
93. Light:
Then finally the shadow.
94. Light:
The Reflection is a mirrored reflection of adjoining objects.
95. Toning:
If we had to take a slice from the previous object -
96. Toning:
It would look something like this.
97. Toning:
With True light at one end, followed by Fading - Night and Reflected light at the other end.
98. Toning:
With the different grades of being approximately in these positions.
99. Toning:
Between the two a varying mix of both.
100. Toning:
This is referred to as the Tonal range.
101. Toning:
To demonstrate the layering process I have applied a 4H base layer.
102. Toning:
Then applied a 2H upper layer.
103. Toning:
Followed by a HB upper layer.
104. Toning:
Finally, a 2B upper layer.
105. Toning:
Other than those areas where the base layer had holes in it there is very little notable difference.
106. Toning:
Let's zoom in and take a closer look.
107. Toning:
Other than texture there is much different.
108. Toning:
In this example 3 different grades where used for the base layer.
109. Toning:
Thereafter a 4H upper layer was added.
110. Toning:
Here you can see why 'the base layer sets the tone'.
111. Toning:
In this example B is used to shade an area.
112. Toning:
Thereafter a 2H upper layer is added, and there is a notable difference.
113. Toning:
The reason is that the base layer has holes in it for the upper layer to bind to.
114. Toning:
Let's zoom in and have a closer look at the enhanced image.
115. Toning:
Next a 3rd layer of 2B is added.
116. Toning:
Here, the 2B has appeared to have done is job and it is darker.
117. Toning:
However, if we had to enhance the image,
118. Toning:
A notable line can be seen between the existing base layer and the exposed paper.
119. Toning:
To create a gentle escalation on tone start at one end of the tonal range.
120. Toning:
Add a decreasing amount on both sides for blending.
121. Toning:
Add 2nd layer and blend in with existing.
122. Toning:
Do the same with the final grade.
123. Toning:
Then soften the grain by adding a blend of cross-hatching.
124. Toning:
Note. When toning, it is better to start a little in on the tonal range.
125. Toning:
Thereafter, move to the darker tones.
126. Toning:
When that is done, return to the delicate tones at the beginning.
Sharp point pencil. 
Rounded point pencil. 
Flat point graphite.