The art of sharpening pencils
BY MATTHEW JAMES TAYLOR ON 8 OCTOBER 2007
Welcome to the world of pencil sharpening - this may sound like a dull topic but there is actually a lot more to it than you think. There are a number of different sharpening styles and methods; all good artists should know them. The trick is using the right one at the right time.
Sharpening styles
There are four main points to select from; the one you choose will depend on the type of pencil you use, and the style of your drawing.
The standard point

Everyone knows about this one, its trademark conical point is the most common and the most versatile of sharpening styles. If you're looking for a good all-rounder for most types of pencils then this is the best. Plus if you don't have a sharpening knife then you probably don't have a choice.
There are a couple of drawbacks with this style however. The standard point can get blunt quickly, particularly if you are using softer pencils such as charcoal. On larger drawings you will find yourself constantly sharpening the damn thing. Often lower quality pencils will contain a smaller diameter core of graphite; if this is slightly off-centre you will find the wood comes so close to the point on one side that it's almost unusable. This can very be frustrating.
.
The chisel point

This is a rarely seen style where the end of the pencil is cut with a knife into a chisel shape. The main benefit of the chisel is its ability to draw two types of marks on the paper; thin dark lines from along the sharp edge and softer, wider lines from the flat faces. The soft lines are great for rough construction at the start of a drawing and simply turning the pencil on its edge gives you extra precision when you need it. Another neat feature is its 'self-sharpening' property. As you use the chisel on its face it actually helps keep the edge sharp. This means you can spend more time drawing and less time sharpening - great for softer pencils! The straight edge can also be used on an angle to give lines a calligraphy style.
One problem with the chisel design is it can be difficult to master. When drawing with the flat face it's all too easy to accidentally roll your wrist and wear away the corners of the chisel shape. It can also take a bit of work to carve the chisel to begin with. If you can overcome these minor annoyances then the chisel point may be for you.
The needle point

This is a specialist design that is carved with a knife into a sharp concave point. The idea is that such a fine point can wear down a long way before it actually becomes too blunt to use. This style is great for perfectionists who want precise control over their lines and extra fine detail.
There are a number of potential problems with this design. A fine point such as this is prone to constant breaking so it's only suitable for harder pencils. The needle point can only make the one type of mark too, a fine line, so there is not a lot of flexibility here. Colouring in large sections of solid tone can be very time consuming so you are limited to smaller sized drawings.

The bullet point

This is my personal favourite and one I devised myself. In this style the wood is removed from the last centimeter of the pencil then the end of the lead is sharpened into a bullet shape. Two types of marks can be made from this design; a softer line from the side of the bullet and a sharp line from the point. Like the chisel, it has a 'self-sharpening' property. The bullet point is also good for hard and soft pencils.
There are not many drawbacks with this design except to say that it does take a minute or two to carve the design to begin with. If you haven't tried this before, give it a go.

Pencil Drawing Techniques

Drawing Techniques
The technique you use will habitually be determined by the initial purpose of your drawing, or the aspirations you have for the illustration. Sketching for a watercolour would require an entirely different technique than that for a detailed photo-realistic drawing. You have most likely seen the techniques cross-hatching, circles, scribbles and contour lines and you may have even experimented with a couple, but have you ever completed your final work with these techniques?
Before you start experimenting make sure you know…
THE RULES
It won’t hurt to go over them
Objects appear smaller as they move back away from your eye and equally objects drawn larger appear closer!
Lines and surfaces are their largest closest to the picture plane.
Lines or edges that are parallel appear to meet as they recede from the picture plane.
All vertical lines are parallel when using one point perspective (the viewer is not looking up or down at the objects)
Objects drawn in front of one another appear closer (overlapping!)
Images further away will appear lighter, with less contrast and detail. Cross Hatching
Ideal for sketching, cross-hatching is predominantly used by pen artists, but creates tonal depth and can produce realistic textures when employed with pencil.
Cross Hatching is ideal when creating a ‘light map’ for your piece. By ‘light map’, I mean the paths in which light takes across your subject. By using different directional strokes, you leave an indication of the different light sources and their strength. Using a compact and meticulous crosshatching technique one can create breathtakingly realistic art. When the individual lines are tightly woven they can be undetectable, and the overall impression smooth, realistic and accurate. I highly recommend visiting Michael James May’s Gallery, if you are interested in the amazing capabilities of this technique.
Circles and Scribbles
Are wonderful techniques for loosening up your drawing hand. The movement itself is relaxing. Circles and scribbles are a great method for making a distinction between objects of similar tone, by creating contrasting textures. The overall effect is dynamic, with its unique texture and energy. The technique is wild, and inspires you to release your creativity by using intertwining and overlapping circles. And best of all, it’s simple! Contour Lines

Give shape and volume to your drawings using simple lines! Contour lines follow the hills, slopes, curves and edges of your shapes and are a great way to explore the scope of the space, and the dimensional capabilities of your paper. Creating a contour line sketch can greatly aid and enhance your definitive work by planning the direction of your pencil strokes.
Smooth Shading
Apply continuous tone, varying your pressure gradually to create smooth shade. Create a ‘wash’ with your pencil and make the transition from light to dark in one continuous stroke, using the side of your pencil may help in the initial coat. At random, vary the stopping and starting point of your strokes to avoid unwanted bands running through an area of shading. Repeat the action, until the values are dark enough, and you have shown the most delicate, subtle areas of tonal change with different pencils. Start with your lightest pencil, as it is easier to make your drawing darker than to make it lighter but do not force the pencil to make values out of its limits. Pushing your pencil to make darker shade will create a metallic sheen, very undesirable in areas of shadow or could cause dents in your paper. Smooth shading can use combinations of circular shading and contour lines to bring more depth into your drawing. Practicing this technique is imperative to create realistic shade, and allows you to use ultimate scope of tonal values with the highest degree of accuracy.

So, what's the difference between the types of pencils? The difference is seen in the type of lead is in the pencil. Most pencils use a system that gauges the hardness (written as H) of the lead to how black the mark the lead makes (written as B). Back in the day when they were deciding on what pencil people wanted to use most, they went with a middle of the road pencil - not too hard (H) and not too black (B) - that pencil is the No. 2 pencil that we all know. The No. 2 pencil is also known as an HB pencil, and the HB pencil is the middle of the hardness to blackness scale. The hardest lead in a pencil is a 9H pencil, the middle lead is HB (or No. 2), and the blackest lead is a 9B pencil. | Here is a visual of what several pencil leads look like. This image is life sized so you can see the quality of the various lines. I smudged a part of each of the straight lines so the hardness or softness of the lead can be seen. 4H and H don't smudge hardly at all, but the line is too light for me. Remember, another name for the HB is the No. 2 pencil. Personally, I like the 5B for it's dark line and it's medium ability to smudge. The 9B is nice and black, but it's too smudgy. |
When I draw I like my pencil to make very dark lines, so I tend toward a 4B or a 5B pencil. That's what I use when I feel like I'm going to be erasing some of what I'm drawing. But when I do my caricature work, either when I'm drawing the person live or from a photograph, I oftentimes will use a black colored pencil. I get a very dark line that doesn't erase because the core of the colored pencils I like aren't graphite, they're a pigment. But for the artist who is learning the first steps in drawing, a No. 2 is fine, but I would suggest 4B or 5B when you get more confident in your artwork.