How To Draw Realistic Wood Grain Texture With Colored Pencils

An exercise of this type is the first level of studying a texture in practice. It allows us to focus on the most important features. We have to observe the model and put observations to practice, which helps to remember our findings.

The size of the texture sample may be quite small – for example, mine is only 4.5 × 3 cm. (About 1.8″ × 1.2″.)

Outline a rectangle, a square, or a circle with a graphite pencil. This shape will be the borders of our sample. Then, fill it with the close-up fragment of the chosen texture.

The process may be slightly different, depending on the case. In general, we start with the general values and color, gradually increasing the density of layers. Then come the details. As a last step, you can burnish your sample or apply some color on top to unify it.

Here is the process for the sample below:

1. I created a base layer with Raw Umber.
2. I marked the grain pattern, using Van Dyck Brown.
3. With Walnut Brown, I added more lines, refining the pattern.
4. I applied more strokes of Raw Umber to make the color more natural.

Exercise 2 – Texture Study on the Cube Model

Great news – our second task is more challenging!

In the previous study, we dealt only with the relief and values of the texture itself. In this exercise, we’ll start with a primary form that will affect the appearance of the surface. It’s up to you to choose the form – it may be a cube, a sphere, a cylinder, or even something more complex.

In this case, I’ll draw a cube. As you may notice, its vertical lines diverge slightly, as in a case with the three point perspective. (See the illustration “a” in the image below.) I like the effect of minor distortion – this adds a dynamic quality and interest. But if you prefer normal cubes that conform to the classical two point perspective, feel free to draw one.

Then I add the main details of bark to the vertical planes. There will be small areas of moss. The top plane will demonstrate the pattern of a cut tree trunk. (See the image below, illustration “b”.) Keep your pencil lines as light as possible.

It’s helpful to create a visual connection between the cube’s planes. For example, you can continue a pattern that has started on one of the other sides of the cube. These details help to unite the form.

Also, add some minor features that make the drawing more interesting – for example, small hollows or cracks. Pay attention to the main contour. In this case, it shouldn’t be too monotonous or mechanic.

Just for your reference: my drawing will be about 11 × 9.5 cm, including the cast shadow. It is approximately 4.3″ × 3.7″.

Now it’s time to talk about lighting. It’s necessary to determine where the light source is originating from before we move on. We’re dealing with a cube and the light affects its values. In turn, the light will also affect the texture.

Let’s agree that the light source is to the left of the cube and slightly behind it. The light is diffused, so the shadows will be soft, with blurred edges. (See illustration “a”in the image below.) With this information in mind, we can imagine what the tonal pattern may look like.

Also, it can be helpful to mark the planes of the cube with numbers, as shown in the image below. For illustration purposes, I’ll be referring to the planes using numbers.

• “1” – for the top horizontal plane.
• “2” – for the left vertical side.
• “3” – for the right vertical one.

Now we’re ready to proceed to colored pencils part!

First, soften all the graphite marks with a vinyl or a kneaded eraser. The latter is a better option in this case.

I first layer a base color, keeping light pressure on the pencil. The direction of strokes follows the direction of the planes. Make sure that you avoid the “moss” areas.

Plane 1 gets one layer of Raw Umber. plane 2 is slightly darker, so it needs two layers.

I add one layer of Raw Umber to plane 3, then cover it with a thin coating of Van Dyck Brown.

With Van Dyck Brown, I mark the darker areas. I reveal the details of relief and the rhythm of texture. I separate the planes visually with thin shadows.

At this stage, we should be careful with darker colors. Don’t press too hard. It’s much easier to add another layer of shading later on.

With Earth Green Yellowish, I draw the moss and small leaves in the hollow. The pencil is moving in small circles.

You can vary the pressure or work in a stippled manner to create a grainy effect. Leaving tiny gaps and allowing some irregularity of strokes is also an option.

To increase the density of color, I add more strokes of Raw Umber.

Some areas are left almost untouched – for example, thin lines of grain on plane 1. As we remember, the top plane is well lit.

With Walnut Brown, I darken the gaps, hollows, and other details of texture. Don’t forget to sharpen your pencil before you start working on the finer details.

I also apply a thin covering of this color to planes 2 and 3. The vertical sides receive less light, so using this shade is justified. I work in a circling manner at low pressure.

Note that plane 3 is the darkest one, so we won’t find high contrast there.