It's a Match!

by Dirk Dzimirsky

There are different ways to use the square and identify tones. In the video and the article below, I explain  the method I use, and in my experience, it is the most effective one. The video is a quick overview. Read the article below for more information and answers to the most common questions.

In the video you will also learn about posterizing your photo - to do so, you can use our Posterize tool.

First, print the reference photo on photo paper. This method does not work properly on a screen. If you need help, refer to the printing lesson.

Next, prepare a few strips by cutting a sheet of your drawing paper into narrow slices.

To isolate a tone, place the square over the area you want to evaluate. Seeing the tone separated against white paper already gives me a good idea of which pencil grade is closest. If you cannot tell right away, do not worry. This becomes much easier with practice.

Then place one of the paper strips directly next to the square and shade on the strip so it matches the isolated tone. Start with light pressure and gradually increase it until you approach the value you need. I only use medium pressure, since that is the maximum pressure I use in the drawing itself. Refer to the shading lesson in Class 1 for more on this. After shading, blend the graphite with a blending stump or tissue so the tone is easier to compare.

If the shaded strip is still lighter than the tone inside the square, you need a softer pencil. If it is only slightly lighter, move to the next softer grade. If it is much lighter, you can skip one or two grades and choose a significantly softer pencil. If the tone is already close, you can simply layer the next softer pencil over your initial shading until you reach the desired value.

Once you have matched the tone on the strip, use it as a guide in your drawing. Because you already know how much pressure you used, it becomes easier to recreate the same tone in the artwork. Before blending your drawing, place the strip over your shaded area to compare the values. To make the comparison even easier, place the square over both tones so they appear together inside the small opening. If you squint and they appear to merge into one tone, the match is good. If you can still clearly distinguish them, the drawing needs to go darker.

Let me answer a few questions you may already have at this point.

How close do I have to be to the reference tone?

It is best to get close to the reference tone, but it does not have to be an exact match. There is some room for variation without disturbing the overall tonal relationships. In fact, when drawing with graphite, it is often helpful to stay slightly lighter. This makes it easier to maintain a balanced tonal range throughout the drawing. For that reason, if your reference photo contains many very dark tones, it can help to print it a little lighter.

When do I check the tones: before, during, or after the drawing?

I recommend checking the tonal values of both the reference photo and your drawing carefully before you begin and continuously while you work. In the final stage of the drawing, it is usually better to work with the tones you have already established rather than constantly comparing them to the reference. Only return to the reference tones at that stage if something feels off and you need to verify it.

Do I have to do this all the time from now on?

If you are a beginner, I strongly recommend using the square as often as possible. It trains both your eye and your artistic judgment. In my experience, the most common beginner mistake is ignoring the square and simply guessing the tones.

As you gain more experience, you will need it less often. That said, I still use it regularly myself.

I still have difficulty judging tones correctly.

That is completely normal. Like every skill in drawing, this improves with practice. Keep using the method consistently, and your eye will become more accurate over time.

What if I have already gone too dark in my drawing?

This is why it is so important to approach a tone slowly. Building up gradually helps prevent overshooting the value. Try to avoid making large areas too dark, because once a broader passage is overworked, it is very difficult to lighten it again without losing smoothness. Smaller areas and details, however, can often be corrected by gently dabbing them with a kneaded eraser to lift some graphite.

Which tones do I actually need to identify? There are so many.

Start by identifying the base tone of each larger form. In a portrait, for example, this could be the forehead, the face, or the neck. Choose the base tone from an area that appears to be neither strongly lit nor deeply shadowed.