Simple Ways to Make Your Lineart More Dynamic

Imagine trying to render a cube in pencil. Light and shadow are used to delineate all of the simple shapes that make up the cube. In order to create the shape of the cube without using lineart, values are needed. Lines are essentially a simplified expression of these differences in value. Understanding what lines represent is important, since it can allow you to apply lineart in technically correct and visually interesting ways.

Here, we have a rendered cube for reference:

In this reference, there are no hard lines that can be made out. However, you can still clearly imagine them and where they would go if you were to add them. This is because of how humans distinguish shapes by comparing the values of that shape to the values surrounding it. Think about how much harder it is to see in the dark. The world becomes out of focus and difficult to distinguish because it becomes harder to separate objects from their surroundings. This would translate to a less defined line.

Lines are a representation of depth and perspective. Because of this, the thickness of lines should convey the weight of shadows and the sheerness of light. For example, to give the box below a more 3D feel, there should be thicker lines under the cast shadow and closer to the foreground. Those are the most clear, detailed, and distinct parts of the subject. This changing of the thickness in lines is called line weight.

Here is the box without any line variation versus with:

Below is the same box with the same simple flat shading and an outline with no real lineweight. This looks alright on its own, but it is a little bland because of the perfectly straight lines with no variation in lineweight throughout.

Keeping the lines looser, less straight, and more varied noticeably creates more energy and interest in an otherwise mundane picture:

These two boxes share the same brush and same shading, but one box is more intriguing than the other. Getting caught up on making perfect lines can make a piece feel flat and lifeless. Again, this is not true for all circumstances, but in general, line variation makes for a more dynamic piece.

Together, weight and directionality create really interesting line art. It takes time to get to the point where this is intuitive, but eventually it will come naturally.

Let's look a little closer at both of these qualities:

1. Line Weight

1a. Why?

Line weight is used to make a drawing’s environment feel like a natural 3D space. The color, opacity, thinness, and quality of a line can indicate space and dimensionality, and having varied line weight throughout a piece helps lead the eye to the correct place.

1b. Where?

One of the most important parts of lineart is choosing where to prioritize definition. In order to know where to apply line weight, you need to be thinking about the overall composition: what details should catch people's attention first and what details should be less emphasized. Generally, the background of a piece will have lighter, thinner lines. Lines are used to indicate the separation of two objects or sides, and when objects are further away, they are less easy to distinguish. If every little detail was emphasized with thick lines, there wouldn’t necessarily be a clear subject for the viewer to focus on.

For example, variation in line weight would draw the eye right to the shelf on the wall rather than the subject in front of it. The foreground would have more detail than the background, and the primary subject would have the most, as objects should be distinct from the space which they occupy. Also, do not forget that line weight can be used to indicate shadows and gravity. When the lines in shadow reflect that darkness, and vice versa, the environment and subject will feel more cohesive in a piece.

Even in a quick sketch like this, the character is separated from the background through the use of lighter and looser lineart in the back. We also demonstrate a prioritization of definition by making the subject the most clearly defined feature in the piece.

Here, even the subject has variation in detail to keep things clear. They have no eyes or mouth because this is not a full rendering. All of those tiny details on a half-covered face warped by perspective would make the illustration much more difficult to understand quickly. In addition, observe the varied line weight and the implication of the table in the foreground. Subtle implications can be all that is required to show depth or imply a shape without needing to include too many precise details.

1c. How?

There is no correct way to use line weight, and it depends on the artist and their style. However, it’s important to recognize these general principles:

Sketches shouldn’t be too detailed. Block out the general shapes and try to envision the layout of the lineart before you start. This allows you to define the rest of the piece with more confidence.

Don’t use the same brush or pen for the whole piece, instead, think about what is important to emphasize in each part (color, thickness, texture) and use the right tool for that area.

Use lights and shadows to determine how your lines look. Remember, lines are the implications of 3D objects based on their values. When you look around your room, try to imagine what quality, thickness, and color different objects would be if they were made of lineart. Think of how the texture would affect the look of lines.

Knowing your subject will greatly help you figure out how to indicate structures, shapes and mechanisms beyond what can be seen from a glance. It's really helpful to have the object in front of you or some sort of 3D reference.

2. Directionality

2a. Why?

In lineart, directionality refers to confident lines that demonstrate character and motion. This is often where an artist’s personality can come out in their art. Through directionality, you can guide the eye, create emotion, and make the drawing more lively as a whole.

2b. Where?

Lines can be split into two general categories: static and dynamic. Static lines are controlled. They can be curved or straight, long or short, but most importantly, when they’re drawn, the motion is slow and controlled. Dynamic lines are the opposite. They are more “sketchy” and are used to show the motion or spirit of the drawing. Ironically, this often takes more practice. It is hard to make your brain and hand coordinate automatically, but it is crucial not to give yourself time to think. Generally, the result is more variation in line weight, fluid movement in the line, and a feeling that is harder to achieve with static lines alone.

Static and dynamic lines are much more powerful together than separately. They play off of each other to make a piece feel balanced and intentional. Our eyes tend to glide across the dynamic lines, leading us directly to the static. This provides a nice rest for the eyes, and leads to a more engaging composition as a whole.

Below are some examples of static and dynamic lines and how they interact.

2c. How?

Although charcoal may seem like the furthest thing from clean, straight lines, using it can be incredibly helpful to understanding static and dynamic lines and making them second nature. Get a piece of charcoal and some newsprint and practice carving out an environment. When you play with a material as malleable as charcoal, you really get a sense of how to translate something 3D into a 2D world.

Practice is truly the best method to get better and more intuitive with your lineart. Try drawing the same thing five times in a row, then come back in an hour and repeat it. I am confident that the later version will be leagues above the original. When it comes to static lines, you go slower and have a plan, but you still need to be confident in the subject in order for the lines to be readable and smooth. The same goes for dynamic lines; you need to be able to pick up the direction and movement of the subject, translating this into a quick line.

Take this figure skater, for example. Compare the initial sketch to the final one. The sketch is almost, if not entirely, dynamic lines. The final version keeps much of this, but critical places have static lines added in. Looking at the pant legs, the scrunched up part has static lines, while the flatter side is much more loose. The face is static, while the hair around it is dynamic. The mixture and balance takes time to figure out and won’t be the same for every drawing. However, with practice and observation, this process will become more natural.

3. How to Practice

Look around you! Draw from life. Look at all the implied lines of the world and try to imagine what thickness they would be, what texture they would have, or their push and pull if you were to put them on paper. Think about whether those lines should be static or dynamic. How would you represent a moving object or an environment as an image?

Do not stress too much! Remember, confident lines mean trusting your brain to intuitively put lines where they should go. Practice drawing quickly. With a pen, do a 5 minute sketch, then 3, then 1. This could be figure drawings, still lifes, landscapes, or whatever feels comfortable. With this, you will develop a more intuitive sense of how lines work and where they should go.

Experiment! The vast majority of art is being able to take in the world and pick and choose which aspects speak to you the most. Anything can give you inspiration: the internet, an article like this, the world around you, an art teacher, or your favorite artists. It is up to you to figure out what works for you, always be open to try again, and be proud of the things you get right. In this spread, I really experimented with color and shading.