One of the things people sometimes notice when looking at my watercolor illustrations is the amount of graphite work that exists beneath the paint. In some illustration styles, the drawing is little more than a light guide before color is applied. In others—particularly the kind of narrative illustration I’m drawn to—the graphite underdrawing becomes an essential part of the finished piece itself.
For me, the underdrawing is not simply preparation. It is structure, atmosphere, and storytelling long before the first wash of watercolor is applied.
Building the Foundation
In the kind of narrative watercolor illustration I’m drawn to, the graphite underdrawing becomes an essential part of the finished image itself.
The graphite framework helps define:
- composition
- gesture
- perspective
- value
- shadow shape
- storytelling clarity
A strong underdrawing gives the painting weight and stability beneath the color.
If the drawing underneath is weak, the finished illustration will often feel uncertain no matter how well the painting itself is handled. The underdrawing creates the structure that allows the rest of the image to breathe.
“Large shadow masses, softened transitions, and controlled value relationships are often developed extensively before color is introduced.”
Establishing Value and Atmosphere
One of the primary reasons I rely heavily on graphite underdrawing is for the development of shadow, value, and atmosphere—particularly in night scenes or emotionally quieter illustrations.
Large shadow masses, softened transitions, and controlled value relationships are often developed extensively before color is introduced. In some pieces, the graphite carries much of the emotional structure of the image.
This becomes especially important in scenes lit by moonlight, lantern light, or deep interior shadow, where atmosphere depends less on bright color and more on carefully controlled relationships between light and darkness.
Rather than competing with the watercolor, the graphite quietly supports and strengthens it from beneath the surface.
Boston Bay from Charles Santore’s Paul Revere’s Ride: The Landlord’s Tale. Renowned children’s book illustrator, Charles Santore, used graphite underdrawings in most of his nighttime or shadow watercolor paintings.
Preserving a Sense of Humanity
One of the things I appreciate most about graphite is its humanity. Pencil carries the evidence of the artist’s hand in a very direct way. Slight variations in pressure, texture, and edge create a living quality that can sometimes be lost in overly polished work.
I don’t necessarily want every trace of the drawing to disappear beneath the watercolor. In many illustrations, I want some of that structure and texture to remain present, helping the image feel grounded and tactile rather than overly perfect.
In some illustrations, the graphite underdrawing remains visible enough that it almost functions like a second medium beneath the watercolor itself.
That balance between drawing and paint is part of what draws me to this approach in the first place.
The Underdrawing as Part of the Final Image
In certain watercolor traditions, the drawing exists only to disappear. In the kind of illustration work I’m most influenced by, the underdrawing often remains an active participant in the finished piece.
The graphite and watercolor work together rather than compete with one another.
The drawing provides structure and restraint. The watercolor brings atmosphere, light, and emotional resonance. Together, they create an image that feels both constructed and alive.
Trusting the Slow Beginning
The underdrawing stage can take a significant amount of time—sometimes longer than people expect. But I’ve learned not to rush it. Much of the confidence I feel during the painting stage comes from knowing the structure underneath has already been carefully considered.
Conclusion
In many ways, the painting truly begins with the drawing. And when that foundation is strong, the watercolor is free to do what watercolor does best: create atmosphere, carry light, and bring the illustration to life.
M. Chad Randall is a published children’s book illustrator known for his gentle, emotionally resonant artwork. He is available for partnerships with writers, publishers, and editors who value timeless, story-driven illustration. He’d love to bring your next project to life. Contact HERE.
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