How to stipple with Julia Koceva

Stippling is a technique where images are built up using thousands of tiny dots, a patient but powerful way to create shadows, light and depth in a drawing. In this article, you'll meet artist Julia Koceva, whose detailed and captivating work shows just how alive this technique can become. She shares her top tips, explains her step-by-step process, and reveals which materials work best. A perfect introduction for anyone curious about starting with stippling or looking for inspiration from someone who truly masters the power of the dot.

Julia, what materials do you use?

To create my work, I use the Rotring Rapidograph 0.1 mm, which is a fineliner with an ink cartridge. The replaceable cartridges make it easy to work with. The pen has a durable body and a chrome-plated tip. In addition to the 0.1 mm tip that I use myself, you can choose from a range of different tip sizes depending on your preference. By using the thinnest tip that Rotring Rapidograph offers, I also increase the level of realism in my work.

When it comes to choosing paper for stippling, the options are practically endless. I draw on paper from Arches, which is a very thick cotton paper with a strong texture. Arches offers a variety of weights and surface textures. In my pieces I strive for realism, but also a kind of softness, as I find the dots blend nicely into the surface I work on. The dots become less noticeable as individual elements unless viewed up close. If you want to create illustrations with high precision and clarity, a smoother paper might be worth considering.

Why did you choose to work with this technique?

I use the stippling technique to achieve the highest possible level of realism and balance between light and shadow. I find stippling to be an exciting concept, because instead of drawing, say, a circle in a single motion, you create it by placing dots to build the illusion of a circle. The technique allows the viewer to fill in the gaps and perceive a complete image. The further away you are from the piece, the more realistic it looks. Sometimes the individual dots aren't even noticed unless viewed very closely.

How do you go about creating, step by step?

When starting a piece using this technique, there are several ways to approach it. Once you have a sketch or a clear idea of what you want to create, you can begin to work on it section by section. This is perhaps the easiest way to get started, especially if you also use the grid method. The grid method involves drawing with the help of a grid system to achieve correct proportions.

When I create my pieces, I usually start by identifying the lightest part of the drawing, known as the negative space, an area of light within a larger area. In stippling, most effects depend on how much negative space you leave. The more dots you use and the more densely they are placed, the more you reduce contrast in the piece. When you use fewer dots, meaning a larger amount of negative space, that area appears brighter and more prominent.

I place my dots in rows and layers. I usually start by placing the dots in two columns until the entire surface is covered with one layer of dots. I typically add 2–3 layers for the lightest areas. Then I build up with more dots to create the darker parts. The more layers you add, the darker the illustration becomes. The process is slow and methodical, but I personally find that it gives me better control over the development of the piece and creates a very smooth and even surface.

What is your best tip for success?

When creating texture in stippling, it is important to identify where the light is expected to fall on the object you are drawing. Texture is created by adding more dots to reduce the negative space, which gives the illusion of shadow. A drawing with more dots and less negative space is usually perceived as having more texture. If you want to draw a landscape or create perspective in your artwork, keep in mind that the parts that should appear closer to the viewer should be drawn with more sharpness than the elements intended to appear in the background.

Julia Koceva