An arctic fox drawing is one of those subjects that rewards you almost instantly: a round white body, a dark button nose and a tail like a feather duster, and suddenly you have something worth pinning to the fridge. Colored pencil suits this animal perfectly, since its thick coat is really just hundreds of small strokes layered until the fur glows against bare white paper.
Below you will find 28 ideas that start with the fox itself curled, trotting, digging and playing, then widen out to the hares, lemmings, ptarmigans, musk oxen and seals that share its snowy world. Every one is sized to finish in a single sitting, so pick whichever pose catches your eye first and get your pencils out.
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Start an arctic fox drawing with the easiest pose there is: a fox curled into a tight ball with its tail swept over its nose. Sketch one soft oval for the body first, then tuck a smaller circle for the head into the curve, with the tail wrapping around like a comma.
Lay in white and a touch of pale blue-grey with light, short strokes that follow the curve of the body, leaving the paper bare wherever the fur catches the light. Add the dark nose and the thin black eye last so the face reads instantly against all that white.
If the shape goes stiff or egg-like, soften the outline with a kneaded eraser and round out the lower back where the fox rests into the snow. Add a faint blue shadow underneath to settle it onto the page.
If this is your first time drawing fur, keep every stroke short and pointing the same direction rather than scribbling in circles, since that single habit makes fur look convincing almost immediately.
Palette: Snow White,Pale Grey Blue,Jet Black,Blush Pink
Once the curled fox feels comfortable, try a pose with real movement: a fox diving headfirst into the snow after a sound below. Block in a long diagonal body with the front paws together and the tail flicked up behind, so the whole shape points downward into the page.
Work the head and shoulders in first since they sit deepest in the snow, using soft grey-blue hatching to suggest the fox is already half buried. Leave the raised tail and back legs almost pure white so they read as still airborne.
This pose goes wrong when the body looks flat instead of diving, so check the angle against a diagonal line drawn lightly in pencil first and erase it once the proportions sit right. A ruler held at an angle works as a quick substitute if you do not trust your eye yet.
Scatter a few flicked white gel pen marks around the point of impact to finish the motion.
You Will Need
- white gel pen
Palette: Snow White,Soft Grey Blue,Icy Blue,Jet Black
Give the page a cozier moment with an arctic fox kit peeking out of a snowy den. Draw a rounded mound of snow first with a dark oval opening, then fit the kit’s round head and big ears just inside the edge of that opening, as if it is deciding whether to come out.
Shade the den entrance in deep grey-blue so the kit’s pale fur stands out by contrast, then work the face with soft short strokes, keeping the muzzle fluffy and the eyes large and rounded for a young animal look.
Kits often end up looking too adult if the head is drawn too narrow, so keep the skull rounder and the ears a touch oversized compared to an adult fox. Swap in a grey fineliner for the den’s dark interior if you do not want to build that depth with pencil alone.
Add one small white paw gripping the snow at the den’s edge to finish the story.
Palette: Snow White,Deep Grey Blue,Blush Pink,Jet Black
Move the fox onto open ground with one trotting across sea ice, leaving a dainty trail of prints behind it. Place the eye level low, almost at the fox’s own height, so the ice stretches flat and wide behind it rather than tipping upward like a map.
Draw the body mid-stride with one front paw lifted and the tail trailing slightly, then add a thin line of pale blue along the ice to suggest where it meets the sky. Keep the prints small, round and evenly spaced, since a low eye level also means the prints nearest the fox look larger than the ones further back.
If the ice looks too busy, strip it back to one soft blue-grey wash of hatching and a single crack line rather than covering the whole surface in texture. Leave most of the paper bare white to keep the scene feeling open and cold.
Finish with a faint pale pink glow low on the horizon for an early morning light.
Palette: Snow White,Icy Blue,Pale Grey,Blush Pink
Bring in a second fox for a livelier scene: two arctic foxes playing tag around a snowy rock. Sketch the rock as a simple rounded boulder first, then place one fox leaping around one side and the second chasing close behind, both bodies angled the same direction to read as motion rather than two separate poses.
Work the nearer fox first with fuller detail and stronger shading, then keep the second fox slightly lighter in tone so it reads as a step behind in both space and story. Stagger the legs of each fox so they do not mirror each other exactly, which is what makes a chase look frozen rather than alive.
If the two foxes start to blend together, darken the shadow between them along the rock’s edge to pull them apart visually. A single curved snow drift behind the rock is enough background, nothing more is needed.
Keep both tails flicked outward, away from the rock, to push the sense of speed.
Palette: Snow White,Pale Grey Blue,Sage Green,Jet Black
Slow the page back down with a quieter mood: a fox sitting with its eyes half closed against a snowy wind. Draw the body upright and compact, tail wrapped forward around the front paws, then narrow the eyes to thin curved lines instead of full round shapes to capture the squint.
Angle every fur stroke slightly to one side, as though the wind is pushing it, especially along the ruff around the neck and the edges of the ears. That single shift in stroke direction does more to suggest wind than any added snow lines would.
If the squinted eyes end up looking closed or sleepy instead of windblown, add a thin sliver of white left bare right at the lower lid to suggest the eye is still open behind the squint. Use a blending pencil to soften the strongest strokes if the wind effect looks too stiff.
A few flying white flecks drawn in gel pen across the face finish the feeling of weather.
You Will Need
- white gel pen
Palette: Snow White,Soft Grey Blue,Icy Blue,Jet Black
Try this one on toned grey paper instead of white, using white pencil for the lit side of the fur. It pushes the windblown mood even further.
Give the coloring itself the spotlight with a fox in its smoky grey-blue color morph standing on a plain white snowbank. Keep the pose simple and standing, since the real subject here is the color blending rather than any dramatic action.
Build the coat in layers, starting with a pale blue-grey base over the whole body, then adding deeper grey in short strokes along the back, ears and tail tip while keeping the belly and chest much lighter. This layering is what gives the smoky effect its depth instead of looking like one flat grey shape.
If the color turns muddy, lighten your pencil pressure and add another thin layer of pale blue over the top rather than pressing harder with grey. A cool grey marker works as an underlayer if you want faster, more even coverage before adding pencil texture on top.
Leave the snowbank itself almost untouched, just a shadow line beneath the paws, so the fox’s color reads clearly.
Palette: Pale Blue Grey,Deep Grey,Snow White,Jet Black
Add height to the page with a fox standing on top of a snowdrift, nose lifted as it sniffs the air. Build the drift first as a rounded mound with a soft curved top, then place the fox’s back paws right at the peak so the whole body tilts slightly upward with the raised head.
Draw the nose and chin pointing up and slightly forward, with the neck stretched longer than in a resting pose, since that stretch is what sells the sniffing action. Keep the ears pricked straight up and alert rather than relaxed to the sides.
If the fox looks like it is simply looking up rather than sniffing, narrow the nostrils slightly and tilt the whole muzzle a touch higher than feels natural at first. Add a very light wash of pale blue shadow on the underside of the drift to keep it from floating off the page.
Finish with a few short white gel pen flicks trailing from the nose to suggest cold breath in the air.
You Will Need
- white gel pen
Palette: Snow White,Icy Blue,Blush Pink,Jet Black
Move to a sleepier moment with a fox yawning wide on a frosty morning. Sketch the head tilted slightly back with the mouth open wide, drawing the inside of the mouth as a soft pink shape with small white teeth rather than anything too sharp or toothy.
Start with the open mouth and tongue, since getting that shape right first makes the rest of the head easier to fit around it. Keep the eyes drawn as thin closed lines to match the sleepy mood, and round the cheeks out fully on either side of the yawn.
A wide yawn often ends up looking like a snarl if the lips are drawn too straight, so round every edge of the mouth and keep the brow soft rather than furrowed. If pink pencil feels too bright, mix in a touch of light brown underneath to mute it slightly.
Add a thin ring of frost-white around the whole body to set the frosty morning mood.
Palette: Snow White,Blush Pink,Pale Grey Blue,Jet Black
Follow the yawn with a natural next pose: a fox stretching after waking from a nap in a snow hollow. Draw the front legs extended fully forward and low, the back end raised, and the spine arched in a long curve, the same stretch a house cat makes after sleeping.
Work from the front paws backward, since they anchor the whole stretch, then build the raised hips and tail last so the proportions of the arch stay balanced. Shade the snow hollow beneath the fox slightly darker than the surrounding snow to show where its body pressed in while sleeping.
If the stretch looks awkward, check that the front legs are drawn noticeably longer and flatter against the ground than they would be standing normally, since that exaggeration is what reads as a stretch rather than just a low stance. Compare the leg length against the body length as a quick rough measure before committing to ink or heavy pencil.
A single paw print pressed into the hollow’s edge finishes the scene nicely.
Palette: Snow White,Pale Grey Blue,Soft Grey Blue,Jet Black
Bring warmth into the page with a mother fox grooming her kit’s ears. Draw the mother larger and seated with her head lowered toward the smaller kit, who tilts its head to one side to let the ear be cleaned, their two bodies overlapping gently at the shoulder.
Build the mother first since she anchors the composition, then fit the kit into the space beneath her chin, keeping its proportions rounder and smaller throughout the head, ears and paws. Use the sage green of a simple background patch of lichen or tundra grass peeking through snow to ground the scene without too much extra detail.
If the two foxes start to merge into one shape, add a thin strip of bare white paper between their outlines wherever they touch to separate them visually. Colored pencil struggles with crisp overlaps, so a fine white gel pen line along that edge can rescue it quickly.
Keep both sets of eyes soft and half closed for a calm, tender mood.
You Will Need
- white gel pen
Palette: Snow White,Sage Green,Blush Pink,Jet Black
Open the scene outward with a fox peeking over an ice ridge at the sea beyond. Place the eye level low and close to the ridge so the fox’s head and shoulders are the only part visible above the line, with the sea stretching flat and pale behind it.
Draw the ridge first as a jagged horizontal edge, then fit the fox’s head just over the top, ears pricked and eyes fixed forward. Keep the sea behind it almost flat in tone, a pale blue-grey wash with one or two thin horizontal lines, so the eye goes straight to the fox rather than the background.
If the ridge looks too soft or rounded, add a few sharp angular breaks along its top edge, since real ice ridges are jagged rather than smooth like a snowdrift. Swap pencil for a light wash of blue watercolor under the sea area first if you want faster, flatter color there before adding pencil detail on top.
A thin strip of pale pink along the horizon suggests early light over the water.
Palette: Snow White,Pale Grey Blue,Icy Blue,Blush Pink
Try a two-animal scene with a different kind of distance: a fox following a polar bear at a careful distance across the snow. Draw the bear much larger and further ahead in the composition, its body heavier and lower to the ground, while the fox trails small and light several steps behind.
Work the bear first since its scale sets the whole page, keeping its fur strokes longer and shaggier than the fox’s shorter, tighter coat. The size difference is the whole point of this piece, so exaggerate it a little further than feels natural, since a bear and fox drawn too close in scale will read as two same-sized animals rather than a predator being trailed at a safe gap.
If the two animals feel disconnected, add a single shared shadow line running along the snow beneath both of them to tie the scene together. Keep the space between them wide and mostly bare white paper, since that gap is what tells the story.
Finish with a faint trail of paw prints connecting the two.
Palette: Snow White,Pale Grey Blue,Soft Grey Blue,Jet Black
Bring the energy back up with a fox digging fast, snow flying out behind it. Draw the front half of the body low and braced, both front paws buried, while the back legs push against the ground and the tail lifts for balance.
Work the digging paws and the hole first, since everything else in the pose reacts to that point of effort, then add the flying snow last as a scatter of small white shapes trailing off to one side. Keep those snow shapes varied in size, a few larger clumps near the paws and smaller flecks further out, rather than one even spray.
If the flying snow looks like static dots instead of motion, stretch each shape slightly in the direction of travel rather than drawing perfect circles. A white gel pen layered over light pencil shading gives the flying snow more sparkle than pencil alone.
Add a determined, narrowed eye to finish the sense of focus and effort.
You Will Need
- white gel pen
Palette: Snow White,Soft Grey Blue,Icy Blue,Jet Black
Shift to a new animal with the arctic hare, starting with one standing tall on its hind legs in deep snow, scanning the horizon the way hares often do. Sketch a tall oval for the body first, elongated upward, then add the long back legs bent beneath it and the short front paws tucked near the chest.
Build the ears next, drawn long and slightly curved rather than stick-straight, since that small curve is what keeps a hare’s ears from looking like antennae. Shade the body in soft white and pale grey, leaving the chest and belly lighter than the back.
If the standing pose looks unstable, widen the base where the back feet meet the snow and add a short shadow directly beneath them to ground the hare properly. Readers more confident with proportion can compare the ear length to the head: arctic hare ears run close to the length of the head itself, a useful check before committing to ink.
Keep the snow around it simple, just a few soft mounds.
Palette: Snow White,Pale Grey,Icy Blue,Jet Black
Give the hare some speed next with one racing across the snow, ears pressed flat against its back. Stretch the body out long and low, front and back legs extended in opposite directions, and flatten the ears right along the spine rather than upright, since upright ears instantly read as calm rather than running.
Draw the stretched body first, then add the legs at full extension on both ends, front legs reaching forward and back legs kicked out behind. Keep the fur strokes short but angled backward along the whole body to reinforce the forward motion.
If the hare looks like it is leaping rather than running flat out, lower the whole body closer to the snowline and check that no part of the hare rises higher than the head. A light grey underlayer brushed quickly with a blending pencil before adding white on top speeds up shading this kind of fast, loose pose.
A short trail of kicked-up snow behind the back feet finishes the motion.
Palette: Snow White,Pale Grey,Soft Grey Blue,Jet Black
Scale right down with a lemming popping out of a tunnel in the snow, a quick and cheerful little drawing. Draw a round snow mound first with a dark tunnel opening, then fit the lemming’s compact, rounded body half in and half out of that hole, front paws braced on the snow’s edge.
Keep the lemming’s proportions short and chubby, nothing like the longer body of a fox or hare, with small rounded ears set close to the head and tiny dark eyes. Shade the fur in warm soft browns mixed lightly with the surrounding white and grey palette for contrast against the snow.
Ten minutes is enough for a simple version with just the head and front paws showing. Given forty minutes, add the tunnel’s shadowed interior in more depth and a scatter of loose snow crumbs around the opening for extra texture.
Finish with one whisker line on each side for a bit of personality.
Palette: Snow White,Warm Brown,Deep Grey Blue,Jet Black
Build on the lemming with a cozier pairing: two lemmings sharing a bit of moss in a snow burrow. Draw the burrow as a rounded hollow carved into the snow, then place the two lemmings facing each other with a small tuft of sage green moss held between them.
Work one lemming fully first, then place the second close beside it with a slightly different head angle so the two do not look identical. Keep the moss small and simple, just a cluster of short green marks, since it is a prop here and should not compete with the two animals for attention.
If the burrow interior feels flat, deepen the shadow along its curved back wall with layered grey-blue strokes while keeping the front edge, where the light reaches in, much lighter. Next time you draw this pair, try swapping the moss for a small berry to vary the story without changing the setup.
Round every edge on both lemmings generously for the softest, cutest result.
Palette: Snow White,Warm Brown,Sage Green,Deep Grey Blue
Move up into the birds with a white ptarmigan sitting almost invisible in the snow, a fun little exercise in restraint. Draw the rounded body shape lightly in pencil first, then build it almost entirely in white and the faintest pale blue shadow, since the whole point of this bird is that it nearly disappears.
Add just enough definition with thin grey-blue shading along the wing edge and under the body to separate the ptarmigan from the plain white background without losing the camouflage effect. The small dark eye and tiny black beak are the only strong marks on the whole page, and they are what the eye finds first.
If the bird vanishes completely, it has gone too far, so pull back one shadow line slightly darker along its lower edge to anchor it to the snow. This is a great subject for testing how little pencil pressure you can get away with and still read a shape.
Leave more white paper bare here than on any other piece in this list.
Palette: Snow White,Pale Grey Blue,Jet Black,Blush Pink
Give the ptarmigan some action with one walking over fresh powder, its feathered feet leaving a distinct trail. Draw the body in profile, mid-step, with one leg forward and one back, and take extra care with the feet, which are feathered all the way down rather than bare and scaly like most birds.
Build the feathered feet with the same short soft strokes used for the body fur, just scaled down, so the feet blend into the bird rather than standing apart from it. Add a short row of wide, rounded footprints behind it in the snow, noticeably broader than a typical bird track because of all that extra feathering.
If the footprints look too sharp or narrow, round every edge and widen them slightly, since feathered feet leave softer, blunter prints than bare ones. A grey colored pencil pressed lightly on its side is a quick way to lay in the powder texture before adding footprint detail on top.
Keep the background bare except for the trail of prints.
Palette: Snow White,Pale Grey,Jet Black,Blush Pink
Scale up again with a musk ox, its frosted shaggy coat facing straight into the wind. Draw the heavy, low-slung body first as a wide rectangle shape with rounded corners, then add the long shaggy coat hanging well past the legs, almost to the snow, with the curved horns framing the lowered head.
Work the horns and head first since they anchor the whole animal, then build the shaggy coat in long layered strokes running downward and slightly backward, as though the wind is pushing through it. A light dusting of white frost pencil over the darker brown coat sells the cold instantly.
If the coat looks too neat or combed, break up the bottom edge with uneven, jagged strokes of varying length rather than one even hemline, since real musk ox coats hang ragged and wind-whipped. Keep the legs mostly hidden beneath the coat, just the hooves showing at the base.
A faint streak of blowing snow across the face finishes the weather.
Palette: Warm Brown,Snow White,Pale Grey Blue,Jet Black
Follow the adult musk ox with its calf huddled beneath its mother’s long coat. Draw the mother’s body large and mostly off to one side of the page, her shaggy coat hanging low, then tuck the much smaller calf partly underneath that coat, with just its head and one leg visible.
Block in the mother first as a mass of warm brown shadow, then carve the calf’s lighter shape out from beneath it using a slightly paler brown and softer, shorter strokes to show its younger, fluffier coat. The overlap between the two is the whole charm of this piece, so let the calf tuck in close rather than simply standing beside her.
If the calf disappears too completely into the mother’s shadow, lighten a thin edge of white or pale grey along its outline where it meets her coat to separate the two shapes. One well placed highlight on the calf’s nose keeps it from blending away entirely.
Keep the snowy ground beneath both of them minimal.
Palette: Warm Brown,Pale Brown,Snow White,Blush Pink
Move onto the ice with a harp seal pup resting, its big dark eyes the obvious focal point. Draw the body as one soft, elongated teardrop shape lying flat, then place the eyes large, round and close together near the front, taking up far more of the face than they would on an adult seal.
Build the eyes first here, since getting their size and softness right sets the whole mood of the piece, then work outward into the pure white coat with very light, short strokes and barely any shading beyond a faint blue shadow underneath the body. Harp seal pups are famous for their near-white fur, so resist the urge to add much grey at all.
If the eyes look flat or glassy, leave a tiny white highlight dot unshaded in each one before adding the dark pupil around it. Swap a black fineliner for pencil on just those two pupils if you want a crisper sparkle than pencil alone gives.
Keep the ice beneath it pale blue and nearly empty.
Palette: Snow White,Jet Black,Icy Blue,Blush Pink
Add a little drama with a ringed seal poking its head up through a breathing hole in the ice. Draw a dark round hole first, slightly irregular at the edges rather than a perfect circle, then fit the seal’s rounded head and neck rising just out of it, water droplets caught on its whiskers.
Shade the ice around the hole in cool pale blue-grey, then darken the water inside the hole itself to a deep, almost black blue so the seal’s head reads clearly against it by contrast. The seal’s distinctive ring-patterned coat only needs a few scattered pale circles on the visible neck, not a dense pattern covering everything.
If the hole looks too flat, add a thin crescent of white right at its near edge to suggest the thickness of the ice itself, which gives it real depth. A few scratched white gel pen lines radiating from the hole suggest old cracks in the surrounding ice.
Finish with a couple of fine whisker lines catching the light.
You Will Need
- white gel pen
Palette: Deep Grey Blue,Pale Grey Blue,Snow White,Jet Black
Bring in a small, lively bird with a snow bunting hopping on a tundra rock, mid-hop with wings slightly lifted. Draw a simple grey rock first, then place the bunting’s compact body right at its edge, one foot still touching the rock and the other lifted in the hop.
Work the black and white wing pattern early, since it is the bunting’s most distinctive feature, keeping the black markings crisp against the otherwise snow-white body rather than letting them blur into grey. A touch of sage green lichen on the rock itself adds a nice color note against all the white and grey.
If the hop looks static, tilt the body slightly forward and lift the tail a touch higher than resting position, since both small shifts suggest the bird is mid-motion rather than simply perched. Readers who want a bolder result can push the black wing markings darker and sharper than feels natural, since contrast is what carries this little bird.
Keep the background plain so the bunting stays the clear focus.
Palette: Snow White,Jet Black,Pale Grey,Sage Green
Return to a small mammal with a stoat in its white winter coat, peeking out of the snow with only its head and the black tip of its tail showing. Draw a simple mound of snow first, then fit the stoat’s narrow, pointed head just over the top edge, keeping the body itself mostly hidden.
The black tip of the tail is the stoat’s single most recognizable feature in winter coat, so place it deliberately somewhere else in the composition, perhaps just visible at the snow’s far edge, so the eye travels across the page to find it. Keep the rest of the coat pure white with barely any shading beyond the faintest blue along the jawline.
If the head looks too rounded and loses the stoat’s sleek, weasel-like character, narrow the muzzle and flatten the top of the skull slightly compared to a fox or hare. A fine black marker works well for just that single tail tip if pencil feels too soft to get a crisp enough black.
Small, alert black eyes finish the alert expression.
Palette: Snow White,Jet Black,Pale Grey Blue,Blush Pink
Scale up for one of the biggest animals on the list: a walrus napping on an ice floe, frosty whiskers catching the light. Draw the heavy, rounded body first as one large mass resting flat, then add the tusks curving down from the lowered head and the thick bed of whiskers around the muzzle.
Build the body in warm pinkish brown first, since walrus skin reads warmer than the cool whites and greys used elsewhere in this list, then layer soft grey shading into every fold and wrinkle across the heavy neck and shoulders. The whiskers come last, drawn as a dense cluster of short white lines radiating out from the muzzle, with a touch of frost white dusted over the tips.
If the body looks too smooth, add a few more wrinkle lines across the neck and flank, since a walrus reads as believable mainly through its folded, weathered skin texture. A white colored pencil sharpened to a fine point is worth keeping on hand just for those whisker tips.
Keep the ice floe beneath it pale and simple so the walrus stays the clear star.
Palette: Warm Pink Brown,Pale Grey,Snow White,Jet Black
Close the list with the warmest scene of all: a harp seal mother and pup touching noses on the ice. Draw the mother larger with a slightly darker, more patterned coat, and the pup smaller and nearly pure white, their two heads angled toward each other so the noses just meet at the center of the composition.
Work both noses first since that single point of contact is what the whole piece hinges on, keeping the gap between them tiny and the angle of each head leaning gently inward rather than straight on. Build the mother’s darker spotted pattern with small irregular grey-brown marks scattered unevenly across her coat, nothing too regular or symmetrical.
If the two heads feel disconnected, check that both sets of whiskers nearly overlap at the center point, since that small overlap is what makes the touch feel tender rather than posed. Keep the ice beneath them pale blue and uncluttered so nothing distracts from the moment between them.
One shared soft pink blush near both noses ties the whole piece together.
Palette: Snow White,Warm Grey Brown,Icy Blue,Blush Pink
What to Do Next
Pick one pose that matches how much time you have today: a curled up fox or a hidden ptarmigan for a quick sitting, or the mother and pup seal for something a little slower. Start on plain white paper with your palest blue-grey pencil and build up from there, one short layered stroke at a time.
Frequently Asked Questions
What colored pencils work best for an arctic fox drawing?
A set with several blues, greys and a true white works best, since the fox’s whole coat relies on layering cool tones rather than one flat white. A blending pencil or colorless blender smooths transitions between the greys and whites without flattening the visible strokes.
How do you make white fur show up on white paper?
White fur reads through shadow, not through the white pencil itself, so build pale blue-grey shading around and beneath the shape first. Leave the lit areas of fur completely bare paper, since contrast against that shadow is what makes the white fur visible at all.
Is an arctic fox drawing hard for a beginner?
A curled-up or sitting fox is genuinely beginner friendly, since the body is one simple rounded shape with fur built from short repeated strokes. Save diving, digging or two-animal poses for once the basic shape and shading feel comfortable.
What paper suits colored pencil drawings of snowy animals?
A bright white, smooth to lightly textured drawing paper works best, since it keeps bare paper looking crisp as snow rather than dull or grey. Heavier paper also takes repeated layering and blending better without the surface wearing through.
How do you keep fur strokes from looking scribbly?
Keep every stroke short and pointing in one consistent direction that follows the animal’s actual fur growth, rather than circling or crosshatching randomly. Working in thin layers, lightest first, gives far more control than pressing hard in one pass.