FTA:
My art school was literally connected to a world-class museum, and many of my classes were actually taught in the picture galleries, where we could discuss artistic theory in front of famous masterpieces. Masterpieces have a tendency to shut you up, especially when you think you know a thing or two. You can’t do much more than just inhale the genius around an old master painting. You’re confronted with the reality that what you’re looking at is far beyond your talents and abilities. The best thing you can do is keep your mouth shut and try to learn something.
Check out silverpoint or metalpoint drawing. I have started painting and in my research came across a technique called the Flemish technique. It is a layered approach that I have begun dabbling with. In further researching that technique, I learned about silverpoint drawing.
Graphite did not exist during the Renaissance and the under drawings were literally drawn with very fine silver (or other metal) wires. This is what gives the brown cast to many Da Vinci and Michalangelo because the silver tarnishes eventually to brown, copper to green and gold does not tarnish at all.
http://www.visual-arts-cork.com/drawing/renaissance-drawings.htm
There is a bit of a resurgence in silver or metalpoint drawing in the U.K. and that is where I got most of my materials. I did find one source in the U.S. for goldpoint.
The interesting thing about metalpoint (I currently have silver, gold, brass, bronze,copper and nickel wires) is that it cannot be erased. You have to get it right the first time. I read one article that said students were required to master silverpoint drawing before being permitted to work with paint. That is an amazing skill level.
I continue to work with graphite and oils, but the metalpoint drawing is giving all of my work new discipline.