First, I’d have you back up to think about why you want to use this technique. I’d start by defining it more broadly as ‘hatching’, meaning: an organized grouping of [usually, but not always], parallel lines that can ‘read’ as a tonal area.
That way you can think about how you want the lines you lay down to support what you’re drawing. There are many ways they can work: they can speak to the play of light on solids [shade and shadow], describe the topography of a surface, or serve as overlapping ‘curtains’, allowing some parts to appear as being ahead or behind others, and so on. Those are three very different attitudes of application, and there are many more.
WR
That way you can think about how you want the lines you lay down to support what you’re drawing. There are many ways they can work: they can speak to the play of light on solids [shade and shadow], describe the topography of a surface, or serve as overlapping ‘curtains’, allowing some parts to appear as being ahead or behind others, and so on. Those are three very different attitudes of application, and there are many more.
WR
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