Jacopo Tintoretto and Paolo Veronese were two of the most prolific draughtsmen of Renaissance Venice, as testified by the relevant number of surviving drawings attributed to them. The black chalk, occasionally heightened with white, had been Tintoretto’s preferred medium, whereas Veronese always preferred pen and ink. Moreover, drawings of the latter belonged to different categories (sketches, studies of figures, chiaroscuro drawings), while Tintoretto drew chiefly single figure studies. The reason behind these differences should be sought in the use these artists made of drawings: Tintoretto used it exclusively as a vehicle in his progress towards the finished painting and not as an intellectual tool, as Veronese did. It is well known that Tintoretto and Veronese had reciprocally studied themselves, but their approach to drawing has never been compared before. Highlighting the differences of their corpus graphicum, this article aims to compare the drawing practice inside Tintoretto and Veronese’s workshops and their working methods.