COLOURED PENCIL DEMONSTRATIONarttutor.s3. ... Coloursoft pencils: their softness allows more surface

download COLOURED PENCIL DEMONSTRATIONarttutor.s3. ... Coloursoft pencils: their softness allows more surface

of 14

  • date post

    16-Mar-2020
  • Category

    Documents

  • view

    0
  • download

    0

Embed Size (px)

Transcript of COLOURED PENCIL DEMONSTRATIONarttutor.s3. ... Coloursoft pencils: their softness allows more surface

  • www.ArtTutor.com     1  

    In this step-by-step guide we’re going to paint a figure study in coloured pencils. To achieve a good piece of work using the coloured pencils you will need to work slowly creating multiple layers. There are no shortcuts in this demonstration, no 'quick-fixes'... just slow, careful, methodical layering and attention to detail. You will find that every extra minute (or hour!) you take it is worth it - and you will reap the rewards upon completion! Materials

    Selection of pencils: black, indigo, bright lilac, electric blue, dark brown, dark terracotta, red, pimento, bright orange, ginger, orange, ochre, cream/peach and white. For this demonstration I am using a selection of Derwent Coloursoft pencils: their softness allows more surface blending and richness of colour.

    (Do not worry if you do not have these exact colours, this piece would work with a very basic selection of black, white, yellow, red, orange, brown and blue.) Pencil sharpener, putty eraser, electric eraser, embossing craft tool, colourless blending pencil. Half sheet of Windsor pastel paper in terracotta (Stonehenge/Canson is fine too). You can also create your own with a sheet of hot pressed (smooth surfaced) watercolour paper with a wash of colour. I have chosen the terracotta paper colour to match to a warm skin tone, this will allow a unity to the finished piece and will really help us to create the softness of the skin surface. Any warm colour can be used from creams, tan, oranges and warm browns.

    COLOURED PENCIL DEMONSTRATION NATALIE By Jane Lazenby  

  • Natalie by Jane Lazenby

    www.ArtTutor.com           2

    The Reference Photograph This reference photograph comes from the reference photographs in my Life Drawing Course on ArtTutor. I have enhanced the colours in the reference image by increasing both the shadow values and the highlights. If you have access to a graphics program such as Picasa, Gimp, Photoshop, Corel, Paint etc., this is a relatively simple action and can quickly intensify colours or add atmosphere to your image before you even put pencil to paper...

    We’re going to be working in three stages:

    • Monochrome - Firstly we are going to create a monochrome image by only working with the white and black pencils. This establishes the light and darks within the image.

    • Sepia - Secondly we layer in the warm colour range from yellows, oranges, reds through to browns and black.

    • Full colour palette - finally we add cooler colours and the white and black again to create a wider tonal contrast.

    1. Creating the Sketch Try and be as accurate as you can in planning the piece and drawing lightly and with a clean line. Too much correction and rubbing out can quickly mark the paper, showing through our colour layers later in the drawing process. One tip is to draw out on white paper and transfer the drawing with tracing paper onto your coloured pastel paper, this allows you to be as messy as you want in creating the drawing but will give you a very clean structural outline.

    http://www.arttutor.com/life-drawing-course

  • Natalie by Jane Lazenby

    www.ArtTutor.com           3

  • Natalie by Jane Lazenby

    www.ArtTutor.com           4

    2.Working from Light to Dark We start first with the white pencil softly working into the highlight areas on the skin. Work carefully using an oval motion with the pencil. Remember if you work too heavily at this stage, we may not be able to put down additional layers of colour over this white base.

    3. Defining the Shadows Slowly start to add in the dark areas and the shadows on the body. Again, work steadily, add a number of light layers slowly building depth - don't be tempted to quickly do one heavy layer as this will not allow you to create the softness or allow you to over layer with other colours

    later.

  • Natalie by Jane Lazenby

    www.ArtTutor.com           5

    You will find that the black is easily smudged by your hand as you work - simply place a thin piece of paper under your hand and over your work to protect the surface. Use the putty eraser or the electric eraser to clean up any smudged areas, as the lighter colour layers to follow will pick up on any black pencil residue and the colours will become impure and tainted...

  • Natalie by Jane Lazenby

    www.ArtTutor.com           6

    4. Indented Line Before you complete the background shading, use the indented line technique to create some fine detail in the hair. Here, I am using an embossing tool for card crafting, you can use a multitude of things from tatting hooks, blunt darning needles, knitting needles, blunt knifes etc... Just experiment on a scrap of paper if you do not have the correct tool for the job!

    The lines you create here will remain the colour of the paper, so ideal for the fine wisps of curls and slivers of highlights in our model’s brunette hair. With that done, you can continue adding the black into the background, remember slowly does it!

  • Natalie by Jane Lazenby

    www.ArtTutor.com           7

    The first stage, monochrome, is now completed. The terracotta paper mimics the skin tone and creates a pleasing effect. You could leave it here if you wanted, but for the purposes of this demonstration, we are continuing into colour. 5. Starting to Add Warm Colour Tones - Peach/Cream Start with the lightest colour, cream, and softly work in circular motions to create a light layer of colour over the pre-existing white pencil layer (you can extend the cream/peach beyond the edges of the white).

    6. Ochre Layer Add the ochre into the broader highlights on the torso and legs, again a light layer is sufficient.

  • Natalie by Jane Lazenby

    www.ArtTutor.com           8

    7. Pimento, Orange, Bright Orange and Ginger Layers Work a number of light layers slightly overlapping between the ochre and the black layers. Again, soft circular strokes allow colour to be laid down very evenly without creating linear marks.

    8. Red Layer Add the red into the edges of the black layer. Scrutinise the reference photograph to note how the 'heat' of the colours increase as they near the darker shadows - this also occurs alongside the highlights down the shin. Concentrate on the area over the chair arms and work a soft layer into the shadows on the face.    

  • Natalie by Jane Lazenby

    www.ArtTutor.com           9

      9. Dark Brown and Dark Terracotta Layers Layer over the black shadows, blending the edges of the brown layer softly into the red and orange, again work softly and repeat the layers until you are satisfied with the colour strength.

    10. Black Layer Create as much depth as possible by reapplying the black pencil into the shadows and background area, remember, slow multiple layers...

  • Natalie by Jane Lazenby

    www.ArtTutor.com           10

    The second stage, sepia, is now complete. Again, you may choose to leave your work here, but I am continuing by extending my colour range...

    11. Adding Cool Colours - Electric Blue and Indigo Apply a thin layer of blue over the background and sparingly add the faintest hint of blue into some of the highlights and shadows to create a colour harmony between our model and the background. Work the lighter blue over the draped cloth, then layer in the darker indigo into the darker shadows.

  • Natalie by Jane Lazenby

    www.ArtTutor.com           11

    13. Lilac The lilac is added over all of the background and again, a few soft hints of colour are added to the figure.

      13. Brightening the Highlights Create brightness in the highlights by reapplying the white pencil, working firmly. Add a little white into the background details and to the arms of the chair and folds of fabric.

         

  • Natalie by Jane Lazenby

    www.ArtTutor.com           12

    14. To Blend or Not to Blend? By using the colourless blending pencil, we can create a beautiful smoothness to the skin and also enrich the colours, but in the end, it really comes down to personal preference...

      The unblended image above shows the grain or texture of the pastel paper. By using the blending pencil, we can 'push' the pencil into the paper texture creating a more unified surface. Work by blending the lightest areas first and then blending the very dark last, the

    blending pencil will pick up colour on its 'lead' so take care if moving from dark colours back into lighter ones - clean the blending pencil by scribbling quickly on spare paper...    

  • Natalie by Jane Lazenby

    www.ArtTutor.com           13

    The Finished Outcome

    Here you can see my finished painting of Natalie. Notice how by blending the figure, her skin appears smooth and soft. Compare this to the background which is still quite loose and gestural. I hope you have a go at this demonstration – take your time and I guarantee you’ll be astounded with the results! If yo