Each layer can take a significant amount of time, but working carefully - and frequently viewing your drawing from a distance - will help you prevent or correct any mistakes before you get to the point of no return (for minor mistakes I use a Staedtler plastic eraser).įor the shadowed side of the face, I used nectar, denim blue, crimson red, and warm gray 90 percent, which I applied with heavier pressure using vertical strokes. When working on smooth paper with transparent pigment, light pressure is critical. Still following the form, I applied alternating layers of nectar, denim blue, and crimson red to the lighter side of the face and the hands, using very light pressure. Next, I blocked in the darkest darks, while simultaneously developing the midtones. Before I start applying color, I almost completely erase the grid and the outline so they won’t show later. For the outline I use a regular HB mechanical pencil (0.5 mm lead). ![]() Whichever method you use to transfer the image, you have to make sure the initial sketch is accurate because larger mistakes cannot be corrected. I draw the reference image directly onto my drawing paper, either by hand or by using a grid (my favorite drawing surface is white, smooth Strathmore 300 Series bristol paper see Materials, page 83). (My favorite colored pencils are Prismacolor Premier.) Drawing the Image When I make my selections, I create a preliminary list and keep those pencils in a plastic container so they’re always at hand. I use a piece of scrap paper (the same paper I use for the drawing) to test and blend the col- ors. Selecting the ColorsĪfter I’ve settled on the composition and the size of the drawing, I select the colors for each of the different sections (skin, clothing, hair, eyes, and so on). Having a plan of action is always beneficial in the long run. I also find that leaving out unnecessary details and close-cropping the image help heighten the drama and take the piece beyond the ordinary. Line, texture, value/contrast, color, and perspective are just some of the elements that contribute to the design/composition and are necessary to create a unified and distinctive work. My goal is to portray the subject truthfully, but also to convey my artistic message, using my own voice. I use the photo-editing program Photoshop Elements minimally to crop the image and adjust the expo- sure and color intensity. As a result, once I choose my favorite photo, I spend some time in the studio manipulating my reference photo to work out the best composition, decide on the size, and choose the palette. My photo sessions are usually spontaneous. Composition Is KeyĪn average-size drawing may take weeks to finish, so for practical reasons I work from photographs exclusively. My technique is simple and calls for nothing more than paper, pencils, an eraser and, of course, a good pencil sharpener. ![]() Without requiring expensive materials or special tools, this medium offers endless possibilities however, working with colored pencil can be tedious and quite unforgiving at times, which is the reason it’s important to invest a little time in preparation and planning before you make the first mark. You can create soft, luminescent skin tones, or dramatic compositions saturated with color. A versatile medium with wonderful qualities, colored pencil lends itself perfectly to the kind of realistic work that I do. But it wasn’t until about 14 years ago that I came across colored pencils - and fell in love. I’ve been painting portraits since high school. Galen (colored pencil on smooth Strathmore 300 Series bristol, 121⁄2×24) by Tanja Gant
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |