One of the easiest areas that you can improve in your drawings, or I should say one of the areas where you can see improvement the quickest is to just increase your patience a little bit. When we work with colored pencils, we need to keep in mind that it does require a level of patience. This contrast between warm and cool helped to make the light feel warmer and the shadows, cooler. For the shadowed side of the houses and for the shadows throughout the image, I chose to use a blue – somewhat of a cerulean blue. I used a Yellow Ochre pencil for the sides or the planes of the houses that faced the light source, which is originating from the left side of the picture plane. I wanted to create a warmer light in the scene. An Espresso pencil, a dark warm gray, was used for the roofs and darker areas. A variety of colors were used – but mainly Terracotta for the bricks of the house. After just a few marks, the pencil becomes fairly dull. I found myself sharpening the pencil quite often. I decide to start along the distant horizon line on the left side of the picture plane developing each house and the trees and bushes in between. ![]() With a bit of PanPastel on the surface, we can begin with colored pencils. These PanPastel applications provide a base for colored pencils. A variety of blues and muted colors are added, before adding a bit of material for the snowy hill. ![]() With our loose pencil sketch in place, we’ll begin with PanPastel applications. Initially, I’m just finding where the horizon line is and drawing some basic shapes for some of the distant trees before drawing some shapes or each one of the individual houses. This is light enough so that it doesn’t overpower the image, but I can still put a little bit of pressure on the pencil to make the marks dark enough so that I can see them. In this case, I’m using a 2H graphite pencil. We’ll begin here on Stonehenge paper using a light graphite pencil. See also: Composition in Art Sketching the Landscape I wanted to accentuate that in the final drawing, or at least capture that in the final drawing, of course. Part of that is because of the layout of the land and the way that we have these little hills that overlap each other. When I look at this image, my eye comes into the picture plane at the focal point and then moves its way to the back of the sledding hill and these distant houses. Composition influences the way a viewer interacts with your piece. When we’re dealing with composition, we’re talking about the way the elements are laid out within the picture plane. If you want to build up lots of depth in color, layering is very important and this paper encourages it and helps you do it.Ī photo reference is used to create the drawing. It’s 100% cotton and very soft, but it does require the artist to apply multiple, layered applications with colored pencils. This drawing is created on Stonehenge paper, which is a wonderful surface for colored pencils. This is not required, as I use the PanPastel material to basically create an underpainting or a base in which to apply colored pencils over the top. You can use any brand that you wish and get similar results. ![]() I wanted to capture that in a drawing and I’m going to share with you that process in this lesson.įor this particular drawing, I use Prismacolor Premier colored pencils, which are wax-based pencils. And recently it snowed quite a bit here and that meant it was time for a fun snow day on our sledding hill. But when it does snow, it’s quite the event. ![]() And fortunately, around here, we don’t get much snow. But about the only thing that I can tolerate with winter is probably the snow. As many of you know, I absolutely hate the winter.
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