Leslie’s Art Blog

August 18, 2010

Step by Step Colored Pencil Drawing Lake District

Filed under: Artist materials, How To Draw, Step by Step Drawing, Work In Progress — leslie @ 12:19 pm

This post shows  the step by step process of making my drawing “Lake District”.

I used Derwent Artists colored pencils for the drawing, and did it on a 5″ x 7.5″ piece of “Dover” colored Alphamat.  The finished drawing measures 4.5″ x 7″, or approximately 11 cm x 18 cm.

The Derwent Artists colors that I used for this small drawing are:

  • Orange Chrome
  • Zinc Yellow
  • Emerald Green
  • Mineral Green
  • Cobalt Blue
  • Light Blue
  • Imperial Purple
  • Chinese White
  • Chocolate
  • Venetian Red
  • Raw Sienna

I found the location in England, using Google Maps Street View. 

When I locate a scene using Street View, I actually photograph the computer screen with my digital camera of the location I intend to draw.  I have grown so comfortable with my little point-and-shoot Canon, that it’s easier for me to snap a photo of the screen than it is to do a ’screen shot’.

I load the digital photo onto my computer, do some cropping and adjust the color, then print out a copy on inexpensive copy paper of the scene I will draw. 

Then I cut up the copy and trace around the cut out pieces on the Alphamat .  This post gives a description of that part of the process.

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This first drawing shows some of my Chinese White outlines from tracing around the cut out pieces, and the beginning of the filling in process. The colors so far are: Cobalt Blue, Light Blue, Chinese White, Chocolate, Emerald Green, and Venetian Red.

  

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 In this second step, I am adding Chocolate, the dark brown in the trees and details on the barn, but I’m not applying heavy pressure in this step. I am working at getting an overall, light application of each of the colors in their respective locations.  While the general process I use is a “light to dark” application, that refers more to the amount of pressure I use than the actual colors.

I did fill in the bright light area in the center, between the barn and the trees, which is a combination of Zinc Yellow and Chinese White.

At the early stage of my drawings on a darker background, I like to fill in the whites and lights, so there is less chance of me muddying those areas with other colors. I have a tendency to get going on a drawing, having great fun “coloring in”, and not pay attention to where it is actually that I am “coloring in”.   Often I put the wrong color in the wrong place!  Derwent Artists colored pencils, on this texture board, will erase cleanly at this stage, but if I get the whites in first it helps keep me from coloring the parts that should be white or yellow, not purple or brown!

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This is a continuation of light application of additional colors. I have pretty much filled the sky with Chinese White, and have even begun to add a ’second layer’ of Chocolate to parts of the rock wall and the trees. I am starting to add little details, but this is still very much a beginning stage of the drawing. Bits of Orange Chrome in the trees, and spots of Imperial Purple on the stream bank on the left, and on the barn roof.

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At this stage of the drawing, every color that will be in the finished drawing is in its place, so I’m pretty much safe from putting a color in the wrong place! Whew! :)  

 Now I have to concentrate on not making the mountains in the background more color intense that the barn and stuff in the foreground.  I will add more color layers to the mountains, as they are quite colorful, but the overall impression of the mountains needs to be of less color than the foreground to keep them looking like they are off in the distance.

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I have gone back in with the Chinese White to lighten the bright sunny spot in the center of the drawing, and to lighten the mountains and sky. I added more color layers to the mountains… Cobalt Blue and Venetian Red, bits of Imperial Purple.  I added hints of Chinese White to the grassy pasture in the foreground, to indicate clumps of grass and create ‘direction’ to the flat ground.  I added more work to the left-hand side of the drawing, better defining the stream and roadside.  Raw Sienna, Mineral Green and Cobalt Blue were added in the trees.

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This is the finished drawing.  I loved finding this scene in The Lake District of England.  I have never travelled to the UK, and am very appreciative of the ability to “visit” using  Google Maps Street View.

Hope you liked seeing this drawing in process. if you ever have any questions about what I did, send me an email, and I’ll see if I can give an answer.

Leslie

PS   If you have not ever commented on Leslie’s Art Blog before, your comment waits for “approval” first before showing up.  Your comment is not lost, it’s just waiting…

October 15, 2009

Ireland drawing step by step

Filed under: Artist materials, How To Draw, Leslie's Art, Step by Step Drawing — leslie @ 11:08 am

copy-of-carrickfergus-port-davy-road 

Bill Guffey’s blog, The Virtual Paintout, utilizes Google Maps Street View, and selects a location every month for artists to use for reference photos.   Belfast, Northern Ireland was chosen for the month of October.

I have thoroughly enjoyed drawing Ireland, and have done this step by step demonstration of one of my drawings titled, “Carrickfergus”.  You can see more of my drawings of virtual Ireland here at Leslie’s Drawing A Day.

The drawing is small, 4.5″ x 6.5″, and is done on a dark taupe colored Alphamat with Derwent Artists colored pencils.   To obtain the reference photo, I actually took a photograph of my computer screen with the location I had chosen on Google Maps, and then printed the photo.

This is a shot of the reference photo printout, and the outline of the drawing done with Chinese White colored pencil on the taupe background. 

copy-of-sketch-and-photo-printout 

These are the Derwent Artists colored pencils I chose for the drawing.

Top to bottom:

  • Light Blue
  • Ultramarine
  • Mineral Green
  • Emerald Green
  • Imperial Purple
  • Venetian Red
  • Chocolate
  • Raw Sienna
  • Zinc Yellow
  • Chinese White
  • Gunmetal
  • Pink Madder Lake

derwent-artists-colors-for-port-davy-road-demo 

 

#1.  I draw the general proportions in Chinese White on the Alphamat.  I left out the metal roof that occupies the center of the drawing.  I thought the large light area would be difficult to understand visually.  That area will be ‘garden’ instead.

I left the outbuilding on the right in the drawing, but changed it from a glass greenhouse to a solid white, plastered structure.  All this fiddling comes under the heading of “artistic license”.

 copy-of-1 

#2.  I typically start with white when I am working on a dark background, so I filled in the large areas of white.

copy-of-2   

#3. I filled the general areas with Light Blue (sky and water), Mineral Green (trees and hedges), Pink Madder Lake (flowers) and Zinc Yellow (one shrub and sunlight on the hedge).   Nothing too detailed at this point.  I just want to indicate where the colors are to go.

 copy-of-3

#4.  I color the dark areas of the windows with Chocolate, and the chimney with Venetian Red.   The chimney in the photo wasn’t that color, but I thought a “brick” color would add interest, and mimic the color of the door.

 copy-of-4 

#5.  I have erased some of the white outlines that still remained.  They tend to show through the colors, so I eliminate them.  I changed my mind about having a dark window on the small outbuilding on the right.  It was erased.  I added more Mineral Green to define the trees and hedges at the bottom of the drawing, and added Chocolate to the window frames, and shadows under some of the background bushes.

  copy-of-5

#6.  I re-drew the shape of the chimney.  I had it wrong, and it needed to work structurally.  Lots more layers were added to the sky.  Chinese White, Light Blue, and bits of Ultramarine in the top right corner.  Adding the Ultramarine made the sky appear a different color than the ocean color.  Layers of Zinc yellow went over all the green to add the appearance of sunlight on the greenery.

copy-of-6

This is the finished drawing. I added Chocolate color to define the shapes of the shrubbery (nod to Monty Python), and to darken the window shapes. I added more layers generally all over the piece to fill in the texture of the Alphamat and intensify the color.

copy-of-carrickfergus-port-davy-road

If you ever have any questions about how I do my drawings, don’t hesitate to contact me.

Happy drawing!

Leslie

September 12, 2009

Peacock drawing step by step

  copy-of-peacock   

The Peacock   (c)  Leslie D’Allesandro Hawes

I drew The Peacock as part of the group, Monthly Sketch Project, and have used it as one of my Drawing A Day pieces.  I thought I might make this drawing serve another purpose, too, of giving me a new step by step demonstration for Leslie’s Art Blog.

The Peacock is drawn with Derwent Artists colored pencils, and measures 2.5″ x 4″  on a taupe colored alpha mat board that measures 5″ x 7″.

The colors that I have used are:

  • Chinese White
  • Gunmetal
  • Light Blue
  • Chocolate
  • Ivory Black
  • Zinc Yellow
  • Emerald Green
  • Raw Sienna
  • Ultramarine
  • Venetian Red
  • Imperial Purple

This is the reference photo, provided by Jennifer at Fuzzydragons.   Thanks so much, Jennifer, for the great pic!

peacockref

 

 I placed a standard sized 5″  x 7″ mat over the taupe colored alpha mat, and drew an outline with a regular graphite pencil, just slightly smaller than the mats’ pre-cut 3″ x 4.5″ opening.   I have a tendency to draw “outside the lines”, and I have to make a conscious effort to draw an outline first before sketching, or I wind up with a drawing way bigger than will fit inside any mat!  I have trouble with straight lines, too, so my borders have, as aptly described by a friend,  an “organic”  style.

Once I had my area defined, I drew my sketch, using a regular graphite pencil.  ( Couldn’t keep the peacock head feathers inside the lines! )

copy-of-peacock-1-graphite-pencil-sketch

When I had a sketch I liked, I lightly redrew over top of those graphite lines with the Gunmetal colored pencil.  Then I used my kneaded eraser and rubbed all over the drawing, removing the graphite and leaving the Gunmetal sketch.   I do that to remove the graphite which tends to smear.  The colored pencil doesn’t.

It’s a bit of a trick to decide how dark to make the Gunmetal overdrawing.  Too dark isn’t what you want , but it has to stand up to the gentle erasing.  You’ll figure out how dark to make it after the first or second time you erase your sketch completely.  Ask me how I know…

After the erasing was done, I started to lay in color.  I began with Chinese White, and got most of it in place on the face, the eye highlight, and beak of the peacock.  The chest feathers on the left side were in sunlight, so they got Chinese White, too.

I added some of the bright Light Blue to the right side of the neck…I wanted to see if the color was bright enough, and it seemed to be.

copy-of-peacock-2-chinese-white-and-light-blue

 

Then I chose the Chocolate colored pencil  ( isn’t that a great name for a color? ) and began to shape around the eye.

Next, I colored the eye with Ivory Black.

copy-of-peacock-3-add-chocolate-ivory-black-and-zinc-yellow

 

Then I colored the background with Emerald Green.  It was the first of a few layers of different colors on the background.

copy-of-peacock-4-emerald-green-background  

 

I got busy with the Chinese White making the shapes of all the chest feathers, and then filled in around the Chinese White with Light Blue and Chocolate.  The trick for me is to  not  go over the white with another color.   I colored in with Raw Sienna on the top of the head and on the head feather tips.

  copy-of-peacock-5-add-raw-sienna

 

I became happily involved with coloring at this point, and could have shown one or two more steps here.  By the time I thought about it, I had added Ultramarine blue on the neck, and bits of Zinc Yellow and Chocolate on the background. More layers of Chocolate went on the neck, and I darkened the outline of the drawing with Imperial Purple.

  copy-of-peacock-6-ultramarine   

 

Venetian Red was added to the top of his head and the tips of his head feathers.

   copy-of-peacock-7-venetian-red 

 

The last  thing I did was add more layers to each color if they needed to be brighter. I added more Zinc Yellow to the background, more Light Blue to the feathers, and a splash of Imperial Purple right in the center of the neck.  I gave the whole peacock an outline of Chocolate to make him stand out a bit.  Then I signed in graphite pencil, because it makes a nice sharp point to write with.  I spray fixed with Krylon Crystal Clear fixative held at a good distance so the drawing barely got misted. Usually two coats of very light misting with fixative.

That’s it!

If you ever have any questions, please email. leslie at lesliehawes dot com 

Now go sharpen those pencils!

Leslie

copy-of-peacock

August 18, 2009

Leslie’s Art Blog in the CPSA newsletter

Filed under: Artist materials, How To Draw, Step by Step Drawing — leslie @ 7:43 pm

Leslie's Art Blog Colored Pencil Society Newsletter

I have been given the great good privilege of having one of my Leslie’s Art Blog posts published in the Colored Pencil Society of America’s, Metropolitan Washington, D.C. Chapter #109, newsletter.

Hues and News  is one impressive newsletter, and the DC Chapter needs to be very proud! I know that I am excited to have my article included!

I was contacted by newsletter editor,Vicki Fortuna, inquiring about inclusion of my post, Drawing From a Photo Reference, in their local chapter’s online newsletter, Hues and News. Vicki’s patient and efficient emails back and forth between us, and her work making my article fit the newsletter format, resulted in an article that I am very pleased to share.

I love working with colored pencil and it has been my art material of choice for over 30 years. I hope that my article will inspire artists, beginners and experienced, to give colored pencil a try.

Thank you, Vicki, and thank you Washington DC Chapter #109 for the great honor!

Leslie

The Colored Pencil Society of America provides this description of the organization:

The Colored Pencil Society of America is a non-profit organization founded in 1990 exclusively dedicated to artists working with colored pencil. Representing several countries around the world and with almost 2000 members, CPSA provides two annual exhibitions (one online and the other in conjunction with the annual convention), product research information, workshops & seminars, a newsletter, a networking directory, and district chapters across the United States.

 

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