learn: colour pencil and solvent with Diane McWhirter

I have only been drawing for just over 12 months and using Colour Pencils (CP) for about 6 months, so I’m no expert! But, I have picked up some tips and advice along the way, which I have developed into my own technique.  While I have written this specifically for beginners, I hope the following information is useful for those that are interested in exploring the use of Odourless Mineral Solvent (OMS) with CPs.

Materials:
1. Colour Pencils

• Derwent Coloursoft - Persian Grey, Orche Yello, Light Sand
• Prismacolor - Red Tuscan, Indigo Blue, Dark Green, Sienna Brown, Dark Brown, Pumpkin Orange, Dark Umber, Apple Green, Canary Yellow, Grey Warm 30%, White and Black

2. Cotton Buds and Cotton Pads. (I use make-up remover rounds)

3. Tissues

4. Kneadable rubber

5. Soft Brush (I use a stencil brush)

6. Langridges Odourless Mineral Solvent (OMS)

7. Canson Watercolour (WC) 200gsm paper 11x14"

8. Reference Photo - Pixabay CCO

STEP 1: Lay the Undercoat 

Photo 1 - laying the undercoat

 Using Coloursoft Persian Grey on Canson WC paper I sketch out the drawing, marking out any significant shapes that may need highlighting or shadows. I try to erase anything that will not become blended into the drawing.  

Once I have my drawing ready to go, I start to lay down the colour that will be the undercoat. Some people like to use watercolour or ink, but I just use CP and set it by washing it with OMS. However, for very small areas, such as the stems, I don’t use a wash – it’s too hard! I just press firmly and lay down colour, later blending and burnishing with a lighter colour (as in Step 3).  I also do not do all the undercoat in one go, but rather break it up into sections so it doesn’t seem so overwhelming.    

Pears – Using Canary Yellow as a base coat, I shade in the pears, but NOT the stems, and then, using a cotton bud dipped in OMS, carefully wash over the colour using the cotton bud like a paintbrush – stroking out the colour until even. Don’t be afraid to be generous with the OMS. You will see the OMS wash changes the colour into a more ‘solid and intense’ state; but be careful - the colour will leach if you don’t control where you ‘paint’!

Stems – I lightly shaded with Dark Brown and Sienna Brown for the undercoat.  But, I don't do a wash as the area is too small and fiddly.

Background – I start to put down Black in areas and lightly wash with OMS for the undercoat. (I’m not too fussed about applying OMS if it is a small area)

You can see in Pictures 1 & 2 an idea of what my original ‘sketch’ starts off like; and you can see the Canary Yellow on the Pears before and after the application of OMS; and that the undercoat for the Stems and Background has been laid. You will also see, I am working in sections - finishing one section at a time. I found this pays dividends, because you can see the piece slowing developing and it stops you feeling like you have just a ‘big mess’ on your hands!

STEP 2: Layering & Washing the Colour

Photo 2 - Layering and washing the colour

After the undercoat, I usually colour the areas that are going to be ‘highlights’ in white, before I start to layer any other colours. (Now, not to confuse you, BUT when I need a really bright, crisp white to show through a dark colour I actually do this first, BEFORE the undercoat!) Once highlights are done, I am ready to start the layering process. This is a process that is quite time consuming as it may be repeated several times until I get the depth and richness of colour I want.

Pears – Using White, Apple Green, Light Sand, Yellow Ochre, Dark Green, Sienna Brown, Pumpkin Orange, I layer the key colours first (the Greens) and then add patches of other colours. I then dab a cotton bud in OMS and lightly ‘blend’ all the layered/patches of colour, blending LIGHT to DARK. You will need to change cotton buds several times in this process, as it will ‘pick up’ the colour.  (if you haven’t gone through a lot of cotton buds, then you are doing something wrong!) Also, at this stage, be careful not to turn it into a ‘muddy’ mess or strip out the colour.  If it does become muddy, don’t despair – just get a cotton bud soaked in OMS and DO strip it all out and start again!  

Once I have the main colours down and washed, I now focus on building up the layers for shadows using the same process. However, I always use darker tones and contrasting colours to achieve this, I never use black to create depth or shadows because it a ‘dead’ colour and very hard to blend!

Pears – Using Tuscan Red, Indigo Blue and Dark Green – I lightly layer combinations of contrasting and darker shades of the main colour colours (i.e. – Tuscan Red and Dark Green layered on Apple Green).  I blend together with an OMS wash to create shadow and depth. But, if you are having trouble doing this  - as it can be very tricky - use a little Persian Grey to help deepen and blend in your shadows. Be careful though once again not to ‘lift’ the colour with the OMS!

Stem – I add Dark Umber to develop the shadow.

Background - I layer Tuscan Red, Indigo Blue and Dark Green on the black base coat to get what will eventually be a deep black background. I usually only lightly do the background using one or two of these colours as a starting point to ensure it doesn’t get ‘smudged’ into the foreground. 

In Pictures 3 (and in 2 &3!) you can see how I have started to layer different colours on the Pears before an OMS wash. You will notice my shading is pretty terrible, but it doesn’t seem to affect the end result  - because as long as there is enough CP the OMS will smooth and even out the colours.  

STEP 3: Dry blending & Burnishing

Photo 3 - Dry blending and burnishing

Once I am happy with the depth and tones of colour, I start to add in the fine details and finish the background for the section I’m working on. I then burnish everything to get a nice smooth and shiny finish. When you burnish you are ‘pushing’ the colour into the paper and this ‘seals’ the colour, so once you do this it becomes harder – but, not impossible - to add more layers of colour. I will repeat this process for each section I’m doing. Once again, by doing it in sections I don’t feel too overwhelmed by the amount to be done. 

By this stage, I also am now using a Tissue under my hand to stop the work from smearing and brushing ‘crumbs’ away with a soft stencil brush!

Pears – I use Persian Grey Sienna Brown, Grey, Dark Umber to add features such as the ‘dots’ etc; and then apply more layers of Apple Green, Yellow Ochre and Light Sand in patches. I then very gently and lightly blend with a DRY soft cotton pad. I repeat this process until I am happy with the colouring. I then add highlights using White. Then using a firm pressure and with a very sharp pencil, I burnish the whole pear with Canary Yellow; and then reapply Apple Green. Lastly, I sharpen or blend the outline of the pear using a very sharp pencil in either Tuscan Red, Indigo Blue and/or Dark Green depending on the edge or shadow required.

Stem – I add highlights with White, and then burnish the browns, again using White.

Background- To create the illusion of ‘light’ shadows in the background, I ‘strip” out some of the colour using OMS.  I then burnish over background section with Black.

You can see in Picture 4 I have started to add fine details and stripped out the ‘light’ shadows.  I have also burnished two pears. And, you can see patches of colour on some other pears just waiting to be worked on! I think you can also finally see why working in sections helps. 

STEP 4: Touch up & Polish

Photo 4 - Touch up and polish

To complete my drawing, I take a scan of it and look at it on the computer screen to see if there are any  ‘bits’ which look odd or need touching up.  Once I am happy with any final adjustments.  Now, this may surprise you, but the very last thing I do is very gently rub the pears with a soft, dry Cotton Pad in a circular motion– this helps give the ‘wax’ a really nice shine. Yes, really!

Picture 5 – And here it is polished and finished!  

Photo 5 - FINISHED!

And, one last thing . . . just so you know, it took me about 6 hours to complete this drawing.

Diane McWhirter

learn: Gold Leaf, pencils and ink with Patricia Ward

When I was little my Grandma always wore shiny things, and I think this is where my obsession with gold leaf started. I often get asked about the leafing process and how I work it into my art, so here is a tutorial on gold leaf, pencil and ink.

STEP 1

STEP 1:
I start with a sketch in pencil on the paper I intend to continue on. (I wish I was patient enough to sketch in a pad first, but alas I'm not.)

STEP 2

STEP 2:
Now, I start the leafing. This is the size (glue) that I use. I prefer a runny size as I do a lot of fine detailed work.

There are a few reasons for this...the main one being, there are a few things that can go wrong with leaf, so I would rather things go awry before the drawing is finished, rather than after.

STEP 3

STEP 3
I pour it into my ink tray for easy access.

STEP 4

STEP 4
I take a brush and paint the size onto the area I intend to leaf.

STEP 5

STEP 5
I keep the size fairly close to where I am applying it, and I clean my brush intermittently with water and a cloth.

STEP 6

STEP 6
Size never dries, so always apply it only to the areas you want to leaf.

STEP 7

STEP 7
Gold leaf comes in many forms. Although I do use actual Karat leaf sometimes, a lot of the time I use dutch (imitation) leaf. I buy it in transfer leaf, where the leaf is adhered to the tissue of a booklet, or loose leaf where the leaf is separated by tissue but loose.

STEP 8

STEP 8
Once your size has become tacky, take the tissue with leaf adhered to it out of the booklet and place it down onto your size.

Try not to touch the leaf as it sticks to your skin and you will lose whatever you touch with your finger. You can pick it up with a brush, especially if using loose leaf.

STEP 9

Gently smooth over it with your hand or cloth.

STEP 10

Then go nuts...don't be shy with the amount you use, cover all of your size.

STEP 11

Give the leaf a little time, then gently peel the tissue paper away.

STEP 12

STEP 12
You will end up with something like this.

STEP 13

STEP 13
Gently brush over your leafed section. There are many brushes on the market specifically for this, however I just use my softest painting brushes.

STEP 14

STEP 14
I brush the dust into piles and collect them into a container.

STEP 15

STEP 15
Gold leaf does get everywhere, this is an example of it's sticking power.

STEP 16

STEP 16
After I finish the leaf, I start inking in the rest of my picture. At this stage, I use a rotring mechanical drafting pen for the outlines.

STEP 17

STEP 17
Then I start inking in the shadows. I learnt with oils to do a raw umber under painting and I do a similar thing with ink, however, I mainly use black.

STEP 18

STEP 18
In this particular picture my next step is to start colouring with pencils. On the apple I have used Polychromos as they have a great range of reds. I block out which areas are shadow and which are highlights.

STEP 19

STEP 19
I then softly layer over the dark reds with a slightly warmer light red.

STEP 20

STEP 20
I continue to layer reds, pressing lightly harder.

STEP 21

STEP 21
I continue to layer the reds, then I start to burnish (blend) with yellows.

STEP22

STEP 22
At this point, I move on to Snow White where I have used Caran D'arche pencils (except for the lips which are polychromos). Luminance have a fantastic range of colours for skin tones. Again, I start blocking out the highlights and shadows.

STEP 23

STEP 23
The shadows are mostly blues and greys in this case, I use the same techniques as with the apple. Finally, I burnish the highlights with a light skin tone.

STEP 24

STEP 24
Once I have finished the focus point of my picture I move around the page and start working with washes of coloured ink.

STEP 25

STEP 25
I build my layers up, over my under painting.

STEP 26

STEP 26
I use Caran D'arche ink because of the hues they have available. Their colour range is pretty smoky.

STEP 27

STEP 27
Finally, I work in finer detail with the luminance pencils and then......

FINISHED!

I have my work photographed for its final presentation, as Gold Leaf and scanners don't play well together. Thanks so much for checking in, and I really hope this was of some interest to some of you.

Patrica Ward.

* I should also add that as I sat in a haze of glittering gold leaf, it did occur to me that perhaps in future I will wear a mask AND those white gloves that you can buy from your local supermarket. Although most imitation gold leaf is not deemed hazardous, there have been no long term studies on its effects on health, so perhaps err on the side of caution....which I haven't in this tutorial!


To see more of Trish's absolutely stunning work:
Facebook
Website

learn: Derwent Inktense Pencils with Suzy Houghton

STEP 1

STEP 1

After drawing a very soft pencil outline I began colouring in the petals. The colour goes a long way so you only need the smallest amount coloured.

STEP 2

STEP 2

You can see how far the colour spreads once you add water. As with normal watercolour, I let this section dry before doing the adjacent petals. At this point there is only one layer of colour down.

STEP 3

STEP 3

Using the same colour pencil, I have done over the petals with one more layer of pencil and water. Then after allowing it to dry, I added shadows in a slightly darker shade.

STEP 4

STEP 4

The shadows have now been wet and the flower is complete.

As a contrast I have completed the right hand side of the flower using Derwent watercolour pencils. To keep things equal I repeated the process so both sides of the flower have two layers of the main colour and one layer of a darker shade.

COMPARING - Inktense Pencils and Watercolour Pencils

The colour is obviously more intense and rich with the Inktense Pencils. Because of this I find I get my desired result with only a few layers of colour. I find they are a much softer pencil than regular watercolour and don't need much pressure to lay down the pigment. If you are heavy handed, however, the results are pretty stunning.

The other thing I love about the Inktense Pencils is that once the layer dries it is permanent. you can add layers over the top without having to worry about mixing the layers below. Although this can be a problem if you put something in the wrong place. While it is still wet, you can resolve the problem to a certain degree, but as they are ink based most of the colours are 'staining'. Unlike watercolour pencils, where you are able to 'lift' a desired area later on, once the Inktense pencils are there to stay.

The Inktense Pencils used left side of flower:
Carmine Pink (main)
Shiraz (shadows)
Golden Yellow (Centre)

The Watercolour Pencils used right side of flower:
Rose Madder (main)
Burnt Carmine (shadows)
Deep Cadmium Yellow (Centre)

You can see more of Suzy Houghton's work HERE and follow her Facebook Page HERE

learn: Blending Prismacolor with Heidi Cooper

I've only recently discovered the joys of Prismacolor (Premier) pencils - soft waxy coloured pencils with wonderful blending capabilities. I've put together some small test areas to show the techniques I use, as well as progress shots from my drawing to try to illustrate some of these qualities. I use 4 blending techniques:

Solvent on a cotton bud
                         
This method applies a lot of solvent, which really spreads the colour and also strips the colours out to a certain extent, giving a similar effect as a marker/felt tip. I use Zest it- Oil Paint Dilutant and Brush cleaner- any non toxic alternative to turps/white spirit will work.

Solvent on cotton bud

Solvent on a paper stump

Really good for blending large areas and getting into corners. The solvent soaks into the stump meaning less solvent is applied to the paper so there is generally no stripping of colour.
                      

Solvent on paper stump

Prismacolor blending pencil

Which is effectively solvent in a pencil and is brilliant for getting into small/detailed areas and going over black outlines.

Prismacolor blending pencil

White or light- coloured pencil over darker colour

Illustration

1. I usually lay down watercolour/watercolour pencil or ink as a foundation and then use Prismacolors over the top.

Watercolour wash

2. Apply some pink Prismacolor (roughly)

Prismacolor added roughly

3. Blend using cotton bud with solvent ( this photo shows only part blended so you can see the difference)

Blending with solvent

4. Apply more colours and some black outlines

Added colour and black outlines

5. Blend with paper stump and solvent and use Prismacolor blending pencil for small areas and outlines

Blended Prismacolor

6. In this photo you can just make out the unblended indigo pencil I've used as a shadow under one leg, while on the other side I have blended under the leg (using Prismacolor blending pencil). It's amazing how vibrant and intense the colour can become when blended-  depending on the colour used.

Blending using Prismacolor blending pencil

7. Finished drawing. It's really hard to pick up in a photo, I've used a LOT of white blending and overlaying for the feathers using a chinagraph pencil over the top of the prismas.

Finished drawing

Enjoy

Heidi xx