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| Wednesday, April 19, 2006 |
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Layering With Coloured Pencils
By @ 12:06 AM :: 902 Views ::
0 Comments ::  :: Arts & Crafts
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The best way of mastering the layer technique is to practice with swatches. The ones above employ Derwent Studion pencils on rough cartridge paper, but you can produce similar effects using equivalent pencils from other ranges.
To acieve the colours shown, first lay down three patches of primary colours, using hard pressure at the top then easing off until the paper shows clearly through the pigment. The primary colours used here are:
Row 1 - 14 Deep vermillion
Row 2 - 6 Deep cadmium
Row 3 - 32 Spectrum blue
To the right of each primary colour make several more patches using varying pressures. Then experiment by layering different colours over the top of these, again varying the pressure. Shade in each layer of colours in the same direction as the original patches, and don't forget to make a note of each pencil.
In example 1st Row - 51 Olive green, 52 Bronze, 61 Copper beech, 37 Oriental blue, and 63 Venetial red are applied with different pressures.
In example 2nd Row - the layerd colours used are 55 Vandyke brown, 52 Bronze, 63 Venetian red and 12 Scarlet lake.
In example 3rd Row - the blue patches are layered with 7 Naples yellow, 15 Crimson lake and 69 Gunmetal very lightly applies; the bottom right hand patch is layered over 7 Naples yellow and 11 Spectrum orange.
Don't press too hard with your pencils when layering: allow some of the white paper to show through, or your results will be muddy.
Above Square 1: You don't have to layer in one direction only. Try stroking the colour over softly in a random way.
Above Square 2: Directional layering gives a more positive appearance. The patches illustrated here have been applied with diagonal, horizontal and vertical strokes and, on the right, combining all three directions.
Heavy pressure techniques and dense layering sometimes produce a surface 'bloom' that can look like fogging or fading. To remove this, rub the picture surface lightly with a soft cloth, or spray with two light coats of fixative.
The demonstration drawings of pears below show just how effectively colour layering can be used to model the form of objects. Each example has its merits, and by adopting a consistent approach you are more likely to achieve convincing results.
Drawing 1 shows a pear sketched with a 2B graphite pencil. Here the idea is to convey a sense of form and volume with light and shade - without using colour. This drawing is a reference: compare it with the others to see how they achieve a feeling of three-dimensionality.
Drawing 2 the pears are drawn in coloured pencils. The tonal shading is accurately portrayed, but the effect is like a black and white drawing with the addition of some natural colour. Thiskind of drawing is sometimes produced by beginners in coloured pencil work - the modelling is good but the colour result is much too unadventerous. its similarity to the graphite pencil drawing suggests that colour is not being used to its full potential.
Drawing 3 different, more dynamic, use of colour is employed. Here, the pears are modled by intensities. Combines with this 'colourful' approach a loose, directional layered technique is used. Volume is created by the contrasts between the advancing warm reds and yellows and the receding cool greens, blues and violets. There's hardly any natural colour, and there is less tonal contrast than in 1 or 2, yet the result is a vigerous and vibrant drawing.
Drawing 4 the techniques of 1 and 2 are combined. Natural colour, as in 2, is mainly ignored in favour of colour-modelling the forms. The technique used is non-directional and layered. The three-dimensional effect is achieved by combining tonal contrast, and colour modelling exploiting temperature, intensity and hue. As in 3, the result is a true drawing in colour.
Above: The shadow is as important as the jug in this compostition.
Above: Non-directional layering of the shadow shows the tablecloth pattern quite clearly.
Above: Violet, the complementary colour to that of the tabletop, is used for the shadow. Notice how it fades as it recedes from the jug.
When light falls on a solid object, it not only models its form but also causes the object to cast a shadow. Sometimes these shadows are an important part of a picture's composition, but remember one thing: lack of light does not mean lack of colour. In the first picture of the jug, the tonal qualities of the jug and shadow are almost the same. Only the hard outlines of the jug and the softness of its shadow seperate them pictorially.
Simplify them: Where several shadows are formed by more than one light source, simplify them into one shape.
Soften edges: Don't draw clearly defines edges to shadows, exept to indicate harsh lighting.
Observe recession: Lighten the tone of the shadow as it gets further away from the object that cast it.
Use colour: Use dark hues to represent shadows, not neutrals.
Keep shadows transparent: Dark tones do not have to be opaque. The surface texture can show through.
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