how to draw with colored pencils step by step

Ribbon Fantasy (colored pencil and Neocolor II wax crayon on newspaper, 7×10) by Arlene Steinberg

I could stare at the work of Arlene Steinberg all day. Her vibrant colors and use of reflections in her artworks are mesmerizing. Below, Steinberg demonstrates how she drew the middle-catching withal life titledRibbon Fantasy, above, using colored pencil and a heated drawing board.

For more drawing tips and techniques, check out Cartoon Materials and Methods: 5 Tips from Top Artists.

ix Steps to Mastering Colored Pencil

Colored pencil is translucent, so equally y'all layer and alloy colors, those in the lower layers evidence through, allowing you to create luminous furnishings and subtle shifts of value and hue. This takes fourth dimension, only working on a heated Icarus Art drawing board cuts the time drastically.

In this stride-by-step demonstration, I place Prismacolor Premier colored pencils with a "P" and Caran d'Ache Luminance 6901 colored pencils with an "L."

i. Establish the Background

one. Apply frisket flick and brainstorm groundwork.

Afterwards transferring my compositional drawing onto the newspaper, I colored the curled stalk white with Caran d'Anguish Neocolor Two h2o-soluble crayon. I then placed drafting record along the line indicated in the image in a higher place to preserve the dorsum edge of the table.

After this, I covered the entire drawing with a sheet of frisket movie. And so, with an X-acto knife, I cut abroad the portion of the frisket covering the groundwork. At this point, I taped my paper surface to the warm side of the Icarus lath and turned the lath to a depression heat level — 1 or 2.

Using a circular scribbling motion, I colored the right side of the background with Neocolor II water-soluble wax crayons, using steel greyness on the right and light gray on the left. I then loosely blended the colors by scribbling ane on tiptop of the other.

2. Blend the Grays

2. Alloy background colors

I turned the Icarus board to its highest setting (8). When it was hot, I placed a towel under my hand and blended the grays into each other with the side of a paper stump, using a circular motion. I didn't take to press hard because the heat softened the crayon.

Starting my blending strokes on the frisket movie and working upward kept the crayon from bleeding under the picture. To finish the background, I then turned the drawing upside down and, working from the frisket downwardly, I smoothed the Neocolor Ii groundwork with straight upward-and-down strokes of the side of the stump.

3. First the Layers

3. Apply layers of local and complementary colored pencil colors to the ribbon loop

I cut away the frisket motion-picture show on the left side of the ribbon loop. Reducing the Icarus board's heat setting to four, I applied colored pencil colors close to those of the actual ribbon: beryl green (Fifty), dark English green (L), heart cobalt hue (L) and grass green (Fifty).

I so darkened the bottom of the loop with black cherry (P). I lightened the green on the right side of the ribbon with canary yellow (P) and white (P), and blended beryl green into the green on the left side of the ribbon. I continued layering colour until almost no newspaper showed in this surface area.

iv. Blend More

4. Blend loop colored pencil colors and layer the adjacent ribbon department

With a colorless blender, I blended the ribbon colors on the left side of the loop, letting the heat from the board help. I so uncovered more of the ribbon by cut abroad additional sections of frisket film.

Next, I moved my drawing to the cool side of the Icarus lath and colored the stem of the cherry-red on the right in white (P). Moving dorsum to the warm side of the board, I began layering colored pencil on the newly exposed areas of ribbon. Working from darker areas into lighter areas helps prevent the darker colors from migrating into lighter colors, so I went from crimson crimson (P) to scarlet lake (P) to cornelian (L) to orange (L) to apricot (L) to gold bismuth yellow (L).

To create shadows on the scarlet areas of the ribbon, I layered black red (P) followed by a lightly applied complementary night greenish (P), followed by crimson reddish (P). To create the shadows on the yellowish and orange areas of the ribbon, I layered the complementary colors ultramarine violet (Fifty) and grayness-blue (L).

Over the lavender and blue, I layered more of the oranges and yellows. I blended lightly every bit I layered the colored pencil colors, and I continued layering until most no paper showed in the area where I'd been working. Then, going from lightest colors to darkest, I once again blended with the colorless blender.

5. Color the Stems

5. Color the stems and begin the cherries

With an electrical eraser, I removed the white pencil from the two stems on the left and cut the frisket flick abroad from the left and right cherries and the third stem. I shaded the stems with black cherry (P) and nighttime green (P) colored pencil. The complementary hues assistance shade each other.

For lighter areas of the stems, I used green ochre (Fifty) with touches of crimson red (P) and canary yellowish (P). I left the lightest areas of the left stem white. I and then lowered the Icarus board heat level to two and moved my painting to the cool side where I added white highlights to the exposed cherries.

Once the Icarus board had cooled to the setting of 2, I moved my painting to the heated side and practical Neocolor II purplish red to the cherries. I and so turned the oestrus to the highest setting and blended the purplish blood-red with a paper stump.

half-dozen. Shade the Cherries

6. Shade the ruby cherries

I turned the Icarus lath up to level 4 and applied a layer of black carmine (P) colored pencil to the cherries. The lighter areas of the cherries received lighter applications.

And then, on the darker areas, I layered a complementary dark green (P) followed by indigo blue (P) in the very darkest areas. I continued layering colored pencil colors: more blackness carmine (P), plus black raspberry (P), crimson cherry (P), pumpkin orange (P) and, finally, canary xanthous (P). I composite with a colorless blender, then I erased the white colored pencil highlights.

seven. Utilize Colors to Remaining Ribbon

7. Apply colors to the residual of the ribbon

I cut away the frisket film from the remainder of the ribbon and began applying colored pencil in local colors: beryl green (L), night English green (L), middle cobalt hue (L), bound green (L), grass green (50), and yellowish ochre (P). On the shadowed areas I added touches of nectar (P).

On the shadowed areas, I added touches of nectar (P).

8. Work on the Highlights

8. Blend ribbon colors and layer colors on the middle ruby-red

Using a colorless blender, I blended the ribbon colors I'd only applied. Then I moved my painting to the absurd side of the board and lowered the heated side to level 2.

I cut the frisket away from the centre reddish and colored its white highlights. I moved the painting to the heated side and applied Neocolor Two yellowish to the cherry. Then, with the heat turned to its highest setting, I blended with a paper stump.

Side by side, I lowered the oestrus level to iv and layered yellow ochre (P) on the lightest areas, pumpkin orangish (P) on the midvalue areas, and raspberry (P) on the darker areas. Post-obit this, I layered crimson red (P) over the raspberry (P) and the areas I wanted to be lighter red.

In the red shadowed areas, I layered complementary kelp green (P) colored pencil. In the yellow shadow areas I layered complementary manganese violet (L). I then applied more yellow ochre (P), followed by canary yellowish (P) in the lightest areas of the cherry.

nine. Add the Final Touches

9. Apply table shadows and reflections and finishing touches to Ribbon Fantasy (colored pencil and Neocolor 2 wax crayon on paper, 7×x) by Arlene Steinberg

To finish the yellow cherry, I composite with a colorless blender and erased the white pencil from the highlight. I and then removed the balance of the frisket film and, with the Icarus board at level 2, I colored in the lightest areas of the table with Neocolor II silver gray.

I then layered Neocolor Ii light gray in the diamond shape between the red and yellow cherries. Next, I practical Neocolor II steel gray to shadowed areas on the table. With the Icarus board at its highest level, I blended the lighter table colors with a make clean stump.

Using a fresh stump, I blended the shadow colors. I reduced the heat level to four and, when the board had cooled, added reflected colors to the shadows, using colored pencil colors I'd used in the cherries and ribbons.

To make the shadows interesting, I made sure I layered in complements, and I didn't worry most going too dark considering I knew my next color, cool gray 30% (P) would mute the values. Working on the absurd side of the Icarus board, I added touches of red, yellow and turquoise colored pencil throughout the painting to give it additional "life."

With my sharpened white pencil, I added some subtle stitching lines to the ribbons. To replace highlights, I added Neocolor II white to a little h2o in a watercolor cup and rubbed the white against the bottom of the cup until I had a creamy white liquid. With a small circular watercolor brush, I touched upwardly the highlights.

Having completed Ribbon Fantasy, I could sign information technology and spray on 4 to six coats of workable fixative, waiting several minutes betwixt coats. And, there you have it!

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This article first appeared in Artist'south Mag. Check out other problems for more than creative inspiration and instruction.

Source: https://www.artistsnetwork.com/art-mediums/colored-pencil/colored-pencil-step-by-step-arlene-steinberg/

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