I sharpened my pencils each time I used them, but since this area is in the middle distance, I was able to get the affects I wanted with slightly blunted pencils. I used short, vertical strokes to apply color and to burnish. I repeated the layering and burnishing process as necessary to fill in any remaining “paper holes” and to get more natural greens. Next, I added highlights along the path with alternating layers of Chartreuse, Apple Green, and Limepeel, burnished with White and/or Cream. Add new color with matching strokes and pressure In the area on the right, I used longer strokes to bring that area forward.Ģ. Since I was working on a grassy area, I also used short, vertical strokes in the middle ground. I also stroked Dark Brown and Indigo Blue into the rise on the right of the drawing, where foreground grasses overlap the middle ground.īecause there was already color on the paper, I had to use heavy pressure. In the slightly darker areas, I used Apple Green and Limepeel, then burnished with Sand and White. I added Indigo Blue over the Dark Brown to deepen the shadows, then worked Apple Green, Chartreuse, and Yellow Chartreuse in alternating layers into the areas along each side. I next added Dark Brown in short, vertical strokes along the right side of the path and in patches along the left side to add shadows to the lower edge of the grass along the path. When I’d removed all the color possible, I applied Prismacolor Sand using a short, slightly curved horizontal stroke. I used the edge of one end of the eraser to lift color, using short strokes and beginning with light pressure, then increasing the pressure as color was removed. So my initial step was using a White Pearl eraser to lift as much color as possible along that strip. There was also a very lightly colored strip in front of the tree that suggested a path, which I wanted to develop more. Color application was the lightest in that area, making it the easiest to adjust. The first thing I wanted to do was tweak the grassy areas in front of the central tree. Carefully remove color with an edged eraser Here are the steps I followed in order to improve (and not ruin!) the original drawing.ġ. This made any changes after the fact a bit tricky! But it needed some adjustment, so I put it back on the drawing board. I’d used heavy applications of color, blended with rubbing alcohol, and burnished the final drawing. The more I looked at it, the less satisfied I became. The painting was “officially” finished by the end of that series, but I was never completely satisfied with it. The articles appeared on EmptyEasel and you can read the first article of my three-part series here. It was the demonstration drawing for a series of articles describing the use of a complementary underpainting. Even among those drawings that do turn out well, every now and again, you’ll have occasion to wish there was a way to make changes or improvements.īelow is The Sentinel. No matter how carefully you plan and render a composition, not every drawing turns out as you expect. By Carrie Lewis in Art Tutorials > Drawing Tips
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