Wax-based pencils can be burnished using a colorless blender while oil-based pencils are less receptive to a colorless blender. The Cream applications are made primarily in the areas of lighter tone, while the Van Dyke Brown is applied mainly in the areas of darker tone. This is followed by Cream, Terra Cotta, and Van Dyke Brown. This color is carefully applied using a circular stroking pattern. The first color that we’ll layer is Raw Umber. We’ll layer a few colors to build up depth. We’ll begin with colored pencil applications on the doughy part of the doughnut. Your sketch should be as light as possible. The image that follows has been darkened to allow you to see the sketch a little easier. Darker pencils may leave too much graphite on the surface which may result in muted colors and bits of gray showing through the colored pencil applications. See also: Artist’s Graphite Pencils ExplainedĪvoid using a softer pencil, such as a “2B” or darker. Try to avoid using anything harder than “2H” as it may create unwanted indentations in the surface of the paper. A hard graphite pencil, such as an “H” or “2H” will do. We’ll begin our drawing with a light sketch using a graphite pencil. Remember, it’s the finished art that matters – not how well you copied a photo. We can deviate from the reference as much as we like. Instead, we’ll use the reference for shapes, contours, color, and texture. Keep in mind that we aren’t trying to create an exact copy of the reference. We’ll work from a photo reference to complete the image. (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)… Here’s a look at the specific materials used to create the art. More on drawing papers… All About Drawing Papers Layering colored pencils builds depth in color, which results in more natural, realistic imagery. More tooth on the paper means more layers of colored pencils can be applied. The pencil marks are smooth and well-controlled. Since the texture is less pronounced, you aren’t fighting against it to create intricate details. The advantage of this paper is the control that you have when applying colored pencils. This is both and advantage and a disadvantage. The tooth (or texture) of this artist’s quality paper is very smooth. I love this particular surface and use it for a variety of media including pen and ink, graphite, and colored pencils. The surface we’ll use is smooth Bristol paper by Strathmore. Most colored pencils on the market are wax-based.īecause the binder is oil-based, these pencils behave in a slightly different manner than their wax-based counterparts. Oil-based colored pencils have an oil-based binder (which holds the pigment together), while wax-based colored pencils feature a wax-based binder. Oil-based colored pencils differ from wax-based colored pencils in the binder that is used. They are pricey when compared to lesser brands, but the difference in quality is clear when they are applied. These professional pencils are rich in pigmentation and are designed for layered applications. The colored pencils we’ll use for this lesson are the oil-based Polychromos colored pencils by Faber-Castell.
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