How To Draw And Color The Incredibles With Prismacolor

PRISMACOLOR, COLORED PENCIL ART

Summertime Afternoon

Drawing with Prismacolor

1. Earlier applying the concluding cartoon onto a larger drawing board, I had the customer approve the composition and presentation of the children for their painting. Using a fine line technical pencil, I drew a ghostlike epitome onto a 24" 10 36" 100% cotton, cold press Strathmore illustration board. The line cartoon was rendered by lightly pressing the pencil lead onto the lath using plume-like strokes. Subsequently the ghost lines were fatigued, I spray-stock-still the drawing to prevent smearing or rubbing of the cartoon. When the line cartoon was completed, I applied value and color with Prismacolor colored pencils.

2. To carve up light and dark values into shapes, I use a colour native to the subject I am painting. Alternating betwixt strengthening the calorie-free and nighttime values and the overlapping of colors, I work with very sharp points, sharpening them oftentimes for meliorate control. The overlaying of colors and values is applied with straight or circular strokes. I apply delicate force per unit area on the drawing surface when painting flesh tones or other subjects that demand care in the rendering.

3. I continue to alternate color with value applications until a stiff value contrast and rich color saturation is accomplished. For blending all overlaid colors, the Prismacolor blender pencil (PC 1077) is very effective. The blending pencil was not available when I painted "Summer Afternoon," just I have found it to be valuable in my recent works. I use it to add finishing touches to delicate overlay applications or for burnishing techniques.

four. I completed i section at a time in "Summer Afternoon," inviting my client over to view the work in progress. Often, for out-of-state or country clients, I photograph the artwork in stages and transport them examples of each step, so they can see what progress I am making on their committee.

5. The fiddling male child pictured in "Summer Afternoon" is an case of the footstep-by-step process of alternate values with color using the overlay blending technique on pare tones, hair and wear. I carry the overlaying process to a nearly glassy surface. An extreme burnish on a surface becomes slick, like cartoon on drinking glass. Because the texture is slick, changes to the completed surface are hard to make. In portraiture, making subtle changes are imperative when the customer wants an verbal representation of likeness. I continue the surface mutable by overlaying the colors carefully with a abrupt pencil, just on the brink of a burnish. (I do use heavy pressure to brighten on highlights and in extreme dark or rich areas of color for a special terminate.)

drawing realistic scenes, summer afternoon portrait demonstration

6. Following the same procedure of alternating low-cal and dark values with color, I painted the retaining wall and water.

burnished surface, prismacolor art lesson

vii. The groundwork is rendered by the aforementioned method of separating light and dark values, using the colors and values native to the surround. Solvents such as turpentine or a clear blending marking give a wait similar a burnished richness, but retains a workable surface. Annotation: Overlaid colors, burnished surfaces and solvent smeared colors can be lifted off the Strathmore 100% cotton, illustration boards and Bristol boards with an electric handheld eraser, and/or Exacto brand retractable pen knives. I employ both the handheld electrical eraser and retractable penknives as subtractive cartoon tools - not simply as a means of erasing.

viii. The rich, dark values in the background are worked with a Prismacolor Clear Blender PM-121. This is a marker impregnated with clear solvent. I worked the marker in circular motions over the night colors in the leafy background. At that place are patches of the leafy background deliberately left out of the articulate blending mark application to create a varied texture. These textured patches contrast with the smoothen night saturated patches of the colorless blending marker. Colored pencils can be worked over the solvent covered surface to lighten or darken values, or enliven the colour. Solvents requite the appearance of a burnished surface, but it remains workable.

ix. To make the reflective surface of the water contrast with the textured surface of the surroundings, I employ the aforementioned color and value overlay application described previously, merely utilise a clear blending mark to create the shiny effect of water. By dragging the articulate blending marker across the surface of the water in moderate horizontal strokes, the overlaid colors bleed together. Over the colorless marker marks, I blend and brighten the low-cal sparkle of sunlight caught on the h2o with white and utilize more than colors and values over the solvent blend every bit needed. (Annotation: The technique of using liquid solvents, such as turpentine or distilled spirits, brushed over the wax colored pencil overlays is spontaneous and painterly. Controlled bleeds and blends are the advantage of using the clear blending marker. I apply liquid solvents to deliquesce and blend uncomplicated sections of color overlays to reduce the stippling effect of the paper grain.)

x. I stop the painting with a mat spray fixative. The fixative spray prevents wax blossom, enlivens the colour and seals the painting.

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