DRAWING WITH

W
By Morrell Wise

I A Vpalter Foster Publication

\f
 THE ARTIST. . .

Morrell Wise lives inSacramento, California, with his wife and son in a
suburban setting just a few miles commuting distance from his job in
the Art Department of the The Sacramento Union newspaper. In ad-
dition to his work as a commercial artist. Wise works daily as a landscape
and still life artist.
Shown here in his studio. Wise works primarily with colored pencils,
art stix or pastels. Working both on location and in the studio, he some-
times works from slides or photographs.
In addition to localand regional exhibitions. Wise has also participated
in exhibits in New York, London, Belfast and Warsaw. Schooled in the
California educational system, he attended Sacramento City College,
California State University Sacramento and the University of California
Davis.

Morrell Wise
5608 ROSEDALE WAY, SACRAMENTO, CA 95822
 1985, Foster Art Service, Inc. All rights reserved. Thisbook has been
published to aid the aspiring Reproduction of the work for study
artist.

or finished art is permissable. Any photo mechanical reproduction for

commercial purposes is expressly forbidden without the prior written
consent of Foster Art Service, Inc.
TABLE OF CONTENTS
Pages

Introduction 3

List of Materials 4

Textures 5

Colored Pencils on Paper 6

The Value Scale 7

Basic Layering Technique 8

Use of White and Other Opaque Colors .... 9

Colored Pencils as a Mixed Medium 10

How to Begin 16

Sketching 18

Natural Perspective 24

Watercolor with Colored Pencils

and Art Stix 28

Felt Pens with Colored Pencils 37

Pastels 40

Sacramento River 44

Rendering with Colored Pencils 46

Illustration 62
 ::..|

INTRODUCTION
For many years, colored pencils have been an accepted
medium for the commercial artist, designer, architect and
many other related professions. In recent years, colored
pencils have joined the ranks with the other acceptable
fine art mediums. It is a wonderfully usable medium-
perfect for sketching or rendering, and mixes well with
other mediums in mixed medium drawings or paintings.

On the following have demonstrated and

pages, I

discussed some of have learned. I

the techniques
I

sincerely hope that you will enjoy this book, and I hope
perhaps in a small way it might help you in your work as
well.
 ^^^'<*^

MATERIALS
The first thing I would like to say is that this is not necessarily a complete
list. The materials used in one project will vary to the next. I encourage
you to try new and can be very inspiring to find
different materials. It

some new and interesting supplies with which to work. I have always been
interested in new papers. If I find something with a new texture or feel, it
can inspire a whole series of new works. It would be impossible to list
everything I have tried, however, the following is a list of some of my
favorite materials.

J
COLORED PENCILS good for smaller more detailed
work.
Since the focus of this book is on
pencils, it would be an appropriate
starting point. I have tried many PAPERS
types, but my favorites are those
made with bee's wax. I use both Try every paper you can find. The
the hard and soft kind in as many type of paper you use can make all
colors as are available. the difference. I use hot and cold
pressed watercolor paper, high
surface and medium surface bristol
board, pastel paper, charcoal
ART STIX
paper, tracing paper and an
This product is somewhat like assortment of tinted papers. For
pastel except, like the pencils, it permanence, it is best to use a
has a bee's wax base. They come 100% cotton paper whenever
in a good range of colors. They are possible.
slightly softer than colored pencils.

COLORLESS BLENDER
PAINTS This item is like a felt pen without
the pigment. It will melt the wax-
I use watercolor paint for under-
based colored pencils. It is used for
colors. I sometimes use shades
blending, spreading undercolors
of grey to fill in the value scheme.
and special effects. This item can
I also use transparent water-
save time and is worth trying.
color dyes. The dyes are usually
used on top of colored pencils
rather than as an undercolor.
FELT PENS
I use the full range of colors and
the greys. They work well for
BRUSHES undercoloring. The thing you must
An assortment of brushes is best. remember is that most, if not all,

Use a wide one-and-a-half or two felt pens are fugitive, that is color
inch brush to block in large areas is not permanent. I use them for
of color. I have found a Number sketching, planning and thumbnail
Three water color brush to be drawing.
 ^^S^l

COLORED PENCILS ON PAPER

(1) Figure One, demonstrates
the light appHcation of one
colored pencil to white paper.
Notice how the texture of the
paper is revealed. Light reflects
from both the fragments of
color and the white of the paper.

(2) In Figure Two, the white

paper has been completely
covered with one layer of color.
There is no paper visible
between the fragments of color.
The result is a darker and more
brilliant color. This technique is

known as burnishing.

(3) In Figure Three, thepaper

has been
first completely
covered with one color, and
then a second color has been
lightly applied. The result is that
the fragments of the second
color define the texture of the
paper while the first layer of
color is visible between those
fragments. The first layer of
color may be accomplished with
any one of a number of
mediums. For example, water-
color, felt pen, colored pencils
with colorless pen blender
felt

or, as demonstrated here, a

single layer of colored pencil.
 S^S^^^^I^^^-4;^-^^^'^^^^

THE VALUE SCALE

Perhaps the single most important principle in learning to
make pictures is understanding the value scale. It is simply
a series of tones ranging from the very darkest to the very
lightest. It is very helpful to number these values, ten being
black, one being white and two through nine being the
shades of grey in-between. You don't necessarily have to
draw it out. Just keep it in your mind. After first making
your line drawing, you use it to determine the relationship
between the dark and the light areas of your picture. Then,
while looking at the scene you wish to draw, decide what
area is the darkest and make that area the darkest value of
your drawing. Next, decide which is the lightest, and leave
that part of your drawing white. Then logically decide
where the rest of the values go by looking at your subject
and thinking about what you see. It is much simpler than it
sounds. Remember, the human eye sees more in terms of
dark and light than it does in terms of color.
 (A) (B) (C) (D) (E) (F)

(G) (H) (I)

W^^J^J^^^M^'y ^S^^^

BASIC LAYERING TECHNIQUE

This demonstration is to illustrate the basic layering technique I use when
rendering with colored pencils. Colors are applied in layers, then burnished
over with White, and then reapplied. In areas A through I, Indigo Blue has
been applied. Then in areas B through I, Tuscan Red has been added. In
areas C through I, the colors have been burnished and blended with a layer
of White. Then in areas D,E,and F, Indigo Blue was again applied. Then in
areas G, H and I Tuscan Red was applied. Next areas E, F and H, I were
burnished over with another layer of White. Then areas E and H have a
layer of Orange, and areas F and I each have a layer of Apple Green. In this
manner, you can create any number of colors. Notice that the colors in D
through I seem to go well together. This is because they were all made on a
foundation of Indigo Blue and Tuscan Red. I urge you to try this on your
own. First hand experience will show you the true richness of these colors.
 (A) (B) (C) (D) (E)

(F) (G) (H) (I)

(J) (K) (L) (M)

:eih

USE OF WHITE AND OTHER OPAQUE COLORS

B
In areas A through M, Indigo Blue was evenly applied with the point of the
pencil. In areas B through E, F through I, J through M,
same basic the
technique was used. The difference is that in areas B through E, a cream color
was used; in areas F through I, white was used; and in areas J through M, a
grey color was used. White, cream, and grey are opaque colors.

THE TECHNIQUE WORKS AS FOLLOWS:

Indigo Blue is first applied. Then the opaque colors are applied, in areas B
through M, over the blue. This also blends the blue. Then the blue is

C through E, G through I, and K through

reapplied in areas M. The opaques
are again applied in areas D and E, H and I, and L and M to blend and
smooth the blue. Once again, the blue is reapplied in areas E, I and M. This
final application gives a glazed and textured effect.
COLORED PENCILS AS A MIXED MEDIUM
The following platesdemonstrate six ways in which colored pencils may be
used in conjunction with other mediums. These techniques as well as others will
be demonstrated in further detail later in this book.

1) COLORED FELT PENS WITH COLORED PENCILS

In this first example, the undercolors have been applied using colored felt pens.
Reds, browns, tans and Olive Green were used to create the dark undercolors.

la) Next, the sky was drawn in with Cream, Orange, Canary Yellow and Light
Violet colored pencils. The and land mass have been filled in using Apple
trees
Green, Olive Green, Light Violet and a small amount of Cream color.

10
2) COLORLESS BLENDER WITH COLORED PENCILS
In the first step, the values have been filled in with black colored
pencil. Following this, a colorless blender is used to melt and blend the black
into smooth values. A colorless blender is a felt pen which contains only the
solvent without the pigment.

2a) After the values have been completed, color is added to the picture with
colored pencils. In this drawing I used Light Blue, Lavender, Copenhagen
Blue, Olive Green, Apple Green, True Green, Grass Green, Violet, Pink and
White.
11
3) TINTED PAPER WITH COLORED PENCILS
The line drawing is transferred onto an evenly tinted paper. You can tint the
paper yourself with felt pen, ink, watercolor; or, as I have done here, use a
store-bought tinted paper.

3a) Next, the drawing is done allowing the color of the paper to show through
consistently through the image. This was done with Dark Grey, Indigo Blue,
True Blue, Flesh, Olive Green, Apple Green, Sand, Light Violet and White.

12
4) WATERCOLOR WITH COLORED PENCILS
With this technique you begin by blocking in the values with watercolor. In
this case was done with Cadmium Orange, Thalo Blue, Burnt Umber and
it

Raw Umber.

^-- :,! .,:^.'^'1^-^fe^^]!!!!^^i^^^B

4a) Drawing over the watercolor with colored pencils, I used Blush, Pink,
Carmine Red, Lavender, Crimson Red, Sand, Cream, Violet, Grass Green,
Olive Green, Apple Green and Green Bice.

13
5) GREY FELT PEN WITH COLORED PENCILS
The value scheme is first filled in with an assortment of grey felt pens. This
technique is very fast and easy to use for quick studies.

5a) The next step is to draw over the image with colored pencils adding the
color and details to the drawing. In this drawing, I used Pink, Non Photo Blue,
Sand, Cream, Olive Green, Apple Green, True Blue, Indigo Blue and White.

14
6) SKETCHING WITH FELT PEN AND COLORED PENCILS
The image is first drawnon the paper with grey feU pens. In
directly this
drawing, a rough watercolor paper was used.

6a) A little added to the sketch to get a feel for the atmosphere. In this
color is

case I used Blush, Cream, Apple Green, Sand, Light Violet, Olive Green and
Green Bice.

15
HOW TO BEGIN
In time, most artists establish methods of working which help them arrive at
the desired product. This method usually consists of a combination of
techniques performed in a series of steps. There are several steps which are a
usual part of my procedure. You will see these techniques, perhaps with some
variation in the pages to follow. The following is a list of these techniques:

SELECTING THE MATERIALS AND MEDIUM

At this point, I decide the type of paper, the medium and the kind of
undercolor I will use. Refer to Page 4.

ROUGH LINE DRAWING

In this step, I usually make a rough sketch to determine the composition.
Sometimes this is done with a bold felt pen. Other times with a soft pencil.

REFINING THE DRAWING

Placing a piece of tracing paper over the rough drawing, I make a detailed line

drawing of my subject. Sometimes this step is repeated several times until the
line drawing is satisfactory.

16
 ^^^
TRANSFERRING THE LINE DRAWING
At this time, the drawing is transferred to the art board or paper using either
carbon paper or the graphite transfer method (See Pages 28 through 31). At
this point, the Hne drawing should be sharp, but faint on the art board.

BLOCKING IN THE UNDERCOLORS AND VALUES

Next, the values are filled in, either with watercolor, felt pen or colored pencils
with colorless blender.

FINAL COLOR AND DETAILS

The final colors and details are added on top of the values and undercolor with
either colored pencils, art stix, or both.

FIXATIVE
The drawing is fixed with a standard drawing fixative. When using colored
pencils or art stix, this step is a must.

17
 SKETCHING
There are a lot of good reasons for sketching. One person might do it to
enhance their drawing skills, while another might do it for fun. I do it because it
gives me a chance to be creative. In this section, I have shown you some
sketches along with the actual scenes. Please notice the changes.

SKETCH NO. 1

This is a scene taken from one of my favorite spots along the Sacramento River.
My main interest in this sketch was the clump of trees at the river's bend,
roughly in the center of the picture.

la) In this first step, I have done the rough drawing on a grey tinted paper. I
have completely eliminated the foliage on the right. I have tried to give this
scene a feeling of wide open space.

18
 lb) The next basic step was to add color to the scene. This was done very
quickly with watercolors. I used Prussian Blue, Hookers Green, Yellow and
White.

Ic) The final step was to add a little texture and detail using colored pencils.
In the sky, 1 used Non Photo Blue, Light Violet and White. To the trees, I have
added Olive Green and Apple Green; and in the water I used Non Photo Blue.

19
SKETCH NO. 2
This picture was taken in Greece. I like the way the Hnes of the distant
mountains and the ridge create a focal area. In the sketch, I have further
enhanced this focal area by enlarging the group of trees along the ridge.

2a) First the line drawing was made with black colored pencil on white paper.
Notice how the proportions have been changed to center your attention on the
main group of trees.

20
 2b)Next the values are quickly filled in with black watercolor. Notice how
focalization is further achieved by increasing the contrast of the values in the
focal area.

2c) In the final step, the color was added with colored pencils. Notice how little
the value scheme changes. In the sky, I used Cream, Sand and White. In the

foliage I used Cream, Pink, Light Violet, Olive Green, Apple Green and Green
Bice.
21
SKETCH NO. 3
This slide is a fairly typical view of the foothills of California. I have made the
pitch of the hill steeper and have added and changed some of the foliage to suit
my design.

3a) In the first step, I have used a black colored pencil to rough in the line
drawing on a grey tinted paper. Some of the values have been added to establish
the focal area.

22
 3b) In this step, I have used watercolor to establish the value and color
scheme. White was used to enhance the contrast between the trees and sky. The
trees and foliage were filled in with Prussian Blue, Olive Green, Hookers
Green, Magenta and Yellow.

3c) For the finishing touches, I used colored pencils to add some texture and
richness to the color. In the sky, subtle amounts of Non Photo Blue, Light
Violet and Cream were used.True Blue, Apple Green, Green Bice, Scarlet Lake
and Pink were added to the trees and land mass.

23
'"'w^^^fm^mm

FIGURE (1)

NATURAL PERSPECTIVE
The dictionary defines perspective as the proper relative position of objects.
To understand natural perspective, you have to see the underlying logic
behind specific effects which occur in nature and recreate these effects in
your picture to make it appear natural. Natural perspective also has to do
with space and the diminishing effect of space. In the following pictures, you
will see some of these effects. As you look at them, try to imagine how these
effects could be used in your pictures.

24
FIGURE (2)

SIZES
The first and most obvious effect of natural perspective is the difference in

size between foreground and background objects. The farther an object is

from the viewer, the smaller it looks. This effect is easily achieved by making
the objects in your picture reduce in size as they approach the horizon. When
you're working outdoors, make a point of looking at this effect. See just how
much something reduces in size given the distance that object is from the
viewer. When working from photographs or slides, this effect can be
distorted, depending on the type of lens you're using. So, it is best to observe
this effect on location. Look at Figures 2 and 4.

DETAILS
The closer an object is to the viewer, the more detail the viewer can see.

Notice, in Figures 1 and 2, how much detail is in the foreground and how
little detail appears in the background.

25
FIGURE (3)

ATMOSPHERE
The greater the distance between the viewer and the subject, the more the
subject's color is affected by the color of the sky. Look at the atmosphere in
Figures 3 and 4. You must be careful not to grey the color too much as the
objects recede into the distance. This can create an effect of too much depth
which can disrupt the picture plane. You should try to keep the intensity of
your colors consistent throughout your picture.

26
 w^

FIGURE (4)

VALUES
This element of natural perspective one of the most important. This is
is

because the human eye sees things more in terms

of darks and lights than it
does in terms of contrasting color. Generally speaking, the foreground has
a greater range of values than the background. Foreground details will also
have a greater range of contrasting values when compared with background
details. Look at Figure 3.

atmosphere and value; work together to

All of these elements: size, detail,
give the viewer the necessary information to understand the expressive
qualities of your landscape. Learn to use these expressive qualities and your
work will improve greatly. Your powers of observation will also improve.
And, as you learn to draw or paint landscapes, you will begin to understand
the principles of natural perspective. You will also begin to understand the
principles of design and composition. Sometimes these principles oppose
each other. In these cases, it is always better to first consider the design or
expressive qualities of your picture.

27
WATERCOLOR WITH COLORED PENCILS
AND ART STIX

1) The first step is to compose the picture. I used feU pens to combine
foreground, middleground and background. 1 obtained each from separate
35mm slides.

2) I then refined this drawing by tracing it onto semi-transparent paper

28
3) To transfer this drawing to the art board, first turn it over and trace over
the lines with a soft graphite pencil.

4) The drawing is, again, turned over and firmly attached to the art board,
The next step is to retrace the existing line drawing with a hard color pencil,
This way, you can easily keep track of what has and has not been retraced.

29
5) In this step, you can see how the graphite from the backside of the
tracing paper has now been transferred to the art board. In this case, the art
board is a standard watercolor paper.

6) Next, the valuescheme was painted in with watercolor. I used Hooker's

Green and Alizarin Crimson to make a neutral color.

30
7) In this step, I have used colored pencils and art stix to add color to the
sky and water. In the sky, I used Light Blue, Non Photo Blue, True Blue,

Olive Green and White.

8) Here, the drawing has been completed. Pink, Flesh, and Cream were
added to the sky and water. Most of the trees and foliage were filled in with
Olive Green and Apple Green. The sky colors were also used in the
greenery. The farther away the land mass, the more sky colors are used. The
foreground details were added with White, Yellow, Green Bice, Light Blue,
True Blue, Violet, Light Violet and Scarlet Lake.

31
1) The first thing I did with this drawing was design the composition. It is a
composite of two scenes taken from separate slides. I used grey felt pens to
work out my plan.

2) After my plan was complete, the next step was to make a refined line
drawing. This drawing was then transferred onto grey tinted art board.
line
This was done with a kind of homemade carbon paper made from graphite and
tracing paper.

32
3) Next, the sky and mountain were painted over with a layer of white water-
color.At this point, some of the detail in the mountain begins to show. The
middleground was painted next with shades of grey.

4) In this step, the foreground is also completed with shades of grey. Despite
the absence of detail, the viewer can now get a fairly good idea of what the scene
will look like. Keep in mind it is the value scheme, not the details, that allow us
to see the picture.

33
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36
FELT PENS WITH COLORED PENCILS

1) In the first step, the Hne drawing has been transferred to a grey tinted paper. I
have made the line bold so it would reproduce well for this book. However, in your
own work, try to make it as subtle as possible.

2) In the second step, five different shades of grey felt pens were used to draw in the
value scheme. At this point, the image is still a little unclear and the sky is much
darker than it will eventually be.

37
3) Using a white and very light grey colored pencil, the sky was filled in. Notice the
sky is lightest at the horizon line. Also notice the contrast between the mountains
and sky. The edges are now much clearer, and the image is beginning to take shape.

have been added to the land mass using White, Very

4) Next, the highlight details
Light Grey and Light Grey. Notice that the foreground details have the greatest
contrast between highlight and shadow. The mountain is becoming more three-
dimensional, and is no longer a silhouette.

38
5) Now that the image is visible, you need only add some color for expression. In
the sky area, I used Cream, Golden Brown, Sand, Yellow Ochre, Light Violet, and
Light Blue. I have left the lower portion of the sky lighter because I would like to
bring some attention to that area.

6) In the next step. Purple,Crimson Red, Olive Green, Pink and Light Violet have
been added. And, Apple Green was added to the highlight areas and sky.
finally,
Although it is, perhaps, a little exaggerated in this picture, you can now see the
color relationship. Notice how the Apple Green has brought the color scheme
together.

39
40
PASTELS
Although the major focus of this book has been on colored pencils, I
would like to take a few moments to discuss pastel drawing. For years,
I was told that pastels were too difficult and messy. This is really not

true. In fact, pastels are a wonderful drawing medium with a unique

character. If you work with them for a while, Tm sure you will agree.

1) In Figure have completely covered the papers with a middle-

1, I

tone grey. Then, with a violet-colored pastel pencil, I have added my

line drawing.

2) have built the image entirely from grey tones. This establishes a
I

value scheme. Your value scheme is important. Without it, your image
can look flat and uninteresting.

41
3) have begun to add color to the image. First, some Pale Yellow and Pink in
I

the sky. Then, some Pale Yellow, Pink and Blue to the distant mountain. When
you begin to add color to your image, try to use a color with the same value
(that is, quality of darkness or lightness) as the tone already in that area. In this
way, your value scheme becomes a kind of plan which you can follow to the
completion of your drawing.

4) Next, have continued adding color to the drawing. Notice that the colored
I

areas are still about the same tone value. In these areas, I have started to
introduce some greens and blues with the pinks and yellows.

42
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44
 SACRAMENTO RIVER
One of the most basic ideas in art
is to create your composition with a sense of

order, and give enough variety and personal feeling to make it interesting and
it

expressive. Whether you create art yourself or just like to look at art, it is your own
personal feelings which influence what you do with your composition or what you
see in someone else's composition.

A piece of art should express something. As the artist, when I look at this piece of
I know exactly what it
art, I cannot use words to express the
expresses. However,
same idea. The visual arts each have their own unique vocabulary. Each artist
works at developing his or her own vocabulary of visual techniques which express
the kinds of ideas which they wish to express.

In this picture, I tried to create a sense of limitless space. I established lines which
would carry the viewer's eye from one end of the picture to the other then
continuing right off the end of the page. In doing this, it gi\ es the viewer the feeling
that the picture continues outside the limits of the format. The central theme of this
picture is the dark clump of trees slightly to the right side of center. I made this my
focal area by giving it the highest amount of tonal contrast. Also, notice how the
horizontal lines which cut through the center of the picture lead the eye directly to
this area. The water gives the viewer a sense of calm. The contrast in
stillness in the
size between the clump of trees and the boats in the water give the viewer a clue to
the mass and scale of the trees.

There is a lot of information in this picture. I have tried to organize it in such a way
as to express my feelings about the scene.

45
 RENDERING
WITH
COLORED PENCILS
1) In the first step, the Hne
drawing has been transferred
onto a sheet of 100% cotton
paper.

2) The image begins to take

shape with the first layer of
Indigo Blue

3) Next, a layer of Tuscan

Red covers the image. To-
gether, these two colors make
up a color which acts as an
undercoat for the final colors.

46
4) In this step, have added
I

Crimson Lake and Scarlet Lake

to the cherries only. Then, they
are blended with a white pencil.
Next, I reapply the two reds.
Also, I used light violet to add
reflected light to the bottom of
the cherries.

5) I have used Orange, Apple

Green and Cream to make up

the color of the stem. I have
also used a white pencil to
blend the color in the shadow.

6) Ihave added Apple Green

to the shadow along with layers
of Tuscan Red and Indigo Blue.
Next, I added Yellow, Orange,
Apple Green and Red to the
edges of the image. The final
step is to clean up the edges
using a white pencil.

47
APPLE
1) In the first step, I have tranferred the Hne drawing to the art board. Next, I
went over the outline of the apple in Scarlet Red, the shadow in Indigo Blue,
and the highlight in Yellow.

2) I begin by drawing in the basic tones with a layer of Indigo Blue. Notice the
reflection of the shadow on the side of the apple.

48
3) In the third phase, have done the same thing except, this time, I have done
I

it with Tuscan Red. Together with the Indigo Blue, the Tuscan Red takes on a
greyish quahty.

4) In order that the finished drawing might have a rich variation of color, I

have add three new colors to the apple. Anorange layer in the highlight area,
Apple Green in the reflected light area and Purple in the shadow area of the
apple.

49
5) Next, have applied a heavy layer of Scarlet Red and blended it in with
I

White. The same is done in the dark area with Tuscan Red. In the reflected light

area, I have used more white than red to blend the green into the red of the
apple. I also darkened the shadow with Indigo Blue.

6) Again I add Orange to the highlight area and Apple Green to the reflected
light area. Next, I apply Light Violet to the shadow side of the apple.

50
7) The next step is to finish the shadow with layers of Indigo Blue, Tuscan Red
and Apple Green. Each layer is blended with white before the next is applied.

stem has been completed with Indigo Blue, Tuscan Red,

8) In the final step, the
Orange, Apple Green, Light Violet and Cream. A light layer of Cream has been
applied to the background. Next, the edges of the apple and shadow are made
smooth with a hard white pencil. Finally, the art work is signed and a spray
fixative is applied.

51
STRAWBERRY
1) As in the other drawings, the first drawing on the art
step is to get the line
board. The lines are, again, retraced using Indigo Blue on the shadow, Tuscan
Red on the strawberry, Olive Green for the leaves and Flesh for the highlight
areas of the strawberry.

;4..
0'

* t

. -

2) Next, the image is drawn in with Indigo Blue, being careful not to apply too
much blue.

52
I

3) The next step is to add a fairly heavy layer of Tuscan Red. Make sure you
maintain the patterns of dark and light.

have been drawn in with Olive Green. Also, a layer of

4) In this step, the leaves
Apple Green has been added to the lower part of the strawberry.

53
^^^^^^^^^^^^^H|
1
^^^^^^^^^^^H
Hh^I ^H
5) In this phase, I have added some warm and cool reds to the strawberry. On
the shadow side, I used Crimson Red, Carmine Red and a little Purple. On the
highlight side, I used Scarlet Red. Next, these colors were blended with a hard
white pencil. Light Violet was used to add the highlights on the seeds.

^^^^^^^^^^H

^H
I
6) Next, the leaves
^^ iTrn-"-^^%^

were completed with Apple Green, Light Violet, and Warm

Grey Very Light. In the shadow area, I added a small amount of Purple to
darken the leaves. Some detail was added to the leaves with Scarlet Red.

54
7) To complete the shadow, layers of Indigo Blue and Tuscan Red were
applied and blended with a hard white pencil. A small amount of Light
Violet was added to the far edge of the shadow to enrich the overall color.

8) To complete the drawing, used

I very small amounts of Scarlet Red, Orange
and Yellow Ochre around the edges of the strawberry and the shadow. Then, I
went over the edges with white. When this was finished, I used a spray fixative.

55
GRAPES
1) In the first step, the line drawing has been made and transferred to the art
board in the usual way. In paper was 100% cotton with a medium
this case, the
surface.

2) The next step is to fill in the value scheme. This is accomplished by using
Cool Medium and Cool Grey Dark pencils. Notice at this point the texture is
rough, but the image is completely modeled.

56
 ^^"^. -^jj

"
r^i ^:^^^^^yK
ISh u
St

::.i. ^..^

3) A layer of Tuscan Red is now added to the grapes. Since not every grape is
the same, some will have more red than others. The texture is still rough at this
point.

4) The grapes have a number of variations in color. To recreate this effect, I

have added Apple Green to some and Orange to others.

57
5) The next step is very important. One by one, the colors in each grape are
carefully blended with a hard white pencil. Now compare the grapes from
Figure 4 to Figure 5.

6) Again, the Apple Green and Orange are applied to the grapes. Tuscan Red
and Scarlet Red are added, in places, to create a transparent look; and a layer of
Indigo Blue is applied to grapes on the shadow side.

58
7) In this step, the stem is finished using Apple Green, Orange, Cool Grey
Light, Light Violet and White.

PMj
^^L
PP
^^4 '^ ^
"^I^^^^^^^H
m ^^^IHI^^^^^^^H
'

^^^^^-^lir-'

8) The first layers of color are added to the leaves. Olive Green covers the entire
area while Apple Green is added to the transparent areas, and Indigo Blue is
added to the shadow areas.

59
 ^^^m

9) A hard white pencil is used next to blend the greens in the leaves.
Again the
two greens are reapplied. This time, they are blended with Cool Grey Very
Light and Warm Grey Light to give a slight variation to the color.

10) The shadow is the last area to be filled in. This is done first with layers of
Indigo Blue and Tuscan Red. Next, they are blended with White and again the
colors are applied. This procedure is continued until the desired effect is

achieved.
60
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61
ILLUSTRATION
From time to time, you may
have an opportunity to do an
illustration. This one was done
for a local junior science club.
Illustrations differ from fine
line art in their purpose or
intent.The intent of this partic-
ular illustration was to create
the feeling of children being
involved with the various
sciences.

1) I started this illustration by

finding various elements to
form kind of collage of
a
images. Next, on a piece of
yellow tinted paper, the rough
drawing was done with black
colored pencil.

2) In the second step, the color

was applied over the drawing
using transparent watercolor.
As you can see, using this kind
of pigment, the drawing under-
neath is not blocked out. 1 used
Hookers Green, Rose Car-
thame. Magenta, Olive Green,
Prussian Blue and Yellow.
3) In the next step, a spattering,
technique was used to add the
stars to the sky. This is done by
loading the bristles of an old
toothbrush with white paint and,
while holding it above your art,
brushing the bristles with the
blade of a knife thus throwing the
paint on to the art.

4) Using a white pencil, I added

some contrast to the mountains,
added the detail to the moon and
redefined the objects on the left-

hand side of the page.

 have added more color and detail to the image. Pink
5) In the final step, 1

and Orange have been added to the sky while Non Photo Blue and Apple
Green were added to the area around the objects.

64
 Q^=SERIES = ^=
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