Saturday, May 22, 2010

Yellow Rose - A Tutorial

Pencil Portrait Lessons is going color! I am currently working on a new book called The Real World of Colored Pencil.  As I create the tutorials for that book, I will be presenting them here.  Those that read this site will have access to them long before the book is ever released.

So, let's get started!

Our Goal

This image is our final goal.  I decided to create this tutorial because it demonstrates a very important issue when dealing with color: The importance of seeing the colors that actually exist.  At first you might think that all you need to represent the petals is yellow and maybe red.  The background looks like it might be just a couple of colors of green.  The reality is I used 12 different colors to create this final image.
Decision Time

This is the original photograph that we will be working from.  Before you start, many decisions must be made.  My first decision was realism.  How realistic do I want to make my final piece.  I decided to go with a more artistic look as apposed to seeking photo-realism.  I wanted a soft, but powerful image.

The next decision was cropping.  I wanted the flower to stand out and make a strong statement.  So, I made the background considerably smaller than the flower itself.

Next decision was tools.  Paper was easy to decide on.  I wanted bright vivid colors so the paper needed to be pure white.  I also wanted a smooth finish without texture but enough of a tooth to get good solid pigment coverage.  I went with Strathmore Smooth Bristle acid free 100 lb white.

After spending a couple of hours studying the image and looking closely at the colors it contained, I decided to go with the following Prismacolore Premier Pencils and Art Markers:
  • Dark Green (art marker)
  • Canary Yellow (art marker)
  • Carmine Red PC926
  • Mineral Orange PC1033
  • Warm Gray 20% PC1051
  • Canary Yellow PC916
  • Sienna Brown PC945
  • White PC938
  • Dark Green PC908
  • Spring Green PC913
  • Periwinkle PC1025
  • Black Grape PC996


I created the initial sketch with a Derwent 2B drawing pencil.  The sketch was a lot lighter than what you see here, but it was necessary to enhance it so you could see what I have done.

There are many ways that you can do an underpainting. You can use watercolor, watercolor pencil, markers or any number of media.  I decided to use the Prismacolor Premier Art Markers.  An underpainting is important because colored pencils are difficult to completely cover an area.  In most cases, little bits of the paper will show through unless you really overdo the pigment.  I used to do that and suffered from a problem called Wax Bloom.  I put so much wax on the paper that over time it all rose to the surface and clouded the original image making it dull and lackluster.

Using the Canary Yellow and the Dark Green art markers I quickly laid in the base colors for the image.  I was not too concerned at the point on making it look smooth since I was going to cover the whole thing with pencil anyway.

Canary Yellow Marker

I want the background to be dynamic.  I want it to give the illusion that there is more vegetation behind the rose, but the detail is out of focus.  One of the fantastic properties of the Prismacolor art markers is you can blend a light color right on top of a darker color without damaging the lighter marker.  In this case, I used the technique to put in some yellow/green patches.  Later, this will allow for some very interesting colored pencil effects.
Carmine Red PC926

Colored pencils are transparent.  Because of this it is beneficial to work with darker colors first. Lighter colors can be used over the darker ones making blending fairly simple.

Here I used the red on the tips of some of the petals and used light circular strokes to start laying in some of the shadow areas.  This is the beginning of defining the depth or the image.  Also note the red that was added to the stem.

The key to good colored pencil is working in layers.  This is starting the first layer.  Don't forget to pay close attention to your original reference photo.  Everything you need to know for you work is in the photo.  Study it very carefully and refer to it constantly.
Mineral Orange PC1033

The orange is used to further enhance the shadowed areas and to blend some of the red that was laid down in the last step.
Warm Gray 20% PC1051

A lot of artist will reach for black the instant they want to darken something.  It is better to use a value of gray.  I chose warm gray for this because the yellows and reds are warm colors.  I chose 20% because I did not want to go extremely dark, I just wanted to desaturate some areas giving the impression of depth.

Remember, art is nothing more than an illusion.  We want the brain to look at some of the petals and think they are actually behind the others, when in reality it is nothing more than a two dimensional image.  Desaturating color is a excellent way to establish this illusion.
Canary Yellow PC916

The bright Canary Yellow is used over all of the flower.  It is also used to blend all of the colors you have laid down so far, resulting in a much smoother transition from color to color.
White PC938

Don't forget to keep in mind that all you are doing is reproducing light and shadow.  Look closely at the original photo and notice where they light reflects the brightest.  Those areas appear to be white.  The next step in creating this illusion is to add white colored pencil to those area.
Mineral Orange PC1033 

The next layer of Mineral Orange is used to further deepen the shadowed areas.
Canary Yellow PC916

The final layer of yellow is applied pretty heavy.  Use the yellow as a burnishing layer to blend and smooth out the rest of the colors.
Sienna Brown PC945

At this point I decided that there was not enough contrast between the lighter and darker areas.  I considered using a darker gray, but I was not looking to mute the color.  I was looking to make the color more dramatic.  So, I used the Sienna Brown in the darkest areas.

That darker color against the white highlights really added dimension and color to the project.
Dark Green PC908

Finally we get to start on the background.  Put a thin layer of Dark Green over the entire background.  You don't want to cover everything up.  Make sure the yellow areas can be clearly seen through the layer of green.

Also notice that the leaves of the rose now get a layer of green to differentiate them from the flower itself.  Pay close attention to the stem.  Using the Dark Green, lay in the shadow areas of the stem.
Spring Green PC913

Spring Green is used to fill out the lighter green areas of the background as well and lay in the lighter areas of the stem.
Periwinkle PC1025

If you looked closely at the original photograph you noticed that there was a lot of light blue in the bacgkround as well as the stem of the flower.

I chose Periwinkle for the blue because it blends very well with the greens that we just finished using.
Dark Green PC908

Final layer for the Dark Green.  Use it to deepen the contrast between the lighter green and the blue.  More contrast means more drama.  If we really want to make this image pop, we should attempt to make it dramatic.
Black Grape PC996

The only real purpose for the Black Grape was to outline the border.  The dark tones in this color complement the blues and reds in the rest of the image.  It may be subtle, but the brain will pick up on it.  Using a solid black would not have been near as pleasant.

I used a short plastic ruler as a straight edge to make sure the lines were as perfect as I could get them.  Then I used the Dark Green to fill in some areas that remained white between the border and the background.
That wraps it up for this tutorial. If you have any questions, feel free to ask in the comments. Thank you so much for joining me in this project. I look forward to sharing more projects and discussions soon.


Chris Grant said...

I learned a lot from this, and love the fact that your text sometimes referred to the colored pencil medium as a whole, among the parts where you developed the drawing.

You spent a couple hours of study choosing the colors! Boggling. What's that process like?

Lilly said...

Thanks Chris. The process is hard to describe, but I will try. The first thing I do is try to disassociate the colors from the object. In other words, instead of looking at the flower and realizing that it is a flower, I try to get it in my head that it really isn't a flower. It is really just color.

By doing that, my brain is not insistent on selecting colors based on the object itself. By looking only at color, you allow your brain to notice the different hues and shades that are actually there.

Once I am in that frame of mind, I start picking out colors that I think are within the ranges that I am looking for. Then I get a scrap piece of the same paper I am going to use for the final art and I create a sample color pallet. Basically, I just draw little dashes of color and then write the name and number of the color beside the dash.

Next step is to compare the color pallet to the reference photo. I do this by placing the photo and color pallet side by side and looking quickly back and forth between them. This allows me to see what colors in my pallet are closest to the reference.

Finally, I select the colors that are closest and use those final colors to create another pallet. I use that final pallet when creating the artwork.

Being able to see exactly what the color looks like on the paper keeps me from having to "guess" at my choices.

That is pretty much it. It is a simple process, but it can be very time consuming because I spend so much time debating each color before deciding on what color is the closest to the original.

I am glad you were able to benefit from my site. If you have any other questions, feel free to ask. :-)