I used a Strawberry Lightfast pencil where the skin had a pinkish tinge, Flame where it tended towards orange, and Amber Gold with Dark Orange in the eyebrows. I was sure to use marks which followed the direction of the skin’s surface. With a light touch, I laid the colour down on the page. To add warmth to the skin, I started with the lightest and most saturated areas first. Then for the coolest highlights, I used Mid Ultramarine and Turquoise Green. I used a Wild Lavender Lightfast in the shadows for this. It helps me to see green, blue and purple hues amidst the more prominent pinks and browns. I find that if I select a colour, I am forced to actively select equivalents in the skin. Therefore, to ensure the skin colour didn’t slip towards dull brown, I picked out cooler colours first, selecting a palette of cool coloured pencils. I have a tendency of making my drawings too warm. This allowed for sharp, clear-edged shapes of shadow. I finished the hair by adding the darkest darks in Black Procolour pencil. Next I focused on areas of dark mid-tone and the slim shapes of shadow that give the hair its form. I added Natural Brown Lightfast over the top of the Dark Orange. Meanwhile, where it layered over the earlier Dark Orange it combined to create a more saturated orange. Where it covered the white paper, it showed as a light yellow. ![]() I switched to the lightest and most saturated areas of colour – the highlights in the hair – layering Amber Gold Lightfast selectively over the hair around the highlights. This was to establish the warm saturation of Immie’s local hair colour. I started with a thin layer of Dark Orange across all but the lightest and darkest parts of the hair. ![]() Therefore, I switched to the oil-based Lightfast coloured pencils. These colours would need to blend smoothly and the durability of the pencil tip was less of a priority. To make sure the hair really stood out in the drawing, I used colours that I wouldn’t use elsewhere in the portrait. I built up the tone with tight vertical hatching, being careful to leave the light areas white and keep the dark tones relatively pale. Plus, it allowed me to establish an underlying value that later layers will further darken. This provided an opportunity to explore the tonal variations myself. In the final stage of under-drawing, I added tone to the skin in Mars Violet. Do this by concentrating on making a visually accurate line drawing which focuses on contour in the figure. Before you add colour, try to solve all of the proportional issues at this early stage. The aim here was to establish a foundation for the rest of the drawing. This was to add greater clarity to the under-drawing. I lightly erased the first sketch, working over the top with the Mars Violet Procolour pencil again. This is because they hold a finer point and can be erased more easily. Although most of the drawing will be made with oil-based Lightfast pencils, I prefer Procolour pencils for under-drawing. Hold the pencil with a distant, underhand grip to keep the marks playful. I began with a loose establishing drawing in Mars Violet Procolour pencil. Paper: Seawhite 220gsm Heavyweight Cartridge Paper, A3.Coloured Pencils: Mars Violet, Black and Plum, all Derwent Procolour pencils Dark Orange, Amber Gold, Natural Brown, Wild Lavender, Mid Ultramarine, Turquoise Green, Strawberry, Flame, Moonstone, Oyster and Flesh Pink, all Derwent Lightfast pencils.© Olly Hearsey/Draw Brighton How to draw a portrait with coloured pencil The Materials Therefore, this longer drawing ruled out any dynamic twists or fleeting expression. ![]() I only like to draw from photographs of a pose that could plausibly be held for the length of time in which the drawing is made. This was to suggest something of her easy, confident bearing. I settled on a photograph in which Immie was making steady eye contact with the camera. I just cropped it to take the focus away from her feet. I also explored a high-key interpretation of shadow shapes that prioritised colour relationships over tonal accuracy.įor reference I used a photograph of Immie from the Draw Brighton image library. I drew this coloured pencil portrait of Immie, an art student and model at our Brighton studio, to experiment with a more minimal treatment of clothing. Link copied to clipboard Draw Brighton tutor Jake Spicer shows how to draw a portrait with coloured pencil by taking a selective approach
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