My newest piece of art is of a young boy I saw while on holiday in Japan and gives me chance to try out my newly purchased Caran D’Ache Luminance pencils.
It took me a long time to convince myself to buy these pencils as they are the most expensive artists coloured pencils manufactured at present. They are wax, like my Derwent Coloursoft but seem harder, and softer and quite different from my oil Faber Castell Polychromos. Between the three sets I have a range of colours and consistency of leads. My challenge now is to find a way to make all these pencils work together.
I started this WIP on a Pastelmat paper that I had never used before. New pencils and new paper are not a good idea! I gave up and reverted to some Bockingford HP which I have used many times but I managed to damage the surface of the paper. My go to paper for recent work has been smooth Bristol Board and this became the support for my third attempt.
I decided I would only work with Luminance so that I could get to know them a little. I quickly discovered I needed to use my Polychromos for the detail, i.e. eyes, mouth and ears and also to bring in a slightly deeper strength of colour in places. I was relieved as I did this, to discover first hand what I had perviously heard, that Luminance and Polychromos can be used together 🙂
At the moment I am working on building up skin tones, trying to hang on to the translucence and smoothness of blemish free young skin as I do.
It’s not the best photo as I had trouble getting the picture straight but I’m sure you get the idea. It was fun to do and I may get some cards made up from it when I get a proper photo taken.
I was going to save this until it was finished but as I haven’t posted any new work for a while…..here it is 🙂 It’s still a work in progress but hopefully will be finished by the end of the weekend if I work hard.
Its 100% coloured / colored pencil on Bristol Board. Only tiny though, around A5 size.
The art group I paint with has their Christmas exhibition coming up in December and I hope to have some new work to show.
For me the most important aspect of any portrait, be it animal or human is the eyes. The eyes need to capture the essence of the animal or person and if these are wrong the whole portrait is wrong.
Once the eyes were right I began to develop this portrait by laying out in the lightest colours, the shape of the face.
Doing this lets me see the shape the face needs to take as well as allowing me to begin to build up the layers of colour. The slower I work the better the result. Pale layers first then gradually getting darker whilst paying attention to the colours I can see in the fur. Darkest darks and lightest lights are important to lay in.
I also build up the fur slowly and again by starting light and moving towards dark.
Being careful to pick out the colours that make up the White fur is very important as this again helps to give depth. By laying in the short fur first then moving towards the longer fur I can adjust the shape as I go until the portrait is complete.
What at is so important here is that it not only looks like no carries the energy and character of the pet.
This is a portrait of my last pet who sadly is no longer with us.
I used mainly Faber Castell Polychromos along with a few Derwent Coloursoft and worked on Fabiano Ingres paper.
Needless to say this is not and never will be for sale.
I have been waiting for the chance to scan in the finished piece in order to share an image that is straight for once. The problems of not having a working read facing camera on the iPad cannot be underestimated!
Clicking on the image will give you an enlarged version.
I used a mixture of Derwent Coloursoft and Faber Castell Polychromos and worked on Fisk Bristol Board.
The lace blouse was done with soft blues, mauves, grey and grey white along with some additional reflected colours. Trying to keep the colours soft while at the same time making sure the patterning of the lace was clear meant lots of breaks to give my eyes a rest. There was still some layering of colours but with much lighter pressure than the headdress for example.
I am changing the size of photos on here as I know some people have been having problems with copy-write infringement and illegal sharing of art work. I hope those I share are clear enough for you to see now.
Clicking on each image will bring up an enlarged image.
The next stage for me was to work on the jewellery whilst at the same time starting to add some colour to her blouse which is made of lace.
In the following photos you can see how the remainder of the artificial flowers and the cloth of the headdress progressed. Once I began to rough in the background the white flower and the colours in it could be seen more. Getting this far also enabled me to come down and work on the neck adding some dark tones and ultramarine blue to the area under the chin.
I could string this out over as many weeks as I’ve spent on the painting but I won’t 🙂 Colour pencil work is very slow, the building up layers to cover the white paper and develop density of colour takes time. Each of the work in progress images I share on here represents a minimum of three hours work. This does of course include any drawing I needed to do to act as a guide.
These next images show the development of the artificial flowers in the headdress.