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| I continued working with white, oranges, yellows, terra cotta, and black to punch the values and color. I added the whiskers and spots. This has a little more work, but it's getting close to complete. Remember when you are close to done - set your piece up where you can look at it over a few days and make tweaks to it as needed. |
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| Our tigers from the Art and Ale class. |
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| I worked on the upper leaf. It needs more work, especially on the top part, but it is well on the way. I used white, peacock blue, canary yellow, and grass green. |
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| I started working on the left side of the branch using the 3 primaries, mostly used red and yellow in light layers. I made the dark part of the branch mixing the 3 primaries with a lot of blue in the layers. The light line in the middle of the dark branch was lifted with the scotch tape method Ellie shared with us from a class with Linda K. (thanks Linda and Ellie!). I also showed using the stik tak/poster putty to help get the smooth gradations/transitions and to lighten and soften edges. I use the stik tak a lot while drawing. I made the blueberries with light layers of color mostly using the carmine red and true blue. I used a stump during the process to blend and then the colorless blender towards the end on the bottom 2 berries and the dark branch (I do not use the colorless blender often). |
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| I added a little more white in between classes. |
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| After the white I put canary yellow all over the whole piece. Then I started adding orange (pale vermilion mostly, could also use cadmium orange hue). I used terra cotta on the shadows on the orange (could also use burnt ochre or sienna brown). I added more white to the white areas and started adding some fur texture with white. I added more orange to the orange fur areas and also some scarlet lake in some more red-orange areas (could use crimson red). I started adding the black marks and some black to the terra cotta shading. For the nose I had white first, carmine red and then more white shading it lighter near the nostrils. I then added more carmine near the top edge of the nose. For the eye I started with white and then canary yellow. Then I added spanish orange. I then added orange (pale vermilion or cadmium orange hue) around the edge of the eye and a little green and yellow in the middle. I then added the black pupil. I put a shadow with terra cotta (or burnt ochre or sienna brown) on the top part of the eye to create the shadow under the eyebrow. |
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| I did some more white in between classes. More still to do. |
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| I started adding color. For demonstration purposes I have worked more on some small areas when normally I would work on the entire piece and finish it as a whole. I used canary yellow, peacock blue, grass green and white on the leaves. first I layered the entire leaf, even the white highlight, with yellow. next I layered the leaf with peacock blue avoiding the highlight areas. I then used grass green and did also carefully go over the highlight areas. I layer these colors until I get good coverage. I used extra yellow on the middle vein of the leaves to get the yellow green. I then use white to shape the highlights, stems, veins and edged. I use peacock blue yellow as a shadow. Remember the gradate shadows and highlights. Scribble to get texture. The brown stem/branch was made with white, yellow, and red (either or both reds, crimson or carmine, will work). I used white for highlights and a little extra blue (true blue I think?) for the shadows. For the flower I used both reds, more white and a little yellow on the red parts. The part above/around the red I used grass green, canary yellow and carmine red plus white. The main thing is work in light layers and build your color and value. Pay attention especially to the values. |
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| I started this with carmine red gradating as I moved toward the white. I used a stump to blend. I added true blue to make the purple areas and added crimson red and true blue plus a little canary yellow in the darker area of the berry. I have a little more work to do to refine this one. I used peacock blue and started adding a background so the white of the berry will show up. We will go over this piece more in the next class. Just try one berry this week. Don't use white, use the white of the paper and your stik tack and eraser to help. |
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| I worked more with the same colors we have been using. I demonstrated how to soften areas using white and then color. We discussed values and how important they are. Remember for demonstration purposes I am working in a small area. Typically I work all over the piece bringing it up to completion as a unit. |
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| Working on a dark surface. I almost always start with white (or sometimes cream). I do a value study, a reverse of the value study you would do on white paper with a dark pencil. Use the stik tak/poster putty along with your pencil and eraser to get the values you need. Work lightly and build up in layers. For the eye I used white and yellow. |
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| I worked more with the same colors we have been using. I demonstrated how to soften areas using white and then color. I demonstrated how to lighten an area or change the color using white and then color. We discussed value and how important they are. Remember for demonstration purposes I am working in a small area. Typically I work all over the piece bringing it up to completion as a unit. |
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| Working on a dark surface. I almost always start with white (or sometimes cream). I do a value study, a reverse of the value study you would do on white paper with a dark pencil. Use the stik tak/poster putty along with your pencil and eraser to get the values you need. Work lightly and build up in layers. |
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| I decided to keep lots of blue. When I was showing you all the skin color I thought it looked neat with most of it staying blue. I worked on letting things gradate out from her face - the colors and values and details. I will now spend time looking at this and making minor adjustments if I see things that bother me. That's how I spend the last bit when finishing my work. |
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| Colored pencil on Strathmore toned gray paper. I started this with indigo blue and white concentrating on the values (lights and darks). I worked with light pressure using the side of the sharpened pencil. Keep it light for subsequent layers. |
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| I used canary yellow and lightly shaded the stem/stalk and a tiny bit on the triangle leaves/scales (using the side of the sharpened pencil) . I used crimson red, lightly, on the triangle leaves/scales and the top part (crown). |
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| I worked on a small middle section of the stalk/stem using grass green. Then I used all 4 of the previous colors, layering it adding color and value. Remember, for demonstration purposes I only worked on a small section (rather than the entire piece as I typically do). The slight variation in the paper and pencil color is due to the photographs being taken with different cameras in different lighting. Next class I will work on the triangle leaves/scales and the top (crown). |
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| Colored pencil on Strathmore toned gray paper. I started this with indigo blue and white concentrating on the values (lights and darks). I worked with light pressure using the side of the sharpened pencil. Keep it light for subsequent layers. |
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| I used canary yellow and lightly shaded the stem/stalk and a tiny bit on the triangle leaves/scales (using the side of the sharpened pencil) . I used crimson red, lightly, on the triangle leaves/scales and the top part (crown). |
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| Using all of the previous 4 colors plus grass green, I worked on a small middle section, layering it adding color and value. Remember, for demonstration purposes I only worked on a small section (rather than the entire piece as I typically do). The slight variation in the paper and pencil color is due to the photographs being taken with different cameras in different lighting. |
