BAL CP & MM October 2019

I added a little more light and some color and some black to help it pop more.  need to finish the neck...

I worked a little on the left side of the neck and more on the tongue (added highlights).

I added a lot of dark using black over the color that were there.  I added more shadows in the red with black grape/cherry.  I shaded the eye on the shadow side.  I worked on the beak adding color and value and soothing it with white and a stump.  It has quite a bit of work yet.

DAC CP October, 2019

I started adding peacock blue )green blue) to the left side eye.  I shaded in the peacock blue, carefully, as well as a little scarlet lake (warm red). We will work on her more in the next class.

I worked on the shading of the grapes, the stem, and the background.  I shaded more color and value on the purple and green grapes and then went over each grape with white to smooth and blend the color and value.  Then I went back in with the same colors to add another layer of color and reestablish the values. I also use the stump to blend and smooth the layers.

I worked on adding a background to the bottom.  Backgrounds can add interest and depth and help to clean up edges.  Typically I use colors from the subject in my backgrounds.  I do sometimes add other color, but I do so carefully and thoughtfully. When I change from one color to another I overlap the colors and blend them together to make smooth transitions.

BAL CP and MM, October 2019

I worked on the tongue.  I did a layer of peach first and then used white and some pomegranate, lightly.  I also used some scarlet lake and more peach and white.  In the shadow I used pomegranate and black grape and smoothed it with white and then used black, lightly for the shadow. I often do layers alternating color (1-3 layers of color) and white.  The amount of alternating layers varies depending on what I am trying to do and how it's looking.  The white blends the color.  I used ink on the moth, the gums.  i then used whit ink on the whitest highlights.  Then I used white, black, terra cotta, and burnt ochre pencil.  Still working on the edges of the smile, it needs to be lightened and textured to look like fur (rather then the joker from batman). I added a little more light and dark to areas of the face and ear -using white, burnt ochre, dark brown and black mostly.  I worked on the muzzle with a lot of white and some black, pomegranate (lightly and carefully), peach, and true blue.

I used mostly scarlet lake and a little pomegranate.  I used a little brown ochre and terra cotta and scarlet lake on the neck.  I used spanish orange in the eyes.  I shaded it in and then melted it with rubbing alcohol and a brush.  

I used black and started adding feathers with a curved line pencil stroke going in the direction of the feathers.  I used some scarlet lake on the eye to shade it more orange and then blended with white and then added a shadow with scarlet lake.  I used black for the pupil.  I used scarlet lake, pomegranate and black grape (indigo with work) on the comb to shade the dark area.  I used a scribbly stroke to make texture.  I started adding scribbly scarlet lake to the red face areas.  I used spanish orange, then brown ochre and then white and then more brown ochre and some dark brown on the tip of the beak.  I started shaping the beak.   

DAC CP October, 2019

Step one of the color mixing process.  I usually start with yellow.  I used my cool yellow  on the scarf.  My cool yellow is yellow chartreuse - lemon yellow will work and canary yellow will work if it's all you have.  I used my warm yellow on the face skipping the lightest parts.  My warm yellow is spanish orange - yellow ochre or goldenrod will work and canary yellow will work if it's all you have.  I did use a clean stump to smooth the layers.
This photo was taken in class under poor lighting with a cell phone so the colors and values are not correct.

Step two in the process is on the skin with a red.  I used mostly warm red and went over the warm yellow paying attention to values.  My warm red is scarlet lake - crimson red or permanent red will work. I added a little cool red in some cooler shadow areas.  My cool red is pomegranate - crimson lake will work.   I used a clean sump to smooth the layers. 
This photo was taken in class under poor lighting with a cell phone so the colors and values are not correct.

I used peacock blue next and started working on the scarf (the first layer is not completed).  I paid attention to values and used a scribbly pencil stroke along with a little smooth as well.

BAL CP & MM October, 2019

I did a little more of the white (still need to finish it on the body) and added more color to the face.  The color I am adding is burnt ochre, true blue, spanish orange, and pomegranate.  I am also using black to darken some areas and blend other areas.  This will need to be a little lighter than is is currently.

I have started adding colored pencil over the watercolor on the ear on the right as well as the eyes and nose.  I used some black ink pen on the eyes and nose and some white gel pen for the highlights in the eyes.  I used burnt ochre, terra cotta, dark brown, black, true blue, cream, and white colored pencil so far.  For the fur make the strokes in the direction of the fur.  And think values, values, values!

DAC CP October, 2019

I worked on the neck a bit more and also worked around the eye, on the horns and on sections of the face.  It is still in the middle of the process as it needs more values, color, and details.  I will continue to refine as I go, especially looking at the values along with color and detail.  The colors I have used are cream, white, black, burnt ochre, dark brown, terra cotta, true blue, pomegranate, spanish orange, scarlet lake, indigo.

This is colored pencil on Artspectrum Colourifx olive green sanded pastel paper.  I start the process when working on a medium or dark color tinted surface with a light color such as white (or cream, or another light color).  I did this value study in white.  I finish the value study before adding color.  The picture of this piece has a shadow over it and is off a little color wise due to the lighting under which the photo was taken.

I started adding color.  On the red grape I used scarlet lake and pomegranate.  You can also use permanent red for the warm if you don;t have scarlet lake.  Crimson red is a nice mid red that leans a little cool so it can work alone or with other reds.  Crimson lake will work as the cool red if you don't have pomegranate.
On the green grape I used yellow chartreuse, olive green, and grass green with a little dark green at the bottom on the dark part.  I did olive green over the entire grape first.  Then I did grass green at the bottom and faded it up towards the middle of the grape.  Then I did yellow chartreuse from the top down and shaded it lightly over the grass green to blend them together. I did a little dark green from the bottom fading it up just a little.
On the purple grape I used black grape and pomegranate.  Indigo will work as the dark and crimson lake as the red if you are missing one of the colors.
On the stem I have used yellow chartreuse so far.
These are the beginning layers.  There are more layers to add as we go along in the process.

BAL CP October, 2019

Colored pencil on black. My sneaky way to get a value study in (and the best way to work on black) is to start the project with white. I started working on the light areas in light layers building up to the lightest light.

Due to this being a demonstration and considering time constraints, I started adding color before I had completed the white.  Normally I would finish the white first.  I added colors such as terra cotta, scarlet lake, true blue, spanish orange.  Black can be used to fix area and adjust the value and color.

This is an under painting for a mixed media piece.  I am working on student grade hot press paper.  I worked wet on dry.  I mixed a brown (mixed the 3 primaries leaning it toward red and yellow makes brown) and I mixed a dark (mixed the 3 primaries leaning it toward blue).  I have loosely painted the subject.  This speeds up the colored pencil process by having a layer of color already present.

DAC CP October, 2019

Colored pencil on colored mat board.  Step one is to use white or cream or light peach to shade in the values of the giraffe.  I shade in light layers that I build up to the lightest value.

Step two is to use either burnt ochre, sienna brown and/or terra cotta to shade in the spots and the mane.

I added the eye using some color first and then I used black.  I added light highlights with white but kept them from being pure white since the eye is in shadow.  On the neck I started shading the spots.  I added some cream onto the spots especially around the edges in the direction of the fur.  I added some dark brown and some red and terra cotta.  If you study the spots they are not the same value or shade of brown.  I used dark brown to lightly add the shadows on the neck.  I added white to the lightest parts of the neck.  I added some burnt ochre to light parts of the neck, again in the direction of the fur.  Next class I will work on the face and head and the mane, adding shadows and highlights.  I will keep refining the neck as well.