We’ve all done it. Made some mistake with a drawing that frustrates us at best and can necessitate starting over at worst (don’t tell me I’m the only one who’s ever done that!).
We all like learning new ways of doing things. We want to be more creative and more productive. We want to learn how to do things in the best possible way.
Most of the time, though, the best way to learn how to do something right is by discovering all the ways to do it wrong.
So here are four things I’ve learned how to do right by doing them wrong!
Mistake #1: Destroying Highlights
I was an oil painter for nearly twenty years before I started with colored pencils. I was accustomed to being able to add opaque highlights over everything else because oil paints are well suited to that process.
Colored pencils, on the other hand, are not.
I started with Prismacolor pencils because that’s what was available where I lived when I first started using colored pencils. I didn’t shop online (it wasn’t widely available way back then) and I had no idea there were other brands of colored pencils.
Or that Prismacolor pencils were wax-based or that there were oil-based pencils.
I used what I had and what I had wouldn’t allow me to add highlights over everything else. Usually because there was already too much pigment and wax on the paper by then, but also because all colored pencils are more or less translucent. Lighter colors simply disappear when applied over dark colors.
So I was forever creating colored pencil artwork with few or no bright highlights.
And I hated them!
How to Avoid It
I eventually began outlining highlights during the drawing process. If I knew where highlights were supposed to be before I put the first colored pencil to the paper, I could work around them. It’s still all-too-easy to layer color over the highlights, but it happens much less frequently than it used to.
I’ve also started outlining shadows, as the drawing at the right shows. The heaviest lines are the outside edges. I use a medium weight dotted line to define the strongest shadows and a light, dotted or broken line to outline highlights. Those lines are all transferred when the drawing is transferred, so I have a clear map for developing highlights and shadows.
I’ve also learned how to lift color after it’s on the paper. For highlights with extremely soft edges, I now glaze color lightly over the highlight, then lift color from the brightest areas with an eraser, sticky-stuff, or tape.
It’s also possible to burnish a lighter color over a darker color to create a subtle highlight.
Use all three methods to draw a range of highlights.
Mistake #2: Getting Too Dark Too Soon
I like my colored pencil drawings to look like my oil paintings. It is possible, but it takes a light hand and lots of layers. When I was first getting started with colored pencils, I didn’t know that and I often put too many darks on the paper too early in the drawing process.
And often over the highlights (see Mistake #1).
How to Avoid Getting Too Dark Too Soon
Use light pressure and light colors at the beginning of the drawing. Glaze colors carefully and work slowly to avoid getting too dark too quickly. The illustration at right shows several layers of color and you can still see paper through it. Even with darker colors, this technique helps you keep from going too dark to quickly.
Use harder, dryer pencils like Prismacolor Verithin pencils for work in the first stages. They go onto the paper more lightly and are easier to erase if necessary.
They also contain less wax, so you can add a lot of layers without filling in the paper tooth. Because they contain less wax, softer pencils can be applied over them with ease.
Mistake #3: Giving Up on Drawings Because They’re Ugly
These two mistakes led invariably to my third mistake: Giving up on drawings. I might add, giving up too soon, but in most cases, any time I gave up, it was too soon. A little more work, and I could have gotten past the problem.
How to Avoid Giving Up on a Drawing
The most important thing I’ve learned about colored pencil drawing (and most artwork) is that every piece goes through an awkward or ugly phase. At some point, a drawing starts to look hopeless.
But I’ve also learned that a drawing can go from looking hopeless to looking finished almost from one stroke of the pencil to the next. I can’t explain it but I know it happens.
Mistake #4: Giving Up on Drawings Because They’re Taking Too Long
Even if there appears to be no “ugly phase”, it sometimes takes so long to finish a drawing—especially a large one—that I just got tired of it. New drawings started to look real attractive and a lot more exciting. It’s oh-so-easy to giving up on a large or time-consuming drawing because I just get tired of it.
How to Avoid Giving Up on a Drawing
If you tend to work all over a drawing at the same time, cover everything except one element of the drawing with paper. Work on that element to near completion, then move to another element.
You might also try working section by section. Divide the drawing into sections by the square inch (or square foot or whatever size works best). Finish or nearly finish that section, then move to the next. Keep the edges between the sections soft so you can blend them together. When the drawing is nearly finished all over, work on the entire piece again to do whatever fine-tuning is necessary to finish the drawing.
Another method that works well for me is to have more than one piece in progress at the same time. If I get tired of one, I move to the other. You can alternate by the day or by the week, or simply move to the second drawing whenever you get tired of the first one.
Those are four of my early mistakes. I confess. I still struggle with all of them once in a while and with a couple of them routinely.
They are not, by any means, the extent of the mistakes I’ve made!
What about you? What mistakes would you add to my list? How did you overcome them if you did?