Afternoon Graze, Original Colored Pencil Landscape, April 9, 2013
Afternoon Graze
8×10 Colored Pencil
Bristol 146 lb. Regular Surface, White

In last week’s post, I started work on the black horse.

I finished the black horse by layering Terra Cotta and Dark Brown into the unfinished areas, building from light to dark. I added Indigo Blue and Black to the shadows to get the darkest darks possible. As I worked on the unfinished parts, I also worked on the rest of the horse to create uniform color and value.

When I finished with the horse, I added its cast shadow with Limepeel, Olive Green, Dark Green, Dark Brown, and Indigo Blue. I applied each color with short vertical strokes and heavy pressure using very sharp pencils. I also filled in isolated areas around the horse with Limepeel and Cream.

Then I began work on the chestnut horse with a glaze of Goldenrod into the highlight areas and Dark Brown in the shadows. Along the horse’s top line and rump, I layered Powder Blue to establish the reflected light.

Once the highlights were roughed in, I began building up the shadows. Using light pressure and tight, circular strokes, I layered Terra Cotta into the shadows and darker middle tones. I wanted a nice, even base color so worked slowly from one area to the next.

I followed up with Indigo Blue using the same stroke and pressure in the darker shadows.

Next was a layer of Dark Brown. Again, I used light pressure, tight strokes.

In the illustration below, the shadows of the hind leg and rump show all three colors. The rest of the horse shows only Terra Cotta and Indigo Blue.

Afternoon Graze, Original Colored Pencil Landscape, April 11, 2013

Pale Vermilion was next. I started with a very sharp pencil, but didn’t sharpen it again, instead using the ever increasing bluntness of the tip to create an even color layer.

Beginning at the head and working my way to the tail and down each leg, I outlined the areas where I wanted color, then filled them in. I used very light pressure for the outlining, then used light or very light pressure to fill in the shapes. I used a variety of strokes, but worked around the contours of the body, legs, or muscles.

When I reached the tail, I began working back toward the head with a second layer of Pale Vermilion, then went over the horse a third time, fine tuning details and the shapes of shadows and muscle mass, smoothing the evenness of the color layers and adding finer detail.

Afternoon Graze, Original Colored Pencil Landscape, April 13, 2013

The drawing is starting to look complete, but there’s still a lot to do. Next week, I’ll finish the horse, then tackle the final stage. Fine tuning.

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