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Ask Me A Question about Colored Pencils

Ask me a question. Any question (so long as it’s related to colored pencils.) Nothing is off the table.

November arrives tomorrow, so December isn’t far behind. December has been the perfect month for answering reader questions.

So now is the perfect time to ask for your questions!

Ask me a question

Creating art can be a frustrating and painful process.

Colored pencils are, by their nature, capable of causing artists a seemingly endless amount of creative pain.

For me, it’s the time it takes to create even small drawings. I love the medium and I love the way a well-done colored pencil drawing looks. But it takes so much time!

What about you?

When it comes to colored pencils, colored pencil art, or any part of the process, what gives you the most trouble?

Questions can cover any method, material, or subject you like. Drawing. Shading. Blending. Preserving finished work, marketing, sales, or dealing with customers and clients.

If you would like more in-depth information on a topic we’ve already talked about, let me know that, too.

Ask Me a Question

Still stuck? Don’t know how to put your question into an email? Here are a couple of tips.

Tell me what frustrates you most about colored pencil drawing. Chances are good that others share the same frustration, and that I share it—or have shared it—in the past.

Or tell me what you most want help with. You won’t be alone. Others want help with the same thing.

Email your question.

Ask Me a Question Sign

Whatever your question, now’s the time to ask it! Just send me an email. I’ll “unwrap” as many of the answers in December as possible! If we run out of month before we run out of answers for questions, I’ll continue answering questions in future posts.

By the way, if you’ve asked a question in the past, but have yet to see an answer, ask it again! Things do have a tendency to fall through the cracks upon occasion.

Are you ready to ask me a question? I’m ready to read—and answer—it!

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How to Correct an Umber Under Drawing

It would be nice to say that every step of every drawing goes smoothly; that I never have to go back and correct an umber under drawing (or any other phase of a drawing.) That an eraser never touches my drawings.

The fact is, nothing could be further from the truth. You know what?

Almost every drawing has a few minor missteps. After all, I’m not perfect and make no claim to be.

Little missteps are easy enough to correct just by adding more layers.

But what happens when you make a big mistake?

How to Correct an Umber Under Drawing

I’m no stranger to big mistakes. You probably aren’t either. That’s why you’re still reading, right?

But a few years back, I discovered an almost fatal mistake with a large piece (16 x 20 inches.) A problem big enough to require removing a portion of the drawing and doing it over.

So, just in case you’ve made big mistakes, here’s what I did to correct my umber under drawing.

How to Correct an Umber Under Drawing

The first thing I did was open the digital reference image and enlarge it enough to see the details that were either not visible in the smaller printed photo or were hidden under the lines of the grid drawn over the image. I worked directly from the computer.

How to Correct an Umber Under Drawing Reference

I don’t like erasing my work any better than any other artist does, so the first thing I tried to do was correct the problem by adding color and covering up the mistake. It didn’t take long to realize that wasn’t going to work. I’d have to lift color and start over.

How to Correct an Umber Under Drawing 1
Adding color didn’t help cover the errors in the line drawing.

How to Lift Color

To remove color, I used something called Handi-Tak.

Handi-Tak is a low-tack adhesive product created for hanging posters. Brand names include Blu-Tack, Poster Tack, and by many other names. The common name is mounting putty.

See products at Dick Blick.

Mounting putty is very pliable. Pieces can be broken off the larger piece and worked between your fingers or in your hand. It’s just sticky enough to pick up color when you press it against the paper.

It’s also a self-cleaning product, which means that as you work it in your fingers, the color it lifted off the paper is absorbed into the substance and disappears.

Mounting putty can be rolled into a ball or shaped into points and used to lift color off colored pencil drawings without tearing, scuffing or damaging the paper.

I prefer mounting putty for lifting colored pencil because it doesn’t damage the paper surface and it can be pinched or rolled into sharp edges or points for lifting color in small areas.

Other options are transparent tape, a click eraser, or an electric eraser.

Read more about lifting color on EmptyEasel

What I Did

I warmed the mounting putty by working it in my fingers for a few minutes. Then I pressed it repeatedly against the areas I wanted to lift and rolled it forward while maintaining pressure. Each time, it lifted a little more color.

Another method involves pressing the mounting putty against the paper and turning it. You can also use a blotting motion in which you simply press the mounting putty against the paper and lift it again without any secondary motion.

After every two or three applications, I worked the color out of the mounting putty again. Several cycles of this removed most of the color, allowing me to pinch or press the mounting putty into smaller shapes and fine-tune the amount of color lifted in specific areas.

TIP: It’s next to impossible to lift every bit of color from paper when you’re using wax-based colored pencils. Using a combination of methods and tools can remove most color, but be careful of damaging the surface of your paper in the process.

When I finished lifting color, the head looked like this.

It’s not a pretty sight, but sometimes the best way to cover a mistake is to first remove as much of it as you can. Even if you’re quite a ways into the drawing process.

Redrawing the Image

After that, it was a slow, careful process of applying color and lifting color until I got the head correct.

I began redrawing the features of the horse’s face with Prismacolor Light Umber using the enlarged digital image for reference. I redrew the off side eye and that side of the face, which was the original problem area. That led to redrawing the muzzle and mouth and in doing that work, I also saw some mistakes in the jaw and neck. I corrected all of those areas.

How to Correct an Umber Under Drawing 4
Often making corrections in one area reveals problems in adjacent areas. Take your time and fix as many of those problems as you can.

I also started developing values as I worked.

Corrections took about forty-five minutes, and it seemed at first like I was going backward faster than I was going forward.

But the end result was a much better drawing. It was even a little bit further ahead of where I started in spite of the initial backward steps.

How to Correct an Umber Under Drawing 5
The corrected drawing. Much better than what I started with!

These corrections not only allowed me to finish the umber under drawing, but set the stage for the color glazes that followed.

It Is Possible to Correct an Umber Under Drawing

Or any drawing, for that matter. The key is not to panic or despair when you discover the mistake. Don’t leap to any hasty solutions either.

Take your time. Assess the amount of damage, decide the best way to correct it, and then proceed carefully. Nine times out of ten, that plan will make it possible to finish the drawing successfully!

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Sanded Art Paper & Drawing Paper: 5 Differences

Have you tried sanded art paper with colored pencil yet?

If you haven’t, you may be wondering why you should. After all, isn’t it just like drawing on sand paper from the local hardware store? (And who wants to do that?)

That’s the way I thought before my first experiments with sanded art paper. I almost didn’t try it, because I just couldn’t see how it would work.

But I’m glad I took the plunge! There are a lot of differences between sanded art paper and traditional drawing paper. Some pretty big—and surprising—differences.

5 Differences Between Sanded Art Paper and Traditional Drawing Paper

Now that I’ve created several pieces on sanded art papers, it’s time to share with you what I’ve learned. Both good and bad.

5 Differences Between Sanded Art Paper and Drawing Paper

Popular brands are Ampersand Pastelbord, Art Spectrum Colourfix Coated Pastel Paper, Canson Mi-Teintes Touch Sanded Papers and Boards, and UArt Sanded Pastel Paper. More recently, Clairefontaine Pastelmat has entered the market.

In another post, I described 6 basics of drawing paper, including the most commonly used papers for colored pencil. A subsequent article listed 3 non-paper, non-traditional drawing surfaces for colored pencil. One of them was sandpaper.

I’ve used only Uart and Fisher 400. Following are five of the biggest differences I discovered.

Paper Strength

This is a good difference.

Sanded papers are much stronger than most traditional papers. The substrate itself is heavier than most drawing paper. Combined with the coating of grit, it’s nearly impossible to accidentally damage the paper, so you can be as aggressive in applying color as you like.

Many sanded art papers are also available mounted to rigid supports for even better durability.

An additional upside to this is that you do not have to frame sanded art paper under glass if you don’t want to. It’s advisable, but not absolutely necessary, as is the case with traditional art papers.

Detailed Line Drawings

Transferring a detailed line drawing is difficult. You can’t use a light box because the paper is so thick. Transfer papers of any type are also unsatisfactory on some of the coarser surfaces.

I’ve found this difference to be less than ideal. I like detailed line drawings when I do portraits. For a while, that made sanded art papers a no-go for me.

But many artists use the grid method or a projector to transfer their drawings. Both are acceptable alternatives to regular transfer papers, and both give great results.

Another alternative is light sketching right on the paper. I usually start landscapes with just a basic sketch, so most of my drawings on sanded art paper have been landscapes.

August Morning in Kansas
Colored Pencil on Sanded Art Paper

August Morning in Kansas (above) is one of the most recent and it’s the best one so far. I’ve started all of them with simple sketches.

Sharp Pencils

You don’t need sharp pencils to work with sanded paper. In fact, sharp pencils can be a detriment. They break easily on the gritty surface, and even if they don’t, you get two or three strokes before they go blunt.

So forget sharpening. Use your pencils more like pastels. It’ll be a lot less frustrating.

Forget preserving your pencils, too. Sanded art paper quite literally “eats them for lunch!”

But that’s not as bad as it sounds, because most of that color is going onto the paper. Yes, pencils wear down more quickly, but you’re building color more quickly, too. The details in the trees in August Morning in Kansas are lighter colors applied over darker colors.

And just in case you’ve heard the rumors about pigment dust when you draw on sanded papers, it’s true. But you probably haven’t heard that you can use a bristle brush to push that dust into the tooth of the paper so it’s not wasted!

Show me another drawing paper you can do that with!

Pigment dust can be dry blended into sanded art paper.
Use brushes like this to dry blend pigment dust into the surface of sanded art paper.

Thick Color Layers

Thick layers of color work better than thin glazes. Even with the smoothest sanded papers, the tooth is such that getting an even color layer is next to impossible without solvent.

And light pressure? Forget it. Medium to medium-heavy pressure is going to be a lot more productive.

The best part? You can absolutely layer light over dark and it will show up. Try that with any traditional drawing paper.

Is this a good difference or a bad one?

I haven’t made up my mind yet. I have a naturally light hand so working on sanded art papers requires a definite adjustment in working methods.

But as I mentioned above, I can add so many layers even with medium pressure or heavier, that working on sanded paper is getting less and less frustrating.

Excellent Tooth

If you’ve ever had trouble getting colored pencil to stick after a certain number of layers, the tooth of sanded art paper is a good difference.

Granted, it will take a lot more layers to get fine detail if that’s what you’re after and you may find the extra layers not to be worth the trouble.

But if you take the time, the tooth will definitely work for you.

This little drawing (3-1/2 by 2-1/2) is the first drawing I did on sanded art paper. I drew it like I always draw and the tooth didn’t help. See all those dots in the sky? Paper holes. I wasn’t able to fill in the tooth at all, and although the result was very painterly, I didn’t like it.

Spring in CP
Spring in Colored Pencil
Colored Pencil on Sanded Paper

It took a long time before I tried colored pencil on sanded paper again, but the results were much more satisfactory. I was already learning how to use sanded art paper.

East of Camp Creek
Colored Pencil on Sanded Art Paper

Conclusion

If you give sanded art papers a try, be prepared to do some bad drawings for the first few. It’s a great drawing surface, but there is a very definite learning curve!

Even so, I recommend it to anyone who wants to try something different.

Interested in reading more? I wrote a good mini clinic for EmptyEasel based on that first, small drawing. I think you’ll find it useful. Read Using a Sandpaper Surface for a Colored Pencil Drawing here.

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1 Way to Draw Realistic Landscape Greens

Is there a sure-fire way to draw realistic landscape greens most of the time?

Short answer, yes.

The question is, what’s the best solution for you?

I can’t answer that question for anyone but myself, but I can share with you the method that helps me draw landscapes that look like landscapes, no matter what shades of green, what time of year, or what the lighting conditions.

1 Way to Draw Realistic Landscape Greens

Landscape greens can be the most difficult colors to get right in any medium. Most of us have drawn landscapes in which the greens are too soft and muted or are way too bold and artificial.

My Favorite Way to Draw Realistic Landscape Greens

Over the years, I’ve used several methods to draw landscapes. My favorite method to draw realistic landscape greens is beginning with an umber under drawing, then glazing color.

The first few layers of color you put on the paper are called the under drawing. An under drawing can be a single color, two or three colors, a limited palette, or lighter shades of the final colors.

When the under drawing is in earth tones, it’s called an umber under drawing. You can use any earth tone, but the best choices are generally medium-value, neutral colors like Prismacolor Light Umber or Polychromos Nougat or Raw Umber. Once I discovered umber under drawing, my landscapes began to look like they were supposed to look.

Learn how the umber under drawing method compares to other colored pencil drawing methods.

Step 1: How to Begin an Umber Under Drawing

The process is simple. Develop your landscape first in all earth tones. Choose one or two browns—three at most—and draw the entire landscape with those colors.

I prefer Prismacolor Light or Dark Umber, usually use just Light Umber. It’s possible to get a nice value range with Light Umber simply by adding layers. The more layers, the darker the value.

You don’t want to get too dark too quickly, and you also want to avoid developing details too quickly, so draw the under drawing with several layers applied with light pressure.

You can also use a tinted paper, as I did with the drawing below. The paper is Rising Stonehenge in a very light tan color. The color of the paper provided the lightest values for the drawing.

Draw Realistic Landscape Greens Step 1
Use light pressure and a sharp pencil to begin shading values. Start with the shadows, then gradually darken values and add middle values layer by layer.

Step 2: Develop Detail & Values

Use a variety of strokes to mimic each element of the landscape. Short vertical strokes with a sharp pencil for grass, stippling (dotted) or circular strokes with a sharp to slightly blunt pencil for trees (use a sharper pencil in trees close to the foreground and a blunter pencil for more distant trees), and the sides of the pencil to lay down even color in the distance.

Define the center of interest early by drawing the darkest shapes near the center of interest or in the foreground and keeping other parts of the drawing more subdued.

Draw Realistic Landscape Greens Step 2
Keep the darkest values and sharpest details in and around the center of interest (the tree on the left.)

Step 3: Finishing the Umber Under Drawing

You can make the under drawing as detailed as you like. When I draw horses, I generally draw a more detailed under drawing, because I want the under drawing to look like a finished drawing on its own.

But with landscapes, I develop just enough light and shadow to define the landscape elements and to begin depicting the sense of space (pictorial depth or aerial perspective).

Glaze color over the finished under drawing layer by layer with light pressure. Most colored pencils are translucent by nature, so the umber under drawing tones down the greens you glaze over it. Even if you appear to totally cover all of the under drawing, its influence is still present.

draw realistic landscape greens
Spring 2012, 4×6 Colored Pencil on Stonehenge Paper

Want to See How I Drew Realistic Landscape Greens Step-by-Step?

I drew this landscape as a demonstration piece for EmptyEasel.com. To see the full, step-by-step demonstration on EmptyEasel.

How to Create a Colored Pencil Landscape Underpainting

Color Glazing a Landscape Painting with Colored Pencils

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Tips for Drawing Dogs and Puppies

A reader recently asked about tips for drawing dogs and puppies. An excellent topic, and one I could spend an entire month on without doing more than just scratching the surface. Here’s the question.

I would love more instruction on drawing dogs, any and all kinds of dogs and puppies. Thank you so very much for all you do! Deb

First of all, thank you for the question, Deb. I don’t get the opportunity to talk much about drawing dogs because most of my drawings have been of horses, or landscapes, or horses in the landscape.

Colored pencil artist Peggy Osborne and I are working on a full-length tutorial on drawing a long-haired dog. Peggy’s doing all the hard work, but she’s doing a fantastic job. That tutorial is coming on Saturday and I know you’ll love it.

To get us ready for the tutorial, I’m going to share a few basic tips for drawing dogs and puppies of all sizes, types, and breeds—things that apply no matter the type of dog—and follow up with a few specific tips for drawing different types of dog hair.

A Few Basic Tips for Drawing Dogs and Puppies

Draw What You See; Not What You Think You Know

Dogs come in all shapes and sizes. Large and small. Long haired and short. Straight hair, curling hair, sweeping hair. Hundreds of color combinations. It’s important to look at the particular dog you’re drawing and draw what you see; not necessarily what you know about dogs in general.

The condition (long or short, straight or curly) and color is vital to capturing a good likeness of your canine subject.

It’s doubly important if you’re subject is a breed of dog in which all the members look pretty much alike. Weimaraners, for example.

This applies to anything you might draw, so it’s a good rule of thumb for all subjects. But it’s especially applicable to drawing dogs.

Get to Know Your Subject

Things to take special note of are:

Proportions: How long are the legs compared to the length of the body? How big is the head? How long is the neck?

General Appearance: Do the ears stand up or fold over? How long is the tail? What type of hair does the dog have? What colors and how many different colors are in the dog’s coat?

Character & Attitude: If you get a chance to meet the dog, take time to just watch it. Is it an active dog? Bold or timid? Playful or sedate? You can use all of this information to capture more than just how the dog looks. Getting the character right is especially important with portrait work, so if you can’t visit the dog, ask the owner what their pet is like.

Keep the setting in mind when drawing dogs and puppies. Sometimes, the dog’s surroundings are as important as the dog.

Make Sure Your Line Drawing is Accurate

There’s no way to fix a bad drawing once you’ve started adding color. Believe me. I’ve tried it! You can layer, glaze, and blend like Michelangelo, but you won’t be able to hide a poor drawing.

It’s well worth your time to make the very best line drawing you can even if you have to work through several revisions or use aids like projectors, light boxes or tracing paper.

Take Your Time

Colored pencil is a naturally slow medium, so don’t rush yourself. Take time to study the subject before you put pencil to paper, and take time with the line drawing.

Then expect to take at least that much time and probably more to do the layering, blending and rendering. If you find yourself rushing through something or getting careless in how you put color on the paper, stop! Step away from the drawing and take a break!

Look for the light in any portrait. How the light falls on the dog (or any subject) can either bring the portrait to life or keep it flat and uninteresting.

A Few Tips For Drawing Dog Hair

Other than the overall shape of a dog’s body, color and hair are the most noticeable traits. Get those right and you’re more than halfway to drawing a good likeness of your subject.

But hair is a difficult thing to draw. For some artists, it’s their least favorite part of drawing portraits or animal art. I happen to love hair. The longer the better! That’s one of the reasons I have so much fun drawing horses.

So I’m going to followup basic tips with suggestions for drawing three types of dog hair: Short, medium length, and long.

Keep in mind as you read these tips that there are different types of hair within each of these much broader categories.

General Tips

  • Start with the best possible reference photo. You can’t draw what you can’t see.
  • Take extra time to map out the basic hair growth patterns and values in your line drawing. It’s a lot easier to correct errors at this stage than after the drawing is half done.
  • Begin with initial layers that are evenly applied.
  • Use directional strokes that follow the pattern of hair growth, but don’t try to draw every hair. That will leave you disgusted and discouraged, and will also not look all that great.
  • Use more obvious hair-like strokes where color or value changes. Between a highlight and middle value, or between a marking and the regular coat color.
  • Other places that define the length and type of hair are over body contours, around the head, neck and ears.

Short Hair

NOTE: This sample actually from a horse drawing, but the coat type is the same as many short haired dogs.

Use sharp pencils and careful stroking to lay down even color. Keep your strokes short and overlapping. Pay special attention to the direction of the hair where it’s most obvious, such as along the edges between colors and values, or over the contours of the body.

Medium Length Hair

With medium length and longer hair, make more use of pencil strokes. Don’t draw every hair, but draw more texture in the middle values than you would with a short-haired dog.

Also be aware of the direction of hair growth. It’s important all over the dog’s head and body, but is especially vital along the outside edges of the dog, and where the skin curves over muscular and skeletal structures.

Tips for Drawing Dogs and Puppies - Long Hair Sample

This detail shows the area across the dog’s chest, and shows how the hair is also slightly curly. It’s not straight hair. Pay attention to the type of hair as well as the length and growth patterns.

Long Hair

Long hair is the delight of some artists—myself included—and the bane of others. It looks so complicated when you first begin.

The key is to break down all that wonderful hair into smaller sections, such as the “moustache” on each side of the muzzle, the curving hair over the eyes, and the “bib” under the head.

Then break down each of those areas into groups of hair.

Tips for Drawing Dogs and Puppies - Long Hair

Whatever you do, don’t draw every single hair.

Also make use of the color of your paper whenever possible to serve as a middle value, as I did in this sample. This “almost-a-sketch” portrait was drawn on a light earth tone paper that allowed me to draw only the darker values. In hindsight, it would be better with a darker paper on which I could have also drawn a few highlights.

Tips for Drawing Dogs and Puppies - Long Hair Sample

And there you have it: A few short tips for drawing dogs and puppies of all ages, breeds, and types.

If you have specific questions about drawing dogs or puppies, let me know that, too.

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Colored Pencil Basics for Beginners

A few weeks ago, I talked about what you needed to buy if you want to get started drawing with colored pencils. This week, let’s take a look at a few colored pencil basics.

Colored Pencil Basics for Beginners

There’s so much to learn with any art medium that it can quickly get confusing. Confusing isn’t what I want to accomplish, so let’s stick with just a few of the essentials. Papers, pencils, pressure, and more.

Let’s begin with paper.

Colored Pencil Basics for Beginners

Colored Papers

If you’re thinking of using a colored paper, choose a color that works well with all parts of your artwork. The color of the paper should ideally provide a base color for the artwork.

For example, for a landscape on a rainy day, light gray or a light gray-green paper is ideal. Gray paper provides an excellent base for a gray sky or misty air with very little work. Gray-green paper provides a good base for the greens in the landscape but might be more problematic for the sky if the sky is light.

For this little landscape, I used light gray paper. All I had to do was add the colors for the sky (white and light gray) and the landscape.

West of Bazaar
West of Bazaar 5×7 on Gray Mat Board

This is not to say no other paper color would work. I drew a more recent “gray day” landscape on very light tan paper for a slightly different look.

White paper is also a good choice for both landscapes, but would have taken longer to draw.

The color of the paper affects the drawing, so choose a color that adds to the atmosphere or tone you want to set for the drawing.

Hard Lead Pencils

Using a pencil with a harder lead can be helpful for beginning a new drawing. Prismacolor Verithin pencils are much harder than Prismacolor Soft Core pencils. The two red pencils are Prismacolor Soft Core. They’re what people usually think of when they think of Prismacolor pencils.

Prismacolor makes a soft, thick lead pencil (top) and a thinner, harder leader pencil (bottom.) Combine hard and soft leads for best results.

The two pencils on the bottom are also Prismacolor pencils, but they’re Prismacolor Verithin. The leads are thinner and harder because they contain less wax binder.

They hold a point longer, and lay down less color even with heavy pressure. They are subsequently easier to lift or erase if you need to lighten an area or remove color altogether.

Oil-based colored pencils are generally harder than wax-based pencils so they’re also a good choice if you want to lay down a lot of layers, but don’t want to fill up the paper’s tooth too quickly.

Use light pressure in the early stages no matter what type of pencil you use.

Applying Pressure

It takes pressure to put color onto paper. Pressure is usually measured on a 10-point scale, with “0” being no pressure at all and “10” being burnishing pressure. Normal hand-writing pressure is generally considered to be “5” on the 10-point scale.

In most cases, it’s best to begin with light pressure and gradually increase pressure as you add more layers. It’s easier to correct or conceal mistakes drawn with light pressure.

It’s also easier to avoid getting too dark too quickly if you add layers and colors little by little.

Sharp Pencils

It’s important to keep your pencils well sharpened. The surface of most papers is made up of tiny hills and valleys. The difference between the tops of the “hills” and the bottoms of the “valleys” is what is called the paper’s tooth. The rougher a paper, the bigger the difference between the hills and valleys.

The deeper the tooth of the paper, the more layers or pressure it takes to fill in the “valleys.”

The sharper you keep your pencils, the better they reach all of the parts of the paper and the better they cover the paper.

You can also combine sharp pencils with heavier pressures to get good coverage on papers. Just don’t do this too early in the drawing because it flattens the tooth of the paper. That makes it more difficult to add more layers.

Sharp pencils are also ideal for drawing detail.

Blunt Can be Useful, Too

Blunt pencils are not always a bad thing. More paper shows through when you use blunt pencils, so color will appear more grainy.

Glazing color (applying a very think layer of color to tint color already on the paper) is best done with blunt or dull pencils in my experience. That’s because so much of the previous colors show through.

Top to Bottom: Very Blunt, Blunt, Dull. All three points can be useful in colored pencil art.

Using heavier pressure takes care of those paper holes (if you don’t want them.)

This method works best if you don’t plan to use a lot of color layers, since heavy pressure adds more wax binder as well as more color (assuming you’re using wax-based colored pencils.)

Getting Dark Without Getting Too Dark

Values are the most important tool you have to use. It’s more important to get the values right, than to get the color right.

It’s also important NOT to get too dark too early. Every layer of color darkens the shadows and middle tones.

It’s always better to stop short of what you think is the proper darkness. It’s much easier to darken shadows later than it is to lighten them.

Working On Everything At Once

Working the entire drawing at once (as opposed to finishing each area before moving on to the next) allows you to make adjustments throughout the process and keep the composition unified.

It’s not necessary to work in this fashion, but it can be helpful in establishing the initial layers of color.

One of my problems in my early drawings was avoiding seams. I always worked one section at a time and even when I used the same colors from one section to another, I could often tell where the two sections met—especially if I was working in an area of uniform color, like a grassy field. The best way I found to avoid this was to work over the entire area, one color at a time.

To Turn Your Paper or Not to Turn Your Paper

Turn the drawing if necessary to make it easier to apply color. Orient the drawing in a fashion that is most comfortable for the area you’re working on.  When doing large amounts of grass, for example, turn the drawing upside down so you can stroke toward yourself (which is more natural for most artists than stroking away). This will also reduce hand stress and give you a fresh perspective on the composition.

Reviewing Your Work

It can be productive and helpful to give your artwork a periodic check throughout the process.

Also try viewing it in a way other than normal. Ways to do this are:

  • Viewing it in a mirror
  • Looking at it upside down
  • Viewing it from a distance
  • Setting it aside and looking at it after a couple of days

Imbalances in drawing, values or colors can more easily be seen when you look at your artwork in a way other than the normal.

Photographing or scanning your artwork and viewing it on your computer screen can also reveal problem areas or areas that are not quite complete.

There’s a lot more to creating beautiful colored pencil art, but these colored pencil basics are enough to get you started. Master these and you’re well on your way!

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Everything You Need to Get Started with Colored Pencils

Today continues a series of articles on colored pencil basics for those who are either new to colored pencils, or want to try them. Today, we’ll talk about the things you need to get started with colored pencils.

Since this is an article on the basics, I want to keep it simple. But I also I want to answer a few common questions asked by people considering colored pencils.

If that’s you, read on!

Why Colored Pencils?

With so many great mediums available, why should you consider colored pencils?

Reasons are a varied as the artists who use them. I dedicated an entire posts to why I like them and you can read it here.

For the sake of this post, I’ll share the most important reasons I prefer colored pencils.

  1. They’re great for creating detail.
  2. They’re clean. No messy cleanup. No migrating paint.
  3. You can take them anywhere!

Those are the three main reasons I started using colored pencils back in the mid 1990s. I needed a medium I portable medium ideal for producing the same, highly detailed portraits I was doing with oils.

Of course there are all the great colors, ease of use, all the ways you can blend with them, and all the great brands available. If you give them a try, I’m sure you’ll find your own reasons to love colored pencils.

What You Need to Get Started with Colored Pencils

Okay. So I’ve convinced you that you are on the right track in considering colored pencils. Now for the big question. Just what must you have to get started?

But the artists you read about and whose work you admire talk about so many different pencils, tools, accessories, and methods, you can’t help but wonder:

I confess. I’m guilty of the same kind of talk. There are just so many really cool things available!

What do you really need to get started?

Everything You Need to Get Started with Colored Pencils

I was once right where you are now. Wanting to try colored pencils but not sure how to start.

Or what to buy or how much of it.

One of my goals with this blog and with every post is to help artists at all levels avoid some of the mistakes I’ve made. That includes clearing up some of the confusion about basic supplies.

Lets begin with three very simple lists.

I have a basic list, an expanded basic list, and an Everything & The Kitchen Sink List. There are so many useful, fun, and cool things on my to-be-purchased list, that this method is the best way I’ve found to prioritize purchases.

This post covers the first two lists because, quite frankly, I could make two or three posts just on the third list, and still not mention everything.

The Basic List contains the minimum amount of supplies necessary to get started with colored pencils. It is the most simple list, and the least expensive.

In most cases, you can find these items locally. No shipping or handling! If you’ve never tried colored pencils before and you’re not sure how you’ll like them, this is the list for you.

The Expanded Basic List is the Basic List plus a few additional items, as well as different types of some of the same items. Two kinds of paper, for example.

You may still be able to find many of the materials and supplies locally, but you will also probably have to do more searching. Online shopping will generally produce better prices and less footwork. If you’re serious about getting started with colored pencil—and sticking with it—this is your list.

If you want to start with the basic list, then add a few items from the other two lists after you’ve used colored pencils for a while, that’s perfect.

One Additional Word of Advice

It’s advisable to buy the best tools you can afford. A few artist quality pencils give you a better feel for the medium than a large set of student grade pencils. The higher quality pencils usually have less filler and a higher ratio of pigment to binder than less expensive pencils. That makes them easier to use and learn with.

You can buy less expensive pencils, if you wish. That’s how I started. But I wasn’t aware of the differences and soon found that cheap wasn’t always less expensive.

NOTE: I realize that not all of my readers are in the United States. If you are not and cannot get some of these supplies, substitute whatever is available where you live.

Now on to the lists!

The Basic List

Paper

I warned you the list was basic!

But paper can be confusing enough on its own, so here are some ideas to get you started.

One 9×12 pad of Rising Stonehenge paper, either white or toned. I recommend white. It’s easier to see what your pencils can do on white paper.

If you can’t get Rising Stonehenge, get a good, basic drawing paper like Strathmore 400 series paper.

Pencils

One 24-pencil set of Prismacolor Premier Soft Core pencils. This set has the basic colors (reds, blues, greens, yellows, black, and white) with enough variety to let you experiment, without burdening you with colors you may not use or unnecessary expense.

And not all of those.

NOTE: Roughly half the colors in the Prismacolor line are not lightfast, meaning they will fade over time or if exposed to direct sunlight. I’ve put together a list of the colors that are top-rated for lightfastness. If you can buy pencils individually and if you’re interested in making fine art, take this list with you when you shop.

Other Tools

Sharpener

A pencil sharpener is a must. A simple, hand-held sharpener is all you need to sharpen pencils. Prismacolor makes a very nice one for a few dollars, but you can also get them anywhere school supplies are sold.

A mechanical pencil sharpener gives you better sharpening with Prismacolor pencils, but I have also used hand-held sharpeners with good results.

The Kum sharpeners are a good value. The Kum wedge sharpener is made with two openings, one for standard size pencils, and one for larger pencils. It’s high quality and inexpensive, though you will probably have to buy it on-line.

Eraser

There are a number of good erasers available for colored pencil work, but I recommend getting a good click eraser, such as shown below. They are a pencil-like tool into which you can insert the eraser. They’re great for fine detail erasing as well as general erasing. The Pentel Clic Eraser is the one I use.

Everything You Need to Get Started with Colored Pencils - Click Erasers

Note: All of these items can be purchased locally most of the time. I can buy them all with a single trip to Hobby Lobby. If there’s an art store, office supply store, or university near where you live, you can probably find them all there.

The Expanded Basic List

These are tools you can add to the previous list or, in some cases, replace similar items on the previous list.

Paper

A pad of Bristol. Bristol paper is heavier than Rising Stonehenge. It’s available in two finishes: Vellum and Regular (or smooth). Regular surface is very smooth. The vellum finish is a little softer, but still not as soft as Stonehenge.

I’ve used both Bienfang and Strathmore. Both are good papers, but they’re so smooth, they don’t work well for my drawing methods. They are ideal for learning, though, and are the go-to papers for a lot of colored pencil artists.

You can also add larger pads of paper. Or smaller, whatever is your preference.

For a paper with more tooth, try a pad of Canson Mi-Tientes. They come in pads of assorted colors, earth tone colors, and grays. I’d suggest a pad of assorted colors, which includes white.

Pencils

Replace the 24-pencil set of Prismacolor Premier pencils with a 36-pencil or 48-pencil set of Prismacolor Premier pencils OR a small set of some other brand, such as Faber-Castell Polychromos, Lyra Rembrandt Polycolor or Caran d’Ache Luminance. Be prepared to pay more for these, but better performance and more lightfast colors are worth the expense.

A colorless blender is also a handy tool to have. A colorless blender is essentially a colored pencil without pigment. It’s made with the same wax binder the colored pencils are and it’s used to blend colors. Use it just like a regular colored pencil to blend without adding additional color.

Get Started with Colored Pencils - Colorless Blender

Other Tools

Sharpener

Get a good, low cost electric sharpener instead of a hand-held sharpener. They’re usually available starting at around $30.

Erasers

One package of mounting putty. Look for Hand-Tak, Poster-Tack, Blu-Tack or similar. Handi-Tak or similar brands. Mounting putty is a soft, moldable substance most commonly used to hang posters. Tear off a piece, shape it however you want, stick it to the back of a poster and press the poster against the wall.

But it’s also very useful in lifting color from a drawing. You can make it whatever shape you need to lift color. It’s also self-cleaning. Work it in your fingers and the color disappears!

Brush

A large brush is handy for sweeping away eraser crumbs. You can use your hand, but doing so runs the risk of accidentally marking your drawing. You can also blow the crumbs away, but a brush is easier to use. Look for  a large brush with soft bristles. Drafting brushes are ideal.

Everything You Need to Get Started with Colored Pencils - Drafting Brush & Erasing Shield

Erasing Shield

This is a handy template—usually very thin metal—with a variety of standard shapes cut into it. To use it, lay it over your drawing and erase through one of the openings. The result will be that shape on your drawing.

You can also add color using an erasing shield.

A Note on Solvents

You’ll notice I didn’t mention solvents. That’s because there’s enough to be said about them that they require their own post. You can, of course, use solvents with colored pencils. Many of us do. I do, in limited form.

Solvents are liquid tools that allow you to blend colored pencil. Standard solvents are odorless paint thinner, turpentine, rubber cement thinner, and rubbing alcohol. They can speed the drawing process, but you also need to use them with care.

That’s why I don’t include them on the Basic List or the Expanded Basic List. Better to find out first if you like drawing with colored pencils enough to invest in additional tools.

Are you ready to get started with colored pencils?

I’ve put together a PDF download shopping list that includes all three of my shopping categories.

Click Here to Download Your Own Everything You Need to Get Started with Colored Pencils Shopping Lists

Click here to get my Everything You Need to Get Started with Colored Pencils shopping lists.

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Free Color Wheel & Value Scale Templates

Time to share a favorite freebie with you—a free color wheel template.

Free Color Wheel & Value Scale Templates

Every time I talk about using the complementary method of drawing, color wheels come up. If you’ve been an artist for a while, you probably know what a color is.

But maybe you’ve never made one of your own.

Now’s the time!

To get you started, I decided to offer you a tool you might not have, but do need: A free color wheel. While I’m at it, I’m also including a free value scale template.

Free Color Wheel Template

This is the same template used in the EmptyEasel.com article, Making a Color Wheel with Colored Pencil, but with a few improvements. It can be used for a standard color wheel or as a project-specific color wheel.

Free Downloadable Color Wheel

The template is a jpg file and should be accessible through any photo manipulation program. All you have to do is open it, print it, and start filling in the slices.

Click here to get your color wheel template.

Free Value Scale Template

The value scale is a 10-part scale that can be used to create gray scale or color values. It can also be used to create a palette for two colors. My sample shows blue, but you can use any colors or color combinations with this template.

This is a great tool for practicing pencil control and pressure levels. It also is ideal for deciding how light or dark to make something. Just lay it over your reference photo to see how light or dark an area is, then shade your drawing until it matches.

The download includes instructions.

The template is a doc file and should be accessible through most Microsoft Word versions or any word processing software that can translate Microsoft Word.

Click here to get a value scale template.

Both templates are free downloads.

Questions?

Leave your question in the comment box below and I’ll answer them as quickly as possible.

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My Colored Pencil Wish List

Let’s have a little fun today. Something totally off topic as far as tutorials, discussions, and techniques. Let’s take a look at my colored pencil wish list.

And yours, too, if you care to share.

Colored Pencil Wish List

Let’s face it. No artist can have too many supplies.

Remember the last time you went to an art or craft store? All those open stock pencils in their nifty display rack. Sheets of paper, and accessories.

Those beautiful colors are enough to make your mouth water (and that’s just the lacquer!) I don’t know about you, but it’s impossible to have too many colors.

Or too many pencils.

My Colored Pencil Wish List - Faber-Castell

But most of us can’t afford to buy every colored pencil we see. The budget just doesn’t allow for that. We begin where we can and wish for others.

That wish list is what this post is all about.

My Colored Pencil Wish List

Here are other pencils on my wish list, in alphabetical order.

Caran d’Ache

Caran d’Ache is a Swiss company producing a range of writing and art supplies. Their colored pencil product line includes Pablo, Luminance, and Supracolor Soft Aquarelle pencils.

Caran d’Ache Luminance are probably the best known, and they are about the best wax-based pencil available, but they are quite expensive at $4.49 (currently at Dick Blick) for single pencils.

Luminance pencils are available in 76 colors that are highly pigmented and can be used with all the same blending methods you might use with Prismacolor. Their pigment core is soft and ideal for layering.

But what sets them apart is their opacity.

Most wax-based colored pencils are translucent in nature. You can see the influence of each layer of color through all the other layers you put over it. That’s why it’s so difficult to make white or light colors show over dark colors.

My Colored Pencil Wish List - Luminance

That is not the case with Luminance. You can draw light over dark for striking results.

The Pablo line is to Luminance with Verithin is to Prismacolor Soft Core. A thinner, harder pigment core that holds a point longer, and is great for fine details.

Derwent Drawing Pencils

Derwent Drawing Pencils have been around since 1986, when Derwent introduced the original line of six colors. Now with 24 colors, they are starting to step onto center stage with colored pencil artists.

Each color is a soft, “earthy” color. The pencils themselves are bigger than most colored pencils. The pigment core is 8mm (Prismacolor is 3.8mm). But they’re also very soft, so they lay down a lot of color quickly.

Colored Pencils 1

What attracts me to these pencils is the muted colors, which are ideal for drawing landscapes or under drawings.

They’re a medium priced pencil, currently listed at $2.02 each in open stock on Dick Blick.

Derwent Lightfast Pencils

Derwent Lightfast Pencils are brand new to the market. They are specifically designed by Derwent to be 100% lightfast; that is, every color in the collection is lightfast.

How lightfast? The company has tested them by ASTM Standards (D-6901 to be specific,) and every color is guaranteed not to fade in 100 years under museum conditions.

They’re an oil-based pencil that performs almost like a wax-based pencil, with smooth lay down and great pigmentation.

Colored Pencils Pencils 2

The downside?

There aren’t many colors, yet. Only 36.

They’re very expensive. The full set is currently $102.56 from Dick Blick. Single pencils are $2.65 each from Dick Blick.

Derwent is planning on introducing 36 more colors in the Lightfast line, but the roll-out date is still unknown.

But they are on my wish list!

Dick Blick Studio Artist’s Colored Pencils

If you’re just getting started with colored pencil drawing and want a high quality pencil for a reasonable price, you can hardly do better than Blick Studio Artist’s Colored Pencils.

The pencils are available in a variety of sets and open stock (91 colors) for about a dollar a pencil. They are a wax-based pencil, with a thick, soft pigment core, and can be used with layering and blending methods.

I’m interested in trying these pencils both because of price, and because they are manufactured by the same company that manufactures Utrecht Premium Colored Pencils. I think of Utrecht as an old, and respected company, so am interested in their colored pencil products.

Colored Pencils

Koh-I-Nor Polycolor Dry Color Drawing Pencils

I can’t say much about the Koh-I-Nor Dry Color Drawing Pencils that I didn’t say about the Koh-I-Nor Woodless Progresso pencils (see below.) I’ve been so happy with the woodless pencils for general drawing and on sanded pastel paper, that I hope the Polycolor pencils live up to the same standard.

Polycolor pencils are oil-based—another advantage as far as I’m concerned—and are moderately priced below a dollar each for the full set of 72.

Colored Pencils on a Diagonal

The only drawback—and it is significant—is that they are not available open stock. For that reason, they wouldn’t be my first choice from this list. But in my opinion, price makes them worth a try.

Someday.

Lyra Rembrandt

Lyra Rembrandt Polycolor pencils are also oil-based, so they produce less wax-bloom than wax-based pencils.

The closest I’ve ever come to these pencils is having some how once gotten hold of a Lyra Splender Blender. That was back before I knew the difference between wax-based pencils and oil-based pencils. I used it to blend Prismacolor and it worked great.

They’re available in a wide range of colors open stock and in sets. Open stock price at Dick Blick is $1.72, so they’re a moderately priced pencil.

Colored Pencils in two Rows

Colored Pencils I Wish Were Available

More Colors, Please.

The Koh-I-Nor Progresso Woodless pencils are fabulous to work with, especially on sanded art surfaces. But they come in only 24 colors, some of which are of no use to an animal or landscape artist! I’d love to see more earth tones, and “earthy” blues, greens, and yellows.

The same goes for the Derwent Drawing Pencils. Those muted tones are said to be beautiful and the pencils themselves a delight to use. I have only the Chinese White, but I definitely plan to buy a set one of these days. Twenty-four colors is a great start, but I’d really love to see a wider range.

Prismacolors the way they used to be.

Who wouldn’t want that?

I have a pencil or two dating back to the Eagle days, as well as a few that are newer, but still predate the current Prismacolor. I would dearly love for someone to buy back the brand and get back to manufacturing a colored pencil for artists and by artists.

Colored Pencils in a Circle

That’s My Colored Pencil Wish List

At least at present. Who knows? Something new may come along any day, and merit addition to this list.

But isn’t that the way it is with art supplies? There’s always something new!

What pencils are on your wish list?

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How to Finish a Drawing Started with Water Soluble Colored Pencils

In this post, I’ll show you how to finish a drawing started with water soluble colored pencils.

Last week, I shared the method I used to create an under drawing using water soluble colored pencils. While I focused on water soluble colored pencils in that post, the technique applies to any type of water soluble media with the possible exception of water miscible oils. I’ve never tried that combination, so cannot tell you whether or not it would work.

Before adding dry color, make sure the under drawing and the paper are completely dry. If there’s any residual dampness, you risk damaging the paper. I usually allow paper to dry over night, just to be on the safe side.  I also usually allow papers to air dry by natural evaporation. Even on the hottest days, this process is less likely to cause warping or buckling.

But you can dry paper with a hand-held hair dryer if you need to finish it quickly. Use a low heat setting and don’t get the dryer too close to the paper to keep the color from running before it dries.

How to Finish a Drawing Started with Water Soluble Colored Pencils

Unless otherwise noted, the colors listed in this article are Prismacolor Soft Core colors. Any colored pencils work over watercolor pencils.

Step 1: Start dry drawing with the base colors.

When the paper is ready for dry color, use the same methods of choosing colors you use for any other technique. Start with the lightest colors and build toward the darks layer by layer.

In this illustration, I’ve added a very light earth tone that’s also a warm color. Burnt Ochre was lightly shaded over the darker area behind the ears and in front of the ears. I used light pressure with a very sharp pencil to draw an even color layer.

How to Finish a Drawing Started with Water Soluble Colored Pencils - Step 1

Next, layer Burnt Ochre over the rest of the horse except the highlights. I always work around highlights so they don’t become muddy or—even worse—disappear. This is the best way to get sparkling highlights when you work on white or light colored paper.

On the horse’s head and neck, use a sharp pencil to draw a smooth, even color layer.

In the mane, stroke with the growth of the hair, starting at the bottom edge of the highlight and stroking downward to the ends of the hair groups.

Use light or very light pressure on the head, neck, and ears. For the mane, use light to medium-light pressure.

Begin drawing the muzzle with a light layer of pink at the chin and light gray in and around the nostril.

How to Finish a Drawing Started with Water Soluble Colored Pencils - Step 1b

Step 2: Glaze color over the base layers.

With the base color in place, begin developing deeper values and richer colors.

For this demo, I used Sienna Brown and Mineral Orange in the middle values, a light glaze of Light Umber and Goldenrod to the lighter values, and Dark Brown to the shadows. However, getting the values right is more important than correct color. Since we don’t all see color the same way, select colors based on what you see in your reference.

Continue working around the brightest highlights.

How to Finish a Drawing Started with Water Soluble Colored Pencils - Step 2a

For each round of work, add more of each color. Getting good coverage (filling all of the paper holes) requires multiple layers. For the best color, alternate between two or more colors.

Continue using light pressure and sharp pencils to draw smooth color. Stroke in the direction of hair growth in the mane and forelock.

How to Finish a Drawing Started with Water Soluble Colored Pencils - Step 2b

Step 3: Add finishing details to complete your drawing.

When the drawing nears completion, begin working on the highlights. Leave the brightest highlights alone. The highlight along the top of the crest, for example, is whatever color shows through from the under drawing.

For the others, add Spanish Orange, Orange, or Yellow Ochre if the highlight is warm in color (the highlight along the cheek). If the highlight is more neutral, use Sand or Cream (behind the eye).

Most of the highlights are then burnished with a color like Beige or Cream to keep them unified with the coat colors around them.

How to Finish a Drawing Started with Water Soluble Colored Pencils - Step 3

Conclusion

Using water media or water soluble colored pencils to draw the under drawing is a great way to reduce the amount of time it takes to complete a colored pencil work. It’s also a good way to cover the paper without filling in the tooth of the paper.

I probably won’t be using this combination very often because it doesn’t work very well on my favorite papers. They just don’t handle moisture well and I don’t care for the texture of watercolor papers that are heavy enough to take the moisture.

But that doesn’t mean this isn’t a viable—and valuable—alternative to using only traditional, dry colored pencils.

As I mentioned in the previous post, if you hope to enter your artwork in shows that are exclusively colored pencil, stick with water soluble colored pencils.

If that doesn’t matter, then experiment and have fun!