My Plein Air Drawings for 2017

This past September, I set a goal of drawing outside at least once a week. It was the second year I did the plein drawing challenge, and  I ended up with six plein air drawings that month.

That challenge was open to all who were interested in taking their colored pencils outside and drawing, too.

When September ended, I decided to continue with a personal challenge until the end of the year. I’d gotten into the habit, enjoyed sitting outside to draw, and because I was learning a lot. Setting a goal for the rest of the year looked like a good way to keep myself drawing, and to put more fun into the drawing process.

There are twenty weeks in the last four months of the year, so I should have ended up with 20 drawings.

While I didn’t always draw every week, I did end up with 23 plein air drawings!

2017 Plein Air Drawings

The drawings are arranged in chronological order. All of them are 5×7 inches or smaller, and most of them are colored pencil drawings, though I drew several of them with three colors or less, and three pen-and-ink sketches (ball point pen) are also in the collection. Those are very small. The pad of paper is about 3×5, just to prove you don’t need expensive tools to sketch!

Will there be more plein air drawings next year?

Yes, there will, if only because I’m already planning to do a third annual plein air drawing challenge, and it will be open to anyone with an interest in drawing outside with colored pencils.

I haven’t yet decided whether to continue the personal weekly challenge.

Having said that, I have to admit to a certain feeling of satisfaction in seeing all of this year’s drawings together. Seeing the seasons advance drawing by drawing also has a certain appeal.

Don’t you think?

Choosing Colors for Outdoor Drawing

I’ve been developing  the habit of drawing outside for a couple of years, now. It began with the first Colored Pencil Plain Air Drawing Autumn Challenge in 2016. I talked about a lot of things related to plein air drawing back then, but there is one topic I neglected: Choosing colors for outdoor drawing.

That’s the subject of this week’s reader question.

Hi Carrie,

I like to work in the field sketching, [and] primarily do landscapes but also may do street scenes. I especially like travel sketching. Can you recommend which colors would be helpful to a minimum travel kit? I own so many colored pencils it is daunting to pick which colors to take without overloading.

Thanks,

Stephanie Reitmajer

Stephanie has asked an interesting question, and one most of us don’t think about all that often.

Choosing Colors for Outdoor Drawing

Choosing colors for outdoor drawing can be as simple or complex as you want to make it. As with most things about colored pencils and art, there is no “right way.”

But I can offer the following basic suggestions to get you started.

Choosing Colors for Outdoor Drawing

Try to plan for every conceivable possibility and you’ll soon be frustrating yourself needlessly. It would be better—and easier—to pack all your pencils, and be done with it!

Understanding what you’re most likely to see and what you’re most likely to draw, then planning for those things makes the process infinitely simpler.

The key to choosing colors for outdoor drawing is knowing what you’re most likely to draw

There’s a rule of thumb among writers (fiction and nonfiction) that the key to success is knowing who you’re writing for. When you know who is most likely to read your work, you can write for those people.

Believe it or not, the same rule of thumb applies to this question, and here’s how.

Stephanie mentioned the types of subjects she prefers drawing. Landscapes and street scenes.

Those are two broad categories that can cover a lot of territory, but knowing those categories helps Stephanie—and you and me—decide which colors to take on road trips and drawing outings.

How?

Colors like greens, blues, and earth tones appear in some form in most landscapes.

The range of colors may be broader for street scenes, but the same basic colors might apply.

So the first step in choosing colors for outdoor drawing is knowing yourself well enough to know what types of subjects you’re most likely to draw.

Understand your subject well enough to know what colors are mostly likely to appear in those subjects.

Next, understand those subjects well enough to know what basic colors are most common in those subjects.

Landscapes are relatively easy. Greens, blues, and earth tones. You can narrow those selections even further by knowing in advance what types of landscapes you’ll be seeing on the next trip.

I favor the Flint Hills as a subject, and in the spring, it usually looks like this.

Choosing Colors for Outdoor Drawing - Flint Hills Spring

In the Fall—and sometimes late summer—it looks more like this.

Choosing Colors for Outdoor Drawing - Flint Hills Fall

I would choose different colors in the spring than in the fall.

When choosing colors for outdoor drawing, focus on color families

Next, look at color families, not individual colors.

Red, blue, and yellow are the primary color families. With them, you can make every other color.

For a little more refinement, add the secondary color families of green, purple, and orange.

When it comes time to travel, choose the color families you use most often, and the colors that best suit your most likely subjects.

TIP: Sort your pencils by color families and store them in individual containers for ease of use. I use a lure box for my pencils. Each “well” contains a different color family.

Want just the bare bones colors? Try this selection method.

Two of each of the primary and secondary colors are all you really need. One cool yellow and one warm yellow, and so on. It doesn’t matter all that much which two colors you choose, just as long as you have a cool and warm from each color family.

Or you could try selecting one light value, one medium value, and one dark value from each of the color families.

Black and white are optional colors, especially if you plan to draw on colored paper. You may also want to include a few cool and warm grays.

TIP: Some brands of pencils offer special sets designed for specific subjects. Portrait sets or landscape sets, for example. These are ideal for traveling and drawing outside. If you’re not happy with the selection of colors that come in the set, save the tin or box they come in, and fill it with your own choices!

Choosing Colors for Drawing Specific Subjects

So you now have the basics. Want a little more information than that? Here are colors I’d consider for specific subjects.

Choose “earthy” colors for landscape drawing

I do a lot of landscape drawing,  and although I often take all my pencils, I sometimes want to travel light. Especially for short trips.

When I want to travel light, the best colors are “earthy” colors. The earthy blues and greens made by Faber-Castell, are ideal for landscape work. Derwent Drawing  pencils also have great colors for landscape artists.

Similar colors from any brand are most likely to work for landscape drawing.

I also suggest at least two browns one light and one dark (or one warm and one cool.) Browns are ideal for an umber under drawing or for layering with greens to keep the greens from going too bright. They’re also vital if you don’t have any earthy greens in your collection.

Following are my color selections. The colors listed below are the colors I reach for most often when drawing landscapes. Your preferences may differ.

Faber-Castell (any of their lines)

The following earth tones make a good selection of base colors.

Burnt Ochre
Cream
Indian Red
Ivory
Light Chrome Yellow
Light Yellow Ochre

Add these blues and greens to your outdoor colors.

Chrome Oxide Green
Chromium Green Opaque
Earth Green
Earth Green Yellowish
Green Gold
Juniper Green
Light Cobalt Turquoise
Light Phthalo Blue
Light Ultramarine
May Green
Olive Green Yellowish
Sky Blue

Prismacolor Premier

Burnt Ochre, Chartreuse, Chocolate, Dark Brown or Dark Umber, Dark Green, Goldenrod, Jade Green, Lemon Yellow, Light Umber, Mineral Orange, Sepia, Sienna Brown, Terra Cotta, Yellow Chartreuse. Any of the French Greys are excellent additions to an outdoor drawing palette.

Koh-I-Nor Progresso

Brown, Dark Blue, Dark Green, Hooker’s Green, Light Green, Light Ochre,  Sap Green, and Sky Blue. Light Grey is also a good color to have along.

I probably wouldn’t take all of these pencils unless I was planning a long trip. In that case, I’d pack everything.

The season also plays a role. For winter scenes, take fewer greens. For autumn, more bright colors and earth tones.

And of course adjust your palette appropriately for wooded scenes, seascapes, and so on.

Earth tones, a few blues, greens, reds, and yellows provide a good color base for drawing most kinds of animals

My landscape palette is heavy on greens, with a lot of earth tones.

For drawing animals, I reverse that balance so there are more earth tones. Those colors include all the browns from the lightest cream or ivory to the darkest brown.

Colors I’d add are colors like Prismacolor’s Black Grape, Black Cherry, Indigo Blue, Pumpkin Orange, or Mineral Orange or similar colors.

If you’re going to be drawing horses, cattle, or most wildlife, those colors (added to the lists above) provide all the colors you’re likely to need.

If birds, butterflies, or other such creatures are your subjects, you’ll need to add brighter blues, greens, yellow, and reds to your palette.

When choosing colors for street scenes, add a few brighter colors

This subject category is a little outside my area of expertise. However, if I were thinking about trying a street scene, I’d start with the list above. In many cases, the street scenes reflect the landscape around them.

In the southwest, streets are more likely to be earthy, warm colors, while streets in the Pacific Northwest will reflect more cool blues, greens, and grays.

There are also artificial things like street signs and vehicles to consider, so add brighter colors to your palette.

My Best Suggestion for Choosing Colors for Outdoor Drawing

A lot more could be said on color selection. After all, I haven’t said anything about still life, or floral drawing.

The best advice I can give you is to look at all of your pencils. If you have a relatively new set, which pencils are the shortest?

Those are the colors you use most often in the studio.

Chances are, they’re the colors you’re most likely to use while drawing outside.

Colored Pencil Plein Air Drawing Week 10 Report

The Autumn Plein Air Drawing with Colored Pencil Challenge is now over. I set out to draw ten plein air sketches between September 1 and October 31. Did I succeed?

Yes! I ended up with 14 drawings. Topics and techniques varied, but I met my goal.

I began and ended with a tree drawing. Nature turned out to be the most frequently visited subject. No surprise there, I suppose, given my inclination to draw landscapes and horses.

The most unusual thing I drew during the challenge was my subject for week 6.

The most fun thing to draw was the portion of rotted board I drew in the fourth week.

Here is the complete collection of plein air drawings. Click on the “week headings” to read more about each one.

Colored Pencil Plein Drawing Collection

Week 1

Getting started on anything is almost always the most difficult part of the project. Yes, I love to start new things, but sometimes it’s a big step.

And very challenging!

So I started with something familiar. A tree.

2016-09-02 Plein Air Drawing 1

Week 2

The sky, and particularly clouds, have long fascinated me. I love weather. Like many others, severe storm warnings send me outside to watch and take pictures. Things have to get pretty bad before I head for the storm shelter. A characteristic that goes way back to childhood.

I drew two versions of the sky for the second week.

Autumn Plein Air Drawing Challenge, Drawing 2

2016-09-12 Plein Air Drawing Week 3

Week 3

Another drawing of the sky for week 3. This time, I used water soluble colored pencils, just to see how they performed.

This is also the only plein air drawing for which I did a little studio work afterward.

2016-09-12 Plein Air Drawing Week 3, Drawing 2

Week 4

Another favorite subject for the fourth week. Wood. This time a decaying plank from the back porch.

If I remember correctly, these same planks were the subject for an article on drawing realistic wood grain that I wrote for EmptyEasel some time ago.

2016-plein-air-drawing-week-4

Week 5

Back to trees and traditional colored pencils this week. But I used only three colors—a cool dark and a warm light for the tree and a touch of green around it—and a method that involved using nothing but line quality. An interesting experiment and pleasing results.

2016-09-29-Plein-Air-Drawing-5a.jpg

Week 6

A subject of a different nature for week six. This is the only man-made item I drew. Do you know what it is? Although I prefer drawing nature, I did want to stretch my drawing skills a little, so chose this coil of extension cord. Not a bad effort, if I say so myself.

plein-air-drawing-week-6

Week 7

More wood, this time the top of a fence post. I used water soluble pencils for this, but used them in a traditional manner. The drawing began with a green under drawing over which I developed value and detail. I liked working with the water soluble pencils, but getting truly dark values was much more difficult because the pencils were so dry and hard. If I remember correctly, this is also the only subject that I revisited. I worked on it two days.

2016-10-14 Plein Air Drawing Week 7, Step 2

Week 8

Water media! The top drawing is watercolor. I intended to draw a wash of watercolor for colored pencil, but it was a cool evening and by the time the watercolor dried, the light was gone.

2016-10-19 Plein Air Drawing 1 Week 8

This drawing is water soluble pencil and another view of another evening. Alas! It didn’t turn out either, but at least it had colored pencil work in it.

2016-10-21 Plein Air Drawing 8 2

Week 9

Somehow, it seems appropriate to save the best for last. I had just enough time while waiting for someone to draw this sprig of leaves. Of all the drawings I drew for this challenge, this one is my favorite. What do you think? It’s amazing what you can do with one pencil, one piece of paper, and a few minutes, isn’t it?

Colored Pencil Plein Air Drawing Week 9 Report - Sketch of Leaves in Blue Colored Pencil

Colored Pencil Plein Air Drawing Week 10 Wrap-up

Did everything turn out the way I hoped it would? No, but then it rarely ever does. I always expect every drawing to be perfect and to be a masterpiece. As pleasing as some of these drawings are, none of them are perfect and I don’t think there’s a masterpiece among them.

But I did have fun and I did learn a few things during the challenge. First that it’s easier to draw from life than I anticipated. All I had to do was find my subject and identify the major details.

Is plein air drawing going to become part of my weekly routine? Probably not, but only because it’s so difficult to get outside some weeks.

I may instead incorporate life drawing into my routine more often. There were a few weeks when weather, health or circumstance made it a challenge to get outside to draw, but when I could have drawn something inside without difficulty.

Did you take the Autumn Plein Air Drawing challenge? If you did, how did you do?

Colored Pencil Plein Air Drawing Week 9 Report

You don’t always have to spend a lot of time to get a nice sketch. Nor do you need a lot of pencils or other equipment. The fact is, all you really need is a piece of paper, one pencil, and a few minutes. That’s all I had Thursday afternoon of week nine.

This is the result.

Colored Pencil Plein Air Drawing Week 9 Report - Sketch of Leaves in Blue Colored Pencil

The Method I Used

I started sketching with the top leaf and worked my way down the stem. The only “special technique” I used was putting darker, heavier lines on the shadowed edges of the leaves (the left side).

Time Spent Drawing

Ten to fifteen minutes. Because I was waiting on someone, I didn’t time myself.

What I Learned

You don’t need much to draw outside. I had one pencil, my drawing pad, and a little bit of time. The resulting drawing is not a Masterpiece, but it’s one of the nicer, more pleasing drawings I’ve done during this challenge.

Practice drawing value with one color and you improve all your drawings. Granted, I didn’t do a lot of shading on this sketch, but the value I added identified the direction of the light source—light was coming from the upper right—helped define the modeling of some of the leaves, and established where the leaves were in relation to each other.

You don’t have to draw every detail to establish the character of your subject. The little branch I drew was one of many. There were also other leaves on that branch, but I didn’t get a chance to draw them. But I didn’t need to draw every twig or leaf to get an idea of the character of the subject.

Drawing leaves from different angles also provides a good idea of what the leaves look like overall, including how they grow on the stem and their general shape.

When you’re short of time, look for the things that define your subject best and concentrate on them. Then look at secondary details.

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Prismacolor Pencils

  • Ultramarine

Interested in other drawings from the Autumn Plein Air Drawing Challenge? Here’s another leaf sketch from week 5.

Colored Pencil Plein Air Drawing Week 8 Report

The eighth week of the Autumn Plein Air Drawing challenge was not a good week. At least not for plein air drawing.

No. That’s not strictly true. I did make a couple of attempts to get a drawing done. It’s just that none of them worked as I’d hoped.

To start with, I didn’t have a lot of time. A number of other things rose up and took charge of my time. Some were expected. Some—like furnace troubles—were not.

I snatched a little time between a mid-week Bible study and choir practice on Wednesday evening to do a quick watercolor study of the evening sky. The colors were so lovely, I just couldn’t resist. My intention was to draw clouds and a few trees with Prismacolor after the watercolor dried, but by the time the paper was ready to draw on, the light was gone and it was time for choir practice, so the drawing went no further.

2016-10-19 Plein Air Drawing 1 Week 8

My next opportunity came Friday evening. I was having back problems by then and couldn’t sit outside in the cool air for very long, so I drew a portion of sky visible through the office window. Again, I tried the evening sky, but this time I used water soluble colored pencils.

That did not work at all, sad to say, though I think part of the problem was the fact that I’m using a box of student grade water soluble colored pencils acquired on the cheap some time ago.

Be that as it may be, I did my best and ended up with something that looked a whole lot like a mess. The blue was very lovely, but much too dark. I also got the paper too wet and by the time it dried, the light was gone. Again.

2016-10-21 Plein Air Drawing 8 2

Time Spent Drawing

All told, I’m guessing I spent about an hour drawing as part of the challenge.

What I Learned

Cheap art supplies are just not worth it. A lesson learned years ago with oil paints. I still remember the day I put the first mark on canvas with professional grade oil paint. It was astounding!

Why I have to relearn the lesson with other materials is beyond me. I guess it’s that frugal—dare I say cheap—streak running up the middle of my back!

Sometimes the best you can do isn’t very good. Another lesson with a shallow learning curve. I like to make every drawing and painting good. The best! But there are times when the best I can do isn’t very good. Or at least not very pleasing. Such was the case with plein air drawing this week.

Do what you can. There are times in life when we simply cannot meet our goals. That was my experience with week 8 of the plein air challenge. The time and will didn’t coincide in a fashion that allowed me to spend the necessary amount of time outside drawing or painting. That’s just life. I’ll be thankful for the drawing I did on the challenge, for the other artwork I did, and for everything else that did go right and I’ll look forward to next week.

Tools Used

Strathmore Bristol Vellum 100 lb white paper

Faber-Castell Art Grip Aquarelle Water Color Pencils, 12 pencil set. I used pretty much every color except black!

Colored Pencil Plein Air Drawing Week 7 Report

Week Seven of the Autumn Plein Air Challenge is now complete. A number of things kept me from getting outside to draw most of the week, chief among them a decided cold snap!

But I did find a comfortable chair in sunny spot one afternoon and had access to an aging wood fence as a subject. Rather than draw a section of fence, I chose the top of one post as the subject for a detailed study.

The Method I Used

I drew this as a straight-forward sketch, beginning with Faber-Castell Art Grip Aquarelle light phthalo green. I roughed in the overall shape of the post, added larger details such as the knot at the top and the larger cracks, then darkened values in some of the cracks, and in the cast shadow to the left.

Next I went over the drawing with Van Dyke Brown. In addition to darkening values, I added more detail and lighter values.

In the cast shadow, I then layered helioblue-reddish and a small area of light blue at the top of the shadow for reflected light.

I also glazed light flesh over part of the post in an attempt to get a warmer gray, but didn’t like that and didn’t glaze the entire post.

2016-10-12-Plein-Air-Drawing-week-7

Later in the week, I did a little more work on the study. I added texture with short, open, diagonal strokes with Van Dyke brown along the vertical grain. I also glazed light phthalo green, light blue, and Van Dyke brown over the side of the post.

Finally, I used black to darken some of the accents.

2016-10-14 Plein Air Drawing Week 7, Step 2

Time Spent Drawing

I didn’t measure the time for this drawing, since I was more interested in rendering a detailed study of my subject. I was outside a little over an hour, but part of that time centered around a lap full of kittens. Drawing and kittens are usually mutually exclusive!

I’m guessing about 45 minutes total.

What I Learned

Dress for the weather. Yes, I sat in the sun and out of the wind. Yes, I was dressed appropriately. But dressing for outdoor activity and outdoor leisure are not always equal. Once I’d sat there for a while, I had to shed my over shirt because the sun was just too warm. Dressing in layers is definitely a wise decision when drawing outside.

Sketch with light colors. Do initial sketches with light colors and or light pressure. Rough in your subject first this way, then either go over it again with the same color and heavier pressure or with a darker color to establish the most accurate lines. I tend to layer colors with very light pressure, but draw with a heavier hand. Using a light touch was definitely to my advantage.

Sketch with complementary colors. I chose green for the beginning sketch because I wanted to do something different. Using a color other than the color of the subject is a good way to see it with a fresh eye.

But you can also begin with a complementary color to add depth and richness to the final colors of your subject.

Get the most out of your pencil strokes. Match the darkness, thickness and openness of your pencil strokes to the subject you’re drawing. The top of this post is rough, so I used short, vertical, zig-zag strokes to draw that area. I used the stroke shown below to draw the top of the post.

zig-zag-stroke-detail

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Faber-Castell Art Grip Aquarelle

  • Light Phthalo Green
  • Van Dyke Brown
  • Helioblue-Reddish
  • Light Blue
  • Light Flesh
  • Black

Colored Pencil Plein Air Drawing Week 6 Report

Week 6 of the Autumn Plein Air Drawing with Colored Pencil Challenge was a challenge.

I worked on an oil portrait almost every day for an hour or two because I want to finish this month (it’s almost there!).

The two final lessons in the Basic Drawing series also needed to be finished and one required a graphite drawing.

Autumn set in for real with a wild thunderstorm and dropping temperatures Thursday evening and although it was sunny on Friday, it was chilly. Not exactly conducive to sitting outside and drawing! I gave serious thought to sharing the graphite drawing with you and taking a pass on the plein air challenge.

Instead, I found a place in the sun and out of the wind and proceeded to draw. Here’s the result. Do you know what it is?

colored pencil plein air drawing week 6

I didn’t set out to draw a section of extension cord, but it was the most colorful and interesting subject I could find in that spot.

It’s also the first man-made subject I’ve drawn, so its color and nature were an appealing combination.

The Method I Used

No special methods were used to draw the extension cord itself. I simply started with the lightest value of yellow on the list below and continued to build color and value through the darker yellow-oranges, the shadows on the cord, and the cast shadow.

To shade the background, I laid the paper on the paved walk and stroked sepia over the paper with medium light pressure and the side of the pencil. I wanted to transfer some of the texture of the walk onto the drawing, but had only moderate success. The paper was just too heavy.

Time Spent Drawing

I didn’t time this drawing, but would guess I spent about an hour outside.

What I Learned

Orange is a difficult color to get right. Almost as difficult is landscape greens.  My subject was a faded, dull sort of orange that looked like it should be easy to capture. It wasn’t. I managed to draw an orange close to the color of the cord when it was new, but couldn’t get the right shade of dull and faded orange. Not even after layering olive green and sepia into the shadows or burnishing with white over a colorless blender.

Use “found” texture to add accents. I’ve been doing this a long time, but don’t think I’ve ever mentioned it on this blog. Found texture is any texture you can transfer into a drawing. Stone. Concrete. Wood grain.

I’ve written about different ways to use found texture on EmptyEasel. Read How to Draw Realistic Rough Stones and Cement Objects in Colored Pencil for a step-by-step demonstration. That’s what I tried to do here, but again, with only moderate success.

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Faber-Castell Art Grip Aquarelle

  • Dark Chrome Yellow
  • Burnt Ochre

Prismacolor Pencils

  • Orange
  • Pale Vermillion
  • Pumpkin Orange
  • Raspberry
  • Olive Green
  • Cold Grey Medium
  • Sepia
  • Cream
  • White
  • Colorless Blender

Colored Pencil Plein Air Drawing Week 5 Report

Fall is definitely approaching! I could feel its chill breath even in the late afternoons this past week.

I finished the week with two plein air drawings. One worked and one, well. I’ll show you what I did and let it go at that.

I doodled a tree from imagination using nothing but lines late one evening and have wanted to try the same method with a plein air drawing. This week, that was what I did for the first drawing. I spent 23 minutes on this and used three colors.

Colored Pencil Plein Air Drawing Week 5 The First Drawing

It’s not totally disappointing. There are some nice value shifts and interesting shapes and it does look like the tree I was drawing, but it didn’t turn out quite as I’d hoped it would.

The fact is, I was dissatisfied enough to find something else to draw and landed upon this little leaf of wild violet growing—or trying to grow—in the back yard.

Colored Pencil Plein Air Drawing Week 5 The Second Drawing

The Method I Used

Drawing the leaf was a simple matter of basic sketching and drawing. I roughed in the general shape first, then added the veining within the leaf, and began drawing color and value through several light layers—all with limepeel. Next, I layered olive green into the shadows and middle values, then continued to develop color, alternating between those two colors.

To finish, I added yellow chartreuse for a highlight color, then burnished the highlights with cream. Finally, I drew a few accents with sepia.

I started drawing with sharp pencils (I always try to sharpen pencils before heading outside), but continued drawing as they became blunt. That helped capture the surface texture of the leaf, which was soft and kind of dull looking.

Time Spent Drawing

I didn’t measure time on this drawing. Instead I just sat down and started to draw. I also worked on this drawing two days.

What I Learned

It never hurts to experiment. Trying new things when drawing is a great way to learn what new methods might suit your drawing style. Since it’s also a good way to discover what doesn’t work, experiment with sketches. Not on important work!

It’s not always necessary to draw a background. The one thing I don’t care for in the leaf drawing is the background. I thought adding a dark background would enhance the drawing by creating contrast. Unfortunately, it actually looked better without that background. When you’re sketching or drawing details like this, you don’t need to add the context of the drawing. Let the details you put into whatever you’re drawing speak for themselves.

Don’t be afraid to revisit the subject again. If you have time to go back and add more detail to the drawing, do so. I didn’t have the time the first day to get the level of detail, color, or value I wanted, so I found the same leaf again and worked on it a little more the following day. You won’t always be able to do this, but when you can, it’s helpful to see what you may have missed in the first drawing and to maybe do a second drawing of the same subject under slightly different circumstances.

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Prismacolor Pencils

  • Limepeel
  • Olive Gray
  • Dark Brown
  • Yellow Chartreuse
  • Cream
  • Sepia

Colored Pencil Plein Air Drawing Week 4 Report

For week 4 of the Autumn Plein Air Drawing Challenge, I turned my attention from the front porch (where the light is almost always good) to the back porch, which is in shadow most of the afternoon and evening. Since it was mid-evening before I took time to draw, almost everything was in the shadow of the house.

But there were a couple of trees in golden light and I planned to draw one of them using a method that’s more like doodling than drawing.

However, when I started drawing, what caught my attention wasn’t the towering elms and evening light, but a rotting board in cast shadow.

I’d drawn parts of these boards a couple of years before, as part of an article on drawing realistic wood grain (published on EmptyEasel.) That time, I took my time and was doing a more finished drawing.

This time, my purpose was drawing as accurately as possible what I was looking. I still wanted as much detail as possible, but also wanted to work with a time limit.

Colored Pencil Plein Air Drawing Week 4

The Method I Used

I used my usual freehand drawing method for this drawing. No special techniques. No mixed media.

I blocked in each of the planks, including the more prominent cracks, gaps, and nails, as a basic line drawing. Because I didn’t want to spend a lot of time, I tried to keep my strokes firm and confident. Not always easy when my tendency is to draw lightly at the beginning.

Next, I shaded the darker values with medium pressure. I added finer detail and began developing the form of the planks.

After that, it was a matter of building detail and expanding the value range until I ran out of time.

Time Spent Drawing

30 minutes.

What I Learned

Use a timer. I didn’t set a timer specifically for drawing, but I was cooking and had a timer set for the stove. It would be helpful to use a timer for timed drawings, rather than trying to guess at it. That way, I could concentrate on drawing.

Pencil stubs are great for outdoor drawing. I used a handful of pencil stubs for this drawing (see the list below). The smaller pencils were easy to handle and use, although I had to retire two of them because they’re too short to sharpen again.

Kittens are not much help! A couple of kittens thought what I was doing was interesting. The drawing process itself, the pencils lying beside me, you name it. Even if all they did was sit on the planks I was trying to draw, they weren’t much help! This isn’t a “hazard” I’d anticipated in thinking about this challenge!

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Prismacolor Pencils

  • French Grey 70%
  • French Grey 20%
  • Sepia
  • Dark Brown
  • Goldenrod

Colored Pencil Plein Air Drawing Week 3 Report

The sky was my theme again this week.

The drawing from last week revealed my need to find better ways to put color on paper quickly and draw smooth color.

One of the ways I thought of to do that was woodless pencils. When Sue Schuetz mentioned using Koh-I-Nor Progresso Woodless pencils on Broken Prismacolor Pencils and How to Repair Them, I decided to get a set. I was familiar with the name, but had never used them. What better way to test them than with a plein air drawing?

However, the sky I drew was mostly cloudy and getting cloudier by the minute, so the resulting drawing looks more like an abstract than a skyscape.

2016-09-12 Plein Air Drawing Week 3

The Method I Used

I chose a very limited palette for this drawing—just three colors, shown above. White, sky blue, and light grey.

I began by layering blue on the paper and blending it with a fingertip. This method of blending isn’t usually recommended because skin oil can affect the paper or the drawing, but since I’m using inexpensive paper and this is only a sketch, it seemed appropriate. The Koh-I-Nor pencils blended very well that way.

Next I shaded the clouds with gray and blended with a fingertip. The lighter patches are paper and the darker patches are multiple layers of gray.

Finally, I burnished with white. The Koh-I-Nor white is a warm white and appeared the slightest bit yellow on the paper, but that color was perfect for my subject. I burnished everything.

The clouds I was drawing were soft and vague. Like fog in the sky. To create soft, seamless transitions from blue to gray, I blended from one color to the other when blending with a finger, but also burnished from one color to the next.

Time Spent Drawing

20 to 30 minutes.

What I Learned

The wonder of woodless. These pencils are wonderful for drawing outside. They’re softer than the Prismacolors I’ve been using, so it’s easier to lay down color.

They also don’t have a wood casing, but are about the same size as a regular pencil, so the pigment core is much larger. Even a well-sharpened pencil produces a wider stroke than a well-sharpened traditional pencil.

Let Your Fingers Do the Blending. I confess, I used to blend with my fingers all the time. Then I learned about the hazards of skin oils and colored pencils and broke myself of that habit. But for this use and on this type of paper, it’s ideal.

Tools Used

Mead Academie Sketch Book, 9 inches by 6 inches, Heavyweight white paper

Koh-I-Nor Progresso Woodless Pencil

  • Sky Blue
  • Light Grey
  • White

I did a second plein air drawing this week. This time I started with water soluble colored pencils (Faber-Castell Art Grip Aquarelle) and finished with the Koh-I-Nor woodless pencils in the studio.

Colored Pencil Plein Air Drawing Week 3

I’ve submitted an article to EmptyEasel about last week’s work, and will link that when it publishes. Stayed tuned!

About The Autumn Plein Air Drawing Challenge

It’s not too late to join me drawing outside with colored pencils.

What: Get outside and draw at least once a week

When: September 1 through October 31, 2016

I’m posting my drawings here every Monday, along with a little information about how I did my drawing, what tools I used, and what I learned.

I’ve also set up a special group board on Pinterest where I’m posting my drawing (or drawings if I do more than one). If you’d like to post your drawings, all you have to do is request an invitation to join the board. You will need a Pinterest account, but they’re free and easy to set up.