Watercolor Pencil Landscape for Beginners

Watercolor Pencil Landscape for Beginners

Announcing my first new tutorial for 2021. Watercolor Pencil Landscape for Beginners.

Landscapes are one of the most difficult subjects for many artists to capture. They have been for me. There’s simply so many possibilities in every scene, that an artist can quickly become overwhelmed.

I didn’t start doing serious landscapes until after I started using colored pencils. My skills have improved over the years, but one thing remains the same.

It still takes a long time to finish a landscape! Especially a big one.

So I started looking for other ways to draw and that’s how I discovered the usefulness of watercolor pencils.

Watercolor Pencil Landscape for Beginners

And that led to this tutorial.

Watercolor Pencil Landscape for Beginners

In this tutorial, I share some of the lessons I learned about combining water and traditional colored pencils.

You’ll learn how to start your landscape with watercolor pencils, using them wet and dry.

Then you’ll see how to layer traditional colored pencils over the under painting. I’ll show you how to create the illusion of distance and draw trees that look like trees.

The tutorial includes a full supply list, a color chart so you can match colors if you don’t have Prismacolor pencils, and a line drawing. It also includes a full-size reference photo!

A page from the tutorial. Click on this image to buy your copy.

Are You Ready for Something Fun?

If you’re ready to dive into watercolor pencils, I hope you’ll give this tutorial a try. It’s written so you can do this project, then follow the same steps for your own landscape.

Or for most other projects you want to try.

And if you’re just looking for a new project to draw, then why not give this tutorial a try?

Click here to buy your copy of the Watercolor Pencil Landscape for Beginner’s tutorial.

How to Draw a Dark Background

A dark background to makes your subject stand out like no other background. Especially a brightly lighted one. But what’s the best way to draw a dark background?

There are several ways to get a dark or black background for your colored pencil drawings. Colored paper, mixed media, and using colored pencil.

Colored paper—and especially dark paper—presents a set of drawing problems better left for another post.

Mixed media with India ink, acrylics, or air brushing are also topics for other posts.

How to Draw a Dark Background

That leaves drawing a dark background with colored pencil; a process that can be time consuming. But it doesn’t have to be, and I’ll show you one way to draw very dark backgrounds quickly.

How to Draw a Dark Background with Colored Pencil

I had in mind a head study of a running horse, but my model was filled with light. She also had a long, black mane.

It might seem counter intuitive, but I planned do a dark background layer by layer. The plan was to use light pressure to layer several different colors to develop a rich black. The process began with Prismacolor Peacock Green and I spent several hours working on it.

As much as I looked forward to drawing the mane, drawing the background around the mane was a problem. This is as far as I got layering color with light pressure.

A Change in Course

Before I got any further, it was time to work on the next article for EmptyEasel. I chose to write about using masking fluid with colored pencil. That article needed a demonstration piece.

This drawing waited on the easel. I looked at all that mane, and decided the horse—more specifically her mane—was the perfect subject for the article.

And so it was.

I used both masking fluid and masking film on the mane, working on both at the same time to compare them. The part of the mane that is orange is masking fluid. The rest is masking film.

Drawing the Dark Background

First, I applied Dark Brown over all of the background using medium pressure (normal handwriting pressure). I added between two and five layers over the entire background, but wasn’t satisfied with the result.

Next, I chose three colors–Indigo Blue, Dark Brown, and Black–and applied them with medium-heavy to heavy pressure.

Working from one area to the next beginning at the upper right, I layered Indigo Blue and Dark Brown in random patterns. I then added Black. I used medium-heavy pressure for all three colors.

When I’d covered all of the background, I burnished it with each color. For most of the background, I burnished with all three colors, usually finishing with black. But I also burnished some areas with only Indigo Blue or Dark Brown, depending on whether I wanted cool tones or warm tones.

Finally, I burnished with Burnt Ochre to accent the head and to introduce the primary color of the horse into the background.

It took two days to finish the background with heavier layers of color. Although I don’t usually prefer this more direct method of drawing, it is a satisfactory look.

draw a dark background

Conclusion

Ironically, this drawing never went any further. It lurks somewhere in the studio, waiting for resuscitation, but even if it remains unfinished, it served its purpose.

I know one more way to draw a dark background.

And now you do, too!

If you have a drawing you need to be finish quickly and you want deep colors and saturation, this method may very well be your solution.

Realistic Landscape Greens with Colored Pencils

I’ve been drawing landscapes with colored pencils for almost as long as I’ve been using colored pencils. One of the most difficult things to get right in a landscape are the green colors. So today, I want to show you one way to draw realistic landscape greens.

Learn how to draw realistic landscape greens.

There are several ways to draw landscapes with greens that don’t look washed out or garish. One of my favorite methods is to start with an umber under drawing. That’s because earth tones naturally tone down other colors.

But most artists prefer to go straight for the color. I confess. I often do that, too, because color is just so much fun!

So let’s take a look at how I use that method to draw landscapes.

Draw Realistic Landscape Greens Using Direct Color

When you draw with a direct color under drawing, you begin drawing with pretty much the same colors you finish with. You simply begin with lighter versions of the final colors, or start with lighter pressure.

You build color through a series of layers and either increase the pressure or mix in other colors. Sometimes both.

While it’s quite likely you’ll include earth tones and complementary colors to keep the greens looking natural, you won’t use them by themselves at any part of the drawing process.

In other words, the under drawing will look like a faded version of the final, full color drawing.

How does that look in practice? Here’s a step-by-step.

How to Use a Direct Color Under Drawing

As with any other method of drawing, the first step is creating the patterns of lights and darks in the composition. You also begin developing the most basic details at this stage.

The Base Layer

For this illustration, I glazed a medium green over all of the trees using open, diagonal strokes to establish the base color.

Next, I drew the form shadows (on the trees) and the cast shadows (between the trees) with the same color. But I increased pressure a little, and used slightly smaller strokes, which I placed closer together.

The results are the same as with the other methods, but the drawing is already showing the finished colors. Green.

The Middle Layers

Next, I layered a light dull-ish yellow over the trees, followed by a couple of layers of a yellowish-green. Those colors provided the warm yellow tint necessary to create the appearance of late afternoon sun slanting across the landscape.

I followed that with another layer or two of the original color into the shadows on each side of each tree. Then I glazed a light-value, yellowish earth tone over all of each of the trees.

After a few more layers alternating between those colors, I burnished with a very cool, light blue in the lightest areas. Then I added a little dark green or dark brown in the shadows, and then burnished with the colorless blender.

Once the basic values were in place, I continued layering all the colors over the trees. Layer by layer, I developed colors, values, and details.

I finished by layering medium green, dark blue, and dark brown into the shadows, alternating between the colors to create a range of values within the shadows.

Finishing the Trees

I finished work on these trees by burnishing in a couple of rounds.

For the first round, I used different colors for each area: Light, cool blue in the lightest areas and dark green in the darkest areas.

I used a colorless blender for the second round of burnishing, and I burnished all parts of each tree.

To burnish, I used heavy pressure, sharp to slightly blunted pencils with a variety of strokes to achieve the look I wanted for each tree.

This is what these trees look like finished.

The final drawing with realistic landscape greens

You Can Draw Realistic Landscape Greens

It takes some thought and patience, but once you master the process, it makes perfect sense.

When you use the direct color method, all you’re doing is developing color along with values and details layer-by-layer.

It’s more difficult to determine where the under drawing ends and the final drawing begins when you use direct color, but it is no less effective than using an umber under drawing or a complementary under drawing.

One note to those who will ask. I didn’t name colors in this step-by-step because the specific colors don’t matter all that much. You can use any combination of yellow-greens, medium and dark greens, earth tones and blues to duplicate the results I showed you here.

You can see the finished drawing, Afternoon Graze, here.

Glazing Color on an Umber Under Drawing

Last week, I began a step-by-step demonstration showing how to draw a horse as a miniature drawing. This week I’ll demonstrate glazing color on an umber under drawing on the same project.

Glazing Color on an Umber Under Drawing

Glazing Background Color Over an Umber Under Drawing

The drawing is an ACEO (Art Cards, Editions and Originals) on white Rising Stonehenge paper.

This is the finished umber under drawing. You can read about drawing the under drawing here.

Glazing Color on an Umber Under Drawing -- The finished umber under drawing.

You can finish your under drawing with as much detail as you like. Some artists produce under drawings that look like finished works of art. I admire those artists and their work, but I don’t possess enough patience for such highly detailed under drawings!

My Color List

I used Prismacolor Verithin pencils to preserve as much of the paper’s natural tooth as possible for as long as possible. Finding other ways to preserve tooth is important when you don’t want to use solvents. Verithin pencils include only 36 colors, but there are enough colors to get started.

These are the colors I used.

I didn’t use these colors in any particular order beyond working generally from light to dark. Many of them were used several times, alternating colors among the many layers I did throughout the day.

To preserve paper tooth, use harder pencils for the first few layers of color work.

You can successfully complete this project using your favorite colors.

Layering Colors

I started with Prismacolor Verithin pencils, using light pressure and a variety of strokes to layer smooth color.

To keep the green from getting too bright, I sandwiched earth tones (Dark Umber, Terra Cotta, and Goldenrod) between greens (Apple Green, Grass Green, Peacock Green, and True Green.) I further adjusted color and value by mixing in Canary Yellow, True Blue, Non-Photo Blue, and Ultramarine.

No color was applied in an even layer throughout the background. Multiple layers and varying strokes were used to create the look of sun-dappled foliage in soft-focus.

The result is some areas that are more blue than yellow, and some that show a lot of brown.

Since I wanted as many layers and colors as possible without producing the ‘slick’ look of heavy burnishing, I kept pressure light to medium-light for each layer.

Keeping the pencils needle-sharp wasn’t a high priority. With this type of background, a slightly dull or even an angled pencil tip can be advantageous.

Glazing Color on the Horse

I used Verithin pencils to begin glazing color on the horse, beginning with Goldenrod in the lightest values. The medium value base colors were Orange and Orange Ochre, with Indigo Blue as the base color in the mane and forelock.

Developing Color

After the base layers were finished, I added Indigo Blue in the darker shadows to begin developing those shadows.

Then I continued layering with Verithin Terra Cotta, Goldenrod, and Orange Ochre in the red-brown parts of the horse’s coat.

Next, I darkened values with Dark Brown and Crimson Red. With each color, I worked around the highlights.

For the muzzle, eye, mane and forelock, I layered Black in the darkest areas, followed by Indigo Blue in the darkest values and middle values.

I also used some Prismacolor Soft Core pencils (the same colors) to add vibrancy.

Adjusting the Background

Now that the main colors and values were in place on the horse, I felt the need to add more color to the background. For this, I switched to Prismacolor Soft Core pencils.

To begin, I used Dark Green, Olive Green, Indigo Blue, Apple Green, Dark Umber, and Yellow Chartreuse to deepen saturation all around. I applied light colors in light areas and dark colors in dark areas with enough overlap to avoid ”pasted on” value patterns.

Then I used Yellow Chartreuse, Chartreuse, Light Green, Apple Green, Deco Yellow, and French Grey 30% to burnish the background.

The result was a deep and rich color that looked almost like it could have been an oil painting.

Adjusting the Horse

I added Goldenrod, Orange Ochre, and Terra Cotta applied with light to medium pressure and in random order. Mixing colors like this helped create rich, saturated color.

Then I added Orange Ochre, Spanish Orange, Crimson Red, Orange, Peacock Green, Black, Non-Photo Blue, and Goldenrod. In the first pass, I used the colors in the order listed. Later, I used them in random order.

I started with Verithin colors to establish as deep and even a layer of color as possible while filling as little tooth as possible.

When I had done all I could do with those, I switched to Prismacolor Soft Core pencils and used Burnt Ochre, Orange, and Black.

For the most part, I used a medium to heavy pressure, really forcing color down into the tooth of the paper to fill up every last space.

Finishing Touches

I started the final round of work with Verithin Goldenrod, Orange Ochre, Crimson Red, Ultramarine, and Orange. I used Canary Yellow, and White for highlight colors and to burnish where needed.

Then I added Prismacolor Soft Core Burnt Ochre with light to medium pressure to add teh final touches.

And here is the finished portrait.

Glazing Color on an Umber Under Drawing -- The finished portrait.

If it were a larger portrait, I’d refine the details further and add more color depth. It looked great as an ACEO.

Glazing Color on an Umber Under Drawing is now Complete

I hope you’ve enjoyed this tutorial. You can use this method with success on any subject at any size.

And as I mentioned earlier in this post, you can develop the under drawing as much as you like. The more detail you include in the under drawing, the easier (and less work) glazing color becomes.

Are you interested in more information on this method? I’ve published a subject study tutorial that’s currently available on Colored Pencil Tutorials and you can read more about that here.

Other Articles in This Series

How to Start a Miniature Horse Drawing

Drawing on Drafting Film with Peggy Osborne

If you’re like me, you’ve seen a lot of artists drawing on drafting film with colored pencils. You love the work they’re doing and, maybe (like me,) you’ve also wondered what that’s all about.

I haven’t yet tried drafting film. I’m having too much fun with Pastelmat and have some of the new Lux Archival to play with, so drafting film is way down my list.

Even so, I’m thrilled to let you know that if you want to try drafting film and are waiting for the right tutorial, you’re in luck. Peggy Osborne tried drafting film and wrote her January tutorial about her experiences.

Drawing on Drafting Film

Drawing on Drafting Film

In short, she loves it!

Peggy’s new tutorial tackles a favorite subject by drawing cat eyes. The perfect subject to show you how much color and life you can put into a drawing when you draw on both sides of drafting film.

Drafting film is not your typical drawing surface, however, and Peggy also shares valuable tips for selecting colors and layering for maximum impact.

The tutorial includes a full supply list, a color chart so you can match colors if you don’t have Prismacolor pencils, and a line drawing. A full-size reference photo is also included. No additional downloads after you purchase the tutorial. It’s all included!

Are You Ready to Draw on Drafting Film?

This tutorial is perfect if you’ve never tried drafting film but are ready to try it out. You can’t do better than Peggy’s easy-to-read and follow instructions and beautiful illustrations.

And if you’re just looking for a new project to draw, then why not give this tutorial a try?

Click here to buy your copy of Peggy’s Cat Eyes on Drafting Film tutorial.

About Peggy Osborne

See more of Peggy’s work at Pet Portraits by Peggy. You can also meet Peggy in the January issue of CP Magic.

Peggy is an accomplished self-taught artist living in Canada specializing in creating beautiful realistic portraits of pets and family members. She’s had an on going love affair with colored pencils, loving their simplicity, for as long as she can remember.

She started out using graphite pencil so it was an easy transition to carry on with colored pencils. Love of animals and art go hand in hand. Peggy is in awe of what can be accomplished with colored pencils.

Want to see a free sample of Peggy’s dog portrait tutorials and writing style first? Read How to Draw a Golden Retriever on this blog.

How to Start a Miniature Horse Drawing

Today, I want to show you how to start a miniature horse drawing. That is, a miniature drawing of a horse.

The original drawing is an ACEO, 3-1/2 inches wide by 2-1/2 inches tall.

How to Start a Miniature Horse Drawing

Officially, it also falls into the miniature art category. I’m not certain ACEOs are as popular as they once were, but they’re a great way to practice a new method or technique. If you like finishing artwork quickly with colored pencil, ACEOs are perfect for that, as well.

However, you can download the line drawing here and make this project whatever size you like! I’ve shaded some of the middle values on the head and shoulder to make the highlights easier to see.

You can also download the reference photo here. The photo is a scan from a print photo, so it isn’t the best quality, but it includes all the information you need for this project unless you like hyper-realism!

A Bit about ACEOs

ACEO stands for Art Cards, Editions and Originals, also known as Art Trading Cards (ATCs) because they are the size of a typical trading card.

Size is the only qualification. Artwork must be 3-1/2 inches by 2-1/2.

ACEO/ATCs can be created with any medium on any support, and in any style. They can be originals or reproductions. I’ve used oils, colored pencils, ballpoint pen, graphite, and acrylics to make landscape, abstract, and equine-theme ACEOs.

ACEO horse painting in oils.

I like the size because I can use scrap pieces of paper, canvas or other material to paint or draw on. Another benefit is being able to toss a drawing that doesn’t work.

And that makes ACEOs ideal for trying new materials, new mediums, new techniques, or new subjects.

Colored Pencils and Miniature Art

Colored pencils are ideal for miniature art. Their size and shape make them a natural for producing detail in miniature and the size of miniature art is perfect for colored pencil.

Colored pencils are my favorite medium because they allow a high-degree of detail and I can complete some ACEO-sized pieces in an hour or less.

Now, time for the tutorial!

How to Start a Miniature Horse Drawing

This is my reference. I did a lot of composing with the camera, but also began work by cropping the digital image to the proportions of an ACEO.

Start a miniature horse drawing reference photo.

To transfer the line drawing, I coated the back with a graphite pencil. The soft lead I used required some cleanup afterward, but I got a nice, crisp drawing without leaving impressions on the paper. At this size, that’s a plus.

By the way, I’m drawing on Rising Stonehenge 90lb paper in white. You can use your favorite white paper as long as it’s not too toothy.

This week, I’ll show you how to do the umber under drawing, then follow up with the color glazes next week.

The Umber Under Drawing

I chose to start with an umber under drawing because that’s the best way I’ve found to get the shadows, values and details right.

Working without color is also a little bit faster.

The Background

I chose Prismacolor Verithin Dark Umber because that line of pencil has a thinner, harder lead. It covers paper well without filling the tooth. It’s also easier to erase and correct than softer pencils. You can use Prismacolor Premier Dark Umber, or any similar medium-value brown.

Layer color unevenly over the background. The background will be blurry green, so don’t put the same amount of Dark Umber over every part of it. One option is to leave the background lighter around the horse’s head, and darker along the edges, but you can try other backgrounds, too.

Use hatching and cross-hatching strokes and layering to create variations in values.

Since I was creating my own background, I drew a random pattern of light and dark areas, but kept the background around the horse’s head and especially around the ears, light to accent the horse.

The Horse

I’ve learned the hard way that if I don’t save the highlights, I tend to work right over them. It’s impossible to recover nice, clean highlights once you’ve shaded over them if you’re using traditional drawing methods.

So the first step to drawing the horse is lightly outlining some of the more prominent highlights (outlines are still visible on the shoulder.)

Use directional strokes that follow the contours of the head and neck everywhere except the eye.

For the eye, use circular strokes to fill in the shape as completely as possible. Work around the lashes and use only a few layers around the lower edge of the eyeball, where there will be reflected light, while adding more layers to darken the rest of the eye.

Start a miniature horse drawing.

Except in the eye, use light pressure. When drawing the eye, begin with light pressure and work up to medium light pressure.

Other Notes

Since this piece is so small, there isn’t much room for fine details. Don’t fret too much over all the details you see in the reference photo.

I used a dry fine point ballpoint pen to impress my signature into the paper before starting to draw. Even with a single color applied with two or three light layers, the signature is quite clear. You don’t have to sign your art, or you can use a light Verithin (or other pencil.)

This is an ideal way to sign small format or miniature drawings, especially if you lay down a lot of color and don’t use solvents. When you use a solvent, the signature will be filled in to some extent, but may still be visible.

You may need a couple of rounds of shading the background and/or the horse to finish the umber under drawing. The key thing to remember is to make sure there is a clear distinction between the horse and the background. If the horse doesn’t stand out at the under drawing stage, it probably won’t stand out even after adding color. Contrast is important. Make sure the dark values are dark enough and the light values are light enough.

Now You Know how to Start a Miniature Horse Drawing

If you like, practice on a few more. Or do this one again and save the best one for next week.

If you’re feeling really adventurous, you can try this method on other subjects. Just remember to have fun!

Next week, we’ll finish with color glazing.

King Charles Spaniel Tutorial by Peggy Osborne

Are you looking for a fun way to relax after the holidays? Peggy Osborne’s Cavalier King Charles Spaniel Tutorial may be exactly what you’re looking for.

Cavalier King Charles Spaniel Tutorial Cover

About the Cavalier King Charles Spaniel Tutorial

The subject for this new tutorial is an adorable Cavalier King Charles Spaniel named Brie. The photo was provided by Brie’s loving owner and rescuer, Verity Camp.

Verity rescued Brie from life in a puppy mill, giving her the love and affection she’d missed all those years of producing litters of puppies.

“That makes this tutorial very special to me,” says artist Peggy Osborne. “I wanted to honor the life of this precious pup.”

Those who have rescued small animals will also find a unique significance in doing this tutorial.

You’ll Learn…

valuable skills like layering and blending, using different types of pencil strokes to create textures, and how to draw realistic grass.

Peggy also shows you how to draw that lovely, long fur on Brie’s ears, and how to create the illusion of distance in drawing the dog and the grass.

The tutorial includes a full supply list, a color chart so you can match colors if you don’t have Prismacolor pencils, and a line drawing. It also includes a full-size reference photo! Download the tutorial and start this delightful project today.

Are You Ready to Draw on Strathmore Toned Paper?

This tutorial is perfect if you’ve never before used Strathmore’s toned drawing paper but are ready to try it. You can’t do better than Peggy’s easy-to-read and follow instructions and beautiful illustrations.

And if you’re just looking for a new project to draw, then why not give this tutorial a try?

Click here to buy your copy of Peggy’s Cavalier King Charles Spaniel tutorial.

About Peggy Osborne

See more of Peggy’s work at Pet Portraits by Peggy. You can also meet Peggy in the January issue of CP Magic.

Peggy is an accomplished self-taught artist living in Canada specializing in creating beautiful realistic portraits of pets and family members. She’s had an on going love affair with colored pencils, loving their simplicity, for as long as she can remember.

She started out using graphite pencil so it was an easy transition to carry on with colored pencils. Love of animals and art go hand in hand. Peggy is in awe of what can be accomplished with colored pencils.

Want to see a free sample of Peggy’s dog portrait tutorials and writing style first? Read How to Draw a Golden Retriever on this blog.

Draw on Suede Board with Prismacolor

If you’ve wanted to draw on suede board, but have been waiting for just the right tutorial, your wait is over.

Peggy Osborne walks you step-by-step through her drawing process using only 21 Prismacolor colors on suede board.

Draw on suede board with Peggy Osborne's new tutorial.

Draw on Suede Board with Peggy Osborne

Peggy knows working on suede mat board can be a challenge. She also knows the end result can be well worth the effort. She shares tips for working on suede board and talks about the characteristics that turned her into a huge suede board fan.

Peggy’s model is a stunningly beautiful long-haired German shepherd; the perfect subject for suede board. Peggy shows you how to draw long and short hair, a wet looking nose, and shining eyes, all on suede board.

You’ll learn valuable skills like layering and blending, using different types of pencil strokes to create textures, and how to lift color to add details. Peggy also shares a few tips for working on suede board, as well as a few things that work on traditional paper but are big no-nos when you draw on suede board.

The tutorial includes a full supply list, a color chart so you can match colors if you don’t have Prismacolor pencils, and a line drawing. Download it and start this delightful project today.

Are You Ready to Draw on Suede Board?

This tutorial is perfect if you’ve never before tried suede board but are ready to try it. You can’t do better than Peggy’s easy-to-read and follow instructions and beautiful illustrations.

And if you’re just looking for a new project to draw, then why not give this tutorial a try?

Click here to buy your copy of Peggy’s Long Haired German Shepherd tutorial.

About Peggy Osborne

See more of Peggy’s work at Pet Portraits by Peggy. You can also meet Peggy in the January issue of CP Magic.

Peggy is an accomplished self-taught artist living in Canada specializing in creating beautiful realistic portraits of pets and family members. She’s had an on going love affair with colored pencils, loving their simplicity, for as long as she can remember.

She started out using graphite pencil so it was an easy transition to carry on with colored pencils. Love of animals and art go hand in hand. Peggy is in awe of what can be accomplished with colored pencils.

Want to see a free sample of Peggy’s dog portrait tutorials and writing style first? Read How to Draw a Golden Retriever on this blog.

New Colored Pencil Tutorial

Announcing a brand new colored pencil tutorial from pet portrat artist, Peggy Osborne. A new tutorial with a twist!

This time, Peggy has chosen a subject that I’ve never seen in a tutorial download before. A baby goat.

Her Baby Goat tutorial not only shows you how to draw eyes and fur, but gives you the opportunity to decide how you’ll finish your baby goat drawing..

New Colored Pencil Tutorial

“This little cutie is a purebred Nigerian Dwarf goat kid. Yes, baby goats are called kids.

“Goats make me happy, there is just something so unique and beautiful about them and they make really beautiful art.” – Peggy Osborne

If you, like Peggy, enjoy drawing subjects that make you smile, look no further!

Follow along with Peggy as she draws one of her favorite subjects, a baby goat. You’ll feel like Peggy is sitting beside you, guiding you through detailed descriptions, full-color, step-by-step illustrations and tips.

You’ll learn valuable skills like layering and blending, using different types of pencil strokes to create textures, and a blurred background. Peggy also describes how she blends with solvent, and how she mixes and uses Titanium White mixture with Touchup Texture.

But that’s not all. With this tutorial, you have two options for finishing your drawing. With or without a background!

Ready for a New Colored Pencil Tutorial?

This tutorial is perfect if you’re already a pet portrait artist who wants to improve your skills. Not yet a pet portrait artist, but hoping to become one? This tutorial is for you, too.

And if you’re just looking for a new project to draw, then why not give this tutorial a try?

Click here to buy your copy of Peggy’s Baby Goat tutorial.

About Peggy Osborne

See more of Peggy’s work at Pet Portraits by Peggy. You can also meet Peggy in the January issue of CP Magic.

Peggy is an accomplished self-taught artist living in Canada specializing in creating beautiful realistic portraits of pets and family members. She’s had an on going love affair with colored pencils, loving their simplicity, for as long as she can remember.

She started out using graphite pencil so it was an easy transition to carry on with colored pencils. Love of animals and art go hand in hand. Peggy is in awe of what can be accomplished with colored pencils.

Want to see a free sample of Peggy’s dog portrait tutorials and writing style first? Read How to Draw a Golden Retriever on this blog.

Colored Pencil Tutorials Store

Big news today! My latest adventure has begun. What is it? The Colored Pencil Tutorials store!

ColoredPencilTutorials.com is now open! In fact, today is Grand Opening Day!

Colored Pencil Tutorials Store banner

Colored Pencil Tutorials Store

Colored Pencil Tutorials is now the official source for CP Magic, all my tutorial downloads, Peggy Osborne’s tutorials, and all new future tutorials.

One-to-one distance learning classes are also now available through the new store.

The grand opening includes a new issue of CP Magic and two new tutorials, open from me and one from Peggy.

Just the Beginning

I’m hoping this is just the beginning. Plans are already in the works for annual subscriptions to the magazine, and I’m currently exploring the possibility of memberships through the store.

And of course new issues of CP Magic will be published each month and brand new tutorials.

The August issue of CP Magic is now available. Click here to read about it at the Colored Pencil Tutorials store!

Does this Seem like a Huge Ad?

In a way, I suppose it is a huge ad.

But I’m excited. I’ve wanted to open a standalone online store for a couple of years now. That was my original plan back when I started offering tutorials from the blog. Somehow, it took launching the magazine to get me off dead center.

Now it’s a reality!

The Fine Print

I’ll be taking down the tutorials and magazines from this website over the course of the next few days, so I encourage you to visit ColoredPencilTutorials.com and bookmark it. You can also sign up for the store newsletter for free to make sure you don’t miss new releases or store news.

Anyway, ’nuff said. This is your personal invitation to take a look around the store, and see what you think.

To celebrate, I’m giving you 20% off all purchases made between now and August 15. To get the discount, type the word opening in the coupon box when you check out.