Monday, February 12, 2018

White Rose

Today is bright and sunny after weeks of dull, gray snowy skies.

I am working on color correcting my white rose drawing. How do you color correct white?  In nature or the real world, colors are seldom absolute. Even something that is actually made a single color seldom appears that way. It will have various tints and shade due to the lighting, the complexity of the object and natural contours. As artists we need to be sensitive to this. It is how we get our 2-dimensional drawings to represent a 3-dimensional world.

So today I color corrected my white rose.

Actually the white rose is not completely white. They seldom are. They are usually tinted a bit cream, blue or in this case, blush.

Looking at the heart of the rose I see the blush shading to a deeper pink to peach and coral. I even see a little green and violet in this rose. All of this must be brought out in the finished work.

But the light is fading--so I need to stop until I can see all the find shading/tints and details.

Monday, February 5, 2018

Working Petal by Petal

Erasing the grid lines from each petal as I work it--locating and isolating each in turn. I am trying to work building the gradual blending from light to dark, noting both the shadows and highlights. As with all real objects, I have both cast shadows and contour shadows. This is what gives work depth. As I work I must keep in mind the shape. These petals are not flat. The go up, around and out. They have dimension. And the challenge is to show this in each petal. Color and value gradates up and out of the petals. While there is a natural change from the blush to white, there are also qualities to these hues. As the petal goes away from me, even the white will become darker, tinted as the light shifts.

There are also the bright highlights where the light source hits the rose dead on. These must be the brightest, purest whites of the piece. But even where the “color” is darkest. There will be light and dark qualities to the shapes. Parts in deep shadow will be almost gray to almost deep blush.

So I work with layers of blush, pale pink, salmon white and a full array of grays, warm and cool, with hints of very pale blue to blue-gray. Even a hint of green and violet.

Monday, January 29, 2018

White on White on White

Working on the white rose.

Just as with paints brands, colored pencil names and colors will vary from brand to brand. Light blue from one company may well be a totally different color than light blue from another company.Just how light is light blue? How deep is deep red?  Color ranges will be similar but each brand will have its own distinct hues and colors it chooses to put into a pencil.

Unsurprising this also can apply to white. In truth, white is not an absolute color, but will have qualities all its own. It can be bright, warm, cool, flat, shinny. Titanium white is not the same white as flake white or zinc white.

So working with white pencils will be the same. Each brand will have its own white.  And each brand and line of pencils will have its own qualities. There will be other differences too. Coverage, how transparent or opaque that pencil is. How hard or soft the "lead". And some brands will lean toward the warm (yellow) or cool (blue) tone. Even many of the grays will appear when viewed alone to be just about white. Only when compared and used next to the most opaque white will you see the qualities of the grays.

Many manufacturers have a range of gray. They can run from 10% warm to 90% cool. Other brands will have names but the numbers will indicate that they are different colors.

This is very good when dealing with white objects. Working with several white and a full range of grays will help to contour and object. Even if the viewer cannot detect where one pencil starts and another leaves off, she will see the object, in this case the rose as having dimension.

Using different white also helps to alter and manipulate other colors. It is hard to shade from light to dark, but using layers of whites and grays helps you to move the pigments towards the effects you want.

The order you apply the pencil can make a difference. You get different colors if you layer pink then white than when you put white and top with pink.

How much also makes a difference. Two light layers will blend differently than a heavy layer. So a heavy layer of white with a light layer of pink will look different from a light white layer and a light pink layer.

You can also burnish layers with a harder white, like a Venus or Veri-thin pencil instead of the much softer standard prismacolor pencil.

You might find that although the prismacolor is nice and soft you might find it more useful to use the harder faber-castel white for adding highlights. And the Veri-thin make a much sharper line.

Each brand will react differently with mediums and solvents also.

Getting it right takes work and practice and experimentation. So we all need to take time to play with our colors. Get to know them and how well they play with others.

Monday, January 22, 2018

Starting New Colored Pencil Drawings

I am starting several new colored pencil drawings.

Working on very toothy papers, I do not tend to draw free hand directly on my support. I will select materials, either an idea or a photograph (I only work from my own photos, so this is my work completely). Once I know what subject I want, I will play with it on sketching paper, doing thumbnails with simple designs. ea. I will block in basic shapes, shading etc.

Note on working with thumbnails. work within the general shape and size aspect of the work you are thinking of doing. Otherwise, the piece might not be as pleasing as you anticipate.

Once a general idea is done, I will do the more realistic sketch on tracing paper. it is easier to draw and erase on. This is especially true if you decide to draw a complicated image, such as the close up of a flower.

I will grid this work. Sometimes, as in the white rose I have started, I will print out on standard copy paper the photograph I want to use as the subject. This is reference. I will actually grid this, and use it to draw the design onto the tracing paper.

I usually work on tinted, high grit paper, such as sanded pastel paper, mat board or colourfix papers. These do not erase well. So I will transfer the design from the tracing paper to the board with light artists transfer paper. I find that these lines erase much easier and more completely than putting grids on my good paper with either white pencil or graphite. Sometimes I have trouble removing graphite from sanded and colourfix. Graphite also has a tendency to put dents into the mat board, and that you just cannot get rid of.

Another advantage of drawing on the tracing paper, and then transferring it to the good support is that you always have your starting drawing for reference if you get lost. And with a very complicated, detailed drawing this happens more than you might think. I

I do number my grid, ea. lower left corner is 0,0 and I mark each row and column along the way.

If I have a color copy, I also mark this with the exact same grid!

So now I have several drawing layed out and ready to go.

Monday, June 5, 2017

Critique: Small Round Pot


My niece sent me a snapshot of her sketch of a small round pot with the text “drawing round things is hard!”


I can see that she had trouble with this.




Well, its not uncommon to have trouble with any round symmetrical object, or any asymmetrical object for that matter.


It can be hard to keep focused on what you actually see. The brain has a tendency to “fill in the blank” even when there is no blank.


The problem here is with the “math”


Her “measurements”   don’t add up.


I can tell from the sketch that there were a lot of false starts and more than a bit of erasing.


This is one reason some drawing teachers have students practice drawing with a pen rather than a pencil. No erasure allowed. When we erase and redraw over and over we tend to get frustrated, and things get bigger. More “incorrect”.


I also see that she got distracted by the shadows and the patterns on the vase. Distracted too soon by details she lost the overall shape of the object.


If you look at the pot, you will notice that it is almost twice as wide at the top than at the bottom. Also, at this angle, the opening of the top of the pot is almost 1/3 the overall height of the pot.


What would have helped?


A couple of things.


One, a plumb or center line. Do not be afraid of putting guidelines in your drawings and sketches. These should be light lines easily erased. You can use a straight edge, but really any reasonably straight line will do. Putting in a horizontal base line to indicate the bottom width and a wider horizontal line for the top of the pot would also help. This would automatically give you guidance for the correct slop. You can see that she has her sides almost straight. The pattern got in the way.


Don’t worry about any pattern when sketching out the shape. This is not important at this point.


The strong shadow also became too important. Because of the focus on the cast shadow she did not discern the contour shadows.


I can see the growing frustration in this sketch.
Rather than going on and on. I think some sketch lines over her drawing will say it all. I have added a couple if guidelines to this sketch showing how easy the use of centerlines can help.




Try again.




Monday, May 29, 2017

Now For The Critique

My niece has just started to draw

--so I suggested she try to draw white objects and drawing from life, not photographs.
Her drawing of a spoon.

I am going to post copies of my niece’s drawings. Remember, these are her first drawings. 

Working from life gives you a very different point of view. Yours.

In art only one point of view matters, the artist’s or yours.

When drawing try not to move around a lot. You will naturally want to. We all want to see what is around the bend. This will give you access to more of the object, but as you move around, you will find inaccuracies and distortions creep (or leap!) in your drawings.

This is what happened here.

When drawing the oriental spoon, Niece tried to draw more of the bottom than what she was seeing. This is natural, as your brain knows that the spoon need to hold the soup. She was also distracted by the pattern that was on the bottom. She brought the pattern up onto the side, where it is more easily seen. We tend to focus on patterns so she might not even realize that the pattern is confined to the bottom. She also shows a bit of the white which she would not see in the spoon at the angle she has drawn it. It is always tempting to add what we know, but restrain yourself to what you are actually seeing at the moment. 

She has also drawn the bottom of the spoon completely flat. While we all know it is flat, it has to be to rest easily on the table, we DO NOT SEE IT THAT WAY. At the angle she is drawing, we see not the flat bottom but a slight gentle curve. 

The sides are a bit wider than the bottom and we can be deceived by that curvature.  Both sides are the same height, we know this in our heads, but what do we see? Because we are looking at the spoon at then angle, what we see is that the back side appears to be taller than the front. In our heads we know this is not so, but THIS IS WHAT WE SEE. 

Sorry did not mean to shout, but look carefully. Because we are looking slightly down on the spoon the sloping side closer to us appears smaller, as it slopes away and down from our vision. The opposite side because of the angle appears larger because it is sloping up and away or outward. We actually see more of this side. Also it is well lite and appears lighter. The side closer is sloping down and under and is darker because of the shadow cast by the upper edge. This surface has both a cast shadow and a contour shadow. Which is why it is so dark. The spoon is actually a uniform porcelain white. We also see contour shadows on the handle which is concave. There are also highlights when the lamp is glinting off the smooth porcelain. We also have strong lines where the top and sides meet. These can be softened. You only see a slight blur where the contour shading begins. A minor detail, the handle at this angle is a little short. I suspect that niece turned her head a little.

Does this mean this is a terrible drawing?

No. We can all see what it is. Most people would be amazed at how accurate it is. It is a fairly accurate drawing of a white porcelain Chinese spoon. Very good for a first try. But a good critique gives the artist something to think about and strive for. Knowing niece. I know she can do better and will with experience.

Drawing is like any other skill. It takes time to get really good at it. Time and a lot of practice!

We learn to draw by drawing.


Monday, May 22, 2017

Drawing White Objects

Notice the shadows
My niece has just started to draw--so I suggested she try to draw white objects and drawing from life, not photographs.

Why White?

One of the best ways to do this is to draw simple white objects against a white background.


  1. There is no distracting color
  2. There is no distracting pattern
  3. You can see value clearly
  4. See how shading shapes an object
  5. learn the temperature of white
  6. Understanding the difference between contour shadow and cast shadows

White is Not Always White

Notice the contour shadows
When we think of white we think of the absence of color. Not so! Have you ever gone looking for white paint in a paint store? How many shades of white are there? White has color. Actually white has all of them! But lets not get into that. White also has temperature. There are warm and cool whites. Whites that tend towards the yellow, whites that tend towards the blue. How does this effect drawing with graphite? Even a white egg will have value shifts in its contours.

See all the shades of white
While it is a challenge to draw, using white objects against a white background will teach you more than almost any other drawing exercise. Drawing these from life will help you focus on their true shape and size. Working with a couple of similarly white objects will also help you learn to evaluate relative size, placement and even texture. One of the classic drawing exercises used for many years in drawing classes the world over is drawing a white bowl of eggs. Or a simple grouping of eggs on a white tablecloth. Many an art student remember this and shudders! 

Simple shapes are not simple
Also by drawing white you are not deceived by differences in color intensity nor distracted by pattern. When you are first learning to draw ( and even after if you are honest) you will find different colors will catch your eye first or distract you from other objects around it. This is natural. We all have our own color preferences and sometimes dislikes. When you are using a monochrome media, like graphite, interpreting these colors into a value rich drawing can be both rewarding and a little confusing. Learning to judge which red is brighter, lighter or should be more value rich then the mustard yellow or purple can lead to really exciting drawing. Learning to focus also on the contour shading of an object, seeing the small value changes in a solidly colored object will help you draw that Chinese vase so it looks real, round and almost popping off the page instead of like a flat cutout.

Where are the edges?
To draw well, whether it is hyper-realistic or fantasy, abstract or cartooned, you need to understand the difference between cast shadows and contour shadow. You can read all you want. You can copy master drawings, use photographs, but until you do it yourself, from life learning to make your own judgments, you will not really experience the whole joy and freedom of drawing.

Learning the technical side of the art is freeing. Just as learning the scales when learning to play an instrument gives you the muscle memory to move with the rhythm of the song learning to see the contour shading frees you to draw what you see accurately. This makes it easier to manipulate objects when you want to. Understanding them helps you turn them inside out and create believable imaginary objects.
All white but not the same color