How To Draw A Sunrise With Colored Pencils
One of my favorite things nigh colored pencils is their versatility. Traditional wax-based pencils and water soluble pencils (used either wet or dry out) tin exist combined for a wide array of stunning effects.
For this project, I used Faber-Castell Art Grip Aquarelle (h2o soluble), Faber-Castell Fine art Grip (wax based), and Prismacolor Premier (wax based).
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In the tutorial beneath, I'll be demonstrating a combination of traditional dry out and wet media techniques, primarily laying the background for the drawing. In my next article, I'll prove the concluding steps for completing it.
Stride ane: Filling in the sky
I began with water soluble Light Bluish, which I layered diagonal then horizontal throughout the upper heaven; followed by like layers of water soluble Calorie-free Flesh, which I layered over all of the sky except where the sun will be.
I used light pressure and the sides of the pencils for both colors. Then I composite the colors together with a medium-sized sable flat brush dampened with clean water. I blotted the brush to remove nigh of the h2o before blending, considering I'm not using watercolor paper. I also used no more than one or two strokes over whatsoever area, considering additional strokes tend to remove or "pull up" color.
Footstep 2: Calculation trees and sunbeams
When the paper was dry, I added the nigh distant copse every bit vague shapes using Low-cal Blue and Low-cal Mankind, and so blended them with a wet brush. Annotation that in a couple of areas (shown above in the outset paradigm), I rubbed abroad strips of colour to suggest faint sunbeams.
I drew the darker copse with Van Dyke Brown and blended with a wet castor. And then I moistened the pencil by dipping the tip into h2o and tapped colour into place. I used this stippling technique to create an interesting border between the trees.
Next, I added Olive Green Xanthous with loose, vertical strokes and light to medium pressure. I used the tip of a slightly edgeless pencil and the side of the pencil for the kickoff layer and diagonal cross-hatching with the betoken of the pencil for subsequent layers. In the latter layers, I kept the pencil well sharpened to make full in paper holes and put down maximum color with medium pressure level. I followed upward with the sides of the pencil and circular strokes to fifty-fifty out color and value.
To darken the trees, I layered Blue Violet and Cobalt Turquoise with the pencil betoken in round strokes and the side of the pencil with a variety of strokes for both colors. The objective was shine color so I also blended with a finger to remove visible strokes.
Next I blurred the border of the fog by rolling a piece of Handi-Tak into a ball, then rolling it back and forth betwixt my palm and the paper. That not merely lifted color, but put down color. The resulting randomness of value and color was perfect for duplicating the advent of fog and creating "ragged" and blurred edges.
I also used Handi-Tak to develop the lord's day beams. This time, I formed the Handi-Tak into a thin shape and pulled it through the colour showtime at the light source and stroking abroad. I used heavier pressure at the start of each stroke and decreased pressure as I lengthened the stroke. Each stroke picked up a lot of color at the beginning and diminishing amounts as the stroke lengthened. The less color was lifted, the dimmer the "sunbeam" became. I had worked effectually the sunbeams with most of the colors but lifting that color brought them to life.
Pace 3: Drawing the meadow
In the meadow I practical Olive Green Yellowish with low-cal pressure and the side of the pencil. Strokes were open and sweeping from one side to the other, slightly overlapping in a random blueprint.
I also glazed the equus caballus and other parts of the background with lite pressure.
Footstep 4: Adding another layer of colour
The side by side round of piece of work began with multiple layers of Olive Greenish Yellowish in vertical strokes in the meadow. Afterward a few layers, I rubbed the expanse with my fingers, blending the strokes into a field of colour ranging from a very light tint to fairly dark areas forth the bottom.
Next, I added Permanent Light-green Olive. The first layers were vertical strokes of varying lengths with light to medium force per unit area. Over those, I used the side of the pencil and wide horizontal strokes to cover larger areas apace. I didn't alloy at this stage, but used the random patterns of overlapping layers and no layers to create lights and darks that gave the meadow the expect of undulating basis.
The foreground needed to be nearly black with a greenish bandage, and then later the initial work with Olive Dark-green Yellowish, I added Helioblue Reddish with vertical strokes, long in front, shorter toward the back. I used medium pressure in the foreground, decreasing to very light pressure as I worked toward the horizon. In the background, I added Cobalt Green so Light Phthalo Dark-green with vertical strokes of varying lengths using the pencil point.
To unify the color of the trees with the residuum of the landscape, I layered Helioblue Reddish, Emerald Green, and Helioblue Carmine into the copse. I used medium pressure and worked horizontally and vertically to create a solid band of color. I worked around the bands of sunlight, stroking colour in the same direction as the sun beams and finished with a glaze of Deep Cobalt Green over the copse and foreground.
Step 5: Filling in foreground objects
For the pino trees, I used Black, Olive Green Yellowish, Deep Cobalt Light-green, Helioblue Cherry-red, Grass Green, and Van Dyke Brown in alternate layers until the trees were the right colour and value for the mural. I used short, upwardly sweeping strokes to mimic pino needles and stroked along the length of trunks and branches, working around the sunlit edges where necessary.
I then layered Helioblue Cherry-red, Deep Cobalt Greenish and Van Dyke Brown over the horse and added Van Dyke dark-brown to the foreground grass.
Finally, I did a very limited wash of the grass and the pines with a clammy brush. I didn't want a complete blending, and then I didn't utilise a lot of water in selected areas and left other areas untouched.
That completes the FIRST phase of this piece, which I refer to as a "color underdrawing." I'll finish the landscape and the horse in the side by side installment.
Stay tuned!
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Source: https://emptyeasel.com/2014/02/20/how-to-draw-a-sunrise-landscape-with-water-soluble-colored-pencils-part-1/
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