This is a step by step instruction for coloured pencil landscape ...€¦ · are leaving enough “white” uncovered space in between the solid coloured spaces. Please remember that

Light House, Coloured Pencil drawing Ottawa Valley Art Studio

This is a step by step instruction for coloured pencil landscape drawing of the Light House.

For reference we are going to use this breathtaking photo of Light House in Brittany, France, by Alexander Riek. www.photographichorizons.com

� of �1 50 © 2018 iyacarson.com All Right Reserved

http://iyacarson.com


The most important aspect of this drawing is creating the illusion of the air perspective, at the same time showing the reflection of the light and shadows of this beautiful sunrise.

Materials: paper 9 x 12; CANSON Artist Series, Drawing, Bright white, 250 g; Graphite pencil; Derwent 3H; Art Masking Fluid; Winsor&Newton;Oil based coloured pencils; Faber-Castell; Colourless blender; Derwent;Electric eraser and kneading eraser;Derwent; Odourless paint thiner; Speelballart; Synthetic brush; round, #3.

The first step is transferring the image to your paper.

As we discussed at the “Transferring Images” class there are a few ways to transfer the image to your drawing surface. Please refer to the class material for the step by step instruction. In this exercise we are going to use a very simple and easy way of transferring the image. We need only a big sunny window. For a complicated drawing like this, I usually do a tracing of my little photograph, then using my copy machine, I enlarge the image and copy this onto my paper. I hang the drawing on a big sunny window, tape the paper over the drawing, then trace the image. Make sure you use hard pencil (3H and harder) to trace the image. You can also use coloured pencils of any rusty-beige colours (any type of ochre) or greyish coloured pencils.




When it is completed, you need to lift any extra graphite or coloured pencil pigments using a soft kneading eraser, so there will be minimum impact to the paper fibre.

Using the masking fluid and small round brush apply the liquid to the spaces you think need to be protected. Let it dry completely.


Iya Carson, 2018

Iya Carson, 2018



Please follow this step only if you find it comfor table and more convenient for you to draw.

I use this method sometimes when it allows me to color the background more easily.

Turn the printed image and your paper upside down.

Start the colouring process from the left corner of the sky area, using Light Flesh.


Iya Carson, 2018



The colour chart for the sky area includes the following colours: Light Flesh, Cinnamon, Warm Grey I, Cold Grey IV, Warm Grey VI, Light Cobalt Turquoise, Light Phthalo Blue, Sky Blue, Light Ultramarine and Dark Indigo.

Applying the strikes on the direction of the cloud shapes start to create the illusion of air and light of the sky.


Iya Carson, 2018



Work very careful creating the effect of “feather” clouds. Make sure that you are leaving enough “white” uncovered space in between the solid coloured spaces. Please remember that the clouds are always “darker” on the bottom side and “lighter” on the top. The light comes from the Sun and lightens the top side of the clouds. We are far beneath the clouds, so the top side of the cloud we can only see partially. When you draw the clouds make sure that the bottom side is always slightly “darker” than the top side.


Iya Carson, 2018

Iya Carson, 2018 Iya Carson, 2018



Next use Cold Grey IV, Warm Grey VI and Dark Indigo colours to create the illusion of darkness under the clouds. Be very careful, make sure that you do not add too much dark pigment to the sky area.


Iya Carson, 2018



Then using the White coloured pencil blend the sky area applying the strokes in the same direction as the sky “feathers”.


Iya Carson, 2018

Iya Carson, 2018



Continue working by adding different colours layers to create effect of the “rays”. You can blend using the white pencil as many times as you feel are needed; don’t overdo it though. I created a lighter sky palette than it is in the original image.


Iya Carson, 2018

Iya Carson, 2018








The next step is to create the land on the horizon line. The colour chart contains the following colours: Light Yellow Ochre, terracotta, Burnt Sienna, Burnt Umber and Dark Sepia.

First using the electric eraser ,very careful lighten the space right above the top of the mountain horizon line.

Then using Light Yellow Ochre start to create the land on the horizon line.


Iya Carson, 2018



Then, using Terracotta, Burnt Sienna, Burnt Umber and Dark Sepia continue to create the land line. Part is in the shade, and part is lit with sun rays.


Iya Carson, 2018



Next step is the sea surface. The colour chart includes the following colours: Light Phthalo Blue, Warm Grey I, Ultramarine, Light Cobalt Turquoise and May Green.

Starting from the left s i d e o f t h e w a t e r s u r f a c e . U s i n g a l l c o l o u r s c r e a t e t h e illusion of the waves and reflections of the sea water.


Iya Carson, 2018



Then blend all colours using White pencil. Remember that the colour of the sea water is lighter on the line of the horizon.


Iya Carson, 2018



Next I will show a more detailed process of colouring the sea water, how to choose the colours and how to combine them.

First using May Green pencil colour a few “waves’.

Then, using Light Cobalt Turquoise add some value to the sea water. Make sure that you leave some “uncovered” white spaces. After you blend al l colours, these uncovered spaces will help you to create the reflection on the sea water.


Iya Carson, 2018

Iya Carson, 2018



Next is to add some “silveriness” to the sea water. Using Cold Grey I and Warm Grey, I add a few strokes on the water surface.

To a d d m o r e d e e p n e s s a n d d r a m a t i c l o o k , u s e L i g h t Ultramarine.


Iya Carson, 2018

Iya Carson, 2018



Then, blend all colours on the sea surface with colourless blender.


Iya Carson, 2018



Next step is drawing the architectural part of this landscape, the Light House itself. First you need to remove the masking fluid by lifting it with a sewing needle or you fingernail.

The Colour Chart of the buildings contains the following colours: Cinnamon, Terracotta, Dark Sepia, Light Cadmium Yellow and Scarlet Red.

Using Cinnamon and Dark S e p i a o u t l i n e t h e buildings. Make close attention where the light come from, and remember that t h e b u i l d i n g s h a v e cylindrical shapes.


Iya Carson, 2018



Adding Terracotta to the tall building will create effect of observed colour. Using the sharp point of Dark Sepia draw details of the wall and the roof.

UsingDark Sepia draw the undertones of the top. Add Scarlet Red to create the visual color of the top part of the Light House.

The short part of the building has a different effect of old painted walls. Using Dark Sepia create the undertone of the cylindrical shape of the building. Then add Light Cadmium Yellow to make an effect of washed aged surface.


Iya Carson, 2018

Iya Carson, 2018



19 The next step is to create the natural landscape around the buildings. First lets draw the stones on the right side of the Light House. The Colour Chart contains the following colours: Light Chrome Yellow, Brown Ochre, Terracotta, Sanguine, Burnt Umber, Dark Sepia, Walnut Brown and Warm Grey VI.

Start with Dark Sepia on the shadow part of the stone landscape.


Iya Carson, 2018



Use the Terracotta, Sanguine, Brown Ochre and Light Chrome Yellow colours on the sun lighted side of the stones.

Continue working on details; create the stone mass, paying close attention to the light and shadow sides of the stones.

To create the part of the stone bank which is located on the far side I used the Brown Ochre, Dark Sepia and Warm Grey VI.


Iya Carson, 2018

Iya Carson, 2018




Iya Carson, 2018



To create the effect of distance between the two stones, blend the colours with White pencil.


Iya Carson, 2018



Using Light Chrome Yellow and Terracotta create the illusion of the light on the stones near to water. Then using White pencil blend all colours.

Then using any light blue colours add a little bit colour pigment to the water surface and blend it with White pencil.


Iya Carson, 2018




Iya Carson, 2018



Next step is to create the light on the walls and stones under the bridge. The Colour Chart contains the following colours: Dark Cadmium Yellow, Terracotta and Sanguine.

Using these colours start to work on the sun lit spots.


Iya Carson, 2018



Then use Walnut Brown to create the shadows under the bridge and on the left bank.


Iya Carson, 2018



Using “pine - moss” greenish colours start to add some green values to the left bank. I used Juniper Green, Permanent Green and Chrome Oxide Green.


Iya Carson, 2018



Next step is to lift almost all masking fluid. I left covered only a small area in the left lower corner.

At the same time, you can create an effect of dry grass on the front grassy field, in the left lower corner. You can use any metal tool, think needle, opened paper clip, or even a small corn cob holder.


Iya Carson, 2018

Iya Carson, 2018



Start to create the shadow part of the stone wall. Using Warm Grey II cover the top part of the stone wall. Try to create an uneven “stone” like surface, leaving a lot of “uncovered” paper spaces.

At the same time using Walnut Brown start to create the deep shadow of the ground and grass on the left side of the stone wall. The effect of "white dry” grass will be revealed, because we created the “curves” on the paper.

Very carefully lift the masking liquid from the top of the stone wall.


Iya Carson, 2018

Iya Carson, 2018



The Colour Chart for the next steps contains the following colours:

With Dark Sepia, Warm Grey II and Walnut Brown start to create the stone wall.


Iya Carson, 2018



At the same time use Terracotta and Sanguine to enhance the sun light effect under the bridge stone and on the far stone bank on the right side . Using Dark Indigo and Dark Sepia create the value of the shadow.


Iya Carson, 2018

Iya Carson, 2018

Iya Carson, 2018



The Colour chart contains the following colours: Light Flesh, Dark Cadmium Yellow and Terracotta.

Using Light Flesh start to create sun light on the top part of the stone wall.

A p p l y D a r k Cadmium yel low and Terracotta to enhance the effect of the sun lit stones.


Iya Carson, 2018

Iya Carson, 2018



Next step is to draw the far part of the left stone bank , using Walnut Brown and Blue Indigo. Blend the colours with White pencil. Then we are going to create the misty water surface near to the stones. First lift all remaining of the masking liquid.


Iya Carson, 2018

Iya Carson, 2018




Iya Carson, 2018



Then add a few strokes, using colours from Sea water colour chart.


Iya Carson, 2018



Blend all colours with White pencil leaving a small distance in between dark colours of the stones line. Using the Dark Sepia, Walnut Brown and Warm grey II create the illusion of the stones on the far wall of the road. Make sure you use very sharp pointed pencils to create the details. Use colourless blender to blend all colours together. Using Warm Grey III and Warm Grey V create visual effect of light and shadows on the vertical lines of the stone wall. Adding some details with Nougat.

Sharpen the electric eraser rubber insert using fine sand paper.

Use this pointy eraser tool very carefully for lifting some pigments from the light parts of the stone wall.


Iya Carson, 2018



For the sun lighted side of the top part of the stone wall use Orange Glaze, D a r k fl e s h , T e r r a c o t t a a n d Cadmium Yellow.

For the part that l o c a t e s i n t h e shade, use Warm Grey II, Warm Grey V, Cool Grey I, Flesh Pink and Nougat to create the effect old aged stones.

Blend all colours w i t h c o l o u r l e s s blender.


Iya Carson, 2018



In the next step we are back to the stones under the bridge and the part of the ground, stones and grass on the far left bank. Visually divide it on three areas: closest (most yellowish), middle (greenish) and far side (greyish).

Using Dark Naples ochre, Green Gold, Dark Indigo, Walnut Brown and Burnt Siena for the closet part. Following the rules of the light and shadows create illusion of the rocky bank.

Using Green Yellow Olive, Chrome Oxide Green and Green Olive create the illusion of the mossy covered ground. Blend all colours with colourless blender.

For the far part of the bank use Warm Grey V, Green Yellow Olive and Dark Indigo to create the vision of the moss and rocky ground. Blend all colours with Warm Grey II to create an effect that this ground is far away and it supposed to look slightly washed out and not so clear.


Iya Carson, 2018



Use White Pencil to blend sea water edge with the stones and rocks.

At the same time work on the details on the stone wall around the bridge. Use Dark Sepia, Warm Grey V, Warm Grey II and Nougat.

Work on details of the stone mass behind the bridge. Use Green Gold, Terracotta, Burnt Sienna and Dark Sepia.


Iya Carson, 2018

Iya Carson, 2018




Iya Carson, 2018

Iya Carson, 2018



The next step is to work on the foreground.

Start with Dark Indigo create the far rocks in the middle of the bank line.

Then using the same colour mark a few spots where the most shadows are visible in the foreground.

At the same time you can add some green colour to the far space next to the wall. Just to see how it will look.


Iya Carson, 2018



Blend the rock area with White pencil to create an effect of misty wet stone lines.

Add some bluish pigment to the sea water surface to create more interesting effect of water depth and reflection.


Iya Carson, 2018Iya Carson, 2018

Iya Carson, 2018



Work very carefully by blending sea water edge with White pencil.


Iya Carson, 2018

Iya Carson, 2018




Iya Carson, 2018

Iya Carson, 2018



After finishing the sea water misty surface we come back to the foreground grass covered area. Use Permanent Green Olive, Olive green Yellowish and Chrome Oxide Green start to cover the grass area.

Applying the pencil with short strokes, in the direction the grass is growing. Creating more value and shape of the “grass waves”.


Iya Carson, 2018

Iya Carson, 2018

Iya Carson, 2018



Slowly adding Nougat and Warm Grey II to create an effect of old dry grass.


Iya Carson, 2018

Iya Carson, 2018



Using the Burnt Umber, Burnt Sienna and Dark Sepia create the dark spaces in between green grass.


Iya Carson, 2018

Iya Carson, 2018



Using all colours from the Colour chart for the grass areas finish all details on the foreground area. Blend all colours with colourless blender. Make sure you use the same stroke direction as the grass is growing.


Iya Carson, 2018



Apply thinner with a small round brush. Let it dry completely.

Created by Iya Carson. www.iyacarson.com


Iya Carson, 2018


Documents

This is a step by step instruction for coloured pencil landscape ...€¦ · are leaving enough “white” uncovered space in between the solid coloured spaces. Please remember that