How To Draw Horse With Colored Pencils
This series will evidence you how to describe a horse'south face in colored pencil using the umber under cartoon method.
Information technology is a long demonstration, simply it covers the process commencement to finish, includes changes and, trouble solving. All, practiced things to share.
Near the Bailiwick
Hither's the reference photo.
The level of detail is the sort of thing I love drawing. The crop is up-close-and-personal. There's lots of detail. And, it's a equus caballus! It fifty-fifty has good lighting.
About the Cartoon
I'm using 90 pound Stonehenge drawing newspaper in Pearl Grey with the colored pencil variation of the Classical painting technique, the Flemish method. I'll likewise be using Prismacolor Verithin and Premier pencils, unless otherwise noted. You can employ this method for whatsoever subject, on any skilful cartoon paper, and using the pencils of your choice. The results may vary.
Read Comparing Colored Pencil Drawing Methods.
How to Draw a Horse'due south Confront in Colored Pencil
In that location was a cartoon already in existence for an 11×14 oil painting that never got off the ground, so all I had to do was transfer the cartoon to paper, make clean it up a picayune scrap, then get together the working mat, and it was gear up to get. This is the transferred drawing.
I used studio-made transfer paper to transfer the cartoon. Soft graphite layered with heavy pressure over a slice of 8.5×xi typing newspaper. I've been using this type of transfer paper for years because it'due south like shooting fish in a barrel to recharge, information technology's a lot cleaner than some commercially produced transfer papers, I can make any size sheet I wish. Of course, it's too cheap.
Because the drawing was so complicated, I took my fourth dimension transferring it. The details need to be as consummate every bit possible from the outset when I'm working with colored pencils, then I transferred highlights and shadows, besides as all the major shapes. Taking a couple of working sessions to exercise the transfer was worth the time and reduces the take a chance of agonizing over missed details late in the procedure.
The working mat associates is a combination of ii layers of mat lath and a layer or two of corrugated cardboard. I cutting each slice and the drawing paper to the outside dimension of the mat. Then the layers are placed together and bound to a mat with binder clips. It makes for a solid, stable, and lightweight working surface that protects the paper and serves very well equally a 'laptop' cartoon table.
Blocking in the Night Values
The color I've chosen is Dark Brown and I'm starting with Verithin pencils because of their harder lead. I tin impress lines with Verithin pencils, they are slap-up for tiny details and small spaces, and they also erase more easily than Prismacolor Premier pencils. They don't lay down color as quickly, though, so patience is required.
For the first couple of layers, I focused on placing the darkest shadows and establishing a sense of three dimensional mass to the line drawing. I began with the middle, which is typical in a project like this, but virtually of my attention was with the complicated arrangement of buckles and belts on the nylon halter and leather bridle.
For fun, I drew some long pilus with several layers of long, flowing strokes applied with medium light pressure.
Adding Center Values
Item work continued on the leather straps. Again using the Verithin Dark Brown, I added stitching. Rather than only add the marks, I used heavy force per unit area and pressed them into the newspaper. Subsequent layers should gradually create the wait of night stitching in the leather.
I too darkened the eye to bring out the reflected highlight a little and used a Zebra fine betoken ball point pen (a dried out pen) to impress eyelashes that will be lighted by the sun.
Next, I drew heart tones in the neck, face up and ears, and I played with the mane and forelock a niggling more.
Concealment Values
Once the main shapes and shadows are established, I darkened all of the shadows and reinforced the stitching on the determent. I'k however suing Verithin Night Brown and developing dark values layer by layer using medium light pressure level.
For the most part, I work throughout the drawing each day, though I may focus on tack one day and on the horse another.
The purpose at this stage is to bring the umber under cartoon as shut to looking similar a stand-lone drawing every bit possible. Ideally, the under drawing that could exist considered finished artwork in its ain right.
I also am working on developing highlights in the under drawing without the utilize of lighter colors or white. That will permit me to preserve the brightest highlights for addition belatedly in the drawing procedure, when I can residual highlights and shadows.
The best way to accomplish that is by gradually building dark and mid-tone areas around the highlights. That is part of the reason I begin with the darkest areas first and work toward the light areas.
More Layers, More than Particular
I connected to utilize Verithin Nighttime Brown, but began laying in colour with the tip of the pencil instead of the side. I also began stroking in the direction of hair growth or muscle structure where advisable. A lot of this piece of work involved going over specific areas multiple times.
The span of the olfactory organ is a skilful case. Short, directional strokes practical with a needle-sharp pencil, and a repeating pattern. I didn't copy each stroke—there'due south no need to draw every hair. Instead, I replicated the groups of hair by emphasizing the shadows in the gaps.
The same goes for the outside surface of the ear, the orbital structures around the heart, and the shadows of the brow on the center on the far side of the face.
I used the aforementioned technique, only with less detail in the jugular groove, throat and cheek. The farther from the middle of interest (the combination of the heart and buckles) each expanse is, the less detailed it should be. That reduction in definition is accomplished either by working with an increasingly edgeless pencil or by alternating layers of pencil tip work with a layer of work applied with the side of the pencil.
Darkening the Shadows
To create a broad value range, I continued concealment shadows and developing middle values. The shadow under the ear is a good example. This shadow goes through a variety of values, including reflected lite.
That area is too a study in colour variation. There are dark browns, golden browns, scarlet browns and golds throughout the shadow and side by side areas. That'south what makes working the under drawing with a single colour so efficient and valuable to this blazon of piece of work.
The Finished Nether Drawing
This is how the cartoon looked at the end of the calendar week. It's really coming together and I'm loving that eye!
It took nine days to cease the umber under cartoon, working between one and two hours each of those days. It may seem like wasted time, when nine hours of color work would have produced a much more than consummate drawing. But information technology's not wasted time to me. Discovering how to work out the values without also having to make colour choices was a game-changer for me.
So was learning how to use Prismacolor Verithin pencils for the nether drawing. I'm still a very careful drawer, simply knowing I tin erase a error lets me be a bit more assuming.
Next week, colour!
Source: https://www.carrie-lewis.com/how-to-draw-a-horses-face-in-colored-pencil-under-drawing/
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