DrawWithMike.net

Over on 'Nibble Nibble', KWheller has asked me a few questions about adding color to graphite drawings. So I thought I would show this Grimm as sort of a wip.

Before I start - I just want to say there is no 'right' or 'wrong' way to add hue (color) to your work. It is just a matter of experimenting and seeing what works best for you and which pencils you prefer. It is important to remember that your hues are always affected by your tones (graphite). So generally speaking I add my hue FIRST in a series of light washes or else light linework. For me it is easier to retain the brighter hues by putting them down first, then adding tone to create shadow or darks. This will get built up by a combination of more hue or more tone to achieve the result I want. I don't use blending tools much at all but rely on layers to blend the hue and tone together.

I have used a number of different color pencils, but tend to lean to the watercolor variety as the waxed/oil based pencils can have a tendency to smear or else reject the graphite when overdrawing. That said, I have found that the Verithin Prismacolors work reasonably well when drawing over graphite as they are a harder wax and not as buttery as the standard Prismacolors so I will occasionally use them. But my preferred brand is Staedtler Mars Karat Aquarelle pencils backed up by Derwent Graphitint pencils. Remember, Graphitints have hue and tone combined in the pencil already.

I show here the first stages of 'Briar Rose' - also known as Sleeping Beauty. The color areas have been done by laying down layers of color pencil or graphitint or watersoluble graphite then lightly washing with a medium aquash brush.
Rose: Derwent Graphitint Port and Staedtler Karat red #29
Thorns: Derwent Graphitint Port
Vines: Derwent Graphitint Ivy and Grey Green
Background between vines: Derwent Sketch and Wash pencil 8B
Skeleton and Castle: Derwent Chestnut and Staedtler Karat #49

These washes form the under layer of the drawing upon which I will add more hue or tone as required. The paper is Lana HotPress 300gsm which I find really nice to work on with this technique. I buy the large sheets in a 10 pack, not the pads. I find the sheets seem to have a slightly softer, more velvety texture than the pads. Oh, and make sure you tape down all four sides of the page completely before starting otherwise it will buckle. And NEVER draw on wet or damp paper.

This shows the development of the piece. Using the same pencils outlined above with the addition of pure tone: Staedtler graphite HB, 2B and 4B clutch pencils along with a Mitsubishi 2H wood case pencil. As well a Staedtler clutch blue pencil added to tonal areas to lift. Time taken is 3 David Tennant podcasts worth.

Lovely work, Linda and also some very useful tips. You certainly are achieving vibrancy with the colour of the rose.
Well done
Jean

Three more podcasts worth of work. BTW - David Tennant's interview podcasts are great! Entertaining and he asks interesting questions.

Thanks for the progression photos Linda. I think that the most valuable lesson I learned from you is that planning and composition take as much time as drawing, and sometimes longer. A complicated piece like this proves that. I’m loving the feeling that comes across to me that the thorns introduce a sense of danger to Cinderella’s castle.

EDIT: Mmmm... More like Sleeping Beauty than Cinderella...

Yes Laurene - Planning is essential. Even in what you might think is a 'simple' drawing it is a good thing to have a clear idea in your head of where you are going and what you want the work to say and do.
But things get missed or sometimes overplanned. I thought later I should have had a few grisly items skewered on the thorns, but was too late in the process to retrofit. And it probably would have been overkill (ha, see what I did there?) anyway. I did add one on the top left but wasn't really required.
This 5th wip doesn't show a lot of progress, but does illustrate how I put down a layer of blue pencil in the darkest black shadow areas first before layering on top with graphite. This gives a nice dense, rich cool dark tone,

Here is the completed piece. I feel it is a touch overworked, but I will let it lie for a while and look at it again in a week or so.

Oh! I hadn’t noticed the skeleton with the thorns growing through it before!!!! What a shocker! Nice tie-in to Sleeping Beauty, just not sleeping and not too beautiful either. Lol.

Those old fairy tales were quite dark before Disney made them more palatable for us. This may be your darkest drawing in the series....so far, that is!

This is so effective. You can’t look at this and not need to know the story behind it. Who is this poor soul? What happened? Do the people in the castle know what happened, or are they responsible for his or her demise?!?!

Those old fairy tales were quite dark

Yes! This is what I am trying to show in this body of work, either the grim reality or else the absurdity in the story. In the original writing of the tale the Princess cannot be released until 100 years has passed. During that time many a prince tried to breach the wall of thorns but all were killed by it. When the 100 years pass and the final prince arrives he is allowed through, and as the thorns part for him he can see scores of skeletons entwined in the vines.
shudder.
I thought one skeleton was sufficient.

It’s amazing how these old fairy tales have been changed over the years. We would traumatize children nowadays with the original tales!