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With the sharp point available on the Pablo, I am able to define the exact corner of the wall to the overhanging roof and then darken down the wall below to show the shadow.  Once again, I am using light reds from the box together with a grey/red.  I am avoiding actual greys or blacks as these will be inclined to dirty the colour rather than darken it.


I have defined the near corner of the building by darkening down the wall that faces us (to the left) using a very sharp point on the pencil.


The shutters have also had fine lines of black added to define the shadow under them.

More areas of sepia have been added to the foliage on the balcony and a dark green applied on top.  


Black fine point has been used on the railings and the wall filled in behind.


Grey and light red have been used on the wall below the right hand side of the blind to pick out the shadow, and black has been used to define the lower scalloped edge of the blind against the shadowed doorway.

Note the way the door and window frames below the blind have been darkened at the top and left lighter lower down to show the effect of the shadow

The upper window on the right has been sharpened up, as has the window at street level behind the pedestrian

Working on down the left hand side of the picture, we now come to the cafe doorway, the chairs and tables and the pedestrian walking away from us.


Once again, the fine point on the Pablo pencils enables us to get in and define all those chair legs and darken the cobbled pavement underneath them.


We can pick out the chair arms now and provide a slight colour to the backs.  A shading of warm grey has been applied to the cobbles under the chairs to enhance the chair legs and also to blend the cobble stones with one or two small black marks to show up areas of deeper shadow.


Using the transparent Pablos, the walker has had more colour applied and darker areas to the clothing to provide shape.  The paving around this area has had a little more dark shading to highlight the walker.  You can’t see it in the detail, but a series of horizontal shading strokes have also been applied to the centre dark strip in the road so that the purple shade is cut back

Let us look now at the top centre and the right hand roof line.


See how the fine pointed Pablo CPs enable the good detail to be punched into the areas of shadow, and the shutters and windows at the upper level can be defined.  Whilst working in this area, I have improved the persppective of that little bit of roof shown at the extreme top of the example ( left ).  The shadow on the walls was origianlly quite purple from the W/C pencil wash.  This is the time it can be changed with a light layering of Venetian Red. This gives a truer impression of the cold light of the shadow on the light brown wall.


I have also spent a little time making sense of the blind over the doorway on the bottom right of the picture. This has involved a little power erasing of the previously painted wall, so that the scalloped bottom of the blind edge is level all along it’s length.  I have also added some shading to the small piece of blind showing in the bottom corner.


It remains to deal with the road surface, the remaining doors and openings on the right hand side, and then deal with the distant view at the far end of the street.


This needs to have as much light and definition of detail as we can get in, to draw to eye down the street.  It may mean that I need to show the road surface near the end of the street as much darker than it is in the reference.


Probably another couple of hours work now to finalise the picture.

Trouble is I have another three pictures as work in progress and pressure for them also to be completed !


Bear with me ..........


Peter     July 24th 2012

NOTE

All these smaller, detailed, images are around 50% larger than actual size

Shown above, is a larger version of the same image shown at the top of the page.  

This is to enable you to make some comparisons with the fully finished picture shown below this note.

The different level of daylight on the finished version ( a flat cloudy bright day ) has given us pretty accurate colour.

There is nearly three hours work between to two images, and some of the finishing touches have been completed using the softer wax based Caran d’Ache Luminance Coloured Pencils rather than the harder Oil based Pablo.

I will look again at the picture in around a week’s time, before placing the picture in a mount and frame.

It may still need a little adjustment, though the temptation to fiddle will always be there while the picture is unframed ! The picture is still quite light compared with the reference and there is scope for increasing the depth of the shadows which will give a stronger composition.  We will see ..........

Italian Street Scene in Malcesine, Lake Garda Italy.

Picture from a  photo reference © 2006 Peter Weatherill

Worked with Caran d’Ache Supracolor Soft watercolour pencils on Hot Pressed watercolour paper,

Followed by detail worked with Caran d’Ache Pablo and Luminance Coloured Pencils.

Artwork and notes © 2012 Peter Weatherill

WHY am I switching from one type of pencil to another ?


I Don’t need to - I can continue using the Aquarelles.

They are a soft type of watercolour pencil and work quite well as a dry pencil.


HOWEVER ......   The matching Pablo set of Oil based, non-soluble pencils has identical colours.

These are the same pigments set in a smooth oil based carrier and the colours will tend to go down better over other layers of the dry Supracolor. They tend to be more transparent.  They will sharpen to a finer point for detail work.


What you see here on the Right, is three hours work with Pablo oil based Coloured Pencils building up depth of colour and deepening and defining areas of shadow on the top of the previous watercolour pencil  layers.  


Let me go through the various steps one by one starting at the top left hand side of the picture .....


The tree.  Approximately 5 layers of transparent Pablo in four colours (Olive Grey,Spring Green,

Grass Green, Olive Black, and Sepia )  has been added - the first being Sepia - to define the extreme darks.  

I have also taken the opportunity to separate the tree from the window box, and added a few red flowers in the window box to match the window below.

I have shown a close up of the tree foliage here so that you can see more easily


Whilst we are looking at this detail, the walls have approx 4 layers of ochres and warm light reds to enhance the effect of the shade ( Ochre, English Red, Hazel, Brownish Orange ). The final layer has been a light warm grey - beige or Ash Grey ( ivory or cream would also do ) which has burnished the surface of the paper and evened out the pigment.  

I wouldn’t use white here to burnish as it is an opaque colour and will kill the effect of the warm underlayers, and a blender pencil will seal the surface - I might need to go back and do a little more in the final touches.


I have used ivory black to pick out the shadow under the shutter

To show where we are starting from at this point, I include a scan  (left) of the image at the foot of the previous page.


BELOW is the ongoing story

For those of you who would like to have an edited copy of these notes ( The full copy would extend to nearly 15 sheets of paper ),

I have reduced the content and omitted some of the images  to get the script down to 5 pages.  The full version is still available on the website, but you can save and print off the shortened version of the notes from here if you wish.

Note the whole exercise and the images are still Copyright © Peter Weatherill 2012 and you only have permission to copy the data off for your own use and not for re-sale or publishing under any other name

WATERCOLOUR PENCILS IN ACTION 2


ITALIAN STREET SCENE

Malcesine, Lake Garda

First page using Caran D’Ache Supracolour soft pencils


PAGE TWO

Further developments using Caran d’Ache Pablo Wax Type Pencils


Actual picture is approx 9 inches x 12 inches


STEP BY STEP

Italian Street (2)

WATERCOLOUR PENCILS    (AQUARELLES)