Good morning! Another beautiful day in Lock Down Melbourne - another challenge for you.
This week I would like you to consider HUE, i.e. color. We have looked at this previously but I would like you to review it once more. I have noticed that often some of my students, when looking to create a particular color, will search for the matching pencil/paint rather than consider building up layers to create the hue. This can create a flat, uninteresting subject. It can also then be more difficult to allow for depth in the shadows and lights in the highlights.
It is important to look at how the hues adjacent and complimentary to your desired color will affect your base hue. For example, to create a red tone with the greatest range of depth of hue you can build up from yellows, or orange, peach, rose, pink, magenta before applying the final red. You should also consider how to create shadow areas using purples, violets and blues. The color triangle study above shows how these hues can be blended. (Staedtler Mars Karat pencils washed)
Some of you will have done the below exercise with me in class. If you have not done something similar with your colors I would encourage you to do so during this lockdown:
Note, this worksheet is available as a PDF,
please use the contact form right or gmail me to obtain a copy.
It was taken from a Pintrest page that I can no longer find so
cannot give correct attribution to the creator.
If you have done this sort of exercise before and understand the concepts of the color spectrum, mixing complimentary colors, color temperature, and blending these, then you can start with this week's challenge which is...
Something RED
That's right, draw anything you like in any medium you like, except it must have a red element to it. As well I expect to see the red tones built up from base hues like yellows, oranges, pinks before application of the final red pencil. To create shadows and dark tones I want to see use of violets, blues, purples, etc. Finally if you wish to use a grey or black for definition consider carefully how to apply it so you don't muddy up the red. Below are some examples to study.
'Rosehips' © Linda Weil
'Rosehips' created this week in my Nature Journal using Inktense pencils washed, with Adele black and green pens for emphasis and a white gel pen to enhance the highlights. The hips and leaves were built up from yellow. Then with the hips, orange, magenta was washed gently into the yellow, when dry reds were added and washed again, finally some darker violet included for depth. Leaves done in same process using progressively darker greens then indigo with final touches in green and black pen. While drawing this I realized one of the hips was the home of a small grub, so I included this resident in my drawing.
'Bing Cherries' © Linda Weil
Bing Cherries was drawn last year or so ago with Prismacolor pencils. Using the same layering techniques starting with light peach/pink through to the reds and finally purples and plum colours. Blending with each successive pencil - no stump or alcohol, but using the pencils to blend in layers. White pencil added to the top selectively to add some extra highlight. On Stonehenge 250gsm cream.
'Color Weil Red' © Linda Weil
Color Weil Red was done about 8-10 years ago using Carbethello Pastel Pencils on Art Spectrum Suede white paper. Similar use of yellow and pink before adding the reds. Note the use of blue to create shadows and depth.
'Blooms for Beth' © Linda Weil
Finally, a very old work, maybe done back around 1998 - 2000 or so. Staedtler Mars Karat color pencils worked dry in layers with graphite pencil for tone. On Fabriano 300gsm Hot press paper.
So, as you see, draw whatever takes your fancy, but it MUST include something red.
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