Category: OCAD STUDIO – CLASSICAL DRAWING AND PAINTING LESSONS
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Once the wash drawing is dry, you can add all the basic colours and start to develop a sense of form.
From this stage onwards you can use all the colours – try to pay attention to the particular mixtures you use as it will help in later stages if you can roughly remember what you used to mix up all the different colours.
You will need to add a little oil to your mineral spirits this time (and in future sessions you will need to use more oil each time).
Start with the background as this will likely be quite a flat and neutral colour.
If the ground plane and background plane are different you will need to mix up two different colours.
Look for a slight gradient in the ground plane (ideally lighter at the front and darker at the back). As this will start to impart a sense of depth.
You can lighten the paint on the canvas by mixing up a lighter colour and blending it straight into the wet paint.
Make the edge between the shadow on the ground and the general ground colour slightly soft (we don’t want any hard edges at this stage).
Once the background is in – you mix up a colour for the fruit in shadow.
This may take some trial and error as you want the shadow to be the same value (darkness) and colour as your subject. Experiment with different mixtures until the colour looks good.
You will have an opportunity to make adjustments with glazes later on so it doesn’t have to be perfect.
Once the fruit in shadow is done, follow the same process for the fruit in light.
Mix up some slightly darker tones to begin developing the halftones where the fruit colour turns from the shadow to the light. This will make the lemon appear more 3D.
You can also use a blender brush (a clean brush) to soften all the edges of the lemon. This will help make the form of the lemon more round and it will also get rid of any hard edges that would show through the later layers that are thinner and more transparent.
Once everything is roughly blocked in, you will need to leave the painting until it is touch dry before continuing onto the next stage.
Small Canvas (stretched or board)
Cadmium Yellow (or equivalent bright yellow)
Various brushes (ideally a range of smaller and larger brushes, but whatever you have lying around will be fine)
Adding the final details in the foreground using pencil:
You can use the pencil in this stage in a very similar fashion to Part 6, starting with the shadows in the foreground elements and smoothing the tones out where necessary.
Once the shadows are complete, use the pencil to work carefully over the painted white areas, adding tonal shifts from the shadows into the lights in order to develop a better sense of 3D forms in these sections
You can also use the fine point of the pencil to add very fine details (such as the writing on the letter in this piece).
Make sure that you don’t go too dark with these elements as the image will appear too graphic if you make everything equally contrasted.
When adding details like text (such as the paper typeface and handwritten letter) try to capture the abstract feeling of those elements rather than studiously copying out the exact words.
That’s it! This mixed media drawing is now finished, hopefully you found this series useful and you are able to apply the processes you learnt when you’re working on your next piece.
Start this stage by using some compressed charcoal to loosely add more tone to the darkest regions of the drawing (background etc.).
It doesn’t matter too much how you apply the charcoal, hatching and scribbling is fine.
Once you’ve roughly applied a reasonable amount of charcoal, start spreading and evening the tone using a large brush.
It may end up slightly patchy but that’s fine as you will be working over it more – this brushed layer just makes a darker base tone to work over (vs the white of the paper).
One the tone has been brushed, start going even darker with the compressed charcoal.
Make your application more even and keep the hatching closer together this time (as we won’t be brushing it again.
Once the background is sufficiently dark, you can start adding features that are in the darker areas (such as the sprig of leaves sticking out of the ham in my drawing).
Make sure that these dark elements are unified with the surrounding darker tones. It can be tempting to make them lighter so that they stand out by that will disrupt the major tonal relationships in the whole composition.
Finally, use your kneadable eraser rolled to a point to neaten up any areas of light tone that charcoal dust has been spread.
You can also use the eraser to add more detail to the edges of the darker shapes.
Use a mixture of sharpened charcoal pencil and will charcoal to start adding more detail to the foreground elements, paying close attention to the shapes of the shadows and darker tones in the objects.
You can also use the kneadable eraser rounded to a point to remove tone from the drawing, in order to find lighter shapes (this was how I found the shapes of the light knife handle that sits in front of the darker background).
The eraser is also useful for erasing highlights in the shinier objects (metal, glass etc.).
Carry on adding detail to the lighter foreground elements with the willow charcoal.
Try to keep the tones in the elements a bit lighter so that they unify more with the foreground general (thereby separating them from the darker background).
Finally, you can use the eraser to neaten the edges of these shapes and keep the foreground nice and luminous moving forward.