How can we achieve more convincing results in representational colour pencil drawing? In this brief article, we will look at how to lay down the foundation of the design, establish essential sculptural planes of the depicted object, add colour hues, allocate tonal values and define the outlines.
Further, we will explore how to intensify the brilliance of the hues of our chosen palette, mix colours beyond a limited set of colour pencil pigments, refine the entire depicted object evenly across the sheet, expand the tonal range of the colour pencil drawing and, finally, mix a cast shadow consistent with the hues already applied.
Here is a table of contents for easy navigation.
Table of contents
- Define the outlines of the colour pencil drawing
- Establish essential sculptural planes in the drawing and add colour hues
- Distribute tonal values and solidify the silhouette of the drawn object
- Add more colour hues and intensify their brilliance
- Keep mixing hues beyond a limited set of colour pencil pigments
- Refine the entire depicted object and expand its tonal range
- Mix a cast shadow using the hues applied throughout the colour pencil drawing
Let us dive into seven easy steps to a better colour pencil drawing.
1. Define the outlines of the colour pencil drawing
A line is the most simple mark beyond a mere dot that one can make with a pencil. And as much as this particular colour pencil drawing is not a pure line drawing, it does make a lot of sense to start out delineating the silhouette. That means following the outlines of the objects of study, as seen from our fixed point of view.
And this is where most beginner drawings do fail. It takes concentration and acute observation to capture the shape of any given object in its entirety. Once we have firmly laid down the outline as the foundation of our drawing, it is far easier to map out the key areas of visual interest. Hence, a few subtle, suggestive lines and slightly directional crosshatching will get the job done.
2. Establish essential sculptural planes in the drawing and add colour hues
Once the outlines are delineated, it is easy to navigate the drawing with our coloured pencil, working into the paper more directional crosshatching marks that define the sculptural planes of the observed object. In other words, this effort helps build up the illusion of volume.
And simultaneously, we begin to provide a two-dimensional, visual analogue of the three-dimensional shape in front of us. Yet, since this is not a mere monochrome study of tones but a colour pencil drawing, attention needs to be given to colour information. Thus, the hues need to be added to distinct areas accordingly.
3. Distribute tonal values and solidify the silhouette of the drawn object
So far, we have traced the outlines and allocated the leading colour hues. Furthermore, we have established the fundamental distribution of light and dark tonal areas, almost as a by-product. Our focus has been on the tints of the colour pencil drawing.
Yet, each distinct colour hue present in the object does come in a range of tonal values that correspond to a greyscale ranging from pure white to pitch black, with infinite shades of grey in between.
At the same time that we focus on the fill, i.e. the colouring and tonal shading, it is good practice to maintain the definition of the boundaries of the depicted shape. Hence, intensifying the outlines is our last chance to correct the silhouette of the object of study.
4. Add more colour hues and intensify their brilliance
After having defined the outlines and tonal values, it is high time to add more hues to our colour pencil drawing, lest we end up with a more limited colour range. On the other hand, for a purist’s approach, using powerful primary colours, i.e. shades of yellow, red and blue, suffice to build up a wide range of hues. Moreover, we keep working around the entire drawing while sparing the highlights.
Since we work on plain white paper, we need to register more dense colour information on the sheet. Therefore, increased finger pressure on the colour pencil leaves deeper and richer pigment marks on the paper surface. The resulting drawing marks are richer in terms of colour intensity and the brilliance of the hues. See also my step by step article on how to create a more vibrant colour pencil drawing.
5. Keep mixing hues beyond a limited set of colour pencil pigments
As we continuously intensify the colour information and value distribution, the mixing of hues is inevitable and happens almost naturally. Indeed, in theory, any colour hue observed in our object of study can be reproduced with a corresponding coloured pencil. However, there are many more colour variations out there in nature than the set of pigments offered by any paint manufacturer could cover.
Explore diverse ways of mixing colour pencil hues
Hence, we need to pay attention to how to mix our colour pencil pigments on the drawing paper. And even if a corresponding orange-coloured pencil is already available for a particular orange hue discerned in our object of study, it would make sense to record that very orange colour information with a combination of red and yellow pencils. The brilliance of the resulting mixed orange hue might still become adjusted by subsequently applying the ready-made orange pigment of that single colour pencil in an additional layer on top of it.
Crosshatching and blending do impact the drawing
Along with the attention to mixing the observed hues, we face a technical decision: crosshatching or blending? Know what look to choose! I decided to adhere to crosshatching techniques to establish my colour hues and values in this colour pencil drawing of one red bell pepper. Conversely, some micro-blending happens locally, e.g. where the crosshatching lines intersect or stacked lines of different hue layers overlap. In any case, I did opt for a more rugged look.
6. Refine the entire depicted object and expand its tonal range
Keeping the visual style consistent, the carefully mapped out colour areas and tonal planes get refined in a further step before they receive their final touches. Likewise, more surface of the drawing paper needs covering with denser crosshatching strokes for a deeper fill.
Constantly working around all areas helps us keep the entire shape in mind. For instance, the darkest red hue amongst the range of our colour pencils, a magenta, is being applied here all over the drawing, corresponding to all occurrences that we can perceive in the object of observation.
This approach does prevent us from overdoing or neglecting any area which might break the consistency of the drawing. Hence, we keep the depiction visually coherent while chiselling the pigments into the surface of the drawing sheet.
In other words, carving out the observed shape brings the illusion on paper to life. And working on a blank white drawing ground, the more intensely we hammer in the pigments, the more we expand the tonal range of the entire depiction in the direction of its darkest shades. For an extension of the dynamic range on a coloured paper, see section 7 of my article, see more human anatomy in a simple aux trois crayons drawing.
7. Mix a cast shadow using the hues applied throughout the colour pencil drawing
As an afterthought, seeing the finalised object hovering isolated on the blank page, I decided that the drawing needed a depiction of the cast shadow observed in the object of study. And since I did use a back-lit photographic lighting set-up, the cast shadow is falling in front of the red bell pepper.
Now, a shadow never comes in a pure shade of grey. There always are some other colour hues in the optical mix, albeit subtle ones. So, to make sure that the shadow connects well with the appearance of the object casting it, I did draw the shadow with the same colour pencils that I used to depict the main subject.
In this case, moving from left to right, I did apply the darkest red to build up the base shading, then I intensified the tone with a warm hue of blue and, finally, I spiced it up with a hint of an orange colour pencil. And even this rudimentary depiction of the cast shadow is beginning to anchor the drawn red bell pepper in the drawing sheet.
However, it would be beneficial to work on the shadow from the beginning. A better practice is to allow the visualisation workflow to follow repeatable steps, as outlined in my article on proven methods and best practices in rapid idea generation.
Bonus video
I trust this article helped you understand how to take seven easy steps to a better colour pencil drawing. If you want to see more stages of the creation of this drawing, you may also want to watch my video “Colour pencil drawing of a red bell pepper”.
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