![]() “Yeah, yeah yeah” we say, “next time I’ll give myself more time.” But somehow we never do it. It doesn’t matter if they’re ruining excellent work with pure scribbles. Suddenly they rush like someone’s about to release the lions… “Do you realize how long the rest of this project is going to take? You’ll be here forever! Neener-neener ha ha!”Īnd even though there’s no deadline and despite the fact that I’ve told them repeatedly to take as much time as they want… Then the little devil on their shoulder whispers: They start at a reasonable pace and color the first few items with great concentration and skill. I see students do something similar- not so much with time but with overestimating their patience. I sprint to the finish, skipping most of my best ideas. I suddenly realize I’m almost out of time. I color leisurely and marvel at how much fun I’m having. ![]() ![]() I’m actually pretty good at this part.īut I start drawing at the last possible moment. I calculate how many days I need to complete the project. Here’s how I typically shoot myself in the Achille’s heel: I still encourage people to try working larger but when time is an issue, downsize the project. But size is a definite trade off because large images take more time to complete.Ĩ.5 x 11 is large enough to develop some level of detail and realism without boring you to death. You need space to explore details, add texture, and develop form. Realistic depth and dimension requires more size than stamp-colorers assume. So I’m absolutely NOT suggesting that you go back to teeny-weenie stamp-sized coloring images. In my pencil classes, I give students images that fit on 8.5 x 11” paper. The smaller-ish you work, the faster-ish you can fill spaces and build layers. I know it sounds crazy to someone used to coloring a two inch image but honestly, you folks really do work small. To many artists- large is anything that requires us to buy paper that’s larger-than-normal. Now remember, if you’re coming from stamp coloring and card-making, our “large” is a whole ‘nother scale than your “large”.Īrt paper comes standard in 22x30” sheets and many of us fill the whole page. I didn’t use my normal finicky grass technique and frankly, I didn’t do the horizon justice. Coloring smooth with no texture takes concentration.ĩ0 minutes for the grass and I rushed it, trying to make it to the printer’s before they closed. That’s a lot of time for something basically white.Ģ hours on the sky… and honestly, if I wasn’t rushing, I could have used another hour to really fill in the tooth at the top. I erased several times and there’s a ton of hair flowing in different directions.Ĥ5 minutes for the daisy. ![]() There aren’t as many pencil layers but the shaping was tricky. There are at least 8 layers of pencil in most of the face.ħ hours on the body. I’d estimate 10 hours total if you don’t include thinking time, small breaks, and letting the dog out. The painting process took about 2 hours and dried overnight.Ģ days for the face. I use a watercolor base below my pencil-work. I spent another half hour digitizing the drawing and adjusting some of the shapes. I would have gone larger but this was a rush-job and larger pieces take longer.Ĥ5 minutes to draw the line art. You might not choose this as your first colored pencil project, but you can totally do it.You’re in luck I timed my latest commission piece.įor reference, Emily’s Cow measures 9 inches wide by 14 inches tall. Hello, gorgeous! This sweet bloom only takes five steps to complete, but it’s a great way to hone your skills. This tutorial shows you how to build up strong, vibrant yellows for a flower that looks bright and realistic. You might know by now that the secret to bold colored pencils is all in the layering. Here’s your chance to practice building value and seamlessly transition from the palest pinks of the petals to the deepest greens in the stem and leaves. And layer some more! This is a great project to play around with your color recipes until you find the perfect hues, then use ’em to practice shading and adding texture. Learn to see the tiny variations in color that make a drawing lifelike and practice a vital skill: underpainting. Fresh CherriesĬherries are so much more than flat red circles. Instead, grab those blues and yellows - this is a great project for mastering color blending. Spoiler alert: you’re not going to use green colored pencils to make this leaf. In fact, you’ll be amazed at the sophisticated effects you can create once you master a few key techniques. But you’re all grown up now, and so is this versatile medium. When you hear “colored pencils,” you might tend to think about elementary school.
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