| Lee HammondBIRDS DEL, CITY LIBRARP 4509 SOUTHEAST FIFTERNTH EL ClTY, OKLAHOMA aS Lee Hammond METROPOLITAN LIBRARY SYSTEW "SERVING OKLAHOMA COUNTY" wea k.comAcknowledgments F sore time I begin the manuscript for Thank you Greg Albert for always sew book, 1am amazed by how lending an ear toa complaint or an cocky Fam. I remember what seems idea—but most ofa fr always hay- ke yesterday, saying to myself, ing faith in me, Thanks to Michael Someday Tsure would like to have a Benger for his wonderful editing and ool published.” That dream obvi- patience ously came teve in a big way, with, ‘Albo, I would like to thank my this book being number ewelve. It wonderful students, who sometimes reminds me of how much Lappre- go on the back burner in order for ciate the endless opportunity that me to meet a deadline. North Light Books has provided me. And, most of all, a huge thanks to Twill never take this opportunity for my family, who has somehow man- granted. aged to survive it all. Hove you! ‘brawing in Colors Bids Copstghe © 2001 by Le Hammond ‘Manufectusd in Chia, ll righ reseed. No part ofthis book may be ‘eprodced ny for oh an eletonic or mechanical mans ining Information sage snd series ten without persion in om the publishes exexpe ba revewer: who may quote Wiel pusages 1 evo. Publised by North Light Books, an amprint of FSW. Publications fn, 1507 Dons Avene, Cincinnati, Ohi 45207, 800) 289.0963, Fins eition oer ie Now igh Books are aaa fram your sl bute, a p> ssc dir ra the pols [Acspecial note: Many of the pic- tures taken for this book were shot at the Carolina Raptor Center, in rloxte, North Carolina, I want to thank everyone there for being so helpful. Ic was a special treat spend ing he day with you. Conese toch enters 4. Cenimtes Sashes so oF a2 oF sasan ERIE CONUIRSION CHART nay of Ging Cai ion Da het eae Sonn te Sitios Same won Gn Tete ven a IAN HT 8 pepe) Sen Bisa Ge pn rg Th THe Se sm NOW. 2001 “a 6-2 2001050902 ore Michel Bose Proacion edi: Bate Freusn Pradacton corto: Mak Grin 53 Mees Sa. Feet se Meters Sa. Yads Kiograns ound Omer‘This book is fondly dedicated to two of my closest friends like to say a resounding thank you to Laura Tiedt And I would also like to thank Lanny Arnett for all of his ving loyalty and friendship over the last decade. help. He has taken classes from me longer than anyone for her, my life would not be nearly as meaningfal _else—almost twenty years—and has been my right «now. Through her kind words and huge heart, she hand-man through it all. With his constant support and P hat teue friendship is all about. unshakable confidence in me, my career has been able to flourish. Thank you for always being there, to pick up where [eave offAbout the Author Polly “Lee” Hammond isan illustrator and ar instructor from the Kansas City area. She owns and operates the ‘Midwest School of Illustration and Fine Art, lnc, where she teaches real- istic drawing and painting, In the year 2001, the name of her business will change to Take it to Art.” She was raised and educated in Lincoln, Nebraska, and buile her career in illustration and reaching in Kansas City. Although she has lived all over the country, she will always consider Kansas City home Lee has been an author with North Light Books since 1994, She also writes and illustrates articles for other publications, such as Artist's Magazine. Lee is continuing to develop new artinstruction books for North Light, and is expanding her caret into children’s books, which she will also illustrate, Fine art and limired edition prints of her work will soon, be offered. Lee resides in Overland Park, Kansas, along with her family. Note: You may contact Lee via e-mail at Pollylee@aol.com or visit her Web site at hinps/LeeHammond.com © Take itto Are isa registered trademark for Lee Hammond,Table of Contents voduetion 7 CHAPTER ONE You Can Do It! CHAPTER TWO Getting Started CHAPTER THREE The Different “Looks” of Colored Pencils CHAPTER FOUR Technique 2» Graphing 2s Beaks, Feet & Feathers 5 CHAPTER SEVEN Verithin Pencils. CHAPTER EIGHT Prismacolor Pencils CHAPTER NINE Prismacolor Pencils on Suede & Velour CHAPTER TEN Blending With Studio Pencils «x CHAPTER ELEVEN ‘Watercolor Pencils Conclusion 78 Indes 80Foreword Sildhood, {have had a fascina- ‘pon with colorful things. Ie was surely due co the aspiring artist within, beg- ‘ng to be set free. I remember my first nue arcstic desire being motivated by episode of Captain Kangaroo, sayola Crayons sponsored that show, and The Captain was holding » very realistic drawings done with “hem, My eyes opened! wide when I ss one particular drawing, Ie was a ‘sinbow trout, with all ofits vibrant hues. It looked just like a photo ‘graph. I couldn't believe it was drawn with crayons, and it created a burning desire to earn. I prom- ised myself on that very day, at the tipe age of five, that someday ‘wold daw like that! Well, that day has come, and I ‘couldn't be happier or more ful- filled. Iewas an answer to my prayers. But it was also the result of a lot of hard work. As I drew the illustations for this book, I was once again filled with the childlike joy of producing such magnificent colors. [am sure that you will enjoy the same type of feeling as you learn to draw birds Like me, you will need a lot of prac- tice and dedication to achieve the realistic work that you are seeking, 1 ama testimonial to what can happen i you work hard. I didn’t have much ‘guidance, and taught myself these techniques. Allow me to guide you, and you will be drawing greatlook- ing birds in no time.Introduction the wonderful world of irds. Few subject matters in .will offer you such a wide ar=zy of colors, shapes and sizes. of books have been written beat these magnificent creatures, Phe are thousands of varieties of Sind from which you can choose 10 emx They hold for us an endless iy tor creating masterpieces ‘Colored pencil is a wonderful tool csatility to create all of the oj rextures $0 realistically Bete cxice you to some of the al drawings you'll ever Wee'l notice that there are quite a = inthis book. That is eee oy birth name is Polly. (1 Bere cto Lee due tothe wise- [Sas Sowing up! You guessed it— Pais wean 2 cracker?”) Eee though | didn't enjoy the Sere ech, I've had a fondness for Gees al oF my life. [hope you will See ooking at chem as much ast ee Saving them,You Can Do It! eryone has doubts about their Ic is imperative that you learn to shapes is the first step to drawing ative abilities at fist. Trying some- see the “shapes” of what you are realistic bids. hing new is never easy. You have drawing, The shapes of a bird are ‘As children, even at an early age, surchased this book because you like very recognizable. We usually think we begin co capture our world with : irds and have a desire to draw them — of birds as being perched ona limb, __ pictures, We can all remember hav- fF istcally. That is exactly what it o€ sonrng in fight, wings out ing crayons in hand deavcing what ill teach you to do, stretched. Seeing these obvious ‘was most familiar, Certain subjects This book is not a “bird book” in true sense ofthe phrase Iewill ot describe the various species and re they can be found, Iewill not : you their particular diets, mating ituals or the origins of the species. xy field guide can tell you that ; This book is designed to make you ole at birds in a different way. An st mus see things differently: You rust disassociate with much of what our subject “is and seit for “what soks like.” This is the process for ao sunouerres awing everything, nor just birds. Thetwo sihovetes hve show the ebvious {am fortunate in the respect chat cuahesorbeniwidie ot mated m not only an artist but also a pho- perched on a limb. ' grapher, The photos in this book my own, Having this skill allows to first caprure on film the subject Lintend to draw, For those of you who do not exeel in photography, 1 recommend practicing drawing from agazine photos. There are many \eresting ones available. There is also an excellent book ailable from North Light, called Aytist’s Photo Reference: Birds, Bart Rulon, that isa wonderful source of drawing materialwere captured more than others, art. But as we ger older, we add more such as our families, our houses, trees information into the pieture. And and pets. Bue birds are around usall once we add some training and prac- ofthe time. Unfortunately, as adults toe, ook out we don't notice them as muchas we Takea look at the drawings on did as children. A child sees them and this page, and see what a difference captures them carly in their art. At guidance and training can make. This first, the shapes are simple, and only isthe type of result you, t00, can the most obvious get captured in the expect. By following the step-by-step projects in this book, you will over- come any fears you might have about colored pencil. [had a terible beginning when [frst tried them. Without any guidance, I struggled with them, and my drawings looked ike they had been drawn with crayons, But, [never gave up. Now, itis one of my favorite mediums. AN ADULT DRAWING AFTER SOME TRAINING. Ths isa typical rection ofa ied ae drawn by an adult. My skeen After showed her what to look for as an ats, this second drawing old daughter drew it. Although the general features ofthe bird. takes on more realistic qualities. fier Le8nne practiced the colored uch as shape and color have been captured, the artistic realism fz _peneltechriques and then applied them to her crawing, the bird ing Tooke wonder The realism ofthe bed has been captured ing by Lene Hamwnond You CanDol!dit Chapter Twe Getting Started Using the Proper Pencils ach brand of colored pencil has a ferent appearance when used ach pencil is made differently to create an unique effect. I can’t easily which one I like the most. I re pends on the final outcome and the want my work to have. Racely will [use just one brand of ncil to complete a project. Any one them alone is somewhat limited. I have found that by using a combin- ion of pencils, I can create more ariety in my techniques. This nables me to achieve the look I'm ving to accomplish. The following an overview of the six types of neil I like the most. PRISMACOLOR PENCILS ismacolor pencils have a thick, ft wax-based lead that provides a avy application of color. They are >ague and will completely cover the aper surface. They are excellent for hieving smooth, shiny surfaces and iliant colors. The colors can be easily blended to produce an almost painted” appearance to your work. ‘They come in a huge selection of lors: 120 or more VERITHIN PENCILS Verithins also have wax-based lead, thinner lead than Prismacolors. Because of their less xxy consistency, they can be sharp ened to a very fine point. They are compatible with Prismacolor but are ‘more limited in their color range, which is thirty-six. I use Verithins whenever I want the paper to show through because they cannot build up heavy coverage. They can give you Verthin pencil very sharp, crisp lines. They are good for layering colors without the colors mixing together. The Prismacolors can give your work a painted appear- ance; the Verithins give your work more of a “drawn” look,‘COL-ERASE PENCILS ike Prismacolor and Verithin, |-erase pencils can be easily erased. out applying a fixativ They can also be blended with a mp or tortillion, giving them the ok of pastel. Although these pencil ve a limited palette of colors (onl centy-fout), the ability to blend lors makes them quite versatile They also can be sharpened! into a fine point, but due to their powdery pest oo or ‘sun Cr cr cr rd oo consistency, iis hard to achieve extreme darks, Left unsealed, with- they look like pastel. Spray them with fixative, and they can resemble watercolor ls ‘STUDIO PENCILS. Studio pencils, by Derwent, are composite of the somewhat li other brands, They area clay-based pencil with a range of seventy-two colors. Applied heavily, they can ere ate deep, dark hues. Applied lightly they can be blended witha tori They also have a sister pencil called the Artists line, which is the same f lead diam: mulation with a bigger Tse the Studio line because I pre sharper point. Also, because itis cl it will nor build up color bas well as Prismacolor and will give more of a matte (nonglossy) finish Studio pencil DC) Cn DST) Co DLC) noses reo) Coe DESC) cory DC Cod PSST) Co PS Cr DERWENT * STUDIO; Co Dara) ry PEE ceWATERCOLOR PENCILS Watercolor pencils ate unique artistic tools that can be used to combine the techniques of drawing and painting. They contain actual watercolor pig- ment put into a pencil form. They can be used to draw with, just like any other colored pencil. But with the application ofa little water and a painthrush, the pigment dissolves the look entirely These are a fun break from tradi- ional colored pencils. 4 BA wsanrono, NEGRO PENCILS Using the Negro clay-based black pencil is an excellent way to achieve deep, rich black in your work with: out a hazy wax buildup. This is the blackest pigment Pve ever found in a colored pencil. It comes in five degrees of hardness, ranging from soft (1) ro hard (5) Watercolor penis PRIGHACOLOR WATERCOLOR ine WOE ego pec Ca a esTools of the Trade ‘As with anything we do, the quality of our colored pencil artwork is determined by the quality of the tools ‘we employ for the job. The following isa list of supplies you will need to succeed. PAPER “The paper you use with colored pen- «ils is critical to your success. There are many fine papers on the market today. You have hundreds of options of sizes, colors and textures. AS you ‘ry various types, you will undoubr- edly develop your personal favorites Before Lwill even try paper for Strathmore Reval papers sof colors feth the lock oftiry fbersinit ‘tga, also by siathore has a specledappewance ae denper colors Beth nve = smoot sufi. ‘colored pencil, I always check the weight. Although there are many beautiful papers available, I fee! ‘many of them are just roo thin to ‘work with. [learned this the hard way, after doing a beautiful drawing of my daughter only to have the paper buckle when I picked it up. The crease formed was permanent, and no amount of framing kept my ‘eye from focusing on it frst, From se that point on, I never used a paper t that could easily bend when picked up. The more rigid, the better! Strathmore has many papers that I use often. The following isa list of Prismacolor pencils on Prismacolor penis on suede bossthe ones I personally like to use the most and recommend to my students. Arcagain—Artagain is a recycled paper by Strathmore that has some ‘what of aflannel appearance to it. ‘This 60, (130gsm) cover-weight paper comes in a good variety of col ‘ors dusty as well as black and white, Ashough it has 2 speckled appear: ance, its surface has no noticeable resture Itis available in both pads and single sheets for larger projects. Renewal—Renewal is another Strath- ‘more paper very similar to Arcagain, bruit it has the look of fibers in it instead of speckles. [like i for its soft earth tones. ‘Crescent Mat Board—My personal favorite is Crescent because of the firmness of the board. Itis already rigid and doesn’t have to be taped down to a drawing board. This makes {1 very easy 0 transport in a portto~ lio. Its wide range of colors and tex- ‘tures is extremely attractive, Not only do Tmatch the color to the subject I am drawing, I will often use the same color of mat board when framing the piece to make it color coordinated. Crescent Suede Board—Crescent Suede Board is another one of my favorites. Note | ioe shave been bended wit tortion, the pige | mentcan seem to mek nto a watercolor | appearance. The cols wl appear much brighter and dave Leave unsprayed 14 Drawing Color Bink Ichas.a surface like suede or velvet- cen. [have developed a technique using Prismacolor that makes it look like pastel when applied to this fuzzy surface, PENCIL SHARPENERS Pencil sharpeners are very important ‘with colored pencils, Later in the book, you will see how many of the techniques require a very sharp point atall times. I prefer an electric sharp- ‘ener or a battery-operated one when traveling, A handheld sharpener requires a twisting motion of the arm. This is usually what breaks off the pencil points. The motor-driven sharpeners allow you to insert the ‘pencil straight on, reducing breakage. If you still prefer a handheld sharp- ener, spend the extra money for a ‘good metal one, with replacement blades. ERASERS T suggest that you have three different ‘erasers to use with colored pencil: a kneaded eraser, a Pink Pearl eraser and a typewriter eraser, Although colored pencil is very difficult if not impossible, to completely erase (except for Col-erase), the erasers can be used to soften colors as you draw. The kneaded eraser is ike a squishy piece of rubber, good for removing your initial line drawing as you work. It is also good for lifting hhighlight areas when using the Col- erase pencils. (Tl show you later) Because ofits sof, pliable feel, it will nat damage rough up your paper surface. “The Pink Pearl eraser is a good eraser for general cleaning. I use it the most when I am cleaning large areas, such as backgrounds. It, too, i fairly easy on the paper surface, “The typewriter eraser looks like a pencil with a litle brush on the end of it. [eis a highly abrasive eraser, good for removing stubborn marks from the paper. It can also be used to get into tight places or to create clean edges. However, great care must be taken when using this eraser, because ican easily damage the paper and leave a hole. MECHANICAL PENCIL always use a mechanical pencil for ‘my initial line drawing, Because the lines are so light, unlike ordinary drawing pencils, they are easily removed with the kneaded eraser: As you work, replace the graphite lines with color TORTILLIONS, Tortllions ate cones of spiral-wound paper. They are used to blend afteryou have applied the colored pencil to the paper. use them only with Colerase and Studio pencil. Prisma- color is much too waxy for this technique. Verithins work somewhat but don't blend as evenly as the clay- based pencils. ACETATE GRAPHS ‘Acetate graphs are overlays to place over your photo reference. ‘They have rid patterns on them that divide your picture into even increments, ‘making it easier to draw accurately use them in both 1" (2cm) and J" (Jem) divisions. They are easy to make by using a permanent marker ‘ona report cover. You can also draw ‘one on paper and have it copied to a transparency on a copy machine. ‘TEMPLATES ‘Templates are stencils that are used 10 obtain perfect circles in your drawing, I always use one when drawing eyes to get the pupils and irises accurate, MAGAZINES The best source for drawing material is magazines. [tear out pictures of every subject and categorize them into different bins for easy reference. ‘When you are learning to draw, mag- azines can provide a wealth of sub- ject matter. When drawing people, there is nothing better than glamour magazines. CRAFT KNIVES Craft knives are not just for cutting things; they can actually be used as drawing tools. When using Prisma color, I use the edge of the knife to gently scrape away color to create texture such as hair or fu, a knife can also be used to remove unwanted specks that may appear in your work, As you can probably imagine, itis important to take care with this, approach to avoid damaging the paper surface. FIXATIVES ‘The type of spray that you use to fix your drawing depends again on the ook you want your piece to ulti- ‘mately have. [use two different types of finishing sprays, each one with its ‘own characteristics. ‘Workable fixative The most common of the sprays, the workable fixative is undetectable when applied. The term “workable” means that you can con- tinue drawing, after you have applied the spray. Experience has taught me that this is more true for graphite and charcoal than itis for colored pencil. Thave found fixative to actually behave as a resist. use it whenever | don’t want the appearance of my work to change. When using Prismacolor, the wax of the pencil will ise to the surface, making the colors appear cloudy and dull. Workable fixative will stop this “blooming” effect and make the colors erue again. Damar varnish—I use this spray when Twanta high-gloss shine applied to my Prismacolor drawings. It will give the drawing the look of an oil paint- ing and make the colors seem shiny and vivid, (Its primary use isto seal oil paintings.) will often use this when drawing fruit and flowers, but itwill make a portrait beautiful also. HORSE HAIR DRAFTING BRUSH This san essential tool when you are drawing, but even more so when using colored pencil. Colored pencil, particularly Prismacolor, will lave specks of debris as you work. Left on the paper, they can create nasty smudges that are hard to erase later Brushing them with your hand can make it worse, and blowing them off will create moisture on your paper, which will eave spots. A drafting brush gently cleans your work area swithout smudging your art Wetting StatedThe Different “Looks” of Colored Pencils Drawing in colored pencil is some- whar deceptive terminology: [vis not that simple. Each brand of pencil has its unique look, produces a different effect and requires a diferent tech- nigue. There are many types oF colored pencils, each with its own formalation. When deciding which pencil ro use, you must decide which look you want your artwork to have and ask yourself which pencil will help create that look. Look at the examples here and on the following, pages. Each of these drawings has its ‘own look. Some are bold and bright; others are soft and delicate Throughout this book we will explore four different brands of pen- cils and many techniques designed to give your artwork the most realism possible. When you look at the sam: ples shown on the next few pages, notice how each has a distinct differ ence in its look due to the specific brand of pencil used. Before I begin a piece, I analyze the characteristics of [APARROT DRAWN WITH PRISMACOLOR PENCILS it and decide which pencil creates the This drawing ofa parrathas been crated with Pismacalor perc, Took Tam intending. And although the only peel ick and way enough io Ceatethese bight. vii allof these drawings may lookalike furs Locks the parts ewer The fees were Scape at fst glance, close observation wil ithaca kf The he eving wes spayed haps O simone das elon ceaiiee | iibhio mately Beas hr warcomen ot hese pens you may see a wax haze or bloom occur while working. Spraying the drawing with a fixative at completion will ernove the har, 16 Drawing in Cor: BitsVELOUR PAPER VERITHIN PENCILS: Thisis an example ofhow Prismacclor pencils lockwinen applied to @ Look closely at tis drawing and you can see the grainy texture ‘fuzzy paper caled velour The pencl naw has the lok of pastel pencil provides. The paper texture shows through. Verthn pene instead ofthe bight, built-up color we saw in the llustration before. good for drawing textured surfaces and subjects requiring thin res. This pape is very susceptible to lint and debris. piece of tape lightly very important to rintan 2 sharp point on these pencis 2 =) pressed tothe surface can help remove unwanted patil. times while working sTupIo PENCILS This draving has 2 sof, bended appearance. Studio penis have a cay base, which makes them easily blended with atortlion, Stadio pencils canals produce dark tones, which make them very versatile Yaucan see both techriques used in this drawing. Be sure touse ean tortlions when changing colors Its important to then keep them separated according to the color they wece used fr WATERCOLOR PENCILS ‘The fished product looks more Ike panting than a drawing ‘uatercoor penis canbe usec bath wet and ry for varie oF The Dtleren“Looks" of Colored Pencis 7Different Brands of Colored Pencils PRISMACOLOR This Bluebird was drawn with Pismacolor pencils. The thick, way iad ofthis pencil completely covers the surface ofthe paper. It gies the drawing 2 smooth look. 18 rang in Co Birds VERITHIN “This bluebird was drawn with Verthin pencils. The thin, hard lead of this pen gives the drawing a granir look than the one seen before, PRISMACOLOR ON SUEDE BOARD “This bluebied was dravm with risacolor pencils, but sis time on suede board, Tae lookis wer sot, much lke a pastel drawing, It doesnt even resemble the lock ofthe frst drawing done with the same pencis!sTupIo WATERCOLOR ‘This bluebird was drain withthe Studio pencils. Because the tones This bluebird was done with Watercolor perc Itlooks much more ‘are blended vith a tonillon, thas a softer look tit than the previous like a parting than a drawing. ‘wo deawings, he Diflervat “Looks of Colored Penis 16eae Technique As with any techniqui ere isa COLOR encounter shades and tints. ight way anda wrong way to pro-_A.good understanding of colors and There are three primary colors: red, The most common complaint 1 how they work is essential to draw- yellow and blue. They are pare colors. hear about drawings made with col- ing. Itall begins with the color wheel, Mixing these colors in different sred pencil is that they can look like which illustrates how colors relate to combinations creates all the other om drawings instead of anice one another, colors. Mixing two primary colors ce of art. This is ust a misunder ‘The basic groups of colors are pri- makes a secondary color for standing of how the medium should mary and secondary colors. Another instance, ed mixed with yellow Secondary colors ean be used, It is very important to leam categorization is warm and cool col- makes orany third is complementary colors. be found in herween the primary these classifications, you will colors on the color wheel how coapply the pencils properly. ors. The first example below looks Withi xy much like crayon. The rough, ‘uncontrolled fashion in which it has been applied appears childish The second example looks much nett, The pencil lines have been applied smoothly, so the distinct lines are not evident. The result is a vailow smooth gradation of tone from dark " vege with no choppiness. This = type of control in application leads to weal rinbled approach when applying colored perl wil produce a look similar to crayon ng colorusing contalled pencilines The color whee. produces an even gradation oftone.The warm colors consist of yellow, ‘vale seale made yellow-orange, orange, red-orange, . sith warm colors red and red-violet. The cool colors (range an are violet, blue-viole, blue, blue~ me ‘green, green and yellow-green, Complementary colors are oppo sites on the color wheel; for example, red is the opposite of green. Opposite colors can be used in many ways Avie sale Mixed, complements become gray. For shadows itis always better to ech coors (vot, blue mix a color with its opposite, rather than adding black. and geet ‘An opposite color can also be used to complement” a colo, ot make it stand out; for instance, to make the color red stand out, place green next tot This isthe most fequent color iby a ee eg i Aiescermde | flowers and nature, Because almost ees all stems and leaves are green and {Ge and onnge) many flowers are ted or ink, the flowers have a very natural way of standing out Shades and tints ar also impor- tant. A shade is a darker version of itself A tint, on the other hand, isa Sieicandeesh lighter version, hades and tnt are reas seen ona vale che result of light and shadow. seal. The idle i section i the true color. Eventhing on There are two more terms that apply to colors hue and intensity. Hue iscolor applied lightly; intensity is orirere dem color applied brightly, Unlike shades aie and tints, which use other colors to change the way they appears, hue and intensity apply to the overall concen Createrintensty tration of color isachiened by Experimenting with colori fase ineresing the ne. nating, As you proceed through this book, you will see many examples of asing color creativelyThe Simple Egg So what comes firs, the chicken or the egg? Itis an age-old question. But, for us artists, the answer is easy The egg! Itis the overall shape most ‘obviously seen within the form of a bird, and shape is everything, In fact, the simple-looking egg may be the most important drawing in the whole hook. Ircontains every element necessary for creating a realistic- looking drawing of a bird. Look fr the egg shapes within the for ofthis chick 22 Drawing in Golo Birds THE MOST COMMON SHAPE ‘The eggs the most common base shape seen within the form ofa bird. ‘Thisline drawing shows how the simple egg shape is repeated four times to create a smal chick. Notice how the body of the chicks thick and appears vided down the middle, For this reason, iis batter to se four egg shapes, rather than two, when creating i.The Five Elements of Shading Because its important to fully under- 1, Cast shadow. This is the darkest found between the shadow edge stand what it takes to create depth partof your drawing. It isunder- and the ful ight area. and realism in your work, I begin all neath the sphere, where no light 4, Reflected light. Ths is che li cof my books with the same informa- can reach. It gradually gets lighter edge seen along the rim tion: the five elements of shading and _asit moves away from the sphere. _ sphere. This is the mos practice exercises of the sphere. The 2. Shadow edge. This is where the clement to include in yo five elements of shading can be found sphere curves and the rounded ing to illustrate the rounciness in every three-dimensional shape, surface moves away from the the surface. including the little egg and the chick. light. It is not the edge of the 5. Fall light. This is where the lishe ss ‘The five elements of shading are as sphere, but is inside, parallel to hitting the sphere at its stronses follows (listed in order from darkest the edge. point. to lightest: 3. Halftone area. Ths is the true color of the sphere, unaffected by Look at the egg again. Can y either shadows or strong light. Itis see all of these elements there? Full ght Shadow Edge 4 Cast Shadow 7 ~ Reflected Light Teenage 3,Drawing a Sphere Step-by-Step Using this step-by-step example, practice drawing the sphere. I have used the Verithin pencils for this exercise. After drawing the sphere, practioe drawing the egg also. Apply the five elements of shading as well. ‘The more ofthis you do now, the better your drawings will be later. ‘COLORS USED ar Brown, Poppy Red and Caray low Trace around a circular object, oF use a template to sive yourself round outline, With Dark Brown, add the cast shadow below the sphere. Also add the shadow cexge. Remember, this does not go to the edge of the sphere, but i inside, parallel to the edge. The space between will become the reflected light area. Add Poppy Red, overlapping the Dark Brown ‘With Canary Yellows lightly overlap all of the colors already there. You are now creating the halftone already there. Lighten your touch, and gradually area, Work up gradually to the light area. Place some fade into the color ofthe paper in the full light area. Poppy Red below the sphere, over the cast shadow and around to the other side. This gives you the illusion of a tabletop. 24 Drawing in Color: BirdsDrawing an Egg Step-by-Step For additional practice, use this example of a step-by-step egg, It has been drawn with the Studio pencils and blended with a torilion. Ie has a smoother look to it than the sphere exercise before, doesnt it? coLoRs USED Chocelte Broun. Lightly sketch an outline of an egg with your mechanical pencil. Go over it lightly with a Chocolate Brown Studio pencil. Place the cast shadow below the exg, Lightly apply the shadow edge, leaving zoom forthe reflected light. The light is coming from the front on this example, so the shadow areas are off to the sides. Build your tone with the Chocolate Brown, until it With a tortllion, smooth the tones. Begin in the dark looks like mine. This area isthe halftone. Lighten areas and work roward the lighter ones, lighter ‘your touch as you move toward the fall light area. your touch as you go. Can you see how the color changes ‘when blended? I takes on a warmer appearance.Basic Shapes for Drawing Birds The following are all of the basic shapes seen when drawing birds. Each one has had the five elements of shading applied, giving them the illu- sion of form and realism. Each of these shapes should be drawn and practiced over and over, until the process becomes second nature to you. As you analyze these shapes, try to think of where each of them would. be found in the shape ofa bird and THESPHERE THEEGG its surroundings. Think of other sub-Lookforthe fe elements ofshadinghere. This can be sen in the shape ofa ies head, and also inthe body. ject matter as well, and you will see the importance of including these forms in your artwork. THE CYLINDER THE CONE ‘This shape can be see inthe neck area ofa ‘This can be seen in the shape of beds beak bird, and also in the trunks of res. THE LONG CYLINDER “This canbe found inthe legs of bed. also can be found inthe necks oflong-necked birds, such a ostiches and swans. The smal limbs and branches of tee wil eleo be made up ofthis shape Nore: elec backto the station ofthe cick on ge 22, and lok frtheze shapes. 26 Drawing in Coto: BisThese two photographs clearly illustrate Ww the egg shape is seen within the body ture of a bird. The rhea and the flamingo have similar body shapes and necks, Even the shadow under the emu is cag shaped. It is important to identify these basic shapes early, before you begin cour draw PHOTOGRAPH OF AN RHEA PHOTOGRAPH OF A FLAMINGO ‘The thea siilarin appearance ta the amu; its body isan cbvious The same shapes can be seen in this bird, The ‘egg shape. The shadow is epg shaped a5 well Look forthe long thinner legs than the emu, inder inthe shape ofthe reck ane the legs.‘To draw anything with a high level of realism, it is very important for the shapes to be accurate. However, being able to see shapes accurately and trans- late them onto paper is nor easy. While freehand drawing is often fun and enjoyable, itis rarely accurate—at least -withoutinvestng a large amount oftime in the process. There are some methods that will help you be truly accurate ‘We will be working from phoro- sgraphs. The techniques you will am here can then be used later when drawing from life. Working with photographs affords us many luxuries, Itallows us time to really study the suibjece we are drawing, withour fear of the position and lighting changing, It gives us the ability to edt the picture by enhancing certain elements while eliminating others altogether. But most important ofall, it makes it possible for us to graph, or project, our beginning, outline. This will give us an accurate foundation for our drawing, ‘While some artists will argue that ‘graphing or obtaining an outline with the use of an opaque projector is “ cheating,” [couldn't disagree more. 28 Dravingin olor: Bins Graphing teach my students both methods asa ‘means of training their eyes to see shapes accurately. Being self "J [An empty graph of inch (acm) sq Enlarge template 227% to retun ofl size. Nove “Todrew an image rg make the squares on your drawing paper larger than inch (2c). “ou can rece the size of something th his ‘rathod as, by making the sau: on your paper onal tan these othe photo As long asthe bores are square he shapes wl be proportionalDrawing From Graphed Photos—Red-Tailed Hawk To draw this red-tailed hawk «curately, had the photo enlarged sa color copy. [then drew a 1-inch 2 em) grid over the top of it with a marker—the grid pattern helps reduce the photo's subject matter into more manageable, easy-to-sce shapes. IF you have a large photograph, and do not want to mark on it, you can pply a transparent grid overlay on cop of it, To draw from a graphed photo- graph, first very lightly apply a graph onto your drawing paper with a nech: ical pencil. Apply the lines as ihe as possible, since they will need be erased later Concentrate on seeing things as ast shapes. Draw the shapes you see ‘raph applied ‘Acopy ofthe photograph with a inch (2cm) within each square of che graphed photograph as close to the size, shape nd placement as possible, Tur your paper upside down 10 make the nage less recognizable—this will prevent you from drawing what a | looks like from memory. Look at the small details of the awk, such as the feathers, colors | and markings. See these areas as | | shapes as well, and include them in out line drawing, When you are fished, your drawing will be asi ple outline of the major shapes, and will resemble the look of a map. That s exactly what this isa map to guide you through your rendering. | Finally take a kneaded eraser and zently remove the graph lines. This irawing will be used later on page 50 to practice drawing with Verithin | pencils To use it forthe finished | | et awing lates, itshould be drawn on an accurate line drawing ofthe photo that has been drawn within a sheet of Arctic White mat board grid, The samesize bores were used, This wll be used fora project on 3 Pages.American Kestrel The following examples provide photographs for you to draw from. They not only will be excellent prac- tice for your graphing skills, they will be used later in the book as full-color step-by-step projects, Be sure to use the paper recommended, because itis important to the final look of the drawing, Start this drawing of the kestrel by lightly drawing a grid of 1-inch (2em) boxes on a piece of banana fiber or other speckled drawing paper Remember: Draw this grid as lightly as possible. You do not want to cdamage the surface of the paper when you erase it later. Use the graphed photo as guide, and draw the shapes Photo reference of the faleon within each square as accurately as possible. ‘Your line drawing should look just like mine when you are finished. Once again, I was sure to include the small details of the feathers, colors and ‘markings. You will use this sketch for the Verithin colored pencils project on page 52. Nove— Graphing can be sed t enlarge o reduce the siz four subject. By placing larger squares onyour daning saperthan re placed on the phot, your caning size will beinceased. Smale squares ill poducea smaller | cain. Facey bese your anes ae perfect squares. ‘Acopy ofthe photograph witha inch (acm) raph applied. sian 30 raving in Coto: Bets ‘An accurate line drawing ofthe photo that has been drawn within a sid. The same size boxes were used. This wil be used fora project, on page 52Wood Duck Jwas amazed when I got this photo. Blue no. 972 piece of mat board coloration. The example can be seen back from the processor. It looks because of the soft color of the ‘on page 60. almost unreal, due to the soft color background, ‘This little guy has many detailed ‘of the water, the distinct patterns of This sketch will be used later for _ patterns to draw, so be sure to let the water ripples and the extreme ‘a Prismacolor drawing. This project grid be your guide. Capture as much coloration of the duck itself. To me, it is very colorful and vibrant, and. information as possible in the draw- was the perfect candidate for draw- _Prism-acolor is the only pencil capa- ing; it will make your job of adding, ‘eg. Ichose to draw this ona French ble of creating such vivid, smooth the color much easier. ae a | | rer | | 1 T | fe T T T | st oa ‘ Petit | ‘An accurate line drawing of the photo that | ] | ts been drawn within a ged. The same size tn eneniattinenieniinee= iia |__| __} project on page éo.White Hawk « isa beautiful example of a white k. Love the way the light and lows dance across its body. Its ith, delicate textures and subtle 1r make ita wonderful example drawing. his will be used later for a project ng Prismacolor pencils on suede voard. [chose this approach because he soft texture of the paper will be :seful in creating the same sofmess seen on the bitd. This suede paper, however, cannot ve graphed on, Use a thin piece of typing paper to grid this line draw. will show you how to transfer ito the suede board latet. When aking your line drawing, look at all Phote reference. ‘scopy ofthe photograph wth a inch (2m) the feather shapes and how they teaph apr celap one another. This inform: tion will be helpful when you apply TFRIT) Meelon Youcan nds poet = |b dts J m pate 66 : ah . | |_| i fh An accurate line drawing of ha boxes were used. Thi willbe used fr a projecton page 66 the photo that rs drawn within a gid, The same size 42 Drawing in Cor BindsSeagull Bes photo will be used for a project “iss the Studio pencils by Derwent. smooth coloration of the seagull be captured perfectly by a technique. “This line drawing should be placed ‘ex 2 sheet of Cotman watercolor ‘pepe The fibrous texture of the ‘sper will enhance the blended tech- ‘sigue, making it look very realistic. ‘Tes project can be found on page 72. ‘An accurate line drawing ofthe photo that has ben drawn within ari, The sare ize Sones were used Ths wil be used fora project on page 72 ‘Acopy ofthe photograph witha neh (2-™) ‘raph applied.Swan This photograph of a swan also has 76, Iwill show you how to turn this distinct shapes within the water rip- into a painting using Watercolor ples. The mitror reflections add a lot pencils. of interest tothe picture. The graceful have used the same Couman shape of the swan combined with those patterns nakes for a good watercolor paper as did for the Seagull on page 33. Again, be sure drawing. Later in the book, on page your graph lines have been applied » has been drawn | project on page 76 lightly. Heavy erasing will damage the paper’s surface, causing the water to “misbehave” later on. Be as accu- rate as possible in your shapes. Look how pretty the water reflections are {an accurate line drawing ofthe photo that within a ri, The same size boxes were used. This willbe used foraSarak Beaks, Feet & Feathers Before we begin the detailed draw- color. Some seem highly usefull and also look ar the eyes. They, 100. ings of entire birds, we need to functional, while others seem merely designed according to the bire tunderstand some of the important decorative. particular needs, Birds of prev, suc features. When drawing a particular The beak is used for many things, as eagles, hawks and ovis, have species, it is essential to capture the such as eating, catching prey, build- large eyes. They can see a movi specific details of that particular bird. ing nests and self-defense. Here are a target far off inthe distance. S Each species has unique character- variety of bills and beaks. Study each ow! flies at nigh, its huge eyes al istics seen only with them, and cap- one for its unique qualities. Allof light in, enabling it ro navigace turing that type of detail will make these drawings have been done with dark. your artwork look more authentic. _Prismacolor pencils due to the smooth, _Allof these features make eact One of the most recognizable shiny surfaces of the beaks and the bird different and gives you the arts features of many bieds isthe beak or brilliant colors. a wide variety of subjects to drs Dill. Beaks range in size, shape and While studying the various beaks, BALD EAGLE ow. This large, hooked beakis used for iling and shredding its prey The The ow/ has a smaller version ofthe hooked beak large eye allows the eagle to se far of inthe distance. ‘eter that uses its beak to shredcockAToo ‘SPOONBILL CHICKEN This is whats called a “cracker” bil tis This handytoolis designed for scooping This beakis used for pecking the cit and esigned for cracking open seeds and nuts, things up from the bettors oFstreams and racking seeds. rivers, and sweeping through the water looking for fos ‘TUFTED PUFFIN REDTAILED HAWK This colorful beak s quite useful for catching fish underwater ‘Thishes asinilar shape and function asthe eagle's beak, The hawk andthe eagle are both considered tobe bids of prey. 36 Drawing Col: rssPELICAN FLAMINGO “Thisbillis used asa huge nto scoop up fish from the water ‘The flamingo has a very decorative beak, which also serves 28 # "20 for catching fsh ‘TOUCAN SNIPE “This bight colored bills more for decoration and courting mates Thisbeak’s designed to poke and probe through the sand loos rz than for eating purposes. Atoucan sa fut eater tasty morsel. Beaks, Feet & Feathers 37Feet _ Another important feature that vaties trom bird to bird is the feet. Just like the beaks and eyes, the feet are adapted €0 aid with certain jobs and Inchaviors, Suady the examples here, and you can see how similar, yet how dlitferent each type of foot appears. Refer back to the photographs of the rhea and the flamingo on page 27. “The thea has much thicker legs and thas larger feet designed for running. The flamingo has slender legs and vwoihed fet designed for walking tis ootued fx percing Ths the and swimming in water. ‘eabatsrouie Often the fourth toe isnot seen when holding _ This fot is designed for ser abranch, te is much shorter than ona perching fot, and the three toes in font resemble a rake. ‘You would se fee lke this on a chicken or phessant, 38 Drawing tn Color: BidsNote “The leg of bes wil vain eet. Bids of the ai anc bids tha dr hae shorter ag. May ducks have shor legs fer swimming i thatun fast or wade trough water have the longest gs i ‘This webbed foots seen on all waterfowl and This runing foot has three toes instead of provides a paddietohnalp the bid propel four Emus, sheas an killer allhave these through the water thre-toed fet. An ostrich isthe only bird vith 0 toes Thisis 2 grasping fot seerion lage birds of This climbing foot seen in tree dwellers, prey. It gies them the ability toy down and such as swits and woodpeckers, snatch up their veins Beaks, Feet & Feats 39Feathers Naturally, when you think of a bird, you think of feathers. They are what make a bird fly and what keep it warm oF cool. They help attract attention or camouflage a bird completely: Feathers can be long or short, hard or soft. They ean be riddled with patterns and markings ora solid color. ‘When I see a large feather, such as the top one shown here, Talways think of an ink well. Long,ago, large feather quills were used as writing utensils because the long shaft of the feather or quill is hollow. By placing «small opening in the side of the quill and piercing a tiny hole in the end, the quill could be dipped in ink and it would flow as ina regular fountain pen. Ieis the hollow quill that makes the feather lightweight and suitable for flying. ‘A feather has important details that you must understand before you can draw one convincingly. To me, feathers resemble the formation of a leaf or fern. The web of the feather ‘comes out from the center quill, producing a flat vane on either sie. ‘The vane is made up of hundreds of parallel branches. Things called hooklets, or barbs, hold this web, or vane, together. Ths is what makes the feathers resistant to the air, keeping the bird in flight. Without the web, air would pass through the feather, like it would with fur or hair. Flying would then be impossible, 40° Dring Cole is ‘CONTOUR FEATHERS Feathers overlap on a bid, much ike Found on the body ofthe bird, contour shingles on a ro, feathers hug the body and act a a coat for protection and insulation. The fuzzy are at the base ofthe feathers called the down and is found beneath the outer feathers. On ‘wateroud, such ae ducks and geese, down is ‘what kaeps thor warm. Feathers are very \wateresistan. Watch a duckin the wate, and you wl see water rll right of itForeshortening Sometimes when observing birds, you'll notice that the length of the tail appears distorted. When the feathers are projecting toward us the angle causes the length of the tail 0 be Ne Notice how the soft feathers of the chest blend together, and the individual feathers cannot be seen From this view, you can see ‘he entire length ofthe tal. Compare tothe Ginder shape shown abo. 42 Drawingin Color Bias visually shortened. This is called foreshortening. Look at the three sparrows shown here, and notice how the varying positions create different amounts of foreshortening. This view shows thee distinct rows of feathers. Thelong ones 2 he tps ofthe wings are called primaries, and ae fight feathers. The next rou, closer ta the bods, are called secondaries. The smaller feathers that cover the base ofthe lrger ones are called covers, This angled vew distorts the length ofthe tll gingiva shorter appearance, The ‘linder above shows the tal position and perspective ‘These birds all have simi tail ‘They just seem different due co the poxitionings. Remember to look for foreshortening whenever you draw something tht is long in shape This back view completely akers the perspective. The length ofthe tal feathers is completely last See the onder above for the positionFeathers in Flight The most important function of feathers is to aid in the flying process. Look at the outstretched wings of this parrot in flight. You can clearly see the three layers of wing feathers 2s I described before. Look at how the feathers overlap and splay out at the tips. These wings are good for shore distances and flying from tree tore. “The wings of seagulls look totally different. Their feathers are closer together, and their wings are much longet. They are designed for sliding and soaring along the air currents They are also used for diving. PARROT IN FLIGHT ‘erthinpancis on Moss Green Re oh a3em soem) coLors useD Paro: Tie Green, Apple Gee Gren Inge Ble, Toe Bl ‘Aquamating, Caray Yeon Bland White Background dig ue are igh 8 . a ‘COLORS USED Datk row ight Ube Cool Gray 5085, Sienna Brown, Yelow Ochre Black and ‘Wie SEAGULLS IN FLIGHT Primacole parson ray Mable paper fe 0" (azo 38cm)Study Actual Bird Wings By looking at the wings from actual birds, you can see and study the anatomy much better. Take a look at the wings shown at right from a great horned owl, and notice their beautiful markings. These two examples were taken from unfortunate birds that were hurt and killed in the wild and are now being used for educational purposes. Look closely and you will see the three layers of feathers and the quills. Tn order for a bird to fy it needs more than just feathers. The body cructure ofa bird is very lightweight, bur itis very strong. Look atthe ‘wingspans of the vulture and bald eagle shown on these two pages. Under their feathers are strong muscles that pull the wings up and down. Compared to a human, the bird has much more powerful chest muscles for its size Look at che differences in the feathers of all these birds. Each has a different texture and appearance. The wingspan ofa turkey vulture.‘The lestel has avery smooth appearance The gest homed ow also has beautifl markings Ithas a thick and has beausifl markings. The closed Feather layer which erates alle, mote tozured appearance. You ‘wings cover the body ofthe bird, Lock athaw can clearly see the overlapping of the fathers, which creates the the wing ips cross one another atthe end. shingled look. Thishelps keep the bird balanced while standing on te fat surface. Beaks, Peet & Feathers 45Chapter Seven” Verithin Pencils ‘When I introduce students to colored sharpener for these, as with any art paper to represent a skylike back- pencil, like to stage them with the pencil, [recommend an electric or ground, The brown tones became ‘Verithin brand, Verithins are good battery-operated one. part of the drawing and helped create pencils to use when learning to ‘When drawing with colored the color ofthe bied, giving it an experiment with color. They have pencil, the paper that you use isas__ interesting effect. Had I drawn this cin thin leads. They can be sharp- important asthe pencils you are bird on a white background, the cned toa fine point, which is their drawing with. A good example can effect would not have been nearly most valuable characteristic, Iris __be seen in this drawing of a red-tailed — as striking, important ro havea quality pencil hawk. I selected this marbleized VALUE SCALE Examine this value scale, The colors layer without mining together. The surface ofthe paper shows through, creating a somewhat grsny effec. Ths i a wacbased pencil butt oes net have enough wacin it to build up ard completly cover the paper. That ie why 1 lke ths pencil. The layered approach looks ver antsticto me, RED-TAILED Vein and Pistnacolor perc on Bown Marble paper 1x24 em rem This drawing of re taled hawk vas done wth light, layered (COtpeS USED approach. Notice how the graininess of the pencil has become part ak Bronn Sienna Bron, Tera Cts, ‘ofthe texture of the bird. This method captures the subtleties ofthe Coden Bown, Yellow Ochre, Acuamarne | Tetures, without looking harsh To make the highlight area look sd lace white Prsmaccor was used for | Wid Sed a White Pismacelor pencil tis very important o keep a sharp point on your pencil at all times with this technique. Because of the ight application of perc light areas ca be lifted and eotened witha kneadable or typewriter eraser ‘he sheen onthe shoulders, beak snd the catch nthe ej ad the nb 46 Drawing olor: KinsLet's examine some other drawings done with Verithin pencils. This study ofa cardinal’s head shows the beautiful layering effect achieved with these pencils. chose a speckled, recycled paper called Artagain by Strathmore. The speckled surface makes the layered application of pencil more noticeable, Look at how all of the colors layer on top of one another. They don’t build up and blend together, but remain indepen- dent, Each color ean still be seen through the others. The line quality of the pencil shows through and becomes part of the texture For the beak, I switched to Prismacolor pencils in order to capture its smooth, shiny surface. Ifdone with the Verithin pencils, the texture would have looked too porous to be realistic. The same is true for the eye. will often use a Prismacolor or Negro pencil to achieve the deep black necessary for the pupil These litle hummingbirds were also done with Verithin pencils. 1 sas able co produce a crisp line with them, which was necessary for cap turing the fine lines seen within the swings, Verithin pencils are also good for creating very subtle color changes, as you can see here in the humming- birds’ bodies and heads. This head study of a thrash shows the delicate layering of colors neces- sary for creating the bird's texture, Its feathers have the same grainy look that this pencil produces. Look closely and you will se one color layered on top of another. The sharp point of the pencil creates delicate lines, which replicate the texture of the bird CARDINAL ‘Verh penal om Moonstone Atagan paper 8°10" (ace xasem) Hause \erthin pene on Banana ber paper gh i2 (3c x32) coLORS USED ‘COLORS USED Body: Poppy Red, Yellow Ochre, Dark Umber and Bac Eye. Neg. Beak Sainon Prk and White Prisco Dark Brown, Golden Brown, Tera Cats, Canary Yellow no.1 Neproand White Pramacsor peel ACES ‘esthin peel on coioas USED) BescheandAtagin per ‘Bid no. + Dark Brown, Golden Yeon, Poppy Re, lack ad Wie tani Goeme ‘Bird no. Golden Yello Poppy Red Caray Yellow Aguamarie, sen) (live Gene, sack and White | eatin Povey 47Using Colored Papers I chose a recycled paper for this drawing, Icis called Banana Fiber It is much thinner than the Artagain but has a wonderful, natural look to it Iegives the drawing of the ducks an earthy, natural feel. The brown. speckles blend into the drawing and become a part of it. (One of the things [liked the most about this drawing was the use of shadow below the larger duck. By emphasizing the shadow, the bright sunlight effect on the bird's neck becomes more obvious. By using a darker background, the reflected light can be seen down the front of the larger duck. Look for the eg shapes here. This tricolored heron was a fan ‘one to draw. Since I wanted to accen- twate the unusual coloration of the bird, I chose a mat board called Cameo Rose no. 973. Not only does the color of the mat board add interest, it becomes part ofthe color of the bird. The Verithin technique allows the board color to come through. Because the board is some- what dark, I was able co use White for the highlight areas. White gives it amore dimensional fel. I used Prismacolor pencils for the beak and legs to make the yellow coloration more vivid. [also used a light appli- cation of Cloud Blue Prismacolor in the background to suggest a slight illusion of the sky. COLORS USED Vert Ligh Bue, Muar Golden ‘ello and Black Prsmacolor Conary Yon, Coo ray 505, Yl Ochre, Cloud Band Whit, 48 Deawingin Color Bids thin penal on Beran Fiber paper st xi2" (enor) TRICOLORED HERON COLORS USED Ducks: Dark Brown, Colden Brown and no.) Negro for the black eos. Background: Dark Cis, Golden Brown and Ove Gree. Yerthin and Pemaclor pencis on na. 973 Cameo Rse mat board 13" (acme soem)Using Complementary Colors _ The use of color is very important in eawing. That is why I included the color wheel in chapter four as a refer~ cence, The drawings below show how you can use complementary colors to chance your work, “The red crossbill was drawn using ‘opposite colors on the color wheel Since the bird had such a pretty color mixture of orange and yellow T used violet and blue in the background t0 ‘make it stand out. then repeated those colors by reflecting some of them into the beak, wings and tail. I algo can be scen in the highlight area of the wood. [Although Verithin pencils have a delicate application, they can stil be used for bold color statements. Examine this drawing of a peach breasted conure, and you can see ‘what I mean. I started with a mat board called India no. 912. Ithas a golden coloration that shows through in tis drawing. All of the colors of this bird overlap, creating very subtle color changes. To enhance the green- ish hues of the bird, I used shades of red in the background. (The opposite ‘or complement, of green is red.) ‘When doing an even layering over a large area, always keep the pencil sharp. If the pencil point becomes dull its line width broadens and the application of tone looks like exavor Re CROSSE coLoRs USED ‘ert ene Cham Rene Pumpkin Orange, Ds Brown, Coden ise: Brewer, Daa Pug, Viet and Black Bra (en PEACH BREASTED ee i COLORS USED 72 nda mat board Bind: pple Green Targus, Caray Yl Dark Bros Pp Red Srx10"(2ocmxasemy | and Bac Bronce Dark Brown, Coen Brown, Blackand White Background Tra Cos ad Back. Beak eye and fot White, Black and ly Rose PrismacalsDrawing a Red-Tailed Hawk Step-by-Step Now you are ready to start your own project. Follow the step-by-step directions carefully. Using the line drawing from page 29, le’s draw the ed-tailed hawk together. Carefully examine the riginal photograph for the details ofthe hawk. Make sure that you tured all ofthe shapes accurately h your memory by refering back othe raph exercise on page 29, COLORS USED Golden Broun, Tera Cota, Col ray 70%, Dak own, Ligh Blue anno» Negro Once you are sure of the accu racy, you can remove your graph lines with the kneaded eraser and begin to add the tones. I always start my renderings with the eyes. The eyes hold all ofthe life and personality of the bird. By doing them first, I ge the feeling ofa living creature right away I drew these eyes using Golden Brown and Terra Cotta, along with black. I first filled the colored areas of the eye with the Golden Brown and then added the Terra Cotta to the edge. The lightest area ofthe irs isthe tone of the paper showing through. To make the pupil of the eye as deep as possible, Iused a no. 1 Negro pencil With the same black pencil, T then began to add some of the dark shadow areas around the eye, under the beak and to the body of the bird. When your drawing looks like mine, you ‘can proceed to the next step. With the same Golden Brown swe used for the color of the eye, begin a light application of tone to the head and chest. Go over the black you have already applied‘With Terra Cotta, go lightly over the Golden Brown. This isthe stage where you develop the shapes of the contour feathers. With Cool Gray 70%, lightly color in the shad- ‘ows of the beak, Now for the final rouches, Use the Cool Gray 70% to create the shadow on the lower portion of the chest. This makes the bitd look rounded. Then, with Light Blue, add aint of color to the head, beak and throat, This gives the illusion of the sky color reflecting off of the hawk. Beautifull “With Dark Brown, go over the Terra Cotta. Continue building the shapes ofthe feathers. Can you see how dimensional its now bez ning to look? Also, can you see how the three colors we layered can all still be seen? Keep adding the Dark Brown until your drawing looks like imine. With more Terra Cotta, ad the patterns on the chest. Aernhin PeneisDrawing an American Kestrel Step-by-Step Since Verthin pencils are one of my favorites for drawing birds, Pve included another project for you. This one will give you practice draw- ing an entire bird. Let’ go back to the line deawing from page 30 and draw the American kestrel togethet ‘coLORS USED Golden Brow, Teva Cota, Light Blue, ‘Dark Broun, indigo Bl, Tre Gren, Dark Croan lack anno. Nero pane the: rg photo, and check your | Again, I started with the eye to ‘With Terra Cotta, go over the beatae rE een cay the life of the bird, For ‘Golden Brown to deepen the ave captured all of tails, you can etre eo ‘ ee reubav cpa alte at 29¥e this Tus my no, Negro enc. coloration. You vl stil sche ‘Trotitcguyhasalet more patemsand The highlight in the eye is the paper Golden Brown underneath. Apply details to capture, so take your time. showing through. This bird has no some Terra Cotta to the wing area ‘other color in its eye. to act as a base color. ‘With Golden Brown, lightly apply some color to the body of the bird. It is the same approach we used for the drawing of the red-tailed hawk. This bird has a white area on the chest; so don’t ili in all the way. Leave some paper exposed. Take some of the same color down into the legs and feet.Build up the blue color ofthe head and wing by adding Indigo Blue on top of the Light Blue. Streak a little of the Indigo Blue into the chest area also. With the no. 1 Negro pencil, begin adding in the dark patterns of the bird. Be sure you accurately place them, These mark- ings are important to the species. a ‘With Light Blue, add some color 1 tothe top of the head, base of the beak, throat area and wing, With Dark Brown, add some shadows t0 the chest, wing, legs and feet. The bird is now taking on some dimension. To finish the drawing, add a light touch of Dark Brown into the background directly behind the bird, Add some green to the areas below with a combination of True Green and Dark Green. The shadow area below the bird was ereated with the Black Verithin pencil ertn Pencils 53Prismacolor Pencils While Verithin pencils offer a subdle Jook, sometimes you may want to create a brighter, bolder statement in your work. Prismacolor pencils are designed for just that. Seady these value scales, and you can see how different the two pencils look. Look at this beautiful drawing my student drew. It was drawn from a Picture she took while on a trip out of the country. Look atthe vivid colors and details, She caprured it perfectly Telooks almost like a photograph. Ie is this heavy buildup of color and the ability to capture sharp detail such as this that make Prismacolors so unique. When Hook at the photo refer ‘ences Ihave, each one may need to be drawn differently. To draw the toucan on the next page, Prismacolor ‘was my only choice—no other pencil would capture such vibrant colors, Look at how smooth and shiny the beak appears. The waxy formulation of these pencils is perfect for depict- ing this type of surface. They are also good for creating interesting back- rounds. This one was created by heavily applying a number of colors in horizontal fashion. This tech- nique of building up color like this is called burnishing. Iti the process of blending one color into another using the lighter color to soften them. 54 Drawing in Color: Bids ‘Avalue scale drawn in Vetithin pencils (ON THE FOUNTAIN Pamacolor penis on 0, 1008 Wary mat board 16220" (tem xstem) sie aby BowdenBecause of the large amount of —_ work look shiny. Iuse both, depend- addition of other colors to make wax in these pencils, you may notice ing on the subject and how Iwant it them appear dimensional. This is tre a haze forming on your work. The 10 look, for any color or surface. Anything ‘wax rises to the surface causing the This little puffin below has lovely thac is filled in with one continual milky look. Do not be alarmed. You white areas, which this pencil cap- tone will appear flat. Look at the are doing nothing wrong. Lightly tured beautifully. [chose Artagain white area ofthis bird, Can you see rubbing it with your finger ora tissue paper in Storm Blue for this drawing, all of the different colors reflecting up will make it disappear temporarily. as it offered just the right amount of into it However, when you are finished with contrast. > 1 particularly ike the way the colors of the feet are bouncing up your work, you must spray it with a Prismacolor is also a good pencil onto its chest Look at the areas of fixative to eliminate the haze perma- for building up colors and depicting black, Can you see the subtle hie! rently. You can choose a matte spray, white and black area. like to tell my _ light areas? These lighter areas mak ‘which will nor be noriceable, or a students,“Black isnt black, and white the puffin look rounded. ‘loss varnish which will make your isn’t white!” Both of chem require the Prsmacolor enc on no. 198 ivory mt board x10" (20cm x35em) Pismacoor penis on Storm Ble Atagan paper 9°92" @xemx3ocm) Prsmacoloe Pencils 55Prismacolor Examples The following examples were all done with Prismacolor pencils, utiiz~ ing different techniques, papers and approaches. Look at the different ways the pencil was used to create the special look of the specific bird. ‘This quail was harder to craw than it looks. The feather patterns on the chest and neck were difficult to capture, However, itis this type of detail that is ecessary for realism, Notice how a reflection of color can be seen on top of the white. Because of the very smooth surface of the quail, used a heavy, burnished approac This cockatiel was also created with a heavy, burnished approach ‘The Green Marble paper added an interesting look. Since this particular ppaper was from a stationary store, it has a different surface than the mar- ble art paper. Look closely and you can see it has a linen Jook to it, which showed through into the drawing, I farther enhanced this textured look Priamacolor pes on Brown Mabe paper via" Gxem 300m) 56 Drawing im Coto: Birds ‘COLORS USED Cerlea Bue, Parma Vole, raped Lavendas Fench Gray 90%, Dac Yon (Orange, Dahl Purple Black and Whe, by using a craft knife and scraping, smal details into the feathers and ‘tree limb. To help the bird stand out against the background, I deepened the darker areas of the marble paper with a Dark Green Verithin pencil created this great homed ow! by combining both Prismacolor and Verithin pencils. The even layering of the background contrasts against the heavy application on the bird. You can see how well the two types of pencils work together. Nore Tecarstngrat te hey etbge Used to daw bie ightaned my ouch ane rein the round with a lyre approach,cockariet Psmacolr pena on Green Marble paper gree (xems3oem) GREAT HORNED OWL Prisacoler and Voithin eres on no. goy Soft Green mat board 1x16" goemx4ier) ‘COLORS USED Bind Deca elon, Mchogany Red, Dark Brown, Poppy Red Yellow Ochre, Tera ta, Black and Whe. Branch Tere Cots and Dark Brow: —— | Note To enhance the depth ftonein the marble of the paper deepened enti ares with Dak Gren Verthin geri You ca ee around theace. ‘COLORS USED Bind: rk Sum, Sienna Bron, Yellow ‘Och, Ter Cats, Canary Yellow Black and white Background: Turquoise, Grass Grea and Ceol Gray 50% Vern, ed the Turquoise ancl to refet the blue ones tothe beskard fee, Note— Fer the tere aed putin ofthese ethers, used boxer spprosch by leaning my penal rmorecnthe sideCreating an Entir Sometimes [like to create an entire scene along with the bird, for a coral composition, These two examples show what can be created. This drawing of a cardinal depicts winter mood, by contrasting the white limbs against che black background. The bright red of the cardinal stands out against the neu ral tones of black and white. Look closely atthe texture of the bied, and vou can see where once again, Thave ased the craft knife to scrape in small details and textures. The white color of this egret stands out against its much brighter surroundings. By including the total swene along with your bird illustra- , you create more than just what the bird looks like; you can tell the viewer more about how it ives and what it does ARDINAL IN THE WINTER coLors usED Bid Wh, Cin Roe, Grayed Laver Cloud Be, Dak Brown, Canary Yl olden Yelon, Orange, Saran Blick Follage Spring Gree, Apple Greer, Ove pe Deco Yeon: Yow Charveuse, Blick and hie Background: lo Blue, Lave Bue Parma Viet nd White Wood deck Oar Brown, Siena Brown Blac ard Whit, CChaeuseLimepee Dare Bro, cori Prismacolr penile on wo. 3257 Arce White mat board 2 X18 goer er coLoRS USED Poppy Red, Tuscan Red, Seal each, Black ite Note— ‘Tomalethe cardinal andthe wht, wintery lbs standout, fle inthe bclground th 8 then sprajedthe enti hea aplication of los var look hing. desing withaWorking on Black One of-the most interesting chacac~ teristics of Prismacolor is that itis opaque and brilliant enough ro use on black paper. The next two examples show how striking this effect can be. This swan is one of my favorite drawings, The black swan was at our local petting 200 and was quictly resting in the cool grass. I think he is just beautiful with th eens and bines reflecting off of his sunlit feathers, Look how vibrant the o appears in contrast to the rest of the drawing. A tint of orange is actualy rfl onto his beautiful neck. The brig greens of th against the black papes My rooster looks very colorful ass show up nicely against the black paper here. you see the difference in texture when This was ‘compared to the swa done on Raven Black m 989. Ie has a slight textu board no. You can also get it without the textur usED coLors in Poppy Rec Pech, Tuscan Re Tea Cons Sand Carine Red Light Pech, Sienna Brow, Yolow Ose, Cleam, Black snd White Background: Tcp0%. Ground Tera Cota, Cina Peach Deco Paper ‘COLORS USED Sven: Aquat, Grayed La Burt Ochre ach, C00 ray 6, lackDrawing a Wood Duck Step-by-Step coLORS USED Popay Red, White, Sand Tera Cts, Bron, Peacock Be, Pot Gren, “Tuscan Red Ole Gene, Back, Prune snd Mesiteranean Blue Using the lin drawing from page, e's draw the wood duck. Study ‘he onginel photograph carefully and be sure your details ae accurate “This wood duck has beautiful red eyes. I drew them Add Peacock Blue to the top of the head, wing tip in with Poppy Reds [also placed Poppy Red into the and along, the back. Then add Parrot Green to the small area on the bill. Whenever you are drawing some head, and burnish it into the existing blue. Place Tuscan thing that has a wide range of colors itis better to begin Red into the chest area overlapping the Sand color. This placing the lighter colors first. Fil in the areas you see makes the rwo colors blend together, giving the Tuscan here with White fist, then fill he nexe areas with Sand. Red a milky look, Below the duck, place Olive Green ‘The area under the tail is Terra Corta. Terra Cotta was _into the water and into the eye area of the reflection. I also used in the water reflection for the eye and bill. Place separated the side of the duck from its reflection by using Bronze into the ripple shapes of the water. a line of White to represent the water edge. Note— Remember reflections arenieveras bright as the main subject.1 Now that the lighter col WD been putin place, it in the Black in the head, the eye and the dark shapes « bill. Overlap the existing colors chest with Black, In the wate I started to create the blue r with a combination of Peri and Mediterranean Blue. Adding the Black makes thing stand out and comp drawing, You must blend the to make your drawing look of the colors were separate look like a coloring book burnished and blended the into one another. The colors head blend into the Black. By goin back inco the Black with the used before—Parrot Green and Peacock Blue—the image ‘The Sand has been burishes the Black on the chest and ‘making those colors seem sover ls Look at the head being reflec the water Can you see how I nished the ripples with Wh smear the edges, making th more like reflections?Prismacolor Pencils on Suede & Velour ‘We learned in the previous chapter There are two surfaces that use ment ofthe Prismacolor pencils fan how vivid and brilliant color can be to achieve this soft effect. One is ‘out on its surface, diffusing the color when you use Prismacolor pencils. suede mat board and the other is _into.a smooth pastel appearance. Theie waxy composition allows colors velour paper. Velour paper has actu- Working on these surfaces is not a to burnish and blend together, almost ally been around for a long time. It difficule technique to master. It giving the look of an oil painting. But was originally designed to be used requires alight touch and an even did you know that they could also with pastels. Suede mat board is application of pencil, much like that produce a soft, pastel-like quality? made co be cur into mats for framing. of the Verithin technique. The result Study these two value scales. The [find that it has a beautiful surface isa very smooth look, with no visible cone on the leis Prismacolor on reg- for drawing, and [use it often for peril lines. ular mat board. The color is deep and both Prismacolors and pastels. Because these papers are so soft, rich. The second one has been drawn Both suede board and velour bbumishing is not suitable, except in swith the same pencil, but this time it paper havea fuzzy knap to them, _very small areas, such as the pupil of hhas been applied to a piece of suede ‘The surface closely resembles a velvet _ the eye. mat board. The difference is obvious. fabric. The soft knap makes the pig- A value scale drawn with Prismacolor pencils on regular mat board. tA value sale drawn with Prismacolor pencils on suede mat board. has a deep, vn appearance has a soft pastel ike appearance.Suede Board & Velour Paper Compared So what is the difference berween suede board and velour paper? Look at these two birds and you will see. ‘The parrot on the red background ‘was drawn on a suede board called Gamet. You can see a swirled pattern ingrained in the surface, giving ita mottled look. Suede board is avail- able in many colors, and all of them have this swirled texture. The red bird on the white back- ground has been drawn on velour paper. It has an even surface, with no pattern or irrogular texture. The tex ture ofthis paper is a bit rougher than thar of the suede board, which seems much smoother to the touch. ‘You can see how both papers help create and replicate the softness of the birds, By using a lighter touch on. certain areas, such as the red bird's belly, the paper comes through, giv ing the illusion of fuffiness, Because the pigment of the pencils remains on the outer surface of the paper, itis also possible to lift light areas out with a kneaded eraser. Its very user friendly. Do not, however, use the raimcserpecizon | coLoRsUSED bead Pony ed cinsonReTosan Red, | x10" (200m xagem) ‘Canary Yellow True Blue, Black and White, | typewriter eraser. This will damage the knap of the paper. Extremes, such as burnishing or using white on dark paper, do not work very well with these papers. Burmishing will destroy the surface of the paper if done over large areas. Also, white does not cover dark paper swell. Ithasa tendency to become flaky looking. If there isa lot of white in your drawing, start with a white paper and let the color come through instead of adding i. coLors USED | Bld Cerson Red Tascam Ree Blo, Ulramatine ue, Yolow Cc, lack nd Bacheround Te Green, Dat Green, Indigo Blue and Deco Aqua Brands Yeon Ochre and Light Umber Prismacoons Pencil on Suede @Yeloor 6“Thistle kestrel has avery soft appearance Although theres alot of color her, | used ‘White velour paper allowing he white ofthe paper to come through inthe drawing. To achieve the dark background, used many layers of Indigo Bue ard slack to cover the White pape Patience ithe key here since you have to use light touch coLoRs UsED Bid Sen Broun, Tera Ct, Yellow Ochre edge Ble, Uteamatine Bue, lu Voet, Aquamarine and Black Background: indigo Bl, Dark Green and ah 64 Drauingin Color Bids AMERICAN KESTREL, Priracolr penis on White velour paper rere” (agen sser)“This mockinghird shows an example of what happens when you try to apply white on a dark background, Ths was drawn on a tan piece of velour paper. The White pencil on top of thas grainy ook Iftis were supposed tobe a smooth surface, this would definitely be a problem. However, due tothe teture of the bird's ches, it actually helped create the lle wanted. | added various shades flue into the background to Separate the coloration ofthe bird fom the tan background, ‘COLORS USED Bid: Dark Brown, Burt eh, Light Uber Yeon Ochre, Tera Ct lack and white (Notice the griny appearance ofthe Waite) Bechgrounds Pein, Aqvaraine ‘Deco Aqua nd Coo Gray 0%. MOCKINGBIRD Prismacolr pecs on Ten velour pape gtx (sem 30em) ‘rismacdlors Penis on Suede & VelourDrawing a White Hawk Step-by-Step We will be using the photo and your own carbon paper. Take your paper. Tape the paper down firmly raphed drawing of the white hawk graphed drawing, and tape it draw- With a sharper pencil this time— “om page 32. As I mentioned before, ing side down on a lightbox, sunlit but not 90 sharp it will poke through ‘ou cannot graph your drawing on window ortelevision screen. You _the paper—redraw the image. Press the suede board or velour paper. should now be able to see your hard enough to transfer the graphite Those surfaces texture, cannot be drawing shining through. from the other side onto the suede, easily erased. Remember though, ‘With a dull no. 2 pencil, trace You should now have a good line ight highlights can be lifed with a your drawing with dark, bold lines. drawing transferred onto your papet. kneaded eraser. For this project we Be sure to draw everything. When An alternative is to use an opaque will be using White suede board. you are finished, flip the drawing projector. This will cast the photo's, Earlier, [had you geaph this over and gently position it over your image onto the papes allowing you Grawing on a piece of copy or typing suede board. Do not move itaround to trace the outline. paper. Now, to transfer this drawing very much, as this will cause the to your suede board, you must create graphite to smudge all over your ( /%y Photo ofa white hawk Stare with the eyes to capture the M) With the Cool Gray 50%, essence of the bird, making it develop the feather patterns on appear lifelike right away: For this, use the chest and wing of the hawk. Add cotors use only Black. Lightly sketch in some of some color to the background on the the details ofthe beak area. Because right side of the bird this is a white bird on white paper, add some shading along the left side with Cool Gray 50% to separate it from the background. Be sure to use 4 very light touch for this; you do not want to see pencil lines. Slack, Coo Gray 3%, Yellow Och, Tre Blue, Cool Gray 70% and Cond le[Add a light ayer of Yellow ‘Ochre over the wing area on the right. Place a small amount into the front of the face as well. With True Blue, go over the Cool Gray 50% and extend the background color Again, be sure ro use a light touch. ‘To finish the hawk, soften the colors ofthe bird by layering Cloud Blue over the colors. This will make the other colors look less harsh. ‘Also add Cloud Blue to the back- ‘ground. This is good example of how a great drawing can be done ‘with very few colors. [Add some ‘True Blue into the chest feathers and onto the top ofthe head. Add some to the beak area also. With Cool Gray 70%, add ‘more darkness under the beak and conto the wing tip. Prismacions Penis og Sues & Nelour 67Blending With Studio Pencils We have seen how various brands of White. The eye was filled in with a colored pencils combined with differ- firm application of Chrome Yellow. ent paper types can produce a variety Now look at how soft the rest of ‘of looks. There is one more brand the bird looks. To achieve this effect, that can be very versatile, producing applied the colors very lightly, and soft, gradual color as well as deep, blended the tones out with a tor- rich hues. This brand is called Studio tillion. The color of the bird was pencils by Derwent. Studio pencils created with Pale Vermilion and are clay-based instead of the wax Deep Vermilion, also used Burnt value scale han wih tudo perc type like Verithin and Prismacolo. Carmine for the deep purplish tones Vue scale crawn with Studio peel This clay formulation makes them seen in the nostril area, the shadow perform differently: Derwent also area on the beak and the shadow makes a thicker version of these edge of the head and neck, The back- pencils, called Artists pencils. ground was created with Bottle Look at the value scale to the Green and Aquamarine. right. Notice how itis extremely dark and opaque at the beginning and fades into the white of the paper at coLoRs useD che end. The first part ofthe scale has sd eb Teer oir been applied with firm pressure, or ft ia ‘Burnt Carmine, Chrome Yellow, lary Black. bashed. The second half of he Po moe scale has been applied very lightly , ‘ackgound: Bote Green and and then blended with a tortillion. Aaamatine When using Studio or Artists pen- = «ils, you need to remember one thing: 7 When they are applied lightly to the f “This flamingo is an example of what can be popes hey il Bend bea drm Sa ney igh they are applied heavily they will To help cestethe fuzz texture ofthe not. This drawing of a flamingo is a GGerinecs | chose the Cte vtec g00d example of both applications. paper for this drawing Look at how dark and filled in the tip of the beak appears. I had no prob- eramune Jem at all creating its rich, smooth Stu penton Catan watror paper surface with Ivory Black and Chinese ve nI6" Goemxaien) if 68 Drawing a Color: irsBlending Backgrounds The blended technique can also be as wellas the darkness seen on the Tyga done on a colored background. birds, makes the light source inthis | NIT: ae ‘These blucbirds were drawn ona picture very obvious. By blending | ‘mon The alight seas have ben ied ‘mat board called Candlelight no. some blue into the background, you | tha yprwrereaseTsbrandel ach ue 908. thas a warm beige color By get the feel ofthe sky behind them, | tcl ase seas soened and ere using a toned background, the white This godfinch was also drawn on | Theipeintereaeisabrasvemsigh ioe areas of the birds stand our more. atoned paper called Renewal paper | tis. Yeveensse i pred tapes cane This blended technique combined by Strathmore. It, t00, has strong _|

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