Finished

Camera Shy
16x9 inches, Coloured Pencil
Copyright Laura Hardie 2009

I must be growing impatient as I feel like I’ve been working on this drawing forever but I’m glad to say it is now finished – at least for the time being. I’m contemplating adding a bit of background - not a lot, more of a suggestion here and there - but need to take a break and look at it with fresh eyes before I can decide.

All in all I have enjoyed working with a grisaille underpainting and although I won’t work solely in this way from now on (I’m far too stuck in my ways) it is something I will definitely play with in the future. So what have I learned?

• I liked the fact that all my values were worked out and in place before I added any colour making this stage quicker and easier. It wasn’t, however, a quicker way to work overall taking into account the grisaille stage (I’m still searching for a quicker way to work with my pencils).
• There is still a lot to learn, and experiment with, on colours to use for the grisaille and the effects they will have on the finished drawing. Also the pressure with which the colours are applied can make a difference – there were areas in my drawing where I had a layer or two too much and could have gone lighter (and vice versa) so more work needed there.
• The colour covered the grisaille surprisingly well – this was something I found hard to get my head around at first for some reason. Probably due to the fact I’m so used to working from light to dark.
• The grisaille underpainting didn’t give me any more depth to my drawing than I would get from working in my normal way. Working with a grisaille does add depth to your drawing but I personally didn’t see any noticable difference.
• I really enjoyed working on the grisaille stage with only a few pencils as opposed to many – very therapeutic - which can only be a good thing.

The subject for this drawing was a beautiful Thoroughbred that I photographed at Musselburgh racecourse last July as she was led around the parade ring. Every time she spotted me with my camera she would hold back and raise her head high to look at me, not taking her eye away from the camera until she had passed. This happened each time she passed and came to the conclusion that it must be the camera hence the title.

The overall size of the drawing was a bit too big for my scanner to cope with so all the work in progress shots have unfortunately had a bit chopped off the bottom. But after playing around with Photoshop this morning I have worked out how to merge two scans together and can now show you the full picture. I can't help thinking the 'chopped' version looks better somehow!

Copyright Laura Hardie 2009

Adding colour

A Work in Progress

Copyright Laura Hardie 2009

Here are the next two stages showing colour being added onto my grisaille underpainting. I am so used to working the way I do with my pencils that it has certainly been ‘strange’ starting in this way. As with all new techniques, it will take practice, trial and error to improve but it is definitely an area I’d like to explore more – in painting as well.

Saying this I am happy so far with how the drawing is progressing.

Working with an underpainting

A Work in Progress

Back to my coloured pencils, and this time I decided to approach my drawing slightly differently by starting with a grisaille type underpainting before adding colour. This has been something I’ve been wanting to try for some time mainly to see what can be achieved using this technique.

As you will know, grisaille is the term used for a painting or drawing completed entirely in monochrome – usually shades of grays or browns. A benefit of working in this way is that you can establish your values before any colour is added, effectively making the colour stage a lot easier.

I’d thought of using various shades of greys for my underpainting but decided to opt for complimentary colours instead. I couldn’t help thinking the greys might dull my colours in some way although I will be experimenting with them if I’m happy with the outcome of this drawing. As the horse is a chestnut brown colour with a lot of orange tones, I went for the blues.

I have to say that I’ve really enjoyed working with just a few shades of blue as opposed to around 20 to 30 different colours. At this stage I’m not entirely happy with my values and need to darken some areas quite a bit for more of a contrast. The fear I have is that I’ll make it too dark for colour to be seen when added on top and can’t help thinking I might already have too much blue there as it is without adding more. But I do need to push those darks somehow.

Apart from working more on my values there is not much left to do at this stage and I can start to think about adding colour.