STEP ONE
I chose several different reference photographs of elephants from the Internet, books and newspapers, and practiced several small sketches of elephant compositions.
STEP ONE
I chose several different reference photographs of elephants from the Internet, books and newspapers, and practiced several small sketches of elephant compositions.
STEP ONE
I chose a warm sandy coloured sheet of conservation matboard and draw up the main horse and rider with a Prussian blue pastel pencil, and the rest with a Terracotta pastel pencil.
STEP ONE
It’s incredibly difficult to see the foundation drawing on the Canson black paper, but things to remember: try to erase your lead underdrawing as you go or it will muddy your colours and can be seen under the CPs
STEP ONE
Using several of my own reference photos of the honeyeater, I draw up my work on tracing paper. The main image I have of the bird is of a juvenile so I have altered the cheek patch and plumage colour for a mature bird.
STEP ONE
Having decided on my medium I set about sketching up my drawing, I have chosen a full sheet of 310g Illustration board lightly textured.
STEP ONE
Watercolour underpainting – I mix all of my colours first, having a brush for each colour. I test them to check their tone before I start, and then I wash in all the tonal areas of the paper covering all of the page.
STEP ONE
Because I love Art Spectrum ColourFix paper, I chose black as the background colour. In using black I hoped to highlight Woofa’s distinguished hair and beard.
STEP ONE
Using 140lb Fabriano Hot Press Watercolour paper and an H Graphite Pencil I made a faint drawing of the bird using a grid so that I got the proportions correct.
STEP ONE
To do the initial sketch, I create a scaled drawing of the subject on paper (working from photographs). I concentrate on key lines around the eyes, nose and ears. Getting these details correct now is essential to creating a real likeness to the subject. Often I will use a few grid lines to help scale up a subject.
STEP ONE
I faintly drew the major parts of the carriage onto the paper with a 2H lead, paying particular attention to the wheels. These were the most difficult part of the drawing and many changes were made before I was satisfied. I used my adjustable callipers to locate the first wheel on the paper and to transfer just the major points of the carriage onto the sheet; and then drew the main lines of the carriage.