![]() I burnished all of the sky using vertical and horizontal strokes with each color. The last colors I used were Sky Blue Light and White. I burnished the Mediterranean Blue and pulled some of the color into the under painting. I followed up with Light Cerulean Blue in circular strokes in the top quarter inch, including the layer of Mediterranean Blue. I used tight, circular strokes with Mediterranean Blue in the top 1/8” or so. I used the same combination of blues and white in the final phase, but applied each color with the heaviest possible pressure. A few strokes of Dark Green and Olive Green along the river’s edge and a few more trees lining the riverbanks and the first stage was finished. At the bottom, I left the wood bare because the direction and pattern of the grain fit so well with a sparsely covered landscape.Īfter getting the basic shapes and colors the way I wanted them, I decided to break up the landscape with a river, which I drew with heavy pressure and Mediterranean Blue and Sky Blue Light. In the landscape, I worked with the grain, using some patterns in wood grain to suggest topographical features. I began with the horizon, then used the Olive Greens to add shadows, Limepeel for middle tones, and Lemon Yellow for highlights. Color application was more random in this part of the landscape. The landscape was sketched with Jade Green (along the horizon), Olive Green (both Verithin and Prismacolor), Limepeel, Lemon Yellow, and Dark Green. Sky colors were applied as evenly as possible and with a variety of strokes working with and against the grain to create a cloudless sky. The texture of the wood made glazing impossible, so I used a medium to heavy pressure from the start 6 to 8 on the pressure scale, with 10 being the heaviest. I used Mediterranean Blue, Light Cerulean Blue Light, Sky Blue Light, and White in the sky, applying each color in order. The shape of the wood suggested a panorama landscape so I began by blocking in the two main shapes: sky and land. I choose not to sand it or prep it in any other way. Due to the way the wood was cut, one side is smoother than the other. It stands on its own and is solid enough to have both sides colored if I wish. The piece I’m using is 1.5” inches tall by 4” long and is 3/8” inch thick. By Carrie Lewis in Art Tutorials > Drawing Tipsīirch wood has long been an accepted support for oil paintings and other artistic mediums, so when I came into possession of a few scraps, I decided to try it with colored pencil.
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