Update on Underpainting
Barbara Dahlstedt uses a grisaille technique to create unity and color harmony in her drawings
Barbara Dahlstedt uses a grisaille technique to create unity and color harmony in her drawings
Borrowing from the oil painters of the Renaissance period, I apply the technique called grisaille, to the application of colored pencil. Grisaille is an underpainting technique in which neutral colors are used to establish the form of a subject. Usually, the underpainting is created using gray or brown tones, but I have discovered that using the richer tones of indigo blue, black cherry, black raspberry or black grape give the skin tones of her portraits a livelier appearance. I use Prismacolor colored pencils because of their wide range of colors and creamy consistency. The grisaille technique works well for colored pencil because layering light colors on top of darker colors help them blend more easily. By layering the darkest values first, subsequent colors blend the skin tones as the portrait develops. Colors are layered in the same way a painter mixes colors to achieve the same results through semitransparent glazes. In this way, colored pencil drawing is very similar to oil painting. Grisaille establishes the foundation of values for the entire composition. Also, having the same color under all of the dark colors creates unity and color harmony. Another important factor in the success of a portrait is choosing a colored paper that helps you the most. I will look at the most challenging aspect of my reference photo and imagine what it would be like to draw it. I choose a paper that is similar to a portion of the skin tones, like Stonehenge (Fawn or Kraft) paper. However, occasionally the background is the determining factor. It all depends on the reference photo or the idea I want to convey. Stonehenge is my favorite brand of paper because it takes considerable abuse. The texture of the paper allows several layers of colored pencil, solvent and burnishing without flattening the tooth of the paper. The paper sold in sheets made for printmaking is the best. I use the smoothest side of the paper. The grisaille method is reversed when using black paper. Instead of focusing on the shadows, the first layer of colored pencil is white. All of the lighter areas of the portrait are rendered first. Color is applied on top of the established form.
I like to capitalize on the sharp point of colored pencils, allowing for the rendering of tiny details. Patience and a strategy are often needed to create the illusion of texture. Hair, wrinkles and fabric all have unique characteristics that are fun to draw. Often an artist must analyze the order in which color is to be applied. Sometimes it is wise to develop the color or tone underneath the main texture, while at other times it is best to draw what is on top first. It is the willingness to go back and make adjustments that can have the biggest difference in the success of a drawing. Creating believable texture and detail can hold the viewer’s attention. To get soft, smooth texture, I burnish my layers. Burnishing is the technique in which increased pressure is applied using a light-colored pencil or colorless blender. The subtleties and nuances used in this technique often get the reaction, “I can’t believe it’s colored pencil!” Other strategies I use to speed the process of blending colors are by using solvents and a heating device. I use Gamsol as a solvent to blend colors quickly and eliminate paper speckle. A brush is used to apply the liquid solvent using a scrubbing motion. The Icarus Board, invented by colored pencil artist Ester Roi, is a heated surface that interacts with the wax-based colored pencils to soften the wax binder. I lay my drawing on top of the Icarus Board, and then use a colorless blender and a paper-blending stump to blend color quickly on the backgrounds. Covering
large backgrounds can also be executed more efficiently by using Prismacolor Art Stix. Art Stix are rectangular crayons made of the very same colored wax as the Prismacolor pencils. The large tip or side of the crayon may be used to fill an area rapidly. Art Stix are available in 48 colors, giving seamless integration with the Prismacolor Premier pencils. The versatility of colored pencil can be enhanced by including other mediums as an underpainting, background or accent. I uses Neocolors, a wax pastel, in many of her portrait backgrounds. Smooth color transitions can quickly be accomplished by using the Icarus Board to warm the wax-based crayons. The Neocolor pastels can be easily blended with a blending stump or colorless blender. Prismacolor markers can also be used as another medium to block in areas of color quickly and remove paper speckle. Colored pencil is applied over the marker, creating vivid hues. Gold leaf can also be used as a surprising addition to a colored pencil drawing. I prefer to use oil paint on top of the gold leaf to give it an aged effect. Choosing a model is a key factor in drawing a portrait. As a high school art teacher, I have been inspired over the years by my students. I enjoy capturing their energy in colorful depictions of youth and diversity. I began each school year by telling my classes that I would choose at least one of my students as a model for a portrait. I would use the portrait to demonstrate techniques to my students. Studio lighting or natural light was used when taking reference photos. Often the main light source was off to one side so that the highlight, core shadow, reflected light and cast shadow is visible in the reference photo. Lighting is crucial for capturing the three-dimensional quality of the subject. Using technology has helped me develop my style. Photoshop is used to crop the images and manipulate color and contrast. Instead of using a printed photo, I use my computer monitor to view my reference photo while drawing. The advantage of being able to zoom in on an area helps me see the details better. If I can see it, I can draw it!