How To Draw Bambi And Color With Prismacolor Pencils

Lesson 1 - A Realistic Approach

We'll have a look at ii approaches to drawing lips and a rima oris with colored pencils. The first sit-in results in a more realistic result, while the second is bit "sketchier" only quicker. In both examples, soft cadre Prismacolor Premiere colored pencils are used and both papers are slightly toned.

In the first example, we'll describe a elementary grinning mouth and slowly build up colored pencil applications to develop the illusion of form and texture. A chip of gouache is used to strengthen the highlights after colored pencil applications have been fabricated.

Drawing the Teeth

We'll first lightly draw a contour line drawing of the lips and teeth with a medium graphite pencil. An HB or H pencil is suitable. Avert using a softer graphite pencil, such as 2B, or a harder pencil such as a 2H. Softer pencils will release too much of the graphite on the surface and could mix in with subsequent colored pencil applications.

A harder pencil may produce grooves in the surface of the newspaper that volition testify as calorie-free lines when the softer colored pencil applications are fabricated. No shading is practical with the graphite - only the outlines are addressed.

Once the contour line cartoon is in identify, nosotros can begin the procedure of developing the colors and values of the teeth. We'll beginning with the teeth and piece of work our way outward. Since the lips overlap the teeth, we can clean up the edges when the lips are addressed.

Teeth are not entirely white. In fact, the but areas on the teeth that should be "white" are the strongest highlights. Depending on the light within the scene, a diversity of colors can be plant on the teeth. In this instance, we'll start with 20% Cool Grey, addressing the middle values while leaving a bit of space for the stronger highlights.

We can then use white in the highlighted areas and over portions of the Absurd Grayness applications. A few cooler highlights exist and are addressed with a light application of Cloud Blue. For a more "natural" look, Cream is used. twenty% French Greyness is used to add together a fleck of variety to the color, while lxx% French Greyness is practical to darken some of the values and begin the process of developing some of the shadows.

Next, we'll begin increasing the contrast in the drawing. Nosotros'll go on to utilize the lxx% French Grey to locations of darkest value around each molar. We'll also darken the values at either end of the mouth. A few of the subtle shadows on the teeth are darkened as well, extending the range of value and forcing the highlights to appear lighter. A colorless blender is used to smooth and mix the applications, resulting in a more natural texture.

Over the meridian of the darker areas within the gums, Tuscan Red is applied. In the lighter areas - a bit of Peach.

The corners of the mouth are darkened further with Dark Brown and applications are burnished with the colorless blender before work continues on the lips.

Drawing The Lips

The lips, much like the teeth, are made upwards of a mixture of colors. Ane color alone will not pb to a representational result.

Nosotros'll outset with an awarding of Carmine Red. As the color is practical, strokes are fabricated so that they follow the cantankerous contours of the form of the lips. Some of the these lines are horizontal, while others are vertical. In many cases, the top lip will consist of more horizontal lines, while the bottom lip will have more than vertical ones. Here again, space is preserved for potent highlights.

White is applied in the areas of strongest highlight on both the top and lesser lips. A slighter darker, Crimson Red, is used to increase the dissimilarity and add a fleck more to the color. Light Peach is also used to lighten the tone, burnish the colors, and add a bit more than of a "fleshy" appearance. A touch of purple is added with the color, Mulberry.

The illusion of texture is largely dependent on the contrast of value. Nosotros'll continue to increase the contrast in order to develop the texture. Tuscan Red is used as well as a diverseness of other colors including Lite Peach, Terra cotta, Dark Imperial and fifty-fifty Night Brown. As each color is added, we'll continue to consider the directional strokes made with the pencil. Each stroke should mimic the texture and the form of the lips.

The process of layering colors continues on the bottom lip. The aforementioned colors are applied. Tuscan Ruby-red, Mulberry, Light Peach, Peach, Tuscan Cerise, and a fleck of Dark Brown are all patiently layered to build up depth in color and the impression of texture.

Afterward applying Light Peach to skin areas outside of either corner of the oral cavity, a subtle shadow is developed to strengthen the illusion of a smile. Raw Umber is applied first before Dark Brown and so glassy with a colorless blender. The inside corners of the mouth are likewise darkened with an boosted layer of Indigo Blue.

Highlights are then strengthened with gouache (opaque watercolor). The goauche is applied with a script liner (or rigger) castor using very little water. Here once more, the cross contours are considered.

It's easy to become impatient during the procedure of layering colors. Keep in mind that success with colored pencils requires a bit of patience. Allow the drawing time to develop. Oft, multiple layers of applications are required to bring a colored pencil cartoon to a level of realism.

Here'south a wait at the finished drawing...

Lesson Two - A Looser Approach

Our second lesson features a looser and quicker approach to cartoon lips with colored pencils. This approach takes a different route in that the lips are developed first before the teeth.

We'll begin past drawing the inside portion of the upper lip first using a light brownish colored pencil.  (No graphite is used at all.)  We'll exercise the aforementioned for the bottom portion of the of the lip and continue some of the outlines or contour lines of the teeth.  In the early stages of the drawing, the marks should be low-cal.  The light chocolate-brown is used to define the bones shapes of the oral cavity.

One time the mouth and the teeth are defined with contour lines, some of the local colour can begin to be added.  In this case, the color is reddish and is added past following the cross profile lines of the lips.  In other words, the lines that are added with the pencil will follow the class of the lips.

In that location should exist a slight curve in the marks that you brand.  More pressure level is put on the pencil to deliver more material in areas where the value is a bit darker.  This happens in the corners of the mouth and in a few areas on the lips.

It volition also happen more oftentimes on the upper lip considering typically, the upper lip is darker in value overall.  This is because calorie-free normally originates from above, creating core shadow on the upper lip.

Once a good amount of red is added, other related values tin can exist added.  Pinkish is added next in areas where the lips are lighter in value.

Earlier the entire surface is covered with colored pencil, white highlights are added with a white pencil.  These areas should be intense with a heavy awarding in order to make strong highlights.

Now that the highlights take been initially addressed, the original red can exist revisited.  Equally layers are adult, the colored pencil material becomes richer and easier to move effectually on the surface.

The cloth tin can exist blended and worked together, which is a technique called burnishing.  The material is worked past adding layers of scarlet over whites and pink until the color is rich and realistic.

A dark brown is used to darken the value of the lips in areas.  Brown is chosen over black because black is such a strong color.

Dejection and browns volition be used to make more natural-looking "blacks" in this drawing.  For "blacks" with a warm tone, more chocolate-brown is used and for "blacks" with a cooler tonality, more bluish is used.

Since the bottom lip is lighter in value, more than whites and pinks are used, only the layering process is the same.

To shine out some of the lines that are created, a colorless blender is used to burnish the surface further.

Dark areas inside of the mouth are defined next using alternating applications of brown and blue to create "black"

Shadows are created on the teeth by lightly applying brown.  These areas are balanced out by adding white over the chocolate-brown, resulting in realistic shadows.  An application of cream in areas adds to the realism.

The tongue is addressed last by layering reds, chocolate-brown, and white.

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