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Continue the colour along the length of the foliage and fade out the pigment towards the top & bottom with clean water. Keep the pigment moving and your working area ‘wet’ to avoid it drying with hard lines. Whilst wet, drop more pigment into the wash on the frogs body and head to begin suggesting texture. Leave to dry. If any areas of the wash are too dark at this point use a thirsty brush to lift colour away before it dries. Once the wash dries it will remain permanent and you wont be able to move or lift the ink. Step 2 – Rendering the eye Cherry Ferris is a self taught artist who is fascinated with colour, pigment, materials and all things sparkly. She is particularly drawn to nature and the beautiful creatures that inhabit our planet and she’s potty about hares, foxes and owls which is why they seem to pop up in so many pieces of her work. She likes to use many types of media and is versed in pyrography, acrylics, coloured pencils, watercolours and pastels. Cherry also loves the heightened detail in botanical illustration and often uses these techniques alongside many others elements and fusing them together within a piece of artwork to create something exciting and new. You can use these are lots of different types of paper, but for maximum layering and best results, use on watercolor paper! The pics I attached are on sketchbook paper. Once happy with the texture of his skin and your contrast, switch to the gel pen (or white marker) and add a few of the brightest highlights and marks. Pay particular attention to his eyes. Less is more ! Step 15 – Splattering
Unlike traditional watercolour pencils, Inktense pencils are permanent once dry. This allows you to build up layers of transparent colour without disturbing any of the layers beneath. You’ll be able to add layer upon layer without any bleeding or movement. This property makes them great for working with translucent glaze-like layers to gradually build up jewel-like colour. Pigment Based These new additions put more colour at your fingertips and enable artists to experiment with an even broader range of techniques, adding more depth and richness to your work. Brushes– I find synthetic brushes work better with Inktense products … particularly brushes with a strong snap and spring. For this project I’m using a round in sizes 2 & 6 and a 1/2″ flat. Use whatever brushes you are comfortable with and suit the scale of your painting. Directly wet the dry pigment that has been applied to the support to activate with water. Derwent waterbrushes are an ideal companion to activate, dissolve and spread the dry pigment. They come in a range of sizes and are fabulous for en plein air or simply taking along to your local art group in your bag. Derwent Inktense combines the brilliant intensity of ink with the versatility of watercolour pencil. Apply pure vibrant dry colour with the pencil and then water with a brush to activate the pigment into bright translucent, ink. Once dry, the colour is permanent and can be worked over with other media. The possibilities are endless, the results stunning.
Step-by-Step
COLOUR CREATION – Make custom shades by mixing colours together. You can also obtain lighter shades of the same colour by adding water. Mix colours to create a truly unique piece of art Use along side smooth watercolour paper for exuberant crisp washes and a Water Brush Pen for additional versatility on the go. Please note. Due to differences in computer monitor displays colour samples should be used as a guide only Features and benefits: Switch to the Ionian Green towards the left side of the reed where it’s darker. Keep your lines at an equal distance and all running the same way. Using a wet brush (no6) to activate the pencil, move the pigment to create the shape of the reed (the lines will still show through). Drop in various browns and greens along the length to create interest and colour. Feather out the top and bottom with clear water. Leave to dry. Step 9 – Creating depth Cherry also runs workshops for beginners to more advanced artists and also enjoys creating inspirational & innovative community projects to bring people together from all walks of life to unite and create beautiful art.
The moment you drag the pencil across the paper, it is surely to bring about that blissed out feeling us artists get when using our favorite supplies, but rest assured, the fun has only just begun.... When you hit it with water, it activates and this is when the colors really come alive!!!! Either way, use a variety of greens and browns to suggest form and interest along the length of the reed. Pay close attention to the colour change along its curved surface and where the light and shadows fall. Leave to dry Step 12 – Warming up the shadows Continue adding gentle shadows and areas of contrast with the Madder Brown around the eye, throat, body and feet. This will build up the frogs definition and form. Take your time and enjoy the process, gently layering and looking for lost and found edges. This is the ugly phase! Everyone’s painting will look pretty untidy and disjointed at this point, but that’s OK … just keep going. Concentrate on building up the foundations and shapes of your frog … the aesthetics will come later. Leave to dry. Step 5 – Greening the frog Time to start creating a bit of texture and fleshing out your frog. Grab that Apple Green pencil again and start creating texture directly to the paper on the frogs skin. Suggest the shapes and marks that you see on the green areas of his head, side, legs and feet. Then take the larger round brush and activate the pigment smoothing out some of those marks. Try and keep your bush strokes loose and varied and always try to follow the frogs form. This will help to create the illusion of a 3D element and give your little chap body & presence. Allow some of that colour to layer over the browner areas of the frog to unify the piece. Leave to dry. Step 6 – Adding form & texture New colours (left to right, top to bottom): Lemon, Gold, Golden Sun, Orange Sorbet, Wild Flame, Mango, Paprika, Persian Red, Pink Flamingo, Sugar Plum, Amethyst, Nightshade, Violet Blue, Lapis Blue, Denim, Dark Cerulean, Malibu, Mineral Blue, Sea Breeze, Mint Leaf, Olivine, Jungle Green, Lime Green, Burnt Umber, Natural Brown, Asphalt, Storm Dust, Dark Mink.
Supplies
a. Grating the pigment into a palette and adding water to give you a conventional ink to dip your brush into b. Scribbling the colour onto a piece of watercolour paper, activating and lifting from there (thus creating a temporary palette) WATER SOLUBLE – Expand your creative possibilities. Water soluble pencils can be used dry for expressive drawings, or washed out with water to create a bright, yet translucent ink-like effect The tin has a dent in the corner and it makes it so the lid doesn't stay on. It was most likely dropped along the lines...
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