203-02 Developing Local Color

Journeyman

every effort was made to insure the accuracy of the information contained in this lesson

WELCOME TO R.T. PENCILS ACADEMY!

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The red barn photos in this lesson were graciously provided by my sister, Carolyn Christy, and my good friend (and former student), Bruce Hudkins. I owe them both a debt of gratitude, since I now live in Arizona-- where red barns are as scarce as hen’s teeth!

Thank you, Bruce and Carolyn!

In this lesson, you’ll put your color mixing skills to work as you analyze color and value. Understanding local color and its changes is crucial to realism. Three dimensional objects change color as a result of light, so you need to be able to interpret those changes and develop the resulting color--and color value. Observation and practice are a must! Let’s get started!

FOR THIS LESSON

FROM JANIE White acid-free drawing paper (choose one): FABRIANO Artistico HP 140# Your understanding of color (and its changes) due to light and STRATHMORE 300 Series Bristol (smooth surface) shadow is SO important! STRATHMORE 300 Series Bristol (regular surface) Continue to develop your ability to RISING Stonehenge interpret those changes as you read and complete this lesson. Good quality colored pencils in one or more of these brands: Color is fascinating to me--I hope PRISMACOLOR Premier it is compelling to you as well! CARAN D’ACHE Pablo Have fun! FABER-CASTELL Polychromos

Eraser Pencil sharpener

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Local color is the general color of an object. Hudkins Bruce Bruce ©

i.e., the barn is red

But color changes from light Hudkins Bruce Bruce ©

to shadow Carolyn Christy Carolyn ©

and with age

So you will need to interpret color and value in order to recreate it correctly

Here there are four different values of the local color (red).

1. Local color toward the light 3 2. Local color away from the light 4 1 3. Cast shadow on local color

2 4. Local color weathered

Your task is to create the four different values of “barn” red, but the critical issue is making all the values appear to be 3 derived from the same “root” color. AND that “root” or local color is a mix of 4 1 several different colors. So you’ll need (1) the “barn red” or local color mix, (2) the local color darkened-- 2 and (3) darkened even more, and (4) the local color “weathered” or more correctly, you need a tone* of the local color.

*Lesson 203-01 Advanced Color © Carolyn Christy

You can see the importance of your knowledge and understanding of color!

So let’s take a closer look…

If there is light, there is COLOR.

But if a curved surface is all one color, it looks flat.

If a surface is flat, it usually accepts light evenly

It’s all about the effect of light and shadow on COLOR.

Can be divided into three general value ranges:

The value translates as the local color of the object

The apple is “red”

The value is local color at its darkest: the color of the form shadow (or any shadow cast on the object).

The value is the color nearest the light source, or color highlight

The color highlight is different from what we generally refer to as the highlight. The highlight is the white sparkle that makes an object look shiny.

BUT, all three values of red must look as though they were derived from the same “root” color.

These three colors obviously were not derived from the same color. One leans toward orange, one toward red-violet, and one toward brown.

Let’s say you’re going to render a barn--or an apple, or some 3-dimensional red object--in color…

Take a look at the reds in your set of pencils.

(I’m looking at my set of Prismacolor Premier pencils)

Poppy Red

Scarlet Lake

Crimson Red

Crimson Lake

Carmine Red

Tuscan Red

Mahogany Red

Raspberry

Black Cherry

They’re ALL from different “root” colors

And nowhere can you find Light or Dark in the name of ANY of them.

For example, there is no Light Crimson Red, nor is there a Light Tuscan Red--or a Dark Carmine Red…

(well, you get my drift)

So that’s the hard part-- finding a range of values in ONE COLOR

Sometimes you’ll get lucky, but it’s by no means the intent of the manufacturer to help you! And you’ll never be able to determine the values of those colors by their NAMES alone.

Take for example:

Rosy Beige

Clay Rose

Mahogany Red

You can use them together as three values that appear to have been derived from the same “root” color, but you’d never guess it by their names!

And the real ZINGER is: Local color is not made of just one color--it’s a MIX.

That goes right back to the red apple. If you color the apple all one color, it looks flat.

And if you make the local color of the object just one color, it looks flat, too--and it looks incomplete.

So the local color must be composed of a mix of colors in order to appear natural.

And that means… The form shadow is a darkened version of the MIX The color highlight is a lightened version of the MIX

And those colors MUST appear to be derived from the same “root” color (in this case, the MIX).

form shadow MIX color highlight

Creating Dark Values

You’ll need to darken the local color mix for the form shadow--or for shadows cast on the local color. And how do you do that?

1. Increase pencil pressure

2. Add grey or black

3. Apply a darker local color

1. Increase pencil pressure When you increase pencil pressure, the pencil color will appear darker, but it can never be any darker than the pencil color applied with heavy pressure. If the form shadow is darker than the pencil color, you’ll still need to find a darker pencil color. Burnishing brings on its own set of problems. Applying heavy pressure too early reduces your ability to add more color.

2. Add grey or black

Grey and black definitely darken color, but they also deaden it. Using too much grey or black will reduce color intensity.

3. Apply a darker local color

Finding the darker color is the problem. The color you use to lower the value of your local color MUST appear to have been derived from the local color (or local color mix) You can choose a darker color from another color “family” such as (in the case of the red apple or barn) a color in an adjacent section on the color wheel: red violet or dark brown (a shade of red- orange). Or you can move around the color wheel and consider dark green, violet, or dark blue.

But all the time, keep in mind that your resulting lower value must still appear to be related to the local color (or local color mix) and not distinctly different from it.

Creating Light Values You’ll also need to lighten the local color mix to indicate light falling on the local color.

And how do you do that? 1. Decrease pencil pressure

2. Add white

3. Apply a lighter local color

1. Decrease pencil pressure

When you decrease pencil pressure, the color will appear lighter, but as you fill in the paper tooth, it may become darker than you want. If you don’t fill in the paper tooth, the color will look like a pastel (color mixed with white) instead of a lighter version of the local color. If you are forced to use a darker color in order for it to relate to the local color, you’ll find that the light-pressure application of a dark pencil on white paper looks grainy and uneven.

2. Add white

Grey and black deaden color, but so does white. Using white reduces color intensity big time.

3. Apply a lighter local color

Finding the light value color is the problem. The color you use as a light value version of your local color MUST appear to have been derived from the local color (or local color mix). Manufacturers short you in the high (and to a lesser degree) in the low value ranges. To them, if it’s yellow, it should be light (if it’s brown, it has to be dark). Unfortunately, the discontinuance of the Deco Colors put us in an even greater bind for finding light value colors and forced us to look in other brands.

Right after the Deco Colors were added to the Prismacolor color line, I decided to take a good look at what was happening with the colors I used, find out how the colors related to one another, and see just what the manufacturer was giving me. Omitting the metallic colors and the Neon colors (because I didn’t use them), I grouped the other colors by color “family.” And then within each family, I arranged the colors by value: from light to dark. What I discovered was rather interesting…

Prismacolor PREMIER Color Palette

Here’s my study of the Prismacolor Color Palette at that time

First, look at the high values. See the BIG gaps in the lighter colors? In those color families, there were NO light colors.

Now look at the low values. Gaps there, too! No dark colors in those color families. And lastly, have a look at the places where there are several colors clustered together. Those are the redundant colors. They are all nearly the same color!

Here’s the chart again. Even the Deco colors didn’t fill in the higher values.

I made charts for the other major brands I used and got pretty much the same results in all of them. When Prismacolor discontinued the Deco colors, that left even larger gaps in the lighter colors. Now, after more than 6 years, they added 3 of the 6 Deco colors back to the line, but it’s still difficult for colored pencil artists to develop some of the colors they really need. Prismacolor gives us the greys in percents: THREE different grays, each in 6 different values. Wouldn’t it be great if they gave us some of their other colors in percents! The new Caran d’Ache Luminance (lightfast) palette contains 6 browns and 2 greys in at least three different percents:

Olive Brown Brown Ochre Raw Umber Sepia Thank you, Caran d’Ache! Burnt Ochre French Grey Burnt Sienna Payne’s Grey

And here’s the Prismacolor chart again--with the most recent palette of 150 colors. Once again, I left out the grays since they’re already in percents. There are more colors now, but still some big gaps--especially in the higher-value colors--and I even left the 3 discontinued Deco colors (Deco Orange, Deco Aqua, and Deco Blue) in the chart.

So…all that said, Let’s talk about how to develop those three values and get them to appear to be related

Step 1: Develop the LOCAL COLOR MIX First you’re going to have to do some color matching, so choose colors that will give you the local color you need. Remember, you have the white of the paper influencing whatever color you put down; it tends to lighten (or raise the value of) the color. That means you’ll have to evaluate and adjust the value right off the bat. And if you’re lucky, you may find a pencil that is the correct color and value to begin with!

Step 2: Develop the FORM SHADOW Then find colors that you can use to darken the local color mix. Hint: the word dark most likely won’t be included in their names. But whatever colors you choose shouldn’t change the local color other than to darken it. If possible, add some of the darker color(s) to the local mix to bring them into better tune.

Step 3: Develop the COLOR HIGHLIGHT Believe it or not, this is usually the most difficult color to create. The problem is the white of the paper, the lack of light-value colors in your set, and the pressure (or lack of pressure) with which you must apply the color to keep its value high enough.

Creating Local Color, Shadow, & Color Highlight

The object of this exercise is to first develop the local color; then create the form shadow and color highlight colors.

I’ll show you how I did that to two of the colors.

LOCAL COLOR Since I work with 3 major brands of pencils (plus a few pencils in 4 other brands), I have a variety from which to choose. There were no close colors or exact matches in Prismacolor, but there was an almost exact match in Caran d’Ache: 075 Indian Red. I colored in the middle section AND the bottom section with the Indian Red, using the same pressure.

FORM SHADOW COLOR Then I added Faber-Castell Polychromos 193 Burnt Carmine to the bottom section to lower its value. The Burnt Carmine looked like a darker version of the Indian Red--not too violet, not too orange. And to darken the section even more, I added some Prismacolor 937 Tuscan Red.

LOCAL COLOR Then because my local color still wasn’t intense enough to match the color swatch to the left, I re-applied the Indian Red and then added a little of the Burnt Carmine to it. That was enough to make a match.

COLOR HIGHLIGHT To make the color highlight, I went back to the Indian Red and applied it with light pressure. It looked grainy and incomplete so I re-applied it with a v-e-r-y sharp pencil, trying to work the color more down into the paper tooth than build more color on top of what I’d already applied.

LOCAL COLOR

This local color wasn’t so easy. There were no pencils in any of my sets that exactly matched the color swatch. So I built the local color mix with FOUR different colors and filled in the middle and bottom section with the mix. Faber-Castell Polychromos 174 Cedar Green Faber-Castell Polychromos 158 Sea Green Faber-Castell Polychromos 278 Chrome Oxide Green Prismacolor 1072 French Grey 50%

FORM SHADOW COLOR

To darken the local color for the form shadow, I increased pressure with the same four colors and then darkened the mix with: Prismacolor French Grey 70%

COLOR HIGHLIGHT

I built the color highlight with the local color mix, but applied the colors with much less pressure. To smooth and grey the mix, I added:

Prismacolor French Grey 30%

There are 3 exercises for you to complete that will help you understand, evaluate, and create local color, its color highlight and its form shadow color.

You already know how this one works.

1029 Mahogany Red

1017 Clay Rose

1019 Rosy Beige

1077 Colorless Blender

Apply colors across both vertical sections, reducing pressure toward the bottom. Burnish the right-hand section.

Luminance 162 Phthalocyanine Blue

Bruynzeel 254 Cerulean Blue

904 Light Cerulean Blue

1077 Colorless Blender

988 Marine Green

Caran d’Ache 249 Olive

Caran d’Ache 245 Light Olive

1077 Colorless Blender

LF 143 Burnt Ochre

Caran d’Ache 062 Venetian Red

LF 139 Light Peach

1077 Colorless Blender

In addition to giving you the opportunity to choose the colors that make up the graded mix, this exercise also demonstrates the ability of the Colorless Blender to deepen and enrich color (as well as blend it).

This exercise is similar to the Blending Bars in Lesson 101-02 Application, except that this time, you’ll change a color mix very gradually from light to dark.

STEP 1 Adjusting Local Color

Colors: Caran d’Ache 060 Vermilion Caran d’Ache 050 Flame Red

Combine the colors by layering one over the other. Use medium pressure in the center of the bar, heavier pressure for the shadow, and light pressure for the color highlight.

STEP 2 Adjusting Local Color

Colors: Prismacolor 943 Burnt Ochre Prismacolor 1010 Deco Orange (OR 1077 Colorless Blender)

Apply the darker color to the shadow, reducing pressure toward the center. Apply the lighter color with medium-to-light pressure in the color highlight. Now you can see the advantage of the Deco Colors: light-value color that could be applied smoothly with heavy pressure.

In all three exercises it’s important to make sure the colors (and values) you create look related.

Not like these examples where 2 colors (very obviously NOT from the same color family) are blended together!

Remember… GT = Graded Tone (changes value evenly from dark to light) ET = Even Tone (all the same value) HP = Heavy Pressure MP = Medium Pressure LP = Light Pressure

PP2 (Pencil Position 2) = V-e-r-y light Pressure: let the weight of the pencil make the mark!

RED & YELLOW APPLE

If you really want to test yourself and see how well you can interpret color, work on this apple by yourself. Print the reference photo, transfer the line drawing to good paper….and GO FOR IT!

I’ve included this actual reference photo in the attachments that accompany this lesson.

Okay, okay--of course I’ve colored the apple, and of course I’ll share my colors with you!

But why not try it yourself first--and just see how you do!

DON’T PEEK!

RED & YELLOW APPLE

TRANSFER THE LINE DRAWING TO GOOD PAPER

You know several transfer methods now. Choose one that you like.

COLOR EQUIVALENTS CARAN D’ACHE PRISMACOLOR FABER-CASTELL Pablo Premier Polychromos

COLOR 1 C-021 P-1011 Deco Yellow* F-102 COLOR 2 C-030 P-LF 142 Orange Ochre** F-109 *Prismacolor reinstated COLOR 3 C-075 P-926 Carmine Red F-219 Deco Yellow. If you have it, use it. Otherwise, use a COLOR 4 C-020 P-917 Sunburst Yellow F-108 combination of 914 COLOR 5 C-055 P-914 Light Umber F-179 Cream and 915 Lemon Yellow. COLOR 6 C-089 P-924 Crimson Red F-142 **There is no other COLOR 7 C-030 P-1002 Yellowed Orange F-109 Prismacolor equivalent COLOR 8 C-045 P-946 Dark Brown F-176 for this lightfast orange. If you don’t have the COLOR 9 C-065 P-943 Burnt Ochre F-188 lightfast pencils, COLOR 10 C-159 P-901 Indigo Blue F-247 substitute 1002 Yellowed Orange. COLOR 11 C-071 P-939 Peach F-131 COLOR 12 C-131 P-956 Lilac F-138 COLOR 13 C-049 P-948 Sepia F-175

***PLEASE NOTE: With some colors It is not possible to find an exact equivalent match in the other 2 brands, so the alternate color I have listed for you will be a reasonable substitute. These “near” matches are in red and in ITALICS. Actual colors used in this project are in BLUE

STEP 1: Begin the Glow

COLOR 1

Apply COLOR 1 to the Begin the “glow” for right side of the apple this apple with COLOR 1 (toward the light and COLOR 2. source) and to the area around the cast shadow Application doesn’t of the stem. have to be complete at Apply COLOR 2 to the this point. All you want to do is to begin left half of the apple. to establish where the Leave the highlight COLOR 2 colors will go, so you white. can be “sketchy” for now. Overlap and blend the COLOR 1 two colors at the bottom of the apple.

BLEND

STEP 2: Deepen the Color

You defined the orange color areas in Step 1, Re-apply COLOR 2 to now you can darken and intensify the intensify the orange color as shown. color. This color will “glow” LP through the reds you will apply later.

VLP

STEP 3: Begin the Red

Add some changes in value to suggest the pigment patterns in the apple’s surface. Make sure the lines describe the apple’s contour. They should radiate out from the stem, then curve LP outward and down.

Apply COLOR 3 over Color 2 and into Color 1 as shown.

STEP 4: Add Some Yellow

This bright yellow should be layered over some of the red, but not all. It is pretty easy to see on my monitor, so it should be evident on yours. Apply COLOR 4 to all If I start putting the areas shown. It will arrows everywhere increase the “glow” and there is yellow, the apple will be full of blend some of the arrows and it will be already-applied color. very confusing to try to decipher them all. The applied red looks “pink” where no yellow has been layered over it.

STEP 5: Define the Contour Changes

The yellow around the stem and down the left side of the apple is darker because it is in shadow. In the real apple, the pigment was actually Apply COLOR 5 as darker--a brown gold. shown to indicate To indicate the change, changes in contour you need a darker and pigment. value of gold: a medium brown

STEP 6: Deepen the Red

The darker red will help to define the form shadow and increase the “roundness” of the apple.

Add COLOR 6 over the more heavily applied areas of Color 3.

STEP 7: Add Orange

Don’t apply COLOR 7 to any of the areas indicated NO by the word “NO.”

NO NO

Apply COLOR 7 to most of the apple as indicated.

STEP 8: Color the Stem and Its Cast Shadow

Apply COLOR 5 to the Apply COLOR 9 to the cast shadow of the stem stem’s center and left side and to the area around using MP on the left and the stem. creating a GT toward the right. (Keep your pencil sharp!) Intensify that same area with COLOR 8 and Then add COLOR 5 VLP to add it to the left edge of the right side of the stem. the stem with M-HP.

Punch up the shadow around the bottom of the stem with COLOR 10.

Apply four colors as indicated to complete the stem and the area around it.

STEP 9: Begin the Cast Shadow

PP2

Begin the glow of reflected color in the cast shadow with COLOR 11. Use VLP directly under and to the left of the apple, gradually reducing to PP2.

STEP 10: Add Light Red to the Cast Shadow

The time has come to talk about BLOBS--those pesky little dots of color that magically appear on top of the paper tooth as you You can see them happening color over it. here--little spots of concentrated color. They are small raised areas in the paper’s surface that catch the color from the pencil. Believe me, they aren’t something that just happens to you--it’s the nature of paper and wax So what do you do about them? and what happens when they get together via the Apply COLOR 3 over COLOR 11 colored pencil. and in exactly the same manner.

THE BLOBS

Here they are… and here they aren’t!

And this is how you deal with them. V-e-r-y lightly scrape the blade across the blob. Don’t use the point! It’ll dig into the paper. Just lay the flat part of the blade on the paper and s-c-r-a-p-e. And yes, I am compulsive, but if you don’t get rid of the blobs, every time you pass the pencil over one of them, it will just get BIGGER…and DARKER.

STEP 11: Add Color to the Entire Cast Shadow

This is a close-up of my application technique. You can see that it’s not especially even and there are places that are thin and other places where the dreaded “blobs” have appeared. You can also see the rows of tiny circular “squiggles” that I use when I’m MP putting down an ET.

Apply COLOR 12 to the cast shadow. Use the same pressure over the entire shadow.

REFINEMENT

BEFORE AFTER

My initial application is the one on the left. The “after” is how it looks once I’ve gone back over it with a v-e-r-y sharp point. There are TWO things that I do to smooth and even the application: 1. I work the color down into the “holes” in the tooth where the color is either thin--or hasn’t gotten at all 2. Where there is a darker area, I DON’T APPLY MORE COLOR; instead, I apply color AROUND the dark spot--and voila! It usually disappears. It’s like camouflage. Or it’s like magic. Whichever you prefer. But it works!

Step 11 completed

STEP 12: Finish the Cast Shadow

The cast shadow needs to be darkened, so apply COLOR 13 (ET) to the entire shadow with MP.

STEP 13: Burnish

COLOR 14 Colorless Blender

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