#INDIA INK DRAWING HOW TO#

For all colors, I used light pressure (2 or 3) and a variety of strokes with the goal of creating as smooth and saturated a color layer as possible. I used the colors listed above in the order listed above. I also stroked Indigo Blue and Black into the mane and forelock. I used Dahlia Purple and Grass Green to tone down the red-brown color, then layered Orange and Tuscan Red for further adjustment of the coat color. The highlights over the shoulder got a little extra attention because they best define that area and I didn’t want to lose definition or contrast.Īfter working with Prismacolor pencils for a couple of sessions, I switched back to Verithin pencils to blend and fill in the color fields in the neck and shoulder. The base color was established with glazes of Sienna Brown and Orange over most of the mid-tones, followed by alternating layers of Black, Indigo Blue, Dark Umber, Sienna Brown, Yellow Ochre, Cloud Blue, Sky Blue Light, and Orange to build color and form throughout the neck, mane, and shoulder.

I used heavy pressure and most of it was 8 to 10, burnishing in some areas.

I also finished the ears and polished the background around them to adjust edges, softening some and emphasizing some as necessary. Having an area finished or nearly finished also provides a benchmark against which I can judge the rest of the painting. I like a life-like eye early in the process so I took the time to finish them as much as possible at this stage. I finished the eyes as much as possible with Black, Blue Slate, and Cloud Blue applied with burnishing or near burnishing pressure. In each instance, I tried to use a minimum number of strokes and maximum amount of pressure to create the reflected light. When the shadows were in place, I added touches of Slate Gray and Light Umber for reflected sky light and Goldenrod for reflected ground light along the left side of the head and neck. When the neck and chest were done, I worked through all the other deep shadows on the head, inside the ears, and in the mane and forelock, bringing each area to a similar degree of detail before moving on to the next. Because the ink underneath is the slightest bit slick, I used pressure of 4 to 6 and utilized a variety of strokes to get the best possible coverage. I started this session by layering Indigo Blue into the deep shadows on the left side of the portrait. Here’s how the portrait looked when we left off last time: Today I’ll be finishing the painting process using primarily Prismacolor thick lead pencils. Saving Earth Britannica Presents Earth’s To-Do List for the 21st Century.By Carrie Lewis in Art Tutorials > Drawing TipsĮarlier this month I began a two-part demonstration of how I paint with India ink and colored pencil.Britannica Beyond We’ve created a new place where questions are at the center of learning.100 Women Britannica celebrates the centennial of the Nineteenth Amendment, highlighting suffragists and history-making politicians.

#INDIA INK DRAWING HOW TO#

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India ink drawing