Wax Bloom

With a better photo this time, and in its proper dimensions.

Colored Pencil on Pearl Mi-Teintes Board, 16 x 9″

A much larger version can be found here.

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I’ve not decided on a title for this one yet. This is a somewhat close-up, cropped shot in poor light. Hopefully tomorrow morning after another session with it I’ll manage a better shot with daylight on my side.

Colored Pencil on Pearl Mi-Teintes Board, 16 x 9″

(Yes, its a self-portrait)

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This is a repeat of a post I made on slayeroffice back in September, but since this blog (newly renamed Wax Bloom if you hadn’t noticed) has a different audience, I figure a repost isn’t entirely out of line.This is a time lapse video I created of myself working on my drawing of Owais – six hours of drawing condensed into about four minutes. Enjoy!

Update The embedded video was slowing down page render too much. Follow this link if you’d like to watch.

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Jeanette Jobson asked about the color palette I used on Nate & Hannah. I replied in the comments with the palette, but thought I’d make a post about the palette I use for portraits with a bit more detail since the colors are generally the same in all of the portraits I do – what varies are the intensities depending on complexion.

Beige

The base color I use for medium Caucasian and Asian complexions.

Peach

Used for rosiness in cheeks and as a preliminary layer for shadows.

Salmon Pink

Used as a secondary layer for shadows.

White

When used on colored paper, preliminary layer color for highlights. On white paper, strictly for burnishing.

Light Peach

Alternate base color for lighter complexions.

Copenhagen Blue

I use this color for very dark shadows, and always in conjunction with Dark Umber.

Blue Slate

Used for light shadows as well as highlights. I use this color a lot.

Warm Gray 10 & 20%

Shadows in eyes, stubble.

Sienna Brown

Used in shadow layers after applications of Peach and Blue Slate.

Terra Cotta

For warming up shadows over Sienna Brown.

Light Umber

For brown hair.

Deco Pink

This color is perfect to blend flesh tones into highlights. Unfortunately, its been discontinued by Prismacolor. I have a half inch stub left that I use sparingly.

Rosy Beige

This is a purplish/grayish color that works well for cool shadows.

Dark Green

For very dark shadows. Often combined with Scarlet Lake.

Pink Rose

Cheeks and transitions into shadow.

Blush Pink

Another heavily used color. Used as the second layer of color over Beige.

Cream

Used for transitions between flesh tones and bright highlights.

Sand

For hair, as well as the base color for very dark complexions, such as in this one.

Parma Violet

Used for cool shadows on light complexions.

Dark Umber

For shadows, often coupled with Copenhagen Blue.

Grayed Lavender

Cool shadows on light complexions.

Scarlet Lake

For warming up shadows.

Of course, your milage may vary and there may be colors in your subject that aren’t in this list and vice-versa. The main thing to remember – use more than the preconceived colors you believe make up a skin tone. If you’re only using peaches and pinks, you’ll end up with a drawing that feels flat. Play around with subtle additions of color in many layers and you’ll be pleased with this results.

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Colored Pencil on Cold Press Illustration Board

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Colored Pencil on Cold Press Illustration Board, 14 x 10″

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Colored Pencil on Cold Press Illustration Board, 14 x 10″

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Mostly just adding more layers to what was already there and darkening shadows in this blurry, lets call it “action”, shot.

Colored Pencil on Cold Press Illustration Board, 10 x 14″

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Colored Penil on Cold Press Illustration Board, 14 x 10″

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Nate’s had some refinements made and Hannah begins to appear in this short session I squeezed in over lunch:

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