The Fundamentals of Drawing in Colour: A complete professional course for artists

Introduction

‘Drawing in colour’ is a slightly unusual title, because the obvious comment is, ‘How does that differ from painting?’ Well, in this book I examine no fewer than four methods of drawing in various colour mediums, only one of which is connected with painting. I will be showing examples – and how to go about them – of drawing in coloured pencil, pastel or crayon, coloured inks and watercolour painting, which can be heavily conditioned by drawing.

It is very easy to get confused by the many techniques of introducing colour into the already complex area of drawing in tone, line and texture. I believe the solution is to approach it as though learning to draw afresh. Understanding colour is quite a complex affair, and the book begins by assuming that readers will benefit from an introduction to the basics of colour theory. This need not delay you, however, because even if it is not wholly grasped at once, the simple practice of applying colour in your drawings will provide you with valuable experience, leading you to work out tonal values to your own satisfaction. And please don’t believe that there is only one correct way; try out every variation that occurs to you while working, and you may discover yet more interesting ways of manipulating colour schemes.

I have set as many exercises in the use of colour as seemed practical, and have tried to include all the really essential methods. You will find it useful to look at the work of other artists, both living and dead, and to observe how they worked out the chromatic schemes in their own pictures. Some are exponents of very subtle and restrained values, while others are far more vibrant or strident in the way they use their pigments. The key always seems to come down to two things: first, harmony; and second, contrast. Of course, all artists have used both at some time in their careers, but they often have a tendency to favour one or the other. In this book I have tried to show the effects of both approaches.

The addition of colour to your drawing can increase the enjoyment both to yourself in creating it and, afterwards, to your viewers. The power of colour to enhance a subject is most evident when you compare a black and white reproduction of a painting with the same picture in colour. Not only that, the natural symbolism of colour, or at least the type of symbolism that we attach to the colour of an object, brings further meaning to the subject matter.

The different mediums that you experiment with should add further to your enjoyment. Don’t worry if, at first, you might make rather a mess of the exercises; no one ever became any good at art without making lots of mistakes to start with. As long as you consider carefully everything you’ve done, no matter how unsatisfactory or disappointing it might be, you will soon learn not to repeat your mistakes too many times. Experimentation is the way that art evolves; it is not just the preserve of scientists. So, prepare to have a good – if occasionally difficult – time with the exercises in this book; with my heartfelt good wishes on the expansion of your artistic ability.

Barrington Barber, 2006

Getting started

To start drawing in colour is to take a step into the area of painting, although in this volume we will mainly be looking at colour as an adjunct to drawing. There are various methods and media to explore, beginning with the materials and how to get used to them through a series of exercises. We will be concerned mostly with drawing in coloured pencil, pastels, coloured inks and watercolour.

So we start with a list of the materials that will be useful to your work. You may not want to use them all but it is a good idea to try them out, if only in a limited way. Then your choice of which medium to use will be based on knowledge and experience rather than mere guesswork. This is a much more practical way of ensuring that you have some control over your medium.

Go through all the exercises shown here because they will familiarize you with a range of mediums and also provide you with practice, which every artist needs. You may even find you can invent a few exercises of your own, which is a sign that you are engaging with the medium in depth. It is also more fun for you when you play around with different mediums. Most of the exercises are simple enough but don’t be misled into thinking that therefore they are not worth trying out. In fact, simple repetition of straightforward technical practices is the bedrock of all artistic expertise. When you see a young artist doodling with patterns and repetitive marks on a sheet of paper, he or she is in the process of learning the manual dexterity that is so important for any artist.

Drawing is always drawing, whether in colour or not. So do not be put off if you know nothing or little about it. The way to learn is by experimentation and experiencing both success and failure. When you are drawing easily without any problems, it is only because previously you have overcome difficulties of some sort. And remember, when you appear to be having difficulties, that is when you are learning most. It will become easier if you persevere.

Materials and mediums

Here is a selection of the materials required for drawing in colour. I have chosen those most easily obtained from art or stationery shops. As an artist you will always want to use the best, but occasionally less specialized materials can be just as good.

1. Coloured pencils – don’t concern yourself too much with the brand, although some are better than others. Go for as many variations in colour as you can find. Thinner pencils can be of superior quality but not always. Try them out and make your own judgement. Watercolour crayons are similar to ordinary coloured pencils but you can use a brush with water to spread their colour over larger areas. There are several brands available.

2. Fineline graphic pens – these pens are good for drawing and behave similarly to a coloured pencil but with a more intense colour value.

3. Brushes – the best are sable but there are many varieties of hair and synthetic fibre. You will only need two or three brushes, especially if they come to a fine point. A size 0, one 3 and perhaps one 7 or 8 would be sufficient. For extending pastels you might need a hog hair or some other stiff brush.

4. Soft pastels – these tend to be expensive. They come in a wide range of colours but get used up quickly. However, for some work they can be essential.

5. Hard pastels – also known as conté crayons, these are essentially the same material as the soft ones but bound together in a compressed form. Hard pastels are square in section whereas the soft ones are round. The range of colours is again enormous, they last longer and are easier to manipulate.

6. Stumps – these are just rolls of paper in a compressed form, pointed at both ends and very useful for extending the tones of your pastels. They come in several sizes, but usually you will only want two, a large fat one and a thin one.

7. Scalpel – the best knife for sharpening pencils, crayons, pastels or anything, but they are extremely sharp and not advisable for students under 16 years. A craft knife is almost as good and safer to use.

8. Felt tip pens and illuminators – these pens allow thicker, more solid areas of colour to be put on quickly and are useful for larger drawings.

9. Watercolour box – watercolours are easiest to use from a box but they can be bought in small tubes as well.

10. Fine nib push or dip pens – these provide variable line and pen strokes, from very fine to fairly thick depending on the pressure applied. Some nibs are more flexible than others.

11. Liquid water colour (concentrated) – these colours are just like ink but may be diluted with water. They can be used with a pen or a brush.

12. Indian ink – a more permanent ink, available in many colours. Perfect for pen work but can be used with a brush.

Paper:

Watercolour paper – ideal for anything where water is the main solution. It takes the colour well and helps to stop it going patchy.

Ingres paper – very good for pastel drawing, and it comes in many shades. You will find it easier to draw in pastel on toned paper because white paper gives a rather too stark contrast.

Cartridge paper – this comes in various weights (gsm = grams per square metre), so you will have to try different types to suit your piece of work. Generally speaking, a smooth surface is better for pen and ink and rough is better for pencil work.

Holding the tools

Holding your pen, brush, chalk or pencil doesn’t always have to be the same as you would hold a fountain pen. Sometimes you get better, freer results by holding them as you would hold a stick or a house-painting brush. The only one that you will have to hold the same way as a fountain pen is the dip pen with ink because it is very difficult to manipulate any other way. We show here the variety of ways of holding these implements. You may need to practise these different ways to become good at them.

1. Hold the pastel loosely

2. Fineline pen held conventionally but with your little finger supporting it

3. Large sable brush held like a wand

4. Small brush held like a pen

5 and 6. Pencil can be held either like a wand or more conventionally

7. Push or dip pen held normally

MASTERSTROKES

A pen line doesn’t have to be firm and precise anymore than a pencil line or a pastel stroke has to be: a rather wobbly and meandering pen line often looks more convincing than a smooth, hard-edged line. The main thing