![]() ![]() We'll first prepare the area by burnishing it entirely with the colorless blender. This section is then burnished with a colorless blender before applying Indigo Blue to make the "blacks".Īt this point, we've built up a nice base of color for the fur, but now it's time to bring out some of the details. Dark Umber is added to create slightly darker tones. We'll start with Light Peach, followed by a bit of Crimson Lake around the edges. We'll also slowly push the contrast with additional applications of Dark Umber and even a few bits of Indigo Blue.Īfter establishing the shape of the nose with Dark Umber, we can add a bit of color. Sienna Brown and Sable are added to portions of the face. From here, we can begin developing the contrast starting with a bit of Dark Umber.Īs we continue to develop the fur, we'll add bits of color. We'll start with a bit of Raw Umber, right above the nose, before adding 20% French Gray to the lighter areas around the face. Areas where the fur is shorter should be developed with shorter strokes. The length of the fur should also be considered. The strokes that we make should flow in this this direction. For each pencil that we use, we must be mindful of the direction that the fur grows. Directional stroking is important here since it helps to create the illusion of texture. We'll then continue working outward and concentrate on creating the illusion of fur. A touch of Crimson Lake is added around the outer portions of the pink shape before darkening areas further with Dark Umber and Indigo Blue. Lilac is then layered again over the top. We'll then continue to develop the contrast by adding Dark Umber. 20% Cool Grey is applied to begin the burnishing process. Over the top, we can begin burnishing the colors while making the value slightly lighter. Lilac and Pink are added over the Dark Umber base. We'll work out the locations of darker tone before adding a bit of color over the top. ![]() We begin with a light application of Dark Umber. We can add a bit of white over the applications to develop slightly lighter sections and the impression of a subtle highlight. Burnishing mixes the colors, smooths transitions, and adds additional wax to the surface. Layered applications of Dark Umber and Indigo Blue are applied in the pupil and around the outer portions of the eye.Īs we layer applications, we'll periodically use a colorless blender to burnish. Strokes are pulled with the pencil from the outer edges of the eyes towards the pupil. Limepeel, Blue Violet, 70% French Grey, Jade Green, Terra Cotta, Sienna Brown, Cloud Blue and True Blue are used to develop the iris. As the surface becomes covered by the binder of the colored pencils, the texture of the paper begins to disappear.Ī variety of colors are added to the eyes as we slowly develop contrast between values. We'll continue to slowly layer colors to gradually build up a waxy-base. We can make the values slightly darker with a bit of Indigo Blue. For now, we'll just concentrate on adding observed colors.Ĭloud Blue is applied first, followed by a touch of True Green. We'll slowly apply more pressure on the pencil once we have some of the base colors in place. We'll work this location a bit more than the surrounding areas to ensure that the viewer's focus stays with the eyes. Since the eyes of the cat are our focal point, we'll begin with colored pencil applications in this area. We are working on white Stonehenge paper which provides a medium tooth suitable for multiple applications of colored pencils. ![]() Very light pressure is applied to produce the sketch so that indentations are not created in the paper. ![]() We'll start with a light graphite sketch of the subject with an "H" pencil. (Some of the following links are affiliate links which means we earn a small commission if you purchase at no additional cost to you.) ![]()
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