DRAWING ANIMALS IN COLORED PENCIL

TOUCAN

This project is all about color—bright, fabulous color! I have represented nearly every color of the rainbow spectrum in this tropical image, rendering each one boldly. There is certainly a place for soft, muted pastel colors in art; however, when an artist seeks drama in a composition, strong, pure colors do not disappoint!

COLORED PENCIL PALETTE

1 I sketch the basic outlines of this simple composition with cool gray 50%, a neutral color that will blend with colors applied in later steps.

2 I block in the dark areas of the background with black, using light to medium pressure. Using moderate pressure, I apply olive green over the entire background with horizontal strokes. I use medium pressure and horizontal strokes to layer apple green over olive green, followed by another layer of olive green. To burnish the background for a polished, glossy look, I use white followed by dark green. Then I burnish the lightest, warmest areas with canary yellow and darken the lower left quadrant with dark green.

3 I use black to draw the thin, vertical strip between the toucan’s eye and beak, applying two coats. Then I focus on the beak, completing it before moving on to other areas of the bird. I outline the eye with cool gray 70%, encircle this with dark green, and color the resulting ring with apple green. I layer the toucan’s chest with canary yellow, and give the back and leg areas a base coat of black.

4 To finish the toucan’s yellow chest, I add two more layers of canary yellow, leaving a small space between the yellow and black areas. I use lime peel to lay in the shadowed area on the far left side, and then apply kelp green in the darkest area (above the foot). I blend down with white and reapply canary yellow, lime peel, and kelp green. I use limepeel as a transition color from the dark green at left into the bright yellow at right. Around the eye, I use sunburst yellow and spring green. I finish by burnishing with white in the lightest area alongside the dark feathers. I pull white streaks into the yellow area to blend. Next, I add black to the toucan’s body and complete the eye.

5 I define the two rows of feathers with black, followed by indigo blue. I add denim blue to the dark blue areas, and Caribbean Sea to the light blue areas. Then I burnish with white for smoothness and reapply the three blue colors until I am satisfied. For defined lines and extreme darks, I streak and blend with black. For the red area below the tail, I apply crimson red and then burnish and blend with white. I repeat this process to intensify the red.

MAKING PRECISE SHAPES

Notice how I have used the direction of my strokes to describe the form of each object. Instead of applying straight, uniform strokes within an area of color, I think about the curves of the surface and lay in colors accordingly. I stroke around the curvature of the branch, along the curve of the beak, and along the toucan’s chest to suggest its roundness. Using this technique will bring dimension and depth to your artwork.

6 I layer black in the darkest areas of the branch, followed by dark umber. My strokes are vertical and jagged. I leave the white areas alone for now, and use dark umber and burnt ochre to lay in the light and dark browns. Then I reapply black over the existing black areas and line the branch with black, avoiding the highlighted areas. I lightly apply Caribbean Sea over the white areas and then burnish with white. To fill in the background near the branch and bird, I use a sharp Prussian green pencil. I clean up my edges and spray with workable fixative to finish.

KITTEN

Animals make wonderful subjects to draw because there are so many different kinds to choose from, and they all have their own distinctive features and textures—whether they are smooth and scaled, fluffy and feathered, or soft and furry. In this depiction of Spike, Debra Kauffman Yaun uses blending and layering techniques to convey the distinctive patterns in the soft, silky fur of this playful kitten.

COLORED PENCIL PALETTE

1 Before I start drawing, I decide to make some slight adjustments from my photo. Then I begin by sketching out the kitten on practice paper, where I make sure I capture Spike’s features and proportions accurately. I transfer the drawing to my art paper and erase any excess pencil lines with a kneaded eraser. Next I apply black to the darkest areas around the kitten and lightly layer over the gray areas of the fur. At this point I’m not worried about creating texture; I just apply the various gray values with a fairly sharp pencil, using a circular motion. Then I use gray to fill in around the areas of lighter fur and the area around the whiskers, leaving the whiskers white.

As I work, I often check my drawing for accuracy by turning it and my reference photo upside down and comparing the two. Looking at them both upside down makes it easier to spot any problems because you’re forced to really see the actual object, rather than relying on any preconceptions you may have about what the subject should look like.

2 I apply a light layer of peach to the insides of the ears, to the nose, to the belly, and around the mouth, using circular strokes. I give the upturned paw pads a layer of peach, but I leave the highlights white. I add a light layer of dark umber to the rope and then add a heavier layer on the shadowed side. I also work a light layer of dark umber into the fur and over the paw pads. I detail the wood with black, making sure all the strokes follow the direction of the wood grain.

3 I lightly apply magenta over the insides of the ears. Then I add light layers of magenta and dark umber to the paw pads, using circular strokes for a soft blend. I soften the black rims around the eyes with dark umber and also add dark umber to the stripes in the fur. I add some more black to the dark grays in the fur and darken some areas of the chest and front legs, using short, tapered strokes that follow the direction the fur grows. Then I add dark umber to the stripes and the darker areas of the hind legs, using a blending stump to soften the colors. I add a ring of dark umber to the eyes around the pupils, and then I use dark umber to draw over the black detail lines in the wood.

4 Next I layer cobalt blue over the irises in the eyes, saving the white highlights. To deepen the shadows, I apply some blue over the chin, under the neck, along the shadow of the front legs, and in all of the shadowed areas of the rope. I also add blue to the back leg and the tail to “push” them back a bit. I add a touch of canary yellow to the eyes between the iris and the pupil. Next I apply yellow to the rope, putting a slightly heavier layer on the strand in the foreground. Then I layer a little black over the rope’s blue cast shadow to darken it.

5 I apply cobalt blue to the dark cracks of the deck and add a few light strokes of magenta in front of the kitten. Then I add magenta to the shadow under the rope, creating a purple hue. I add a shadow under the knot in the rope and then apply another light layer of dark umber to darken the wood. I lightly add a few spots of canary yellow and use a blending stump to soften the colors. Then I draw the kitten’s fur over the wood with black, making short strokes that start at the body and go out in slightly different directions. I refer to my photo here, matching it carefully to render this kitten’s particular fur pattern.

6 I soften the fur even more by blending short strokes of white over some of the black. Then I draw white over the whiskers and create a few hard strokes of white through some of the darker areas (such as the belly) to show the texture of the fur. I add a little more cobalt blue, dark umber, and canary yellow to the eyes, then finish with a layer of white to soften and blend the colors. I also add white to the tiny tufts of fur in the ears. The stripes on the legs look a little thin, so I widen them with short black strokes. I darken the shadows under the ropes in a few places with a little more blue and black, but I keep the shadow lighter than it appears in the photo to keep the focus on the kitten. I use white to soften the colors in the rope, and then I turn the drawing upside down again to check the values. I decide to darken the wood a little more, so I add some black and dark umber, mostly in the foreground. Finally, I apply a light layer of yellow to warm the color of the wood.

THE PENCIL SKETCH

Many colored pencil artists begin with a black-and-white value drawing; this method is called “grisaille.” Grisaille allows the artist to establish the darks and lights in a subject before applying color. Then, as the transparent colored pencil values are layered over the initial drawing, the dark values lend additional depth to the darkest areas. The example below demonstrates how the grisaille technique helps build volume in a simple scene.

PUPPY

To draw fur, first establish the color base and block in the dark areas. Midtones and highlights will follow, and blending is important. Short-haired animals will require short and quick strokes, while long-haired animals will need longer, curved strokes. Establish the initial stroke patterns and then begin to build color. Apply layer upon layer in the direction of the fur. A lovely blend of colors will develop that will resemble the animal’s natural coat.

Because fur grows in many different directions, I often move my photo and drawing board sideways or upside down to better stroke in the patterns in which the fur is growing. This also gives me a new way of looking at each section and helps maintain accuracy.

COLORED PENCIL PALETTE

1 I lightly sketch the puppy with mineral orange and use a graphite F pencil to add the eyes and nose.

2 I outline the eyes in black and use blue violet lake to color the irises. I build up the pupils with light layers of black and keep the catch-lights white. I finish with light black spokes around the iris, and block in the dark markings of fur around the eyes with black. I use black on the nose and white for the highlights. I begin the fur with washes of peach beige, beige, and peach using circular strokes to create a nonlinear foundation for the fur.

3 I block in the darks of the face and ears with burnt ochre. My strokes move in the direction of the fur patterns, so they are short on the face and long on the ears.

Drawing multidirectional fur patterns can be a challenge. To simplify the process, break up the drawing into sections and add color in layers.

4 I layer goldenrod over the face, using medium pressure in the dark areas and gentle pressure in the light areas. I use terra cotta over the dark red areas and bring out the eye area with more black. Beginning at the top of the head, I use beige to blend the existing colors; then I add burnt ochre and dark umber above the right eye. I use black and Tuscan red to define the area where the ears meet the face. I use terra cotta, light umber, and mineral orange for the remaining dark areas. I use beige, burnt ochre, and mineral orange for the light areas. I add Tuscan red to the outer cheek areas and draw whiskers with light umber and white. For the right ear, I use Tuscan red, dark umber, goldenrod, and terra cotta; then I blend with burnt ochre. I lightly add beige, light umber, terra cotta, and a small ridge of dark umber at the bottom of the left ear. I finish with a burnish of white above the brown ridge, and I outline the head with burnt ochre using jagged strokes.

5 I block in the darker body areas with burnt ochre using short to medium strokes. I then cover the entire body in a goldenrod wash using light pressure.

NOSE DETAIL

I blend the nose with white; then I add more black and blend with white. I add dark umber just below the nose following the mouth line. I use white to blend the black into the lip and use a curved line of Tuscan red below the mouth.

6 Beginning below the collar, I draw fur strands with burnt ochre, light umber, terra cotta, and goldenrod. I blend with sand and continue to build up the chest fur with the same colors. I apply a dark umber streak over the left indentation and black and Tuscan red over the creased fur below the mouth. I use burnt ochre and terra cotta to further block in the feet and legs. I begin to lay in the torso fur with burnt ochre, light umber, terra cotta, goldenrod, and chocolate. I burnish and blend these together with white. I repeat the process with all colors as needed to resemble the photo. I add a layer of dark umber to the lower stomach area.

7 On the chest, I use white to blend above the white fur patch. With a white point, I pull a few streaks of fur into the far left. I draw a few strands into the white marking with burnt ochre. For the area between the front paws, I use dark brown, Tuscan red, burnt ochre, and goldenrod. I lightly blend with white and swirl the fur out over the left paw. I use dark umber and terra cotta for the wrinkles. I cover the darker areas of the right paw with dark brown and burnt ochre. I use goldenrod on top and dark umber, black, and Tuscan red for the heavy shadow. I blend with goldenrod and use chocolate and burnt ochre for the paw. I use dark umber and terra cotta for the wrinkles and black for the toe markings and dark fur. I lightly blend with white.

FUR DETAILS

I blend the paw with mineral orange and add terra cotta and chocolate down the left side. I blend with white down the right side in the direction of the fur. I add a streak of terra cotta down the outside of the paw. I use beige, terra cotta, and burnt ochre for the toes. I add Tuscan red and dark umber in the toe areas. For the toenails, I use black and blend with white.

I cover the left haunch with beige then peach beige. I use chocolate and dark brown to stroke in the fur and block in the darker areas. I burnish with white. I repeat with strokes of burnt ochre, light umber, and a burnish of white. I add goldenrod to warm the colors.

TAIL DETAIL

For the tail, I layer in burnt ochre, dark brown, terra cotta, and goldenrod. I use black and Tuscan red to complete the dark areas on the right. I use white to pull out streaks from left to right, and color them with goldenrod. I add burnt ochre to the tip of the tail and burnish with white.

8 For the rear right foot, I lightly apply dark umber then burnt ochre; then I layer terra cotta and black for the shadows. I block in the dark folds on the left foot with dark brown and Tuscan red, and I blend with burnt ochre and terra cotta. I pull streaks of fur over the folds with a sharp white point. On the two dark shadows at the heel, I use black and Tuscan red. I cover the toe area with beige, peach beige, and streaks of light umber. I use white to blend and burnt ochre for the reddish brown areas. I complete the toenails with black and Tuscan red and blend with white. I block in the underbelly’s extreme darks with dark umber. From left to right, I use dark umber, terra cotta, and black to create the fur and dark circular patch. I use terra cotta, black, and Tuscan red to outline and fill in the dark circular shape above the leg. I then stroke in terra cotta, dark umber, and goldenrod below the puppy’s left front leg, above the haunch, and on the back. I use white to pull out streaks of fur. I color the collar with black, blend with white, and pull whiskers across it using a sharp white point. I erase all smudges and spray with workable fixative.

SHETLAND SHEEPDOG

At first glance, this Shetland Sheepdog may remind you of Lassie, the famous Collie that represented the ideal canine companion. But even for those not familiar with Lassie, the loyal and wise characteristics of this sheepdog are conveyed through its fine, soft fur and attentive, friendly expression. The dog’s flowing coat is drawn with just a few colors and long, swinging movements.

COLORED PENCIL PALETTE

1 With an HB pencil, I sketch a circle for the dog’s head and a rounded triangle for the muzzle. Then I draw the vertical centerline so it reflects the angled position of the dog’s head. Next I add the slightly curved horizontal centerline. I use these guidelines to position the eyes and nose; then I draw the large ears and the basic shape of the body.

2 I refine the eyes, nose, and mouth, adding details and erasing unneeded lines as I go. I draw some jagged lines for the fur, making sure they reflect the curves of the dog’s body. Then I establish the light and dark areas of the fur on the face, which will help me when applying color.

3 Still using the HB pencil, I add longer, softer lines to indicate the fur. Then I begin applying color by establishing the darkest areas with cool gray 90%, using strokes that follow the direction of the fur growth. I use the same pencil to fill in the eyes and nose, leaving the highlights white. Next I use medium pressure to add a few long strokes of cool gray 30% to the chest and under the chin.

4 I lightly fill in the inner ears with henna and use long strokes of dark umber for the fur on the edges of the ears. For the fur on the face, I use the same pencil and short strokes, following my sketch and leaving some areas white. Then I apply Venetian red to the irises. I use cool gray 90% to refine the nose and pupils, as well as to darken the long fur on the sides of the head and neck. Then, using medium pressure and sienna brown, I create long strokes on the ears and neck and short strokes on the face, pressing harder for darker areas. I also apply a light layer of sienna brown over the henna in the ears.

5 Now I use firm pressure to apply dark umber to the darkest areas on the tips of the ears and along the sides of the head. I use the same color to sharpen the edges of some of the facial fur and outline along the bridge of the nose and around the mouth. When shading the face, I pull the strokes over the already shaded areas to blend and smooth edges, but I leave some white showing through to indicate lighter areas and highlights.

6 I apply cool gray 30% to areas of the chest and under the neck, using firm pressure in the darkest areas. Then I use dark umber to sharpen the eyes and the areas around them. Stepping back from drawing, I squint my eyes to see which areas need to be darker; then I refine the black edges of the fur with a few firm strokes. Using medium pressure, I apply yellow ochre over areas of the face and neck, adding enough color so that all but the whitest fur is covered. Then I use medium pressure to apply jasmine yellow to the lighter areas on the face, leaving the small area around the mouth and the bridge of the nose white. Next I slightly darken the nose with cool gray 90%. To finish, I add strokes of sienna brown and yellow ochre to the fur on the dog’s lower left side.

LEOPARD

Just as some animals develop an incredible display of color (such as the Toucan), there are some animals whose natural colors blend in with their surroundings. The leopard’s earthy colors allow it to completely disappear on the plains of the savanna. Think of this characteristic as you draw the plants in the foreground.

COLORED PENCIL PALETTE

1 I sketch the basic shape of the head with an HB pencil. The head is turned at a three-quarter angle, so I shift the vertical centerline to the right and curve it to follow the form of the face. Note that the guidelines for the eyes, nose, and mouth are also curved. I indicate the ears and nose with triangle shapes, and I depict the cheeks with two half-circles. Next I draw the body, adding a small hump for the shoulders.

2 I refine the features, making the eye on the right smaller to show that it is farther away. I also adjust the leopard’s left ear so less of the inside shows, indicating the turned angle of the head. Next I draw the whiskers and some curved lines on the body to help me line up the spots in the next step. I also add some long blades of grass.

3 Now I draw the leopard’s spots, using the curved lines as guides and erasing them as I go. A pattern like this can be confusing, so it’s helpful to find areas where the spots line up. (You may want to try covering up some of the leopard so you can concentrate on small areas at a time.) Then I detail some of the blades of grass and draw a few more.

4 Switching to cool gray 20%, I add more long, curved whiskers. Then I use a very sharp black pencil to outline the eyes and fill in the pupils, nostrils, mouth, and areas on the cheeks and in the ears, as shown. Next I color the blades of grass with dark brown. Using cool gray 90%, I lightly shade around the leopard’s right eye and along the bridge of the nose. I use the same color to lightly shade along the creases on the legs.

5 Now I fill in the irises with yellow ochre, leaving a white highlight in the leopard’s right eye. (Going over the highlight with a white colored pencil helps protect it from being covered by other colors.) Using medium pressure, I apply burnt ochre to the ears and some areas of the head; I use the same color to lightly fill in the centers of most of the spots and other areas of the body. With firm strokes, I add burnt sienna to the existing grass and draw a few more blades. Then I use firm pressure to apply henna to the nose and tongue. Switching to black, I finish the spots using very short strokes that follow the direction of fur growth. Then I add even more grass with raw sienna.

FUR DETAIL

Here you can see the kind of strokes that make up this leopard’s fur. It is important to make sure your strokes follow the form of the body. Also make sure to leave the edges somewhat ragged and rough; smooth edges will make the spots look “stuck on” and unnatural.

6 I apply a light layer of sepia over most of the body and lower face. Then I add cool gray 90% to the ears and middle of the body to emphasize the crease behind the front leg. Next I add cool gray 20% to the chin, leaving the center white. Using firm, short strokes, I add some dark areas to the grass with sepia and burnt ochre. Now I apply dark umber to most of the body, adding a few strokes of burnt ochre to the spots and some cool gray 90% to the leopard’s rump. To finish, I use a very sharp cool gray 90% to darken a few areas on the body and go over the outlines of the edges of the body and head, varying the pressure so the lines aren’t solid and look more realistic.