Inexpensive, portable, and way fun, you can use watercolor pencils anywhere you normally sketch.
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| One advantage of being a lefty is that nobody borrows your scissors. |
I use Derwent Inktense pencils to draw my sketches in field paintings. On a gessoed board, you can erase with a damp cloth. When you start laying oil paint down, the watercolor drawing freezes in place. I’ve been doing this for so many years, I’d forgotten why I bought the pencils in the first place. That is, until Mary Byrom reminded me last week that they’re great for pocket drawings and value studies.
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| This and a multimedia sketchbook is all you need to carry. |
I buy them in packs of six in burnt sienna and ultramarine. This is a warm-and-cool combination that makes great neutrals in every medium. I use it for watercolor value studies and for my dark neutrals in oil colors. I can flip from warm to cool instantly with this mix, making it perfect for setting darks.
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| I always start with a pencil sketch. |
The simplest (and most important) value study looks at the ways in which you can translate an image into simple black and white. At the same time as you’re thinking about black and white, you can also think about cool vs. warm. This is the modern, post-impressionist way of looking at value.
All light has color. An overcast sky has a color temperature of about 10,000K (blue). A room lit by candles has a color temperature of about 1,000K (orange). The most neutral light is sunlight at noon.
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| This photo of Mission San Jose in San Antonio starkly demonstrates the color of light. All the walls are white. |
Of course, the ambient light color is also affected by the objects it’s bouncing off. I took the photo above in Mission San Jose in San Antonio to demonstrate this. The walls are white, but there was incandescent light above the loft. The lower part of the room was lit by daylight or in shadow. The effect was to make it appear that the room had been painted in blue and gold.
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| An aqua-flow brush is the easiest way to move Inktense around. |
The color of shadow is always the complement of the color of the light. Of course, this is all mutated by the color of the objects being lit. A red sphere in warm light will appear crimson in the light spots and more purplish in the shadows. That’s just red mixed with orange light and blue shadows. We simplify matters by saying that if the light is cool, the shadows are warm and vice-versa.
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| The principle’s the same whether the light is warm or cool, as long as it is consistent and matches reality. |
Inktense pencils allow you to add in color temperature as you think about value. Ignoring their actual color and modeling, I made a simple contour drawing of my sewing scissors. I set the lighter half of my value range in blue. It’s simple to soften Inktense with a water-brush. Just fill it and run it over your pencil drawing. When that was done, I added my shadows in burnt sienna. You can get fairly intense darks with Inktense pencils.
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| Two different Inktense pencils can take you almost anywhere. |
My fantasia was hardly inspired, but I’ve included it to show you how much depth you can get out of Inktense pencils. You can buy two Inktense pencils, a water-flow brush and a small pad of watercolor paper for around $20. The combination is no bigger than a sketchbook and pencil.
ADDENDUM:
Susan Hanna points out that Derwent doesn’t
havethose color names. I should have checked first. My burnt sienna WAS a color called Venetian Red; they don’t market it as that any more. Try Red Oxide. Try Deep Blue for ultramarine. Once again, caught in the trap of romance naming for pigments.
SECOND ADDENDUM: Another reader mentions that Inktense pencils are fugitive. She prefers Caran d’Ache watercolor pencils. I’ve not tried them so can’t comment.
