Cycle - Rooted
This is the first piece in the series where I included a human figure. I wanted to explore our role within nature. While we are part of the animal kingdom, because of how we have evolved and since we affect nature on a much grander scale than any other species, I believe our role is of much greater importance. Therefore, we have an equally greater responsibility towards it.
This piece started with yet another abandoned idea. That of animals being reborn from a man of roots.
To start, I researched some root textures, took out my how to draw human anatomy books, took a different point of view, and started drawing a new man of roots. I work by drawing gestural three-dimensional shapes first representing the basic form of the different parts of the body, then adding the detail over these shapes to complete a sketch of the composition before adding colour. I always keep perspective, three-dimensional form, and the dynamic rhythm of my lines in mind while I draw.
The idea behind this piece is to show the connection between us (human beings) and nature by having animals being born from roots around the man. So, I needed some animals around the man of roots. To ensure that everything looked like it belonged together, I paid very close attention to the relative scale of the animals and man of roots. Each animal was drawn in the same way as the man of roots. Gestural, three-dimensional form first, then detail based on those forms. I referred to several reference photos during this process.
I felt that the owl, wolf, and bear were too squished together. So I erased them and redrew. This time, I considered the rhythm, or movement lines (lines that indirectly line up with eachother) and where the eyes of each animal are looking to keep the viewer moving around the drawing.
As a gift, my wife gave me a set of Pan Pastels. They are powdered chalk pastels in shallow cylindrical clear containers that you apply to your artwork with a triangular sponge. (Imagine a colourful make-up kit.) I decided to try them out on this piece and love the wash like effect they create.
Once the background was coloured, I started colouring the owl. I often watch YouTube videos posted by professional artists and illustrators. I recently learned about how to use colour undertones caused by light and shadow. In this piece, I chose a light orange as the undertone colour of light. Therefore, since shadows must be the complementary colour to light, my shadows undertone colour was a dark blue.
The grizzly was next. For this one, I used Pan Pastels to add local colour and to map out my light and shadow areas. Then added my light (light orange) and shadow (dark blue) undertones to give him more realism and help the colours harmonize with the rest of the composition. Finally, worked in the textures and last details. This is the basic process I use in nearly all of my drawings. I find working in layers like this is a great way to keep control when using nearly any medium.
Next was the wolf. While I have drawn wolves on a few other occasions, something seemed wrong about him. But, instead of trying to figure out what, I decided to push on and see if it was all in my imagination. If you ever find yourself feeling like something is not right, don't do like me, figure out what it is and fix it before you end up erasing hours of work, which is what I ended up doing. TWICE !! In the end, what I really wanted was a different wolf entirely.
First time erasing. Second try.
I decided to accept this wolf and move on even though it still wasn't quite what I was looking for. I finished the raccoon before I realized the colour was what wasn't working. My owl was the only white animal. To balance my tonal scheme, I needed the wolf to be a lighter tone.
Finally, I was happy with the wolf and moved on to the beaver. I nearly erased through the 140 lb Arches paper. The rest of the drawing developped smoothly for here on. To ensure that I do not smudge the drawing, I generally work from top to bottom. That meant that the man of roots was next. I decided to only use exaggerated undertones to colour him. No local colour. I didn't like the dark dead eye sockets so I chose to have the white life energy emanate from the eyes. It was a surprise inspiration to have the energy turn into insects.
I really enjoyed adding the fluffy skunk.
Continuing with the same process, (local colour, light and shadow undertones, textures and details) I finished the composition.
I hope you enjoyed reading about my process. If you would like to know when future posts are available, under the Menu icon, please enter your e-mail in the field below Follow by e-mail and click on Get e-mail notifications.
This piece started with yet another abandoned idea. That of animals being reborn from a man of roots.
To start, I researched some root textures, took out my how to draw human anatomy books, took a different point of view, and started drawing a new man of roots. I work by drawing gestural three-dimensional shapes first representing the basic form of the different parts of the body, then adding the detail over these shapes to complete a sketch of the composition before adding colour. I always keep perspective, three-dimensional form, and the dynamic rhythm of my lines in mind while I draw.
The idea behind this piece is to show the connection between us (human beings) and nature by having animals being born from roots around the man. So, I needed some animals around the man of roots. To ensure that everything looked like it belonged together, I paid very close attention to the relative scale of the animals and man of roots. Each animal was drawn in the same way as the man of roots. Gestural, three-dimensional form first, then detail based on those forms. I referred to several reference photos during this process.
I felt that the owl, wolf, and bear were too squished together. So I erased them and redrew. This time, I considered the rhythm, or movement lines (lines that indirectly line up with eachother) and where the eyes of each animal are looking to keep the viewer moving around the drawing.
As a gift, my wife gave me a set of Pan Pastels. They are powdered chalk pastels in shallow cylindrical clear containers that you apply to your artwork with a triangular sponge. (Imagine a colourful make-up kit.) I decided to try them out on this piece and love the wash like effect they create.
Once the background was coloured, I started colouring the owl. I often watch YouTube videos posted by professional artists and illustrators. I recently learned about how to use colour undertones caused by light and shadow. In this piece, I chose a light orange as the undertone colour of light. Therefore, since shadows must be the complementary colour to light, my shadows undertone colour was a dark blue.
The grizzly was next. For this one, I used Pan Pastels to add local colour and to map out my light and shadow areas. Then added my light (light orange) and shadow (dark blue) undertones to give him more realism and help the colours harmonize with the rest of the composition. Finally, worked in the textures and last details. This is the basic process I use in nearly all of my drawings. I find working in layers like this is a great way to keep control when using nearly any medium.
Next was the wolf. While I have drawn wolves on a few other occasions, something seemed wrong about him. But, instead of trying to figure out what, I decided to push on and see if it was all in my imagination. If you ever find yourself feeling like something is not right, don't do like me, figure out what it is and fix it before you end up erasing hours of work, which is what I ended up doing. TWICE !! In the end, what I really wanted was a different wolf entirely.
First time erasing. Second try.
I decided to accept this wolf and move on even though it still wasn't quite what I was looking for. I finished the raccoon before I realized the colour was what wasn't working. My owl was the only white animal. To balance my tonal scheme, I needed the wolf to be a lighter tone.
Finally, I was happy with the wolf and moved on to the beaver. I nearly erased through the 140 lb Arches paper. The rest of the drawing developped smoothly for here on. To ensure that I do not smudge the drawing, I generally work from top to bottom. That meant that the man of roots was next. I decided to only use exaggerated undertones to colour him. No local colour. I didn't like the dark dead eye sockets so I chose to have the white life energy emanate from the eyes. It was a surprise inspiration to have the energy turn into insects.
I really enjoyed adding the fluffy skunk.
Continuing with the same process, (local colour, light and shadow undertones, textures and details) I finished the composition.
I hope you enjoyed reading about my process. If you would like to know when future posts are available, under the Menu icon, please enter your e-mail in the field below Follow by e-mail and click on Get e-mail notifications.
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