lovely title eh?
This is a few shots of my progress on the drawing I'm working on now. It is Derwent Drawing coloured pencils with some pastel and conte sticks, on A3 gold toned velour paper. All my recent CP/pastel pieces have been carried out in this way. I just wanted to give you an insight into how I work.
I start with a sketch, in this case in white pencil. Once you put anything on the velour paper it is very hard to remove, so I choose a light colour and try to draw softly. I am using a photo reference, with kind permission from Kim Stambaugh, who is the photographer and owner of the horse. Ref here: [link]
In the first image I thought my sketch was complete. I put it away for a few days as I didn't do any art for a while due to circumstance, and then I worked on something else.
After a few days of not looking at it, I got it back out and realised my sketch was pretty off. Look at the reference photo compared to my sketch! So I headdesk'd, then got to work on fixing it.
Bear in mind as I already said, any marks made on the velour are hard to remove. You can see in the second image the "ghost" lines that are no longer required, and you can see the new lines I have added.
This took a good couple of hours to get right, in total, before I could start adding colour. I spend a long time comparing my sketch to the reference, changing and re-arranging parts until I am satisfied that the proportions and angles etc are as close as I can get them. Even if they are not exactly the same as in the photo, it's okay... so long as they don't look "wrong". And you know when they do!
(A handy way of helping to check your accuracy is to look at the negative space, for example the spaces between the forelegs, between the head and neck, etc. Compare the angles of the abstract shapes. It's a good idea to remember to look at these areas as well as your subject itself when doing your sketch.)
Whether I am doing a traditional drawing (be it pastel or pencil) or a digital painting, the method is always the same. Sketch, erase, re-sketch. When it comes to larger scale work such as paintings, I will occasionally break the space down into even sections and mark the crosspoints in order to help me get the placement right. (There is not much worse than painting on your block-in in the wrong place.) Apart from that, it's all the same... eyes flicking between ref and paper/canvas constantly.
The last image is where I'm at now. I'll hopefully have it done soon. There are more things I want to start!