fundamentals of drawing in colour(1).pdf

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D.
A complete professional course for artists
Barrington Barber
21BD1AF1- BA62- 4ACF- 868F- 588A423B525B
This edition published in 2006 by Arcturus Publishing Limited
26/ Bickels Yard, 151–153 Bermondsey Street,
27
London SE1 3HA
Copyright © 2006 Arcturus Publishing Limited
All rights reserved.
No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording or otherwise,
without written permission in accordance with the provisions
of the Copyright Act 1956 (as amended). Any person or persons
who do any unauthorised act in relation to this publication may
be liable to criminal prosecution and civil claims for damages.
ISBN-13: 978-1-84193-448-8
ISBN-10: 1-84193-448-8
Printed in China
21BD1AF1- BA62- 4ACF- 868F- 588A423B525B
Contents
Introduction
................................................................
Getting started
..........................................................
Drawing still life in colour
....................................
Landscape
..................................................................
Animals
........................................................................
The human figure
....................................................
Portraits
......................................................................
Drapery
........................................................................
Composition and colour
........................................
Significant colours
..................................................
Index
............................................................................
6
8
56
78
98
114
144
166
178
194
208
21BD1AF1- BA62- 4ACF- 868F- 588A423B525B
6
Introduction
‘Drawing in colour’ is a slightly unusual title, because the obvious
comment is, ‘How does that differ from painting?’ Well, in this
book I examine no fewer than four methods of drawing in
various colour mediums, only one of which is connected with
painting. I will be showing examples – and how to go about them
– of drawing in coloured pencil, pastel or crayon, coloured inks
and watercolour painting, which can be heavily conditioned
by drawing.
It is very easy to get confused by the many techniques of
introducing colour into the already complex area of drawing in
tone, line and texture. I believe the solution is to approach it as
though learning to draw afresh. Understanding colour is quite a
complex affair, and the book begins by assuming that readers will
benefit from an introduction to the basics of colour theory. This
need not delay you, however, because even if it is not wholly
grasped at once, the simple practice of applying colour in your
drawings will provide you with valuable experience, leading you
to work out tonal values to your own satisfaction. And please
don’t believe that there is only one correct way; try out every
variation that occurs to you while working, and you may discover
yet more interesting ways of manipulating colour schemes.
I have set as many exercises in the use of colour as seemed
practical, and have tried to include all the really essential
methods. You will find it useful to look at the work of other
artists, both living and dead, and to observe how they worked out
the chromatic schemes in their own pictures. Some are exponents
of very subtle and restrained values, while others are far more
vibrant or strident in the way they use their pigments. The key
always seems to come down to two things: first, harmony; and
second, contrast. Of course, all artists have used both at some
time in their careers, but they often have a tendency to favour
one or the other. In this book I have tried to show the effects of
both approaches.
The addition of colour to your drawing can increase the
enjoyment both to yourself in creating it and, afterwards, to your
viewers. The power of colour to enhance a subject is most evident
when you compare a black and white reproduction of a painting
with the same picture in colour. Not only that, the natural
symbolism of colour, or at least the type of symbolism that we
attach to the colour of an object, brings further meaning to the
subject matter.
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