If you've been following my progress you know that I’m working on grey paper. I’ve decided to put in a green underpainting in the lower part of the scene. It has been a lot of work to cover so much grey paper completely with green pencils. A green underpainting will save me a lot of time. I knew this. I just thought I could get away with not doing it. 😉
In a previous step I put a transparent blue watercolor wash on the footbridge, to tint the grey paper blue-ish. That’s an “underpainting”; I’ll make planks and wood-grain with colored pencils over it.
Now I’ve worked my way down to where most of the greens left to do are medium-to-dark cool green. After sketching in some of their leaves with light and dark pencils (to orient me), I added a green underpainting - a green watercolor wash. As you see here. Now I can make pencil strokes on “green paper” instead of grey paper. That will make all those cool-green leaves easier to do.
The only place the original grey paper is still showing is in those grey leaves to the right of Shasta’s shoulder. I didn’t put a cool green wash there because those leaves will be warm greens (yellow greens). Those colors are brighter when working directly on the grey paper, rather than over a blue-green.
🎨 Prismacolor pencil on grey Canson Mi-Teintes paper, with blue watercolor wash.
20 x 26 inches
🐕 "Shasta”, commissioned by Diane Barnes as a gift for her son Takeshi and his fiancé Cheryl.
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