Colin Bradley’s Willow Tree Exercise
This exercise will enable you to try your hand at producing the lovely willow tree in this picture. This is another idea that was
suggested by one of my students. The picture was completed using Faber-Castell’s Pitt pastel pencils. If you do not have
these pencils then you could try other makes or even different types of pencil using the colours I am listing below. But I
would strongly recommend that you use the Pitt pencils I am suggesting as they will produce the best results.
The 12 Pitt pastel pencil numbers and colours used in this exercise are: 101 white, 182 brown ochre, 104 light yellow glaze,
170 may green, 168 earth green yellowish, 174 chrome green, 169 caput mortuum, 175 dark sepia, 143 cobalt blue, 140 light
ultramarine, 230 light cold grey and 233 mid cold grey. Optional extras: No. 2 grey chisel ended Colour Shaper (or Paper
Blender) and a double ended pencil eraser of soft rubber.
Line Drawing
It really is not really necessary to use a line drawing as you
could freehand draw this tree, but if you prefer to use the one I
have supplied one, here this is the procedure to adopt.
Simply place it on top of your pastel paper, slip a sheet of
‘Tracedown’ or a black carbon between the line drawing and
the pastel paper and draw over the outlines with a sharp HB
pencil.
If you would like to have the picture in a larger size then scan it
into a computer and enlarge it to suit you. Alternatively you can
ask your local photocopy store to enlarge it for you, then follow
the procedure outlined above.
Fig.1
Stage 1
Start the picture by applying 101 generously to all the sky areas and
distant hills then rub this in with your finger. Apply 140 on top of the
white base and again rub this in with your finger, your picture should
now resemble the right side of the picture here. Apply 143 on top of the
light blue base colour grading the colour off as you reach the horizon and
the distant hills. More 143 can now be added to the distant hills to make
them stand out, By adding more 101 to the area above the distant hills
they will stand out even more; this can be seen in Fig.1 here.
Fig 2
Stage 2
Apply 140 into the water area without using a white bass this will create
a stronger tone apply 143 on top of the 140 and blend this in with your
colour shaper or paper blender . Apply a little 169 into the distant hills
and once again this will make the water tone appear stronger. Once you
have completed the water and are happy that the distant hills resemble
fig.2 use the pink end of your double ended eraser (if you don’t have one
of these use a soft eraser) to remove the sky colours that have strayed
over the tree.
Fig 3
Stage 3 & 4
Fig 4
Apply 101 white into the lightest section of
the tree as seen in fig.3. Then use 170 to
fill in the rest of the foliage fig.4. Imagine
the leaves tumbling down and try to
emulate these movements in your drawing
action. For the darker leaves you see in
fig.4 168 has been applied to add strength
to the foliage this can be added all over
leaving some of the previous colours
showing through.
Willow Tree exercise page 2.
Fig.5
Stage 5
Now it is time to add extra strength. Use a sharpened 174 to add the
shadow areas to the tree as seen in fig.5. It is now very important that
you use those same tumbling movements you did in fig.3 and fig.4, this
time drag the 174 at the bottom of the tree into the sky, distant hills and
water. Notice how the 174 has broken up the lighter green areas giving
them the appearance of realism already. The light is falling on the tree
from the top right corner, see arrow, therefore all your shadows will be
reflecting this. It is worth knowing this while you are working, then
subconsciously you will be guided in your actions.
Fig.6
Stage 6
Focus on the area of the tree on the right of fig.6 ignoring for the
moment the very dark area that has been applied on the right hand side.
Sharpen 170, 168 and apply them this time in tight circular movement
to resemble the effect you see in the lighter areas. If you compare fig.5
to fig.6 you will see the effect we are looking for. Add a sharp 104 and
a little 182 using the same movements. For the very dark area on the
right use a sharpened 175 and carefully apply this colour into the
previously applied 174 dark green only. Try not to let the 175 touch
any of the lighter shades.
Fig.7
Stage 7
The previously applied 175 now needs to be quietened down, do this
using 174 on top of most of the areas you have applied the 175. Leave a
few section of 175 untouched as this will vary the shadows and make
the tree seem more natural. Fig.7 shows how this will look when the
willow tree foliage is finished. Time now to move onto the tree trunk to
prepare for this sharpen 230, 233, 182 and 175. Apply 230 to the left
side of the tree and branch and 233 to the right side, where they meet in
the centre blend the 233 into the 230 this will create a roundness. Apply
a little 182 to add colour then 175 to create shadow on the left again
merge this in the centre, see the finished tree trunk below in fig.8
Fig.8
Stage 8
The final section in this exercise will be the grass, start by
using a little 101 on the lightest areas beneath the tree and
just below the water on the right side, ignore the dark
shadow area for the moment.. Now add 104 and 170 on top
of the white touching in 182 and 168 to add texture and
interesting tones, follow the grass area shown in fig.8.
Apply 174 to create the shadow area follow this with 174 as
seen in fig.8. You can use your colour shaper if you want
smoother grass but touch in more colour to add texture, the
result will be as you see in the finished exercise in fig.8
If you have enjoyed this exercise and would like to try more of Colin’s drawing aids visit the
product page of his website www.colinbradleyart.co.uk to view his range of exercises, workshop
packs and instruction booklets.