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DRAWING WITH COLOURED PENCILS –
Curtis Holder
Reference Image
Materials
Sketchbook or any available paper
(scrap paper, printer paper, even an
old bill)
Coloured pencils or markers
Graphite pencils
Acetate window
Blackboard marker
Eraser
Find these items at cassart.co.uk
Establishing the Composition
If you’re working with a live sitter chat to them about a pose you’re both happy with and give them something to rest their eyes on. This could be a timer or it could just be a point of interest in the room. Spend some time observing their positioning before you start working on your paper.
Using a mid tone, start with a really simple structural sketch, marking in where the main areas start and finish e.g. the top and bottom of the head.
Focusing on proportions
Holding a proportional divider in your non drawing hand, extend your arm, close one eye and look at the distance between two areas of your sitter e.g. the width of the sitter’s head. Use this measurement as a reference for all of your other measurements.
Top Tip: For as long as possible keep your lines fluid and light allowing you to adjust to changes in your sitter’s positioning
Placing the eyeline
Once you’re happy with your vague shapes, its good to focus in on some key features like the positioning of the eye line and the space between the eyes. Once you’re happy with these measurements you can use your proportional divider to commit to other measurements.
Top Tip: Remember to give your model and yourself regular breaks
Identifying Shadow Shapes
To bring depth and realism, focus on shadow patterns rather than just outlines. Squint at your model to see the less obvious shapes that make up the face, clothing, hands etc. Use soft pencil strokes to block in darker areas lightly before refining details. Squint again and identify the lightest parts and draw the shape of this area in. This will define the face and also give you reference for areas that need more or less layering later on.
Top Tip: Build shadows gradually, layering lines rather than pressing too hard.
Bringing in different colours
Its time to start layering up those darker areas. For this choose another colour to build up tone. Keep pencil strokes loose and natural, allowing texture to develop over time. Adjust constantly without rubbing anything else—drawing is an ongoing process of looking, adjusting, and refining.
Adding Detail and Texture
Once the tonal structure is in place, focus on subtle refinements. Define key dark areas (e.g., lip lines, nostrils, and eye sockets) with finer, more deliberate strokes. Use shorter, more concentrated pencil marks to build intensity in dark regions. For hair, capture volume and texture by varying line thickness—darker in denser areas, lighter along highlights.
Top Tip: You can use your pencil like you’re writing if you would like to make even darker lines with a lot of control. Try and use these lines sparingly
Highlighting and Final Adjustments
The final stage focuses on bringing contrast and clarity to the drawing. Use a precision eraser to lift out highlights (e.g., cheekbone edges, forehead glints). If a precision eraser isn’t available, slice a regular eraser into a fine edge using a craft knife. Continue layering and adjusting, enhancing details gradually without overworking the piece. Take a step back and evaluate the portrait ensuring it captures the sitter’s presence and mood.
