Three stages of a drawing

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Initial 20 minute set-up

I took some photos of a beautiful native Nikau palm while walking last week, which I felt compelled to draw as the bulb was large and particularly colourful. I needed a break from my writing, and the time to let new ideas gel, so I started the initial sketch yesterday and finished it today. Sometimes I wonder why I write or draw, as it often more difficult that first envisaged, or let’s just say, either art form can be hard work when in progress, but feels great when done. Similarly with the novel. You get an idea, sketch it out and keep going until the work’s finished. It’s just the tools which differ. The tools I used for this sketch are: artist-quality polychromos pencils. The colours: Apple green, permanent green, chrome oxide green, lemon cadmium, dark sepia, brown ochre, van dyke brown, Indian red, sky blue, and light grey.

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When you need some passion in your life

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1st session, using artist quality colour pencils

I’m still on the botanical track – sorry, if you were thinking I’d written a Mills and Boon style romance – although the passionfruit flower I’ve sketched is as beautiful to look at as its fruit is to eat. This particular plant was thriving a couple of years ago on a wall in my relative’s garden, and thinking it would make a great drawing I took a photo of a flower and the fruit. Alas, the plant shrivelled and died in the heat the following summer. So, I guess my sketch is a kind of memorial to that luscious passionfruit vine which died prematurely. I could have sketched this in one sitting, but decided that I’d like to take it slowly. I sketched it in three short sessions, spread out over three days, as family were visiting.

Final session

I continually sharpened my pencils and kept changing from one tone of green, or purple, to achieve the desired effects. While drawing the initial sketch I wondered how I could show the delicate white tendrils so they would show against the darker background of leaves. This was a good time to leave it alone. On return I began fleshing out the foliage and used an olive green, apple green, and a lemon cadmium for highlights. For the stamens, I used dark violet and magenta. Picking out the edges was tricky, as I wished to keep their delicate appearance, yet I needed to add depth of tone in the line, in order to have the stamens show against the green.

I applied more colour to the foliage, yet left the sketch loose around the outside, so the flower would remain the focal interest.