Let’s speak about technics elements, at first.

The pencil leaves on a paper a thin line and it is impossible to cover the big area at once. Sometimes these not complete parts of drawing have huge psychological influence on the artist; therefore I recommend to divide work into fragments and to make them consistently. Such approach justifies itself, as I perceive each part of drawing simply as a combination of light, average and dark values. Here is necessary certain practice. Eyes should learn to see object not only as a subject, but also as set of different color stains. To your surprise, such method will remove a lot of problems, especially in the beginning work, and difficult work at any difficult drawing will give huge pleasure.

I do not use a white pencil for light or white places: it will give effect of grayish, pale shades, and I need accurate contrast of light and dark casts. And I simply leave untouched paper whiteness.

After allocation of these stains, I start to put color layers, developing scale from light to the dark. I pass one color on another until I will achieve a necessary shade. It is a unique way of mixing of paints in the technician of a color pencil (without use of solvents).

In the nature there are few of one-color objects. I don’t use only one pencil for the decision of a concrete color stain: each place represents a combination of paints of two or more colors.

Even if your “object” has absolutely black color — try to find characteristic texture-tonal drawing and to define light and dark stains. Then you should choose paints, which are harmoniously combined and are close to each place of color. I have established a rule for myself: always to mix a paint of primary color with paints, at least, of two other pencils. Only after that it is possible to consider developed tone. At the given approach search of the most true and correct shades raises special visual interest. Creating in drawing expressive effects, sometimes it is necessary to use about 50 various pencils.

It is impossible to avoid underpainting on difficult places.

Finishing the given stage, it is possible to begin laborious work on nuances of a light-to-dark modelling, observing sequence from light to the dark. Changing pencil pressing, create a wide range of values, avoiding effect of “polishing” of a surface at which paints of light shades with effort are put on dark so that wax binding of a pencil is softened and forms luster.

Final strokes.

Having felt that I am close to finishing stages of work, I remove sheet on one and a half – two metre and I analyze its coloristic decision, contrast and properties of values from various sides and points of view. I bring changes and additions. Then, if I will consider necessary, I delete all casual traces and stains, and also errors with eraser. All work from beginning to end occupies from 15 till 30 hours.

Try elements of my technique of drawing in color pencils, irrespective of character of the chosen object. There is a unique way to penetration into secrets of this – it is attentive research, experiments with pencil pressing, ways of drawing of paint layers and a variety of a paper. Availability and the spontaneous nature of color pencils sometimes create false representation about their brilliant and unlimited possibilities, for example, in creation of the most detailed realistic works. However, it is possible to tell with confidence that color pencils are capable to inspire any artist to feel huge pleasure from a successful combination of elements schedules and painting.

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