The Colored Pencil Course: Composition and Still Life
Lesson Description
Lesson Six of The Colored Pencil Course focuses on the importance of composition in creating visually compelling artwork. In this lesson, students explore several compositional strategies that guide the arrangement of elements within a drawing, helping to create balance, interest, and focus. Matt emphasizes that composition is as critical as technical skill, because a well-planned layout can transform a drawing from simple replication into a work that engages the viewer. The lesson also introduces Part One of a still life demonstration, where students begin a colored pencil drawing of a carefully arranged setup of glasses and grapes.
Understanding Compositional Principles
Matt begins the lesson by explaining key compositional principles that can be applied to any drawing. He covers concepts such as the rule of thirds, leading lines, balance, focal points, and the use of positive and negative space. Students learn how to guide the viewer’s eye through the drawing and create a sense of harmony and movement. Matt emphasizes that composition is not just about placement, but also about the relationships between shapes, colors, and values within the artwork. These principles provide a foundation for designing a drawing that feels intentional and aesthetically pleasing.
Choosing and Developing an Arrangement
With an understanding of basic compositional principles, Matt demonstrates how to choose and develop an arrangement for a still life drawing. Students see how to evaluate different setups, considering the shapes, angles, and spacing of objects. He explains how overlapping, varying heights, and directional lines can add interest, depth, and a sense of realism. Attention is also given to how lighting and shadows influence the placement of elements, helping to establish a cohesive structure and highlight the subject’s form. Students are encouraged to experiment with arrangements before committing to the final composition.
Part One: Beginning the Still Life Drawing
The practical portion of the lesson begins with the setup of a still life featuring glasses and grapes. Matt guides students step by step, demonstrating how to lightly sketch the objects onto high-quality drawing paper using pencil as the initial stage. Emphasis is placed on accurate proportion, alignment, and perspective, ensuring that the foundation of the drawing is solid. Matt shows how the compositional strategies discussed earlier are applied in real time, illustrating how placement, spacing, and focal points influence the overall impact of the drawing.
Sketching and Planning the Drawing
Students learn how to block in the basic shapes of the glasses and grapes, considering the arrangement in relation to the paper’s edges and the overall balance of the composition. Matt emphasizes starting with light lines, allowing for adjustments as the drawing develops. During this stage, he also introduces the importance of planning for highlights and shadows, as these will help define form and add depth once color is applied. Students begin to see how thoughtful planning and careful observation create a strong foundation for the colored pencil work to come.
Applying Initial Colored Pencil Layers
While Part One of the demonstration primarily focuses on sketching and layout, Matt also begins to introduce the first layers of colored pencil. He demonstrates how to lightly lay in basic tones and subtle values, providing a roadmap for the final detailed application. Students see how layering can be started in stages, maintaining the structure of the composition while gradually building color and depth. This initial application highlights the relationship between compositional planning and the placement of colors, ensuring a cohesive and visually engaging final drawing.
By the end of Lesson Six, students have learned essential compositional strategies and how to apply them to a still life drawing. They gain an understanding of the importance of planning arrangements, spacing, and focal points, and how these decisions affect the overall effectiveness of a drawing. Additionally, students begin a practical demonstration of a still life featuring glasses and grapes, learning how to sketch, plan, and start layering color in a way that integrates compositional principles with technical skills. This lesson sets the stage for developing a finished, balanced, and vibrant colored pencil artwork in the subsequent lessons.
Lesson Materials
Colored Pencils (Prismacolor pencils are used but any brand is fine), Bristol paper, and a colorless blender.
Lesson Resources
Download eBook
Reference Image
Course Curriculum
Founder of The Virtual Instructor, artist and teacher. Matt makes learning art easy to understand and enjoyable.
In setting the reference photo up to copy, I find I go from regular size to super huge. Is there any way to adjust the size of the image
to copy. Thanks, Doug
Hi Doug,
You can adjust your printer settings to “fit the image” on the paper, when prompted to do so when you print.
What kind paper did you used for colored pencil? It video is fabulous!!
Thanks
Hi Dedis,
The surface is Bristol paper (vellum surface)
Afternoon Matt- Very well presented -breaking up the label in mini parts is a smart way to “Eat the Elephant” idea.Well done!
Matt,
i have not had any probs.printing out the “photo references” however i have a ???
1. in any of these modules,there is no size mentioned….what size are we suppose to make this 2 wine bottles/grapes
color drawing ?
thanks,raquel
Hi Raquel,
We all have different sizes in which we like to work. Some folks feel more comfortable working larger, while some like to keep their drawings smaller. I like to work small with most mediums that require precision and time, like colored pencils. This particular drawing is very small (6″ by 8″ ish). This size allows me to work enough detail in the drawing without becoming overwhelmed. That being said, some artist will naturally feel more comfortable working a bit larger so that details are a bit easier to achieve. So, it’s entirely up to you as to what size you decide to make your drawing.
great explanation !! & encouraging !
thanks,matt
Thank you. I had the same question. Great.
love watching you work, it’s like magic one minute nothing is there and then poof a drawing in front of our eyes i know i don’t have natural talent for this but i have always said anyone can do anything in life,however
how well its done weeellll that’s another story thank you so much
Drawing the grapes is driving me crazy! How accurate (e.g., the number of grapes) does the drawing have to be?
hi!
Hello,
I tried this exercise with the paper Bristol Smooth because I did not know the Vellum.
I am French and you can find other brands of paper more easily in my country.
On the other hand I discover the Bristol and I like it.
I find that the result of my drawing is very correct on the smooth.
Is there a real difference between these two papers?
Bristol Smooth is really too smooth to get many layers on colored pencil. Bristol vellum is better. Vellum is still smoother than hot pressed paper with medium tooth. Many people love hot pressed paper for colored pencil because you can add many layers of pencil for rich color. Cold pressed paper has lots of tooth (it is rough and better for watercolor), so very hard to fill the white valleys in the paper with color.
Each paper behaves a bit differently. Smoother paper allows sharp detail, but fewer layers. A bit more tooth allows more layers and richer colors.
I’m wondering how my Strathmore “Colored Pencil” paper compares to Bristol Vellum. It doesn’t give much information, just that it’s acid free, Medium surface, White, for finished artwork.. 100lb.
I did it
Wow, Matt!
The apples in Lesson 4 were about where my skills brought me prior to purchasing this course. But I was so surprised how much this lesson (6 & 7) improved my drawings. The wine bottles and corks were a big step up for me–my drawing really looks great, if I may say so. I hadn’t used Bristol velum before. In fact, I may have been using mostly cold press paper (in a bound journal) that required several layers with OMS to fill the tooth. It didn’t allow the sharp details that the Bristol velum gives (I can even make out the miniature lettering on the label of my drawing!). I had tried some areas of complementary underpainting before, but not the technique you showed.
Thank you for this course. It has proven to be just the boost my colored pencil art technique needed to get to the next level from a place where I was stuck. I have “peeked” ahead and can’t wait to draw the dog, landscape, and portrait!
Greg
When I download the book it is not showing up in my ebooks. What should I be doing differently? I am studying while we travel internationally and cannot always be online. Thank you!
Hi Roberta,
When you open the ebooks in your browser, you can download them to your computer or device. You may have to designate where you save them on your device. With most computers, the default location is in your “Downloads” folder. You can choose where to download them, to a “Ebooks” folder for example, by right-clicking on the download link.
I’m still in the 7 day trial period of the course and I’m struggling with how big my drawings should be. Too small and it’s hard to fit all the detail in and too large means lots and lots of colouring and burnishing. Any tips please?
Hi Christine,
You bring up a good point. Some people are more comfortable with smaller drawings, but detail can be hard to develop. Some people are more comfortable with larger drawings – but it takes more time and use of the material. Choosing the size that is best will vary from artist to artist. Colored pencil drawings don’t have to be large since we have such great control with a pencil. But drawings need to be large enough to develop the details. This drawing is fairly small – around 5″ by 7″. This size may be too small for you, or perhaps just right. If you’re having trouble getting the details that you desire, you may try a slightly lager surface. It may take some experimentation to find what works best for you. There is no “one size that fits all”.
Hi Matt the wine bottles seem so difficult to me. I don’t know if drawing small or what. Sometime I want to give it up but I’m not quitter. Matt if you have any suggestions please let know.
Hi Kenya,
This drawing is very small. You may find it easier to make your drawing larger. Doing so will take more time, but it will be easier to get all those details.
Been sick for the last few days. Decided to work on the wine bottle whenever I can. I just completed the wine bottle on the right. I’m so happy. Wish I can show my progress. I am using Derwent Coloursoft 24 set. I do not have the same colours but the previous modules gave me the confidence to try other closely related colours. However I could not write the silver metallic (derwent metallic) wordings on the purple portion of the left bottle. Not sure if it’s the colour pencils I am using or the paper I am using.
Hi Debbie,
The metallic pencils may be the issue. I typically don’t use them since we see things in the world around us as flat colors. The metallic look is achieved by placing the reflected colors in the correct locations instead of by using a metallic pencil.
Hi Matt, is their a way to get really bright highlights with prismacolour pencils. The white pencil doesn’t really show up that well even on reserved areas? Really enjoying the course by the way it’s amazing how quickly your skills can improve so thanks for your brilliant
tuition!
Matt keeps using Dark Umber, but I don’t have that color. The closest thing I have is dark brown. Will that work for this piece?
Hi Matt, It has been a long time since I tried to draw. I am 86 and use to draw. I have many hobbies. But suddenly I have this urge to use colored pencils and coloring books. I needed a refreshening in how to better use the coloring in layering. I am just watching right now but will start little by little with the drawing and coloring. My hands don’t work like they used to but I still can do pretty well. I have a good sense of color my father was an artist. My favorite is nature. Can I go back and watch it over again? I will let you know how I progress.
Hi Carolyn,
Yes, of course! You can watch the videos as many times as you like.
Hi Matt, I am having trouble staying with my lesson as we are possibly moving. I love the course but I can’t find where to download the eBook’s. For right now it would help me.
HI Carolyn,
Look for the ebook downloads under the Resources tab under the video above this comment section.
Hi Matt
I am having some problems printing the reference images, (0n all reference images). They always want to print on multiple pages and I have to keep adjusting preferences per photo.
It would be great if the images were set to print on A4 or A5 size as standard.
As an aside, measurements in metric would also be useful for us non metric nations.
I have to also let you know that I think your lessons are the best I have ever had and my skills have improved no end. Plus, I love the way you say “ Drawing”!
Hi Matt,
It would help me alot to know how long it actually took you to get to this point in the drawing. How long did you spend on it?
Thanks!
Can someone help with two questions please.
How do you access the ebooks and what brand and number count are the pencils and are they oil?
I’ve called and left an email with no response.
Thanks
9:24 pm?
It’s exactly 4:24 pm Texas
Hi Mike,
The time of your comment is in UTC time code, not your local time. This site is used by people all over the world in different time zones.
Hi Mike,
You sent your email this morning. Please be patient and allow me time to respond. The ebooks are located under the “Resources” tab under each video in the course. The colored pencils used in this lesson are wax-based Prismacolor Premier colored pencils. I’m not sure what you mean by number count.