PIGLET
A tutorial for coloured pencil artists

​Paper Used: Cuthbert Mills Bockingford Hot pressed paper
​Pencil ranges Used: Caran d'Ache Luminance

This tutorial describes a unique technique that will help you create an effective pencil drawing of a cute pig. Regardless of your abilities as a coloured pencil artist, you can achieve great results simply by following our guidance, whilst adding an infusion of your own artistic style too.

We use the Caran d'Ache Luminance pencils and the Bockingford hot pressed watercolor paper in this tutorial. Your products do not have to match the ones used here. Any hot pressed paper will do, and all the colours required can be matched from your own pencil collection.

The reference image can be found below, which you can screen grab and print out or view on a tablet whilst reading the instructions on a smartphone or computer.

BACK UP PARAGRAPH
​This tutorial describes a unique technique that will help you create an effective pencil drawing of a cute pig. Regardless of your abilities as a coloured pencil artist, you can achieve great results simply by following our guidance, whilst adding an infusion of your own artistic style too.

We use the Caran d'Ache Luminance pencils and the Bockingford hot pressed watercolor paper in this tutorial. Your products do not have to match the ones used here. Any hot pressed paper will do, and all the colours required can be matched from your own pencil collection.

The reference image can be found below, which you can screen grab and print out or view on a tablet whilst reading the instructions on a smartphone or computer.

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This tutorial was originally created for the Colored pencil Magazine 'Workshop series', available in the November 2022 magazine, and has been reproduced here for inclusion in my mini tutorial sections. 

I hope you enjoy this tutorial and if you would like to request a subject for inclusion of a future tutorial, please get in touch!

REFERENCE IMAGE

products used

1. Caran d'Ache Luminance
2. Hot pressed paper
3. Soft brush
4. Eraser
5. Pencil sharpener
​OPTIONAL: Fixative

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We used the Caran d'Ache Luminance range, but you can use any pencil range. Simply select pencils that match the colours from the chart below, however, they do not need to be exact.
​

white (001)
black (009)
buff titanium (801)
pink white (581)
burnt sienna 10% (862)
burnt sienna 50% (866)
raw umber 50% (846)

cassel earth (046)
light cobalt blue (661)
ultramarine (140)
olive yellow (015)
grass green (220)
chromium oxide green (212)
Dark phtalocyanine green (719)

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IMPORTANT TIPS:  
* Keep your pencils sharp during the initial stages, when applying the fur over the body. The thickness of the lines will depend on the size of your drawing but try and keep the lines as thin as possible, for a natural and realistic finish.​
* When applying the base tones, use the polished edge of the pencil to minimise harsh lines.
*  To avoid transferring natural oils onto your drawing from your hands, have a clean sheet of paper to lean on whilst applying colour.  Natural Oils from your skin can damage your artwork which you may not be able to repair.​

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HIGHLIGHTS

white & buff titanium (or cream)
​

Begin the drawing by applying light strands of hair to the head and body of the piglet. Apply the hair following the same direction seen in the reference image, or use our image as guidance. Hair tapers to a point, so the pencil should be swiftly lifted from the paper to achieve this. Short hair is more uniform than long hair. Long hair naturally curves and can overlap other strands. Begin with the White pencil and follow this with Buff Titanium (or cream), then reuse the White where hairs overlap the cream ones.
Keep pencils sharp during the process and press into the paper. Ensure you leave gaps between each strand, so you can add in a base layer later.

​

BACK UP PARAGRAPH
​Explain the technique.
Keep pencils sharp during the process and press into the paper. Leave spaces between strands as we will be applying a base layer a little later on.
White first, then cream, the white.

Hair tapers to a point, so the pencil should be swiftly lifted from the paper to achieve this.
Short hair is more uniform than long hair, which naturally curves. Long hair may overlap other hair.

​Follow the direction of the fur as seen in the reference image, or use our image as guidance.

eyes

light cobalt blue, ultramarine, white & black

When using coloured pencils, it is important to apply the lightest colours first and build up to the darkest. Create white lashes, except if you prefer to add them later using an opaque product. First, fill in the catchlights seen in the left eye, as well as the scleras (aka the whites of the eye), with Light Cobalt Blue. Continue by adding Ultramarine to the centerpoint of the catchlight, then finish by filling the eyes and defining the contours, with the black pencil.
​

BACK UP
​When using coloured pencils, it is important to apply the lightest colours first and build up to the darkest. Create white lashes, except if you prefer to add them later using an opaque product. First, fill in the catchlights seen in the left eye, as well as the scleras (aka the whites of the eye), with Light Cobalt Blue. Continue by adding Ultramarine to the centerpoint of the catchlight, then finish by filling the eyes and defining the contours, with the black pencil.

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the SNOUT

burnt sienna 10%  -  ​burnt sienna 50%  -  cassel earth  -  ​pink white  -  ​black  -  ​white

Burnt sienna 10%, burnt sienna 50% & cassel earth

Cover the entire surface using Burnt Sienna 10%. Use Burnt Sienna 50% to determine the shape of the nostrils and add darker values to the internal nostrils. Reinforce darker points by using Cassel Earth. With the Burnt Sienna 50%, create shade at the base of the snout.
​

BACK UP PARAGRAPH
Cover the entire surface using Burnt Sienna 10%. Use Burnt Sienna 50% to determine the shape of the nostrils and add darker values to the internal nostrils. Reinforce darker points by using Cassel Earth. With the Burnt Sienna 50%, create shade at the base of the snout.​

pink white

For a smooth appearance, soften the lines of pencil left behind, using the pink white tone. Burnish gently using small, circular motions. Do not press too heavily, as this will saturate previous colour applications. 
You can always increase the darker shades if required, and re-burnish.
​​

BACK UP
​For a smooth appearance, soften the lines of pencil left behind, using the pink white tone. Burnish gently using small, circular motions. Do not press too heavily, as this will saturate previous colour applications. 
You can always increase the darker shades if required, and re-burnish.​

burnt sienna 50%, pink white, black & white

Create the light and dark contrasts using Burnt Sienna 50%, and pink white. Use the white pencil to create the reflections on the top of the snout and to establish the shine under the nostrils. Define the shade inside the nostrils with black. The finished snout should be smooth, without visible pencil marks. You can use a colourless blender instead to soften the lines and avoid any colour change.
​

BACK UP PARAGRAPH
​Create the light and dark contrasts using Burnt Sienna 50%, and pink white. Use the white pencil to create the reflections on the top of the snout and to establish the shine under the nostrils. Define the shade inside the nostrils with black. The finished snout should be smooth, without visible pencil marks. You can use a colourless blender instead to soften the lines and avoid any colour change.
​

cassel earth, black & white

Use the Cassel Earth tone to define the mud seen above and under the snout. Add marks on the nose, applying uneven details, first with the Cassel Earth and deepening the darkest marks with the black pencil. Darken the mud both above and below the snout, with black. Add a little highlight to the upper section using the white pencil.
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BACK UP
Use the Cassel Earth tone to define the mud seen above and under the snout. Add marks on the nose, applying uneven details, first with the Cassel Earth and deepening the darkest marks with the black pencil. Darken the mud both above and below the snout, with black. Add a little highlight to the upper section using the white pencil.​

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eye patches

colours used: BURNT SIENNA 50%, Cassel earth and ​black

burnt sienna 50%

Apply a layer of Burnt Sienna 50% to create the eye patches. Ensure you follow the pencil lines when applying this base tone. ​

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Apply a layer of Burnt Sienna 50% to create the eye patches. Ensure you follow the pencil lines when applying this base tone. ​

CASSEL EARTH

Repeat the same application with the Cassel Earth tone. This colour will help to shape the eyes, by applying to the darkest points of the patches.  Apply more pressure to your pencil when you need a deeper tone and loosen the pressure when you need to taper off the colour into previous ones.

BACK UP
​Repeat the same application with the Cassel Earth tone. This colour will help to shape the eyes, by applying to the darkest points of the patches.  Apply more pressure to your pencil when you need a deeper tone and loosen the pressure when you need to taper off the colour into previous ones.

BLACK

Apply the final layer using the black pencil. Holding the pencil near the tip gives you more control to apply more pressure or decrease it. The white lines should always be visible below, these much darker shades.

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​Apply the final layer using the black pencil. Holding the pencil close to the tip allows you more control to apply more pressure or lessen it. The white fur should still be visible beneath these much darker tones.

SKIN TONES

burnt sienna 10%

BURNT SIENNA 10%

With the Burnt Sienna 10% tone, apply a base tone all over the face and ears using the polished edge of the pencil.  Follow the direction of the hair, to avoid saturating the white lines.

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​With the Burnt Sienna 10% tone, apply a base tone all over the face and ears using the polished edge of the pencil.  Follow the direction of the hair, to avoid saturating the white lines.

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EARS

burnt sienna 50%

Include deeper shades of Burnt Sienna (50%) to define the creases inside the ears and top of the left ear.

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​Include deeper shades of Burnt Sienna (50%) to define the creases inside the ears and top of the left ear.

cassel earth

Start by introducing a few darker tones primarily in the right ear, but also above the left ear, using the Cassel Earth tone. Again, apply with the polished edge of the pencil.

BACK UP
​Start by introducing a few darker tones primarily in the right ear, but also above the left ear, using the Cassel Earth tone. Again, apply with the polished edge of the pencil.

black

With the black pencil, create the dark patch on the head and darken the ears further as previously executed with the brown shade.

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​With the black pencil, create the dark patch on the head and darken the ears further as previously executed with the brown shade.

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BODY & LEGS

BURNT SIENNA 10%

Move onto the body and legs next. With the Burnt Sienna 10%, apply a base layer to the front legs and upper body, using the same technique as previous to avoid saturating the hairs. Apply more pressure to help define the shadows seen around the neckline and edges of the legs.

BURNT SIENNA 50%

Add dark contrasts on the abdomen and fore legs, using Burnt Sienna 50%. 

BACK UP
​Add dark contrasts to the belly and the front legs, using Burnt Sienna 50%. Loosen the pressure off your pencil to achieve a soft transition between the two pink tones on the left leg.

CASSEL EARTH

Define the contrasts further by initially adding Cassel Earth, then follow up with the Black to create the deepest shadows.

​completed up to here
​(need to redo the white hair paragraph

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BURNT SIENNA 10% & pink white

Using the Burnt Sienna 10%, apply a base tone over the back legs. Use the Burnt Sienna  50% tone to add darker values. Blend together using the Pink White, which will create a soft-focus appearance. Lastly, build up the pink section, seen just below the right ear. This should also be burnished using Pink White or a colourless blender.

BACK UP
​Using the Burnt Sienna 10%, apply a base tone over the back legs. Use the Burnt Sienna  50% tone to add darker values. Blend together using the Pink White, which will create a soft-focus appearance. Lastly, build up the pink section, seen just below the right ear. This should also be burnished using Pink White or a colourless blender.

burnt sienna 50%, black & white

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BACK UP
​Define the dark marks on the side of the stomach using Cassel Earth and then overlay with black. Using just one tone will make your drawing look flat, so it is always best to apply an undertone first. Lastly, use a sharp white pencil to apply a second layer of hair to the body, legs, face and ears. This will help to soften the initial hairs, whilst adding extra realism. It may be necessary to sharpen your pencil regularly.

GRASS

Although you may choose to add the straw as seen in the reference photo, we will add a small section of grass instead.

grass GREEN

Begin by adding blades of grass using the Grass Green. Apply individual strands, of differing lengths, the longer ones should curve a little. Overlap blades, and always ensure divergance.

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​Begin by adding blades of grass using the Grass Green. Apply individual strands, of differing lengths, the longer ones should curve a little. Overlap blades, and always ensure divergance.

CHROMIUM OXIDE GREEN

With the polished edge of the pencil, Apply a base layer with the Chromium Oxide Green. It adds depth and colour, which contributes to realism.

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​With the polished edge of the pencil, Apply a base layer with the Chromium Oxide Green. It adds depth and colour, which contributes to realism.

DARK PTHALOCYANINE GREEN & OLIVE YELLOW

The final stages are to introduce both dark and light contrasts to the grass to add depth and shape. Introduce the Olive Green for highlights and the Dark Pthalocyanine green for depth.

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​The final stages are to introduce both dark and light contrasts to the grass to add depth and shape. Introduce the Olive Green for highlights and the Dark Pthalocyanine green for depth.

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final detail

RAW UMBER 50% & BURNT SIENNA 50%

Finalize your drawing by adding some fine detailing to the face. Add some warm shades in the white hair, using Raw Umber 50%. Pay particular attention to the areas around the snout, below the mouth and on the forehead. Introduce Burnt Sienna 50% to add an extra layer of colour. This contributes to the definition and realism of your work.

BACK UP
​Finalize your drawing by adding some fine detailing to the face. Add some warm shades in the white hair, using Raw Umber 50%. Pay particular attention to the areas around the snout, below the mouth and on the forehead. Introduce Burnt Sienna 50% to add an extra layer of colour. This contributes to the definition and realism of your work.

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Completed

EXPLAIN A LITTLE ABOUT THIS DRAWING AND THE PROCESS BLAH BLAH BLAH!

Please do email your drawing to me via karenmberisfordart@gmail.com so I can add it to the gallery on this page. ​

This is one of those subjects where your portrait may look rather untidy right until the very end when you begin to soften the harsh lines and it then begins to come together.

The application is rather loose, and a large palette is not needed. Of course you may prefer to add many shades of greens or blues, but the secret is to ensure you get the right balance of light and shade.

Correctly building up your tonal layers and learning how to balance the shading on these berries will help you achieve a highly effective drawing regardless of your subject.

Learning how to pick out the correct tones needed for the under layers will help prepare you when it comes to creating more detailed subjects and your artwork will become a lot more effective in depth and shape the more you do.