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The shadow areas in the top of the picture are darker than the one in the middle, but by keeping the overall color in the blue-purple range it does not overshadow the red-purple shadow of the focal point.
It also gives a sense of depth in what is a limited space, as the top portion of the drawing recedes into space.
I don't always start in the middle, but it seemed appropriate with this image.
It is the focal point of the whole picture with the area of greatest contrast and with the juiciest dark shadow. If I complete this section first I can make sure the other portions of the picture won't overshadow it.
To protect the ends I am not working on I have taped tracing paper to my drawing board. This means I can lean safely, without smudging the under-drawing.
I have colored the shadows with my favourite purple crayon - Harold would be proud.
(Faber Castell Color Pencil #249 - Mauve...in case you're taking notes. )
I can now start to see the patterns of light and shade that draw me through the composition (no pun intended). With the darkest part of the picture on the top and all the light at the bottom, I think it will be an interesting challenge not to make the picture feel top heavy.
I am back working on a new LARGE color pencil drawing, and it is so good to be back; to be able to stretch my elbows after the confines of a tiny miniature.
I used to be a bit daunted by all that white paper, but now it's like a clean empty room, just waiting for me to fill it up with beautiful color.
Picture measures 7.5" x 25", so a nice long skinny one.
I am using Fabriano Smooth Press 300lb watercolor paper, I think that is the same as Hot Press.
I measure the original photograph and mark the mid and quarter points. I then do the same on the large drawing. The sketch is freehand, but those measured points provide a framework to make sure I keep things on track.
I usually stand to sketch which enables me to see the overall picture, rather than getting stuck on details and helps me to check the angles with the photograph. It also means that I draw from the shoulder, rather than from the elbow or wrist, so the drawing stays looser.