Cherry Cordial Drawing

Cherry Cordial Drawing 

Scroll to the bottom for more cherry cordial pictures to choose from for your own drawing.

 Materials: The cherry cordials I used for my photographs are the See's candy milk cherry cordials, and dark cherry cordials.  

Arches Hot Press Watercolour Paper (the smoother side)

Prismacolor Premiere colored pencils

Kneaded Eraser

Pencil Sharpener

Small paint Brush (for the mineral spirits)

Large soft bristle paint brush (for removing pencil crumblies) 

Mona Lisa Odorless Paint Thinner 

Here are the colors I expect to use.  931, 1092, 1026, 956, 937, 944, 1081, 1080, 941, 1095, 1078, 1070, 1074, 1082, 946, 947, 1093, 948, 1099, 1076, 1072, 936, 1059, 1086, 906, 1021, 1050, 966, 932, 1088, 1051, 918, 924, 923, 994, 928, 993, 1017l, 1018, 922, 926, 921, 925, 930, 1093, 929, 1019, 1092, 935, 938  - I probably wont use them all.  I will try to remove what I didn't use after I finish the project..

I started with the inside empty area of the cordial.  My printed photo is much darker than the picture on my lap top.  I will be using the picture on my computer for color reference.

Inside of chocolate

I set up the darkest parts with the colors I will be using for the outer chocolate.  I started with a layer of 1080-beige sienna, followed by 1081-chestnut, then added 947-dark umber over the top.  I then blended with the odorless paint thinner and my small brush.  I then mapped out the outer part of the chocolate with the 1080-beige sienna.  I added more layers of the 1080 to the area that appear darker in the photo reference to start defining shape and shadows.

I then started the inside where the milky part of the cordial had adhered to the inside.  I used 928-blush pink, 930-magenta, 956-lilac, and 1086-sky blue light. I then blended them out.  Working back and forth I continued deepening the colors of the inside of the cordial.  This is the darkest area in the whole photo so I wasn't worrying too much about getting the colors perfect.  I would use the odorless paint thinner a few times, letting those areas dry completely before continuing.  I added some black to deepen the inside.. but regretted that decision,  I went over the black with 947-dark umber.  

to darken the fondant bits stuck to the inside I added the 947-dark umber very gently, looking at the reference photo, I added 931-dark purple to retain the warmth inside. I then added 1081-chestnut, and 937-tuscan red.

     Outside of chocolate:  I used 1093-seashell pink, 1081-chestnut, and 947-dark umber, blended with the Mona Lisa Odorless Paint Thinner, and let it dry.  The second round of colors were 947-dark umber, 946-dark brown, and 1099-espresso then blended with the paint thinner again, and let it dry. I continue layering with the same colors.

     Cherry:  I started with 922- poppy red, then 924- crimson red, 937 -tuscan red in the darkest areas (overlaying crimson red), and 928- blush pink with tiny amounts of crimson red in the more pink areas.  I am showing a photo of multiple layers of these colors built up in light layers, and then a photo after blending with the solvent, which made the color really come out.  

Cream Filling there is a bit of fondant, and syrup in these cordials, making the filling a little bit more complex.  I did a base layer of 928- blush pink, I also added 993- hot pink, 930- magenta, 929- pink, 931- dark purple around the shadow of the cherry itself, i added a little bit of 1086- sky blue light (but I didn't like it) .  I used the solvent, and let it dry.  at this point I took picture again 

This top photo shows my original, and the bottom I upped the saturation.  I think I heard that tip on Lisa Lachri's youtube channel.  I like the picture with the higher saturation which looks like it adds a lot of warmth.   So I will be adding more warm reds, and then peaches and warmer pinks on additional layers of the filling.  I added some 937- tuscan red to the chocolate. 

The picture on the right is about 27 hours into the drawing.  I am adding more of the same colors to each area to adjust the colors till I am happy with it.    

I am adding more blush pink to the syrup filling to add more warmth overall.  I am also adding a little of a greyed mauve, and a greyed lavender.  I will included the color numbers and names once I am in my work area. 

I added more 947 - dark umber, and 1099 -espresso tot the chocolate, and used the Mona Lisa again.  

With the cherry I continued working with the 924- crimson red, and the 937 - tuscan red.  

The syrup I added 1092 - Nectar, 928 - blush pink, 1018 - pink rose, and 1019 - rosy beige.  I did use some of the crimson red in the syrup near the cherry.

 I am a little over 30 hours into the drawing.  At this point by photograph I feel it is "good enough" but I am not satisfied that it is "done" yet.  

Now is when I am saying hello to three friends - apprehension, frustration, and criticism. They can be fustrating, but good friends in my journey. 

• Criticism - is my best friend of the three at the moment because it drives me to continue.  I take photos throughout.. and now that the colors are more or less mapped in, and I could walk away semi-satisfied.. I start really looking with a more critical eye. - does the cherry look translucent enough. Does the syrup look uhhh - syrupy - enough.  The dark chocolate doesn't have quite the right color and texture.  Where do the highlights and subtle differences and value need to be pushed to look more realistic?  Criticism -- is probably my best friend from beginning to end.  
• Frustration - This friend often has me googling technique youtube tutorials.   This is currently due to lack of experience and knowledge.  I don't have enough experience to know how to trouble shoot some of the things I am not happy with - such as the graininess. I am including a photo for reference.  I am not seeing sloppy pencil strokes.. The colors are just not matte and smooth.  Am I being too picky? Do I just need to add more layers, or burnish?  I just don't have the experience behind me to know. 
• Apprehension- This guy is more of a frenemy - I have to battle to continue to battle... His influences becomes stronger the longer I work on a piece.  As I get more time into a piece, it is harder to pick up the pencil.. because of the same constant narrative of "what if I screw it up".  The closer I come to finish, the harder if is to work on, and the easier to second guess the colors and choices I make.  

I am now out of film card again, and must transfer the videos to the computer before I can continue to work.