NOV 2016 VOLUME 203
Free Sample Issue SUBSCRIBE NOW
3 From My Desk
24 Review Corner
A Note From the Editor
AquaBlend by Spectrum Noir
26 Grab Bag
Adding CP to a Print
Tabby Cat on Pastelmat
A Small Beginning
Colored Pencil Art Gallery
34 Heart of Art
Giving the Gift of Your Talent
17 News Carribean Workshop, New Book!
Drawing Faces, A Brighter Tammy, Inktense on Wood
38 The Pencil Box
From Toxic to Green
Editor in Chief Ann Kullberg Designer Ashley Chase Copy Editor Susan Cottman Contributors France Bauduin, Bonnie Sheckter, Lee Fidler, Blueie Acosta and Judith Hamilton Acquisition Editor Bleuie Acosta
Subscription, Purchase and Advertising Information www.annkullberg.com email@example.com Printer MagCloud
31313 31 Ave SW Federal Way, WA 98023-7855
Cover Art At Peace with the World 17.5" x 13.2" France Bauduin This drawing is featured in the Step by Step.
FROM MY DESK
FALL ALREADY?! As usual, the year has flown by and we all wonder how we could already be this far into fall? Thanksgiving will be different for our family this year; it’s our first one without our mother. I guess I’m the matriarch of the family now. But my turkey gravy sure will never be as good as Mom’s always was. We hope our American readers have a wonderful Thanksgiving with friends or family!
We Listened – How to Turn Art into Income!
In the dozen years that I accepted steady commissions, my portrait fees rose from $700 to $3,500 per portrait.
Awhile back, we sent out a survey and are so grateful that so many of you were kind enough to answer thoroughly. It was so helpful to us to get to know you better. In fact, one of the things that surprised us was that exactly one-third reported that their end goal in drawing is to earn income with their art. Thirty-three percent is very high!
A Blueprint for Commissions Although I’ve shared my drawing techniques in great detail over the years, I’ve never publicly shared all the methods and tips I learned and utilized over time to be a successful commissioned artist – before now! In the past months, I’ve worked hard on a new two-part webinar series that will impart every single bit of business and client knowledge I’ve learned through the years. Making the inevitable gazillion mistakes cost me lots of time, money and peace of mind. Why should you make the same mistakes? These new webinars and accompanying documents can literally be a blueprint for you to follow to have a successful career as a commissioned artist.
There are just a handful of ways to make money with art: getting gallery representation, selling your art or prints at fairs and online or taking commissions. At the beginning of my art career, I was represented by three galleries, but soon learned that the waiting game was going to kill me. I couldn’t count on steady income since gallery sales are erratic. That lack of control is what led me to become a commissioned portrait artist. What a positive difference that decision made in my life!
Limited spaces available. Webinars start next week. Reserve your spot now!
Information and registration >> 3
Tabby Cat ON PASTELMAT BY FRANCE BAUDUIN
This Step-by-Step is definitely not for beginners, but it will be useful for intermediate and even experienced artists who have never worked on Pastelmat. The list of colors needed to create this drawing of my cat Griffin is not exhaustive and most brands will offer similar colors. This is a step-by-step where you need to experiment with colors, and you get a first opportunity to do this in Stage 1. You are not following a recipe. Instead, you will learn how to observe and use the colors to achieve the desired effect and how to apply your strokes to make the fur look natural.
M AT E R I A L S • Brown Pastelmat board • Faber-Castell Art Eraser (putty eraser) • Caran d’Ache Pablo: White, Cream, Light Lemon Yellow, Greyish Black • Prismacolor: Eggshell, Sepia, Grey Green Light, Pale Sage, Sap Green Light, Jade Green, Kelly Green, Periwinkle, Clay Rose, Dark Umber, Black Raspberry, Black Cherry, Black Grape, Ginger, Sandbar Brown, Chestnut, Henna, Tuscan Red, Green Ochre, Chocolate, Terra Cotta, Warm Grey 70% • Derwent Coloursoft: Peach, Brown Earth, Brown Black, Bright Lilac, Pale Lavender, Pale Peach, Lichen Green, Pale Brown • Faber-Castell Polychromos: Raw Umber, Burnt Ochre, Black, Dark Indigo, Chrome Oxide Green, Burnt Sienna, Black • Derwent Artist: Venetian Red • Karisma (Prismacolor): Metallic Blue, Metallic Rose • Derwent Drawing: White, Wheat, Light Sienna, Mars Violet, Sepia (Red), Warm Earth
STEP 1: Placing your subject while testing your colors Grid (1 cm or .4" apart) and an A4 size (8.27" x 11.69") photo of the cat. Because Pastelmat doesnâ€™t allow fine detail, create a larger grid (1.6 cm or .6" apart) on the Pastelmat board by only dotting the corner of each square with a white dot where it is needed. Draw the main features of the cat by using mainly a mix of White, Cream, Eggshell and Peach in the light areas and a mix of Raw Umber, Brown Earth, Brown Black and Sepia in the darker parts, starting from top left to bottom right until the entire cat and surface he lies on is placed. Have a very light touch as it is easy to make mistakes,
but itâ€™s also easy to correct with the putty eraser. Whiskers need to be reinforced so they stand out easily. Apply the colors with a balancing movement with more pressure at the center so the fur already looks natural. Do not hesitate to rotate the Pastelmat so this movement always feels natural. Take this opportunity to test the colors you will need in very small areas. Important: Make sure not to cover any white dot so your markers are still in place once you want to finish an area with fine detail. You are now ready to tackle the eyes.
S T E P 2 : Drawing the eyes
Darken the pupil with Black only when you are confident it is at the right place.
First apply a light coat of White on all the lighter parts of the eye. Block the white where the light reflects in his eyes by making it thicker and recognizable. Because the eye is curved, this must be reflected in the way you apply your colors. Your strokes must always start from the center going toward the outside (like the hands going around a clock) in a back and forth motion. Apply fine layers, starting with Light Lemon Yellow, Cream and Eggshell. Where the eyes are greener, cover the yellow with different shades of green starting again with the lighter shades and building it up with the following Prismacolors: Grey Green Light, Pale Sage, Sap Green Light, Jade Green and Kelly Green. Then continue with very small strokes of Periwinkle and Metallic Blue starting from the pupil and going out. Notice the fine details and patterns in the irises; finish with touches of Burnt Ochre, Metallic Rose or Clay Rose, as well as some Bright Lilac and Sepia.
Remember that if you go wrong, it is possible to lift the colors with the putty eraser before applying the correction. You can apply lighter colors over dark ones but only up to a point. To make the eye emerge with the fur around it, observe the underlying colors of the darker places. In some places, you will need some cool colors— Pale Lavender, Bright Lilac, Periwinkle and Dark Indigo—before applying Dark Umber and Black. In others, you have warmer dark colors: Black Raspberry, Black Cherry and Black Grape. The paler parts of the fur around the eye are a mix of White, Cream, Ginger and Eggshell with Sandbar Brown and Brown Earth in-between. Observe well the direction of these small hairs; start your strokes from the eye and go toward the outside. Once a small section is finished, make sure that the white dot marker doesn’t show up anymore.
S T E P 3 : Drawing the nose and muzzle
time, do not make it too regular or it will not look natural. So use that same balancing movement when doing your strokes. Interestingly enough, above the rosette, adding different shades of dark violet-purple with greens, such as Green Ochre and Lichen Green, achieves better results than if we were only using shades of brownblack along the Cream and White hair. Have fun experimenting with diverse combinations until you can recreate the color variations you observe in the markings under his eyes. Remember your putty eraser; if you are not happy with the result, try again. Once you get the right combination, youâ€™ll be able to use it for most of the cat. Work between the whiskers and retrace them as needed so they stand out well. Add a fine line of Greyish Black under each of them to make them emerge from the white fur of his chin. Finally, make sure the muzzle clearly detaches itself from the ruff so we get a good 3D feel of his face.
Starting with the nose, cover it with a fine layer of White before starting to build the layers from Cream, Pale Peach, Peach, Burnt Ochre, Venetian Red, Chestnut, Henna, Black Raspberry and Tuscan Red. Again, what is important is to curve your strokes around the nostril to reflect the natural shape of the nose. Like before, use dark warm colors before adding black for the inside of the nostril and base of the nose. With more or less the same previous colors, fill the space above his nose up to his eyes with short small strokes. What is important is to notice the changing hair pattern and establish the rosette just below his eyes. Also make sure that the centered line between his eyes is well placed and clearly noticeable. The hair pattern must be there but at the same
S T E P 4 : Drawing the ears and rest of the head
in the position that is more comfortable for you. For the top of the head and ears, I usually work upside down. The ears are a bit different. Draw loosely where the hair will be but the inside of the ear must be built first, making sure the curvy part is done in fine layers going from pale to dark with curving strokes. You can finish by retracing the White and Cream hair at the end, strengthening where they emerge with the necessary darker colors around them, a mix of Dark Umber, Black Raspberry, Black Cherry, and Green Ochre, but less pronounced in the middle. Finish with Black to strengthen the markings but be careful not to add it too soon. There must be darker warm colors under it first. Check that no white dots remain in the finished section (if you can still see them in step 4, that section is not finished yet).
By now, youâ€™re familiar with the combination of colors needed for the fur and have probably reduced your palette to about 20 colored pencils: about four different browns including Burnt Sienna or Chocolate, four creamy ones, three greens and six light to dark violet purples, plus White, Black, Greyish Black, Dark Indigo and some Tuscan Red here and there. At this point, itâ€™s all about observation to decide which color is needed where. Each pale hair is drawn with sharp small strokes, finer at the top with some darker brown, green or grey to separate them at the base. Do not hesitate to rotate the Pastelmat and work
S T E P 5 : Drawing the ruff For the ruff, you will need to have a looser hand. Create little wiggles with your hand when adding the last layer of pale hair over darker underlayers. Again these darker underlayers will be a mix of browns, dark reddish-purples and greens with some hints of lilac and grey blue here but also Terra Cotta in some areas. In the finishing stage, you can always thin the end of the Cream and White hair by encasing them in darker colors to make them more natural and add a thin layer of Pale Brown or Ochre at their base. Reinforce the whiskers when needed and encase them in Grey Black or Warm Grey 70%. As usual, only add Black at the very end for the darker areas.
S T E P 6 : Drawing the rest of the cat For the back and especially the paws, it is really important to get the patterns of dark and light stripes right. Observe well where these hairs take root and how they curve to give a 3D feel to the paw. You will often need to retrace the white hairs so they stand out. Observe where the rosette is on the paw on the left and make sure the hairs curve all around it. Where the fur goes darkest, I like to mix Tuscan Red, Chrome Oxide Green, Dark Indigo and Black Grape before adding Dark Umber and finally Black to give it more depth. Adding some Metallic Blue and Metallic Pink in small doses will also bring nice highlights. For the lilac-violet highlights, I often tend to exaggerate the color at first, but it is possible to restore some balance by adding some greens such as Green Ochre. I usually do this the next day once I get a fresh look at my drawing before adding some more.
S T E P 7 : Drawing the chair and creating the background When it comes to drawing the chair, you need another palette of colors. You start with a light undercoat of White and add different grades of cold and warm greys, pale greens, lilacs with a mix of brownish-greens, peach, reddish-browns and such with dark colors for accents. I deliberately toned down the white and made it less brilliant than on the photo so it doesn’t become a distraction. I have also added a little bit more to the leg and faded it in a diagonal, which helps direct our gaze toward his eye and ear on the left. And that brings us to the background, my personal nightmare. The idea here was to try some kind of aura around his head to make him leap out of the paper, but feel free to try something else if you do not like it. For this, I used mostly Derwent Drawing pencils as they blend particularly well, again starting from the palest White, Wheat, Light Sienna and Mars Violet, closer to Griffin
and then adding different other browns such as Sepia (red) and Warm Earth, but bringing also Prismacolor Chestnut, Black Raspberry, Black Grape and Polychromos Dark Indigo and Chrome Oxide Green. Colors are applied lightly in circular motions on top of each other. Then I use a tissue to blend the lot again with circular motions. I look at the result and add more colors until I am happy with the blend. When I don’t like what I see, I use my putty eraser, lift as much as I can and try a new combination of colors. I step back quite often to look at the overall picture until I am happy with the result. Once done, it is important to redo the outline of the cat as well as his whiskers as they get more or less erased with the blending of other colors. Finally, I crop the picture to show it at its best. Good luck with it. And remember, if you didn’t achieve what you wanted on the first try, learn from your mistakes and try again.
A B O U T T H E A RT I S T France Bauduin is a member of many societies related to colored pencils (UKCPS, PAS, AUSCPA); cats (SOFA); or wildlife (TWASI). She offers animal drawing workshops on most Saturday afternoons at the Winterbourne Library (Winterbourne, Bristol, UK) to beginner and intermediate artists. Beyond technique, France is trying to teach how to look at an animal and infuse some life in it, thus creating a moment, something that speaks to whoever is looking at it.
See more from France Bauduin »» http://www.francebauduinart.com 11
LAPPET by Brian Scott 11" x 16" https://www.facebook.com/brian.scott.77
COLORED PENCIL ART GALLERY
ARTISTIC SOUL SELF PORTRAIT
NAGA MAN by Hleing Aye 17" x 14"
by Agnieszka Troc
11.7" x 8.3" https://www.facebook.com/ATDcreation/
Hi, my name is Les Gaston-Johnston, and I have been painting and drawing on and off for about 10 years. Most of my work is done as a hobby but who knows—one day it might become my day job. This is one of my best pieces, and I’m proud of it. But I know there are aspects of it that can be improved, and I am sure Ann can give me a few pointers.
Critique of Les Gaston-Johnston’s artwork
I can understand why Les would want to draw this image. There is something intriguing, powerful and possibly even a tiny bit menacing about the iguana in the reference photo. Personally, I’m not a lizard fan, but I can definitely see the allure of the texture and colors of this creature.
W H AT W O R K S
I think Les did an admirable job of creating the texture of the lizard’s scales with various techniques. There is definitely a feeling of bumpy, leathery texture in his drawing. And speaking of drawing, Les has very good drafting skills. I can’t find any lines that are false. Well done.
I mentioned that the iguana looks powerful in the reference photo, which means the image evoked some kind of feeling in me. I think that is somewhat missing in the artwork. Although nicely drawn, there is less of an emotional reaction to the drawing. Why?
There is also an excellent feeling of depth in the drawing. The iguana’s body recedes from the head, and the background recedes even farther. Les created this depth by making sure that elements in the foreground are small, detailed and sharp, while the background has loose, large, blurry elements with no detail.
Strong contrast alone can invoke stronger feeling than low contrast. The higher the contrast, the more we react emotionally. In this example, I’ve strongly increased the contrast (and also slightly changed the background hues). He instantly seems more imposing, doesn’t he? The stark contrast between midtones and shadows lends him instant power.
To make him stand out even more, in this example I darkened and blurred the background and increased both the saturation and contrast in the main subject. Saturation is the same thing as intensity; when I increased the saturation, I effectively increased the pureness of the colors, making them less dull. I also slightly cropped it so the lizard is closer to the outside boundary of the image. I think that having too much open space in front of him lessened the feeling of drama. By seeing that nothing but space is directly in front of the lizard, the viewer knows that he is not menacing anything â€“ heâ€™s just sitting there. By cropping it closer, the viewer wonders whom he might be attempting to intimidate, which adds a slight sense of drama to the crop. It makes him seem more menacing. But just as I was ready to wrap up this critique, I realized another reason why the drawn creature seems more benign than in the photo when I zoomed in on the eyes. In the photo, the lizard has a very definitely hooded eye. I think we have a human reaction to a hooded eye; it seems less trustworthy and more suspicious. By opening
up the iguanaâ€™s eyes, Les created a more wideeyed, innocent, cute expression. If Les is fond of iguanas, the move was likely subconscious on his part. If he wanted us to like this little guy, instead of finding him menacing, he succeeded on all counts!
C ar ibbean WORKSHOP CRUISE OCT 1-8, 2017 Learn from Cynthia Knox, Ann Kullberg and Amy Lindenberger
BY BONNIE SHECKTER
I have a motto that has served me well: “You’re never too old and it’s never too late.” I took up both the cello and colored pencil when I turned 50, and 15 years later, lo and behold, I play in and manage a community orchestra, and I am being featured in the Artist Profile Section of Ann Kullberg’s COLOR Magazine. Who would have thought! I was able to tackle both of these challenges by following my other favorite motto: “Subdivide and Conquer!”
Girl With Green Boots
As Time Goes By
After the Party
Whether in music, in art, or life in general, just narrowing a task down to separate parts of the task makes things so much easier, and eventually all the pieces will come together to complete the whole.
“You’re never too old and it’s never too late.”
As a child I drew all the time. No art courses were offered at my schools, but my notebooks had more drawings in them than the academic material they were supposed to contain. I studied art at the University of Alberta, but back in the early 70s, the Fine Arts program there eschewed any sort of drawing, and my time was spent painting abstract color field canvases and trying to answer the question that was bandied about continually: “Is art dead?” Ugh. In graduate school, I decided to focus on printmaking, because to me it seemed a richer field for finding personal expression. I specialized solely in photo-lithography and developed a technique for seamlessly combining two or
three different photographs during the printing process (pen-light drawings superimposed over and flitting through constructions of cardboard and paper). I felt excited about being able to present a new reality that didn’t actually exist but had the proof of being so by virtue of it being a photographic print. I was happy using photographs, and wondered why anyone would spend time drawing when you could print an image on a printing press in one fell swoop. And so I established myself as a printmaker and exhibited widely in various shows around the world for the next several years. I was happy to win lots of awards for my work.
In the early 80s, I left my job teaching at the university and moved to Toronto to marry a drummer with whom I’d been having a year-long, long-distance relationship. I built a studio and moved my flat-bed offset printing press there, and got a job as Director of Lithography in an artist-run printmaking co-op. Then in the mid80s my husband and I decided to start a family. Because he traveled so much as a musician, I quit working to be a stay-at-home mom, and was totally happy to do so. I still had my print studio, but I never had the kind of large blocks of time necessary to get anything accomplished. Just when I’d get my ink mixed and things set up to pull a proof, it’d be time to clean up and pick up the kids for lunch or drive them to choir rehearsal. So I let go of the idea of being an artist for several years, and reveled instead in the very rewarding and fulfilling joys of parenthood. Then suddenly, they were (kind of) grown up, and they didn’t need me managing every aspect of their lives. I needed to get my life back. So I dusted the cobwebs off my press and started
making prints again. But the more time I spent out in my studio, the worse I felt. Even with an exhaust fan going, the inks and solvents and chemicals caused debilitating allergic reactions in me. I would get rashes and spontaneous lesions on my fingers and felt depressed all the time. Finally, I thought, “Why am I doing this to myself?” So after more than 25 years of seeing myself as a printmaker, I decided I had no choice but to change my medium. I would take up watercolor! Knowing nothing about it, I enrolled in a botanical watercolor course at the University of Toronto Continuing Education. And ironically, the prerequisite was a drawing course. Finally, a chance to receive some drawing instruction after all these years! After an initial period of time using only graphite pencil and honing our drawing skills, we were allowed to introduce color into our work using Prismacolors. I didn’t know that such a thing even existed! My early attempts using them were pretty dismal, and I couldn’t wait for the next term when we’d get to use watercolors.
Then one day, I was at a bookstore browsing through the art section, and I came across Ann Kullberg’s Colored Pencil Portraits, Step by Step. Flipping through it, I couldn’t believe these were colored pencil drawings, and I thought, “Wow, I’d give my eyeteeth to be able to produce drawings like that!” So I bought the book, got myself some Stonehenge paper, and started drawing eyes and noses and lips. And I found I could do this. All her techniques for drawing and her charts for achieving natural flesh tones worked like magic, and I was thrilled to start drawing portraits of my kids. How cool was this! Doing art
was fun again, and I knew that I had found my new medium! The joy and ease of doing colored pencil drawings was incredible! Change a color? Just pick up a pencil. No more laborious time spent mixing ink and cleaning up printmaking rollers and palettes with noxious solvents. And doing portraits was such an interesting challenge for me. I loved that not only was I changing my medium, I was tackling a whole new genre. After doing several portraits and scouring Ann’s book for more tips, I found I still had some questions, and decided the best way to have them answered was to ask Ann herself.
(left) Old Man in a Green Jacket (right) Afternoon Reflections
“Doing art was fun again, and I knew that I had found my new medium! The joy and ease of doing colored pencil drawings was incredible!"
I signed up for one of her four-day workshops, and this was the game changer. I felt like a giant vacuum cleaner, sucking up every bit of information I could from her during those four days. Ann was amazing, so giving and informative. I felt like I gained ten years’ worth of drawing experience during that workshop! She critiqued some work I had brought, and many more questions were answered. When I went home afterwards and began drawing and utilizing what I’d learned, my portraits were taken to a whole new level, and I began receiving portrait commissions. After drawing in Ann’s style for a while, I then had to do the hardest thing. I had to forget what she’d taught me and forge my own style: Pick my own colors, find my own stroke, and develop my own technique. I found I liked the rich, burnished look you can get with Prismacolors and loved the way they would blend, almost like oil paint, to achieve beautiful gradations. I continued getting portrait commissions, and I started entering the CPSA shows, although it was so complicated and expensive mailing work from Canada that I only did it every few years. I loved drawing on the Stonehenge paper that Ann had recommended, because it was so tough and toothy that I could use seemingly endless
numbers of layers and burnish to my heart’s content. However, it was also frustrating in that I was always fighting to fill in the tooth, to get the smooth look I wanted. Then in 2013, I was in LA and dropped in to see the CPSA show; I had a drawing being exhibited in the show that year. I saw the work of Suzanne Vigil and was blown away. Her portrait was stunning and I loved the luminosity and smoothness she had achieved. I did some research and found she was using frosted acetate (Dura-Lar) rather than paper as a surface. I was so excited, I couldn’t wait to get home to try it. But it was quite a shock to find my first experiments with it weren’t at all what I’d expected; the color went on so differently than on paper — brighter and rawer. And even more disconcerting, the tooth filled up so quickly, only accepting three or four layers instead of the usual 15 to 20 I’d been accustomed to using. I had to learn an entirely new, toned-down color palette, using colors such as Beige Sienna and Clay Rose for flesh tones, rather than the peaches, pinks and ochres I’d been using on paper. And I had to find a way to get the result I wanted with fewer layers. I drew on both the front and back of the acetate to achieve more layers, but I found that technique put a huge strain on my brain because I had to draw in reverse. Then one day, I ordered some thicker acetate and found that
it seemed to have a little more tooth than the thinner kind I’d been using. It still was a lovely, smooth surface on which to draw, but I found that I could achieve the color intensity and layers I needed drawing on just one side, especially using a kind of upward, lifting stroke. And if the tooth filled up before I’d achieved the color I wanted, I found I could gently erase some of the top layer and coax some more color on top. I think my drawings done on matte acetate look different from my earlier work on paper. They have a glow and a luminosity that I believe happens because of light bouncing through the acetate. It’s taken some time to be comfortable drawing on
this surface, but like learning a new key signature or clef in music, it just takes practice. I now know pretty much what colors I’ll need to achieve the results I want with just a few layers. One last thing: People often tell me my work looks just like a photograph. But I find that drawings impart a totally different sensibility, especially when you compare them to the reference photos. It’s the vision of the artist, what we choose to put in or leave out, the sensitivity of our touch, which colors we choose to enhance or subdue, and which details we choose to add or subtract that make a drawing come alive in a way that photographs rarely achieve.
See more from Bonnie »» bonniesheckter.com 23
Review Corner P R O D U C T R E V I E W S B Y J U D I T H H A M I LT O N
AQUA BLEND PENCILS by Spectrum Noir A friend of mine gave me a set of these pencils, and I thought I would share my review. I had a very old set of Prismacolor watercolor pencils that I rarely used. Once I gave up watercolor for colored pencils, I had no use for those pencils and wanted nothing to do with watercolor pencils until today!
Color vibrancy and saturation
$$$$$ average $20-39
I wanted to give a fair evaluation so I decided to complete a project with the Aqua Blends and I have to tell you I was pleasantly surprised. I wanted to do a similar picture, like the beautiful one on the tin, to see if the colors are truly as vibrant as the tin. I had to use a few additional pencils since the set did not come with browns or black. I also did a complete color chart to see the individual colors wet and dry and they are spectacular! On my sample picture, I used a damp to wet brush and that smoothed and blended everything into a vibrant rainbow of colors. I really enjoyed using these pencils and I will be getting an additional set in the future. Maybe two!
My Rating This will be a two-part rating. One rating is for color because saturation and colors are spectacular. The other rating is on the quality of the pencils. I found the pencils to be a bit thick. They’re similar to Luminance in circumference, but these are painted or have a coating on them, which makes them a little tighter in the sharpener. I can’t use my Bostitch sharpener because I feel like the pencil will be stuck in there forever. Also I found that two of the pencils broke constantly during the project every time I sharpened; I could barely get any point. The other 22 pencils performed better but still had breakage issues under heavy pressure.
A few things to know about Spectrum Noir: They have a great website full of tutorials and information on all their products and regular blendable colored pencils as well. The Aqua Blends come in four sets of 24 for a total of 96 pencils. Prices range from $20 to $39 for the set of 24. The Aqua Blend pencil color range sets are as follows: Essentials: browns, grays, creams, flesh tones Florals: pinks, purples, reds and others Naturals: olives, beiges, light blues and others Primaries: yellows, greens, blues and reds
See more from Judith »» http://www.jvartresources.com/ 25
Faster Original Art:
Adding Colored Pencil to a Print BY LEE FIDLER
Once, when I was in a watercolor workshop and planning and drawing my composition, the instructor commented that the drawing is the birth of a painting. I loved that analogy and think of it each time I start a new painting or drawing. The process Iâ€™m outlining below allows me the flexibility I want when creating a new piece. I think the planning phase is my favorite part.
Dexter the Cat, printed graphite drawing.
The process is pretty simple. When my graphite drawing is completed, I take it to the printers and they laser print it onto #140 Arches watercolor paper. I use either hot or cold press paper depending on the subject and effect I want. Dexter the cat was printed from the original drawing on to #140 cold press Arches watercolor paper and the print was then hand colored with Faber-Castell Polychromos pencils using the usual techniques for colored pencils.
After adding colored pencil.
"The drawing is the birth of a painting."
B E R RY P I C K E R Arches hot and cold press paper will accept many layers of colored pencil, and I always have it on hand because I also work in watercolor. The Pine Grosbeak in the tree was done the same way as Dexter, except it was printed onto #140 hot press Arches watercolor paper. On that piece, I chose to color only the focal area with Faber-Castell Polychromos pencils.
THIS PROCESS HAS MANY BENEFITS: • Reproducing a graphite drawing is inexpensive and, so, you can have more than one printed, and then change each one so each is different (original). • Since the drawing is already done, the time is reduced to complete each new piece when adding color. This can be reflected in the price when selling and the customer still gets an original piece of art. • The drawings can be enlarged or reduced in size before printing so you can work in different sizes if you wish. • This process gives you the freedom to include color and avoid the possibility of ruining the original drawing or making changes you aren’t happy with. • Adding colored pencil on the print instead of the original drawing avoids smudging the colored pencil with graphite so the end product stays clean.
CHICKADEE AND SUNFLOWER The sunflower in the window frame was printed and colored in the same way as the grosbeak. The technique I used for the original graphite drawing of the sunflower in the window was done in layers using tracing paper, a product I find invaluable in my artwork. All of my preliminary drawings are done on tracing paper regardless of whether it is for a watercolor, graphite or colored pencil piece. It is then traced onto my watercolor paper using graphite paper. I drew the sunflower on one piece of tracing paper and drew the window on another piece that was paper-clipped on the top of the one with the sunflower. I wanted the window to be in front in some areas and behind in others to create a 3D effect. The chickadees were each done on separate pieces of tracing paper. Because it is transparent I could place them in different locations on the main drawing to get a quick visual for the composition until I was happy with their placements. Once all this was done I then traced the whole piece onto my watercolor paper. It was then ready to be scanned, printed and colored.
I do all my preliminary drawings on tracing paper first (where I can do all my changes and erasing). Once they are completed, they are then traced with graphite paper using a stylus (to prevent marking up the original drawing) onto my watercolor paper regardless if it is for a painting or a graphite or colored pencil drawing. With this technique, I can create completely new compositions later by combining parts of previous, separate drawings. When portions of different drawings on the tracing paper are layered over one another you get a quick visual that helps create a new composition, or new subjects (flowers, birds, fences, etc.) can be drawn
separately specifically for the new piece. Moving these separate pieces around over another drawing frees me up to create a new piece with several options. Having the ability to flip drawing(s) over and use the reverse image also offers more options. Often, sections of drawings are re-traced onto another piece of tracing paper so they can be incorporated into another already established drawing through the layering process. I have an extensive collection of birds, flowers leaves, fences, etc., that I have drawn and kept for this purpose that can be used in future pieces.
Lee’s most recent drawing, before colored pencil is added.
See more of Lee’s lovely artwork at »» http://www.leefidlerwatercolours.com/ 29
A Small Beginning BY B LU E I E AC O S TA
I remember the first time I gave a lecture on colored pencil; it was during the meet-up of a local art group where more than forty people were gathered under a tree at the park on a hot and humid day. There are many who are interested in knowing more about colored pencil fine art, but art supplies, formal training, and internet access are often beyond the reach of many aspiring artists here in the Philippines. Thanks to the generosity of Ann Kullberg, I was able to conduct a free workshop to help further enhance their skills in the use of the medium. 30
wenty participants signed up; they were all excited as they walked into the room furnished with chairs, tables, air-conditioning, WiFi, and reference materials —all courtesy of our gracious sponsor. They were starstruck when they saw the video message Ann sent! They couldn’t believe an artist of her stature would take time to give them an inspirational message. Sharon Kow from Malaysia also sent a heartwarming message along with some art supplies, and the students were in high spirits as we began the session. Everyone was eager to learn the secret of how to create a realistic drawing. What’s the best brand of colored pencil? What colors should I use? These questions are often asked as if there’s a magic formula to create a stunning artwork. Well, there are no secrets to share — only guiding principles. First, the best material is the one you can afford. Use whatever you have and make
the most out of it. Once you’ve saved enough, go buy a better one. Second, color is a matter of individual preference. What is more important is the proper rendering of tonal values because that is what gives depth and life to an artwork. Their eyes gleamed with curiosity! Most of them only had a small set of inexpensive, scholasticgrade colored pencils. Is it possible to create a decent drawing using inexpensive pencils and limited colors? The best way to find out is to let them try to see for themselves. After we covered the basics, the next activity was to draw a portrait of Evey (Ann’s granddaughter), using the techniques they’d learned. I don’t restrict them to a particular style; I want them to explore and add their own creative flair. They can use whatever materials they have and whatever colors they prefer, so even those who only have small sets would not be left disadvantaged. Here are some samples of their finished drawings.
Ilonah Jean Palagam, 26 years old I learned that you don’t need to have so many colors to create a beautiful drawing. You can draw even with just three colors as long as you understand tonal values. I learned about different color combinations. Now, I don’t have to always use black for the dark areas. There are various colors that can be combined to create deeper and richer darks than using black alone. I am glad with the outcome! It’s beautiful and has more life than my previous drawings — makes me want to draw all the more!
Jovie Salvacion, 24 years old I've learned many things, especially color mixing and the use of complementary colors. In drawing Evey, I used Faber-Castell Classic (24) with a twist of not using black, brown and gray. Layering: I was struggling at the start in applying layers because this is my ﬁrst time using pastel paper, but yea, I did it! Blending: I tried to make the ﬂow of colors look as smooth as possible. I used scumbling on the ﬁrst layer, hatching and stippling on the next layer, and then added the details, checking the tonal values every time. I can’t believe I made this!
Nathaniel Ricamara, 18 years old I gained more knowledge in the use of colored pencil; I learned about pencil strokes, rendering, and tonal value. In drawing Evey, I tried not to use cotton buds for smudging, which I’m accustomed to doing. I opted for a more dramatic palette instead of the usual skintone colors. I wanted to express my own style and my color choices were sometimes influenced by my mood or situation. I am happy with the outcome because I was able to apply the things I’ve learned, and I have done my best. Thanks to all the people who supported me.
Ernesto Salmon Grande Jr., 61 years old I thought colored pencil was complicated and very time consuming, but now I’m beginning to like it. I’ve learned many things during the workshop, such as preparing the layout, tonal values, skin tones, and different tools that make drawing much easier. This is my first attempt at using colored pencil for a portrait, and I’m very happy with the result. Now, I feel more confident and plan to create more artworks using colored pencil.
Jerald Biglang-awa, 19 years old I learned how to choose the right combination of pencil and paper to suit a particular technique and the different tools for blending. I also learned the three-pencil method and the importance of tonal values to give depth and life to an artwork. The use of a value scale and complementary colors was a big help in drawing Evey’s portrait. I am so happy because I can see a big difference compared to drawings I’ve done before!
We extend our heartfelt thanks to Ann Kullberg and Sharon Truly, an artist is limited only by his
Kow for their gracious support.
own imagination. Whatever we lack,
Maraming salamat po!
we compensate by being resourceful
and creative — making the most of whatever is available. It was an exhausting but very rewarding day, and I’m very proud of what the students have accomplished. I’m hoping I can continue to help and guide them as they make their journey into the wonderful world of colored pencil.
Bleuie Acosta is our Acquisition Editor and the coordinator for The Pencil Box partner groups on Facebook.
»» http://bleuie.weebly.com/ 33
HEART OF ART
Laura Anspach, a woman unknown to me, emailed me awhile back with her story. She creates art for the sole reason of giving joy to another human being. I wanted to help her in broadcasting her mission and couldn’t think of a better way to do that than to feature it in this month’s Heart of Art. She seems to embody heart.
I am an oil painter and I paint for good causes. I am a volunteer artist; I paint servicemen and women and their families prior to deployment. I do this in conjunction with HeartsApart.org, a national nonprofit. Our mission is to help families stay connected. Additionally, in conjunction with a second national nonprofit, The Heart Gallery, I paint foster care children who need a “forever home.” We have just added one more good cause, and that is to paint for children, and their families, who are on active treatment to overcome cancer, in association with the Children’s Cancer Center in Tampa, Florida (near where I live).
I have been doing this work for two years. It is immensely rewarding as an artist to contribute to the betterment of our communities across the nation. I wonder if you would be interested and willing to paint for good causes, too? I would be happy to tell you more about it. I can tell you that however many paintings you want to paint, per year, would be so appreciated. There are enough families and children in need to keep all artists busy for a long time. We need all the help possible, but if you are willing to do one or two paintings a year, that will go a long way towards helping. I look forward to hearing from any of you who are willing to help. Thank you.
- Laurie Anspach Watch interviews about the project and learn more here: »» http://laurieanspachart.com/commissioned.htm »» https://www.facebook.com/paintingforgoodcauses/ »» www.paintingforgoodcauses.com 34
HEART OF ART
Coby & Raianna by Echo
(left) Kitt Family (right) American Family, Oil on Canvas, 20" x 24"
DRAWING TIP Although few of us colored pencil artists actually draw from our heads, knowing the general location of facial features certainly can’t hurt an artist. Here is a very clear mini-tutorial that can help you understand the face.
»» How to Draw a Face
A BRIGHTER TAMMY
Anyone who has taken my Portrait Workshop recognizes Tammy, the workshop project I’ve been teaching for nearly 20 years. Here is Tammy, as drawn by Davina Halliday, who took my workshop in Paisley, Scotland in July of this year. This is only Davina’s second portrait ever, and I think it’s amazing! She is a self-taught artist who dabbled in various mediums until she saw a UKCPS Exhibition, where she became hooked on colored pencils.
Davina finished the forehead section in class, and then completed the rest of the skin tones on her own. I played with the colors of her original a bit to brighten them up. It may just be me, but I’m particularly averse to purplish shadow tones. They seem lifeless to me. If you are using my skin tone palette, here’s a tip: Only use Rosy Beige and Clay Rose (the purple-gray tones) when you need to tone down skin that is too bright. This will keep your portrait subjects alive and fully oxygenated!
In my workshop in Paisley, Shirley Henderson mentioned that she’d used Derwent Inktense pencils on a wooden platter with success. When I saw her photo, I was blown away. How beautiful is this? I have huge platter envy! The platter is Sycamore and is approximately 10 inches across with a dished center produced on a woodturning lathe by Shirley’s husband. It was finished with a smooth surface and then Sanding Sealer was applied. Shirley then grated some Inktense colors into a palette and
added just enough water to keep quite a strong color. She used the pure color from the pencil and did not mix the colors. Shirley applied the colors using a large watercolor brush with a downward stroke and let them loosely blend into one another. Once dried the platter was sprayed with a Melamine spray. Shirley reports that the Inktense produced a bright vibrant color that did not fade with drying. Personally, I am not good with crafts, but this platter of Shirley’s sure makes me want to try my hand at Inktense on wood!
Resplendence by Kamaraj Sugumaran
The Pottery Princess by Pamela Clements
Off the Hook! by Cheryl Carberry
Of Time Long Past by Sharon Kow
FEATURED ARTWORKS FROM OUR FACEBOOK PARTNER GROUPS AUSCPA Australian Coloured Pencil Artists and Friends • Colored Pencil Artist League Coloured Pencil Pushers • THE CREATIVE COLOR PLACE for Creative Color Pencil Artists
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Ann Kullberg's COLOR Magazine for colored pencil artists is a must read for CP artists new and pro! 40 pages of nearly ad-free colored pen...
Published on Jun 6, 2017
Ann Kullberg's COLOR Magazine for colored pencil artists is a must read for CP artists new and pro! 40 pages of nearly ad-free colored pen...