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    Basic Coloured Pencil Techniques PDF

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    Isai Rucoba Ch

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    © All Rights Reserved
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    Coed cal TECHNIQUES 7 a asic Colored Pencil Techniques, Copyright © 1997 hy thet Hongssan, Manuhictured in China All nights reserved. No part of thes hook may be eepmediced in any fonn oe by ane electronic or mechanical means ixcluding information storage and retricval systeins waliowt permission fn wstiting fox the publisher, excep by a reviewer, who may quote bef passes in a rerkcw Publebed by Nowth Light Books, an impeint of F+W Publications, Ilnc., 4700 East Galbraith evil, Cincinnati, Xb» 15246, (800) 23440003, Fie exlition, Other fine Nowth Lily Hooks are fhoan thse path. lah from your lol bookstore, ar supply ston’ or direct oo OF i M10 Library of Congress Cataloging-in; Publication Data Bangson, Bet Hasic colored pencil techniques / hy Bet Rorgeson—Ist ed pe Re. ed of: Grlowed pencil fast technigques. 19881 Frncluckes inches, ISBN 13: U780.89134-74601 1. Colored pone deawing —Tovtiniguae. L Boggesoe, Tite NCRIZBR 1997 TL I ABH ar Het. Colores peril fast toch. I ‘Cover phot by Punch Manor frau, Hrosze Po Faied by Joyce Bolan Designed by Angela Lennert Wilcox ANTONE Pat 10 The Drawing Susfaces Bae Tot Layer A Tow soe Apomact aed Drawing A Rec Spot Layering Tebmiques Joxtaposing Color Ustng Line Wits Tone Lifling Coke TABLE of CONTENTS Puce da Beginning With Bead Stick Colors Eatabblibing Large Areas of Color Proud Stick Colors Combined With Nonmatching Pencils Single-Layer Techniques Working wo alpen ting Cole Gaining Co Waly Testare AA Surface Distressing ‘Tetanitj ue Using a White Background REFINE YOUR WORKING METHODS Pac 1 Drawing and Stadio Tips Discovering Hisken aca 1a Tune Traps INTRODUCTION loved pencil & an impressive medium, whether fav fic art ur illus: C tration, with a range of effects that is often startling. These modest appearing tools can be made to render the high realism for which they are 50 well known, or can be used more freely for building passages of luscious or. In either mode, thefr results cun mum a viewer's firs skepticism tuo a mystifiec appreciation, In the materia! tht Fallows, the Isic eaethods for successfully using this medium are fully covered. Also integrated with these methods ure many jeqpes for working Fuster. For while the popular techniques of layering, colors ove ‘ong another can be painstaking and time-intensive, there ane alsa many excellent waysof achieving spectacular layerestcolor results with dramatic reductions in tine, Anil these can offer srttsts of il skal Fev i creased spontaneity, plus an ability to quickly take om larger and mare seni tious projects Essentially, his book is offered as a wide-ranging menu of opportanities, ideas and concepts from cto pick and choose, cepending on your can temperameny, style and drawing aceds. It's aimed ot beinga resource to tike Inco your sic on crawingt space, where YOU Can USC I, Tate sf ne le it help you get on with what is so offen a soltary, silent anc! wonderful task, cae Endod eR Tectaapies The Basic Techniques Itis in this first part that a pivotal concept—that of com- bining basic and speed techniques—begins. The tools and materials of the medium are fully discussed. Tracli- tional techniques for expressive color layering are ex- plained and demonstrated, Then a variety of altemative strategies are introduced. These are designed to help you to achieve advanced results with added speed and vitaliey. Nighnwniemals Colered pencil on two ply Resng renee aaa (TI.Janx 508m), The Hae: Fochuaecs The Basic Tools Sorting Out Materials AA gacall advantage of the colcned pory al mechunsis thatthe tals and equip ment necded are simpic and inexper- sive. Keep this in mind when you next find yourself fn the cienwing section of large aft supply store. surrounded by aw upon ro' of pencils,coloeed pore cals, und attenclant sccesscries. Beaut- ful and seductive as all these things may be, your tre news in this me dum will remain minimal, Colored Pencils There are nwo kinds of eatored Pencils: water-yohubbke, and non- ‘water-soluble, Esch kind is manufac. tured by many’ companies, Whike ibs ‘convenient start out with pencils ‘of a single brand, you will eventually ‘want to sclext—for color and other rearons—from a vanety’ of brands, If you find yourself beginning swith a packaged se\ af eolared pm cis, You will soon discover that some of your pencils s¢¢ almost constant use, while othersarenever used, Buy all your future pencils from open stoch—the racks of individual pew «ils. Deciding, on which colors iobuy an be daunting when you are com fronted with all the available pencils, adding up 10 hundreds of ceior shoiees. Just remeeubes this: A soul bexinning palette will basically rep- resent the colars of a traditional twelve-hue color wheel (shown toa, Si ph fem nestled Hore is a somewhat expanded palette of this hie. Ms fort the Berad Prismacolor brand, but its ‘ors (wrth different nares) can also be fovind among other brands: Tellew Lt Cream 916 Canary Yellow te ‘Yallew-reca, 911 Olive Green, 912 Apple Groen 913 Spring Green, 989 Chartreuse Green ‘908 Darke Green 909 Grass Green ‘920 True Green ‘ioe aren 905 Aquamarine: 907 Peacock Green L008 Parra Green ee 901 lodge Blue 903 True Blue 96 Copentuagen Blue BeWielet 904 Light Cenutean Dae 983 Violet Blue vial 982 Violet 936 Likae 996 Black Grape Bed Violet 930 Magenta 931 Dark Purple 998 Hot Pink 1030 Raspberry ed 928 Seatiet Lake 924 Crimson Rood 926 Carmine Red 937 Tuscan Rex! 921 Pale Versvlion opp Red 927 Light Peach 939 Peach rungs 913 Orange 1032 Puenpin Orange 917 Sunburs Yellow 1003 Spanish Orange 1034 Goldenrod arth Calar O41 Light Uisser ar boned Pec eons PR x & 842 Yellow Ochre 943 Burnt Ochre S44 Terra Coa 3M Sep 1028 Bronze Nava Calor, 935 Black 38 White 549 Silver 1054 Warn Grey 508% 1063 Cool Grey 50% Another consideration when se lecting pencil colors is lighfasiness All ort media conkain some pigments that ate less stable, less “permanent” than others. Far practice or exp mmernal work with colored pencils, or for thusteanons that ate te be phawes eaphed then filed away, the Eaing ‘of Colors aver time is not too pret a concern, Blt if you wisi 16 offer am ‘work for sale yosi cannot begin tac 000 fo slant educating yourself about cou lighifastness, Ta help ‘with this, some peal mtaswufcturers snow publish and distribu bghtfast- ess rules foe their prcaliets Sharpeners kis oft surprising to ants unt solliar wal evened pened how he tas Tebraugnes 0m The Basic Tools much sharpening is needed to main- tain a peneil's quality af color deliv. ery. A sharp point, for example, can ‘minimize a pipers grain, leatling 1 a more ivi and saturated look A sounded of blunt point, however, will maximize paper grain, and yield avcolor that isless inierive. Bott ims of points—sharp and dull—nuiy be recded in a single drawing, Although an electric sharpener may seem a logical choice forall this sharpening, itatsually is mot. Itcaninog always provide the point wanted. and it tends to “eat up" pencils. A better chodee isa small hand-held sharpener, either af the two-halealt sminwin a the single-hobe brass kind (as shown right, top). Both Have re~ placeable blades. Sharpeners to avoid are those with built-in contain ers imelevint feature fora colored pencil artist, orthose wah nveted-on blades that are not replaceable, Awhie plastic eraseris used firekeire ing suse areas within and around a colored pencil drawing, Hut a Kecaded eraser i beiter fa Hing away and lightening euloed areas. A ‘new kneaded eraser (ax shown right, thoatcan) saat be Ranchknesled sid softened! for ue. For iting color with 4, anv ap-anciddown aber that bat. sal or side-to-side motion is used. ‘Abhand-held ponable electric eraser canbe be sed to lighten pe plicd pencil color. Chief drawbacks this tool.are a high inital cost and a terlency towactl (oc much abra- siveness for some drarwing pa pers Frisket Film and Burnishing Tools Frisket film is generic term far va cus Jow-tack translucent or cleat films. some media these films aze rvatinely used for masking off areas to be protected or peeserved. In the colored pencil medium, however, frisket film is uses! in 2 different: way, It ean be mune to erase color, bay lightly pressing it down ona drawing with viriously shaped hurnishing be used to draw or mark negatively Hurnishers for this process can be ready-made or home-made. and can be of all sorts of materials, sizes and shapes Masking Tape Masking or drafting tape is a familiar ikem with many uses. fr the colbeed! Pencil medium & has come to have yet another, and almost indispens- able use. Like frisket Mra, st ca lift away color. It can often perform this job on passages of color which are too heavy for fsket film A Workable Fixative With colored pencils there isa spe cial reasenn Fs using what i called workable fixative. Because mas. col ced pencile are wat ased they can, after being applica lcavily to a sur face, exude excess was, causing col ox ls appear slightly vetted. This “max-bloom,” as it is called, shows: up more on darkthan ext light-cokors, Although itcan be easy wiped away ‘witha soft cloth of Facial tissue, will ea Caden rect Faso retuim unless the drawing has heen sprayed with three or four wery light coats of a werkable matte fixative. Many such ficatives are available from an supply stores and cata- ogues. Read Labels of product de seniptions to determine whether or rot a particular brane! is suitable for colored pencil work on paper Art Stix ‘Art Skin bs the trade name for broad- stick versions (as shown rigit. top) of Berol Prismacalor colores pencils. Some other pencit ramufacturers also offer similar versions of their pencils. While these stick-shaped colors luck like pasiel or Com cray- ‘ons, they do not behave like them. They behave, in fact, exactly like-col- ‘ored pencils—but can be used to cover largeareas much more swiftly, Pencil Lengtheners ‘This handy tool (shown righ, cen ter), sometimes called x pencil ex- tender or pencil hader lets you gain aditlonal mileage from very short pencils. Each Jengthener is made of a wooden pencil-like shaft and a metal ferrule with a sibling sing for Jocking in short (but still sharpens able) pencil stubs. Start with rwo or three of these and plan to add more as you progress. Poncil Grips These little accessories (shown right, bottom) made of soft or semi-hard lic in Varigus shapes, can be par ticularly useful to colored pencil art- ists. They go long way toward fend. ing off hand and finger tiredness dluring extended! sessions of drawing by giving some of your penetis a fat- ver, more comfortable grip. ADrawing Bourd, Space, und Lighting Your drawing board cas be minienal oe elaborate, portable or stationary Commercial drafting tables are roughly tale height C0" ts 38"), with a work surface adjustable from (F to 99%. Artists doing commercial or draf= ting wok often sit at highee than ox dinary cables on figh stolsor chairs When working om at that is to be framed and viewed on 2 wall, how= ever, it is mare practical tosit at a lower table, on asehceled stene-type chair. This allows rolling backward frora time to time for appraising your work from a litle distance—a thing not possebde when sitting high and aly lookeng down on the werk: “Try to arrange an arca devoted solely to. your work space. kdeally this 4s a space that can remain intact whem not by use—always ready when you are, Not having such a space can inhabit the seizing of spare moments for drawing. Successfully lighting a wotk arca foe colored pencil drawing dees not require costly or special lamps. A commonsense apprcaich is to simpy arrange lighting that approximates the conditions under which you ex ect your work tobe viewed, Most of the time such settings consist of a mixture of common incandesccnt light sind aerbient daylight The these: Tecbuepes Pont grips Drawing Surfaces bre applied to a wick variety of cetke surfares sucth ds ker, clay. ph tic, carwas, ur ess, Wut dhe surface preferred bry fr ru artists is sampy that of good quality, eosheat. mcdingrainedl pap Sock ext paper ise, Ina mot st soft cheat it cannot old the eae of a ship, erisp lin Une shire that you teat sides. Your right side say ox else's wrong side. Above all, dont tey ta jacge papers by merely looking at or touching them. ‘Te real test les ir drawing: oa them with your awn pene A drawing paper can also contain a built-in speed tor. The choice of cae brand of paper over anther con actually produce a dramatic difference in the speed ut colored pencil wos Differences in paper speed relate te the nay a prencil« color is dclivered tow papers surface. When pent strokes ane applied fa lly to-2 ens. gevene! pope, with mou che pict deposited on the highest ridges oF hills of surface. Covering the puper more thoroughly oe White flocks that ane the Valleya—rexguires heavy pencil prune, with its attends wt was buildup. or working the pencil slensly ince the valleys swith a very sharp point Fust working pupers spout! up this process because they Trav a scimmewhrst sifer ama slightly feos rig toothed surface than other papers, Theve chuinicteritics nuke # possible i aecomphsh very expel calor satin tion, even with a dull peacil point and only moderately peasy pened presstire ” saad pepe and ale peters, get se (penal one He wokivady rid Ills ofthe petor's tea Ths vets tr whitest o> ice th! és wat elec Tis mxloceobe ea wln ROR cede arama red nveskce pone po serene ae elape el ee papers ral et) fa shew poinad rant Whaler, faearwoting te pov, foul apptcesiones of pe eA rm Heese pened renal frees of cadar cate apie rep ety a fart tkir nal ov soar ptt ‘sig resented ies fsa sucace for meebo to beans pelt presaire Caco nici ee Rising sexes board, 32H (1 Sem 10 Gem Pree collcatan. Polyester Flim —tinethor Fest Serfane Cernaflcr—o die ‘ar, muted pl rlyeser orate fi. fro hth ss— ye the fastest snfice ofa fr cred pee wee Pesci bieicents ca te apie etter Winearty or ian Ws fasted surfaces, they iemesindcly appusardense and saiirated Wirthle ears is practical omienident, aad the fia Woke eircom pci 6 sac le at of pt ‘he thse Tobe v Basic Tonal Layering olored pencils ae so vereatileand so easly manipu- fated, they can he used in almest any way tt su your lemperiment and needs. But the way ment artists use them is with whar is called a tore! hyenng technique. Toniti means pencil strokes applied sockewewagesher that they merge into CGodoreed ect offen conzar many’ trariaeons atu abe fly, sshd lar might en refrain der the sce ia, sinc as a Ube rts al ee greens, Complamantary Complementary col (rs are oppose we aretber at the cle hea samc ern pede Tee the at (srg Se, cana he sere roe wei ceariens ange and ye orange perc “ ‘asic Clara Penal Teatenpes ‘The Rate Tecbiqvee (AML ight Cedars is cbs erate the brilia wbite of the paper (elf Comtrs- ‘aes the at rab scm ML BollGelors The rd “lls now a pejorative ate ee of colors, dr merely afer colons of eae Westy. Golars of Contrasting Temperstvres ‘or temperature i best exceed in the coat of the tier colors tet you per {ov wse eee it rs rheberrechtlich geschit Examples of Juxtaposed Color his dawing contains very litle layering, Where bay- tring does occur, it was done in almast every case vwith a scant spotlaycring technique. Most of the color mixing depends instead on the juxtapasition of colors, 1 is infact just wich a pictorial situation as this—with exien: sive tepetition of similar objects such as the tee leawes— that invites.a strategy af jpextuposing colors ruther than attempting to layer them. A scheme of throe simply analogous colors plus white tes eat forthe eee fag CA. te sel eeontraction (BD, tse rede ‘orange arc ama the feta cvs be sen jute i ear Complementary color schre. Sos of che cafocs are simp fay ers, But occasionally a pevedouly applied coker was adpunet ald anatber one. Fhe came forthe tase lor fetal wus renee apy three aiagoes pant coir, pls Cie daccevt of Scarlet Lake (Ci. Jn the reconstruction (D), the dare ralure of the bacdgrotnd was ala Inciced. Cosmerationsa Lever iasscenpfeely pened unthéspercgee Dever tars atars of ernalegaues colors were wed t sages! the facie shapes of the Aerers « (sac Colored PemcitTecbapues Juxtaposed Color ousteaATiIoN uxtapased color can nat only be quickly used to mix and suggest local color, but ean also be used as an “Hfective and simple way to achieve depth. (Beep Owe Aer lebety kai tm ri Ruddelines, I starsed drawing the Roe swith item jrxtaponee colors. The conker of these tie colors, 923 Scart Lae, eas used tard the hac to Begin es Aablishing srt, anche esrrner 922 Poppy Sed was wz at the front. Al. haa be lar was ae gree sufi, sie was tars ha foo Ue codons (ask= ‘by. Toe cat—the caly element far which chro calor ayers were Plarvee—aveas bur with 507 aig Bae Step Tere: The modding aud plat hsaees were lepus with anakagaus colors, 903 Trae ile and 905 guamarine, Toe wal was doomely estate rite 918 (Orasuge a be fours ait 923 Sear- Ue Lal. Underside of the flnecr petals were draum by) pectapostng 931 Chere Purple, D4 Lavender, cond 96 dal Petal topetal, The eat war modified with a second kayer af 937 Rese Kd, and the game board was alia bepun. sw hnke Catv ewe Tectia Shap Fer To complete the crcecing. a final Naver of 934 Derk Pape was apples! he cat cant leas rere id tthe Boe. Sever kre ett salmon! wlan riceded af this esiet—were rate Vides cere darkened aber tf (priate with ead panel or leghtened! witb a lene eraser. Except forthe ca febacly ras rac argh tee kayo, sca of bts cong lets cma ame sha one we ts Layers, ail al the layers were apple with potent or er (posed Color ecb nig. The thence Stup thee so fal lane of mote posed cate fr the floor 954 tari Poiple ws wed a the bck, Meme (toa brag 9177 Sanur Pew atthe fost This samara peta orange irs ee spotcnyeval bio the wel, be olin, ade flower pata. The wut ders fe pads wore mat cha The ese ees lid nat oly le eal fasion, ab rears Page tints af vedo ‘Quiet Game (Galore pit on forty tig mest board 1x 16° (30.SemP% 40. Gem Using Line With Tone Peet ines ceewingiothetite ecinique wih any Pencil, colored or graphite, and it works particularly well with graphite. Ba with colored pencils, the mixing, cof colors ts all but amperative, and! tine alone is seldom ‘enough. ‘There ate many oppoewurities ia coloced pencil work 10 profi from line's supestor speed. Usually this is done by combining line with tone. which ean impart a vigor: ‘ous texture th otherése static sonal passages ‘Theses of ling: with tone may be extensive or very spore: this i¢a mamer of personal choice-and must be ‘consissent with one's own syle, Cthier ways to nce rate bine include using it to abut tonal passages, a4 in the handling of ouside conmur edges. Hone are pst a fene af tbe muumsersc rays rt asc me cam work weil with tome, BA loc, per dome coming crus a tans, 1B Acomotee ine ar hatcbaing, The cedar ef the buat aes ca be changesd as weedeat. A personal Pid of trot the cate, ase acct etl wenpeb dew 1. Tone appited cewr line A ie comumactad of two separate colon baring a tonal are w a fame Pema Fextomepes ino aa tsa fs Ba wi Us ri: Ye moat mimeo We lor #2 ciety esther ack Bs ta it Ue flower pees The coe — Colones pec em fer Rising mamewre bower, 517% 35° amv hve wus Iasel wm at map jnastagrsiom of amanegrars —(T8.Tem% 96 Sem. Private celectios. eds td nites Alig lie Nhe Bove: des athe as ppc richly vomnarend wd extn ‘A mon: smbule rise f ve can Ie acen om the cutiide comtaie ies fsa fe Res. TDL ts coe Wo Prick Woke ef rue evar fo bat ésothertieenity em sanicimyplicated gre The fase Teche pcs ” yerrechtlich geschitz il recently, the colors applied with colored pencils ‘were considered dificel toeraveor alter. Thisofen lee to imbuibition by artists abourt taking chances or explor- ing color chiices. Scme new techniques ane changing this, Instead ef cerasing—or trying 1o—with a kneaded! eraser (a fine tool for highlighting, but not for heavy-duty work? many a= its now use a bester approach, They use frisket fl or a variety of tacky tapes to lft unwanted color up and away Anil there's more. Usingthese tacky surfaces makes it possible to draw negatively—to produce light-valued lines and marks—as well as i create new textures in previously established areas of color. Effects such as these, ence needing carcful plinning, can new be casity and spontaneously added to.cr subsracied from a draw- ing in progress, or even a finished drawing, Color Lifting Tools Frisket film is a generic term fora low-tack, soft, peel: away film. It is widely available clear or wanslucest, ia {at sheets or ia tolls. To erase or lighten color wath i, the films peeled from its backing sheet and placed ticky side down over the area to be changed. The film is rubbed Jaghiiy with a bumishing too! of same kind, ant the fin then bifted away. This step can be repeated, if necessary, moving to 4 clean area of film. When nwt in ‘use, the film's tackiness is best provervex! by returning it toils backing sheet. Everything that can be done with frisket film can also ‘be done with masking tape, and can often be donefaser and with greater liting power, You will probably want to use frisket film for color Wing nesting precision ard delicacy, and which maist be done mith good visibility For Bfting extensive color passages, for comecting very dense layers of color, or for the erection of new textures, masking tape migh' he a beter choice, Gegheal Verston is franc Been Je a @ flrs By wl Aerio tet abe ered wf bps saa ces: flees Looted with a demwing thar was a hose cad spiny aggregate efclemonis, Afr a fou year ef starepe, Flocked try imyrees an eb sve af Hse ew eB dye eas. a os Gedo ma mca Teche Reworked Version i a combynatios of fast fins and saan tape, al the Fea odor ava Ned aruvy. This llr for be application of some mes grocer, and proves hghnensc areas for wakdtionalfocers and sims. Eire new floes ar bids Wee acted, a we a hablo cid bacrenart Dated With coher iting ecb, is ct woe fractal fa surf fr pristine white sfc, but is deter to sete for gbaty stained surface, These tutte ces ci the ely aocommodie wew cobs or reat as very Fight cals. ft tbe aleve cesallof betwee cemier flowers, the tyne i texted cane: In the ght umdersices f s pesas, sie egal fia ke calor stain ats as acceptable vertatios: te Hpbinss This diagram shows where fluiem were alte! (chased creas) afer wderiseug colar was remoxedt The tans Tacbsiones ss Lifting Color: Two Methods Weing Masking Tape Stall pecs of mich ny rape arepeoinnent saver co are Hobe if, Masking dupe (s epclly tacky, 50 stllidiual care shout te taken wl fein it, Any ace dental peering may cate madescule cea is. The burt fn onl bene Bene keer Hrespsenve wade wedeling tal Jos tle mi ts perfect for iting dare areas (ning Frise Pil A smal poco flea cde from ts Bc tg sheer and repostomedt tr pany expaue som fe. tucky surface. 14s tne need hacky she own at Rs Pe 0 crue, herd or drain ot Pest passing te fie fate Place choked be aneve! arcane rasenpc ied fs f cose ca ‘occur, The kind of brwashing too! woes wil area act be reult Showy bere i aclanble da! septs Ithaca pice meal rata on exe end ad rel pruaduce ines or wars Barb pieces of tape Bare oir tee Canepa Pest cca, revealing ee kas of bf se wp, straight edged ft awa achiev iy ernisbiry coraplenty to the eee wf the fe: the mgge expe bine ras: achierec hy buireibing Bes completely After dane alc se fin de xs, tera pulled Rack The fight tatued mands othe sample sow are the ron of iffig cedar. The lf cor Use iam be sev on ‘etc ke of th set % (axiom Peet Toons Lifting Color DEMOHETRATION ‘ost of the time, cola: liting techniques are hard- working and unobrrusive. You cam use them regu ‘arly without a great deal of planning relying onthe natu ral Freeda they allow in our work, ‘But there are also situations when these modest tech- iniques can be called upon to do more spectacular things “AL tines like this, out new abilities t iting color can seers almost magic. Here is an example. The fase Teenie Map One This colesd peed drew nye nbesoasty tect some big branes, edd nto dearer ts renal cole scbeme, ad mvore efor complexity Aroha ee ca mince seria flaw vests art entarcrment. Before ve dleeionmen uf meer coor iting technics these prem might bare eomest fo0 exormcse, and Beyond Cormeen. Lifting Color po ave ‘Step tee As beginning, she hat cand sae ofthe bacigroumd were ited nucy, ising fraser Alm, masking tape. cme tie msi -wice burmisher shear, its mel pices of ie reawatn for ‘ease reuse afer begin the ena of sae of te kabloctlh avi aver Weft commer Gf Ube eclagrean. Notice the beguruttag of stars the apfer ket commer These were dren negattely iy ft nt sta shapes ah Jose ita ami epee burmasher Bane Cored Pewee Techies ‘Map Three Tes complete the changes the hacdgrone cider ris ite Wo a Hight vee tat cee S00 bo seem tate nas. Zhou mete ant mare coeaplok cobaes wert appt. Abmce al the eobaes of the tabircoue aa came were reared wo accra stew ae rae. red rb ad eal cate ‘Finally, 0 connect the center tsierest proiem, enough of tbe dart bat was lited to alle ‘abe ts pace. Some cf the Hat etalaes care stl Be seer fetnay ar the apt To te Tecan w Techniques to Handle Backgrounds and Other Large Areas ‘The prospect of covering large surfaces with only the point of a pencil is undoubtedly the single most com, pelling reason why colored pencil work is often of small dimensions, In Par: Two we will discuss a num- ber of strategies and techniques related to eliminating this problem wh the same time creating rich and subtle color. Nigbttoatcher Beginning With Broad Stick Colors [ei cates lpr wo he tending of backgromnds an! other lange ancas tsahwarys in chin seer of getting short shrift, Covering lange arcas of a sum. face with a small pencil posnt is a tedious task. One re: ctnthi ister apply bac kgrouine toc hasiily. Another attempt work beyend stall dimensions, ith colored pencils, however, are some tech: ratepiecs that can drastically reduce the tite needed ko successfully handle late areas, ‘The simplest and mast straightioeward way of dealing with large and relatively simple areas is with the beoad stick versions of colored pencil pigments now offered by some colored pencil makers, These sticks can b lay in a first application of color very rapidly ened colored penal can ther be used foe thase places where the stick is too large ard to further smooth out the layer applied with the stick if necessary. Itis a swift pro- ess and ean of couse be used 8 of pewitive a6 well as negative space Prismuacoloy Ar Sx cary erayouide sticks (ft te (a cud to Prasmascode cored pile. if ya were C0 uae tem Toclesy selier a fa apprtica calor, fist Bevel tbe nip sighily dcerterd, Thue fat bavet ds monde tb o fiens brach-tol forts mot won a piece af sre peer, be the stiles a wll (he Ret for esac aiid habe Care Wat 1 round Us egos, The ick at right shows the amore extreme lev deepen iy estat ith de alain a ets Coben Pew! Techies In this drantng the colnes ofthe hackgecun, abe snbletop amet Good Git puts uf the vase anal chair were fs! lad dicen with Prismue: —Cobsred pencil om shrew ply Stethmeare bisa lana, ‘calor Art Ste, Using dese pigment sticks for fin layer fen 17" 243" (1H Sem 62 2em), Private callectiot ens ima sernare that cain be refined with cofared pencil eerriciden by a mew fexiure sual wth an akdeed layer of code are perc Ts der method tves we res ele Tectaapies ws ade Racer amd Caer dane Anes oo Establishing Large Areas of Color DEMONTTAATION broud stick versions of colured pencils can be sod for completed single layers OF as first layers #6 were or modified later, They can alvo be superim posed 0a one another. Broad cicks will be used heve as aumcans of delivering, peclisinary co the hire areas of a drawing. Todeheera consiteuttone withetaniteisim of dark sonal, fad tho ein sce borer thumb ant “firgeos as scan end work kancing ots meserteti> ca exert, You WAT sco devetopaageayp end meted shat are magi frye. The sprtan shag ha he ci it srl romain attr om He - heceall Tos al prema seth ora rg ring cman Fo, agaist ie pape stata. The sick 8H BEC pe that ve bath lame an foe of camaptemky he sable area anc the ae foe on ahem tocar or IONE Rac eronant Asim attains sac as tbls tha using roa coda sticks stent to te of iosting fadete, Practice Dla cay meduce calor appaication tae from bcavrs to smite: the sticks bevel far, mo hermit moc frare side sie oo hc Cela Powell Tuibaapees Slop One fer the savin sas blacked! i te wrap, 926 Coarmive Bet ‘Prismactdor Art Sex tiger ann. 25912 Apile Govent Are Sx (bosom: sere ised do apply coe in the large areas. These shu colors aa te Caribe Ree ail Apple Goren of Prismacctor pencils. Toe (tater ts Stonehenge, which ba poud su face for petratrce cata fr wie zing the fextuure that Rercls ic ewedes (eo any Areca mei ‘Sea i the tikes a Bg howe Ure ned ress cer the ine of the bar. Since the ar walt be darker tar tbe eat backsyenanat he remover al not mater The green righ, on the tbe baad _sovesa wie ett tbe placemat, enc tll be of digter color. The green lt he bron to ts fra eae bene wath the | potur ofa endored pencil Ait Sti, bet stem wet flatly dey shan? ‘ave a wie a wala rage athe cormes- ponding pecs berrechtlich Establishing Large Areas of Color DEMOWETHATION ‘Shep Bowe Devedipring color sth Art Sex 18 uv a neo.sup pracess. Tho snc first used 1 qpaickly apply a layer of coker, ‘be a pentll Ls wie! to fsb te taser. chiscast fused comresparading pen cil ors to efi she sil hesinre smd efi evi cok Ro some of be eriges. 4 ort camer tos pencil work at sepuarate kaye, buat aber smote cut ef any muted Kightidareanes re salting from the sick Here ts bow the evtine backgrennd and table areus lok a this stage A firs kor ARE SIURcombured wut cormeponlug Promuaerak fem bts Orem Red compere aad i ready for amy aubditional cuter work, Note the texture. Where perci color buts been added, te surface i ti rnb, ut inagpers refined coampeared WH teas Where ri pic Was sends i the dee Fipht area of the tabte, Here the wstre aves deberaeiy allowed to Beer ase aay of Loprming up the compasttion or rkexing te onside esc of tbe raring. This vet add probably nee meeite any mene color Four muicd you Sboeld mae an en See Labplication—as with all color work eal finally depend cet your perroual aesibetice sa eos. ‘evhotgncs te Hamu Basigresots ard ther lr Ares or Broad Stick Colors Combined With Nonmatching Pencils By Using sonmatching colored peneils to refine broad sticks, a complex juxtaposed color liyer can be quickly sreated. This cinoften serve asa final layers ne additional Work is needed. Ini de arf ic Aare rte AS tis ake ped Art tet te tual wy) Pat te iBasfereuce Becomes d weaned fugit the w te [Pecks of paper in she hac lgreaend, shen ws a very table comtrtiny caloered pc to ref Wa rea. deed Way stich 1992 CA TS ess ap rarvcais directions. Ror the tabs, fase a less wary: 1938 Pople amd appa t mune carefaly fir a ghter gin om hoe domed femctlTronapes With conrmesting. daira 902 Hight Aquat colored pewicil # nicky ackdeel 1 dato oe frger whise flocks, Surprisingly, this process rm oy tobe Bong tw coumplete, bot bom fie esi eth 1 rast remark Haar of personnal chrsce. The saitsunal pepper andced var effect inthe Uenckyrwdnd bes ke sae sume depth, Hoarever. Ube necator of he 9 the purple tables bop exalts scans Revd se fo eft, a sul pene ecb ges eo ae agra a age as o Single-Layer Techniques ‘way of hurling lange areas of colori a drawings is swith a singk: layer of cokor. The: pele with this is that such single layers offen tend to be too bright andl somewhat simplistic in appearance. Colored penal layer= ing is in fact generally aimed! at avvidiegg thexe very pills, Hut theme are at least threw ways of successfully over. x the disadvantages of siowle layering. The fist by using the muned effects of low-iniensity colors. The second is by justapasing colors, And the third is ly usiag an achromatic color, sth as gray: sae toward locking tore lonely a cach cfthewe review what is meant by ‘color intensity. Color Intensity Intensity denices 4 colar'cdleytee of purity, or satunition It is one af the three dimensions of color, the ather twa being hue ta color's identity) and value thow light or lark & b Low-intensity colors have been diluted—in manufae- ture of at the time of thesr use: This dilution can be achieved by combining them with other colors or wth neutrals (black, gray or white) For our purpases, 4 colored! pencil af kx intensity car be thouut of as containing a celor alreaily ined ‘with another, Using i i like: using Iwao more pencils ‘combined info one. Working With Low:ntensity Colors The colors af lange areas. are importint to ny compasi- tion, Therefore, italways makes good serve 1a plan colar schemes that take these Lange areas into account, ‘The colors shuven at left are of bigh intensity. Hiab is rebated sin aol Satori, The COloee at MEDT aA Of aeaer OF fitter fntersity bie cre of the sense Bue faaics ” Boots Calvert Penal Tec bigs AD Sept penesh—a very lousint~ fusirica, h ths time the wale suas rr. Trt mt oes, ft ome etn varying We veadue uf gle codon on alge ave 0 stewie wal es Fer ea de gest rane tm the suber macaser, matter Abington bat barge ‘Topas we Halle Ractgresnas and Ober lame Arras ” Uthaberrechtlich ga: ztes Matarial Single Layer Techniques Working With Juxtaposed Colors: sonal choice and the needs of a color scheme. However, juxtaposing coloes—applying them side ry side—was Choosing cokars for justaposition that are closely related discussed eullier. Single pencillaycrs of twoor more jux- if intensity and value can help knit them together, And taposed colors are particuladly useful for handling large Sivee a large area ts being covered, juxtaposing low in areas, tensity colors results in-an aalchtional none cf complexity. How cach artist selects colomalwaysddependscon pet varie Thnve lou-ttensity percls were used forthe large area of nepintve sce it this drawing: 957 Tuscan Red, 915 Sienna Bros, anc 947 Burst Unoter. They wer tod layered but instead were reiapasesd with oniy scant axeriagpine ” onic Cobre enc Pecbospecs Working With Grays Sometimes a lange area can be: very effectively rendered! with an achromatic color such 95 gray. In fact, grays cant be excellent foils for bright colors and cften seem to in- crease the intensity of achoining tints But colored pencils don't mix to gray easily. For this reason, pencil manulacwurers offer a variety of grays of different values and temperatures. Here are eight such nays offered by Bera Prismacolon 1050 Woe Grey 10% 1058 Worm Grey 90% evden de Haale Diclgrwrde ol ber Large Ares Acthreting Gray Gray basa cota poser: Itmay scented (placidly nth edber colar. or if may ibe at aa easte Cader of i one, 2m ofpraximate campemensary of the calor mesarty, This is called an activated gra A prod fof smokaneous cons, his eftical effect ocean wie aru poled arts color af sia eave. Cray me as uactite wher joined wile a col ofa comtraatig ote, ‘The aboee gray ts Inactive. The same gray bulott tac sad: Hh acpi army cor, wi chase aie fo the gray, causes bh Bsdsb complement to appsar and bpp ithe gray areas. To see ths, nk fet a be range colo, there ht your gaze werner witht tre gray 7% Working to Edges B; its nature, drawing with a sharpened pencl— Braphite or colored—oppeals putticubly tothe art= ist who prefers a clear, crisp detineation of form. Te this, end, 3 preat deal of tome is quietly «pent constructing edges where the shapes or coniaurs of elements come together. With colored pencils, however, there une sev- orl faster ways than those traditionally employed for working. to eles ‘These methods are not “shortcuts” in the sense that they lesten quality, rather, they seize the eppartinitics offered by the colored pencil medium itsell, The fact is. colored pencil edges that are nade with increased speed can almast always duplicate the character of slowes made edges. And by avoiding the drastic slowdown that, often accompanies the hanclling of edges, faster-mxte edges can also preserve muuch vatal creative momentum. ‘Of course, some areas will continue io requise acute concentration and exira time. Bul for those areas where the medium favors greater specd, its simply a matter of matching. up colored pencil techniques seth the appre [priate edge sitcations Using Graphite for Edges Graphite pencils are Frequently used to establisls guides lines, which are then erased as the color work prroceuds This time-consuming crisure step ts penerally unneres> sary, except when very light-colored passages are being developed. Think of graphite as simply a color of very low intensity, for iv practice W often acs Iike-a charms leon, blending invisibly into as surrounding, environment, - ra ‘The grapince orig i etait tense tn tis race of a tof ap evem teal 6 bs rok heer erased ar exe Haghtenedd. A taser sew oes ees He Rate Ls Pa ey WE ‘as ember bere svt te groera ar bows cen y's ” Ban: Caloent Pent Tectmgees 4 he seemin tis drawing, bikes Cat and Poppies This ark wrte Charl pet fends many eppeonunt 24% 11" 5.6m rvboignres rages 0 Hai Wo groan rd ne ae A " Working to Edges hen: working to an edge with two layers of calor, try lying in the darker color first Use this pencil to-carefully describe the edge: The second layer, made with the less conspicuimes ighier pencil, can them bee applic fatty ‘casually, lotiag this lyor only appeoximmately (eather thas peocisely) meet the edge. You will find that edges fashioned. fm this vay louk wo different from slowly deawn edges, but you will have had to work slowly and precisely aly once instead of twice, tbs mall adept, 952 Violet eras used efi } layer, Hecate 1 th dares ofthe tev cokes plantieed fr the iret the vvcde eas asedt to caarefaadly | deter the xi ‘he second layer, 905 True Blue, as shen apptied. ect i Her sade orl fol, Moeme wes io rl shoe iets tate Sumer te Bie torecines iho ese, sonmcrimes inloesi bu he mpm ont do od ape to be poten (as: Coland Pomc Teonapese Letting Colors Spill Over Edges Allow ight colors to spill over inte Carker surrounds Lighter colors influence dark passages only very slightly, if at all, and even when light colors do spill over, the resulting edge can look as erisp as one that took twice as lang to dra, This technique can sometimes be used ‘with colors that are close ip walse df they are also similar in hue, “The fir vector (A) was strap by ic br— at ess tan precise leh 1 the digit colar of the megaive pace. hs be mised recoarigie (B), the moare care: Fully eppses darker color eae conceals the lighice eofor tbat spe! fia tat ‘arce. Thts wold bare worked eyual’y i hea Iota beet vevorsed. Ir the second ectanle (6). a darker olor has ben tesed for te negative see, tt bas une appt aaprvetay The comple rectaighe (D2) ira dant Wen ed Sila Bes Pie a taetatte bockgraimd. Agait. te celge desporfoctions cre mashed. Avciding Halows Gare iv eect may el deol to impmoee= rerits im exlge quality. Oe masons ing mio como: eration to bow sbapes are jutted ca daxpma exlge charac {er A moretinpestand reasore Trying tors bard tw struts femme bya of cokoring-bonk cpproaclomens reset iy wmtnrtionat rites of ighe bewven sbapes. Suet a bala effect isshoxen i the small desig a right. The cure for edge ‘ac str te eye Secs incase ea eying resre reused ainsi abou daring crac ees. “Tocbignes te dMasndle dena nde td Ores Bae dros Working to Edges ‘Working to a Linear Edge Con soft surfsces, however. When you draw the linear de- ‘When a colored line is to bur or surround an area of his, use extra pressure to impress the line into the su contrasting color, it is importune that the line not be acci- {ce of the paper or board. Tonal strokes applica after- dentally toned! over and the purity af as cedor lost Te Wat will kip across the impresses colored lines, leaving quickly preserve a very distinct line, colored lines can be themunchanged This technique was used in dite Ford impreated. (below), which was drawn on soft fourply Rising mu- scum boarik the linear edges are visible on the spsearike leaves as weil as.on some of the leer leaves On Soft Surfaces There is a simple way to-draw bines that remain distinct ‘even when surrounded! by tonal work this only works. ‘le Floral Caled pect ens fonersly desing maceren bere, 25° 33" (63 Sean 43 Sem ™ ar Char RemcalTrchusues On Harder Surfaces. “There are least two situations in which colored linear veces cannor be preserved wilt heavier pene! pressure alone. The colored line may be of light value, ara! chus must be drawn with light pressure, or the working sw Jace may be relatively hard, In both these cases, a enlorud ling can be impressed with a icing paper tecbnigue. Srateine this nual pest Pir of a Leger dria, The seal work Af eerie kaos, cb sme Thea eages for bn contest, Faticiring lybt grape gates. 1 vw the diser ‘eas with ratios caren pc, sing ane presse ‘Te cre wits thew covered orth a piece of tec der ant wtb a 1H, gg te pencil and firm pressure. recestocer be colored Tues, Th ime your span on bts mp WA De ne NaN gained ae rece, “The traciang paper has been reasared.cvicl the process of arpdying tawat eedor ws eavesannd meparive spce bes Begum. fh score nay livear eis re now safety fa reset Botan abe paper’ sapface, te ome eeuck procerts rapa’ cress ‘cer colored dines with a hanger ef seuring cr dosing them. This can be sect ser tbe greem burs xem eae ones beady easible rod end jel fe Tee alps fa Pre Mec gros ad br Lane Aree ™ Injecting Color njecting colar refers to inserting an additional new robe inte tightened area. Be is similar to the eartier discussed technique of spot-layering but is more appre: rite-to large, uncomplicated areas and is peemarily used smextulate calor rather than form Injected color, which fas the effect of increasing the fichress of an otherwise static passage, can be used in two ways 1. Tecan be used alter enlor has heen appliedtona karpe Iaebs example abo, a.cingie 9:1 Dark ‘Purple colored pemcit as wsex! for at rascage of wnmeainaire color, To myect color into a passage. a ypace rust be made jor i. This sa be ome A iba color wpplicaticr proceees (as -sboum bere} or tera by Igting Pag room: ray with a ined! eraser. Nove area, leaving small intervals 13 “holes” of much lighter value Anoxher color is then injected! inao these lighier areas, creating a subile (or not sa subthe) color change: 2. Itean also bse employed as a remedy rather than as a preplannen! strategy, In this case, a knecdedd eraser iy used fo lighten small portions of an area where a color change of modification és wanted. Adkitional colot is dhen injected ina these newly made intervals ef lighter value, A904 Crimson Bed bes mee boos 1 ected” wns the surmasuing purple, Tis mondnates the passage’s hase nd ‘mfowsey eas 1s erat richness That (nerior exes ae xubtty foattored. rian abrape seeming dank ad gb rales, wo (dc Cloned Menai Tepes th abs craw, injected colar as snd earch he ue Stoke of the floor, Two colors 9153 Viet Be coc 51 Date Prurple—were red do eskultish the plane if the flow. Sever smal aves inthis ple aver et Righter fv articpetin of lyeting er third colar A 28 Seurket Lay wea thea feathered a ine Hh tres: Vilas cent be sce sn ste wii of the floor iif wuld not be comypremisn, ‘Rabbit and Sui tandscape \Cafored pencil on tet Sradbycne Bristol beac 16" 22" (40 Gimme 55 im Colection of Neat anid Adrienne Salaun, Porta Oregon. echoes Uile Sackgrannd sma Onbe:temge Ares a Injecting Color DEMONSTRATION ¥ goal will be to make simple layers of color within the Large areas of this drawing appear to contain a richness usuully achiewed by more complex layering. | | | Step Cae Grypite ewideines were nid tn un w sheet of Westninds oper. The ire size is 195" 2412", a rdetively Karz size fora drneting, sd ondinerily Vota spy se Arm Stasi: ae fat a is case tke Packgrnar is very fragreetd, dug io he ioral desi, cad Peano aeprend on Art Stevia, Pel ave thve fos attr spl fete arena, at Mind cor dicted i Ja few areas for wore tutenesting hue varsarians on si eda Honea Trobe tap Tove Some coor Dues wow beet cepa i the bay, ev he thle, sad fo of the aes. Specifically, ore’ wt bs fara ie ac ren A SDT bnalige Bib ies apple, dooney some crvere mii ge mr rue awe caters. These eves cat clearly be sect i the pet Fight sce of tbe drateing, i the eft sde: Foe haga eppytg a seccna layer, this me uf 47 Fasc Rial ees been Lapptat sit vacying prvsstre over the Biv, excupe te she cpem “Bedes “E haw ested "a 931 Dark Paap its these light reas. Because the smal arees were try ‘ight, the pape ans tel very cert Tectalpes ta Plaad deadpan rr Barge mes ws Injecting Color DEMousTHaATION Sep these The second tuywr of 937 Finca Red was apd Mr te nes of te lnc _nrotnd, anal the remaining light ares were mjevted with 951 Dark Pump. The resait 5.4 gruel pmxtalaran of be, ether aand immo. Ther os abe te, sky Wren robes cf wars reds cM, aM the tablewp's second color, OT Indigo Blue, bas hoor applted exer ty ft Layer of OAT Up Uber. Sane the cra (sb Iad aney frame ahs are eit kaa ‘eraser, i reparation far tbe tnircting of aha I owe Bie fr mere cooker weve orca the bck, a ‘Bawie Gk ewe Peudoanpas Shep Fre Ts fouish sbis drained res and fowrs creme competed The rabbut es softened with more calor appsiod someily over is inca stage. Won Fasesse she backend, tbe inte perpleseeraed Laboast RGR Beaute a Weedecl Hoot much as yectnd ‘color stows weil elias epernd on row sigh the “tole” for it sus Rearend ta remain cand om be cekor chosen for ibis proce. ‘Tce the rite cree War acy conrad teh 4 Rint ‘Linder tunder 901 Dredge Blue. some ofthe Lage Uber bal be remoned, Teas ura dane by Bing aie: hos cetors and jecung 901 Indi Be, Because hls Ble wees she original sccm dayer blonds in wry sy, ‘Ralais ana Fevers ‘Colored pene ition Westrtmae paper, 1816" 28" AT Gc 66 2em), Prtate election ‘Tevlnrst Rhamutle Berkel Ober Lar Aas oF An Imprimatura Technique raprimetera is an Wallan word that refers to the stain ing. of a surface preparatory to painuing an it For cur Purposes. we may think of imprimatur as a kanal apyoli- ‘cation of color toall or most af a surface before adraming is begun an i, ‘This preparaary ayer, applica rapidly with a cored pencil or broad sick of color, can became the first ayer of color fora drawing’s subject and can also serve as its background, oficr with litle a no Further svork. ‘An added dividend of imprimaturr—besidesa drastic reduction in background layering tinse—is that a single color. commen to all further maxtures, usually helps waite any drawing’s overall hue scherne. tere 6s aur frapetavaiura applic petor to craecinng Shea be een a contaral lod fs sony. ae no, as. ane ef perso Psice, Ts deren aside fhe too Fito ta sags wore made uith a 924 Thue due pemcal ws mee sores. 6 ok Catone Pent Fecbnigees For itis draieing, « bne scheme cavskogoes to he maprizmateira thu his drecring wif wath the same kine of frgprimarrer—a wats chosen, The Jeaves and sbnlst wen daeurt uit tearons — warmn.calor scheme commasts witb mhe backgevw id, A bounded! eres, an see of he ioaprimatuoa wees ure! fo show No ener wus moe! dn Uwhews carious areas of he dapremace charges or rijtnemerts bare beet sed tothe original 903 True Hine of the backgronn ‘The 9.42 Violet perecitarws spor-tryera tata ware of ihe High ened areas io enrich rhe background. ‘Techs to Mamie Buc rods cd Ose Lng Aree Imprimatura Technique DEMONETEATION ‘drawing to be built on an imprimatura begins much ike any other, with perhaps only-a partial ie ard afew thumbnail sketches, But it differs frara ether draw- ings in one very important way: Iti critical that 2 color scheme be worked out ahead of tine to ensure that the chosen imprimatura ean successfully serve asa first Laver far both ickground and subject. ‘ftap Ona Au anaiegons color scheme of nad and redler was Alarmed for this smal drawing. Fapplel layer of 981 Dare ‘Puple fo the entine nwziace ofa shest of Strath mare brikd board, This iaprereatne Layer was dome quickly and the ses goon call cdareticons Frade mo atemy in refine gest Aextare. Over ‘bis, Habre abe spe eines of way: crating mage with colored pencil ~ mic Cider Peed Toc ep Tere 923 Scared Lake ices ced Jo ube fier pls dil o 930 Lhiek Purple spot-apered wuts for samme abayerad effects, Wiib a tmovaded erasor, False fed ny a portion of the anpetracira i ie forego apd the same 923 Searle Lake 1 them bey awd appear brighter thant the pois bare [koa Mena Hea lyre wd Gabe? Large Are Imprimatura Technique DEMONSTRATION ‘Step Trea The ocher pou hare mane Beem teva die samme point as the first ones, using ube same fecbnvqmes diel olor — ‘DAS Skat eae for te peaks nut 93.4 Case Pepe for atari ‘rales, A 918 Orange aves also appli tothe petals undersides, and a 912 Apple Groen and 911 Ole Green weve se reer 10 SRB Ze Ces aD acres ofthe feces. Al es codons matx weil with the aright pet uate kijer, caves betr separate tutes ta be saametahat mae 0 ack Colom Ponca Teconspoes Sap Fowr after anes the ncihies dn his drawing, Pedockded Prony ‘to fl aera lephten some ofthe imprimatuna i tbe ceior Clore pencil om paper, Os" x SY" (15.Gem% 13 2em) Cig he 90. trade lr, aso darkened same of ie feaver’s Colcctium of Mr. arad Mra. Thurnas Gil, Towle: Gregan. (peiats, This belped sire the vate range A sharp 922 Pappy Red peel! wear nse ta further recice she hice pats of tbe peg. making ibe fiswer clas oper rare tahun Sone of dhe pti fous were develope farther an the loaves avere meted art sit tora Layer of several reed fertapaced coters. The only medications ofthe orginal esperar Im ts rae a7e a igh tbe forgrenend potas, srl vaalue change uf tbe center. cial a fina sight darkening at the ractra’s ight comers for balance. Tectia to Marae Backgrownds snd Osbor Large Aree 1 Gaining Complexity With Texture tucking severil Livers of peacil calor over one an- feather cam create the richniess and complexity of aps pearance for which thismediun iswell-known. But deep layering & time-intensive, and isa technique often better saved! for special areas of interes. Frc ether areas, a rich complexity can often be expressed without a lengihy 2x peraiure tme aad con bu uke wa et on ambient, or allover, iexiure. There are many known witysof creating textures, and probibly many more yet to be invenied. A very basic strategy is to alter or "distress" parts of a suxface before apptyingtorual color over it. This can be done very simply and quickly—alter a drawing's major elements are indi. caed—by using a white of ight-cokwed pencil to make 2 series of marks or patterns throxighout a Lange area, Color work is thes begun. as wsual, ignoring the barely: visible marks, Bur cach time a peri’ T crosses a many amatrk, its color and texture sll look slighily altered. The net result of this will be single layers of color thet look as if constructed of rmultipie Layers. With this basic strat egy, ples personal experimentation, you may son wis cover a number af textural techniexies of this kind wich allow you to work faster and more spontaneously. TW aban’, 95 Whee wes sed te iistress tbe surface Pere 922 Light qi ee apie: I , de csrescing pect was a 91-4 Crean, Pcl presse for boob be cite dnl the ere iets metre atthe wep cd frm arabe aman Wish tes mess Wears peer. 2 paer hardier will affect the reset Bosh ubese examples were dratem ott At am early stage in this deasctng, the them appitied, reveraiing a tecinne chat ap. rows hast and foun depending om howe aww, thriga! bosant, 1504" 13" (a7. 0em 13.00%), este Cored Peel Tecbregcs hich A Surface-Distressing Technique DEMONETRATION his illustration i+ designed to sugpest a detail within aa Larger drawing. The background will consist of a single layer of color, but the paper itself will be altered to make the color appear varied ‘Sep Ome Aer vtabliching graphite gutdedies, Juice a O14 ‘Gren pencil to quickly apply a broker sire patsor i the regatine space only. Tots mel i comennBatstreciored, aa 1 did't want 40 become too asertiee, 50 fappen the erean ‘Pencil bay, fut emanyy 4a ma sic dashes of we, ” Boone Calvert PeneilYecbrgees Sigs ewe Det cat aaa ee ae of color, ditnegating te wary wearb, Regantias are ighaty cor beaesly ths layer is append, os coder well be affected each time t erases over the waxy marl of tbe cream “the cse-up ie, tbe crcam-coke marks cm be cleat seen through the overall purple layer. Had the marie been made tnith ahi poche pei wcnld aw take em a cook cast ‘ivbinaywer wo thee Backaronin wed Otter Bane eee m Urhaberrechtlich geschitztes Material Using a White Background L ite etter are blank can ve you at ‘Seal of time, But in color drawing, the key 10 aking a white background swork is to actively plan for it, rather than Het itoccur by default. When a white background is to be ised, it iscritical that the color scheme and compar sition be designed for it, To sidestep such planning is to Practically guarantee poor results. Difficulties With White Backgrounds ‘There are at least two major reasans why while back~ grounds can be disappointing. 1, Almost noxhing in mature is iat white. Therefore, an expanse of white in an otherwise tue-laden drawing looks false and contrasts too much with the colors and modeled forms. An unyiel ply tooraw—even snow and ihe lightest of highlighss contain many delicate and modulated tints 2. White dominazes ina design. Because white is ex- prnsive and thus appears to come Forwand, a large white background can-confuse and diminish a drawing’ sub> jeck Areas of brillant white can alse darken nearby coloes and weaken their lumine How to Make White Backgrounds Work To successfully use white backgrousds with color deaw. ings, i fs necessary to Focus carefully on your compe tion and color scheme. tis unusual for an anist co remove a subject from at There cae bere robles wid sig la tite effecicey a8 a Packard. These occur bocatse white is one of the iw extremes (dhe oie sate arid spony expansive: This cam be clearly x9ew in the te arma rewings abeae The Biaci ca ar dt comnce cod los bec saat cuca tbr abe tebe The white alo seers to come frscart crowd te cat. Jn the example at right, the sebiteness of the cat hetngs tt foruard, and it appears large than dhe Mick ew al sb treaty slighty mater. 6 (ac Colona enc Txborapecs least a suggestion of its usual context. When this is done—as i fs so handhonicly by botanical and scientific illustrators—wee instanely know that we:are- being showe & specimen that has been deliberately removed from its environnient and presented for greater canty again a bblunk or manessentia! frackprouind. ‘Two factors will help you successfully integrate a.col Cored subject and a white backdrop: 1 Minimize white negative space. The size of a whice background can have a profound effect on its power. 2 Minimize contrists between cofored positive and white negative space. [tis often possisle to arrange frag ments oF shapes of white within a subject. Soft edges or sketchy outside contour lines can also help ease transle tions between subject and background ‘Color schemes are also impasant when you ate using a white backgraind. White ja powerful element, andl it is wont the time it takes to plan a calor scheme for tt If you decide, for inscance, wo work with a split complementary colar'scheme and no background, you! must think of White ds an active member of the color team. Ris also womth noting that same art theorists believe thereto be an affinity between white and the upper end cof the hue spectrum, blue-picen through violet. This the- cory, if comect, implies hata bluish colar may hasmomize ‘weil with whste, white a color mear the oth spectrum, suchas brown, may create tension. "The impor: ‘tant thing here, of course, is not which effect is betier (either can be) bat einggalbke Wo fan it Sall another consideration is that paper itself has torn: perature. White drawing papers can range From bhoich ‘(with names like polar or arctic white) to yellowish (sich as warm oF antique white}. Some anists prefer a can ‘while becatise with time ane’ expostie to lig) stich 2 Paper will probably grow ‘warmer, A paper tit has a ‘warm cast tp begin with. on the other hand, may eventu- ally become roo yellow. vend of the (Oher perceptions of coder tv yan: devas re! da! ceca jis cr suerte ava often Bare apredictabierfuerce ot meer cs The a reins abe tre ca tate Nis Bo dre HGH ane Plc armivnosiy. Boil cats eere cra wis 913 Spit Grccm et fl pressure. arn they are physically fdewtical Betta ibe drawing at Ut the cud ef tbe cad ayprsarsetarter due fo the bridiance isle i the raring at right buat bee extnigesbe, Toedepics tana acl ied ated Other Lage Arete * the wrbide bacigeraved. Act the fwwrsnnsity of the grea Using a White Background ‘This drawing relies ont oo sirateies Jor sealing with the vahite Cat of Prespersty ercggrosimd- One as ant arrumgemient of elemritsmat cempust= cer —devigted to minimize he ame of bate nepatire space, The olber is tute ont be fit tat wba ttcgroent ‘fen werks ai wth a cof anaaringy tha as snug Bree sad tebe elements. A poastbleexplerintion fortis taba we ar aiccaston ea to secing rants te Bla vt were rte (graphite, rl, ebarciat) with Uitte ar wa baclgrewsnd Technically, tbe black paris of tbe cai are Lryored Bve amd ronan, the re-crage blooms crc @ mayor element, anc roe Pliage i ala include But the dimeanan! fein ofthe calor ‘scheme ¢ black and white—awbici we easly acceps sab only sedis pre ts rapt aac (Gore penctt.on inaeply Susémare rts earl SW 7 M.0cm\¢ 17.Sem). Pritate eelleetion, (he Cider Pence Fochsacr This crauctnge—one of series fom wi bite: Duck White Fiona! 83 ars eres Ds y at ek ceananttcmnal see an egr —— Carec pent ca Sig ese bewurd safes she transitions between poniice amd negative ypace, The 31% 38" (79 Too Sem) sree was terrane bite shops webinar, eke the white see setae of he flan, tse maeanchers {ng seems corral and embrace encgh negate pice 40 snake {ema parr of the subgec's cob Tenecabor tena ib spans ith wide tc ond a mind. Becarnse the coud ened of the spectre appears to be compart eth adi, the coor seenne hes Ine Ing cco, veri db scarfs overs Rave Ben conti arth ave harem peta Fictmayes to Ure ocr sted her Bare ee Using a Vignette he vignette is characterized by © gradual reduction cor fading away of some of a dnwing’s peripheral elements; itis essentially a means of transition between subject and background. This device can save time be» cause it lessens work on the background. Artists use it to emphasize a center of interest, and it is a familiar device in portraiture, where the background must not be al- lowed to distract from the face. It eam aso impart an ale of informality and spontaneity, ‘While thure ave many techrsques for producing an of- fective vignette, one tenet seems constant: A tnuly suc cessful vignette cannot be merely impesed aa or done toa drawing. It rsust instead flaw out of oF seem to ema- nate from the subject tself. 4 good vigneme has a look ‘of having suddenly —almost accidental Actually, the traditional drawing strokes for producing it are more likely t0 have been carefully developed and practiced), and they are a major factor in the overall mood ofthe drawing. “These smal color drawings show a sulgecd wrth ube kets of Backyronnc, we yf shew vignetes. Bosh ibe foreground nad te Baran of thy fit crane ae fille reer. co ans the bn of simple ancl sranphafmvecel sukyice, heeowtey, that sms ely 60 med tl? egret fecha, 18 (hae Cidemd Pemeil Trobnkpses This rma he ube ascomycete fr exes, Hat fava used tesablisd march of he desing in finer fas fom: Color as then apd scrally within the ler —ahe dra figs center of iterest—aad scm of ps ot eto he exer laments 1 Belps,wrbew tncomparatng i great dealt of white in acters asd foregrcnt, tai aaa same arte an re vain fo the subject for a smortler aegration of elements. Techies #amaie Backgrouitas aed Other Lame Aree Fir this seccand vignese, the ions rad cas composed see ht kenge eat the a fare reference. The bac ant and foreground were de-emphasized further and retail a sugretion of tirana cok. tin ate nse 6 ‘remit i ihe of be sabyeet—atay Me Lal sate safle the conrad berimen peste and nepariee space Ths type of wigmete fs freynendy sed in poriraine Colored Surfaces (Cte pened work ms olor acne in bs a quiet and richly luminous look. Working on a cok cored surface can also increase drawing epevel The three main factors that contnbute 10 this are: a eoloeed! surfice can itself serve as a drawing’s negative space; layering time is sharply reduced when a colored surface becomes the firs ayer of color, and the value of a colored surfuce functions as part of a-drawing's tatal value range. ‘The most familie colored surface for drawing is col- cored paper. One widely available brand is Carson Mi Teintes, which offers 3§ colors of varying values and in- tensitics and is considered very light resistant, A second type of cclored drawing surface ts colored mat board. These hourds were originally designed molting artwork. Many of them now meet conservation seandands, andl thelr drawing surfaces have excellent re silence forlayering, as wellas fora variety ef more excxic techniques. Tland-colored boards are yet anaiber type of colored surface, These are usually the product of personal experi mentation. Cne method fr preparing a hand-coleece sur foe is neshingtuby aenylicthinned with water onto a high- quality illustration boarsL Plain water ss then Ierushed onto iis tick, and the painted buxid is clipped apainet archer fat, sturdy board to dry, An advantage of and colores) boards is thot their color ean be much bess flat in appear ance than thet if mont ready-made supports Selecting Colored Papers Colured drawing papers are 100 often selected onthe hasis of hue alone, even though intensity and value can actually be far mote important Paper colors that are toc intense can overwhelen any’ color pencil work dose-on them A puper's value ean ako present senous problems. Fortucately, the effect a colored paper's value is likely tohawe ona colored pencil dexwing is fuiely predictable Here are a few guidelines: Light value range Colored papers in thas group tend to darken pencil col- crs. a driving wal many fight passages would peobably sulle Lonhey work és belicr sued! (a these values Middle vatue range There isa long tradition of using colored or neutral pa pers in this group. © full value eange can quickly be ex. pressed with one light and one dark pencil Dark vahie range This with these values of colored papers hat colored pen: cls can appear their mist Kiminadts, Black paper ‘This represent an extreme in the value range, and even though black papers are not truly black. working on them can mean contending with grea deal of wrmcebatee! dark value, Alba, while i would seem that the pape own dark valuc coukl be a drawing's darkest, this ix not always so. Becanse even the darkest papers are not acti ally all that clark, a 91 Indtiga Bue: 01 a 985 Black is stl needed fora traly dark note mas Coded Pence Fextoespves 425 tacts 503 Beurgundy 5 Dare Gray ‘True Miaulle Value 431 Stet Gray 426 Mhcnrtne ght 9) 354 Sty tue $43 Pert Galored Papers There cre many binds aad depres of sufi vexrone mony the rarcacs Deans ef ecm! peg. Sum pee peesdtabave lst teture cet one.side than on ibe aber: Clare _pewci emerally performs best on cord pyres ath sey Uitte exrure. ‘These fourteen saplesof colors papa frum thy Cansues ML Tednts ibe cmd are particle useful wi cola fn Js titeresting to mete at eaneg he gob show Brave ‘beet dvs uta their etve valve groap, afar aemuaiy few or very cline toc mide rege ost sae cen cat, Tectignes to Perle Baclgreneds ad Oat Lane Anas Selecting a Palette enc colors can appear drimatically unlike theie cus experimen! with pereil colors o@ setual swatches of the tomary seireson various colored papers. For this colored paper to be used! Shown here, for example, are reason, each colored! paper may require a cklferent col a group of identical pencils applied to a white and thie ‘ored pencil paktte cloned papers Ajgood way to cope with this complication istosimpty Peper This firs rid shows hoor we cre arceiedomesd én 343 Pearl (tight Value Benge) Sornc ofr perci entors here White SICA peTICT COUT, Thereere Mime agpietiicts Rroniangs Heyl ko appr move Hr Ma these 7 Oe Oe PE, Oat sv otek volared Pencil, w sevoind of six cd — rua cs marc so sent the tru elaher fers. The pik grid sed” pencils, ama another of eight ware pencils appears clarke bere tuna oa the darker papers Bu Lighter thar (othe wie mow neces to a arte Cor very gb calor) to get a light cor 104 Mark Cider Memes Tocbusues 502 Bisque (Middle Valve Bengal Wh hs pg. mather ecw _Plicarea ts snaidewty present, The paper tray has avery define ‘Boothe uch mids seth te pened! colors, Phe arate resf-orcme: prac cre druaents with Ube paper Ubi ears are rtensifee. The cord blaegnerrs grea, bower, ds ely compleonerautey ps a pronp soem to arate, The piak wrid—becone rae ara rte tthe ‘Papers—es on scaie of tbat neers rut) clowty re lined colar en aanains cs becurmen newrty Fevbraperse Hand ecru al SOU Tobotva ark Value ase) I or ber pers sul as ts ia perc cokors Pocome PIES AeMTORE. Crayne ris plat ged with tbe tbe atber pk grt. bs pres saa of aty thet cers sbi pent cars ae id a contest a ssfce. Aldea tach comune can ba ery Bh bl paper, a white paper’ rn biiacce yen re ddoces tbe rtiduess of ie pencil. TBs des aoe happen bere the came pena cre see we a dank rfce or darge Ares Enlisting Other Media A Set ttacon af i color penal mem fr are used swith colored! pencils, The firs—which is alyvi- many anisst ts simpbety and lack of paraphema, OUS nd ily easly managed—is that highbigit passages lia. Dut there are also ways of saving lime by adding ¢ ‘Suis be reserved. Once an area is covered, there is rx bat of equipment and technique fram other media fsasy way to regain paper highlights, Aqueous colors, for example, can be used! to quickly The second and much trickier problem is thar the by in backgrounds of Large areas. This ean be dose with _ Shtavlarappcarance of colored pencil is dramatically dif- a brush and liquid acrylic or warerolor. It can also be fetn! frem that of painted color, Without adequate tran- done with an aisbeush, but the expense of equipment toa or blending, tuts cam present al serious gap in a and specialized mining pus this method outage the Aeawing’s unity anc credibility. In the next few pages, scope of this discussion. we will examine this major problem and some of out There are two busic problems when aqueous media — PtHOns for dealing with it. ‘The Problem Tico mila bare been sed Berea tery differen books: Me rei avec os Aguietrcric cover pod with red cae brat. Co Loved peel ws sed for tbe sang tar bin, aren, cn pont bape. Te ccevtc perio Fooks chomaghlysaterate, teath no cba paper foe, The colored pencil arcs ato et fru ste sic olf Joven keoking aves are to sunk tageiber success in str een, ey mest be domatet tue 108 (st Colored Pomel Teubuspuce ‘Tetimagocs 0 Jae Backyard a Onher ae tes Urheberrechtlich ge " Enlisting Other Media Opticn Tore THs tin, dguid acy coor wes sed fs sestrbsh the eatin raring. ‘en endowed por ses a lea oer nef thes sage: Cert say seh tis methext ts rery end Te pr ‘ips for sefitog pent ed sta ker aver Palate cokers sare simular 4 these aed wets coolant peters, Option Three jn ibis eximle, ret Bail ace ts seoverd wi colar pemeil ste, be egg cid powell shapes wore appli with ery heary pace res: srr, fawening Ube payer 0 shat ro granular mise locks sibow The eleven Jk weld teas ae thew cons sare nicely were. A dre acl of sis rte stat sabpitag comity cl preenure is arduous wore sonal incites sea butltup tos fast Card Pencil Tochaspre ‘Option Four A combination of the caer eptinss was ssa fi this mow ubeelapal Austen. Red, Kg ae ar pink gute acrylic cars eae fisted te establish be declared att play mone. Tot was He foi extn of ee egret me dium. Colored pencils were them ise to tender abe remarry elenteats. Sou ef the (pencil mas applied with beury press to melas w tothe liquid color, some tas sad ghey for more gramutarily Ascrfiual step, colared pened! wer: see inaally-crer the ref ccrytic arc linet’ cer he Bhae md pune to. rele cet of te money, Tas fs a fs tocbrige, anc! the sual mature of te separ mex is mow efectinely ‘mused. ectanyurs ro the techn wed Other Bane eas woo Refine Your Working Methods The purpose of Part Three is to help you find opportu- nities for gaining speed when desired, Afier reviewing some good practices used in drawing, and also in and around the studio, we will discuss.a simple but practical means for trouble-shooting your own working methods. Lay #Soese ant Mandronae Gator pam om cpt ‘isiug rscuna bred, arg (65 term 46 gem) Publ cellectton Fife Your Werkage etbnds nn Drawing and Studio Tips cesoutined in Signing ina Dark Surround sim ofien fin smaller Cokwed pencil drawings are wasally signed within the ways to work and draw more efficiently with colored picture ull, ther than in the margin. Beciwise & pencils. Afewofthetips that follow offerimmediate time be dificult ts do this ina dirk area, signatures ate xome- savings. Other suggestions do nex but are dinected! in= tines forced inao am kward places, One lesothan stead af avoiding the later dulays of correcting a mistake sutifactory solutice to signing in an appropriate but dark ‘or stopping in frustrigin. Sore of these strategies may area listening the area with a kneaded eraser—which alsa serve asa beginning tawaed finding ways you an ruin the area's continuity, A beter way is 1 use am smooth ou! your own personal working methods. inupressed Line technique far the signa. cesides the major time-saving techal the previous chapters, yi e ti yi Improssing @ Signature xgvaatere cent bv evcly fnypresnd sete, abe stymanure ds we, Karo card Se, uo the apprepimane aren bajine the dari calor ts wcded. Creer ight layer af colar coud howe beer applied to dhe sapnatire se drat arate eractug paper aad sign your racme, seg ct avect before oman che ees ph Leraplie pear awd pressing vest flrely. Remcey he cag Peiper acl comple the char paswage. The signe wl unin eubite ana be cearty sisi agaist ibe dark backgras. sie Prac Pechasens ‘Working Yo on Edge iy rics mse rsh so barre fox staid wut pence ek srt ele, ta _fingerrail can cates sere this aurpeae Wie a Bi wf prea. wot ett deae to esily aud ily move jue far ne write wath dhe pene along curing exe. foe Wa Weg Mee (Geb Barks A cites biknnder fone 307 Desigar Akarker} cus ery arom ser ares cf cedar enc NBR neat, wwver hie Ths marker wdc bs ate waar of scar, Aas ele uefa tbe coer pam Ee, el saves of erie werk hae Waetser caret danke. rts Kat innate fini, dwever, ena few perl strobes rive neve af erwvard torte tb sheen, (Reminder to use any sett ny 4 wetberated arn a fo ore Phare a ie mes ft a time nm Drawing and Studio Tips Erasingam Impressed line Somerincs pois ity weit reneave impressed itmes dar sem careraiame on he array places oF ‘had were pressed ee deal expe te that a ¥m- pressed te tends ta proxtace every pronauuncert mark safer ‘ca be “erased” or erty mania me 1 dhs case tre impressed line bees bee approximately balf rune, Begining rom the bottom. The “eres” wat cfome iy shusepentng the satte columed pericflund forthe surmeateinig caves cond marsning t ighityaloray insite the ervove The teltiake ‘rontner of o filled 4 fee is rc Abe proce sal tbe sey ‘ridges of pile-up echor ww each side of wt. These cam be estes By aight: areoning terres alcayeie the ie ta ruaich te rates, ie ard enc Techs Drawing and Studio Tips en Meckgraweds is wonicsiunes a good det whens draccing a large mequtive space, to work with few.or atx sharp peri of oe scamae cotor, Thixelioninates the sieve fo rebar sastiigle pencitetery few niomente—atask that cal mathe dev fg fee oo se drawal het teyp pour comceutrataorsceady. tebe devin partic warty Louxh wr complicate! praveige Dateesifying Color spraying foie incurs carn cin lr at rata deaf roc tin coors Bat tis pro rinkra cam sb pu! alone etn arr fog, everthing bas been masked off excep ibe lanes Carfuliysoruying these with « foaative jor a some bet finger tha mem fme—irb! fie sects dk —prealy tenses sei valor, tho Coed Hemet tonnes CSae Sei Atel sas tape sins the ema of bet pnts egos t= serving therm fro entendens. A single ey of 2° Hater trly tabs a gdh ering Ja Keep tbe erica froaa Krom tse the extewker forded Srarrning, A ery sat bat dape? forte sul carted Be fail party em wf tefl fora Slgant gar hampoeg ge ‘Sharpaning shart Pema Frucilexenulers can autdaslutef wake

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