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COLORED PENCIL
MASTERING
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Lisa Dinhofer

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MASTERING

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COLORED PENCIL

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An Essential Guide to Materials, Concepts,
U and Techniques for Learning to Draw in Color
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 Copyright © 2017 L I S A DINHOFER and
THE MONACELLI PRESS

Illustrations copyright © 2017 L I S A D I N H O F E R except as

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otherwise noted

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Text copyright © 2017 L I S A D I N H O F E R

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ACKNOWLEDGMENTS

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Published in the United States by M O N A C E L L I S T U D I O ,

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an imprint of T H E M O N A C E L L I P R E S S

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All rights reserved.
About a year ago, I opened an e-mail with a challenge: to write a book about col-
ored pencils. And so I started this journey. That e-mail was from Victoria Craven,

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Library of Congress Cataloging-in-Publication Data the editor and mentor of this project. I thank her for the challenge and for the

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Names: Dinhofer, Lisa, author. beautiful result.
Title: Mastering colored pencil / Lisa Dinhofer. Martha Moran whose editorial skill and patience with me was essential. She

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Description: New York : The Monacelli Press, 2017. | Includes
turned hours long sessions into a fun, learning time. I thank her.
bibliographical references.

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There are many people who have helped and supported me in this process.

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Identifiers: LCCN 2017006991 | ISBN 9781580934923
I must name two, Tom Duncan and Hilda Adeniji. With an expert artistic eye,

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(paperback)
Tom read and supplied important insight into the first draft and subsequent

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Subjects: LCSH: Colored pencil drawing--Technique. | BISAC:
ART / Techniques / Drawing. | ART / Techniques / Pencil pages. His boundless support as my life partner, best friend, and reader I truly

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Drawing. | ART / Techniques / Color. appreciate. Hilda is my incredible assistant who worked tirelessly with me. Her

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Classification: LCC NC892 .D56 2017 | DDC 741.2/4--dc23 grace and good cheer, expertise in all things technology, and credentials as a

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LC record available at https://lccn.loc.gov/2017006991
non-artist reader proved invaluable. This book would have been a very deep chal-

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ISBN: 978-1-58093-492-3
lenge without the two of them.
I would also like to thank my fellow artists who agreed to participate in this

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Printed in Singapore book. Their work expands the boundaries of this medium.

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D E S I G N B Y J E N N I F E R K . B E A L D AV I S times. Only a few are illustrated here. I thank them as well.
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C O V E R D E S I G N B Y J E N N I F E R K . B E A L D AV I S
C O V E R I L L U S T R AT I O N S B Y B Y L I S A D I N H O F E R P A G E 1 Lisa Dinhofer, Study for Light Travelers
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# 1 (detail), 2008, colored pencil on paper, 22½"

× 25" (57 × 63.5 cm)
DEDICATION
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10 9 8 7 6 5 4 3 2 1
PA G E 2 Lisa Dinhofer, Broadway Butterfly
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First Edition 2011, colored pencil on paper, 30" × 22"

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(76 × 56 cm) Finally, I would like to dedicate Mastering Colored Pencil to my parents, Norman
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Beauty is all around us. Please look for it. My

MONACELLI STUDIO
and Shelly Dinhofer, who passed away within ten days of each other in 2013.
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mother found this butterfly on the corner of

THE MONACELLI PRESS Broadway and 81st Street in New York City, They taught me how to love learning with a passion and harness my rather
across from the Museum of Natural History. curious mind.
6 West 18TH Street
How appropriate in so many ways.
New York, New York 10011
P A G E 6 Lisa Dinhofer, Cherries, 2012, colored
www.monacellipress.com pencil on paper, 30" × 22" (76 × 56 cm)
 C o n t e n ts
Make Your Own Value vs. Brightness Homework Assignment #7:
Introduction 9
Grid 67 A Self-Portrait Reflected in an
Homework Assignment #2: Object 115
Chapter 1: In the Beginning, A Warm / Cool Study 68 Homework Assignment #8:
or Just Start 13 Reflections on a Dinner Party

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Chapter 4: Techniques with 116
Basic Supplies 14 Homework Assignment #9:

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Colored Pencil 71

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The Colored Pencil 15 Homage 118

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The Drawing (Graphite) Pencil 18 Homework Assignment #10: Toys 119
Transparency 72

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The Colorless Blending Pencil 18
A Few Notes about Washes 73
Paper 19 Chapter 7: The Art of the

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Erasing 74
Auxiliary Supplies 22
Alternative Sources for Art Supplies 26
Masking 76 Colored Pencil: An Exhibtion

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Studio Setup 28 How to Apply Masking Fluid 78 121
Sgraffito and Scraping 80

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Stenciling 81 Dotty Attie 122
Chapter 2: Pencil Vocabulary:

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Impressing 82 Ken Carbone 124
Learning about Your Color Watercolor and Wax Pencils 83 Lisa Dinhofer 126

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Pencils 31 Highlights: Chinese White and Acrylic Tom Duncan 128

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White 84 Audrey Flack 130

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Achieving Different Pencil Effects 32 Extending Pencil Life Using Superglue Dan Gheno 132

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Blending, Burnishing, and Solvents 34 86 Fred Marcellino 134

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Workbook Exercise: Creating Color Homework Assignment #3: Costa Vavagiakis 136
Pencil Grids 36 Experimenting with Techniques

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Artist Biographies 138
Surfaces 41 88

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Colored Pencil Reference Book 42

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Chapter 8: practical
Making a Colored Pencil Reference Chapter 5: Paper

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91
Book 43 considerations 145
Homework Assignment #1: Draw Your

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Texture: Rough vs. Smooth 94
Breakfast 45 Notes on Caring for, Storing, and

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Color Paper 95
Displaying Your Art 146
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The Case Against Photography: An
Chapter 3: Aspects of Color Watercolor Blocks 102
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Essay, An Opinion 150
47 Sketchbooks and Drawing Books 104
How to Use Photographs 152
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How I Work 152

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The Vocabulary of Color 48 Chapter 6: Homework

The Color Wheel 50 Assignments 110 Conclusion
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A Coloring Project 56
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The Warm/Cool Palette 56 Recommended Reading

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Homework Assignment #4:

Mixing Colors 58 and Bibliography 157
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Draw One Flower 112

Mixing 144 Colors from Just Eight Homework Assignment #5: INDEX 158
Pencils 59 Draw Your Shoes 113
Color Relationships 62 Homework Assignment #6:
Color Balance 63 A Favorite Thing 114
Color Balance Exercise 64
Value vs. Brightness 66
 “Art is the only way to run away without leaving home.”
T W Y L A T H A R P, C H O R E O G R A P H E R

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Introduction

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Colored Pencil, A New Medium

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olored pencils are coming of age. work in pencil can be a drawing, a watercolor, or an

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More and more artists are discov- oil painting. Wax and watercolor pencils can sketch,

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ering the incredible qualities of this draw, and paint. The drawing can be as transparent

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versatile new medium. So forget the as a loose wash or as dense as oils on canvas. You

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red marking pencil of your third grade can work as small as a postage stamp or as large as

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teacher. At a recent count there are at least a choice a wall. The scale is up to you.

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of twenty different reds in the color pencil spec- Colored pencils are portable. Just pack a case

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trum of one company, Prismacolor, and an equal with a basic palette of color and set out on an ex-

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amount in several other companies, such as Faber- cursion. All you need for a sketch is paper, pencils,
Castell and Derwent. The choice is wide. and your eye. Sit on a mountainside or just look at

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The base of colored pencils varies as well—wax, what’s on your table. There’s no need to set up an

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ta watercolor, pastel, and graphite. These are medium elaborate painting situation. And cleanup is very
bases that can be interchanged or mixed together. simple—pack your pencils in a box, tuck your pad
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The effects that can be achieved are limitless. A under your arm or in your bag, and off you go.
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OPPOSITE colored pencils, such as this one, because I can achieve a true
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Lisa Dinhofer, Study for Light Travelers #2, 2007, colored pencil density of color and a high level of detail.
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on paper, 221⁄2" × 25" (57 × 63.5 cm)

Studies for oil paintings can be done in colored pencil. Wax and
oil have comparable sensibilities. I prefer doing my studies in

9
 Colored pencils are less expensive than
paints—watercolor or oil, so if you later
decide this isn’t the medium for you, your
investment is fairly minimal. And, you can
put your pencils aside and pick them up again
whenever you want, an hour from now or in
a year; the pencils will still be where you left
BELOW
them ready for use.
Lisa Dinhofer, Study for
Light Travelers #1 & #2, I discovered colored pencils quite by acci-
2006, collage and colored
pencil on paper, 191⁄2" ×
dent. Like most artists, I spend a good deal
24" (49.5 × 61 cm) of time exploring art stores. At one point I
This drawing is a study
bought a small box of colored pencils or they
for two large paintings.
I wanted to see how the were a gift. I honestly don’t remember. I was
two images would work
working on a large painting, which needed
together on the same wall.
In order to see this idea I several studies. One day I didn’t want to get
placed the designs side by
out all my watercolor paint to make a study,
side on the same piece of
paper. so I looked around my studio and saw this
10 MASTERING COLORED PENCIL
unused box of colored pencils. I completed
my study with them and became intrigued.
Several years later I’m still intrigued.
For the purposes of this book, we will be
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working with three different types of pencil—
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wax, watercolor, and graphite, and I’ll discuss
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various techniques I developed for using said
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pencils. Since we’ll be working with color, an
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essential part of mastering this medium is
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a basic knowledge of how color works as an
integral ingredient to making a successful
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image. I created a series of color exercises, in
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the form of grids, which allow the student
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to easily and directly experience the effects
of various color pencils and colored pencil
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techniques, as well as several observational
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studies. I provide blank grids and art through-
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out the book that you can use to reinforce the from there and be experimental. Remember ABOVE
Lisa Dinhofer, Study for
ta lessons and as personalized references for there are no mistakes, no wrong ways of doing Light Travelers #1, 2007,
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your own work. anything, just learning experiences. colored pencil on paper,
22½" × 25" (57 × 64 cm)
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At the conclusion of most chapters I’ll give At the end of the book, I curated a gallery Space without end is the
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you a “homework” assignment. In my classes of contemporary colored pencil art from my- goal of the Light Traveler’s
series. This detailed draw-
I always give specific homework because it self and some of the preeminent visual artists ing is the study for a larger
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reinforces what we have been doing in class working today: Dotty Attie, Ken Carbone, circular painting, 44"
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(112 cm) in diameter.
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and gives you, the student, a chance to play Tom Duncan, Audrey Flack, Dan Gheno, Fred
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with an idea and be independent. Along with Marcellino, and Costa Vavagiakis. Each artist
each homework assignment I include a related also offers a personal statement as to how
drawing done by one of my students. When and why they chose colored pencils as their
you complete all the homework and exercises, medium. The Gallery is followed by a brief bio
you will have a wide working vocabulary of of each artist.
color pencil technique. I hope you will take off
11
 CHAPTER 1

“ The supreme misfortune is when theory outstrips performance.”

L E O N A R D O D A V I N C I , PA I N T E R , I N V E N T O R , D R A U G H T S M A N

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IN THE BEGINNING,

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OR JUST START

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H O W D O Y O U S TA R T A N E W M E D I U M? H
 ow do you start a walk

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in the park? How do you start any new endeavor?

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A walk in the park, simply one foot in front of the other? Not quite.

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First you need to get dressed and get to the park (which if you live in

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a city like I do, can involve some calculations); only then can you put

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one foot in front of the other. When you think about it, setting up for a

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colored pencil drawing may well be easier than the proverbial walk in the

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park. So let’s get dressed.
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OPPOSITE
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Lisa Dinhofer, Lunar Eclipse #1, 2011, colored pencil

on paper, 30" × 22" (76 × 56 cm)
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13
 Basic supplies
I designed this basic supply list to give you a running start with the
media. It’s the same list I give to all my color pencil students. In the
course of the book, you will use all of these materials, and we’ll ex-
plore a variety of techniques for using all of them.
Pencils
• Drawing Pencils, 1 each: #2B, #8B
• Prismacolor Premier Individual Pencils: 12 colored pencils,
sharpened (plus 1 black and 2 white pencils):
• 2 blues: True Blue, Ultramarine
• 2 reds: Crimson Red, Poppy Red
• 2 yellows: Canary Yellow, Lemon Yellow
• 2 oranges: Spanish Orange, Orange
• 2 purples: Violet, Mulberry
• 2 greens: True Green, Spring Green
• 1 black
• 2 white
• 1 blending pencil (no color; purchased separately from color pencil
sets)
• Prismacolor Premier Sets, two options:
• 48 pencil set (plus 1 Lemon Yellow, purchased separately)
• 72 pencil set
Paper
• 1 bristol board pad, 9" × 12" (23 × 30.5 cm), 20 sheets
• 1 pad of tracing paper
Other Essentials
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• Erasers: 1 kneaded, 1 plastic
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• Pencil sharpener and plastic container for shavings
• ½-inch artist tape (Scotch low tack recommended)
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• 1 bottle of art masking fluid, 4-ounce or smaller
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• 1 small bottle solvent, turpenoid or gamsol
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• 1 tube Krazy Glue (the bottle with the brush is recommended)
• 1 large brush (a makeup powder brush can work)
• Several makeup sponges in various sizes
• Cotton swabs for eye makeup
14 MASTERING COLORED PENCIL
The Colored Pencil
The colored pencil medium just keeps growing. range of color—150 choices, so far. The pen-
Each time I visit an art store there is a new cil runs smoothly and evenly over the surface
pencil or a new pencil auxiliary product. There of the paper. The shaft is easy to handle and
are now many companies that specialize in sharpen. It is definitely affordable and widely
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colored pencils. available both in sets and as individual
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First, let’s look at the two essential char- pencils. The one drawback, and it is huge, is
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acteristics of a good color pencil: the intensi- that these pencils can break down the shaft
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ty of pigment (color) and the consistency of during sharpening, which means it may take
the binder (e.g., wax). The wood shaft should several tries to get a point when sharpening.
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fit comfortably in your hand. I developed specific techniques to correct this,
The range of color in pencil form is vast. which I’ll give to you as we progress through
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Each company has its own formulas and the book.
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therefore pencils from each company have dif- The Derwent Inktense pencils are color
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ferent properties. Experiment with different saturated, meaning the pigment is much
pencils from a variety of companies to find more intense than other watercolor pencils.
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the type of pencil that best fits your needs. Most others are versatile but the washes lack
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the depth of color I need.
Comparing Pencils from
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I would like to make this clear: You can
Different Companies
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and should experiment with different pencils
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To demonstrate the different properties of and choose those that work best for you. No
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pencils from various companies, I chose one one says your pencils have to come from just
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color, Ultramarine Blue, and bought that one or two companies; you may need to com-
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color from each of the four major manufac- bine different pencils from different compa-
nies to get the effects you need.
turers: Prismacolor, Derwent, Faber-
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Castell, and Caran d’Ache. (I also bought
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ta white pencils from each.) Each company has
a wax- (or oil-) based pencil and a water- NOTE: It is not unusual in art
color pencil. The chart on page 16 demon-
supplies such as oil paints, for the
strates the different (and similar) proper-
name of the color to change with
ties of the pencils from each company.
the manufacturer. For example one
Most of my work is done with pencils
from two manufacturers—Prismacolor pencil may be called Ultramarine and
Premier pencils for the wax-based techniques,
another Blue Marine. They are the
and Derwent Inktense for the watercolor
techniques. I use them throughout this book. same color.
I find the Prismacolor pencil to have the best
IN THE BEGINNING, OR JUST START 15
 PENCIL
P E N C I L C O M PA R I S O N C H A R T PENCIL
PENCIL
+
PENCIL
+ P E N C I L C O M PA R I S O N C H A R T KEY PENCIL
PENCIL
+ +
KEY WHITE SOLVENT WHITE SOLVENT
(OR WATER) (OR WATER)
ULTRAMARINE ULTRAMARINE

PRISMACOLOR PREMIER
#PC 902

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PRISMACOLOR VERITHIN

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#VT 740

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PRISMACOLOR WATERCOLOR
#WC 2902

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DERWENT ARTIST
#2900

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DERWENT COLOURSOFT

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#2900

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DERWENT INKTENSE (NAVY BLUE)
#0830

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FABER-CASTELL POLYCHROMOS
#110120

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FABER-CASTELL ALBRECHT DÜRER WATERCOLOR
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#117620
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CARAN D'ACHE PABLO

#140
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CARAN D'ACHE SUPRACOLOR SOFT

#3888

Ultramarine Comparison Chart You can also do your own comparison chart. Just use this template.
Please note how each pencil reacts, the similarities and differences.
 The Drawing (Graphite) Pencil
Drawing pencils are made of graphite. Graphites come in different grades, hard and soft. H
means hard and B means soft. The higher the number on the pencil, harder or softer it is. For
example 2H is softer than a 9H and 2B is harder than the 9B. See the Graphite Pencil Chart
below.
Paper
Ah, paper. One of my great pleasures is going to a great art supply store, my answer to the mov-
ie Breakfast at Tiffany’s. In New York City there was such a store, New York Central. The second
floor was dedicated to paper—racks upon racks of different papers from around the globe. I
would stand among those racks looking and touching in order to discover a new paper to try.

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Unfortunately, New York Central closed in 2016, a great lost to the art community of New York

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City. It is now in the realm of legend. How do you experience paper? Touch the sheet, feel the

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texture and weight, and look for color. Color of paper varies even in whites. Choosing a paper

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is an important factor in achieving the results you want. Following are some things to keep in
mind.

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We will be working with 2B (shown here) and 8B drawing greater the chance of leaving an embossment (indenta-
pencils. I prefer to do preliminary sketches and drawings tions and rises) on the page. Embossing is a technique we

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with a soft pencil, because the harder the pencil, the will discover, but it needs to be a choice.

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This colorless blending pencil is an essential tool for color used as an in-between layer of wax for the next layer of

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pencil drawing. It smooths the pencil stroke, intensifies color. These pencils do not come in the sets and must be

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the color, and creates an even color transition from bought separately.
object to object, and stroke to stroke. It can also be

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The Colorless Blending Pencil
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The colorless blending pencil is just what its name implies. The shaft is wax that has no color Fiber Content: Cotton/Rag Fiber Content: There are two kinds of
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paper content: cotton
or pigment added to it. Each manufacturer has a different name for this pencil; here are three: Cellulose/Wood Pulp (or rag) and cellulose (or
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The highest quality paper is 100% cotton

Prismacolor—Colorless Blender; Derwent—Burnisher or Blender; Lyra—Blender. wood pulp). The paper you
(rag). This paper can handle a heavy workload, Cellulose papers are made from wood pulp. select is as important as
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including many erasures, layering of color, your pencils. Experiment

They have an acid content that will eventual-
to find which work best
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and a variety of techniques without showing ly destroy the paper and consequently your with your pencils and
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too much wear. Papers that are not 100% work—the more acidic the paper the shorter techniques.
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cotton but are called rag or cotton will not

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its lifespan. Think of a brittle old news-

hold up as well. Most important, cotton or paper that disintegrates at the touch. The
rag papers can last hudreds of years. The most one advantage of cellulose paper is that it’s
8H 4H H B 4B 8B
iconic drawings of our most admired artists inexpensive. There are now buffers put into
(like Rembrandt, Leonardo, and Turner) were the paper that can neutralize the acid, so look
Graphite Pencil Chart
done on 100% cotton/rag. for Ph-balanced paper when working with
cellulose papers.

18 MASTERING COLORED PENCIL IN THE BEGINNING, OR JUST START 19

 Texture or Finish
more layering, and just more. It will also retain its structure. In other TIP: When shopping for paper, keep
Most manufacturers of high-quality papers offer several kinds of textures and will specify words, it won’t buckle as easy as a lighter paper will. If you are work-
whether the paper is primarily for drawing, watercolor, or printmaking. We will mostly use
in mind that the first word of the
ing with watercolor pencil you might want to go up to 300 pounds
printmaking and watercolor papers. Each texture specified comes in three different varieties: because it will not warp or buckle when damp or wet, which means it
name is the company—Fabriano,
rough, cold press, and hot press. will not need to be stretched. Please note, the heavier the paper the for example. The second word is the
Rough, has a deep texture, the natural result of a sheet that air-dried without being pressed.
name of the paper itself—i.e,

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heavier the cost.

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I do not recommend rough for color pencils. It is best for watercolor and pastel because the
Format: To Pad or Not to Pad Artistico.

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pigment will pool within the recesses of the texture. Cold press has a slight texture and is very

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versatile. The paper is pressed between cold wet rollers in the drying process. The hot press Paper comes in several different formats: pads, books, individual

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produces a very smooth paper.by running the wet paper through hot rollers. Think of a clothes

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sheets, and blocks (a stack of paper bound together on all four sides
iron—the texture is gone, the surface flat. I recommend hot press for color pencil because it and mounted on a sturdy back board, see photo on page 102). Pads

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works well for highly detailed images as well as combinations of many different techniques. and books are good for sketching and working out ideas. They are also
portable and are easy to handle outside. Individual sheets are used for

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Sizing more complicated, detailed work that you want to work on for a long

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Sizing is added to paper to make it water resis- period of time, several days or longer. With an individual sheet of

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ROUGH tant. It allows the paper to retain the brilliance paper you can cut and shape it to the shape and dimensions you
of the pigment by not absorbing the color. It require. A block works really well with all wet media as it eliminates

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also allows for a crisper edge that will resist the need for stretching. Once the painting is dry, you remove the

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bleeding. Watercolor paper is sized. Printmak- sheet by inserting a knife between the layers of paper and carefully

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COLD PRESS ing paper and drawing papers much less so. If breaking the seal of the binding.

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you are using watercolor pencils, sizing helps When experimenting with the new medium of color pencil, it is
so select a sized paper. Printmaking paper best to start with a paper that has weight and some texture but is not

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is made to be soaked in water before it goes very expensive. For the purposes of this book, which has many exper-

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HOT PRESS through the press, so sizing is counterproduc- iments and exercises, I suggest a 20-sheet pad of white bristol paper,

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tive. It is very sturdy and works well with wax vellum not smooth. (Smooth has too much sizing and is resistant to
pencils. the medium.)

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Paper textures from top: rough, cold press, hot press. For my work I use a variety of papers. My favorite at the moment
Weight
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Papers come in a variety of weights, ranging 22" × 30" (56 × 76 cm) sheets. This paper is very versatile and can
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90 LBS
from copier paper at 20 pounds to 300-pound withstand solvent, water, and the multitude of punishments I put it
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heavy-duty sheets that feel like thick pieces of through. I can work as long as I need to, which is sometimes several
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mat board. The heavier the paper, the thicker weeks. I have also used Fabriano Tiepolo, Rives BFK, and Arches
and sturdier it is, and the more it can handle. Cover. All are white, individual sheets and 140 pounds. I’ll talk more
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140 LBS
Heavier papers are thicker to the touch, and
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about paper in Impressing (page 82).

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a good one can accommodate a multitude

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of techniques, including water and solvents,

embossing, layering, and many erasures.
300 LBS A paper’s weight is the number of pounds
in one ream (usually 500 sheets). I prefer Lisa Dinhofer, Two Marbles, 2003, pencil on paper, 13" × 15" (33 × 38 cm)
This two-marble sketch is a drawing from one of my sketchbooks. I drew the same
140-pound papers for color pencil because marble with two different light sources in order to decide which one was best for the
this heavier paper allows for more erasure, painting I was composing.
Paper weights, from top: 90 lbs, 140 lbs, and 300 lbs

20 MASTERING COLORED PENCIL IN THE BEGINNING, OR JUST START 21

 Pencil Sharpeners
Auxiliary Supplies
Of course you’ll need sharpening tools for your color pencils, and
Here are the other supplies you’ll need when working with colored finding the best sharpener for your needs requires some thought and
pencils, from erasers and pencil sharpeners to drawing boards and some experimentation. There are three different methods for sharp-
your studio setup. ening pencils.
Small handheld sharpeners make a very sharp point and are porta- Handheld sharpener

e
Erasers

.d
ble. Easy to control, you can adjust the pressure of your hand in order

e
For a color pencil drawing, two different erasers are needed: a knead- to get the point required. You can also feel when the lead is about to

in
ed eraser and a plastic eraser. break and adjust accordingly. I recommend the exposed blades rather

nl
A kneaded eraser feels like soft rubber or putty. If you ever played than the blades enclosed in a plastic or glass jacket because it is easier

t-o
with Silly Putty as a child, it is close to that texture. A kneaded eraser to adjust your pressure when you can see the pencil. These sharpen-

a@
Kneaded eraser is malleable, so you can shape it with your fingers. You can also clean ers dull easily, but they are relatively easy to replace since they are
the eraser by stretching and turning it over on itself as if you are inexpensive.

at
kneading bread or for that matter clay. This eraser is primarily used Using an X-Acto knife, mat knife, or single-edged razor blades X-Acto knife and razor

r
ab
for graphite, your drawing pencils, and comes in square and rectangu- will take some practice. Use caution because you are working with a

-c
lar shapes. very sharp exposed blade. Make sure you have a cover for your X-Acto
The plastic eraser is white and is made of plastic not rubber. The knife, use a retractable mat knife, and keep the sharp edge of your

e
single-edged razor blade covered with tape or cardboard when not in

.d
plastic eraser erases wax and is the implement you will use with your
use. Blood is not the best art supply. These tools are good if you want

ta
wax pencils. I would suggest two different formats or shapes of eras-

ra
er: one is a rectangle, which is good for removing large areas, the oth- a different kind of pencil edge, such as a chisel point for a flat stroke.
A sandpaper block can be used to shape and finish your point.

ab
er comes in a dispenser and looks like a pen. The pen eraser is good
for detail and precise work. You will find that your erasers are not just There was a time when rotary action sharpeners (manual or elec-

.c
tric) ate the color pencil completely. Technology in all areas advances,

w
Plastic eraser
for eliminating mistakes but can also be used as drawing tools.

w
and there are now rotary sharpeners that can handle color pencils.

-w
A rotary sharpener is faster and may be more convenient if you are
Rotary action sharpener
working in one place, but they do have a tendency to clog, so you

G
need to clean them. Check the manufacturer’s instructions to make
TIP: When you are buying individual pencils,
U
ta sure you are using the right one for your pencils.
inspect the end of the pencil for centered After experimenting with all types, I found that small handled
ra
WRONG
leads. An off-center lead will never sharpen sharpeners work the best for me. Stopping to hone the point gives me
ab

time to think of my next stroke or color. I keep several sharpeners at

properly
:C

my drawing board along with a plastic take-out food container for the
pencil shavings, which makes disposal simple at the end of the day.
ts

End/cross-section diagram of a pencil. RIGHT

h
ig
R

Electric sharpener
Plastic pen eraser

22 MASTERING COLORED PENCIL IN THE BEGINNING, OR JUST START 23


A pencil extender is a shaft of wood with a tube-like metal
fastener at one end. Place your nib in the metal recep-
tacle and tighten. This tool will lengthen your pencil’s life
for one or two more sharpenings. See Extending Pencil
Life Using Superglue on page 86 in Chapter 4 for more
details.
When your pencil nib falls from the extender, you can
bind it to another new pencil of the same color using
superglue. Place a dot of glue, or brush on a tiny portion
of glue, onto the flat, unsharpened end of the new pencil.
Place the flat end of the nib directly onto the flat end of
the new pencil, lining the shafts up, and hold together
until the glue sets. It may take a little practice to line
the shafts up, but I have found this method extremely
successful and it has saved me money and time. See
Extending Pencil Life Using Superglue on page 86 for more
details.
24 MASTERING COLORED PENCIL
Pencil Extenders and Superglue Masking Fluid, Masking Film, and Artist Tape
If you are at all like me eventually you will sharpen your pencil down The basic idea of a mask is to protect the white of your paper. Mask-
to where you can barely hold it. There are two ways of extending the ing fluid, masking film, and artist tape put a material barrier between
life of the nibs (the left over pencils). See Chapter 4 for more details the paper and your medium. (In watercolor it keeps the paper from
about extenders and extending pencil life with superglue. being saturated with color while you are working an area.) It can be
easily removed to reveal the paper. This technique comes in handy Masking film
e
.d
when you need to frame your drawing, save a brightest highlight, or
TIP: Notice that the name of the pencil color and the
e
protect one area as you work another.
in
ID number are printed on the shaft at one end of each Masking fluid comes in a bottle and is a liquid rubber. It can be
nl
pencil. Make sure you sharpen at the opposite end so painted on, looking like a brushstroke, or it can be shaped to fit a
t-o
small area. Once applied you must wait till it is completely dry before
that the color and number remain visible. As you get
a@
working over it. Masking fluid can be removed with your finger, twee-
close to the end of the pencil, write down the name zers, or a tool called a “pick up.” Apply the fluid with a very old, coarse
at
and number so that you can easily replace it. brush, a disposable one, or a cotton swab. If you decide color pencil
r
ab
is the medium for you, invest in a “colour shaper,” a rubber-tipped
-c
brush and my favorite tool for applying liquid mask.
Solvents Masking film is commonly known as frisket. It’s a clear film that Artist tape
e
comes in sheets and peels off a wax paper backing. It can be cut to
.d
Solvents can create a fluid line or a wash by melting the wax of the
a shape and applied to your drawing. You can also create a stencil
ta
color pencil. You apply them using a brush, sponge, or Q-tip. We will
ra
explore such techniques fully as the book progresses. with it.
Artist tape is a low-tack tape that is applied to the paper to create
ab
There are several kinds of solvents:
• petroleum based such as turpenoid or gamsol a straight line. You can use it to create a frame around your drawing
.c
• citrus based, such as Zest-it or cut and shape it.
w
Tracing paper is so thin you can see through it, a handy feature
w
• and alcohol based, such as Blender pens
-w
for tracing. It is very useful for working out drawing problems and
transferring drawings from one page to the next.
G
When you work with individual papers, you will need a drawing
U
Tracing paper
ta board (hard backing) to work on. Be sure your board has a smooth
surface, is light enough to move easily, and will not resist the tape
ra
securing your drawing to it. Drawing boards are available in most
ab
art stores. The smallest board I would recommend is 18" × 24"
:C
(46 × 61 cm). Smaller works can be fastened to the cardboard back-
ing of a sketch pad.
ts
h
ig
R
Solvents, from left: gamsol, Zest-it, and turpenoid. In front: Prismacolor.
Drawing board
IN THE BEGINNING, OR JUST START 25
 Alternative Sources for Art Supplies
As we near the end of the supply list, it seems a good place to discuss alternative
sources for your art supplies. From sponges to cotton swabs to take-out plastic con-
tainers to brushes, art supplies are available in more than art and hobby stores. I’ve
found some of my best tools in drugsstores and hardware stores.
Whether you use makeup or not, the makeup section of your local drugstore or

e
.d
department store is a great source of a variety of sponges, brushes, and other tools

e
for your drawings.

in
nl
• A large powder brush is good for removing pencil and eraser residue and keeping

t-o
your paper clean.

a@
• A plastic take-out food container is essential for holding your shavings as you
sharpen the pencils.

at
• Very small glass jars such as baby food jars and tiny jam jars are a great way to

r
ab
hold solvent and water since they have a tight lid. Solvent won't dissolve glass as

-c
it would do with plastic.
• An inexpensive or disposable eyeliner brush is good for applying masking fluid

e
.d
and solvent.

ta
• Makeup sponges (not household sponges) are a good tool for spreading solvent

ra
and water.

ab
• Eye makeup cotton swabs are a must. They are different from regular cotton

.c
swabs. They are densely packed and

w
are shaped in points or a wedge.

w
-w
• Eye Tees and Nail Tees are two prod-
ucts I find incredibly useful for apply-

G
ing masking fluid and small blending

U
areas. ta
• You will also need paper towels for
ra

blotting and cleanup. Be resourceful Chinese White (Watercolor)

ab

and experiment. and Acrylic White Paint

:C

O P P O S I T E : Lisa
Dinhofer, 31 Marbles and
ts

The purists of watercolor painting consider using a

a Mouse, 1997, pencil on
h

paper, 15" × 13" white paint to enhance highlights to be cheating. I

ig

(38 × 33 cm) feel whatever gives you the result you want is fine.
R

This drawing was a very

detailed study for a paint-
ing. It is the exact same
size as the painting. I work
out all my compositional
Makeup sponges problems in a drawing
first.
The white paint rides the surface of your paper.
Therefore if a highlight is missed you can replace it
with white. This technique will be explored more as
we get further into the book.
Acrylic white paint is good for wax- Chinese white watercolor is good
based pencils. for watercolor pencils. It comes in
small tubes and is usually found in the
watercolor section of the art store.

26 MASTERING COLORED PENCIL IN THE BEGINNING, OR JUST START 27

 e
.d
e
in
nl
t-o
a@
rat
ab
-c
e
.d
ta
ra
ab
.c
w
w
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Studio Setup

G
My studio is set up for all media. My large windows Some tips for setting up a workplace:

U
face northwest, which means the light is consistent • For colored pencil any surface will do—a desk, a
ta
throughout the day. It also means that I will never standing easel, a table easel, or a kitchen table. The
ra

leave this place. I like mobility when I’m working in most important tip I can give you is to be comfortable.
ab

colored pencil. I might want to do a large piece on an • Set your pencils up so that you can see them and
:C

grab them easily. Have your erasers, sharpeners and

easel or a study at a table. Therefore, I set my pencils
other auxiliary tools in easy reach. Don’t worry about
ts

up on an old television stand that is on wheels, and I messing up the order of your pencils. It happens and is
h

happily roll it wherever my fancy leads me. part of the fun.

ig

You will eventually find your own ideal set up. The • Find a well-lit area. Try working in different lights and
R

most important thing is to start. at different times of day. Try by a window for example,
and then try by artificial light.

O P P O S I T E : Lisa Dinhofer, Lunar Eclipse #2, 2011, colored pencil In this moon study, I used a solvent wash in the background. This
on paper, 30" × 22" (76 × 56 cm) allowed me to cover a large area with color. I then layered more
color onto the surface by using the pencils directly.

28 MASTERING COLORED PENCIL

 CHAPTER 2

“ The artist never entirely knows—we guess.

We may be wrong, but we take leap after leap in the dark.”
AGNES DE MILLE, CHOREOGRAPHER

e
e .d
in
PENCIL VOCABULARY

nl
t-o
LEARNING ABOUT YOUR COLOR PENCILS

a@
rat
III

ab
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N O W T H AT Y O U H AV E I N V E S T E D T I M E I N L E A R N I N G

e
.d
ABOUT THIS MEDIUM, b
 ought the supplies, and found a place to

ta
ra
work, you are poised to start drawing. But how? What can your array of

ab
pencils do? Let me stress, the only limits to success with this medium

.c
w
are self-imposed. Once you’ve experienced what the pencils can do, push,

w
push, and push again. Allow the pencils to surprise you. Experiment,

-w
skydive into the medium, play with it, and have no fear. But first a few

G
U
guidelines will help jump-start your process. It’s important to experience
ta
the full range, variety, and effects of what color pencils can do.
ra
ab
:C

Lisa Dinhofer, Cicada, 2012, colored pencil on webbing in the wing. I used both the white pencil as a
ts

paper, 22" × 30" (56 × 76 cm) burnisher and the blending pencil to get a transpar-
h

The cicada with the open wing is fascinating. It gave ent quality.
ig

me a chance to work on the translucency of the

R

31
 Watercolor Pencil
Achieving Different
Supplies: Derwent Inktense pencils, watercolor brush,
Pencil Effects white plastic eraser
As with the graphite and wax pencil drawings, I
There are as many ways to approach a drawing as there built the form here by crosshatching and layering blues,
are artists. I thought the best way to illustrate the greens, and yellows over the surface of the pear and in

e
media choices color pencil artists make was to render

.d
the shadows, where I used purples, reds, and yellows.
the same pear four different ways using four different

e
Using a brush dipped in water, I then skimmed the

in
media—graphite, wax color pencil, watercolor pencil, surface, blending the strokes of the pencil together. This

nl
and wax with burnishing and layering. Each drawing is creates a wash-like surface. After the paper dried, I went

t-o
7.5" × 11" (19 × 28 cm) with the pear taking up 75 over certain areas again with the pencils to pick up some

a@
percent of the picture plane. I used the same paper textural effects.
for all four drawings: Fabriano Artistico, 140 pounds,
Wax Color Pencil with Blending and

at
extra white. Using the same paper makes it easy to see
Burnishing

r
the textural differences that can be achieved with color

ab
pencils.
Supplies: Prismacolor Premier pencils, white pencil,

-c
Graphite Pencil blending pencil, plastic eraser, pen-shaped plastic eraser

e
As with the other three drawings, I built this surface

.d
Supplies: Venus graphite drawing pencil #2B, Prisma-
with a variety of color pencils. Then, using a blending

ta
color kneaded eraser
pencil, I worked the whole surface. After blending, I add-

ra
In the graphite pear drawing I used only a #2B
ed another layer of color and then used the white pencil

ab
pencil and a kneaded eraser. This is a detailed black-
to take the color down a step and give the drawing a

.c
and-white rendering. I built the surface of the drawing
glazed, painterly look. The use of the white and blending

w
by a continuous layering of crosshatched pencil strokes.

w
pencils eliminates the previous pencil strokes and lets
I used the eraser to first correct the initial drawing

-w
you add another layer of color on top. This is a painting
problems and then to define the highlights. Because
technique using color pencils.
you can shape the kneaded eraser, it becomes as much

G
Conclusion
U
of a drawing tool as the pencil.
ta
Wax Color Pencil Study all four renditions. Each is different. Each embod-
ra
ies a different feel, a different atmosphere. Choosing the
Supplies: Prismacolor pencils, white plastic eraser, pen-
ab

technique depends on the mood you want to portray in

shaped plastic eraser
:C

your drawing. I will do a graphite drawing to learn about

Using only pressure from the weight of my hand
my objects: the texture of a dragonfly wing or the trans-
ts

and crisscrossing the pencil strokes, I drew this color

parency of a marble. I will do a color pencil drawing as a
h

pencil rendition of the pear as if I was doing a graphite

ig

color study for subjects that will eventually die, for exam-
drawing. I slowly built the surface of the pear with a
R

ple a flower. The watercolor pencil drawing and the more

variety of blues, greens, and yellows. The shadows were
elaborate pencil drawing with blending and burnishing are
rendered in purples and blues.
unique pictures complete in and of themselves. In other
 
words each of these techniques has its own purposes and
can be applied in a thousand different ways.

32 MASTERING COLORED PENCIL pencil vocab u lar y 33

 strokes, take the intensity of the color down a
PRISMACOLOR
Blending, step, and sometimes change the value slightly.
Burnishing, Burnishing can also be done with light-val-

and Solvents ue colored pencils such as Prismacolor Cream,

French Gray 10%, Cool Gray 10%, or Shy Blue
Light. These pencils have pigment, so they
In both blending and burnishing, you are

e
CRIMSON LAKE ULTRAMARINE BLUE + will change the color of the under pencil. See

.d
CRIMSON LAKE  adding a top layer of wax that alters your
example on opposite page.

e
Effects using a blender (blending pencil). previous pencil strokes. Blending and bur-

in
nishing pencils are also mixing tools. They Solvents

nl
can smooth the transition between colors.

t-o
Basically, solvents melt the wax or oil of your

Blending Pencil pencil. Therefore a solvent—such as gamsol,

a@
PRISMACOLOR turpenoid, Zest-it, or alcohol—it will remove
A blending pencil has no pigment. It is a

at
the stroke, enhance the underlying color, and
column of wax (Prismacolor) or oil (Lyra)

r
create a wash-like movement on your page.

ab
encased in a wood frame (the shaft) of the
Solvents combined with blending and bur-

-c
pencil. The effects are the same. The wax
nishing will create a color pencil painting.
pencil is a dryer and has a crumbly texture.

e
.d
The oil pencil runs a little smoother but
CERULEAN BLUE LEMON YELLOW + CERULEAN PRISMACOLOR

ta
BLUE doesn’t enhance the color as well. If you

ra
are working with wax pencils it is better to
Here you’ll see the effects of white pencil burnishing.

ab
continue with the same base in your blend-
Basic solvent tools: mineral spirits (like gamsol), cosmetic cotton swabs, cosmetic
ing pencil. The blender will enhance the lip or eyebrow brush, makeup sponge.

.c
color of the color pencil, smooth the stroke

w
w
(but not eliminate it entirely), and blend

-w
PRISMACOLOR two or more colors together (see illustra-
BASE COLOR: MAGENTA tions). Both pencils can be sharpened with POPPY RED
N O T E : Do not saturate your paper with solvent.

G
the pencil sharpener of your choice.

U
This leaves a discolored border at the edge and
Burnishing
ta
can ruin your paper if it is not primed with gesso.
ra
Burnishing is a technique unique to color
ab

pencil. The closest effect I can compare it to

:C

is glazing. In painting, glazing is a tech-

nique whereby a light layer of color covers
ts

CREAM FRENCH GRAY COOL GRAY SKY BLUE LIGHT 

the surface to produce a gradual change. It CANARY YELLOW + POPPY RED
h

10% 10%
ig

can enhance the form by building into the

R

Here is an example of burnishing with color. Note the changes and the glazing effect.
Burnishing can also change the atmosphere and temperature of the surface by
creating layers of color. This is a way of painting with color pencils.
darks. For white-pencil burnishing, use the
white pencil, which is softer than a blend-
ing pencil, to spread a fine film of wax over
a designated area of your drawing. This
will smooth the surface, remove the hand
Using a cotton swab, sponge, or brush, apply the
solvent just to the top layer of wax color pencil. I have
found this technique very useful in covering large areas
of color quickly. The downside is it cannot be erased,
and further layering on top of the solvent-saturated
surface is limited. On the other hand the solvent will
not buckle your paper, as water will, so stretching the
paper is not necessary.

34 MASTERING COLORED PENCIL pencil vocab u lar y 35

 WORKBOOK EXERCISE:
CREATING COLOR PENCIL GRIDS
Throughout the exercises and homework
assignments we will be working with the two
characteristics of the medium—the “color”
and the “pencil” delivery of the pigment—
separately and simultaneously. This sounds
contradictory but is inevitable since the pencil
itself cannot be separated from the color.
I developed this series of exercises that use
a simple grid format to show the versatility of
the colored pencil. These grids are a teaching
tool that demonstrates how the pencils work,
including texture, color, and density.
For the following grids I chose groups of
specific pencils. They form what is known
as a warm/cool palette. (We will get into the
variants of color itself in the next chapter,
starting on page 47.)
Note: These are primary color variants—
red, blue, and yellow. Each color has different
properties. Again, I will go into detail in the
next section. Right now it is important to get
to know your pencils and experience what they
can do.
Supplies
• Prismacolor Premier, wax-based pencils
• 2 Blues: Ultramarine Blue, True Blue
• 2 Reds: Poppy Red, Alizarin Crimson
• 2 Yellows: Canary Yellow, Lemon Yellow
• 1 White and 1 Blender pencil
• Solvent (turpenoid, gamasol, Zest-it, or
alcohol)
Coloring the Grids
Here, and throughout the book, I’ll pres-
ent one completed exercise grid, and one
36 MASTERING COLORED PENCIL
blank template grid, so you can do the same
e
.d
exercise yourself. I encourage you to do these
e
exercises. They are a very fast way to acquire a
in
working vocabulary of color pencil technique.
nl
Here is a breakdown of the process.
t-o
a@
1. Label Your Grid
Before applying the colored pencils on the
at
grid, please label your grid following the
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ab
example of the completed grids that follow.
bring out different effects. In the top row in step 2. Then use your blender, pressing Lisa Dinhofer, Bugs on
-c
It is important to label your exercise because Parade, 2011, colored
of the grid, the color is pencil only. This row uniformly over the applied color. Notice how pencil on paper, 9" × 31"
these grids will be a reference for the particu-
e
acts as your control of the color. In the first the blending pencil enhances the color as well (23 × 79 cm)
.d
lar color. Plus, once the grid is complete, you Choosing the configura-
box (far left) press down hard on your pencil as softening your stroke. tion of your picture plane
ta
may not remember what utensil made which
in order to lay down the densest amount of (the boundaries of which
5. Row 4: Colored Pencil Plus Solvent
ra
effect. are the four corners of
wax and pigment. In the second box (center) your page) is essential.
ab
You can repeat this grid for any wax-based Color the fourth row of the grid as you did
use a medium weight of your hand to create Here I wanted to stress
color pencil. the first three rows, then apply the solvent. the march of the insects. I
.c
a middle tone. In the third box (far right) use chose a long narrow piece
The solvents for a wax pencil are: turpenoid
w
2. Row 2: Colored Pencil Plus White for a light hand, hardly pressed down. The white of paper to enhance the
w
or gamsol (petroleum derivatives), Zest-it (a concept of the march.
Burnishing of the page should be apparent with a slight
-w
citrus derivative), or alcohol. I recommend
In the second row of the grid, you’ll use color film of color. The three boxes together should
turpenoid or gamsol. The solvent melts the
pencil plus a white pencil. Using your white
G
feel like a gradation of color across the surface
wax and forms a wash. The effect can be very
U
pencil is not just for a value change, although from dense to transparent.
painterly. It is also a good way to lay down
it will step down the intensity of your color.ta Note: Repeat this process throughout the
a large swath of color quickly. Your paper is
As you will observe, the white pencil will also
ra
grid. Each subsequent line should have, from
not protected by a primer (like gesso), so it is
remove your stroke lines. This is known as bur-
ab
left to right, a dense tone, middle tone, and a
important that you skim the surface of your
nishing. You are putting another layer of wax light tone of color pencil.
:C
color with the solvent rather than saturating
on the page and smoothing the surface. Color
4. Row 3: Colored Pencil Plus Blender for it. The solvent may destroy your paper if you
ts
the squares in the second row with your color
Blending use too much. Use a cotton swab, sponge, or
h
pencil first, moving left to right, from darkest
ig
The blending pencil is devoid of color. It is a brush to apply the solvent.
to transparent as you did in step 2. Then go
R
shaft of pure wax. The blender will enhance
over each square with the white pencil. The
your color and put another layer of wax on the
pressure of the white pencil should be uniform
paper. Blending will not remove your stroke
across the row.
entirely but will soften it. Color the third row
3. Row 1: Weight of Your Hand for Pure Color of the grid with your color pencil as you did
How hard you press down on the pencil will
pencil vocab u lar y 37
 PRIMARY COLOR GRIDS SECONDARY COLOR GRIDS

WARM COOL WARM COOL

PENCIL
PENCIL

PENCIL

SPANISH ORANGE
+ WHITE PENCIL

CRIMSON RED
POPPY RED

+ WHITE

ORANGE
e
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PENCIL
PENCIL

e
+ BLENDER

in
+ BLENDER

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PENCIL
+ SOLVENT PENCIL

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+ SOLVENT

r at
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ta
CANARY YELLOW

LEMON YELLOW

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MULBERRY

VIOLET
ab
.c
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w
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G
U
ta
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ab
:C
hts
ig

SPRING GREEN
ULTRAMARINE

TRUE GREEN
R

TRUE BLUE

38 MASTERING COLORED PENCIL pencil vocab u lar y 39

 Surfaces
Color pencils can be used on many different
surfaces. Paper, of course, but you can also ex-
periment on clay boards, gesso canvas boards, 90-pound vellum (from a pad)

e
or 2- or 4-ply museum board. Any hard, flat,

.d
prepared surface will do.

e
For this book we will concentrate on work-

in
ing on a paper surface. I find paper to be very

nl
t-o
versatile—the surface can be as smooth as a
mirror or rough as a sandy, pebbly beach—the

a@
choice is yours. As described in the Supplies
section (page 19), paper comes in different

rat
weights (how thick is it) and different textures 40-pound Fabriano Artistico, Extra White, hot press paper

ab
(smooth to rough). The heavier (thicker) the

-c
paper, the longer you can work on it and the
more punishment it can take—i.e., you can

e
.d
erase many times, add solvent, add layers

ta
of pigment, and burnish and blend without

ra
damaging the paper. (We will explore other

ab
techniques that work on different surfaces as

.c
the book progresses.)

w
The illustrations at right show five differ-
300-pound cold press paper

w
ent papers of varied weights and textures.

-w
I have done a sample on each paper type in
order to show the differences in texture and

G
what the pencil can do.

U
ta
ra
ab
:C

40-pound rough paper

hts
ig
R

2-ply museum board

Blank Grid Template pencil vocab u lar y 41


Colored Pencil Reference Book
One of the most useful tools in my own studio
is the colored pencil reference book. I devel-
oped it to solve a basic problem I was having.
I like to work my pencils down almost to the
42 MASTERING COLORED PENCIL
MAKING A COLORED PENCIL
REFERENCE BOOK
nib, and thereby sharpen away the pencil’s col-
or name and reference number. When I found Supplies
I needed a particular pencil to complete a piece • 1 small landscape sketchbook
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or a passage, I had absolutely no idea what the • I used a 31⁄₂" × 51⁄₂" book. You can put two colors on each page. Prismacolor has
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name or the reference number of that pencil 150 colors, so you’d need at least 75 pages for your references.
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was. I would try to match the color in my art • 1 ruler (to map out your grid)
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supply store, which sometimes worked but of- • 1 fine point ink pen (to draw your grid)
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ten didn’t. After several frustrating experienc- • 1 pushpin
es I decided to create a reference book where I • All your color pencils
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would color a grid with the pencil and record
the color name and reference number under 1. Label your book along with your name and contact information. On the first
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page, record the pencil company name and pencil type, for example: Prismacolor
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it. Why didn’t I just use the color chart from
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the pencil’s manufacturer? Because a printed Premier. Keep each manufacturer separate. You can divide into sections, or use
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color chart does not give you the exact color or separate books for each manufacturer.
texture of the pencil. Creating this reference 2. Draw your grid using the pen and ruler. I make a nine-box grid three boxes
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across by three boxes down. In each row, I show the gradation of the color from
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book takes quite a bit of time and is not for
transparent to dense (light, middle tone, heavy). The first row is for pencil
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the faint of heart. In fact it is something for
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the totally obsessive person, like me. alone, the second row for pencil and blender, and the third row for pencil with
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white.
3. Your grids should be the same size from page to page. I didn’t want to measure
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The cover and page 37 of my personal colored pencil
reference book. a new grid for every page, so I used a pushpin to pierce each corner of the grid
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through to the next page. You can use these pin dots for ruler placement as you
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draw the new grid. The more pressure you put on the pin the more pages you
will mark.
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4. Under each grid, record the name and reference number printed on the pencil,
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ta for example, Ultramarine, PC 902.
5. Color your grid as outlined in step 2 above.
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Uses for the Colored Pencil Reference Book
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There are two main uses for this book. The first is to figure out
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the name and reference number of any pencil, so it can be
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replaced. The second is to see what this particular colored pencil
can do. As you get further into this medium, knowing the range
of the color and the texture of a particular pencil will become
important.
pencil vocab u lar y 43
 How to Use the Reference Book HOMEWORK ASSIGNMENT #1:
When your pencil is sharpened past the name and num- DRAW YOUR BREAKFAST
ber, take the nib and a swatch of scrap paper and color a
square at the edge of the paper. Place the colored swatch Every time I give this assignment someone will inevitably say, “I
against the reference grid. Compare the colors until you don’t eat breakfast.” My reply is, “You don’t eat at all during the day?”

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find the right one. Now you know the exact pencil you Breakfast is simply breaking your fast from the night before. So,

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need to purchase. think about whatever breaks your fast and draw that. 

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Purple color reference swatch

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Laying the purple swatch on the grid.

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Edward Zimmerman, 2015, colored pencil, 6¼" × 7" (16 × 18 cm) Satoko Takahashi, 2015, colored pencil, 11" × 14" (28 × 10 cm)
Success: Ned's success lies in his color choices. The two dominant colors Success: Satoko’s success lies in her choice of subject: an iconic fast-
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are primaries, yellow and blue. They are equal and opposite at the same food sandwich. This choice is personal and universally recognizable at
time. This creates a dynamic interaction on the page. the same time, a reflection of the time in which we live.
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Identifying the correct color for the pencil.

44 MASTERING COLORED PENCIL pencil vocab u lar y 45

 CHAPTER 3

“ Color is my day long obsession, joy, and torment.”

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C L A U D E M O N E T, PA I N T E R

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ASPECTS OF COLOR

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III

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AH COLOR! C
 olor is an integral part of any visual medium—drawing,

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painting, graphic design, animation, sculpture, absolutely all. Color sets

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the mood, the emotion, the temperature, the depth. Color is magic!

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We artists are like magicians because we create illusions on a two- or

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three-dimensional surface. As with all magicians, our sleight of hand can

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be learned, but unlike magicians our techniques are not secrets. In this

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section we will explore the limitless world of color.

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Lisa Dinhofer, Red-Headed Woodpecker, 2009, These are drawn differently and treated to different
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colored pencil on paper, 22" × 30" (56 × 76 cm) techniques. For example in the bird there is a good
Note the change in texture between the bird and deal of burnishing, while on the ground I let the
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the ground. The only two elements in the picture texture of the paper come through without layering
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plane, they need to be distinct from each other. or burnishing.

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47
 The Vocabulary of Color WHITE

Color is a visual experience. Learning the Hue

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terminology that explains that experience is
Hue is simply color or chroma itself. It is the WARM GRAY 50%

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essential in understanding the properties of
name of the pure pigmentation of a particular

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color, what color can do, and what it already TRUE BLUE 

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color.

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does. Some of these elements you know intui- COOL GRAY 50%
Value

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tively; some you have to learn.
There are three basic categories of color:

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Value is the scale of color from light to dark.
hue, value, and intensity, all discussed here. BLACK
Within that range/scale, there is shade, the

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We will be going into these concepts in more
mixture of a color with gray or black, and

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detail toward the end of this chapter.
there is tint, the mixture of a color with white.

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There is an interesting difference between
VALUE / INTENSITY GRID:

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the value of a color and the shade of a color.

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BLACK TO WHITE 
With a tint, the addition of white to change

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Hues of two colors, blue the value of a color does not change the basic

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and yellow.
property of the color/hue itself. But by adding
WHITE

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gray or black to the color to create a shade of

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the color, the essence of the color itself changes.
HIGH

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LIGHT Unlike the color white, black essentially is

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another color, like red or blue or yellow, when

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BLUE  YELLOW it comes to mixing it with other colors. This is
LIGHT
why I have not included the addition of gray

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LOW
or black as an essential property of a color.
LIGHT
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Intensity
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Intensity is the degree of brightness in

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HUE
Here’s an example of cre- the color. Intensity defines the purity and
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ating values of Crimson

HIGH strength of the color. How red is the red you
Red by adding white.
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DARK are using?

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DARK ABOVE The values (left) and shades (right) of True Blue.
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L E F T This is an illustration of value versus intensity. On

LOW the left of the scale is the value; on the right is the color
DARK intensity.

BLACK

48 MASTERING COLORED PENCIL aspects o f color 49