Serious: A Story of Triumph

The Best 2016
Workshops
Keeping your Resolutions
A Story of Triumph
Creating Sea Creatures
SERIOUS
About Cartooning
DERWENT GIVEAWAY!
WIN PASTEL PENCILS
ALL MONTH LONG!
Lesson:
Exercise in Red
FEATURING: MARTIN AVELING
Platte Productions Publishing.com
01
January 2016
$7.99 USA
coloredpencilmag.com
JANUARY 2016
CON T EN T S
departments
05 PASTEL PENCIL GIVEAWAY
Derwent is giving five sets of 24 pencils
to our readers. Enter weekly!
06 CREATING SEA CREATURES

Tim Jeffs renders ocean dwellers with
such bold, beautiful colors they practi-
cally swim off the page.
23 SERIOUS ABOUT CARTOONING

It’s not just about realism. Character artist 26 2016 WORKSHOPS
Our list of some of the best workshops for the
Cesar Deferrari brings to life his subjects with
colored pencils in a way that you won’t soon coming year along with how to sign up.
forget.
28 MY STORY OF TRIUMPH 14 FEATURED ARTIST

Ivor Harrison has lived with the scars and pain of
serving his country and shares how art has helped What an honor to have Martin Aveling as
him find a better future. our first pastel pencil featured artist. His
passion and hands on experience with
African wildlife comes through in a beauti-
ful and personal way.
2 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

features
magazine
10 Q&A
Amie Talbot doesn’t just advise but leads by example. Read how
keeping her resolutions resulted in success in 2015. Editor-in-Chief & Creative Director
Sally Robertson
Copy Editor
12 SKETCHBOOK Kimberly Woods

Associate Editor
What’s new and in the news Melissa LeGates
18 THE CLASSROOM Contributors

Martin Aveling
Lesson #13 “Exercise in Red” by Alyona Nickelsen Cesar Deferrari
Mananeh Hamimotlagh
Ivor Harrison
Tim Jeffs
Alyona Nickelsen
Agnieszka Przyborowski
Jennifer Rosebush
Amie Talbot
Sponsors/Advertisers
Derwent
Jerry’s Artarama
UART Pastel Paper
Publisher
Platte Productions LLC
www.platteproductionspublishing.com
Print & Distribution

MagCloud
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Subscription Information
30 GALLERY www.coloredpencilmag.com/subscribe
Colored pencil art showcase Print & Digital Purchases

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contact@coloredpencilmag.com
31 ART CHALLENGE P.O. Box 183

Efland, NC 27243
Take the January Art Challenge & win great prizes from our
sponsor.
Copyright © 2016
Platte Productions LLC
COLORED PENCIL Magazine
app.coloredpencilmag.com google.coloredpencilmag.com All Rights Reserved
All rights reserved. The contents of this publication

Cover Art by Martin Aveling may not be reproduced in whole or in part without
permission from the copyright owner.
“Sumatran Orangutan (mother and baby)”
COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 3

EDITOR’S NOTE
H appy New Year! What a thrill to be on our 6th year of publication. I can hardly believe it, and
because of your support we are growing faster than ever. We have seen this medium really take off, and
it has been so much fun to see all the outstanding work that has been created using shared knowledge
to make the art just that much better.
Since we are embracing our fellow pastel pencil artists, we deemed it only fitting to feature the artwork
of one of my personal favorite pastel artists, Martin Aveling. His work makes me get right up close to
my monitor, studying every bit of it. I love that you can see the individual strokes from his pencils, and
I know you will want to give it a try, so we are thrilled to announce that Derwent is giving away over
$400 in pastel pencils just to our readers! Be sure to enter the giveaway each week throughout January
to better your chances of winning.
You might notice that this issue is a bit thicker than usual. That’s because it is - it’s 33% longer! The
number one response we get to the magazine is that readers want more. In order to do this we took on
our own distribution so that we could keep the same low price for our subscribers. To save money and
never miss an issue, be sure to subscribe at www.coloredpencilmag.com/subscribe.
To our subscribers, you will notice a surprise in this month’s package - a sample piece of UART 800
grade pastel paper for you to try. This is great for any pencil, and at almost $3 per sheet we are thankful
for the freebie! It is also the perfect paper for the lesson inside. Not a subscriber? We still have some
left. The first 200 individual print issues sold will come with a sample. Get yours while they last at
www.coloredpencilmag.com/issues. We hope to bring more surprises in future issues, exclusively for
our subscribers.
One last note, due to our new production schedule we are bumping the Art Challenge winners to the
February issue, so look for that next month.
Enjoy your extra content and let me know what you think!
Sally Robertson
Editor-in-Chief
sally.robertson@coloredpencilmag.com
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COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

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Creating Sea Creatures
with Commercial Artist Tim Jeffs
After graduating with a BFA in illustration in 1987, I got a job at a large New York
City book publisher as a creative director. I’ve been fortunate to have worked there
ever since. Creating art and design has been such a rewarding career for me and
something I will continue to do as long as I can.
I grew up in Rockville, Maryland and I am one of 8

children. In high school I was lucky enough to have
an art teacher who changed my life and influenced me
to realize that art was a career path I should pursue.
Oroon Barnes is his name, and he had a profound
effect on countless students that he taught over his
many years as a high school art teacher. His number
one focus for his students was to create portfolios that
art colleges would notice, and he was very successful
at doing this. Because of him, I was accepted into a
nationwide contest for high school students called the
Presidential Scholarship Award contest. I competed for
a week in Miami Florida against top high school artists
from all around the country and was awarded a silver
metal. This contest was a recruiting platform for art
colleges around the country and from it I was offered
scholarships to many of them. I ended up attending
Parsons School of Design in New York City.
Growing up in Maryland, I always dreamed of going to New York

City to study art. When I was lucky enough to be awarded a scholar-
ship to Parsons in New York I jumped at the opportunity. Parsons
was an amazing experience for me. The level of creative people I
was exposed to was extremely enlightening to me as an artist. There
is nothing more important to an art student than being exposed to
other artists who challenge them, who can look at a task and see the
solution completely different than they ever would have. This makes
you grow as an artist. In the first semester at Parsons I learned more
about art than I did in all of my previous years. The teachers were
incredible, and my fellow students pushed me in ways that I would
have never been exposed to if I had stayed in Maryland. Also, being
in New York City, where I was able to visit some of the best museums
in the world and see shows of the masters on a regular basis, was life
changing.

If there is one thing I learned about creativity it’s that no
matter what you are working on, be it designing a book, a
magazine, a website, or a painting or drawing, everything
can inspire you to be extremely creative. Good art and
design go hand in hand. I get as much satisfaction out of
making a website beautiful and enjoyable for users as I do
creating one of my animal drawings.
I am someone who loves extreme detail. Not everyone

does, but if you do like it there is a very easy way to
create ornate drawings without it becoming frustrating
or monotonous. Think of the drawing as a collection
of drawings. Break the drawing down into small areas,
and think only about one of those areas at a time. This
way you concentrate on a very small piece of the overall
drawing, which will help you relax and enjoy the draw-
ing process. Once I figure out the pattern I want on a
particular part of my creature I focus on only the imme-
diate area and then work in sections. Before you know it
large areas of the overall drawing are finished.
It’s amazing how very complex patterns can

look simple to the eye if they are uniform
and consistent. When I take on a drawing
of an animal that has lots of scales or wrin-
kles I usually think of the overall pattern as
a base color that I can build my shape and
shadows on top of. I’ll finish a part of the
animal’s body with the detail work and then
shade on top of the pattern to create depth
and shape. To make the drawing more man-
ageable, I take one scale, wrinkle, or bump
at a time and break it down into a build-
ing process, just like a bricklayer would do
when building a large brick wall. If you are
going to commit to such a complex piece
you can never get frustrated with slow prog-
ress. I find excitement in seeing the drawing
slowly come to life, not rushing to the end.

I am fascinated by the unique qualities, abilities,
history, and in some cases survival of animals.
Learning about the specific animals is half the
fun of creating the drawing. Therefore, each piece
becomes a fascinating learning experience. Before I
do any drawing I begin a process of researching, in
great detail, that particular animal. I do this because
I want to know everything I can about the subject
I will be working on. I feel getting to know your
subject, no matter what it is, creates an excitement
when you begin to draw.
I find this helps me give a personality to the ani-

mals I am drawing as well. I’ll read about them,
look at as many photos of them as I can, and, if
they are at my local zoo or aquarium, make a
trip to see the animal in person. In many cases I
am surprised as I find out specifics about them,
especially when it comes to endangered ani-
mals. I hope to spread this knowledge to others
through my art and help these animals and the
conservation efforts for them.
Also, I try to find extremely up-close images of

the animal’s skin, fur, or scales. This helps me
create the patterns I love to draw so much.
When it comes to sea creatures, I’ve been very lucky

to be a scuba diver and have scuba diving friends
who have been wonderful enough to let me use
their beautiful photos as reference.
I use several different brands of colored pencil,

but my go-to pencils are Prismacolor. And of
Prismacolor I use two different lines. For my
extremely fine detail I use the Prismacolor Verithin
hard, thin lead pencils. With the hard lead you can
maintain an extremely fine point on your pencils,
which won’t break under pressure. I do all of my
thin outlines with these. For my shading of back-
grounds and large areas I use Prismacolor soft lead
pencils. I also recommend Blick’s store brand. They
are much less expensive and blend very well.

I have found that the single most important tip when work-
ing in colored pencil is to keep your pencils sharp (pun
intended). A sharp pencil is the perfect pencil, so having a
very good electric pencil sharpener is a must. I sometimes
sharpen my pencil just after drawing a few lines, especially
when I use thin lead pencils to draw intricate details.
My second tip would be to have patience. To achieve

rich, vibrant colors, you have to be willing to take the
time to build up areas with multiple pencils. Don’t get
frustrated, keep working in an area until you get the
color you want. When it comes to drawing the more
repetitive elements like scales take lots of breaks, even
if they are short. This lets your mind rest and helps
you avoid getting too tired from a tedious part of the
drawing.
And third, cover the area you’re not working on.

I always have a piece of paper over the area of the
drawing I’m not working on. It’s very easy to forget
to protect your drawing and then realize that you
smeared an area you put a lot of time into.
In this wonderful day and age of social media and

the ability to show your art to people all around the
world in an instant, I would encourage artists to share
their artwork as much as they can. It’s an incredible
platform for learning. I have connected with art-
ists that I otherwise would have never been able to.
Utilize this artistic digital revolution, get involved,
and help others learn from your experiences.
www.etsy.com/shop/TimJeffsArt

Q&A Answered
by Amie!
Q: What are some things that you are proud of that you’ve achieved in 2015?
What are your plans for 2016?
A: Personally, I always come into a new year with a list of goals that I would like to achieve for that year. And I’m looking
forward to great things in 2016, some small, some big, and some that terrify me! But not only do I set goals, I also
make a commitment to see them through. Hence my number one resolution of all – not quitting on the resolutions
I make. And yes, I am guilty of not keeping that at times. It is much easier to fall back into comfort than to move
forward into growth. When you make the decision to push forward through all the adversities and obstacles, though,
the satisfaction of success is like no other.
As much as I look forward to a new year and what it will bring, I think it is equally important to take time to reflect on
how far you have come. Two thousand fifteen has been a pivotal year for me. I took some incredibly big risks, faced
fears, and pushed boundaries. As long and hard as it was, it was worth the difficulty, and it is important to celebrate
all of its successes.
Here are some of my greatest achievements for 2015:
1. NEW SHOWS
I made a decision to break away from being the conven-
tional artist. No more galleries. No more community
art shows. It was dry and repetitive and I wasn’t getting
anywhere. What I wanted was something new and spon-
taneous, so I piggybacked other non-art related events and
created my own shows. It was a huge amount of time and
effort for me, but I gained so much more exposure to a
much more diverse audience. As uncomfortable as I was
putting myself out there not knowing what to expect, it lead
to greater opportunities for me and my art.
2. ONLINE COLOR PENCIL WORKSHOPS

I developed my first online color pencil workshop. With absolutely no
formal training in videography or editing, I developed a workshop that
could teach anyone the color pencil technique. This was a huge step for me.
I was taking a risk, not knowing how it would be received. But it worked!
Not only did I run it once, but I have run it continuously throughout the
year. The feedback was positive, and students enjoyed it so much that I fol-
lowed up with a Level 2 workshop so they could continue developing their
technique. The opportunities with this are endless. I am currently working
toward building a collection of online color
pencil workshops for all levels.
www.AmieTalbotVisuals.com

3. IN STUDIO CLASSES
In the fall of 2015, I opened up my home and studio to teach color pencil
art. I designed an eight week program for kids, teens, and seniors. Another
big risk! It’s one thing to be a great artist, but can you teach your trade in a
way that students can learn? Besides that, would I even fill classes? Would
there be enough interest? So many unknowns, but in my opinion the best
way to find out is to throw yourself in full-heartedly and see where it takes
you.
I loved it, really and truly! There is nothing greater than knowing you
have opened up the floodgates to someone’s creative thinking. Most of my
students exceeded my expectations in such a short amount of time, and I
will continue to teach, challenge, and inspire others to develop their color
pencil skills.
4. COMMISSION
My commissions skyrocketed. Normally,

I do anywhere from three to five through-
out the year with very little consistency, but
this year the volume of commission work
increased in late summer. All the shows,
exposure, and social media were paying off,
and I had officially started a business where
I created custom artwork for clients. Since
then it has been a steady stream of commis-
sion after commission. The last time I can
recall doing a drawing of my own was in
August (which is still unfinished). Needless
to say, the jump from cleaning house to full
time artist was more of a hop.
5. TEACHING IN THE SCHOOL SYSTEM
Teaching and promoting color pencil art in the school system is something that I have
done consistently since 2014. And as much as I love sharing my knowledge and pas-
sion for color pencil art, I also deserve to be paid for my time, so I got serious about
what I wanted to offer the school board and put together a proposal for color pencil
workshops for all students. I got my first paid teaching job. I was ecstatic! Finally, a
teacher saw the value in my work and the impact it would have on her students. Since
then I have lined up another three day high school level color pencil workshop at
which I will be paid to teach my trade.
Whether slow or fast, progress is progress. It may not always be easy to recognize
and discouragement can interrupt our thought process, but if you consistently move
forward toward your goals you will attain them. Best of luck with all your artistic
endeavours in 2016!
1. 2. 3. 4. 5. 6.
Send your questions to: amietalbot@hotmail.com

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Featuring
Martin Aveling avelingartworks.com
My interest in animals and art was born out of my surroundings at a

very young age. The work of my zoologist parents took us to Africa, to the
steep forested slopes of the Virunga volcanoes that straddle the border of
Rwanda with the Democratic Republic of Congo. While my parents were
working to conserve mountain gorillas I picked up pencils and drew them.
Living in remote rural areas without the trappings of modern life all throughout academia and on into my adult life. The boxed sets
to entertain an energetic three year old, my parents soon discov- grew larger and more time was taken up on quests to seek out
ered that a pad of paper and a few colored pencils would happily extra pencils in Chinese white or burnt umber. Nowadays, if I’ve
distract me for hours on end. I drew what I knew, and what I been concentrating on the earthy tones of elephants or rhinos for
knew was wildlife. too long I’ll deliberately tackle a scarlet macaw or guinea fowl to
enjoy using a greater variety of bright colors.
Being so young at the time, I took it all for granted, but in sub-
sequent years I’ve realised what a privileged upbringing it was. I
had all the space and time in the world to draw and an endless
stream of beautiful subjects, from elephants and other charis-
matic mega fauna to countless butterflies, chameleons, and other
tiny critters. It gave me immense enjoyment to sit observing
and recording these animals, and I strongly feel that this early
exposure to wildlife gave me a solid grounding in appreciating
how my subjects look and move in all their three-dimensional,
fleshy glory when translating them to the page with pencils.
When I was about 15 and preparing a portfolio for school art

exams in Kenya, my mum gave me a box of Derwent pastel pen-
cils. I was hooked. I loved their fluidity and versatility. Being able
to move the pigment around the page with my fingers and blend
different colors together allowed me to achieve truer natural
color tones in my subjects. As one obsessed with detail, I also
liked being able to achieve this by sharpening them to a fine tip. I
enjoyed using these pencils so much that I continued using them

Some people may find this medium a bit frustrating to work with, allowing you to spread
as the fluid nature of the pencils requires a lot of reworking and the color across the page
therefore time, but it is worth persevering. My technique is to with relative ease.
build up layers of color and detail. By using a light spray of fixative
as I go the detail recedes slightly, but then re-working on top of As other artists will
the sprayed area with the pastels makes it pop out again, now with appreciate, it can be quite
embedded texture. I enjoy the process and for the most part have an insular profession,
the required patience, although I do occasionally find it beneficial spending hours and days
to start on something new before returning to another piece with in the studio with just
fresh eyes. The lengthy nature of the process does mean I have to yourself or the radio for
reflect the time invested when pricing my work, but I feel it’s qual- company. I counteract
ity over quantity when it comes to this! this mentally by keep-
ing in touch with friends
My work has evolved a lot over the years and continues to do so. I and supporters on social
strive for a clean, contemporary look to my artworks, celebrating media, which keeps my
the detail in my animal subjects. I explore unusual composi- mind in contact with the
tions and a dramatic use of negative space, inviting the viewer to world. Then physically I have to get out of the studio regularly
engage with the subject and be part of creating the environment to top up my sense of wildlife and wild places. That’s my excuse
in which it sits. Through trial and error, I have found Canford anyway! It does not take long, however, before I start to yearn
card (300gsm) to be an excellent companion to the pastel pencils for the studio, to be back translating those sights and senses onto
as it is textured enough to hold the pastels but not too much, still paper. Since first picking up a pencil, I have not gone more than
a couple of weeks without putting them to use. It has become a
need, a compulsion.
Being so focused on wildlife, it is impossible not to connect with

how threatened my subjects are in so many parts of the world.
Using my art to support conservation groups like Fauna & Flora
International and Elephant Family helps me feel more optimistic
about the future of iconic creatures like elephants, big cats, turtles,
and primates. Several of my exhibitions have benefitted conser-
vation groups and it was pastel pencils I turned to when asked
to draw the first illustration of the newly discovered Myanmar
snub-nosed monkey. I have enjoyed taking part in some public
art campaigns, turning to paints and preformed elephants, croco-
diles, and giant eggs to create items for display in cities that were
then auctioned for the charities concerned.
I also enjoy seeing children discover the excitement of observ-

ing their local wildlife and picking up those pencils to draw it.
Vis it i ng my brot he r
while he was working for
a conservation project
in Antigua, I was billed
as the guest judge for
a wildlife art competi-
tion. Choosing between
dozens of brightly colored
renditions of snakes and
seabirds, while the young
artists smiled and giggled
and kicked up sand on the
beach, was quite a chal-
lenge. It left me feeling
that both conservation
and wildlife art are in safe
hands for the future.

Martin aveling

avelingartworks.com

The Classroom
Teacher: Alyona Nickelsen
LESSON #13 “EXERCISE IN RED”
SUPPLY LIST: Fixatives: Colored pencils:
ACP Textured Fixative* Faber-Castell Polychromos Prismacolor Premier
Support: a sturdy toothy surface ACP Final Fixative* 1. Burnt umber 5. Permanent red
of your choice (such as sanded Touch-Up Texture* 2. Black 6. Pomegranate
paper mounted on a board) 7. Crimson lake
Blending tools: Caran d’Ache Pablo 8. Dioxazine purple hue
Erasing tools: Powder Blender* 3. Vermillion 9. Indigo blue
Mounting putty, scotch tape Short bristle brushes 4. Purplish red 10. White
Sponge applicators
*Available at www.brushandpencil.com
OUR OBJECTIVES
• To speed-up the colored pencil paint-

ing process.
• To create an impression of a spatial

depth in the rendering by juxtaposing
and superimposing values/colors.
• To develop values using both

approaches – “from light to dark” and
“from dark to light.”
• To render the shapes and details

based on the principle “from general to
particular.”
• To achieve an adequate level of con-

trast in values and colors without
resorting to the help of other mediums.
Drawing with colored pencils on cotton paper traditionally involves maintaining a sharp point, light
touch, and tight strokes for creating even coverage with smooth color transitions. The details are
developed at the same time with the overall shapes but results are often misshaped or flat. To create
highlights you typically reserve the white of the paper, and chromatic colors are applied upfront to
avoid mixing and losing intensity.
In this demonstration we will disregard these instructions and work in an alternative way that is
similar to a traditional style of layering with oil paints.
When working on a toothy surface the sharpening is minimal, application is at least five times
faster, and blending of value/color transitions is an easy process - especially with the help of Powder
Blender. With the use of ACP Textured Fixative the surface tooth can be regained at any time during
the process, so there are no more restrictions in the modeling approaches.

LESSON #13
Step 1:
REFERENCE
This photograph was taken quite a few years ago to preserve

the intricate pattern created by the window reflections on the
glass with dark red wine, as well as the pattern formed by the red
fabric folds that complements the colors of the wine and pleas-
ingly wraps around the glass.
As with all reference materials, this photograph should be

“referred to” and not copied to the minute details. For example,
when looking closer into the reflections, we can see the shapes
of the furniture, door openings, and household items. Such
specifics should be simplified/stylized and selectively included/
excluded to avoid unnecessary clutter, detraction, or mixed
messaging.
Step 2:
INITIAL SKETCH AND EDGE GUIDE
It is better to create the initial sketch on a separate paper

that will allow you to erase, rework, and add/subtract
details, guide lines, etc. After all necessary information
was captured and preserved in the sketch, such as place-
ments of the folds, overall shape of the glass, and location
of the brightest highlights, the sketch can be scanned
and printed to the size of the final artwork for transfer-
ring onto the actual working surface. It is very helpful to
print a second copy of the sketch of the same size onto
printer transparency, line it up with the paper print, and
attach to the side of the rendering. This is called an “edge
guide,” and it is a very handy tool for checking accuracy
during the entire process of the rendering when the initial
outlines are already obscured under the layers of colored
pencil.

LESSON #13
Step 3:
UNDERPAINTING THE BACKGROUND
To indicate maximum depth in this composition, the rendering is started

with the furthermost planes formed by the set of fabric folds and proceed
toward the viewer. The underpainting is created with a translucent applica-
tion of Faber-Castell Polychromos burnt umber that is then blended with
Powder Blender to create smooth coverage.
To darken values, more layers are applied. The white of the working surface
is allowed to shine through the translucent layers of pencil and indicate the
lighter values in the composition. Mounting putty and scotch tape work well
for lightening values, erasures, and corrections. To further widen the range
of values, Faber-Castell Polychromos black is added to the darkest shadowed
areas and blended with Powder Blender.
This step concentrates specifically on the shadowed areas and should be

transparent, yet dark enough to create a necessary contrast to the lit areas.
After modeling looks satisfactory, the entire surface is sprayed with ACP
Textured Fixative in two light layers letting them completely dry in between.
Step 4:
UNDERPAINTING THE FOREGROUND.
For the impression that the glass is located closer to the viewer and on top
of the fabric folds the overall shape of the glass, its contents of wine, as well
as very general shapes of the darkest reflections are indicated with the com-
bination of Faber-Castell Polychromos dark umber and black. Developing
details here is completely omitted and the modeling is devoted to the overall
shape of the main object – the glass.
This stage places the main object in the natural environment of the compo-
sition allowing the established values of the folds to be visible through the
transparent glass and to be obscured by the dark portion with wine. It helps
to avoid a “cut and paste” look of the object and, instead, logically integrates
the focal point with its surrounding.

LESSON #13
Step 5:
DEAD LAYER OF THE BACKGROUND.
Here the elevations of the folds in the lit areas are rendered with Prismacolor
Premier white pencil. Colors have the most luster and brilliance when applied
over white. Therefore, underpainting with white pencil prepares the base for the
subsequent color application and helps to emphasize the contrast between colors
applied over white versus colors applied over darker underpainting. In other
words, umber underpainting automatically decreases the intensity of colors,
lowers their values, and “pushes” the shadowed areas back, increasing the impres-
sion of depth. White underpainting intensifies following layers of colors, lightens
their values, and “pulls out” the lit areas also contributing to the illusion of depth.
After the white underpainting is finished the entire surface is sprayed again with
ACP Textured Fixative to isolate both underpainting layers and to regain the par-
tially filled surface tooth.
Step 6:
FIRST COLOR LAYER OF THE
BACKGROUND.
To create a “glowing effect” in the back-

ground the folds are covered with Caran
d’Ache vermillion and blended with Powder
Blender. The color of this pencil is leaning
toward yellowed red, so it will indicate
a warmer red in the lit areas that will be
visible through the subsequent layers of
colored pencils. It will also bring some
hints of warmth to the cooler shadows.
Apply color more opaquely in the lit areas

and work in thin transparent glazes over
the shadows.
Step 7:
SECOND COLOR LAYER OF THE BACKGROUND
In this stage the local color of the folds is following the already established warmer
color to create contrast in temperature and intensity of the coloration. Work with
Prismacolor Premier crimson lake and pomegranate in the shadows and perma-
nent red in the mid tones and in the lit areas. Blend color transitions with Powder
Blender.
To increase the value contrast use more of Faber-Castell Polychromos burnt

umber. Keep the application as transparent as possible in the shadow and work
more opaquely in the lit areas.
Spray the entire surface with ACP Textured Fixative and let it dry completely
before proceeding further.

LESSON #13
Step 8:
FINAL COLOR LAYER OF BACKGROUND AND DEAD LAYER OF THE
FOREGROUND
The modeling of the fabric continues by darkening the shadows and pushing them
back with an addition of Prismacolor Premier indigo blue. Introduce this color grad-
ually to prevent overpowering the already established reds.
Glaze over mid values with Caran d’Ache purplish red to create some color and
temperature variations. Reinforce colors of the lit areas with more Prismacolor per-
manent red and crimson lake in the mid-values.
Work on the glass itself with Prismacolor Premier white, more transparently in the
shadowed areas and more opaquely in the lit areas.
Using edge guide, check the position of the brightest highlights and darkest reflec-
tions to recreate them in the artwork. Spray the glass only with ACP Textured Fixative
to regain the tooth for further modeling.
Step 9:
FINAL COLOR LAYER OF THE FOREGROUND,
HIGHLIGHTS, DETAILS, AND FINAL TOUCHES.
Work on the local color of the glass, wine, and the reflections
with previously used reds.
Go over the darkest areas with Premier dioxazine purple hue

and indigo blue. For maximum contrast on the dark range of
vales add touches of Faber-Castell black.
Using Touch-Up Texture regain the tooth over the areas of

the brightest highlights and lightest reflections. After it is
completely dried, work opaquely with Prismacolor Premier
white. Blend the transitions with Powder Blender and
sharpen the edges of the glass and reflections to create con-
trast with the softer edges of the folds in the background.
After the modeling is finished spray the entire surface with

ACP Final Fixative in a couple of light layers letting them
dry in between.
Total time for “Exercise in red”, 7”x11”, took about four

hours.
Join our Flickr group to download the photo reference and line
art - then share your finished piece!
www.flickr.com/groups/theclassroom
Get more in Alyona’s upcoming book. Visit her site at:

www.brushandpencil.com

by Character Artist Cesar Deferrari
My name is Cesar Deferrari

and I was born in Buenos Aires,
Argentina in 1970. My interest in
drawing began as a small child
when I would copy other artists’
caricatures of soccer players.
ater in my teens, I played guitar in a band. My bandmates

always asked me to draw our promotional posters, and it was this
that led me to decide art would be my way of life.
I started doing drawings for free and kept it up to the point where
I was drawing was daily, so I decided to take my first art lessons.
“Vincent Price”
I learned the basics of several techniques including

pencil, ink, oil, etc. using landscapes, still lifes, portraits,
and the human figure as subjects.
I also learned the technique of airbrushing, which at the

time I ignored completely. Actually, the only thing I had
against it was that the materials were not cheap. To do it
you had to have a compressor and airbrush, unlike with
pencils where you only need one pencil to create a great
work. Plus, the style I learned was quite illustrative and
I had to combine techniques using templates (frisket).
This demanded too much time and already looked a bit
rigid and outdated.
My curiosity, however, led me to the “freehand” tech-

nique. This was exactly what I wanted to do. It required
absolute concentration and control though, so I shut
myself in my house for four months and did not stop
practicing until I had achieved perfect mastery of the
technique.
“Anibal Troilo”

“Hellboy”

“Gene Simmons” “Miles Davis” “Marilyn Manson”
Thanks to learning this technique, I began doing com-

mercial work and selling t-shirts, which allowed me
to open a store with a friend. I also ventured into the
tattoo world, and for several years I dedicated myself
to airbrush and tattoos.
Now that I’d gained some economic stability I picked

up drawing and caricature again, which, as I men-
tioned before, had caught my attention as a child.
I not only learned to draw cartoons but also to paint

them with various media including markers, water-
colors, acrylics, and especially pencils. For pencils I
used Polychromos which have incredible pigmenta-
tion that’s perfect to use with colored papers.
At this stage in my career, I left commercial sales so

that I could develop more artistically, experimenting
and merging some of the techniques that I had previ-
ously learned, especially with my favorite combination
of airbrush and pencil. With these two mediums you
can achieve impressive results.
Currently, I like to say that airbrushing is my liveli-

hood and painting with pencils is my hobby. As I
dabble in this wonderful world I’m still learning to
draw with different mediums such as charcoal, color
soft pencils, etc. My art is enriched significantly by
having a wide range of resources and combinations at
my disposal. When it comes to art, I’m always open to
learning and never stop exploring.
“Gandalf ”

2016 Colored Pencil Workshops
Here are just some of the many colored pencil workshops that are available to help you master this medium!
Instructor: Amie Talbot Instructor: Melissa Miller Nece

Dates: January 25 Sponsor: Alliance for the Arts
Dates: February 27-28
Course: Tomato Workshop Level 1
Course: The Secret Weapons of Colored Pencil
Location: Online
Cost: $150-$180 Location: Ft. Myers, FL
Register: www.amietalbotvisuals.ca/online-work- Cost: $150-$180
shops.html2 Register: http://bit.ly/1N8u6Y1
Artist’s Website: www.amietalbotvisuals.ca Artist’s Website: www.mmillernece.com
Instructor: Melissa Schatzmann Instructor: Nils Obel

Sponsor: Realistic Pencil Drawing Sponsor: Boca Grande Art Alliance
Dates: January-April Dates: March 21-23
Course: Drawing Realistic Subjects Course:

Drawing with Colored Pencils
Location: Web-Delivered / Online
Cost: TBD Location: Boca Grande, FL
Register: www.realisticpencildrawing.com/ Cost: $225-$250
drawing-online-classe Register: http://bit.ly/1OLbyzT
Artist’s Website: www.schatzmann.ca
Instructor: Lee Hammond Instructor: Gloria J Callahan

Sponsor: Rookery Bay Dates: April 6-May 11
Dates: February 8-12
Course: The Heirloom Garden in Colored Pencil
Course: Realistic Portrait Drawing
Location: Powhata, VA
Location: Napels, FL Cost: $180
Cost: TBD Register: www.gloriacallahan.com/classes.html
Register: www.artistsnetwork.com/
lee-hammond-classes-and-workshops
Instructor: Peggy Magovern Instructors: Lisa Lachri & Wendy Layne

Sponsor: Firehouse Arts Center Sponsor: Holder Dane Gallery and Art Studio
Dates: February 27-28 Dates: June 23-26
Course: Botanical Beauty in Colored Pencil Course: Fur, Feather and Faces
Location: Pleasanton, CA Location: Grapevine, TX

Cost: $199 Cost: $595
Register: http://bit.ly/1Ib6Dso Register: www.pencilworkshops.com/auth/sign_up
Artist’s Website: www.pmagovern.com Artist’s Website: www.lachri.com &

www.wendylayne.com

Online Courses & Instruction
Let us know about your colored pencil workshop by writing us at news@coloredpencilmag.com.
Instructor: Val Webb Instructor: Gaynor Dickeson

Sponsor: The Illustrated Garden Dates: Jan 29-30
Dates: Now-April
Course: Textures: Bark and Moss
Course: The Heirloom Garden in Colored Pencil
Location: West Sussex, UK
Location: Online Cost: £160-£240
Cost: $65 Register: http://gaynorsflora.com/tuition-2/
Register: http://bit.ly/1Ib6Dso workshops/
Artist’s Website: www.valwebb.com Artist’s Website: www.gaynorsflora.com
Instructor: Matt Fussell Instructor: Sandra Angelo

Dates: Available now Sponsor: Discover Art with Sandra
Sponsor: The Virtual Instructor
Course: Various colored pencil courses
Course: Lush and Lively Colored Pencil
Location: Online
Location: Online Cost: $97.00
Cost: $37 Register: www.discoverartwithsandra.com/
Register: http://thevirtualinstructor.com/members/ classes-online
the-colored-pencil-course/
Artist’s Website: www.discoverartwithsandra.com
Instructor: Kristy Kutch Instructor: Cynthia Knox

Dates: July 12-15 Sponsor: Craftsy
Sponsor: Newport Visual Arts Center
Course: Vivid Flowers in Colored Pencil
Course: Lush and Lively Colored Pencil
Location: Online
Location: Newport, OR Cost: $19.99
Cost: $290 Register: http://craftsy.me/21g5gPN
Register: www.artshow.com/kutch/workshops.html
Artist’s Website: www. cynthiaknox.com
Artist’s Website: www.artshow.com/kutch
Instructor: Sandy Allnock Instructor: Susan Rubin

Dates: Ongoing Sponsor: Craftsy
Sponsor: Patreon
Course: Colored Pencil Essentials
Course: Colored Pencil, Colored Cardstock
Location: Online
Location: Online Cost: $19.99
Cost: $1 per video Register: http://craftsy.me/1TGNMqI
Register: www.patreon.com/posts/302619
Artist’s Website: www.susanrubinstudio.com
Artist’s Website: www.patreon.com/sandyallnock

Triumph!
by Ivor Harrison
My Story of
“During an operational tour I sustained a

serious spinal injury, the injury crushed and
shattered the base of my spine ... For me, this
was the beginning of the end.”
My name is Ivor Harrison. On account of joining the British

Army, however, where everyone is addressed by their surname in h a r d
basic training, my military friends created nicknames out of our days, things we as soldiers had to deal with
surnames to make life more personal, so I now am called Harry that will stay with us forever. But life in the Army was amazing
by family and friends. and I loved it.
As a young child, all I ever wanted to be was a soldier. My father During an operational tour I sustained a serious spinal injury that
and his brothers served in the British Army, and late at night when crushed and shattered the base of my spine at discs L5-S1. For me,
they would all be gathered at our house for a family party they this was the beginning of the end. I had to undergo spinal fusion
would talk about their time in the Army. I loved listening to their surgery along with almost a year and a half of rehabilitation.
stories. The only downside to this childhood dream of joining Needless to say, due to the fact I was unable to operate as an elite
the Army was that while struggling through school with dyslexia fighting soldier, I was medically retired. I felt like my life was over.
rather than work harder to overcome it I thought, all I want to do
is help and protect those unable to do so for themselves, and I don’t My wife and I had only been married about five years at the time
need to be educated to do that. I was obviously incredibly wrong. and we were expecting our first daughter. As a young family, we
left the military and moved to where we live now in England, and
I used to love drawing soldiers, military battle scenes, etc. as a child everything was left up to my wife. On top of caring for a newborn
though I never thought much more about it in terms of a career. child she had to work and care for me which was destroying her
I loved art in high school, too, but to take art as an exam subject mentally and physically. I had declined into deep clinical depres-
would have opened me up to ridicule in the school I attended and sion. I couldn’t walk or get into the shower or put on my socks
from the friends I hung about with, and as a young lad I couldn’t without help. I went from an elite fighting soldier running 10
face that. miles every day and taking part in triathlons, kickboxing, cross
country skiing, playing football, etc. to what I have become now.
At age 16 I joined
the Infantr y of Life was a struggle. My spinal condition continued, and still con-
the British Army. tinues, to deteriorate (to date I have had four spinal fusions and
It was all I ever countless other spinal procedures). I used to love being with my
wanted to do and, friends and other people, but I couldn’t anymore. So I started get-
from the moment ting involved with YouTube and blogging. I began by blogging
I arrived in basic about technology. It became very time consuming though, and I
training to the stopped when I could no longer maintain it due to severe levels
mome nt I w as of pain.
medically retired,
I loved ever y Then one day my eldest daughter, who studies art and is amazing,
single day. Don’t came to me and asked about the drawings I used to do as a child.
get me wrong, She asked if she got her passion for art from me.
there were very Of course I told her no, she got her passion for art from her heart,

for that is the only place art comes from. She had a few Caran they break). Next I purchased my beloved 120 Faber-Castell
d’Ache pencils, about 6 or 7, and asked me to draw something. I Polychromos set and finally my 76 set of Caran d’Ache Luminance
googled images and drew something I found. It took me a while, pencils. Mind you, although all of these amazing sets are helping
but I couldn’t believe how relaxed, calm, and happy drawing made me, the 76 Caran d’Ache set certainly didn’t help my bank balance
me. or my wife’s face when she saw the price.
I was able to stop when I wanted due to pain and nothing would It may be difficult for some to believe, and I can understand
happen as the art was going to be there no matter what. I abso-
why, but art has helped me to get my life back on track. When
lutely loved it and simply couldn’t believe the peace it brought
I get out my art sup-
to me. Then I started
plies, open my coloured
finding out more about
d r aw i ng and ab out pencils, and chose the
p ar t ic u l ar coloure d paper I am going to
pencils. I found people use a sense of calm and
like Lisa Clough from peace comes over me.
Lachri Fine Art, Mark Unfortunately, I am
Crilley, John Muir Laws, still in constant pain,
Heather Rooney, Marty but mentally art is help-
O w i ng s , C OLOR E D ing me more than I can
P E N C I L Ma g a z i n e , describe, and I have
other coloured pencil my daughter to thank,
books, and many other along with the people
artists on YouTube and I mentioned who truly
blogs. I learnt so much inspired me.
from these resources
and my ability to draw
I’ve been drawing and
steadily improved.
learning for about eight
I started to develop a or nine months now,
real passion for coloured and I’ve created a blog
pencils and began accu- in-line with my art. As
mulating quite a collection of the medium, first with Derwent I have previously mentioned, my social status is nonexistent, so
Artist pencils and then a few other Derwent sets including I created the blog www.colouredpencilreviews.blogspot.co.uk to
Graphitint, Coloursoft, and Watercolour pencils. I then pur- help me meet like minded people with the same passions. The
chased a 72 set of Prismacolor (which I love but I hate how often blog has become my window to the outside world.
It may be difficult for some to believe, and I can understand

why, but art has helped me to get my life back on track.
www.colouredpencilreviews.blogspot.co.uk
ART GALLERY
“Tranquility” 7.5x32”
Prismacolor on Strathmore drawing paper
with a bit of white ink pen for the points of light
Jennifer Rosebush • www.facebook.com/jrosebushpencilart
“Self Portrait in a Golden Blouse” 9x12” “The Tiger” 30x30cm

Agnieszka Przyborowski Faber-Castell Polychromos
Mananeh Hamimotlagh • www.facebook.com/mananehart
Get YOUR artwork into the Gallery!

Post your “Latest & Greatest” on our Facebook page:
www.facebook.com/ColoredPencilMagazine

Take the January #1601: “Birds of a Feather”
photo by Sally Robertson
Colored Pencil Art Challenge!
Free to Enter Deadline 02/10/16 Win Great Prizes
1. USE THIS PHOTO Advanced Prize: $150 eGift Card

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size image.
Random Prize: $50 eGift Card
2. CREATE YOUR OWN VERSION
Use your own style and at least 80% colored pencils. Take as much
license as you wish as long as the challenge photo can be recognized.
3. UPLOAD TO ENTER
Upload your entry to www.flickr.com/groups/cpmchallenge for a
chance to win one of the great prizes provided by our sponsor and
appear in a future issue of COLORED PENCIL Magazine. eGift cards are redeemable only online and are not transferrable.
NEW! Now you can win just for entering. One random artist will
be chosen to receive a $50 eGift Certificate! See our site for complete
rules and eligibility. www.jerrysartarama.com

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The Best 2016

Keeping your Resolutions

Creating Sea Creatures

06 CREATING SEA CREATURES

23 SERIOUS ABOUT CARTOONING

28 MY STORY OF TRIUMPH 14 FEATURED ARTIST

2 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

12 SKETCHBOOK Kimberly Woods

18 THE CLASSROOM Contributors

Print & Distribution

Colored pencil art showcase Print & Digital Purchases

31 ART CHALLENGE P.O. Box 183

All rights reserved. The contents of this publication

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 3

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

Download the Color Chart:

WIN ALL JANUARY

• SIGN UP EACH WEEK

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 5

I grew up in Rockville, Maryland and I am one of 8

Growing up in Maryland, I always dreamed of going to New York

6 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

I am someone who loves extreme detail. Not everyone

It’s amazing how very complex patterns can

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 7

I find this helps me give a personality to the ani-

Also, I try to find extremely up-close images of

When it comes to sea creatures, I’ve been very lucky

I use several different brands of colored pencil,

8 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

My second tip would be to have patience. To achieve

And third, cover the area you’re not working on.

In this wonderful day and age of social media and

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 9

Here are some of my greatest achievements for 2015:

2. ONLINE COLOR PENCIL WORKSHOPS

10 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

My commissions skyrocketed. Normally,

5. TEACHING IN THE SCHOOL SYSTEM

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 11

BEHIND THE SCENES!

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COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 13

My interest in animals and art was born out of my surroundings at a

When I was about 15 and preparing a portfolio for school art

14 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

Being so focused on wildlife, it is impossible not to connect with

I also enjoy seeing children discover the excitement of observ-

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 15

16 COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com

COLORED PENCIL Magazine | January 2016 | www.coloredpencilmag.com 17

• To speed-up the colored pencil paint-

• To create an impression of a spatial

• To develop values using both