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FREE DIGITAL ISSUE In this issue: Color Pop, Copics and Colored Pencils, Decorative Art, Know Your Greys, Art Competition Entry Form, & more. Featuring our 2015 Judge: Richard Drayton GET MORE! www.coloredpencilmag.com
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PROMO 2015
CONTENTSfeatures
departments
We review how you can use Copic markers along with colored pencils for a fabulous result!
COPICS AND COLORED PENCILS06
Catherine Gabriel shows us the results of turning her artwork into home decor and more.
DECORATIVE ART18
Stacey Crummett explains everything you need to know about selecting your next drawing surface for your colored pencil work.
COLOR POP04
What’s inside this issueEDITOR’S NOTE03
Amie Talbot answers your tough questionsQ&A08
15 New products and art newsSKETCHBOOK
Artwork showcaseGALLERY16
Mind your own businessM.Y.O.B.20
Official entry form2015 ART COMPETITION21
Take a look at our 2015 COLORED PENCIL Art Competition judge Richard Drayton. Enjoy his dramatic and bold artwork while you learn about his successful career.
FEATURED ARTIST10
Check out our digest for beginning artistsCOLORED PENCIL STUDENT24
Take a Monthly Art Challenge & win great prizes from our sponsors
ART CHALLENGE23
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com2
Editor-in-Chief & Creative Director Sally RobertsonCopy Editor Kimberly Woods
ContributorsAgnese AljenaLinda BeckerPio CocomazziRichard DraytonAutumn FordSilvia FreiCatherine GabrielSharon Siew Suan, KOWMelissa LeGatesShana RoweAmie TalbotChad ThomasAlan Woollett
Sponsors/Advertisers Blick Art MaterialsJerry’s ArtaramaLegion PaperPrismacolor
Publisher Platte Productionswww.platteproductionspublishing.com
Print & Distribution MagCloudwww.magcloud.com/user/coloredpencilmag
For Subscription, Purchase & Advertising [email protected]
COLORED PENCIL Magazine P.O. Box 183Efland, NC 27243
Copyright © 2015COLORED PENCIL MagazineAll Rights Reserved
EDITOR’S NOTEm a g a z i n e
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Cover Art by Richard Drayton “Lovestruck” 17.5x12” COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 3
with Chad ThomasColor Pop
Color bonanza
Adding bright hues without losing realism
Chad Thomas, a colored pencil and acrylic artist from Ozark, Missouri, poses with his rendition of Kurt Cobain among his other paintings.
For Chad Thomas, black is not just black—nor white just white for that matter. Both hues contain vivid blues, reds, and purples, which he loves to incorporate undiluted into unlikely places like animal fur or skin.
Yet somehow, even though the viewer’s mind screams that color shouldn’t be there, it works. We are not talk-ing about small doses of color woven into the shadows either. He works with chunks of vibrant colors scattered throughout his pieces.
“Honestly the bright colors are my vision of what I see and are a by-product of working off of photos. Also, I think that it has something to do with lighting and reflection although I’ve always used very bright colors in my artwork,” he said.
The mostly self-taught artist has a favorite trio of accents that works for him: lilac, Tuscan red, and indigo blue. In some dose or another, they are found in most of his paintings. However, the most used pencil in his arsenal is Prismacolor’s metallic gold, which he uses as a guide and also to blend (especially with fur).
“I don’t believe that bright colors really detract from the realism of a piece. As long as there is definition, shading, and light in your work, the color shouldn’t effect the realistic aspect of the artwork,” he said.
Sometimes he will start with a lighter color, such as lilac, and then add one or two more colors on top. Other times he will use black and
add dark red or indigo blue on top. For him, this layering of color is one of the most crucial steps to attain realistic fur.
“Personally for me I like the color and the pop, but it can be overdone,” he said. “When you start feeling over-whelmed by whatever color choices you have made, it is an indicator that there is too much color in the piece.”
He often uses the color in the background to bring the subject to the forefront. Since preference for specific colors is very subjective and personal, he advocates keep-ing clients involved in color choices as much as pos-sible with frequent updates to make sure the artwork is headed in the right direction.
by Melissa LeGates
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com4
However, he said most of the time he does not really focus on color so much as he does the layering and texturing of the subject matter.
Since most of his subjects are finely detailed, he prefers a simple gradient or solid color background - even if it is a bright pink it still acts as a soothing place to rest one’s eyes.
Chad started doing dog portraits about six years ago and has never looked back since. His first portrait was of his dog Jedi. Now, he primarily focuses on dog and people portraits in colored pencil and acrylic. From his home in Ozark, Missouri (which he shares with his wife, son, and three dogs), he works with clients all over the U.S.
Chad said, “It has been rewarding for me to be able to share my artwork with people and in turn get to share and learn about other people’s lives through their pets and loved ones.”
This shows in his painting, each which capture the essence of its’ subject. To get the character and personality of each subject down he suggests starting with the eyes: “When I do a portrait, the first thing I do is the eyes because if they aren’t right the portrait doesn’t work for me.”
Another thing that helps with capturing personality is to include something personal of theirs, or quirky things like their tongue hanging out. He also concentrates on adding their unique markings, strange whiskers, or other interesting details.
www.whiterabbitart.comCOLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 5
& COLORED PENCILS
• With over 350 different colors, Copics use permanent alcohol-based ink that dries acid-free and can be used on virtually any surface. All markers are refillable. One vari-ous ink refill will fill a Copic Original up to 9, Sketch marker up to 13, Wide marker up to 7, and a Ciao marker up to 15 times!
WHAT ARE COPIC MARKERS?
a colored pencil magazine review by autumn ford
Copic markers are professional artist-grade markers. These versatile tools work great as a companion to colored pencils. Many features make them unique com-pared to other markers.
COPIC ORIGINAL - These contain chisel and bullet tip nibs and come in 214 colors. The square shaped barrel of the marker prevents it from rolling off of desks and is able to hold plenty of ink, which proves especially useful when used with the ABS.
SKETCH - By far, the most popular choice among artists and available in all 358 colors, Copic Sketch Markers are equipped with a Super and a chisel nib. With their non-rolling oval shaped barrel, these are also compatible with the ABS.
CIAO - Sporting the same nibs as the Copic Sketch, Caio markers are an economical alternative and come in 180 colors. The smaller round barrel keeps the price down for beginning artists but, unfortunately, do not fit the ABS.
WIDE - The largest of the 4 styles, Copic Wide markers are only 1 ended with a 3/4” calligraphy nib. They are available in 36 colors.
Markers can be bought individually or in sets of 3, 6, 12, 24, 36, and 72.
• All markers are refillable and have replaceable nibs that can be changed when dirty or damaged.
• For a maximum stroke-free coverage, Copics and Copic Sketch markers can be hooked up to an Air Brushing System (ABS). The ABS can be used with both air cans and with an air compressor.
COPIC MARKERS COME IN THE FOLLOWING 4 STYLES.
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com6
www.copicmarker.com
TOGETHER THEY MAKE MAGIC!
1. When using colored pencils and Copics, I like to start with a light marker underpainting on a piece of smooth Bristol. This will help fill in space with color that can later save you from building up too much wax and allow you to fit in more layers of details. Using a hot press paper will conserve ink that would otherwise be soaked up by watercolor or cold press paper.
2. I then add colored pencil to the piece, generally laying down color over the whole image. Be sure to add white highlights, which show up especially well on marker. When I draw, I like to have the colors smoothly blended together.
3. Next, I will burnish the colored pencil with a colorless blender or other blender of choice. Be careful if you are using liquid solvent to blend the pencil - it may affect the layer of marker below.
When your piece is burnished and smooth, you can layer more marker on top. This layer of marker is much more fluid than the previous and will allow you to blend colors longer because of the layer of wax from the pencils. Here, I added the base shading for the scales. I, also, went back with my Copic blender to clean the edges inside each scale to define the highlights.
4. I Added another layer of colored pencil to the shading and more colors to give depth and to refine the shape of each scale. I find I can usually add a few layers like this before the piece gets too muddy.
5. Here is the final result after burning the last layer of pencil. I am always sure to add highlights and more contrasting shad-ows last to help the piece pop!
2.
3.
4.
5.
1.
NOTES:
Perfect for underpainting
Speeds up drawing time
Use Hot Press paper to save on ink
Highlights pop
Layering gives depth
Empty Markers available so you can mix your own colors
“Bearded Dragon” by Autumn FordSketch Copic Markers
& Colored Pencils
GET THE BACK ISSUESON CD
STARTING AT JUST $14.99
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Q&A Answered by Amie!
www.amietalbotvisuals.com
Q:
A:
What is the difference between warm, cool, and French greys, and when would I use them?
Great question, and certainly one that I had when I first started using my Prismacolor Premier pencils. There were so many greys, and I had no clue what to do with them! Over the years I became more acquainted with them, and they have helped me render some of my most prized drawings. So here is what I have come to know about the many shades of grey:
First, here is a color scale showing the three different shades of grey: warm, cool, and French. They start at 10% and increase in value to 20%, 30%, 50%, 70%, and 90%.
Warm Greys = Red BaseCool Greys = Blue BaseFrench = Yellow Base
“Would you know my name, here in heaven?”
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com8
Send your questions to: [email protected]
Helpful tips when using greys:
Create a grey scale (as shown pg 14). A scale is a great way to visualize the different values and tints of grey. It will assist you when choosing the right grey for your drawing.
Apply the classic rules. You want to start with a light color and a light touch. As you build color and depth you will increase the value and pressure.
Layer for depth. Greys can appear flat. Often, beginner artists make the mis-take of using grey as a single layer. Although you think you’re saving yourself time, I guarantee the end result will be disappointing. To create depth and con-trast in your drawing you need many layers, especially with greys. I normally layer my greys with blues or greens. Make it a rule of thumb to always layer your greys with another color.
Use greys to subdue. Greys are a helpful color when toning down or taking back a color. Colors can often become overpowering, and the best way to cor-rect the situation is to apply a layer of grey on top. This decreases the intensity of the color, creating a more balanced composition.
What I use greys to create:
• Rough texture in statues, stone, and pavement
• Gentle, soft folds in fabric
• Shadows in and around a human eye
• Vibrant, reflective chrome
• Scenic, billowy skies
• Meticulous hairlines in animals
“Allured to Brighter Worlds”
“Ella’s Toes”
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 9
Featuring
RICHARD DRAYTON
Personal HistoryAfter tolerating high school and partying my way through college, my parents finally relented and agreed to pay for art school.
I was accepted at Art Center College of Design in Los Angeles, California as a junior and was later hired right out of class as an art director at a large international advertising agency. For the next twenty years I created award winning graphics and illustration for advertising agencies and movie studios. I also completed two tours of duty on the faculty at Art Center College of Design. After moving to Sedona, Arizona in 1990, I joined the fac-ulty at Sedona Arts Center where I have been showing my work and teaching workshops ever since.
The humble colored pencil is finally coming into its own as a rec-ognized fine art medium. I began drawing with colored pencils at the age of seven (I am now seventy - do the math), and I sold my first piece at the age of thirteen By the time I was in high school, we all knew that this would be my life’s work.
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com10
My Visual Interpretation
My Working Process
Teaching
All of my pencil paintings are highly designed and somewhat abstract. The words bold and dramatic come to mind when people describe my work. I am deeply inspired by the magical beauty and visual rhythms of the natural world, and I attempt to
seduce the viewer into that world by exaggerating and abstracting the play of light and shadow and atmospheric perspective. My colors are generally very saturated, and I want the eye to dance around the image, constantly pulling back into the subject.
“Last Light” 26.5x12.75” Prismacolor on laquered panel
I work only with Prismacolor pencils (no liquids) on both paper and hardboard art panels. The paper I use is Strathmore Bristol 400 series two-ply vellum. It comes in tablets and is relatively inexpensive. The surface has just enough tooth to accommodate my blending technique and is durable enough to withstand the punishment of the eraser. The pigment is applied in layers until complete opacity is achieved, generally starting with the darkest or middle values first, depending on the subject, and blending lighter values into darker. I almost always do preliminary draw-ings and sketches to work up the style and feel of the subject, helping me to “interpret” the subject so that I can generate a high impact visual experience. In some pieces, I will execute the entire drawing in sepia first and then apply the color in layers, as this
gives me a complete value study to start with. I also will occa-sionally work directly from a simple line drawing on the paper or panel.
My work on a lacquered panel, however, is a whole different story. This technique involves working with Prismacolor on an 1/8” panel of artists hardboard that has been sanded to a surface that matches the Strathmore paper. I then apply twenty-five to thirty coats of hand rubbed lacquer over the finished piece, thus allow-ing the panel to be framed without glazing. I do not teach this method mainly because of the time and complexity involved, and the use of lacquer is actually illegal in some states.
My approach to art and teaching is based on my background as an illustrator. It is dedicated to creating a “high performance” visual experience for both artist and viewer. All of my source material begins in my camera, and then final images are com-posed in Photoshop. A common misconception regarding these methods suggests that the artist is merely copying a photograph, however, working from photography is no substitute for knowing how to draw and understanding the classical principles of per-spective, light, and composition.
It is all about expanding beyond the photographic image with inspiration, interpretation, and imagination!
Even though my workshops are only two days, I devote time to lecture and demonstration, illustrating these classical principles. However, the main goal is to introduce students to my techniques for creating what is essentially a “painting” with the Prismacolor pencils. Because of this my workshops are highly structured so that at the end of two days each artist has a piece that is well on the way to being finished.
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 11
Richard Drayton
“Canna’s Song” 19x29”
“Peace Rose 20x16”
“Magnolia a la Diego” 16x20”
“Twilight Lanterns” 17x22”
“Cyndi’s Lilly” 16x12”
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com12
richarddrayton.com
“The Occasional Visitor” 18x24”
“California Dreamin’” 18x24” “Eternal Moment”16x28”
“Sundance” 11x18”
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 13
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SKETCHBOOK
STROKES OF GENIUS6 VOLUME COLLECTION
DETAILED DESIGNS AND BEAUTIFUL PATTERNS - ADULT COLORING BOOK
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Retail: $210.94BUY: $99.99!
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Relax and unwind with 20 designs on dedi-cated pages to color. This softcover book comes with a free digital version for you to print and color as many times as you like! Just think of how pretty this would look framed! Pages are 8.5x11” on high quality paper.
Retail: $4.79 - BUY: $3.99!
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General Pencil has created this new black eraser perfect for col-ored pencil artists using black paper! Will not smudge or leave marks. Retail: $.99 BUY: $.61http://bit.ly/11Pt165
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 15
“In the Wink of an Eye” Pio Cocomazziwww.cargocollective.com/piococomazzi
“Angel with a Broken Wing” Alan Woollett
www.facebook.com/alanwoollettbirdart
“Tranquility Within” 23.5”x16.5”Sharon Siew Suan, KOWwww.facebook.com/SharonsskowPencilArt
ART GALLERY
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com16
“Red Panda” 21x29.7cm Silvia Freiwww.facebook.com/theartofsilviafrei
“Being a Girl” 11”x14” Shana Rowewww.shana-rowe.artistwebsites.com
“Cali” 9”x12”
Linda Beckerwww.linda-becker.artistwebsites.com
“Tranquility Within” 23.5”x16.5”Sharon Siew Suan, KOWwww.facebook.com/SharonsskowPencilArt
Post your “Latest & Greatest” to our Facebook page for a chance to see YOUR artwork displayed in an upcoming issue!www.facebook.com/ColoredPencilMagazine
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 17
My name is Catherine Gabriel and I am a self-taught artist from Melbourne, Australia. I work in a variety of mediums, but coloured pencil remains my favourite. I specialise in animal art, including pet portraits and decorative works, and I have a soft, illustrative style.
Over time, I kept receiving comments that my art would work well with greeting cards. This lead me to search for a way to do this, and I came across a website called Zazzle. You can upload your images onto a huge variety of products, everything from greeting cards and cushions to t-shirts and iPhone cases.
It is a unique platform for an artist to showcase their work, and anyone can set up a Zazzle shop and sell their designs. As a seller, you have the ability to set your royalty rate and have control over the appearance of your store.
I discovered that my drawings are suited particularly to cushions and was very impressed with the quality of the print when I ordered some for myself.
I encourage other artists to think outside the box, explore ways to market your artwork, and discover a wider audience.
My website: www.catherinegabrielart.weebly.comMy Zazzle shop: www.zazzle.com.au/catherinegabrielart
When Catherine posted this completed project to our Facebook wall, we knew it was something that we had to ask her to share with the readers of Colored Pencil Magazine. See how she turned her colored pencil art-work into beautiful decorative pieces for her home. What a great conversation starter!
“Galahs”
Decorative ArtBY CATHERINE GABRIEL
“Fox”
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com18
Turn your art intohome decor and more!
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 19
by Agnese AljenaCommercial vs Fine Art
Commercial art is sold before the piece of art is created. Artists are commissioned based on their portfolio with the hope that they will create new art of the same quality. Usually, the patrons or customers who order the art piece have some require-ments for it. This limits artistic freedom, and the art is more “flat” in its philosophy.
Fine art is sold after the piece of art is created. Artists have full creative freedom, and the message of the art piece is deeper to the artist.
What does all of this mean to an artist? At first glance, it seems that these two methods of selling art have almost every-thing in common except the small difference of which comes first – art or sales. In reality, it is not so simple; they each require dif-ferent business philosophies.
When creating commercial art, customers set their own require-ments and have more control over the process. They
are considered part of the art, a co-creator. The artist should understand this and should, as much as possible, turn the interaction into a great customer experience. Essentially,
this process of co-creation looks more like an entertainment project than art. The artist should
exhibit utmost professionalism in customer service
and customer experience building. Running a business this way can be very rewarding, and customers are happy and advocate the experience to their friends. (Note that they advocate the experience, not necessarily the art; of course, the art should be good, but that is not the main element of the business’ success.) Growth occurs naturally, all in response to making the most of the customer experience. This philosophy results in selling a higher number of pieces at lower prices and thus a more consistent, pre-dictable income.
Fine art artists, on the other hand, have full creative freedom in art, but selling requires a different approach. Selling fine art is less about entertainment and service and more about values and philosophy. Customers buy an artist’s work because they share the same worldview. It might be hidden, but it is there and plays a central role. Finding customers is based on communicating the art and the concepts behind it. The artist must be a good story-teller and a public relations specialist - showing their art, talking about it, sharing the inspiration behind it. Even if they hire some-one to fill some of these roles they are still present to take part in and support all activities.
In the end, commercial artists trade artistic freedom for co-creating with their customers, and fine art artists trade close customer interactions for full license to express their values, phi-losophies, and worldview.
M.Y.O.B ~ Mind Your Own Business!
Agnese Aljena is the Business Blog for Artists owner and on her way to PhD in business models for fine arts. Visit her website at: www.takeiteasybusiness.com
Art is sold one of two ways – either before or after the artwork is created. Each way implies a different business philosophy and requires a different approach.
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com20
To learn more, visit us at www.coloredpencilmag.com/competition
JUDGE: Richard Drayton - www.richarddrayton.com
CONTEST:12 Images will be chosen from artwork submitted or postmarked before September 1st, 2015 to appear in our 2016 CPM Calendar and will be awarded prizes as listed on our website. Your winning piece and website link (if applicable) will also be displayed on our website and featured in the COLORED PENCIL Magazine and COLORED PENCIL Student digest.
• Online Image Submissions should be .jpg sent at 72 ppi, Minimum 10”- 20” Maximum width. (RGB color mode, do not convert to CMYK)
• Chosen entries will be required to provide a clear, high-quality, 300 ppi image for print.• Artwork must be at least 80% colored pencil. (visit our faq link for definition)• Entries per artist are not limited.• Artwork must be in or cropped to a Landscape format. (horizontal)• All Artwork must be original and drawn from original reference material, or with written permission
from photographer.• Entrants must be 18 years or older.• Submissions must not contain nudity or violence and must be for acceptable for general audiences.• Contest open to anyone in the world that meets these requirements.
RULES AND ELIGIBILITY:
Artists Name:
Address:
City: State: Zip:
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Email:
[ ] Add me to your Mailing List!
# of Entries ($10ea or $25 for 3) Total Amount:
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COPYRIGHT RELEASE AND LIMITED USE:
I hereby certify that I have read and understood the rules and eligibility for consideration in the COLORED PENCIL Magazine 2015 Art Competition, and that my submission is my own original work(s), and that I am the sole copyright owner. I attest that my entry/entries do not violate or infringe upon the copyright and/or trademark of any person or entity. I release COLORED PENCIL Magazine, Platte Productions, and any other persons relating to such, from liability and waive any course of action, claims or cost in relation to any damage caused, whether intentional or unintentional.
I also understand the terms of use, and I agree to allow a non-exclusive, worldwide license, and rights to Colored Pencil Magazine & Platte Productions, to utilize the entry submitted, to modify, publish, crop, reproduce, display, and/or distribute to promote their publications, including COLORED PENCIL Magazine, COLORED PENCIL Student & the COLORED PENCIL 2016 Calendar, in both print and digital formats, without additional compensation to either party.
As the original artist, I understand that I retain the full rights to my image and DO NOT give or forfeit exclusive or additional permissions, releases, or rights for my image(s) to be sold or reproduced on any products, prints, etc. without additional consent.
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