MutualAdmiration,RanjiniVenkatachari,CPSA,2008,34”×24”,water-solublewaxpastelandcoloredpencilonPastelbord.Collectionof

BethandTerryGatto-Russeff.

InthispieceRanjiniVenkatacharibalancesthevisualweightoftheobjectsbyarrangingthemaroundthecenterofthecomposition,

deliberatelyoverlappingtocreatedepthandfurtheremphasizethedesigneffect.Ranjinichoseatexturedsurface,blendingwater-

solubleNeocolorIIwaxpastelsonit,followedbylayersofcoloredpencils;theoveralleffectisafull,saturatedpaintingwithlotsofdetail.

THENEW

COLOREDPENCIL

CreateLuminousWorkswithInnovativeMaterialsandTechniques

KRISTYANNKUTCH

WATSON-GUPTILLPUBLICATIONSBerkeley

Copyright©2014byKristyAnnKutch

Allrightsreserved.

PublishedintheUnitedStatesbyWatson-GuptillPublications,animprintoftheCrownPublishingGroup,adivisionofRandomHouse

LLC,aPenguinRandomHouseCompany,NewYork.

www.crownpublishing.com

www.watsonguptill.com

WATSON-GUPTILLandtheWGandHorsedesignsareregisteredtrademarksofRandomHouseLLC

LibraryofCongressCataloging-in-PublicationData

Kutch,KristyAnn.

Thenewcoloredpencil:createluminousworkswithinnovativematerialsandtechniques/KristyAnnKutch.—First[edition].

pagescm

1.Coloredpencildrawing—Technique.I.Title.

NC892.K8852014

741.2’4—dc23

2013027956

TradePaperbackISBN:978-0-7704-3693-3

eBookISBN:978-0-7704-3447-2

DesignbyChloeRawlins

CoverartbyKristyAnnKutch

Frontcoverart:Poppyburst,KristyAnnKutch,2008

Coverdesign:ChloeRawlins

v3.1

Thisbookisdedicatedtomydearfamily:Ed,Mary,Joe,andEddie.Youarethelovesofmylife!

ACKNOWLEDGMENTS

IamespeciallythankfultothesepeoplewhogenerouslyhelpedandsupportedmeasIwrotethisbook:

RichardBermanBetBorgesonEdBricklerDanaBrownWalt,Susie,andRichardBukvaTimDePackKristen-LeeDersteinJohnandKarenDivisBarbaraFaroSueFreudenthalDianaGarrettJanieGildowMichaelGinsburgNickGrahamMikeGrecianKarlHabererNoraHackenbergLindaLucasHardyJanetHoeppnerMichaelKalmanJeannieLawsonStefanLöhrerSusanMarcusJoyceMcBriartyJoeMillerLeilaPorteousAndreaPramukEsterRoiThomasRichardsKyleRichardsonLindaSaftMarcSchotlandChristaTrivisonnoEricValentineLoriVillalongaEricVitusBernadetteWard

Andmostofall,EdwardKutch.

ChamberedNautilus,KarenColeman,CPSA,2005,10”×8”,coloredpencilonPastelbord.CollectionofMervandJudithRosen.

ThispiecebyKarenColemanmakesdynamicuseofnegativespace.Shecapturestheplayoflightonthecolorfulpatternedexteriorof

theshellandcreatescontrastwiththerichbluebackground,evokingthedeepseawhereitmakesithome.FuzzyLaCartepastelpaper

alsoallowedadenseandspeedybuildupofcolors.

CONTENTS

CoverTitlePageCopyrightDedicationAcknowledgments

Introduction

PartOne:Wax-BasedTraditionalColoredPencilsChapter1:GettingStartedwithWaxyColoredPencils

Chapter2:CompatibleSurfacesforWaxyColoredPencils

Chapter3:GettingtheMostOutofColor

Chapter4:ApplyingandLiftingWaxyColoredPencil

Chapter5:CreatingandEnhancingTextureswithColoredPencil

PartTwo:Water-SolubleColoredPencilsChapter6:Water-SolubleColoredPencilsandCompatibleSurfaces

Chapter7:BrushesforWater-SolubleDrawingProducts

Chapter8:Water-SolublePencilTechniques

PartThree:WaxPastelsandCombiningColoredDrawingMediaChapter9:WaxPastels,CompatibleSurfaces,andTechniques

Chapter10:CombiningColorDrawingMedia

Afterword

Appendix

Bibliography

AbouttheAuthor

Index

RustyTruckinRainForest,JanaWesthusing,2010,10×8,coloredpencilonStonehengepaper.

JanaWesthusingchosePrismacolorpencilsandStonehengepaperbecauseshelikesthesematerialsfortheirabilitytoenhancefine

details.Thecombinationallowedforthephoto-likequalityofthisart.

INTRODUCTION

FromthefirsttimeIpickedupacoloredpencilinmylocalartleagueclass,Ihavebeenintriguedbythemedium.More than two decades have passed since that course, and I have embraced the growth ofcoloredpencilasafineartmediumwithgreatenthusiasm.Sincemyfirstbook,DrawingandPaintingwithColoredPencil,waspublishedbyWatson-Guptillin2005,therehavebeenmanyproductandtechniquedevelopments.Witha spiritof funandadventure, Ihave incorporatednewpencils,waxpastels, tools,and approaches intomy own art.Whether I drew, brushed, grated, spattered, or even blew pigmentthroughascreen,ithasbeenanenjoyableandsatisfyingexperience.Inrecentyears,manynewvarietiesand types of colored pencils have emerged, each with their own merits and characteristics—andsometimesinspiringnewtechniques.Thevarietiesofpencilsandthepaletteofcolorsinwhichthey’reavailablehavegrownbeyondwax-oroil-based“permanent”traditionalpencils.Water-solubledrawingproducts now include new types of watercolor pencils, including ink-like pencils and even tintedaquarelle graphite pencils. Pigments are rich and dense, and more emphasis has been placed onlightfastnessforthepermanenceofone’sart.

The emergence of water-soluble wax pastels—whichmay look like crayons but which offermuchmoreintermsofquality,speed,andversatility—hasbeenperhapsthemostsurprisingdevelopmentintheworldofcolordrawingandpainting.Aquarellewaxpastels swiftlycover largeareaswithrichpigmentthatdissolvesinstantlywiththesweepofadampbrush.Thewaxpastelcanalsobesharpenedtoapoint,orthepigmentcanbestrokedfromthetipwithawetbrush.Thistypeofaquarellewaxpastelcanyieldahighlypigmentedliquefiedwashwhichcanthenbeappliedwithabrush.

Newanddiversedrawingandpaintingsurfacesthatarecoloredpencil–compatiblehaveemerged,too.Longtime favorite lines of paper have expanded to includemore colors.New brands of papers haveappearedwithavarietyof textures, toappeal toartists’wide-ranging tastes.Versatile illustrationboardideallydesignedandtexturedforwetmediaaswellasdryisnowonthemarket.Translucentfilm–likevellum, acid-free and of high quality, offers speedy, rich laydown of colors. From fine-toothed silkypapertosandy-texturedboards,dazzlingpurewhiteortonedtoarangeofcolors,suchsupportsofferanaspiringarrayoftextures,hues,anduniquetraits—thepotentialunfoldswithgreatpossibilities.

Coloredpencil isever-blossomingasafineartmedium,bringingwithitnewmaterialsandsurfaces,even an expanded concept of what “drawing a painting in color” means. This book presents manypossibilitiesandtechniquesforwideningthosecoloredpencilboundaries.

Artists whose work I have admired over the years, whether they were long-recognized figures incolored pencil circles or emerging artists Imet throughmyworkshop travels, have been generous insharingtheirart,describingtheir toolsandtechniques,evenrevealingtheir sourcesof inspiration.YouwilllingerandmarvelovertheirartasI,too,havedone.IammostgratefulfortheirparticipationandtheenhancementthattheirarthaslenttoTheNewColoredPencil.Mydeepestgratitudegoestotheseveryspecial guest artists, whose contributions so enhance these pages: Debbie Bowen, Jeannette Buckley,KarenColeman,BarbaraGrant,MaryHobbs,LauraMiller,JackieTreat,RanjiniVenkatachari,andJanaWesthusing.

Ihopethatlearningaboutcoloreddrawingmaterialsandseeingtheworkofcoloredpencilartistswillinspireyoutoconsidersuchtechniquesandmaterialsandtocontinuetogrowcreatively.

Mushrooms,KarenColeman,CPSA,2009,7”×5”,coloredpencilonPastelbord.

KarenColemanusedarangeofcloselyrelatedhues—fromaverypaleivorytodeepsepia—andclose-croppedcompositiontocreatethis

quiet,yetstriking,piece.

PARTONE

WAX-BASEDTRADITIONALCOLOREDPENCILS

BierstadtTrail,JeannetteSwisherBuckley,CPSA,2001,36”×16”,coloredpencilonvellum-finishBristolboard.

BierstadtTrailisintheRockyMountainNationalPark—agreatsubjectsinceitisafavoritehikingspotforJeannetteSwisherBuckleyand

sinceshelovesportrayingtreesandrocks.JeannetteusedPrismacolorpencilsonStrathmoreBristolpaper,vellumfinish,oneofher

favoritepapers.

1GETTINGSTARTED

WITHWAXY

COLOREDPENCILS

WHENANARTISTUSESTHETERMCOLOREDPENCIL,generally thewax-basedpermanent, traditionalpencilcomestomind.Suchnon-aquarellepencilsarethemostprevalenttypeandcanbefoundinavarietyofstyles, thicknesses, and hardnesses.The colored pencil—whatever its form—is nontoxic, portable, andaffordable.Itisalsobeautifullysuitedtocolordelivery,control,andprecision.

Quality art begins with quality artmaterials.With such a large variety of pencil brands, it can bedifficulttodecidewhatproductstobuy.Nomatterwhatyourbudget,youshouldalwaysaimforqualityabovequantityasyoubuildacollectionofcoloredpencils.Asmallbasic setofqualitycoloredpencilscanbegraduallyexpandedbypurchasingadditionalhuesfromopenstockofindividualcolors.Lookforarange of suitable colors based on preferences and subject matter. Some brands, such as SanfordPrismacolors,offermorethanonehundredcolorsandanextendedrangeofgrays:Frenchgrays,warmsgrays, andcoolgrays.Suchabroadrangeofgraysappeals to theartistwhoprefers theboldorquaintlookofblack-and-whiteimages,aswellasphotographerswhospecializeinreproducingandrestoringoldphotographs.

Thischapterpresentsasurveyofthetoptraditionalwaxypencilsonthemarkettoday,basedontheiruniquemakeup,functions,andvalue.AllofthebrandsImentionareconsideredartist-gradepencilsandalmostallofthemofferopen-stockrefillsofindividualcolors.

Kathakali,PortraitofanIndianDancer;RanjiniVenkatachari,CPSA,2007,14½”×24”,coloredpencil,pastel,andgoldleafpenon

Pastelbord.

RanjiniVenkatacharicreatedthisworkasatributetoKathakali,meaning“storyplay,”anartformthatoriginatedinsouthIndiamorethan

fivehundredyearsago.Combiningliterature,music,painting,acting,anddancetoportraystoriesfromtheHinduepics,thedanceruses

concentration,skill,andstaminatopresentaspectacularperformance.RanjiniappliedaninitiallayerofpastelsonPastelbord,lightly

sprayeditwithafixative,andfollowedwithcoloredpencilsontopofthepastelstoaddmoredetails.Shethencreatedraisedareaswith

ArtSpectrumColourfixPrimer,allowingittodryovernight;herfinalstepwastoapplygoldleafpentotheseraisedareastoaddavivid

effect.

MAKEUPANDCONSTRUCTIONProfessional-gradecoloredpencilshaveahigherpercentageofpigmentandbetterqualityconstructionthanthestudent-gradecoloredpencilscommonlyfoundinvarietyandschoolorofficesupplystores.

CoreCompositionColoredpencil“leads”arecomposedofpigment,waxes,andotheringredientssuchasextremelyminuteparticlesofclay,titaniumdioxide,and—forsmoothness—talcum.(Althoughthecoreisoftencalledthelead,itisnotthesamecompositionasaleadpencilanddoesnotcontaingraphite.)Gumbindersformathin coating around theseminute particles, bonding them together.Moltenwaxes then fill the spacesbetweentheseparticles;waxesenabletheactualdrawingprocess.Differentbrandsusevariousrecipesandproportionsoftheseingredients,aswellasmultiplesyntheticwaxes(so-called“dry”or“wet,”withthelatterliquefiedwaxhavingoilydrawing,orlaydown,characteristics).Thewaxesareessentialformakingthepencil strokesactuallyadhere tothepaper.Applyingcoloredpencil isverymucha sensory, tactileexperience.

Differentbrandsoftraditional,non-water-solublepencilshavedifferenttraits,rangingfromcrispandfinetocreamyandwaxy.Thirteen

prominentvarietiesofartist-gradepencilsare,fromtoptobottom:SanfordPrismacolor,LyraRembrandtPolycolor,Koh-I-Noor

Polycolor,Irojiten,Faber-CastellPolychromos,DerwentStudio,DerwentDrawing,DerwentColoursoft,DerwentArtist,Cretacolor

Karmina,Carand’AchePablo,Carand’AcheLuminance,BruynzeelDesign.

Karen’sTulip,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonRising4-plymuseumboard.

Thisfloralartcombinestwofamiliarmaterials,museumboardandFaber-CastellPolychromospencils.Theeasylaydownofthe

Polychromospencils,whichcontainsoybeanoil,combineswellwiththevelvety,almostcushionedfeelingofRisingMuseumBoard.

Sincethepencilsarehighlypigmentedandtheboardacceptscolorsoreadily,theywereanaturalblend.

Buttery,“Wet”PencilsFaber-Castell includes vegetable oil (soybean oil) in its Polychromos pencils, lending a characteristicsmoothnessandglide.Thelineoffers120highlypigmentedhuesand,despitetheircharacteristicsoftness,theyareveryconcentratedanddurable.Faber-Castell’sS.V.bondingsystemof internaladhesivekeepsthe cores in their premium-quality wooden jackets. S.V. is a Faber-Castell trade term for“sekuralverfahren,”meaning “secure bonding” of the pencil core to the internal part of thewoodencasing.Polychromoscanbeeasilyusedontheirsidesorsharpenedtoafinepointforexcellentprecision,too.Budget-friendlyKoh-I-NoorPolycolors,in36shades,alsohavevegetableoilblendedintothewax.

Caran d’Ache Pablo and Luminance (see Lightfast Superstar) and Lyra Polycolors (see UniquelyConstructedPencils),donotcontainvegetableoil,butdue to the typesofwaxes theycontain, theystilllendabutteryglidesensationinthelaydownprocess.Carand’Ache’s120Pablopencilsaredippedinawaxbathandcured;theycreatearesisteffectwhenwatermedia is layeredoverthem.ThePablofeelslikeasoft6Bgraphitepencilandfillsinthetoothofthepaperwithbeautifulsaturation.Thisisabonusfortheartistwhowantsasmooth,unfleckedeffect.ThePablopencilalsolendsitselfwelltotranslucentcolorlayering,witheveryhueappearingasasubtleveilinthecolorharmony.

Other creamy, “wet” pencils include the 72 Derwent Coloursoft shades and the 150 SanfordPrismacolorpencils.The24shadesofDerwentDrawingPencils,toutedas“thefurandfeatherpencils,”areidealforsubjectsfromnatureandlandscapes;theyarethickandsoft,almostpastel-like,intexture.

Crisp,“Dry”PencilsDerwentStudioPencils(in72shades)andArtistPencils(in120shades),ontheotherhand,lendadrier,sharper sensation, somethingwhichappeals toartistswho like tokeep fine linesandprecision in theirwork. Sanford’s 36 shades of Verithin pencils, while not heavily pigmented, are excellent tools forcreating fine lines.Verithins,which are needle-like and quite hard, help tremendously in bringing animageintofocus,makingedgeslookcrispandprecisewithjustafewstrokes.

Whicheverbrandorlevelofsoftnessappealstotheartist,theproofisultimatelyinthepigment.

DenselyPigmentedPencilsPigmentistheessentialcomponentofthecoloredpencil.Withoutadequatepigmentation,thecolorsarelifeless, bland, and lackluster—producing faint, scratchy drawings. Thus, it is vital to choose coloredpencilswhichproducerichhues.

The 90 premium Irojiten colored pencils are heavily pigmented. (Irojiten is Japanese for “colordictionary.”)Packagedinneatlyorganizedsetsofcolors,theyincludelightpastelcolors,deeptones,anda large selectionof vivid and realisticmuted colors found in nature.The extensive palette of Irojitengreens is especially notable.Offering some dramatic color accents, this collection includes fluorescentcolors.

Carand’AcheLuminancepencilsoffermanyearthyand landscapehues, aswell asyellows,oranges,reds,blues,andviolets.Theyareformulatedusingseventypigments—notthirteentofifteen,likemanyotherbrands—whichmeansthattheartistcaneffortlesslydelivermorecolorperstroke,withoutapplyingheavypressureandwithfewerlayers.(FormoreontheLuminanceline,seeLightfastSuperstar.)

THECOREISSUE

Whenshoppingforopen-stockpencils,examinethecrosssectionofeachcoloredpencil,andonlyselectthosewithcenteredcores.Off-centerpencilcoresoccurwhenquality-controlproblemsarise;sometimesunevenslabsofwoodarebondedtogethertoformthecasing.Suchflawedpencilsdonotsharpenproperly,eveninahandheldsharpener,andcanlosetheircoloredcores.Carand’AcheofSwitzerlandandFaber-CastellofGermanyapplycontinuousadhesivewithintheirpencils,thuseliminatingtheproblemoflosinganentirechunkofpencil.

AVOIDPENCILSWITHOFF-CENTERCORES.SUCHPENCILSAREDIFFICULTTOSHARPENANDHAVE

LOPSIDED,OFTENUNSTEADYPOINTS.

UniquelyConstructedPencilsColoredpencilsareavailableinunusualcasingsorevenwoodlessform.PrismacolorArtStix,offeredin48colors,areessentiallythelargecoresofPrismacolorPremierpencils,producedaschunkyrectangularstickswithnowoodcasing.Theyarewell-suitedtocreatinglargeswathsofcolorandgesturaldrawings.Some artists even grate theArt Stix and spread the powdered pigment over the paper for soft-effectcoverage.

The16LyraColorstripepencils,ontheotherhand,featureatriangularcross-sectionandthe6.25mm“leads”arevisiblealongonesideofthepencil.Thiswidestripofcoloredcorecanbeusedforcoveringlargeareas.Thepointcanbe sharpenedandalsoused formoreprecise strokes.Colorstripepencilsarevery similar in composition toLyraPolycolorpencils and are alsoof the samehighquality.Lyra’s72shadesofPolycolorshavelongbeennotedfortheirsilkylaydownquality,thepigmentsinkingeasilyintothetextureofthepaper,andtheirwiderangeofvividcolors,includingfleshtones.

PearsandHazelnuts,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonvellum-finishBristolboardpaper.

ButteryLyraPolycolorscontainaliquefied“wet”wax,withnosoybeanoil.WhileIappreciatetheirrangeofusefulcolors—plentyof

greens,yellows,reds,andblues—itistheglidingfeelofthepencilthatissoappealing.Polycolorsalsohavetheabilityto,ifdesired,fillin

eventhetiniestflecksoftoothintheartsurface.

FromtheCzechRepublic,Koh-I-NoorhasrecentlyintroducedTri-ToneColoredPencils,asetof23multitonalpencils,plusablenderpencil,whicharemadeofthesameoil-andwax-basedcorematerialasthecompany’sPolycolorpencils.TheintriguingdifferencewithTri-Tones is thateach3.8mmpencil“lead”has abraided core containing three analogoushuesor a colorwith threedifferent values.Tri-Tonesdeliver random,yet related colors, auseful application for landscape art, renderingdimensionaltrees,grasses,andfields.

Uniqueformsofthecoloredpencilofferspeedandconvenience:1)theLyrawide-coreColorstripepencil(anditssharpener),2)Koh-I-

NoorTri-Tonepencilwithitsthreerelatedcolorsbraidedintoonecore,and3)thelargeSanfordPrismacolorArtStix.

SpeciallyFormulatedPencilsArtistsaskalotfromtheirpencils—whetherit’sconsistentlaydown,resistancetotheelementsovertime,ortheabilitytomakefaintlinesthatwon’tbedetectedinthefinalwork.Manufacturersmakeproductstoaccommodateeachoftheseneeds.

LightfastSuperstarLightfastness,thepermanenceofamediumwhenexposedtolight,isanissueofvitalimportancetoallartists. This is especially true of practitioners whose art is commissioned and anyone who wants theguaranteeofartthatendures.

An elite newcomer to the colored pencil scene is the Caran d’Ache Lightfast collection fromSwitzerland.Luminancepencilscontainlevelsofpigmentandwaxthataremuchhigherthantheaverageartist-grade pencil and have been subjected to rigorous laboratory and Arizona and Florida sunlighttesting (more than four hundred pigment combinations were tested) to measure permanence andresistancetofading.Theyarealsopainstakinglyconstructedsothatwaxbloomneveroccurs.CoresareplacedinstringentlymeasuredCaliforniastraight-graincedarcases,withnowarpedorbentpencilsandnocoreloss.

FlutteryTulips,KristyAnnKutch,CPSA,2013,9½”×11⅞”,coloredpencilonColourfixSuedepaper.

Carand’AcheLuminancepencilsoffertop-of-the-linelightfastnessandthereforeinsuranceforthepermanenceofmywork.IfIinvest

manyhoursinacoloredpencilpainting,Iwantittoendure!Luminancepencilsalsocontainmaximumpigmentandhighest-quality

waxes,sotherichcolorsadherereadily,greatlyreducingmylayeringtime.

WaxBloomWarriorsColored pencil artists are also particularly eager to avoid wax bloom, a hazy surface filmwhich candevelopwhensometypesofcoloredpencilshavebeenappliedwithrepeatedlayersofheavypressure.

Design colored pencils, from theDutch-based pencil company Bruynzeel, have returned to widerinternational distribution, including the United States. Featuring 48 colors, Design pencils aremanufacturedunder stringent standards thatpreventwaxbloom.Eachpencilhas agroovedcorewithtwotypesofglue,oneappliedtothecoreandoneonthewoodencasing,todouble-bonditwithinthecasing. Bruynzeel encases their pencils with light cedar, which is preferable to red cedar for smoothsharpening.Lending themselveswell to layering,Designpencilsyield the lovely translucencyof subtleveilsofcolor.

Faber-Castell, Irojiten,Koh-I-Noor,andLyrapencils all tout their resistance towaxbloom,due tothechemistryoftheirpencilcompositionandthequalityoftheartwaxestheyuse.

Thisisanenlargedimageofwaxbloom.

Non-PhotoandSketch-FriendlyToolsThreeinexpensivetypesofcoloredpencils,onefromCarand’AcheandtwofromSanford,arevaluableaccessoriesforcreatinglinedrawingsandaddingfinishingtouches.Carand’Acheoffersasoft,non-photoblue Sketcher pencil, which erases easily with its own white vinyl eraser and is not visible to mostcameras(althoughitdoesappearonmanytypesofscanners).Theblueisdarkenoughtobevisibletotheartist,butnotsodarkastocreatelinesthataretooheavy.TheSketcherpromisestobeavaluableandforgivingtoolincreatingbasiclinedrawings.

The24SanfordCol-ErasePencilsarenotdenseinpigmentliketheusualartist-gradecoloredpencils.They are ideal, however for creatingpreliminary sketches and line drawings.TheCol-Erase pencil—lavender is a versatile favorite—is well-suited to line drawings depicting even delicate hues, such asyellowobjects,whichcould later showdistracting lines ifdrawnwithdarkgraphite strokes.Col-Erasepencilsareforgivingandcanbeeasilyerased(preferablywithawhitevinyleraser,ratherthanthepinkeraseronthepencil’stip).

SanfordVerithinpencils areneedle-sharp andnothighlypigmented.With their fine lines, they arewonderfultoolsfordrawingwhiskers,eyelashes,stamensandpistilsinflowers,andotherdelicatedetails.Theyarealsoidealforlendingcrispedgesandasharplyfocusedlooktothefinishedart.

Lanterns,Leaves,andFruit,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonvellum-finishBristolboardpaper.

Autumnisawonderfultimeoftheyeartofindappealingfruits,vegetables,andotherplantstodrawandpaint.Ifoundthesedelicate

Chineselanternsatalocalcountrygiftshoplocatedonmylatemother’shomestead,inmygrandfather’snineteenth-centurybarn.

Understandably,thedelicatelyincisedlanternshavespecialsignificanceandIenjoyusingthemforautumninspiration.

COLOREDPENCILSTANDARDSFORLIGHTFASTNESS

WithvigorouslobbyingbytheColoredPencilSocietyofAmerica(CPSA)forfullerinformationhascometheestablishmentoftheD-6901lightfastnessstandard.Stringentproceduresexposecoloredpencilstostrenuoustesting,yieldinginformationabouttheirpermanence.Becauseofthisinsistenceonlightfastpigments,coloredpencilisgainingacceptanceasafineartmedium.CPSApublishesalightfastnessworkbook,availabletoitsmembers.Itis

researchedandupdated,withratingsforcoloredpencils,watercolorpencils,andwaxpastels.Iregularlyconsultthisworkbookwhenplanningapainting.

TRADITIONALWAXYPENCILCOLLECTIONS

PRODUCTNAMENUMBEROFSHADES

PRICELEVEL

BruynzeelDesign 48 Budget-friendly

Carand'AcheLuminance 76 High-end

Carand'AchePablo 120 High-end

CretacolorKarmina 36 Moderate

DerwentArtist 120 Moderate

DerwentColoursoft 72 Budget-friendly

DerwentDrawing 24 High-end

DerwentStudio 72 Moderate

Faber-CastellPolychromos 120 Moderate

Irojiten 90 High-end

Koh-I-NoorPolycolor 36 Budget-friendly

LyraRembrandtPolycolor 72 Moderate

SanfordPrismacolor 150 Moderate

TRADITIONALWAXYPENCILTRAITS

PRODUCTNAME KEYCHARACTERISTICS

BruynzeelDesignWax-based,excellentpencilconstructionandlaydownqualities,nowaxbloom

Carand'AcheLuminance

Outstandinglightfastness,veryconcentratedcolorandcoverage,greatpigmentationcombinedwithqualityartwaxes

Carand'AchePabloWax-based,combinesasoftfeel(equivalenttothatofa6Bpencil)withexcellentcoverageofthetoothofthepaper

CretacolorKarminaWax-based,crisp-feeling,verylightfastpencils,notwidelydistributednoravailableinopenstock

DerwentArtistGreatcolorselection,crisplaydownsensation;pencilsareslightlyoversizedformanysharpeners

DerwentColoursoftVerysoftandcreamywax-basedpencilsinabrilliantselectionofcolors

DerwentDrawing Softwax-basedpencilsinmutedcolorsofnature

DerwentStudioLong-establishedlineofwax-basedpencilswithsharp,crispcharacteristics

Faber-CastellPolychromos

Excellentpigmentationandconstruction,smoothandbutterylaydown;formulaincludessoybeanoil

IrojitenOutstandingrangeofhighlypigmentedhues,nowaxbloom,arrangedinbook-likevolumesofcolorfamilies,includingideallandscapecolors

Koh-I-NoorPolycolor Oil-basedpencilsthatfeatureacreamylaydownquality

LyraRembrandtPolycolor

Beautifulpalette,nowaxbloom,andasmooth,silkyglidingsensationofcolorlaydown

SanfordPrismacolorHugerangeofcolors,waxycomposition,popular,widelyavailable,oftenonsale;tendtohavesomequalitycontrolflaws

2COMPATIBLE

SURFACESFOR

WAXYCOLORED

PENCILS

THEBESTPENCILSINTHEWORLDCANNOTDOjusticetoone’sartunlesstheyarepairedwithaquality,acid-freegroundorsurface.Selectinganappropriatepaperorboardislargelyamatterofpreference,style,andtheneed for tooth. In this case, “tooth” refers to the texture of the surface—whether it is a velvety,rather smooth paper, or a sanded, gritty board.Consider, too, the subjectmatter of the art.Using asanded,toothypapermightbeappropriateforalandscapeofaruggedcanyon,ravine,ormountain.Ontheotherhand,asmooth,lesstexturedsurfacemaybebettersuitedtoaportraitofaninfantwithdelicateskinorastill-lifewhichincludeshighlyreflectivecrystal.

There is an amazing array of art surfaces—some tried and true, some quite new—which are idealgroundsforcoloredpencilart.Moreartsurfacesarebeingrecognizedascoloredpencilcompatible,too.Surfacesthatusedtobeintherealmofpastelistsorwatercolorartistshaveproventobebeautifullysuitedtocoloredpencilartists.Papersandmultiplemediumboardsfromaroundtheworldofferawiderrangeoftextures,colors,traits,andeffects.

Themoreyoulearnabouthowdifferentcoloredpencilsandsurfacesinteractandworktogether,themoreyourrangeofpossibilitieswillexpand.

EagleEye,JackieTreat,2012,12”×16”,coloredpencilonColourfixSuedepaper.

JackieTreatphotographedthiseagleattheEugene,Oregon,RaptorRescueCenter;theOregonCPSADistrictChapterheldtheirmonthly

meetingatthecentersoartistscouldsketchandphotographthebirds.ShechoseTasmanblueColourfixSuedepaperbecauseshe

wantedasoft,mistybackground;shealsoknewthattheredorangeoftheeagle’sfeatherswouldenhancethevibrantplayof

complementarycolors.

TRIEDANDTRUETwo longtime favoritesof coloredpencil artists areBristolboardpaper andStonehengepaper.Bristolboard,namedafter thecityofBristol,England,whereearliestversionswerecrafted, is rather stiff andsturdy. It is available in plate finish and vellum (also called “regular” or “kid”) finish, and the papercompanysometimesnotesthenumberofplies,orthinlayers,ineachsheet.Plate-finishBristolboardissmoothand,whenhelduptothelight,appearsslickandshiny,muchlikeaporcelainplate.Plate-finishboard—idealforpenandinkart—accommodatesseveralpencillayersandallowsfine,delicateprecision.Vellum-finishBristolboardisslightlytoothierandacceptsmorelayersthantheplate-finishversion.

Stonehenge paper, once mainly considered a silkscreen and printmaking paper, has also beenrecognizedasanimportantandversatilesurfaceforthecoloredpencilmedium.Thispaperis100percentcotton,acid-free,bufferedwithcalciumcarbonate (forenvironmentalprotection),andveryaffordable.Coloredversionsoffertheoptionofchoosingatonedsurfacefordrawing.Althoughthetoothissubtle,itallowsmultiplelayers,incisedlines,delicatedetailwithoutfeathering(i.e.diffusingalineintendedtobefineandcrisp),andisforgivingwithliftinganderasing.

Rising or Strathmoremuseum boards are also excellent surfaces for colored pencil. Although it ismarketedasanarchival,conservation,thick-paperboardforframing,museumboardoffersawonderfulground for colored pencil. Being 100 percent cotton, lightly textured, pure, and suitable for fine-artpreservation,museum board is ideal for drawing, too. Four-plymuseum board is sturdy and acceptscoloredpencilwith a speedier saturation thanmany traditional papers.Theonlydrawback is that theboard is only available in 32- by 40-inch sheets and may be too large. Look for it among framingsupplies,notdrawingpapers,andinquireabouthavingitcuttosize.Itiswellworththeadditionalefforttoexperiencesuchalusciousartboard.

Stonehengepaperenjoysalargefollowingamongcoloredpencilartistswhovaluethispaper’stextureanditsabilitytoacceptmultiple

layersofcolor.AssortedshadesareconvenientlyavailableinStonehengepads,whichofferavarietyoftintedsurfaces.Shownhere(left

toright)arekraft,warmwhite,natural,cream,fawn,andpearlgray.

WHITESURFACESFORCOLOREDPENCIL

PRODUCTNAME KEYCHARACTERISTICS

Bristolboardplate-finishpaper

Verysmoothsurface,allowsfinedetail,limitedlayering

Bristolboardvellum-finishpaper

Subtletoothpermitsmultiplelayers;greatstudentpaperavailableinpads

museumboardSoldasframingbackingboard,lightlytextured,idealas2-plyor4-plydrawingsurface

Reverepaper,felt MosttexturedofReverepapers,hasanalmostcloth-likefeel

Reverepaper,silk LovelyItalianpaper,finetooth,delicatewitherasures

Reverepaper,suede SameasReveresilk,butmoretextured

StonehengepaperAvailableinsheetsorpads,subtlecolorvariety;“workhorse”paperwhichacceptserasures,greatlayering

TerraskinpaperDense,nonwovenpapermadefromlimestonepowder;acceptslineimpressionsandhasveryfinetooth,uniquetexture

Tanner,JeannetteSwisherBuckley,CPSA,2003,19”×24”,coloredpencilonmuseumboard.

JeannetteBuckleyworkedfromapictureshetookonthestepsofanoldfamilyfarmhouseinCoonbottom,Florida,wherethree

generationsoffamilyhadgatheredforThanksgiving.Sheusesmuseumboardforportraits,sinceshelikesitsdurabilityandappreciatesa

surfacethattakesrepeatedliftingwithanelectriceraser.TheentirescenewasdonewithPrismacolorpencils.

NEWONTHESCENEAnotablenewcontributiontotheworldofcoloredpencilsurfacesisReverepaper.Offeredinsilk(thesmoothest), suede (intermediate tooth), and felt (themost textured) finishes and a variety ofweights,Revereis100percentcottonandcomesfromanItalianpapermilldatingbackto1404.Itisalsoacid-freeandhasalovelyvelvetytexture,whichacceptsmultiplecoloredpencillayersreadily.Reverepaperlendsitselfwelltoimpressedlinesforprecisionandtexturaldetails.

Oneuniquenewsubstrate,Terraskin,isanonfibermaterial.Terraskinisnotcottonbutismadefromcalciumcarbonatepowder,alsoknownasfinelygroundlimestone.Combiningcalciumcarbonatewithasmall quantity of polyethylene, a nontoxic resin binder, Terraskin is nonacidic and archival. It isconcentratedandheavy,tear-resistantandstrong,yetitcanbecutwithhouseholdscissors.Withadense,non-toothy feel to it,Terraskin accepts coloredpencil very smoothly, and soft,multiple layers appeardelicately textured.This surface also accepts line impressions verywell, but do notwork on itwhilewearingawristwatchorbracelet,whichmightaccidentallyimpressintothepaper.WhenworkingonapadofTerraskin,theundersideofthesheetshouldbecushionedwithnewspaperorapadofpaper:lineimpressionscanevenaffectthenextsheetonthepad.TerraskinisforgivingandcolorsliftcleanlywithaVanisheraserorwhitevinyleraser.

Thereisanexcellentvarietyofpapersandtextures—fromsmoothtotoothy—availableforcoloredpencilart.Fromleft:Terraskin,

museumboard,Bristolboardvellumsurface,Reveresilk,Reveresuede,andReverefelt.

VariegatedHydrangeas,KristyAnnKutch,CPSA,2012,15”×12”coloredpencilonTerraskinpaper.

Tocreatethisup-closeandpersonalviewofauniquehydrangea,Iusedasheetofthenewnon-fiberTerraskinpaper,madefrom

limestonepowder.Ithoughtitwouldbeagreatsurfacefortherangeoftransitioningblues,greens,andvioletsfoundinthisamazing

bloom.TheCarand’AchePablopencilsstrokedeasily,almostfluidly,andthegradationsofcolorswereeasytorenderonthesmooth

Terraskin.

PASTELSURFACESFORCOLOREDPENCILSPastel papers and boards are not just for pastelists. Colored pencil artists have discovered the beauty,speed, and novelty of working on colored pastel papers and boards. Such toned surfaces lend anunderlyingcolorunityandthehuesworkupquickly.

PastelPapersandBoardsThereareanumberofhighqualitypastelpapers,likeCansonMi-Teintes,FabrianoTiziano,SennelierLaCarte,andStrathmoreArtagain.CansonMi-Teinteshasalighttoothononesideandispebblyonthereverse.Strathmore’spaperstendtobelesstexturedandsmoother;StrathmoreArtagainhasaninterestingblendthatresemblestweed.

Tonedsurfacescanlendspeedandelegancewhencreatingacoloredpencilpainting.Shownhereare(lefttoright)StrathmoreArtagain,

SennelierLaCarte,FabrianoTiziano,CansonMi-Teintes.

FabrianoTizianoisalsoalighter-weightpastelpaper,andsomeofthecolorshaveadiscerniblewovenlook, much like linen. Sennelier La Carte, on a card backing, has a furry tooth which containsdehydratedpotatopowder;ittakespigmentquicklybutthetoothiseasilydamagedbyevenadropletofwater, so keep your hands drywhenworkingwith it. (It is not adversely affected by fixative spray,however.)

Caught!CallinectesSapidus,AtlanticBlueCrab,KarenColeman,CPSA,2012,15½”×11½”,coloredpencilonLaCartepastelpaper.

KarenColemanselectedsuede-likeSennelierLaCartepaperandPrismacolorpencils,sincethepencilsworkbeautifullyonthispaper,

buildingupveryquicklywithintensecolor.Notethewidevarietyofwonderfultextures,fromthecrab’sshelltothebraidednetting.

CansonoffersaveritablerainbowofMi-Teintespastelpapers,butthecompanyalsoproducesawidearrayofrigidboardsfordrawing.Texturesvaryfromquitesmooth,forveryfinelinework,totextured,for toothier effects. Canson boards include Bristol, drawing, illustration, and even Mi-Teintes papermountedtoaheftysulfitewhiteboard.Mi-Teintesboardisavailableinwhite,ivory,cream,grays,black,tobacco,andburgundy.Onthesecoloredsurfaces,theartdevelopsquickly,andthecompositionhasanunderlyingtonalharmony.

PASTELPAPERSFORCOLOREDPENCIL

PRODUCTNAME KEYCHARACTERISTICS

CansonMi-TeintesVerylargedistributionandcolorselection;pebblyononeside,smootherontheother

FabrianoTizianoLightweightpaperinwidecolorrange,featureslinen-weavetooth

SennelierLaCarteFuzzypaperwithspeedysaturation;toothisdamagedbywater

StrathmoreArtagainWidedistribution;medium-weightpaperfeaturingspeckled,tweed-likesurface

SandedPastelSurfacesSandedpastel surfacesoffer textures ranging from fuzzy todownrightgritty and aregenerally toothierandmore abrasive to colored pencils.While a sanded toothmay wear down the pencil point morequickly,therewardisthespeedysaturationofcolor.Thetoothofthepaperorboardgrabsthepigment,andthecolorclingswithrichintensity.Thiscanbeespeciallyusefulforlandscapes,forexample,whichtakeshapequicklyonsuchsurfaces.Manysandedpastelgroundsarealsocompatiblewithwater-solubledrawingproductslikewatercolorpencilsandwaxpastels.Thismakessuchsurfacesidealforcombiningdryandwetdrawingandpainting.

LightlySandedSurfacesColor clings well to lightly sanded surfaces, yielding rich saturationwith less aggressive wear on thepencilpoints.ArtSpectrumColourfixSuede,ineightshades,isarecentadditiontothesandedcategoryandhasaverylightlyabrasivesurface,whichisindeedsuede-likeintexture.Itwasinventedtomeettheneedsof even the softestpastels and sponge-likeblending tools, but it also accepts coloredpencil andincisingtechniqueswitheaseandquicksaturation.Suedeisa lushsurfacealongwhichcoloredpencilsmovewithsurprisingspeed,evenwhiledrawingwithalighttouchandsubtlelayering.

Ampersand Pastelbord is a permanent museum-quality material which has a light grit made frommarbledust.Itssubtlysandedclay-andgesso-coatedsurfaceispreparedoneachboardindividually.Theaspenbaseprovidesanon-warpingbackingboard,whichmakesPastelbordeasytotransportandtocarryoutdoorsforpleinairsessions.Pastelbordcomesinfourhues:white,gray,sand,andgreen,andisalsopHneutralandnon-yellowing.WhitePastelbordcanevenbecustom-tintedwithwatercolorpencils foradifferentlycoloredbase layer.Although its tooth feels lightly sanded, it accepts a surprisingnumberofcoloredpencillayersandholdsupwelltoliftingwithanelectriceraser.

CansonTouch,availableinfourteenshadesandwithaverylightlysandedsurface,containsanacrylicandsilicablend.Touchacceptsavarietyofartmedia,includingpermanent,waxypencilsandaquarelleproducts.Availableaseitherapaperorboard,Touchoffers theartistversatiledurability.Theboard issturdyenoughforpleinairsessionsandthepaper—althoughitisheavy—canbecutwithscissors.

LupineLane,KristyAnnKutch,CPSA,2012,14”×11”,coloredpencil,watercolorpencil,andwater-solublewaxpastelonPastelbord.

LupineLaneisbasedonasummerscenebyaremoteMinnesotacabinwheremyfamilyoftengathers.Iwantedtocapturethebluesky,

thebirchtreesinthebackground,thegraniteboulder,andespeciallythestunningcolorofthelupines.Idrewtheskyandbackground

bircheswithLuminancepermanentpencilsongreenPastelbordandgraduallymovedforwardinthescene.EventuallyIdecidedthatthe

lupinesandotherwildflowersneededtheextra“punch”ofwater-solublepencilsandwaxpastels.AlthoughIsprayedthefinishedpiece

withafixative,thegratedtinywhiteflowersstartedtofallofftheboard,soIusedaheatguntosuccessfullybondthemtothePastelbord.

(Tolearnmoreaboutheatguns,pleaseseethispage.)

Clairefontaine Pastelmat features a very fine cellulose fiber surface coatingwhich feels like delicatevelour.ThebaseofPastelmat is a stiff, card-likematerial, lending thepaper rigid support. Its lightfasteight-colorselectionincludeswhite,graysandtans,butalsowarmbuttercupandsienna.Combiningdryandwet coloredpencil techniquesonPastelmat is easy, since it also acceptswatermedia. Its surface isgentletoblendingtools,yetitholdsmultiplelayersofpigment.

FINISHINGTOUCHESFORLIGHTFASTNESS

Iusematte,non-glossyUVprotectantfixativespraystosafeguardmyartagainstdamagingultravioletrays.TheworkablenatureofthefixativemeansthatIcanstillreturntothepaintingafterthesprayhasdried—andIalmostalwaysdo—totweakoraccentsomethingwithafewextrastrokes.WhenIchooseframingsupplies,Iselecteitherconservationglass,whichgives97percentprotectionfromultravioletrays,ormuseumglass,withits99percentUVprotection.Afterinvestingmytimeandhardworkinapiece,Ifeelmyartdeservestheseextrameasures.

AbrasiveSurfacesFor remarkably speedy color concentration, abrasive surfaces are the ultimate choice.Yes, the ruggedtoothdoesweardownthepencilpoints,butthedensityandrichnessofcolordepositedtheremakeitworthit.Theswiftnessofcolorsaturationandbuildupisastonishing!

FromEnglandcomesasanded,grittypastelpaperwhichhasbeenenthusiasticallyembracedbycoloredpencil artists. Fisher 400 paper is available in a creamy ivory shade and has a stiff backing. Layers ofcoloredpencilclingreadilyandwithgreatintensitytoFisher400.Eraser-friendlyandsturdy,thispaperallowscolortobeliftedcleanlyandquicklywithabattery-powerederaser.

BeigeUArtpaperofferstheoptionofanextensiverangeofsevengrits,fromthetoothiest240grittothe finest800grit. It is pHneutral, acid-free, and it accepts avarietyof solvents.UArt is suitable formultiplelayering,aswellasawiderangeofartmediums.ThetoothofUArtpaperisdurableenoughforblendingtechniquesdonewithastiffbrush—thegrainremainsaffixedtothepaper.Itcomesinsheets,rolls,andisevenavailablemountedtoconservationboard.

Sanded,highlytexturedsurfacesdesignedforthepastelmediumarealsobeautifullysuitedtothecoloredpencil.Shownhereare(leftto

right,fromtoothiesttosmoothest)CansonTouchpaper,originalArtSpectrumColourfixpaper,AmpersandPastelbord,Fisher400paper,

UArt800paper,ArtSpectrumColourfixSuede,andClairefontainePastelmat.

SANDEDPASTELSURFACESFORCOLOREDPENCIL

PRODUCTNAME KEYCHARACTERISTICS

AmpersandPastelbordPreparedonactualboard,subtlysandedbuttakesnumerouslayers

ArtSpectrumColourfixSuede

Subtle,lessabrasiveversionoforiginalColourfixpaper

ArtSpectrumoriginalColourfixpaper,board

Mediumtooth,availableinboards,smallorlargesheets;veryforgiving

CansonTouchpaper,board

Moderatelysanded,inlargesheets;acceptserasingwell

ClairefontainePastelmat Finetooth,card-likepaper

Fisher400paper Availableinonebuffcolor,veryrugged;acceptsmanylayers

UArtpaper Marketedinsevengrits,fromultrafinetoverytoothy

ArtSpectrumColourfixpaperandPleinAirboard,available in twentyshades,areverydurableandtoothy grounds. Their abrasive surfaces of acrylic, blended with ground mica, are screened on eachwatercolor paper andboard.Blendingwaxypigmentwithheat and a stiff brushworks beautifully onColourfix.Whetherinpaperorboardform,ittakesthepigmentquicklyandwithremarkableintensity.Erasing—evenrepeatedbattery-powerederasinginthesameplace—doesnotscarthesurfacenordamagethe tooth. For the artist desiring even heavier layering, Art Spectrum also offers silica-coated whiteColourfixSupertooth,witha“50%moreaggressivelytoothysurface.”

HurricaneRidgeinBloom,KristyAnnKutch,CPSA,2012,9”×12”,coloredpencilonArtSpectrumColourfixsandedpaper.

Ienjoyusingasanded,tonedpaperorboardforlandscapes.IappliedatleastthreelayersofsoftbluePablopencilstothesky,warmedit

withaheatgun,andblendeditintosmoothnesswithastiff-bristledpastelbrush.(Tolearnmoreaboutheatguns,seethispage.)Idrew

thelandfeatureswithcoloredpencilsanddrewthebrightlycoloredpatchesofflowerswithwatercolorpencils,carefullywettedwiththe

tipofafinebrush.

NOVELTYSURFACESNoveltypapers—apaper surfacewhich isnotnecessarily a traditionalcotton-basedproduct—areworthexploringascoloredpencilsurfaces,bothfortheattractiveeffectsandfortheartistic“stretch”theycanelicit. I learnedaboutdrafting filmmanyyearsago fromBetBorgeson’sbookColorDrawingWorkshop(Watson-Guptill, 1984). Although she used Mylar and I chose different translucent films, there areappealingsimilaritiesinhowthesurfaceacceptscoloredpencil,readilyyieldingdense,richcolor.IwasalsointriguedbyadisplayofRealWoodpaperinanart-supplystoreandthoughtthatthewoodgrainmightprovideitsownuniquebackground,withnotwosheetsexactlyalike.Ilearnedthatdraftingfilmsand Real Wood paper are worthy of experimentation. They not only offer the fun factor of tryingsomethingnew,butallofthesenoveltysurfacestakethecolorquickly,requiringlesslayeringtime.

DraftingFilmsSheerHeavenresemblesatranslucentdraftingvellumfilm,andthedistributorstatesthatitcanevenbesoaked or dyedwithout being damaged. It does not buckle, warp, or wrinkle, and can be cut withscissors.With its etched tooth, SheerHeaven acceptsmultiple layers of eitherwaxy orwater-solublecoloredpencils.(Non-watercolorpencilsdotendtosmudgeandliftalittleafteraboutsixlayers.)Sinceboth sides acceptmedia, there is even the option of tinting the back of the sheet—wet or dry—anddrawingonthefront,thusgivingasoftlytranslucenteffect.

PeachyBell,KristyAnnKutch,CPSA,2013,8”×10”,coloredpencilonSheerHeavenfilm.

UsingthisWestIndiesflowerasareference,IwascuriousabouthowSheerHeaven,asurfacenewtome,wouldacceptcoloredpencil.

ThepigmentworkedupquicklyandIenhancedthecoralhuesoftheblossombyrepeatingsomeofitscolorsonthebacksideofthefilm.

Itwasveryeasytoblendthebackgroundwithasofthandkerchief.

ClearprintVellum1025 isanexceptional translucentdraftingvellum,often foundwithdraftingandreprographic supplies.Being100percentcotton,a surprising fact,ClearprintVellumispureandacid-free,andmuchsturdierthanheavytracingpaper,whichitinitiallyresembles.Allowingaboutfiveorsixcoloredpencil layers,oneitherorbothsides,ClearprintVellumpermitsveryrichcolorsaturationandworksupspeedily.Itfeaturescompletelyconsistent,evenlydenseformationofthepaperandhassurfacesizing. To protect the art surface, be certain to have a clean pad of paper or other smooth surfaceunderneath the vellum.Check often to clear away any eraser debris or colored pencil fragments, lestmarks from thecrumbs appear through the filmandaffect the art layers.ErasingClearprintVellum iseasy,clean,andforgiving,withnostaining.

RealWoodPaperYetanotherinterestingartsurfaceisRealWoodpaper.Thesurfacecomesinbirch,cedar,cherry,maple,oak,andwalnut.Theslendersheetsofwoodveneercanbepurchasedineitherthickorthinvarietiesandin several sizes, the largestbeing12by12 inches.RealWoodmaycurlabit,but this isnota seriousconcernanddoesnotinterferewithframing.Itoffersintriguingpossibilitiesforwildlifestudiesorotheroutdoor-themedsubjects.

RealWoodpaper,anothernewproduct,isindeedaverythinsheetofwoodandoffersanintriguingsurfacetoexplore.Translucent

papersandfilmsarenotexclusivelyfordrafting.Theyacceptseverallayersofcoloredpencilanderasecleanly.Fromlefttoright:Real

Woodpaperincherry,GalleryDifferentPaperArts/Cre8it!SheerHeaven,andClearprintVellum1025.

SandDollar,KristyAnnKutch,CPSA,2013,12”×9½”,coloredpenciloncherryfinishRealWoodpaper.

ThissanddollarwasmyfirstventureonRealWoodpaper.IwassurprisedthatIcouldeasilyuseastylustoinciselinesandlayersomany

applicationsofdensecolor,creatingstarkwhites.Ilikedthewaythewoodgrainremainedapparentforanatural,somewhatwavy

background.

3GETTINGTHE

MOSTOUTOFCOLOR

UNDERSTANDINGCOLORISVITALTOTHEARTIST.Whetheritisahumbleappleoramountainlandscape,thekey to creating a realistic, appealing subject lieswithin a basic knowledge of value and color theory.Coloraddszesttolifeandtoart.Adrawingorpaintingwithoutconsiderationofvalue—therangefromlighttodark—leavesthesubjectflat,withoutdimension,anditsimplyresemblesapreliminarysketch,nomatterhowskillfullyitisdrawn.

Thischapterincludesabriefhistoryofcolortheoryandadiscussionofthecolorwheel.Evenanovicecanapproachthewholeprocessofdrawingincolor,beginningwithagraspoflight-to-darkvalues,andmovingon to characteristics of colors (whether they arewarmor cool, complementaryor analogous,single colors or harmoniously layered). From the first cautious strokes to that last finishing touch, thecolordrawingprocessdoesindeedresultinapainting.

Harley,JeannetteSwisherBuckley,CPSA,2004,19”×24”,coloredpencilonmuseumboard.

InthisbeautifulportraitofhergranddaughterHarley,JeannetteSwisherBuckleyreversestheusualpracticeofcoolsinthedistanceand

warmcolorsintheforeground.Deepvioletshadowsclosetotheviewerlendaveryeffectivecontrasttotherosy,warmlightbehind

Harley.Sun-kissedhighlights,especiallyonherhair,addanalmostangelicaura.

ABRIEFTOURAROUNDTHECOLORWHEELTheprimarycolors—red,blue,andyellow—arethebuildingblocksofcolor,thehuesfromwhichtheothersarederivedbymixing them invariousproportions. (Hue simply refers to the color itself and isusedinterchangeablywithcolor.)Practicecolormixingbymakingswatchesonsparesheetsofpaperorinsketchbooks to become familiar with color layering and effective combinations. Even casual doodleexperimentsyieldsomehelpfulcolorrecipes.Itcanbeconfusingtorememberwhetheritwascrimson,carmine,orscarletwhichhelpedtoyieldacertainhue.Besuretorecordthecoloredpencilnamesandbrandssothatsuchmixturescaneasilybereproduced.Afterexperiencewithsuchlayering,colormixinggraduallybecomesmoreintuitiveandfavoritecombinationscomemorenaturally.

Keepingarecordofthenamesofcolorsmakesiteasiertoreturntoadrawingorpainting,eliminatingtheguessworkaboutwhichcolors

wereused.

Combiningyellowwithred—dependingonproportions—resultsinsomehueoforange.Likewise,amixtureofredandblueproducesashadewithinthevioletrange.Mixingblueandyellowyieldssomeshadeofgreen.Orange,violet,andgreenarethesecondarycolors,producedbymixingtheprimaries.

Mixing a secondary color with its analogous, or adjacent, color results in a tertiary color. Suchtertiaries areyellow-orange, red-orange, red-violet,violet-blue,blue-green,andyellow-green.Findingtheiroppositespokesonthecolorwheel,itiseasytodeterminethecomplementsofthetertiarycolors,too.

Thesix-huecolorwheelincludesyellowatthetop,followedclockwisebygreen,blue,violet,red,andorange.Primarycolorsareyellow,

blue,andred.Secondarycolorsaregreen,violet,andorange.Complementsaredirectoppositesonthecolorwheel,suchasyellowand

violet.Observetheoverlappingcomplementarycolorstowardthecenterofthewheelandthevibrantneutralcolorstheycreate.

Thetwelve-huecolorwheelshowsthetertiarycolors:yellow-orange,red-orange,red-violet,violet-blue,blue-green,andyellow-green.

Notetheoverlappingcomplementarycolorsbetweentheinnerspokesofthewheelandthelivelyneutralcolorstheycreate.

UNDERSTANDINGVALUEValuereferstothegradationof lighttodark,nomatterwhatthecolors involvedmaybe.It isvital tohave agoodgraspofvalues, since theycan accurately convey the image from thebrightesthighlightsdowntothedeepest,mostdramaticshadows.Artistsoftenstudytheirphotoreferencesfirstasblack-and-whiteimages,tohaveabettergraspofthelightanddarkvaluesinvolvedbeforeevenapplyingcolor.Asimpleblack-and-whitephotocopyoragrayscale image fromacomputerprogramcanhelpasavaluestudytodistinguishvalues,regardlessofcolors.

Sometimesartistsusearedcellophaneviewertoanalyzeasubject,sinceitisolatesthevalueswithoutactually revealing the different colors. This is an effective way of knowing where—even before thecoloredpencilstrokeshavebeendrawn—thelightestofthelightareasshouldbeandwheretopunchupandemphasizethedarks.

Interpretingvaluesoflight,medium,anddarkiseasywithablack-and-whitephotocopy.

Aredcellophanevaluefinderisanothertoolfordiscerningvalues.

JanaWesthusingbasedherpiece,KansasClothesline,onthisblack-and-whitephotographshetookwhenvisitinghergrand-fatherin

1991.

KansasClothesline,JanaWesthusing,2010,11”×14”,coloredpencilonStonehengepaper.

Partofthechallengefortheartistwastorecallthewonderfulcolorsthatshecouldseeblowinginthewindinhermind’seye.Bystudying

thelights,darks,andintermediatevaluesoftheblack-and-whitepicture,Janagainedagraspofwhatareasshouldhavedeeper,darker

emphasisandwherethehighlightsshouldbe,regardlessofthecolorsshechose.

CreatingValueRangeValuescanusuallybeshownbyusingthelighterordarkerversionofthesamecolortorenderavarietyoflightanddarkareas—highlightstodeepshadowyparts—ofasubject.(Valuerangeismoredifficulttocreatewithyellows,whicharea specialcase.)Using lesspressure—orevenreserving thewhiteof thepaper to convey highlights—renders a lighter value. More aggressive, heavier pencil strokes usuallyrenderdarkervalues.

Monochromaticart involves theextensiveuseof shadesandvalues fromacolor family in the samepainting.Frompalepowderblue todeep indigoor ivory todarkest sepia, themonochromaticpaletterequires a grasp of values as applied to that hue and its range of variations. Far from dull, themonochromaticworkcanbedramaticandelegant.

With so many colored pencil hues available, one can select lighter or darker values by using anappropriateversionofthechosencolor.Forexample,onecanchoosefromtherangeofblues, fromaverylightpowderbluetotruebluetoadeep,darkindigoblue.

IrisFlurry,KristyAnnKutch,CPSA,2012,15”×12”,coloredpencilandwatercolorpencilonArtSpectrumColourfixSuede.

Differentvaluesofthesamecolorcanbeusedforamonochromaticeffect.Iusedarangeofvioletshades—fromaverylightviolettothe

deepestblackgrape—tocreatethisfloralpainting.

LEFT:Pencilpressurecanrangefromlightanddelicatetoheavyandintense.

RIGHT:Alargesetofcoloredpencilsincludesarangeofvaluesandhuesfromthesamecolorfamily.

OnionsandEggplant,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonCansonTouchsandedpaper.

Theeggplant,withitsshineandrich,darkvioletsurface,providesgreathighlightsaswellassmooth,deepvalues.Onionsandgarlic,too,

offershimmerandluster,aswellasthosedelicatefinelinesintheirpaperyskin.Iconsidereditapersonalchallengetogetbright,light

values,sinceIrarelyusetonedpaperasdarkasthistwilightcolor.Faber-CastellPolychromospencils,whichareverydenseand

blendable,allowedmetoachieveabroadvaluerangeandsmootheffectsontheclothandinthebackground.

OTHERKEYCOLORPRINCIPLESColorapplicationinvolvesotherconsiderations,too,suchassaturationforrichintensity.Likewise,itisveryhelpfultounderstandwarmandcoolcolorsandhowtheyinteract;justafewstrategicstrokesoftherighttemperaturehuecanhelpbringyourarttolife.

Saturation(orChroma)Colorsaturation(alsocalledchromaorchromation)conveysthebrillianceofthecolorused.Saturationislargely dependent on the art surface, the pressure of the artist’s pencil strokes, and the percentage ofpigmentandartwaxineachpencil.(Ahigherpercentageofpigmentyieldsmoreintensecolorqualityandahigherwaxcontentmakesthepigmentadheremoretothesurface.)Strokingcoloredpencilontoatoothy surface suchasmuseumboardor the ratherabrasive sandedpastelpapersalsogives speedyanddensesaturation.

LEFT:Colorsaturationiseasilyintensifiedwithheavypressureofahighlypigmentedpencil.

RIGHT:Thechoiceofasurfacealsoaffectssaturation,sincepigmentclingsmoredenselytotoothy,sandedsurfacessuchasArt

SpectrumColourfixpapershownhere.

ColorTemperatureArtistsoftenrefertowarmcolorsandcoolcolorsandthepush-pulldynamicinvolvedwiththem.Coolcolors generally include blue, violet, blue-green, and violet-red like burgundy or wine hues. Warmcolors, on the other hand, are thought to be yellow, red, orange, and yellow-green, like chartreuse.Thinkofthewinteryshadowsofviolet,mauve,andblueonthesnowtohelprecallcoolcolors.Thinkoffiretoconjurewarmshadeslikeorange,yellow,andred.

Huesthatarecoolgivethevisualimpressionofrecedinganddenotedistancefromtheviewer,likeacoolandhazymountainrangetingedwithablueorvioletcast.Thisisalsotrueofalightlayerorveilofcool color applied over a subject, like a green forest with hazy blue over the more distant trees.Meanwhile, warm colors give the impression of coming forward or advancement, like golden sunlitwheat in the foreground of a landscape. Likewise, applying even a subtle layer of awarm color, likeyelloworgoldenocher,warmsupthesubjectandmakesitappeartobeclosertotheviewer.(Tohelpremember the effects of cool andwarm colors, think of an aloof, cool, and distant person versus anapproachablepersonwithawarmpersonality.)Keepinmindthatsuchalayerofcoolorwarmcolorcanbeverylightandsubtle,notaheavy-handedapplicationofcoloredpencil.

LEFT:Agreenmountainrangelooksfairlyflat,withoutmuchsenseofdimension.

RIGHT:Addingacoolcolorlikeasoftbluelendsahazeandasenseofdistancetothemostremotemountains.

LEFT:Agrassyfieldlooksflatandmonotonouswhenonlysketchedingreen.

RIGHT:Comparethisfieldtothepreviousimage.Notethataddingburntcarmine,acoolcolor,andgoldenocher,awarmhue,changed

thistoamorerealistic,dimensionalfield.

LAYERSOFPOSSIBILITIES

Itcanbeconvenientandfuntohavedozensofpencilcolors,butconsider,too,thatlayeringcolorscancreateaharmonymorecomplexandsubtlypleasingthanasimplemelody.Thisisreassuringforthepersonwhostartswithabasiccollectionof24colors.Themixingpotentialofthosecolorsissurprising,yieldingalargerangeofblendedhues.

COMBINATIONSOFBLENDEDCOLORSLENDHARMONYANDARESOMETIMESMOREVISUALLY

INTERESTINGTHANSIMPLYUSINGAPENCILOFTHEDESIREDCOLOR.

PLAYINGWITHCOLORCONTRASTColor contrast lends spark and interest to a piece and often makes the observer do a double-take.Touchesofacomplementarycolorlayeredinanarea,forexample,addvibrantappeal.IoftenaddsuchstrokesasIfinishapainting,asifI’vebeendaredtodoit,andthatcolorplayalwaysaddsalittlezest.

SimultaneousContrastPositioningtwocomplementsnexttoeachotheractuallyintensifiesthembyvirtueofaprincipleknownas simultaneous contrast. Thoughwe rarely think about it on a conscious level, we encounter thesestrikingcolorcombinationsallthetime—redforstopandgreenforgoonatrafficlight,deepblueDelftchinawithorangeaccents,oryellowandamixofyellowandpurplewildflowersalongtheroadside.

Sometimesthis simultaneouscontrast isas subtleasa fewlightstrokesofacoloraddedalongside itscomplement. InGloriousTwining,note the largebluemorninggloryon the left.Examining itclosely,lookforevidenceoforangestrokesvisibleinsomeofthedeepblueareas.Althoughtheyarenotboldand obvious—most of them are barely visible among the blue—these touches of the complementaryorange add to the dynamic of the blue flowers. Again, this is an example of the vibrant play ofsimultaneouscontrastwithcomplementarycolors.

GloriousTwining,KristyAnnKutch,CPSA,2007,15”×12”,coloredpencilon4-plyRisingmuseumboard.

ThisdetailoftheflowerontheleftinGloriousTwiningrevealsthesubtlecomplementaryorangestreaksinthepetals,whichaddaspark

tothevibrantbluecolorsoftheblossom.

LayeringComplementsLayeringtwocomplementsovereachotheryieldsalivelyneutralhuewhichismuchmoreenergeticandvisually interesting thanusing a flat gray.This is especially true for creating neutralswith the relativetransparencyofthecoloredpencilmedium.Acomplementarycolor,whetherusedinanunderpainting(aninitiallayerofcolorlaiddownbeforeapplicationofothercolors)oraddedlater,givesvibrantdepthanddimensiontoasubject.Despitethename,keepinmindthatunderpaintingcanbedonewithdrycoloredpencil, too,not justwithwater-soluble“painterly”media.Creatinganunderpainting first canhelpcreatedimensionsandshadowsevenbeforetheactualcolorsareapplied.

NewportLily,KristyAnnKutch,CPSA,2013,12”×16”,coloredpencilandwatercolorpencilonColourfixpleinairboard.

NewportLilyfeaturestheuseofcomplementarycolors,withreddishvioletunderneaththedeepgreenbackgroundandalight

applicationofgreenunderneaththepinkpetals.Thegreenunderpaintingonthepetalsisnotobvious,butitaddsdepthanddimension

nonetheless.

CreatingRealisticEffectswithComplementaryColorsThecolorwheeloffersatechniqueforcreatingathree-dimensionaleffectinapiece,addingdepthandavibrantinterplayofcomplementarycolors.InGardenTreasures,Ibeganbylayeringtheshadowsofalloftheyellowpeonypetalswithverylightvaluesofviolet,thecomplementoftheyellowpeonyblossoms.(Iuseddryvioletcoloredpencilforsomepetalshadowsbuteventuallychangedtoaverydilutedwashofvioletwatercolorpencil.)BeforeIaddedtheyellows,thispaintinglookedlikeastudydoneentirelyinvioletandburgundyred(acomplementofthegreenfeatures).Ifoundthatmodelingtheyellowpetalswithasubtlevioletcomplementwasalivelier,richeralternativetosimplycreatingthedarkerareasonthepetalswithalightbrown,forexample.

GardenTreasures,KristyKutch,CPSA,2010,16”×20”,coloredpencilandwatercolorpencilonRising4-plymuseumboard.

CombiningWarm,Cool,andComplementaryColorsConsideringwarmandcoolcolorconceptsandimplementingtheprincipleofcomplementarycolorscando wonders to improve an otherwise flat colored pencil rendering, taking it from simple sketch todynamicpainting.Students inmyworkshopsoftenfretbecausetheirdrawingsappear flat incolorandunappealing.Butoftentheseeffortsaresimplyworks-in-progressthatshowgreatpotential.

One frustrated student complained that even after hours of work, her carefully drawn trees stillresembled “green lollipops.” With a few well-chosen strokes of a burgundy hue, Tuscan red, acomplement of green, she added the darkest shadowswithin the deepest leafy areas. She then addedmore dark greens,whichmade the depth of the foliagemuchmore striking. She finished by puttingdownsomestrokesofyellowandcreamonthecloser sunlitpartsof theboughs,makingthemappearmore three-dimensional. After applying some complementary and warm/cool color theory, the treeslookedquiterealistic.Itsimplytookafewminutesoftweakingthecolors.

TOP:Treesdrawninshadesofgreenshowsomevaluesoflightstodarks.

BOTTOM:Addingacomplementarycolorofadark,coolreddoeswondersformakingthedarkgreenslookdeeperandmoreintense.

4APPLYINGAND

LIFTINGWAXY

COLOREDPENCIL

COLOREDPENCILTECHNIQUESHAVEGENERALLYbeenstraightforward:strokeonthecolor(strokedirectionsvaryfromartisttoartist),trytouselayersofcontrolledpressureratherthanaggressivestrokes,andenjoythe journey aswell as the destination. Saturated, vivid colors can be achievedwith the help ofmorelayering,heavierpencilpressure,and/ortheuseofcommercialblendingproducts(severalnewlinesofblendingpencilshavingappearedinrecentyears).Artistshavedevelopednovelapproachesforapplyingcoloredpencilpigmentandwideningtherangeofvalues.Theresultscanbedelicateandlightordenseandpainterly.

Admittedly,oneofthefirstquestionsIaskedmyfirstcoloredpencilinstructorwas,“HowdoIerasethis?”Hersolemnreplywas,“Youjustdon’tmakemistakeswithcoloredpencil!”Butshewaswrong.Happily,coloredpencilisaremarkablyforgivingmedium,allowingerasing,lifting,andtweaking.Suchliftingpotential isvery liberating, since itenableshighlighting,whichenhancesvalues.Experienceandconfidencehelpwithapplyingandliftingcoloredpencilonone’sownart.

HisandHersHats1,BarbaraGrant,2012,10”×13”,coloredpencilonStrathmorevellumfinishBristolboard.

ThispaintingisthefirstofaseriesthatBarbaraGrantbasedonfriends’photosfromatriptoCanada,duringwhichtheyphotographed

theircowboyhatseverydaywhentheystoppedforlunch.Barbarausedwhite,cream,sand,pumpkinorange,clayrose,grayedlavender,

lightumber,andsiennatomakethehatslookdimensionalandworn.Toemphasizethedarksinthehats,sheaddedTuscanred,indigo

blue,darkpurple,violet,andblackgrape.Usingastiffblendingbrush,shevigorouslyscrubbedyellowchartreuse,chartreuse,lemon

yellow,Tuscanred,bronze,artichoke,andwarmFrenchgraytoachievetheleafybackground.

PREPARINGBASICLINEDRAWINGSAlinedrawingprovidestheskeletonforyourpainting.Sobeforeyougoputtingmeatonthosebones(i.e.,applyingcolor),ortakingitaway(i.e.,liftingcolor),it’simportanttocreatetheframework.Thereareanumberofwaystogoaboutmakingalinedrawing,dependingonyoursubject,comfortlevelwithdrawing,andpersonalpreference.

ThumbnailandFreehandSketchingSomeartistsbeginbycollectingquick,simplethumbnailsketchesoftheirsubjectsandthendevelopone—oracombinationofthem—intoacomposition.Othersdevelopaneyefordrawingfreehandbysimplylooking at the subject and sketching its likeness directly on the art surface, whether it is a plein airlandscapeorastill-lifecomposition.

Thumbnailsketchesarequickstudieswhichhelpdevelopalinedrawingforacomposition.

Forthesketchingandearlyline-drawingprocess,agood,translucentpaperisveryhelpful.Althoughtracingpaperworksforthispurpose,I’vefoundthatdraftingvellumisexcellent.Suchpapersaresheer,sturdy,andforgivingenoughtoendureplentyoferasing.Lookfortheminstoresthatsellartsuppliesordraftingmaterials.

WorkingfromaPhotographFormanyartists it ispractical toalsowork fromphotographs, thuspreserving themomentbefore thesunlight shifts, themodel becomes restless, or the flowers wilt. Digital cameras allow you to quicklycapturemanyimagesandeasilykeepthebestwhiledeletingtherest.Donothesitatetocroptheimagewhendecidinghowmuchtodraw;itisnotnecessary—andoftennotevendesirable—todraweverythingyouseeinthereferencephoto.Thereisbeautyinportrayingthesubjectatcloserange,eliminatingtheextras,pullingin,anddrawingatighter,moreessentialview.

LEFT:Theseflowerswereinalargesidewalkplanter,reflectinggloriousJulysunlight.

RIGHT:Croppingtheimagetoonebloomsimplifiestheimage.

TracinganImageTracinganobjectthroughalightboxorthepaneofasunnywindowisonewaytocapturethebasicoutlineofanimage.Anothermeansistodirectlytracetheoutlineofaphotoimage,usingtranslucentdraftingpaperorheavy tracingpaperplacedover thephoto.Then the imagecanbecopiedonto theactualground(orartsurface)byusingtransferpaper,acoatedpaperthattransfersatracedimageontothenewsurface.Thesamesheetoftransferpapercanbeusedmanytimesonvariousdrawings,stillgivingaverygoodline.

Such a tracing process—similar tousing carbonpaper tomake a carbon copy—is not considered aviolation of the rules, nor is it considered unethical (as long as you trace your own line drawing orphotograph).Howthebasiclinedrawingiscreatedisamatterofpersonalpreference.

Transferpaperisidealforcopyingalinedrawingtotheactualartsurface.

UsingtheGridMethodThereisgreatsatisfactionindrawingsomethingfreehandbylookingandsketchingtocapturealikeness.Whenthesubjectappearsintricateordifficulttokeepinproportion,thegridapproachishelpfulandstillgivestheartistthesatisfactionofhavingdrawnthesubject,ratherthanhavingtraceditthroughalightbox, for example. The great artists Leonardo da Vinci, Leon Battista Alberti, andAlbrechtDürer alldevisedandusedversionsofthegridmethodforaccuracyandperspectiveintheirdrawings.

HowtoUsetheGridMethod

OnceI’veselectedpartofaphotographandcroppeditdowntotheessentialpartthatintriguesme,Ioftendevelopadrawingbyusingagrid.Istartbymakingacolorphotocopyorenlargementofthereference.Thecolorqualitymaynotequalthatoftheoriginalphoto,butitisstillahelpful,detailedreferenceandtakesafewsecondsforthephotocopierorcolorprintertodoit.

1Withafine-pointpermanentmarker,Idrewagridof1-inchsquaresontothepartofthecolorphotocopytobeusedasareference.(Clearacetatesheetscanbefound

whichhavethesquarespre-drawn.Suchasheetsimplyrestsonthereferencepicture,eliminatingtheneedtodrawsquaresdirectlyontothephotocopy.)

2Usingaruler,Idrewagridof1-inchsquaresonasheetofDenrilMulti-MediaDraftingFilmsheeroverlaypaper.Tracingpaperwouldhaveworked,too.(Fora

drawingwhichisintendedtobetwiceaslargeasthephotograph,Iwouldenlargeproportionatelyanddraw2-inchsquaresontheoverlaypaper.)ThenIdrew(freehand)ontotheoverlaypaperthepartoftheimagethatappearsineachindividualsquareonthecolorphotocopy.Wherethereweremoreintricateareas,Ileftthosesquaresforanotherdrawingsession,whenIwasfresherandmorepatient.

3OncethelinedrawingwassketchedontotheDenrilpaper,Itapedittothetopoftheactualartsurface,hinge-style,soitflippedfreelyfromthetophinge.Ithen

insertedasheetoftransferpaper,withthebrightlycoloredsidedown,betweenthesheeroverlaysheetandtheartsurface.Transferpaper—Saralbrand,availableinseveralcolorsandwhite—worksonthesameprincipleascarbonpaper,butismuchneater.Thesamesheetcanbeusedmultipletimes.Infact,Ipreferusedtransferpaper,sincethecopiedSarallinesarediscerniblebutnottoobold.

4Usingacoloredpencil—nottoosharp,sinceIdidn’twanttoleaveimpressionsinthepaper—Itracedallofthedrawinglinesontheoverlaypaper,pressingdownsothe

transferpaperbeneathitcopiedthedrawing.Whentheoverlayandthetransferpaperarelifted,thecopiedlinesshouldbeseenontheartsurface.Thisresultsinawell-proportionedlinedrawing,readyforcolor.Ifthetransferredlineslooktooprominent,likethethicklinesofacoloringbook,Idabatthemwithreusableadhesive,sometimescalledstickytack.Theadhesivegentlylightensthelines,leavingenoughtobeeasilyseenasguides.

SunnySplendor,KristyAnnKutch,CPSA,2013,12”×15”,watercolorpencilonStrathmoreIllustrationBoardforWetMedia.

METHODSFORAPPLYINGCOLOREDPENCILPIGMENTOnceyoufinishyourlinedrawing,thefunpart—thatis,thecolor—begins.

Onebenefitofcoloredpencilisthatyoucanbetentative,usinglight-pressurelayersinthebeginningandbuildingupthelayersasyougainmomentum.AlthoughIhavebeenworkingincoloredpencilformorethantwenty-fiveyears,Istill“testthewaters”whenIbegintostrokeonthecolor.UsuallyIbeginwithanelementlikeasmallbackgroundflowerorleaf.AsIgainmoreconfidenceandexperiencewithmysubjectmatterandhandlingofcolor,Imovetothemoreprominentpartsofthecomposition.

Thereareahostofmethodsforactuallyapplyingcoloredpenciltoasurface,dependingontheeffectsyouwantachieve.

VaryingPencilPressureandSharpnessSince artist-grade colored pencils are so highly pigmented and sensitive to hand pressure, strokes caneasily deliver anything from light and delicate colors to surprisingly heavy, saturated hues. You canrenderdifferent effects, from theveryobvious linesof ahighly sharpenedpencilpoint to thebroaderlayeringmadebyusingthesideofthepencilcoreor“lead.”Practicevariousstrokepressuresfromverysubtle to heavy and compare the results. Likewise, note the difference between the effects of a sharppencilpointandthebroad,lessdefinedstrokesusingthesideofthepencil.Noneofthesestylesisrightorwrong;itdependsupontheartist’spreferenceandthedesiredtextureofthesubjectmatter.

LEFT:Thesamecolorswereusedonboththeleftandrightpeaches,butthepeachontherightshowsheavierpencilpressure.

RIGHT:Pencilsharpnessisamatterofpreferenceandofsubjectmatter.ThesetwoHoneyCrispapplesshowthedifferencebetween

drawingwithasharppencilpoint(leftapple)andwiththesideofthepencil,whichisbroadandblunt(rightapple).

CherryDelight,RanjiniVenkatachari,CPSA,2011,14”×11”,water-solublewaxpastelandcoloredpencilonPastelbord.Collectionof

JerryandDarleneMcNaul.

RanjiniprefersAmpersandPastelbordasasupport.Sheenjoysitslayeringpotential,applyingwater-solublewaxpastel,washingit,and

lettingitdryovernight.Shethenaddslayersofcoloredpencilsandblendsthemwithadrybristlebrush.

DifferentiatingStrokesStrokepreferencesvarygreatlyamongartists.Dependinguponartisticstyleandsubjectmatter,thereisaplaceforanyorallofthefollowingstrokestylesincoloredpencilart.

Small, straight vertical lines of a uniform pressurewith little or no overlap are especially useful inrenderinggrassesandwheatfields,effectivelymimickingthedirectioninwhichsuchplantsgrow.

Thisbarnacleshowsthestronguseofalmostallverticalstrokes.

Someartistsprefersmall,loosecircularorovalstrokes,whicheventually,whenlayered,massinevencolorandhelptocoveranyobviouslinedirection.

Nicknamed Brillo strokes by colored pencil pioneer Bet Borgeson, these strokes are ideal forportrayingsmoothobjectswithoutrevealingthepencillines.Imaginesomethingsmoothandshiny,likeapewtervaseorglossycherries.Theyarealsoexcellentforrenderingsoftlytexturedbackgrounds.Herearesomeothertypesofstrokesthatcanbeextremelyeffective,dependingonthecircumstances.

Shinyobjectssuchascherrieslooksmootherwhendonewithoverlappingcircularorovalstrokes.

Cross-hatching,createdbycrisscrossinglinesinoppositedirections—isespeciallyhelpfulinportrayingthetextureofheavilywovenfabriclikeburlap.

Thecrisscrosspatternofcross-hatchinglendsitselfwelltodepictingwovenfabrics.

Curvilinearstrokes,whichfollowthecontoursofanobject,canbeappropriatewhenconveyingthecurvedshapeofanappleorthecontoursofalongandtrailingvine.

ThisSpanisheggplantshowsagoodexampleofcurvilinearlines.

Scumblingisaformof“educatedscribbling”thatcanhelpcreatemassinlargeareaswithgesturallinesandswirls.Itiseffectiveforrenderingfluttery,leafyboughsoftreesorlargeareasofdistantvegetation.

Impressionisticscumbledstrokes,oreducatedscribbles,lendthemselveswelltodrawingtrees,eliminatingtheneedfortheartisttodraw

everyindividualbranch.

Pointilisticstrokesareappliedbypatientlydottingmanypinpointmarkswiththepenciltip.Suchdotscanbeusedasan Impressionist styleofdrawingor for rendering thegranular texturesof sand,gravel,marble,orgranite.

Pointilisticstrokesareidealforshowingthedimpledsurfaceofalime.

GratingthePencilPointColoredpencilcantakeonanentirelydifferentqualitywhengratedintoafinepowder.(Foranexampleofgrating,seeGratingaPigmenttoCreateaSoftVignette.)Bygratingthepencilcorethroughameshteastrainerovertheartsurface(preferablyonethatisnotslickandthathassometexture),onecandistributethepowderwithablendingbrush,Sofftpastelspongeapplicator,chamois,tissue,ormakeupsponge,toquicklycreateverysoft,delicateeffects—muchlikepastel.

Thisgratedtechniquehasopenedupnewpossibilities fordepictingsoftbackgrounds,mist, fog,anddelicatelygraduatedshadowsinamatterofafewminutes,nothours.Itisamazingtoseehowquicklythecoloredpencilcorechangestoasoftpowderandhowwellitcanbemanipulatedandblendedinthatform.

Lifting,Erasing,andTweakingColoredPencilBeginningartistsoften fear thatevenanaccidentalnudgewill cause a“fatal”error,not realizinghowwell colored pencil can be erased.Happily, there are some effective products for lifting, erasing, andtweakingcoloredpencilpigment.

WhiteVinylErasersThesecanberectangularblocksorcartridge-typeerasersresemblingpencilcores.Whitevinylerasersarecleanandnon-damaging,gentlyliftingpigment.Thecartridgeeraseriseffectiveandeasilyfoundamongschool supplies, convenient as apen.TombowmanufacturesMonoZeropen-styleholders and refills;theseareunique,withsmallrectangularortinycylindricaltipsforverypreciseandcleanerasing.

Phyllis’Iris,KristyAnnKutch,CPSA,2011,11”×13”,coloredpencilonRising4-plymuseumboard.CollectionofSusanMcKillop.

Thispieceisatributetomymother,Phyllis,whowasknownforherstunningirises.WhenIstartedthispiece,Ihadrecentlylearnedabout

gratingcoloredpencil.Evenwithsometweaking,Icompletedthevioletbackgroundinlessthananhour.

VanishEraserThis convenient chunky product is advertised as a 4-in-1 eraser, suitable for lifting graphite, coloredpencil,charcoal,andpastel.Itisamazinglygentle,yeteffective.Vanishcanbeslicedintosmallerwedgesandisuniqueinthatitleavesneatrollsoferaserproduct,notcrumbs.Tryit,too,onsoiledorsmudged

areasasanonabrasivecleaningproduct.

Battery-operatedWhiteErasersThiszippymotorizederaserwhisks throughcoloredpencil.Lifting layerswithoutsurfacedamage, it isthebestinventionforcrisperasing.Asanaccessory,ametalerasershieldisaninexpensiveguideinliftingwell-defined,preciseshapes—evenpinpointdots,dashes,andarcs.Gentlyfluffawaytheerasercrumbs,sincetheycontainpigment;manuallybrushingthemcancausestreaks.

SwirlsandStripes,KristyAnnKutch,CPSA,2013,12”×9½”,coloredpencilonplate-finishBristolboardpaper.

IstartedSwirlsandStripesmanyyearsago,andtuckeditaway,half-finished,inasketchpad.AtthattimeIdidnotevenownanelectric

eraser,amust-haveformenow.Iverybelatedlyputittogooduse,cleaningupedgesandliftingouthighlightsontheredonionandon

theshinyfruits.

Faber-CastellPerfectionEraserLookingmuch like awood-encased pencil, Faber-Castell’s Perfection eraser has an eraser corewhicheasilysharpensinapencilsharpener.Thisallowsforafinepointandforverypreciseerasing.Perfectionisalsoavailablewithabrushontheendtowhiskawaytheerasercrumbs.

FrisketFilmLow-tackfrisketfilm(airbrushartmaskingfilm)isatranslucent,lightlyadhesivefilmonapaperbacking.Peelbackthepaperandgentlyapplythestickysideofthefilmnexttotheartsurface.Setthefilmoveron the area tobe lifted.Using abluntobject like a pencil point, rub the area.Gentlypeel back; thecoloredpencilhasbeenremoved,leavingnopaperdamage.

ScotchBlue-labelTapeArtistJoneePaulusesScotchRemovableTapelikefrisketfilm.Thisistheblueplaid–labelvarietywhichconveniently comes in the roll-type dispenser. It is a low-tack (no residue) somewhat clear productwhichissoldinoffice-supplystores.

MaskingorDraftingTapeForliftingpurposes,choosethecheapestmaskingtapewiththelowesttack(adhesive).Applyovertheplacetobelifted,lookcarefully(sinceitisnottransparent),andrubwithabluntobject,peelingbacktoviewtheliftedlayer.Repeatifmoreerasureisdesired.Thistapecanalsobebunchedintoaloosewadanddabbedforrandomtexturizing.

KneadedEraserThekneadederaser,afavoriteworkhorse,erasesgraphitecleanly,butitislesseffectiveoncoloredpencil.It works well for colored pencil texturizing and tweaking. The Lyra Knetgummi kneadable eraser ispliableandhasexcellentliftingpower.Aswithanykneadederaser,itshouldbepulledandstretchedtoacleanareatopreparefornewlifting.

PosterPuttyThis reusable adhesive, found among school supplies, has various names, including “sticky tack” or“posterputty.”Usefulwhenanartisthasbecometoo“heavy-handed,”itworksbydabbingandlifting,removingsuccessivelayersofcolorandleavingnoresidue.Storetheputtyinfoilorinasmallcontainer.Excellentasanadhesive,thatsamestickinessseemstoattractdebris,too.

Awidevarietyofproductscaneffectivelyliftcoloredpencilpigment:1)low-tackfrisketfilm;2)maskingtape;3)battery-poweredelectric

eraser;4)eraserrefills;5)erasershield(forpreciseliftingthroughslots);6)eraserwithsmallroundtip;7)eraserwithfinerectangulartip;

8)reusableputty-likeadhesive;9)whitevinyleraser;10)kneadederaser;11)Vanisheraser;12)removablecellophanetape.

WATCHTHOSECRUMBS!

Sinceerasersliftandremovepigment,theircrumbshavepigmentinthem,too.Ihavediscoveredthataheavy-handedsweepwithadraftingbrushcanactuallymakelittlestreaksofcolor.Whenindoubt,Itapofferasercrumbsorblowthemaway,sometimeswithacompressedairduster.I’vealsoheardthataSwiffer-typehand-dusterisexcellentforthispurpose.

GratingPigmenttoCreateaSoftVignette

Withtheirmultipleoverlappinglayersofconcentricpetals,rosesareespeciallyelegantflowers.WhenIdecidedtorenderthissingleyellowrose,Iknewitneededasubtle,atmosphericbackground.IusedStonehengepaperforitssubtletexture,whichisanexcellentsubstrateforthegrated-pigmentstyleofbackground.(Bytheway,Irecommendtomynovicestudentsthatiftheylikeroses,itiseasiertostartbydrawingarosebud,or,asinthiscase,aroseinprofileview!)

1OnCreamStonehengepaper,Imadealinedrawingofasingleyellowrose.Holdingafinemetalmeshscreenclosetothepapersurface,IgratedaCarand’AchePablo

periwinklepencilsothatthepigmentdustfellintothebackgroundareas.

2Withatissue(althoughaspongyblendingtoolorsoftclothwouldalsodo)Igentlyworkedthepigmentsothatitwasblendedintoasoftcloudofcolorsurrounding

theroselikeavignette.

3ToremovebackgroundcolorthatIaccidentallyappliedtotherose,Iliftedthepigmentwithabatteryeraseranddustedofftheeraserdebris.

4 Iusedalighttouchofperiwinkle(acomplementofyellow)tocreateshadowsontherosepetals.WithaPablodarkcarmine(acomplementofgreen),Ithenlightly

drewtheshadowedareasonthestemandsepals,thegreenpetalswhichsupporttherose.Iappliedarangeofyellowsandocherstothepetals,concentratingtheochersinthedarkestareas.Iusedkhakigreen,oliveyellow,anddarkgreenonthestemandsepals.Finally,IstrokedasharplavenderSanfordPrismacolorVerithinpencilalongtheedges.

YellowRose,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonStonehengepaper.

5CREATINGAND

ENHANCING

TEXTURESWITH

COLOREDPENCIL

COLORED PENCIL PAINTING EFFECTS CAN RANGE from airy, light, and delicately textured to denselypigmented,rich,andpainterly.Neitherapproachisrightorwrong:itdependsonthesubjectmatterandtheartist’sowntaste.Texturaleffectsalsodependupontheartsurface,pencilpressure,andthetoolsusedforblending—ornotblending—thelayersofcoloredpencil.

Inrecentyearstherehasbeenanexcitingboomincoloredpencilinnovation.Notonlyaretherenewdrawing surfaces—ranging from soft and velvety to gritty and sanded—but there are innovativetechniques for rendering in coloredpencil. Stroke it, grate it,heat it, and/orbrisklybrush it into thepaperorboard:thepencilhasneverofferedthismanytechniquesforachievingstunningcolor.

Brush-blendingtraditionalcoloredpencil,aspioneeredbyBetBorgesonandLindaLucasHardy,hasofferedwonderfulpotentialfordense,jewel-likerealism.ThedevelopmentofEsterRoi’sheat-blending,utilizingthesoftnatureofmolten-waxandwarmedpigment,isrevolutionary.Theselectionofblendingpencilshasexpandedtremendously since the introductionof the firstone in the1990s.Therearealsomore solvent products available for colored pencil. With each passing year, this medium offers newpossibilities!

Stumpy,DebbieBowen,2012,11”×14”,coloredpencilonPastelbord.

Inthisportraitofherfamily’sadoredfamilypet,Stumpy,DebbieBowenusedtwenty-eightlayersofcolorforthefur.Witheach

application,sheusedverystiffbrushesforblending,andsheaddedthefinehairdetailwiththelastfewlayersofcolor.Sheused

PastelbordbecauseiteasilyaccommodatedthemanylayersofcolorandPolychromospencilsbecauseoftheiruniqueblendingpower.

STRATEGIESFORBLENDINGSometimeswhenI’mworkingonapiece,Iwanttosimplyusestraightcolor,justasitstrokesfromthepencil.More often, though, I like to layer colors and blend them for character and color harmony.Blendingcanmeanpatientlyoverlappinglayersoritcaninvolveheavilyapplyingcolors,possiblyevenfilling in the tooth of the paperwith a blending product, for a slick, shiny finish. It depends onmysubjectmatterandtheresultsIdesire.

BlendingwithLayersBlendingcanbedonebypatientandsubtleapplicationofoverlappingcoloredpencillayers,sometimesasmany as the paper or board can accept. Because colored pencil lightly stroked is not opaque, thecombinationofunderlyingandtopcolorslendsasubtlevisualblendingeffect.Asoftlayeringapproachoftenaddsmoreinterestthansimplychoosingonecolor.Suchaschemeofoverlappingcolorscanalsoenhancethecolorunityandharmonywhenacommonhueindifferentcolorcombinationsisusedinthesamepiece.

Delicate,softeffectsliterallygohandinhandwithpatientlayering,usinglightstrokepressure.Itmaytakepracticeandrestrainttodevelopthecontrolofalighttouch,applyingsuccessivelayersandavoidingaheavyhand.Artist-qualitycoloredpencilsaresoloadedwithcolorthatitmaybetemptingforthenewartist to take the plunge and quickly fill up the tooth of the paper with heavy pressure and densepigment.

Thiskindofspeedydensity,though,isdifficulttoliftorerase,leavingtheartsurfacesaturatedtothepoint where it simply cannot accept another layer of pigment. At saturation stage, any new coloredpencillayerliterallyslidesoffthepaper,leavingnonewpigment.Theonlysolutionsaretoliftandundosomelayers(toallowmoretweaking)ortospraywithaworkablefixativebeforeaddingadditionallayers.Oncethoroughlydried,thefixativecreatesanextendedtoothontheartsurface,lendingenoughtexturetoaddanotherlayerortwoofpigment.Some texture, even if it is subtle, is needed to acceptmultiple layers of pigment.This iswhy it is

preferable tousepaperwitha subtle toothoravelvety surface, likeStonehengeorRevere silkpaper.Museum board and vellum-finish (not plate-finish) Bristol board are also ideal for rendering glossysubjects.Sincetheyarenotobviouslytextured,theartistneednotstrugglewiththefleckedtoothofthepapertoachievesmooth,densecolor.

BlendingwithSolventsCreatingsmooth,densetextureswhichreveallittleornotoothofthepapercanbechallenging.Solventscanhelp.Variousfluidsolventsworktodissolvethebindersandreleasesmoothcoloredpencilpigment,lendingapainterlyresultquickly.Whenusingsolvents,suchasodorlessmineralspiritsorrubbercementthinner,beproactivebynotingtoxicitywarningsandtakingsafetymeasures.(“Odorless”doesnotmeannontoxic.)Whilesuchproductsareeffective,itisadvisabletolookforsaferalternativesamongsolvents.Iavoidusingodorlessmineralspiritsandrubbercementthinner,duetotheirtoxicingredients.

Gentle, less hazardous blending products include clear, fast-drying solvents in double-endedapplicators.Theseliquidsolventmarkersareconvenienttoolsforblendinganddissolvingpigmentintoasmoothcoatofcolor.However, Ihave learned that theydohave somequirks.Make sure to test anycolors in the purple or magenta family on scrap paper first. Prismacolor dark purple and lilac, forexample,reactwiththePrismacolorColorlessBlendermarkertoyieldastrongpinkishhue.

Economicalandlessharmfulsolventblendersinclude(fromlefttoright)theFinesseBlenderPen,Sanford’sPrismacolorColorless

BlenderMarker,andtheTombowDualBrush–PenBlender.Thealcohol-basedsolventsworkbydissolvingthebindertomakecolored

pencilpigmentlooksmoothandfluid,andtheytendtodrywithamattefinish.

BeneaththeGatesMillsBridge,MaryG.Hobbs,CPSA,2008,23”×32”,coloredpencilandsolventon5115watercolor4-plymatboard.

MaryHobbswasinspiredbythissceneonanautumnwalk.Theleaves,steeple,andwaterweresomagnificentthatshesnappedaphoto

anduseditasherreference.Usingacottonswab,MarybrushedTurpenoidsolventontoeachsuccessivelayerofcoloredpencil.This

smoothedthewaterycolors,lendingafluidappearance.

BlendingandBurnishingBlendinginvolvessuccessivelayeringtoachieveatranslucentmixtureofhues,muchlikeaninterestingcolorharmony.Burnishing,ontheotherhand,involvesblendingwithheavystrokepressureandawhite(orverylight)coloredpencil.Imagineacolorsandwich,withlayeredpigment,thenheavypressurewithawhitecoloredpencil,followedbyevenmorepigment.Suchstrokepressureandcolorsequencecauseameldingoflayerstofillinthetoothofthepaper,creatingashimmerydensityofcolor.Burnishingisthepainterly process which often makes astonished viewers doubt that an artwork was actually done incoloredpencil.

Thisseriesofpomegranatesshowstheprogressionofburnishingwithablendingpencil.Ontheleftisasimpleapplicationofcolored

pencilstrokes;themiddlefruitfeaturesthesamecolorstoppedwithaheavy-pressure,burnishedlayerofblendingpencil.Finally,the

pomegranateontheright,themostvivid,illustratestheeffectoflayeringcoloredpencilovertheburnishedlayer.

BlendingandBurnishingPencilsBlendingpencils andburnishingpencils arenontoxic,portable, andconvenient, andhelpyouquicklyachievesmooth,richeffects.Theyalsodonotlightenthedarkvalueswithamilkyeffectwhenusedforburnishingverydeepcolors.TheworldofmanualblendingandburnishingpencilshasgreatlyexpandedsinceLyra’sintroductionofthestill-excellentSplenderinthelate1990s.

DerwentmarketsbothDerwentBlendingPencils andBurnishingPencils, two separateproducts forsmoothingthelayersofcoloredpenciltocreatesaturated,shimmery,jewel-likecolor.Carand’Achehasintroducedaconcentrated,hexagonal(lesslikelytorolloffthedrawingtable),woodlesstaperedblendingrod, the Full Blender Bright. The manufacturer notes that where the Full Blender Bright has beenapplied, theartbecomesglossyandwater-resistant.SanfordPrismacoloroffersblendingpencilsasbothtraditionalwood-casedpencilsandstick-likerodsresemblingpastelsticks.

Inthischerryquartet,thefruitonthefarleftshowsasimplelayerofunblendedcoloredpencil.Movingclockwise,thefruitonthetop

showstheeffectsofaTombowliquidsolventbrush-blendingpen.Inthecherryontheright,anotherlayerofcolorpencilwasaddedover

thedriedsolventblending.Finally,thefruitonthebottomshowstheshimmerynatureofyetanotherstep,addingalayeringofblending

pencilforgloss.

CombiningBlendingSolventsandBurnishingPencilsTheblendingadvantagesofbothspeedysolventliquidsandglossyburnishingpencilscanbecombinedinthesamearea.IhavefoundthiscombinationveryusefulwhenIwanttoovercomeanddenselyfillinthetoothofthepaper.Thispairingiseffectiveforrenderingveryglossysubjects,suchascherriesorhighlypolishedsurfaces.

Blendingtoolsforcoloredpencilhelptorendersofter,smoothercolor.

I begin by layering the colored pencil pigment, followed by stroking or brushing on solvent for afluid-lookingbasecoat.Afterallowingthattodry—alcoholsolventsdryalmostimmediately—Istrokeonmorecoloredpencillayers.Ithenburnishthesurfacewithheavypressure,followedbystillmorecoloredpencillayers.Isometimesevenrepeattheprocesswithmoresandwichedlayersofpigment,burnishingpencil,andpigment.

BlendingwithBrushesandSpongesBlendingcoloredpencilwithbrushesandspongesisarelativelynewandincrediblyusefultechnique.Byusinganinexpensivehog-bristlebrush,youcanliterallymassagethedrawn-onwaxypigmentofcoloredpencil intothepaper surface.Youcandothesamewithapastelblendingbrush, thebristlesofwhichhave been trimmed short, as recommended by artist Linda LucasHardy.The stiffer and stubbier thebrushis,thecloseritcangettotheartsurfaceandthemoreeffectivelyitcanworkthecolorintotheartground.Becauseoftheintensityandfrictioninvolvedwithsuchvigorousbrush-blending,thepigmentisliterallyscrubbedintotheartsurface,yieldingrichlyintensecolors.

Brush-blendingscrubsthepigmentdirectlydownintothetoothofthepaperorboard.

Forblendingwitha lighter touch,anew lineofwashable sponge-like toolscalledSofft is available.OriginallycreatedforsoftpastelsonvelvetysurfaceslikePastelmatorColourfixSuedepaper,Soffttoolsareidealforblendingeithersmudgycoloredpencilsorgrated,powderedcoloredpencilpigment.Soffttoolsareofferedinavarietyofshapesandsizes—ovals,wedges,tinyknife-shapedsponges—thataregreatforblendingeverythingfromlargesweepsofcolortosmaller,moredetailedareas.

BUDGET-FRIENDLYBLENDINGTOOLS

Stompsandtortillonsaregreatartbargains;thesecheaptoolsforblendingcomeinawiderangeofsizes,too.Astompisacylindrical,denselypressedcardboardrod,likealightgraycigarwithpointedends.AlthoughIusestompsfortheirsmooth,consistentsurface,tortillons—whichtendtobesmaller—arealsoavailableasblendingtools.Thetortillonispointed,too,butismadeupoftightlyrolledpaperwhichcanbeunwoundtoacleanarea.Originallyusedbypastelistsandartistswhoworkincharcoal,stompsandtortillonshavebeenadoptedbycoloredpencilartists,astoolshelpfulformanualblending(withheavypressure),dependingonthekindofcoloredpencilandhowsmudgyandblendableitis.Thesetoolsworkwellwithsoftorsmudgypencils,whethertheyaregratedorsoftenedwithheatfromeitheranIcarusDrawingBoardoraheatgun.Cleanastompbybrushingitagainstanemeryboardorsandpaperuntilthe

smudgeisgone.

BlendingwithHeatArtistEsterRoiinventedtherevolutionaryandhighlyeffectiveheatedIcarusBoard.TheIcarusDrawingBoardfeaturesathermostaticallycontrolledsideforsafelymeltingandblendingthewaxycoloredpencillayersandacoolersidefordetailworkandprecisedrawing,speedingandintensifyingtheentireblendingprocess.Waxy“traditional”coloredpencils,waxpastels,orcrayonscanbeheatedandblendedwiththeIcarusDrawingBoard.Forsafetyreasons,nosolventsareinvolvedandthemanualblendingisdonewithanytoolthatworks:blendingstomp,tortillon,colorshaper,orcloth.Colorsemergeasvivid,jewel-likeandstunning,alldonethroughthisnontoxicheatprocess.

IfanIcarusDrawingBoardisnotanoption,youcanuseaheatgun.Heatgunscanbefoundatcraftstores,usuallyamongembossingsupplies,aswellasathardwarestores.AlthoughtheheatgundoesnotoffertheadvantageofwarmingalargeareaallatonceliketheIcarusDrawingBoard,itcaneffectivelyheatsmallerareasofcoloredpencilpigment.(Ahairdryerdoesnotprovideenoughconcentratedheatforthisprocess.)

Ifthegunhasseveralsettings,becautiousandstartatthelowesttemperature,carefullyexperimentingwith various settings. Continuously move the heat gun over the layered pigment, keeping the heatsourceveryclose(1inchfromthesurface)sothatthecolorbecomesmolten.Oncethecoloredpencillayershavebeenwarmedenough—andthismaytakepracticeandrepetition—thewaxsoftensandthecolorcanbeblendedquitesmoothly.Usingastomporstiffhog-bristlebrushtomassagethesoftpigmentintothepaperorboard,thecolorbecomesrichanddense.

Coloredpencilpigmentcanalsobegratedandthenwarmedwithbriefbut intenseheatapplicationwithaheatgun.Thisactuallymeltstheunblended,gratedpigmentontotheartsurface,creatingdistantdottedfieldsofflowers,snowflakes,sand,orgravel,tonameafewpossibilities.

Heatgunsworkwellwithstuffbrushestosoftenandblendcoloredpencillayers.

CREATINGDRAMATICTEXTUREColoredpencilpaintingisjustlikelife—insomecasesit’sbettertoblend,inothersit’sbettertomakeastatement.Texturalinterestcanmakeorbreakapainting,whateverthemedium.Strikingcoloredpencildetails,suchaslineimpressions,addcrispcontrastanddrawtheviewercloser,buildingvisualinterest.

LineImpressionsOneveryquickandeffectivewaytocreatedelicate lineartextures is tocreate lineimpressions.Alineimpression ismade by incising tiny grooves into the relatively soft drawing surface. These impressedstrokesformvalleysinthesoftpaperandlayersofcoloredpencilsimplyskimoverthem,leavingthemuntouched,sothatyouhavelight,crisp,contrastinglines.Suchimpressionsworkbeautifullyfordelicatelight lines against a darker background, depicting woven or lacey textures, dandelion fuzz, angora,feathers,ribbedcorduroy,lightorwhiteeyebrowsandwhiskers,basketfibers,eventhedelicatetraceryoffishscales!

Tocreateimpressedlines,firstprepareabasiclinedrawinganddecidewhichareaswillbeincisedtolooklikeveins,whiskers,orotherfinelines.Usingastylus,pressheavilywithasteadyhandanddrawthedesiredlines.(Manystylussizesareoffered,butusuallythesmallerandsharperthepoint,thebetter.)Strokeonmorecoloredpencillayersandnotethattheimpressedlinesremaincrispandlight,leavingadelicatecontrast.

Lineimpressioncanbedonewithastylus,firstpressinghardandcreatingthetexturallines,thengoingoverthemwithcolortoshowthe

effects.Thesecondstepofaddingthecolormakestheimpressionsapparent.

Avariationon this technique is toplaceheavy tracingpaperor translucentdraftingvellumdirectlyover the prepared line drawing. (If necessary, lightly tape the overlay paper in placewith removablecellophanetape.)Withaverysharp6Hto9Hgraphitepencil,drawthedesiredlinesonthetranslucentoverlaypaperwithheavypressure.Thismethodnotonlymakesimpressionsontheunderlyingdrawingsurface,butcreatesgraphitemarkingsontheuppersheetwhichmaybeeasiertoseethanstyluslines.

Sharp-edgedincisingtools,whetherusedthroughdraftingvellumwithaveryhard(6Hto9H)pencilordirectlywithastylus,createcrisp

lineimpressions.

Sometimes anartistwishes to show impressed lineswhicharenotwhite,or arenot theunderlyingcolorofthedrawingpaper.Tocreateimpressedlinesofadifferentcolor,firststrokeoneormorelayersofpigmentontothedrawingsurface.Thiscreatesabaselayerofadesiredhue.Impressthelinesoverthisbase layerofcolor, followingeitherof theprocedures for incising.Finishbystrokingononeormorelayersofcoloredpencilpigment.Thefinetexturesreadilyappear,showingthemostrecentlayerofcolorbeforetheimpressionsweremade.

LEFT:A9Hpencilisusedthroughadraftingvellumoverlaysheettocreatebasket-weavestriationsinthepaper.

RIGHT:Addingcoloroverthebasket-weaveimpressionsaccentstheincisedtexture.

ReversingImpressedLinesEveryonehashadanunfortunatedrawingexperiencecausedbyaslipofthehand.Whatcanbedonetorepairamistakenly impressed line? (Sometimesanaccidental line impressioncanevenbemadeby theartist’swatchbandorbraceletrestingheavilyonthedrawingpaper.)Oneoptionistousethefinepointofablendingmarker suchas theSanfordPrismacolorColorlessBlenderMarker, stroking thepigmentfromtheneighboringarea,andcoaxingitintotheimpression.

Thecolorhazelwasusedasabasecolorforthedunegrasses,whichwerelaterincised,withothercolorsthenaddedovertheline

impressions.Thusthehazelisthehuewhichpeeksthroughtheimpressions.

Anothersolutionistosharpenapenciloftherepaircolortoafinepoint,placingitverycloseto—butnotquitetouching—awarmlightbulb.Afteraboutfiveseconds,thewaxypencilpointsoftensenoughfrom the heat of the bulb to be stroked into the line impression, filling in the groove and nicelyconcealingtheerror.

Rescueanaccidentallineimpressionbysharpeningthecoloredpenciltoafinepointandwarmingitforafewsecondsnearalightbulb.

Thenapplytherepaircolordirectlyintotheincisedline.

Anothermethodforaccidentallineimpressiondamagecontrolistousethefinepointofaliquidblender.Tofillintheerror,simplydrag

thedesiredcolorintotheincisedline.

BlendingwithHeatonaSpecialSurface

ForseveralyearsIhavebeenreadingaboutasandedpastelpaperfromEnglandcalledFisher400.SinceithasrecentlybecomeavailableintheUnitedStates,Iwascurioustotrysometoseehowitwouldacceptthepigmentofsoft,blendableCarand’AchePablopencils.Iwasespeciallyinterestedinhowthepapermightworkwithheatblendingavividbluesummersky.

1OnFisher400sandedpastelpaper,Ilightlydrewahorizonlineslightlyabovethehalfwaypointofthecomposition.(Fisherpaperisverytoothy,Ilearnedtonotbetoo

worriedaboutabrasivenesstothepencils.Sharpen,sharpen,sharpen!)Istrokedgentianblueacrossthetopofthesky,overlappingwithbandsofbluejeans,thenbluishpalepartiallyoverlappingthebandsofbluejeans.Finally,Igraduatedtheblueskydowntoaslimbandofbluishpale,withwhiteatthehorizonline.

2Usingaheatgun,Iwarmedthesky,holdingthegunabout1inchabovethesurfaceandconstantlymovingit.Startingwiththelightestbandsofcolors,Iblendedthesky

withastiffblendingbrush,alargestomp,andaCarand’AcheFullBlenderBrightblendingrod.Usingsidewaysback-and-forthstrokes,Irantheblendingtoolsparalleltothehorizon.Ikeptaddinggentianbluetothesky,thenmorewhitetotheclouds.Tocreateasuper-whitetouchtothebrightestareasoftheclouds,IaddedveryheavytouchesofaStabilowhiteAquarellablepencil.

3Istomp-blendedtheskyblues.Ifollowedwithasketchofthedune.Ierasedtheblendedskycolorfromthecrestsofthedunes.Ontheleft,Idrewdunegrasses,

usingstrokesofoliveblack,andaddingtouchesofdarkcarmineandkhakigreen.Ontheleftdistantdune,Idrewoliveblackanddarkcarminestrokes,highlightingwithlightlemonyellow.Ilaidinshadowyauberginemid-ground,sincethegrasseswouldbedrawnuponthoseshadows.Blendingtheshadowswithastiffbrush,Isweptalongthedunecontours.Thenearforegroundshadowsremainedunblended.IusedScotchRemovableTapetoliftunwantedsmudges.

4 Istomp-blendedaubergineduneshadows,addingsharpdarkauberginestrokesinthedeepfootprints.OnthedunecrestandalongthetopsofthefootprintsIadded

strokesoflightlemonyellowandwhite.Beginningwiththedistantridges,Idrewsharpstrokesforthedunegrasses,repeatingthegrasscolors,andaddingwhiteonthemostsunlitgrasses.Wheretheycastshadowsonthesand,Idrewlightlinesofaubergine,blendingveryslightly.Fisher400Paperacceptspigmentdensely,butittendstosmudgeeasily.I

immediatelytookthisfinishedartoutsideandsprayeditwithLascauxfixative.

DuneCrest,KristyAnnKutch,CPSA,2013,9½”×11⅝”,coloredpencilonFisher400sandedpaper.

CreatingDelicateLineImpressions

RevereisanewItalianpaperfromafifteenth-centurysource:thesamehistoricItalianmillwhichproducedthepaperforNapoleonandJosephineBonaparte’sweddinginvitations.Idecidedthatthissoft,plushpapermightbewell-suitedtothedelicatetraceryoflineimpressions.Withstylusinhand,Isetouttocapturethemanyfine,delicateveinsandstriationsofthiselegantpinkiris.

1OnReveresilk,Icreatedanirislinedrawing.UsingaCarand’AchePablooliveyellow(complementofpink),Irenderedtheshadowyareasofthepetals.WithPablo

purplishred(acomplementofyellow-green),Iindicatedtheshadowedareasonthestems,followedbyalayerofkhakigreen.Applyingpurplishredandflameredatthebaseoftheiris“beard,”Ithenaddedshortstrokesoforangishyellowforthefuzzystrands.Whileexperimenting,IdiscoveredthatabatteryeraserwastooaggressiveforReveresilk.Low-tackfrisketfilmorScotchRemovableTapeworkedwellforgentlelifting.

2Withastylusandafirmhand,Iincisedfinelineswherethehairystrandsofthebeardappear.Continuingwiththeimpressions,Ialsoincisedinthefurrowsoftheiris

petalsandthestriationsofthestem.Istrokedkhakigreenoverthestem,followedbyoliveblack,purplishred,andperiwinkleblueforthedeeper,shadowyvaluesofthestem.Thelineimpressionsshowedupwellonthestem.Iaddedcolortothesmallersectionsofpetals:periwinkle,raspberryred,andpurplishredintheshadows,withgraniteroseandsalmonpinkonthelighterareas.

3Iusedsalmonpinkforthepetals,savingthewhiteofthepaperforhighlights.Needingvibrantshadowcontrast,Iaddedtouchesofperiwinkle,followedby

purplishredandrubyredovertheperiwinkle.IliftedfinelinesonthebeardwithScotchRemovableTapeandastylus.Asreflectedbeardcolorsonthepinkirispetals,Iusedtouchesoffastorangeandapricot.Fortranslucentareasonthepetals,Ilightlyaddeddarkgreenandkhakigreen,indicatingthesheernessofthepetals.Istrokeddarkgreenontheshadowedpartsofthestem.

4TocreatethebackgroundIpreparedacushioninglayerofathicksectionofnewspaperunderneaththeartpaper.ThenIusedsmallcircular/ovaloverlapping

purplishredstrokesinthenegativespace.AfteronelayerIdecidedtoaddasecondapplication,againwithoverlappingovalstrokesandthesideofthepencil.TakingahandkerchiefIgentlyblendedthebackgroundanditeasilysmoothedouttoalovely,evenlayer.Withaverysharppurplishredpencilandafewstrokesofaverysharpcarminepencil,Iemphasizedthelinesbetweenpetalsandcreatedcrispedgesalongtheirispetals.

PinkIris,KristyAnnKutch,CPSA,2013,9½”×11⅞”,coloredpencilonReveresilkpaper.

FrottageFrottageisamethodforcreatingtexturethatissimilarinprincipletomakingaleafrubbing.Placethedrawingpaperdirectlyoveraheavilytextureditemlikeagrainypieceofwood,ametalscreen,roughstone,oralacedoily.Usingthesideofthecoloredpencilandapplyingheavyhandpressure,strokeuntiltheunderlyingtexturebecomesobvious.Frottagecanbeusefulincreatinganovelbackground,anditismosteffectivewithlightweightpapers.

ThisfrottagewascreatedbyplacingalacedoilyunderneathTerraskinpaper,thenrubbingacrossthepapersurfacewithabroadLyra

Colorstripepencil.

SgraffitoSgraffitoreliesonfirstapplyingmultipleveryheavylayersofcoloredpencil.Usingasharpbladelikearazor orX-Acto knife, very carefully scratch a fine line of pigment from the top layer, revealing thedifferentpigmentlayerunderneath.Takecaretoalwayshaveasharpbladetomakeaclean,sharpline.

Thisdriftwood’slineartexturewasachievedbyscratchingaverysharpbladethroughtheheavycoloredpencillayers.

MottlingandSpecklingMottledor speckledeffects arequickandeasy to renderwitha fewcommon items.Takea lengthofmaskingtapeordraftingtapeandwaditlightlyintoalooseball.Applyseverallayersofpigmenttoyourpaper,thenlightlypressthewadoftapeontothesurface,liftingsomeofthecolor.Movethewadtoafresharea,press,andrepeattheliftingprocess.Thisgivesarandomlymottledeffectwhichcanbeusedtorenderbackgrounds,earthytextures,ordappledsunlitgreenery.

Asmallwadofcrumpledmaskingtapedabbedagainstheavylayersofcoloredpencilcangiveamottled,earthyeffect.

Thekneadederaser isuseful formorethansimplystrokingawaysketchlines.This inexpensivegrayerasercanbefirmlypressedontolayeredcoloredpencilpigment,thenliftedtocreatemottledtextures.Oncelifted,itpullsoffalittleofthetoplayerofpigment,leavingahazyorduskyeffect.Followingthesame procedure, reusable adhesive putty, often called poster putty or sticky tack, is also effective forcreatingspeckledorduskytextures.Simplydabtheputtyontheareaandlifttorevealamottledeffect,oruseittograduallyremoveanyextralayersofpigment.Leavingnostickyresidue,thisputtyissafeandgentletouseoncoloredpencil.(Thereissomevariationamongbrandsofreusableadhesiveandkneadederasers,somebeingstickierthanothers.)

Reusableadhesiveisahelpfultoolforcreatingmottledorhazytextures.

Since thekneadederaserandthereusableadhesivedopickuppigment,asexpected,you’llneedtofreshen them; todo so, simplyknead andpull theeraserorputty around to a clean spot.Keep themcleanandawayfromdustandpencilshavingsbywrappingtheminaluminumfoilorstoringtheminasmallplasticcase.

AsianLilies,KristyAnnKutch,CPSA,2007,12”×15”,coloredpencilonFabrianoArtistico140-poundhot-presswatercolorpaper.

Besidesbeingagreatcolor-liftingtool,reusableadhesiveiswonderfulforcreatingamottledeffect.InAsianLilies,theentirebackground

wasasafesolidgreenblend,butIdecidedtodabreusableadhesiveonthelowerpartofthepicture,breakingupthesolidgreen.This

dabbingpickedupsomepigment;thenIaddedsometouchesoftherosehuefoundinthelilies,lendinganicecolorreflection.

Airbrush artists frequently use a low-tack plastic masking film and colored pencil artists have also

adoptedit.Frisketfilmislightweight,easytocut,andfeaturesalayerofslightlyadhesiveclearfilmwithapaperbacking.Peelingbacktheprotectivepaperlayer,theartistplacesthestickysideofthefrisketfilmdirectly on the layered colored pencil surface.The frisket film can be rubbed or drawn uponwith abutter knife, stylus, or other blunt drawing tool.Once lifted and peeled back from the art surface, itrevealsrandomlytexturedorlineareffects.

Frisketfilm,afavoritetoolofairbrushartists,isexcellentforgentlyliftingcoloredpencillayers,renderinginterestingtextures.

POSITIVELYBEAUTIFULNEGATIVESPACESometimeswewanttocreateabackgroundwithoutfussing.Noonerelishesdrawingtinydetailssuchashundredsoftwigsandleavesinthenegativespaceofafloralimage,forexample.Intermsofperspective,itisoftennotevenappropriatetofocusequallyontheminutebackgrounddetails,astheyneednotandshouldnotappearaspreciseandfinelydetailedasthesubject.

Thefollowingarehelpfulconsiderationswhencreatingspeedyandattractivebackgrounds.Theycanbeautifullycompletethecompositionwithoutanxiety,andtheyoftentakeonlyamatterofminutestoexecute.Whetherthepencilpigmentisdryorwet,thesemethodsoffersomeinterestingandappealingoptions.

LessCanBeMoreSometimesthebestsolutionforabackground—whethertheartisthasanticipateditornot—istosimplyleave the art surface alone. Think of scientific illustration and botanical art, where the main subject isdepicted against a plainwhite background. Let the surface supply the negative space,with no addedfeatures,or,asinCherries,Berries,andNectarine, justthebaresthintofcolorbehindthecomposition.Ifthe subject is a still life, add some cast shadows to anchor the composition—or not, as in KarenColeman’sexquisiteart,picturedonthisspread.

Allowingthewhitepaperorboardtoserveasbackgroundcanlendapaintingsimplicityandelegance.EachofColeman’spaintingsofferssomuchintermsofsubjectmatter,colorvariety,andbrilliance,thattheyneednospecialbackgroundtreatment.Thewhiteofthepaperisquiteenoughanddoesn’tcompetewiththesubject.

Cherries,Berries,andNectarine,KristyAnnKutch,CPSA,2011,14”×11”,coloredpencilonvellum-finishBristolboardpaper.

FuzzywuzzyAirplant,Tillandsiapruinosa;KarenColeman,CPSA,2008,10”×8”,coloredpencilonStonehengepaper.

Bloodroot,SanguinariaCanadensis;KarenColeman,CPSA,2010,10”×14”,coloredpencilonGrafixDura-lar.CollectionofMark

Symborski.

SaucerMagnolia,Magnolia×soulangiana;KarenColeman,CPSA,2009,9”×12”,coloredpencilandwatercolorpencilonAmpersand

Pastelbord.

Eggplant,KarenColeman,CPSA,2010,9”×12”,coloredpencilonStonehengepaper.

CecropiaMoth,KarenColeman,CPSA,2010,8”×10½”,coloredpencilonGrafixDura-lar.CollectionofPatriciaKernan.

UsingaTonedSurfaceasYourBackgroundMany landscape and portrait artists—even courtroom sketch artists—begin with a colored surface oftintedpastelpaperortoneddrawingboard.Notonlydoessuchacoloredsubstratesavetime,butitalsopulls togetheracompositionwithaunifying,underlyinghue. It lendsacertaineleganceand finish toeventhesketchiestrendering,whichmightotherwiselookincompleteonasimplewhitesurface.

Saw-WhetOwl,JackieTreat,2012,8”×8”,coloredpencilonArtSpectrumColourfixSuede.

JackieTreatphotographedTiresias,asmallnorthernsaw-whetowlwithimpairedvision,attheCascadesRaptorCenterinEugene,

Oregon.Jackie’schoiceoftanColourfixSuedepaperlentitselfbeautifullyasabackgroundandabasecolor—noteespeciallythefeathers

aroundtheeye—fortheplumageofthisprotectedowl.

When selecting a colored surface, it is important to consider the shade carefully, since dark colorsmightnotbesuitableforverylight-coloredsubjects.(IlearnedthislessonthehardwaywhenIchoseaverydarkgreenpapertoportrayafieldofdaffodils.)Althoughsomeartistsmanagetoconquerblackandeffectively use very dark values of colored papers and board, the darker the substrate is, the morechallengingitistoachievelight,luminousvalues.Verylightcolorstendtogetlostagainstadarksurface.Thus,itiswisetoselectcoloredsurfaceswhicharemid-value,notextremelydark.

LettingtheTonedSurfaceDotheWorkforYou

Michigandunegrasswasasimplebutelegantsubject,somethingpleasingtotheeyebutnottoodaunting.Itwaseasytoemphasizethelightestanddarkestvaluesonthisshadeofpaper,sincethesurfaceitselfprovidedanicesandymid-value.IusedCarand’AchePablopencils,unlessotherwisenoted.

1 IsketchedthedunegrassesonArtSpectrumColourfixSuedepaperwithavioletSanfordCol-Erasepencil.WithaCarand’AchePablospringgreenpencil,Ithen

addedcolortothebladesofdunegrass.

2 Istrokedasharplightlemonyellowpencilontothelightestareasofgrassblades,thenIaddedoliveonthedarkerregions.Iusedthebluntsideofaperiwinklepencil

tosketchsomevioletinthedistance,addingperspective.Ilightlysketchedshadowsofthegrasseswithperiwinkle,usingthebluntsideofthepencil.WithaSoffttoolsponge,Iblendedtheperiwinkleblueareas.Notingtheoccasionalsmallholesinthesandandatthebaseofthedunegrassclusters,Iemphasizedtheirshadowswithperiwinkle.Ithenaddedlightlemonyellowonthehighlightedridgesaroundthesedepressions.

3NextIdeepenedthedarkcolors,enhancingthelightestvalues.Iusedasharpoliveblackpenciltolinetheundersidesoftheblades,resharpeningfrequently.Ithen

addedlightlemonandwhitetothehighlightedareasonthegrasses.Inthesandholes,Iemphasizedthedarkcolorsbyaddingafinetouchofviolet,andlightlemonyellowonthesunlitridges.Iusedasoftclothtoblendthesandridges.Finally,withaTuscanredSanfordVerithinpencil,Iedgedthedarksidesofthegrassbladessothattheywouldhaveamorethree-dimensionalappearance.

MichiganDuneGrass,KristyAnnKutch,CPSA,2013,9½”×11⅞”,coloredpencilonColourfixSuedepaper.

Close-CroppedCompositionOnemethodforhandlingnegativespaceistofillthecompositioncompletelytothebrimsothatthereisverylittleareabehindthesubject.InRegan’sRugosaRose(opposite),theentirepaperisnearlyfilledbytheoversizedblossom.Notethatthereisverylittleofthevioletbackgroundandtheflowerdominates.Icreated thebackgroundbyplacing several sectionsofnewspaperunderneath thedrawing surface, thenusedlight-touchoverlappingcircularandovalstrokes,lendingaverysofteffect.Thecushioningofthenewspaper layers and thegentle touchof theoverlapping strokes areessential for the softbackgroundhere.

Regan’sRugosaRose,KristyAnnKutch,CPSA,2011,20”×16”,coloredpencilonRising4-plymuseumboard.

IusedRising4-plymuseumboardtoensurethatmylineimpressionsappearedfineanddelicate,andIwashappywiththewaythesoft

Carand’AchePablopencilstooktothevelvety,yetsturdysurface.Thispiecemovedalongsoquickly—largelyduetotheaccepting

textureoftheboard—IwasalmostsorrywhenIfinished!

VignettesAvignetteaddsatonedbackdroptoacomposition—anattractivesurroundinghaloofcolor.Sometimesit is so subtle that the viewer does not initially notice this extra enhancement, but it adds a finishingtouchbehindthemainsubject.Avignette isoftenusedbyportraitartists, lendinga softauraofcoloraroundtheheadandshouldersofthesubject.Yetanotheruseofavignettecanbeasubtlebandofcoloraroundastilllifeorfloralcomposition.

Adry,penciledvignettebackgroundisspeedyandcanbedonewitheithertraditional,non-watercolorpencilorthewater-solubletype.Thisisaquicksolutionforenrichingabackgroundwithasoftglowofcolor.Theonly items needed are a colored pencil, some type of grating screenormesh to grate thepenciltipintoafinepowder,andablendingtoollikeasoftcloth,foampastelsponge,ortissue.

Part One presented many possibilities, techniques, and tricks of the trade for traditional coloredpencils.Richandwaxy,denseandbuttery,theyareamazingtools.We’llnextexploretheothercoloredpencil—theaquarelle,orwater-solublecoloredpencil—asurprisinghybridproductwhichenablesbothdrawingandfluidpainting.

KitchenGems,KristyAnnKutch,CPSA,2009,14”×11”,coloredpencilonBorden&Rileyvellum-finishBristolboardpaper.Collectionof

KeriandDanielKutch.

KitchenGemswasinspiredbyatriptothemarketandthebrightsummersunshinestreamingintoourkitchenwindowinaMinnesota

cabin.Iwaseagertocapturetheshimmerofthecherries,aswellastrymyhandatthesurfaceofthelemon,whichIfirstdimpledwitha

stylus.Togivethesimplesubjectsasubtlepop,Icreatedverysoftvignetteofthepalestblue.

CreatingaGraduatedVignette

Adrypenciledvignetteisveryeasytorenderandsavestimeandfretting.WhenIusethistechnique,Iselectacoloredpencil—orperhapstwoorthreepencilsindifferentvaluesofthesamecolor—forthebackground.Ialwaysmakesuretohaveadrawingpadorseveralsectionsofnewspapersaspaddingforunderneaththeartsurface,sincesuchcushioninglendssoftnesstothevignette.

1 Ifirstplacedpaddingunderneaththedrawingsurface,cushioningwithtwoorthreesectionsofnewspaper.Keepingthedrawingpaperonitspadalsohelps.Usingthe

sideofthepermanent,non-watercolorpencil—inthiscaseCarand’AchePablomarineblue—Ithendrewovalorcircularoverlappingstrokes.Iworkedfromthemainsubjectoutward.

2Concentratingthedarkestmarinebluevalueclosesttotheshell,Igraduatedthevalues,makingthemlighterasImovedawayfromtheshell.Thevignetteneednot

covertheentirebackgroundandcangracefullyfadeoutinvalue.

3Wherethetransitionbetweenvaluesseemedtobetooabrupt,Iusedatissueincircularmotiontomeldthecolorssothattheytransitionedmoregradually;a

blendingspongealsohaveworked.Underneaththeshell,IaddedCarand’AchePablobistreinthedarkestnooksoftheshadowedarea,transitioningtobrownochre,andthentogoldenochre.Iblendedthesewiththefinepointofasmallblendingstomp,sinceitcouldnicelyreachtightlittlecorners.

PARTTWO

WATER-SOLUBLECOLOREDPENCILS

TulipCascade,KristyAnnKutch,CPSA,2012,20”×15”,coloredpencilandwatercolorpencilonCrescenthot-presswatercolorboard.

IstartedTulipCascadebloomswithawater-solublepinegreencomplementaryunderpainting.Afteritdried,Iappliedandwashed

watercolorpencilsforrosycoralhues.Ithenunderpaintedamagentawashandletitdrybeforeapplyingtheaquarellegreensofthe

leaves.ForrichintensityIaddednon-watercolorpencilsovertheaquarellelayers.Iusedblendingpencilforshimmer,followedbylayers

ofwaxypermanentpencil.

6WATER-SOLUBLE

COLOREDPENCILS

ANDCOMPATIBLE

SURFACES

AQUARELLE,WATER-SOLUBLE,WATERCOLOR:Whatevertermyouuseforthistypeofhybridcoloredpencil,itisindeedaversatiledrawingandpaintingmedium.Whatexactlyisawatercolorpencil?Isitcoloredpencilorisitwatercolor?Withacompositionoffinelygroundpigment,binder,andfiller,thepencilisformedintoacoreorrod.Atsomepointitistreatedtoincludewater-solublewaxandthenenclosed(ornot)inwood.Withasharpenedpoint,itisreadytostrokeandlayerontoanartsurface,appearingdryandrathergranular.Oncethedrawnlayerisactivatedwithadampbrush,thecolorbecomesliquefied,creatingasmooth,fluidwasheffect.

Notonlyarewatercolorpencilsnontoxic,theyareneatandportable,offeringtheartisttheflexibilitytomove fromdry towetwith adampbrush stroke.What’smore, theycombine richcolorwith theprecise,pointedcontrolof apencil.Plein air artists find them ideal fordrawing in journals, sketchingspontaneously on location, then laterwashingwith a brush or even expanding the images into largerpaintingsasdesired.

New lines of aquarelle drawing products are steadily increasing and curious art consumers areenthusiastically adopting them. Still,many drawing artists andwatercolor artistswho ownwatercolorpencilsareoftenatalossabouthowtousethem.Thischapterandtheonethatfollowsshouldgiveyoutheknow-howtousewater-solublecoloredpencilsinexciting,creativeways.

DahliaDazzle,KristyAnnKutch,CPSA,2013,12”×15”,watercolorpencilonArtSpectrumColourfixSuedepaper.

Eagertoexperimentwithpermanent,stainingwater-solublepencilsonColourfixSuedepaper,IwasthrilledwiththewaySuede

acceptedtherichaquarellepigment.Thecombinationofthesubtlysandedpaperandtheheavilypigmentedpencilsenabledmeto

createavibrantimageofOregondahliasthattrulypopped.

AROUNDTHEWORLDWITHAQUARELLESExcellentartist-gradewatercolorpencilsoriginatefrommanydifferentcountries.Whetherfrommakerspredating World War II or relatively new brands, there are many innovative aquarelles varying inpigmentationandpermanence,compositionandform.FromtheUnitedStates,WesternEurope,orAsia,thereisworldwideappealinthisversatilehybridartmedium.

HydrangeaBlues,KristyAnnKutch,CPSA,2011,20”×16”,watercolorpencilandwatercolorwaxpastelonAquabord.

IplannedHydrangeaBluesforawatercolorpencildemonstrationonAquabordatanart-supplytradeshow.Idrewtheblossomsina

varietyofbluesthatIknewwouldattractonlookers,andIcreatedtheleavesbyincisingveinswhiletheAquabordwaswet—diggingright

intothesoft,clay-basedsurface.(FormoreaboutAquabord.)Forapatchofskyinthedistance,ImadeacustomizedpaletteofaNeoArt

waxpastel(seeChapter9),scribblingitontoasmallscrapofAquabordandwettingittomakeaconvenientpuddleofwash,readyfor

painting.

RichinColorandinHistoryLyraRembrandtAquarellColoredPencilsareaGermanproductfromthesmall,butveryhigh-qualityLyraCompany—whichiscreditedwithmakingthe firstaquarelles—nowaffiliatedwithFILA(FabricaItalianaLapis eAffini) of Italy.The 72hues correspond to theLyraRembrandtPolycolor traditionalcoloredpencilsandrepresentabeautiful,well-balancedrangeofcolors,includingexcellentfleshtones.Lyra’s wine red is highly lightfast and is very useful in landscape art as a complementary color forunderpaintinggreenery.LyraRembrandtAquarellPencilsarea little too large to fit intomostelectricandbattery-typepencilsharpeners,buttheyareworththeefforttohandsharpen.

Caran d’Ache Supracolors is another long-respected brand of watercolor pencils, available in 120colors.MadeinSwitzerland,Supracolorslendanexceptionallysoftsensation,similartothefeelingofa6Bpencil.Thecolorrangeofthecollectionisextensive,withanemphasisoncolorsandnottoomanygrays.

Thecollectionof72DerwentStudioWatercolourPencils isalsooneof theearliest typesofwater-solublecoloredpencils.MadeinGreatBritain,thissetoffersabeautifullybalancedselectionofhuesandthepencilseasilyfitintoanelectricsharpener.DerwentWatercolourPencilswererecentlyimprovedandnowhaveasofterfeel.Open-stockpencilsareavailable,too,forreplacingfavoritecolors.

FromGermanycometheexceptionalFaber-CastellAlbrechtDürerWatercolorPencils.Thesehighlypigmented watercolor pencils are available in 120 hues, including metallic, which drip with color.Leavingnogranulartraces,theydissolvecompletelyintosmoothwashes.Theonlydrawbackisthat,likeLyraRembrandts,theyrequireahandsharpener.

HiqhQualityandConvenientSanford Prismacolor Watercolor Pencils are available in 36 colors. These aquarelle pencils are easilyfoundinopenstockinbothart-supplystoresandcraftshops,whichisanadvantagewhenshoppingforreplacements.Oneofthecolorsisanon-photoblue,whichislovelytobeholdbutwhich“ghostsout”whenphotographedorcopiedwithacolorphotocopier.Markthatpencilwellanduseitforpreliminarylinedrawings.PrismacolorWatercolorPencilssharpeninanysharpeneranddissolvepurelyintolovelywashes,especiallypoppyredandcrimsonred.

AnewadditiontotheworldofwatercolorpencilsistheBruynzeelDesignAquarellecollectionof48colors. With excellent construction and cores which are securely glued into the wooden casings,BruynzeelDesignpencilsaredurableandlesspronetobreakage,andthus,lossofthepencilcore.Eachpencil is encased in light cedar,which is superior to red cedar for smooth and even sharpening.Thecolorsarevividanddissolvewellwithafewswishesofadampbrush.

Prominentartist-gradewater-solublepencils,fromtoptobottom:SanfordPrismacolorWatercolorPencils,LyraRembrandtAquarelle

Pencils,Faber-CastellAlbrechtDürerPencils,DerwentWatercolourPencils,DerwentGraphitintPencils,CretacolorMarinoPencils,

CretacolorAquamonoliths,Carand’AcheSupracolorPencils,andBruynzeelDesignAquarellePencils.

LusciouslyLayerableTheBritishcompanyDerwenthaslaunchedtheGraphitintline,anarrayofsubtlycoloredandnaturallymutedwater-solublegraphitepencils.

Permanentlystainingwatercolorpencils,anotherrecentaddition,permitlayeringandglazingwithoutdisturbing the underlying layers. Among these, Derwent sells vibrant Inktense Pencils and InktenseBlocks,whicharehighlypigmented, ink-typepencilsandtheircorrespondingchunkyrods.TheSwisscompanyCarand’Achemarkets concentratedMuseumAquarellepencils,which are alsovery stainingandpackedwithpigment.Itisnowonderthatcoloredpencilartistsandwatercoloristsalikeareintriguedbysuchnewproducts.

Qualitywater-soluble pencils span the range of prices, but even the high-end brands can be quiteaffordable, especially if you scout the sales or build a set fromopen stock. I startedmy own coloredpencilcollectionwithaverysmallsetandthenboughtpencilsthreeorfouratatime,asIneededandcouldaffordthem.

Woodless,Lightfast,andGraphite-ColoredCombinationsSeveral linesofwater-solublepencilsoffer traitswhichmake themunique.CretacolorAquamonolithsfromAustriahave aniche in that they arewoodless rodsofwater-soluble color, easily sharpened likepencils, yet large enough to createwide swaths of color. EachAquamonolith is a heavy, very denseproduct, composed of organic and inorganic pigments, with the finest Kaolin (china clay) base anddifferent typesofwaxesandoilsasbindingagents.TheAquamonolith ispureproduct,withnowoodcasing—even shavings can be dissolved and used.CretacolorAquamonoliths are offered in 72 colors,quicklycoverlargeareaswithrich,softstrokes,andcanbeappliedasdrycolororwashedwithadampbrush.

Cretacolor also markets a collection touted as exclusively lightfast watercolor pencils. CretacolorMarino Pencils come in 36 colors. The Marino palette includes magenta, violet, and a pink hue,cyclamen.Thisisnoteworthybecausecolorsinthevioletandpinkfamiliesareoftenmorefugitive,thatis,delicatewithregardtolightfastness.

TheDerwentGraphitintPencilisauniqueproductfeaturingwater-solublegraphitepencilcombinedwithcolor.Availablein24mutedshades,Graphitinthueslookverynaturalinlandscapeart.Drawnondry, they lookmuted,but thecolorsbecomemorevibrantwhendissolvedwith the strokeofadampbrush.SimilartoGraphitints,DerwenthasalsolaunchedXLGraphite,water-solublechunkyblocksin6subtlecolors.

PoppyUnfurled,KristyAnnKutch,CPSA,2004,9”×9”,watercolorpencilonFabrianoArtistico140-poundhot-presswatercolorpaper.

UsingCretacolors,withtheirexcellentpaletteoforanges,reds,andgreens,madethissmallpaintingappealing,easy,andfun.Fabriano

Artisticohot-presswatercolorpaperwasanidealsurfaceforthisapplicationbecauseitissmoothandflawless.

PermanentAquarellesTwofairlynewbrandsofwater-solublepencilsoccupyaspecialnicheforpermanenceofaqueouscolor.ThestainingqualityofCarand’AcheMuseumsandDerwentInktensePencilsandBlocksisidealfortheartistwhowantstofirstcreateanunderpaintingofacomplementarycolor.Likeotherwatercolorpencils,theyareapplieddry,initiallyappearingtexturedandgranular.Oncedissolvedandthenallowedtodry,however,theybecomepermanent.Glazing(addingsuccessivelayersofcolor)becomesaneasyprocess.Withsuchpermanentwatercolorpencilsthereislessdangerof“creatingmud,”oraccidentallyliftingtheunderlyinglayers.Thisallowsalovely,cleanbuildupofglazes.

Carand’Ache’sverysaturatedwatercolorpencil,thenewMuseumAquarelle,wasinitiallyavailableinabasicsetofcolors,butisnowalsoofferedintheMarineAssortmentandtheLandscapeAssortmentofhues. Extremely lightfast, Museum is a permanently staining, concentrated, easily dissolved coloredpencil.Thecoresareloadedwithpigmentandrenderintense,flowingcolorwithjustafewstrokesandthe sweep of a damp brush. Once activated with water and dried, the Museum Aquarelle wash isdesignedtobepermanent.Museumsespeciallyappealtothediscriminatingartistwhowantsatop-notchaquarellepencil.DerwentInktensePencilsandInktenseBlocksaredescribedbythecompanyaswater-solubleinkproducts,beingmorestainingandpermanentinnaturethantheoriginaltypeofwatercolorpencils.The72coloredpencils, includinganIndiaInk–likeoutlinerpencil,arehighlypigmented,andthehuesarebrilliantandsaturated,especiallyafterwetting.Thepaletteofcolorsisstunning,withawiderangeofvividreds,oranges,yellows,greens,blues,andviolets.

FacetoFace,KarenColeman,CPSA,2008,7”×5”,watercolorpencilandinkpencilonAmpersandPastelbord.

KarenusedacombinationofDerwentWatercolourPencilsandultra-vividInktensepencilsinthispainting.ThePastelbord,withits

abrasivemarble-dustcoating,grabbedthepigment,yieldingrichcolorwhenwashed.Thisup-closeandpersonalpansyreflectsKaren’s

loveofnature.

The 24 colors of chunky, woodless Inktense Blocks are all product (with no wood casing) andcorrespondtothehuesofthesamenamesfoundintheInktensePencilcollection.Offeringtheoptionofeasily sweeping on large areas of permanent watercolor, Blocks deliver great intensity very quickly.BlockscanalsobegratedintoaDerwentGrate’nShakecontainerwithwatertoquicklycreatealiquidwash.BothInktenseproducts,pencilsandblocks,arealsoavailableinopenstock.Thisisessentialtotheartistwhohasfavoritecolorsthatmayneedreplenishing.

Carand’AcheMuseumandDerwentInktensePencilsandBlocksarehighlystainingandmorepermanent.TheGrate’nShakecontainer

allowstheartisttograteanInktenseBlock,withthepigmentfallingintothecontainerofwater,thusdissolvingintoavividwashwhich

canbepainteddirectlywithabrush.

WATER-SOLUBLEPENCILCOLLECTIONS

PRODUCTNAMENUMBEROFSHADES

PRICELEVEL

BruynzeelDesignAquarelle 48 Budget-friendly

Carand'AcheSupracolor 120 High-end

CretacolorAquamonoliths 72 High-end

CretacolorMarino 36 Mid-range

DerwentGraphitint 24 High-end

DerwentWatercolour 72 Mid-range

Faber-CastellAlbrechtDürer 120 High-end

LyraRembrandtAquarell 72 Mid-range

SanfordPrismacolorWatercolor 36 Budget-friendly

WATER-SOLUBLEPENCILTRAITS

PRODUCTNAME KEYCHARACTERISTICS

BruynzeelDesignAquarelle

Excellentgroovedcoreconstruction,vividredsandoranges,dissolvewell;setincludesbrush

Carand'AcheSupracolor Softlaydownwhichfeelslike6Bgraphitepencil

CretacolorAquamonoliths

Woodless,denselyheavyrodwhichisallproduct

CretacolorMarino Lightfastcollection,notwidelydistributed,noopenstock

DerwentGraphitint Graphitemixedwithcolors

DerwentWatercolour Long-establishedpencilline,oneoftheoldest

Faber-CastellAlbrechtDürer

Richpigmentation,dissolvesreadily

LyraRembrandtAquarell Greatcolorselection,wonderfulgreens

SanfordPrismacolorWatercolor

Limitedpalette,butwidelyfoundinopenstock

DUSTOFFTHOSEPENCILS!

Watercolorpencilsaremeanttoproducepure,smoothwashes.IhadtheunhappyaccidentofawashthatgranulatedbecauseIforgottocleanthesawdustoffmynewlysharpenedwatercolorpencils,resultingingranularspecksinthewash.Irecommendtheextrameasureofcleaningpencilswithascrapofcloth,nottissue;clothislesslikelytointroduceunwelcomelittlespecks.

SURFACESFORWATER-SOLUBLEPENCILSColoredpencilartistsareoftensurprisedtolearnthatsuchawidevarietyofgroundscanaccommodateaquarellepencilsoracombinationofcoloredpenciltypes,includingwatercolorpapersandboards,pastelpapers,andmultiple-mediaproducts.

Plumeria,KristyAnnKutch,CPSA,2006,10”×8”,watercolorpencilonFabrianoArtistico140-poundhot-presswatercolorpaper.

ThispaintingofaWestIndiesflower,startedasademonstrationpiece,challengedmetoemphasizethevalueshiftsbetweenthewhite

plumeriablossomsandtheverydarkvioletbackground.Watercolorpencil,layeredheavilyanddissolved,providedthedramaticnegative

space.Thesubtlestofvioletwashesaddeddimensiontothepurewhiteflowers,withnouseofblackorgrayintheentirepainting.

WatercolorPapersAsonemight expect, qualitywatercolor papers such asArches,CartieraMagnani, FabrianoArtistico,Strathmore Aquarius and Imperial papers, and Waterford Saunders accept water-soluble pencilsbeautifully.Thesepapershavetheirownlusciousfeelanddistinctqualities.Boastingalongandrespectedhistory,someofthepapermillswhichproducethemhavebeeninoperationforhundredsofyears.

Howdoesonenavigate theworldofwatercolorpapers?First, select apaperwhich is acid-free andpure, with no components like lignin to cause discoloration and degradation of the finished art.Watercolorpapershavegonethroughthesizingprocess,whichmeansthattheyhavebeentreatedwithsubstancessuchasanimalglue,syntheticmaterials,orstarchtokeepthemfromabsorbingthewatercolorpigmenttooquickly,likeablotterwould.Suchsizinglendsstrengthtothepaperandgivesampletimeto apply and move the wash. Fine papers are made from cotton, linen, rice, bamboo, or blends ofmaterials.Watercolorpaperisavailableinsheets,pads,orasblocks(whicharesealedonallfoursidestokeepthedamppapertaut.)

Watercolorpaperscomeinavarietyoftextures.Fromleft:rough,coldpress,softpress,andhotpress.

MaterialCotton isgreatly favoredamongartists seeking the ideal substrate, since thecotton fibers arenaturallylonger,makingapapersheetwhichnotonlyfeelslovelytothetouchbutisstrongerandmoredurable.Cottonpapersalsoholdupwelltohandling,lifting,and—ifthepaperisheavyenough—evenscrubbingandrinsing.Beinganaturalfiber,cottonisalsoarenewablematerial,andhasbeenrespectedformanygenerationsasanexcellentaquarellesurface.

Weight

Watercolor papers have classificationswhichmay at first seempuzzling, but can be easily interpreted.Weight refers to howmuch a ream—500 sheets—of full-size, 22- by 30-inch paperweighs.Usually,140-poundpaperisfineforwatercolorpencilapplications,buttheartistusingheavierwashesmayopttochoose theveryhefty300-pound sheet instead. (StrathmoreAquarius,madeof acottonand syntheticblend,isanexceptiontothisruleofthumbsinceitisalightweightpaperwhichresistsbuckling.)

FinishWatercolorpapers andboardshavevarious finishes, too,with the tooth ranging fromhighly texturedrough to the smoothest hot press. As expected, rough finishwatercolor paper is very toothy,with avisiblytexturedsurface.Cold-presspaperisofanintermediatefinish,withslighttexture.Onecompany,Fabriano, offers a unique soft-press paper, which is smoother than cold-press but which still offers asubtle tooth. Smoothest of all thewatercolor papers is hot-press paper,with the least visibly texturedfinish. Allowing for precise, crisp strokes without feathering, hot-press paper ideally accommodatesmeticulousdetailforbothwetanddrycoloredpenciltypes.

Watercolorpigmentappliedanddissolvedonroughpaperleavestinyspecksofwhiteandholesinthewash.Thiscanbeveryusefulfor

depictingfoamyoceanscenes.

Cold-presswatercolorpaperleavessomehintoftextureandisafavoriteintermediatesurface.

Thesoft-presssurfaceisonlyavailableasaFabrianopaperandisalittlesmootherthancold-presspaper.

Hot-presspaperdissolvesintoaverysmoothwash,withbarelyanytoothofthepaperevident.

MultipurposeSurfacesConsider, too, trying themany othermaterials that are usuallymarketed in relation to othermedia.Manyof these are alsowell-suited as substrates forwater-solublepencils. Strathmoreoffers IllustrationBoard for Wet Media and Mixed Media Paper, versatile surfaces that accept watercolor pencil andcoloredpencil smoothly.Drywatercolorpencilpigmentdoesnotdissolveas readilyonMixedMediaPaperorBoard,whichmaybepreferableforportrayingsubjectsfeaturingstronglineartraits.IllustrationBoardforWetMediaisespeciallysturdyandnon-buckling,muchlikehot-presswatercolorboard;eachsheetcomeswithitsownprotectiveacetateslipcover,soittravelswellinanartist’sportfolio.

StrathmoreIllustrationBoardforWetMediaisamultiple-mediumboardwhichallowswatercolorpencilpigmenttodissolvequicklyinto

smoothwashes.

Anothernewmultiple-mediumboardisStrathmoreMixedMediaBoard,theheaviercounterpartto500SeriesMixedMediaPaper.

SandedPastelSurfacesAs Imentioned inPartOne,pastel surfaces arenot just forpastels!Usingwatercolorpencilson thesegritty, toothy surfaces truly intensifies the brilliance of the pencils, allowing maximum saturation.Texturedpapersandboardshavesomuchgritthatmoreofthewatercolorpencilpigmentclingstothefine bumps on the surface. Thus, when the drawn area has been wetted, the dense color virtuallyexplodes!

VancouverBegonia,KristyAnnKutch,CPSA,2007,15”×12”,coloredpencilandwatercolorpencilonSchminckeSansfixpastelpaper.

CollectionofElisabethandRobertLasater.

Althoughthispaintingfeaturesacombinationofwatercolorandtraditionalcoloredpencils,itwasthesprayedsoft-focusbackground

whichespeciallychallengedme.ThegrittySansfixpaper—newtomeatthetime—acceptedthewatercolorpencilpigmentandthespray

mistverywell.

Pastelpapersandartboards thatacceptwatercolorpencil (and traditionalcoloredpencil)beautifullyincludeArtSpectrumColourfixPastelPaperandPleinAirBoard,ArtSpectrumSuedePaper,CansonTouch Paper and Touch Board, Ampersand Pastelbord, and Wallis Sanded Pastel Paper. With theexceptionofWallis,IdescribeeachoftheseinSandedPastelSurfaces,soIwillsimplytouchonthosewithspecificaquarelle-relatedcharacteristicshere.

Wallis Sanded Pastel Paper is a very gritty, toothy surface, developed by theAmerican artist Kitty

Wallis.ThequitedurableWallispapercanberepeatedlywettedandscrubbed,withnodamagetothetooth.Thepaper is advertised as able to accept at least twenty-five layersof pastel, so its capacity forcolored pencil pigment is also great.Wallis paper is available inwhite and a tan color, Belgianmist;whethertheartistchoosesprofessional-gradeormuseum-gradepaper,thepaperishighlyarchival.

Texturedpastelsurfacesarealsoexcellentgroundsforwatercolorpencil.Fromlefttoright(grittiesttosmoothest):WallisSandedPastel

Paper,ArtSpectrumColourfixPleinAirBoard,CansonMi-TeintesTouchBoard,AmpersandPastelbord,andArtSpectrumColourfix

Suede.

CapeFlattery,Washington;KristyAnnKutch,CPSA,2013,15”×12”,watercolorpencilandcoloredpencilonColourfixsandedpleinair

board.

TheCapeFlatteryhikingtrailisontheMakahNationtriballandinWashingtonState.WithstunningviewsofthePacificOcean,seastacks,

andcaves,IenjoyedtheawesomefeelingofbeingatthenorthwesternmostpointintheLowerForty-Eight.LocatedinOlympicNational

Park,thetrailispartofthedenserainforestanddripswithmoss.Idepictedvelvetygreenmossonthetreesbylightlywettingthetrunk

andbrancheswithclearwater,thengratingMuseumAquarellelightolivegreenandbrightgreenpencilsthroughameshscreendirectly

overthedampareas.

AustralianArtSpectrumColourfixPaperandPleinAirBoardalsoacceptwatercolorpencilbeautifully.Note that originalColourfix paper andPleinAirBoard require a longer drying period, beneficial forexperimentingwithwet-into-wettechniques.

ArtSpectrumColourfixSuedehasavelvetysurfacewhichacceptswatercolorpencilineitheritsdryorwetstate,butitisbettersuitedforsmallareasofwatercolorpencil.

AquabordAquabord by Ampersand Art was formerly known as Claybord Textured. Rebranded to a morerecognizable name, Aquabord is a non-paper surface for watermedia and has unique characteristics.Becauseitisaspeciallypreparedsurfacemountedonaspenhardboard(notMasonitebrand),itdoesnotneedtobestretchedandstapledtoasupportaswatercolorpapersometimesdoes.Sincethepanelissosturdy,itdoesnotbuckleandcanevenbetakenasitisforpleinairartsessions,withnodrawingboardrequired.Aquabord is ideal for travelingwithone’s art, since it is quiteportable,durable, andcanbeneitherwrinklednorripped.

Thissurfacehastobeseentobeappreciated.Madeofkaolinclaylayeredontohardboard,Aquabordfeatures tiny bumps and projections. Themanufacturer likens this to that of cold-pressed watercolorpaper. Fine-gauge400-grit sandpaper canbeused to smooth the surface if it is too textured for yourtaste.(DusttheAquabordwellaftersanding.)Watercolorpencilpigmentclingstothesesmall,granularprojectionsontheAquabordsurface,causingagreaterconcentrationofcolortoadheretothesurface;oncethepigmentisdissolved,thetinybumpsalmostdisappear,givingasurprisinglysmoothwash.Thetransformationfromdrywater-solublepencilpigmenttoitsdissolvedstateisdramaticandstunning.

OregonDahlia,KristyAnnKutch,CPSA,2013,5”×7”,watercolorpencilonAquabord.

WatercolorpencilonAmpersandAquabordtransformsinstantlywiththesweepofadampbrushfromdry,granulartexturetoafluid

wash.

SETTINGYOURSELFUPFORSUCCESSWITHAQUABORD

AmpersandArtinsertsanoticetoAquaborduserstofirst“flushout”thepanelwithalargewetflatwatercolorbrush.Thisprocess—essentiallywashingtheboard—releasestrappedair,preparingitforwatercolorwashes.SometimesI’llspeedtheprocessbyusingahairdryeronthedampAquabord.IhavenoticedthatifIdonotflushoutthepanelfirst,tinybubblesappearandaffectthesmoothnessofthewash.

CreatingTextureonAquabordTexturesonAquabordcanbefascinatingandareeasytoachieve.Ampersandmarketsasmallwirebrushwhichscratchesthedrysurfacewithtinyhighlights,renderinghair,whiskers,andotherwispsbeautifully.TheAmpersandlinetoolcreatesfinecross-hatching.WetAquabordcanbeincisedwithscratchingtoolssuchas theAmpersandscratchknife,awax-carver,nutpick, styluspoint, tinycrochethook,ormetaldentaltool.Allowthesurfacetodryandbrushawaythetinyclaycrumbs,leavingdelicatewhitelines.Ifdesired,addcoloredaccentsinthewhitelineswithatiny,precisebrushsuchasareservoirlinerbrush.SuchincisingisevenadramaticwaytosignthefinishedAquabordpainting.

Aquabordlendsitselfwelltoavarietyofincisingtools(fromlefttoright):nutpick,Ampersandlinetool,Ampersandscratchknife,

Ampersandwirebrush,stylus,oil-freesteelwool.

Jan’sBirthdayBlooms,KristyAnnKutch,CPSA,2008,16”×20”,watercolorpencilonAquabord.CollectionofJanandRodHoeppner.

ThispaintingismyfirstlargepieceofartdonewithInktensewater-solublepencils.IchoseAquabordasmysurfacebecauseIfeltthatthe

grittinessoftheboardwouldcausethepencilpigmenttoclingtoitwithmaximumintensity.Onceanareawaswashedwithadamp

brush,thecolorsdissolvedcompletelyandbrilliantly.Experimentingwithtools,IusedAmpersand’swirebrushandanutpicktocarve

texturedfeaturesoutofthedampclay-basedsurface.

IcreatedthetexturesatthecenterofthelargedaisybydiggingatthedampAquabordsurfacewithastylus.

Icreatedthetassle-liketexturesintheorangeflowersbyusinganAmpersandwirebrushonthatpartofthesurface,whichIkeptdry.

7BRUSHESFOR

WATER-SOLUBLE

DRAWING

PRODUCTS

IUSEDTOBEFAMILIARWITHJUSTAFEWTYPESOFbrushes,unawareofhoweasilytherightbrushcandoitsmagicwithwatercolorpencilpigment.SincebecomingbetteracquaintedwithaquarellesIhavecometoappreciate how valuable the right tool is for the task. Selecting the right brush for a water-solubledrawing—developingitintoanactualaquarellepainting—canmeanthedifferencebetweensatisfactionandsheerfrustration.

Brushes range fromfineandwispy to largeand full-bodiedandareusuallymade fromanimalhairs,syntheticfibers,oracombinationofboth.Eachtypeofbrushhascharacteristicsthatmakeitasuitabletool for a specific effect.Flatbrushes—with theirbroad applications—render smooth skies and lovely,seamlessgraduatedwashes.Roundbrushes,especiallythosewithgoodsnapandfinepoints,coveralotofterritory.Dependingon its size, a roundbrushcan flawlessly sweep ina largeareaordelivercolor toeventhefinestfeature.Addtothesethespecialtyandnoveltybrushes(likeriggersandfanbrushes),eachwithitsowntraitsandfunctions,and—onceagain—thepotentialofwatercolorpencilisamazing.

NevisHibiscus,KristyAnnKutch,CPSA,2008,9”×12”,watercolorpencilonAquabord.CollectionofDebbieRemmel.

GrowingontheWestIndiesislandofNevis,thisradianthibiscuswaswell-suitedtotheglazingpotentialofAquabord.Withasoft,round,

size12brushandapuddleofliquefiedwatercolorpencilpigment,Igraduallybuiltuplayerafterlayerofbrilliantred.

ABEVYOFBRUSHCHOICESAlthough a standard round size 6 brush with good snap (that is, one that retains its shape) enablesprecisionbrushworkandisidealforfruits,petals,leaves,andothersmallobjects,thereareotherbrushesofvarious shapes and sizeswhichcanbevaluable additions to thewatercolorpencil artist’s collection.Likeachef’smanykitchenutensils, theaquarelleartist, too,hasmanytoolsandoptions foreffectivelydevelopingadrywater-solublepencildrawingintoafluid-lookingpainting.

Abrushwithgoodsnap,orprecision,isessential.Notethefinepointforuseintightspaces.

Round brushes, as alreadymentioned, are suited for painting features like petals and leaves. Theycome in a varietyof sizes; the smaller brushesworkwell for small items and largerones are ideal forsmoothlypainting largerareas.A smallbrushoffersprecisionbuta largebrushgives smooth, seamless,fluidresults.AKolinskybrush,madefromRussiansable,isahigh-endroundbrushthatisaworthwhileinvestment.

Aroundbrushisaversatiletoolcapableofrenderingawiderangeofstrokes,creatingevenfinetendrilsandstems.

Riggerbrushesareround,buttheyareverylongandwispy,idealforpaintingdunegrassesandreeds.ThereservoirlinerbrushesImentioninthischapterarealsowell-suitedtopaintinggrasses.

A1-to2-incheswideflatbrushisexcellentfortoningapaperorboardtoadesiredcolor.Itisalsoideal for creating a pure, solid background such as a clear sky. Simply apply thewatercolor pencil orwater-solublewaxpastelpigment(dry)totheheavypaperorboard.Wetthewide,flatbrushanddabitoffonceortwiceonarolloftoilettissuetowickofftheexcesswater.Thenstrokethedampbrushoverthepenciledareatodissolvethepigment.Ifliquidpoolsattheedgeofthepaperorboard,lightlywickaway—donotblot—theexcessliquidwithapapertowel.Allowtheartsurfacetodrythoroughlybeforedrawingorapplyinganyotherlayers.

Flatbrushesareexcellentforblendingbandsofsmoothcolorandforcreatinggraduatedwashes.

Anangleshaderbrushlookslikeaflatbrush,exceptitsedgeisangled,notsquaredandshapedtoa90-degree angle.The angle shader actually has a triple function: 1) It iswell-suited for seamless, smoothblending of colors and easy maneuvering into nooks and around curves; 2) it is great for renderingvignettebackgroundsandothernegativespaces;3)incaseofanoverrunerror,aquicktouchofathirstyangleshadercanlift,wickaway,andcorrectthemistake.

AmaryllisDuet,KristyAnnKutch,CPSA,2012,16½”×13½”,water-solublewaxpastelandwatercolorpencilonStrathmoreIllustration

BoardforWetMedia.

Seamlesslyrenderingthelargeskybehindtheamaryllisblossomswasmyfirstchallenge.Usingasize20roundbrushwithasurprisingly

finetip,Iquicklypaintedfromalargepuddleofdissolvedpigment,workingmywayaroundthenegativespace.Oncethatwasdry,I

movedontotheflowers,switchingtoasize10roundforthepetalsandasize2CheapJoe’sLizardLickbrushforthefineststamensand

theedging.

CallaTrio,KristyAnnKutch,CPSA,2011,16”×12”,watercolorpencilonColourfixpleinairboard.

Iedgedinavignette-stylebackgroundaroundtheliliesusingthesideofanangleshaderbrushwithdissolvedwatercolorpigment.A

daggerstriperbrushwouldhaveworkedfine,too.(Formoreonwater-solublepencilvignettes,seethispage.)

Thirstyisastateofwetness,notastyleofbrush.Itreferstoaslightlydampangleshaderbrush,withmostmoisturewickedaway,andit’seasytocreate.Simplywetthebrushanddragitseveraltimesacrossapapertowelordrycloth.Thereshouldbesomeslightmoisture.Consideraslightlywetsqueegeeusedforcleaningwindows:theprincipleofliftingmoistureissimilar.Thethirstyangleshaderisalsoidealforcreatingdimensionandliftinghighlights.InButchartGardensRose,Iusedathirstyangleshaderbrushtoliftoutshapesinthegreenbackgroundtosuggestleaves.Angleshaderbrushesrangeinsizefrom⅛-to1-inchwideandarewonderfuladditionstotheartist’scacheofsupplies.

ButchartGardensRose,KristyAnnKutch,CPSA,2008,9”×12”,watercolorpencilonAquabord.CollectionofCol-ArtAmericas.

Bylookingupcloseatthedetailofthedarkgreenbackground,youcanseehowathirstyangleshaderbrushliftsshapes.Ittakesalittle

practicetoliftouttheleafyareas.

Thedagger striperbrush resembles an angle shaderbrush, except that its edge is gently curved andtapered,notsharplyangled.Ithasthecapacitytomaneuveraroundcurveseasily,renderingribbon-likestrokeswithease.Thedaggerstripercanbeassmallas⅛-inchwide,givingprecisionwithitssharppoint.(Itisalsousedbyautomobiledetailartistsforpaintingpinstripes.)Thefloralartisttreasuresthisbrushforsmoothlypaintingtightlycurvedareas,suchastheinnerpetalsofarose.

Daggerstriperbrushesareidealforsoftlymovingaroundcurvesandintotightcorners.Theyareveryhelpfultoolsforpaintingrose

petals,withtheircharacteristiccurvesandswirls.

Thereservoirlinerbrushisexcellentforpaintingfine,preciselines.Inspiteofitsshaggy,wild-hairedlookwhenitisdry,thebrush,whenwet,lendsafine,controlledline,withjusttheprecisionthatIlikesomuch.Once thatwildhair has beendipped in liquid, the reservoir liner brush tapers to the finestpoint and holds a surprising amount ofwater.One brand is theEscodaReservoir Liner Series 1310,availableinsizes2–16;anotherisCheapJoe’sLizardLickbrushesinsizes2–8.Thebelly(body)ofthebrush is plump and full, with a surprising fluid capacity, but the sable tip is extremely fine. Thiscombinationallows theartist topaintcrispedgeswithoutneeding toreload thebrush frequentlywithpigment.Thesize2modelisanexcellentbrushforaddingtheartist’ssignaturetoafinishedpiece,too.

Areservoirliner,inthiscaseaCheapJoe’ssize2LizardLickbrush,isamust-haveforcreatingdelicatelinesandfineedges.Thistiny

brushwithabig“belly”holdsanamazingamountoffluid.

The scrubber brush with its abrasive, stiff bristles, is a workhorse for lifting pigment. Because thebristlesaresosturdy,usescrubberswithcautiononlighter-weightpapers.TheyworkveryeffectivelyonAquabord,liftingpigmentbacktoaverylightvalue,ofteneventotheoriginalwhiteoftheboard.

Scrubberbrusheshavestiffbristlestoscruboutpigmentfromadampsurface.Notethedifferencebetweenthetopsoftheslabsofthese

rockyledges:therightledgehasbeenscrubbed.

TheFunnyBrushisaunique,patentedproductwithrubberybristles.Availableinthreesizes,FunnyBrushesworkexceptionallywell for looselycreating shrubberyand trees.Stipplingand linear strokingalsocanbedonewiththesebrushes.Cleanupiseasywithmildsoapandrunningwater.FunnyBrushesareverydurable,lastingfordecades.

FunnyBrushesareexcellentforstipplingthefoliageoftrees,bushes,andevenbackgrounds.

PeonyPower,KristyAnnKutch,CPSA,2009,16”×12”,watercolorpencilandaquarellesticksonAquabord.

Ihaveanaffinityforpeoniesofanycolor;thisbloomanditsripebudswereespeciallyinviting.IusedacombinationofFaber-Castell

fuchsiaandmadderonthepeoniesandaccentedthemwithInktensefuchsiaforextrabrilliance.Oncetheleaveswerethoroughlydry,I

wentovertheshadowedareaswithadilutedwashofLyrawinered.

Icreatedthesoft-focusbackgroundofPeonyPowerbylooselyscribblingwithvariousshadesoflight,medium,anddarkgreen(allfrom

Cretacolor),thensprayingthebackgroundwithawatermistersothestrokesdissolved.Oncetheyweredry,IaddedLyrawineredforthe

deepestcomplementaryshadowsanddabbeditwithaFunnyBrush.

SinceAquabordhasasurfacemadewithkaolinclay,itbecomessoftwhenwet.Veinlinesforleavescaneasilybeincisedintothedamp

surfacewithastylus,waxcarver,ornutpick.OncetheAquabordhasdriedcompletely,awashcanbeaddedovertheveins,sinkinginto

thedelicatelyincisedlines.

BRUSHCAREBESTPRACTICES

Takegoodcareofbrushes,whethertheyaremadefrombudget-friendlysyntheticfibersorthefinestSiberianKolinskyhair.Neverrestabrushbristles-downintoawatercontainer,evenifjustforafewminutes.Thiscanquicklycausethebrushtobecomemisshapen,evenruined.Rinsebrushesundertepidrunningwater,addingalittlemildsoap,afterpaintingsessions.Rinseandgentlysmooththedampbristlesbackintoshape,allowingthemtoair-dry.Brushesshouldbeplacedontheirsidesforthisprocess,asdryingwithbristlesupcanruintheferrules.Atravelportfolio-typecaseorbrushcarrierisexcellentforprotectingbrushes

whiletraveling.

SELF-CONTAINEDWATERBRUSHESONTHEGO

WhenIamoutdrawingwithwater-solublepencilsandIneedadampbrush,IuseAquaflotravelbrushes.Availableinroundandflatsizes,theAquaflohasabuilt-inreservoirsothatitcarriesitsownwater.Bysqueezingitsbarrel,Icanevenself-rinsethebrushbetweencolors.Thereservoircartridgecanberefilledasneededfromabottleofwaterandthencapped,awaitingthenextdrawingandpaintingsession.

ARESERVOIRBRUSHCARRIESITSOWNWATERSUPPLYANDISCONVENIENTFORARTTRAVELS.

Brushing,Grating,andSpatteringWater-SolublePigment

HighinNorthCascadesNationalParkinthestateofWashingtonisastunningreservoirnamedRossLake.Sincethescene—andmemoriesofthattrip—werespecialtome,IwantedtocreatesomeNorthCascadesartonsandedpaperwithwatercolorpencils.Iwasanxioustotry“CheapJoe”Miller’swatercolortechniqueofcreatingspatteredleavesbyblowingwatercolorpencilwashthroughasmallscreen.Thisalsoofferedagoodopportunitytoshowthatwater-solublepencils—hereFaber-CastellAlbrechtDürerpencils—canbeusedforbothfluidanddryeffects.

1 IselectedCansonTouchskygraysandedpaper,aperfectmatchfortheovercastsky.Mylinedrawingsimplifiesthesteepmountaincontours,definingwherethe

valleyreservoiris.Rememberingthelandscapeprincipleofbackground-to-foreground,IlaidinstrokesofFaber-Castellwatercolorpencilsforthewater:whiteforthehighlights,skyblueandlightultramarineblueforthefurrowsinthewater,andlightultramarineblueandearthgreenlightfortheshadowsclosesttothesteepshore.Becausethecliffsontherightcastashadowonthewater,Ikeptthevaluesdarkerthere.

2Witha⅜-inchdaggerstriper,Idissolvedthestreaksofwhiteinthewater,theskyblue,lightultramarineblue,andfinallygreenearth.Thedarksatthebaseofthe

bluffsinitiallystayeddry,keepingthecolorsofthewaterlight.Withthedaggerstriper,Ilaterdissolvedthegreenbluffshadows,addingjunipergreenatthewaterline.Whencompletelydry,Idrewverticalstrokesofcaputmortuumvioletforthebluffs,thenlightlydissolvedthemwithasize4LizardLick.Keepingstrokesdry,Idrewwalnutbrowninthecracksandstreaksofivoryonthefacesofthebluffs.

3Idrewandwashed,withasize1round,thedistantmountains,usingcoolearthgreenlightandskyblue.OnthebluffsIgraduallyused:junipergreen,permanent

greenolive,Maygreen,andfinallylightgreen.Idrewanddissolved,withasize2round,darkcadmiumyellowtamaracksplotches.Ontheclosestshoreline,Idabbedcaputmortuumviolet.UsingcaputmortuumvioletplusearthgreenlightwashfromapuddleofwiththesmallestFunnyBrush,Ipaintedthebluff.Afterdrawingleafy,mossygreens,Iwashedthemwithasize2roundbrush.Idrewtheevergreenwithcaputmortuumviolet,junipergreen,permanentgreenolive,andlightgreen.Irestoredthepapertooth,power-erasingevergreenbranches.Thistechniqueisahandyformofinversedrawing.

4 Idrewsmalltreesontheleftslope,heavilyrenderingthecloserevergreenbranches.Withasize2andasize4reservoirliner,Isparinglywettedthesewispy-needled

branches;brownochreandcaputmortuumvioletprovidedearthyslopecolors.ForbouldersIdrew,thenwashed:burntumber,nougat,caputmortuumviolet,andbrownochre,usingivoryforhighlights.Whilethepaintingwaswet,Iscreen-grated:darkcadmiumyellow,nougat,andcaputmortuumviolet.Clingingfragmentsaddedbouldertexture.OntheaspenIscumbledMaygreenanddarkcadmiumyellow,usingreservoirlinerssize2andsize4forwashing.Isweptadarkcadmiumyellowwashontothespatterscreenandblewleafyspatterings.Irepeatedwithterracotta,then—whenthepaintingwasdry—withivory.

RossLake,Washington;KristyAnnKutch,CPSA,2013,9½”×11⅞”,watercolorpencilonTouchsandedpastelpaper.

8WATER-SOLUBLE

PENCILTECHNIQUES

THINKOFAWATERCOLORPENCILASACAKEORpanofwatercolorpigmenttowhichbinderhasbeenadded.Afterbeingextrudedasa thincoreandencased inwood—orshaped intoawoodlesspencil—itoffersmuchthesamepotentialaspanwatercolors,andmore.Youcandrawwithitdryandleaveitdry,applydrystrokesandunleashwashqualitieswiththesweepofadampbrush,oraccomplishavarietyofeffectswitharangeofothertechniques.

This chapter offers suggestions for realizing the amazing potential of water-soluble drawing andpainting, using those same novelty pencilswhichmay have been languishing unused among your artsupplies.Indulge insometimespentsimplyplaying!Freelydabbleandexperiment:directlydrawwiththem, wash the pigment, paint from the point, spatter from a toothbrush, and even grate theseremarkabletools forspecialeffects.SinceIwrotemylastbook,Ihavelearnedofnew-to-the-mediumtechniquesforliftingcolorusingstiffbrushesandevenahousehold-cleaningsponge–likeeraser.

Anothernewtechnique,sharedbywatercolorartist“CheapJoe”Miller,involvessweepingdissolvedwatercolorpencilpigmentacrossoneofhisspatterscreens,positioningitjustabovetheart,andblowinghardtoscattertinydropletsofcolor.SinceIdiscoveredJoe’sspatter-screentechnique,Ihaveuseditforleaves,rocks,evenfieldsofwildflowers.Whatfun!

Practice these techniques for aquarelle drawing and painting and see how stunning your aquarellepencilartcanbe.

MountSt.HelensRebirth,KristyAnnKutch,CPSA,2013,9”×12”,coloredpencil,watercolorpencil,andwaxpastelonColourfixsanded

pastelpaper.

MountSt.Helens,whicheruptedinMay1980,isnowanationalmonument,muchofitstillresemblingamoonscape.Thewhitestumpin

theforegroundwhichappearstobedriftwoodisactuallywhatremainsofatreeaftertheextremeheat,smotheringash,andfurystruck

thepristinewoodland.Mygoalwastoportraythegradualrecoveryofthemountaininspiteofitsearlierdevastation.Iusedtraditional

coloredpencilsfortheskyandthelandandfoundthatwatercolorpencilswereperfectforpaintingthedeep,fluidbluesofthedistant

SpiritLake.Water-solublepencilsandwaxpastelsprovidedtheidealmeansforcreatingvibrantflowersandbrilliantwhitehighlightson

thestumps.AftermullinghowIcouldportrayrealisticpebbleswithoutspendinghoursonthem,IstrokedawaxpastelwashonaCheap

Joe’sspatterscreenandblewthepebblesoninamatterofafewminutes.

APPLYINGAQUARELLESTheapproachtoaquarellepencilscanbequitebasic:pickupthepencilandstart stroking.Betteryet,pick up a brush and start dissolving. Whether you consider yourself primarily a drawing artist or apainter,suchpencilsdeserveyourattention.

StartDry,ThenAddWaterWater-solublepencilsalsooffertheoptiontodrawindryformandthenwetindividualaspectsofyourpiece,oneat a time.Suchanapproachmakes iteasy todrawandwashnumerouspetalsona flower,cherriesinacluster,orgrapesinabunch,forexample.Whendrawingandwashingobjectswithadjacentpenciledareas,skiparoundtheclusteranddonotwetborderingareasuntiltheneighboringzoneshavedried,lesttheareasaccidentallybleedintoeachotherandlosetheirdistinctness.Ifanobjecthaschangesinvalue,dissolvethepigmentbymovingfromthelighttothedarkvalue.

Whendissolvingdrawnwatercolorpencilpigment,washrandom,non-adjacentareas;thiskeepsclusteredobjectswell-definedand

avoidsunwantedblendingofcolors.

Anotheroptionistodrawanobjectusinganalogous(neighboring)colorsfordifferentvaluesoflightanddark.Insuchanapplication,sweepthedampbrushfromthelightareatothedarkerareatopreservethedistinctionofvalues.Ifyoubrushrandomlyorinadark-to-lightdirection,therangeofvalueswillbelostandtheareawillbelargelythesamevalue.

CreatingWashesYoucaneasilydissolvepigmentondelicateareas,suchasflowerstamensandpistils,withliquidblendingmarkers.However,thedownsideisthattheydryveryflatanddonotachievethesamerichqualityofwashedaquarellecolor.Introducingabrushandabitofwatergivesyouahostofoptionsforcreatingwasheffectsinkeyareasofyourwork.

An alternative approach is to apply a damp brush to the tip of the watercolor pencil—stroking itseveraltimestoloaditwellwithpigment—thenpaintsmalldetailswithpigmenttakendirectlyfromthecoreofthepencilitself.Thistechniquecanbeusedforfinepetals,tendrils,delicatebranches,centersofflowers,evenyoursignature.

Liquifiedpigment,loadedonabrush,canbealsobetouchedintoadampareawhichhasbeenfreshlywashed.Thiscreatesaflowingwet-into-wetplumeofrichcolor.

Toachieveapowerfulburstofdramaticcolor,youcanwetanareaontheartsurfaceandthenalsowetthetipoftheaquarellepencil.Drawwiththedamppenciltipinthefreshlywashedareaforaveryintensewet-into-wet stroke.Allowthepencil tip todrybefore sharpening it, since it ismoredelicatewhenwet.

Afine,wetbrushcanbeusedtopickuppigmentfromthetipofawater-solublepenciltodirectlypaintfinedetails.

Dissolvingwatercolorpigmentfromlighttodarkmaintainsthedistinctvalues,insteadoftheuniformhuewhichresultsfrommoving

fromdarktolightvalues.

Draggingawetwatercolorpenciltipthroughadampareayieldsintenselinearcolor.

Flowingcolorresultsfrompaintingintoadampareawithabrushloadedwithpigmenttakendirectlyfromthepointofawatercolor

pencil.

CustomizingaPaletteforaWatercolorPencilWash

Acustomizedpaletteistheidealsolutionfortheartistwithasmallsetofpencilsoradesiretospontaneouslyblendacombinationofcolorsandpracticesome“mixology.”Itisalsoanexcellentwaytoexperiment,learninghowhuesbehavewhenmixed.

1Tocreateaconvenientpuddleofwash,Isimplyscribbledaheavyswatchofwatercolorpencil—orseveralshadesofpencil—ontoasmallpanelofAquabordora

smallpieceofgrittypaper.

2 Ithenwetthepalettesothatthepigmentdissolvedintoapuddleofwatercolorwash,readyforpaintingdetailswithabrush.

3Usingsuchapalette,Icouldnotonlydrawonthesandedartsurface,butcoulddirectlypaintfromdissolvedpigmentpreparedonahomemadepalette.Ihavesmall

Aquabordpanelswhichhavedriedpigmentonthemfrommonths,evenyearsago,butallIneedtodoisaddwaterandtheliquefiedpigmentreactivates,readytobeused.

BuildingColorwithaComplementaryUnderpainting

Underpaintingwithcomplementarycolorisaneasywaytoaddvibrantdimensiontoyourcolorlayering.Ihavelearnedthatitisvitaltoallowtheunderpaintingtodrythoroughlybeforeaddingotherlayers.Otherwise,insteadofveilsoftranslucentcolor,theresultisunintendedneutrals.Rememberthesefourlittlewords:“Letitdrycompletely!”

1 Icreatedanunderpaintingofacomplementarycolorandallowedittodrycompletely.

2 Ithendrewthedesiredhueoveritwithawatercolorpencil.

3Idissolvedthissecondlayerwithasweepofadampbrush,tryingnottoletthetwocolorsmix.Toomanybrushstrokesmightdisturbtheunderlyinglayer,yieldinga

muddyeffectoranundesiredneutralhueinsteadofthedesiredlayersofcolor.Thistechniquegivesavibrantinterplayofoverlappingcomplementarycolors.

GratingPigmentOveraWetSurface

Gratingpigmentoverawetsurfacelendsabeautifullyrandomspeckledlookinamatterofminutes.Itisidealforrenderinggranite,mossesandlichens,sand,gravel,delicatemassesofdistantflowersinlandscapes,freckledorspottedregionsonindividualflowers,orevenpollen.

1 Icreatedadrawingofanantiquefishinglure,whichwillreceivethegrating.Ihadthesematerialsready:water,desiredhuesofwatercolorpencils(Faber-Castell

AlbrechtDürerolivegreenyellowishandwalnutbrown),andagratingtool(Iusedastrainer,butameshscreen,teastrainer,orsandpaperwouldworkaswell).Itisimportanttohavethesesuppliesathand,sincethereisashortwindowofopportunityforgrating,whenthesurfaceiswet.

2Withamediumroundbrush,Ilightlywettedtheareatoreceivegrating.Iusedadamp(butnotheavilydripping)brush,makingcertaintokeeptheclearwashwithin

thedrawinglineandawayfromthehighlights.

3Usingameshscreen,Igratedthewatercolorpenciltipoverthemoistenedarea.Thisprocessallowedthewater-solublegranulestofallontothewetsurface,dissolve,

andbondtothepainting(evenonedonewithtraditional,non-watercolorpencils).Iquicklyrepeatedthisgratingprocesswithotherdesiredcolors,aimingtocompletetheentiregratingprocesswhilethesurfacewasstilldamp.Anystraygranuleswhichfelloutsidethedesiredareacouldbelightlyblownaway,sincethepigmentonlyclingstotheareaswhichhavebeenwetted.

GlazingGlazingisawaytoaddlight,transparentveilsofoverlappingcolortowarmorenhancethemoodofasubject—muchlikeaninterestingharmonyinmusic.

Glazesarelayersofcolorputdownonebyone,allowingampledryingtimebetweenlayers.Glazingcanbedoneeitherwithdryaquarellepencilthatisdrawnandthenliquefiedonthesurfaceor—morecautiously—itcanbepaintedonasaready-madewashfromapuddleofdissolvedpigment.Iusuallystartwithdrywatercolorpencilthenliquefyafterdrawingandaddwashesforlaterlayers.

IappreciatetheverystainingandpermanentwatercolorpencilsCarand’AcheMuseumAquarelleandDerwent Inktense.Bothbrands are excellent for creatingpermanent layersof aquarelle color.Once awashmadewitheitherof these typesofpencilshasdried, thisunderlying layerwill remain intactandundisturbedbyoverlappingglazes.

Idrewalayerwithyellowwatercolorpencilandthenwashedtheareasothatthepigmentwasdissolved.Toshowthecontrastbetween

dryanddissolvedcolor,Ileftpartoftheyellowsectioninitsdrystate.Itisveryimportanttoallowthesurfacetodrythoroughly.

Overlappingyellowandredswirlsofwatercolorpencilproduceorange.

Likewise,withtheadditionofblue,overlappingswirlsrendergreenandviolet.

Farmers’MarketDahlias,KristyAnnKutch,CPSA,2013,15”×12”,watercolorpencilandcoloredpencilonStrathmoreIllustrationBoard

forWetMedia.

Mylocalfarmers’marketprovidesplentyofreferencematerialandinspiration.Iboughtthesedahliaswithwaxycoloredpencilartin

mindbuteventuallyrecopiedmylinedrawingandstarteditagainasanaquarelledemonstration.AfterIdrewthecolorsontoeachpetal,

Iwettedthemoneatatime.Insomeoftheareasclosesttothecenter,Iglazedwithanadditionallayerofcadmiumyellow.

CONTROLLINGANDLIFTINGWATER-SOLUBLECOLOREDPENCILWeallencounterslipsofthehandandrunawaywashes.Eveniftheerrorcannotbeerasedcompletely,itcanusuallybetweaked.

SolutionsforStill-WetPigmentForaquick fixwhen there is toomuchwash, Idaborwick the surplus liquidwitha tissueorpapertowel.However, this speedy approachmay alter thewholewatercolor effect andcandry the area toomuch.Blottingmayevenbetoodrastic,dependingupontheeffectdesired.Tobetterpreservethewash,Iwicktheexcess liquidbybarely touching itwith thecornerofa tissueorpaper towel,allowingthewashtotravelupthepaper.Athirstybrushcanalsobeeasilysweptacrossthedampsurface,liftingandlighteninganareathathasbecometoosaturated.Athirstyangleshader,daggerstriper,orthesideofaflatbrushcanbeespeciallywell-suitedtothisprocessoflifting,andcorrecting.

Whenthesurfaceissuitable,ascrubberbrusheffectivelyliftswatercolorpigment,leavingalightened,scrubbedarea.Avoidscarringordamagingthesurfaceofthewatercolorpaperbyexperimentingfirstonascrapofthesametypeofpaper.

YoucanliftwatercolorpigmentfromeitherheavypaperoraboardsurfacewithaMr.CleanMagicEraser.SimplywettheMagicEraserandlightlysweep—donotscour—itacrossthecolortobe lifted.ThepigmentclingstotheMagicEraser,whichcanthenberinsedclean.TheMagicErasercanalsobecutwithscissorsintosharpwedgesforpreciseliftingintightspaces.

Watercolorpencilpigmentcanbeliftedusingathirstybrush(left),scrubberbrush(middle),orMagicEraserhouseholdcleaningsponge

(right).

SolutionsforDriedPigmentOnce the washed pigment has completely dried, there are drymethods for lightening and lifting. Akneaded eraser can be dragged across the painted area for some light lifting. A white vinyl eraser,especiallyabattery-poweredwhiteeraser,ishelpfulincolor-liftinganderasing,evenonAquabord.Donotuseanyeraser,especiallyawhirringbattery-powerederaser,whiletherearestilldampareasonthepainting.Tinyerasercrumbsflyinalldirectionsandcanclingtoamoistarea,ruiningasmoothwash.

CREATINGVIGNETTESANDDYNAMICBACKGROUNDSINWATERCOLORPENCILAquarelle pencils hold great potential for dealingwith that daunting background (the negative space!),transforming it into something beautifully enhancing and fearless. I devoted an entire chapter tobackgroundsinDrawingandPaintingwithColoredPencil(Watson-Guptill,2005),andwasgratifiedatthewonderful comments from readerswho appreciated those demonstrations. Since then I have becomemoreinventiveandconfidentwithwater-solublepencilsandsharesomepainlessoptionshere.

SimpleWaystoFillNegativeSpacewithWatercolorPencilForcompositionswherethesubjectoccupiesthemajorityofthesurface,controlled,densewater-solublebackgroundsoftenworkbest.Togetthiseffect,pencil inthenegativespacewithevenlayersofcolorandthenweteachsectionofthebackgroundoneatatime.

Aspeedywaytocreatebackgroundis topaintdirectly fromawash.Simplyscribble thewatercolorpencilheavilyontothecustomizedpalette,usingasmallpanelofAquabord.Addwateranddissolveintoasmallpuddleof liquefiedpigmentandpaint it intothenegativespace.Foraverysoftaqueouseffectthatislessdense,firstwetthebackgroundwithclearwaterandthenapplythedissolvedcoloredwash.

DewyBegonia,KristyAnnKutch,CPSA,2013,14”×11”,watercolorpencilonAquabord.

DewyBegoniaisanexampleofacompositionthatisfulltothebrim.Withitsdarkgreenbackground,thedewyyellowblossomfairly

popsfromthecontrast.Thenegativespace,whichaddstothepop,waseasytodo:Iheavilystrokedwatercolorpencilinchromeoxide

greenandwettedeachsegment.SincethiswasdoneonAquabord,thedissolvedcolorwasintense.Oncethebackgroundgreenswere

dry,Idecidedtodeepenthemevenmore,paintingmorechromeoxidegreendirectlyfromapuddleofliquefiedpigment.

CreatingaLiquifiedAquarelleVignette

AsdiscussedinChapter5,vignettesarelovelyandefficientsolutionsforenhancingnegativespace.Aliquefiedaquarellevignetteoffersaspeedyandfluidbackgroundoption.Ipracticedthisbackgroundtechniqueonscrappaperwithanangleshaderanddaggerstriperbrush.Bothofthesetypesofbrushesworkwellatevenlyreachingcurvesandnooks.

1 Iusedthesideofthewatercolorpenciltodrawabandoflightolive(Carand’AcheMuseumAquarelle)whichhugsandsurroundsthecomposition.Iavoidedmaking

sharp,pointedlineswhichmightnotdissolvesmoothly.IfIhadwantedhintsofobviousdirectionalstrokes,Iwouldhaveusedthepencilpoint.

2Witha⅜-inchwidedaggerstriperbrush,Iappliedalightwashofclearwaterjustoutside(notquitetouching)thepenciledborderoftheorchid.Idabbedoffthe

brushandreloadeditwithclearwaterwhenneeded,continuingmydampborderaround—butnotyettouching—thecoloredband.Reloadingthebrushwithclearwater,Ilightlydabbeditonceontissuetoremovesomeofthewaterandcontrolthewetness.Islowlysweptthebristlesoverthecoloredandwetareasofthepaintingsothatthebrushstraddledtheclear,wetzoneandthebandofdrywatercolorpencil.

3Icontinuedtherestofthewayaroundtheorchid.Thisprocessdissolvedthewater-solublepencilandcreatedagraduatedwash.Ibrushedaroundthevignetteagain,

continuingthesweep,dissolvingthebandofwatercolorpencilevenmorethoroughly.Oncethisdried,Iwasreadytoworkontheorchid.

CreatingaSpatteredBackground

Itisveryeasyandinexpensivetocreateanattractiveairbrushedeffectforyourbackground.Usingwatercolorpencils,asofttoothbrush,andlow-tackfrisketfilm,aspatteredbackgroundisaspeedyandloosesolution.Ittakessomepracticeflickingthepigmentwithatoothbrush,buttheresultingeffectcanbewellworthit.AllofthepermanentpencilsIusedforthisdemonstrationwereCarand’AchePablopencils,withCarand’AcheMuseumAquarellepencilsforthespatteredbackground.

1 Ipreparedalinedrawingofthreedifferentkindsofapples,usingStonehengeKraftpaper,atanpaperthatacceptsmanylayersofcoloredpencil.

2 Iusedaubergineforcastshadows.Applyingolivebrownonstems,Iaddedstrokesofpaleyellowonthelightsidesanddarkcarmineontheshadowedsidesofeach

apple.Onthegoldendeliciousapple,Istrokedgoldenochre,limegreen,andgreenochre,indicatingawhitehighlight.Iusedmossgreenandkhakigreenforthedarkerareas,withpaleyellowandNaplesyellowonthesunnierparts.Onthereddeliciousapple,Iusedscarletstrokes.Initsdarkerareas,Iappliedcarmineanddarkcarmine,addingmossgreen,followedbyvermilion,onthesunnyfaceoftheapple.Goldenochreprovidedthehoneycrispappleundercoat,withscarletandcarminealongtheedges.Ifinishedthehoneycrispbyedgingwithasharpdarkcarminepencil.

3IplacedsomeArtoollow-tackfrisketfilm,shinysideup,overthedrawingofthethreeapples.Itisveryimportanttoplacethefilmshinysideup,orelseitwillresultin

amirror-imagepattern.Withafine-pointpermanentmarker,Itracedjusttheoutline—nottheshadows—ofthegroupofapples.

4 Icutoutthepatternoftheapples(andsavedthefrisketfilmscraps,astheyareexcellentforerasingandliftingtechniques).ThenIpeeledthefilmfromthebacking

paperandgentlyplacedthepatternrightovertheapples,toactasashieldfromspatters.Oncethepaperhasbeenpeeledfromitsbacking,thisfilmissotransparentthatyouhavetolookcloselytoseeit.

5 Iloadedawet,softadulttoothbrushheavilywithwatercolorpencilpigment,strokingthewatercolorpencilcoredirectlyacrossthedampbristles.Itcantaketen

totwentystrokestosaturatethetoothbrushwithcolor.Ilightlydabbedthebrushontissuefourorfivetimes,toremoveexcesswaterandmakethewasheasiertocontrol.

6Withmythumbagainsttheheadofthetoothbrush,Iflickedthepigmentontothesurface,concentratingthespattermostheavilyaroundtheapplesbyholdingthe

brushonlyabout1or2inchesabovethem.(Whenthereisatoo-largesplatter,Iquicklycorrectitbywicking,notblotting,thedroplet.)Formultiplecolors,Iallowthesurfacetodryforfifteentotwentyminutesbeforeaddinganotherlayerofspattering.

7Afterthespatteredbackgroundwascompletelydry,Igentlypeeledbackthefrisketfilmtorevealthefinishedpiece.Iftherewereanygapsinthespattersnearthe

apples,Itookasharppencilanddottedinlittlespeckstolooklikethemissingspatters.

AppleTrio,KristyAnnKutch,CPSA,2013,14”×11”,coloredpencilonStonehengeKraftpaper.

CreatingaSoft-FocusBackgroundwithaSprayMister

Sometimesbackgroundvegetationinafloralorlandscapereferencecanappeartoobusy,competingwiththemainsubject.Insuchcases,youcansuggestsoft-focusvegetationinthebackgroundbydrawingwithwatercolorpencil,thenmistingtheareawithwater.

IchosethishibiscustoshowoffadazzlingpaletteofDerwentInktensewater-solublepencilsbothwiththeflowerintheforegroundandthegreenerybehindit.PairingthemwithAmpersandAquabordanditsbumpy,toothysurface,mygoalforthispaintingwasmaximumsaturation.

1 Icompletedthebasiclinedrawingandprotectedthehibiscusblossomandstamenswithmaskingfluid.Maskingfluidisaliquidthatdriesintoarubbercement–likefilm.

Itshouldbequicklyappliedtotheareatobesavedfromwatercolorwashing,usingacheapbrush,knittingordarningneedle,toothpick,orevenasharpenedtwig.Oncethewatercolorpigmenthasdriedcompletely,itissafetogentlypeelbackanddiscardtherubberypeeling.Iquicklyappliedthefluidalongtheedgesoftheflower,aimingtopreventsplatteringofthebackgroundcolorsontotheblossompetals.

2 IlooselyscribbledInktensebackgroundcolors:sunyellow,sherbetlemon,beachgreen,andIoniangreen.Makingsuretoincludeareasofdark,mid-value,andlightin

thebackground,Iwantedtogivethissoft-focusbackgroundsomecolorfulvariety.Keepingthepaintingflat,Ilightlyspray-mistedthebackground;itlookedverypointilisticanddotty.Aftersprayingwithalightmistseveraltimes,Iusedthetipofasize6roundbrushtocoaxthecolorstoblend,beingcareful,however,nottooverblendthem.Noticethedifferencebetweenthesprayedandunsprayedsides.Ithenleftthepaintingonalevelsurfacetodrycompletely.

3Ifinishedsprayingtheleafybackgroundandletitdry.Ienrichedthegreenhuesbyaddinganotherlayer,followedbyspray-misting.Onceeverythingwasdry,Istroked

moreIoniangreeninthedarkestareas,sprayedagain,andlettheAquaborddry.Ipeeledoffthemaskinglayeralongtheedgesoftheblossom,leavingjustthestamenscoveredwiththedriedmaskuntilIwasfinisheddissolvingthepetalsaroundthem.Ithendrewcolorsonthehibiscusblossom,petalbypetal,usingsunyellow,tangerine,andpoppyred.OntheleavesIusedsunyellow,sherbetlemon,andbeachgreen.

4 Idissolvedsunyellow,thentangerineandpoppyred,oneachpetal,usingsizes2,6,and10roundbrushesforprogressivelylargerpetals.Iwashedtheleaves,suggesting

veinswiththeedgeofathirstyangleshaderbrush.Fromapaletteofdilutedpoppyred,Ipaintedtheleafyshadowsatthetopofthepainting.AlongthepetaledgesIpaintedafinelineoffieldgreenwashplusleafgreen.Afterdrying,Ipeeledofftheremainingmask.Idrewstamentopswithsunyellow,dissolvingthemwithasize2reservoirliner,thenaddingpoppyred.Iwashedonlythestamensideswithdilutedsunyellowandpoppyredandlefttherestwhite.

HongKongHibiscus,KristyAnnKutch,CPSA,2013,11⅞”×9½”,watercolorpencilonAquabord.

PARTTHREE

WAXPASTELSANDCOMBININGCOLOREDDRAWINGMEDIA

Philipson’sAnnie,MaryHobbs,CPSA,2005,13”×8”,Indiaink,acrylics,watercolorpencil,andcoloredpencilon5115Crescent

watercolorboard.

AnnieisthedogfeaturedinSandraPhilipson’schildren’sbookMaxandAnnie.MaryHobbsfirstappliedIndiainktoallofthedarkareas

onAnnieandtothestripedbackground,followedbyawashofthinnedgrayacrylicasanundercoatoveranylighterareas.Wherever

therewastobewhite,sheappliedwhitecoloredpencilfirsttocreatearesistancetothewatercolors,whichwereaddedlater.Finally,she

addedlayersofwaxytraditionalcoloredpencils,usinggold,green,andbrownwatercolorsforAnnie’seyes.Maryprefers5115Crescent

watercolorboardbecauseitacceptsallmediums,layerafterlayerofpigmentcanbeapplied,anditisveryforgiving.

9WAXPASTELS,

COMPATIBLE

SURFACES,AND

TECHNIQUES

THEYLOOKLIKEFAMILIARCHILDHOODCRAYONS,strokewithsimilarease,andevensharpenlikethem,buttheirrich,vibrantcolorsetswaxpastelsapart.Althoughtheyarecommonlycalledartist’scrayons,waxpastelsareinadifferentclassofcoloreddrawingmedium.

Anothersourceofconfusionisthefactmostpeopleassociatethewordpastelwiththehardandsoftvarietyofpastels—thekindwhichlaydownadry,powderyformofpigment.Waxpastels,incontrast,haveaglossy,softlywaxiernature.Andsoftpastelsfeatureadryer,morepowderycomposition.

Fineartwaxpastelsaremadethroughalong,complexextrusionprocess,whichyieldsahighproductdensity andopacity.Beyond themixof paraffin and pigment that normal crayons have, they containfinely ground pigment, quality synthetic art waxes, talc, and titanium dioxide. The result is richerpigmentation and greater concentration of densely colored product. (Caran d’Ache notes that due totheirwaxcontent andhighqualitypigments, theirwaxpastelshave superior lightfastness, yet anothernotableadvantage.)

Formerly,waxpastelswereconsideredtobeintherealmofcoloredpencils.Todaytheystandintheirowncategoryasanimmenselypopulardrawingtoolavailableinanimpressiverangeofcolors.

IlluminatedTulips,KristyAnnKutch,CPSA,2013,12”×16”,waxpastelonColourfixpleinairboard.

Theseeverydaywondersbloomeachspringaroundourbirdbath.Becausewaxpastelslendthemselveswelltolargestrokesofcolor,they

wereaperfectmatchfortheboldsweepsoftheglowingtulips.WithachoiceofsandedColourfixleafgreendarkpleinairboard,meant

thebackgroundwasready-madeandthepaintingwasfinishedquickly.

WATER-RESISTANT(ORPERMANENT)WAXPASTELSLike colored pencils, wax pastels come in both water-resistant (or permanent) and water-soluble (oraquarelle)forms.Watersolublesoffermuchmorevarietyintermsofeffectstheycancreateanddifferentmakes, but water-resistant wax pastels do have their own unique qualities and are indeed worthexploring.

Thepermanentwaxpasteliswell-suitedtoquick,lineardrawing.Thinkintermsofboldstrokesandlarger areas of color for wax pastel, rather than small, meticulous details. The Swiss company Carand’AchelaunchedtheNeocolorIpermanentwaxpastelin1952,anditisthemostnotablewater-resistantpastel. Containing between three and four different waxes and between 5 and 40 percent pigmentsamongthehues,theNeocolorIisloadedwithcolor.Layeringandoverlayingcolorsareeasyprocesses,andNeocolorIishighlylightfastduetothenatureofthesehigh-qualitywaxes.

The Neocolor I wax pastel has the interesting trait of becoming permanently water-resistant. Iwatchedademonstrationofthisatatradeshowandwasfascinatedbythesimpleprocess.Whentheartistfinished drawing the piece with Neocolor I, he buffed the surface—which was stone, but could bewood,slate,aswellasmoretraditionalsurfaceslikeBristolboardorpaper—withasoftcloth.Hesprayedthe stone demonstration piece with water andwiped it dry: the wax pastels were unaffected.WhenNeocolorIhasbeendrawnandbuffedonasurfacewhichmightbeexposedtowater,suchasoutdoorart,thedropletssimplybeadupwithoutdamagingtheart.

Mostwaxpastelscanbesharpenedtoapointwitharazorbladeorwiththe largerholeofahand-sharpener.You can simply drawwith them and leave the lines untouched ormanually smooth themwithablendingpencilorcardboardblendingstomp.Blendingmarkerscontainingalcoholsolventfluidarealsoeffectivewithwater-resistantwaxpastel.Heat-blendingwithanIcarusBoardorheatguniseasy,too,leavingtheblendedcolorwithaglossysurface.

Sixbrandsandtypesofwaxpastels,varyinginsolubility,size,shape,andcolorselections:1)DerwentArtbar,2)Carand’AcheNeoArt,3)

LyraAquacolor,4)Carand’AcheNeocolorII,5)Carand’AcheNeocolorI,6)StabiloWoody.

WATER-SOLUBLE(ORAQUARELLE)WAXPASTELSSincethe1975 inventionofNeocolorIIbyCarand’Ache, thewater-solublewaxpastelhasgrowninpopularityandvariety.Itiscommonlyreferredtoasanartist-gradewatercolorcrayon,butjustlikethewater-resistantvariety,itissomuchmorethanthat.Althoughaquarellewaxpastelsdonotofferthefinedrawingprecisionofpencils,theyareeasytouse,richlycolored,andsurprisinglyspeedy.

Severalcompaniesoffersuchaquarelleproductsinawidearrayofcolorsandeveninmetallics.Carand’AcheNeocolorII—whichcontainsthesameingredientsasthewater-resistantNeocolorI,butwhichisbathed in water-soluble wax at the end of the manufacturing process—has the largest color range,including metallics. The company’s more transparent, less opaque NeoArt line is very concentrated,enough to load a brush and paint directly from it. Derwent of Great Britain has launched Artbars,triangular cross-sectioned sticks thatoffer sixdrawingpoints, plus an arrayofuseful accessories tousewiththem.Artbars’shadesincludeagreatrangeofcolorsforsea,sky,land,foliage,androcks.LyraofGermanymarketsvividhuesofAquacolors,slightlylargerindiameterthantheNeocolorIIsandArtbars.

Themostobviouswaytouseawaxpastel is tosimplystrokeitsrichcolorontotheartsurfaceanddrawwithit.Toblendthestrokes,eitherlayerandbuildothercolorsoverthemormanuallysmudgethepigment. Using a blending stomp in the appropriate size or a stiff blending brush (such as a pastelblendingbrushorstencilbrush),causesthewaxpastelsurfacetobecomesmootherintexture.Blendingwithheatalsoworkswell.

Another speedy way to blend watercolor wax pastels is to stroke them onto the surface and thendissolvethepigmentwithwater.Sweepingadampbrushoverthedrawnareainstantlytransformsitfromthemoregranulardrymediumtoasmooth,liquefiedwash.

Whetherworkingwithwaxpastelswetordry,Ihavediscoveredthattheycansmudgepigmentonmydamphandsandfingers.Cleanupwithsoapandwateriseasy;justmakesuretodryyourhandswellbeforehandlinganymorewaxpastels.

CreatingBoldBackgroundsandSumptuousSkieswithAquarelleWaxPastelsBecausewaxpastelsdrytoamoreopaquefinishthanwatercolorsorwatercolorpencils,andbecauseoftheirdensecolorandeasysolubility,theyarewonderfulforquicklycreatinganumberofdifferentlovelybackgrounds.

Opacityandcoveringpowervaryamongthelinesofaquarellewaxpastel.NeoArtbyCarand’Achedriestoalessopaque,moretranslucentfinish,forexample.Somecharacteristicwaxinessisstillapparentoneventhedriedsurface,but,driedpigmentcanusuallybeliftedwithabattery-poweredwhiteeraser,allowingfortweakingandcorrecting.

Thismediumiswellsuitedtotheapplicationofasinglelayerwhichiswashedandthenlefttodry.Unlike some of the watercolor pencils, aquarelle wax pastel pigment is not permanently staining.Rewashingsubsequentwatercolorwaxpastellayersdisturbstheunderlyingcolor,evenifthefirstlayeristhoroughlydry.Mixingcomplementarycolorsbyrewettingtheunderlyingwaxpastellayercanresultinanundesiredneutral.Creatingdepth anddimensionwith thisproduct is better suited todrawing andthenwashinganalogouscolors(suchasadarkershadeofthesamecolororitsadjacentneighborcolor),ratherthanunderpaintingwithcomplementarycolors.

Chick,JackieTreat,2011,5”×7”,coloredpencilandwatercolorwaxpastelsonPastelbord.

JackieTreatbeganby“playingaround”oncoloredsurfaces,withverylittlereferencematerial.Thischarmeristheresultofthat

experiment;thetonedPastelbordistheperfect,simplegroundfortheboldpatternsonthebodyofthechick.Jackielikestousean

underpaintingofNeocolorIIforitssmoothcoverage,especiallywhensheisplanningtoaddmanylayersofcolor.

PaintingDirectlyfromWater-SolubleWaxPastels,PlusOtherTechniquesAquarellewaxpastelissoheavilypigmentedandeasilydissolvedthatitcangobeyondobviousstroke-and-washapplication.Itispossibletocreateanentirepiece—evenadetailedrendering—justbypaintingdirectlyfromthestick.Theseproductsaresoconcentratedthatsurprisinglylittleofthewaxpastelstickwillbegonewhenapaintingiscomplete.

CrocusHeralds,KristyAnnKutch,CPSA,2013,12”×15”,watercolorpencilandwater-solublewaxpastelonStrathmoreIllustrationBoard

forWetMedia.

Tocreatethemulcharoundthecrocuses,Iscumbledwaxpastelstrokesinspringgreen,mossgreen,greenochre,rawsienna,olive

brown,burntumber,andtouchesofpurpleviolet.Ithenbarelydissolvedthem,usingaroundstencilbrush.AfterIcompletedthislarge

areaofbackground,IfeltasthoughIwashalf-finishedwiththepainting!

SolitaryPeony,KristyAnnKutch,CPSA,2009,9”×12”,water-solublewaxpastelonStrathmoreImperialhot-presswatercolorpaper.

Ihadjustreturnedfromanart-suppliestradeshowandhadseenCarand’AcheNeoArtbeingdemonstrated.Muchtomyamazement,the

salesmanwasusingadampbrushanddirectlypaintingwithrichcolordirectlyfromthecylindricalNeoArtstick.Ieagerlyboughtmyown

setandpaintedthispeonyentirelybybrush,strokingdirectlyfromtheNeoArt,likepaintingfromapanofwatercolor.

BeverlyShoresLilies,KristyAnnKutch,CPSA,2012,11”×16”,water-solublewaxpastelonStrathmoreIllustrationBoardforWetMedia.

AsIwasvisitingthelocalpostoffice,Ispiedabedofgorgeousshrimp-coloredlilies,justwaitingtobephotographed.OnceIhadmy

digitalimage,Icroppedittightly;thepetalswerethenlarge,quitesuitableforthebroadstrokesofawaxpastel.IusedNeocolorIIand

NeoArt,simplydrawingonthecolors.Oncetheywereactivated(washed)withadaggerstriperbrush,itwasfuntoseethoselush,waxy

colorsemerge.

WAXPASTELCOLLECTIONS

PRODUCTNAMENUMBEROFSHADES

PRICELEVEL

Carand'AcheNeoArt 60 High-end

Carand'AcheNeocolorI 50 Mid-range

Carand'AcheNeocolorII 126 Mid-range

DerwentArtbar 72 Mid-range

LyraAquacolor 48 Budget-friendly

StabiloWoody 18 High-end

WAXPASTELTRAITS

PRODUCTNAME KEYCHARACTERISTICS

Carand'AcheNeoArt Denselyconcentrated,notwidelydistributed

Carand'AcheNeocolorI Uniqueglossy,water-resistantformula

Carand'AcheNeocolorII

Water-soluble,verywidelydistributed,greatsolubility

DerwentArtbar Excellentforflowers,foliage,rocks

LyraAquacolor Greatcolorpalettefortheprice

StabiloWoody Widecorejumbopencil–likeconstruction,water-soluble

USEFULACCESSORIESFORWATER-SOLUBLEWAXPASTELS

StabiloWoodywaxpastelsarelarge,lookingmuchlikechunkyjumbopencils.Forthisreason,thecompanyhasdesignedaspecialsharpener.Whensharpeningjustthetip(notthewoodencasing),savetheshavingsforotheraquarelleeffects.Derwentofferstoolsspecificallyfortheiraquarellewaxpastelproducts.These

includeShave’nShake,ajarwithalidthatfeaturesabuilt-intriangularmetalsharpenerforArtbars.TheShave’nShakealsocapturestheArtbarshavingsinthejarsothattheycanbeliquefiedorscatteredontoawetsurface.TheScraperoffersnumeroussharpedgesforincisingandforsgraffito,scrapingawayatoplayertorevealunderlyinglayers.Thepocket-sizedSpritzerisaconvenientplasticwatersprayerwithalid,aboutthesizeofatesttube.Thishandylittletoolcanbeusedforwettingpre-drawnwatercolorpencilorwatercolorwaxpasteltolooselydissolveit.Themanufactureralsosuggestsusingitsmisttomaintainawetworkingareaforwet-into-wettechniques.Anotheroptionistodissolvewater-solublepencil,suchasInktense,intoawash,pouritintotheSpritzertube,andthensprayit.

BOTHDERWENTANDSTABILOOFFERCONVENIENTTOOLSFORSHARPENING,SHAVING,SCRAPING,AND

MISTINGWAXPASTELS.

CreatingCustomizedWashesandGratingWater-SolubleWaxPastelsIt is also convenient to create a customized wash of dissolved wax pastel by scribbling heavily ontoAquabord and addingwater, as described forwater-soluble pencils inChapter 8.With this dissolvedpigment, it is possible to create a more diluted, transparent wash than the usual opaque finish ofwatercolor wax pastel. Such a liquefied puddle can even be used for painting more delicate details,spatteringwithatoothbrush,orforrenderingcrisperedgeswithafinebrush.

IwashedCarteiraMagnaniAcquarello140-poundhot-presswatercolorpaperwithclearwateranda2-inchwideflatbrush.UsingCaran

d’AcheNeoArtwaxpastels,Iquicklygratedskyblue,permanentblue,andPrussianbluethroughameshscreen,rightoverthedamp

paper.Thegratedshavingsdissolvedwhentheytouchedthedamppaper.Thegratedshavingswerefurtherdissolvedwhentheywere

sprayedwithawatermister,andlookveryaquatic.

Watercolor wax pastels can even be grated onto a wet surface with large metal mesh, renderingspecklesof sand, gravel,moss,orpollen.Note that these fragmentsmaynot cling andbond to awetsurfaceaswellasgratedbitsofwater-solublecoloredpencildo.Itmaybenecessarytogivethemafewlightspraymistsofwateroruseaheatguntolightlymeltsuchspecklesintoplace.

SIMPLE,CUSTOM-TONEDSURFACES

Myfriend,OregonartistLauraMiller,enjoysworkingonsuede-likematboard.ShetintshersuedeboardwithdilutedNeocolorIIwashtomakeacustom-tonedsurface.(Shecautionedmethatittakespracticetogettherightamountofwetnesstothewash;ifitistoowateryyou’llgetawatercolorbloomeffect.)Onceithasdried,shehasaboardinherdesiredbasecolorandisreadytodrawuponit.

SimpleApproachesforPermanentWaxPastel

Keepinginmindthatlargersubjectswithlessdetailaremoresuitableforwaxpastels,mushroomsandbrightpeppersappealedtomeforthisdemonstration.NeocolorIisahighlylightfastmediumfittingforaquickandvividpieceofart,andIwashappytodiscoverthattheFullBlenderBrightblendingpencilworkswiththismedium,aswell.Thereisacomfortablefamiliarity—muchlikeusingcrayons—inpickingupawaxpastelandsimplyenjoyingstrokesofthoserich,waxycolors.

1OnPastelmatpaper,Icompletedthelinedrawingofpeppersandmushrooms.IindicatedhighlightswiththepointofaSaharayellowNeocolorIwaxpastel.Forthe

pepperontheleft,Iaddedstrokesoforange,followingthecontourofeachsectionofthepepper.Forthepepper,ontheright,IdidthesamewithayellowNeocolorI.WhenIliftedtheorangepepperontheleftwithawhitevinylbatteryeraser(withmixedsuccess),Ihadtocleantheeraserwellafterwardonapieceofsandpaper;theeraseritselfaccumulatesheavypigmentandIdidn’twantthiscolortocomeoffonmyartworkthenexttimeIusedtheeraser.

2 Iappliedwhiteasthehighlightsofthemushroomsandalsoonthestems.ThenIincisedlinesintothestemareasofthemushroomsandpeppers.OnbothpeppersI

addedvermilionalongthesoftfurrows,followedbyscarletandalizarincrimsononthepepperontheleft,especiallynearthecreases.Ithenusedalizarincrimson,acoolred,onthemoredistantareaswhichtaperawayfromtheviewer’seye.Movingtotheyellowpepper,Iaddedlighttouchesofalizarincrimsonalongthefurrows.

3OntheincisedstemsIapplieddarkoliveandalizarincrimsonontheshadyareas,addingSaharayellowhighlights.Enrichingtheredpepper’scolors,Iaddedflame

red,orange,andalizarincrimsonagain.UsingaFullBlenderBrightblendingpencil,Iblendedtheredpepper,onesegmentatatime.OntheyellowpepperIstrokedyellow,ochre,andflameredinthefurrows.Ifollowedwiththeblendingpencil,thenrepeatedthecolors.Inareasneedingsmoothcolortransitions,Iblendedwithastomp.IusedochreandsanguineonthebabyPortobellomushrooms,browninthedarkestareas.

4Togroundthesimplecomposition,Iaddedlayeredstrokesofalizarincrimsonandflameredunderneaththegrouping,withafinelineofSaharayellowalongtheedges

ofthemushrooms.Toaddhintsofreflectedcolorsonthemushroomsandyellowpepper,Ialsoappliedlighttouchesofflamered.Tofinish,IusedfinetouchesofsharpTuscanredandvioletVerithinpencilsforverycrispedging.

PeppersandBabyPortobellos,KristyAnnKutch,CPSA,2013,11⅞”×9½”,permanentwaxpastelonPastelmatpastelpaper.

CreatingaMutedFoliageBackground

Ihavediscoveredthatliquefiedwaxpasteliswonderfulforsuggestingtheswirlsofbackgroundleaves.Byusingathirstydaggerstriperorangleshaderbrush,youcanliftoutthelightshapesandforms.Injustafewminutesthistechniquegivestheeffectofmutedbackgroundfoliage.Workingwithwaxpastelwashremindedmeofthelongagojoyofmakinggesturalswirlswithfingerpaint!

1AfterlayeringdrystrokesofNeocolorIIindarkgreenandoliveblackonStrathmoreIllustrationBoardforWetMedia,Iuseda2-inchwideflatbrushtoactivatetheentire

areasothatthepigmentdissolvedbutdidnotleavepuddles.

2Usingatwistofmywristandathirstyangleshaderbrush,Isweptoutshapesresemblingleavesandstems.Becausethewashissowaxy,Ineededtorinseand

wipemybrushoften.Forsomeextradimension,Istrokedwarmyellowgreenandlemonyellowonsomeofthebladesanddidnotevendissolvethem.

PaintingDirectlyfromaWater-SolubleWaxPastelStick

Usingpigmentandadampbrush,IdiscoveredthatIcanpaintdirectlyfromthestickasIwouldfromacakeorpanofwatercolor.Waxpastels,sohighlyloadedwithpigment,arewellsuitedtothistechnique,enablingmetopickupplentyofpigmentforpaintingwiththebrush.

1Aftercreatingalinedrawingofthethreefishinglures,Istrokedadampsize4roundwatercolorbrushdirectlyagainsttheCarand’AcheNeoArtwaxpasteltoloaditwith

richcolor.Usingphthalocyanineblueandgold(whichlookslikeapalegrayishaqua),Ipaintedthebackandbellyofthetoplure,addingscarletforthemouth.OnthebottomlureIusedburntumber,indigoblue,reddishorange,scarlet,andyellow.FortheheadofthefuzzylureIusedyellowgreenandemeraldgreen.Ipaintedeachareaonebyone,avoidinghavingadjacentwetzonestokeepthedamppigmentfromrunningtogether.

2 Idecidedtopaintthemoredelicatefeaturesonthelures(withadeepbreathandasteadyhand).SinceIlikecrispdetail,myusualcourseistowetasmallreservoirliner

brush,aLizardLicksize2,withdamppigmentanduseittomakeprecise,crisplydefinededgesandfinedetails.Forthefuzzylureontheleft,IpickeduppigmentdirectlyfromNeoArtyellowgreen,emerald,yellow,scarlet,reddishorange,andDerwentArtbarkiwiwaxpastelsandstrokedinfinehairswithaLizardLicksize2brush.IalsousedthattinybrushtopaintthehooksandconnectingringswithpigmentfromaDerwentArtbarindigobluepastel.

CreatingRuggedCoastalRocks

Water-solublewaxpastels,withtheirpotentialforbroadorpointedstrokes,arewell-suitedtoquicklandscapedrawing.IwascurioustotryDerwentArtbars,whichofferanexcellentrangeofgreatcolorsforsea,sky,land,foliage,androcks.ThisscenicviewatCadillacMountain,apeakinAcadiaNationalParkoncoastalMaine,hasalwaysappealedtome.

1Usingaruler,IdeterminedandsketchedthehorizonlineonCansonTouchsandedpastelpaper.InotedwheretheskymeetstheAtlanticOcean,sinceitshouldnotbe

atthehalfwaypointofthecomposition.WithDerwentArtbarswater-solublewaxpastels,Ihorizontallystreakedinskycolors,overlappingonezoneofcolorsintothenext.Closesttothehorizon,Iappliedbluelace,thenoverlappedthesedrawnstrokeswithbabyblue,transitioningtoanoverlappingareawiththedeepesthue,Pacificblue.Atthetopofthecomposition,asthedomeoftheskydeepensandbecomesmoreintense,IusedonlyPacificblue.Thisoverlappingofbluescreatedasmoothlygraduatedsky.

2 Ithenwettedawideflatbrush—hereanangleshaderbrush,thougha1-inchwideflatbrushwouldalsowork—dabbingitoffonceortwicetoremoveexcesswater.

Beginningatthehorizonline,wherethelightestvalues(bluelace)are,Irantheflat,widepartofthebrushoverthewaxpastelarea,paralleltothehorizon.Ithenrepeatedthisprocess,makingcertainthatallofthewaxpastelwasdissolved.Continuingtowetbandsoftheskyupwardtothedeeperblues,Ioverlappedtheparallelstrokestoblendtheskyintosoftlygraduatedshadesofblue.ThissandedCansonTouchpapertakeslongertodry,butthatcanbeabenefit,sinceitallowsmorewet-into-wettimeforrenderingskies.Ilettheskydrythoroughlybeforemovingtothenextstep.

3Idrew,thenwashed,anarrowbandofPacificblueasocean.Afterthatdried,Iusedcactusandgreenearthtodrawthedistantevergreentrees,addingalizarincrimson

fordepth.PaintingfromawashofcactusandPrussianbluewithasize4LizardLickbrush,Irendereddark,distantpines.Iusedthesamecolorsfortheshrubbery,alizarincrimsonforshadows,andkiwiandprimaryyellowashighlights.Isparinglywashedtheshrubberywithasmall,roundscrubberbrush.Forledgesandboulders,Iusedpinkoxideandbeige,withwheatandopaquewhiteashighlights,andlinesofdeepaquaforthecracksandgaps.Ilefttherockypathandledgesundissolved.

4 Idrewtheforegroundvegetationwithacombinationofcactusandkiwi,addingtouchesofalizarincrimsonfordepthandprimaryyellowforhighlights.Usinga

scrubberbrushandadabbingmotion,Idissolvedthegreenerycolors.ForthelargepinkgraniteboulderintheforegroundIusedvioletearth,pinkoxide,beige,wheat,andopaquewhite,withdeepaquaandburntumberfortheshadowsanddeepfurrows.Idry-blendedthesewithablendingstompandaheavyhand.Forgreeneryhighlights,Iaddedsharpstrokesofopaquewhite,followedbyprimaryyellow.Iwashedmysmudgyhandswellafterthisdrawingsession.

CadillacMountainGranite,KristyAnnKutch,CPSA,2013,9½”×11⅞”,water-solublewaxpastelonCansonTouchsandedpastel

paper.

10COMBINING

COLORDRAWING

MEDIA

EACH TYPEOFCOLOREDDRAWING TOOLDESCRIBED in this bookoffers its ownunique appeal.But theyshouldhardlybe relegated toworkingonlywith their ownkind.On the contrary!When combined,thesemediacanenhanceandaugmentoneanothertocreateterrificeffects.Thepossibilitiesareendless.

Watercolorpencilsorwatercolorwaxpastelscanbeappliedandthendissolvedintoawashtocreateasmoothunderpainting,orbaselayer,fordrycoloredpencil.Morepermanentlystainingaquarellepencilsarealsohelpfulincreatingunderpaintingsforwater-solublewaxpastels.

Layeringof traditionalcoloredpencilsontopofwater-solubledrawingmaterialscanadddefinition,intensity, andgloss.Even a subtle touchof precise permanent coloredpencil, such as the super-sharpVerithin,quicklydefinesacrispedge.

Meanwhile,waxpastels,withtheirdenselyopaquequalities,lendajoltofstrong,punched-upcolortocoloredpencilpaintings.Addingemphasistobrilliantflowers,intenseskies,andfrothywaves,waxpastelsaremuchmorethanhigh-endcrayons.

This chapteroffers suggestions for combining the appealing traitsof eachof these luscious formsofcoloreddrawingmedia:Withtheircomfortablefamiliarityandhandlingease,traditionalcoloredpencilsaretheheartofcoloreddrawing;water-solublepencilsandtheirsmoothlyflowingwasheshaveafluidappeal;andforconvenientstrokesofdense,waxycolor—dissolvedornot—waxpastelsaresuperb.

TheBlueDory,KarenColeman,CPSA,2008,8”×11”,coloredpencilandwatercolorpencilonPastelbord.

Toshowtherough,well-worntextureofthisoldboatanditscontents,discoveredonatriptoLunenburg,NovaScotia,KarenColeman

layeredfourteendifferentwaxycoloredpencilbluesontoPastelbord.Toshowthewater’sfluidityandreflectedlight,sheappliedlayers

ofwatercolorpencilandthenblendedthemwithawetbrush.Afterthesurfacedried,sheaddedshadowswithdrycoloredpencil.

AQUARELLEASABASELAYERFORTRADITIONALCOLOREDPENCILDissolvedaquarelle(water-soluble)coloredpencillaysdownasilky,seamlesslayerofcolor,fillinginthetoothofthepaperorotherartsurface.Addinglayersofnon-watercolorwaxypenciloverthecompletelydriedwatercolorlayercreatessharpdetailsandalsolendspolishanddimensiontoapiece.

Ultra-sharpandinexpensiveSanfordVerithinpencilsareoftenoverlookedamongthemanytypesofcoloredpencils.Sincetheycanbesharpenedtoaneedle-likepoint,theyareexcellentforfinedetailsandsubtle,crispedges,addingprecisefinishingtouchestoacompletelydriedpieceofart.Considerusingthispencil, too, for the edges of stamens, pistils, and other fine botanical details, even if the rest of thepaintinghasbeendonewithawater-solublemedium.Verithinstrulysnapanimageintosharpfocus.

ThethreewatercolorpencilblossomsandstamensontherighthavebeenedgedwithavioletVerithinpencil;thetwoflowersontheleft

havenot.

AQUARELLEASACOMPLEMENTARYUNDERPAINTINGFORTRADITIONALCOLOREDPENCILSWhendrawingorpaintingacomplementaryunderpainting,itiswisetocreateitwithaquarellepencilsrather thanwatercolorwaxpastels.Moreheavily staining,permanentwatercolorpencils suchasCarand’AcheMuseumsorDerwentInktensepencilsorblocksareagoodchoice for this first layer.Becausewaxpastelshavegreatcoveringpowerandtendtobeopaque,theunderlyingcomplementmaybemoresubtlebythefinalstages.

IstartedTulipCascadewithapinegreencomplementaryunderpaintingonthetulipsbeforedrawingand washing watercolor pencils to show their rosy coral hues. Likewise, I underpainted a wash ofmagentaandletitdrybeforeapplyingthewatercolorpencilgreensoftheleaves.Forglossanddepth,Iadded traditionalnon-watercolorpencilsover thedriedwatercolorpencil layer. Igave the tulipsextrashimmerwithstrokesofablendingpencilandsomerepeatedlayersofwaxy,permanentpencil.

TulipCascade,KristyAnnKutch,CPSA,2012,20”×15”,coloredpencilandwatercolorpencilonCrescenthot-presswatercolorboard.

Call itwhatyouwill,anunderpaintingoragrisaillecreatesdepth.Notingwherethehighlightsandtheshadowycontoursappear,thinkofthisasaroadmapforthecolorsandvalueswhichwilleventuallybe applied. This underpainted approach is helpful with both traditional and water-soluble coloredpencils.(Aquarellewaxpastelcomplementstendtolifteasilyandmingle,yieldingneutrals,however.)

ENHANCINGTRADITIONALCOLOREDPENCILWITHWATER-SOLUBLEMEDIAOften a dry colored pencil painting benefits from a special textural technique or a jolt of extra coloremphasis.Whetheryouwanttoaddroughnessandtextureforarealisticeffectorcreateafocalpointbymakingaparticularareaofyourpaintingpop,water-solublemediacanoftenbejustthethingtoprovidethatperfectfinishingtouch.

InMagnolia Flurry, I drew andwashed the sky firstwithwatercolorwax pastels,moved on to themagnolia blossoms,whichweredonewith traditionalwaxy coloredpencils, and left thewhiteof thepaperasthelightestvalue.Themagnoliaswerelovelybutneededtheextrapunchofstrikinglyvibrantstreaksofinteriorboldcolor.IaddedthisemphasiswithstrokesoffuchsiaInktensewater-solublepencil,drawnandthenwashed.

MagnoliaFlurry,KristyAnnKutch,CPSA,2009,15”×12”,coloredpencil,watercolorpencil,andwater-solublewaxpastelonFabriano

Artisticohot-presspaper.

Thefuchsiaaquarelleaccentshelpadvancethewhitemagnoliablooms.

SkiesMadewithWater-solubleWaxPastelversusWater-solublePencilAlthoughaquarellewaxpastelskiesarerelativelyspeedytopaintonPastelbord,Ihavediscoveredthatthedensewaxinessofthedriedlayermakesitdifficulttodrawonsincethewaxpastelfillsinmuchofthetoothoftheartsubstrate,makingitslick.IfIwanttoaddcloudsorotherfeaturesinaskyzonedonewithwater-solublewaxpastel, I sometimesapplywaxy,drycoloredpencilover the firstwashed layerwith heavy pressure, using awhite StabiloAquarellable pencil for the very brightestwhites. AnotherstrategyIuseistoeraseintheshapeoftheformsIplantodraw(suchascloudsorbirds)withabattery-powerederaserandthendrawthefeaturesintothosespacesonthenewlyerasedsurface.

AwashofwatercolorpencilstotonePastelbordcreatesacoloredsurfacewhichmorereadilyacceptswaxypermanentpencilsHowever,thesepencilsdonotholdthesameintensityoncetheyaredissolved.To enrich the background blues of skies painted with a wash of watercolor pencil I recommendreapplyinganddissolvingasecondlayerofthesamehuesbeforeaddingcloudbanks.

ADDINGBRIGHTWHITEEMPHASIS

Toemphasizethebrightestandmostpowerfulwhitesonclouds,IaddstrokeswithwhitewatercolorpencilsuchasStabiloAquarellable(madeforpaper,glass,plastic,metal),awhiteInktensewater-solubleblock,orawhitewater-solublewaxpastel.WhiteNeoArtwaxpastelworkswellforcloudhighlights,sinceitissocreamyandloadedwithpigment.Icaneitherstrokethepencilorstickitdirectlyintothedampcloudtomakehighlightsoruseawetbrushandpaintdirectlyfromthepencilorstick.Thiscanbedonewhilethetopsofthecloudsarestillmoist,partiallydissolvingthewhitepigmentintoaverystrongwhite.Iaimtokeepthecloudsvariedandwispyandtrytoavoidpaintingcloudswhichlooklikeroundeddollopsofwhippedcream.

COMBININGALLTHREECOLOREDDRAWINGMEDIAIhave learnedtoappreciate thebenefitsof traditionalcoloredpencils,water-solublecolorpencils,andwax pastels, used alone and in combination.Whilewater-soluble pencils lend speed and lovely fluidwashes, traditionalnon-watercolorpencilsoffercontrolandprecisionwithnotimeframefordrying.Iappreciatewatercolorwax pastels because they are excellent for dense, rich, and speedy color, eitheraloneorusedwiththetwotypesofcoloredpencils.Becauseoftheiropacity,Ihavefoundwaxpastelstobeidealforrenderingstunninglybrightwhite,foamywaves.

ThesametwohuesofwatercolorpencilwashedonwhitePastelbordresultinalighter,lessvivideffect.NexttimeIwouldaddanother

layerofdissolvedwatercolorpencilbeforedrawingintheclouds.

AwashofdarkultramarineandpermanentbluewaxpastelonwhitePastelbordyieldsveryrichskycolors.Erasingbacktothewhiteof

theboard(asontheunfinishedrightcloudbank)helpswhenlayeringbrilliantpermanentpencilwhitesintheclouds(asontheleftcloud

banks.)

EnhancingLandscapeTextureswithWater-SolubleMedia

HellsCanyon,thedeepestrivergorgeinNorthAmerica,islocatedalongthebordersofeasternWashingtonandOregonandwesternIdaho.CarvedbytheSnakeRiver,itisaprimeexampleofruggedAmerica,majesticandratherdesolate.Thevariedpaletteofthedistantmountainsandthebrightforegroundwildflowersappealedtome.IlikeCarand’AcheLuminancepencilsforlandscapesbecausetheyincludegenuinelyearthyhues,especiallyusefulfortheseforestsandvolcanicfoothills.AlthoughIusedmainlytraditionalpencilsforthislandscape,thewater-solublepencilsandwaxpastelsaddedinterestingtexturesandbrightemphasis.

1OnlightblueCansonMi-TeintesTouchsandedpastelpaper,Isketchedthelinesofthemountainridgesandtheforegroundvolcanicboulders.Iwascertaintokeepthe

ridgelinesslightlyjaggedandirregular,representingtreelinesalongthosecontours.Startingwiththemostdistantmountainridges,IusedaLuminancewhitepencilandCarand’AchePablobluishpaletosketchthesnowfieldsandLuminancelightcobaltblueandgenuinecobaltblueforthedistantfurrowsandvalleys.Keepingtheshort,choppystrokesinaverticaltrend,Iimitatedthelinesoftreegrowth,evenonthedistantmountains.

2 Imassedfoothillsinthemid-ground,usingLuminanceearthycolorsforthevolcanicsoil:burntochre10%,burntochre50%,burntochre,Naplesochre,eventouchesof

ultramarinepinkandvioletgray.Drawingsomeevergreens,Iusedgrayblueorperylenebrownfordeeptreedepths,withdarksapgreen,mossgreen,oliveyellow,andspringgreen(onclosertrees)forthegreenvalues.Thelightesthighlightsonthetreesarebufftitanium,whichisevenlighterthanivorybutnotquitewhite.Toadddistance,Istrokedasubtle,coollayerofultramarinevioletonfarhillsides.

3Lemonyellowbrightenedthesunlittreesonthemountains.OntheshadowedridgesIappliedlightaubergineandlemonyellow.Thebleached-outskeletaltrees

addedinterestandcontrast;IdrewthemwithbufftitaniumandCasselearthonthetrunks.Fortheotherevergreens,Iuseddarksapgreen,mossgreen,andspringgreen,withperylenebrownasacomplementarycolorforthedepthsoftheboughs.Touchesofwhite,bufftitanium,lightcobaltblue,andburntochre10%providedsunnyhighlightsonboughs.Ifthesandedpaperbecamesaturatedwithpigment,Ipower-erasedhighlightspotsandthentouchedinthehighlightcolors.

4Forboulders,Iusedultramarinepink,ultramarineviolet,brownochre10%,russet,burntsienna,violetbrown,burntochre,andCasselbrown,addingbufftitanium

highlights.Springgreen,mossgreen,darksapgreen,oliveyellow,andperylenebrownprovidedgrasscolors.IdrewandlightlydissolvedIndianpaintbrushbloomsinMuseumAquarellelemonyellow,orange,andscarlet.Oncetheflowersdried,IpaintedhighlightsdirectlyfromaNeoArtSaharayellowwaxpastel.WithawashofNeoArtperiwinkleblueandmanganesevioletstrokedontoaspatterscreen,Iblewthroughthescreen,spatteringtheforegroundwildflowers.IblewawashofNeoArtwhiteformorewildflowers.Oncethevioletblossomsweredry,Ialsoblewwhitehighlightsonthem.

HellsCanyonHike,KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencilonCansonTouchsandedpaper.

PuttingItAllTogether

IwasdrawntothisseascapeontheSchoodicPeninsula,alesser-knownpartofAcadiaNationalParkinMaine.Featuringtraditionalpermanentpencil,watercolorpencil,anddramaticsplashesofwaxpastel,thisscenereliesonallthreecoloreddrawingmedia.

1 Idecidedonahorizon(Itriednottodividemypictureinhalfatthehorizon)and,usingaruler,lightlydrewthehorizonlineonTasmanBlueColourfixSuedepaper.

WithlightultramarineandlightphthaloblueFaber-Castellwatercolorpencils,Isketchedthecloudbanks,withwhitewatercolorpencilstrokestoindicatethelightestregionsofthecloudsandlightphthaloblueandlightultramarineforthepatchesofskyandtheshadowswithintheclouds.Thecloudbanksalongthehorizonaremoredistantandaregenerallysmaller,whilethecloudshigherinthedomeoftheskyarecloserandthuslargerandfuller.

2 Isweptadaggerstriperbrushacrossthesky,paralleltothehorizon,wettingwhiteareasfirst,thenblues.Iusedthenarrowsideofthebrushforcloudbanks.The

taperedbroadsideofthebrushanditspointedtiprenderedswirlingcloudbanks.Ithenlettheskydrycompletely.Keepingacleanedgebetweentheoceanandthesky,IsketchedshortparallellineswithsoftlycurveddashesofPrussianblue,pinegreen,anddarkindigo,representingthetroughsofthedistantwaves.Proceedingfromthehorizontoforeground,Igraduallydrewthelineslonger,makingwiderwaveintervals.Ilightlydrewtheangledrockledgesintheforeground.

3Withadaggerstriper,startinginthedistance,Idissolvedthewatercolorpencilpigmentonthewaves,workingparalleltothehorizon.Irepeateddarkindigointhe

furrows,addingCarand’AchepermanentblueMuseumAquarelleforwaves.Afterrewashingtheocean,IaddeddissolvedFaber-Castellrawumberaswateryrockreflections.Simplifyingtherockyledges,Idrewandwashed,withasize2round,thedarkestlineswithFaber-Castelldarksepia.Ontheclosestrockysides,IstrokedFaber-Castellolivegreenyellowish,darksepia,andcaputmortuumviolet,washingthemwithasize2round.ForthelighterareasofthesesidesIdrewandwashedolivegreenyellowishanddarksepia.Museumpermanentblue(lightwash)providedwateryreflectionsonthefaceoftheclosestverticalrocks.

4Withivory,rawumber,andburntsiennaIaddedmoreaquarellecolortotherocks.Onthetop,flatpartoftherockyslabs,Iwettedthecolors,lighttodark.Imitating

rockyverticalridges,Iusedverticalstrokesofrawumberandburntsienna,withtouchesofcaputmortuumvioletanddarksepia.Iusedanangleshader,dissolvingthestrokeswithlighttouches.Afterthepaintingwasdry,Ilightlysketchedtheformofthewaveplumewithwhitewatercolorpencil.(Thiswasasubtleguide,notintendedasanobviouslinedrawing.)Ipower-erasedthejaggedwavesanddustedoffthecrumbs.

5 Idippedasofttoothbrushintoclearwater,dabbeditfourtimes,andflickedwaterdropletswherethewavesprayshouldappear.IquicklygratedaNeoArtwhitewax

pasteloverthecleardroplets.(Thewhitepigmentonlyadherestothewetareas.)ThenItookFaber-Castelllightcobaltturquoiseandgrateditoverthedarker,shadowedpartsofthewave,addingdimension.Iwaiteduntilthislayerdried,thenIswabbedsomewhitewaxpastelwashoveraCheapJoe’sspatterscreenandblewthroughit,lendingwhitefoamyspray.IfinishedthesharprockyledgeswithTuscanredVerithinpencil(theonlytraditionalpencilusedinthispainting).

SchoodicPeninsula,Maine;KristyAnnKutch,CPSA,2013,11⅞”×9½”,coloredpencil,watercolorpencil,andwaxpastelon

ColourfixSuedepaper.

AFTERWORD

Ihavepulledoutallthestops,dearreader,insharingmyknowledgeandenthusiasmforthesewonderfullittle color drawing tools. Formore than twenty-five years I have beenpushingpencils, enjoying thethrillingsatisfactionofusinganemergingfineartmedium.Ihopethatyouhaveenjoyedthisguideandreturntoitoften!

HurricaneRidgeProfusion;KristyAnnKutch,CPSA,2013,9”×12”,coloredpencil,watercolorpencil,andwaxpastelonColourfixsanded

pastelpaper.

ThismixedmediapaintingrecreatesascenefromtheOlympicMountainsofWashingtonstate.Itfeaturesthesky,grasses,andtreesdone

withpermanentpencils,large,white,fluffyflowerspaintedwithawaxpastelsstick,andtinywildflowerscreatedbyblowingwatercolor

waxpastelandwatercolorpencilwashedthroughasplatterscreen.

APPENDIX

The world of colored pencils has expanded tremendously in recent years, with new and improvedproductsbeinglaunchedallthetime.Eventheclassificationofwhatacoloredpencil ishaschanged—and changed again. Colored drawing products are available in an impressive assortment of hues andundervariousdescriptivenames.Complicatingthisworldofdazzlingcoloristhefactthatcolornamesfor the very same hue may differ from one manufacturer to another. This appendix features majorcolored pencil, watercolor pencil, and wax pastel brands and the color charts corresponding to eachmanufacturer.Hopefully, these charts will be a convenient reference for the artist workingwith anybrandwhowishestotranslateandequatecolorterms.

BruynzeelDesign

ColourandAquarelpencilsBruynzeeldoesnotassigncolornames,onlynumbers.

Carand’Ache

Luminance6901PermanentPencils

Carand’Ache,continued

PabloandSupracolorWatercolorPencils(*symbol),NeocolorIPermanent(+symbol),andNeocolorIIWatercolorWaxPastels(‡symbol)

Carand’Ache,continued

NeocolorI(+symbol)andNeocolorIIWaxPastels(*symbol)

Carand’Ache,continued

Carand’AcheNeoArtAquarelleSemi-OpaqueWaxPastelsThisisadifferentproductthantheNeocolorline,althoughitisalsoawatersolublewaxpastel,inthehigh-endpricerange.

Carand’Ache,continued

MuseumAquarellePencilsThesearethenewestwatercolorpencilsfromCarand’Ache.Averystaining,intenselypigmented,high-endproduct.

Cretacolor

Aquamonolithwatercolorpencilrods(noextrasymbol),Marinowatersolublepencils(*symbol),andKarminapermanent(non-watercolor)pencils(+symbol)

Derwent

Artists(noextrasymbol),Watercolour(*symbol),andStudioPencils(+symbol)

Derwent,continued

ColoursoftColouredPencilsThesearealsonon-watercolorpencils,butthey’resofterandcreamierthanStudioPencils.

DerwentDrawingPencilsTheseareverysoftdrawingpencilswithalimited,mutedpalettefromnature.

Derwent,continued

InktensePencilsandInktenseBlocksBlocksareavailableinallofthesamehuesasInktensepencils,botharewatersoluble.

DerwentGraphitintPencilsThesearewatersolublewatercolorgraphitepencilswithcoloradded.

Derwent,continued

ArtbarWatersolubleWaxPastels

Faber-Castell

PolychromosandAlbrechtDürerWatercolorPencilsColorpaletteisthesameforbothwatercolorandnonwatercolorversions.

Koh-I-Noor

HardtmuthPolycolorpencils

Lyra

Polycolor(noextrasymbol),Aquarelle(*symbol),ColorstripeColoredPencils(+symbol),andAquacolorWaxPastels(‡symbol)Polycolorpencilsarenon-watercolorpencils,Colorstripesarecoloredpencilsforwide-strokeapplications,Aquarellesarewatercolor

pencilsandAquacolorsarewatercolorwaxpastelswhichlooklikewatercolorcrayons.NotethatGold,#250,Chartreuse,#304,andHot

Pink,#328,areavailableonlyasColorstripepencils.

Sanford

PrismacolorThick-CorePencils(noextrasymbol),WatercolorPencils(*symbol),andArtStix(+symbol)

Sanford,continued

PrismacolorThick-CorePencils(noextrasymbol),WatercolorPencils(*symbol),andArtStix(+symbol)

Stabilo

WoodyWatersolubleWaxPastelsTheselooklikejumbocrayons.

Tombow

IrojitenColorDictionaryPencils:DeepandDeepII(D),Dull(Dl),Fluorescence(F),LightGrayishTone(Lg),PaleandPaleII(P),VeryPale(Vp),Vivid(V)“Irojiten”means“colordictionary”inJapanese.

BIBLIOGRAPHY

Baird,Cecile.PaintingLightwithColoredPencil,Cincinnati:NorthLightBooks,2008.

Borgeson,Bet.TheColoredPencil(rev.ed.),NewYork:Watson-GuptillPublications,1995.

_________.ColoredPencilFastTechniques,NewYork:Watson-GuptillPublications,1988.

_________.ColoredPencilfortheSeriousBeginner,NewYork:Watson-GuptillPublications,1998.

Edwards,Betty.Color,NewYork:JeremyP.Tarcher/Putnam,2004.

_________.TheNewDrawing on theRight Side of the Brain,NewYork: Jeremy P. Tarcher/Putnam,1999.

Gildow,Janie.“CapturingthePerfectColor.”TheArtist’sMagazine,November1996,58–62.

Jasper,Caroline.PowerColor,NewYork:Watson-GuptillPublications,2005.

Kutch,Kristy.DrawingandPaintingwithColoredPencil,NewYork:Watson-GuptillPublications,2005.

Nickelson,Alyona.ColoredPencilPaintingBible,NewYork:Watson-GuptillPublications,2009.

Shorr,Harriet.TheArtist’sEye,NewYork:Watson-GuptillPublications,1990.

Sidaway,Ian.ColorMixingBible,NewYork:Watson-GuptillPublications,2002.

KRISTY ANN KUTCH has taught more than two hundred colored pencil and watercolor pencilworkshopstoartistsandstudentsnationwide.SheistheauthorofDrawingandPaintingwithColoredPencil,andisacontributor toseveralcoloredpencilpublications, includingTheBestofColoredPencil,CreativeColoredPencil,andColoredPencilExplorations.HerworkhasappearedinInternationalArtistMagazineandPratiquedesArts.ShealsoauthoredaDVDcalledColoredPencilLandscapes:BeyondtheBasics,releasedbyArtistPaletteProductions.KutchisaresidentofMichiganCity,Indiana.

INDEX

AAquabordAquarelles.SeeWater-solublecoloredpencils

BBackgrounds

minimalofmutedfoliagesoft,4.1,8.1spatteredtonedsurfaceas,5.1,5.2withwater-solublepencils,8.1,8.2withwater-solublewaxpastels,9.1,9.2

Blendingwithbrushesandspongesburnishingandwithheat,5.1,5.2withlayerswithsolvents,5.1,5.2toolsfor,5.1,5.2useof

Borgeson,Bet,2.1,4.1,5.1Bowen,DebbieBrillostrokesBrushes

blendingwithcaringforwithreservoirstypesof,7.1,7.2

Buckley,JeannetteSwisher,1.1,2.1,3.1Burnishing

CChromaClaybordTextured.SeeAquabordColeman,Karen,col1.1,itr.1,2.1,5.1,6.1,10.1

Colorcharts,bymanufacturerColoredPencilSocietyofAmerica(CPSA)Colors

analogouschromacomplementary,3.1,3.2,8.1contrastinghueimportanceofkeepingrecordsoflayeringmixing,3.1,8.1primarysaturationsecondarytemperature,3.1,3.2tertiaryvalue

ColorwheelCrayons,artist’s.SeeWaxpastelsCropping,closeCross-hatching

DDraftingfilms,2.1,2.2

EErasing,4.1,4.2,4.3

FFinishingtouchesFreehandsketchingFrisketfilm,4.1,4.2,5.1Frottage

GGlazingGrant,BarbaraGratingtechniques,4.1,4.2,8.1,9.1

Gridmethod

HHardy,LindaLucas,5.1,5.2Heatguns,2.1,2.2,5.1,5.2,9.1Hobbs,MaryHue

IIcarusDrawingBoard,5.1,9.1Impressedlines,5.1,5.2

LLandscapetextures,enhancingLightfastness,1.1,1.2,2.1,6.1Linedrawings,preparingbasicLineimpressions,5.1,5.2

MMaskingtape,4.1,5.1Miller,“CheapJoe,”7.1,8.1Miller,LauraMistakes,4.1,5.1,7.1,8.1Mottling

NNegativespace,5.1,8.1

PPaper.SeeSurfacesPastelsurfaces,2.1,6.1Paul,JoneePencilpoint

grating,4.1,4.2sharpnessof

Photographs,workingfrom

PointillisticstrokesPosterputty,4.1,5.1Pressure,varying

RRealWoodpaper,2.1,2.2Roi,Ester,5.1,5.2

SSaturationScumblingSgraffitoSketchingSkies,10.1,10.2Solvents,blendingwith,5.1,5.2Spatter-screentechnique,7.1,8.1SpecklingSponges,blendingwithStompsStrokes,differentiatingSurfaces

forwater-solublecoloredpencils,6.1,6.2forwax-basedcoloredpencils,2.1,2.2forwaxpastels,9.1,9.2,9.3

TThumbnailsketchesTooth,definitionofTortillonsTracingTransferpaperTreat,Jackie,2.1,5.1,9.1

UUnderpainting,8.1,10.1,10.2

VValue

Venkatachari,Ranjini,col1.1,1.1,4.1Vignettes

graduatedquicksoftusesforwithwater-solublepencils

WWatercolorpapersWater-solublecoloredpencils

applying,8.1,8.2brandsofbrushesfor,7.1,7.2cleaningcombining,withothercolordrawingmedia,10.1,10.2,10.3compatiblesurfacesfor,6.1,6.2complementaryunderpaintingwithcompositionofcustomizingpaletteforglazingwithgraphite-coloredcombinationsgratingtechniqueforliftinglightfastnessandmistakeswithpermanentspatter-screentechniquefor,7.1,8.1versatilityofwoodless

Wax-basedcoloredpencilsapplying,4.1,4.2,4.3blendingand,5.1,5.2brandsof,1.1,1.2combining,withothercolordrawingmedia,10.1,10.2,10.3compatiblesurfacesfor,2.1,2.2compositionofdenselypigmentederasing,4.1,4.2,4.3lifting,4.1,4.2,4.3lightfastnessand,1.1,1.2non-photooff-centercoresin

forsketchestexturaleffectswith,5.1,5.2,5.3uniquelyconstructed

WaxbloomWaxpastels

accessoriesforbrandsof,9.1,9.2,9.3combining,withothercolordrawingmedia,10.1,10.2,10.3compatiblesurfacesfor,9.1,9.2,9.3compositionofpossibilitiesoftechniquesfor,9.1,9.2,9.3water-resistant(permanent),9.1,9.2,9.3water-soluble(aquarelle),9.1,9.2

Westhusing,Jana,itr.1,3.1Whiteemphasis,addingWhitesurfaces