Exploring

Colored
Boston Public Library
 Exploring
Colored Pencil

Jamie S. Perry, Still Life With Cupcats, 1 994.

Colored pencil, 8" x 12" (20 x 30 cm).

 Exploring
Colored Pencil

Sandra McFall Angelo

Davis Publications, Inc.

Worcester, Massachusetts
Copyright 1999
Davis Publications, Inc.
Worcester, Massachusetts, U.S.A.

All rights reserved. No part of this work may be reproduced or transmitted in a any form

or bv any means, electronic or mechanical, including photocopying, recording, or any

information storage and retrieval system now known or to be invented, except by a review-
er who wishes to quote brief passages in connection with a review written for inclusion in

a magazine, newspaper, or broadcast. Permission for further uses of copyrighted selections

reprinted in this text cannot be authorized without written permission from the owner.

Copyright of each artwork is valid as of the date listed with each image and held by the

artist of that work. Written permission for use of images must be obtained from the indi-
vidual artists or owners as identified herein.

Every effort has been made to ensure that all the information in this book, which is based

on the author's experience, is correct. However, the publisher and the author take no
responsibility for any harm which might be caused by the use or misuse of any materials

or procedures mentioned in this book, nor is any condition or warranty implied.

Publisher: W'yatt Wade

Editorial Director: Helen Ronan
Developmental Editor: Nancy Wood Bedau
Production Editors: Nancy Burnett, Carol Harley

Manufacturing Coordinator: Jenna Sturgis

Copyeditor: Susanna Brougham
Design: )anis Owens
Editorial Assistance: Colleen Strang, Robin Banas

Library of ( ingress Catalog Card Number: 99-63008 NC892

ISBN: 0-87192-315-7 :
3
99Q
Back Cover:
Julie Wolfson, Horse Study, 1996. (See page 95)

Thomas Thayer, Unity. 1994. (See page 50.)

Title Page: David Dooley, Everwear, 1992.

Colored pencil on illustration board, 16" x 14" (40 x 36 cm).

10987654 32 1

Printed in Hong Kong

Acknowledgments

First, this book is dedicated to my Creator who spoken into thin air. Thanks, Jo. You watched goals turn

gifted me with creativity, purpose, and the ability to be into reality, and part of the reason I succeeded is your
a catalyst who develops untapped creative potential in confidence in me. And finally, this book is a tribute to

others. Second, I owe my career to Mr. Dillon. I've never my parents, Virginia and Ernest McFall, whose amazing
taken a specialized writing course, yet I earn my living lives taught me by example that if you have faith, there's

as a writer because I had a fastidious English teacher in nothing you can't do. They taught me to believe, even
the tenth grade at Wheaton Academy. Wherever you when there was no glimmer of hope. I've discovered
are, Mr. D., thanks. Third, I'd like to thank Nancy, my that faith is truly the evidence of things not seen and the
editor, whose coaching, encouragement, and editorial antecedent to success.
skills have imparted high standards of excellence to this I hope that this book will instill faith in you, my
book.# readers — a belief that you can indeed develop founda-
Fourth, thanks to those folks in the wings whose tional skills that will empower you to express your cre-
friendship and encouragement make my work possible: ative self. And when you succeed, so will I.

my fax friend, Ken, whose irreverent, impertinent mis-

sives keep me from taking myself too seriously; my

good friends David and Debbie who have always shared A special thanks to all the contributing artists,
my vision and tirelessly supported my efforts; Orville,
whose names are listed under each drawing.
who fills in where my dad left off; Tiko, who's been
there for me from day one, stepping on my cape when
I try to become superwoman; Deborah, who has aston-
ishing talent and a heart to match; and Julie Wolfson,
who gave generously of her time and talent to make this

a better book. Next, there is a person who has always

believed in me, even when my dreams were just wishes

A limited palette of complementary colors can achieve striking results.

See chapter three for layering techniques.

Student work: Susan Vaclavik (age 18). Wo/nuts and Bees, 1998.

Colored pencil, 10" x 15" (25 x 38 cm).

ACKNOWLEDGMENTS
 5 4 8 3 2

Contents

Preface

Introduction

How to Use This Book/xiv

Beginner/xiv • Intermediate/xiv • Advanced/xiv

A Note to Teachers /xv

Beyond This Book/xv To practice rendering long fur, this artist drew a vignette of her

son's dog, Lucy. (See chapter eight for how to draw animals.)

Student work: Rose Marie Barr (age 65), Lucy, 1 998.

Colored pencil, 8/2" x I I" (22 x 28 cm).

PART ONE
Methods and Materials
1 Introducing a New Medium Experimenting with Alternative Surfaces/ 2
Windberg Panels /22 • Multi-Media Panels /22
A History of Use/
Accessories/ 2 3
The Manufacturing Story/ Sharpeners/23 • Erasers/23 • Dust Brushes/25 •

Let The Fun Begin! /I 1 Tape/25 • Masking Products/25 • Opaque White/26 •

Transfer Paper/26 • Fixative/26

2 Materials
3 Layering Techniques
Colored Pencils/ 1 3

Pencil Density/ 4 1
• Caring for Your Colored Pencils/14 What Is Grisaille?/ 29
Archival Properties/ 1
Grisaille Techniques /30

Watercolor Pencils/ 16 demonstration:

Colorless Blender/ 6 1
• Brushes/ 7 1
•
grisaille — underdrawing with gray/3 i

Caring for Your Brushes/17 Monochromatic Layering/ 32

Technical Pens/ 18 Building Color/ 3

Drawing Surfaces/ 19 Transparent Layering/ 34

•
Textured Papers /20 • Colored Papers /20 demonstration:
Archival-Quality Paper/21 using color opposites for shading/35

CONTENTS

. L
 Rich colors can be achieved
Burnishing (Opaque Layering)/ 36
with colored pencil by using
Burnishing Tips\30
opaque painterly burnishing

techniques, discussed in
demonstration: burnishing layers of color/37
chapter three.
beginner exercises/39 Richard Tooley,
Indoor/Outdoor, 1995.
intermediate exercises/40
Colored pencil, 18" x 12"
advanced exercises/4 i (46 x 30 cm).

4 Watercolor-Pencil Techniques

Advantages of Using Watercolor Pencils/43

A Mixed -Media Approach/44
Adding Pen and Ink/44 • Using Water-Soluble Graphite/46

DEMONSTRATION:
SIX TECHNIQUES FOR WATERCOLOR PENCILS/45

BEGINNER EXERCISES/47

INTERMEDIATE EXERCISES/48

ADVANCED EXERCISES/49

5 Working on a Colored Ground

Testing Your Colors/ 5 3

Setting a Mood/53

Selecting a Colored Ground/ 54

Creating a Collage of Colored Grounds/ 56
•
Underpainting with a Colorless Blender/56

Underpainting with Watercolor/59

demonstration:
using a colorless blender/57

Monochromatic Drawings on Colored

Papers/60
Method One/60 • Method Two/60

BEGINNER EXERCISES/62

INTERMEDIATE EXERCISES/63

ADVANCED EXERCISES/64

This Australian artist uses colored pencils to create

illustrations that are Surrealistic in nature. See

chapter seven for more on the creative process.

Emma Barber, Personal Deception, 1993.

Colored pencil, 42" x 30" (106 x 76 cm).

CONTENTS
 PART TWO
The Drawing Process
6 Design Techniques 7 The Creative Process
Composition/ 67
For the Beginner/78
Six Techniques
Master the Basics /78 • Find a Good Teacher/78 'Try a Variety
One: Use a Blowup/68
of Styles and Media/78 • Emulate the Masters/79
Two: Consider the Concept of Thirds /68

Three:Take a Bird's-Eye View/68

Guidelines for Creating Original Art
Expose Yourself to Creative Art/80 • Practice Creative
Four:Take a Worm's-Eye View/69
Synergy/81 • Build a Reference File/83
Five: Use Converging Lines/69
Six: Push the Subject Back/69 The Creative Process/ 84
Working Out a Composition/70 BEGINNER EXERCISES/86

Atmospheric Perspective: Creating Depth/ 71 INTERMEDIATE EXERCISES/87

Six Techniques ADVANCED EXERCISES/88

One: Focused or Fuzzy/71
This artist takes a graphic
Two: Larger or Smaller/71
approach to colored pencil
Three: Higher or Lower/72 with floral imagery laid

Four: Bright or Dull/72 over geometric graphic

designs. Her work is drawn
Five: Converging Lines/73
on black paper and out-
Six: Overlapping Objects /73
lined with gold markers

BEGINNER EXERCISES/73 and gold colored pencils.

INTERMEDIATE EXERCISES/74 Deborah

Stromsdorder,
ADVANCED EXERCISES/75 Azure Sea, 1993.
Colored pencil, gold mark-
ers, on black Arches paper,

25" x 25" (63.5 x 63.5 cm).

PART THREE
Subject Matter

8 Drawing Animals 9 The Great Outdoors

Observe/91 En Plein Air Sketching/ 1 02

Movement, Behavior, and Anatomy/9 1
• Habitat/93 Explore Your Style Preferences/ 103
Practice/9 3 DEMONSTRATION: NATURE UP CLOSE/104
•
Creating Textures/93 • Working with References/95
Choosing a Nature Sketchbook/ 105
Depicting Shadows/95 • Body Shadows/95 • Cast Shadows/95
DEMONSTRATION: THE BIG PICTURE/106
Helpful Hints/96

BEGINNER EXERCISES/97 BEGINNER EXERCISES/ 07 I

INTERMEDIATE EXERCISES/98 INTERMEDIATE EXERCISES/ 08 I

ADVANCED EXERCISES/99 ADVANCED EXERCISES/ 09 I

CONTENTS
10 Still Lifcs Appendix
Selecting a Subject/ 1 1 2 Portfolios/ 135

demonstration: Recording and Promoting Your Work/ 35

still life value studies/ I 13 1

Setting Up a Still Life/ 114 Conservation/ 1 36

Common Errors/ 1 14
The Five Enemies of Paper and Pencils/ 1 36
I
.
Poor Quality Paper and Other Grounds/ 36 1
• 2. Ultraviolet
BEGINNER EXERCISES/I 15
Light/ 136*3. Bugs/ 136*4. Humidity/ 136-5 Heat/ 36 1

INTERMEDIATE EXERCISES/I 16 Fugitive Colors/ 1 37 • Matting and Framing/ 37 1

ADVANCED EXERCISES/ I 17 Glossary/ 139

Resources/ 140
Index/ 143
1 1 The Human Face

Whvj Are Faces So Difficult to Draw?/ 19 1

Helpful Techniques/ 1 20
Using a Grid/ 20 1
• Using a Window/ 121* Starting with a

Black-and-White Drawing/ 22 1

Drawing Parts of the Face/ 122

Drawing the Eyes/ 22 1
• Drawing the Nose/ 23 1
• Drawing the
Mouth /1 24 • Drawing Skin /1 24 • Drawing Hair/ 26 1
• Drawing
the Ears /1 26 • Drawing the Teeth /1 26

Colored- Pencil Portraits/ 128

Tips for Success/ 28 1
• Correcting Your Work/ 29 'Adding
1

Faces to Your Photo File/129 •

• Eliminate Harsh Shadowsl\ 30

Correct Photo Flaws I I 30 • Modify Colors /1 30

BEGINNER EXERCISES/ I 3 I

INTERMEDIATE EXERCISES/ 32 I

ADVANCED EXERCISES/ 33 I

Colored pencil can be easily combined with graphite pencil and

other media. See chapter two for information on materials.

Student work: Mack Hockstad (age 15), Perceiving the Future,

1997. Colored pencil and graphite.

CONTENTS
Preface

Sandra's advice to artists is "draw what you love."

Animals show up frequently in her artwork, and

her drawing classes at the San Diego Wild Animal

Park attract animal lovers from all over the nation.

See page 30 for earlier steps in this drawing.

Sandra Angelo, Whiskers on Kisses, 1998. Colored

pencil on pastel paper, 5" x 4" (13 x 10 cm).

 discovered colored pencils myself, when was I as well as their artistic accomplishments, which have
awarded a summer fellowship from Rhode Island long been over looked by the traditional art world.
School of Design. Not wanting to lug canvases, paints, Although most art schools view drawing as just a study

turpentine, and brushes on the airplane when I left for or preparation for painting, the masters I interviewed
school, I impulsively threw a set of colored pencils and were going far beyond the sketch and offering up mar-
a tablet into my suitcase and took off. That summer I velous, stunning works of art.
discovered the vast potential of the medium, and I was Now as I travel the nation to present workshops for

hooked. I had always loved to draw, but I longed to add resorts, universities, manufacturers, and retailers, I

color to my work. With this new medium, I had the encounter people who repeatedly tell me that one thing

advantages of both painting and drawing. And since hooks them on the medium: my slide show. Upon view-
I've always preferred to make lifelike, realistic drawings, ing the phenomenal range of styles and the incredible
colored pencils offered additional benefits. When I'd versatility of the pencil, novices and professional alike
use a brush to render detail, I felt like a hippo threading discover how easy it is to combine colored pencils with
a needle. But with the pinpoint precision offered by other media or even to toss aside their paintbrushes and
colored pencils, I could now put the goose bumps on a become diehard drawing artists.

drawing of a plucked chicken. This book will reveal the reason for this excitement.
When I returned to California from Rhode Island, I Take a stroll with me through the art work presented on
began to seek out and interview the nation's foremost these pages, and learn techniques and simple secrets

colored-pencil artists. As I created magazine articles, that can change your drawings forever. Whether you are

books, videos, and TV shows and organized sympo- an amateur or a professional, you'll be astounded at

siums on the topic, I became connected with a wide web what you can do with the common colored pencil!
of colored-pencil devotees, from beginners to masters.
I discovered their enthusiasm and passion for drawing,

—Sandra McFall Angelo

PREFACE • XI
 Introduction

Artist Barbara Newton is a master at creating simple yet intriguing still-life

arrangements. See chapter 10 for more on this subject matter.

Barbara Newton, Plums, 1994. Colored pencil on vellum Bristol board,

« 12" (29 x 31 cm).

XII INTRODUCTION

I t
 When people see the wide range of styles and two. Chapter three through five address specific tech-
effects that can be achieved with the colored pencil, niques to help you master this medium. Step-by-step
their reaction is always the same: "I can't believe that's demonstrations will guide you in developing skill and
colored pencil!" Simulating the look of oils, acrylics, confidence. A list of activities and assignments at the
watercolor, airbrush, and more, the pencil is probably end of each chapter will help you explore these tech-
today's most versatile art tool. niques yourself.
Colored pencil provides many other advantages. You Chapters six and seven explore creativity, the basic

can stop and start your work without fussing with principles of composing your own original art, and
expensive equipment, toxic solvents, or elaborate sur- sources of inspiration to get you started on the path to
faces. If the phone rings while you're drawing, when personal expression. A thorough discussion of atmos-
you come back to your work, nothing will have dried pheric perspective and design will provide you with key
out. And this medium is perfect for travel. With just a secrets for creating dynamic drawings. Finally, in

few pencils and a pad of paper, you can make a foray Chapters eight through eleven, you'll study special
into the jungle, sit in your backyard, or lounge by a gur- methods for drawing a wide range of textures related to
gling stream and record all the beauty with just a few specific subjects: dewdrops, flowers, satin, fur, foliage,

simple strokes. water, grass, skin tones, hair, eyes, metal, glass, and
Here's some good news for the beginner. Learning to much, much more.
draw is as easy as learning to write. If you can write your Special attention is given to drawing from nature and
name, you already have all the fine motor skills neces- achieving a likeness when drawing faces. You'll be
sary to succeed with colored pencils. You've used pencils amazed at how easy it is to learn these techniques! To
since you were in grade school, so you know how to stir your enthusiasm and whet your appetite, this book
hold them. After a brief study of the basic techniques contains an inspiring showcase of colored-pencil work
and mastery of a few drawing skills, success will be well done by both students and professionals. So grab your
within your reach. pencils, turn the page, and let's get started.

The beginning chapters thoroughly discuss the tools

and equipment you will need to get the best results.

Chapter one includes a brief history of colored-pencil

art, followed by a discussion of materials in chapter

INTRODUCTION
 Beverly Marcum, The Bus (derail). 1987.

Colored pencil and ink quill, 10" x 8' (25 x 244 cm).

How to Use This Book Intermediate

This book is designed to address the needs of a variety If you already understand colored-pencil techniques,
of readers, from the beginning student to the advanced you will enjoy the creative assignments for intermediate
artist. In each section, exercises have been provided for students. Choose your own level of difficulty. It is gen-
three levels: beginners, intermediate students, and erally best to start with assignments that seem easy and
advanced artists. gradually increase the level of challenge. Simple assign-
ments breed success and success breeds self-confidence
and motivation to continue practicing. Practice will

Beginner lead to further success.

If you are just getting started as an artist, you may ben-

efit from the step-by-step demonstrations of techniques Advanced
for working with colored pencils. At the end of each
chapter, you'll find assignments that will help you If you are a skilled artist, you might enjoy tackling some
explore the techniques yourself. You may want to prac- of the advanced assignments at the end of each chapter.
tice by doing studies of the vignettes in chapters eight Or you might have fun making up your own exercises.

through fourteen, since they illustrate methods for Study the methods described in chapters three through

creating various textures. Once you have mastered the six, and then use your imagination and your own refer-

exercises at the beginner level, you can move on to com- ence library to experiment with these techniques.
plete the intermediate assignments.

INTRODUCTION
 A Note to Teachers the intermediate level, I find them eager to accept more
vigorous critiques. For feedback, I give eighty percent

I jokingly tell my beginners that I have never met two praise to beginners and twenty percent suggestions.
art teachers who agree on anything. There's an element When a student has mastered basic skills, I give fifty
of truth in this statement — artists who become teachers percent praise and fifty percent suggestions. I never
can be somewhat opinionated and favor a particular move beyond the fifty percent mark because I believe
approach to art. This courage of conviction enables that everyone need to know what they are doing right,

them to be trailblazers and innovative thinkers. as well as how to improve.

Although the methods presented in this book are tried I like to encourage advanced students to experiment
and true, as teachers we know many
that paths can lead and to test the limits of the media. When I give a cre-
students to mastery of a medium and self-confident ative assignment, I often invite students to say to them-
creativity. Here are a few tips that have worked for me selves, "She didn't say we couldn't . .
."
This teases them
that you may want to try. into finding off-the-wall, creative approaches to a spe-

Because I specialize in teaching beginners with cific assignment. As long as it meets the basic criteria of
varying levels of self-confidence, I have discovered that the lesson, I accept any artwork, be it outlandish or
step-by-step lessons are important. When novices are laughable. After all, creativity is often generated by lazi-
presented with too many options, they may become ness, defiance, or unconventional thinking.

confused and unsure of themselves. They don't yet have

enough knowledge to make their own choices. By
telling them exactly what steps to take at first, the
teacher grants them a bit of security in unfamiliar terri- Beyond This Book
tory. Untrained students lack skills, not talent. Starting
with easy exercises promotes early success. Some beginning students might find it helpful to watch

My approach to training the creative mind is tradi-

colored-pencil demonstrations on video. Close-ups of

tional. I believe that beginners should develop funda- the instructor's hand show the direction and pressure of
mental skills before they are asked to be creative. Once her strokes, how particular textures can be created, and
beginners have a grasp of drawing skills and an under- so on. Videos by the author of this book are listed in the

standing of color theory, composition, and perspective, Appendix, under Resources (page 139).

they will be equipped to explore creative self-expres-

sion. Nothing is more frustrating to a beginner than
having a great idea and no skills.

I treat beginners with gentleness, giving them much

encouragement and guidance. Once they move on to

This artist, a former aerospace engineer, used flat colored shapes to

depict this F/A 18, a jet designed by the company he worked for. He
incorporated the flags of all the countries that fly this airplane:

Switzerland, Australia, the United States, Canada, Spain, Kuwait, Finland,

and Thailand.

Student work: Robert Myers

5"
(age 67), F/A 18, 1997. Colored pencil, ©©®
12/2" x I (32x38 cm).

INTRODUCTION • XV
I **i"l

—iM
 Introducing a New Medium
y.
<
u

.»,
 Colored pencils have been in use for less than a
century. Compared to painting with oils or sculpting
from marble, the medium is still in its infancy. Yet dur-

ing this brief time, colored pencils have been used for
everything from simple childhood scribblings to covert
military operations. During World War II, the Allies
manufactured a pencil that contained both a hidden
map of Germany and a compass! These unusual colored
pencils assistedbomber pilots who were shot down in
enemy territory. More traditional users include design-
ers, architects, and illustrators. And, in the last few
decades, more and more fine artists have begun to
explore this versatile medium to create a wide range of
art.

1-1

Award-winning artist Steve Miller combined colored pencil with graphite, 1-2
oil pastels, and a bit of metallic paint in a portrait of musician Stevie In the hands of a precise artist, colored pencil can be used to achieve
Wonder. The work was featured on the cover of Grammy Magazine in stunning realism. Artist Deborah and her husband, Bruce, spotted and
the summer of 1996. photographed this owl on one of their many photo shoots.

Steve Miller, Stevie, 1996. Student work: Deborah Settergren (age 45), Here's Looking AtYou, Kid,

Colored pencil and mixed media, II" x 8/2" (28 x 22 cm). 1998. Colored pencil on colored paper, M" x 8" (28 x 20 cm).

INTRODUCING A NEW MEDIUM

. ' ,
 A History of Use

Although colored pencils are a relatively new artistic

medium, the use of graphite dates back to the early

1500s, when a deposit was found in Borrowdale,
England. The material, also called "black lead," is a crys-
tallized form of carbon. Although graphite was first

used primarily as a lubricant, medicine, and in arma-

ment manufacturing, Dutch artists popularized it as an

artist's material in the 1600s.

The standard graphite pencil we know today can be
traced back to 1832. At that time, the first factory to
manufacture pencils was established in Keswick,
England. By the mid- 1800s, German immigrants were
making graphite pencils here in the United States.
The origin of the colored pencil is less clear. By the
early 1900s, at least one form of this artist's tool was
available in Europe. A young Marcel Duchamp included
blue pencil in a mixed media work called Flirt. The
drawing, signed 1907, was completed near Paris. In a
1-3 series of figure drawings dated between 1913 to 1915,
Although colored pencil is more commonly used to portray realism, some artists
the Austrian artist Gustav Klimt used both blue and red
use the medium in more abstract works. This artist feels that light to dark applica-
colored pencils. The drawings, housed today among the
tions of colored pencil allow her to create illusions of space in her monoprints
and collages, and to use "drawing techniques that I have used for many years with museums of Vienna, are composed in black with color
graphite." used mainly to highlight lips and eyes.

Mada Leach, Skydance #7, 1998. In the United States, the architect Frank Lloyd Wright
Colored pencil and mixed media, 17" circle (43 cm).
commonly added blue and red colored pencil to his
sketches of the early 1900s. By the 1920s, at which time
green and brown were also available, Wright employed
colored pencils in place of ink and watercolor to create
polished architectural drawings. At about this time,
American artists such as Stuart Davis and Grant Wood
also began to use colored pencils to create studies for

their paintings.

In the 1930s, two companies, Eberhard Faber and

Berol, began producing commercial wax-based colored
pencils in the United States. Caran d'Ache, in

Switzerland, also began production. And in 1938,

Daniel Berolzheim, the founder of Berol pencils,
announced a new line of colored pencils. These pencils
were more lightfast than earlier types and were available
in 36 colors.

CHAPTER ONE
 Primarily known as a painter and printmaker,

artist Ellen Lanyon experimented with colored

pencil before the medium was commonly used.

Her choice of unusual objects and light, almost

transparent, application of colored pencil gives

her work a surreal quality.

Ellen Lanyon, Equinox, 1995.

Colored pencil on black paper, I9W x 25/;"
(50 x 65 cm). Courtesy of the artist.

Architects have been using colored pencil for

years. Drawn to its pinpoint precision, they find

the pencil well-suited for the detail necessary
in

architectural rendering.
**- 'ft
Jens Lerback, Alt. Rainier Entry Station, 1996.

Colored pencil, graphite, 18" x 24" (46 x 61 cm).

Courtesy of the artist and FFA Architects/planners.

INTRODUCING A NEW MEDlUr

 As colored pencils improved, more fine artists turned
to them. In the 1960s a number of well-known artists,

including Cy Twombly and Lucas Samaras, created fin-

ished works of art in colored pencil. The medium

/WK&M gained further status during these years when a museum

purchased

Today,
a colored-pencil

David Hockney. Colored pencil had

museums around
drawing by the British
finally arrived!
artist

the world collect the colored-

pencil works of countless twentieth-century fine artists,
including Jennifer Bartlett, Claes Oldenburg, Wayne
Thiebaud, and Roy Lichtenstein. Some photographers,
such as Judith Golden, use colored pencils to draw over
their prints. Even in the age of computers, this simple
medium remains useful for myriad purposes. Artists

and illustrators use colored pencils to create advertise-

ments, magazine and book covers, children's books, and

greeting cards. Cartoonists, animators, and fashion
designers also may have occasion to use them in their
respective professions. And, of course, colored pencils
remain a favorite with children around the world.

1-6
A versatile artist known for her massive sculptures,

Pat Renick likes to explore all kinds of media. This

abstract work mimics the look of torn paper.

Patricia A. Renick, Untitled, 1988. Colored pencil,

1
5" x II" (38 x 28 cm). Courtesy of the artist.

1-7
A well-known conceptual artist and sculptor, Claes
Oldenburg finds colored pencil a useful medium for

sketching out his ideas.

Claes Oldenburg, Proposal for a Bridge Over the

Rhine at Dusseldorf in the Shape of a Colossal Saw,

1971. Colored pencil and pencil, M" x 14/;"

(28 x 37 cm). Collection of Claes Oldenburg and

Coos|e van Bruggen, New York.

CHAPTER ONE
 1-8
Mario Castillo's skillful layering of images and colors
created this fascinating multilevel drawing. Coining the

term "perceptualism" to describe his work, he draws

inspiration from his study of naguals (or shamans) in

Mexican folklore.

Mario Castillo, Nagual Woman Traveling

Thru Huichol Dreamtime, 1 996.

Colored pencil and mixed media,

30" x 22" (76 x 56 cm).

1-9
Before color prints were available, black and white
photographs were sometimes hand-tinted with
colored inks and dyes. This artist has updated the
technique by using colored pencil to tint photos
for her line of greeting cards.

Nora Hernandez, No Gurls Allowed, 1995.

Colored pencil, photograph, 14" x II"

'•"

(36 x 28 cm).
'
vjg'trm*^*

INTRODUCING A NEW MEDIUM • 7

,%:.
 1—10
With the first graphite pencil factory estab-

lished in 1832, Rexel Cumberland pencils

began a tradition that would lead to the

introduction of the wax-based and water-

soluble pencil known today as Derwent.

The Manufacturing Story

The making and selling of colored pencils is a huge soaked in wax to make it smooth. Once mixed, solid
enterprise. An estimated six billion of them are made cylinders called billets are constructed from the material.

each year in forty different countries. Berol and Faber The billets are cut into strips and dusted to keep them
remain important producers, but companies such as from sticking together. Ovens dry the billets to remove
Staedtler, Derwent, and Bruynzeel have joined them. the water, harden the mixture, and prevent warping.
The pencils are now available in many forms, from the Professional-quality pencils contain large amounts of
traditional smudgeproof and waterproof varieties to pigment while other brands are composed of mostly
those that are water-soluble. Today's colored pencils binders and wax with very little color. This is why it is

may be thick or thin, hard or soft, and they come in so difficult to achieve color saturation with a poor qual-
more than 100 colors. Companies continue to improve ity pencil.

the lightfastness of the pigments and even make many The raw materials used in the manufacturing process
that are of archival quality. are gathered from all over the world: clay from Great
To understand how a colored pencil works, it's help- Britain and Germany, gum from Iraq and Iran, and wax
ful to take a glimpse into the manufacturing process. from Brazil. And, since the early 1960s, California has
Although one company actually created an enormous provided the timber for the wooden casings. Most qual-
specimen that was seven feet long and weighed fifteen ity colored pencils are made with California cedar,
pounds, most standard colored pencils are about seven because the wood has a straight grain and is soft enough
inches long. to be sharpened without splintering. The cedar is also

The colored material at the pencil's center is made specially treated so that it won't warp. A single

from clay, pigment, and water. This mixture is com- California cedar tree, which is related to the redwood,
bined with a gum to bind the ingredients together and may yield enough wood to encase up to 150,000 pencils.

CHAPTER ONE
 I-II
Illustrators have found colored pencil well suited to a
variety of uses, from fashion design to book illustration.

Bill Nelson, Shirt and Tie with Braces, 1996.

Colored pencil, 9" x 8" (23 x 20 cm).

1-12
Colored pencil is a favorite among high school
students, who find inspiration in all kinds of
subject matter. The rich, opaque color of the
strawberry's exterior contrasts nicely with a

more transparent layering of color for the interior.

Student work: Elizabeth Benotti (age 15),

Strawberries, 1997.

Colored pencil, 12" x 18" (30.5 x 45.7 cm).

INTRODUCING A NEW MEDIUM

 1-13
Artist Mary Engelbreit uses
colored pencils and markers
to create charming images,

usually accompanied by
hand-lettering. Her work is

then licensed to over fifty

companies that make differ-

ent gift products, such as

greeting cards, gift bags, and

calendars.

Mary Engelbreit, Princess

of Quite o Lot, 1993.

Colored pencil, markers,

7" x 5" (18 x 13 cm).

© ME ink. Reprinted with

permission of Mary
Engelbreit Studios.

I
• CHAPTER ONE
 Let the Fun Bej in!

Until recently, colored-pencil works received relatively

little notice in comparison to other works on paper, 1874 1965
such as pen-and-ink drawings or watercolors. But they easy;
"Criticism is
achievement is more
are steadily gaining greater attention. Just a few years difficult"
ago, art books barely mentioned colored pencil; today

many publications are devoted solely to an exploration

medium. The 1990s even saw the foundation of a
of the
number of organizations which promote the develop-
ment of colored pencil as a fine art medium through
juried competitions and the publication of best works.
No longer simply a sketching tool, colored pencil is

an art medium that can be layered, mixed, used as a

wash, and combined with a whole host of other media,

such as pen and ink, pastels, and watercolor paint. It is

versatile, easy-to-control, inexpensive, portable, and non-

toxic. An ever- increasing group of both art students and
professionals believe it to be a tool that combines the
possibilities of both drawing and painting. The follow-
ing chapters will help you to discover the joys of colored

pencil for yourself.

1-14
Cartoon artists, who rely on a skillful use of line to create their images,

often use colored pencil, sometimes in conjunction with pen and ink.

This work was commissioned by a fan of Winston Churchill.

Gene Mater, Winston Churchill, 1994.

Colored pencil, 16" x 12" (41 x 30 cm).

INTRODUCING A NEW MEDIUM I I

 Materials

<
x
u

2-1
Using antiques that he around his country farm, artist David Dooley sets up still

lifes that capture reflections of the midday sun. As you can see from this drawing,

powerful effects can be achieved with just a common pencil. This work can hold
its own in comparison to an oil or acrylic painting.

David Dooley, Coffee on Wicker, 1993.

Colored pencil. 24" x 30" (61 x 76 cm).

 The sumptuous, rich tones of colored pencil are

surpassed only by its astounding versatility and simplic-

ity as a medium. Compared to working with its compli-
cated cousins — oils, acrylics, and watercolors —creating
art with colored pencils can be relatively simple and
inexpensive. To get started, you need only a few pencils,
some good-quality paper, a sharpener, and a dust brush.
Once you get excited about the potential of the medium,
you may add an expanded range of exotic colors, a few
accessories, and a sampling of pencils with a range of
hard and soft densities.

As you become familiar with pencil techniques, you

can expand your repertoire, mixing colored pencils 2-2
with a wide variety of media including watercolor, Counterclockwise: colored pencils, colorless marker, ink pen, watercolor pencils,

pen and colored sticks, watercolor crayons, technical pens, drafting brush, goat hair brush,
graphite, ink, oil pastels, acrylics, and so on.
battery-operated eraser, eraser refills, jar of kneaded and plastic erasers, electric
You can also apply colored pencil to different surfaces,
sharpener, and battery-operated sharpener.
such as canvas, Multi-Media Panels, specially coated
Windberg Masonite Panels, illustration and mat board,
fabric, wood, and even sculptural materials. The possi-
When you purchase colored pencils, note that price

bilities for experimentation are endless.

indicates quality. If you are on a tight budget, it is bet-
ter to buy a small professional set rather than a big ama-
teur set of pencils. And there's good news for people

with limited funds. Colored pencils, even the profes-

Colored Pencils sional grades, are extremely low in cost compared with
watercolors, oils, and acrylics. Yet they can achieve the
Because they can achieve a wide variety of styles same effects as the more expensive media.
and techniques, professional-grade pencils are recom- Like standard lead pencils (called graphite for the
mended for students using this book. The pigments in gray-black substance in the lead), colored pencils are
professional-grade pencils will deposit rich, luxurious available in various densities (hard and soft leads). To
tones with very little pressure. Even if you bear down better understand density, refer to the graphite density

hard on an inferior pencil, it will simply crush the paper chart. As the numbers get higher on the right side of the

without delivering much color because it contains little scale, the lead becomes softer. As the numbers increase
pigment. on the left side of the scale, the lead becomes harder.

MATERIALS I 3
 Graphite Density Chart Although most colored pencils don't specify a density,

you can get a general idea of their relative hardness or

Hard Medium softness by trying them out. Hard lead pencils will
retain a sharp point even under considerable pressure.
6H 5H 4H 3H 2H F H H
Soft lead pencils will crumble when sharpened to a fine

point. The harder leads are perfect for achieving trans-

parent layering and methodical blending. The sharp
lead will deposit pigment into the small grooves of the
paper and, if kept very sharp, will provide a very
smooth, even color application that can simulate the
effect of an airbrush. Hard leads are also wonderful for
applying very fine detail.

Soft leads deposit a deep saturation of pigment and

are great for the smooth blending required in tech-

niques such as burnishing (See chapter three).

Some brands of colored pencil have struck a nice
balance between hard and soft leads. These medium
leads are versatile, offering rich, full-bodied colors while

retaining the hardness necessary to create fine details.

Pencil Density

Although some artists will stick to one brand, most

colored-pencil enthusiasts find themselves using a vari-
ety of pencils for diverse applications. For example, to
cover a large area swiftly, it makes sense to use a wood-
less colored pencil. These solid, woodless leads can fill

in massive spaces quickly, almost like a crayon. To color

the same area with a pencil, you would have to sharpen
it over and over again.
When you want brilliant, glossy hues like those in
fig. 2-1, use a soft lead pencil. Soft leads build thick,
solid layers quickly. When you want to achieve fine

detail, like the lace seen in fig.2-3, you can switch to a

hard lead pencil, which will retain a sharp point longer.

2-3
Bathed evening sun, these objects made a perfect for Julie Wolfson. To achieve
in still life
Caring for Your Colored Pencils
a delicate, soft mood, she used a hard lead for transparent layering and to create the
intricate lace work on the table.

Student work: Julie Wolfson (age 69). Still Life. 1995.

Regardless of how you store your pencils, make sure the
Colored pencil. II" x 8" (28 x 20 cm). container cannot be overturned easily. If a pencil drops

I 4 CHAPTER TWO
on the floor, the lead will break inside the wood casing
and then chip off in your sharpener. Pencils are more
fragile than they seem.
When you are working on a drawing, it's convenient
to store the colors you've selected in a plastic bin like the

one shown in fig. 2-4. When you return to your drawing

later, you don't have to figure out which pencils you
were using.
Temperature can affect both colored pencils and
colored-pencil drawings. Remember that colored pen-
cils are in part made of wax. If you leave them in your
hot car or in the sun, sometimes the pigment will sepa-
rate from the wax, leaving little deposits of white wax
on the pencil leads. This, however, is not a serious prob-
lem and will not interfere with your drawing. Simply
sharpen the pencil to remove the deposit.

2-4
This spinning carousel can hold about two hundred pencils. You might organize your sup-
Archival Properties
plies by storing dry colored pencils in the outside tier, watercolor pencils in the middle,
and brushes and graphite pencils in the center.The rectangular plastic bin is a handy con-
Keep in mind that pencils, like all other art pigments, tainer for storing pencils that have been selected for a particular project. When pencils

include fugitive colors —ones that tend to fade or get too short, store them in a separate container, such as a plastic lipstick box.

change over time. Archival-quality materials (ones that

endure well) are important to all artists. Many colored-
pencil manufacturers publish a lightfastness guide,
which lists pencils with fugitive colors and rates each

pigment based on its permanence. Lightfastness

brochures can generally be obtained by writing to the SANDRA SAYS
product manager in the marketing department of a
In my studio I store my colored pencils upright in a carousel that
given company. Such information will help you choose
can be turned for easy color selection. By storing them with the
pencils that will extend the life of your artwork. points up, I avoid breakage. Using brands that have color-coated
barrels makes it easy to see which color I am grabbing. When
I travel, I use a fancy three-tiered wooden box. This keeps my
pencils organized and fits nicely in a suitcase or under the seat
on the airplane.

MATERIALS I 5
 Watercolor Pencils draw lines with a watercolor pencil and then wet the draw-
ing. Also, techniques that involve drawing (explained in
Why would an artist choose watercolor pencils over water- chapter four) can work only with a pencil. Last but not

color? For one thing, you can't draw with a watercolor cake least, there is a cost advantage. When you compare the cost
or tube. If you are creating a realistic drawing and want to of professional-quality watercolor pencils to watercolor
control the precise placement of pigment, you can simply tubes or cakes, you will save a lot of money by buying the
pencils. (A set of twelve pencils costs from ten to fifteen

dollars. A set of twelve professional watercolor tubes

ranges from sixty to one hundred dollars.)
Like dry wax pencils, watercolor pencils are available

in both amateur and professional grades. Avoid using

amateur-grade pencils because, again, they lack ade-
quate pigment. Because it is so easy to mix colors with
watercolor pencils, you really don't need to buy a large
set in the beginning.
For creating large works or making broad strokes,
you might consider switching to wax-based watercolor
crayons. This tool varies from standard colored pencils
only by the width of its lead. Watercolor crayons are fat-

ter than colored pencils. Some crayons are large chunks

of colored-pencil pigment wrapped in thin paper, and
some are encased in a wooden sheath. For artists who
like to draw loose, spontaneous sketches, these crayons
can add a wonderful impressionistic effect. Because
they are so fat, they lend themselves to bold sweeping
strokes rather than fine detail. All watercolor-pencil
techniques work well with watercolor crayons.
You can also use a water-soluble graphite pencil to

enhance your work with watercolor pencils. It can

be used to create quick black-and-white value studies
that stand alone or serve as a value underpainting for a
colored-pencil drawing.

Colorless Blender

To create a smooth background or underpainting simi-

lar to the look of watercolor, a colorless blender can be

2-5 used. Although there are two products on the market

When this artist received a bouquet from her son for Mother's Day, she called a colorless blender, this book refers to the color-
preserved her gift by painting it with watercolor pencils. She then took
less blender that is essentially a marker that contains no
the painting to the copy shop, made a 4" x 6" color laser print, folded it

into a greeting card, and sent it to her son as a thank-you card.

dye. (The other product is a colorless wax pencil that is

Student work: Doris A. Martin (age 77), Bouquet of Love, 1997.

used for burnishing.) When applied to dry colored
Colored pencil. 14" x II" (36 x 28 cm). pencils, this colorless marker causes the wax pencil to

liquefy and seep into the pores of the paper.

I 6 CHAPTER TWO
 Brushes

Most colored-pencil artists use watercolor pencils pri-

marily to underpaint or tint a whole paper,

to lay in
washes, or to create special effects. Because most
draw-
ing is done with a dry pencil, colored-pencil artists
typically do not invest a lot of money in watercolor
brushes. Still, there are several rules to observe when
selecting a brush to use with watercolor
pencils. First,
the brush needs to have soft fibers. As
a general rule,
drawing artists are more comfortable with brushes that
aremounted in the round because they can achieve
more detail. However, soft flat brushes are great for cov-
ering a large area quickly, such as a
background or a
depiction of the sky.
Although you won't need to buy first-quality sable
brushes, avoid very cheap brushes because
the minute
you place them in water, they will start shedding.
Some
inexpensive alternatives to sable are first-quality
sable-
synthetic blends. If you plan to spend a lot
of time using
brushwork to enhance your work with watercolor
pen-
cils, you may want to invest in a sable brush because
it
will hold a very fine point.

Caring for Your Brushes

Always wash the pigment out of a brush,

first with
water, and then with a well-diluted
mixture of liquid
soap and water. Rinse it thoroughly, and return the
brush to its original condition by shaping it to a point.
Never let a brush stand in water for long periods of
time. If you leave it askew, it will
develop a "cowlick"
and may never return to its original shape.
On the road,
store brushes flat in a container
aerated with holes, so
the brushes can breathe. In the
studio, store them on
end in a carousel. If you store a wet brush 2-6
in an airtight
container, it can develop mildew. Watercolor pencils can be used to achieve a delicate
If you have invested in balance between soft
focus and precise detail.
sable brushes, remember that bugs like to eat these
Carolyn Fairl, Vinca and Begonias, 1996.
fibers. Keep dry brushes in mothproof containers, or Watercolor pencil, graphite, 10" x 7" (25 x 18 cm).
store cedar chips in your brush drawer.

MATERIALS I 7
 Technical Pens Consider the following factors when buying a techni-

cal pen. They are available in refillable and disposable

The permanent technical ink pen is an indispensable aid styles, and the refillable pens are quite pricey (fifteen to

to making watercolor-pencil sketches. To maintain an thirty dollars) and require careful cleaning after each

even flow of ink, always store technical pens horizontal- use. The disposable pens can be bought at a fraction of
ly. Ink sketches made with permanent pens can accept a the cost (three to six dollars) and do not clog. However,
wash with watercolor pigment without developing when they are empty, they must be thrown away.
blurred lines. Or you can create a watercolor section and Also think about the archival properties of the ink. If

then define the edges with a permanent pen. This type you plan to preserve your artwork, check the packaging
of sketch iscommonly used for greeting cards, chil- to make sure the ink won't fade. Many pigments used to
dren's books, and many other forms of illustration. create art supplies are in fact permanent. Dyes (the
material used to tint fabric), on the other hand, fade
mercilessly. Until recently, all inks were made from
colored dyes that faded when exposed to light for long
periods of time. But now manufacturers have discov-
ered a way to suspend finely ground art pigments in a

water-based liquid that can pass smoothly through fine-

tip pens without clogging. These pigments have elevat-
ed pen and ink to an archival-quality medium that will

not fade. In addition, these inks are waterproof and

stand up to an application of water-based medium.
When buying technical pens, look at the nib size.

Although each company has its own numbering system,

generally the higher the number, the larger the nib size;
so a .03 nib would be larger than a .05 nib. When com-
bining pen and ink with watercolor pencils, it's nice to

have a variety of nib sizes to work with.

Finally, the inks in technical pens are available in var-

ious colors. Check with each manufacturer to be sure its

colored inks are of archival quality. (See chapter four for

ways to combine pens with pencils in your work.)

If you can't afford a three-dollar technical pen, the

old-fashioned quill and nib dipped in India ink will suf-

fice. These pens are a bit more difficult to control, as the

ink flow is not easily regulated. To avoid mishaps, prac-

tice your ink strokes on a scrap paper before applying
-To PINM£R ?*
GUE5S WHO'5 COMING the quill to a watercolor sketch.
DeTnon/chus yW Because ink lines are hard to erase, many artists pre-

fer to create a contour line drawing on the paper before

beginning to ink the drawing. Because graphite pencils
1-1
are slick and may resist the ink, a non-photo blue, hard-
An illustrator of children's books. Scott Sutton creates his whimsical, imaginative
lead colored pencil is often used. This color is not visi-
drawings with a combination of watercolors. ink and colored pencils.

water-
ble to the camera, so if you reproduce your ink drawing
Scott Sutton, "Guess Who's Coming to Dinner?" Deinonychus, 1996. Pen, ink,

color and colored pencil on Kidfinish Bristol board, 17" x II" (43 x 28 cm). there is no need to erase the line drawing.

I 8 CHAPTER TWO
 Drawing Surfaces
Pencils have been used on everything from bedroom
walls to papier-mache because their waxy pigment will

stick to many surfaces. Nevertheless, most professional

artists' surface of choice is paper —but not just any paper.
Because pencils are made out of wax, they don't adhere
to a slick ground. You've probably discovered this your-
self while trying to use a pencil to write on the back of a
greeting card. It is difficult to get pencil lead to adhere to
a completely smooth surface. It just doesn't stick.

Colored-pencil papers must have minute "wells,"

which chip off pigment and trap a bit of it as the pencil

glides over the surface. These small cavities in the paper

are essential for work in colored pencil. This slight
roughness of surface is referred to as the paper's tooth,
bite, grain, or texture. Although some artists may
choose a highly textured paper in order to achieve a

2-9
Using a colorless marker, Gianera underpainted every area except the
stucco wall. Here she wanted the rough surface of the Multi-Media Panel
to show through her pencil strokes, so she laid the pencil on its side and

lightly shaded the shadow areas, creating the natural look of stucco.

Jan Gianera, Spring Shadows, 1993.

Colored pencil, 14" x 9" (36 x 23 cm).

special effect, most colored-pencil enthusiasts prefer a

paper with a medium grain or a very slight tooth. Paper

companies use a variety of terms to describe this type of

surface: vellum, regular, or kid.

When deciding which paper is best for your project,

buy samples of a wide variety of papers and test them.

2-8
You will quickly determine your favorites. Find the
You don't have to cover an entire drawing with color. A striking effect
can be achieved by adding color to just one element. drawing surfaces that suit you best, but always be open
Student work: Deborah Settergren (age 43), Shades, 1996.
to experimenting. You may discover a new style of
Colored pencil and graphite on tan paper, 9" x 6" (23 x IS cm). drawing simply by trying an unusual surface.

MATERIALS 19

**M
 Textured Papers

When selecting a paper for drawing, you must decide

how strong a role you want the surface of the paper to
take in the finished artwork. Textured papers will defi-
nitely influence the final result. In fig. 2-9, the artist used
a highly textured surface to create the look of stucco. If

she had used a smooth paper, she would have had to

draw all those bumps on the wall. Instead, her paper did
the work for her.

At the art supply store, you can find highly textured

papers in the watercolor paper section, among the pas-
tel papers and the mat board. Always test the paper to
see if the pencil will adhere to it. If your drawing needs
to be permanent, make sure the paper has suitable
archival properties.

Colored Papers

There are three basic advantages to working on a col-

ored ground. First, using a colored paper will often cut

your drawing time by fifty percent or more, because
most of the color you need is already there. Second,
when a background is colored, it often conveys a fin-
ished look, whereas a white background begs to be
:
£v..;
filled. Colored grounds can save time for busy artists.

Colored grounds can lend a sense of color harmony

and vital unity to your drawing. In fig. 2- 10, the tan sur-
2-10
On a photo caravan at the San Diego Wild Animal Park, the author snapped a humorous face provides color unity in the undertones of both the
photograph of this giraffe. In the class that followed, she showed her students how to giraffe and the landscape. Because the paper was already
modify the photo by using a toned paper to lend color harmony to the piece. tan, very little pencil had to be added to those sections
Sandra Angelo, Serengeti Serenade, 1 995.
of the drawing.
Colored pencil, 10" x 8" (25 x 20 cm).
And finally, powerful drama or subtle mood can be
achieved by drawing on a colored paper. For example, in
fig. 2-1 1 the striking effect is enhanced by the contrast
between the light pigments and the black background.
Also, it shows how a black background can appear full

with little else added.

20 CHAPTER TWO
 2-11
Archival-Quality Paper
Strong contrast between the colored ground
and the subject makes these
colors seem very vivid. Because not all
colors are striking on black, it's a
If you want your drawings to last for a long time, take good idea to first test the pencils on the back of the paper to see if they
care to select an archival-quality will saturate the color or amplify its intensity.
surface. Unfortunately,
the art-paper industry has not Thomas Thayer, The Rolls, 992.
developed standardized 1

Colored pencil, 16" x 20" (41 x 51 cm).

labeling practices. Here are
some general guidelines to
follow when purchasing paper.
If a paper is labeled one hundred percent rag or cot- information, since terms can be used in
ton, different ways.
it has been made entirely from natural fibers. Such For example, some one hundred percent
papers are generally of archival cotton water-
quality and will outlast color papers have been sized with
cheaper ones. Papers described acid-based chemicals,
as acid free, neutral pH,
which destroy their natural archival properties.
and archival are probably of
good quality as well, but it To find out how to best preserve your drawings, see
makes sense to write to the
manufacturer for specific the Appendix.

MATERIALS 21
 Experimenting with Alternative Surfaces
Because paper is seemingly less permanent than canvas, Multi-Media Panels
works on paper are sometimes valued less by collectors,

and this is reflected in the price they sell for in the mar- Available in both black and white, the Multi-Media
ketplace. It's not uncommon for a work on paper to Panel was recently developed by an industrial firm that
fetch fifty percent less than art on canvas. To address used to make plastic molds. Constructed from synthet-
this problem, many colored-pencil artists have explored ic fibers, this archival-quality panel has considerable
more permanent drawing surfaces. tooth, lending itself to a wide variety of media, includ-
ing colored pencils. Its surface can be manipulated to
produce different textures — a big advantage for the
Windberg Panels artist who wants both smooth and rough surfaces in a
single piece. The panel can be sanded in some areas to
Nationally acclaimed realist artist, Dalhart Windberg create a smooth ground. A word of caution: The panel
recently developed a product that provides an excellent should be sanded gently, since bending or crushing the
permanent ground for colored-pencil art. His colored board will cause it to chip and break, just like plastic.
masonite panels, which are lightly coated with a layer of
marble dust, offer an archival-quality surface with just

the right amount of bite to it. Many colored-pencil

drawings (which look like paintings), could easily hold
their own in price when drawn on one of these panels,
since collectors tend to view this durable surface with
more respect.

2-12
This artist experiments with colored pencils

on Mylar. Because it is possible to draw on

both the back and the front of the Mylar, color
layering is easier to achieve.

Robert Guthrie, Pacific Reach House, 1995.

Colored pencil, 6'A" x 9X" (16 x 25 cm).

22 • CHAPTER TWO
 Accessories

Sharpeners

To achieve a smooth, uninterrupted layer of color, it is

important to keep a very sharp point on your pencils.

Even on a paper with slight texture, a dull pencil will

cover only the uppermost surface and will leave small

white specks of paper showing through. This can be a
desirable effect if used correctly, but most of the time
the specks are distracting. A pinpoint-sharp lead will

deposit little bits into the wells of the paper, eliminating

the white dots and creating a solid look. The instru-

ment of choice for most colored-pencil enthusiasts is

the electric or battery-powered sharpener. You can

extend the life of a sharpener by frequently using it to 2-13

sharpen a graphite pencil. Because graphite is a lubri- Be sure to choose a battery-powered sharpener with metal blades instead
of a wimpy handheld sharpener mounted to a motor. All good sharpeners
cant, it will keep colored-pencil wax from building up
have blades like the ones pictured here. For pencils with a larger diameter,
on the blades. use a vertical-mounted electric sharpener, which won't creep across the
Take care when selecting a battery-powered sharpen- table as you push in your pencil. For watercolor crayons, you can use a

er. They're not all created equal. Open the casing, and large handheld sharpener like those sold at cosmetic counters. A sand-

paper block is handy for refining a pencil point between sharpenings.

examine the sharpening mechanism. Be sure that your
sharpener has metal blades like the one pictured in

fig.2-13. The less expensive models are simply a hand-

held sharpener mounted on a motor. These sharpeners
are very ineffective and will chew pencils to bits.
When your pencil gets short, you can use a pencil The best solution for erasing colored pencils is the
extender to prolong its life. small handheld battery-operated eraser, which will gen-
tly glide over the surface of the paper without crushing
the bite. It will remove all layers of wax and leave a fresh
Erasers surface for future pencil application.
There are several different grades of battery-operated
It's difficult to erase work done in colored pencil. First erasers on the market. The low-priced erasers will last
of all, the pigment will have stained the paper's surface, for a few months, and the high-priced models will last

leaving a color residue behind. This may be covered up to a decade or two. Plug-in electric erasers work well
with subsequent layers of color, but because colored too, but they are very expensive and cumbersome, and
pencil is transparent, the pigment residue may influ- since they require an electric outlet, they're not as
ence the next layer of color. Second, when you erase portable. If you can't afford a battery-powered eraser,
your mistakes, you will find that the friction from a try to avoid erasing altogether by practicing your tech-
plastic eraser will melt the pencil wax and create a slurry niques on a piece of scrap paper or on the outside edges
with a ridge next to the area that was not erased. In of your drawing. Artists commonly work out composi-
addition, the pressure from any eraser can crush the tion problems and value studies before starting the per-
bite of the paper. formance piece.

MATERIALS 23
 2-14
These two drawings are part of the same artwork,
seen from opposite sides of paper that has been
folded like an accordion. The drawings were made
first, then carefully cut into vertical strips and
glued to the folded sections.

Student work: Rebecca Scudiere (age 1

5), Just

Fiddlin Around, 1997.

Colored pencil and oaktag,

22" x 22/2" (30.5 x 57 cm).

24 • CHAPTER TWO
 S

Dust Brushes

Pencils tend to leave a

residue of crumbs on the paper's
surface. If these are not
brushed away frequently, they
can become embedded in
the paper and difficult
to
radicate A handy tool for
brushing these crumbs away
is the drafting
brush used by engineers and architects If
you are traveling, a small goat-hair
brush will fit com-
fortably in your pencil
box. Be sure that you use only
soft brushes with
natural fibers. The stiff
texture of syn-
thetic fibers can mar
your paper or drawing.

Tape

Some artists like to tape their

drawing paper to the table
to provide a crisp,
clean border and to
prevent crumbs
from slipping under the
paper. If you use tape, choose
an archival-quality tape
that can be easily removed
when you are
finished. Masking tape
and cellophane
tape will not only tear
the paper, but also will
leave a
residue of glue that over
time will stain the paper
brown
and break down its archival
properties.

Masking Products

To enhance certain drawings,

you may want to flick
paint on part of your paper
or wash color onto a
large
2-1 area. To protect a portion
of your drawing you can

^eIent
present a
d
T
Uike he
;
tremendous
"* "* ^^
investment of time and
h th S
'

*"«** «***»
effort. Take care jo
to learn
clear or colored masking

often preferred because

fluid.
use
Colored masking fluid is

out he arc iva

serve the quality of
,
Qpertjes Qf ^
matena|s you use ^^^^
_a rn

time to remove it.

it is easy to see
However, because
when it comes
the finished piece. it sometimes stains
Bruce Nelson, it is best
to test it first on a
Indian Girl #4, 1 988. scrap piece of paper. This
Colored pencil, 24" x ISM" fluid coagulates very
(61 x 39 cm). quickly, and if it dries
on your
brush, you'll have to discard
it. Keep a dish
of warm
soapy water at hand to rinse your brush in immediately
When you are finished applying
washes and they have
dried completely, you
can remove the masking fluid
with a rubber cement pickup
or by rubbing with a very
;
clean finger.

Frisket paper is another

product that can be used for
masking. This transparent
product is available in rolls

MATERIALS 25
 and sheets. Simply
trace the outline of the area
lay the frisket over

you would
your drawing and
like to mask. Use
CAUTION
Fixative is a toxic material and must be used with
an X-acto knife or scissors to cut out the shape. This great care. When you are ready to spray your draw-
frisket paper will adhere to the paper to protect it while ing, always take it outside, place four weights on the
you paint, and its low-tack surface makes it easy to corners of the drawing, and spray several light coats

remove when you are done. Remember that the edges of of fixative over the piece with sweeping horizontal
strokes. Keep the can about twelve to eighteen inches
the masked area will have sharply defined lines. Factor
from the drawing, and wear a protective mask over
those hard edges into your drawing.
your nose and mouth to keep from breathing the
fumes. Allow about five to ten minutes between coats
for the fixative to dry. It is better to spray several light

Opaque White coats than one heavy coat. Heavy application of fixa-
tive may cause it to drip.

Because colored pencil is transparent, it is virtually

impossible to apply pure white over a color. To add

white highlights to a drawing, such as the white in a cat's

whiskers or the highlight in an eye, you can use an Fixative

opaque white commonly used by graphic designers.
This product, which appears to be a hard, dry, water- There are two reasons for using fixative to seal a col-
soluble paint, is sold in small jars and applied with a wet ored-pencil drawing: to prevent smearing of the colors,
brush. and to prevent wax bloom. Wax bloom is caused by heat
or friction, which separates the wax from the pigment
and causes a white milky film to form over the drawing.
Transfer Paper When you are layering gently, this bloom generally will
not occur. But if you exert heavy pressure or expose
Because erasing can damage your drawing surface, you your drawing to heat, the bloom is likely to form. Bloom
may want to work out a detailed composition first on a can be removed with a soft tissue (rub gently so as not
sheet of sketch paper, then transfer it to your perfor- to smear the drawing), but it will keep returning until
mance paper. Transfer paper is a thin sheet of paper that you seal the drawing with several light coats of fixative.

has been coated with color on one side. To transfer a A workable fixative leaves a nice tack on the drawing
line drawing, place the transfer paper color-side down so that the paper will accept more layers of colored pen-
on the performance paper. Clip or tape the preliminary cil if you wish to make adjustments later. Don't be con-
sketch on top, and use delicate pressure as you trace the fused by the term workable. After the drawing has been
lines of your sketch. Don't press too hard or you will sprayed, nothing underneath the fixative can be
make indentations in the paper. However, if your pres- changed. In this case, workable means you can work on
sure is too light, the lines won't transfer. Check periodi- top of the fixative.
cally to make sure your lines are transferring. Because fixative can alter the color of pigment, it is

advisable to test it before using it on a drawing. Build a

color scale, making a small rectangular swatch with each

pencil you will be using in your drawing. Cover one half of

each color with a piece of paper, and spray the color scale
with fixative. When you lift the paper, you can see which

swatches changed color when treated with the fixative.

26 CHAPTER TWO
 2-16
For this high school assignment, a drawing was
scratched into a clay-based paper. This created a
reversed or negative effect, with shaded areas as
white instead of black. Colored pencil was then
added to the white areas to create depth.

Student work: Mike Penrod (age 18),

Tim Floating in a Glass of Wine, 1 998.

Scratchboard and colored pencil,

I I" x 8/2" (28x22 cm).

Finally, experiment with your materials, and see how

far you can push them. Always ask yourself, "I wonder
what would happen if . .
."
You may invent the next hot
new method for working with this friendly new artist's

tool —the fabulous, versatile colored pencil.

MATERIALS 27
i
Layering Techniques

<
u
 Because they are dry, colored-pencil hues will depth to their work. The medium used for this prelim-

not mix like wet paints. Instead, a variety of colors can inary value study varies from artist to artist. Some lay

be developed by layering. Layering, the most funda- down a complete graphite drawing, which is sprayed
mental of all colored-pencil techniques, provides the with a workable fixative. Layers of colored pencil are

foundation for understanding all colored-pencil appli- then applied over the graphite. Others photocopy the
cations. Because colored pencil is transparent in nature, value drawing onto colored paper and color the copy

every color applied in a drawing will be influenced by with colored pencils. Some artists build value studies

any pigment underneath it as well as the color of the with a range of gray colored pencils (fig. 3-2), and still

surface upon which it is layered. Unlike an opaque others simply use a variety of colors to create their own
medium, colored pencil automatically produces a vari- grays. Finally, artists who enjoy working with water-
ety of colors on the paper's surface as the layers build color pencils often complete the preliminary value

up, and the resulting blend of dots produces a pointil- study with a water-soluble graphite pencil (fig. 3-3).

listic effect.

What Is Grisaille?

In past centuries, color pigment was very expensive and

hard to come by. To conserve their pricey pigments,
artists developed the grisaille (greez EYE) method. They
would complete an entire painting in black and white
first, establishing a full range of dark and light values.

They subsequently applied transparent washes of pig-

ment over the black-and-white studies to create a vari-
ety of values of each pigment.

Most professional colored-pencil artists use a form of

grisaille, developing an elaborate value study before
adding color. This underdrawing imparts volume and

3-1

Some artists freely incorporate layers of colored pencil lines into their 3-2
style of drawing. Others carefully blend the layers together until the indi- The artist began this drawing with a value study using gray colored pencils. She then built

vidual pencil strokes are not visible. color by layering local hues over the grisaille drawing.

Carolyn Reed, Waiting Up for Him, 1997. Barbara Newton, Summer Harvest, 1995.

Colored pencil, 24" x 20" (61 x 51 cm). Colored pencil, 15" x 18" (38 x 46 cm).

LAYERING TECHNIQUES • 29
 Although the choice of medium can vary, creating an
underdrawing of light and dark values is a prerequisite

for effective colored-pencil rendering. Without this

value study, drawings lack depth.

Grisaille Techniques

Because most artists are comfortable with black-and-

white pencil drawings, the grisaille graphite technique
makes a perfect starting place for beginners. Adding
color to a black-and-white drawing is not nearly as dif-

ficult as learning the intricacies of color theory.

To begin a grisaille graphite drawing, create a con-

tour line drawing that will serve as a map for your shad-
ing. Then, complete a black-and-white pencil study.
3-3
In this drawing, a water-soluble graphite underpainting was covered by watercolor This value study should differ from traditional drawing
washes, and then sprinkled with salt to create a starlike effect. When the paint was in that all values should be about two shades lighter
dry. details were added with dry colored pencils.
than normal. Avoid really dark values because strong
Tiko Youngdale, First One 1992.
In,
graphite tones can make subsequent layers of color
Colored pencil, 12" x 16" (30 x 41 cm).
appear quite muddy. After you carefully check the
drawing for accuracy, spray it with a light coat of work-
able fixative. You can now add color by laying a sharp
colored pencil on its side and lightly dusting (layering)

each area with color.

SANDRA S AY S
This graphite study served as a value
*
study for my colored-pencil drawing.
I photocopied my graphite drawing onto
a sheet of toned paper and overlaid the
value study with colored pencils.

Sandra Angelo, Whiskers on Kisses, 1998.

Colored pencil. 5" x 4/." (13 x II cm).

30 CHAPTER THREE
 DEMONSTRATION

Grisaille: Underdrawing with Gray

This demonstration shows how an artist can use the grisaille technique to build
volume into her work.

ri

If.i'S.
pi
^^
*v

<
j^J
JL
Step One: The artist began with a Step Two: Colors were then layered
value underdrawing created with gray over the underdrawing.
colored pencils.

Step Three: Because of the strong

values provided by the underdrawing,
the finished work has a rich, full-

bodied look, similar to that of a

painting.

Bethany Caskey, The Good Team, 1 992.

Colored pencil, 14" x 17" (36 x 43 cm).

LAYERING TECHNIQUES '31

 Using graphite for the grisaille technique generally
3-4 works best for subjects involving muted, subtle tones.
Layering dark blue and green colored pencil over a graphite value drawing
Antiques, nature, animals, old photographs, and any-
lends a subdued feeling to this work.
thing with dull colors works well. Brightly colored sub-
Allan Servoss, Figure in Landscape, 1 994.
jects generally require an underdrawing made with a
Colored pencil, 14" x 20" (36 x 51 cm).

series of grays derived from complementary colors or

gray pencils instead of graphite.

Monochromatic Layering
An understanding of color theory is a foundational

skill for working in all media. If you haven't mastered

the basics of color mixing, colored-pencil drawing can
be quite intimidating at first. This book assumes that
you have spent some time learning color theory and
how to mix colors in other media.

32 CHAPTER THREE

.
 Building Color

• € 3 •
One of the most fundamental concepts to grasp in color
mixing is the difference between value and intensity.
Value is the lightness or darkness of a color. Intensity is

the brightness or dullness of a color. Students often con-

fuse values and intensities. Instead of brightening a
color with an intense hue, they might lighten it with
white, turning it pastel instead of bright. Instead of

darkening or dulling a color with the complement, they

often reach for black, making the color muddy. Practice
the following guidelines to strengthen your understand-
ing of color mixing.
t To lighten a color add white. For example: to cre-

ate lavender, add white to violet.

>v To brighten a hue, use the color in its maximum

intensity. For example: when you want to lighten the

value of an orange pumpkin, you would use a white

3-5 pencil. However, to brighten the intensity of an orange

Anyone who has tried to buy white paint to match a wall color knows pumpkin, you would apply more yellow. Yellow and red
that there can be hundreds of "white" color swatches to choose from.
make orange, and yellow is the brighter of those two
This drawing shows the dramatic results of using a variety of hues to for-
mulate variations of white.
colors; thus yellow is used to brighten orange.

Barbara Newton, White on White, 1995.

d If you want to darken or dull a color, add the com-
Colored pencil, I IK" x 12" (29 x 30 cm). plementary color of the exact same value. For example:
if you wish to darken or dull the color orange, use the
complementary color blue, the color located across

from the orange on the color wheel. It is important,

however, to know which blue pencil to pick up. If the
orange you wish to modify is dark in value, you would
However, even if you haven't mastered color theory, select a dark version of blue. As the hue gets lighter, you
you'll still be able to succeed at monochromatic layering would choose a much lighter complement.
(mono means "one" and chroma means "color"). The Most colored-pencil hues have been essentially pre-

simplest monochromatic layering involves just one col- mixed. In addition to pure red, yellow, blue, and so
ored pencil and a contrasting colored paper. By varying forth, you are provided with a range of colors that have
the pressure of your pencil, you can create a range of already been altered in value and intensity. For instance,
values. a dark orange color is the result of orange that has been
The second way to work with monochromatic values mixed with a complementary blue.
is to use closely related colored pencils to create the Get familiar with the colors in your box of colored
appearance of one hue. This can even be done to create pencils by making a color wheel similar to the one
objects that are essentially white. In fig. 3-5, the artist shown in fig. 3-6. Arrange the colors by value, in

created a drawing with a monochromatic look, but used descending order from light to dark. Because no brand
a variety of hues to build the white areas. of colored pencils contains a complete set of exact com-

LAYERING TECHNIQUES 33
 In response to a ninth-grade assignment, this student repeated her line

drawing of a tennis shoe into all six sections of a hexagonal color wheel.
3-6 For each primary or secondary color slice, she was allowed to use the
To better identify color opposites, use your colored pencils to generate a local color (for instance, red) plus black, white, and tertiary colors on
color wheel. Lay down each hue in a sequence that moves from light to either side. Layering was used to create a sense of depth.
dark. You may also want to write the name or number of each colored
Student work: Starlynn Lott (age 1 5), Brand New Sneaker, 1 998.
pencil on its color band, to help you quickly locate the pencil you want.
Colored pencil, 10" x 10" (25 x 25 cm).

plements, your color wheel will not be precise. However, this blending cannot be achieved with opaque media
the wheel can be useful when you want to alter a color, like paint.

by charting which pencil would serve as the approxi- Layered colors are much richer than those of a single
mate opposite. For example: to darken the pink in the pigment. Rather than use a plain purple, for instance, it

outermost band, use the mint green in the outermost is better to blend a purple that combines all the colors
band across from it on the wheel. used to mix purple paint. For a light, bright purple, use
strong reds and lighter blues. For a darker color, use
more blue. To make the hue less intense, use the com-
plement, yellow, to dull the color.
Transparent Layering Transparent layering creates an optically solid look
while still allowing the paper and each layer of color
Because colored pencil is transparent, a rich spectrum some prominence in the final drawing. The sharpness
of hues as varied as those found in nature can be created of the pencil will affect the artist's success with this
simply by layering one color over another. For example, technique. A dull point prevents pigment from pene-
if you look at your hand, you will see that your skin tone trating the tiny wells in the paper, leaving white flecks
is made up of numerous colors. To try to match this that can detract from the subject. (I call this objection-

color with just one pencil would be difficult, if not able texture "dandruff") If, however, layers of color are
impossible. However, layering color on the paper results applied with a very sharp pencil, minute particles of
in a polntillistic combination of pigments that together pigment will fill the wells of the paper, resulting in com-
produce subtle nuances of color. The look created by plete coverage of the area.

34 CHAPTER THREE
 DEMONSTRATION

Using Color Opposites for Shading

This pumpkin was created using the orange and blue hues from the color wheel.

Step One: The darkest areas were Step Two: With the underdrawing Step Three: The highlights were lay-

first colored with the appropriate complete, the local color (the natural ered with bright yellow and yellow
blue. Medium areas were built up color of the object, in this case orange, then layered over with bright
using dark oranges (oranges pre- orange) was layered over the orange. To retain a highlight's brilliance
mixed with blue), chosen from the medium and dark areas. and develop contrast in a drawing, do
darker values on the color wheel. not use dull colors in a bright area.

Masters of the transparent layering technique share a Artists who gravitate to this technique typically pre-

common fetish — a pinpoint-sharp pencil. Ann Massey, fer brands of pencil with a harder lead, because it retains

an artist who draws exclusively with the black colored a sharp point longer. Transparent layering can also be
pencil, begins a work session by sharpening ninety-five achieved with soft leads, but much more sharpening is

black pencils. When her pencil becomes the slightest bit required, meaning that the pencil will shorten rapidly.

dull, she reaches for a sharper pencil so that infinitesi- Bill Nelson, a professional illustrator who uses soft
mal bits of wax will be evenly deposited in the pores of leads, reports that he goes through a pencil every half
the paper. This results in beautifully clear layers, as you hour and four or five sharpeners per year. Because he
can see in fig. 3-8. keeps his pencil so sharp, his work looks as if it was air-

brushed over the paper. (See fig.3-9.)

LAYERING TECHNIQUES 35
 3-8
Burnishing
An American artist who
France,
(Opaque Layering)
resides in Paris,

Ann Massey has captured

Burnishing simply means rubbing hard to create a lus-
the lively spirit of French-

man Henri Berenger. Using trous surface. When you burnish a drawing, you apply
black colored pencils the final layer of color with such heavy pressure that all
exclusively, she achieves
colors underneath meld together and create an opaque
exquisitely fine details with

pinpoint-sharp pencils.
wax barrier. Your goal is to completely cover the surface

Ann James Massey,

of the paper. Yet even burnished colored pencil remains
Henri Rerenger, 1 995. transparent —the color of the paper and the previous
Colored pencil, layers of colored pencil will influence the final drawing.
9/2" x 7V<" (24 x 20 cm).
All effective burnished drawings begin with an
underdrawing made according to the transparent layer-

ing technique. The underdrawing contains sumptuous

hues that, when burnished, will create an opulent new
color.

Burnished drawings are built in four stages. First, the

artist creates a line drawing, then develops a value draw-

ing with transparent layers to establish light, medium,

and dark tones. Next, local colors (the hues in the sub-

ject being rendered) are layered over the value study,

until the drawing looks like a completed transparent
3-9
layered drawing. To burnish the drawing, the artist first
A well-sharpened pencil
has left a layer of pigment applies medium pressure, working color by color in the
as soft and even as color same sequence used in the transparent drawing. The
sprayed by an airbrush.
pressure of the pencil is gradually increased with each
Bill Nelson, Ollie, 1994.
pass. Most artists find that they must make several pass-
Colored pencil, 10" x 8"

(25 x 20 cm).
es with each pencil before the colors are blended com-
pletely. (See the Demonstration on Burnishing.)

Burnishing Tips

When burnishing, it is crucial not to exert heavy pres-

sure until all the layers of color have been applied.

Pressing hard flattens the paper's tooth, and it becomes
difficult to apply additional pencil layers. If you attempt
to burnish after the bite has been crushed, chunks of
pigment will lift off the paper, leaving bare spots in the

drawing.
Never spill light colors into dark areas, and never

36 • CHAPTER THREE
 DEMONSTRATION

Burnishing Layers of Color

Step One: A contour line drawing Step Two: All the colors were layered Step Three: The same colors were
was done, using very gentle pressure gently with very sharp pencils, using in the same sequence,
applied again
with an F graphite pencil. (The lines the transparent layering technique. using heavier pressure. Each highlight
here were made darker than neces- was burnished with white to provide a
sary so the drawing would reproduce protective barrier which preserves the
well in this book. Your drawing should whites.
be much lighter.)

Step Four: The pepper was then

burnished several times, with a gradual
increase of pressure until the paper's
texture was completelly obliterated.
Adjacent colors were carefully over-
lapped and blended to create smooth
transitions from dark to light.

LAYERING TECHNIQUES • 37
 place dark colors in a light area. Let medium tones over-
lap both the light and the dark tones, serving as a bridge

between the lights and darks.

It is imperative to brush the paper constantly while
you burnish. The heavy pressure will leave pencil
crumbs on it. If these crumbs become embedded in the

paper, they will be virtually impossible to remove.

These fragments can also cause problems if they get
under the paper. As you draw over them, they will leave

an impression in the surface.

The burnishing method, when properly employed,

can simulate the powerful look of photorealism seen
in acrylics or even oils (See fig. 3-10). Although many
artists prefer a particular technique, any of the layering
techniques described so far can be combined effectively.

3-10
Contrast between the shiny ornaments and the dark, granular paper enhances the drama
in this burnished drawing.Tiny self-portraits in the reflection of each Christmas ball add
another level of interest.

Deborah Zeller, Christmas Ornaments, 1995.

Colored pencil, 21 >i" x 27" (55 x 69 cm).

SANDRA S AYS
This drawing combines two techniques: burnishing and
transparent layering. I used transparent layering to
create the cat, the hair, and the skin tones because that
method allowed the tan paper to become a part of the
drawing. However, I didn't want the colored ground to
influence the bright chintz fabrics, so I burnished the
couch and the dress.

Tip: Use caution when combining techniques in one

drawing. Burnished portions of a drawing can some-
times overpower areas that have been layered gently.

Sandra Angelo, Trading Purrs for Pats, 1994.

Colored pencil 16" x 12" (41 x 30 cm). {

38 CHAPTER THREE
 .

BEGINNER EXERCISES

I. Create a monochromatic drawing using one colored

pencil or one color plus black and/or white.

• Select an object that has strong contrasts between light

and dark tones, such as a face in shadow.

• Complete a contour line drawing on a contrasting col-

ored paper, establishing a map for your shading.

• Using one colored pencil, shade the object. Create a wide

variety of values simply by changing the pressure on your
pencil.

3-11
For this assignment, high school students used one color plus black
and white to create shades and tints.

Student work: Sharon Huang (age 18), Still Life, 1998.

Colored pencil, 8/2" x I I" (22 x 28 cm).

2. Complete a grisaille drawing with graphite and colored

pencils.

• Select a favorite object from your closet, such as a base-

ball glove, hat, boot, sneaker, stuffed animal, or doll. For
your first effort, select an object with fairly neutral or
subtle colors.

• Do a contour line drawing with an F graphite pencil to

establish a map for your shading.

• Shade the object with a graphite pencil, using only light

and medium values. When you are convinced that the
graphite drawing is finished, spray it with a workable fixa-

tive. Be sure to wait until it is complete because nothing

you have drawn in graphite can be changed after the fixative
is applied. Caution: Fixative is toxic, so do the spraying out-

doors, and wear a mask over your nose and mouth.

3-12
• volume by shading the drawing with colored
Build up the Using a graphite pencil for her value study, this artist colorized her black

pencils. You can color the whole drawing or selectively and white drawing with soft, subtle tones. To achieve a subdued palette,

color only portions of it to emphasize interesting shapes. she used gentle transparent strokes instead of heavy burnishing.

Kathi Geoffrin Parker, Patches and Radar, 1 99 1

Colored pencil, 18" x 23" (46 x 58 cm).

LAYERING TECHNIQUES 39
 INTERMEDIATE EXERCISES

I . Practice transparent layering over the object's volume, it is best to Tip: Maintain a very sharp point on
a gray value study. employ a minimum of six to eight val- your pencil as you draw. When the
ues in your drawing. If the object is pencil becomes the slightest bit dull,
• Study the images in the demonstra-
characterized by warm hues, use sharpen it. Keep layering with a sharp
tion box on page 37.
warm grays for your underdrawing; pencil point until you get rid of all the
• Select a favorite object from your use cool grays if the colors are cool. "dandruff." Choose colored pencils
closet, such as marbles, a ballet slip- with hard leads to keep a sharp point
• Using very sharp colored pencils,
per, a hockey scick and ball, or a more efficiently.
layer color over your value study until
model car.
the hues are sumptuous and the
• Make a value study of this object, drawing has volume. Remember to
using at least three gray pencils: light
use very gentle pressure. The trans-
gray, medium gray, and dark gray.
parent layering technique allows the
Changing the pressure as you use paper's texture to show through in
each pencil will produce a wide range the final drawing.
of gray values. To accurately render

2. Using the same guide-

w w lines as for

cise, this
the first

time select a
exer-

photo reference for your

drawing. Complete this
N.
exercise first on plain white
L/JV,
paper to study layering col-
ors without the influence of
colored paper underneath.
(For information about
working on a colored
ground, see chapter five.)

)/

"*
v^rt**^ r

y>^4&*

3-13 3-14
This value drawing was completed on white paper, Sandra Angelo, Best Friends, 1 998. Colored pencil on

which is easier to erase, then photocopied onto the colored paper, 5" x 4" ( I 3 x 10 cm).

colored paper.

40 CHAPTER THREE
 . X

ADVANCED EXERCISES

Research the grisaille technique in a • On a preliminary sheet of paper, 2. Create a value underdrawing with-
library or on the Internet. Find several work out your palette by arranging out using graphite or gray pencils.

artists who masterfully used this two sets of complementary colors by • Choose a simple still-life object, and
method in watercolor, oils, and pas- values, working from light to dark. For
stylize your drawing to give it an atti-
tels. Discuss with a fellow student the example, if using reds, start with a
tude, for example, a tired boot, a
ways in which these principles can be patch of pink color, then deep pink,
macho saddle, a cocky hat, an elegant
applied to colored-pencil drawing. mauve, mulberry, and Tuscan red. Lay
vegetable, an angry fruit, a raucous
I. Burnish a value study created with
down the exact complements of
shirt, a prim purse.
those colors, from light to dark: mint
complementary colors. • Instead of using gray pencil or
green, darker pastel green, and so
• Create a still life from objects found
forth until you reach dark green.
graphite, using your own mixture of
in your home. Deliberately select complementary colors to create a
• Create an underdrawing by sketch-
objects characterized by complemen- shaded underdrawing.
ing the values in your still life with
tary colors. In fig.3-15, the artist • Layer the local hues of the object
one color, then layering its exact com-
chose objects with reds and pinks to
over your value study until you
plement on top. The complements will
complement a range of greens. Make achieve a three-dimensional look.
form a gray value drawing that pro-
sure your arrangement is well lit by
vides great undertones for grisaille. • Experiment with burnishing all or a
placing it near a window or under
portion of your drawing to create an
strong lamplight.
opaque look.

3-15
Photographic realism can be achieved by
burnishing a grisaille underdrawing com-
posed of

Barbara
Colored
layers of various grays.

Edidin,
pencil, 21"
Silent Partners,

x 12.5" (53 x
1995.

32 cm).
\a
\\\

JSm^^Bm&5
^^B !

f"~ ^fc ILJ£*SS. MM

ill
US
\1§^
. »
^*^ MM

W * f «TCiSuaJL

3-16
In this playful graphic design, a gradual value

change in the colors of the label gives it a bit of

depth while setting off the white rim around the

interior images.

Student work: Mattias Hallbom (age 18),

Ketchup Explosion, 1 996. Colored pencil.

LAYERING TECHNIQUES 4 I
 Watercolor-Pencil Techniques
DC

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Z
U

/Zrr&A^

4-1
David Doo
ey underpainted each figure with
light watercolor-pencl washes,
then burnished wax-
based pe Is on top to add
the fine details. He laid a frisket over the
figures to protect them and
completer -he background with oil pastels.

David Dooley. New Goggles, 1 994. Watercolor pencil. 25" x 24"

(63.5 x 6 1 cm).
 The water-soluble colored pencil is a very paint or sketch a subject. You are more likely to remem-
versatile and portable tool that makes sketching on
ber minute facts about the subject, the ambience of the

location a breeze. And this pencil has the added benefit location, and other details if you take the time to paint

of being both a drawing and painting instrument.

and draw what you see while you're there.

Of course, the camera is a great tool for capturing an

exhaustive record of a particular subject, especially
moving animals. Still, after your photo shoot, it's a good
idea to pause and sketch the animal's antics with water-
Advantages of Using
color pencils. These in-depth studies will familiarize Watercolor Pencils
you with the animal's behavior, the colors and textures
of feathers or fur, and unique gestures. You'll find that Somewhat intimidating for beginners, watercolors tend

the act of drawing will have substantially increased your to run and bleed all over the paper. If you are a novice

recall when you are back in the studio. watercolorist, you might feel totally out of control,
There seems to be a magical connection between the especially if you want to produce realistic pieces. By
hand and the mind. For instance, if you made a list of contrast, watercolor pencils are easier to manage
things to do and then lost the list, the exercise of writ- because they are a drawing instrument as well as a
ing down probably would have impressed the items in
it painting tool. Whereas you can't draw with a watercolor
your mind. You are likely to recall many details without cake or tube, the watercolor pencil is fabulous for
even referring to your list. The same is true when you sketching. Unlike unwieldy watercolors, water-soluble

SANDRA S AYS
When I teach at the San Diego Wild Animal Park, I love
to travel light as I trek into the lush tropical jungle. With
just a collapsible brush, a small watercolor block, half a

dozen pencils, and a small film container full of water, I

can hike anywhere and set up shop in a flash.

Sandra Angelo, Tender Moments, 1997.

Colored pencil, 7" x 10" (17 x 25 cm).

WATERCOLOR-PENCIL TECHNIQUES 43
Julie Wolfson underpainted this scene with water-soluble colored pencils and applied the
details with a combination of permanent colored pens and wax-based colored pencils.

Student work: Julie Wolfson (age 72), Desert Hot Springs, 1998.

Colored pencils and pens, 9" x 12" (23 x 30 cm).

4-3
Watercolor pencils can combine the transparent look of watercolor with
the hatching lines typically associated with sketching.
pencils can make you feel secure because you can place
Patry Denton, Oh Sunny Day, 1990.
pigment exactly where you want it. And these colors stay
Colored pencil, 16" x 16" (41 x 41 cm).

put unless you purposely use brush and water to create

other effects.

Watercolor pencils are also much less expensive than pencils, fill a page full of doodles, trying each of the six
other forms of watercolor. They're nontoxic, portable, methods listed in the next section of this chapter.
and extremely versatile, and they can achieve the trans- Familiarize yourself with what this tool will do for you.
parent look of watercolor, opaque realistic rendering, or
loose sketches, depending on how they are applied. In

fig.4-3 the artist used watercolor pencils to combine the

transparent look of watercolor with the hatching lines A Mixed-Media Approach
normally associated with sketching.
Although this tool is versatile, watercolor-pencil
painting does have limitations. Because the instrument Adding Pen and Ink
is very small, you may find it difficult to cover large
areas quickly. Here's a handy rule for choosing between Watercolor pencils can be combined with other media
watercolor paints and watercolor pencils: If the area to to create a loose, free style suitable for greeting cards,

be covered is much larger than 5" x 7", wash it with children's books, and many forms of illustration. You
watercolor paints. If the drawing requires small, intri- don't need to limit yourself to black ink, either. Using

cate details, pick up a watercolor pencil. permanent colored ink pens, you can create a lively line

Before you start to work seriously with watercolor drawing that can be washed with coordinating paint.

44 CHAPTER FOUR
 DEMONSTRATION

Six Techniques for Watercolor Pencils

One: Draw a swatch of color on a Two: Lay down a wash of clear water, Three: Put a drop of water on your
piece of scrap watercolor paper. Load and draw into the wet area. This palette. Place the pencil lead directly
your wet brush from this patch of pig- method will retain the linear look of a in the small bead of water so that the
ment, and then apply it to your art- drawing, but inside the damp section, tip of the pencil becomes wet. Draw
work. This technique is one of the the lines will be softened by the water with a wet lead. This will give you
best ways to build vivid, splashy colors and slightly blurred. maximum brilliance and full color sat-
because the brush will pick up a lot of uration. Take care not to immerse the
color. The end result will look like a whole pencil in water — itwill weaken

watercolor painting, as you can see in the lead and cause the pigment to dis-

fig.4-3. solve inside the wooden sheath.

Four: Draw with a dry watercolor Five: Draw a swatch of color on a You can control the spatters by mask-
pencil. After you've placed the pig- piece of scrap watercolor paper. Load ing adjacent areas with either liquid

ment where you want it, daub your a very wet brush from this swatch. masking fluid or frisket paper (see
pencil marks with a wet brush. You Now flick your loaded brush against chapter two). Or, just cut a piece of
can achieve either intense pigment the watercolor pencil, splashing your tracing paper in the shape of the area
saturation or light colors, depending paper with flecks of color. This tech- you want to protect, and lay the paper
on how much pencil color you've nique is great for depicting sand, grav- over it. Some spatters may slip under
applied to the paper. Keep in mind el, sleet, freckles, and so on. Multicolor the paper, but if absolute precision is

that when water is added, the colors splashes are terrific for simulating the not important, this method of masking
sometimes change in intensity. You can mottled colors in subjects such as is fairly adequate.
avoid unpleasant surprises by testing leaves, beaches, and bushes. Note that
Six: Apply a wet brush to the tip of
your colors on a separate sheet of when you spatter on wet paper, the
the pencil to load color onto the
paper. spots will blur. On dry paper, such
brush. The painterly strokes achieved
color specks will stand out distinctly.
with this method will look much like

those of a watercolor painting.

WATERCOLOR-PENCIL TECHNIQUES • 45
 Ink can also be used to fill in backgrounds, as you can
see in fig. 4-5. The artist used watercolor pencils to
paint the orchids, placed the details with dry wax-based
colored pencils, and then filled in the background with
a black ink wash. To fill in the large areas, she used a
brush and then brought the ink to the edges of the
flowers with a fine ink pen. You can see that the combi-
nation of ink and watercolor pencil offers the best of
two worlds. Fine-tip pigmented pens can provide
superfine detail, and watercolor-pencil washes can fill
A single layer of pigment was sufficient for this simple cartoon.

Joe Bull, Felix and Fido, 1 996. Colored pencil, 4" x 5" x 13 cm).
in the blanks and wash the drawing with color. An infi-
( 1

nite variety of styles can be created with these two har-

monious media.

Using Water-Soluble Graphite

Just like the watercolor pencil, water-soluble graphite

can be used to achieve any of the techniques mentioned

in this section. The only difference is the color. Water-
soluble graphite creates strictly black-and-white art-
works. However, this tool is available in a variety of den-

sities just like a standard drawing pencil. The density

you select will affect the value saturation. A 2B offers

light washes, whereas an 8B will provide deep, dark

tones. Some high-quality brands have only one density,
imparting a full range of values with just one pencil.
When using this pencil, you can achieve dark values by
simply loading plenty of pigment onto your brush. A
lighter value can be produced by using more water.
For those on a limited budget, water-soluble graphite
is a great tool. You can use this pencil and a brush to
create soft black-and-white sketches. Or you can wash
your value drawing with a few watercolor pencils, and
voila — you have a beautiful color painting.

4-5
Watercolor-pencil washes, followed by detailed colored-pencil sketching,
were used to create these orchids. The background was then washed with
black ink

Tiko Youngdale, Orange Orchids, 1992.

Colored pencil. 12" x 9" (30 x 23 cm).

46 CHAPTER FOUR
 BEGINNER EXERCISES

Research watercolor techniques at

the library. Describe the similarities
between watercolors and watercolor
pencils. What are the limitations of
these two media? What are effective
ways of combining them?

Fill a practice page with experi-

ments in techniques for watercolor
pencils and water-soluble graphite
pencils. Don't try to make pretty pic-

tures — just create painted swatches

or vignettes of small objects. See what
the pencils will do for you.

Step One: Using an F graphite pencil, Step Two: Draw patches of watercol-
complete a contour line drawing on a or pencil on a scrap piece of water-
watercolor block. color paper, and use the patches to
load your brush. Shade each area of
the drawing with a light wash of the
appropriate color.

2. Practice creating an underpainting

with watercolor pencils. This simple
exercise will help you understand one
approach to watercolor-pencil paint-
ing. Choose a simple object to draw.
Focus on the object itself, and don't
worry about the background for now.

Step Three: Load your brush with Step Four: When the underpainting
more pigment. Wash a second layer is completely dry, use sharp, dry wax-
over each shaded section to create a based colored pencils to fill in details

darker value in the shadows. and highlights.

Ilustration by Julie Wolfson.

WATERCOLOR-PENCIL TECHNIQUES 47
 INTERMEDIATE EXERCISES

I. Do a black-and-white value study • Begin with a line drawing that will • Load wet brush with water-
a
in water-soluble graphite pencil, like serve as a map for the placement of soluble graphite. Lay in light washes

the one shown on this page. values. Using an F graphite pencil, depicting the light, medium, and dark
press very lightly so the lines won't be values.
• Analyze a color photo in terms of
evident in the final drawing.
its values: light, medium, and dark. If

you are having trouble determining

the values, take the color picture to a
photocopy shop. Make a good-quality

black-and-white copy of the photo,

and study the values.

4-6 4-7
The lines seen here are extremely heavy so that Studies such as this lay a foundation for working
they will show up clearly in this book. Your line with values in more ambitious drawings later.

drawing should be much lighter than this one. Visualize how color and details might be added
to this drawing.

2. Review the instructions in this

chapter for working with watercolor

pencils. Create a greeting card using

watercolor pencils or watercolor pen-

cils combined with ink. Fig.4-8 was
underpainted with watercolor-pencil
washes. Details were then added with
dry wax-based colored pencils.

4-8
The author underpainted each section of this

drawing with washes of water-soluble colored

pencil. Underpainting can cut the drawing time
by more than 50%.

Sandra Angelo, Santa, Claws, and I Wish You

a Merry Christmas, 1993.
Colored pencil. 5" x 7" (13 x 18 cm).

48 CHAPTER FOUR
 .

ADVANCED EXERCISES

David Dooley often uses watercolors to create an under- If you want a challenge, try to make a drawing based on this

painting and a collage of colored grounds. This step-by-step vignette in this demonstration. Or set up your own still life

illustration was produced on Crescent 300 Hot Press or use a photo as a subject for your artwork.
Watercolor Illustration Board because it doesn't buckle.
This surface also accepts watercolor pencils very well.

Step One: Establish a light contour Step Two: Start your colored-pencil place dark colors in a light area. Let
line drawing to delineate the place- application by laying in the darkest medium tones overlap both the light

ment of shapes and shadows. When colors first, establishing a value draw- and the dark tones, serving as a bridge
you are satisfied that your drawing is ing. (Use the transparent layering between the lights and darks.
accurate, lift any excess graphite with technique to build up the undercoat
Step Three: Using the same color
a kneaded eraser to lighten the lines. for burnishing.) Follow this with a
sequence, begin to burnish each area
Beginning with the lightest colors, sequence of colors, working from
of the drawing.
apply washes in each area that needs dark to light. Remember: Never spill

a colored ground. Let these areas dry. light colors into dark areas, and never

Step Four: Draw the finishing details with a very hard lead
pencil, taking care to sharply define the focal point and all

objects in the foreground. If you desire, you may spray your

drawing with several light coats of fixative to prevent wax
bloom from developing in the burnished areas.

David Dooley, Five in a Row, 1 99 1

Colored pencil, 20" x 28" (51 x 71 cm).

WATERCOLOR-PENCIL TECHNIQUES 49
 Workim on a Colored Ground

<
U
 (0)
\^y Have you ever felt harried, unable to slip into When you wish to draw on a colored surface, you
your creative world because of the pressures of time and have several options:
endless obligations? In a fast-paced lifestyle, how can we
grab enough time to do creative work? I've found a way! • You can choose a colored paper.
Drawing on a colored ground. A scene that would have • You can color white paper with washes, using water-
taken five hours to complete can now be finished in half colors, watercolor pencils, or an airbrush.
the time! • You can use a colorless blender to create a collage of
White backgrounds seem to beg to be filled in, but colored grounds.
colored backgrounds already seem complete. In addi-
tion, colored papers lend unity to the entire piece, bind- Let's look at some guidelines for using colored
ing each element together with tonal harmony. grounds.

SANDRA SAYS
This cat was completed on a plane ride from San Diego
to Chicago. When I have only a snippet of time, I can
whole drawing very quickly by using
actually finish a a
colored ground. A tremendous amount of time was
saved by simply choosing a paper that contained the
dominant hue found in the subject.

Sandra Angelo, Murphy, 1995. Colored pencil,

8/2" x 1
1" (22x28 cm).

5-1

"I want my drawing to be the dramatic one that grabs everyone's attention
when they walk into a gallery," says artist Thomas Thayer. He achieves this
sense of drama by using strong, bright colors on a dark background.

Thomas Thayer, Unity, 1994. Colored pencil, 20" x 16" (51 x 41 cm).
WORKING ON A COLORED GROUND • 51
 5-2
Because colored pencil is transparent, the paper

influences each hue. If you wish to use yellow on a

black paper, try making an underdrawing with

white pencil before you lay the yellow down. The

lemon on the top was drawn on black with pure

yellow, whereas the other lemon was undercoated
with white first. See how much more brilliant the

yellow is in the second drawing?

Illustration by Julie Wolfson.

5-3
These color charts show how
dramatically the same set of

colors change when applied to

various colored papers.

52 CHAPTER FIVE
 Testing Your Colors

Because colored pencil is transparent, the color of the

paper will influence each hue. Always test your colors
before beginning a drawing. Hues that appear to be

compatible may turn ugly when applied to a colored

surface. For example, yellow, which seems to be a per-
fect companion for black, will turn into a sickly lime

green when applied to black paper. (See fig. 5-2.)

If you want to prevent a dark paper from overpower-

ing your pencil marks, you can place a layer of white
pencil underneath it. This barrier of white will intensi-
fy the color itself and retain more of its brilliance.

Remember, however, that any hue applied over white

will take on a pastel tinge. To determine how colors will

be affected by a white sublayer, simply test them on a

scrap piece of the same colored paper. (See fig. 5-3.)

5-4

Setting a Mood By choosing a toned paper that contains the dominant color in your
subject, you can cut your drawing time and bring color harmony to
your work.
The mood of a drawing (fig. 5-4) is determined by the
Student work: Julie Wolfson (age 70), Elephant Study, 1996.
pressure used on the pencils and the value contrast Colored pencil, 8" x 13" (20 x 33 cm).

between a paper's color and that of the subject. Both

white and black can look intense on a medium-tone
paper. Yet when white is placed on black paper, it can
turn very gray. Although a black paper can make colors
appear sallow, this effect can be used to your advantage.
Applying colored pencil with a very light pressure
allows the color of the paper to pervade the pencil col-
SANDRA SAYS
ors, toning them down to create subtle hues. A heavier
application can achieve a strong sense of drama, like the To save time, some artists make a chart of all their colors on each
white-on-black treatment in fig. 5—1. of their favorite papers, so they don't have to test their pencils
before every drawing. I often test pencils on the back of my paper
while I am drawing. If I find a color that works well, I record the
pencil's name and number and the subject applied it to. When I I

return to my work later, know which pencils to use.

I'll

WORKING ON A COLORED GROUND 53

 Selecting a Colored Ground
Always choose your subject before you select a colored although it definitely has enough tooth to grip the wax
ground. Base your paper choice on the dominant hue in pencil, its texture is not overly bumpy. A heavily tex-
your subject. For example, when the artist drew the tured surface, such as that of pastel paper, will cause
heron surrounded by water (fig. 5-5), she used a blue pock marks in your drawing, which can be very dis-

paper. This saved considerable time because much of tracting. Unless you want to use the rough surface of a
the color she needed was already there. pastel paper to create a special effect, simply turn the
Trying to force a subject to fit an inappropriate paper paper over and use the smoother back side.

can meet with disastrous results. One of my students

tried to draw a peach-toned infant on lime green paper.
The result was a sickly looking baby.
5-5
Various colored cotton papers and tinted pastel
Colored paper can provide a tonal unity in an image where a particular
papers are suitable for use as colored grounds. Some color, in this case the blue of the water, is to be dominant.

brands of colored paper have a vellum finish on both Evelyn Fournier, Great Blue Heron, 1986. Colored pencil, 16" x 25"

sides. This slightly rough surface is ideal because, (41 x63 cm).

54 • CHAPTER FIVE
5-6
The texture of the paper in the background pro-

vides a nice contrast to the smooth surfaces in

the foreground.

Student work: Michael Smith (age i 6), Music to

My Eyes, 1996. Colored pencil and oil pastel,

I8"x24" (45.7x61 cm).

A textured surface should benefit the drawing rather marks will skid, and worse yet, in a few days the paper
than distract the viewer from the main subject. Here's a will begin to fade and disintegrate. Don't even practice
good test for evaluating the use of texture in a given on bad paper. You will get high-quality results only if

drawing. Ask yourself, "When I look at this drawing, do you use high-quality products. At first, it's best to buy
I notice the texture of the paper?" The answer should be just one sheet of a given paper and to test it before
no. Texture should amplify and enhance the drawing in beginning a time-consuming drawing.
an understated way, and should not draw attention If you wish to work on surfaces that will last indefi-
away from the subject. (See fig.5-6.) nitely, consider products such as Windberg Masonite
Usually artists select a colored paper because they Pastel Panels, Multi-Media Panels, and one hundred
want it to be seen. The paper's color will permeate your percent rag colored mat boards. These surfaces are great
drawing if you use a very gentle touch. You can achieve for work that will be handled quite a bit or carried
this look with the transparent layering technique. Place around. The extra thickness keeps the board or panel
smooth, even layers of color on your paper with a very from getting damaged.
sharp pencil. (A dull pencil will create an unattractive When selecting a surface for making your own
texture.) colored grounds with watercolor pencils or watercolor,
Before you invest a lot of time in a drawing, be sure always choose one that accepts water without disinte-
you are using a high-quality paper or other ground. I've grating. Multi-Media Panels, Windberg Panels, water-
seen many students put hours of labor into a complex color paper, and watercolor illustration board are all

project, only to be disappointed when the paper soon good choices. These have been properly sized and treated
fades or disintegrates. If you use a piece of construction for water application.
paper or colored papers made for children, your pencil

WORKING ON A COLORED GROUND 55

 Creating a Collage of Colored Grounds

Although working on colored papers is a fabulous way

to save time and effort, you may sometimes find that

instead of one solid background color, you need differ-

ent colored grounds for different areas of your drawing.

You can create a collage of colored grounds by using a

colorless blender, watercolors, airbrush, or even water-

color pencils, putting every color exactly where you

need it.

For example, if you want a strong black background

in one area, but black paper would not be suitable for
the rest of your drawing, you can simply apply black
pencil to one section. Then use a colorless blender to get
rid of the white flecks and leave the rest of the drawing
white. (See fig. 5-7.)

Underpainting with a
Colorless Blender

One of the most inexpensive and wondrous tools

invented for the colored-pencil artist is the colorless
blender (see chapter two, page 16). Unlike watercolors,
this blender will work well on any drawing surface to

create background color. Although some illustrators

may complete a rough sketch using just the blender over

one colored pencil, most artists simply use it to under-

paint their drawing surface. All blended areas are then

covered with plush layers of colored pencil.
In each section that requires underpainting, select the
area's lightest hue for the ground. This light color will

show through subsequent layers and contribute the

highlights to the area. (Because colored pencil is trans-

parent, using a dark underpainting would prevent you

5-7
from obtaining light colors in that section.)
You can use colored pencils and a colorless blender to create colored
grounds only where you want them. Parts of this drawing have an under- To avoid muddy colors, apply the blender to only one
coating of black, whereas the top and bottom of the vase were under- color. Although the word blender implies that the tool
painted with a mulberry hue.
should be used to be meld multiple layers of color, this
Sandra Angelo, Shadow's Nap, 1993. Colored pencil, II" x 8/1"
misnomer. (A better name would be colorless mark-
is a
(28 x 22 cm).
er.) If you blend numerous hues with this tool, they will

look murky. The blender simply tints the paper with the

56 CHAPTER FIVE
DEMONSTRATION

Using a Colorless Blender

Richard Thompson set up this still life For this drawing Thompson under-
next to his window and worked in his painted each section with a marker.
studio at the same time each day so Whereas the dyes in markers are fugi-

that the lighting would be consistent. tive (meaning that they will fade), pig-

Because natural light changes rapidly, it ments in most professional-grade col-

took him several weeks to complete ored pencils are not. You can achieve
the drawing. If you want to ensure the same effect by simply underdraw-
consistent lighting for a still life, you ing each section of the paper with the
can draw in a dark room with a spot- appropriate colored pencil. Then blend
light on your arrangement of objects. each section with the colorless
Or you can take a slide or photo of it. blender. Together these blended areas
will serve as a collage of colored
grounds for your drawing.

^ w
^._

Step One: Begin by applying a single Step Two: To achieve the rich look
layer of one colored pencil to each associated with professional colored-
section. Use the colorless blender to pencil drawing, multiple layers of col-
stain each area. If you stop right after ored pencil have been built over each
Richard Thompson, Still Life with Cutting
you've applied the blender, your draw- blended area. 16"
Board, 1991. Colored pencil, 16" x
ing will look like it was done with a
Numerous
Final Drawing: layers of (40.6 x 40.6 cm).
marker. Although this look is fine for
colored pencil have been layered over
abbreviated illustrations by fashion
the underpainting to produce lumi-
designers or art directors, it is not
nous colors.
suitable for fine art renderings.

WORKING ON A COLORED GROUND 57

 5-8
This dramatic "worm's-eye view" (discussed in

chapter six) of the sycamore tree was under-

painted with watercolors to create a collage

of colored grounds.

5-9
The artist then applied colored pencils over the

washes.

Julie Marguerite Allen, Arizona Fantasia, 1990.

Colored pencil, 30" x 22" (76 x 56 cm).

mix hues, use col- don't see any color on your paper. The tip of the blender
first and lightest color. If you want to
will most likely appear stained, but if no color is appear-
ored pencils over the colored paper that you've created
ing on the paper, it is clean and ready to be used in the
with the hlender.
next section. Each time you finish blending, replace the
Be sure to clean the blender between every color
make sure it's tight, listen for a
application. To do this, use a scrap piece of paper and
cap immediately (to

you snap) or the blender will dry out.

keep running the blender over the surface until

58 • CHAPTER FIVE
 5-10
This artist underpainted her paper with watercol-
or pencils to create a colored ground. Leaving
most of the underpainting untouched, she simply
added a few details in the foreground with colored
pencils.

Student work: Doris Martin (age 77),

AtThe Dunes, 1997. Colored pencil,

8>A"x II" (22x28 cm).

J.MocLin-

Underpainting with Watercolor enjoy the advantages that a brush can bring to your
drawing. Whereas work created with a blender and a
When you wish to create an underpainting with water- pencil tends to be tight and controlled, brushes can cre-
colors or watercolor pencils, you'll need to apply many ate loose and spontaneous renderings. It is fun to play
of the rules for underpainting with a colorless blender. around with these methods to see which direction you
For example, it is usually best to restrict the under- would like to take. Often a strong case can be made for
painting to the lightest tone in a given area. Apply a sin- tightening up a drawing, yet the same drawing can be
gle color wash to each area, and finish the drawing with delightful in a loose style. It is simply a matter of per-
dry pencils. (See figs.5-8 and 5-9.) sonal preference.
However, unlike those made with the colorless If you decide to apply dry pencils over watercolor
blender, watercolor washes may look quite attractive on washes, wait until the wash is completely dry. If you
their own without multiple layers of colored pencil. You don't wait, the pencils will skid, and pigment will have
might limit your drawing to just a few key details, trouble adhering to the surface of the paper. I always use
allowing the watercolor-pencil drawing to look like a dry wax-based pencils to draw on washes. Although
watercolor painting. (See fig.5-10.) watercolor pencils produce vivid hues when water is
When you use watercolors or watercolor pencils, added, their effects are fairly lackluster when used dry.

WORKING ON A COLORED GROUND 59

 Monochromatic Drawings on Colored Papers
If you want to create a drawing with very subtle drama, Method Two
try using only one colored pencil or a series of colored
pencils to create hues of the same family (See fig. 5-1 1 ). You can take your graphite rendering to the copy shop
These muted drawings can be very effective. and photocopy it onto colored paper. It is best to make
A monochromatic drawing can be created with a lim- your photocopy about two shades lighter than the orig-
ited palette of colored pencils or by simply using inal drawing so that when you add color, your drawing
graphite with one or two colored pencils. Combining won't look muddy.
graphite with colored pencil seems less daunting to This method has one drawback. If you are not care-
beginners. After all, everyone has been using the pencil ful, you can accidentally lift the photocopy ink off your
since grade school for everything from arithmetic to paper as you work. To avoid this problem, you can spray
phone messages. the toner with a workable fixative, or you can start
It is also less threatening to use a photograph as a ref- applying color in the bottom right-hand corner and
erence, since the subject will hold still and the lighting work toward the top left. (Reverse these instructions if

remains static. If you need to modify your photo refer- you are left-handed.) This way, your hand will be
ence, consider doing a black-and-white study on white touching only the areas that have been covered with col-

paper first. Work out the composition problems, the ored pencil. You may need only a few pencils to com-
textures, what to leave in, and what to leave out. Then plete a monochromatic drawing over the photocopy.
transfer this drawing to colored paper. There are two
ways to do this.

Method One

You can complete a graphite drawing on a colored

paper. After you are satisfied that the drawing is accu-

spray with a light coat of workable fixative to seal 5-11
rate, it
Although the predominant hue in this monochromatic drawing is a grayish
the graphite and keep it from smudging. Now you can
green, the artist broke the pattern slightly with selective patches of golden
use white or a few light-colored pencils to add the brown.
brightest highlights. Because your drawing already has a Thomas Thayer, Winter Warming, 1991. Colored pencil, 30" x 20"

full range of values, you won't have to apply much color. (76x51 cm).

60 CHAPTER FIVE
 WORKING ON A COLORED GROUND 6!

«
 BEGINNER EXERCISES

To learn how to make an underpainting with a

blender, try copying the step-by-step drawings on
If this seems too easy, choose your own simple
object, and use the colorless blender to create
painting.

Step One: Complete a Step Two: Fill in the Step Three: Using the tip Step Four: Layer colored
contour line drawing of the contours with appropriate of the blender, go over each pencil over the underpaint-
foxglove, using an F graphite colors, using a dry colored section until the colored ing until the drawing looks
pencil. Be sure to use very pencil. pencil is blended and the rich.

light pressure so your lines pigment has saturated the

will not show in the final paper. Be sure to clean the
drawing. blender when changing
colors

62 CHAPTER FIVE

.
 INTERMEDIATE EXERCISES

Look at the monochromatic drawing 2. Use up to five different colors to

in fig.5-12. Notice how the paper's create a single hue. For example, what
color is used as a value in the drawing. colors would you use to create a
Compare this to fig.2-9. Even though range of values in a drawing of white
both artists drew a car, the end results eggs?
are extremely different. What makes
Consider using a subdued palette and
Thomas Thayer's drawing more breaking the monochromatic mood
dramatic?
with one colorful element. For exam-
I. Using only a white colored pencil, ple, in fig.5-1 3, the artist created
create a drawing on a dark or medium- most of the drawing with monochro-
tone colored paper. Choose a subject matic tones and then altered the
that contains a variety of light and mood by adding a child in a brightly
medium values. To achieve light values, colored outfit.

press harder. To create dark values,

decrease pencil pressure and allow
the paper to show through.

5-12
This monochromatic drawing was accomplished

with just three hues.

Student work: Kathryn Vierra (age 48), Volvo

Sport, 1995. Colored pencil, 9" x 8"

ml H (23 x 20 cm).

&fc&M>3ri!

§V?

1
:' ff M
Ay/;

^M
B; ^^HHJ^B
5-13

Ek ^B~ ^b g-^ IBJjji The monochromatic treatment of this drawing is broken by the child

dressed in red. This contrast, intensified by a strong light source, adds

§'!- '
^iB drama to the work.
Ul, JE§9
Ken Raney, Dino Walk, 1991. Colored pencil, \0'/i" x 8" (27 x 20 cm).

WORKING ON A COLORED GROUND 63

1
 ADVANCED EXERCISES

1 Create a drawing on a colored glass. Create a flat pattern drawing, • Use a palette that appeals to you.
ground in which the negative space using the colored pencil, the colorless You can base this palette on formal
depicts the subject. To compose a neg- blender, and a technical pen with per- color theories or simply select hues
ative space drawing, choose a subject manent black ink. based on your personal whims. If you
that has an interesting silhouette. are curious about what palette appeals
• For your subject, choose a brightly
Leave the silhouette devoid of pencil to you, look in your closet. You gener-
colored photograph, preferably a com-
and simply define the subject by draw- ally dress in your favorite colors.
position with three or more distinct
ing what's around it. (fig.5— 14)
shapes. • Fill each shape loosely with a col-
2. Study the work of Matisse. Notice ored pencil, and then blend all or
• When sketching the subject, make
how he often used flat color to depict
the shapes flat and arrange them on
some areas with the colorless blender.
each shape. He also loved to use pat-
the paper to your liking. This exercise • Use colored pencils to apply thick
tern, and the heavy outlines around
is not about realistic representation, layers of flat color to each shape, until
his objects resemble those of a color-
so have some fun with it. you have thoroughly covered the
ing book or the lead lines in stained
entire paper.

• Try outlining some or all of the

shapes with permanent black ink.

*. '^

'A

w *«
i
5-14
The negative space in the silhouette of the tree interacts with the negative
space of dark blue sky showing through the clouds.

Student work: Deborah Settergren (age 43), Palms, 1996.

Colored pencil on black paper,

5-15
8"x II" (20x28 cm).
The look of textured paper is generated by a patchwork grid of detailed
lines behind the main figures.

Student work: Kyndell Everley (age 17), Shogun, 1998.

Colored pencil, 10" x 15" (25 x 38 cm).

64 CHAPTER FIVE
The Drawing Process
 Design Techniques
_
<
I
U

6-1
An effective compositional tactic is to blow up a subject to fill the entire

page. A heavy black shadow helps anchor the image in the picture frame.

Shelley M. Stewart, Red Hot Mama in Repose, 1995.

Colored pencil, 13" x 18" (33 x 46 cm).

 <

Loud splashy drawings. Soft, subtle moods.

Arresting drama. Bold statements. These are just a few
of the effects that can be achieved by applying a range
of design techniques to your drawings. Creative compo-
sition can make or break a drawing.
Whether you are building a photo reference file or
sketching on location, it is helpful to use a viewfinder
such as a camera or an empty slide mount to determine
the best composition of the elements in your drawing.
If you hold a viewfinder in front of you, look through
it, and move it around, you'll be able to see the subject
from differing points of view. If you are shooting static

subjects such as landscapes, you can try several different

points of view.

Composition 6-2
Two legs divide this image roughly into thirds, with objects in the foreground placed
Six basic techniques are generally used to create inter- on either side. Although the center of the drawing is open space, the composition
looks balanced.
esting compositions. These apply to all two-dimension-
al art, including paintings, drawings, and photography. Student work: Valerie Hacker (age 16), In Flight, 1997.

Colored pencil, 18" x 24" (46 x 61 cm).

You will find that many great compositions incorporate
several of these techniques. As a beginning artist, it is a
good idea to use these techniques when composing
your drawings. Once you have mastered the rules, you
will then know when it is appropriate to break them. Sometimes when you are taking pictures of moving
You should always be aware of composition, even objects, you won't have time to compose the picture. In
when you do small drawings on your sketch pad. Each that case, just point and shoot at the moving target.

time you place an object on the page, remember that it Next, take a photo of the background, composed in the

is cutting into the negative space. Make sure that the way you would like to draw it, and later combine the
spaces behind the subject are as interesting as the fore- two photos to create your composition. Be sure to shoot
ground. Integrate the positive and negative spaces until the background at the same time of day, so you won't
each piece of your drawing contributes to an interesting have problems with varied lighting.
composition.

DESIGN TECHNIQUES 67

- '
lm
 Six Techniques

One: Use a Blow Up

Make the subject fill the entire page, as in fig.6-1. This

technique can produce a dramatic effect by bringing

things into focus "up front and personal."

Two: Consider the Concept of Thirds

The most boring place for the subject is the center of
the page. It is usually more pleasing to place the focal
point in one of the outside thirds. (See fig. 6-3.)

Three:Take a Bird's-Eye View

Sometimes it is more interesting to look down at a sub-
ject rather than draw it from eye level. This point of
view can provide the viewer with a unique perspective
that causes them to pause and think about the subject
in a new way.

6-3
This student creates an intriguing image by blowing up his subject, placing it off

center, and leaving much of it out of the picture frame. Fully half of the image is

negative space, which interacts with and draws attention to the curved outline of

the subject.

Student work: Nicolas Coldren (age 14), The Man's NewToy, 1998. Colored
pencil. 12" x 9" (30 x 23 cm).
6-4
This bird's-eye view of a basketball game presents the viewer with a

unique and dramatic point of view.

f
i»e;U

Student work: Christy Dunkle (age 16), The Meek May Inherit the Earth,

but They Won't Get the Ball, 1 99 1

x 24" (46 x 61 cm).

i;

Colored pencil, 18" cn

68 CHAPTER SIX
 Six: Push the Subject Back
Compositions with a distant subject can visually draw
the viewer in for a closer look. One way to achieve this

is to frame the subject in such a way that the viewer is

invited to look through a window. (See fig. 6-5.)

Another way of pushing the subject back is to blur the

foreground and add detail to the background. Because

a camera with a zoom lens will do this beautifully,

photographers often use this principle.

6-5
This artist takes advantage of the distortion that can come from a

worm's-eye view. The focal point (the doctor's eye), drawn smaller than
the hand and framed by the magnifying glass, appears "pushed back" into

the distance.

Student work: Kathryn Vierra, (age 48), Dr. Death, 1995.

Colored pencil, 10" x 8" (25 x 20 cm).

FourrTake aWorm's-Eye View

Looking up at a subject can provide a distorted and
somewhat provocative point of view. The artist used
this perspective to create the drawing in fig. 6-5. It can
dramatically alter the impact of an artwork.

Five: Use Converging Lines

To lure viewers into the picture and invite them to dis-
6-6
cover the focal point, converging lines are often used.
The converging lines of the railroad tracks lead the viewer to the focal
These directional lines don't have to be linear in nature. point of the drawing.
They can be composed of an uneven row of bushes or a
Student work: Ken Cook (age 42), My Only Drawing, 1993.
group of men on a railroad track. (See fig. 6-6.) Colored pencil, 20" x 16" (51 x 41 cm).

DESIGN TECHNIQUES 69

^
 Working Out a Composition

As you arrange your composition, consider doing some

thumbnail sketches. This is a great way of thinking with SANDRA S AYS
a pencil. Draw a few small boxes in your sketchbook.
Master artists typically display only their best work in
With a graphite pencil, rough out a variety of layouts
galleries, publications, and national shows.This excel-
inside each box. Use several different techniques of
lence might tempt us to believe that masters are simply
composition, and determine which is the most appeal- "born brilliant." Surely they just sit down at the drawing
ing. Once you settle on a good composition, draw it on table and spin out masterpieces.

a larger sheet of paper. If you are still not satisfied, lay The truth is far different. I regularly interview gifted
tracing paper over the sketch, and try out possible addi- artists and hear of their struggles, see their work in

tions. By moving the tracing paper around, you can progress, and view the rejects on the studio floor.Their
tenacity is what separates them from others. They are
consider placing objects in different areas without hav-
willing to push themselves, challenge the imagination,
ing to change your sketch.
redo work, and settle for nothing but their best, until
Students frequently settle for their first or second the work finally reaches its zenith.
idea. Force yourself to create a minimum often to twen-
ty sketches before you decide on a layout. Barbara

Edidin (whose work appears on pages 41, 85 and 110),

does her thumbnail sketches with a camera by shooting
as many as seventy photos before she is satisfied with
her composition. Pushing the brain and forcing it to

think may be somewhat challenging, but in the long run

your work will turn out better if you do so. Very few
people create something brilliant on the first try.

6-7
By allowing his subject to expand beyond the
picture frame, this artist creates an image that

seems to pop off the page.

Student work: Martin Villalobos, Jr. (age 20),

Road Rage, 1998. Colored pencil on illustration

board, 10" x 14" (25 x 36 cm).

70 CHAPTER SIX
 Atmospheric Perspective: Creating Depth

Creating an illusion of depth on a flat surface can be a

challenge. Six techniques of atmospheric perspective 6-8
The artist focuses our attention
can help solve this difficulty and infuse drawings with
on the salt shakers in the fore-
lifelike dimension. You can modify photos or live
ground by rendering every
objects by using these principles. You'll be amazed at precise detail. The reflections are

how much you can improve on what you see! blurry, causing them to recede.

The process of altering reality is called artistic Deborah Currier, Salt Shakers,

license — a license to change, twist, defy, and transform

1989.

(102x71
Colored
cm).
pencil, 40" x 28"

objects until they suit your creative purposes. As with

any license, the privilege to use it must be earned.
Although some of the best art is created by breaking the
rules, you should use and master these techniques first,

until you understand them so thoroughly they become

second nature to you. Practicing the techniques will
help you develop an intuitive sense of when and how to
defy convention.

Six Techniques

One: Focused or Fuzzy

Make the objects that are close to you appear sharper 6-9
The largest tree appears to be
and more detailed. Blur the objects that are farther
the closest, while smaller trees
away. This concept is true to the way that the eyes actu-
appear to be distant.A limited
ally work. You can't focus on objects in the distance color palette adds interest and

while concentrating on objects that are close. Spend contrast to the composition.

some time looking through a camera with a zoom lens Allan Servoss, Three in the

Afternoon, 1997.
and observe what happens to the foreground and back-
Colored pencil and graphite,
ground as you focus on different objects. (See fig. 6-8.) I2"x8" (30 x 20 cm).

Two: Larger or Smaller

Objects that are close always appear larger than those in
the distance. You can exaggerate the size of the object to
make it seem even closer. (See fig. 6-9.)

DESIGN TECHNIQUES • 71
 6-10
To create depth in this drawing, the
artist has used more than one of
the techniques discussed. Can you
identify them?

Bruce S. Garrabrandt, Why Owls

Are Nocturnal, 1995.

Colored pencil on Bristol vellum,

10" x 15" (25 x 38 cm).

TOUJ i'J ^^^S3S

|^. :
Three: Higher or Lower
Objects that are lower on the page appear to be closer
*?» VV- »\ 1/
than those that are higher. In fig. 6-10, the owls, which

^mi Ik
appear the farthest away, are drawn
the page.
object, is
The coffee pot, which appears
drawn so low on the page,
at the

to

its
very top of
be the closest
bottom is

1 cropped off.
;

Js i
,i
Four: Bright or Dull
*
tIII ff ^^^^^ fri As objects recede into the distance, their colors become
\
i
muted. Bright colors come forward, and dull colors
recede. To dull a color and push it back into the dis-

6-11
Warm, bright colors have a tendency to come forward, whereas
cool, dark colors recede.

Darryl J.AIello, Palm Saga, 1995.

Colored pencil on medium texture paper, M" x 15" (28 x 38 cm).

6-12
The converging lines of this car, leading to the far right corner of

the drawing, give the viewer a sense of both depth and motion.

Student work: Brian Bonner (age 15), On a Sunday Afternoon,

1996. Colored pencil, 15" x 20" (38 x 51 cm).

72 CHAPTER SIX
 6-13
tance, you can simply add some of its complement, as Overlapping objects
throughout this work help
discussed in chapter three. (See fig. 6-1 1.)
designate which objects

are closer and which are

Five: Converging Lines further away.

Converging lines, mentioned before, are essentially lines Karen Warner, Bon
that create perspective and depth in a drawing. Appetit, 1 998. Colored

pencil on Bristol board,

Sometimes these lines will be part of an object, such as
16" x 10" (41 x25 cm).
the sides of a building that diminish in space, or railroad

tracks that merge as they move back into the picture.

However, converging lines can be composed of objects,

such as a row of pumpkins in a field.

Six: Overlapping Objects

Objects that overlap others appear to be closer than
those that are being overlapped. In fig. 6-13, for

instance, the body of the moth in the upper left-hand

corner overlaps the monkeys to help distinguish which
is closer. The monkey on the left then overlaps the white
column and yellow leaf behind it.

BEGINNER EXERCISES

I. Look through magazines to find 2. Choose one of your drawings or

examples of each of the six tech- photo references that has a boring
niques of composition and the six composition. Work out at least ten to
techniques of atmospheric perspec- twenty thumbnail sketches until you
tive.Many drawings may use more have settled on a better solution.
than one of these techniques. (See Draw (or redraw) the subject, using
fig.6-14.) Put a sticky note on each the improved composition.
page indicating the technique(s) you
found. Ask your teacher to check
your work and make sure you are
identifying the correct techniques.

6-14
Many drawings use multiple techniques of perspective to create a sense of depth. In this drawing, the

artist used five of the six: I . the foreground is detailed and the background is fuzzy; 2. the girls in the

front are larger than those in the back; 3. the dancers in the front are placed lower on the page; 4.
bright colors dominate the foreground and dull colors, the background; and 5. the dancers in the

foreground overlap the girls who are farther away.

Thomas Thayer, Kneeling at the Mirror, 1993.

Colored pencil, 26" x 21" (66 x 53 cm).

DESIGN TECHNIQUES 73
 .- INTERMEDIATE EXERCISES I

I . Draw a subject, showing only what

you need to know. See how much you
can leave out and still communicate
the message. It can be intriguing to
the viewer if you leave out all but the
most necessary information, leaving

the rest to the imagination.

6-15
By focusing attention on the red shoes without
drawing the person wearing them, the artist

invites the viewer to use his or her imagination

to complete the picture.

Student work: Elaine Rimmer (age 60), :*m

My New Shoes, 1995.
lg&6ii, &rma-<&ms-
Colored pencil. 6" x I I" (15 x 28 cm).

2. Create a composition from a bird's-

eye view or from an insect's point of

view. Don't forget, objects seem dis-

torted when viewed from above, and

to a bug, everything seems huge!

6-16
This unusual bird's-eye view shows the subject

actually taking flight. By extending the skate-

board and part of its rider beyond the confines
of the picture frame, the artist emphasizes the

feeling of height and motion.

Student work: Shane Nakamura (age 14),

Snowboorder, 1997. Colored pencil,

17" x 22" (43x56 cm).

74 CHAPTER SIX

te^
 .

ADVANCED EXERCISES

1 Draw the same object three times. uses these principles than it is to • Peer through a keyhole, and draw
Use a completely different point of modify the composition later. If you what you see.
view each time, to create three have a camera, go out and shoot • Look in a mirror, and draw every-
unique compositions. Also consider some photos from an unusual point of
thing you see, including the mirror
modifying the atmospheric perspec- view. If you don't have a camera, here
frame and whatever is behind it.

tive to heighten these differences. are a few ideas for creating an unusual
point of view:
• Draw an object as it is reflected on
2. Complete a drawing that incorpo-
a shiny toaster, a chrome detail on
rates at least three techniques of • Set up a still life on the floor or on your car, a rearview mirror, a mud
composition and three techniques of the top of a cupboard, and draw it.
puddle, a television or computer
atmospheric perspective. It is much • Look at the subject through a win- screen, or another reflective surface.
easier to shoot a good reference that
dow, and draw it.

6-17
In this imaginative piece, a monster mouth frames a hallway full of converg-

ing lines that lead to a blank wall.

Student work: Jesse Boyer (age 14), Hallway Seen from Mouth, 1998.

Colored pencil, 24" x 18" (61 x 46 cm).

DESIGN TECHNIQUES • 75
>
The Creative Process
—

Q_
< 7-1

u Surrealist artists are adept at

creating a break from reality by

using common objects in uncom-

mon situations. A clever title adds
to the humor of this piece.

Sylvia L. Porter, "Calvin Equine"

Clotheshorse, 1992.

Colored pencil on colored paper,

24" x 18" (61 x46cm).
 —

Creativity is an enigma. It is not easy to teach

someone how to be creative. In math, a teacher can state

that one plus one equals two with the assurance that
there is only one solution to that problem. In art, there
are millions of correct ways to draw a still life.

Certainly the methods covered in this book do not

constitute the only way to develop creative skills. There
is no formula for creativity. The beliefs and ideas pre-
sented here are based on a classical approach to art

the tradition of building basic skills as a foundation for

creative expression.

Most students fall within one of the following three

categories. First, there are gifted students who simply
need a brief demonstration of materials and tech-
niques. They are born with innate talent, have taken
time to develop it, and, after receiving a few instruc-
7-2
tions, they take the ball and run with it. They are bored
This student combined references with ideas from imagination, allowing the
by repetitious directions and restrictive guidelines.
subject to escape the border to add drama to the piece.
They absolutely loathe copying and have the skills to
Student work: Jesus Sanchez (age 19), The Chase, 1996.
express original thought. Colored pencil on vellum Bristol board, 8" x 16" (20 x 41 cm).

Second, there are students who have latent ability but

have not had the luxury of pursuing their creative
urges. Although they are gifted, they are completely
lacking in training so they need to be taught the basics.

They absorb these principles quickly, and once they refrigerator. They are not sure what kind of paper to

have acquired fundamental skills such as drawing and use, how hard to press, what it takes to dull a color, and
knowledge of color theory, composition, perspective, so forth. Although they are intrigued by the creative
and technique, they are off and running. process, they can't yet tap the imagination. They are not

The remaining students need a lot of guidance. They even sure that they can be creative. They need specific
either have had no background in art or their experi- directions, a description of the creative process, and an
ence was so frustrating and their work so undeveloped overview of basic rules. This chapter was written mainly
that it never even was displayed on the kitchen for them.

THE CREATIVE PROCESS 77

 For the Beginner

Master the Basics

/%&k
If you don't have basic skills, you will always struggle

with creativity. You may have great ideas, but you won't
have the ability to pull them off. Acquiring foundation-
al skills is basic to all disciplines. If you wanted to
become a writer, you would first take a course that
teaches you the fundamentals, such as grammar, punc-
tuation, syntax, and spelling. Once you master the
basics, you can become a creative writer. Without these
skills, you could not communicate your creative ideas to 7-3
your reader. Orville's first drawing was pretty weak. Just eight weeks later, after com-
pleting a video drawing course, his drawing had dramatically improved.
If you have not completed a drawing course, take one.
Student work: Orville Thompson (age 58), Self-Portrait, 1989.
If you can't take a course, buy a book and some videos,
Colored pencil, 8" x 10" (20 x 25 cm).
and teach yourself how to draw. You will never succeed
in any artistic medium until you know how to draw.

Begin with black-and-white drawing, and study propor-

tion, line, shading, and texture. Then tackle color theo- Find a Good Teacher
ry. If you don't know how to mix color, you will always

be frustrated. If you are a beginning student, find a teacher who is

If you are just getting started in art, follow the step- nurturing and supportive. (If you are a high school stu-
by-step demonstrations in each chapter in this book. dent, start by taking the art courses offered at your

Whereas intermediate and seasoned artists may not school.) Once you find an instructor you like, stay with

need such detailed instructions, beginners will find that teacher until you have mastered the basics. Because
these specific guidelines helpful because they break a every art educator teaches differently, a beginner may
complex process into easy-to-understand steps. become very confused by switching from teacher to
Don't be discouraged if your initial skills are not very teacher.

strong. Orville Thompson's first drawing (see fig.7-3)

proves that he did not immediately show signs of talent.

To build a solid foundation in drawing, he practiced the Try a Variety of Styles and Media
lessons in a drawing program by the author. (For a list-

ing of Sandra Angelo's books and companion videos, Once you have mastered the basics, it's a good idea to

see the Appendix.) In just eight weeks he was creating try a wide variety of classes in various media with a

photographic-quality renderings. Once a person has sampling of instructors. Research the instructor's artis-

acquired basic skills, creative work is no problem. (For tic approach before you sign up for a class. An artist

another examples of later work by Thompson, see who specializes in realistic renderings will teach that

fig.7-7 in this chapter and fig. 1 1-13, page 128.) style. You will learn different techniques and approach-
es from a teacher with an impressionistic bent. Explore
everything. As you take workshops and classes, notice

78 CHAPTER SEVEN
 7-4
A supportive high school art teacher can provide strong encouragement
and guidance for developing creative ideas and technical skills.

Student work: Ulises Kullick-Escobar (age 15),

Thinking About You, 1995. Colored pencil, 17" x 14" (43 x 36 cm).

[r / f 1 1
"**»,

fl» < ' After this stage, you will be ready to create your
ft
J>' j^* f/if own collection of technically masterful, compelling
M^^ visual art.

LJm^/JKfk
Emulate the Masters

Throughout history, professionals in every discipline

J i
have learned by emulating the masters.
gained by studying an expert's style and imitating what
you see.
Much can be

If you visit the Norton Simon Art Museum in

. J j)j Pasadena, California, you will see a Nicolas Poussin
painting in the wing devoted to works by Edgar Degas.
You may wonder what a Poussin is doing in that wing.
j

**HE»^^^^^|L
^
->»»-
/
^' -

^B|
SANDRA SAYS
your personal reaction to the new media and I attended the Rhode Island School of Design, one of
the nation's leading art schools. It has a wonderful art
techniques. Some methods will make you purr, and
collection in its private museum. Teachers there
some will set your teeth on edge. But it's valuable to try
encourage students to study different works, and to
styles and media that initially don't appeal to you. You mimic the colors, composition, textures, and techniques
will be surprised to see how many techniques can be used by artists who have been singled out as extraordi-
folded into your own style. You will be influenced by nary leaders.

everything you study. In my color theory class, my college professor asked us

Throughout the intermediate stages of exploration, to reproduce a painting by a master in order to under-
you will begin to discover your own favorite style, sub- stand color mixing. I chose one by Edward Hopper
because his work looked easy. have never worked so
I

jects, and media. Pursue them, even if they surprise

hard in my This man understood color and light,
life!
you, until you are certain that they provide the best
and to duplicate his work required extensive mixing.
avenue for your own unique artistic expression. Then Although the process sometimes seemed tedious and
find an accomplished teacher who specializes in your exacting, when I was finished, I had a new appreciation
favorite media and style. Study with this person until of color.

you have mastered everything he or she has to offer.

THE CREATIVE PROCESS 79

_
 7-5
Although most colored pencil artists tend to work
with realistic portrayals of a given subject matter,

abstract artists can also use the medium to their

advantage.

David Schoch, All 72!, 1991.

Colored pencil on 70 lb. drawing paper,

3
I I V" x 1
/," (28.5 x 44 cm).

Well, Degas painted it — in order to learn from Poussin. Guidelines for Creating
Traditionally, masters have copied other masters to
Original Art
learn about technique, color, style, and more. Although
there is nothing creative about replicating a master's

work, valuable skills can be gained from For a begin-

it.
Expose Yourself to Creative Art
ner, emulating style often helps provide an insight into
the ways of the master. For example, copying fur drawn When you are inspired to create an original piece of art, !

! r

by a master will help you learn how to draw animals. you often have something you want to communicate
Some art teachers frown upon copying the work of visually. Like a writer who does research for a book or a
other artists and feel that creativity is better developed
magazine article, you can improve the quality of your
by drawing from life. Ultimately, there is no right or
drawing by investigating your options and drawing
wrong way to learn to draw. Start by trying whatever inspiration from the masters who have gone before you.
method your teacher suggests. Later you can always To begin your research, surf the Net, go to the public
experiment on your own. Remember, emulation is only
or school library, or create a library at home. Look at a
a beginning. Once you've learned the basics, it is much collection of books that contain work done by your
more satisfying to move on to personal creative self- favorite artists in styles that inspire you. Build a refer-
expression. There's probably nothing more fulfilling
ence library if you can, so that you can peruse your own
than creating your own original visual statement, some- books when you are trying to be creative. If you can't
thing very personal that comes from your soul.
afford books, consider buying posters, prints, or post-
cards of your favorite artworks, and hang them in your
studio for inspiration.
A wonderful way to view a wide collection of contem-
porary art is to look at the Society of Illustrators Annual.

(See Resources in the Appendix.) It offers up the year's

most creative visual solutions to a variety of illustrative

80 CHAPTER SEVEN
 I TFESOCIEIYOF ILLUSTRATORS
problems, many of which you may encounter in your
I
TWENTY EIGHTH ANNUALOF
own work. Browsing through the pages of this annual is / AMERICAN ILLUSTRATION
like wandering through hundreds of galleries in one sit-

ting. Looking at a multitude of styles and compositions

may spark ideas that will take you in new directions.

Although your own work won't be an exact copy of an

illustration that stimulates you, it can plant a seed of
creativity and get your artistic juices flowing.

You can usually find copies of these annuals at your

local library; if not, ask the librarian to order one. If you

can afford them, add a few to your own library. Past

issues are often available at a discounted price. Ordering

information can be found generally in the back of the
annual or at your local bookstore in Books in Print.

Stimulate your mind by collecting as many books, art

magazines, postcards, posters, and annuals as you can
afford. Many bookstores, discount stores, and used
bookstores have regular sales on such books, especially
annuals that have expired. Over time, you can build up
a nice collection. Whenever you need creative inspira-

tion, take your books off the shelf and wander through
them, jot down notes, and create sketches.

Practice Creative Synergy

7-6
Because this juried book contains the year's finest solutions to creative

A synergistic effect occurs when creative minds work illustration problems, the annual is a great source of inspiration and ideas.

together to enhance their artistic energy. When two cre- Cover drawing by Bill Nelson, Rocking Roy, 1992.

ative people work together, in a sense they produce a Colored pencil on charcoal paper, 20" x I
5" (50 x 38 cm).

third, more inventive mind that is capable of greater

accomplishments than two people working separately.
Just being in the company of a group of artistic people
can be mentally stimulating. Taking classes, looking at
SANDRA S AYS
other artists' work, and visiting museums, galleries, and I was recently developing a series of drawings about
art shows can be very energizing. relationships. One day while driving fifty-five miles per
You can even find good ideas while shopping. hour down the freeway, I spotted a motorcycle next to

Whenever you look at creative work, your mind will be me, carrying a yuppie dad and his toddler, who were
both dressed in black leather jackets and spanking new
stimulated. Peruse gift shops, card stores, and print gal-
helmets. They were traveling down the highway without
leries. Even flea markets, vegetable stands, holiday
a care in the world. My friend grabbed my camera and
parades, beaches, parks, gardens, garage sales, and junk
took the reference for my next drawing. Who would
yards can spark creative ideas. Carry a camera every- have thought I'd find inspiration on the freeway!
where you go. You can never tell where you will spot a

good idea for a drawing.

THE CREATIVE PROCESS 81

 7-7
The creative vision of an artist can

transform the most ordinary-

object into a work of art.

Chris LaMarche, The Last Drop,

1997. Colored pencil on 100 lb.

Bristol board, 10" x II"

(25 x 28 cm).

Ml

::u

SANDRA S AYS
References are essential for most artists. at how weak that demo was compared to
Recently was demonstrating how to
I the drawing I had left at home. Luckily I

draw an apple. The night before my demo, was demonstrating to beginners, and they
I spent several hours practicing drawing thought my apple looked But when
fine. I

the apple and used over twenty-three col- got home and compared two draw-
the
ored pencils to re-create what I saw. I ings, I was astonished to see how much I

stored the apple in the refrigerator had forgotten about that apple.
overnight, intending to take it to class for
the demonstration. The next day when I

reached for it, it had been eaten. I

thought, "Oh well, how hard can it be to

draw an apple from my head? just drew I

one last night." Well, you would be amazed

82 CHAPTER SEVEN

^-
 Build a Reference File
7-8
This photograph of the
Build a photo reference file that contains pictures you artist's daughter cast very
have taken, as well as clips from magazines and books harsh shadows on her

that have inspired you. Then, whenever you have time face. Photo by Orville
Thompson, 1997.
to be creative, you can use your reference files as a

source of inspiration instead of spending hours looking

for something to draw.
When you use a snapshot as a reference for your
drawing, remember that you don't have to be a slave to
the photo. You can change the composition, move
things around, and correct optical errors captured by
the camera. For example, when you use flash photogra-
phy, a harsh black outline often forms around the sub-
ject. This shadow, which was caused by the flash, is not
natural. Eliminate it. If you shoot a face in bright sun-
light, it may be counterproductive to reproduce the
stern shadows that you see in the photo. You may want
to soften the dark areas on the face to create a more nat-
ural look or even eliminate the shadows altogether.
Sometimes you might put these sharp shadows in a

drawing if they create interesting patterns. The wonder-

ful thing about being an artist is that you are not bound
by what you see. You can choose to use it or alter it,

depending on your intentions.

Don't hesitate to use photos, videos, live models, or
anything you need to create your own original art. Only
about five percent of naturally gifted artists can draw
strictly from their imagination. Most of these artists are

cartoonists, and even cartoonists and animators use live

models and photographs from time to time.

Still, you must always infuse your work with your
personal artistic style. Exact copying is simply not cre- A Thompson
97
ative, and copying from copyrighted photographs is

even illegal. Use photo, video, and television references

to obtain facts and data, but be original in your inter-

pretation.

7-9
The artist used the photograph as a reference, but softened the harsh shadows
for a more pleasing effect.

Orville Thompson, Suzanne, 1997.

Colored pencil, 9" x 12" (23 x 30 cm).

THE CREATIVE PROCESS 83

.1
 The Creative Process
Many creative inspirations don't arrive as complete
ideas. Instead, various stimuli in the environment regis-

ter in the brain, and over time, they combine to form an

inspired idea. To help you understand how a drawing
evolves from idea to fruition, let's look at the creative
process involved in a recent drawing made by the
author. The sequence of events may seem quite simple,
yet it represents an evolution of ideas.
The idea began with the author's visit to a cousin's
house on Christmas day. She noticed that the family cat,

7-10
to escape the bedlam created by a hoard of festive chil-

This was Sandra's original reference photo for Find an Old Lap,You'll Get a dren and cousins, slept on the grandmother's lap all

Longer Nap. Photo by Sandra Angelo, 1995. afternoon. Sandra shot a photo of this scene and creat-
ed a graphite drawing.
She later got a call from her agent, telling her of a

company that wanted a cat calendar. She decided to use

this drawing as the basis for a colored-pencil rendering

for the calendar. Visiting retail stores to look at current

calendar drawings, Sandra discovered a kiosk in the

local department store featuring work by Mary
Engelbreit. (See fig. 1-1 2 in chapter one.) "I was fasci-

nated by the way she incorporated borders and words

into her drawings. I liked that idea," Sandra comments.
"Yet my natural style is soft and delicate, not graphic like

hers. I had to think about how to blend this concept

with my style. I let the idea simmer in my brain for a

while."

The next week Sandra wrote an article about artist

Barbara Edidin. (See fig. 7-1 2.) "I fell in love with the

fabric and lace that she used in her drawing. I thought,

'This is it! I'll use fabric and lace behind the cat.' But
7-11 after a trip to the fabric store, I became exhausted at the
To begin her drawing, Sandra worked out values and composition with a
thought of drawing as much extensive detail as Barbara
graphite study. This was later photocopied onto the paper used for her
Edidin does. But I tucked away the idea of using fabric
final drawing.
and lace."

Later, at a bed-and-breakfast hotel, in a bedroom

with handmade quilts and ruffled pillows, a light went
j

on in Sandra's head. Responding to her passion for

quilts, she decided to use quilts and ruffles as a source I

for the border of her drawing. She took a trip to a bed-

ding shop and studied quilts, hand stitching, Battenburg
lace, and quilt patterns.

84 CHAPTER SEVEN
 To choose a border for her lettering, she referred to
favorite Art Deco and Art Nouveau books, adapting
several different borders to create one that was suitable.

"Because I'm no good at lettering," Sandra created the

caption for her drawing on a computer and ran her
drawing paper through a laser printer. She drew the
border around the letters with pen and ink. "I colored
the quilt, the ruffle, and the cat in a way that expresses
tranquility. Whenever I look at that drawing, I remem-
ber the wisdom of choosing serenity in the midst of
bedlam, and I feel restful." The drawing was a big hit
among cat lovers.

7-12
Barbara Edidin's intricate drawings inspired Sandra to use fabric and lace in

her work.

Barbara Edidin, April Fool, 1995.

Colored pencil, 14" x 12" (36 x 30 cm).

Although the artist drew inspiration from a number of sources, the com
pleted work is a result of her own unique ideas and preferences.

Sandra Angelo, Find an Old Lapjou'll Get a Longer Nap, 1995.

Colored pencil, 8.5" x II" (22 x 28 cm).

THE CREATIVE PROCESS • 85

 BEGINNER EXERCISES

Here are some creative exercises and I . What would happen if an alligator
a solution to each one. If you don't had satin skin and an evening gown
have basic skills yet, you may have had scales? What if a cat's fur was
great ideas, but find it difficult to draw plaid or a dog looked metallic? Tease
them. Don't be discouraged! If these your brain with outrageous possibili-

are too hard for you, just write down ties and create an object with the
your ideas and come back to these wrong texture, such as the furry ice
exercises after you've built a solid cream cone in fig.7-15.

foundation of basic skills.

7-15
The furry ice cream on this cone is a departure
from standard reality.

Student work: Joella Reinbold (age 57),

Good Humor, 1996.
Colored pencil, II" x 8/2" (28 x 22 cm).

2. Fig.7-I6 shows a creative response

to the word apple. Draw your own
creative apple, or wacky versions of
the following words: bells, dragon,
spaceship, shark.

HI 8

Wlv

7-16
Using the word "apple" in a play on words, this

exchange between Adam and God was inspired

by Michelangelo's painting in the Sistine Chapel.

Student work: Julie lavelli (age 60), Adam's

Apple, 1996.
U ' 96,
ADAM'S APPLfl Colored pencil, 4" x 6" (10 x 15 cm).

86 CHAPTER SEVEN
 INTERMEDIATE EXERCISES

I. How would Vincent van Gogh paint

an office full of computers? What
7-17
would Prince Charles look like to The first cow in this series is done in the style of Rene Magritte. Works by Pablo Picasso
Andy Warhol? How would Salvador inspired the second cow. The third cow was done in the style of Piet Mondrian, using an anal-

Dali paint an NFL game? Study the ogous warm color scheme.
styles of three master artists whom Student work: Tracy Watt (age 3 I ), Cows, 1 996.
you admire. Create three different Colored pencil, 4" x 5" (10 x 13 cm).
drawings of a very simple object, ren-
dering each in the style of one of
these masters.

2. M. C. Escher was a master of the

integration of positive and negative
space. Many of his drawings feature
complex interlocking shapes (called

tessellations), in which an object grad-

ually transforms into something else.

In Metamorphosis III, he took this to

an extreme by creating a series of
evolving images that spanned twelve
feet!

Create a drawing that incorporates

interlocking shapes, a transformation
of one object into another, or both.
Transformations can occur in objects
with similar shapes that evolve into a
new form, or be based on something
more abstract, such as a chain of
words or ideas. Work to integrate 7-18
positive and negative spaces in your The blue colored ground and white horizontal lines unify this design as the fish undergo

design. transformations in color: from white to red, right to left; and from white to blue, left to right.

Student work: June Chen (age 68), Transformation, 1997.

Colored pencil on blue colored paper,

8/2" x II" (22x28 cm).

THE CREATIVE PROCESS 87

 ADVANCED EXERCISES

2. Using the work of Matisse for inspi- ues. Colors within shapes can be
I. Using colored pencils on a 2-ply
ration, create a drawing in which limited to variations of one color. In
cotton Bristol board, create a half
three-dimensional objects are reduced fig.7-20, the artist frames flat, stylized
mask that can be worn on your face.
to shapes. To do this, focus on the shapes within a semi-realistic border,
Consider using the mask to divulge a flat

basic outlines and shapes of objects with leaves and rocks linking both
secret side of yourself.
and drop out detailed or realistic val- sections of the drawing.

7-19

Student work: Deborah Settergren (age 43),

Carmen, 1996.
Colored pencil, 9" x 8"

(23 x 20 cm).

7-20
This exquisitely detailed work combines the

stylized, flat look of Matisse's work, framed by a

more realistic style. Look at the part opener

on page 65 for a detail of this artwork.

Dyanne Locati, Musing Matisse //, 1995.

Colored pencil, 30" x 22" (76 x 56 cm).

88 CHAPTER SEVEN
 f»
'f
T^^ wm \J A

Li
j

Subject Matter
If

:v><
355
Sa.
 Drawing Animals
Q_
<
I
u
 s.
fluffy cat fur
Sagging elephant skin, prickly porcupine
— how do you achieve such
quills,

a variety of tex-

tures with just a humble pencil? First, you must study

the animal, whether by joining an African safari, taking
a quick jaunt to the local zoo, or tuning in to a National
Geographic or Discovery Channel television special.

Try to observe the animal up close, becoming familiar

with its particular behaviors. If that's not possible, study
photo references in magazines or books at the library,
or view animals on videos or TV shows. However you
gather your data, some simple rules apply.

Observe

Movements, Behavior, and Anatomy

8-1 (Opposite)
Notice how animals walk, fly, or run. Do they lumber, The texture in this masterful drawing is so realistic, you can imagine how it

prance, or glide? How do they look when they are would feel to stroke the dog's fur. Artist Thomas Thayer likes to create dra-

matic effects by using light colors on a dark surface, in this case black paper.
lounging, active, or frightened? Spend some time
watching the animal before you begin to draw. Thomas Thayer, Grass? What Grass?, 1995.

Colored pencil, 20" x 16" (51 x4l cm).

It is useful to study various postures by making
thirty- to sixty-second gesture line drawings from life or
even from videos or television. Sketching its move-
8-2 (Above)
ments will enable you to capture the essential character Each species of animal has unique features. Notice that the cat's pupils are
of the animal. For example, an elephant lumbers, a almond-shaped instead of round, like the dog's.

flamingo dances, a monkey scampers. You'll be amazed Julie Wolfson and Sandra Angelo, Animal Studies.

to see how your work improves once you've studied the

animal in motion.
It is also useful to study anatomical renderings of the

animal's skeletal structure, to discover where bones and

muscles connect. This will help you avoid errors in

DRAWING ANIMALS 91

il
 drawing its physical characteristics. In a recent class at
the San Diego Wild Animal Park, a student was won-
dering why her elephant drawing looked so odd.
Without carefully studying the photo references or the
drawings she gathered in class, she had assumed that the
animal's leg bent in the middle, just like a human leg. So
that's how she drew it. When she later examined an ele-
phant skeleton, she discovered that the leg bends at the

ankle and at the shoulder. By correcting this anatomical

error, she saved her drawing.
If you are lucky enough to view the animal in its nat-
ural habitat, take a camera and shoot close-ups of the
animal's eyes, nose, ears, mouth, feet, whiskers, and so
on. Use these references to practice drawing these parts.
You can also take such pictures at a wild animal park, a

farm, or a zoo. Or simply focus on a family or neigh-

borhood pet.

If you live in the country, visit the state fair to take

photos of cows, pigs, horses, or chickens. Or drive along
country roads, from farm to farm, and shoot photos
through the fences. Another possibility is to attend

rodeos and dog or cat shows. Take your dog for a walk,
and shoot pictures of him playing, swimming, or romp-
ing. You can also use postcards and clippings from your
reference file as a source of images.
As you practice rendering the eyes, noses, mouths,
and ears of various animals, you will notice significant

differences. For example, a horse's eye differs from a

cat's eye. Cat pupils are almond-shaped instead of

round, like those of a horse. Horses and cats do not have
white in their eyes, as humans do. When you decide to
8-3 draw an animal as a performance piece, practice sketch-
A blurred second goose in the background provides contrast to the sharply focused
ing the various parts of that particular animal first, until
detail of the feathers in the foreground.
you can capture the textures correctly. Use a colored
Bruce Martin Westberg, The Canadian, 1995.
paper that matches the skin tones or the fur. This will
Colored pencil on cold press illustration board, 19" x 15" (48 x 38 cm).
save you a lot of time.

92 CHAPTER EIGHT

^
 Habitat

Research the animal's habitat. If possible, study it on

location. Look at the vegetation in its natural environ-
ment. For a realistic drawing, be careful not to mix ani-
mals that would not mingle in nature. Nothing is more
glaring than errors of fact in a drawing.

8-5
Although the subject fills most of the space, the background that can be seen is consis-

tent with the natural habitat of the duck.This composition was entered in the Junior

Federal Duck Stamp Contest sponsored by the federal Fish and Game Department each

year.
8-4
Student work: Garrett Van Vleck (age 16), Wood Duck, 1997.
This intriguing drawing combines what are generally seen to be opposites:
Colored pencil, 9" x 12" (23 x 30 cm).
humorous caricature and realistic rendering.

Student work: Art Badillo (age 53), At the ZOOOO, 1 998.

Colored pencil, 13" x 10" (33 x 25 cm).

Practice

Creating Textures

One of the wonders of nature is the incredible variety

that exists in the animal kingdom. There is a vast differ-

ence between the surface texture of a rhino and a koala,

an elephant and a cheetah, a fluffy cat and a golden

DRAWING ANIMALS 93

Vi
 retriever. To learn how to draw animals, practice ren-
dering a variety of textures: sagging and taut skin,
feathers, and short, curly, long, patterned, and wiry fur.

To reduce your drawing time and to achieve a wider

range of special effects, try combining colored pencil
with other media. Sometimes you can capture the tex-
tures more efficiently with a mixed-media approach.
The clouds in fig.8-7 took about two minutes to draw
with an airbrush. Drawing clouds with colored pencils
can take hours!

8-7
In this mixed-media drawing completed at the San Diego Wild Animal

Park, the author drew the zebras, grass, and rocks with colored pencil,

8-6 airbrushed the sky, and used watercolor pencils to paint the water and

Instead of drawing a strictly realistic portrayal of a tiger, this artist uses thick layers of gravel.

color, loose strokes, and a daring palette to give an impression of foliage and fur. To blur Sandra Angelo, Grazing, 1990.
the muted landscape, she smudges it with an eraser. Colored pencil, airbrush, watercolor pencils, 30" x 24" (76 x 61 cm).

Helen Jennings, A Time to Speak, 1993. Colored pencil, 21 A" x 12" (55 x 30 cm).

94 CHAPTER EIGHT
Working with References Depicting Shadows

Because most animals move constantly, many artists Body Shadows

work from references when they create performance Shadows define the characteristics of an animal's anato-

pieces. But even though the photo has captured the my — the protrusions of bones, muscles, and fat.

lighting and the action, don't be a slave to it. If you want Shadows tend to be very soft in nature (usually medium
to change the background or remove harsh shadows, go to light in value) and are generally graduated from dark
ahead. You can raise or lower a fence or hills in the in the "valley" to light on the "hill." If you pay close
background. Play around with your composition ahead attention to these subtle body shadows, your drawing
of time, doing thumbnail sketches to plan your layout. will depict the animal's form realistically, indicating the
Perhaps you couldn't snap the perfect photo of your structure that lies underneath the surface.
subject —animals don't always do what you want them
to. If you don't have a completely satisfactory reference, Cast Shadows
consider combining several. Just be sure that the light- Created by strong sunlight, cast shadows are usually
ing source is the same in each, to promote color har- darker than body shadows. They show the direction in
mony throughout the drawing. (It's best not to try com- which the light is cast and even suggest the contour of
bining sources if you are a beginner.) the animal's body or the surrounding landscape.

8-8
These detailed studies helped the artist practice rendering the horse's fur, eyes, nose, mouth, and even the leather on its harness.

Student work: Julie Wolfson (age 70), Horse Study, 1996.

Colored pencil, 8" x 5" (20 x 13 cm).

DRAWING ANIMALS 95
 dark shadows. Very often there is a slight "ring of light"

between the shadow on your subject and the cast shad-

ow on the ground.

Use artistic license. Modify a shadow if you need to.

Sometimes shadows distort or block detail. Many

times, the animal won't move to the full sun, so you are

stuck with references taken in the shade. Make it work

for you, not against you.

8-9
The cast shadow is stronger where it touches the animal and fades as it

moves further away.

Brent Bowen, Polar Rear on Ice, 1992.

Colored pencil, 30" x 40" (76 x 102 cm).

Sometimes they enhance a drawing, and sometimes

they detract from it. If you've shot a photograph in
strong sunlight or with a flash, the shadows might be
too harsh. Unless they serve a particular artistic pur-
pose, soften them when you create your drawing.

Helpful Hints
Shadows can be compositional friends. They can help
carve up the negative space in the background, creating
an interesting interplay of positive and negative shapes.
(See fig.8-10.) Here are some hints on drawing them 8-10
successfully: The horse's shadow helps break up the boring horizontal band of negative

space in the grass and gives a diagonal thrust to the composition, which

enhances the feeling of movement.

• Shadows tend to be darkest where they touch the ani-
Donna Adamson, Clyde, 1 990.
mal and gradually fade as they move away, unless the
Colored pencil, 16" x 20" (41 x 51 cm).

sunlight is very strong. Even when it is strong, it's usu-

ally best to gradually fade the shadow as it moves away

from the animal or other element. Harsh, solid shad-
ows can draw too much attention away from the sub-
ject. Also watch for reflected light at the edge of the

96 CHAPTER EIGHT
 .

BEGINNER EXERCISES

1 Draw the cat in fig.8-1 I , top. • Refer to this black-and-white study color for each underpainted area
to determine the value of the colors since this underpainting will serve as
• One way to develop confidence
you will use for your watercolor- the highlight. By using a collage of col-
before making an ink drawing is to do
pencil underpainting. Before you start, ored grounds, you will have cut your
a full-blown rendering of your subject
with a graphite pencil for practice
test your colors so you can see how drawing time by fifty percent or more
they will change when wet.
before you create the final version. • After your colored underpainting is

For this exercise, try using lines, • Use a wet brush loaded with pig- completely dry, use dry wax-based
rather than shading, to convey your ment (from the tip of your watercolor colored pencils to complete the ren-
subject in graphite pencil. When you pencil) to lay down colored wash dering.

are ready to draw in ink, you can inside each shape. Choose the lightest

mimic the textures and strokes you

created with the graphite pencil.

• After completing the graphite draw-

ing, make a line drawingin non-photo

blue pencil. This one needn't be as

detailed as the graphite rendering,
since it is merely a "skeleton" for the
ink drawing. Just draw the basic out-
lines, and use the graphite drawing for
a reference. (Applying ink directly over
the slick surface of graphite won't
work because the ink won't adhere
to it.)

• Cover the blue line drawing with an

ink rendering. Use a permanent ink. If
you like, you can erase the non-photo
blue lines after the ink dries on each
completed area.

• Lay a watercolor-pencil wash over

the ink rendering, and finish off the
details with dry wax-based colored
pencils.

2. Draw the bulldog in fig.8-1 I, bot-

tom.
• When planning the colors to use for
an underpainting, it's a good idea to
do a value sketch of the subject first
in graphite pencil. Draw the bulldog in

graphite, using shaded areas, not lines,

to form shapes. Analyze the bulldog in

terms of its dark, medium, and light

tones.

8-11
Illustration by Sandra Angelo

DRAWING ANIMALS 97
 INTERMEDIATE EXERCISES
I

1 Use your own animal references to

find examples of various surface tex-
tures, and make sketches to explore
how to render them realistically. After
you've practiced, create an original
drawing of one or more animals, using
the principles of composition dis-
cussed in chapter seven. Before you
start the final drawing, experiment
with various layouts by making quick
thumbnail sketches.

2. Experiment with the impressed line

technique for drawing fur.

• Choose a furry animal to draw.

Match a colored paper to the highlight
color in the animal's fur.

• On this paper, use a graphite pencil

to create a contour line drawing of
the animal.

• Place a sheet of tracing paper over

your paper. Using a dull, pointed
object such as a wooden meat skew-
medium-nib ballpoint pen, or 8-12
er, a a
Bugs are animals, too! In this unique study, a selection of insects are featured in circles of varying
similar instrument, impress lines in the
sizes, which are then arranged in a balanced, colorful composition.
paper to create the texture of the fur
within the lines of the contour draw- Student work: Lindsey Bain (age 15), Bugs, 1997.

Colored pencil, 8" x lO'/T (20 x 26 cm).

ing. Be sure to make the lines match
the fur pattern on the animal.
:

3rm;
• Remove the tracing paper, and
asm
shade the animal using the sides of
colored pencils instead of the points. 8-13

Select colored pencils that are quite a To create the detailed lines
-::
of the squirrel's fur, the
bit darker than the impressed lines so
artist used the impressed
that the contrasting colors will
Dcre
line technique. To obtain
enhance the fur you created. Be care-
close-up photographs of
ful not to deposit pigment in the
squirrels, she put a bird
grooves you just created.
feeder on the back side of

• Finish the details on various body a fence so the squirrels felt

parts until the rendering looks safe. Then she just snapped
away while they ate.
complete.
Ruth McCarty, Afternoon
KVMm Break Fox Squirrel, 1 990.

Colored pencil, 1
6" x 20"

(41 x 51 cm).

98 CHAPTER EIGHT
 ADVANCED EXERCISES

I . Choose an animal that fascinates 2. Compose a drawing of an animal,

you, and study it in depth. Find out using a realistic approach. Then draw
about its habitat, its personality, its the same animal again, this time
behavior and ways of moving, and employing impressionistic, loose
more. If you choose your pet or strokes.
another very familiar creature, your
work will probably take on a special
quality. Having a close connection with
8-14
the subject will bring a unique energy The medium-tone paper selected for this art-
to your art. work not only saved a lot of drawing time, but
also provided a strong contrast for the lights

and darks in the dog's fur and eyes.

Student work: Noah Balcombe (age 1

6), Jack,

1998.

Colored pencil on colored paper, 6" x S'A"

(15 x 14 cm).

8-15
Compare this drawing of a dog to
the other one on this page. What
are the differences in style and
technique? Fig.8-14 is more of a
formal portrait; this deceptively
casual work focuses on the com-
position as a whole: contrasting

shadows, the dog's relaxed posture,

and the color and line in his envi-

ronment.

Doreen Lindstedt, Old Lab #2,

1994.

Colored pencil on watercolor

paper, 15" x 20" (38 x 51 cm).

DRAWING ANIMALS 99
 The Great Outdoors

<
u
 Whether you are drawing the vast expanse of a
canyon or intricate botanical studies, there is a spine-

tingling thrill in encountering the wonders of nature.

An ever-changing diorama of plants, trees, landscapes,

clouds, and water provide great inspiration for artists of

all ages.

If nature is your passion, seize every opportunity to

hike into the wilds to photograph and sketch what you

see. Closely study the veins in a leaf, lie in the grass and
watch the moving clouds, or sail on a lake at sunset as

you take in the shimmering colors splashed across

water. Even if you live in a city, you can find bits of
nature tucked away in small nooks and crannies amidst
the stark human-made landscape. Appreciate and
record natural beauty wherever you can find it.

9-1

This massive landscape was drawn with the transparent layering tech-

nique. By using each color's complement in the shadows. Nelson

intensified the bright, sunburnt color of the rocks.

Bruce Nelson, Natural Bridge, 1995.

Colored pencil, 23'A" x 20" (60 x 5 I cm).

9-2
Fascinated by the minute details found in nature, this naturalist renders

traditional botanical drawings with a colored pencil. Using very gentle

pressure on a vellum Bristol surface, she allows the soft granulated
texture of the paper to show through just enough to create a soft

mood, without distracting from the subject.

Andrea Kessier, Jamaican Bird of Paradise, 1994.

Colored pencil, 28" x 20" (71 x 51 cm).

THE GREAT OUTDOORS • 101

 En Plein Air Sketching
Drawing on location is an artist's first choice. The expe-
rience of being submerged in nature contributes intan-

gible authenticity to a work. However, drawing en plein

air (outdoors) has its limitations. The light source will

shift continually, the winds will disturb your paper, and

small animals will shift in their poses. Birds can leave
droppings on your paper, and the insects may drive you
wild. Still, a sense of spontaneity infuses work that is

completed on site, and there is no better way to gather

data and fully experience nature.

When you work on location, don't try to produce the

sort of masterpiece that you can achieve in the quiet,

controlled atmosphere of the studio. Instead, experience

the moment, drink in the sounds, savor the scents, enjoy
the antics of the creatures, gulp in the fresh air, and
9-3 absorb the essence of the environment. You will carry
Not all colored-pencil work is realistic. Loose, fluid lines and rich colors give this land- these experiences and memories back with you to the
scape an abstract, breezy look.
studio, and they will influence your work. Take copious
Mary Ford, The Gross Is Greener. Colored pencil on cotton paper,
notes in words, colors, sketches, and photos. Use these
(22x28 cm).
8/; x II"
later to re-create your experience. If you simply take

photos and don't sketch, you will not remember as

many details. There's nothing like drawing to increase

your powers of observation.

Your sketchbook can become a scrapbook of sorts,

which will trigger memories of your experiences. Even

in the dead of winter, you can relive a lively summer
jaunt by flipping through your sketchpad and reviewing
your notes. Make your book as personal as you want. If

you are a poet, write verse next to your drawings. If you

are a comedian, observe the humor in nature and make
funny notes to yourself. Naturalists can add botanical
notes. Create a sketchbook that pleases you and reflects

your own personality.

102 CHAPTER NINE

 Explore Your Style Preferences
Those of you who like to draw in a realistic style will ments. If you find yourself fussing with sharp, hard
spend hours absorbed in detailed studies, meticulously pencils to detail the veins in a leaf, chances are you're a
defining each thorn on a prickly pear cactus or refining realist. If you are bored with detail and like to work
reflections in raindrops. If you're an impressionist, the quickly with large, broad instruments, you may be an
details will bore you. Eschewing sharp pencils and fine impressionist.
pens used by realists, you'll reach for fat colored-pencil Keep in mind that you will always do a better job
crayons or watercolor pencils and big brushes. Instead when you love the subject. After all, most leisure draw-
of spending hours fussing with minutiae, you will work ing should be for pleasure. If you find yourself anxious
quickly, focused on the total effect and the big picture. to finish, you have probably chosen the wrong subject.
When you are just getting started, pay attention to If you love what you are doing, you won't even notice
your personal reactions to various media, subjects, and the hours flying by — practice will be enjoyable and
styles. Try big fat pencils and finely sharpened instru- cathartic.

9-4
Wavy rows of bright yellow dots of

color create the impression of wild-

flowers blowing in the wind. A back-

packer motivated by her love of
nature, artist MacLean often draws
endangered or forgotten wild, open
places as remembered by her
mind's eye.

Teresa McNeil MacLean, Top of

the Mesa (Montana de On), 1996.

Colored pencil on Bristol board,

I I" x 14" (28 x 36 cm).

THE GREAT OUTDOORS 103

 DEMONSTRATION

Nature Up Close

Bright colors really pop out when paper will leave skid marks, it makes
applied to black, creating a dramatic sense to practice on a sheet of white
effect. It's a good idea to get acquaint- paper to work out the contour line

ed with using colors on black paper drawing. Then a sheet of white trans-
by making color swatches on the back fer paper can be used to place the
of a paper. Since erasing on a black drawing on the black surface.

Sandra Angelo, Raindrops on Roses, 1 997.

Colored pencil, 10" x 7" (25 x 18 cm).

Step One: First, a contour line draw- deep red. Neighboring colors are be placed on the same side as the
ing is created with a white colored overlapped to form a gradual progres- light source. After graduating values
pencil, to use as a map for shading. sion from dark to light. Without such from light to dark, place a dark cres-
An underdrawing is created for each overlaps, a rainbow pattern will cent-shaped shadow next to the light

object. The lightest values are laid in emerge instead of a smooth transition value and a small white highlight on
first: for the ribbon, white; for the leaf, from one color to another. top of the dark value.
light green; for the rose petal, peachy
Step Three: To draw a dew drop, Working with the color sequence
pink.
first determine the light source. used in the layering process, the draw-
Step Two: Next, the dark areas are Divide the drop into two sections: a ing is burnished until the paper's
applied: for the ribbon, a dull, dark red light and a dark area. Using the same tooth is completely obliterated. The
and a bit of dull, dark green; for the colors in the flower, place the light transition from dark to light tones has
leaf, dark green. The medium values of values on the side farthest from the to be made very carefully.

the petal are overlapped with a dark, light source. The dark values should

104 CHAPTER NINE

_
 Choosing a Nature Sketchbook
If you are doing colored studies of landscapes, use

colored paper. Medium-tone grays are a perfect back-

drop for most natural subjects. Besides lending unity to
your piece, a colored surface will save you a lot of time.
For in-depth or detailed studies with colored pencils,
use a white, one hundred percent cotton tablet. Natural
fiber papers are much better than the paper in standard

sketchbooks because cotton papers have a tremendous

amount of bite, an absolute necessity for using wax-
based colored pencils.
Drawings from nature can range from the minute
details on individual leaves and rocks to the breadth of

a massive landscape. Although both ends of this spec-

trum are intriguing, most folks have a propensity for

one or the other. If you love detail, the first will fascinate

you. If you like dealing with the whole scene, you may
prefer the second. Try both approaches, as presented in

the demonstrations, to see which suits you better.

9-5
Lush landscapes and a whirlwind of animal activity can provide a steady
stream of inspiration. Recording impressions in a sketchbook can allow
you to mentally return to a site and relive your experience there. This
sketchbook page was completed by the author while teaching at the San

Diego Wild Animal Park.

Sandra Angelo, Sketchbook Page, 1997.

Colored pencil, 12" x 9" (30 x 23 cm).

When selecting your field materials, considering buying

a spiral book with a hard cover. A heavy cover can be
folded over to act as a portable drawing board, making
9-6
it much easier to travel light. Select your paper pad an outdoor setting are dramatically enhanced to a
Colors that may have been ordinary in

based on the instruments you will use for drawing. If rich luster by the contrasting black background.

you are going to sketch with watercolor pencils and Norman Holmberg, Autumn Berries, 1995.

Colored pencil on Arches 140 lb. hot press paper, 18%" x 26%" (48 x 68 cm).
pens, take a watercolor sketch pad.

THE GREAT OUTDOORS 105

1
 DEMONSTRATION

The Big Picture

Bruce Nelson uses a methodical drawing method for his detailed landscapes

Step One: To keep the white paper clean

while working on this large landscape,
Bruce Nelson began at the top left-hand
corner and worked his way down the page.
He kept a scrap piece of paper over the
unfinished portion in order to protect the
surface from smudges.

Step Two: Nelson used a light tapping

motion to layer pointillistic dots of color on
the page. The eye will blend the colors to
create the soft look he desired. Using the
tip of a very sharp pencil, he layers color
after color next to each other until the
landscape feels rich and full bodied.

Bruce Nelson, A Walk in the Water, 1996.

Colored pencil, 19" x 23" (48 x 58 cm).

106 CHAPTER NINE

 BEGINNER EXERCISES

Practicing small parts of a drawing is keep a scrap piece of your perfor- paced age that we often expect
much less threatening than testing mance paper handy whenever you are who draw
instant results. All masters
your skills directly on the perfor- performing. Practice the textures on well became great through extended
mance piece. If you make a mistake on this paper first. Once you have mas- practice. Practice makes perfect. If you
a small vignette, it's no big deal. If you tered the texture, you can tackle the love the subject, the practice will
mess up on a performance paper, you performance drawing. seem like play and you will enjoy the
may have to discard the whole draw- Don't expect to master everything at
journey.
ing. Make it a standard practice to
the first sitting. We live in such a fast-

I. Practice drawing this hibiscus Step One: This petal has been
flower. You don't need to complete shaded with a layer of colored
the background — just experiment with pencil.

the effect of blending color on differ-

Step Two: Next, the under-
ent petals. Before you begin, you may
drawing was blended with a col-
want to review the guidelines for
orless blender.
using a colorless blender on page 57
in chapter five.
Step Three: The petal was then
covered with a layer of colored
pencil, using the local color of

the flower.

Step Four: Finally, the drawing

was burnished, using the same
colors that were applied in the 9-7

underdrawing. Once you've practiced drawing the hibiscus, create

an environment around it to complete the picture.
The stamen was outlined with a
Student work: Tiko Youngdale (age 49), Hibiscus,
fine black pen to give it empha-
1994.
sis.
Colored pencil, 8'A" x II" (22 x 28 cm).

2. Practice drawing water. This will require some alert

observation, as we tend to think of water as either color-

less or blue like the ocean. In reality, water takes on the
hues of surrounding objects reflected on its surface. These
reflections are often duller in hue than the object itself and
distorted in shape. The easiest way to begin is to render a
surface that is calm. Reflections can be drawn with intermit-
tent horizontal strokes. Practice drawing fig.9-8 for starters,
and then finish it off with your own ideas.

9-8
A drawing of water is always more interesting when it includes distinct

reflections. This study from San Diego's Balboa Park captures the reflec-

tions of waterlilies in full bloom. The warm gray paper helps achieve the

strong lights and darks that characterize bright sunlight.

Sandra Angelo, Bo/boo Park Waterlilies, 1995.

Colored pencil, 8'A" x I I" (22 x 28 cm).

THE GREAT OUTDOORS 107

 INTERMEDIATE EXERCISES I
• Lay a light yellow wash over the
I To achieve the variegated hues
.

whole leaf.
found in an autumn leaf, consider
using the splash technique with water- • While the yellow is still wet, flick a

color pencils. variety of colors into the wash, con-

trolling the light and dark splashes.
• First, outline the silhouette of the
leaf with a light graphite pencil. • When your paper is completely dry,

use a sharp, hard, colored pencil to

• Mask the background with frisket
detail the veins.
paper.

9-9
Carolyn Fairl, Autumn Leaf, 1996.

Watercolor pencil on hot press watercolor

paper, II " x 8'A" (28 x 22 cm

2. Practice drawing a night sky. Use a white colored pencil

on Remember, the harder you press, the

a black paper.
lighter the value will be. To create dark values, allow
the

paper to show through.

9-10
This monochromatic cloud study was drawn with white pencil on black

paper. Light values are achieved by allowing the paper to

show through.

Student work: Rose Marie Barr (age 64), Night Sky, 1 997.

Colored pencil on black paper, II" x 8V;" (28 x 22 cm).

108 CHAPTER NINE

k^
 ADVANCED EXERCISES

1. Complete a scene entirely com-

posed of clouds at sunset and the
corresponding reflections in the
water. The warm hues from the set-
ting sun will bathe the whole sky and
the water, providing you with a very
rich palette.

• Start by identifying the color range

you will be working with. Chances are
you will be exploring the color com-
plements blue and orange. Experiment
with these colors before you begin.

• Notice where you want to place

highlights in the water. Apply masking
fluid in horizontal strokes in these
areas, and then allow them to dry
completely.

• Apply watercolor-pencil washes

over the surface of the paper. The 9-11
masking-fluid resist will keep the The sky is full of brilliant hues at sunset. The artist captured these colors by using the wet-

water reflections white. To achieve the on-wet technique. The shimmer on the water was planned and covered with masking fluid

before the main body of water was laid down.

soft cloud texture, use the wet-on-
wet technique: Wet the paper, and Student work: Julie Wolfson (age 70), Sunset Cloud Study, 1996.

apply watercolor-pencil washes to the Watercolor pencil, 5" x IV" (13 x 19 cm).

wet paper.

• After the paint dries, remove the

mask with a rubber cement pickup, 9-12
Using transparent layering,
and add the colors of the reflection in
the artist built color with
the white spaces.

2. Sit by a lake, stream, or river, and

\J gentle pressure, allowing

the color of the paper to

draw the reflections on the water. be a factor in the final

Complete a drawing that includes a drawing.

large expanse of water, as fig.9-12 Rose Kapka, Gull Watching

does. with Grampo, 1 996. Colored

pencil on colored paper,

10" x8" (25x20 cm).

THE GREAT OUTDOORS 109

 W/%
Stil Lifes
 Before the camera was invented, enabling the
artist to capture the image of a moving creature or a
particular quality of light, still lifes were a popular sub-
ject for artists to paint. Still lifes also offered the conve-
nience of working in a studio. Before tube paints were
developed, pigments had to be mixed from scratch,
making location sketching very cumbersome. Also,
once a still life is arranged, it holds still. Artists still find
it an appealing way to create a subject for a drawing.

When arranging still-life composition, you have several

options:
• One way to control the lighting, to keep it consistent

from day to day, is to compose the still life, photograph

it, and work from the reference.
1 0-1 (Opposite)
• If you have the luxury of time, you can draw from life.
By choosing a cloth backdrop with the same colors as the bouquet, the
This would require coming back to the objects each artist creates a seamless interplay between foreground and background.

day at the same hour, hoping that the weather is con- Barbara Edidin, So Very Merry, 1994.
Colored pencil on 100% cotton Bristol board, 31" x 21" (85 x 53 cm).
sistent so the lighting won't change. In this case, you
must also choose inanimate objects that won't wither
or spoil.
• You can set up a still life in a dark room and use direct-
ed lighting to illuminate the subject. 10-2 (Above)
A still-life arrangement needn't be complex. Simple objects, simply placed,
can provide a rich study of textures and color harmonies.
When setting up a still life, choose objects that appeal
Student work: Michael Pacheco (age 1
7), Unusual Relationships, 1 997.
to you. If you are a beginner, stay with very simple
Colored pencil, 18" x 24" (46 x 61 cm).
shapes and colors so that your drawing will be uncom-
plicated. You don't even need to complete a whole
drawing. Simply study various textures by creating
vignettes.

STILL LIFES I I I
 Selecting a Subject
Artists who enjoy still life select their subjects based on
types of objects that they find fascinating. Richard
Tooley 's work shows a penchant for presenting an
uncommon view of a common object. In fig. 10-3, he
captures a tangle of wires — most of us can relate to the

task of untangling that awaits some unfortunate person.

By contrast, David Dooley is intent on capturing reflec-

tions in shiny surfaces. (See chapter 2, fig. 2-1.) He is a

master of reflections, and nothing escapes his observant

eye. In fact, if you linger in his doorway for a minute,

your likeness might be reflected on one of his still-life

objects and immortalized in one of his drawings!

When constructing your still life, consider every-

thing, even common objects such as your breakfast plate
(fig. 10-4). Absolutely anything can be interesting if you
present the viewer with a unique point of view.
10-3
Even ordinary objects provide a challenging study when seen through an

imaginative eye.

Richard Tooley, Extension, 1995.

Colored pencil, I5M" x 2(W" (39 x 52 cm).

10-4
Using the burnishing technique, Brian captured the
glistening reflections on his strawberry tart.The
strongest white highlights were achieved by adding
an opaque white gouache.

Student work: Brian Ross (age 1 5), Strawberry

Tart, 1996.

Colored pencil, 9" x 12" (23 x 30 cm).

vttb ^^

I 12 CHAPTER TEN
 DEMONSTRATION

Still Life Value Studies

Step One: The artist, Julie Wolfson,

arranged a still life with some simple
objects she had in her home. First she
drew the objects in graphite pencil. A
black-and-white value study is very
useful in determining the light and
dark patterns in the arrangement.
Compositions need a wide range of
values to suggest depth and dimen-
sion. If your subject doesn't have this

range, you can exaggerate, modifying

lights and darks to obtain good con-
trasts. Working out your drawing in

black and white first allows you to

determine these values and to fix

compositional problems.

Step Two: After her value study, Julie

repeated the drawing, in color this
time, on a sheet of gray paper.

Step Three: Taking her study one

step further, she completed the same
drawing on white paper. You can see
that the color of the paper significant-
ly affected the outcome. The objects
look much brighter on white paper,
seemingly bathed in natural sunlight.
On gray, the lighting seems muted, but
richer. Neither is good or bad, right or
wrong; it's a matter of preference.
Experiment until you find what suits

you.

Student work: Julie Wolfson (age 70), Still-Life

Studies, 1996. Colored pencil, 8/2" x I I" (22 x 28 cm).

STILL LIFES -113

 Common Errors

When you set up your still life, remember that compo-

sition is critical. The most common mistake beginners

make is setting up a horizontal line of objects similar in

height and proportion. This creates a fat clump of objects

in the middle and ignores the space around the still life.

Consider using objects that have differing proportions

and textures as well as varying heights. Plan how each
positive shape will intersect with the negative space, to

integrate the two. Choose how you will treat the back-

ground from the very start, rather than trying to figure

out what to do with the void once you've finished.
You can improve your composition dramatically by
10-5 reviewing the design techniques discussed in chapter
When selecting objects for your still life, look for a variety of shapes, sizes,
six. Notice that each still life in this chapter has used one
and colors. In this work, the organic shapes of the vegetables and cloth
or more of these techniques. For example, in fig. 10-4
contrast with the straight diagonal boards of the bench. The three-dimen-

sional quality is enhanced by a bird's-eye view and the use of strong shad- the subject fills the whole page, and the concept of
ows. thirds is evident in fig. 10-2. What other techniques can
Joanne Smith, Backyard Labors, 1993. you identify? If you have trouble with composition,
Colored pencil, 19" x 15" (48 x 38 cm).
consider completing some loose thumbnail sketches or
even a quick photo shoot to see which arrangements

Setting Up a Still Life look best.

If still life excites you, learn from professionals who spe-

cialize in it. Barbara Edidin, a passionate still-life artist,

keeps a closet full of objects and fabrics that fascinate

her. (See fig. 10—1 .) When she is ready to start a drawing,
she carefully arranges a still life next to the window
where the sun can bathe the objects with light. Because
she prefers the bird's-eye view, she often stands on a
stool while she's shooting photographs of the subject.
To get a photo that pleases her, she sometimes takes as

many as seventy shots from various angles.

Once she has a satisfactory photo, Edidin transfers
the image to paper. Beginning in the top left-hand cor-

ner, she slowly works her way down the page until each

section is complete. A professional artist, she works 10-6

Even simple object like a fishhook can become the subject of a fascinat-
from 8:00 a.m. to 5:00 p.m., five days per week, and gen- a

ing composition. Notice how the diagonal arrangement carves into the
erally finishes one drawing per month. Her intricate
negative space, forming interesting background shapes. The shadows also
drawings take from 120 to 160 hours to complete, yet work to strengthen the composition.
for her these long hours are filled with relaxation and Deborah Currier, Catch of the Day (detail), 1995.

contentment. She enjoys the journey. Colored pencil, 26" x 38" (66 x 97 cm).

I 14 CHAPTER TEN
 BEGINNER EXERCISES

I. Practice the various textures in the vignettes in fig. 10-7,

on a paper of similar color.

• Begin with an underdrawing of all the light, medium, and

dark value. (Study the strips of colors for each object,
arranged from light to dark.)

• In some drawings, such as the bear, use gentle strokes and

stop after the transparent layer. These light strokes allow
the paper to be a factor in the drawing.

• With shiny objects such as the buttons, finish by burnish-

ing with the same color sequence you used in your under-
drawing. Go back over the drawing several times until you
blend each neighboring color, creating a smooth transition
from dark to light.

• The one shiny object that is not burnished is the marble.

Use a gentle stroke and allow the paper to show through
slightly to create the feeling of transparency.

2. Once you have practiced a range of textures and tech-

niques, arrange a complete composition using some of your
favorite objects. Choose a theme for your drawing such as
the topic chosen by a student for fig. 10-8.

10-7

Illustration by Sandra Angelo.

10-8
The introduction of red flowers enhances the

focal point of this drawing and gives it some

pizzazz. The red reflections in the trumpet add
a nice touch as well.

Student work: Tricia Robison (age I

5)

The Trumpet Player, 1997.

Colored pencil, II" x 17" (28 x 43 cm).

STILL LIFES I 15
 INTERMEDIATE EXERCISES
I

I. Practice the steps shown in fig. 10-7

for drawing a marble. Concentrate on
creating a surface that appears reflec-
tive. Experiment with different pencil
colors on varying paper colors. When
you're ready, arrange a composition
using only marbles. For an extra chal-
lenge, arrange them on a reflective
surface.

10-9
The marbles and their reflections fill the page,
making good use of negative space. The shapes
of the mirrored marbles deviate from the per-

fectly round spheres they reflect.

Deborah Currier, Landscape in Glass, 1989.

Colored pencil, 26" x 38" (66 x 97 cm).

2. Arrange a composition of shiny

objects on your desk or other 10-10
smooth surface. Draw the objects and Reflected objects in these surfaces

their reflections. Study your still life are muted and distorted.

carefully before you begin, noticing Student work: Deborah

any distortions that occur in the mir- Settergren (age 44), Lustre

ror images. Colors and shapes in the Reflections, 1997.

Colored pencil, 6/:" x 5"

reflections may differ dramatically
(17 x 13 cm).
from those of the objects themselves.

4m

Colo

I 16 CHAPTER TEN
 ADVANCED EXERCISES

I . Choose a collection of still-life

objects, and draw them in an abstract

form. If you're having trouble abstract-
ing your shapes, take a picture of your
still life. Have it blown up to 8" x 10"

on a black and white copier. The lack

of detail in the copy will help you
abstract the shapes. Consider cutting
the shapes out and rearranging them
in different ways, like a set of jigsaw
puzzles. Make photocopies of these
"puzzles" and practice various color
combinations.

10-11
Bruce Nelson, a fastidious realist, decided to
challenge himself by doing a more abstract

drawing.

Bruce Nelson, Still Life with Flowers, 1 988.

Colored pencil, 14" x 20" (36 x 51 cm).

2. If you feel daring, set up a still life

with a complex background such as

the one in fig. 10-12. If you have trou-

blecomposing your still life, look at

examples done by the masters.
Review composition techniques in

chapter six. You can experiment by

drawing objects on tracing paper and
moving them around your paper until

you arrive at a composition that is

dynamic. Stagger the heights of your

objects to avoid horizontal banding.
Construct the basic framework for
the composition, and fill in the details
slowly. Take your time.

10-12
A high school teacher with a passion for detail

created this monochromatic still life with vary-

ing textures. Notice how just the slight hint of

color enhances the focal point.

Lynn A. Byrem, Suzanne's Treasures, 1 996.

Colored pencil, I I" x 16%" (28 x 43 cm).

STILL LIFES I 17
5 f
The Human Face
bC

a.
<
J

i tree

IDU w

Sensiti

of vali

Ml;

calyli

focus (

Jifficu

a
tendt
 .

'Yes, that looks like a baby, but not like my

Susie." This common complaint baffles people who are
learning to draw portraits. What makes the face seem so
difficult? It's just a collection of lines, shapes, values,

textures, and colors, like any other subject. If you drew

a tree and it didn't look exactly like the tree you copied,
you would feel okay. But when you are drawing a face,
you're never satisfied unless the result looks just like the
person it represents.

Why Are Faces So Difficult

to Draw?
Sensitive renderings in art rely on an ability to intu-
itively study each subject — to grope through the maze
of values, textures, lines, shapes, and colors and record
1- (Opposite)
exactly what you see. During this process, artists typi-
1 1

Sharp focus and fine detail make this a striking portrait. When drawing
cally lose track of the world around them and really
faces, you'll notice that the bridge of the nose has not developed yet in
focus on drawing. However, when drawing a face, it is small children. The greatest range of value in this child's nose occurs
difficult to enter this state of concentration. A nagging around the lip and the nostrils.

desire to see if a likeness has been achieved can disturb Lyn Aus Roy, Little Bear, 1 99 1

Colored pencil on colored paper, 24" x 18" (61 x 46 cm).

the natural process of drawing, which involves discov-
ering and recording the facts without imposing precon-
ceived ideas on the subject.
When drawing faces, you might find yourself pulling I 1-2 (Above)
information from your memory about what this person Drawings of the human face need not be one-hundred percent realistic

looks rather than copying to be effective. This stylized portrait makes striking use of bold
like, what you see. You might line

and color.
want to doctor the picture. For example, you may have
Student work: Jennifer Cole (age 8), Me and Hiroshi, 1998.
a tendency to make both nostrils equal in size because 1

Scratchboard and colored pencil, 8'/)" x M" (22 x 28 cm).

your mind tells you, "Nostrils are always the same size."

THE HUMAN FACE I 19

 Actually, faces rarely display absolute symmetry. Also
keep in mind that when the head moves from side to
side, or up and down, the proportions change. In a
three-quarter view, one nostril appears to be larger than
the other. The same applies to the eyes and mouth.

Helpful Techniques
The following hints provide ways to take a fresh look at
a face as you draw it, so you can analyze its parts and
achieve a realistic likeness.

Using a Grid

The best way to keep facial proportions accurate is to

view facial features as shapes. To this end, the grid is a

valuable tool. Used historically by masters of art, the

grid is a set of horizontal and vertical lines that are

superimposed on the drawing surface to aid in grasping

proportion. The lines break the subject into smaller

shapes, revealing the way they fit together. By placing a

set of horizontal and vertical grid lines over the face,

you can study facial features as a collection of shapes.

Render the drawing only one square at a time so you
can focus on shapes and values in each portion of the
face, instead of looking for an overall likeness.
Vary the size and number of grid squares used for any

11-3
given drawing based on the amount of detail in the

The proportions of facial features change when the head turns. Instead of being drawing. A grid with fewer, large squares would be
equal in size, the eye and the nostril closest to the viewer appear larger than appropriate for a drawing with simple shapes. An intri-
those farther away.
cate, detailed drawing might require a tighter grid with
Student work: Susan Hurst (age 65), The Blue Hat, 1997.
more smaller squares.
Colored pencil. 14" x II" (36 x 28 cm).
One way to use a grid is to draw the lines on your
paper and erase them as you fill in each square. Another
method is to use paper you can see through, and attach
a sheet of grid squares under your paper. The grid can
be removed when you are finished.

120 CHAPTER ELEVEN

 11-4
Placing a grid on top of your drawing and
your photo reference can help to break
the face into a collection of interlocking
pieces.

Sandra Angelo, Leslie, 1988.

Graphite, 8/2" x I I" (22 x 28 cm).

To enlarge a picture, place small grid squares on the

photo reference and use larger grid squares on your
drawing paper. For example, if you use %-inch squares

m on your reference and you want your drawing to be four

times as big, use one-inch squares on your drawing.

Using a Window

Another way to break an image into manageable parts is

to use a window the same size as one of your grid

squares. To do this, cut a one-inch-square opening in an
opaque paper, and place it over your reference photo. As
you view parts of the face through the window, you
won't be able to tell whether you are looking at a nose,
11-5
a mouth, or an eyebrow. If you accurately draw the
By blocking out the rest of the drawing, the use of a window allows you
shapes one square at a time, by the time you are finished
to focus on the shapes and values in only one square at a time. The use of
a window can dramatically improve your accuracy. you will have a very accurate drawing. If you cut
the window slightly bigger than your grid square, you
will be able to link together shapes seen through the
window.

THE HUMAN FACE 121

 Drawing Parts of the Face
The step-by-step drawings in this chapter show a natur-

al sequence for drawing various parts of the face. If you

are a beginner, you may want to practice the steps as
shown in the drawings. Intermediate students may pre-
fer to practice these same features with the help of a
friend who's willing to model or by observing them-
selves in front of a mirror.

Drawing the Eyes

To practice drawing eyes, start with a contour line draw-

ing made with a graphite pencil. Form the iris by mark-
ing its outermost edge with a dark line. Place a strong,
dark value in the pupil, leaving one spot free for future
placement of the highlight (which will be added later

with opaque white). Extend the highlight slightly into

the iris. Be sure to place the highlight on the same side

in both eyes, or the subject will look cross-eyed. Even

though eyes may have more than one highlight, plan for

just one. This will make the subject look more focused
11-6 and less dazed.
Drawing faces in black and white can strengthen your skill in rendering Look closely at the mottled colors in the eye that you
value and detail before you tackle the more challenging step of working
are drawing. Most eyes have a minimum of six to eight
with color. For this artist, black-and-white renderings are an artform
colors in them. Shade the iris by putting color exactly
unto itself.

where you see it in your reference or in the mirror.

Ann Massey, Rueben McDaniel, 1990.
Black colored pencil, 12" x 9" (30 x 23 cm). Look in the mirror at the whites in your eye. They are
never entirely white. Make an underdrawing of the
Starting with a Black-and-White white of the eye, using a shadow color such as a dull

Drawing light blue. Use graduated tones for the underdrawing:

Build a darker value at the edge of the eye, then shift to

When Michelangelo painted the Sistine Chapel, he a lighter value in the middle and to the faintest of all

began this immense project by doing black-and-white where the white of the eye touches the iris. Cover this

studies of individual elements — the arm, the hand, the underdrawing with white. The graduated tones will cre-

thumb, and other body parts — before he tackled a ate an illusion of roundness.
whole figure. In the same way, you can benefit from Likewise, create a gradual change in value at both
practicing individual features with graphite pencils edges of the eyelid so that it looks rounded and has vol-
first. This will build proficiency before you take on the ume. Repeat this process with the eye socket until you
more complicated task of rendering faces with colored have built up the values surrounding the eye. Now you
pencils. are ready to add detail.

122 CHAPTER ELEVEN

 Eyelashes must be added very carefully. If you look in b\ond«, acid
davK V-iovr add
the mirror, you will notice a space along your bottom
£u& brou)£>
lid between the eyeball and the start of your eyelashes.
Allow for this space and place the eyelashes exactly as

you see them. Eyelashes tend to grow in clumps of three

or four. Treat each section individually, using short,
crisp, slightly curled strokes. The top eyelashes often do
not show at all. If you can't see them, leave them out.
To achieve a precise likeness, place the eyebrows one
hair at a time. Look for the pattern of hair growth. A
child's eyebrows are often so light that you can hardly b\ut SAl(L
see them. Change the direction of your strokes when
the hair growth changes. Use short, crisp strokes like the
ones you used for the eyelashes. It is the subtle differ-
ences that make each person unique. If you pay very
close attention to the details like eyebrows, you are
more likely to succeed in the elusive goal of capturing a
convincing likeness.
Usually a light source above the eye casts a small arcen a.ue
shadow beneath the upper eyelid. Place this shadow
over both the iris and the white of the eye. Lastly, to add
a translucent, reflective quality, create a kidney-shaped
pool of color in the bottom section of the iris in a more
intense shade of the eye color. For instance, use yellow
ochre for a brown eye, light turquoise for a blue eye, and
I
bfoujn *-4€
a light lime green for a green eye.

Drawing the Nose

Vary the values you use when drawing the nose. Part of
SK\n
the nostril is very dark, but the darkness fades as it

moves away from the cavity. The ball of the nose has a
medium value; the end of the nose and the bridge are
very light. By using a wide range of values, you will get

a nose that looks three-dimensional. Notice that most

babies don't have a bridge on the nose. The bridge
becomes more pronounced as a child grows older.

Pay close attention to the shadows next to the nos-

trils. They can help make the nose stand out. Notice the
small ditch or groove that lies between the nose and the
lips. This area requires curved lines. Leave light values
on either side of it to create a highlight that will give this I I -7a
area dimension. Illustration by Sandra Angelo.

THE HUMAN FACE 23

 Drawing the Mouth

At first, practice drawing mouths with lips that are

closed. Drawing teeth is a more difficult exercise, so save
that for later. The center horizontal line is the most crit-

ical part of the mouth —everyone has a unique one.

Some are straight and crisp, some are wavy, some droop
at the ends, and some turn up. Always start by placing
the center line first.

Now look at the top lip. Some people don't have one,
whereas others have a very full one. Some top lips

extend the full length of the center line, but others stop
short. Notice too that many folks have a very light value

right above the top lip. This light line can be indicated
by shading the skin around it.

The bottom lip can vary as much as the top. Most

people have a bottom lip that is fuller than the top lip,

but some folks don't have one at all. Study your subject
closely. Place a deep, dark value next to the center line so

that the lip shadow will give the illusion of depth. Use
short, curved lines on the bottom lip, placing dark val-
ues at both edges and a highlight in the middle of the
bottom lip. Almost every bottom lip has a highlight in
the middle and a cast shadow under the lip.

Drawing Skin

Beginners sometimes ask questions like, "What color do

I use to mix flesh tones?" The answer is, "It depends."

• In the first place, whose flesh are we talking about? Skin

colors vary significantly, even within a given race. If

you are in a classroom, place your arm next to someone

else's arm. Try this with several people. Chances are you
will find a lot of variations in color, both subtle and
obvious.
• Second, we would have to ask, "What is the light

source?" Light will change flesh tones significantly.

• Third, we'd need to know what colors surround the

subject. Colors reflect the hues around them. I l-7b

Illustration by Sandra Angelo.

124 CHAPTER ELEVEN

 The best solution for learning how to mix flesh tones is

to learn how to mix color. Then, whenever you need to

depict flesh of whatever color, you will know how to

replicate its hues.

For practice in rendering skin tones, divide the face

into flat planes. The direction of the lines you draw will

sculpt the shape of the face. Use soft, graduated strokes

to complete a dark value study under the medium and
dark skin tones. Good results can be obtained by using
the complement of the subject's particular skin tone

for the underdrawing. After you have completed this

underdrawing, layer on the skin tones, graduating the

11-9
Wrinkles are very similar to folds in the fabric. Both have dark values in the

shadows that gradually change in value as they taper toward the highlights.

Bruce Nelson, Bosket Maker — Skokomish, 1987.

Colored pencil, 20" x 16" (51 x4l cm).

colors smoothly from dark to light. Overlap each neigh-

boring color to produce a very gradual change from

light to dark.

Wrinkles should be treated as if they were folds of

fabric. Think of a wrinkled face as a gentle, rolling land-
11-8 scape with gradual changes in value. If you use distinct
For the left side of the forehead, the value underdrawing was completed
lines for wrinkles, they will look artificial. Your lines
with an indigo blue colored pencil. The artist used this color because it is

the complement of the orange glow in the skin tone.

must change in value very gradually, with pockets of

David Dooley, Nicole, 1 996.

dark in the "valleys" gradually lightening to highlights

Colored pencil on colored paper, II" x 8'A" (28 x 22 cm). on the "hills."

THE HUMAN FACE 125

 Drawing Hair When you analyze hair closely, you'll see that it tends
to fall in clumps. If you draw each cluster individually,

Drawing hair can be a relaxing and therapeutic exercise, before long the whole head of hair will come together

but many people are intimidated by this feature. It is nicely. If the hair is curly, place dark tones at both edges
common for beginners to scribble circles to indicate a of each clump and a highlight in the middle. Place dark
girl's hair and to use straight lines for a boy's. Yet a per- tones at the roots, to anchor the hair to the head. Even

son's hair is as individual as his or her facial features. If if the hair lacks obvious highlights or roots, still place

you treat your model's hair like a generic head of hair, them. It will enhance the three-dimensional quality of
the likeness will be lost. It is worth taking time to cap- your work.
ture the unique character of the hair. Babies generally have short or fuzzy hair. If a baby (or

an older man) is almost bald, draw the skin tones first

before drawing strands of hair on top of the skin.

Drawing the Ears

Although many people are intimidated by the ear, it can

easily be viewed as a set of lines, shapes, and values, just
like other features of the face. Break it down visually

into pieces, and observe how each section interlocks

with the next. Remember that value changes on the ear

are very gradual except in the inner ear, where there is a

darker shadow.

Drawing the Teeth

The secret to drawing teeth is to remember that less is

more. Lightly pencil in the teeth, and when you shade

them, dull them ever so slightly. If you make the teeth

pure white, they will protrude. On the other hand, dark

lines between the teeth can make them look rotten. Use

very soft lines to define individual teeth. A very young

baby won't have teeth, so if the mouth is open, just draw
the dark and light shadows as you see them.

11-10
Hair tends to fall in clumps. If you draw each clump individually, with

attention to the directional lines of the hair and its posture, the portrait's

likeness to its subject will be enhanced.

Sandra Angelo, Beach Fun, 1 990.

Colored pencil. 20" x 16" (51 x 41 cm).

(26 CHAPTER ELEVEN

 Il-ll
Beginners may find it useful

to practice drawing these

vignettes. Focusing on individ-

ual parts of the face helps to

develop an understanding of
the components of each fea-
ture. More advanced students
may practice drawing parts of

the face while looking in the

mirror.

Illustration by Sandra Angelo.

THE HUMAN FACE • 127

 11-12
A work can be greatly improved

by a willingness to practice before

Colored-Pencil Portraits
starting the final drawing. This

artist selected a tan paper for his

The easiest way to draw people is to select a colored

work and then used a practice paper that reflects the subject's dominant skin tones.
sheet to explore color solutions
The tinted ground will save time and bring a sense of
and to experiment with textures.
harmony to the piece. Because colored pencils are
transparent, their hues will be altered by the color of the
11-13 paper. Test your colors to determine the correct pencils
Tan was the ideal color for the
for skin tones, hair color, and so forth. Practice on a
skin tones in this baby. (Refer back
to Thompson's first drawings in
sheet of the same colored paper that you will use in

chapter seven, fig.7-3. Completed your performance piece. Once you've resolved the color
seven years later, this drawing combinations, you can begin the portrait.
makes evident what is possible

with practice.)

Orville Thompson,
Andrew, 1996.
Tips for Success
Colored pencil, 14" x 10"
(36 x 25 cm). Practice is the key to learning how to draw a face. If you
are a beginner, you will have much more success if you
follow this sequence in your learning process:

• Copy the masters' drawings or vignettes in this book to

learn how to shade various features.

• Begin with black-and-white studies of individual fea-

tures, and then complete a whole face with graphite.

• Practice rendering the parts of the face in colored pen-

cil. If you need to see a demonstration of this tech-

nique, watch the video on drawing faces listed on page

140 of the Appendix. The advantage of using a video is

the option to rewind and watch it repeatedly until you

fully understand the techniques it presents.

• Once you've practiced enough to feel confident, draw

an entire face in color. Begin by drawing people whom
you don't know, so you won't be distracted by the
familiarity of known faces and the desire to please

friends by achieving a likeness. Once you become com-

fortable with technique, you can begin to draw people
you know.

Once you are ready to draw someone familiar, here

are a few points to keep in mind:

I 28 CHAPTER ELEVEN
 If you are using a photograph, work from a reference
in which the face itself is a minimum of 5" x 7". If your
snapshot is too small, take it to a copy shop that makes
color photocopies, and ask them for an enlargement of
the face that measures a minimum of 5"x 7". You sim-
ply can't get a likeness when you can't see the individ-

ual features clearly.

Practice drawing the separate parts of the face in color,

including facial features, hair, and clothing texture and

details.

When you are ready to draw the whole face, plan for its

size to be a minimum of 8" x 10", so you will have

plenty of room for shading subtle features.

Correcting Your Work

Sometimes after you've finished a drawing, you'll want

to make changes. While you are absorbed in drawing a
piece, you tend to lose objectivity. You need the distance
of at least an hour —or better yet, a full day — to accu-
rately analyze the errors you might have made. Also,
drawings generally don't look correct until they are
completely finished. If you check for errors too early,
you may be changing things that were right in the first
I 1-14
place. If you find you are struggling with your drawing,
This artist has an uncanny ability to incorporate a loosely-flowing, multi-
stop. Leave it alone for a day or two, and go back when media style while still portraying his subject's face with accuracy. This

you feel refreshed. If you start obsessing about your portrait of musician Louie Bellson was a commission for the Playboy Jazz
Festival program.
mistakes, you can easily destroy the drawing.
Steve Miller, Louie, Louie, 1998. Colored pencil, oil pastel, and graphite,
more complicated than the
Because portraits are a bit
14" x 12" (36 x 30 cm).
average drawing, you may have to redo the same draw-
ing more than once before you get a good likeness.
Instead of correcting the same drawing over and over Adding Faces to Your Photo File
again, just start a new one. With a battery-powered
eraser, you can effectively lift mistakes two or three Keep your camera with you at all times. You never can
times, but if you erase repeatedly, you will destroy the tell when someone you love will do something endear-
bite of the paper. If a drawing needs extensive correc- ing. Nothing captures a personality better than a candid
tions, it generally means you haven't practiced enough shot. Since people, especially children, move constantly,
and would do better to start over. Also, you can avoid count on going through quite a few rolls of film before
mistakes by resolving color solutions and texture prob- you get a good reference. The guidelines on the next
lems on a separate sheet of paper. page will help you improve your ability to photograph
people.

THE HUMAN FACE 129

J_
 Eliminate Harsh Shadows
1-15
I
In photographs taken with a flash or in direct sunlight,
This photograph provided a reference for

fig.ll-16.
harsh black shadows may appear around facial features.

Photographs taken in the shade on a bright day or near

a window in a sunny room usually offer the best light-
11-16
ing for people subjects. Observe how the light falls
Using artistic license and a strong vision of

the mood she wanted to create, the author

across the face of your subject, and reposition him or
made several key changes while remaining her as needed before taking the photograph. If that's not
true to the essence of her reference image.
possible, no problem! As the artist, you can ignore over-
Sandra Angelo, Mother and Child, 1 994. ly strong shadows. Soften shadows, and make them
Colored pencil, 14" x II" (36 x 28 cm).
lighter than they appear in your reference. Doing so
usually results in a more harmonious, realistic drawing.
(For an example, see figs. 7-8 and 7-9 on page 83.)

Correct Photo Flaws

Sometimes it's a good idea to work out the composition
for a colored-pencil drawing in black and white first.

Graphite is easy to erase and correct, allowing you to

resolve visual problems before beginning the color ren-
dering. You may wish to smooth rumpled clothing or
exclude an element in the photograph. If you have more
than one photograph of the same subject, practice com-
bining features from several views. Such modifications
are common because photo references are almost never
perfect.

SANDRA S AYS
%.
One of my students once discovered that Van Cliburn,
the world-famous pianist, would be occupying the cot-
tage next to hers on Martha's Vineyard for the sum-
mer. She anticipated lying in her hammock and listening

to private piano concerts wafting through the air. Much

to her surprise, the only thing Van Cliburn played the
entire summer was scales and arpeggios. We can gain
understanding from such masters. Learning to achieve
a likeness does not happen overnight. It comes from
hard work, dedication, practice, and attention to detail.

Keep practicing, and one day you'll agree that drawing

faces is the most fun you can have with a pencil.

130 • CHAPTER ELEVEN

 —

Modify Colors Remember to enjoy the process, and don't expect

Sometimes you may want to modify items in a photo- miracles. Congratulate yourself if part of the face looks
graph to make the drawing more interesting, to alter the good. Next time you draw it, you will improve the like-

mood, or to remove distractions. The sentiment in ness. Remember that even accomplished artists fill

fig. 11-15 was charming, but the patterned dress drew sketchbook after sketchbook with practice drawings.
too much attention. The author softened it and
changed the mother's hair color, using a monochromat-

ic pastel palette that was more in keeping with the

mood.

BEGINNER EXERCISES

I. Practice drawing facial features

eyes, nose, mouth, and ears — as
described in this chapter. Refer espe-
cially to figs. I I -7a, I I -7b, and I l-l I

for guidance. Lay out the colors you

wish to use by value, to give you a
reference for color selection.

2.Devote several pages in a sketch-

book to practicing only drawings of
hair. First, copy the examples in

fig. I l-l I, and then look around you

for inspiration. The variety in color,
texture, and form is astonishing, espe-
cially when you include facial hair and
eyebrows.

M-17
Illustration by Sandra Angelo.

THE HUMAN FACE 3 I

 INTERMEDIATE EXERCISES

I . Practice drawing a whole face with

a limited color palette. Draw some-
one you don't know, or do a study of
one of the faces in this chapter. Pay
attention to details that give individu-
ality and personality to your subject.
You don't have to know the person to
notice unique cha-acteristics of their
appearance.

11-18
Using subtle colors for this portrait, the artist

conveys a strong mood by the placement, pos-

ture, and details of her subject.

Linda Greene, Deep Thought, 1996.

Colored pencil on mat board, 8" x 12"

(20 x 30 cm).

2.Draw the parts of the face of

someone you know. Then put the
whole drawing together, creating a
full-color portrait. Review the princi-

ples of composition in chapter seven.

Rather than draw your subject dead
center and face forward, like a mug
shot, position the face in an interest-
ing manner to make good use of neg-
ative space.

11-19
Enlarging the subject to fill the entire picture

plane, the artist skillfully layered soft, delicate

colors to capture a tender moment.

Pamela Whyman, /Uiche/Ze, 1994. '

Colored pencil. 10" x 14/" (25 x 37 cm).

132 CHAPTER ELEVEN

 ADVANCED EXERCISES

I. Create a personality portrait of

someone you know. To capture the 11-20
person's essence, costume the sitter After hours of interviews

in a favorite outfit, use props or catch with a wide variety of

the person in his or her favorite activ- Appalachian natives, this

ity. Candid photographs sometimes artist produced a series of

personality portraits that

best capture a person's true spirit.
convey their everyday life.
Since photos aren't often perfectly
staged, composition may have to be Monta Black Philpot,
Pete Lewey, 986.
modified. Consider doing a black-and-
1

Colored pencil, 31/4" x 26"

white rendering first, to work out
(80 x 66 cm).
compositional problems.

2. Draw a creative self-portrait, using

colored pencils. Feel free to use a 11-21
mixed-media approach if it enhances This creative self-portrait was done with

your creativity. When considering cre- a combination of media.The background

ative options, say to yourself, "She did- was washed with watercolor, the face

n't say we couldn't . The term cre-

.
." was lightly drawn with pastels, and a
multitude of details were added with
ative self-portrait can mean a lot of
colored pencils.
things. For example, when the author
was given this assignment one sum- Student work: Isidro Macedo, Jr.

(age 18), Self-Portrait, 1998.

mer, her solution was to draw her
Mixed media, 14" x II" (36 x 28 cm).
feet holding a cola bottle, in a ham-
mock.The teacher didn't say she had
to draw her face!

THE HUMAN FACE 133

Q
Appendix
 Portfolios speak to the art director there. Art directors
tend to be finicky
about quality and will likelyknow who does good work.
As a standard practice, when finish a piece of art, I imme-
I

Recording and Promoting Your Work diately send it in to the lab where I have twenty to thirty slides
made. I ask for slides with white frames on both
sides and
Any artist, whetherprofessional or amateur, will benefit from request that my name, address, and phone number be print-
maintaining a portfolio to show the range of work ed on the back of the
they have slide, in case someone who sees it wants
created. If you plan to promote your art, apply for art school, to contact me.
or work as an
illustrator or professional artist, you will
need Make a habit of putting your name, address, and
phone
to have slides of your work, preferably with number on every single thing you send out. Numerous
duplicates of times
each. Publishers of magazines, newspapers, when have wanted to call an artist, haven't been
and books always I
I able to
have tight deadlines. When they decide to publish your work, find the address or phone number. If there is room on the
they will expect you to deliver slides of your slide, ask the lab to print the
artwork imme- title, dimensions, and copyright
diately. If you have everything organized in three-ring date on the front. If they don't, use a black
Identipen (which
binders, you can simply go to the shelf, put together a slide writes on any surface, including plastic) to write all the infor-
sheet, and send a cover letter along with your work. (Always mation yourself. Be sure to write legibly. When sending slides
store your slides in archival-quality plastic to prospective users, always include a
sleeves.) typed slide sheet that
Most publishers and galleries work from lists same information, for cross-reference. Number each
the
slides. If you
want to include tear sheets from published work or high- slide tomatch the caption on the slide page, and put your
quality laser prints, that's okay too, as long as the work is also address and phone number on this sheet.
submitted in slide format. Newspapers sometimes use 5" x 7"
black-and-white photos of the artist or action shots, so keep
those on hand too.

Unless you are a fabulous photographer, always have

your Conservation
slides produced professionally. As an author of books and
articles, I can't tell you how many times
I've wanted to use
work that hadthrown out simply because the slides
to be The Five Enemies of Paper and Pencils
were awful. Never photograph your work with
your fingers
showing, on your car bumper, or on the grass in Works on paper generally
your back- sell at a lower price than works on
yard. If you do take your own slides, mount your work on canvas because of their lack of durability.
a It's not uncommon
black, white, gray, or neutralbackground, and shoot outdoors to see a work on paper priced at fifty percent less than a com-
in the shade on a sunny day (to get accurate color). Don't parable work on canvas. To avoid this problem, consider
shoot in direct sunlight because the colors may working on Windberg Masonite Panels, which are
become over- lightly
exposed or harsh shadows may show on your work. coated with marble dust. This ground can hold
Never own when
its
photograph framed work that is under glass, as it is nearly compared to an oil painting surface. After all, many oils are
impossible to avoid glare. painted on Masonite. Most brands of pencils provide
a chart
Even though I used to teach photography, send my work listing the archival colors. When you
I use an archival ground
to a lab that charges ten dollars for the and lasting colors,
first slide and eighty your work's longevity will compare favor-
cents for each duplicate. In the long run, ably with that of oils and acrylics.
it would cost me
about the same if I bought the film and had it Alternatively, many of the problems associated with paper
developed. If
you create large works, be sure to ask the lab about conservation can be prevented by avoiding the "enemies"
size limi- that
tations. Some shops can't photograph large work. If you need tend to destroy paper:
to locate a professional lab, call a
local advertising agency and

Sandra Angelo, The End, 1998.

Colored pencil on colored paper, I I" x 8'A" (28 x 22 cm).
APPENDIX 35

I
 Enemy Number One: water convinces paper that it should again become a liquid
Poor Quality Paper and Other Grounds mixture, so it begins to warp. Paper can absorb moisture
Select papers or surfaces of archival quality. Paper is dis- from the air in bathrooms, kitchens, a pool house, or any
cussed at length in chapter two, but suffice it to say, poor- humid climate. To protect your art, display it in the driest
quality papers with acid composition will fade and take your rooms in your house. If you live in a moist climate, consider
art along with it. using a dehumidifier.

Enemy Number Two: Enemy Number Five:

Ultraviolet Light Heat
Sunlight, which is full of harmful ultraviolet (UV) rays, can As you well know, paper is flammable. Common sense tells us
destroy your art. Most paper will yellow and gradually disin- to avoid placing art next to a heater or an air vent. Paper that
tegrate when exposed to sunlight, even when it is reflected is covered with colored pencil has an additional problem.
from a distant source such as a skylight. For best protection Colored pencil is made from wax, and when it is exposed to
from these damaging rays, frame your work using the UV heat, the wax tends to separate from the pigment, causing a

filter glass sold in finer frame shops. It will cost you roughly layer ot white film to form over the drawing. To prevent this

twice as much as standard glass. You might regret not shelling wax bloom, you can spray your drawing with fixative (see
out the money if you encounter damage down the road. chapter two) or move it away from the heat source.
I was recently shocked to discover that my family photo
gallery in the hallway had quietly faded away. All the photos
were displayed on an interior wall, not exposed to the sun at Fugitive Colors
all. However, at the top of the stairs, adjacent to my picture
gallery, there is a skylight. This small amount of reflected sun- Colored pencils are made of a combination of clay, wax, and
light faded my photos mercilessly. Priceless family memories pigment. Although many art pigments consist of archival-
are now a shadow of their former glory. I wish I had known quality materials, some colors can be derived only from pig-
about UV filter glass when I framed them. ments that are fugitive. In the past, because colored pencils
When you complete your art, before you frame it, store it were not considered a serious art medium, most pencil man-
in a metal file cabinet with wide, shallow drawers. Make sure ufacturers did not publish a list of the archival properties of
the drawing lies flat, and keep the cabinets away from heat, to various colors. Now most do. You can write to the manufac-
prevent wax bloom. Frame one piece at a time to spread the turer to inquire about the permanence of colors —the address
cost out over time. If you need several pieces mounted, you is generally listed on the container sold with the pencils.

can wait for sales at the local frame shop. Write to the product manager in the marketing department.
Most companies will gladly send you a brochure detailing the
Enemy NumberThree: lightfastness ratings for each color. One brand even lists this

Bugs information on each pencil. If you plan to create a drawing

Silverfish and moths have a voracious appetite for paper. To that will last, make sure you choose colors that won't fade.
prevent them from making a meal of your art, consider lining
your storage drawers with cedar or placing several cedar
pieces in each drawer. You can purchase cedar chips, blocks, Matting and Framing
or balls at a bedding and bath shop.
When you frame your work, you are in effect creating a pro-

Enemy Number Four: tective sandwich around it. On the front side, use a glass that
Humidity screens out UV rays. Next to that, place an archival-quality
To make paper, manufacturers combine various fibers with rag mat to keep the glass separated from your drawing. If you
water. This liquid mixture is then laid out, mechanically or by place glass directly on your art, the wax will transfer to the

hand, to clr\. When the water evaporates, the mixture glass, and your drawing will slowly disintegrate.

becomes paper. As you can imagine, the reintroduction of

I 36 APPENDIX
 The next ingredient is a hinge of archival tape. This one-

to three-inch piece of tape should be attached to the top of

the artwork on the right and left sides. This simple hinge lets

the paper hang free, allowing it to adapt to changes in humid-

ity and temperature. On the back of the mat, place archival-
quality foam core, which is available in various widths and
should be cut to fit the frame. The assembled sandwich is

now ready to be placed in the frame and sealed with a piece

of brown archival-quality framing paper on the back. Attach
wire to the back, and your art is ready to be hung.
When you are selecting a frame or mat, take your artwork

with you. Pull out several sheets of mat board to see which
color matches best. Sometimes you'll be quite surprised to
find yourself choosing a color that you wouldn't have pre-

dicted as the most suitable. When framing fine art for an

exhibit, the protocol is to use white or off-white mats and
very simple frames. Galleries would have a terrible time
hanging a show of artworks presented in a variety of colored

mats.
When you are framing art for decorative purposes at

home, you can add a second or third color as a border inside

Matting and framing your work is critical to its preservation. You must in essence
the first mat. Sometimes you may even select a colored mat
create a sandwich of archival-quality materials to protect your art.These should
and pull it off. Keep this rule in mind: The art is the star. You include, from front to back,
never want someone to look at your work and say, "My, what 1. a frame

a nice frame!" The mat and frame should simply support the 2. UV filter glass

art, not detract from it. Keep in mind that simple and neutral 3. archival-quality rag mat
4. archival-quality tape hinges on the back of the art, top left and right
is always safe.
5. foam core
Finally, remember that art is created for enjoyment.
6. optional: wire (can be attached directly to the frame for hanging)
Indulge yourself, and display your work in your own home 7. archival-quality brown sealer paper on the back (not shown)
and in the homes of your family and friends. Art, after all,

captures a bit of your soul and offers the viewer a personal

glimpse into your world. Living your daily life surrounded by
work that was generated from your heart is relaxing and
comforting, and will return you to the joy you had while cre-
ating it. Art can soothe the soul.

This drawing has been framed to match the decor of the home in which it

is displayed. This approach towards matting and framing is considered dec-

orative.

Sandra Angelo, Dreams, 1993.

Colored pencil on colored paper, I I" x 14" (28 x 36 cm).

APPENDIX • 137
 Glossary

archival-quality materials Products that will last over gradation, gradated Any gradual change in hue or value.
time. grisaille A technique in which a black-and-white under-
atmospheric perspective Creating the illusion of dis- drawing or underpainting is followed by a glaze of color.
tance on a two-dimensional surface. hue Color.
burnishing A process of creating saturated color that is impressed line Marks produced by using pressures. A
unique to work in colored pencil. Begin with a transparent slightly blunt instrument is pressed into the paper to reveal
layer of multiple hues, using very gentle pressure. Follow the color of the paper and provide details, such as the veins
with the exact same sequence of color, but this time, grad- of a leaf or lace patterns.
ually increase the pressure until the wax pencil melds local color The natural color of an object.
together and completely obliterates the drawing surface. monochromatic Of one color.
colored ground Colored paper or other drawing surface; pointillism A style of nineteenth-century French painting
or an underpainting made with watercolor, watercolor in which colors are systematically applied to canvas in
pencils, a blender, or an airbrush. small dots, producing a vibrant surface.
colorless blender A felt-tip marker that has no color primary color Pure pigments that cannot be mixed from
or pigment; used for making underpaintings in colored- any other color: yellow, red, and blue. All art pigments are
pencil drawings. made by combining these three hues in various propor-
complementary colors Colors that are directly opposite tions.

each other on the color wheel. pure hue A color that has none of its complement in it.

composition The arrangement of shapes or objects on a pure value A pure color, mixed with white.
page. reflected color The color that is created by mixing the
contour line drawing A preliminary line drawing that local color with an adjacent color that is reflecting into the

serves as a map for the future placement of shapes, shad- object.

ows, and colors. secondary color A color obtained by mixing equal
cover letter Whenever you send out your work for publi- amounts of two primary colors.

cation, you should submit a letter explaining what you are tear sheet A type of work sample. When your work is pub-
sending and why. Always be sure to put your name, lished in magazines, you can remove that page and send it

address, and phone number on the letter and on every- as a sample of your work.
thing you submit. tone Modifying a color by adding neutrals to it. Also, the

dusting Lightly covering a drawing area to "glaze" or tint the relative lightness or darkness in a work of art.

underdrawing. (A synonym for the term glazing as it is transparent layering Applying layers of colored pencil
used when painting with watercolors or oils.) gently, one on top of another, with an extremely sharp
fugitive Figments that will fade when exposed to light, such pencil until a rich, variegated tone is achieved.
as the dyes used in markers. tertiary color A color obtained by mixing equal amounts
gesture drawing Very quick linear sketches which are of a primary color and its adjacent secondary color.
completed in thirty to sixty seconds, capturing only the value An element of design that relates to the lightness or
action, not the detail. darkness of a color.
gouache An opaque, water-soluble paint. Colored-pencil
artists use white gouache to create highlights after colored-
pencil work is complete.

138 APPENDIX
 Resources

Books section of the book shows ten artists' self-portraits. It

includes expert advice on every aspect of painting portraits,

Adams, Norman. Drawing Animals. New York: Watson- from working with a photo to developing a composition to
Guptill Publications, 1989. A good collection of animal mixing skin tones, 84 pp.
drawings in graphite pencil as well as numerous skeletons Doyle, Michael E. Color Drawing: A Marker/Colored Pencil
of a wide variety of animals. An excellent reference. Approach for Architects, Landscape Architects, Interior and
Borgeson, Bet. Colored Pencil Fast Techniques. New York: Graphic Designers, and Artists. New York: John Wiley &
Watson-Guptill Publications, 1988. Methods and strategies Sons, 1997.
for gaining speed and improving colored pencil drawings, Greene, Gary. Creating Textures in Colored Pencil. Cincinnati:
140 pp. North Light, 1996.

Borgeson, Bet. Colored Pencil for the Serious Beginner. New Greene, Gary. Creating Radiant Flowers in Colored Pencil.
York: Watson-Guptill Publications, 1998. The author shows Cincinnati: North Light, 1997.
how to create form, volume, and space and avoid overwork- Kullberg, Ann. Colored Pencil Portraits Step by Step. Cincin-
ing a picture. She also shares special techniques for both nati: North Light, 1998.

popular and nontraditional subjects and discusses how to Martin, Judy. The Encyclopedia of Colored Pencil Techniques.
become a professional artist. 200 color illlus., 144 pp. Philadelphia: Running Press, 1997. A step-by-step direc-
Borgeson, Bet. The Colored Pencil, Key Concepts for Handling tory of key techniques, plus a gallery showing how artist

the Medium. New York: Watson-Guptill Publications, 1983. use them, 192 pp.
Provides the reader with an introduction to the colored- Poulin, Bernard. The Complete Colored Pencil Book. Cincinnati:

pencil medium and step-by-step demonstrations of a variety North Light, 1992. Through advice on the versatile medium
of colored-pencil techniques, all in the author's graphic of colored pencils, from the basics to advanced techniques.
style, 140 pp. Discussion includes: materials and work space, the prelim-
Borgeson, Bet. Colored Pencil Techniques. Cincinnati: North inary sketch, color and its impact, creating textured sur-
Light, 1997. faces, portraits and figures, and landscapes. Abundantly
Colored Pencil Society of America, The Best of Colored Pencil. illustrated with work by the author and others, 136 pp.
Rockport, MA: Rockport Publishers, 1993. Rodwell, Jenny. Colored Pencil Drawing. London: Studio
Colored Pencil Society of America, The Best of Colored Pencil 2. Vista, 1995. A variety of subject matter demonstrated step-
Rockport, MA: Rockport Publishers, 1994. by-step in large follow-along format. Demonstrations are
Colored Pencil Society of America, The Best of Colored Pencil 3. in both watercolor and dry wax-based colored pencils,
Rockport, MA: Rockport Publishers, 1996. 95 pp.
Curnow, Vera, The Best of Colored Pencil 4. Rockport, MA: Strother, Jane. The Colored Pencil Artist's Pocket Palette.
Rockport Publishers, 1997. Cincinnati: North Light, 1994.

Curnow, Vera. Creative Colored Pencil. Rockport, MA: Warr, Michael. Coloured Pencils for All, A Comprehensive
Rockport Publishers, 1995. Guide to Drawing in Colour. UK: David and Charles, 1996.
Curnow, Vera. Creative Colored Pencil Landscapes. Cincinnati: Wise, Morrell. Colored Pencils (Artist's Library Series). Walter
North Light, 1996. Foster Pub., 1990.

Curnow, Vera. Creative Colored Pencil Portraits. Cincinnati:

North Light, 1996. In the first section of this book, six artists

create a portrait of the same model, working from identical

reference photographs, for stunning variations. The second

APPENDIX 139
 Sandra Angelo Books and Videos Demonstrations with oil pastels, a fast, inexpensive, non-
Series: Colored Pencil and Mixed Media toxic medium that combines very well with colored pencils.

Angelo, Sandra. Colored Pencil Drawing. Laguna Hills,

California: Walter Foster, 1994. Step-by-step lessons that Angelo, Sandra. Create with Colored Pencils on Wood.
guide you through seven basic colored-pencil drawing Dodgeville, WI: Walnut Hollow, 1997. Step-by-step meth-
techniques. 32 page book. ods for using colored pencils on a wood surface. Includes
Getting Started with Colored Pencils, 1994. Videotape: 46 min. preparing wood, transferring designs, tips for drawing on
Step-by-step demonstrations of four basic colored-pencil wood, and patterns for all the lessons. 32-page companion
techniques as well as a discussion of various brands of pen- book to the following video.

cils, papers, and accessories. Create with Colored Pencils on Wood, 1997. Videotape: 58
Special Effects with Colored Pencils, 1994. Videotape: 55 min. min. Step-by-step demonstrations showing methods for

David Dooley demonstrates how to draw metal and glass; using colored pencils on a wood surface.

Sandra Angelo shows six watercolor-pencil techniques as

well as time-saving techniques for drawing on colored Series: So You Thought You Couldn't Draw™
paper. Angelo, Sandra. So You Thought You Couldn't Draw™. San
Realistic Colored Pencil Textures, 1996. Videotape: 70 min. Diego: Discover Art, 1989. This 150-page workbook trans-
David Dooley and Sandra Angelo demonstrate special forms novices into artists with a fast, easy four-step
effects for combining colored pencils with various media method. The following companion videos demonstrate the
to create textures including satin, glass, foliage, rocks, drawings in this book.
grass, skin tones, and more. Drawing Basics, 1994. Videotape: 47 min. This video guides
Time-Saving Colored Pencil Techniques, 1996. Videotape: 75 you through the first half of the book, So You Thought You

min. David Dooley and Sandra Angelo demonstrate spe- Couldn't Draw™, and provides foundational step-by-step

cial effects for cutting your drawing time in half while dra- lessons for shading, getting accurate proportions, creating

matically improving results. textures, and more.

Building A Nature Sketchbook, 1997. Videotape: 75 min. The Easy Way to Draw Landscapes, Flowers, and Water, 1994.
Whether you are in a backyard, a park, or a jungle, you can Videotape: 45 min. Step-by-step demonstrations and fast

use colored pencils, watercolor pencils, and pens to create methods for working with water-soluble graphite.
a very personalized sketchbook. 7 Common Drawing Mistakes and How to Correct Them, 1995.

Watercolor Pencils, The Portable Medium, 1999. Videotape: 50 Videotape: 62 min. Simple solutions to the most common
min. Six techniques for working with fast, easy, portable, drawing problems including: proportion, perspective, cre-

water-soluble colored pencils. Demonstrations include ating depth, and more.

combining watercolor pencils with watercolor and ink.

Creating Dynamic Drawings: What Do I Do with the Series: People and Pets

Background?, 1999. Videotape: 65 min. Sandra Angelo Angelo, Sandra. Turn Treasured Family Photos into Art, The
walks you through basic principles of composition as well Easy Way. San Diego: Discover Art, 1999. Step-by-step
as the thought process and research that goes into produc- lessons designed for beginners who can't even draw a

ing creative drawings. Steve Miller, an award-winning por- straight line. This book is a companion for the following

trait artist with a celebrity client list, demonstrates his two videos.
secrets lor creating dynamic drawings. The Easy Way to Draw Faces, 1994. Videotape: 45 min. Step-
Color Theory Made Really Easy, 1997. Videotape: 55 min. by-step demonstrations that show how to draw eyes, noses,

Learn simple color-mixing theories and exercises that will mouths, hair, and wrinkles using graphite pencil.

make your drawings come alive. Demonstrated in acrylics Drawing Your Loved Ones: People, 1997. Videotape: 86 min.

but theory applies to all media including colored pencil. Step-by-step colored-pencil demonstrations that show
M
Paint Like Monet in a Day' , 1997. Videotape: 52 min. how to draw eyes, noses, mouths, hair, and skin tones.

140 APPENDIX
 Techniques for capturing a likeness, correcting bad refer- Organizations and Workshops
ences, and putting personality into portraits.

Bet Borgeson Workshops

Angelo, Sandra. Capturing the Spirit of Your Pet. San Diego: c/o Watson Guptill
Discover Art, 1999. Step-by-step lessons designed for 1515 Broadway
beginner, 150 pp. This book is a companion for the fol- New York, NY 10036
lowing two videos.
The Easy Way to Draw Cats, Dogs, and Wild Animals, 1994. Colored Pencil Society of America
Videotape: 59 min. Nominated for an Emmy, this step-by- Cindy Hopkins
step video, filmed at the San Diego Wild Animal Park, 244 Orchard
walks the beginner through graphite lessons for drawing Weerton,WV 26162
domestic and wild animals.
Drawing Your Loved Ones: Pets, 1997. Videotape: 84 min. David Dooley Colored Pencil Workshops
Step-by-step colored-pencil demonstrations show how to RR #3, Box 384
draw animal eyes, noses, and mouths as well as long, short, Lawrenceville, Illinois 62439
and fluffy fur. Techniques for shooting and organizing ref- 618-943-3680
erences and correcting bad photos as well as capturing the
spirit of your pet. Discover Art with Sandra Angelo, Inc.
Colored Pencil and Drawing Workshops
PO Box 262424
San Diego, CA 92196
Toll-free 1-888-327-9278

Society of Illustrators
128 East 63rd Street
New York, NY 10021

APPENDIX 141
 Ind ex
Adamson, Donna, 96 demonstration, colorless blender and, 57 Denton, Patry, 44
Alello, Darryl J., 72 monochromatic drawings on colored depth
Allen, Julie Marguerite, 58 papers and, 60 bright, dull, 72
Angelo, Sandra, x, 20, 30, 38, 40, 43, 48, 51, mood and, 53 converging lines and, 73
56,84,85,91,94,97, 104, 105, 107, 115, reasons for, 51 creating, 71-73
121, 123, 124, 126, 127, 130, 131, 135, selecting, 54—55 focused, fuzzy, 71
138 testing colors and, 53 higher, lower, 72
animals, drawing, 91-96 watercolor, underpainting and, 59 larger, smaller, 71
creating textures, 93-96 colored masking fluid, 25 overlapping shapes, 73
habitats and, 93 colored papers, 20 Derwent, 8
movements, behavior, anatomy and, colorless blender, 16 design techniques, 67-73
91-92 demonstration, 57 composition, 67-70
observation and, 91-93 underpainting with, 56-58 depth perspective, 71-73
practicing, 93-96 color mixing, 33 thumbnail sketches, 70
references and, 95 color wheel, 34 Dooley, David, 12, 42, 49, 1 12, 125
shadow depictions and, 95-96 composition, 67-70 Dorst, Mary Crowe, 64
archival-quality materials, 15-16, 136-138 bird's-eye view, 68 drawing surfaces, 19-22
paper, 21 blow up, 68 multi-media panels, 22
See also conservation concept of thirds, 68 Windberg panels, 22
converging lines, 69 Duchamp, Marcel, 4
Badillo, Art, 93 pushing subject back, 69 Dunkle, Christy, 68
Bain, Lindsey, 98 still life, 1 1 1 dust brushes, 25
Balcombe, Noah, 99 thumbnail sketches, 70
Barber, Emma, vii worm's-eye view, 69 ears, drawing, 126
Barr, Rose Marie, vi, 108 conservation, 136-138 Eberhard Faber, 4
Bartlett, Jennifer, 6 archival quality materials and, 136 Edidin, Barbara, 4 1 84, 85, , 1 1 1 , 1 1

Benotti, Elizabeth, 9 bugs and, 136 Engelbreit, Mary, 10, 84

Berol, 4, 8 framing and, 137-138 en plein air sketching, 102
Berolzheim, Daniel, 4 fugitive colors and, 137 erasers, 23
Bonner, Brian, 72 heat and, 136 battery-operated, 23
Bowen, Brent, 96 humidity and, 136 plug-in, 23
Boyer, Jesse, 75 matting and, 137-138 eyes, drawing, 122-123
brushes, 17 ultraviolet light and, 136
Bruynzeel, 8 Cook, Ken, 69 Faber, 8
Bull, Joe, 46 creative process, 77-85 Fairl, Carolyn, 17, 108
burnishing, 36-38 for beginners, 78-80 fixative, 26
demonstration, 37 defined, 77 flick paint, 25
tips, 36 emulating masters and, 79-80 Ford, Mary, 102
Byrem, Lynn A., 1 17 guidelines for creating original work Fournier, Evelyn, 54
and, 80-81 framing, 137-138
( ..H.in d'Ache, 4 inspirations for, 84-85 frisket paper, 25-26
Caskey, Bethany, 31 mastering basics and, 78 fugitive colors, 137
Castillo, Mario, 7 reference file building and, 83
Chen, June, 87 styles, media and, 78-79 Carrabrandt, Bruce S., 72
(.ho, )ang, 64 teachers and, 78 ( lianera, Jan, 19

Chouldren, Nicolas, 68 creative synergy, 81 Golden, Judith, 6

Cole, Jennifer, 1 19 Currier, Deborah, 71, 114, I 16 graphite, 4
collage, colored ground, 56-59 water-soluble, 46
colored ground, 51-60 I >avis, Stuart, 4 graphite density chart, 14
collage, 56-59 Degas, Edgar, 79 Creene, Linda, 132
colorless blender, underpainting and, density, pencil, 14 grids, 120
36-58

42 APPENDIX
 1 1 6 1

grisaille, 29-32 grisaille technique, 29-32 mouths, drawing, 124

demonstration of, 3 monochromatic, 32-33 multi-media panels, 22
technique, 30-32 transparent, 34-35 Myers, Robert, xv
Guthrie, Robert, 22 Leach, Mada, 4
Lerback, Jens, 5 Nakamura, Shane, 74
Hacker, Valerie, 67 Lichtenstein, Roy, 6 nature sketchbooks, 105
hair, drawing, 126 lightfastness guides, 15
Nelson, Bill, 9, 35, 36, 81
Halborn, Matt, 41 Lindstedt, Doreen, 99 Nelson, Bruce, 25, 101, 106, 117, 125
Hernandez, Nora, 7 Locati, Dyanne, 88 Newton, Barbara, xii, 29, 33
history Lott, Starlynn, 34 noses, drawing, 123
of colored pencils, 3
of use, 4-6 McCarty, Ruth, 98 Oldenburg, Claes, 6
Hockney, David, 6 Macedo, Jr., Isidro, 133 opaque layering, 36-38
Hockstadt, Mark, ix MacLean, Teresa McNeil, 103 demonstration, 37
Holmberg, Norman, 103 manufacturing, 8 tips, 36
Huang, Sharon, 39 Marcum, Beverly, xiv opaque white, 26
human face, drawing the, 1 19-130 Martin, Doris, 16,59 outdoors, drawing the, 101-105
black, white drawings and, 122 masking products, 25-26 demonstration, big picture, 106
colored-pencil portraits and, 128-130 colored masking fluid, 25
demonstration, nature up close, 104
correcting photo flaws and, 130 flick paint, 25 en plein air sketching, 102
correcting work and, 129 frisket paper, 25-26 exploring preferences and, 103
difficulty of, 119-120 Massey, Ann James, 35, 36, 122 nature sketchbooks and, 105
ears and, 126
Mater, Gene, 1

eyes and, 122-123 materials, 13-16 Pacheco, Michael, 1 1

grids, use of and, 120 archival properties of, 15-16 papers, 19-21
hair and, 126
archival-quality paper, 21 archival-quality, 21
harsh shadow elimination and, 130 brushes, 17 colored, 20
modifying colors and, 130 caring for pencils and, 14-15 colored ground and, 54-55
mouths and, 124 colored papers, 20 surface of, 19
noses and, 123 colorless blenders, 16 textured, 20
photo files and, 129-130 drawing surfaces, 19-22 Parker, Kathi Geoffrin, 39
skin and, 124-125 dust brushes, 25 Penrod, Mike, 27
techniques for, 120-121 erasers, 23 Philpot, Monta Black, 133
teeth and, 126
fixatives, 26 photo files, 129-130
tips for, 128-129 masking products, 25-26 Porter, Sylvia L., 76
windows, use of, 121 multi-media panels, 22 portfolios, 135
Hurst, Susan, 120
opaque white, 26 portraits, 128-130
pencil density and, 14 adding faces to photo file and, 129-130
Iavelli, Julie, 86 professional-grade pencils, 13 correcting photo flaws and, 1 30
sharpeners, 23 correctingwork and, 129
Jennings, Helen, 94
storage, 15 harsh shadow elimination and, 130
tape, 25 modifying colors and, 130
Kapka, Rose, 109 technical ink pens, 18 tips for, 128-129
Kessler, Andrea, 101 textured papers, 20 Poussin, Nicolas, 79
Klimt, Gustav, 4
transfer paper, 26 promoting work, 135
Kullick-Escobar, Ulises, 79
watercolor pencils, 1

Windberg panels, 22 Raney, Ken, 63

LaMarche, Chris, 82 matting, 137-138 recording work, 135
Lanyon, Ellen, 5 Miller, Steve, 3, 129 Reed, Carolyn, 29
layering techniques, 29-38
mixed-media, 44-46 Reinbold, Joella, 86
building color, 33-34 monochromatic drawings, colored ground Renick, Patricia, A., 6
burnishing (opaque layering), 36-38 and, 60 Rimmer, Elaine, 74
demonstration, color opposites for monochromatic layering, 32-33 Robison, Tricia, 1 15
shading, 35

143
 Ross, Brian, 1 12 subject matter value, 33
Row l.vn Aus, 119 animals, 91-96 Vierra, Kathryn, 63, 69
the great outdoors, 101-105 Villalobos, Jr., Martin, 70
Samaras, Lucas, 6 the human face, 1 19-130 Vleck, Garrett Van, 93
Sanchez, Jesus, 77 still lifes, 111-114
Schoch, David, 80 Sutton, Scott, 18 Warner, Karen, 73
Scudiere, Rebecca, 24 watercolor, underpainting, 59
Servoss, Allan, 32, 71 tape, 25 watercolor pencils, 16
Settergren, Deborah, 3, 19, 64, 88, 1 16 technical ink pens, 18 advantages of, 43^14
shadows, 95-96 techniques. See design techniques; layering pen, ink and, 44-46
body, 95 techniques; watercolor-pencil techniques watercolor-pencil techniques, 43-46
cast, 95 teeth, drawing, 126 demonstration of six types of, 45
hints for, 96 textured papers, 20 mixed-media approach to, 44-46
sharpeners, 23 Thayer, Thomas, 2 1 , 5 1 , 60, 73, 9 water-soluble graphite, 46
skin, drawing, 124-125 Thiebaud, Wayne, 6 Watt, Tracy, 87
Smith, Joanne, 1 14 Thompson, Orville, 78, 83, 128 Westberg, Bruce Martin, 92
Smith, Michael, 55 Thompson, Richard, 57 Whyman, Pamela, 132
Staedtler, 8 thumbnail sketches, 70 Windberg, Dalhart, 22
Stewart, Shelley M., 66 Tooley, Richard, vii, 1 12 Windberg panels, 22
still lifes, 111-114 transfer paper, 26 windows, drawing faces and use of, 121
common errors, 1 14 transparent layering, 34-35 Wolfson, Julie, 14, 44, 47, 52, 53, 91, 95,

composition options, 1 1 Twombly, Cy, 6 109, 113

demonstration, value studies, 1 13 Wood, Grant, 4
setting up, 1 14 underpainting Wright, Frank Lloyd, 4
subject selection, 1 12 colorless blender, 56-58
storage, 15 watercolor, 59 Youngdale, Tiko, 30, 46, 107
Stromsdorder, Deborah, viii

Vaclavik, Susan, v Zeller, Deborah, 38

144
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 Exploring Colored Pencil $25.95
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STERLING
You won't believe the things you can do with
colored pencils! Inside this book, you will find:

. -by-step demonstrations

methods for creating realistic textures

techniques for combining colored pencils with a range of medi

exercises for beginner, intermediate, and advanced students

colorful works illustrating diverse styles and applications

drawings by professionals and students of all ages

suggestions that will help you develop your own style

About the Author

Sandra McFall Angelo is the author and producer of

sixteen instructional videos, four books, and numerous maga-
zine columns. Her frequent appearances on national television

networks have won Sandra several awards, including an Emmy

nomination. Widely admired for her easy, step-by-step teaching

methods, Sandra's specialty is teaching people who can't even

draw a straight line, uncovering talent in even the most

unlikely candidates.

ISBN 0-67112-315-7
90000

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