Colored Pencil Student Magazine

I'm very excited to be featured in the summer edition of Colored Pencil Student magazine. In the article I write about my journey in colored pencil and share tips. To purchase an issue, follow this link to the website: http://www.magcloud.com/browse/issue/776325

I am sharing a few pages of the artwork here but in order to read the article, you must purchase the magazine. The magazine is 51 pages and filled with lots of good information and articles such as mastering wood grain, inspirations for subject matter, layering color effectively, colorless blender, and choosing the correct camera. As well as other tips and upcoming magazine art competition.

Underpainting for Cherries

Cherry drawing with colored pencil and mineral spirits

I am working on this 12x12" commissioned drawing for a client who wanted a square format piece of artwork of cherries on a plate. I'm working on cradled Ampersand Gessobord coated with light blue Colourfix primer so the gessoed surface will hold the pencil. I started by transferring a line drawing of my own reference photo onto the surface and next put a light layer of pencil on the cherries and the darkest shadowed areas. I began working the darkest areas with Prismacolor Indanthrone Blue and Tuscan Red in a light layer. Next I added alight layer Crimson Lake, Scarlet Lake, Pale Vermillion and Blush Pink for the lighter areas of the cherries.

Now I am working one cherry at a time, adding odorless mineral spirits with a small, soft flat brush and then more colored pencil over the mineral spirits while it is still wet. When I achieve the density of colors I want, I will move onto the next cherry although when I have completed each one, I will go back and refine areas and colors.

Orchids with Gold

Here is a new colored pencil piece I have been working on between pet portraits. I took this reference photo of an orchid I purchased against a dark wall and was intrigued by the contrast of colors and the drama of the composition. My original photo seemed "top heavy" so I added a few more roots moving in different directions to the bottom of the plant.

The surface I used is Strathmore Art Again paper, Moonstone colored, and the drawing is 12x12". As an experiment, I chose a neutral gray color in which to work, leaving some of the paper showing through on the roots. The blossoms are very delicate and I always enjoy creating shadow and values in white by using various colors instead of gray. I am always fascinated by the unique shapes, lines and colors of orchids and so enjoy drawing them.

When I finished rendering the orchids in colored pencil, I mounted the paper onto a 12x12" Ampersand cradled Claybord securely with Grafix Double Tack Mounting Film so I would work on the background in watercolor pencil and the paper wouldn't buckle. I began with a layer of Derwent Inktense and Caran d'Arche watercolor pencils in various brown colors and then added water with a brush to create an even wash, working carefully around the orchids. However, if I did get some of the watercolor on the waxy pencil drawn areas, I could easily wipe it off.

 When the watercolor was dry, I added Prismacolor Black Raspberry, applied lightly but evenly all over the the background. The brown watercolor underneath and the Black Raspberry were still too warm for a background so I added layers Prismacolor Utramarine and Black Grape over the Black Raspberry but around the flower, leaving the Black Raspberry showing through in areas near the borders for change.

Above is my test sheet. I usually make a test sheet for each piece so I can test colors before I put them on my drawing. At this point, I wanted to add gold to the piece and thought about gold leaf but then thought it might be too solid and detract from the delicate orchids. As an experiment, I picked up some Rub N Buff and tried it on my test paper. I liked how I could apply it unevenly and vary the thickness or thinness of the application so I rubbed it with my fingers into the composition around the orchids, using a masking paper to cover the orchids.

If you're not familiar, Rub N Buff is made of wax and powdered pigment and is used to touch up or restore antiques and frames. I've used it to touch up dents in frames and decided to try it in my drawing. Depending on the light the piece reflects, it will be bright or subtle. I am going to varnish this piece and frame it in a floater.

Bandit's Portrait

I just finally finished this little 8x8" pet portrait of my dog, Bandit's face. I had a small piece of this gray flecked paper with a pattern of small lines running vertically which I believe could be Fabriano Ingres. It is a beautifully textured paper to work on and the gray background was perfect for Bandit so I left the paper showing through around him. I then mounted the paper to an 8x8" Ampersand cradled Clayboard and sprayed it with Lascaux Fixativ to preserve it. Next I sprayed three coats of Krylon Kamar Varnish, letting each dry in between. After which, I brushed on at least six coats of Golden UVLS Polymer Varnish so the piece is quite glossy. It is finished in the same manner as the black lab in this previous post.

My dog Bandit has such a great personality, he is very quiet (except when he sees a squirrel or plays with other dogs) and follows me around everywhere. I treat him like a person and he can be very stubborn at times and also spoiled, he is the only child after all. He weighs in at only 10 pounds but thinks he is a big dog in a little dog's body. I bring him to the studio and he will lay on his bed near me while I work. Who could ask for a better best friend? I love him dearly and wanted to capture his personality forever in this drawing.