Student Work

I'm proud of my colored pencil students from my Newport Art Museum class who put work in the student exhibit at the museum's Coleman Center. The three pieces in which I've posted are also from three different lessons. Cindy's piece on the top is from our lesson that was drawing a variety of autumn leaves on colored paper. We used Canson Mi Tientes paper in which to work on.

The middle piece by Donna is from another lesson where we drew all white objects. The students had a set of 48 Prismacolor pencils in which to work and the 48 set contains only one or two grays so we mixed colors in order to achieve the values and color changes we needed.

The bottom piece is by Helen, our assignment was to work with colored pencil and odorless mineral spirits (solvent) on 5x7" Ampersand Pastelbord. I chose a simple still life of a few cherries on a colored surface so they could focus on the technique as well as the composition. Helen chose a fun frame for this piece also.

Colored Pencil Cherries

Here is the 12x12" colored pencil drawing that I have been working on. As I mentioned in a previous post, I am working on 12x12" cradled Ampersand Gessobord with a coating of Colourfix liquid primer to hold the layers of pencil. I began by putting down one layer of color in the cherries and then adding solvent (odorless mineral spirits) with a small brush to the pencil to dissolve it and make it start to flow like paint. Into the wet pencil, I added more layers of pencil and then almost a dry brush to dissolve those layers and make them flow. This is how I achieve such rich colors. When the cherries were finished I worked the stems and then the shadows and patterns of the dish below in the same way but careful around the edges of the cherries. I find it's better to use less solvent so it doesn't get runny or to dab the brush on a cloth or paper towel before applying it to the drawing. For the white surface under the plate I used white Prismacolor and white #8052 Stabilo Aquarellable pencil. I like the Stabillo pencil because the lead is soft but not flaky and I can get good white coverage.

To finish this piece, I will spray with Lascaux Fixativ to preserve it. Next I will spray three coats of Krylon Kamar Varnish letting each dry in between.

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.

Red Sneakers

My drawing is a study for a much larger piece that I'm working on, but this one is 6x8" on 2" cradled Ampersand Gessobord in which I have applied a layer of Art Spectrum Colourfix Primer in a blue that I don't think they make anymore because I don't see it on their page. However, there are many other wonderful colors and I like the texture for my colored pencil. I bought a pair of bright red Converse sneakers at an outlet store and haven't worn them yet because I want to keep them pristine for my drawings. In the study and in my larger piece, I am loving working on the laces; the subtle grays tinged with color and the way they move and fall off the page. I am applying the colored pencil and then softening it with odorless mineral spirits to make it move around like paint and entirely cover the surface.

Working on the Beach Stones

I'm continuing my work on the beach stones drawing which is 18x24" on Rtistx board. I've finished the foreground stones, which took me a few weeks because I found I could only concentrate for a few hours at a time because of all the elements and detail. I've been using Polychromos, Prismacolor and Lyra Rembrandt pencils for the rocks. Let me tell you why and what my technique is. The Rtistx board is a sanded surface and I find the Polychromos work best for the first layer of color. After I apply the color, I burnish it with a bristle brush to even out the tone. Polychromos aren't as waxy as other brands so they tend to rub into the paper almost as a pastel stick would. Next I apply layers of Prismacolor and Lyra Rembrandt. The Lyras have an oil base so they don't crumble as much as the Prismacolors. However, I also have to choose my pencils according to the colors I need for the rocks. Because I'm working from the bottom upwards and leaning on my drawing, I will put a piece of clean paper under my arm so I won't smudge the drawing I've already done. I also spray with workable fixative between layers of colored pencil to keep the pencil from lifting or smudging on the board.

After I've applied the color, there are still some areas I want to look smooth but sometimes doesn't because of the sanded board surface. If the rocks look too textured, I hit the surface with a soft brush and some odorless mineral spirits which dissolves the pencil pigment so it moves like paint. I brush it lightly so I get the effect of watercolor paint. One of the brushes I like to use is a Mongolian Sable 1/4" flat from Dynasty Brush Company.

My next step is to continue working towards the top of the drawing where the waves and white foam are encroaching on the stones. The easy part about the top is that much of the board will be left white to show the lightness of the foam.