Working on Colored Papers potx

Working on Colored Papers Concept Much of my colored pencil drawing in recent years has been on medium- value colored papers such as browns, greys, and lavender. On medium-value paper, I can work with both light and dark pencils. It is exciting to see the effect of the light colors and whites contrasting on the dark papers. The dark papers also make it easier to achieve strong darks. This is a time-honored, traditional technique. Masters of drawing such as Leonardo da Vinci have worked on medium-value toned papers since the Renaissance. It has traditionally provided a way to emphasize the effect of light. Click on picture for larger version "Wishbone" 11" x 14" paper: Canson Mi Teintes, color: Bisque Click on picture for larger version "Still-life with Jack #2" 10.5" x 13.5" paper: Canson Mi Teintes, color: Bisque Click on picture for larger version "Egg and Shell" 11" x 13.5" paper: Canson Mi Teintes, color: Crepuscule Materials I use Canson Mi Teintes 98 lb. pastel paper. It is acid-free and claims to be fade resistant. However, I have tested it in the sunlight and find that it is not completely light-fast. It needs to be protected with light-filtering plexiglass or conservation-quality glass. Generally, I have used Sanford Prismacolor pencils. The light-fastness issue has, however, led me to explore other brands of pencils. I have recently started to enjoy using Lyra Rembrandt Polycolor, Pablo Caran d'Ache, and Design Spectracolor brands. The Colored Pencil Society is a good source of information about the issue of light-fastness. METHOD: PROGRESSIVES of "Egg and Shell" Click on picture for larger version Progressives: Step 1 Line drawing After planning my composition, I make a detailed line drawing on tracing paper with graphite pencil. I incorporate the large value shapes into this plan to make sure that I am including value contrast into my thinking. Progressives: Step 2 Transfer of line drawing I then transfer the line drawing onto the colored paper. When the papers are dark, I use white Saral transfer paper so I can see the lines. These white lines are quite erasable and I erase them as I go along. Click on picture for larger version Click on picture for larger version Progressives: Studies It is sometimes helpful to do some small studies before starting the final piece. These studies helped me to plan my exact colors. Individual colors look different on different colored papers and should be tested. Progressives: Step 3 Start with darks Generally, I think in terms of 3 values; dark, medium, and light. I choose a medium-value paper and then work with a few dark colored pencils and several light colored pencils that harmonize with the color of the paper. This harmony is what interests me more than the local colors of my subject-matter. I began by lightly blocking in the largest shapes of dark. Click on picture for larger version Click on picture for larger version Progressives: Step 4 Add the lights I then worked on the larger, lightest areas. It was difficult to find a yellow that did not look greenish on the lavender paper. I finally settled on Prismacolor Jasmine. I was careful to leave the medium value paper untouched in some areas. The untouched paper serves as the medium range of values and preserves a fresh, light touch. Progressives: Step 5 Final completed image I added a little black and white and increased the overall contrasts. I developed a few subtle medium values and added some detail to finish up the piece. Click on picture for larger version completed image of "Egg and Shell" Click on picture for larger version detail of "Egg and Shell" About the Artist Constance Moore Simon has an M.F.A. from Syracuse University and a B.F.A from Cleveland Institute of Art. Although she majored in Intaglio Printmaking in art school, she has been working in the medium of Drawing since 1974. She worked for 20 years in the black and white media of graphite and charcoal. Since 1995, she has been working with Colored Pencil and becoming increasingly interested in color. Her most recent adventure, only a few months old, is into the medium of gouache painting. The subject-matter of Connie's drawings and paintings are small, natural and man-made objects such as paper clips, buttons and shells. Connie often depicts her tiny subjects larger than life to draw attention to them and to express how exciting they are to her. Her choice of subject-matter has no political, narrative, or symbolic meaning. In fact, Connie is more interested in the potential for design, color, shape, light, and shadow that she sees in ordinary little objects than in any other kind of meaning. Connie has been exhibiting her drawings for 30 years in solo and group shows across the country. She was the recipient of an Individual Artists Fellowship Grant from the Delaware State Arts Council in 1993. Her charcoal drawings were featured in an article in the Feb. 1997 issue of American Artist Magazine entitled "Devoted to Drawing". This year, she earned Signature Membership in the Colored Pencil Society of America. Connie lives in Wilmington, DE. She is currently on the faculties of the Delaware College of Art and Design and the Delaware Art Museum. For 28 years she has been teaching Drawing, Basic Design, Art History, and Colored Pencil. Teaching has always been a great pleasure and learning experience for her. . Working on Colored Papers Concept Much of my colored pencil drawing in recent years has been on medium- value colored papers such as browns, greys, and lavender. On medium-value. and whites contrasting on the dark papers. The dark papers also make it easier to achieve strong darks. This is a time-honored, traditional technique. Masters of drawing such as Leonardo da Vinci. worked on medium-value toned papers since the Renaissance. It has traditionally provided a way to emphasize the effect of light. Click on picture for larger version "Wishbone"