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Color Pencil Technique

Most recently discovered a colored pencil. I suggest you take a closer look at this material.

Working with young children, she offered them colored pencils for the first acquaintance with color. Then, very soon, we moved on to the development of more serious materials – watercolors and gouache. And she was always sure that colored pencils were a frivolous, insignificant and lightweight technique …

Now, after my “experiments” with colored pencils, I must admit that there are no minor materials and techniques in the visual arts at all!

So, what happened when working with colored pencils?

Color pencils Specific features:
1. Color pencil does not withstand very large format sizes.
2. It has color transparency.
3. Complexity and subtlety of color is achieved by superimposing several colors.
4. In essence, this is still drawing material, and therefore, of course, the experience of drawing with a simple pencil is necessary.

The simplest sketch.
A colored pencil is poorly erased by an eraser, so first I make preliminary sketches on any “inexpensive” paper and make corrections without fear of damaging the surface. The primary drawing is done with a simple pencil, first outlining the main forms, then determining the boundaries of chiaroscuro. This allows you to not apply color to areas not intended for coating.

If I am satisfied with the result, I transfer the sketch to the paper for the main work. Remember that at this stage the drawing does not need details, many details will inevitably leave the field of view: therefore, postpone the detailing until the stage of work in color.

If you are just starting to master colored pencils, choose paper that is the most unpretentious and easy to use, and, moreover, capable of “withstanding the load” of error correction. For example, a hard pencil does not fit well on rough paper, while a soft pencil easily crumbles and breaks on the relief of a paper with a well-defined texture. Therefore, use high-quality paper with average texture values ​​to practice and get acquainted with all the nuances of the color pencil technique. Naturally, you need to experiment with various paper.

My favorite look is “rags”; its velvety surface will give a light layer of pencil a warm, soft character. But since the relief of the paper can hold a significant amount of color, I can also operate on juicy, saturated spots of color.

Regardless of the paper’s ability to “forgive” an artist for inaccuracies and errors, one should not overload it with color. At the initial stage of the study, do not apply dense layers of pigment to the substrate. The task is to learn gradually, and strictly controlling, to build color.

Despite the fact that easy adjustments are possible with an eraser, for example, to soften certain areas, the pencil pigment will inevitably be smeared on paper if it was applied in a dense or deep layer. Draw with light lines to eliminate the need to fix a thick layer of pigment. Then you can improve the work for a long time with new colorful layers.

Elements of technology.
A pencil leaves a thin line on paper and it is impossible to immediately cover a large area. Sometimes these incomplete parts of the picture have a huge psychological impact on the artist, so I recommend dividing the work into fragments and performing them sequentially. This approach pays off, because I perceive every bit of the picture simply as a combination of light, medium and dark valers. Some practice is needed here. Eyes must learn to see an object not only as an object, but also as a combination of different color spots. To your surprise, such a method will remove a lot of problems, especially at the beginning of the work, and the difficult task of any complex drawing will be a great pleasure.

I do not use a white pencil for light or white areas: it will give the effect of grayish, pale shades, and I need a clear contrast of light and dark. And I just leave the whiteness of the paper untouched.

After highlighting these spots, I begin to apply layers of color, developing a gamut from light to dark. I go in one color to another until I reach the desired shade. This is the only way to mix paints using the color pencil technique (without using solvents).

Clown. Slezkina Olga. Technique – colored pencil. Moving forward.

In nature, there are almost no monochrome objects. I never use a single pencil to solve a specific color spot: each area is a combination of two or more colors.

Even if your “object” is completely black, try to find a characteristic textured-tonal pattern and identify light and dark spots. Then select paints that blend harmoniously and are close to each color site. I set a rule for myself: always mix the primary color with the colors of at least two other pencils. Only after this can the tone be considered established.

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