Denise J. Howard - 101 Textures in Colored Pencil: Practical Step-by-Step Drawing Techniques for Rendering a Variety of Surfaces & Textures

IN COLORED PENCIL

BY DENISE J. HOWARD

This book includes step-by-step instructions for achieving a wide range of textures with colored pencil.

1. GATHER the tools and materials you need to start drawing. (See .)

2. LEARN the drawing techniques shown . Acquainting yourself with the vocabulary and methods for working in colored pencil will help you quickly and easily understand the instructions for replicating each texture.

3. LOCATE your desired texture in the . The textures are organized in the following six categories:

4. FOLLOW the step-by-step process outlined to draw your texture.

5. PRACTICE the texture as it appears in the book; then integrate the textures into your own drawings.

The tooth, or texture, of a paper grabs and holds onto pigment. The toothier the paper, the rougher it is and the more pigment it will hold, but that also makes it more difficult to achieve a smooth, blended look with no speckles of paper peeking through. Very smooth paper makes it easier to create fine, smooth details, but it will not accept as much pigment, making it more difficult to achieve rich, complex color. Examples of toothy paper are cold-pressed watercolor paper and papers made for use with pastels. Example of very smooth paper are smooth and plate bristol. In between are papers such as hot-pressed watercolor paper, vellum bristol, and printmaking paper, such as Stonehenge.

Choose good-quality, acid-free paper that has the right characteristics for the textures you plan to depict, and practice on it first to familiarize yourself before launching into a full project. For all my work, I prefer acid-free, 100-percent cotton rag, archival paper. I used white Stonehenge paper for all the examples in this book because of its consistent, fine tooth, durability, and availability in many art supply storesin both pads and large single sheets.

EXTRA PAPER Always keep a disposable sheet of paper under your drawing hand as you work to protect the drawing from the oils of your hand and prevent smudging. Glassine is excellent for thisit looks like wax paper but is more slippery. Plain printer paper will also do.

Pencils

GRAPHITE For planning basic outlines, a graphite pencil of grade HB or H works well. It is a little harder than a standard 2B, so it deposits less graphite on the paper. Use it lightly so that it doesnt dent the paper.

COLORED Whatever the brand, colored pencils fall into two main types: wax-based and oil-based. This refers to the composition of the binder that holds the pigment together to form the pencil core. Wax-based pencils are softer and creamier, while oil-based pencils are harder and drier. They can be used together, and neither is better than the othertheyre just different.

Depending on the brand, full sets range from 72 colors to 150 colors. Although purchasing the largest possible set of a brand is always tempting, its not necessary to make beautiful drawings. A smaller set of 24 or 36 colors can produce a broad spectrum once you learn a little color theory and how to layer them. Many stores also sell individual open stock pencils, so you can add the colors you need to your collection as you need them. Avoid cheap student-grade or childrens pencils. They dont blend well and the colors will change or fade over time.

I used PrismacolorPremiercolored pencils for all the examples in this book. These wax-based pencils are readily available from any store that carries art supplies and are reasonably priced. You may prefer a different brand. Experiment to find the pencils that suit you best.

Erasers

KNEADED RUBBER Applying a light color over a graphite outline is a recipe for disappointmentat best, the graphite will become more noticeable; at worst, it will smear. To avoid this, a kneaded rubber eraser is a must-have. Throughout the book, when preparing to draw with light colors, youll see that I suggest dabbing away as much of the graphite outline as you can and still see it. I recommend doing this ahead of not only light colors but any colors. Never scrub with the eraserscrubbing damages the surface of the paper.

POSTER PUTTY Colored pencil is not easy to erase, and almost neer erases completely. Lifting it off paper reasonably well requires something with more tackiness than kneaded rubber: poster putty. This is the same stuff that students use to hang posters on walls! Depending on the brand, it might be white, blue, or green; the color doesnt matter. Like kneaded rubber, it can be pinched and rolled into a fine point or a line. It works best by gently dabbing at the paper surface. Again, never scrub the paper. Its a must-have for corrections, lifting the inevitable little blobs of pigment, and cleaning up edges.

OTHER Some artists find great value in electric erasers, or those that come in a holder that clicks like a mechanical pencil. Either of these can be sharpened to a fine point to make crisp edges.

ARTIST TIP

When working with wax-based pencils, occasional blobs of pigment inevitably appear. Even tiny ones can be quite noticeable. When this happens, dont try to keep drawing over themthey will only grow by grabbing more pigment. Instead, pinch your poster putty down to a tiny point and gently dab them off right away.