NCBG ICP August 2018

I worked more on the background, the flowers and worked on the branch.

I apologize. I realize I did not post this last week. Colored pencil on UART dark sanded pastel paper 800 grade.   Start with white, do the entire pod and seeds with white values.  Add color after the white is complete.  My advice is to do a light red on the seeds to help you see them more easily (which will help you figure out the rest). 

I worked on the color.  I used scarlet lake, pomegranate, white and Copenhagen blue (could use indigo or another blue) on the seeds.  I used dark brown, terra cotta, white, ginger root (could use cream instead) and copenhagen blue (could use indigo or another blue) on the pod and stem.  I added some yellow chartreuse on the bottom of the pod.  Remember - VALUES.

DAC CP ASO, 2018

Colored pencil on wood.  I started with dark brown and white and concentrated on the values - the darks and lights.  If you look at the bottom right section there is an area with the dark brown and white only.  If this were not a demonstration piece, I would finish the dark brown and white on the entire piece before moving on to the other colors and values.  After the brown and white I would start the red seeds.  The bottom right seeds are just started.  I used white, pomegranate and scarlet lake (a warm red and a cool red).  The next step would be to darken the darks on the pod.  I used a blue and a red brown (Copenhagen blue and terra cotta) added to the dark brown.  Brown and blue make nice neutral darks (and can make black depending on the brown and blue used).  The top left has some of the darks with the blue and browns.  I also worked more on the white and light areas.  I worked on the seeds again using both reds, white and a little Copenhagen blue in the dark areas. The top left seeds are further along.  I added some ginger root (you could use cream or white and dark brown mixed) and a little yellow chartreuse on the bottom part of the seed pod.  I used  some Terra cotta on the background to pop the light areas forward.  

Sertoma CW ASO 2018

The first step was to wet the blank paper with a spray bottle and pour a warm yellow and a cool red, moving the paper to get the color moving.  I dropped in a little blue as well.  You could also wet the paper and drop in the colors and move the paper around to get the colors moving.  I let the poured painting dry dry.  Then I transferred the drawing.  You can see the poured color in the mushrooms.  Then used the warm yellow and cool red that I poured with for the background that I painted.  I painted wet on dry, but if you are afraid you will get hard lines, wet the areas in the background and drop in the colors.  In a few areas I have also dropped in a little blue.  This photo was taken in class with my phone, so the color and values are not quite correct.

The next step was to paint the inside of the mushroom.  I mixed the warm yellow and cool red I used for pouring together.  I started painting under the mushroom caps with this color and added some red to add a little dark as well. I will demonstrate this again next class and take it further as well. 

I transferred the drawing first.  I wet the paper and dropped in color.  I used phthalo blue with touches of ultramarine blue.  It was a tiny bit more color than shown here.  This photo was taken in the class with the cell phone.

I used a green I mixed phthalo blue (green blue) and quin. gold (warm yellow).  You can add the green to the background either wet on dry or you can add it wet on wet (wet the background and drop the color into it).  Next I used the yellow and red mixtures from the pouring to add the red and yellow areas to the birds faces, wings and a little in the background (added while it was wet).

NCBG ICP August 2018

Colored Pencil on Grafix Dura-Lar Matte.  Black and white side. 

Color side.  I worked on the bird adding some browns and some dark values.

Black and white side with a colored paper behind the Dura-Lar.

Color side.

Colored pencil on watercolor paper using a solvent to melt the pencil in the first few layers.  Added more olive green and black grape to the background and used the solvent to melt (rubbing alcohol in this case)

Started working with colored pencil, no solvent, to add details. Started working on the left flower, a couple of petals and the middle and the background around the flower.  I used black grape, terra cotta, canary yellow,  true blue, white and olive green so far.

NCBG ICP August 2018

Value under drawing using a solvent (I used rubbing alcohol). This is a combination of two ways to melt with a solvent - 1. shaded true blue on the paper and then melted on the paper, 2. grated true blue with a small strainer and melted it in a jar lid, painted the color on with a brush.  The color other than blue on the paper is lighting as the picture was taken with a cell phone in the classroom.

This is the second pass of the under drawing.  I melted black grape and olive green and painted and splattered it on the background.  I have more work to do on the background.  I shaded yellow chartreuse and terra cotta on the branches and flowers and melted them with the solvent.  Still have some more to do.  Next class I will start adding the colored pencil over the under drawing.

NCBG ICP August 2018Black and white side with white \

Colored pencil on Dura-Lar Matte, a white background with color added to the color side.  I have not finished adding color everywhere. 

Color added on the color side.  This is not complete yet.  I lightly shaded canary yellow over the entire piece, lightly.  I used canary yellow, spanish orange and scarlet lake on the petals. I used canary yellow, grass green, dark green and yellow chartreuse on the leaves and stem, lightly so far.  I will add a red or red brown if the green becomes too "fake green" as it can sometimes look.  I used grass green and peacock blue added lightly to the bird.  I added canary yellow, terra cotta, and dark brown to the middle part.  There is more color work left.

Black and white side with a color behind it so you can see the whites and light areas.

Color side with a colored paper behind it.

NCBG ICP August 2018

Colored pencil on Dura-Lar Matte. Black and white side.  The value study with black grape finished enough to start the color on the other side (after erasing the pencil lines on the other side first).  The colors of these are off as they were taken with a cell phone in OK light.

The value study seen form the color side.  The pencil lines are erased.

The black and white side with a color paper in the back (so the white can be seen).

The view with the color paper from the color side.

NCBG ICP August 2018

Colored pencil on Grafix Dura-Lar Matte, black and white side.  I used black grape as my dark color.  This side is not complete yet.

View from the color side with the addition of a little color. I will go over the color more next class.

DAC Colored Pencil July & August 2018

This is a piece of watercolor paper (student grade).  I transferred the drawing and shaded outside the flower with watercolor pencil.  I wet the top part already, I will also wet the bottom.  I left it so you can see the WC pencil I put on.  This is one of many things you can do for a background for pieces done on Dura-Lar Matte.  I have used as backgrounds watercolor paper with painted textures, watercolor paintings, and colored paper.  I often cut out the shape of the subject in white and place the white behind the subject on the textured or colored paper.  

This is the Dura-Lar placed over the background.  Of course the subject and the background are not complete, but you can see the idea.  Typically I would not make the background until the Dura-Lar piece was completed so I could decide which side will be the one on display.

I worked more on the face adding lights and some darks.  It still needs more darks and details, but it's getting there.  It takes layers and time to finish.  I worked a little on the cloth near the earring and the earring.  On the earring I used canary yellow, white, terra cotta, scarlet lake).  On the cloth I used canary yellow, spanish orange, white,pale vermillion and scarlet lake.  I added canary yellow on the head scarf as I was talking about making sure the color used is placed around your piece.

BAL CP July 2018

I continued with white, light peach, terra cotta, dark brown, black and scarlet lake refining and detailing the skin and clothes.

This is the black and white side with a little color added on the color side.

The color side.  I used aqua and true blue for the blue green areas plus denim blue for a little purple blue.  I used peach, terra cotta, spanish orange and dark brown on the face of the bird.

On a piece of watercolor paper (student grade) I traced the outline of the birds.  I colored the background with orange and red watercolor pencils and then used water and a brush to melt it.  i could also have used colored pencil and rubbing alcohol.  I made still add some colored pencil to this before I am done.

This is how it looks with the background sheet behind the birds.  Nothing is finished yet, but you can see the idea and hopefully get some of your own.

DAC CP July & August 2018

I worked more on the white of the egg in the middle and along the left bottom edge.

Color side.  I erased some color ( as a demo on how easy it is to start over) and added another section of color.

Black and White side

The first pass of color using black grape and accidentally peacock blue although the blue will be a nice addition later.

Added more peacock blue, especially to the clothing. For this addition of peacock blue I uses a small strainer to add bits of pencil to a container and added a little rubbing alcohol to make something like a paint with the pencil.  Painted it in the areas I needed it to go on her clothes and face.  Added a layer of skin color using terra cotta, dark brown, light peach and white.  Melted this second layer on the face.  I have more melting to do on her clothes.

Started working with white, light peach, terra cotta, peacock blue and dark brown on her skin to refine and detail.  I do not pan to melt again. Worked mostly on the light side of her face so far and a little in the shadows.