Working on Colored Papers potx
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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.
