Non-water-soluble pencils are wax- or oil-based, and are considered the more lightfast, or resistant to fading, of the two. Generally, however, all colored pencils can be divided into two basic categories: water-soluble and non-water-soluble. It also includes a frank discussion of workspaces-of how simple a space is truly needed, and what kind of studio lighting works best when working with colored pencils.Ĭolored pencils now come in a multitude of brands-domestic and foreign-and vary widely in such characteristics as softness, strength of color, and manufacturer’s quality control.
This first chapter is offered in the hope of helping sort out such issues, and of guiding you in the selection of your materials.
So it is with paper and even the nature of the pencils themselves. For even the seemingly simple task of sharpening pencils (no small thing with this medium) can be frustrating and time wasting if the tool chosen is the wrong one for you. An example of this is discussion about the merits of a handheld sharpener versus an electric sharpener. In Chapter 1 the materials of the colored pencil medium are described, as are some of my opinions about them. It is important that they be friendly to your efforts, and that as you use them they allow your mind to be open, active, and unencumbered by any resistance from them. When you begin to work at art, you enter into a partnership with all of your materials. The wrong tool can seem antagonistic-even angry.
As any regular user of tools knows, the right tool can seem like an almost magical extension of mind and hand. They have a weight and a feel about them. The tools in any art medium contain characteristics and idiosyncrasies of their own. I also have a revolving caddy on a shelf under my taboret’s tabletop for materials that are less used. Jars of various sizes are perfect for organizing pencils by color, length, and sometimes brands. It is important to me to have all my tools visible and within easy reach of my drawing board. In this book, because it is aimed at the serious beginner, I have also included an afterword, with some specific ways of blending a life in art with the concerns of earning a livelihood. This because making art is not a pat or guaranteed thing, but is rather a fluid and dynamic process-a visual record of choices made. In the step-by-step demonstrations we’ll discuss the decision making and problem solving aspects. With this and more information securely in place, we’ll move on to the drawing of still life, floral, and landscape, with explanations of minimalistic, naturalistic, and imaginary approaches. We’ll build a working procedure that begins with how ideas are generated, encompasses various basic colored pencil techniques, and then goes on to outline methods for appraising your work-while in progress and near its completion. We’ll also talk about composition, the ways in which it can be approached, and how you can work toward improving your sense of it. This book emphasizes information and philosophy about those large areas of art principles and tenets that come before technique and also after it-where artwork’s true decisions are made and directions chosen.Īfter a brief look at tools and drawing materials, we’ll begin with the fundamentals for creating illusions of form and space, and how special properties of color can reinforce this. I hope this book will become a useful and frequent guide, and that you find in it much more than just technique. Collection of Washington State Arts Commission, Art in Public Places Program in partnership with Manitou Elementary School.Īs a serious beginner in art, or as a newly serious artist, you are now on a road that will likely lead you back to yourself. No part of this publication may be reproduced or used in any form or by any means-graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems-without written permission of the publisher.Ĭreating Illusions of Form, Volume, and Spaceįinding Your Setting and Center of InterestĬolored Pencil on Rising Museum Board, 18½ 24" (47 61 cm). Library of Congress Cataloging-in-Publication DataĬolored pencil for the serious beginner : basic lessons in becoming a good artist / Bet Borgeson photography by Edwin Borgeson.ġ. Collection of the artist.įirst published in 1998 in the United States by Watson-Guptill Publications a division of BPI Communications, Inc. Private collection.Ĭolored pencil on Rising Museum Board, 19 13½″ (48 34 cm). Collection of the artist.Ĭolored pencil on Strathmore Bristol Board, 16 13" (41 33 cm). Colored pencil on Rising Museum Board, 12 17" (31 43 cm).
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