Don’t forget: EBSQ Live returns TONIGHT!

EBSQ Live: Hand-tinted Photographs

hosted by EBSQ Self-Representing Artists and Sherry Key
Monday, May 17th at 9pm Eastern (6pm Pacific)
EBSQ Chat Room

Seein Blue – Sherry Key

Hand coloring photographs – These ain’t your Grandma’s photo oils.

I have been hand coloring black and white photos for some years. Working on hand coloring with pencil, ink, marker, oils, pastels… in other words, anything but the old standby’s like Marshall’s photo oils. “Art Photos” help combine the natural expressions of an artist like me that enjoys working in various media such as sculpture, jewelry making, painting, drawing and photography. I can promise that this presentation will take you beyond your Grandma’s use of photo oils to hand tint and color photographs.

About the Presenter:

I started out early in life with a passion for reading and art. My family will tell you I have experimented in just about every media there is. During the 70’s – like so very many in the 70’s, I worked in macramé, decoupage and tole painting. In the early 90′s I received scholarships for sculpture and ceramics. I concentrated on 3-dimensional work like sculpture, pottery and jewelry but in the last year and a half since my son moved out, I have been focusing on honing my drawing and painting skills – working mostly with colored pencils, oil pastels and hand coloring photos.

By day I run a computer maintenance database. I live in Texas, in the North Dallas area and when not at work, I am creating. – Sherry Key

Like what you see here?  We hope you’ll consider leaving a comment or subscribing to one of our feeds. Never miss another cool post from EBSQ. Subscribe to EBSQ: Art Meets Blog v2.0 by Email today!

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This month’s EBSQ Live: Hand Coloured Photographs

hosted by EBSQ Self-Representing Artists and Sherry Key
Monday, May 17th at 9pm Eastern (6pm Pacific)
EBSQ Chat Room

Seein Blue - Sherry Key

Hand coloring photographs – These ain’t your Grandma’s photo oils.

I have been hand coloring black and white photos for some years. Working on hand coloring with pencil, ink, marker, oils, pastels… in other words, anything but the old standby’s like Marshall’s photo oils. “Art Photos” help combine the natural expressions of an artist like me that enjoys working in various media such as sculpture, jewelry making, painting, drawing and photography. I can promise that this presentation will take you beyond your Grandma’s use of photo oils to hand tint and color photographs.

About the Presenter:

I started out early in life with a passion for reading and art. My family will tell you I have experimented in just about every media there is. During the 70’s – like so very many in the 70’s, I worked in macramé, decoupage and tole painting. In the early 90’s I received scholarships for sculpture and ceramics. I concentrated on 3-dimensional work like sculpture, pottery and jewelry but in the last year and a half since my son moved out, I have been focusing on honing my drawing and painting skills – working mostly with colored pencils, oil pastels and hand coloring photos.

By day I run a computer maintenance database. I live in Texas, in the North Dallas area and when not at work, I am creating. – Sherry Key

EBSQ Live Studio – Recycled Artisan Paper, Part III

This demonstration was originally presented by Kris Jean on 9 March 2009 in conjunction with EBSQ goes green.

Recycled Artisan Paper was a detailed and through presentation. Because of the quantity of information- multiple techniques for creating and embellishing papers, supply lists, how to make tools, etc., we will post this presentation in regular installments.

This is the third installment of Kris Jean’s handmade paper how-to. Today we feature the Pouring Method and Colorings.

Homemade Paper

Embossed Handmade Paper

Pouring Method

The pouring method is used for thicker papers. Using a cup or the blender vessel, dip into the SLURRY and pour over the deckle. Try to pour evenly or you will end up with thicker paper in areas.

After you reached the desired amount (as much as it will hold until it starts sliding off the edges), let it drip until the drips slow down quite a bit

Follow the same wringing techniques as mentioned above, but bear in mind you will need to use more felt as you will be WRINGING out a lot more water. This paper will have MUCH more texture.

COLORINGS

The main way is adding different colored paper to an otherwise white batch. This next set of paper I’m working with is 5 sheets of white tissue paper mixed with 2 red, thus making a pretty vibrant pink. (since it’s tissue paper the end product is more delicate)

The wet paper is always more vivid/brighter than the end product.

Finished Product:

Clothing dye is another option. (use gloves)

You could add in food coloring which is what is used for construction paper. (use gloves)

Plant stuffs can be added to alter the color, like rose petals. Red rose petals will produce beautiful purple/pinkish paper.

With all of these methods you will have color loss with time and direct sunlight. For a truly archival color, you will have to use archival dyes which are pretty pricey.

NOTE: These items can also change the PH Balance of your paper. (we will discuss that later)

If using liquid dyes or dye packs add them to the water following their directions. If using fibrous plant stuffs, add them to the MASH. Do this during blender phase if you want bits and more color. Do this after blender phase  if you want more texture and pops of color.

………………

Be sure to join us next week for more of Recycled Artisan Paper.  The next installment of Kris’ presentation will cover Creative Deckles and Embossing.

About the presenter:

Kris Jean, a world wide collected artist, has dabbled in her fair share of mixed media. She has been recycling her own paper for years. In the past 5 years no scrap paper has left her studio; it has all been recycled.

Like what you see here?  We hope you’ll consider leaving a comment or subscribing to one of our feeds. Never miss another cool post from EBSQ. Subscribe to EBSQ: Art Meets Blog v2.0 by Email today!

EBSQ Live Studio – Recycled Artisan Paper, Part II

This demonstration was originally presented by Kris Jean on 9 March 2009 in conjunction with EBSQ goes green.

Recycled Artisan Paper was a detailed and through presentation. Because of the quantity of information- multiple techniques for creating and embellishing papers, supply lists, how to make tools, etc., we will post this presentation in regular installments.

This is the second installment of Kris Jean’s handmade paper how-to. Today we feature The Basics, The Sifter Method and Drying Techniques.

Homemade Paper

Embossed Handmade Paper

The Basics

This first batch of paper I’m going to make is from an entire Family Circle Magazine and red gift wrap from Christmas that is the same consistency.

First thing you need to do is get your dishpan and fill it 2/3 with water. I prefer to use distilled water to keep out extra chemicals and minerals which might degrade your paper. Thus making it last that much longer.

Though the paper you are recycling has more than likely been treated or exposed to bleach, other miscellaneous chemicals and minerals during its processing and/or printing. We want to keep this down to a minimum when recycling it. Since the paper has already been processed once there is no need to beat a dead horse.

Next we will make our MASH or wet paper.

Now take your paper and cut it into roughly quarter sized bits, or you can tear it. When choosing your paper to recycle; keep in mind your finished product is no better than what you put in it. It’s also a good idea to recycle the same style of paper at one time – this will give you a more consistent final product and more strength.

NOTE: Printed papers like newspaper and magazines result in grey paper. This is what real recycled paper looks like. If you purchase white recycled paper it’s probably been bleached or was pre consumer scraps. I added the red Christmas paper to give it a slightly pink cast.

Place paper in dishpan of water and swish it around, mixing it thoroughly. The goal is to separate any papers that might have clumped together and ensure everything is going to get nice and wet. In ideal circumstances you should let this sit overnight. This way the water penetrates and loosens up the wood fibers in the paper. If this is not possible you can proceed after an hour of soaking, however for thicker starting paper it will be required.

At this point you could actually take this mash and make paper. It won’t hold together well because the fibers will not be interwoven enough to give it strength and it will flake apart at the seams. So in order to ensure our fibers get fully interwoven we need to make SLURRY.

Slurry is paper fibers that are submerged in water, ready for pressing/molding etc. In simple terms, it’s a big mess of wet paper that looks like a nasty sour milk shake.

To make our slurry, we need to pour off the water into a separate bowl (it will be nasty but we are not done with it yet). Use a cup or simply dip the blender vessel into the water and fill it approx halfway. Take a couple of handfuls of the wet paper (without squeezing) and add it in. Be sure to put the cover back on the blender or you will have a H-U-G-E mess.

Use your pulse until it is a nice homogenous mixture of small bits of fiber with juice. As you look at it you might notice it starts to separate. This is ok. It’s natural for the buoyancy of the paper fibers to take over, some will float some will sink, depending on the paper you use.

Normally to really get the paper mishy-mashy I pulse it about 10 times at 10 seconds each.  Due to blender differences, this might be longer or shorter for you. How long you run it can affect your outcome; Longer will lead to softer, weaker paper. Shorter can result in stronger, larger see-able bit paper. The biggest variable is your starting paper.

Now that we have made our first batch of SLURRY, pour it into the empty dishpan. Go back and repeat making more slurry until you have used all of your paper mash. If needed add more water if you run out.

It’s very important not to overload your blender with too much MASH and not enough water. It will not make a fine enough SLURRY to really be effective and it can kill your blender. (My blender is a $2 garage sale find specially purchased for this purpose)

Using your hand agitate all the slurry together from all your batches. Let it stand for a few minutes. Depending on the material you started with, you might notice a black/grey film start to rise to the top. This is an inky residue kind of like soap scum. Use you hand as a skim and drag it across the top. Once you get to the other side slowly drag your hand along the side to the top and wipe it off your hand. This will keep that mess from tinting/affecting our paper further.

Now it’s time to grab our DECKLE. A deckle is the screen contraption we are going to use to make our paper sheets. They are readily available for sale online.

To make this deckle, I stapled the wire screening along the outside edge and wrapped it around. It’s been around the block a few times so it’s well loved and a quick made one. You can spend as much time as you like to make yours – I made this one in less than a minute.

When choosing what you are going to make your DECKLE from it is important to remember these three things:

1. Can the water get through?

2. How long will it last if it works amazingly and I want more later?

3. What size of paper do I want?

If you use an 8×10 frame with 6×8 opening – your end result paper will more than likely be 6×8. The opening is the most effective area to make the paper.

Sifter Method

The sifter method is used for thinner papers. (Keep in mind most of the paper you make will not be as thin as it was when you put it in the mash.) Homemade paper is generally the thickness of 3 or four sheets of paper. This is due to not having hydraulic presses and other machinery to smash the living daylights out of the paper.

Put your deckle in to the slurry all the way to the bottom screen side up. Using two hands slowly move it side to side, gradually lifting it out of the slurry.

Once out let it drip for a few seconds. This is your first piece of paper – albeit it a wet mess.

For a nice uneven rustic deckle edge, I use my thumb and roll bit of paper off all along the edges, usually the width of the frame it’s self. For a regular deckle edge I just leave it as is. For a straight edge, cut it after it’s dry.

This leaves me with paper the size of the opening. A deckle edge is like the thumb print of homemade paper; its thinner and shows the fibrous nature of the paper.

This wet paper is very fragile and will stick to just about anything at this point. Don’t try to press it with your hands or use your roller just yet.

Now we are going to WRING the paper. Wringing the paper means to press the water out of it.

Place a large piece of felt (mine is doubled over) over it and then use your hand to press the water out. Do not lift the felt. If you use colored felt, wash it first or dyes will bleed on to your paper depending on its color. I had issue with purple felt leaving a nasty yellow residue of all things. Lesson learned.

After you wring with your hand as much water as you can, switch over to the roller. This dual one I got from my Grandmother Dorothy many years ago. It really fits the bill size-wise. Hold the deckle at a 45 degree angle to the dishpan and work from the top to the bottom. The water will gradually make its way down and drip out. (hard to do and hold a camera)

The water will bleed through. This is ok.

Now we are going to remove the paper from the deckle.  We are going to use more dry felt to wring our paper. Slowly lift one corner and peek. If you are lucky the paper will be stuck to the felt and not the deckle. If it is attached to the felt slowly lift it off the deckle, keeping the paper attached to the felt. If it’s not attached to the felt, use your fingernail to slowly lift a corner of the paper and push it on the felt – then continue pulling the felt back slowly leaving the paper attached to the felt.

If it decides to cling to the deckle, flip it over and press with your hands from the bottom of the deckle and repeat the above steps.

Once the paper is off the deckle, lay it felt side down. Place another piece of felt on top of it and use your roller.

The paper should want to stick to the dryer sheet of felt, this is what we want. If it doesn’t flip it over and do it in reverse. Remove the wet one and squeeze out the water back into the dishpan.

Take yet another sheet of felt and wring the paper one last time.

Allow to dry

Drying Techniques

Drying really is not that hard, as long as the paper is wrung well.

If you have, it’s more than half way dry already. You can pick it up, and could literally hang it on a clothes line if you wanted.

To dry your paper you can leave it on a new dry piece of felt (make sure it’s dry), but as a result your paper will warp as it dries and will need to be flattened. I would not recommend drying under a heavy weight as this will lengthen drying time too long and yucky things can happen!

As a personal choice I dry my paper on plastic transparencies. I bought a pack of 50 at a garage sale for a quarter. On my final step, I lay the transparency on top of the new sheet of paper and WRING it one last time with the roller. The new paper will easily stick to it. I lay them about the house and they dry relatively flat. Thicker papers will tend to roll and warp. You can hang them or tape them up to get them out of your way. It’s very convenient and won’t mar the paper.

Don’t think you can make thinner papers by WRINGING it between two transparencies.  It just makes a mess – or paper lace if you are a glass half full kind of person.

With the transparencies, you can also use painters tape to ensure flat paper by taping the edges of the plastic down. More often than not, it won’t curl itself off the paper (at least for me) and it’s still a snap to remove. You can even hit it with a blow dryer if it’s taped down. But be warned using heat with certain additives will turn them brown or weaken colors (dried or live flowers, herbs, etc…)

Another way to dry your paper is sandwiching the new paper between two felt pieces and drying it with an iron (steam keeps it wet so no steam) – this method ensures a flatter paper – but again using too much heat can kill your colors and your additives. To flatten your air dried paper, you could also put it in your flower press if you have one, or between the pages of a phone book.

For me, the best method is air drying. In about 10 hours (more or less depending on thickness) the paper is ready to go and it didn’t use any further resources (energy).

If you can’t find transparencies, you can test lots of different things to dry your paper on. Some people use Formica.  If trying something new check it often for signs of sticking. So far I’ve only found one thing that my paper stuck to and that was the bottom of a pizza pan. It took me a bit to remove it.

Now if your paper is too wet when it comes to drying you will see the edges (or bumps) start to darken as the water evaporates. This uneven coloring is the main side effect, but if it’s SUPER wet mold/mildew could set in because it’s taking to long to dry.

For clean up you can a couple of seed packets to the slurry. (after the blender!!)

Mix, then pour some slurry seed mix into a flower pot that has soil already in it. The slurry will act as a top layer of soil (water often). You can also add seeds and mold the slurry into small balls and toss them randomly into your back yard for flower seed bombs. Another option is adding seeds, and make additional pieces of paper (seed paper), and wring softly as to not crack the flower seed casings.

Do not pour down drains as it WILL clog any screens in pipes. Non seed options for clean up include pouring off water, and squishing the Slurry into balls then toss in the trash or put them in your recycle bin after dry. AGAIN, do not pour down drains.

NOTE: Since they are paper, these papers will accept the same medias, but might absorb it slightly differently and not as uniformed (like water media or markers) but work VERY well with acrylics and all types of regular glues you use in your art.

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Be sure to join us next week for more of Recycled Artisan Paper.  The next installment of Kris’ presentation will cover The Pouring Method.

About the presenter:

Kris Jean, a world wide collected artist, has dabbled in her fair share of mixed media. She has been recycling her own paper for years. In the past 5 years no scrap paper has left her studio; it has all been recycled.

Like what you see here?  We hope you’ll consider leaving a comment or subscribing to one of our feeds. Never miss another cool post from EBSQ. Subscribe to EBSQ: Art Meets Blog v2.0 by Email today!

EBSQ Live Studio – Recycled Artisan Paper

This demonstration was originally presented by Kris Jean on 9 March 2009 in conjunction with EBSQ goes green.

Recycled Artisan Paper was a detailed and through presentation. Because of the quantity of information- multiple techniques for creating and embellishing papers, supply lists, how to make tools, etc., we will post this presentation in regular installments.

We begin with the introduction and a supplies list.

Homemade Paper

Embossed Handmade Paper

Hi everybody and welcome to LIVE! In this installment, we are going to explore different techniques for recycling paper and junk mail, to use in arts & crafts projects, mixed media fine art, and beyond.

Making paper is messy, but very simple. The techniques are tried and true, but it takes practice to get good results consistently. What works for me, may not be the standard method because I like to do things cheaply. There is no process to this that is set in stone. Feel free to expand and experiment. Do what feels natural.

I have been recycling my own studio paper for several years now. This is paper from left over projects, watercolor paper trimmings even left over other recycled paper noogies. I do this purely for fun and to cut down the waste from my studio – and I use it for art, and crafty things for family and friends.  Usually paper/cardboard from my household use is dropped off at a paper recycling bin at the local school, as White Settlement does not have an active recycling program for its residents. (BOO!)

The paper I make is used in my own mixed media projects, handmade cards, seed paper, and other nifty little things. I take what I don’t use to work and let the kiddies have a go with it too. When creating your own papers – the sky is the limit!! I’ve made paper out of rose petals and even lint!

Above all else – be creative!

Basic Materials

Paper to be recycled (Stay away from super high gloss papers, waxy papers, papers with adhesives, plastic or hard paint)

Dishpan

Large Bowl

Water

Blender

Scissors

Window Screen Material (I prefer metal over vinyl)

Lots of Felt or Absorbent Material

Rolling Pin or Similar (wood will warp over time because of the water – so don’t use your GOOD one)

Old Wood Picture Frame

Stapler or Staple gun (depending on the hardness of the wood)

Some basic supplies:

Some more advanced supplies (we will have fun with later):

Please join us tomorrow, January 22nd, for The Basics, The Sifter Method and Drying Techniques!

About the presenter:

Kris Jean, a world wide collected artist, has dabbled in her fair share of mixed media. She has been recycling her own paper for years. In the past 5 years no scrap paper has left her studio; it has all been recycled.

Like what you see here?  We hope you’ll consider leaving a comment or subscribing to one of our feeds. Never miss another cool post from EBSQ. Subscribe to EBSQ: Art Meets Blog v2.0 by Email today!

EBSQ Live Studio- Colored Pencils

This demonstration was originally presented by Alma Lee on 10 August 2009

Color Pencils rock my world! Just when I had relegated my color pencil collection to the sketch supply pile, opening them only for an occasional a quick draft. The color pencil world was incorporating to new technology, experimental techniques, and new formulations revolutionizing the color pencil status as a medium.

These new configurations, allow for better color saturation, intensity, and light-fastness. It is now possible to accomplish highly detailed, richly textured  and brilliant colored finished paintings without ever picking up a brush. If you have not tried Color pencils lately, you have never tried Color pencils. These aren’t your Mama’s Color pencils!

Tonight I am going to take you step by step to the creation of the following painting.

For this demonstration, I will be using Pentel Brush pens water based markers, Prismacolor color pencils (CP) (water based) and Walnut Hallow colored pencils for Wood (oil based) (WHCP).

For the benefit of any media purists this project could be completed in 100% Prismacolor. But in the interest of time I will be using markers and brush pens to block in my color starting base.

When working with color pencil on wood or MDF panel the most important step will also be the first. Step one: adding gesso to the panel. You can put CP directly on to wood without gesso, and you will end up with a very transparent, pastel finish, much like watercolor.

If you are looking to for the more saturated color of acrylic or oil you are going to want to apply gesso. What makes this step so crucial is CP water oil base will not adhere well to acrylic and gesso contains acrylic. We want the thinnest coat possible for this step.

So when you apply your gesso, you will want to use a thinner bodied formula. Don’t water down a thicker gesso. I used Liquitex Gesso Surface Prep artist acrylic grade.

In very thin lines (about 1/3 the width of a pencil) I apply the gesso directly out of the bottle and onto the surface wrapping my fingers around the 2” foam brush head, using hard pressure to rub.

I “force” the gesso into the grains of the surface. Your prepped panel will be quite streaked. No worry, this is a good thing!

When dry you can either draw your image directly on the surface with graphite or transfer it with transfer paper. Keep in mind if you decide to use transfer paper, that you cannot erase the transfer paper marks and you are going to be working with transparent and translucent substances.

I generally will draw my idea out on paper and copy it to size on the computer, then with a graphite pencil fill in the back of the copy, tape it on the board and trace as a transfer.

You can now fill in your image with markers – or if using all color pencil, you will build up your base in several “light” layers of color.

Few quick tips:

-Leave only the harshest highlights white.

-Black (CP) is extremely flat and lifeless looking. Instead I determine whether to use a hot black (red base) or cool black (blue base)

-Shadows are only hinted at during this stage. It is easier to define those as you get into the (CP)

-Shadowing is best achieved by using contrasting colors on the color wheel.  THE EXCEPTION TO THIS RULE IN COLOR PENCIL IS YELLOW AND PURPLE. On those I will pick a brown, gray or black. pencil

-Add Color pencil to the large white areas only towards the end. This helps preserve your white areas as (CP) acts as a magnet to stray color specs.

After you have blocked it all in you can take a Q-tip dipped in alcohol and squeezed to wash out some of the hard edges where you don’t want them and also to blend in some of the stronger colors making the image look a little more integrated.

Notice also how I have begun to introduce some light yellow to the white diamonds to warm them up a bit. I am also now building up the shadow areas in the piece with contrasting colors using a light pressure on the pencil.

Now with light/medium pressure, I fill in the overall red in the shoes.

During the second coat on the shoes, I will make the pencil strokes in the opposite direction of the 1st coat.

I will begin to increase (slightly) the pencil pressure, as I am getting a nice “waxiness“ to adhere to.

In real life, I tend to skip around the page to all areas of the piece.

While I am for organizational purposes talking about only one area, bear in mind that you must be thinking about reflections and shadows in the surrounding objects and background and pulling in the color of such right along.  Otherwise, you may forget what colors were used and not be able to get a true representation.

As I get into the 3rd coat again I will change the stroke direction still using no more than medium pressure. I also start looking at introducing some enhancing mid-tones of magenta and orange.

I want to do it at this stage because we are fast approaching saturation in some of the shadows areas and too much build up of wax will make it difficult to add color without marring or “lifting” up the waxy surface.

This is going to be one of my last chance to really saturate the surface, so  I am concerned with 2 things:

  1. Finishing my shadow intensity
  2. Dragging in the very lightest mid-tones color into the highlight.  I will leave only the brightest and sharpest highlights untouched.

Now I am hardening the edges bringing up the gold in the buckles and apply gold to the reflections.

I will add with medium pressure  to the white on the shoes. First an over all layer on the highlights. Then a heavier hard line at the center of the highlight. I will then blend out the outer edges of the highlights with a light pink.

This is followed up by medium heavy pressure of the hard white lines, and medium pressure on white to the bottom of the shoe catch light.

I am adding black to the background using a very light all over coating at first, then lightly shadowing in the darker areas to give it some grounding.  The third coat is done by lightly blending the two.

At the same time with medium pressure, I will lay in the darkest black on the floor and the like.

Note: don’t apply heavy pressure until you can feel the little nubs of wax building up, rather uniformly on the surface. You will know this is happening when you notice less and less color saturation occurring while using lighter pressure and it will start to feel a bit like you are lightly coloring on a bumpy back of an old cast iron pan.

This is also the point to draw you finer lines as on the floor.

Note: if you can’t get a fine enough line you may try either a VERITHIN CP – taking care not to mar the surface of the panel substrate, or the image.

Add highlights to the black floors with red, blue and white to build up to the appropriate levels of visual contrast. Then add about 10-20% more contrast than you will want to see in your final piece, as this will be blended and toned down during burnishing.

Choose at least two shades of each prominent color to build up contrast within their respective objects.  I used both Camille red, Magenta, Hot Pink and a touch of Vermilion for the Red areas and Aquamarine, Non-Photo Blue and Indigo in the Blue area.

I filled in all the white areas left in the floor with either Camille/Aquamarine. I then used the lighter shade of each in order to feather blend it into the black, taking time now to really concentrate on filling in any white specks still lurking in the dark areas.

Note: you will not be able to fill them all in at this time, and you must never use hard pressure at this stage.

I am now addressing the “white” diamonds in the background.  Like black, I feel white lacks a certain depth.

I also feel that the warm red tones, of the shoes would result in a catch light, not as a color reflection on the matte wall finish, but certainly present itself in a change in gradient tone.

I added light green to the polka dots overall, and then layered white on top of that.

In the white diamonds I added that same green to just the peaks of the diamond – again 10-20% more than I desired on final piece.

I also added a beige color to the base of the diamonds and colored it all with white at medium pressure.  I continued to do this until I received the desired shade.

Now I pay careful attention to the surface of the piece

Note: absolutely every bit of the surface should be covered with at least 80% of CP color, even the whites!

This is important because you are about to burnish and if you try to burnish over empty or lightly coated areas you are going to drag in a color that you don’t want.

We are now ready to burnish starting with the prismacolor colorless blender. Burnish over the entire image with med-med hard pressure, doing the lightest areas first and working your way to the dark areas.

You will want a thin yet workable layer of the colorless wax.  In the dark areas you are also trying to fill in with more earnest now, any remaining “snowy” specks.

Note: don’t worry, you absolutely will never get them all out, but like in pointillism, the eye of the viewer tends to blend the small specks in for you.

Our surface will be smoother but not completed.

It is time to break out your Walnut Hollow oil pencils.  The oil pencils will help you lay down some serious color after burnishing, and provide more of a translucent, rather that transparent color finish. They also tend to “flake” a little more, so I keep an old make-up brush handy to whisk away crumbs.

Note: you can continue to use the Prismacolor and can use them after you use the Walnut Hallow pencils. However, they are a harder pencil and you have to be careful not to mar the surface with them.

Bring up your colors a little more with light pressure (notice the oranges deepening along sole of the shoe as it picks up a slight reflection from the floor.)

With hard pressure you are now going to add your strong white highlights.

Note: hard pressure is best defined as the same amount of pressure you would use to color in a solid color on a chalkboard.

Burnish one more time with the colorless blender, working in the opposite direction where possible. I chose not to burnish the white diamonds, as I was happy with the texture as is.

Note never be afraid to stop, let it sit for a day, live with it. If you are happy, walk away. (Once you have overworked a piece at this point  it  is nearly impossible to correct.)

Complete the project using a paper smudge stick with a medium light pressure. Burnish any areas that need smoothing. At this point I generally avoid all white highlights. Again I “live” with it a couple of days and then sign it.

Once the signature is dried, use your makeup removal pad to bluff  out any excess wax build up. Working the light areas first then proceeding to the darker shades using a light to medium light pressure.

Note: sign before spraying on the finish. The surface is very difficult to sign once it has been fixed.

Once you are satisfied with your piece you are ready to spray it with spray fixative. I use Prismacolor Premier Matte Fixative.

Unlike many CP artists, I like to leave it unfinished for a couple of months if I have that time available to me. This allows the wax bloom to come up. I then buff it out with a makeup removal pad and fix it. That way I know that the wax bloom issue has been put to rest.  Then I spray with fixative and wait an hour and spray it with Krylon UV-Resistant Clear.

To see a clip of the entire visual process in a 1 min video:

Materials Used For This Demonstration:

MDF Panel (Home Depot)

Pentel Brush Marker (Dick Blick)

Prismacolor Pencil (Michaels Craft Store, Dick Blick

Walnut Hollow Oil Pencils (Michaels Craft store in the wood project section, DickBlick)

Prismacolor colorless blender (Michaels Craft Store, Dick Blick)

Liquitex Gesso (Michaels Craft Store, Dick Blick)

Paper smudge stick (Michaels Craft Store, Dick Blick)

Prismacolor Matte Fixative (Michaels Craft Store, Dick Blick)

Uv-Resistant Clear Acrylic Coating (Michaels Craft Store, Dick Blick)

Foam Brush (Home DePo)

Make up Brush (Walmart)

Q-tips (Walmart)

Makeup removal pads (Walmart)

Alcohol (Walmart)

Research Materials List – Materials and further reading:

Masterful Color , Vibrant Colored Pencil Painting Layer by Layer by Arlene Steinberg Northlight books ISBN 13-978-1-58180-957-2

Creative Colored Pencil workshop, 52 Exercises for Combining Colored Pencils with your favorite Mediums. Carlynne Hershberger & Kelli Money Huff


Join us tonight for Colored Pencils with Alma Lee

hosted by EBSQ Self-Representing Artists and Alma Lee
Monday, August 10th at 9pm Eastern (6pm Pacific)
EBSQ Chat Room

King David Danced - Alma Lee
King David Danced - Alma Lee

I have always loved drawing and detailing with color pencils, but until recently I had no idea of their virtually unlimited potential for PAINTING. Not only do color pencils have the same depth, and vibrancy of color, but they also have the added precision of a graphite pencil that results in a satin-like glowing finish rivaling oil.  New innovations and materials made it possible to “paint” on a variety of substrates previously off limits; including wood and MDF fiber panels. During my LIVE presentation I will be demonstrating some of the possibilities of Color Pencil, in a step-by-step visual diary of my painting process.

About the presenter:
Alma Lee with a degree in Marketing Communications studied both Fine Art and Marketing, at Stout University and Northeast Wisconsin Technical College in Wisconsin. Is a full time art licensor and artist living and working in Green Bay WI.

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