Promo Issue 2015 - COLORED PENCIL Magazine

Transcription

!
Promo Issue 2015
FREE DIGITAL
coloredpencilmag.com
AL
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PROMO 2015
CO N T EN T S
features
04
COLOR POP
06
COPICS AND COLORED PENCILS
18
DECORATIVE ART
Stacey Crummett explains everything
you need to know about selecting your
next drawing surface for your colored
pencil work.
We review how you can use Copic
markers along with colored pencils for a
fabulous result!
Catherine Gabriel shows us the results
of turning her artwork into home decor
and more.
departments
NOTE
03 EDITOR’S
What’s inside this issue
08 Q&A
Amie Talbot answers your tough questions
15 SKETCHBOOK
New products and art news
16
GALLERY
Artwork showcase
20 M.Y.O.B.
Mind your own business
21
10 FEATURED ARTIST
Take a look at our 2015 COLORED
PENCIL Art Competition judge
Richard Drayton. Enjoy his dramatic
and bold artwork while you learn about
his successful career.
2
2015 ART COMPETITION
Official entry form
23 ART CHALLENGE
Take a Monthly Art Challenge &
win great prizes from our sponsors
PENCIL STUDENT
24 COLORED
Check out our digest for beginning artists
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com
magazine
EDITOR’S NOTE
FREE DIGITAL
PROMOTIONAL ISSUE
Editor-in-Chief & Creative Director
Sally Robertson
Copy Editor
Kimberly Woods
Contributors
Agnese Aljena
Linda Becker
Pio Cocomazzi
Richard Drayton
Autumn Ford
Silvia Frei
Catherine Gabriel
Sharon Siew Suan, KOW
Melissa LeGates
Shana Rowe
Amie Talbot
Chad Thomas
Alan Woollett
The Original COLORED PENCIL MAGAZINE
Inspiration for the Passionate Colored Pencil Artist
www.coloredpencilmag.com
Each month brings fresh and insightful
colored pencil articles & art, expert tips, and regular
contests to get you involved!
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COLORED PENCIL Magazine
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Copyright © 2015
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Cover Art by Richard Drayton
“Lovestruck” 17.5x12”
3
Color Pop
Adding bright hues without losing realism
with Chad Thomas
by Melissa LeGates
For Chad Thomas, black is not just black—
nor white just white for that matter. Both hues
contain vivid blues, reds, and purples, which
he loves to incorporate undiluted into unlikely
places like animal fur or skin.
Yet somehow, even though the viewer’s mind screams
that color shouldn’t be there, it works. We are not talking about small doses of color woven into the shadows
either. He works with chunks of vibrant colors scattered
throughout his pieces.
“Honestly the bright colors are my vision of what I see
and are a by-product of working off of photos. Also,
I think that it has something to do with lighting and
reflection although I’ve always used very bright colors
in my artwork,” he said.
Color bonanza
Chad Thomas, a colored pencil and acrylic artist from Ozark, Missouri, poses
with his rendition of Kurt Cobain among his other paintings.
The mostly self-taught artist has a favorite trio of accents that
works for him: lilac, Tuscan red, and indigo blue. In some dose
or another, they are found in most of his paintings. However,
the most used pencil in
his arsenal is Prismacolor’s
metallic gold, which he uses
as a guide and also to blend
(especially with fur).
add dark red or indigo blue on top. For him, this layering of color
is one of the most crucial steps to attain realistic fur.
“I don’t believe that bright
colors really detract from
the realism of a piece. As
long as there is definition,
shading, and light in your
work, the color shouldn’t
effect the realistic aspect of
the artwork,” he said.
Sometimes he will start with
a lighter color, such as lilac,
and then add one or two
more colors on top. Other
times he will use black and
4
“Personally for me I like
the color and the pop, but it
can be overdone,” he said.
“When you start feeling overwhelmed by whatever color
choices you have made, it is
an indicator that there is too
much color in the piece.”
He often uses the color in
the background to bring
the subject to the forefront.
Since preference for specific
colors is very subjective and
personal, he advocates keeping clients involved in color
choices as much as possible with frequent updates
to make sure the artwork is
headed in the right direction.
However, he said most of the time he does not really focus on
color so much as he does the layering and texturing of the subject
matter.
Since most of his subjects are finely detailed, he prefers a simple
gradient or solid color background - even if it is a bright pink it
still acts as a soothing place to rest one’s eyes.
Chad started doing dog portraits about six years ago and has
never looked back since. His first portrait was of his dog Jedi.
Now, he primarily focuses on dog and people portraits in colored
pencil and acrylic. From his home in Ozark, Missouri (which he
shares with his wife, son, and three dogs), he works with clients
all over the U.S.
Chad said, “It has been rewarding for me to be able to share my
artwork with people and in turn get to share and learn about
other people’s lives through their pets and loved ones.”
www.whiterabbitart.com
This shows in his painting, each which capture the essence of
its’ subject. To get the character and personality of each subject
down he suggests starting with the eyes: “When I do a portrait,
the first thing I do is
the eyes because if they
aren’t right the portrait
doesn’t work for me.”
Another thing that
helps with capturing
personality is to include
something
personal
of theirs, or quirky
things like their tongue
hanging out. He also
concentrates on adding
their unique markings,
strange whiskers, or
other interesting details.
5
& COLORED PENCILS
a colored pencil magazine review by autumn ford
WHAT ARE COPIC MARKERS?
Copic markers are professional artist-grade markers. These versatile tools work
great as a companion to colored pencils. Many features make them unique compared to other markers.
•
With over 350 different colors, Copics
use permanent alcohol-based ink that dries
acid-free and can be used on virtually any
surface. All markers are refillable. One various ink refill will fill a Copic Original up to
9, Sketch marker up to 13, Wide marker up
to 7, and a Ciao marker up to 15 times!
•
For a maximum stroke-free coverage, Copics and
Copic Sketch markers can be hooked up to an Air
Brushing System (ABS). The ABS can be used with both
air cans and with an air compressor.
•
All markers are refillable and
have replaceable nibs that can be
changed when dirty or damaged.
COPIC MARKERS COME IN THE FOLLOWING 4 STYLES.
COPIC ORIGINAL - These contain chisel and bullet tip nibs and come in 214 colors.
The square shaped barrel of the marker prevents it from rolling off of desks and is
able to hold plenty of ink, which proves especially useful when used with the ABS.
SKETCH - By far, the most popular choice among artists and available in all 358
colors, Copic Sketch Markers are equipped with a Super and a chisel nib. With their
non-rolling oval shaped barrel, these are also compatible with the ABS.
CIAO - Sporting the same nibs as the Copic Sketch, Caio markers are an economical
alternative and come in 180 colors. The smaller round barrel keeps the price down
for beginning artists but, unfortunately, do not fit the ABS.
WIDE - The largest of the 4 styles, Copic Wide markers are only 1 ended with a 3/4”
calligraphy nib. They are available in 36 colors.
Markers can be bought individually or in sets of 3, 6, 12, 24, 36, and 72.
6
www.copicmarker.com
1.
TOGETHER THEY MAKE MAGIC!
1. When using colored pencils and Copics, I like to start with
a light marker underpainting on a piece of smooth Bristol. This
will help fill in space with color that can later save you from
building up too much wax and allow you to fit in more layers
of details. Using a hot press paper will conserve ink that would
otherwise be soaked up by watercolor or cold press paper.
2.
2. I then add colored pencil to the piece, generally laying down
color over the whole image. Be sure to add white highlights,
which show up especially well on marker. When I draw, I like
to have the colors smoothly blended together.
3. Next, I will burnish the colored pencil with a colorless
blender or other blender of choice. Be careful if you are using
liquid solvent to blend the pencil - it may affect the layer of
marker below.
3.
When your piece is burnished and smooth, you can layer more
marker on top. This layer of marker is much more fluid than
the previous and will allow you to blend colors longer because
of the layer of wax from the pencils. Here, I added the base
shading for the scales. I, also, went back with my Copic blender
to clean the edges inside each scale to define the highlights.
“Bearded Dragon” by Autumn Ford
Sketch Copic Markers
& Colored Pencils
NOTES:
Perfect for underpainting
Speeds up drawing time
Use Hot Press paper to save
on ink
Highlights pop
Layering gives depth
Empty Markers available so
you can mix your own colors
4. I Added another layer of colored pencil to the shading and
more colors to give depth and to refine the shape of each scale.
I find I can usually add a few layers like this before the piece
gets too muddy.
4.
5. Here is the final result after burning the last layer of pencil. I
am always sure to add highlights and more contrasting shadows last to help the piece pop!
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7
Q&A
Answered
by Amie!
Q:
What is the difference between warm, cool, and
French greys, and when would I use them?
A:
Great question, and certainly one that I had when I first started using my Prismacolor Premier
pencils. There were so many greys, and I had no clue what to do with them! Over the years I
became more acquainted with them, and they have helped me render some of my most prized
drawings. So here is what I have come to know about the many shades of grey:
“Would you know my name,
here in heaven?”
Warm Greys = Red Base
Cool Greys = Blue Base
French = Yellow Base
First, here is a color scale showing the three different shades of grey: warm, cool, and
French. They start at 10% and increase in value to 20%, 30%, 50%, 70%, and 90%.
www.amietalbotvisuals.com
8
Helpful tips when using greys:
Create a grey scale (as shown pg 14). A scale is a great way to visualize the
different values and tints of grey. It will assist you when choosing the right grey
for your drawing.
Apply the classic rules. You want to start with a light color and a light touch.
As you build color and depth you will increase the value and pressure.
Layer for depth. Greys can appear flat. Often, beginner artists make the mistake of using grey as a single layer. Although you think you’re saving yourself
time, I guarantee the end result will be disappointing. To create depth and contrast in your drawing you need many layers, especially with greys. I normally
layer my greys with blues or greens. Make it a rule of thumb to always layer
your greys with another color.
Use greys to subdue. Greys are a helpful color when toning down or taking
back a color. Colors can often become overpowering, and the best way to correct the situation is to apply a layer of grey on top. This decreases the intensity
of the color, creating a more balanced composition.
“Allured to Brighter Worlds”
What I use greys to create:
• Rough texture in statues, stone, and pavement
• Gentle, soft folds in fabric
• Shadows in and around a human eye
• Vibrant, reflective chrome
• Scenic, billowy skies
• Meticulous hairlines in animals
“Ella’s Toes”
Send your questions to: [email protected]
9
Featuring
RICHARD DRAYTON
The humble colored pencil is finally coming into its own as a recognized fine art medium. I began drawing with colored pencils
at the age of seven (I am now seventy - do the math), and I sold
my first piece at the age of thirteen By the time I was in high
school, we all knew that this would be my life’s work.
Personal History
After tolerating high school and partying
my way through college, my parents finally
relented and agreed to pay for art school.
I was accepted at Art Center College of
Design in Los Angeles, California as a junior
and was later hired right out of class as an art
director at a large international advertising
agency. For the next twenty years I created
award winning graphics and illustration for
advertising agencies and movie studios. I also
completed two tours of duty on the faculty at
Art Center College of Design. After moving
to Sedona, Arizona in 1990, I joined the faculty at Sedona Arts Center where I have been
showing my work and teaching workshops
ever since.
10 COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com
My Visual Interpretation
All of my pencil paintings are highly designed and somewhat
abstract. The words bold and dramatic come to mind when
people describe my work. I am deeply inspired by the magical
beauty and visual rhythms of the natural world, and I attempt to
seduce the viewer into that world by exaggerating and abstracting
the play of light and shadow and atmospheric perspective. My
colors are generally very saturated, and I want the eye to dance
around the image, constantly pulling back into the subject.
“Last Light” 26.5x12.75” Prismacolor on laquered panel
My Working Process
I work only with Prismacolor pencils (no liquids) on both paper
and hardboard art panels. The paper I use is Strathmore Bristol
400 series two-ply vellum. It comes in tablets and is relatively
inexpensive. The surface has just enough tooth to accommodate
my blending technique and is durable enough to withstand the
punishment of the eraser. The pigment is applied in layers until
complete opacity is achieved, generally starting with the darkest
or middle values first, depending on the subject, and blending
lighter values into darker. I almost always do preliminary drawings and sketches to work up the style and feel of the subject,
helping me to “interpret” the subject so that I can generate a high
impact visual experience. In some pieces, I will execute the entire
drawing in sepia first and then apply the color in layers, as this
gives me a complete value study to start with. I also will occasionally work directly from a simple line drawing on the paper
or panel.
My work on a lacquered panel, however, is a whole different story.
This technique involves working with Prismacolor on an 1/8”
panel of artists hardboard that has been sanded to a surface that
matches the Strathmore paper. I then apply twenty-five to thirty
coats of hand rubbed lacquer over the finished piece, thus allowing the panel to be framed without glazing. I do not teach this
method mainly because of the time and complexity involved, and
the use of lacquer is actually illegal in some states.
Teaching
My approach to art and teaching is based on my background as
an illustrator. It is dedicated to creating a “high performance”
visual experience for both artist and viewer. All of my source
material begins in my camera, and then final images are composed in Photoshop. A common misconception regarding these
methods suggests that the artist is merely copying a photograph,
however, working from photography is no substitute for knowing
how to draw and understanding the classical principles of perspective, light, and composition.
It is all about expanding beyond the photographic image with
inspiration, interpretation, and imagination!
Even though my workshops are only two days, I devote time to
lecture and demonstration, illustrating these classical principles.
However, the main goal is to introduce students to my techniques
for creating what is essentially a “painting” with the Prismacolor
pencils. Because of this my workshops are highly structured so
that at the end of two days each artist has a piece that is well on
the way to being finished.
COLORED PENCIL Magazine | Promo Issue 2015 | www.coloredpencilmag.com 11
Richard Drayton
“Magnolia a la Diego” 16x20”
“Twilight Lanterns” 17x22”
“Peace Rose 20x16”
“Canna’s Song” 19x29”
“Cyndi’s Lilly” 16x12”
richarddrayton.com
“The Occasional Visitor” 18x24”
“California Dreamin’” 18x24”
“Eternal Moment”16x28”
“Sundance” 11x18”
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SKETCHBOOK
NEW ART BOOK!
STROKES OF GENIUS
6 VOLUME COLLECTION
800 artworks in graphite, charcoal, colored
pencil and more, including commentary and
comments from each artist.
Order today and get Vol. 1-5 in digital format!
Retail: $210.94
BUY: $99.99!
http://bit.ly/11iqotH
NEW ERASER!
FACTIS BLACK ERASER
General Pencil has created this new black eraser perfect for colored pencil artists using black paper! Will not smudge or leave
marks. Retail: $.99 BUY: $.61
http://bit.ly/11Pt165
NEW COLORING BOOK!
DETAILED DESIGNS AND BEAUTIFUL
PATTERNS - ADULT COLORING BOOK
Relax and unwind with 20 designs on dedicated pages to color. This softcover book comes
with a free digital version for you to print and
color as many times as you like! Just think of
how pretty this would look framed! Pages are
8.5x11” on high quality paper.
Retail: $4.79 - BUY: $3.99!
http://amzn.to/11iqaCR
ART GALLERY
“In the Wink of an Eye”
Pio Cocomazzi
www.cargocollective.com/piococomazzi
“Angel with a Broken Wing”
Alan Woollett
www.facebook.com/alanwoollettbirdart
“Tranquility Within”
23.5”x16.5”
Sharon Siew Suan, KOW
www.facebook.com/
SharonsskowPencilArt
“Red Panda”
21x29.7cm
“Cali”
9”x12”
Silvia Frei
www.facebook.com/theartofsilviafrei
Linda Becker
www.linda-becker.artistwebsites.com
“Being a Girl”
11”x14”
Shana Rowe
www.shana-rowe.artistwebsites.com
Post your “Latest & Greatest” to our Facebook page for a
chance to see YOUR artwork displayed in an upcoming issue!
www.facebook.com/ColoredPencilMagazine
Decorative Art
BY CATHERINE GABRIEL
When Catherine posted this completed project to our
Facebook wall, we knew it was something that we had
to ask her to share with the readers of Colored Pencil
Magazine. See how she turned her colored pencil artwork into beautiful decorative pieces for her home.
What a great conversation starter!
“Fox”
My name is Catherine Gabriel and I am a self-taught artist
from Melbourne, Australia. I work in a variety of mediums,
but coloured pencil remains my favourite. I specialise in
animal art, including pet portraits and decorative works,
and I have a soft, illustrative style.
Over time, I kept receiving comments that my art would
work well with greeting cards. This lead me to search for
a way to do this, and I came across a website called Zazzle.
You can upload your images onto a huge variety of products,
everything from greeting cards and cushions to t-shirts and
iPhone cases.
It is a unique platform for an artist to showcase their work,
and anyone can set up a Zazzle shop and sell their designs.
As a seller, you have the ability to set your royalty rate and
have control over the appearance of your store.
I discovered that my drawings are suited particularly to
cushions and was very impressed with the quality of the
print when I ordered some for myself.
I encourage other artists to think outside the box, explore
ways to market your artwork, and discover a wider audience.
“Galahs”
My website: www.catherinegabrielart.weebly.com
My Zazzle shop: www.zazzle.com.au/catherinegabrielart
Turn your art into
home decor and more!
M.Y.O.B ~ Mind Your Own Business!
Commercial vs Fine Art
by Agnese Aljena
Art is sold one of two ways – either before or after the artwork is created. Each
way implies a different business philosophy and requires a different approach.
Commercial art is sold before the piece of art is created.
Artists are commissioned based on their portfolio with the hope
that they will create new art of the same quality. Usually, the
patrons or customers who order the art piece have some requirements for it. This limits artistic freedom, and the art is more “flat”
in its philosophy.
Fine art is sold after the piece of art is created. Artists have full
creative freedom, and the message of the art piece is deeper to
the artist.
What does all of this mean to an artist? At first glance,
it seems that these two methods of selling art have almost everything in common except the small difference of which comes first
– art or sales. In reality, it is not so simple; they each require different business philosophies.
When creating commercial art, customers set their own requirements and have more control over the process. They
are considered part of the art, a co-creator. The
artist should understand this and should, as
much as possible, turn the interaction into
a great customer experience. Essentially,
this process of co-creation looks more like an
entertainment project than art. The artist should
exhibit utmost professionalism in customer service
and customer experience building. Running a business this way
can be very rewarding, and customers are happy and advocate
the experience to their friends. (Note that they advocate the
experience, not necessarily the art; of course, the art should be
good, but that is not the main element of the business’ success.)
Growth occurs naturally, all in response to making the most of the
customer experience. This philosophy results in selling a higher
number of pieces at lower prices and thus a more consistent, predictable income.
Fine art artists, on the other hand, have full creative freedom in
art, but selling requires a different approach. Selling fine art is
less about entertainment and service and more about values and
philosophy. Customers buy an artist’s work because they share
the same worldview. It might be hidden, but it is there and plays
a central role. Finding customers is based on communicating the
art and the concepts behind it. The artist must be a good storyteller and a public relations specialist - showing their art, talking
about it, sharing the inspiration behind it. Even if they hire someone to fill some of these roles they are still present to take part in
and support all activities.
In the end, commercial artists trade artistic freedom for co-
creating with their customers, and fine art artists trade close
customer interactions for full license to express their values, philosophies, and worldview.
Agnese Aljena is the Business Blog for Artists owner and on her way to PhD in
business models for fine arts. Visit her website at: www.takeiteasybusiness.com
JUDGE: Richard Drayton - www.richarddrayton.com
CONTEST:
12 Images will be chosen from artwork submitted or postmarked before September 1st, 2015 to appear in
our 2016 CPM Calendar and will be awarded prizes as listed on our website. Your winning piece and website
link (if applicable) will also be displayed on our website and featured in the COLORED PENCIL Magazine
and COLORED PENCIL Student digest.
RULES AND ELIGIBILITY:
• Online Image Submissions should be .jpg sent at 72 ppi, Minimum 10”- 20” Maximum width.
(RGB color mode, do not convert to CMYK)
• Chosen entries will be required to provide a clear, high-quality, 300 ppi image for print.
• Artwork must be at least 80% colored pencil. (visit our faq link for definition)
• Entries per artist are not limited.
• Artwork must be in or cropped to a Landscape format. (horizontal)
• All Artwork must be original and drawn from original reference material, or with written permission
from photographer.
• Entrants must be 18 years or older.
• Submissions must not contain nudity or violence and must be for acceptable for general audiences.
• Contest open to anyone in the world that meets these requirements.
To learn more, visit us at www.coloredpencilmag.com/competition
OFFICIAL ENTRY FORM
Artists Name:
Address:
City:
State:
Zip:
Country:
Phone:
Email:
[ ] Add me to your Mailing List!
SUBMISSION(S):
# of Entries
($10ea or $25 for 3)
Total Amount:
Artwork Title(s):
COPYRIGHT RELEASE AND LIMITED USE:
I hereby certify that I have read and understood the rules and eligibility for consideration in the COLORED PENCIL Magazine 2015 Art Competition, and that my
submission is my own original work(s), and that I am the sole copyright owner. I attest that my entry/entries do not violate or infringe upon the copyright and/or
trademark of any person or entity. I release COLORED PENCIL Magazine, Platte Productions, and any other persons relating to such, from liability and waive any
course of action, claims or cost in relation to any damage caused, whether intentional or unintentional.
I also understand the terms of use, and I agree to allow a non-exclusive, worldwide license, and rights to Colored Pencil Magazine & Platte Productions, to utilize the
entry submitted, to modify, publish, crop, reproduce, display, and/or distribute to promote their publications, including COLORED PENCIL Magazine, COLORED
PENCIL Student & the COLORED PENCIL 2016 Calendar, in both print and digital formats, without additional compensation to either party.
As the original artist, I understand that I retain the full rights to my image and DO NOT give or forfeit exclusive or additional permissions, releases, or rights for my
image(s) to be sold or reproduced on any products, prints, etc. without additional consent.
SIGNATURE:
Enter Online or Send Completed Form, Payment, and Digital Files on disk to:
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2015 Art Competition
PO Box 183
Efland, NC 27243
Take the Monthly
Colored Pencil Art Challenge!
IT’S FUN AND IT’S FREE!
Join our growing, supportive art group on Flickr!
www.flickr.com/groups/cpmchallenge
Each month we provide you with a copyright-free
photo for you to creat your own original artwork
from and then award prizes to the best in Advanced,
Beginner, and Junior categories.
Take any of our challenges all year long!
by J ay Ba bi n
CHALLENGE PHOTO
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COLORED PENCIL
Student
ALL AGES, ALL LEVELS!
This quarterly digest is aimed at the beginning colored pencil artist of any age. Whether
you’re advanced or just getting started you
will find useful information, fresh articles,
and a lesson in each issue!
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Promo Issue 2015 - COLORED PENCIL Magazine

Transcription

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