Working on Colored Papers potx

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-medium-value paper, I can work with both

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-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

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larger version

"Wishbone"

11" x 14"

paper: Canson Mi

Teintes, color: Bisque

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"Still-life with Jack

#2"

10.5" x 13.5"

paper: Canson Mi Teintes, color: Bisque

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"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"

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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

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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

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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

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version

completed image of "Egg and

Shell"

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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