Jason Allen Greig – Designer

Colored pencils

1. The colored pencil consists of a wooden bar with a colored mine inside, harder and thinner than pastel colors. There are soluble in water and also turpentine. There are colored pencils of different hardnesses, although these are not usually indicated.

2. Versatility They are practical and easy and immediate to use. The paper makes white. Richness of tones, you can make several layers and change colors to obtain different shades.

3. The colors are mixed on the support itself by shading diagonally by applying one next to the other, or covering it using different cross-shading techniques (optical color mixing). It allows to produce varied effects, frames and fusions: from fine and delicate lines, through parallel, crossed and free frames to areas of dense shading.

4. It can range from soft tones to high resolution jobs with all the tonal gradation; and also give a smooth effect. It is very useful for sketches, illustrations, posters, various designs, mixed media paintings. In integration with other techniques, they are used to give precision, vigor, volume and definition to the other.

5. Colored pencils are particularly sensitive to the nature of the surface of the support. Good results are achieved on Ingres, Basic or Canson cream paper. Colored papers are used for more advanced work in order to create atmospheres.

6. For watercolor pencils, a slightly thick paper is suitable. To achieve permanence, the best paper is the well-pressed white, made with 100% rags. In general, it is recommended to resort to not excessively rough or glossy papers.

7. Three kinds of papers are presented, depending on the surface texture.

8. Fine-grained: The most recommended. It produces a smooth job, but with excellent nuance. Medium grain: They are used for larger format jobs and where the effects of textures are pursued. There is presence of the white of the paper. Fatty grain: For very large formats. Striking, intense and expressionist works.

9. The roughness of the paper: rough sea or less depending on the effect we want to create. (Papers of fine, medium and coarse grain.

10. The inclination of the pencil: We can take the pencil like when we write, or we can take it so that it is almost parallel to the sheet.

11. The tip of the pencil: Sharpening it with the classic pencil sharpener or with a blade can give us different effects. In the first case the tip is sharper and allows us to work in smaller sectors and achieve more detail, while when we use the blade, we can leave more pencil lead uncovered and take advantage to cover wider surfaces.

12. Shading: Start by tracing zigzag with the pencil, from top to bottom gradually decreasing the pressure of the mine on the paper, just by rubbing the paper. If the gradient was irregular, it is carefully retouched in each sector, pressing harder or more gently as we say we are higher or lower.

13. The paper is white (no color)

14. Paint from less to more: Apply less intense tones first, then overlap the most intense colors. The lighter colors do not cover the darker ones, so it is important to start smoothly, and achieve the tone by overlapping several layers, than going from the entrance and not having to go back.

15. Always observe the image very well before starting, and detect in each object, the shadow itself and the shadow cast. White pencil application to soften or mix some colors

16. Mixing colors: It is not necessary to have a large number of colors to achieve a good drawing. The same effect can be achieved from the superposition of different colors, with different intensity. It is important to investigate and test how I can mix them to achieve the desired color.

17. We can highlight 2 techniques for painting with pencils: • Linear technique.

18. Tonal Technique (or modeling)

19. MÓNICA DE LOS SANTOS Visual Communication Art Theory

COLOR PENCIL QUALITIES

THE POLYCHROMO COLOR PENCIL The colored or polychrome pencil are of artistic quality, as they are versatile and advantageous, which allows to achieve multiple nuances due to their transparency, and thus create varied effects. They contain a set of mixed materials such as graphite, wax and clay, as well as allowing us to give a brighter finish, and greater detail accuracy due to its easy use. Polychromos colored pencils, it is very useful, because its pigment is resistant to light, it is durable and very adherent. The color pencils of school children, it serves to practice and go grabbing trade or mastery of technique, for when you already have the necessary experience, proceed to work with Polychromos color pencils, which are recommended for their advantages in their execution, For example: they are very bright and bright colors, they mix very easily and can be blurred with total ease. It is very useful to work with Faber Castell Polychromos color pencils, the professionals, which will allow us to learn with their practice and grab a trade.

THE PENCIL OF SCHOOL COLOR They are suitable for exercising this artistic technique in the school stage (beginner), they are bright colors, easy to mix, but it is very difficult to achieve a dark tone, it is necessary to make a lot of pressure, due to its low adhesion, So it makes it difficult to degrade. Its pigment is not of quality, being ideal for primary school students, but its ease at the time of practice

THE COLOR PENCIL TECHNIQUE

COLOR PENCILS

DEFINITION It is a technical instrument of art formed by a pigmented mine that allows to obtain chromatic result of immediate use of great artistic beauty. Considered as a new material of artistic work, which is used in school (school time), which allows us to express artistically. It is generally considered too childish; wrong criteria, because knowing it, allows very beautiful artistic results, when treated with skill, knowledge and creativity. All the treatment or secret of the colored pencils is in the progressive sum of the strokes (previously it is necessary to practice strokes in different directions), starting from the softest tones, until reaching the most intense tonality, in a progressive way. It is recommended that colored pencils be of good quality. Now, these materials have their limitations, mainly to make portraits of older people, but it offers great possibilities to solve still lifes, landscapes, imaginative themes and portraits of children, but in the end it is in the skill and creativity of the executor.

THE TECHNIQUES The most used techniques are:

LINEAR TRACES It consists of the superposition of layers of fine of successive lines of crossed lines, which are called frames, to obtain variety of tones and thus create volume in the figure. When adding or overlaying layer over others, the ones above do not completely cover the ones below, but rather mix together.
TONAL TECHNIQUE: It is the widely used method, which works by creating a “molten” effect, always from less to more modeling volumes, which is achieved by representing with a spotting based on glazes that tones the surface that surrounds the volume with staining,

Other techniques we have:

BLEACHING TECHNIQUE This method derived from the tonal, where the drawing on the paper is shaded, with the white color, to appear as a pasteling of the color, disappearing the effects of the grain of the paper, giving a uniform texture to the surface, and from there superimpose layers of color looking to tint the areas or surface of the paper.

FROTAGGE TECHNIQUE It is produced by placing the paper, creating a rough texture on the surface of grained wood, allowing us to mark what we have placed underneath.

GRAPHIC TECHNIQUES The lines we want to remain white are marked on the paper with graphite pencil, then with a dry pen or blunt tip, we review the lines of the drawing, pressing to reproduce the image in The paper below. In the vegetal paper the drawing will remain with indentations, finally it is painted by means of the tonal technique, and it is engraved.

The most used techniques are linear and tonal.

HOW TO TAKE THE PENCIL It is the way to take or hold the pencil when painting, these are:
WRITING MODE It is the way we use it to hold or write the pencil, but taking it a little higher, which allows us to make more detailed drawings when we work on a table or a board with little inclination.
SPATULA MODE It is because of the similarity of how the spatula is held. We use this feature to hold the pencil when we draw on vertical boards or when we make fast and long strokes. These ways of holding the pencil are used both for drawing and for painting.