Our newsletter has dropped and we have four new articles, including a brand new medium for our mini tutorials section, the oil pastel. If you haven't tried oil pastels, we would highly recommend you give them a go. Our new tutorial only takes 10 minutes to create a highly effective piece of work, and maybe you will fall in love with the medium too? We certainly love them! We like to cover a different medium or product, in each article, so this quarter, we provide a list of blending tools for soft pastel artists, a selection of black papers for artists who enjoy working on a dark surface. We have chosen various surfaces and brands, suitable for numerous mediums, not just pencils. Finally, we have updated the Prismacolor pencil artist. We really delved deep into the history of these pencils and believe us, these pencils have a great history. They span over a hundred years! We also discuss what these pencils can achieve, as we are aware that they are a favourite of many coloured pencil artists. Click on any of the images below to visit the article and have a read. Why not grab a coffee, as we do throw lots of information into our articles, so we hope you enjoy them. About the Prismacolor pencil |
My partner John Graham photographed this Hare back in October 2019. It was very inquisitive. Whilst John sat motionless on the ground; the Hare came closer, allowing him to capture this image and the second one below. This high definition photo can be used as a reference during the construction of your drawing. |
If you haven't read this magazine before, you may find it a valuable resource as not only does it provide plenty of data on coloured pencils, it occasionally covers other mediums like pastel pencils and marker pens. There is an abundance of articles offering hints and tips, tutorials like this Hare above, regular competitions, a peek into the lives and studios of other artists and even guidance on the art business. They also have Facebook, Twitter and Instagram pages too so you can get involved in those competitions wherever you are in the world - I even had a go myself a few years ago!
Loxley spray fixative 200ml is a high quality, colourless, non-yellowing protection medium with UV Filter and is CFC free. It protects artwork from atmosphere damage caused by moisture and the suns UV rays as well as preventing smudging and is recommended particularly for use on charcoal, pencil, pastel, crayon, chalk drawings and paintings. This is available in two sizes: 200ml and 400ml. |
I have used this product for many years to help seal my graphite and coloured pencil drawings as well as my pastel portraits too. I have tried some other fixatives, but I personally like this one due to the fact that it also includes a UV filter, which offers extra protection. Some fixative nozzles can become blocked which is when spitting happens and this can leave marks on your drawing, particularly noticeable if you use it for your pastel paintings. I have never had that problem with the Loxley one.
When working on my coloured pencil portraits, I sometimes apply a fixative between the layers which helps to extend the working surface and minimise saturation if I have applied a large amount of layers to a particular piece. As the fixative secures previous layers, ensure you have finished blending as you may not be able to do this after sealing it with fixative. In the video above, you can see the Loxley fixative appear in the video showing you where I apply a spray of fixative. There are around 8 or 9 layers on this area alone and as I need to apply highlights to the dark fur, the fixative allows me to do this without muddying the colours. I can then continue with more layers. Once the portrait is complete, I treat it with two layers over the whole of the portrait to minimise smudging and to offer extra protection to the framed portrait, particularly as many people do not choose a UV or museum glass when framing.
If you work with pastels, you may wonder if you should use a fixative on your drawings. Take a look at the comparison photos below and see what may happen if you do. The one on the left is before applying fixative and the one on the right is after. See how the fixative has darkened the colours, creating a more translucent finish. The fixative has dampened the pastel application, causing the darkening of the pastels. This may depend on the pastels you use though as higher quality pastels may not react in the same way as cheaper brand ones due to their being more pigment in them. Many papers, particularly textured ones, do not require a fixative as they hold the pastel well with minimal pastel drop. At the end of the day, the final decision is yours alone.
When spraying, hold the can about 12" away from your upright drawing and spray evenly from top to bottom. It has also been suggested to me that you can turn your drawing 45 degrees and respray, so you are applying a balanced amount over the whole of your drawing. Spray too close and you may create speckling from the aerosol.
Never use hairspray as a fixative. Manufacturers of hairspray make this product for use on hair, not artwork. As hairspray is not acid-free, should you spray it over your artwork, it could cause it to yellow over time. The acid in the hairspray can cause discolouration of the pigment and may also make the paper brittle too. If you have ever used hairspray, you'll note that some can leave a tacky residue behind, not good for your work. It really is better to buy a fixative made for art, which will help protect your work properly for many years.
If you wish to see the final portrait of the Boxer dog being created in the video above, click this link
These pencils have been available to 'pre-order' for a while, but online stores, are now receiving stock and getting them sent out to everyone. My set appeared on Saturday morning (18.07.20) and I have to admit to being very excited upon opening the box.
You can view our Luminance article by clicking the link below.
2020 Art Workshops
Every year I choose 3 or 4 subjects for the Coloured pencil & Graphite pencil workshops which include varying techniques and surfaces to previous years, ensuring each workshop is different to another. Coloured pencil workshops using textured paper are somewhat easier for a complete beginner than the workshops working on smooth paper, however every workshop available can be attended by any artist regardless of their calibre, even if they have NEVER drawn anything since their time at school!
To find out more about our workshops, click any one of the following links to visit the page of interest:
Reviews & Tutorials
Latest product reviews
Derwent released their first 100% lightfast Coloured pencil range this year and I decided to try them out on both smooth and textured surfaces, see how I got on. | The CarbOthello pastel pencils offer 60 vibrant colours and would make a great addition to the colour palette of any Pastellist. Find out more about this range. | In this article, I mixed pencil blend and Derwent Lightfast pencils on both the Pastelbord surface and the Strathmore bristol plate surface, check out the review. | This canvas is an ideal surface for many different mediums, not just pastels and in this article I show what is achievable using Acrylics & Coloured pencils. |
New Mini Tutorials
Requested by a 'SBS Art' subscriber, this tutorial shows you how to create depth and movement in water using Coloured pencils. For all art abilities. | Originally published in the USA Colored pencil magazine in 2018, this tutorial explains the process of how to create Blueberries in Coloured pencil. For all art levels. | An in depth guide explaining how to create a dogs eye using Graphite pencils and other accessories that will help you achieve a highly detailed, 3D drawing. |
Finally, you can always SUBSCRIBE to our quarterly newsletter, ensuring you receive the very latest articles, delivered straight to your E-mail.
Blueberries Tutorial in the Colored Pencil Magazine - November issue.
I was approached by Sally Robertson, Editor in Chief, at the Colored Pencil magazine asking if I wished to contribute a tutorial as part of their new 'Workshop series' and I agreed.
For the reference image I choose a simplistic subject of some blueberries so that any pencil artist could give it a go, and working with my Caran Dache Luminance pencil brand I created a comprehensive, step by step guide showing where to start and how effective layering is before adding then adding the finer detail. The magazine can now be purchased via digital download or in print - a copy of the front cover can be seen above with a list of articles that can be found inside. There is also a special article with the artist Paul Hinks (UK Artist) who works solely in pastel pencils (front cover artwork) so not always fully limited to coloured pencil articles. The November magazine is now out with my tutorial inside and for anyone wishing to purchase the magazine, you can purchase in either digital format to download immediately or order the print copy - you can also order both together too.
*Prices outside of the USA may vary due to the exchange rate on the day of purchase
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Our 4 latest Articles
New to coloured pencils? Why not view our 'Starting out with coloured pencils' article with some great hints and tips on where to begin, with what to buy and how to use them to their best ability. | If you are a newbie to soft pastels, this simple step by step tutorial explains how to create a tonal sky with the smoothest transitions and may offer you some great pointers to get you started. | Looking for some top quality soft pastels and have your eye on the Unison range but want to know more about them before splashing out? This article may offer you some great information. | Would you like to give oils a try and unsure what you need to get going? This article written by Welsh oil painter Chris Chalk and gives some simple advice to those new to oils. |
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Karen M Berisford
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