Colored Pencil - 2020-07 PDF

Jesse Lane’s
TOP 10 TIPS
Hair Doesn’t
Have to Be Hard
Lemonade Tutorial
Using the Slice Tool
WHAT THE MODS KNOW
Comparing Crayola
Creating a Composition SAMPLE INSIDE!

GRIZAYE STRAWBERRY
Featuring: Barbara Dahlstedt Platte Productions Publishing.com

07
1
July 2020
$8.99 USA
coloredpencilmag.com
JULY 2020
CON T EN T S
04 EDITOR’S NOTE
Get the inside scoop.
06 SINGLE STRAWBERRY
Grizaye painting demonstration for the
free sample inside the print issue.
08 TOP 10 TIPS
Award winning artist Jesse Lane gives
his top tips for colored pencil artists.
12 Q&A: WHAT MODS KNOW

Our moderators answer questions about
posting online and moderating an art group.
22 SO NICE TO SLICE 24 WORKSHOP: LEMONADE

Bonny Snowdon explains why the Slice Follow Amy Shulke’s tutorial on this
tool is all the rage and how to use it. summer refreshment, complete with lemon.
16 FEATURED ARTIST
Barbara Dahlstedt has been teaching art for over
a quarter of a century and has a lot of valuable Cover art
“Made in America”
information to share. Read, learn, and look at her 19x29”Colored pencil on Fawn
Legion Stonehenge paper.
stunning gallery of art. by Barbara Dahlstedt
2 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

28 CREATING A PLEASING COMPOSITION
Read this informative excerpt from the Book of the Month,
Realistic Still Life in Colored Pencil by Cynthia Knox, out magazine
this month and sure to be a hot seller!
Editor-in-Chief
Sally Robertson
32 IN THE SPOTLIGHT Copy Editor
William Allen
Learn about some of the latest Crayola pencil lines, and Editorial Assistant
Karissa Ford
see if they are up to competing in the fine art world.
Contributors
Renys Barrios
34 SKETCHBOOK Sarah Coghan

Grace Dishaw
What’s new and in the news. Nick Edgar
Bronwyn Kenna
Peps Kreativ
35 GALLERY Jesse Lane

Shannagh-Leigh
Jo Ranocchia
View the latest & greatest from our readers.
Amy Shulke
Bonny Snowdon
Barbara Dahlstedt
36 HAIR DOESN’T HAVE TO BE HARD Jill Velasco
Martine Venis
Kelly Welch offers some practical advice for those Kelly Welch
struggling with rendering those difficult locks.
Sponsors/Advertisers
Blick Art Materials
Jerry’s Artarama
Quarto Publishing Group USA, Inc.
Publisher
Platte Productions, LLC
www.platteproductions.com
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Edward Robertson
ed@coloredpencilmag.com
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For Subscription & Purchase Information

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P.O. Box 37
Alamance, NC 27201-0037
39 ART CHALLENGE: “THE COUNTRYSIDE”

Take the July Art Challenge & win great prizes!
40 ART CHALLENGE WINNERS

Winners of the April Art Challenge.
Copyright © 2020
Download the App! Platte Productions, LLC
COLORED PENCIL Magazine
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COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 3

EDITOR’S NOTE
W e have so many of your colored pencil favorites packed into one issue! Barbara Dahlstedt won our
“Editor’s Choice” award in the 2019 Annual Art Competition, so we are especially thrilled to have her
stunning piece Made in America grace the cover as our July Featured Artist. Her work has earned her high praise
and awards, and I know you will be excited to learn more about this seasoned colored pencil instructor.
Famous for his sizable, dramatic artwork, Jesse Lane is here to offer his Top 10 Tips for colored pencil artists.
“Artist of the Year” Bonny Snowdon demonstrates the Slice Craft Knife, a top nominee for “Tool of the Trade”
in our 2020 Annual COLORED PENCIL Awards.
Amy Schulke from Vanilla Arts gives a fantastic summer tutorial on a glass of lemonade. Having always loved
her art and website, I was thrilled to have her agree to teach this workshop.
Cynthia Knox is a top nominee for both “Artist of the Year” and “Art Instructor of the Year” in the 2020 awards.
She is coming out with a highly anticipated book Realistic Still Life in Colored Pencil, and Quarto Publishing
has given us a sneak peek with an excerpt on “Creating a Pleasing Composition.” If you are a subscriber, you
are all set to win in our random drawing at the end of the month.
Our very own moderators answer some questions in the Q&A that will give you some insider information to help
you get more from posting on art group pages.
Crayola seems to have thrown their hat in the premium colored pencil arena - but are they really competitive or
just for fun? Find out as we check out three of their lines.
If you hate doing hair, you are not alone. Kelly Welch will show you why hair doesn’t have to be hard with some
excellent tips.
If you are a print subscriber, look for your free Grizaye Painting: Single Strawberry sample. Just start drawing or
follow our suggestions on page 6. Digital subscribers will receive a discount coupon to buy this in our store. Also
available is our new Grizaye Painting Kit: Beautiful Berries. Create a stunning 8x10” piece, sure to impress!
I hope you are all staying healthy and safe. Keep focused on positive things, so you can bring light to someone
who needs it!
Sally Robertson
Editor-in-Chief
sally@coloredpencilmag.com
NEW IN OUR STORE! On Sale Now

Eraser $2.99!
Pencil
Draw highlights, erase, or modify details.
Brush away debris without smudging! WWW.COLOREDPENCILMAG.COM/STORE
GRIZAYE PAINTING SAMPLE
Single Strawberry
Inside this July print issue, we have provided an
exclusive photo and grisaille underpainting of a
single strawberry on Legion’s Stonehenge Warm
White paper.
This is not just a black & white photo. We have

carefully processed each of the hues so you can
better see the values that make up the image. This
allows you to get right to work and focus on your
color selections and shading skills.
This exercise is designed There is no right or

to help you work on wrong way to render
bl e nd i ng c ol ors to this strawberry, but
create the perfect hue. following these tips may
To get you started, here help you succeed in
are some suggested getting realistic results.
Prismacolor Premier
colors. (A Faber-Castell First, block in your
Polych rom o s c ol or darkest colors. Defining
chart is available on our the details now will
paintwithpencils.com make sure they will not
website.) get lost and will help
STRAWBERRY you establish the overall
PC122 Permanent Red tone of the piece.
PC921 Pale Vermilion
PC922 Poppy Red
PC926 Carmine Red
LEAVES & SEEDS

Next, lay down your PC989 Chartreuse
m i d - t on e s , l e av i ng PC1005 Lime Peel
your brightest areas, PC1097 Moss Green
the color of the paper. PC1098 Artichoke
Stu dy t he p atte r ns RIPENING / LEAF TIPS

of the shadows and PC1002 Yellowed Orange
highlights as they wrap PC1003 Spanish Orange
a ro u n d e a c h s e e d .
Understanding this SHADOW
will make the whole PC945 Sienna Brown
process easier, and the
key to a more natural- NEUTRALS
looking berry! PC935 Black, PC938 White,
PC1072 French Grey 50%

Last, go over all your areas again if you need to
Follow the same pattern for darken them. This will help you blend and define.
each of the elements. The seeds
and leaves were defined by the
darkest colors, then filled in
with the mid-tones, leaving
the lightest areas. Lightly work
in the drop shadow and blend.
Now, go in with your lightest

colors and blend as you layer.
Using a blender pencil can
also help fill in the tooth of
the paper.
Grizaye Painting - Single Strawberry Sample

can be purchased at www.paintwithpencils.com.
GRIZAYE PAINTING KIT
KIT INCLUDES:
Beautiful Berries
Exclusive Full-Color Photo
Close-Up Photo $9.99 No Show-Through
Professional Results
Grizaille on Stonehenge Frame to 8x10”
Now with Color Chart 100% Royalty-Free
and Tips!
C R E AT E D O N
WWW.PAINTWITHPENCILS.COM
Top 10 Tips
For Colored Pencil Artists I love this medium. Colored pen-
cil has enabled me to realize my
by Jesse Lane creative potential, be recognized,
and find a home for my work with
RJD Gallery in New York.
One of my goals is to help color

pencil achieve the recognition it
deserves in the art world. I want
to share what I’ve learned and
encourage anyone interested in
developing their skills.
Like many things in life, creating art takes

you through a gamut of emotions. The
moments of creativity and discovery are
thrilling. The challenge of working out
problems and mistakes can be frustrating
and aggravating.
They say you learn more from failure than

success. That’s true. So here’s the thing: one
way or another, every piece is going to have
mistakes, but that doesn’t mean your final
piece won’t be a success.
1. Banish Fear
When we make a mistake, our first instinct
is to panic. We want to fix the drawing as
quickly as possible. That’s because when we
feel fear, our first instinct is to escape. We’re
wired to associate fear with danger (fight or
flight), but art isn’t that serious. This panic
causes us to rush, which often leads to
making the piece even worse.
This is where patience comes in. Slow down.

Don’t panic. Don’t rush. And don’t give up.
If you don’t know how to fix a problem,
tackle something else. Do what you know,
Jesse Lane is a professional artist with and the unknown will begin to reveal itself.
RJD Gallery in New York. He teaches
workshops nationwide and online. Be patient with yourself. The Zen comes
Visit him at jesselaneart.com with letting go.

2. Trust Your Voice
We all start out drawing and painting the same
scenes we’ve seen others depict. We copy their style,
and we often copy their images. We draw what we
think we’re supposed to draw. We copy to learn.
That’s normal. We’re just trying to fit in. But the
people who make a difference in the world are those
who stand out.
So how do we find our individual voice? First, trust

that you have one before you even sense it. Like our
DNA, we’re all just a bit unique. That uniqueness
translates from our minds and our hearts to our
vision and our art.
3. Please Yourself
You don’t have to draw everything. Ask yourself
what you like, but more importantly, why you like
it. What is it that invites you in? What is that thing
and how do you connect with it? Does it bring joy, a
sense of order and peace, or mystery, maybe danger?
Whatever the thing is that engages you, analyze it –

and lean into it. Your voice will follow.
Now then, are you pleasing yourself or trying to

impress others? This is a big one. If you’re trying to
impress others – or just doing what you think you’re
supposed to do – you’ll probably hit a wall. And the
market can easily sway us to do things because it’s
the fashionable trend.
If you’re pleasing yourself with your work, you’ll

become an original. And that’s always the best thing
“Adrenaline” 40x27” to be. Who knows? Your uniqueness could well
become the new normal.
4. Go For The Feeling

Draw something that makes people think and feel
something, not just see something.
There’s so much art that just shows “stuff.” I like art

that uses “stuff ” to tell a bigger story. If I can’t figure
out everything about a piece, I examine it longer,
which deepens my association with it. I connect on
a deeper level.
Our medium is such a precise one, we can get so

focused on details and realism that we lose track of
“Face Reality” 23x40” the bigger picture.

5. Visualize Your Work
Can you see the finished piece in your mind? If you can, you can
bring it to life. If your vision of a piece is hazy, it’s going to be a
battle with a series of knee-jerk reactions.
Whether you sketch it first, work it out with Photoshop, or just see
everything crystal clear in your thoughts, make the art – before
you actually make the art.
6. Go Beyond Your Reference

Even though I draw photorealistically, I always make drastic
changes to my reference photos. I’m the director. For example, I
might put more contrast in the focal point and less contrast in the
supporting elements. The result still looks photographically real,
but it’s curated. Curated Photorealism.
7. Commit - Be All In “Labryinth” 29x23”
I find it’s easier to give 100% than to give 70%. Where your focus
goes, your energy flows. Good habits form automatically. You’ll
grow faster and push yourself further.
Approach each drawing like it’s going to be your best. Be

passionate. For me, each drawing feels like a chapter of my life.
Never settle for “good enough.” “Good enough” doesn’t accomplish

big goals.
8. Expand Your Exposure

TikTok is an emerging social media platform for short videos.
TikTok may go away, but it grants big exposure right now.
In my first four months on TikTok, I posted 20 videos. One has

over two million views. The result? 60,000 followers. That’s double
what I have on Facebook after five years.
Successful videos are those that are wowing, funny, or make the
viewer curious. They don’t need to be polished. Keep the length
to 15 seconds or less. I’ve also gotten many commission requests
without ever suggesting I do commissions.
“Insomnia” 27.5x22”

9. Embrace Critique, But You Be The Judge
My art is the most personal thing in my life. It represents my Art is so subjective. Some folks love what you do no matter what it
feelings, ideas, and dreams. Receiving accolades is wonderful. is. Others will always be predisposed against it.
Hearing criticism can be rough.
Critiques can be both good and brutal. Sometimes they’re quite
Making a great piece can be like raising a child. You care, and worry, helpful, sometimes not. Run all of it through your own filter. It
and sometimes smile. It’s almost a part of you. But remember when doesn’t matter who the source is. You be the judge of what you hear.
it’s done, it’s done. It’s not you anymore. It’s a separate thing.
No one can draw your art but you. No one can see your vision but
This new art thing you just made will attract some praise and you. No one can be a better you than you.
criticism. Listen to all of it, but don’t automatically believe any of it.
10. Escape the Bubble

What’s the bubble? Other artists doing the same work as you. Their you don’t know. Stay curious. Experience and connect with as many
art is always comfortable and safe. other types of art as possible. Go sightseeing in the art world. What
are other artists doing that’s outside your bubble?
But bubbles have boundaries. There is a limit to how much you can
grow in a cozy bubble. Try to explore the story within each piece you make. Expand each
story. You may discover a depth and mystery you didn’t know
Ask yourself, do I want to stay here, or do I want more for my art? were there.
You don’t grow into what you already know. You grow into what Art is constantly being reinvented, and artists are the inventors.
December 2015
“Abyss” 39x28” www.jesselaneart.com Featured Artist

Q&A
Your Questions Answered by the Mods!
Know what they know!

Most artists post online to an art group or social media platform. We thought you might be interested to hear from fellow artists who
volunteer their time to moderate these groups, to see what advice they have to make your posts stand out and how you can avoid some
common mistakes. If you’ve been contemplating becoming a moderator, they have great advice to help you decide. Thank you to all our
moderators and for the time they give to make our art communities better!
Meet the Mods!

Nick Edgar - www.facebook.com/beechnut.fine.art Bronwyn Kenna - www.BronwynKennaArt.com
Moderates: COLORED PENCIL Art and Lachri Artist’s Moderates: Sketch & Color Facebook Group
Facebook Groups
Grace Dishaw - www.graciesartcorner.weebly.com
Shannagh-Leigh - www.Shannagh.co.uk Moderates: COLORED PENCIL Art Facebook Group
Moderates: Sketch & Color, Art of the Animals, and
Coloured Pencil & Pastel Animal Artist Facebook Groups Jill Velasco - www.jillvelasco.com
Moderates: Sketch & Color Facebook Group
Question:
What common mistakes do you see from artists posting online?
OOPS!
Answers:
Easily the most-common mistake that I see when members Many artists will submit artwork that is absolutely gorgeous, yet
post to art groups is forgetting to abide by the established and they fail to include required descriptive information such as title,
posted group rules. Many times artists will create or share paper size, paper type, specific CP medium, and reference source.
an identical post to more than one art group. Remember, - Bronwyn
each art group has tailored their rules for posting artwork
and an identical post may be accepted in one group, but Not referencing sources & materials used. - Grace
denied or removed from another. Many social media groups
are holding posts for approval to ensure adherence with In several art groups that I am a member of, I often see members
their rules. The group rules for posting artwork are always forgetting to list proper information for their artwork such as Title,
available in the “About” section of the group. - Nick materials, and of course the source of their reference material. I
always think it is very important for all artists to ensure that they
protect themselves and their work from liability by using their own
Not enough info! A post that’s just an image usually shared reference material or using it from a legitimate source from which
from their own Facebook page is not engaging. And because they have consent or is copyright-free for use by artists. I would
it’s just a share, it won’t pop-up in the photos of the group, also suggest that when choosing to post online, as your artwork is
but it’s so important to be engaging, say something about a professional reflection of you as an artist, that you be sure to take
your work and maybe even ask questions, these things will a good quality photo or scan of your original artwork with proper
encourage engagement. - Shannagh-Leigh lighting and color adjustments. - Jill

Question: Look at me!
What artwork seems to get the most attention and why?
From my observation, any artwork that is well-rendered with piece really helps to kick it up a notch. - Bronwyn
good contrast and saturation seem to get the most attention.
The subject and style seem less a factor, generally speaking, than Realistic human portraits seem to get a lot of attention, though
the “pop” given by the artist in forms of value with precise and any realistic animal drawings. But skin is difficult to draw so
careful rendering in the given medium. - Nick people tend to want to know more techniques. - Grace
Photorealism is something a lot of people aspire to and is quite I believe that familiar imagery such as pop-culture references,
hard to achieve, so when you see a piece that looks photorealistic photorealistic/hyperrealistic imagery, and still life compositions
it can really be appreciated by a lot of members. I’ve seen other of everyday items tend to garner the most attention when posted
styles do really well too, but this seems to be the most popular. online. I think that viewers may have more of a connection to see
- Shannagn-Leigh something artistically rendered that they easily recognize or can
connect to. That is not to say that more abstract artwork does not
I feel that very detailed work often gets a larger amount of have the same merit, but perhaps because it causes the viewer to
attention. It isn’t necessarily due to the skill level so much as draw their own conclusions on the emotion and imagery of the
the time spent on the artwork. No matter what skill level an piece, while reflecting their own views upon it, that it is not as
individual artist is at, putting in that extra time adding detail to a easy to “visually digest.” - Jill
Question: TicK TocK!

When is the best time to post?
I’m not sure if any time or day is more or less advantageous in the east coast of the US) I’d likely post in the morning because it
terms posting to an art group, if increasing engagement is the will give me the whole day to be active on my post and respond
goal. As members’ settings for the group feed vary as “Most- to others. - Bronwyn
Recent” or “Activity” it’s never guaranteed where your post will
place in each different members’ feed. Best time to post would be daytime. Hard to say because of
the different timezones, but posting at night gets your posts
Generally speaking, individual posts within a group are ordered published at strange times because of mods sleeping. So it might
chronologically and grouped by the day. The day of the week with not get published when you post. You want to get your art seen,
the most post submissions seems to be Sunday. - Nick so I recommend lunch and dinner time or so. - Grace
I can’t say I’ve noticed a difference in the day of the week, however Since posts are easily viewed by members of the groups residing
the time of day is quite important. You want to aim for afternoon/ in countries all over the world, we live in a time of 24-hour
evening times, when people are having a break from work, or just internet access and visibility. Personally I have found that even
got home, and checking their phone. You want to hit the peak with algorithms on social media platforms, it can be difficult to
times if you can, but don’t stress out about this it’s really not as find consistent visibility of your posts as they can easily become
important as making the post engaging! - Shannagh-Leigh hidden or have a smaller audience. I would recommend trying
different times of the day, perhaps early morning or mid-
As we have members from all over the globe it is hard to narrow afternoon on a weekday and tailoring it to what works best for
time a specific time in a specific time zone. If I were to post (from you. - Jill
Send your questions to: qa@coloredpencilmag.com

Question: pros / cons
What are pros and cons to being an online moderator?
Easily and by far the biggest advantage of being an art group My biggest pro is absolutely the amazing team we have with
moderator is being able to see all the fantastic and beautiful Sketch & Color and COLORED PENCIL Magazine. Sally put a
submissions of members’ artwork, and getting those approved for great deal of thought into creating this team of MODs and it
the rest of the membership to admire. If, for some reason a post shows. We all work so well together and it helps things to run
doesn’t meet the group’s guidelines, I almost always leave feedback very smoothly.
on how to tailor the post for approval when resubmitting.
My only con would have to do with my own OCD. We get group
I find it a pleasure to immerse into a group full of amazing notifications day and night and I have this urge to tend to them
artwork, without all the nonsense, drama, etc. flowing through ASAP and clear the board, like a mobile game. My phone can
the rest of social media. Being able to help keep a group stay ping at AM and I’m on it! Haha. - Bronwyn
on-point and remain a pleasant place to visit makes attending to
a group very rewarding. We get to see so much awesome artwork. But it’s training people
to make sure to read the rules which are pretty basic. Declining
It does take some time, though. Most of which is spent in posts because you’re missing basic information wastes everyones
short intervals throughout the day, vetting pending posts and time. We help eliminate spam which is great because it keeps the
membership requests when possible. Usually there are several group safe. - Grace
moderators checking in at different times to accomplish this.
Communicating with individual member’s questions, dealing It is a great experience being an online moderator and I
with different issues, the odd troublemaker/troll/drama am pleased to be able to do so. I think it allows you to serve
enthusiast are much more time-consuming. - Nick as a mentor to other members of the group while building a
supportive community with other like-minded people and
Pros - I get to see so much beautiful art! All the groups I’m in have learning new skills along the way. It does entail filtering posts and
questions you have to answer to join and I love reading those, I ensuring that they consistently meet the proper group guidelines,
find them so interesting. Last the community these groups build monitoring comments for anything inappropriate, and making
are so nice to see and why I love being an admin! sure the group is a welcoming and educational spot that all
Cons - are having to enforce the rules, it feels awful, I feel like the members can enjoy being a part of—but I would not call any of
bad guy and it’s caused some friction at times, but I do want the those aspects cons. - Jill
groups to be fair for everyone. - Shannagh-Leigh
Join one of our Awesome Facebook Groups!
Be part of this close-knit group Share your artwork with largest

and make some art friends! colored pencil group on Facebook
www.facebook.com/groups/sketchandcolor www.facebook.com/groups/coloredpencilart

Question: Mod or Not?
What advice would you give for someone wanting to
be a moderator of an art group?
Know your Group. Each group is different, and each have different maintained. Everyone will have times when they are unavailable
rules and different membership criteria. Make sure you and the and it is important to have team members continuing the MOD
group admins communicate well, and that you understand their work. - Bronwyn
Group Rules and expectations. Start slowly, observing how other
senior mods operate. Consult with them on issues about which Advice I would give for someone wanting to be a mod is be
you’re not sure how to proceed. Maintain communication with all consistent. You let one thing slide and it makes you lazy or other
Group Admin advising all of any ongoing or potential problems people start to think their stuff can be submitted. - Grace
that you may be dealing with. There will always be some vexing
member or issue in which a unified-front on behalf of the entire My advice would be to make sure that the content of the group is
Group Admin will more easily rectify. - Nick something that you feel a connection to and that you have a desire
to communicate with and help others online while maintaining a
Have patience and be polite with anyone who might break the clear set of rules and fairness for all. As it is a volunteer position,
rules, sometimes they’re just not aware, so don’t be nasty. But it’s it can be time-consuming depending on the ratio of moderators
a lot more work than it looks like, especially if you’re in a small to group members as well as the level of group activity. You will
team of a large group, so be prepared - Shannagn-Leigh need to approve posts, diffuse any conflict, reach out to individual
members when needed, and help keep the group engaged. Just
Make sure you are joining a supportive team of flexible people make sure it is something you are willing to dedicate your free
who are all on the same page with how the group is to be time to and that it fits well within your work/life balance. - Jill
Final Thoughts!
Question:
Do you have any last words of advice?
Being given the responsibility of a Group Mod, you must keep of that vibe. A supportive and creative community that strives
foremost in mind that you are upholding the wishes and vision to inspire and equip fellow artists. What more could you hope
of the Group’s owner by enforcing their rules and directives, and for?! - Bronwyn
keeping them informed of any irregularities and issues that you
feel warrant their attention. Communication within the entire Being a mod is hard, sometimes you have questionable posts that
Group Admin staff is the easiest way to keep any social media you also need advice on whether or not to let it post. Read the
groups running smoothly! - Nick rules, add the required information and you’re good to go. We
want you to post your art, we want people to see what can be
I love all the groups I’m in, I’ve seen some really beautiful artwork done with pencil, it’s an amazing medium. - Grace
and some great comments and feedback on those pieces too and
that’s what it’s all about - Shannagn-Leigh Mods should be willing to keep an open mind, be kind (especially
to new members learning the ropes and rules of the group), and
COLORED PENCIL Magazine really is something special, I feel have fun! - Jill
that the social media groups associated with it are an extension
Send your questions to: qa@coloredpencilmag.com

Featuring
Barbara Dahlstedt
Teaching high school art for 26 years has taught me a lot.
The adage “the best way to learn is to teach” is true.
Making My Mark
I taught beginning to advanced art students from many different
backgrounds, but art was the common ground we all enjoyed. I gained
a thorough knowledge of the Elements of Art and Principles of Design
through years of repetition. I worked hard to find creative ways to
engage my students. I taught art history and inspired my students with
famous artwork in styles related to our class projects. It was when I
was teaching a colored pencil unit that I became inspired in a way that
changed the way I create artwork to this day.
“Sundancer” 12x12” Drafting Film on Cradled Board
Barbara with Workshop Students

While researching colored pencil art,
I discovered some incredibly talented
artists who were creating jaw-dropping
artwork! That discovery charted a new
direction for my art journey. I taught
many types of media during my teaching
career, but I found that colored pencil
was the perfect fit for me. It enables me
to create fine details and express myself
with vivid colors. My artistic curiosity
leads me to draw many different
subjects; however, I realized long ago
that portraiture was my favorite genre.
As a high school teacher, I found myself
surrounded by beautiful models, so I
made a point of drawing at least one of
my students every year. That is where
my colored pencil journey began.
Barbara Teaching Private Lesson
I would be remiss if I did not mention one of the

most important influences of my artistic career. The
Colored Pencil Society of America has given me
amazing experiences and opportunities through
their exhibitions and workshops. I have learned
so much about pencils, products, surfaces, and
techniques. The CPSA organization has done a
remarkable job of promoting the medium and
documenting the value and integrity of colored
pencil as a fine art. I was thrilled beyond belief last
summer when my portrait, Wyld Man, won Best of
Show in the CPSA International Exhibition in Brea,
California. The icing on the cake was when the
portrait sold to an art collector that same weekend.
Wyld Man is a portrait I drew from a photo I took at

the Arizona Renaissance Festival. The lighting was
just right to capture his engaging personality. The
festival has been an absolute treasure trove of subject
matter for me. The costumes and characters are so
delightful to draw. Colored pencil is the perfect
medium to capture every detail and texture. I want
the viewer to feel like they have been transported
into a fairytale where pirates, knights, and fairies
really do exist.
“Wyld Man” 18x24” on Stonehenge

Barbara Dahlstedt
My Technique
Grisaille is a technique that I use in most of my portraits. It establishes values with
a neutral underpainting before adding layers on top. I find that this technique
gives crucial form and drama to the subject. For portraits, instead of black for the
darks, I start with a predominant color I see in the shadows, usually Prismacolor
black cherry, black raspberry, or black grape. The value study creates the perfect
foundation for skin tones in shadow. Prismacolor Premier is my colored pencil
brand of choice; however, depending on the colors I need or surface I’m working
on, I may switch to Luminance, Polychromos, or Derwent Lightfast/Coloursoft/
Inktense pencils. I use only pencils with the highest lightfastness rating to ensure
the highest quality and permanence of my artwork.
My Tools
The invention of the Icarus Board by artist Ester Roi was a game-changer for me.
It is a drawing board that heats your artwork to a temperature that allows you
to blend wax-based colored pencils easily. Paper-speckle is diminished quickly
and easily with a paper blending stump. Burnishing is almost effortless when
the heat softens the pencil layers, and Neocolor wax pastels work beautifully for
laying down a fast background. You can visit Ester’s website (www.esterroi.com)
for more information.
My Surfaces
“Beyond the Green Line” 24x36” on Drafting Film The effect I want to achieve determines the surface I choose. When I look at
my reference photo, I imagine drawing it on different surfaces. Some subjects
lend themselves to black paper while others need something light. I always ask
myself, “Which color paper will help me the most?” I love to explore different
kinds of surfaces in my colored pencil work, but my favorite paper is Stonehenge
(Fawn, Kraft, or Black) for drawing portraits. Stonehenge paper allows me to
abuse the paper with multiple layers of colored pencil, burnishing, heating, and
using a solvent. I like working with toned paper the best because it speeds up
the layering process and gives me a solid foundation on which to build the form
for a portrait.
“Natural Curls” 24x36” Neocolor II and Ink on Birchwood Panel “Blue on Blue” 18x29” on Drafting Film

DahlstedtArt.com
Drafting film is a surface that inspired me to create a
luminous effect in my artwork. Because of its translucent
appearance, drafting film allows you to work on the
front and the back of the substrate. Unexpected depth
and texture can be achieved using this technique. One
of the advantages of using drafting film is the fact that
it is incredibly erasable. Erasers can be used to create
wispy hair or soft gradation of values. A huge plus is that
drafting film is made of a polyester material that is archival.
Another advantage of drafting film is that you can achieve
different moods by placing different colored matboard
behind your drawing. One of the things that I had to
adjust in my application of colored pencil on drafting film
was the number of layers I could apply. Drafting film has
a very fine texture, which allows for great detail; however,
the tooth can fill in quickly. For this reason, burnishing is
not recommended. Instead, I use the solvent Turpenoid,
applied with a brush and blended with a tissue. For a
contemporary presentation, I sometimes mount my
“The Offspring” 18x24” on Drafting Film
drawing using a double-sided adhesive film on a white My Workshops
cradled board, giving my work a gallery-wrap look. This is Teaching has been part of my life for so many years that it has become part
a great way to save on the expense of framing. of my DNA. In my retirement, I feel fortunate to be able to utilize all of
my skills as an artist, teacher, and graphic designer. I offer workshops and
Another surface that does not require framing and glass private lessons to people all over the country. For the last few years, I have
is wood. You can buy gallery birch wood cradleboards given one to two-day seminars on “best practices,” which I have learned in
that do not require any prep. I draw my outline directly the medium I love. The colored pencil workshops vary in subject matter,
on the wood panel, then create an underpainting using surfaces, and techniques. Participants receive a step-by-step instructional
Inktense pencils with a brush and water. The advantage booklet, drawing paper, and reference photos. You can visit my website at
of using a water-soluble pencil is that it does not affect the DahlstedtArt.com for more workshop information.
wood surface. Multiple layers of wax-based pencils can still
be layered on top. If you work the wood grain into your The one piece of advice I have for any beginning artist is to keep practicing
design, it can work as a creative element that enhances every aspect of drawing, study other artists’ work, and don’t be afraid of
your image. I often leave an outer border of wood exposed making mistakes. We all make mistakes, and that is how we learn. Once
to look like a mat, then draw parts of the image past the you have the basics down, try to draw something unique and challenging.
imaginary edge and into the border area, giving the work You just may surprise yourself. Finding your artistic voice will enable you to
a trompe l’oeil (fool the eye) effect. make your mark!
“Solar Power” 18x24” on Drafting Film “On Pins and Needles” 13x13” on Drafting Film “Sun Worshiper” 18x24” on Buttercup Pastelmat

Barbara Dahlstedt
“Fatima” 11x16” Colored Pencil with Neocolor I Wax Pastel
“Finding Neverland” 19x29” on Fawn Stonehenge “Knight and Day” 22x29” on Fawn Stonehenge
“Making My Mark” (Self Portrait) 20x22 on Kraft Stonehenge
“Bejeweled” 24x30” Colored Pencil, Acrylic Paint, and Neocolor II on Birchwood “The Fairy” 17x27” on Sand Pastelmat

DahlstedtArt.com
“Spellbound” 30x40” on Birchwood “Father Goose” 22x29” on Kraft Stonehenge
“Mourning Light” 30x30” on Drafting Film
“Potential” 22x30” on Black Stonehenge “Destiny Awaits” 13x19” Colored Pencil, Gold & Silver Leaf, and Oil Paint

So nice to
by Bonny Snowdon
The Slice tool has taken the colored pencil world by

storm in the last couple of years. With its safety
conscious ceramic blade that’s harder wearing, cuts
like stainless steel, but is far kinder to your paper,
doesn’t rust, and stays sharper for longer, it’s fast
becoming the must-have tool for colored pencil artists.
Photo Ref: Edward Payne
There are three particular products that I use on a regular basis: Double-Sided Blade
the Manual Pen Cutter, with its wedge-shaped rounded blade,
perfect for creating texture either as small fine hairs or removing
more of the pigment to create larger areas of highlights, the
Precision Cutter, with its tiny, 2-mm blade, the perfect tool for
those tiny little details – stray hairs and stitching in leather, for
example – and the Ceramic Craft Cutter, which is a little more
like a stainless steel scalpel, with its finer blade it feels more like
a craft knife and is amazing for fine detailed work.
Photo Ref: Bonny Snowdon

Photo Ref: Paul Brander
I’ve been using these tools for a couple of
years now, and I use them on Pastelmat and
Drafting film, although many other artists
use them on a variety of papers (always
test, of course, before you get slicing!).
I tend to hold my Slice tool in a way that

the blade touches the paper on its side
rather than with the tip of the blade. This
means you scrape the pigment gently off
the surface rather than using a cutting
motion. I find that I need to put a couple of
layers of pigment down first before using
the Slice so that you take just the pigment
off rather than the surface of the paper.
Gentle pressure is all it takes, although if

you’re working on drafting film you can be
a little more “gung ho,” as the film is a very
stable support and takes the use of a knife
incredibly well.
Once you have removed the pigment, when you then go

back in with your pencils, your pencil will skip over where
the slice mark is – as if you’ve embossed the surface – but
it’s easy to work around the marks and create some amazing
details. It works particularly well in something that is highly
textured, like fur and things like wiry manes.
The Manual Pen Cutter has a double ended blade, which

is easily removed, turned around, and slotted back in
again. The Precision Cutter and Craft Cutter both have
replaceable blades.
Photo Ref: Elizabeth Erga
The Slice tools are available from The Coloured Pencil Shop,
Sliceproducts.com, SAA, and Amazon.
www.bonnysnowdonfineart.co.uk
Photo Ref: Elizabeth Erga

C
PEN IL W
WS Lemonade
LORED
O R KS H O
CO
Instructor: Amy Shulke

PS
ERIES
www.VanillaArts.com
In this tutorial, I use an underpaint layer to speed the

coloring time for colored pencil projects. Today, I’m
using Copic Markers and a marker friendly substrate,
but I also use the same methods with watercolor on
watercolor paper.
I specialize in teaching shy artists and hobby colorers to apply their

hidden talents to fine art and illustration. My online classes are detailed
videos or livestream demonstrations; all feature Copic or watercolor
plus at least 60% colored pencil. Classes, free articles, YouTube videos,
and a weekly newsletter are available at VanillaArts.com.
MATERIAL LIST:
• Cryogen Curious Metallic 89 lb. cover cardstock
in White or Vellum Bristol*
• Wax-free transfer paper
• Kneaded eraser
Photo reference & line art can be downloaded at:
Copic Markers: www.coloredpencilworkshop.com
• BG70 Ocean mist
• BV0000 Pale thistle
• Y00 Barium yellow
• Y11 Pale yellow
Prismacolor Premier:
• Canary yellow (916)
• Dark purple (931)
• Slate grey (936)
• White (938) (optional)
• Yellow ochre (942)
• Beige (997)
• Deco yellow (1011)
• Jasmine (1012)
• Greyed lavender (1026)
• Mineral orange (1033)
• 50% French grey (1072)
• 90% French grey (1076)
• Muted turquoise (1088)
*A note on the cardstock used in this tutorial: Unfortunately, markers and colored pencils
require opposite paper conditions. Markers work best on polished or toothless papers, which
are not ideal for pencils. My paper today is commonly used as wedding stationery, but it
closely resembles Bristol Board. Feel free to substitute your favorite vellum Bristol; it will be
slightly more absorbent for the markers, but the pencil layers will look the same.

Step One:
Make the underpainting as simple or complex as you wish. Simple blocks
of color will tint the tooth of the paper, allowing the artist to eliminate
the preliminary base coats and solvent blending. With a more developed
underpainting, the artist can better define the form, relying on colored
pencils to refine shapes and add detail.
Instead of looking for areas of shade, I start by mapping temperature. Using

a gentle flick stroke, chart areas of cool color using the pale BG marker. Add
cast shadows with the BV marker.
Step Two:
Using the two yellow markers, chart
areas that are yellow.
Optional advanced technique: Return

with the BV marker to indicate areas of
desaturated yellow over the top of the
dried yellow ink in the lemon segments.
A pointillism texture looks especially
good on the lemon rind.
Step Three:
The process is the same for all three lemons. Start by mapping areas
of desaturated color with greyed lavender using very soft, circular
strokes. Develop color further using jasmine and yellow ochre, with
Deco yellow in the cleanest yellow areas. Do not be afraid to utilize the
existing underpainting if the color is correct for that zone; it’s okay to
leave the marker exposed with no colored pencil over it.
I personally find it easier to apply white to highlights with a very

heavy hand rather than trying to reserve those areas. Remember that
highlights are often not as white as you assume and the overuse of
pure white can ruin otherwise very realistic coloring.
The seeds require mineral orange, dark purple, plus 50% and 90%
French grey.

Step Four:
The lower lemons have more desaturated yellow, especially where the
surface of the rind rolls away from our eye. Use very soft layers of greyed
lavender, then mineral orange, and dark purple to slowly develop this
essential shading.
The cast shadows start with light coats of greyed lavender and 50% French
grey. The deepest section between the two lemons is strengthened with
dark purple and mineral orange. Deco yellow and mineral orange are also
used to add reflected color within the cast shadow.
Step Five:
The glass is worked in three sections: the rim, body, and stem/foot. For the rim,
start again with the greyed lavender to develop the midtone areas. Deepen the
midtones with slate grey where the glass thickens and the values decrease. Add
warmth to the ice cubes with Deco yellow. The highlights are reserved areas but
could be rescued or brightened with white. Cryogen is slightly cream colored
and will not match your white pencil – use white over clean paper sparingly.
Important: The lemon looks softer inside the glass and is a little more blurry than
the color below the surface line.
Step Six:
For the lemonade, add beige to the areas of warmth. Over pale yellow marker,
beige has a peachy cast that isn’t as obvious on white paper.
The glass uses the same pencils as the rim. I worked each beveled edge, one at
a time, working from right to left (I’m left handed). Taking it one section at a
time helps to reduce the mental overload of so many subtle swirls of color.
Finish with muted turquoise. This glass in real life is soft aqua rather than
colorless. I over-emphasized the look of the aqua because I noticed how nicely
it contrasts with the yellow.

Step Seven:
The stem, like the body of the glass, can be
overwhelming when viewed as a whole. Instead,
color one section at a time from top to foot. Do not
stress over duplicating every highlight and lowlight
exactly. Simplifying the shapes actually leads to
more clarity for the viewer.
The low lights in the stem and foot are much darker
than in the upper 2/3 of the glass. 90% French grey
can feel a bit scary, but, if you use a very light hand,
it’s actually safer than the paler grey pencils. The
greys all contain a large percentage of opaque white
pigment while the 90% is more transparent. The
white in a grey pencil can muddy the color while
90% with a soft touch can look crisp and clean. Use
90% sparingly and softly.
Visit our Workshop

Series page to view all the
workshops, downloads, and
instructor information!
www.coloredpencilworkshop.com

BOOK OF THE MONTH NEW!
Realistic Still Life in
Colored Pencil
Learn to draw lifelike still life art
in vibrant colored pencil
Author: Cynthia Knox
Format: Paperback, 128 Pages
An easy-to-understand guidebook that shows you
the secrets to drawing lifelike still life artwork in
the dynamic medium of colored pencil.
Paperback: $21.99 Sponsored by

BUY: https://bit.ly/3g4OijU
ONE SUBSCRIBER WILL WIN EVERY MONTH! www.coloredpencilmag.com/giveaways www.quartoknows.com
Enjoy this excerpt from the book . . .
Introduction
“Just do it.” A dear friend encouraged me to take the next step
in my art journey. I had been drawing with graphite pencils and
felt comfortable in my world of gray, but I knew that there was
more out there. I decided to transition into all things color but
didn’t know where to start—so I procrastinated. Have you ever
done this? You want to move forward into something exciting
that holds promise, but you feel a bit stuck? My friend motivated
me to leave my doubts behind and embrace color, and I turned
to the colored pencil medium to do just that. I was particularly
attracted to still-life compositions, and that’s when it all came
together for me.
My new goal was to learn the painterly technique of colored

pencil and create beautiful still-life artwork with an emphasis
on vivid color and extreme detail. Several artists became my
mentors via their books, workshops, online classes, and personal
instruction, and I’m truly grateful for them and the techniques
In this book, we’ll work together to create beautiful flowers and
they shared. They have inspired me to teach my own techniques
fruit, elegant antiques, intricate lace, tinted glass, delectable
and show people how much fun colored pencils can be.
pastries, and so much more. Join me as I show you how to create
your own personal masterpieces step by step throughout the
Over time, my artistic style has evolved and it now leans toward
pages of this book. Your friends and family will exclaim, “That’s
realism with vibrant colors, a variety of textures, and smoothly
colored pencil?!” when you show them your work, and you’ll
blurred backgrounds. I love a challenge, and many still-life
be amazed at how quickly it all comes together for you. Now
subjects certainly present one.
let’s get started!

Creating a
Pleasing
Composition
From an artistic perspective, “composition” refers
to the placement or arrangement of objects to
convey a theme, message, or mood. There are
various factors to consider when creating a still-
life composition or choosing a still-life photograph
to work from.
In my earlier days of working with colored pencils,

I frequented antique shops and specialty stores
to find just the right china, glassware, patterned
scarf, and flowers to create a beautiful still-life
setup. Sometimes I would ask a silk-flower expert
to fashion a unique arrangement, and then I
would pair it with a special teapot and lovely
piece of linen or lace. My photography skills were
sufficient that I could take a respectable photo,
and then work from that to create what I hoped
would become a masterpiece.
THEME Determine the theme or message that you want to convey to your viewers.
When I began working with Walter Foster Are you interested in exotic flowers, plants, or foods? Perhaps you love antiques and
Publishing to author instructional art books, I want to juxtapose charmingly aged objects against sparkling new ones. Nautical and
beach themes delight vacationers, and shells with a blue and white color palette are
was introduced to the stock-photo world. It was quite popular in seaside communities. I am particularly fond of floral and fruit themes
a huge treat to be invited to peruse galleries of with colorful and abundant flower bouquets. I also favor unique containers, vibrantly
superb images and then encouraged to create colored fruits, and attractive fabrics.
tutorials from a few of them. That still brings me
COLOR SCHEME Color choices affect the mood of an artwork. Bright and bold
joy, and I have combined my love of photography jewel tones with vivid hues suggest drama and excitement. Earth tones, neutral
with my enthusiasm for viewing online photos to colors, and authentic outdoor objects can be used to create a soothing or striking
share some favorite artworks (old and new) with nature composition. Pastel colors and whimsical objects are perfect for lighthearted
you in this book. compositions that encourage viewers to smile. Color patterns are important as well.
Monochromatic color schemes are often used for simplicity or to make a statement,
and complementary color schemes create impact and contrast even though we may not
Here are some considerations to keep in mind know why. Consider your color choices carefully; they may be even more important
when selecting a successful still-life composition. than your theme or the objects you use within the composition.
FOCAL POINT Often, the theme or message of a still-life

composition is communicated through one focal point. Our
eye is drawn to that focal point, and we contemplate its value
in relation to the entire setup. The remaining objects near or
around it serve as props to stage the primary subject.

COMPONENTS & PLACEMENT What and how many objects will you use to create LIGHTING Without attractive lighting, your still-life will appear dull
your composition? Are they similar in size or is there a height range? Will you place and flat. Sometimes this is addressed with an overall wash of general light
them equidistant apart or weight the composition in one primary area to convey visual that brightens almost everything in the composition, or perhaps a singular
tension? An appealing arrangement involves a triangular structure. This creates balance, beam of light is used to draw the viewer’s eye to one section of the still life.
height, and visual appeal. It doesn’t have to look like a pyramid; a loose triangular The direction of light is important too. Front lighting illuminates a subject
presentation works well and can include symmetrical or asymmetrical objects. straight on. Sidelighting creates a three-dimensional appearance and
emphasizes texture and object forms. Backlighting produces spectacular
glowing effects that dramatically rim components within the setup.
Diffused lighting is soft without bleached highlights or harsh shadows and
flatters object hues. You can use indoor or outdoor light when arranging
your still life, and I encourage you to try both.
BACKGROUND & FOREGROUND Will

you choose a monochromatic backdrop for
your composition, detailed and focused
staging, or blurring with the suggestion
of other background objects? Perhaps
you like a wood foreground with every
knot and grain rendered in detail or,
conversely, a shadowed and faded surface
in the front. Many of my still lifes feature
wood or concrete surfaces, and I favor
sidelighting. This means that there is grain
or chipped detail evident in the illuminated
areas—back and front—and only a mere
suggestion of detail in the shadows.

VISUAL PERSPECTIVE Are viewers looking up, down, or directly at your DETAIL How complex would you like your still-life composition to be?
still life? The most common perspective is from eye level; however, the other Will you include objects with patterns, fabrics with repetitive textures,
two angles can also be impressive when done correctly. Remember that or baskets with many woven strips? While still-life artworks are rarely
objects in the back may appear to be smaller than they are, and objects in considered simple, they may be viewed as simplistic. This means that they are
the immediate front will often appear larger. uncluttered with only a few objects, significant space, and an uncomplicated
color scheme. With respect to detail, I personally prefer more versus less
because it adds interest and presents technical challenges to me.
The considerations for creating pleasing compositions can be overwhelming,

and I understand that. My best advice is to go on a stock-photo or other social-
media site like Pinterest™ or Instagram™ and do a search for still-life images.
Notice what appeals to you and determine why. Then incorporate those
particulars into your next photo session or look specifically for them when
reviewing others’ pictures to draw or paint from. This will help define your
unique and individual style as you create your own portfolio of still-life artwork.
www.cynthiaknox.com

WEBSI
IN
THE SPOTLIGHT Colored Pencils by
CRAYOLA
Watch the Video: coloredpencilmag.com/spotlight
Crayola has always been regarded as a high-quality student

brand - setting the standard when it comes to crayons.
Although they have been producing colored pencils since the
80’s, the company decided to create colored pencils for adults.
Let’s take a look at their top sets to see how they compare!
ARTIST COLORED PENCILS

This 24 pack of Artist Colored Pencils offers a wide variety of
primary, secondary, and complementary colors to bring your
drawings and coloring projects to life. The highly pigmented
gel cores allow the colors to stand out brightly on light as well
as dark paper. Packaged in a stylish decorative hinged tin for
safe and easy storage, contained in a single tray.
LIST PRICE: $17.99 (.75 each)
SIGNATURE BLEND & SHADE

COLORED PENCILS
Signature Blend & Shade Colored Pencils comes
in sets of 24 and 50 and feature velvety-soft gel
cores for smooth color laydown. They produce
rich colors, excellent for blending and shading
on both light and dark paper. Packaged in an
illustrated unhinged tin with two pull-out trays
for easy access and safe storage.
Both Crayola Artist and Blend & Shade Colored Pencils feature stylish matte black
round barrels. The color name is printed in silver foil in English, Spanish, and
French. The end is dipped in the same color as the core for easy identification.

COLOR ESCAPES PREMIUM COLORED PENCILS
The Color Escapes Premium Colored Pencils come in 72 shades,
enough for all your creative coloring art projects. These wax-based
pencils offer a soft laydown, perfect for blending and shading. The
set comes in a convenient easel box, designed for easy organization.
Crayola Color Escapes Colored Pencils feature matte black hexagonal barrels to prevent rolling.
The color name is printed in silver foil and the end is dipped in the same color as the core for easy identification.
OUR IMPRESSIONS
Now that you have been introduced to these three sets, you might These pencils were very pigmented and had an impressive feel as
be wondering what makes them different. We purchased all three they glided across the sketch paper. We compared them against
to find out. Prismacolor Premiere, and they were so different that we tested
them against the oil-based Faber-Castell Polychromos. Low and
First, we noticed that the Artist and the Blend & Shade sets came behold - they were surprisingly similar! They covered the tooth and
in nice decorative tins with pencils that appeared identical. The blended the same but didn’t quite have that next -level quality and
Color Escapes packaging was not only generic looking, but the richness that you feel with Poly’s.
cardboard packaging felt cheap and temporary. The best feature,
the easel display, did not easily fold into position unless you broke The Color Escapes, made in Vietnam, has a harder lead and does
the perforation, which seemed too fragile to leave to chance, so we not feel like a pencil that you would want to use for fine art, it may
would recommend using a blade to score the seam. pass for coloring book work with its wide color selection as its only
advantage.
As soon as we started the swatch tests, we noticed that the Artist
and the Blend & Shade sets not only had the same color names In conclusion, we would recommend the Blend & Shade set.
but performed the same. When asked if these sets were different, According to the packaging, these are made in Brazil, non-toxic,
Crayola Consumer Care replied, “While both are similar, the and conforms to ASTM standards. These are not considered
Blend & Shade pencils are more geared for gradient work and lightfast therefore would not be suitable for selling original works
blending colors together.” After more extensive testing and but great for experimental, sketches, or art that you make into prints
comparing, we concluded that these are likely the same pencil or post online. Note that none of the Crayola sets are available in
with an exact color match. open stock.
AVAILABLE AT: WWW.CRAYOLA.COM

SKETCHBOOK Watch the Video!
https://youtu.be/JOSmPpZFD6o
NEW PADS!
FABRIANO STUDIO FAT PADS
You just might run out of ideas before
running out of paper with these hefty,
economical pads! Fabriano Studio Fat Pads
are full of high-quality acid-free paper that’s
FSC certified. Choose from Drawing, Mixed
Media, and Watercolor Pads.
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NEW ART BAGS!

ITOYA PROFOLIO
MIDTOWN POUCHES
Profolio Midtown Pouches by Itoya are
modern accessory bags designed to hold
anything you can think of, from art supplies
and pocket sketchbooks, to electronic devices.
Different color variations allow you to choose
a style that fits your personality.
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LATEST & GREATEST GALLERY
“Wrinkly Old Lady” “Loved”

30x40cm 50x60cm
Faber-Castell Polychromos with Brush and Pencil Faber-Castell Polychromos on Hahnemühle Nostalgie.
products on Fisher 400 sanded paper. Peps Kreativ
Martine Venis www.pepskreativ.at
www.martinesfineart.com
“Puppy Love”
11x14”
Carbothello pastel pencils on Clairefontaine
Pastelmat paper.
Jo Ranocchia
www.facebook.com/jo.ranocchia.artist
Get YOUR artwork into the Gallery!

Post your “Latest & Greatest” on our Facebook
page: www.facebook.com/ColoredPencilMagazine

Hair
S
doesn’t have
Hard S
to be
by Kelly Welch
I love drawing people. Some of my first memories of drawing were depictions of

Bible characters drawn on the wall with crayons. Oddly enough, my parents were
not always impressed. I truly love the emotion in a human portrayal: the spark
in their eyes, the knit of their brow, their posture – all important elements when
trying to communicate a mood to a viewer. Having said that, the one thing I love
the most about drawing portraits is hair.
In a recent conversation with another artist, she showed me

samples of her work where she had drawn beautiful life-
like faces, but she got stuck trying to finish the hair. This is
understandable, and she is not alone. Drawing a head of hair
can be a daunting task. The reality is that a human head can
have more than 100,000 strands of hair. Here are some ideas
and techniques that I use to get through this “hair-owing”
task. I
Understand It Takes Time
I don’t have any short cuts or quick fixes for drawing hair. If,
at that point in a drawing, you find it crawling along, you’re
not alone. My most recent drawing, Jesse’s Girl, featured a
network of hair that went in every direction and reflected light
in several different fashions. On a 20-inches-tall drawing, this
was intimidating to say the least. The first and foremost thing
on my mind was to take my time and do it right. I think about
every stroke and remind myself that doing it right is faster
than doing it again.

Have a Plan
Written across the top of my drawing board are the words:

“Be patient, follow the plan.” Drawing hair is complicated,
even more so if you try to randomly wing it. I know this
to be a fact because I’ve learned, and continue to learn, the
hard way. Map out a strategy that will get you to the finish
line. Sometimes this means differing your approach. Many
works are colored from the top to bottom, and diagonally,
to keep the hand from smearing color that has already
been applied. There are going to be instances where this
approach must be abandoned to accommodate a sensible
approach to finishing strong. Which brings us to...
The One Day at a Time Approach
This does not mean one day at a time, literally. It is about a single
segment approach. In my drawing Invisible, I had to view each section
of hair as a piece of a puzzle. After planning the order of execution, I
would draw one section of hair to near completion before starting the
next. Breaking it down into smaller tasks makes the overall assignment
more attainable.
Create Depth with Highlights over Shadows
Growing up, I learned early that shading was a way to

create depth in a drawing. My tendency was to create
everything by going darker, and then darker yet. As
I grew as an artist, I realized that creating depth came
from indicating layers that are catching light. Part of my
plan now is to identify the shadow area of hair first, then
draw them very softly. As I then draw the lighter areas, I
will come back and remove some color from the darker
areas to indicate singular strands. All of these methods
involve coloring a section of hair, then picking out and
adding a few lines to create the illusion of many hairs.

Less Is More
A common tendency is to overdraw hair. The illusion

of thousands of strands of hair can be completed by
creating a section with carefully placed singular lines of
light and dark. Usually, I will color in a thick strand of
hair and remove highlighted areas. My preferred method
for doing this is to draw over scotch tape where the pencil
stroke lifts the pigment off the page. After that, I carefully
draw back around the “negative space” I created.
Another way I created highlights in my drawing Invisible

was by scoring the paper with a light shade of pencil then
coloring over it, leaving a void in the scored area. In my
S I
Don’t Finish Too Strong
In following the “less is more” theme, keep that thought in mind

when adding those final details. There is a certain amount of joy
involved with meticulously adding final random strands of hair.
The important thing is to allow those to complement your work
but not overshadow it. Draw fewer than what you think you
need, and draw them in a lighter value. You want the viewer to
know they are there but not notice them.
drawing Sultry, I used a slice cutting tool to pick out
singular highlighted strands of hair.
Stand Back and Admire Your Work
Don’t lose the forest for the trees. Step away from your work to
view it, and do it frequently. You will get a good idea of how the
light and dark dynamics are working together.
I hope this helps you to look past the tremendous task of

drawing an intimidating head of hair and view it as several
small, manageable steps to finishing your masterpiece.
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Jesse Lane’s

Using the Slice Tool

WHAT THE MODS KNOW

Creating a Composition SAMPLE INSIDE!

Featuring: Barbara Dahlstedt Platte Productions Publishing.com

12 Q&A: WHAT MODS KNOW

22 SO NICE TO SLICE 24 WORKSHOP: LEMONADE

2 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

34 SKETCHBOOK Sarah Coghan

35 GALLERY Jesse Lane

Advertising and Marketing

For Subscription & Purchase Information

39 ART CHALLENGE: “THE COUNTRYSIDE”

40 ART CHALLENGE WINNERS

COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 3

NEW IN OUR STORE! On Sale Now

This is not just a black & white photo. We have

This exercise is designed There is no right or

LEAVES & SEEDS

Stu dy t he p atte r ns RIPENING / LEAF TIPS

6 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

Now, go in with your lightest

Grizaye Painting - Single Strawberry Sample

GRIZAYE PAINTING KIT

One of my goals is to help color

Like many things in life, creating art takes

They say you learn more from failure than

This is where patience comes in. Slow down.

8 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

So how do we find our individual voice? First, trust

Whatever the thing is that engages you, analyze it –

Now then, are you pleasing yourself or trying to

If you’re pleasing yourself with your work, you’ll

4. Go For The Feeling

There’s so much art that just shows “stuff.” I like art

Our medium is such a precise one, we can get so

COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 9

6. Go Beyond Your Reference

7. Commit - Be All In “Labryinth” 29x23”

Approach each drawing like it’s going to be your best. Be

Never settle for “good enough.” “Good enough” doesn’t accomplish

8. Expand Your Exposure

In my first four months on TikTok, I posted 20 videos. One has

10 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

10. Escape the Bubble

COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 11

Know what they know!

Meet the Mods!

12 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

Question: TicK TocK!

Send your questions to: qa@coloredpencilmag.com

COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 13

Join one of our Awesome Facebook Groups!

Be part of this close-knit group Share your artwork with largest

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Send your questions to: qa@coloredpencilmag.com

COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com 15

“Sundancer” 12x12” Drafting Film on Cradled Board

Barbara with Workshop Students

16 COLORED PENCIL Magazine | July 2020 | www.coloredpencilmag.com

Barbara Teaching Private Lesson

I would be remiss if I did not mention one of the

Wyld Man is a portrait I drew from a photo I took at