View Full Version : Basic 101: Class 32 - Colored Pencils

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01-01-2006, 10:14 AM
Hi Everyone! :wave: Happy New Year! As planned, we are up and running with our colored pencil class!

For the benefit of those who didn’t pull up Troy’s earlier “Attention” thread, this is not intended to be a basic drawing class. For a few weeks we will concentrate only on fundamental colored pencil techniques, so you will need to have an original line drawing done and structural issues resolved before you get into the first step of your cp project—transferring the image to the paper you select.

You may choose your own subject for this class, but keep it fairly small and simple so you don’t get hung up trying to replicate dozens of tiny color areas. If your choice is a portrait, human or animal, stick with the head only. Keep your paper size to no more than about 9” x 12”, which should accommodate most subject matter and allow for easy scanning as well.

In this class I will follow the presentation procedure of Troy’s classes—giving you enough basic information up front so you can get started and letting further discussions of topics evolve as we give feedback on individual projects. Following are the topics I will cover: (Some were talked about on Troy’s thread, but I’m repeating to give you consolidated information.)

Image Transfer
Colored Pencil TipsSUPPLIES

The array of products available for colored pencil artists is staggering, and often it’s difficult to differentiate between products and make choices. Following are a few I’ve used and liked that will be good for this class, but take the time to experiment with others as you progress in this wonderful medium.

Prismacolor or Faber-Castell Polychromos, because they are excellent pencils and more readily available than some other brands. You should probably have at least a 24-piece set.
High quality drawing paper: Stonehenge, Strathmore, and Canson are especially good because they accept multiple layers of pencil well. For this class, it would be best to use white paper.
A soft, fine-bristle brush about 2 inches wide (paintbrush from hardware will be fine) for keeping your work free of pencil and eraser “crumbs.”
Poster Putty or a similar product (wonderful for picking up color you didn’t mean to put down) and soft white erasers.
A battery-powered eraser. Here’s a good thread on these erasers (Thanks, Judith!): http://www.wetcanvas.com/forums/showthread.php?t=234649 (http://www.wetcanvas.com/forums/showthread.php?t=234649)

A good pencil sharpener, preferably an electric one because it will save you a considerable amount of time. I have a Boston School Pro and a Panasonic. Want more info? Here’s the url for a good thread on pencil sharpeners (Thanks, Deb):http://www.wetcanvas.com/forums/showthread.php?t=251483 (http://www.wetcanvas.com/forums/showthread.php?t=251483)

Pencil extenders: Really valuable when the pencils get so short you can’t get a good grip on them.
And, sooner or later, workable fixative. This is a good cure for wax bloom (a grayish buildup of wax on your drawing) and gives extra protection to your drawing when you’re finished. (This product is toxic; follow instructions on the can carefully!) IMAGE TRANSFER

If the original linear drawing you have prepared is one that you want to preserve (for example, to complete a value study or to use for some other project), you will need to make a copy (we’ll call this your working drawing) to use for the transfer process. You can either scan your image for printing or copy the drawing directly if your printer has the copying function.

I recommend that you do the tracing of your working drawing to final drawing paper in color rather than in black. The reason for this is that if you transfer black lines to white or toned paper, some lines may show through very light areas no matter how many layers of colored pencil you apply. Following are three mediums/methods you can use to prepare for transfer:

Transfer paper: You can buy Seral wax-free transfer paper in 12” x 12-ft. rolls through art stores or catalogs. Place the transfer paper between your working drawing and your final drawing paper, color side down. If you use this product, choose the color most compatible with the colors in your reference (your choices will be red, yellow, or blue)
Pastels: Apply pastel in a color or colors compatible with your reference (and just dark enough to transfer) directly to the back of your working drawing. If you tape your drawing face down to a light box or a large window, you’ll see the linear image very clearly and you can confine the application of the pastel to the lines only rather than cover the entire back of the drawing. Gently shake your drawing over a sink to get rid of the excess pastel, then tape it in place over your final drawing paper.
Window or light box: You can transfer your image directly to your final drawing paper without using a transfer medium if your paper is fairly lightweight and you can see through it. Tape your working drawing to a light box or large window face up, and then tape your final drawing paper in place over it. Most of you should be able to use this method, since your paper size for this class is limited. For tracing drawings using transfer paper or pastel backing, use a fine-point ballpoint pen or a hard, sharp pencil. (I use a red ballpoint pen because it allows me to see the lines on my drawing that I’ve already traced.) For direct transfer to your final drawing paper, use a sharp pastel pencil or erasable colored pencil.

Whatever method you use, apply only enough pressure when you trace to ensure that the image will be clearly visible; pressing too hard will cause indentations in the paper, especially if you are using Stonehenge. Check as you work to make sure your drawing is transferring properly.


There are a number of different strokes you can use to apply your color, and each one will give a different look to your drawing. Below is a list of some strokes as well as samples shown fairly bold and unblended to emphasize direction. Try them all out on a sheet of your cp project paper and choose one or two that are the most comfortable for you. (You don’t want to invite carpal tunnel problems with a stroke that doesn’t feel natural!)

Scumbling: Strokes are applied with a tight “scribbly” or elliptical motion. Overlapping creates subtle blending of color.
Angled parallel hatching: This is the technique that I prefer simply because it’s the most comfortable for my hand.
Vertical parallel hatching: This stroke will result in a little more obvious overlapping than angled hatching, but if you use it in your initial layers, you can even the texture out in subsequent layers.
Crosshatching: Hatch marks going one direction are overlaid with hatch marks going another direction.
Circulism: A technique created by Maggie Toole in which layers of color are built with thousands of open overlapping and intertwining circles of different sizes.
Impressing: Invisible lines are applied to the drawing surface with a stylus or a ballpoint pen that has run out of ink. When you apply color to this area of a drawing, the impressed lines will remain the color of the paper. This method is useful for rendering such things as hairs and details of small leaves.
Burnishing: A hard, rubbing stroke (with a light colored pencil or colorless blender) is applied to the final color layer to enhance color and produce a lustrous surface. This stroke will ultimately cause the color to fill all of grooves in the paper so none of the paper color is visible.http://www.wetcanvas.com/Community/images/01-Jan-2006/67734-scan0002_copy.jpg

A few words on strokes for hair and fur: Closely study the directional pattern of hair or fur in your reference. For a natural, believable look, use a stroke pattern that most closely resembles the texture and directional pattern you see in these features. To give hair and fur shape and form, pay close attention to highlights and shadows.


Colored pencil is considered an essentially transparent medium, so you will be building colors by layering one over another, mixing pencil colors on your paper much as you would mix paint on a palette. Two or more colors overlaid will produce a blend, a new hue created through intermingling of the individual pencil colors.

To understand better how to achieve the colors you want, you should have some familiarity with the color wheel and knowledge of a few basic terms:

Analogous colors: Colors that are next to each other on the color wheel.
Complementary colors: Pairs of colors that are directly opposite each other on the color wheel.
Hue: The specific name of the color itself.
Value: The lightness or darkness of a color. Light pencil pressure will give you a light value; heavy pressure will give you a dark value. You can also lighten a color by overlaying it with white and darken it by using black, although black can make the color look lifeless.
Intensity: The brightness or dullness of a color. If you want to brighten a color, use it to its maximum strength or overlay it with a brighter analogous color (for example, overlay orange with yellow). If you want to dull a color, use its complement (for example, overlay yellow with violet). There is an excellent thread in the Colored Pencil Library that explains color theory in an understandable way. It will be well worth your time to take a look. Here’s the url for that thread (Thanks, Arlene!):

http://www.wetcanvas.com/forums/showthread.php?t=180641 (http://www.wetcanvas.com/forums/showthread.php?t=180641)

Here’s an exercise that could help you enormously before you get into your class project: On the same type of paper that you will use for your drawing, experiment with replicating some of the colors in the reference you’ve chosen. Keep track of the pencil colors you used to build your samples. In effect, you will be creating a little palette study that can be used as a guide when you start your drawing.

Layering Technique

The smoothness and density of your layers will depend on the sharpness of your pencils, the closeness of your strokes, and the amount of pressure you use. To get the best results with your initial layer, use light pressure. Increase pressure for intermediate layers. Save heavy stroke pressure for the areas of deepest, most intense color in your final layers.

Careful, gradual changes in your pencil pressure will result in even shading and blending of colors. Below are individual stroke pressure samples along with samples that show the change from heavy to light pressure in one color and the change from one color to another achieved by even overlapping of strokes. The two-color change has been made by starting with the darker value for each color and working evenly, with lightening pressure, into the lighter value, toward the other color.


Building Layers

Foundation Layer

First, where necessary, reinforce the lines you transferred from your working drawing so you don’t lose details as you work on your foundation. If you see any detail that needs minor refinement or correction, this is the time to take care of it.

Here are two ways you can lay the foundation for building your color layers:

Create a tonal foundation (grisaille) using graphite or a colored pencil that is black, gray, sepia, or another low-intensity color. With this method you establish a monochromatic full value study on which you can build subsequent color layers. If you use graphite for your foundation, spray your drawing lightly with workable fixative before applying color to avoid smearing.
Create an “underpainting” using multiple colors compatible with your reference. In each area of your drawing, start with the lightest color you actually see or perceive as an underlying color (for example, yellow in leaves and stems). Apply a flat, even tonal layer of that color to the area, leaving the white paper to show through where distinct highlights are visible. Think of this process as you would a watercolor wash and you will have a sense of how the layer should look. At this point, most of the outlines from the transfer process should still be visible. Intermediate Layers

Early in this intermediate stage, lightly define the darks and linear features (hair, fur, stems). If you’re doing a portrait, I recommend that you do preliminary work on the eyes and mouth first so that you know those areas are approximately right before you do substantial work on other areas.

If your background is dark, layer that next, before you do further work on your focal point. The reasons: To avoid carrying dark pencil dust into your focus area later and to make the determination of values in the focus area easier.

Continue layering to add form and depth to your drawing through the use of darker analogous colors and complements. When you use a complement, keep in mind that the one you choose should be essentially the same value as the one you want to darken (for example, if the color you want to change is a dark red, you’d want to choose a dark green). As you layer, continue also refining darks and details. Keep pencil points sharp, strokes close and even, and pencil pressure light to medium. Brush your work often!

At some point late in this stage, it’s a good idea to perform a value check. You can do this by photographing your WIP, converting it to grayscale in a photo program, and then comparing it with a grayscale version of your reference. This is an easy way to identify problems with your values and give you an idea of which areas of your drawing need to be lighter or darker.

Final Layer

In the final stage of your drawing, increase stroke pressure and apply finishing layers of color. You may want to do further blending with a colorless blender, Q-tips, tortillons, a hard eraser, or even your fingers, but try samples on a separate sheet of paper before you use these blending aids on your final drawing. At this point you may also want to do some burnishing to add glossiness to certain area, but keep in mind that once you’ve done this, the surface will accept very little to no additional color. With a colorless blender or an adjacent color, clean up little slivers of white between edges that should be touching. Do a careful check of every part of your drawing to make sure you haven’t left an area undeveloped!


Colored pencil can be used as a transfer medium in the same way that pastel can, but to get a clear tracing will require extra pressure that can easily make indentations in your paper. If you want to try this method, do samples on a scrap of your support first!
Remove unwanted or excess pigment by scraping with an X-acto (very carefully!) or lifting with Poster Putty or Scotch Magic Tape. Finish cleanup with a soft white eraser. If you get little blobs of pigment on your work that don’t come off with your cleaning brush, carefully pick them off with the tip of the X-acto knife.
Anchor a matte acetate slip sheet under your hand and forearm, shiny side down, to keep from picking up or smudging color. I tape mine to the bottom of my drawing board and move it as needed.
If you discover a small nick or scratch in your paper, you can fill it with the surrounding color or a colorless blender, then apply more color.
If your surface won’t accept any more color, spray evenly with workable fixative, then apply more color.
Before you use spray fixative on your drawing, be sure to test it on a white sheet of copy paper! The spray should be very fine, showing no droplets or coloration.
The surface to which you tape your drawing paper should be hard and smooth so you get maximum effectiveness from your stroke pressure. If you don’t have a drawing board, a sheet of Masonite or Plexiglas is a good substitute.
After sharpening pencils, wipe the points to avoid carrying bits of pencil dust to your paper. Keep colorless blenders, erasers, fingers, and other blending tools clean so you don’t accidentally “pollute” an area with unwanted color. When using a colorless blender, work from light to dark so you don’t drag dark pigment into a lighter area.
Keep your electric pencil sharpener blades free of wax buildup. Sharpen a couple of graphite pencils every so often to clean the blades and get rid of any cp points that have broken off. You can also clean the blades with Q-tips and solvent. POSTING YOUR WORK

Okay, let’s get started! As in the other 101 classes, please post your reference the first time you post your work, after you’ve transferred your line work and begun your drawing. (You don’t need to post your working drawing unless you have a question about it.) Also, in subsequent posts of your work it would be good if you could post the page number of your original reference so that people can get to it easily as they look at your latest update.

Good luck to all!

Troy Rochford
01-01-2006, 10:29 AM
Okay everyone... let's see some work! I can't believe no one has posted a finished drawing yet;)

Anita Murphy
01-01-2006, 10:31 AM
Great instructions Cindy - can't wait to play!

Finished drawing Troy??? *scuttles off to do the initial drawing*

01-01-2006, 10:49 AM
Window or light box: You can transfer your image directly to your final drawing paper without using a transfer medium if your paper is fairly lightweight and you can see through it. Tape your working drawing to a light box or large window face up, and then tape your final drawing paper in place over it. Most of you should be able to use this method, since your paper size for this class is limited.

Ok, I'm the lightbox queen-- you can also tape your line drawing to the *back* of your final drawing paper. Advantage is if you get interrupted, you can set it aside & pick it back up w/out worrying about it being lined up correctly. And you can shift the angle you're drawing at to something more comfortable as you go. Might not be that big of a deal for the simple images we're working with for the class, but for more complex ones it can be a life saver!

Nervous & excited to get going!
Thanks again, Cindy!

01-01-2006, 11:10 AM
Here is the portrait that I will be working on. It is a commission piece that I am doing over again.

I have already done the initial sketch and am awaiting your command.

01-01-2006, 12:03 PM
Anita, glad the instructions look good to you. Thanks for the feedback!

Tess, thanks for the additional info!

Midge, you've got a good subject! Just read the info on transferring images and go to it. If you have a light box, large window, or sliding glass door and your image is not too large, you can use the direct method for transfer.

01-01-2006, 12:25 PM
okay! ready to rock!
(I'll...be....baaaaack.... :D )

01-01-2006, 12:37 PM
I pulled up my photo reference in Adobe Photoshop and using the dropper got the following colors for my pears. I am surprised that I do not have a yellow or a lime green as that is what I see. And for that matter, there is no true red either.

The colors at the top are the pear on the left and the bottom colors are the colors of the pear on the right.

Would you please comment on these colors, please?

01-01-2006, 01:35 PM
My original post is #5. Here is where I start having problems. I never seem to get the darks right.

I am using mineral orange, peach, and burnt umber on the neck and shoulder area. Plus I am beginning to get that NECK thingy going.

01-01-2006, 01:37 PM
Cindy and all my classmates (old and new).....

A very happy new year to all of you.

Cindy, your instructions are crystal clear. I intend following your advice and looking up the thread on colour theory, and then doing a palette study before going on to my drawing.

Sandra, I found your use of the dropper in Photoshop interesting. Does the software also label the colours or have you added that later?

Incidentally Cindy, is it okay for us students to use a software to break down the colours or are we supposed to develop an eye for it?


01-01-2006, 01:39 PM
:) Cindy, Thank you for all your hardwork with this class, you've included so much information for us to get started!:clap: :clap: :clap:
:confused: One question-at what point do we start posting our cp work? After or during the foundation layer? When we get 'stuck'? Or when finished? Almost ready to begin, I started a value study, I know you said it wasn't necessary, but I wanted to.:)

01-01-2006, 01:45 PM
Thanks for asking that question Michele!

Hi Cindy and all :) Happy New Year! :D

01-01-2006, 01:54 PM
hi all! Happy New Year!!!
not sure if this is what you want, Cindy, but here is my reference and line transfer.

01-01-2006, 02:12 PM
Forgot to include my color palette for the face and neck:
It starts with cream, light peach, peach, decco pink, jasmine, blush pink, mineral orange, burnt ochre, light umber, dark umber, black.

My picture is #5. Thanks for any help you can give.

01-01-2006, 02:22 PM
Sandra, I see yellow in both pears, so as your foundation layer, start with the lightest yellow or yellow ochre in your set of pencils. Leave the highlights alone for now. Continue with another layer, using the lightest yellow-green you have in those greenish areas and a yellow-orange in the the warmer areas. The colors you have shown are all possibilities for development of your pears. Keep in mind that at this point the colors don't have to be exact, just close. Believe me when I tell you that as you work you will gain a sense of what color comes next. Just keep your pencil strokes light and close together, and don't hurry the process. It does take time to build colors. People don't call this a slow medium for nothing! :D

01-01-2006, 02:57 PM
Midge, you've gotten a great start with your linework and the boy's features! I believe the problems you're having are due to the foundation colors. What I see in the reference is more of a pink complexion with no really yellow tones, so I think you may have to lighten the skin color so you can re-layer using more of the peach and a pale pink to offset the yellow tinge. In the reference shadows, I see cooler colors (perhaps Greyed Lavender in Prismacolors). Here I think you will need to tone down the burnt umber and introduce a complement (in the violet family) that will offset the too-warm look. Don't worry about the neck. It looks fine so far.:D

Fireman's kid
01-01-2006, 03:08 PM
Cindy - Thanks for the excellent instructions! My line drawing is finished but I am doing some of the color theory exercises since I am a complete newbie to cp. Hope to get to the transfer process by Wed. You will find I am not one of the speadier classmates. :D

01-01-2006, 03:23 PM
Blah, you've asked an excellent question on whether to use software to break down colors. Personally, I think you will learn more about how to build colors if you deal only with the pencils you have and develop a sense on your own of how to combine them to achieve the colors in your reference.
I can't stress enough how valuable it is to do little layering samples in advance when you're unsure of how to replicate the color you want!

Michele, feel free to post whenever you have a question or just want an opinion on what you've done. :)

Hi, Alison :wave:

Jenn, your pumpkin is lookin' good so far. You have done exactly the right thing with your transfer. :)

Anita Murphy
01-01-2006, 03:45 PM
First posting of progress.

My ref pic and so far with the blue bottle. The bottle isn't really at an angle just lousy photography!


01-01-2006, 03:51 PM
Cindy - I had already started to do a first layer (just couldn't wait!) which I am attaching. I will start over and do as you suggest. It's all so new to me, as you can tell.

Blah - No, I named the colors myself by matching them as closely as I could with my Prismcolors. I use this method in portraits to get idea of what is cool, what is warm and also it helps with zeroing in on areas that are a problem.


01-01-2006, 03:56 PM
I am behind, but hopefully will catch up, having my parents here really put me behind. :)
Can't wait to see what everyone does!!

I see great starts so far.

01-01-2006, 04:09 PM
Hi Cindy!:wave:
Thanks for all your Class instructions! You have a pretty big Class to manage. Hopefully we will not drive you nuts!:eek: :D
I saw this in a book the other day and thought it was a great idea on keeping the pencils you are using organized and keeping them from falling to the floor. Just thought I would share. Just strip one side of the paper from a cut piece of corregated cardboard.


01-01-2006, 04:52 PM
Great idea Judi. Thanks for the tip.

01-01-2006, 05:39 PM
Well. I am back to the spot where the darks need to be in place. I am getting ready to add his freckles and then put a couple more layers on his face. Here is a grayscale of the two pictures. But I just don't see it. Perhaps you can help me to see: (Sorry for the bad picture. It is the best I can get at such a small image)

It is at this point that others tell me I need to go darker. I am at the tuscan red and burnt umber stage. Should I apply more layers or add a different color?

Cathie Jones
01-01-2006, 05:40 PM
Here is my ref with the colors I identified - pure colors only. I'm thinking of an yellow chartreuse undercoat for the small pear and deco yellow upper, purple lower for the larger one (to establish the shadow), burnt ochre under dark brown for the stems.

In case you can't read the colors on the scan they are:
Crimson Red
Tuscan Red
Dark Purple
Yellow Chartreuse
Deco Yellow
Burnt Ochre
Dark Brown

I'll wait for your advice . . . :D


01-01-2006, 06:21 PM
Well as usual I didn't understand that we were supposed to show our pieces from the beginning to the colors we used to the finished piece. So I just went ahead and did the best I could and after 5 hrs. of work, here's the finished piece.
My referance:

The painting

This was a very difficult piece. There were so many subtle colors that I could see but had diffictulty getting them down. Next time I will pick something much easier.

01-01-2006, 07:22 PM
Hi Cindy,
This scan is very light at this point since a lot of the undertones are light. I started the BG is violet tones but plan to layer brown and then navy blue. This is my first time working on Strathmore- used Canson MT before. I'm liking the way the pencils flow. The instructions are great.

marilyn h
01-01-2006, 07:43 PM

Spending about 6 hours. Undercoating only part done.

Mary Woodul
01-01-2006, 07:46 PM
Happy New Year everyone! Cindy, I was out of town for the weekend but I just got back and am ready to transfer. Will try to post tonight!

Forgot to tell what a great introduction!

Anita Murphy
01-01-2006, 07:55 PM
Judi - what a brilliant idea! I also saw one with carboard tubing stuck down and each colour/shade standing in a different tube.

01-01-2006, 08:06 PM
Stacy, see you Wednesday, then? :D

Anita, good job so far! Check the highlights on the left side of the bottle. I think they need to be brighter.

Sandra, don't start over. Put a light yellow layer over the entire left pear, except for the highlights. It's out of order, but that's okay. On the right pear, extend the yellow layer to all parts of the pear, except for the highlights. Keep your pencil sharp, your touch light, and the strokes close together. I think you will see how to proceed from there.

A comment on using photo program colors for a guide: The problem is that what you see there are actually blends of other colors, so they don't really tell you how to build a color from the base up. With colored pencil, as with watercolor, you're dealing with a mostly transparent medium, so you need to know the components of the colors you are trying to achieve and how to layer them to get the result you want. I hope this makes sense.

Tia, I hear you on being behind! I just barely made it today what with all of the holiday stuff and trying to keep up with my own work! But, aren't we all in the same boat?! :D

Judi, thanks a bunch for the great tip on keeping pencils organized! I am going to put that one to use right away!

Regarding the class: Yes, this is a big one. I just want to tell everyone to be very patient! I will be checking in often and will try my best to keep up with you. :)

Midge, could you post your latest drawing update, in color, alongside the reference? (Still looking good!)

CJ, You're definitely on the right track with your colors. Re dark purple: Do you also have Black Grape?

Maria, I think your piece is interesting in itself. However, comparing it to the reference, there are areas that lack richness and depth because they have not been multi-layered and also because the lights and darks are not yet where they need to be.

This subject is not necessarily any more difficult than others, and it is a beautiful image. If you'd like to try it again, start with a base of light yellow for everything but the highlights, and then go progressively darker, with analogous colors first. Pay particular attention to the layering of the greens (one green alone rarely does the job!). Go slowly, keep the pencils sharp and the strokes even. Post again at a point where you feel comfortable with what you're doing and just want some confirmation that you're going the right direction.:)

01-01-2006, 08:31 PM
Bernice, you've got the right idea with this. Looking forward to the next installment!

Marilyn, bunny is looking great so far! Be careful not to get too much blue tone in those lighter areas.

Mary, I'll look forward to seeing your first post!

Anita, those stuck-down tp tubes work great! That's all I've been using to sort my pencils. Here's what you do: Cut a piece of foam core big enough to hold about 8 toilet paper tubes placed vertically. Put a glob of white glue on a plastic lid (I have a ton of these from deli containers). Dip one end of a tp tube in the glue, making sure to cover the whole end, then put it in place on the foam core. Repeat with the other 7 tubes. Let your construction dry overnight, then stick it to your drawing board or other surface with Poster Putty or something similar. Between this and the corrugated board, you can put your pencils in perfect order. Happy sorting!

01-01-2006, 08:39 PM
Hey Cindy:wave:
I have never made a palette before-but sure seems like it will help.
This is my ref and my palette. Can you have too many colors selected? :confused: I saw all these in the ref.

ref (http://www.wetcanvas.com/RefLib/showphoto.php?photo=56100&size=big&cat=)

and palette

01-01-2006, 08:43 PM
Cindy, you've created a crystal clear introduction to this lesson. Thank you.

Wow, some of you are racing ahead. I have my line drawing and will transfer it tomorrow then start layering colour.

Just an observation that I'd like to make. I have just finished my first portrait in coloured pencil of my dog and was interested and amazed at the length of time it takes to build the layers. This is not a fast process like a graphite drawing and I can say that I probably used between 15-20 layers at least in building the tones in that portrait. The portrait likely saw me put in about 25 hours of work. So for those of you frustrated at what seems to be slow progress or lack of depth, just remember that it takes time and patience to achieve this, for me anyway! :)

01-01-2006, 08:46 PM
Ref: #20 I decided to start over as I wanted to try my new paper Artistico Fabriano hot press. I really do like it better. Here is what I have done so far on the right pear. It really doesn't look as scratchy in real life, but it is not as smooth as I would like. Sandra

Cathie Jones
01-01-2006, 09:01 PM
This is a HUGE class - there are already so many entries I can't remember them all! And thanks for the thorough introduction. The first thing I had to do was remove the pretty beige Stonehenge paper from the board and replace it with white :D still Stonehenge, though. Think I'll go read it again!! :clap:

Thanks for the color confirmation Cindy. I have an 72-pencil set that my husband bought more than 10 years ago and didn't use, but no black grape. I'll check at Michael's, but our store is small and doesn't even carry more than the boxes of 12 Prismacolors. They do have a few individuals, though, so I'll look.

Marilyn - looking fantastic already!! I half expected that rabbit to have scales!:rolleyes:

Maria - yours is looking great, too. I think you'll be happier with it when you get several more layers down.

Anita - :D Terrific, as usual!

Judi - I like your ref!

Mary Woodul
01-01-2006, 10:26 PM
Cindy, this is my reference and the very light line drawing. I will make a palette and read your instructions carefully tomorrow. I didn't want to start anything until I am sure what I have to use as a base tone or where I have to start.



01-01-2006, 11:05 PM
Yikes! Arlenes thread has a lot in there.:eek: I think it would be valuable to do the color wheel and the value studies, etc she suggests first-at least for me as I have no color training. If I remember this correctly someone told me a long time ago-you get better colors by learning to mix than if you used 'straight' colors. Is that what you have been taught? If this is so-I believe some my color palette is wrong now.

01-01-2006, 11:15 PM
Here is what you requested:

You can't see his freckles from here, but on the one in person you can. Should I make the darks darker? Should I wait until I get the background more and the shirt on? Or should I darken his skin first? Oh my, this is my stuck point. :o

Troy Rochford
01-02-2006, 12:40 AM
Hi everyone:) Just passing through..

Hey Judi - for what its worth, one of the key things that Arlene taught me was that yes, it is important to learn how to "create" colors by combining elements rather than using flat colors, and you will get much more depth of color that way.

01-02-2006, 03:21 AM
Every one's work is GREAT. I choose marbles finally uploading excercises:wave:

01-02-2006, 03:27 AM
had to resize these:(
value studys one has color indications but dose not show up the 3rd pic is for drawing 101 circle study

01-02-2006, 03:36 AM
whoops the image ref pic practice makes perfect i am working on get uploads:cool: well I know more than I did yesterday.:confused:


01-02-2006, 04:03 AM
Morning all :wave: I can't believe how quickly everyone is working; you're all doing a great job so far...and you've done so much! :eek:

I spent about 2 hours on this last night. I'd already attempted an underpainting version, but realised while doing it, that I wouldn't manage that method of cp because I lost too much of my much needed detail and outlining. I guess that is a combination of 1) not really knowing what I am doing and 2) my colour visual problems. Anyway, I have found a method that is working fine so far (at least I THINK it's working fine :rolleyes: ) And that is to concentrate on small areas and build up lots of layers to an almost 'finished' look before moving on. This is really very slow going; I spent less than 2 hours total on the drawing that's in my sig, and all I've got to show so far is one Basil leaf in cp lol. Having had a nights sleep and coming back to the leaf, I can say I am quite pleased with it.

As for what colours I've used...well, the leaf is made up of lots of shades of blue and yellow with a tiny amount of green.

This is my ref picture, my printer has printed a lighter version than this, so I've been able to pull up a little more detail for that.


The Basil leaf HUGELY enlarged! lol

Thanks for all the great information Cindy :) :clap:

01-02-2006, 05:15 AM
Hi Cindy,

Is it too late to join your wonderfully popular class? I am doing Arlene's color theory now. Would hope to be able to get my transfer done by Jan 4th when my daughter has returned to Australia.

I only have a box of 24 Stablio Softcolor pencils - so I am limited in my choice of colour. The pencils only have numbers and I can't find colour names on line since the pencils appear to have been discontinued. I have heaps of watercolour pencils but really want to learn the oil pencil technique.

Your notes are so helpful as I've had no colour pencil lessons.


marilyn h
01-02-2006, 06:22 AM
Maria. I am impressed with your beginnings. There are many layers to be added to these. Do some more layers just like you have already done and you will see more depth and refinment achieved. Go for it.

01-02-2006, 08:00 AM
Wow, I hope I can get through this message before the system shuts down again!

Judi, yes, I believe that mixing colors is a much better way to go, especially with the transparent mediums. It's true that you will achieve more richness and depth in your colors if you do this. Now try another palette using layering to match the samples you have already shown. Start with the lightest color you perceive and then decide whether you want to use next an analogous color or a complement. You'll have fun with this! :)

CJ, Black Grape is not necessary--you can get where you want to be without it. I was just curious because I saw that color in your ref and I have used it hugely in my grapes pieces.

Mary, you've done a good job with your line drawing so far.:) To finish it, add indications of the shadows around the cheeks, mouth, eyes, chin, and neck. Complete the details of the ear. Also, put in directional lines to indicate the separations between the light and dark sections of the hair. After you've transferred, lay your foundation with light applications of cream, light peach, and jasmine.

Midge, you're not stuck! You're doing fine!:) The boy's skin tone looks better to me now, and for the moment I would leave it alone to work a little on the hair and the shirt. In the hair, I would evenly remove a little of the yellow, especially in the front lock of hair, and lightly layer in some burnt ochre (highlights should remain very light). The stripes in the shirt are pretty dark, so I think you can start with a dark blue there (looks like maybe a blue that has a purple cast to it). Laying in the shirt colors lightly will give you a better sense of how the values in the face should look, I think.

Carol, your reference is beautiful! A perfect subject for this class!

Alison, you're doing a great job! Looking forward to your next post! :)

Robyn, just jump in whenever you can. Troy has set no time limit on the class, so we'll just keep going!

Maria, I think you can enhance your current drawing with more layers, and if you want to improve other areas where you think you didn't get the color quite right, you can can always remove color and re-layer. :)

01-02-2006, 09:16 AM
Ref: #20 I decided to start over as I wanted to try my new paper Artistico Fabriano hot press. I really do like it better. Here is what I have done so far on the right pear. It really doesn't look as scratchy in real life, but it is not as smooth as I would like. Sandra

Ooops! Sandra, I almost missed you! Sorry!:o

Your layering is working and your right pear is looking great! Compared to your reference, it seems a bit too red on the left side, but it's a pretty easy fix to subdue that by taking out some of the red and layering over with an appropriate complement (same value green). Try a sample before you do this on your drawing. :) Also, try Q-tips for picking up and smoothing color.

01-02-2006, 09:52 AM
Hi Everyone,
I've been reading ALL the comments on ALL the entries and I just have to say, this is such a marvelous opportunity for everyone to learn soooo many things - from portraiture to still life by just keeping track of what everyone else is doing as well as their own. Cindy, you're a wonderful teacher! Thanks for doing this.

01-02-2006, 10:05 AM
Here is my progress so far Cindy. So far I've used one layer of Violet de Pomme and five leayers of Dark Brown and Indigo Blue for the background. I'll do more layers until I get it dark enough and end with the brown layer. I've done more colour on the tomatoes and shadows but only a very light indication so far. How will I treat the white portion?Do I leave the white paper or do I use white pencil, a cream colour, or light gray?

Anita Murphy
01-02-2006, 10:08 AM
Update - the reflections in the table are not blended yet.

01-02-2006, 10:35 AM
OK, just WHEN did this class post! Anyway, I will be delayed for a small bit while I locate a scanner--I had an electrical surge which took out one of my macs and my only scanner. Should have it fixed in a day or so.

Cindy! This is fantastic!!!!!

01-02-2006, 10:57 AM
*Breathless* Hi :wave: Sorry I'm late. Do I need a note from home? lol

After a few false starts, I think I've got the transfer done. It's really really faint, so I hope you can make out what I've done! The ref is from the image library, thanks to Madmum. I've included the color swatches I put together for this. I'm not completely happy with them... it *feels* like there's some blue in there, but I can't seem to isolate where. And the background colors are open to suggestion. My color choices are based on a printout of my ref... and lo! Apparently, I didn't color correct enough for my printer. :rolleyes: The printout is more pink, less purple. So do I need to try to get the printout right & start over or am I good to go as is?

Thanks for doing this, Cindy! I'm learning tons just reading along.

Mary Woodul
01-02-2006, 11:34 AM
Everyone is so busy and doing great!

Good morning Cindy! I had already transferred to the Strathmore paper by shading the back with a pastel brown pencil and I was afraid to put too much detail in. I will complete the details with a light CP and continue with the foundation. Thank you!

The reason I had to use the pastel pencil is because I can't get the colored transfer paper here and don't have a light box so I used your technique with the pastel.

01-02-2006, 11:39 AM
Everyone's speeding ahead! :clap:

Hope you get your computer woes sorted soon JayD. I had that happen once too and it killed a number of peripherals. Try your insurance company, they may replace the scanner.

I've transferred my drawing to the Stonehenge paper and experimented a bit with colours to see what will work on this drawing. The transfer is pale as its done mostly in pale orange so I hope you can see it. Its one of the challenges of showing this electronically.

Anyway, here is the reference, the transfer and the colour swatch, and I'll work on the layers from here, posting as I reach an appropriate level.




01-02-2006, 12:25 PM
Bernice, thanks for your comments! It's good to know I'm on the right track!:D
Your tomatoes are coming along very nicely! Just leave the white areas as they are for now and continue with your color layering. (Your whites will most likely end up cream, but that can wait.) Congrats on the good job you've done laying your background early!

Anita, you're making really good progress with your bottles and the table surface! I don't know what you have in mind for your background, but at this point you might want to lay in some tone behind the bottles so that the highlights will be more clearly visible. This will also help you continue making appropriate value judgments as you're working on the bottles.

Jay, there you are!:D Looking forward to seeing all of those lovely patterns in your piece!:D

Tess, you've done a wonderful job prepping for this project and I think you're good to go as is! When you apply your first layer, be sure to include the background (you could start with Henna).

Mary, you have the right idea about using a light colored pencil to fill in the details of your drawing. Looking forward to your next post!

Jeanette, you're off to an excellent start! It appears that layering will be no problem for you!

01-02-2006, 12:30 PM
Hi everyone,

You guys are all so fast and things are looking great already! I'm just ready now to transfer my image and, for some stupid reason, I'm freaking out about it. I'm going to look for transfer paper today. Does anybody know if Michael's carries it, or am I going to have to take the longer trip to Dick Blick? Thanks.


01-02-2006, 12:34 PM
Everyone is so excited about this class! :clap:

Another update on mine. I've spent hours on this today, and I'm part way through the tomato. Colour-pencil is surprisingly enjoyable :D

My original post was on page 3 (#44)


:wave: Hi Bernice :)

01-02-2006, 01:16 PM
Hi, everyone!:wave:
Sorry so late to the party....
I hope I did this right. I started with the lightest base layers then went on to the darkest bases. Is that correct, Cindy?

Here is what I have thus far. (And were we to show our color choices? I'm sorry, I missed that if we were. I will post those next time.:wink2: )

Everyone's work is super! Alison, That is soooooo cool!!
okay, here you go.

edit to add: btw, in the reference pic, the diagonal black at top left is a fluke of the camera, not intended to be there and won't be included in the project. :D

01-02-2006, 01:50 PM
This is my second drawing. Although I haven't given up on the first one yet, and may work on it more later. This time I'm taking my time to cover everything with yellow and then start layering on analogis colors and complements as i go.

Thanks Cindy for the PM and I agree. But I do want to learn how to do this properly and that's why I started over.


New Start

This is after about 2 hrs. work. How much time do we have on each piece?

Thanks Cindy, this is a lot of work for you to keep glued to the computer. I know you must have a life. LOL

marilyn h
01-02-2006, 01:53 PM
Stage 3

01-02-2006, 02:09 PM
Cindy, I did want to get some advice from you and I am posting this publicly. I did an intitial drawing of the piece and the drawing itself looks a bit busy. I was thinking of approaching it this way. I will do the figure and the background and the fans for the line drawing but leave OFF the patterns for the time being off of the robe. I was thinking of drawing those patterns separtely from the line drawing and then trace on the patterns and color them one piece at a time--does this make since.


1. will color the background first.

2. the fans second

3. add the OUTLINE of the shapes to the robe then do the reds

4. Do each pattern one at a time (adding the color and the pattern)

5. Do the face and hair last.

What do you think?

01-02-2006, 02:41 PM
This is after about 2 hrs. work. How much time do we have on each piece?

Hi Maria!

I figured I'd jump in and answer this one - colored pencil is an incredibly slow medium with an amazing amount of depth and richness if you're patient with it. My first colored pencil piece had upwards of 75 hours invested in it, but I could have easily added another 30 hours to that if I knew then what I know now, and I really don't know all that much now either :rolleyes:. You're doing a great job so far!

Everyone's pieces look wonderful! I'll get going on mine later this afternoon - spent yesterday celebrating "National Hangover Day" and didn't do much of anything. ;)

01-02-2006, 02:53 PM
Sarah, thanks for that reply! I know it wasn't to me, but I had wondered on the cp time scale. I'm surprised at how much time I've spent on it so far (about 6 hours) but I'd rather spend more time than less on it to get it right.

01-02-2006, 02:59 PM
Hi Alison! Yeah... CP is like that. And taking your time, using light pressure and layering layering layering is SO worth it in the end. I know professional cp artists spend upwards of hundreds of hours on their pieces... Patience of a saint, I tell ya! ;)

01-02-2006, 03:00 PM
I've spent the past 3 hours working up some layers on one of the tomatoes and have barely scratched the surface so to speak. I anticipate many many more hours before completion.

But there is something satisfying about seeing the colours build slowly. Very enjoyable.

My reference is on Page 4 #55


Anita Murphy
01-02-2006, 03:44 PM
Cindy - I want to keep the background very subtle so it doesn't detract from the pots/bottle. My husband says the bottle does not read as glassy enough - how can I get back highlights? (I don't have an electric eraser) I read about using scotch tape to lift off colour - does that work?


01-02-2006, 03:55 PM
These are soo good.... you all are doing great!!!!

01-02-2006, 04:30 PM
Anne, using pastels for a backing or using the direct method (on window) will be better than transfer paper, anyway. Try one of those, if you have any pastels in your reference colors or if you have a window pane with good light that's larger than 9" x 12".

Alison, yes, colored pencil is enjoyable, and you're doing very well with it! Lovely, rich color!

Jenn, this looks good! No, I didn't ask people to post their color choices, but I think it's been very interesting and informative to see them. :)

Maria, your new start is looking so good! You are definitely on the right track! On that back pepper, I'd lighten the yellow a little bit.

Yes, I do have a life, of sorts, but you couldn't prove it by my husband LOL. He is just barely getting enough computer time to answer mail!

Marilyn, you are really moving along well with this! The background is interesting and nicely done. The bunny looks good, but still a little blue to me compared with the reference. If you want to achieve more of the reference photo color, you can lighten the blue areas a bit and neutralize them a little with the complement--an orange that's about the same value as the blue. Try a sample to see how you like it.

Jay, I think your overall plan is good except for laying the patterns over the red, especially the tiny light patterns. I think you need to at least isolate those areas when you lay the red in. You should be okay with overlaying the very darkest patterns.

Sarah, all I can say is "Amen!" (Glad you're back among the living now. LOL)

Jeanette, your tomato looks terrific!

Anita, I think your piece is looking really lovely. Do you have one of those rectangular white erasers? If so, cut a little slice off one end so you have four new sharp corners. Working carefully, you should be able to pick up some of the color from the highlights. Here's another thing you can try if you have some Poster Putty or other "sticky stuff": Put a tiny blob on the end of a tortillon, shape it to a point, and see if you can pull up some of the color with that. BTW, this is a good case for a battery-powered eraser. It would clean up those highlights zip quick! Give your husband a birthday hint now!:)

01-02-2006, 04:31 PM
Anita: Scotch tape does work. Be sure to warm it with your palm and then take it off very slowly. Good luck.

01-02-2006, 04:34 PM
Here is where I am on my little boy.


01-02-2006, 04:54 PM
Midge, I think seeing the shirt stripes and collar really helps in evaluating the facial tones, which look good! Now I'd do a little more work on the hair, lightening up the yellow until it's barely visible and layering in some of the burnt ochre. You can also work more brown into the dark areas. Pay particular attention to careful blending so you get a soft look.

BTW, thanks for your Scotch tape hint!

01-02-2006, 05:02 PM
Anita, Be careful with the tape. I've had it lift off paper as well as pigment. I would try the poster gum. It works great.

Robin Neudorfer
01-02-2006, 05:06 PM
The work already posted is incredible. I love learning from all of the struggles and questions posted.
Judy and Cindy the suggestions on pencil holders comes at a great time. I am so afraid of one of mine rolling off of the table.
I was waiting patiently to start, then bam got hit with a migraine on the first day of the new year. No...I did not attend any parties. By about 9 pm I was able to look at my line drawing and worked for a few hours.
I also, do not like to work all over. I think Alison posted a similar way of working. I tend to work with about four pencils at once in my hand and grab areas of color. I was thinking of a very dark green reflective counter surface, and glass tiles for the back. I don't have tiles like this, so I was thinking I need to go out to a home improvement center to see if I can get some reference shots. Not sure of color choices for that area, but I personally like the very dark contrast of the RI. I think the contrast of those surfaces to the texture of the garlic is nice, though I don't want to over shadow the garlic. Any comments and suggestions at this point would be appreciated.
Here's hopin' you can see these...

01-02-2006, 05:17 PM
Hi everybody!

I'm really impressed by the work so far. I's so fun to watch everybodys progress.

I've changed my ref pict (again). But I think it was good. Since this is my first time with CP I really wanted a simple picture and I finally found it.

These are my first layers. I've spent 2 hours so far. As everybody else I'm struck by the the time consumption. Good thing Cindy told to keep the format small.

Cindy: Is it possible to lighten the values in certain areas in later layers or is it too late? I'm asking cause I need to ass some reflected light on right side of the tomato.




01-02-2006, 05:19 PM
oops :o

to quick on the keyboard. It's supposed to be add not ass.


01-02-2006, 05:25 PM
Love what you're all doing so far; I hadn't really been aware of how many different artistic styles cp would cope with and look great with each one. From a loose almost sketchy quality to tight close work. Not to mention the subject matter! From bunny to garlic, all on one page and everything else in between :)

This is the last update from me today as I need sleeeep! :D
Still working on the tomatoes, though I am feeling a little braver now so will happily leave one area and have a little play with another. I forgot to say that I was working on Bristol board (I do have other paper, but I'm so comfortable with Bristol at the moment that I thought I'd give it a go before moving onto another paper) and I'm using my Faber-Castell Polychromos (my box of 60 that I got for Christmas :) )


Thanks Jenn and Cindy :wave:

01-02-2006, 05:53 PM
Ok, I am posting my line drawing and my reference photo. I started out by drawing EVERTHING in sight and then realized that the business of the different patterns would be a distraction and would dirty up the paper so I erased everything and went with this bare bones line drawing with the idea of starting simple and then just building it up. I will start on the background tonight and porceed with the fans next, then the robe, adding patterns section by section and finally the face. Little japanese guy counts as a pattern.

Cathie Jones
01-02-2006, 06:19 PM
Time for an update -

I've switched from Yellow Chartreuse to Chartreuse in the smaller pear to get more green. It has several layers of both so far. And, naturally, the scanner doesn't pick up all of the color, but that's okay for now.

The larger pear has one layer of Yellow, one of Purple and one of Red. I had just started to do some Tuscan Red when I realized I should post an update for C&C . . . I'll post the ref again this time.

Everyone's stuff is looking so great!!!:clap:

http://www.wetcanvas.com/Community/images/02-Jan-2006/23460-Pears.010206.sm.jpg http://www.wetcanvas.com/Community/images/02-Jan-2006/23460-Pears1.ref.sm.jpg

01-02-2006, 06:41 PM
Robin, I think you're doing great so far! Follow your instincts on the areas surrounding your subject.

I can relate to your comment about clutching the pencils. I usually have at least seven or eight in my left hand while my right hand is working away!

Keya, you've got a great start! Before you proceed further, you will need to lighten the values on the left side of the tomato, especially the highlight, where I would pick up color with Poster Putty or a battery-powered eraser, leaving it essentially white for now. The area around the highlight should be pretty clear of shading at this point.

BTW, not to worry about your typo! LOL

Alison, it looks terrific! Hope you got a good night's sleep. You earned it!

Jay, I usually put everything in to start, even though it may look cluttered, so I can't tell you if your method will be successful. I will be really interested to see how this works! :)

01-02-2006, 06:44 PM
Cindy so will I BUT logic says that if I do the figure LAST and the background first then I should not ahave a problem--by the way, regarding the reds on the robe--the patterns have to be penciled in first in order to properly locate the reds--reds first and then the patternis--should work--lets keep our fingers crossed.

Monet did not draw these--he painted in those patterns and that is where the puzzle begins.

01-02-2006, 07:25 PM
Time for an update -

I've switched from Yellow Chartreuse to Chartreuse in the smaller pear to get more green. It has several layers of both so far. And, naturally, the scanner doesn't pick up all of the color, but that's okay for now.

The larger pear has one layer of Yellow, one of Purple and one of Red. I had just started to do some Tuscan Red when I realized I should post an update for C&C . . . I'll post the ref again this time.

Everyone's stuff is looking so great!!!:clap:

CJ, your pears are looking excellent so far! And you're right, everyone's stuff is looking great! I am so pleased with the enthusiasm and output from this class! :)

01-02-2006, 07:29 PM
Cindy so will I BUT logic says that if I do the figure LAST and the background first then I should not ahave a problem--by the way, regarding the reds on the robe--the patterns have to be penciled in first in order to properly locate the reds--reds first and then the patternis--should work--lets keep our fingers crossed.

Monet did not draw these--he painted in those patterns and that is where the puzzle begins.

Can't wait to see your first color work, Jay! :)

Robin Neudorfer
01-02-2006, 08:11 PM
Just as I went to click post, our power went out. Quite a storm here in CA. It was out for 3 hrs!!! Can't do a very good job on cp by candlelight or firelight. It just came back on, and I was frustrated because I thought I had to retype everything...lucky for me...whew!
Now, enough on the computer, washin' up, and back to the ole' drawin' board.
I feel so-o-o-o slow compared to the rest. Should have chosen a turtle.

Anita Murphy
01-02-2006, 08:35 PM
Cindy - I wanted to ask you about the basic drawing and how detailed it should be. My instinct is to do as little as possible but all the books have tons of fiddly bits drawn in. Is this a matter of practice and the more you have the less you need?

Already thinking about what I want to try next - I've really enjoyed doing this. Think I might have to do something metal :D

01-02-2006, 09:12 PM
Okay. Here is what I'm up to on my pun'kin.

Am I doing everything correctly? I'm still adding layers to the bg. and perhaps a few more to the shadow(?).

01-02-2006, 09:18 PM
Wow! Everyone's doing so well! And I feel like I'm going soooo sloooowwwwly...

So to shake it up, I've got a quick question ;) ... There's an area in my ref photo that doesn't seem to be part of the tulip & doesn't make sense in the background. I'd included it in my line drawing, but now that I'm applying color, I'm wondering if I need it for the composition? Any opinions on keeping it in or leaving it out? I'm inclined to leave it out 'cause I think a darker area there would be more interesting...


ps-- circled it in red.

01-02-2006, 09:28 PM
Tess, you're right, it's not part of the bg, it seems to be a part of the leaf. I don't think (and this is just my opinion, only) that leaving it out and adding a darkness to that spot would work. The back edge of the leaf would be missing and very noticable. Just my opinion.


01-02-2006, 09:37 PM
Page 2, #20

Here is what I have done so far. I was able to work uninterupted all day:clap:

I really don't like the background. I can make the green darker, but the yellow has so much pencil that I do not know how I could change it. Any suggestions? Also, help with pear colors.


01-02-2006, 09:53 PM
Tess, it is part of the leaf. Don't leave it out. The face in the background can be left out (lol).

01-02-2006, 10:02 PM
Darn! I forgot all about this class starting up on the 1st!! Is it to late to join in??

Robin Neudorfer
01-02-2006, 10:13 PM
Tess - Here is my opinion...I love the fact that your RI is very graphic even as a thumbnail. All of the darks are on the right side. I also think it wouldn't work if you were to take it out. I also would go lighter on the piece further up on the left where the background edges up to the tulip. It gives the tulip a sharp corner which doesn't fit the organic natural shape. This is a great image, I am sure you are having fun with it. So much vivid color. Cindy with her expertise will have the best answer for you.
Sandra - Love your pears. Makes me want to sneak a bite on the backside where you won't see it.
Jenn - Your pumpkin is coming along . I was wondering how your were going to handle to dark shadows, but the darkside of the pumpkin reads beautifully.
Anita, were you able to fix your blue bottle? Was that your set up or one from the RL. I love your colors.
Dinner and then back to the drawing board. I am hopeful that I can post another WIP tonight.

01-02-2006, 10:21 PM
Nancy, the Basic 101 classes are continuos. This class will be stickied for, I think one week or so and then it drops down--but you can stay with this particular class for as long as it takes and not worry about it ever ending so jump in and enjoy! By the way, I thought te class started today and all these molasses layer speed demons are WAY ahead of me!! I am just laying down the first layer!

Cindy, I stated how I was going to proceed with the line drawing but I got to thinking that we are here to learn from you so I went ahead ad redid the line drawing completely--this class is YOUR way--I came to learn from you so I will post the new drawing when I finish the first layer on the background.

Cathie Jones
01-02-2006, 10:31 PM
Sandra, your pears are waaaaaay ahead of mine!! And I worked pretty much uninterupted from about noon on . . . How did you do the highlights?

Just did a greyscale comparison on the small pear . . . good technique, Cindy. I would have thought I was almost finished with that one, but it needs to go a little darker.

JayD, I think this lesson will be stickied for a minimum of 3 weeks. At least the previous lessons have been . . .

01-02-2006, 10:51 PM
Actually, CJ--I hope so--Mine were one week as you recall and then two weeks. Three weeks would be more then reasonalble for this subject. Here is my first layer on the background:

Cathie Jones
01-02-2006, 11:00 PM
JayD, the drawing alone is terrific. This should be a masterpiece!:clap:

01-02-2006, 11:44 PM
Wow Everyone is doing so great!

TY again Cindy and I also want to thank Troy for finding you!:clap: :clap:
You know there are so-o-o many outstanding artists over there in the cp forum. The cp guys and ladies over there are all inspirtions and we are lucky to have nabbed one to lead us.

Tess-that piece you are seeing is a part of a leaf. I do so think your ref is gorgeous!
Jeanette-you are a natural!
Alison-Looks like you've been doing cp for a long time!
Jen-your pumpkin is really beautiful!
Maria-love the work you are doing on your second drawing!
Marilyn-what can you say. If your drawing wasn't as beautiful as it is-I would think you were ill! All your work is fabulous!
Anita-that is so-o-o gorgeous!
Midge-You have nailed his face-just lovely!
Robin-I can see yours is going to be a winner already!
Keya-looking good!
CJ-you are doing so-o-o good! Those colors look wonderful!
Sandra-your pears look great!
Welcome Nancy!
JayD-like CJ said-the line drawing alone is fab!

Well here is a evening shot and it looks really bad here-but just so ya know I am working Cindy.:angel: Really there is no white in the bg. There are 8+ layers there so far and I decided to deviate from the ref there a bit and do a trans from purple to blue. Hopefully I will have time to get a daylight pic tomorrow before I go to work so you have a better idea how it is going.

01-03-2006, 01:05 AM
Hi everyone:wave:

I'm very impressed with everyone's work so far!

JayD, that is really going to be fantastic! There's so much detail in that drawing. And Judi, your background looks beautiful!

I'm going to post what I have so far. I was just going to sit down and work on it for about a half an hour since I had some other things I needed to do tonight, and I just looked up at the clock and two hours had passed! I've had a lot of fun with this, but I really almost wish I would have gone with the pepper reference photo I was considering, since I really don't know what I'm doing. I'm putting down a layer of light peach over the whole drawing and then adding other colors from there. I started with the eyes, which are obviously not finished. I'm wondering if I've been choosing the right colors? The drawing looks a lot more orangey in person.

The icky, distracting marks are scratches on my scanner. They're not on the drawing.



01-03-2006, 01:10 AM
Anne: Do you have pale sage? That is wonderful on cats eyes. I don't know if your photo shows that or not. Also your highlights are larger than the photo. But they look good. You have an excellent start. I really like it. Looking forward to seeing the progression.

I just want to say that everyone's work is great. Isn't it wonderful what you can do with CP?

01-03-2006, 01:30 AM
todays progress hard not to loose whites /every ones work looks good.
One thing I noticed is I had to develope the dark of back ground to contrast. I am pleased but feel I fall into old bad habit of burnishing too soon and work gets over worked the other thing is I sent the reference pic to compute back ground so I could see it continously and the light of computer make the colors clearer and more transparent appearing.

Robin Neudorfer
01-03-2006, 01:44 AM
Anne - I said it before, but I love this picture. I have copied it and have a line drawing to do my pre-assignment project. I hesitate to tell you this, because I love what has been done so far. Here comes the but...the perspective on the nose seems to be twisted. If you line up the line running down the front of his nose it is vertical, yet on the RI it is angled. This throws off the tip a bit. If is is a scanner problem, ignore my comment but I know if would want to know before I continued. Seems like it might be and easy fix, since you are still light in those areas.
I love the eyes, you have made them look like glass, and improved on the RI.
Judy - I love your composition. I must admit I have forgotten what your RI looks like. Are those flower bulbs?
JayD - your piece is going to be stunning. I love the background wall. I hear you though, it will be difficult to draw something that originally had been painted. I think I would go about it the same way your are, it will have a looser style putting the pattern in later than trying to follow a drawn line. I will be learning from watching your progress.
Still working...

01-03-2006, 02:05 AM
Thanks Midge and Robin for your comments! Midge, I will look for the pale sage and see if I can add that to the eyes. Robin, thank you so much for noticing that about the nose. I kept looking at it, thinking something was off. How could I have missed that? Hopefully, I can fix it at this point, so thanks for noticing!

Drawn2, your marbles are looking really good!


01-03-2006, 03:37 AM
:eek: Second day and look at how far everything has progressed!!!! I figured I had better get out of 'holidays are over take a breather' mode and get into 'back to reality'mode pronto!Here is my reference and my initial work up. I'll come back with some sort of palette after I figure one out.Brenda
http://www.wetcanvas.com/Community/images/03-Jan-2006/67372-crop.jpg http://www.wetcanvas.com/Community/images/03-Jan-2006/67372-WIP-1.jpg

01-03-2006, 06:52 AM
Wow! Everyone's paintings are GORGEOUS!!

Thank you for all your wonderfully encouraging comments, everyone.

Judi~ I, too, forgot what your RI is. What page/post can we find it in? The bg you have going looks super!

Have a great day, all. I'm off to work.

01-03-2006, 07:10 AM
that piece you are seeing is a part of a leaf.

:o Told you realism isn't my strong-suit. Whoda thunk a leaf would look like a whitish blob with some dark splotches... :o

Thanks, everyone.

01-03-2006, 07:17 AM
Sandra, your pears are waaaaaay ahead of mine!! And I worked pretty much uninterupted from about noon on . . . How did you do the highlights?
My whole picture is only 5 x 7. I initially left a white space where the picture showed a highlight and then drew a faint red line around it. The highlights shows up so light when you greyscale the ref. but look funny that white in the drawing, so I greyed them a bit with a cool grey. I don't know if you've had this problem but it is very hard to tell where the dark shadows are. I ended up getting my drawing board and sitting in front of the monitor and I still had a problem.
I'm thinking of drawing a dog next because my strokes on the pear look like fur. Sandra

01-03-2006, 07:56 AM
Love what everyone is doing! Here is my update. Twelve layers on background -added a final dark green. Will add a few more layers. Also working on tomato but no darks in yet.

01-03-2006, 07:57 AM
A super quick observation for those here who are cp experts/enthusiasts!

Do you call colour pencil art 'paintings'?

I've seen it said a couple of times here and on the cp forum, and while I've never thought of cp as being painting, but it sounds right as a description. :)

01-03-2006, 07:59 AM
Bernice! You counted every layer? :eek:

12 layers and it looks fantastic. Your tomato is coming on nicely too :)

Back to the colour pencil!

Oh, and I've managed to get a 'colourless' blender, though oddly it's sort of putty coloured :confused: :)

marilyn h
01-03-2006, 08:01 AM
Tess B. Do you see the gils and fins? I am trying so hard not to make them. Lol!


01-03-2006, 08:10 AM
Alison,:wave: LOL I kept track because I wanted to have an equal amount of brown and blue layers. I just ticked them off as I did them. It's surprising how fast they add up. Also, I wanted to know how many layers this paper would accept so I wouldn't get caught short of layers on the tomatoes. In answer to you other question. I call mine Prismacolour (substitute your brand)paintings. Otherwise, people say "Coloured pencil?" This way they ask. "Prismacolour?" and I can elaborate and say they are artist quality pencils and not just crayons and describe the technique as well.

01-03-2006, 08:17 AM
I'm so impressed with the work you're all doing in this class and also with the good feedback you're coming up with when I'm not around! Usually at night I give my eyeballs a rest from the computer, so most of my feedback will come in the early morning and daylight hours. Yesterday was a real marathon since I was working on both the Mac, for my own project, and on the PC for this thread.:D

Anita, I put all the details I can in my working drawings because the more I do there, the less I have to fiddle with my transferred version. After I've transferred, I usually spend some time reinforcing any line work that seems too light and I do a little correction, but I don't add stuff.

Jenn, yes, it appears you are doing things correctly and your pumpkin is looking fine! Continue to deepen colors overall. On the left side of your pumpkin, broaden the yellow, highlighted area make a smoother transition into the orange. Just compare closely with your ref and I think you'll see what I mean.

Tess, that area is definitely part of the leaf, so keep it in!

Jenn, you're absolutely right. Thanks for commenting!

Sandra, probably the reason you're not happy with this background is because it is detracting from the beauty of your pears (which are very nicely rendered). I think the easiest fix is to soften the background somewhat. First, evenly remove as much color as you can from both the yellow and green areas so you are back to a light foundation layer. Then, lightly carry the green all the way down to the bottom of the yellow area and carry more of the yellow into the green area. Try to keep the demarcation line between the two colors indistinct. When you're done, post again. (You might want to try a sample before you make the change in your drawing!) You won't be done with these areas yet, but I think you'll be back to a better start.

Midge, thanks for your leaf input!

Elwyn, welcome! As Jay mentioned, it's not to late to join in!

Robin, thanks also for your leaf comments!

Jay, I think your new drawing looks great, and I can practically guarantee you won't be sorry you did this. It would be very challenging to add these details later.:eek:

Judi, thanks for your comments, and you're right -- there are many outstanding artists in the cp forum. You're off to a nice start with your drawing! Could you please post your reference? I think that at the time you originally showed it there were a couple of other possibilities and I didn't pick it up then. Thanks!

Anne, your cat is progressing well! I see that Robin has already given you good advice on the nose (thank you, Robin!). Don't worry about the color so far. Your layer building will get you there eventually. What you've done on the eyes looks good.

Midge, thanks for the pale sage suggestion.

Carol, could you please post your reference pic again? The one I have here doesn't match what I'm seeing in your drawing. Thanks!

Brenda, you've gotten a good start! When you transfer your drawing, keep it simple and linear (don't transfer lines so close together that you create tone.)

Hope I got everybody! I'll check back in an hour or so.

01-03-2006, 09:20 AM
WOW!!...some great CP work by all!!

Just a reminder....don't forget to "Rate this Thread"!
It sure does deserve a 5 star rating! :wink2: :D

Murray :cool:

01-03-2006, 09:35 AM
Hi Murray :wave:

I'm not getting on so well with this today; distracted I guess! I've posted an update, but haven't actually done a great deal (that still amounts to almost 2 hours :rolleyes: ) The ref photo is on page 6 (#77)


Thanks for the painting explanation Bernice :) I can see how saying 'colour pencil' would give a few funny looks! When I first visited WC and saw the cp forum I thought it must be for children :o Now I know very differently! It has to be one of the most detailed of all the mediums (except graphite of course :D )

01-03-2006, 09:45 AM
Judi, I got sidetracked asking you to post your reference and failed to mention that your background is looking lovely!

Tess, not to worry! It's good that you asked about this before you wiped it out! :D

Sandra, don't sell yourself short on your pears! You've done a wonderful job with this subject! Post again as soon as you've softened the background.

Bernice, this is looking really excellent. Nice gradations and good color building! BTW, what a novel idea--differentiating cp paintings by brand.

Alison, a lot of people do call cp works that cover the entire support paintings. I have mixed feelings about this because no matter what I do with regular cp, it's still with a dry medium. Lately, though, I have used the term "painting" when I'm talking with people who use the word in the cp context. The best solution, if people feel awkward about the term, is probably to just call it a "piece." (Do you think I would get away with using the word "painting" in this D&S forum?:evil: )

Your latest update does show progress. Just keep doing what you're doing at your own pace and you will have a gorgeous "painting!"

And yes, the colorless blender does look sort of putty-colored. It's just unpigmented wax. Use it without fear. :)

Marilyn, I love your gils and fins! Maybe you could work them into the background?;)

Murray, thanks for stopping by to take a look! We have quite a display of cp talent here!

Cathie Jones
01-03-2006, 10:05 AM
:wave: Good morning!

Thanks for the explanation Sandra. The highlight areas look grey to me, too, and yours appear to match.

Here's where I left off last night, along with the greyscale comparison I mentioned. Guess I'll do more work on the small pear today!

Cindy, do you see anything I need to fix before it goes any farther?

http://www.wetcanvas.com/Community/images/03-Jan-2006/23460-PearsWIP_1.010306.sm.jpg http://www.wetcanvas.com/Community/images/03-Jan-2006/23460-Small_pear_photomerge.010206.sm.jpg

01-03-2006, 10:16 AM
Thanks Cindy :) And I'm sure I've seen someone call a pencil drawing a 'painting' so maybe it does cross the boards! :D

I'm having a temporary colour blip as I can't seem to read anything I'm seeing in my ref photo; this is quite normal for me with colour as I have to concentrate hard to decipher shades and tones.

CJ! Your pears look good enough to eat! :)

01-03-2006, 10:22 AM
Alison, take a piece of white cardstock and punch a single hole in its center. This is a simple color viewfinder. Next lay the viewfinder over the colore in your reference that you want to match and you should be easily able to select your pencils from there--dont forget that you may have to mix two or more pencils to get the color you are searching for.

01-03-2006, 10:25 AM
WOW CJ - Your's are fabulous!

I have lightened the background. I was amazed at how much color you can get off with Scotch tape.


01-03-2006, 10:28 AM
Thank JayD! That's a great idea. I tend to find it's good to stop when everything starts looking grey :D I've been pleased that I've managed to do the Basil using almost no green at all as I've used blues and yellows/creams to get my greens. The tomatoes have been pretty much all yellow and orange, so they've been ok too.

I'll go find a hole punch and card and try your idea now.

01-03-2006, 10:55 AM
Hi all,

Great updates, everyone! Those tomatoes and pears look good enough to eat!

I worked on mine a little more last night, even messing with the dreaded whisker area. I had impressed some lines for the whiskers, but then noticed they were not white at all, so I went over the lines with peach. I fixed the angle of the nose, so hopefully, that looks o.k. now. Thanks again, Robin! Once again, those yucky lines are from my scanner. Thanks for your comments, Cindy!


Anita Murphy
01-03-2006, 10:56 AM
Everyone is doing so well at this - wonderful rosy red tomatoes, pumpkins taking shape, luscious pears.

Cindy, you are doing an amazing job keeping up with everyone in this HUGE class!

can't get the picture to look like it does IRL


01-03-2006, 11:04 AM
Anita, that is looking really beautiful!


01-03-2006, 11:07 AM
Beautiful reflections Anita.

01-03-2006, 11:26 AM
Anne, that cat is so lovely. You're doing a great job on it so far. The love the expression. So snooty. :)

Anita, your still life looks so relaxing and calm. The colours are wonderful.

I'm watching with interest the other 'tomato people' :) in this thread and analyse each fruit to see what colours you've used as I'm doing tomatoes too.
They all look wonderful so far.

And the pears....I can taste them almost.

I think we'll all be addicted to this medium soon!

Fireman's kid
01-03-2006, 11:42 AM
Holy cow! You people sure are fast! And I think I was duped into thinking this was a beginner cp class. No one looks like a beginner here! :eek: Everyone is doing great work!! :clap:

Cindy, you are doing a fabulous job keeping up with everyone. I'm not sure how you are keeping everyone straight, but keep up the good work.

I had some time yesterday so I worked on my color palette and I have to say I feel like a dunce. :o I can see different colors in my reference but I'm not sure how to start or if the colors I picked to mix are the correct ones. I should be better at this since I work in watercolor often, but there I mix colors on my palette before putting them on paper, I don't do it in layers of pure color.

Anyway, here is a picture of what colors I think I should use and some mixes I made from them. I'll list the colors after the picture since I doubt you can read the names.


Here is the reference...

And here is the list of colors in the order they appear above (L to R and top to bottom)...
jasmine not using
lemon yellow PC915 petals and base of flower
neon yellow not using
canary yellow PC916 petals
deco yellow PC1011 petals and base of flower
yellow chartreuse PC1004 base of flower
deco pink PC1014 petals
blush pink PC928 petals
pink PC929 petals
pink rose PC1018 petals
hot pink PC993 petals
process red PC994 petals
dahlia purple PC1009 petals
ultramarine blue not using
violet PC932 petals
parrot green PC1006 base of flower
true green PC910 base
deco blue PC1015 base
light green PC920 base
apple green PC912 base
grass green PC909 base
light aqua PC992 base
deco aqua PC1016 base
peacock green PC907 base
dark green PC908 base

Do you think I chose the correct colors?

My plan was to start layering the base of the flower with yellow chartruese and deco blue or deco aqua. For the petals I plan to start with cream and deco pink. Does this sound right?

What colors would you layer in the background. I want a rich, dark background so I don't want to use grays or black.

I am starting to think I should have picked an easier reference, but I'm not ready to give up yet. I'm hoping it will all start to make sense once I get pencil to paper. Thanks for helping me out. I know I can do this, I may just be a little slow. :rolleyes:

Robin Neudorfer
01-03-2006, 11:56 AM
Slow and steady, here is my update...
I need to figure out my background.

01-03-2006, 12:32 PM
Darks added to tomato and shadows started. Using lemon yellow, orange, cirmson, red, hot pink, dark brown, and a little ingigo blue.

01-03-2006, 12:50 PM
Tess B. Do you see the gils and fins? I am trying so hard not to make them. Lol!

No... But if I squint, some of those leaf shapes are awfully school-of-fishy... lol

So I've had an eraser catastrophe, gouged the paper & will need to start over. :crying: :o so before I do that I thought I'd post and make sure I'm on the right track. Original post is on pg4, #53.



01-03-2006, 12:57 PM
CJ, you've done a lovely job with strokes and blending on your pears. One thing you could change on the right pear is the same thing I noticed when Sandra started her piece--the left side of that pear looks a little too red compared to the reference. The values look right, but the color needs to shift towards the greenish gold a bit, especially at the top.

Alison, your problem seeing color doesn't seem to affect your work in an adverse way!:)

Jay, thanks for the viewfinder tip!

Sandra, I think the background looks much better now. I would lighten the yellow even further and run the green over it right to the bottom (but don't obliterate your cast shadows).

Anne, you've done a good job fixing the cat's nose and the whiskers look very natural (per the reference). Carry on!

Anita, the highlights on the bottles look brighter now. What did you finally end up using to lighten those areas? Your reflections are very nice. This is lovely, soothing piece.

Jeanette, I agree that colored pencil can be addictive. Some days it's terrifically hard to leave my board and get meals on the table!

Stacy, I see a lot of color in this image, too, but I don't think you're going to need as many as you've shown. I believe I would start the foundation layer of the petals with Deco Pink (where pink is obvious) and Cream blended with Deco Pink in the lightest areas. I'd stay away from the Hot Pink altogether at this point. For the base and stem, I would start with an application of True Green with maybe Apple Green toward the right side of the image. Keep your pencils sharp and strokes light and close together.:)

Robin, you're good so far. Work at your own pace . . . you know by now that this medium is anything but fast!:D

Bernice, you have a really nice touch! Your tomatoes are going to be luscious!

Tess, you are very much on track with your layering. Are you sure you can't patch up the paper? Where is the gouge located?

01-03-2006, 01:32 PM
First I would like to compliment everyone on their beautiful work. I'm inspired by all the wonderful artists we have here. It's clear that we may be new to cp but not to doing art. Great work everyone.

Here is where I am now after spending most of the day yesterday on this piece. I started over, as you know, and decided that the palette that I was using on the first piece was wrong. I was using the colors that were suggested in the color theory class. Stupid me....I figured that those 14 colors would be enough to do anything. Well I was wrong. Here is my new palette.
My Ref.

Now I'm getting nervous about getting darker and maybe losing some of the areas that I've developed on the foreground pepper. I guess it's slow and steady from here on out. I now got about 9 hrs. into it.

Your help is much needed at this point and appreciated. Thanks Cindy. I'll be rating this thread as excellent.

By the way, for those of you who are wondering about an automatic eraser. I bought a Sakura and used it for the first time yesterday. I had lost one of the highlights in the rear red pepper and I lift, almost all the color, off the area that I wanted. Even surprised me how well it worked.

Mary Woodul
01-03-2006, 01:38 PM
Oh, I feel like shrinking under my seat!:o Midge, Sandra, JennN, Karža, Bernice, Marilyn, Carol, Tess and Keya, you all a great CP artists and are doing incredible work. What an eye treat to see it.

Anita, Alison, Judi, Jeanette, JayD, CJ, Anne, Brenda and Robin, my dear 101 class mates and teacher, you all have turned out to be great CP artist too and I am falling behind. Stunning work from you all!

Stacy, your not alone, I thought it was also for beginners and I'm afraid I'm the only one.:eek:

Cindy, I don't know if I understood about the markings for the shadows and I put them on my work sheet, as reference. I marked in the eyes a little lighter than they are to be able to correct them. I have put in one layer of each color but also didn't understand if I was supposed to keep layering or not.

Link to reference pic. post 37 http://www.wetcanvas.com/forums/showthread.php?t=316172


01-03-2006, 01:53 PM
I am still scumbling along on mine, Mary!!! You're not that far behind!!! Regarding palettes, I did some research and found a lisitng of Monet's primary pallette--its in French of course but I am going to see if I can cross reference the names with my cp--I figure it may save me an awful lot of hassle. OH, I using the scumbling technique because I figure that is the best way to simulate the texture on the wall.

01-03-2006, 03:04 PM
WoW!!! It is amazing what y'all have accomplished already! ...and cp has a reputation for being a slow medium!

I am getting a slightly delayed start due to some unplanned holiday visiting.

Here is my reference picture and my transferred image. I used brown pastel initially them brushed the pastel away and went over the lines with erasable Tuscan Red.

I am using a 11x14 sheet of white Stonehenge but am only using an 11X9 area for the image. My plan is to use the extra space to practise blends and try out colors.

Cindy Great set of instructions. Very detailed! Thanks!!!!!


Fireman's kid
01-03-2006, 03:07 PM
Stacy, I see a lot of color in this image, too, but I don't think you're going to need as many as you've shown. I believe I would start the foundation layer of the petals with Deco Pink (where pink is obvious) and Cream blended with Deco Pink in the lightest areas. I'd stay away from the Hot Pink altogether at this point. For the base and stem, I would start with an application of True Green with maybe Apple Green toward the right side of the image. Keep your pencils sharp and strokes light and close together.

Thanks Cindy! I'll start with that. :)

Mary, it looks like you are doing fine so far! :) But I would be pleased if you kept me company in the back of the class. :D

01-03-2006, 03:09 PM
Thanks Cindy! I'll start with that. :)

Mary, it looks like you are doing fine so far! :) But I would be pleased if you kept me company in the back of the class. :D

Not to worry...I'll be back there with you for sure.:cool: These guys are way to fast... even for me.:D

01-03-2006, 03:37 PM
Here's my reference and outline. I was going to start coloring, but realized I need to put up the reference and line drawing... The green scribbles are my color pallet... (beginning)


Cathie Jones
01-03-2006, 03:52 PM
Cindy, I tried to get the green back and IRL it appears that I succeeded, but the scanner only wants to pick up the yellow. I tried adjusting it in Photoshop, but the green just isn't there to be enhanced.

Does the red still need to be toned down? I'm also not pleased with the highlights, but don't know what to do with them. They're much whiter IRL than on the scan.

Hi Stacy and JimJoeBob! Tia, I saw your ref first and thought it was your painting!!

01-03-2006, 03:58 PM
AAAAARGH!!!!!! The battery life on my laptop is at 4 percent--I thought I had it plugged in.

CJ--those pears are amazing--

Joe and Stacie--you guys are not that far behind!!

I was getting ready to post the next stage when I realized my laptop was in need of some serious juicing! Will post later tonite!

01-03-2006, 04:04 PM
Me again :rolleyes:

Another bit done after my colour free break. I've discovered how nice the blender is :D It really loses those pencil lines!


And I promise not to post another update until I've finished that Basil leaf!!! :evil:

**NB I'm adding a greyscale copy of what I've done so far. Kinda fell in love with that one :rolleyes:

01-03-2006, 04:05 PM

There's a lot of stuff going on here! If I should accidentally miss one of your posts or fail to answer a question, hit me again!

Maria, I'm so impressed with what you've done on your peppers! You are trusting your eyes to see the colors correctly and it's working for you. Just keep building slowly, trying little samples when you're not quite sure which way to go. As for the dark area on the front pepper, it looks like a heavy blend of olive green and crimson red. Take it easy laying this in, and you'll get there. Let me know about any other specific areas of concern.

Thanks for your rating on the thread! I think every one of you deserves a five-star rating for your efforts!:D

Glad the Sakura worked for you. I absolutely love mine!

Mary, you've done well with your initial skin layer and you've done exactly the right thing with the eyes. Now I would start laying in the hair color so you have a bit of a framework for the face. If I didn't mention this before, a light Sienna Brown would be a good foundation color. Be sure to have your strokes follow the directional flow of the hair sections. This is one area where many long strokes work to your advantage, giving the hair a realistic look.

What method did you use to transfer? If you used the direct method (window or light box with your support on top), you might want to transfer any shadow lines you added to your working drawing before you apply more color.

Jay, you're really approaching this scientifically! I'll be curious to know how your cross-referencing turns out.

Joe, your transfer looks fine! BTW, I think it's especially good to reinforce transfer lines in critical areas that you absolutely can't afford to lose.

Tia, I would put all of the leaf veins you can see in your reference in your working drawing, as well as any other detail that's clearly visible.

CJ, I see a faint pink in those highlights, like a light flesh color. Do you see that, too? I've seen this in apple highlights when doing my own work.

Keeping in mind what you're saying about scanning, I think the right pear looks great!

Jay, looking forward to see your next post!

Alison, this continues to look wonderful! Glad you're enjoying your colorless blender. :D

Cathie Jones
01-03-2006, 04:08 PM
Cindy *smack* you missed my question . . . post #138

Thank you JayD. I really like CP, but I think my eyes are falling out . . .

Alison, your veggies are looking sooooooo good!!!!

01-03-2006, 04:10 PM
Anita, You hot dog!!! Your piece is only nine miles from stunning!!!

HI MARY!!!!! Its taking shape--You definitely have to nail the eyes first!

Anne--I love the eyes on your cat--I hope to get up the courage (put 'em up! Put 'em up!!!!) to do Bailey in CP one day and actually do him justice. To get the right effect I will have to lay down on the floor and draw with my eyes half open while drooling lazily on the floor!!! Anyway, nice progress on your kitty!

Joe, thatts a great line drawing!

Maria, great pallette--its starting to take shape!!

Tess, cps often go through what artist refer to as an ugly stage--pieces with those stages end up producing the most beautiful pieces--dont fiddle too much--lookslike your are right on track!

Brenda--Wow on the tomato--thats a sandwich waiting to happen!

Stacie--good color choice!

Robin--are you going to use a different background then what is in your photo ref? It looks terrific so far.

01-03-2006, 04:11 PM
Okay, I tried to lighten the orange and add more yellow. But I think I need to do more....(?)

01-03-2006, 04:15 PM
Cindy - Here is what I have done. From the greyscale, it looks like I need to darken both pears. What do you think?

CJ - I had the same problem with green showing up in Photoshop.


01-03-2006, 04:31 PM
Cindy *smack* you missed my question . . . post #138

Thank you JayD. I really like CP, but I think my eyes are falling out . . .

Alison, your veggies are looking sooooooo good!!!!

LOL I think our messages crossed in the mail! I was adding even as you were speaking! Anyway, it's there now!:D

01-03-2006, 04:36 PM
Okay, I tried to lighten the orange and add more yellow. But I think I need to do more....(?)

Jenn, you've done the right thing by giving the yellow more emphasis. I think now it's just a matter of all-over darkening.

01-03-2006, 04:38 PM
These all look so great!!! Alison... I love the strainer handle...

CJ: The highlights look good on my side, no green ... but you've done a great job.

Sandra: looks good!!!

JennN: They look so good!!

01-03-2006, 04:39 PM
Cindy - Here is what I have done. From the greyscale, it looks like I need to darken both pears. What do you think?


Sandra, yes, I think both need darkening. Just take it slowly and try layered samples if you're not sure what color you need to add next. Whatever purple you used on the left pear was a good choice.

01-03-2006, 04:40 PM
Thanks CJ, Cindy and Tia :) Tia, that handle has taken about 40 minutes so far!! lol.

01-03-2006, 04:42 PM
Stacy, Mary, Joe - please let me join you at the back!

I cannot believe how fast everyone is working...I am a beginners beginner.

Cindy, it is so good of you to teach this class and what fantastic work everyone is producing - I am embarassed to post mine so far. Took a pic of line drawing (couldn't get near computer for rest of family to scan it) but it didn't turn out very well and I wanted to get started....

So here's what I've done so far, with the reference picture.
1st posting.



Pic from ref. library - many thanks!

Palette - I've used so far:-

Cream, Light Peach, Deco Pink,Raw Umber, Burnt Umber, Peach, Green Bice, Black, Indigo Blue, Cloud Blue, Blue Violet, Black, Dark Brown.

Karisma (Prismacolor) on Stonehenge.

Just wondering about modelling on face now, have started a bit with the deco pink, but don't really know what I'm doing. Do I just get darker in the areas where I need it and then blend in?

Thank you!


01-03-2006, 04:43 PM
Are you sure you can't patch up the paper? Where is the gouge located?

I don't think so. Here's an enlarged detail of the damaged area.


Note to other artists: Don't let your white "click" erasers get too small. Mine broke off and the hard plastic edge of the holder skittered into the paper. :( I tried filling in the gouge with color, but all it did was make the paper pill up & shred... So unless someone has a magical suggestion, I think I'm starting over.

It *is* encouraging to know I'm not completely botching it up. Thanks for the compliments, everyone. Looking at what's being produced here, I'm completely blown away.


Mary Woodul
01-03-2006, 04:47 PM
Thank you, Cindy. The transfer method I used was filling the back of the drawing with pastel pencil and tracing over the drawing. I traced another on tracing paper to work on and that is where I have the shadow indications. I hadn't thought of the window being used like a light box. I will do that, Cindy.

Hi JayD! Thank you and I will work on the eyes!

Cathie Jones
01-03-2006, 04:50 PM
Thanks, Cindy. I should have known you'd catch it. I'll try a little flesh color in the highlights. Other than that and some blending, is the little one done?

Tess, I have a problem with some 'dents' in the paper from the transfer, although I used pastels and tried not to push too hard on the pen. Maybe when you're finished darkening the petal it won't show . . . ;)

Anita, how did I leave you out??? Your painting is absolutely fantastic - as always!!!

Mary Woodul
01-03-2006, 04:50 PM
Alison2, your welcome with us, the more the merrier and Stacy and Joe are a riot, I'm an angel.:evil: :angel:

01-03-2006, 05:17 PM
Alison2--that little girl is real cutie pie!!! Great start!

Thanks, Mary!!

Here is my progress so far--I am into about 9 layers at this point-still slowing building--I am thinking I should touch this off with with either a slate gray or an olive green THEN wash it with a canary yellow. any thoughts?

01-03-2006, 05:23 PM
Alison2, You've got a great start here! Don't use the Deco Pink on the face just yet. Stick with the Light Peach and Peach to start building up the color. The eyes look great (seem to be tracking well) except you'll need to soften the eyelashes a bit; they're not so distinctly separate in the ref.

Tess, with a blunt white pencil, try very carefully stroking the problem area so that you begin to fill the dark abrasion and make it more the surrounding color. If you work at this carefully and the area becomes smoother, you can lay color over it. If this doesn't work, at least you have the knowledge that you are absolutely going the right direction with your piece!

CJ, yes, I think the right pear looks done! Very nicely done, too!

Robin Neudorfer
01-03-2006, 05:49 PM
WOW! I think everyone should feel so proud of what has been accomplished in 3 days. I run an errand and have 3 pages of posts to catch up on.
Cindy you must have a flow chart to keep up with everyone. I am learning so much by checking your comments to the posted drawing. Thank you for communicating so clearly.
JayD - I have been thinking I would change the background some. I drew in some small tiles as you might see on a (contemporary) backsplash. I tried one in the upper right corner, and I am second guessing myself. I think I will try some options on other paper. My thinking was a flat dark background would be too...predictable...what are your thoughts?

01-03-2006, 06:06 PM
I actually have drawn several versions of mine on different sheets of stonehenge--one I drew using a grid and left the grids unerased a the bottome. I fill those with my "color experiment"s and then move what I like to the main body--marking the numbers of the cps I will use. Then I move over and appy to the good paper.

I think you are on the right track experimentiing--the swashes are a great idea.

I dont think flat, in colored pencil, will be unpredictable because you are using several different colors to make those layers and that is always interesting--to understand how the artist did it. The best judge would be to make sure that the background complements not overwhelms the subject.

Robin Neudorfer
01-03-2006, 06:23 PM
JayD, I think you have helped move me along. As I look at the colors in yours I see another direction for me. I tend to get so caught up in designing my work that I forget what I am trying to "say". I think I know now what to do...Your a gem!

01-03-2006, 06:31 PM
Hi everyone!:wave: Everything is looking so wonderful!
I think I will try my hand at marbles or glass sometime in the near future. It doesn't seem to be as scary as I originally thought <gulp!>
And I'd love to learn to do fur.
So many projects, so little time! LOL

Cindy~ How do we know when something is done(with the coloring at least)? With this being my first official cp project, I'm not really sure how to tell. I'm thinking we wait for the teach' to tell us? :D

Cathie Jones
01-03-2006, 06:36 PM
Thanks, Cindy. Now . . . more work on the big pear. I went to Michael's and they have maybe a couple of dozen Prismacolor CPs - I'm not kidding! That place is so lame, and the only 'art' store in my area. They did have a Black Cherry, which I'm anxious to try.

JayD - looking good!

Mary Woodul
01-03-2006, 07:05 PM
JayD, I love that blue in the bg. It is looking fantastic!

CJ, the sheen your pears have is so realistic and Alison your tomatoes started looking beautiful from the start.

JayD, I can't work on the eyes anymore, until I get the skin around the eyes to be able to put in the eyelashes.

Cindy, I put in some hints of shading where I see the shadows, with a mineral orange and put in some hair strands with the light sienna.

Do I continue layering the skin tone with the same colors I started with?


Mary Woodul
01-03-2006, 07:17 PM
Cindy, I made a mistake on the color of the hair foundation. I used a light umber.

01-03-2006, 07:20 PM
I simply love how everyone is doing so amazingly well on this class!

The colours are stunning and how they are developing is a joy to watch.

Stacy and Mary, you're taking your time and that's a good thing. Your pieces will be beautiful as always.

JayD, I'm amazed at the complexity of your piece and how you're methodically tackling it. Looks great so far!

I've put about another 3 hours into mine and the computer that my scanner is hooked up to is protesting about working so I had to photograph the update. The quality may not be perfect and hopefully I'll have the scanner working for the next update.

Many thanks again Cindy for taking the time to deal with all of us here. You're a good person.


God's Delight
01-03-2006, 07:31 PM
I am apprehensive about posting my work. I am just playing around with color on copy paper. Can't post the ref because I did this practice while looking at the computer screen(can't print it out with any quality),waiting for my sister to send me the photo(it is my niece).
Beachwalker -thank you so much for doing this class. I have enjoyed your WIP portraits on the colored pencil forum very much.:clap:
The actual portrait will be on Stonehenge 11x14 if that is okay, I klnow it is a little larger than recommended. Will be my first opportunity to color on good paper.

Hope I didn't miss some other necessary enrollment procedure.:eek:
Again, thank you Beachwalker, and I am enjoying everyone's work!


01-03-2006, 07:49 PM
Jay, before you move into another color, it looks like you might need to do a little more blending on the good colors you have now. Does this make sense? The ref background looks fairly smooth.

LOL, Robin, I hear you! Just eating my dinner and cleaning up leaves me with big catch-up!:D

Jenn, such a good question! When will you think you're done? What does a value comparison tell you? If you want to know my opinion, I'll be glad to give you one, but it might not agree with yours.:D I think we'll both ultimately agree, though!:)

CJ, you were lucky to find Black Cherry! I have never found that color anywhere on the Cape. It's a wonderful color!

Mary, your start on the hair looks great! Not to worry about the light umber. You will be layering over that. Now indicate the mouth with a very light pink, and continue with the skin tones in Light Peach and Peach.

Jeanette, you are getting wonderful depth and color in your tomatoes piece! Very lovely work!

Toni, welcome to the class! We'll look forward to see your reference and your Stonehenge startup! BTW, the only problem with the larger size is that it might not fit your scanner. Can you confine the image area to 9" x 12"?

Bernice, if you haven't tried an electric eraser, you might try, very carefully, with a sample first, something like what Janie Gildow has suggested: Dip a Q-tip in a little bleach and touch very lightly to the stain, then immediately use a paper towel to absorb the bleach, then touch with a new water-filled Q-tip, followed again immediately by paper towel to absorb the excess. Let me know how this works for you. I haven't ever tried it on my own work, but it does make good sense as a possible solution for stain removal. BTW, your tomatoes look fabulous!

A final note for this evening: You guys are so welcome to whatever I can give you! You have given me much in return. Many, many thanks for your support on this thread!:)

01-03-2006, 07:53 PM
Here's an update on the tomatoes. The right-hand one is pretty well done and working on the left-hand one. Made a smudge on the white Between the tomatoes) and couln't quite get rid of it. Any tips Cindy?

Mary Woodul
01-03-2006, 07:55 PM
Thank you Cindy, I second Jeanette's comment to you and thank you for your generosity with your time and knowledge.:)

Jeanette that tomatoe is so tempting, it is beautiful!

01-03-2006, 08:26 PM
this is the reference pic

01-03-2006, 08:35 PM
Thanks, Cindy--I'm on it--I figure I have a few more laye3rs to do before I add the finals. Thanks! Its funny because I use the scanner as a "second eye"--on my board--it looks all blendy but the scanner sort of rips away that illusion. Well, back to the board, Teach!!!! Don't give me that Dunce cap just yet!!!!

Anita Murphy
01-03-2006, 09:34 PM
I’m working backwards through the thread to comment on people’s work :eek: just noticed there are 11 – no 12 pages already!!!

Bernice – your tomatoes are looking great. Isn’t amazing how many layers you need to build up that red?

God’s Delight – this is going to be enchanting!

Jeanette – another luscious tomato!! Great darks!

Mary – what a lovely girl! (Is this one of your grandchildren?) The eyes are coming to life!

JayD – wo – are you going to have fun with all those fans!!!! Thank you for your comment on mine - I had hoped to be closer than 9 miles though :p

Alison2 – another lovely little girl!

Sandra – your pears are going to be lovely. Isn’t greyscale great – such a help!!!

JennN – your pumpkin is coming on really well. Great highlights.

Alison (artstuff) – WOW girl – this is fabulous, can’t wait to see how you tackle that shiny metal! The tomatoes, basil and garlic are super.

CJ – those pears are superb! I don’t know why you don’t like the highlights, I think they are fine.

Tia – that rose is going to be very nice. I really like the blues on the leaves. (I am doing roses in oils at the moment)

Anne – your cats eyes are really nice. Very realistic.

Stacy – great perspective on the gerbera – I’m going to be watching to see how you handle this as I have done this one in acrylics.

TessDB – ouch, bet that hurt gouging the paper. Hats off to you to starting again. Sort of thing that would have made me throw in the towel! Good luck with your next one!

Cindy – I used a clickable eraser and just dabbed at the colour till it came off. Have hinted to my hubby that an electric eraser would be nice to have – luckily its my birthday this month so I might not have long to wait!

Maria B – peppers have such an appealing shape to me – rather like pears. Nice start on these.

Joe – looking forward to seeing the aubergine and peppers.

Have I covered everyone? Nope pages to go!!!!

Ooops missed Judi! - Judi nice rosebuds ! Not really sure why you are taking this class as you are already SO good with CPs. I forecast a masterpiece!

Drawn2/Carol – hope you don’t lose any of your marbles along the way :p They look very glassy already.

Dippin’colors – this is going to be nice too. I think you can learn so much from copying a master.

Marilyn H – fabulous bunny wabbit! Methinks you’ve done this before!!!

Mauricar – the portrait is going well. All of you doing portraits are SO brave!

RobinN – Hope the migraine is better – I suffer too so have huge sympathy for you. I always feel totally rung out for days afterwards too. I really like this garlic ref picture. Nice start!

Keya – nice tomato.

Thank you everyone who commented on mine. Someone asked if it was a pic from the library - No, it is my own.

If I missed anyone I hope I'll catch you next round of comments! :D

01-03-2006, 09:41 PM
Anita, thanks! I really, really want to start those fans.

Cindy is this ok for blendy. I am still thinking it needs a layer of slate gray--no longer leaning toward the olive green. Thanks for the advice!!! I think the gray will help subdue and bring everything together. Thoughts?

Cathie Jones
01-03-2006, 10:28 PM
JayD, you really should start those fans!! :D

Last update for today http://www.wetcanvas.com/Community/images/03-Jan-2006/23460-googleyesmilie.gif

The dry blender wasn't doing what I wanted, so I decided to try the wet blender that came with a CP 'set' from Michael's. It's like a water brush but with a liquid blender inside. It worked much better and I'm happy with the small pear now. Thanks for the tip for the highlights, Cindy!

There are about 5 layers on the large pear now. I put some black cherry in the darker spots and like it. I think the next step will be to tone down some of the crimson red with tuscan red and more darkening on the bottom half. Does that sound right?

Posting ref again also for comparison . . .
http://www.wetcanvas.com/Community/images/03-Jan-2006/23460-PearsWIP_3.010306.sm.jpg http://www.wetcanvas.com/Community/images/03-Jan-2006/23460-Pears1.ref.sm.jpg

01-03-2006, 10:28 PM
After comparison, I feel I'm getting closer...

01-03-2006, 10:37 PM
ha-ha Anita! I have no clue what i am doing. I have lifted the same bud 5 times already this evening. Not happy:(
LOL-I think w/ the bg I have i can turn it into a family portrait of aliens! That's what it looks like if you look at my posted bg.:D

Troy Rochford
01-03-2006, 11:13 PM
Cindy - hats off to you for the job you're doing of keeping up with all of these posts! We knew it was going to be pretty chaotic opening it up to everyone who wanted in, but this is even crazier than I expected! You're doing great following up with everyone.

Okay, now I cheated in the interest of time and only popped in and read the last few pages, so I'm sure I will miss about seventy-five people, but I wanted to post some observations before getting back to work...

Jay- looking good, man. Let's go with the fans!!! Hurry!!!!

CJ- I'll leave the nuances re color to Cindy, but from where I'm sitting those pears look great! I know you work in color but I've never actually watched a progression of one of your works in color, so this is very interesting!

Mary- Wow, you're really doing a great job on this portrait. I'm watching this one closely with interest!:)

Anne- the kitty is looking terrific. I honestly can't remember how much experience you have with cp, but it looks like you know your way around colors pretty well. Very impressive:)

AliSTUFF!!- Didn't you say you're colorblind? If so, then I'm just speechless over how this is looking. I seriously don't understand how you could produce something this complex in color without being able to see what you're doing. Great work so far!

Bernice- this is looking really good!

Jeanette- looking good so far. Making me hungry!;)

Judi- I guess I didn't go back far enough to see yours, or I missed it, but I'm very familiar with your color work so I seriously doubt it looks as bad as you seem to think. I'm sure Cindy will be able to help you with whatever has you stumped. If she doesn't, throw a paper airplane at her. She hates that!;)

Great job everyone!

Cathie Jones
01-03-2006, 11:23 PM
Thanks, Troy. I love color and my watercolor training (such as it is!) helps with CP. Actually, I think I like CP just as much as watercolor . . . it's just slooooooower!

01-03-2006, 11:52 PM
Troy, the color sucks--I am scrapping this one and starting again--we had better have three weeks! If anybody can help me--I need to identify the colored pencil equivalents of the following Oil colors:

Colbalt Blue
Cadmium Yellow
Emerald Green
Alizarin Crimson
Burnt Sienna (I may have this one)
Prussian Blue

This is part of Monet's Pallet--I have the other colors-lemon yellow, vermillion, silver (that is a surprise).

If anyone can save me some time by identifying their cp equivalents, I would be eternally grateful.

01-03-2006, 11:55 PM
todays progress 1-03-06 back to the drawing board I am honored to be in such a good class Thank you

Troy Rochford
01-04-2006, 12:06 AM
Jay the class will definitely be three weeks long at minimum, and I am probably going to extend it for a fourth week. We'll play that by ear.

01-04-2006, 12:34 AM
This is unfriggin believable--Thanks Troy--will need the extension but listen to this. When I scrapped THIS version--I did some research and discovered that this painting was done in 1876--hence the lemon yellow and the burnt sierra. The other thing that I did not take into account was that Monet had eliminated BLACK from his pallet and was relying on a mix of greens reds and blues and the like to create his own blacks--he kept his colors limited and would change them out on occasion--in some of his paintings the shadows are violet.

Well, I pulled out some old software that I had that does primative color analysis and there it was --the computer kept telling me blacks and whites and I was seeing other colors as well. So I went to my pallete chart and pulled out a black pencil and went over the Aquamarine, canary yellow and violet and there it was! The background--black was uh humm--the color missing from the background.

So onward I go!!!

01-04-2006, 02:57 AM
I am so glad to hear there is going to be an extension! I have a family matter that is going to take me out of town and away from a working computer for awhile so I will post what I have and (hopefully) be able to work on it while I am away and post again when I return. I am still laying down basic colors getting close to what I want then moving on to another area. It keeps me from a] getting careless and just slapping color on b]getting bored or frustrated c]better overall feel of canvas color,form, strokes, ect. I have papers all over my studio where I blended colors just to find what I need, still searching for some.The ref is a bit washed out..IRL it is brighter and more colorful.Thanks, Brenda
http://www.wetcanvas.com/Community/images/04-Jan-2006/67372-crop.jpg http://www.wetcanvas.com/Community/images/04-Jan-2006/67372-WIP-CP-1.jpg

Robin Neudorfer
01-04-2006, 03:42 AM
Where is that picture located JayD? What museum? I think along with all of your studies you need to take a field trip to do more research. Perhaps we could take up a collection. I am impressed! I am glad that you are able to work out your color difficulties. I thought you might have to pull an all-nighter to finish before the teacher came back to class.

Troy, you say three maybe four weeks. You mean I don't have to stay up until 1 am?
I am enjoying this so much that I have to push myself away from the table, when the eyes go fuzzy. Actually have an eye appt. next week to get some stronger eyes.

Well here is where I am after...? ...many more hours.

01-04-2006, 03:42 AM
Gosh. I just love this piece. I forget who the artist is. Would you please post that information. Thank you. You are doing well so far. Looking forward to seeing everyone's finished work. Isn't this fun!?

01-04-2006, 03:44 AM
Robin, we posted at the same time. I like your piece also. Where is the reference picture? You forgot to post the page and Item #.

01-04-2006, 04:35 AM
AliSTUFF!!- Didn't you say you're colorblind? If so, then I'm just speechless over how this is looking. I seriously don't understand how you could produce something this complex in color without being able to see what you're doing. Great work so far!

Cindy, present, Tory, thank you :) I really am enjoying this project!

Troy, not totally colourblind! I'd have kept well away if I was :rolleyes:

I've got poor colour vision on green and reds and all shades pertaining to them. I am also now struggling with deep blues, but not to the extent that I am not seeing any blue at all. I've got some good colour memory, which helps a lot, not to mention that I can make colours using what I can see. For instance, blue and yellow make green, so I know if I can see a leaf with shaddow, it's going to be darker and lighter greens which I can make up with pale to dark yellow with dark and light blues added to it. The overall effect can be evened up with another layer of yellow (deeper for a glossier leaf, lighter to white for a lighter leaf) I'm learning a LOT about colour blending in this class, more than I ever have done with watercolour or acrylic, and I'm finding it very exciting that I have more control over the colour I am creating -rather than just dotting on colour and watching it dry, hoping it will look ok- I can actually create the right shade I need, even if it does take 9 layers to do it lol.

I also make use of my family who are all very good at telling me if something doesn't look right :)

01-04-2006, 06:18 AM
Jay, I am glad you have decided to redo your piece with a different background, and I applaud your research efforts to get where you want to be with this piece! When I saw the post that had gone to dark green, I was pondering how to tell you to get back to a lighter, more neutral tone. The color that I see in the painting's background is more like what I would call sage green with purplish overtones. I'm thinking you will need to build this carefully with fairly fine strokes so you don't overpower the delicacy of the fans. BTW, I was not surprised to learn that Monet had eliminated black from his palette. I rarely use black, and apparently with good reason.:)

CJ, yes, what you have suggested for your next applications sounds right!

Jenn, yes, it does look like you are getting closer. Looking forward to your next color post!

Judi, could you please post your reference? I've been keeping a desktop file of all of the class images for easy reference, but I missed yours the first time around. Thanks!

Troy, thanks for checking in and for your comments! Yes, it has been a little crazy, but fun crazy!:D I am really excited about how well people are doing in this class!

Carol, this is a nice interpretation of your reference. The surface under your marbles looks incomplete, but I assume you are still working on that. BTW, thanks for re-posting your reference!

Brenda, you've made good progress! Thanks for your explanation of the color difference. I would have pointed that out if you hadn't mentioned it.

Robin, your garlic is looking great! Your very light touch and delicate layering will result in a really lovely piece.

Alison, your explanation of your color vision problems is really interesting. It's so fortunate you're able to make adjustments that allow you to do beautiful work!

01-04-2006, 06:34 AM
You all work so fast! Cindy, are you having to get up an hour earlier JUST to catch up here? :D

A little bit more; I've moved onto the collander *gulp* and it's as hard as I imagined it would be. I've barely started it at this posting, but there's enough to see that I have started! :cat:


01-04-2006, 06:53 AM
Hi Cindy,
My ref is in post 33 but I will post it again here (http://www.wetcanvas.com/RefLib/showphoto.php?photo=56100).
It is not working out at all so I will probably select another. Will look around for that today. 9 hours down the drain. :(

01-04-2006, 06:56 AM
I'm starting over. Which is ... good. :rolleyes: Feels more normal. :D I very rarely start a piece that I don't need to scrap & start again within the first day or so. So this actually feels more like my comfort zone... :eek: Scoot over JayD. You and I can hang out in the "restart" corner. LOL.

So in that spirit, Cindy? :wave: Hi. How faithful do you want our end product to be to the colors in our refs? Since I'm starting over anyway, I tried to color correct and get a printout that matches what I'm seeing on the screen. It ain't happenin'. If I get the orangey/red right, the green is out of whack, get the purples right, and nothing else is...

Thanks for the nice comments, everyone. Update soon.

01-04-2006, 07:03 AM
I think that this site has officially been going on for 24 hours straight. Alison was on at 5:34 a.m. and I logged in at 5:29. I guess this happens often on WC, but was the first time I was really aware of it.

I am truly amazed at the wonderful work on this site. I won't name each and everyone, but everyone is so very talented. I have loved drawing my pears although I know I need a lot more experience. My original intent was to learn portraits in cp, but now, for the first time, I am interested in fruits, vegetables, flowers and cats even.

Cindy, you have been so kind and patient. I am so glad you did this class.
I think my pears are so so, but not bad considering how little experience I have with cp. When I finish my pears, can I possibly start another piece or should I make room for another student?


marilyn h
01-04-2006, 07:54 AM
Still needs tweaking!

Yes, I have done this before. I also have to learn discipline and need critiqueing from a professional CP artist. Learning is ongoing.
When you go to workshops. There are several different stages of learning. Everyone learns from each other.

I have so enjoyed watching and learning from each individual.

Opps! This couldn't be helped.

01-04-2006, 08:16 AM
Alison, the colindar is looking great and the colour is amazing. Marilyn - love the bunny. Here is the second tomato almost finished. I can see from the scan that I need to darken in a few places. I didn't try the bleach yet Cindy and I managed to cover one spot. Just a little smudge left now. I'll wait and see what develops.

marilyn h
01-04-2006, 08:21 AM
Your tomatoes are coming along great.

Troy Rochford
01-04-2006, 08:25 AM
I think that this site has officially been going on for 24 hours straight. Alison was on at 5:34 a.m. and I logged in at 5:29. I guess this happens often on WC, but was the first time I was really aware of it.

I am truly amazed at the wonderful work on this site. I won't name each and everyone, but everyone is so very talented. I have loved drawing my pears although I know I need a lot more experience. My original intent was to learn portraits in cp, but now, for the first time, I am interested in fruits, vegetables, flowers and cats even.

Cindy, you have been so kind and patient. I am so glad you did this class.
I think my pears are so so, but not bad considering how little experience I have with cp. When I finish my pears, can I possibly start another piece or should I make room for another student?


Hi Sandra,

Cindy emailed me and asked about this, but I'll go ahead and answer here for the benefit of anyone who has the same question. YES you may start another piece if you want to. You are free to remain in the class until the class ends. However many pieces you get done in that time frame is entirely up to you.:)

Anita Murphy
01-04-2006, 08:28 AM
Huh Troy - I see I don't get a mention! *sulk*

CJ - I like the sound of this wet blender - can you take a piccy to show us?

01-04-2006, 08:35 AM
Bernice, thanks. I like how your bg pushes the tomatoes forward. Definately worth all those layers of cp! :)

Troy Rochford
01-04-2006, 08:38 AM
Anita I already told you I thought your work looked good, silly. Last night wasn't the first time I commented on this class - you just weren't paying attention!:)

01-04-2006, 08:59 AM
LOL, Alison, no I don't get up any earlier than I always have. I'm just an early bird, usually waking up about 4:00 a.m. For sure I don't stay up to watch the late news! :D

Just noticed a minor detail in your piece that you could improve in about two minutes: On the center tomato, it looks like the "holes" could be a little more clearly defined as they are in the ref. So far your collander looks great.

Judi, thanks for the info. When I looked at your earlier post, my eyes just skipped over the word "ref.":o I'm sorry to see you abandon this subject because your background looked lovely and the overall colors are beautiful, but I'm looking forward to seeing what you'll choose next.

Tess, I hear you on starting over. I've done that many times myself because often the first time just seems like a practice round. Your prep work on your project has been exceptional. You have nice experience now to apply to your next round.:)

I wouldn't fret too much over color matches. Just get as close as you can. The whole idea, really, is to learn color mixing by layering, not replicating colors perfectly.

Sandra, thanks for your comments! You have done well with your pears and have learned a lot, I think. Per Troy, you can stay on and post as many pieces as you feel like doing!:)

Marilyn, this bunny has turned out so well, and the background looks great, too. Very nice work! (I love the new-year fishy, too!:D )

Bernice, what a nice piece you're going to have when finished! Regarding the bleach: I only suggested that as a last resort. Seems like you may not need that now.

Troy Rochford
01-04-2006, 09:11 AM
Cindy please check your email on another matter. Thanks:)

Cathie Jones
01-04-2006, 09:40 AM
I just visited the 'Colour Pencil Recipe' thread in the CP library, and now I feel totally incompetent! The mix of colors is incredible!! I'm glad we have more time to explore this!!

Anyone who hasn't visited the CP forum and its library definitely should pay a visit and wander around.

01-04-2006, 09:59 AM
Alison, that is absolutely beautiful.

Tess, I just restarted mine as well. This is common for me as well. Sometimes you just have to blindly explore and if you go up the wrong path--just turn around and take the next path--although in this case when I say blindly--I think on this one I needed the help of a seeing eye Cindi!

Cindi-research on him was not the easiest because Monet has gone from an artist to being a method of branding products--there are also people out there who really like to compare themselves to Monet. Also, when I found his pallete was listed in French under the name of the original manufacturer of his paints. Interesting stuff. IF you can still help me with those color comparisons, I could sure use it. By the way, Burnt Sienna is BROWN Sienna in the prismacolor world while Vermillion seems to be Pale Vermillion. Still need a comparison for Colbalt Blue and the like. Camilles Robe is a mixture of Burnt Sienna and Vermillion. INteresting. At this stage of his painting he seemed to be still using black--in this case--Lamp Black.

01-04-2006, 10:12 AM
Page 2, #20

Here is my latest. The lavender color is not in the original. I have done a comparison with the greyscale and think I am close enough.

The one thing that I should have noticed when I chose this reference is where the light source is. I felt that I had to do a shadow to anchor the pears to the table, but that is not really where shadows would go at all, do you think?


Anita Murphy
01-04-2006, 10:18 AM
Troy - I looked again but can't find your comment - :( *heartbroken*

JayD - have you started again????? Have you caught Troy's perfection bug? I found the best way to match colours was use a patch of paint and then try out every colour till it matched. If you need paint patches I would be happy to paint some out and PM them to you.

Troy Rochford
01-04-2006, 10:33 AM
Hmmm.. sorry Anita, I thought I commented on yours. I do remember seeing it early on and liking it. See, that's what you get for not talking to me every single day like you used to. I probably thought we had a conversation about your drawing.

Anita your drawing is fabulous!:)

I'm a perfectionist??????????? Huh....

01-04-2006, 10:37 AM
Jay, I want to get back to you on those color comparisons. I have three other sets of pencils and I want to check out the colors you've mentioned in those, too, just to satisfy my own curiosity.

Sandra, I noticed the shadow problem when you put up your last post but I wanted to wait to comment until you got your pears darkened down. The shadows should appear as they do in the reference, and you will need, on the right side, to add the soft demarcation between the surface the pears are sitting on and the "wall" behind. The color of your new shadow area can be approximately what you have in the shadows now, I think. You should be able to get rid of most of the shadows you don't want with tape or the poster stuff. BTW, your pears look great!

Anita, maybe you could go into the paint patch business.:D

01-04-2006, 10:43 AM
SPEAKING OF TROY--Where is your Troybilt CP piece!!!!!!

Anita, thanks for the offer! But I am having a real hoot just exploring Monet history and technique. I AM starting over but like the Renoir, I think I have learn MORE just from making the mistakes. I never had the opportunity to attend art school and I am just eating this experience up!

Made on the first round--TROY, I want to see you do the Venus De Milo in a William Shatner mask!!!

Tess, I got us a spot in the back (so I can hide from Cindy)!!! I think she may have the dunce cap out for me!

01-04-2006, 10:49 AM
I took a photograph of my pears to compare it to the scan. The photo looks more true to the painting. Do I need a new scanner or is this just a fact of life? Sandra (photo on left)

01-04-2006, 11:06 AM
Thanks Cindy and JayD :) Cindy, thanks, I can now see the tomato dots need more definition :D

Another update on Basil/tomato/garlic/collander (what do I call it? lol) Still ploughing ahead with the collander and i t - i s - s l o w going. I'll do the tomato dots before I post next time :)


01-04-2006, 11:09 AM
Oooh Alison! Outstanding!

Mary Woodul
01-04-2006, 11:13 AM
Troy, thank you, it is encouraging to know that you will be watching.:)

Alison, those tomatoes are excellent!

01-04-2006, 11:28 AM
Bernice and Mary, thanks :o

I've just taken the 'painting' off the scanner and left it on the desk top, turned around and ... Katie (who is 3 next week) was poised over it with a black Biro!! :eek: :eek: :eek: She is now happily colouring a colouring sheet, and I am recovering from near heart failure :rolleyes:

01-04-2006, 11:31 AM
I just wanted to pop in from the colored pencil forum to see how Cindy's class was going and WOW! Not only is Cindy doing a bang up job as a teacher but you guys are catching on so quickly. Amazing first works, I am so impressed! Oh and Marilyn it was a real treat to see you do fur.:D :wave: Wanda

Troy Rochford
01-04-2006, 11:34 AM
Alison you da man! Er....:)

Jay - you've got to be kidding me! I've got my hands full between work and a 9x12 portrait demo that I'm trying to trick myself into taking my time on (I know it's only a demo, so it's tough not to rush it:()

01-04-2006, 11:44 AM
I'm looking at these wonderful pears and tomatoes and wondering why????
I'm not getting that nice smooth look. Is it the paper I'm using or is it just me? The white of the paper seems to show through no matter how many layers I put on.

I am so done with this piece. I'm ready to start a new one.


01-04-2006, 11:55 AM
I just visited the 'Colour Pencil Recipe' thread in the CP library, and now I feel totally incompetent! The mix of colors is incredible!! I'm glad we have more time to explore this!!

Anyone who hasn't visited the CP forum and its library definitely should pay a visit and wander around.

CJ, you are much more competent than you think! You are doing very naturally what many people find very difficult to do. All you have to do now is keep track of every single combination you come up with and pretty soon you'll have your own recipe book!:D

The CP library is a gold mine of information, well worth a field trip! Thanks for your post on this!

Cathie Jones
01-04-2006, 12:08 PM
Maria, I'm having the same problem with the big pear. I go over an area, look back at it, and it looks like I haven't touched it!! So . . . I go over it again, and again, and again . . .

Here's a photo of the liquid colored pencil blender. It has a tiny end and a larger, brush-type end. Much easier to use than liquid out of a bottle! There weren't any of these for sale individually, it came in a 'set' of CP 'tools' - pencil, eraser, paint brush (?) eraser shield, sharpener. But you may remember that the Michael's here is short on art supplies. Might be able to find them online.


01-04-2006, 12:25 PM
LOL you questioned the paint brush. Use it to keep the knibbles off your pencil after you sharpen it. Also to brush the crumbs off your paper. Believe me, you will need it. And if you don't use it, you'll regret it. Those little bits of gunk get in the finished project and look terrible.

01-04-2006, 12:31 PM
Sandra, the photo looks very dark to me. Would you say that your work is maybe somewhere between the two?

Alison, very close call with the black Biro!:eek: I don't have any 3-year-olds running around here now, but I've come close to trashing my work twice through my own carelessness!:eek: :o

Wanda, hi!:wave: So glad you stopped by, and thanks for your comments! Yes, I agree, there's some pretty amazing stuff being done here!

Maria! You should be so happy with the way your piece turned out! And don't sweat the paper showing through. I like the paper showing through in my work. I don't want to obliterate every tiny speck of white! I hear you on being "so done," though. With 150-200 hours in each piece, I feel exactly that way when I'm finally finished. :p

So what's next?:)

01-04-2006, 12:31 PM
Everyone's work looks fantastic--I'm really impressed! I'm going to try to get back here later to comment on everyone's drawings individually. Thank you to everyone who has commented on mine. The encouragement really helps!

I worked on mine a little bit more and I'm going to post an update. I really have this fear of going farther and ruining things. I know a lot of people are using colorless blenders. I'm kind of thinking that with fur, that's probably not a good idea, right? I know I should probably be mixing more colors, rather than using different shades of oranges and browns. I did add the tiniest bit of blue to the nose area and eye area. Should I be using complimentary colors more? I know a little bit about color theory, but I have used color so rarely that I'm really treading into unknown territory.



Cathie Jones
01-04-2006, 12:31 PM
LOL you questioned the paint brush. Use it to keep the knibbles off your pencil after you sharpen it. Also to brush the crumbs off your paper. Believe me, you will need it. And if you don't use it, you'll regret it. Those little bits of gunk get in the finished project and look terrible.

Thanks, Midge! I have a big, soft drafting brush that I use for knibble and crumb removal. LOL are those technical terms that I should remember???

Anne, those cat eyes are fabulous!! Good question about blending and fur . . .

01-04-2006, 12:57 PM
Cindy, lol-I do see how you could have missed that post. I will try some smaller items on the side. Really hope to be able to get the first one right.
Alison-You da woman! I think that is fabulous! Doesn't look like you are having any issues with you collander at all!
CJ-That is gorgeous! You are really doing a top job!!!!!!!!!!!
Bernice-You are making me hungry for a tomato sandwich! Wonderful work!
Marilyn-fabulous! I would love to go to a workshop.:envy: Love the fish and her colors.
Sandra-what pretty pears!
Robin, Looking great and I love the bg color!
Brenda- Looking good!
Carol-Lovely and I really loke your color combos.
Sorry if I missed anyone-gotta get back to work...poof!

01-04-2006, 01:01 PM
Knibble has to be the word of the day :D lol. I keep a short handled blusher brush to hand and brush my work very frequently.

Anne, your cat is gorgeous! But I think he is complaining about your scanner! :eek: I can almost hear him saying "Oh for goodness sake, how can one look ones best with all these marks marring ones perfection?" :cat: :D ;)

01-04-2006, 01:22 PM
Well, I checked my pic against the RI in grayscale and it seems to be purt' near close.
And, I'm suprised to say that it didn't turn out a quarter bad.
Now, is it appropriate for me to start using the blender, or does anyone else think that there is something that needs attention first? I'm open for any opinions.
Do you think it needs something more(or less?)

Thank you.

BTW, I am having a BLAST! Thanks, Cindy for all the personel attention you give each and everyone one of us. I don't know how you do it!

everyone's paintings are AmAzInG!:clap:

01-04-2006, 01:22 PM
this double posted, sorry. :(

01-04-2006, 02:14 PM
I am a little unsure about the purpose of blending tools. Yes, I know the purpose of blending is to eliminate any lines and acheive a smooth look, but do we really want that in our drawings, or do we want our strokes to speak for themselves? Is a blender a tool to fix errors or workmanship or is it just like another pencil - a different stroke or colour?

When to blend and when not to blend and why blend are my questions. And if blending, colourless pencil or solvent based? Or does it matter?

01-04-2006, 02:24 PM
First off, Thank you Cindy!
Second, I just spent 55 minutes reading the posts since I was here yesterday! WOW!! Everyone is doing great work! Thanks again to Cindy!

Here is my effort, from the back of the room, at building a color palette:

Dahlia Purple
Violet Blue
Black Grape
Canary Yellow

Yellow Pepper:
Canary Yellow
Sunburst Yellow
Yellow Ochre

Green Pepper:
Dark Green
Olive Green
Neon Green
Grass Green
Apple Green
Lemon Yellow

Red Pepper:
Dark Green
Poppy Red
Pale Vermillion
Carmine Red
Lemon Yellow

Shadow, for now, is simply Indigo Blue. Ref is in post 134. Also the scan is off as far as the red pepper is concerned. It is not that bright red, but when I tried to use the software to fix it that messed up the other colors.


01-04-2006, 02:24 PM
Troy, the color sucks--I am scrapping this one and starting again--we had better have three weeks! If anybody can help me--I need to identify the colored pencil equivalents of the following Oil colors:

Colbalt Blue
Cadmium Yellow
Emerald Green
Alizarin Crimson
Burnt Sienna (I may have this one)
Prussian Blue

This is part of Monet's Pallet--I have the other colors-lemon yellow, vermillion, silver (that is a surprise).

If anyone can save me some time by identifying their cp equivalents, I would be eternally grateful.

Jay, interestingly, I found all of the above six colors, with the exact color names, in my set of Faber-Castell Polychromos. Here's the closest matches I could could get in my set of Prismacolors:

Alizarin Crimson = P925 (Crimson Lake)
Cobalt Blue = P902 (Ultramarine Blue)
Cadmium Yellow = P916 (Canary Yellow)
Emerald Green = P910 (True Green)
Prussian Blue = P901 (Indigo Blue)
Burnt Sienna = P945 (Sienna Brown) (I think you said you found this one.)

Don't know if any of this is helpful to you now, but I thought I'd post anyway.

01-04-2006, 02:34 PM
When to blend and when not to blend and why blend are my questions. And if blending, colourless pencil or solvent based? Or does it matter?

I think alot of it is personal preference. I'm not fond of the solvent based blenders because of how little control you have over *how* they blend. I like using the colorless pencils. Sometimes, I use the blender because I'm losing tooth & need to pull or push a layer a certain way. Sometimes I use them to clean up a line. My usual work relies on a certain precision of line & colors meeting *without* merging into each other. Sometimes, I use them if I've got a large area of color I want to look smooth & seamless... I think it comes down to experimenting and deciding what your style is...

Personally, I'm not that into CP pieces that have been blended and smoothed so much they look like oil paintings... Now, most of those pieces are gorgeous, and the level of ability of those artists is incredible. But there's a small part of me that thinks, "well why didn't you use oils, then?"

my 2 bits.


01-04-2006, 02:34 PM
The work here is just fabulous!:clap: :clap:

Alison - 3 year olds with biros :eek: :eek: I remember my daughter coming to me once with a black crayon and saying, 'I haven't drawn on the wall Mummy.' I gulped, and of course had to ask, 'which wall haven't you drawn on?' then rush out to buy a pot of emulsion...
Your work is just gorgeous.

Bernice - fab tomotoes!

JayD - love the reference - sounds as though you're learning lots during the process.

Anne - that cat is lovely!

Maria - someone else making me hungry!

Midge - looking really good, I'm very impressed!

Anita - what a challenge - you're so good, I love the rich colours.

Sandra - more lovely food - I won't be able to get out of this chair soon!

Marilyn - love that fur and those ears!

Mary - that's a stunning picture and it's looking great!

Carol - this is stunning!

Tess - such lovely vibrant colours, it's coming along great!

Jenn - yum yum!

Jeanette - just great!

Robin - really interesting picture with all those shadows - looks good!

Keya - more tomatoes, yummy!

CJ - who would have thought pears could be beautiful! gorgeous.

Judi - love your ref - sorry to hear you're having problems with it, but what you've posted looks great to me!

Dippin Colors - BRILLIANT reference! You've taken on so many tasks here, great stuff!

Stacy - stunning reference - love it!

Joe - aubergine, peppers, so many colours....lovely!

Tia - gorgeous!

God's delight - cute baby!

Hope I haven't missed anyone - it's all just stunning to watch it develop and everyone's working so fast! I'm definitely slow - and after tomorrow when I'm back at work:( , will be even slower!


01-04-2006, 03:04 PM
Thanks Alison :wave: (and no you're still not getting him :D )

Jeanette, I bought a colourless (putty coloured in actual fact) blender because the class stated we needed it. As I am not a blender of graphite I was pretty dubious about using it, but having now used it on the background of my piece, I can see why it's a useful tool. It gave me a smooth, seemless background, which is just what I was after :) I don't think I'll use it on any other area as I like the 'pencilness' of it (is that a real word?? lol) :rolleyes:

Cathie Jones
01-04-2006, 03:05 PM
Alison2, I have to admire you - and everyone else who has gone to the trouble of mentioning everyone's work. I can't begin to keep it all straight!!

Cindy - the color matches you mentioned - at least the Prismacolors - made my jaw drop. In watercolor, cobalt blue and ultramarine blue are not even close, and Prussian Blue and Indigo are miles apart. Amazing differences!

I'm still working - trying to vary pressure to get the dark-dark bottom and the lighter top of the large pear. Hope I don't screw it up now!! :eek:

Then . . . I have to decide what to do for a background. The blend in the ref is okay, but I don't want grey. Maybe a purple shade . . .

Oh - and I'm a blender. I want it to look solid, at least for this one.

01-04-2006, 03:22 PM
Cindy--My set of polychromos does not have those matching names as I originally wanted to use oil based pencils.--and YES! THANK YOU!! I figure if I can approximate his pallette then I may be able to better match his colors.

By the way, I started a new drawing and the lemon yellow I was using is still too much PLUS i layered it all over the background SO I will redraw it ONCE again--I may not get the color down down I am fast becoming a whiz at drawing "Faux La Japonaise".

Does this make since to you?

Background :

Violet (I went back to regular violet and elimated the pale version)
Canary yellow over the violet
Aquamarine over the yellow over the violet.


does this make sense--I am feeling ambivalent about the aquamaine and would be open to an alternative color suggestion.

01-04-2006, 03:23 PM
Another update :rolleyes: I am going to bed soon, honest!!

Cindy, I've lightened the tomato dots and wondering if I've over done it a little? I'll have a look tomorrow when my eyes aren't so tired. The collander is being a right <insert rude word here> :(


Also, I've got a truer representation of the colour on this scan, the background and foreground haven't looked quite the same in my previous attempts. It's all good learning :D

And I agree with CJ! Thanks to those who are keeping a watch and commenting on everyone who is working here! You are amazing! :clap:

Robin Neudorfer
01-04-2006, 03:27 PM
How did it happen that my coffeebreak has turned into lunch...2 new pages of updates I suppose.
Enjoying the progress.
I like working on the Stonehenge paper. Though, I like to fill in the tooth of the paper with a sharp pointed pencil. I love the loose look of the others, and am thrilled that we all approach it differently. I also have given thought (as I have mucho time to think with this project), that it is okay in some instances to change the colors from the RI. I believe after you feel comfortable with the medium, as an artist, if you feel a certain color will enhance an area go for it. Obviously, if you are working to recreate a masters work, one must be spot on. However, it might be fun to monkey around with the colors, but that is another class I guess. I feel, sometimes when you follow the photo exactly you sometime loose the 3-D quality that you are after. We have to think about spacial qualities and transfer that knowledge into our art, because the photos can certainly flatten out the subject matter.

I do have a few questions for the teacher, as I have been thinkin' ...a lot.

1. For a finished cp piece is it recommended to keep a deckled edge on all four sides, as in watercolor?
2. For reflections on a shiny surface, have you found it best to work at it from the first beginning layers or do you come in half way in the layering process and begin with pencil values that have more white in them.
3. Does it matter if when layering different sections of your piece that you mix up the layers? Such as the left side was layer as A,B,C,D and the right side was layered A,C,B,D. Not that I did that of course, but a friend was asking me, so I thought I would ask the prof.

It is so nice to ask the teacher questions without disrupting the rest of the class. I am glad that everyone is still working ...
Bell rang ...back to work.

01-04-2006, 03:36 PM
WOW !!!!!! I am amazed at all the good works and at how hard everyone is working each piece is coming along well.
I thought I put a lot of time in part of me is happy other parts wish I had more control over my impulses to blend it into oblovian. Oh by the way do we have to start over if we erase a BIG whole in the Middle? :o Just Joking well went to bed 4 am and here is how it looked after some more time today

01-04-2006, 03:41 PM
This is great Alison, I keep having to look and see which is the reference and which the drawing. You're a natural here. :)

And I feel for the child with the biro incident. Once, years ago, my daughter 'finished' a commision that I had sat up half the night doing. Coloured in the eyes bright blue and finished off the arms and hands with those wonderful stick representations. Sigh. What can you tell a 3 year old? I had to start all over again.

01-04-2006, 03:44 PM
Wow Alison--this is fantastic!!!

01-04-2006, 03:49 PM
Anne, I know exactly what you're saying about having the fear of going further and ruining things! I have had that feeling myself with portraits many times, especially when I've been working on eyes and mouths. It's so easy to mess those features up!

I agree with you that blending is not the way to go with the cat's hair. I know it's time-consuming to lay in hundreds of individual directional strokes, but that's how I do it to get a soft, natural look.

I would continue using the colors you've been using to build up the cat's coat, and then use a little more of the complement in shadows when the warm color is denser. You're doing fine so far!

Judi, I'm looking forward to what you post next!

Jenn, I think the pumpkin is pretty close, too, although overall it still looks a bit light. You're at that point now where I would have to make a decision about whether I wanted to add more color or enhance the existing color using a colorless blender. On this pumpkin, I think enhancing with the blender would make a noticeable difference, so you would need to re-evaluate your values afterward and likely make some further color adjustments. Before you do anything more to this nice piece, try a few samples with the blender over the hues you have created and get back to us on your feelings about your options. By the way, this is an excellent example of the dilemma that many cp people face at a certain point in their projects. I hope you don't mind my using your piece to bring up the subject.:)

Glad you're having fun with this!

Jeanette, I covered a little bit of this question in my response to Jenn's post. I'll carry this a little further and say that my personal preference is to use the blender as a drawing tool as little as possible, but sometimes a blender can bring up color nicely and save a lot of additional color strokes. The problem is that if the "dry" blender is used excessively it can make the surface unreceptive to additional color. If I use it in intermediate stages, I keep my strokes pretty light and even. Regarding the solvent-based blender: I have never used one but will try it (when I find one) to see how it works. My guess is that I might not have the control with it that I like to have with my drawing tools, but I wouldn't rule it out.

Joe, your palette looks good. You may not need all of the colors, but you're well covered! :)

Tess, thanks for your comments on the blending issue!

01-04-2006, 03:56 PM
Is it possible to make adjustments to color after using the blender?
I'm sorry, I don't understand what you mean. Would some of the values need to be changed in preperation for the blender....or would something need to be changed after I use the blender? Do you mean that after I use the blender, I should do another grayscale comparison and adjust from there? (and how would I do that?)

I'm so sorry for all the questions. I've understood everything pretty well until this point. Wouldn't want to put in all this work, just for me to ruin it for myself. :D

Cathie Jones
01-04-2006, 04:10 PM
JayD, I saved a pic of La Lapanaise, opened it in PhotoShop and zoomed in until I was seeing good-sized pixels. Naturally, a photo on the Internet is not as accurate as the original, but I only found 3 shades (light, medium, dark) of olive green and a lavender. I think I see some blue in the print, but didn't find any blue pixels. I tried to crop it to post here, but it got all fuzzy.

Looking at a printed copy, I'd say the blues in the fans look like cobalt/gray (light) and ultramarine or indigo (dark).

Probably not much help, huh? :rolleyes:

Edit: Okay, scrap all that. I just looked up his palette and saw that he didn't use green. It did help with the kimono, though. I'm thinking yellow, vermillion and rose madder. Bet you knew that!!

Okay - I'm gonna leave you alone now. Sorry.

01-04-2006, 04:31 PM
Hang in there Alison. You're on the home stretch and it's looking great! Collindar looks fine to me so far.

01-04-2006, 04:54 PM
Bernice thanks :) I'm sure I'll be more positive in the morning :D

Night all!

Oh, and try not to post 6 trillion pages before I get back :rolleyes: it takes forever to catch up! :eek: :D

01-04-2006, 05:05 PM
Goodness yall are SOOO far ahead of me...*gulp*
I am glad this is being extended.
I redid the transfer to get more details as suggested by Cindy. (thanks)
You all are doing incredible!!! I am in awe of the progress and amazing work!!
There must have been a marathon of posts because I was like 6 pages behind. lol

01-04-2006, 05:32 PM
Alison, I also like the "pencilness" in my drawings. A good word, I think!:)

CJ, yes, the color differences from one pencil manufacturer to another and from one medium to another are amazing, especially when they carry the same names! It would be wonderful if there were some consistency in all of this, but look how long we've had to live with these discrepancies! The best we can do is work with what we have to get the right color mixes and not rely on manufacturer or medium names.

For your background: A purplish gray, maybe? I like the neutral look.

Jay, your patience and persistence are astounding!:D About your background colors: I think the colors you suggested will work (I tried combinations of them this afternoon). This time when you lay them in, keep your strokes as fine and even as possible and your touch light so you get a very soft effect and so you have a little wiggle room if you need to make a color adjustment.

Alison, the dots look better defined now. I guess you could darken them very slightly, but to me they look good.

Robin, I guess I must not be much of a purist when it comes to paper. I don't know if leaving deckled edges is important to some or not. For me, it's not an issue.

Regarding shiny surfaces: I'm not sure I completely understand your question, but I think with these surfaces especially, where there are sharp distinctions between dark and light, you need to establish your values first (with more of a grisaille foundation). When this is done, you can start layering the reflected colors.

Good question about the layering order: I know I've laid in colors somewhat out of order in some of my work, but it hasn't appeared to make a lot of difference if the areas haven't been close together.

Carol, the additional background you put in looks good! I know what you saying about blending, especially with glass!:D

Got to go prep my wok veggies now! I'll get back to the rest of you after dinner.:)

01-04-2006, 05:51 PM
I missed two days and it took me an hour to catch up. So many new pages.
I have to agree with everybody else. It is hard to believe that CP is new to so many of the participants. The quality of the works are outstanding.

My little tomato feels humble and shy. Especially among the other much more beautiful tomatoes.
Bernice: your tomatoes shines so beautifully,
Alison; what an incredible depth you've created and with a difficult subject.
Jeanette: Love the depth and the colours, especially in the shadows.

This is my update after another hour.

Cindy: Thanks for telling me to lighten the left side. After having compared the grayscale with the grayscale of my reference, I can see that I need to lighten it further. I also think I'll have to lighten the reflection on the shadow side. Are there anything else I should think of?

I have mainly used, oranges, reds, violets and greens (in the shadows)

BTW I am falling more and more in love with CP. I went to the biggest artstore in Stockholm city cause I wanted to try smother pencils than mine (Derwent artist CP) Guess what, they only sell Derwent. I was sooo dissapointed. Maybe CP isn'nt so popular in Sweden. I have rarely seen them in gallerys.

Cindy: from the bottom of my heart: THANKS for doing this for us. I would never have tried this if it wasn't for your class. After I bought my CP:s many years ago, I tried them and figured it wasn't anything for me. But now, I'm off with a good start with your help and now I know. It's definately for me.



01-04-2006, 06:06 PM
Hi everyone,

Cindy, thanks for answering my question about fur and thanks again for teaching this great class! I think we all appreciate it.

I just went back a few pages to comment on people's drawings. It's amazing that we're already on page 17!

C.J., your pears are fantastic! The texture is so realistic and I love the way they shine.

Mary, I can tell yours is going to be great! The likeness is spot on and I like what you've done already.

Wow, terrific tomatoes, Jeanette! The colors and texture look great.

God's Delight, I like what you've done! That's a very cute face.

Bernice, beautiful tomatoes! I might just have to try drawing some tomatoes when or if I ever finish my cat.

Jenn, I love your pumpkin!

Beautiful marbles, Drawn2!

Brenda, I really like yours! I like the colors and you did a super job on the drawing! The hands look great.

Robin, yours looks fantastic so far! I love the colors you're using.

Alison, yours is lovely! You say that you have problems seeing reds and greens, yet you're doing such a fantastic job on a picture that is mostly red and green.

Marilyn, I love your bunny! The fur is great and the foliage is fantastic.

Sandra, beautiful pears!

Maria, I love your peppers! The colors look great.

Joe, yours is looking really great!


Whew! I hope I didn't miss anyone. Thank you to everyone who has commented on my cat. LOL, Alison about the cat not liking the marks on my scanner. I think you're right that a cat's vanity would not allow such a thing.
I've worked on mine some more this afternoon. This colored pencil is quite addictive! I didn't think I was going to like it so much because I'm usually very impatient when I draw. I wish my scanner wouldn't make it look so yellow. It's a much softer orange color in person.


01-04-2006, 06:08 PM
Keya - I was looking at your tomato as I was about to post my pears, and I really love it. I know you probably have mentioned this 200 pages ago, but what kind of paper are you using. I love the texture.

I am so tired of these pairs. Decided to put light on top and dark on bottom. Am I done yet, Cindy?:D

Sandra (reference photo: Page 2, #20)

01-04-2006, 06:37 PM
Cindy and CJ thanks--I tried ultramarine too but I think the aquamarine is the way to go--have no problem seeing the colors--ironically, no problem with the st of the piece. ONe other thing--my wife points out to me that I should break the background into degrees of light--a yellow section for example--I will take your advice on the strokes--monet worked in degrees of thickness creating almost reliefs for whatever effect he desired. I tried the scumbling--it got me initially what I was looking for but the effect is too overwhelming.

When I finish this piece I will do a snapshot of my desk in memory of all of the stonehenge that died in the line of duty!

By the way, CJ--if you are interested go a few pages back and you will see that, with cindy's help, we managed to assemble a pretty complete cp version of Monet's working pallette. That has helped me narrow down the choices.