 |
Product Search
|
 |
|
Article Search
|
|
|
Resources
| |
|
Home > What Artists' Pencil Should You Use?
We Have Found 0 Products for your search of What Artists' Pencil Should You Use?.
Displaying Articles Page 1.
|
| Please vote and
rate this. |
What Artists' Pencil Should You Use?
by Maureen Cooke
The answer to this question is extremely important to professional artists and student artists all over the world. They, of course, know that one pencil will not work for every project. Experienced artists already know that the visual effects they are trying to achieve actually dictate what type of pencil they will have to use. Luckily, there is an art manufacturer who has perfected the making of these tools.
Prismacolor art supplies have been a favorite of professional artists since their origination by Berol in 1938. The products are now manufactured by Sanford (maker of Sharpies), but are still preferred by professionals and students alike. Prismacolor offers a wide array of color pencil products that can be used to create any effect an artist can dream of!
Here are a few tips on correct pencil choices:
If part of a project calls for clean edges, bolder outlines, and/or intricate details, then pencils with thin leads are called for. The extremely fine points are available with the Premier Verithin line.
When part of the project requires a smooth coverage with a wide array of colors, then Premier Soft Core pencils are the ticket. Long-lasting cores with soft leads are the best for blending and shading.
If the artist prefers rich, creamy leads without wood casing, then Premier Art Stix are the way to go. The soft core is completely exposed enabling the artist to lay it on thicker in a single stroke. The stix can be sharpened to a point or used bluntly.
To get the effect of watercolors, the artist can choose, Premier Watercolor pencils. These water-soluble color pencils can be used with a brush! The effect is perfect!
Prismacolor also makes a pencil designed especially for students. With Scholar pencil line, breakage is minimized by harder cores, but the pencils still offer blendability with smooth texture and creamy leads with rich pigments.
There are times when artists need to rework along the way. They should use pencils from the Col-Erase line. These pencils have a strong medium point and an eraser at the end. They are perfect for animating and illustrating.
The wax-based Colorless Blender Pencil can be used to blend and soften edges, helping the artist achieve the effect he or she wants without changing the color palette.
About the Author
berolprismacolorpencils.com Sunset LA
Related Articles (0 vote) The Best Moments to Have Pet Portraits For Your Pets
Azalea Wright We take pictures to capture moments that are dear to us and experiences that we want to remember. With the age where everything is becom... products, articles
- (0 vote) Fall Themed Classroom Decorations
by Melanie J.. The autumn tide brings crisp mornings, changing trees, and new ideas for creating classroom decorations inspired by fall. The theme of trees and leav... products, articles
- (0 vote) What is a Giclee Print
by J Davis. The easiest way to explain it... A Giclee Print is any photograph or fine art painting reproduced using a multi color inkjet printer.
That is the ea... products, articles
Colored Pencil Landscapes: DVD excerpt from Kristy Kutch for Landscape Artists
| |
|
http://www.cheapjoes.com -- Welcome to Artist Palette Productions at Cheap Joe's Art Stuff
{This video is an excerpt of Kristy Kutch's video from "Colored Pencil Landscapes: Beyond the Basics" available for purchase at Cheap Joe's Art Stuff.}
**************************
Let's look at our color wheel. During our last segment we discussed our warm and cool colors. The next step is to take a look at complimentary colors. These are the colors that are complete opposites of each other on the wheel.
We use these compliments a lot to create three-dimensional paintings.
One of the prime techniques or principles of landscape art is to start in the distance and work toward the foreground. If you think about it, there are things which visually overlap.
If I have trees in the foreground that overlap my view of a meadow in the background, I don't want to do the trees first and then try to realistically render the meadow in between the boughs of the tree.
Think of how something comes from the distance to the foreground. I started with the sky - my most distant feature, the distant mountains, and then on up to the closer features.
Sometimes people agonize about working on evergreens. Evergreens in the distance are remarkably simple. If you choose a good shade of green - it can be Pine Green or a Juniper Green and you can just make your strokes so that they imitate the evergreen.
They don't have to be perfect. Notice my strokes here. See how it's not going to be perfect - I have a gap here, a fly away branch here, and some kind of scraggly top to it because that makes it more believable. You don't want picture perfect because it won't be as appealing.
There's a term in drawing and it's called scumbling. This art term is related to scribbling but it's an educated scribbling.
Now getting back to the color wheel, the compliment of green is red. I'm not going to use a poppy red for this, but I do have a darker burgundy red. Notice I've done some of the shadows already in this red - just sort of scumbled them in.
It looks kind of strange at this point, but watch when I add the green over it and scumble in some greens. The red gives depth to those evergreens and they start to look more three dimensional. This underpainting of a complimentary color can add a lot to this 3-d effect, even in the distance.
It doesn't have to be precise, but it sure helps if it's believable, especially if you're aspiring to do something that's recognizable and realistic.
I can always tweak and readjust my colors as I go on.
With the bare rocky side of the mountain I've already laid in a grayish green. I'd like you to think in terms of something other than just a flat gray. So often when we think of rocks and those types of features, we think in terms of a flat cool gray.
Something like this shouldn't be rendered in just gray. Here I have a shade of light powder blue. Where it's more heavily shadowed I'm going to use this Iron Blue. I may not leave this as it is - I will layer over it with another grayish green, but see how lively that is? It adds so much more personality than if I had rendered that in just a flat gray.
**************************
For more information and an additional excerpt video, please visit http://www.cheapjoes.com
|
|
| Please add your comments. |
| |
|
