Botanical Painting with Coloured Pencils. Ann Swan

Чтение книги онлайн.

      ∆ Artist Ann Swan at work in her studio.

      BASIC START-UP KIT

      You can add more pencils and other equipment as you progress, but these items will start you off.

      • 2 graphite pencils – HB and H

      • 20 to 25 good quality coloured pencils

      • Sharpener with spiral blade

      • Hot-pressed paper – at least 300 gsm (140 lb)

      • Plastic eraser

      • Sketch paper

      • Magnifying glass

      COLOURED PENCILS

      The coloured strip, or core, of a coloured pencil consists of pigment held together with either a wax or an oil-based binder. The binder can either be watersoluble, to make a pencil that can be used with water, or non-soluble and this type is mainly used dry. Generally speaking, you will find that more expensive pencils have better quality pigments and tend to be more lightfast.

      Coloured pencils vary enormously not only in quality and feel, but in the range of colours available. Before you buy any, try them out. We all have a different way of drawing, so what suits one person may not work at all for another.

      LIGHTFAST OR FUGITIVE?

      What do we mean by lightfast colours? When colours exposed to light over many years do not change much, if at all, then they are considered ‘lightfast’. However, exposure to light can alter some pigments over time and these colours are termed ‘fugitive’ because they fade, change colour or, occasionally, darken or become dull. How quickly colours deteriorate from their original, and over what period of time, determines the lightfast rating of a colour; that is, just how lightfast or fugitive the colour is.

      Although the pigments used in coloured pencils are often identical to those used in watercolour they can behave differently because of the oil or wax-based binder. Oil-based binders can make some pigments more lightfast than they are when used with water. Over the last few years a lot of work has been done to achieve an acceptable standard for measuring lightfastness in coloured pencils. Most of this work has been done in the USA, and the American Society for Testing Materials or ASTM accepted test for coloured pencils is ASTM C-6901. Coloured pencils complying with this standard are considered to be lightfast.

      TEST SWATCHES

      If you have a mixed range of pencils accumulated over many years, as many botanical artists have, it is a good idea to do your own lightfast testing. Make two identical colour swatches. Place one swatch under glass in full sun (the dashboard of a car is a good place or a greenhouse or south-facing window), and cover the remaining one and place it in a drawer away from any light. You can then compare the effects of light on the two after a few weeks, and sometimes, in strong, bright sunlight, a difference will show up in a matter of days.

      FABER-CASTELL POLYCHROMOS COLOURED PENCILS

      These are good quality, oil-based artists’ pencils with 3.8mm leads that hold a point well, an essential requirement for fine detailed work. They come in a range of 120 colours. Colour laydown is smooth and colour is easily blended without smudging.

      The colour on the casing quite closely resembles the actual colour, which is useful, and the pencils are clearly marked with individual lightfast ratings, from three asterisks (***) for lightfast down to one asterisk (*) for fugitive.

      Coloured pencils generally are poor in the green range, which is not helpful for the botanical artist, but Faber-Castell have at least seven good greens. What I mean by a ‘good’ green is one that looks natural, mixes well and stays true in combination with other colours and when blended. Some greens that sound well suited to the work of the botanical artist, such as Sap Green, Leaf Green, Grass Green and Pine Green, can be a bit garish and unnatural looking. They do not always produce successful or consistent results when mixed with other greens, so use these with caution.

      Polychromos have a good range of greys too – six warm (redder) greys and six cold (bluer) greys. Greys are the main method used for deepening the tones of colours without changing their hue.

      From left to right

      FC270 Warm Grey I

      FC271 Warm Grey II

      FC272 Warm Grey III

      FC273 Warm Grey IV

      FC274 Warm Grey V

      FC275 Warm Grey VI

      FC230 Cold Grey I

      FC231 Cold Grey II

      FC232 Cold Grey III

      FC233 Cold Grey IV

      FC234 Cold Grey V

      FC235 Cold Grey VI

      FC181 Paynes Grey

      ∆ These warm and cold greys are useful for a starter palette.

      From left to right:

      FC101 White

СКАЧАТЬ