One of the highlights of the CPSA Convention is the International Exhibition that this year is at the Los Gatos Art Museum. It is always inspiring to take a close look at some of the best colored pencil artwork in the world.

Hope to see you there!

Los Gatos Art Museum Home Page

The 2010 Colored Pencil Society Silent Auction images have been posted online for everybody to preview. This is a show of  “Small Works of Great Magnitude” that will give convention attendees an opportunity to purchase original colored pencil art. My piece “True Colors” is one of the 36 donated artworks. I can’t wait to bid on some of my favorites.

CPSA Silent Auction

Several years ago I devised a way to keep my colored pencils, crayons and oil pastels organized. Here are four images to illustrate my system. Perhaps some of you will get inspired to make one of your own.

Shelf Storage Unit

Single Shelf

Materials needed:  3/16″ Gator Board for the shelf storage unit, regular foam board for the individual shelves,  removable, double-sided tape, regular tape, and a glue gun. Each movable shelf measures 6″ x 20″. Several strips of removable, double-sided tape are placed lengthwise on each shelf and secured on the 6″ side with regular tape. This results in a low tack surface where the pencils, crayons, oil pastels can stay put and organized by colors.

More Shelves

Inventory Storage Unit

The last image is that of my inventory storage unit where I can keep up to 18 colored pencils in each cell. This was built with regular foam board, a glue gun, and a lot of patience.

11″ x 14″ – Wax-based Media (Colored Pencil)
Created with the Icarus Drawing Board

In the examples below you can see how I develop a flower petal with Prismacolor Colored Pencils and Caran d’Ache Neocolor II Wax Crayons.

Step 1

Step 2

Step 1: After finishing the first petal, I’m getting ready to begin the second one.
Step 2: On the cool zone and with sharp Neocolors, I block in all the local colors of the petal. The tooth of the paper easily captures the waxy pigments.

Step 3

Step 3 - detail

Step 3: After moving the paper to the warm zone, I begin melting the waxy pigments with a taper point color shaper. It’s a simple process that can also be accomplished with a flat chisel color shaper (use the side of the tip for melting). This approach is much faster and gives you more control than adding water to Neocolor II. First of all there is no wait for the paper to dry – the melted pigments solidify as soon as the paper is removed from the heat – and the intensity and hue of the color do not diminish. Besides, it is so much fun I just can’t get enough.

Step 4

Step 5

Step 4: The petal is now covered by a thin layer of melted pigments that I like to call “wax foundation.”
Step 5: On the warm zone, with a sharp white Verithin I penetrate the previous layer and create fine ridges that will become the petal’s veins.

Step 6

Step 6 - detail

Step 6: Here I’m developing the colors and the details of the petals. The layering of colored pencils is accomplished with Prismacolor Premier using the side of the pencil point. On the warm zone the waxy pigments melt and blend in with the foundation; on the cool zone they will sit on top for optical mixing. Sharp Verithin pencils are used for details and fine lines.

California Poppy

Vinca Major

2.5″ x 3.5″ – Wax-based Media (Colored Pencil)
Created with the Icarus Drawing Board

1. FIXATIVE

I gently remove any wax bloom with a soft cloth. Then I take my piece outside and spray it with 5 coats of  Prismacolor Final Fixative – Gloss, waiting 15 minutes between coats. After it’s dry I run a white cotton handkerchief over its surface. If there is no color residue left on the handkerchief my artwork is ready for varnish, otherwise I spray more fixative. It’s important to create a solid barrier between the pigments and the varnish. I let the fixative dry overnight.

2. MOUNTING

I mount my large pieces on Ampersand  Claybord with 3/4″ cradle, the smaller ones on Claybord with 2″ cradle. There are also 1/8″ flat panels available. I like the Claybord panels because their surface is completely archival, lightfast and acid free. After dislodging any debris from the back of my artwork, I trim the extra white paper around it. My artwork at this point should be a bit larger than the panel – to account for possible misalignment during mounting. I carefully mount it on a sheet of  Grafix Double Tack Mounting Film which I then mount on the panel. After turning the panel upside down, I trim the edges and put it under heavy books overnight. Please practice mounting before you do it with a valuable  piece of art.

3. VARNISHING

I usually paint the edges of the cradled panel in acrylic and then begin varnishing with Golden Polymer Varnish with UVLS (Ultra Violet Light Stabilizers) – Gloss. This is a waterborne acrylic polymer varnish that dries to a protective, flexible, dust-resistant surface. It needs to be thinned with water, 2-3 part varnish to 1 part water. I apply at least 3 coats with a soft, wide brush and wait 3 hours between coats. The varnish cures completely in one week. You can then frame your panel or hang it without a frame.

This process, especially at the beginning, is a little time consuming but certainly worth the effort. I just love that my art can be exhibited along with the best oil and acrylic paintings and still generates the most curiosity. “I can’t believe it’s colored pencil” has become the standard reaction followed by numerous questions on my technique and presentation.

Into the Light

Above and Below

The Butterfly Effect