- Lesson details
In this lesson series instructor Sheldon Borenstein shows you how to work with a variety of drawing and painting media. You will learn how the general principles of art apply equally to all media and specifically how to work with each individual medium while employing the appropriate techniques. In this video lesson Sheldon will teach you how to work with colored pencils.
- Prismacolor Colored Pencils
- Copic Colorless Blender
- Drawing Paper
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of drawing and painting media. You will learn how the general principles of art apply equally
to all media and specifically how to work with each individual medium while
employing the appropriate techniques.
In this video lesson, Sheldon will teach you how to work with colored pencils.
And they are. These little demos that I’m doing on technique are meant to show
you how technique is done. I’m not trying to impress you with my style. If I wanted
to do that I would take off my shirt, and then you’d go oooh. I want to show you how
the techniques are done and not spend 12 hours on it.
So, colored pencils are fun. Remember, that when you’re working with colored pencil,
any kind of paint, which is pigment and binder. Let’s talk about what paint is. Paint is
pigment and binder. Pigment is the dirt. It’s the chemical. It’s the color. The binder
is how it fuses together. And so your colored pencil is the same pigment that you’re going
to find in your acrylic, your watercolor, maybe not quite the artist grade that you’re
used to. But it’s bound together with wax. When you put that down the wax builds up.
You know it’s like those commercials, that waxy buildup. Right? You know, you try scrubbing
it out, you try waxing; you still get that waxy buildup.
So what I’ve discovered over the years is to use a Copic marker or any alcohol based
marker. What that does is it melts the wax and puts the pigment down. So on this demo
that you’re about to see what I did is I melted it. So here it’s just with the wax.
Look at the difference, here is with the Copic, where you’re melting it.
You can see we’re always doing the same, the three different shapes because as you
guys learned in the fundamentals everything is made of the three shapes. If you can render
these three shapes and be able to do it with that technique. Remember, the technique is
anything you can predict the results of, even a candy bar. If you can predict the results
of, then that’s a technique. Then you apply it. There’s a box shape, cylinder shape,
box shape. And we do it fast right now. That’s what we’re about to see with the Prismacolor.
Now, one of the future ones I want to get you excited about is doing a really pretty
marker rendering all with grays and then very carefully putting the Prismacolor on top and
treating it like glazing. Then pushing it back with the Copic, and then putting the
Prismacolor on top and pushing it back with the Copic. What you get is like a beautiful
glazing. You can put different temperatures on there. Oh man, beautiful. So this is just
the beginning. Alright, so let’s move ahead with the demo and we’ll take a look. But
remember, I’m not trying to impress you with this finished beautiful piece. I just
want to show you how the technique works. Okay? Let’s go.
Prismacolor colored pencils. Here we go. We love these things. God, I just love them.
Now, did I sharpen them? That’s the story. No, I didn’t. Well, good enough. With the
Prismacolor, again, when you’re dealing with your paintings it’s the binder that
changes not the actual pigment. In this case the pigment is the same, but the binder is
wax. These are wax. Now, something that is kind of fun is this is a Copic marker, and
we’ll be doing Copic demos also. One of the really cool things is when you mix the
Copic and the Prismacolor together. But I’m going to use this. Sometimes when you’re
putting down your Prismacolor pencil the wax builds up. That nasty wax buildup. You try
scrubbing it out. That’s what we’re going to do. We’re going to scrub the wax out
with the Copic cause this alcohol—can you smell that? Don’t get too high. Alright,
Kansas, go for it. You’re going to need this. Only kidding, you have all the other
things in Kansas you can use. New York, you’ve already done it. L.A. doesn’t remember it.
But the alcohol will actually melt the max. We’re going to use that. We’re going to
move this over here. Put these over here. Again, I didn’t even sharpen these. I just
grabbed them before I left the house.
So let’s do a lay-in. Again, we’ll do it kind of small. You’re not going to see
this. Here’s a circle. Oh, no, no. I’m sorry. It’s getting late in the day. We’ve
got to do our flat wash and our gradated wash. Oh my. Here we go. Here’s your gradated
wash. You might be saying, hey Sheldon, dude, how do you do these different techniques,
right? Cause like most people say they do like one or two. I’ve been doing this for
a while. I’m an artist, man. Since the age of 3rd grade, which for me was about 16 years
old, this is all I’ve ever done. No, 3rd grade. So how old are you in the 3rd grade?
I don’t know. I don’t remember. But 3rd grade is when I really started art. I still
have the supplies that I bought myself when I was that young. Now that’s pretty wild.
I love my art supplies. Always have. I just keep learning new techniques. The definition
of a technique—everybody write this down. Okay? Write it down. It is anything you can
predict the results of. So if you can draw with a candy bar, well then you’ve got a
technique. Cross-contour. This is fundamentals. Cross-contour shape, the three shapes. Those
are your fundamentals, but the actual putting the medium down, that’s the technique.
I think techniques are designed to keep artists from going crazy.
There’s your lay-in.
Okay, here we go. Let’s do the flat wash. This is indigo blue. Alright, so we’re going
to go very flat. You have to practice same pressure. If you want to go dark you go back over it again
So you don’t press harder. You just put more down.
Alright? You don’t press hard. See this paper, this grain coming through? You don’t matte down. You don’t
destroy that grain. That’s when you get those very shiny drawings. That’s when you
have to lay down on the ground to see the drawing because the grain, it’s too shiny
from the light. You guys don’t tell me you haven’t seen that. That’s when you’ve
destroyed the grain. This is beautiful grain on this paper. So what you do is you just
go, you just keep adding. Don’t change the pressure. Don’t change the pressure.
You don’t change the pressure.
When we’re using graphite, and we’ll be doing that demo for you, you use the same
pressure. You just change the pencil to a softer pencil. In this case we don’t have
a softer pencil. I can go darker. I’ll do that when I do this over here maybe.
But I can go darker if I want. I can go with a—what’s this. Ooh, this is a warm gray. That’s kind
of cool. Let’s see what happens.
Same pressure, just add more.
Okay, now here we’re going to do the same thing. We’re going to go dark to light.
Let’s see what happens with this marker. Let’s have some fun. Watch.
Wow, isn’t that cool? It melts the wax and turns it into pigment.
You can just keep building it up because now there is
no, you don’t have that waxy buildup to get in the way.
There’s your gradation.
Let’s put down for this—I don’t know, let me look at what I’ve done before.
Let's go warm.
Let’s not. It’s not sharpened.
Green, yeah. Green.
It just melts the wax. Turns it right into paint.
Man, that’s so cool. Dude. Background.
Let’s go with a warm reflected light. Something really contrasting. Not warm.
Let's go with hot. I like that.
Who would know that this is Prismacolor? Who knew? Warm it up.
There you go. Find a white. I would probably use a gouache for that.
Okay, the next one let’s do a different. Let’s do greens. Here’s the top.
Here's the side. Real strong though, see it? It’s too strong. It’s in the shadow.
There we go.
If you want we can take this. Forget that. I want to go with a little more color here.
We’ll put a gray here.
See how strong this is? It’s overpowering,
so we need to push that back.
You can mix your Prismacolor.
Now, what you’re going to see here
is that wax building up. That’s where the marker will take that back, but we’re not
going to do that. We’re going to let it build up so you can see it.
Come in with a nice dark.
Then I would come in with some white gouache or something, real opaque or a pastel and make the light.
Okay, here we go.
Now, over here I think we’re going to do it with the marker.
I don’t have a lot of marker left so I’m going to be very careful.
It’s ones you have to fill it back up with the actual—
when you buy your Copics you buy the refill at the same time.
So you figure you’re spending $6 for the marker,
and you're spending another $7 or so for your refill.
They just go out so fast.
This is fun. It’s pretty wet from the marker. If you put the Prismacolor into it, it might actually melt a little bit.
Here's the light side.
Here's the cool side.
Shadow. It just melts it.
See how grainy that is.
I want it to go flat.
I'll put the marker in.
It melts the wax and turns it into paint.
Just going to do a little bit up here.
We’re going to do little bits on this one because it really is back and forth building up,
and you need to refill your marker and it’s enough to get your going.
Okay, so this is still kind of like putting down local values.
Let me smear it up this way.
Okay, detail time.
I can’t wait to get into the mixed medium with you guys though. It’s really fun.
This is Prismacolor. To me Prismacolor alone, it just builds up too much.
So keep in mind that, you know, when you’re working with your Prismacolors you may
want to push back some of that wax.
The way to do it is with an alcohol based marker.
Okay, that’s the start.
Again, what you’re going to want to do is come back in later
on and put in some white highlights to kind of sparkle it.
But, if it’s wet it’s a little hard.
I’ll use blue. I’ll hit some of these little sparkles.
What do I have we can use? This is gray.
Okay, and that’s Prismacolor, with the help of a little friend called Copic.