ARCHITECTURAL VISUAL COMMUNICATION 5

COLORED PENCIL TECHNIQUE

AR. DIANE A. JOSE

COLORED PENCIL
Colored pencil is a simple, versatile medium it can be used to replicate the look of oils, watercolor, acrylic, and more. Although it has been used as a fine art medium for less than a century. Its popularity has grown significantly over the last few decade. Inexpensive, easy to transport, nontoxic, easy to find in art and craft stores, and combine well with other media.

AR. DIANE A. JOSE

TOOLS AND MATERIALS

PENCILS As with all art supplies, the price of a pencil indicates its quality; better pencils have truer color.

AR. DIANE A. JOSE

TOOLS AND MATERIALS

PENCILS Choosing Pencils. There are many types of pencils available harder, thinner leads are ideal for rendering fine lines and detail, while softer, thicker leads are great for filling in large areas. Some manufacturers make both hard, thin lead and soft, thick lead versions of the same colors.

AR. DIANE A. JOSE

TOOLS AND MATERIALS

ERASERS Colored pencil artists cant use ordinary erasers to correct their work; the friction between a rubber or vinyl eraser and the paper will actually melt the wax pigment and flatten the tooth (or grain) of the paper.
Kneaded eraser is useful for removing small amounts of color.
AR. DIANE A. JOSE

TOOLS AND MATERIALS

PAPERS Textured papers are best for colored pencil work because the rough grain catches the color so it accepts more pigment than smooth paper would.

AR. DIANE A. JOSE

TOOLS AND MATERIALS

SHARPENERS You can achieve various effects depending on how sharp or dull your pencil is, but generally youll want to make sure your pencils are sharpened at all times; a sharp point will ultimately provide a smoother layer of color. You can also use a sandpaper pad to refine a pencil point.

AR. DIANE A. JOSE

TOOLS AND MATERIALS

EXTRAS

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COLOR THEORY

Colored pencils are transparent by nature, so instead of mixing colors as you would for painting, you create blends by layering colors on top of one another.
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Primary Colors

Our color wheel starts with 3 primary colors, placed in an equilateral triangle. YELLOW, BLUE and RED

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Secondary Colors

The secondary colors are: ORANGE (mix red + yellow) GREEN (mix yellow + blue) VIOLET (mix blue + red)

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Tertiary Colors

The tertiary colors are: yellow-orange, red-orange, red-violet, blue-violet, blue-green, and yellow-green.

AR. DIANE A. JOSE

COLOR THEORY
HUE refers to the color itself, such as blue or purple INTENSITY means the strength or chroma of a color (usually gauged by pressure applied or pencil quality in colored pencil) VALUE is a term used to describe the relative lightness or darkness of a color (or of black). It is the manipulation of values that creates the illusion of form in a drawing.

AR. DIANE A. JOSE

TYPES OF COLOR SCHEME

Analogous:
Colors that contain a common hue and are found next to each other on the color wheel, e.g., violet, red-violet, and red create a sense of harmony. Remember adjoining colors on the wheel are similar and tend to blend together. They are effective at showing depth.

AR. DIANE A. JOSE

TYPES OF COLOR SCHEME

Monochromatic:
One color. A monochromatic color scheme uses only one hue (color) and all values (shades or tints) of it for a unifying and harmonious effect.

AR. DIANE A. JOSE

TYPES OF COLOR SCHEME

Neutral colors:
Contain equal parts of each of the three primary colors - black, white, gray, and sometimes brown are considered "neutral". When neutrals are added to a color only the value changes, however; if you try to make a color darker by adding a darker color to it the color (hue) changes.

AR. DIANE A. JOSE

TYPES OF COLOR SCHEME

Warm colors:
Suggest warmth and seem to move toward the viewer and appear closer, e.g., red and orange are the colors of fire.

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TYPES OF COLOR SCHEME

Cool colors:
Suggest coolness and seem to recede from a viewer and fall back, e.g., blue and green are the colors of water and trees).

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TYPES OF COLOR SCHEME

Complementary:
Two colors opposite one another on the color wheel, e.g., blue and orange, yellow and purple, red and green.

When a pair of high intensity complements are placed side by side, they seem to vibrate and draw attention to the element Not all color schemes, based on complementary colors are loud and demanding -- if the hues are of low-intensity the contrast is not too harsh.
Intensity can only be altered by mixing a color with its complement, which has the effect of visually neutralizing the color. Changing the values of the hues, adding black or white, will soften the effect.

AR. DIANE A. JOSE

TYPES OF COLOR SCHEME

Triad:
A color triad is composed of three colors spaced an equal distance apart on the color wheel. The contrast between triad colors is not as strong as that between complements..
Primary - red, yellow, and blue

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TYPES OF COLOR SCHEME

Triad:
Secondary - by mixing two primary colors,

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TYPES OF COLOR SCHEME

Triad:
Intermediate - colors are created by mixing a primary and a secondary: Red-orange, yelloworange, yellow-green, blue-green, blue-purple, and red-purple.

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TYPES OF COLOR SCHEME

Triad:
Split complements - the combination of one hue plus the hues on each side of its complement. This is easier to work with than a straight complementary scheme. It offers more variety, e.g., red-orange, blue, and green.

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TYPES OF COLOR SCHEME

Triad:
Double complementary - two adjacent hues and their opposites. It uses four colors arranged into two complementary color pairs. This scheme is hard to harmonize; if all four colors are used in equal amounts, the scheme may look unbalanced, so you should choose a color to be dominant or subdue the colors.

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Shade and tint

are terms that refer to a variation of a hue.

Shade: A hue produced by the addition of black.

Tint: A hue produced by the addition of white.

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COLORED PENCIL TECHNIQUES

STROKES Each line you make in a colored pencil drawing is important - and the direction, width and texture of the line you draw will all contribute to the effects you create, practice making different strokes.

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

STROKES Apply light, medium and heavy pressure; use the side and then point of your pencil and experiment with long, sweeping strokes as well as short, precise ones.

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

HATCHING The term hatching refers to creating a series of roughly parallel lines. The density of color you create with hatch stokes depends on weight of the lines you draw and how much space you leave between them. CROSS-HATCHING is laying one set of hatched lines over another but in the opposite direction, producing a meshlike patter.

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COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

LAYERING AND BLENDING Because colored pencils are translucent, artists use a transparent layer process to either build up color or create new hues. To deepen a color, layer more of the same over it, to dull it, use its complement.

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

AR. DIANE A. JOSE

COLORED PENCIL TECHNIQUES

BURNISHING Burnishing (or opaque layering) is a blending technique that requires heavy pressure to meld two or more colors, which also flattens the tooth of the paper. Usually a heavy layer of white (or another light color) is applied over darker colors to create a smooth, shiny blend.

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