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BACKGROUNDS USING WATERCOLOUR PENCILS
( AQUARELLES )
Generally, the background to a picture is done first and the Aquarelle pencil can be used as a washed in colour laid down with a brush in traditional watercolour fashion ( see ‘Why Underpainting ?’ )
There are also techniques for laying down colour with an air brush and also with other tools such as sponges etc,
but most of these can only really be used as a first step.
There are few methods which enable a good background to be laid down wet, and most of those depend upon using stretched watercolour paper.
First of all let us look at the work of UK artist Jo Goudie from North Wales, and expert in CP images of Horses, who recently showed this technique for completing backgrounds using soluble pencil pigment. Jo has kindly agreed that I can show her process here.
If you want to see more of Jo’s work, have a look at http://www.colouredpencilart.co.uk/
Jo started off with a photo of a Hooded Crow ( Left )
Jo writes
‘This is a Hooded Crow we photographed in Scotland on holiday in Stornaway.
I loved the colours in his feathers but wasn’t keen on the background so I played in Photoshop until I had something I preferred which was against a stormy sky and standing on a stone.
(Picture right)
As Jo has some skills with an air brush, she used this as her tool for applying the colour. You could use alternatives for the method of application such as a soft sponge, though I don’t think the result would be as good.
Firstly Jo made a liquid of the Derwent Inktense pigment.
She wrote ‘I had to dissolve the leads in the colours I wanted to spray.
I snap them off and put them in little pots with a little bit of tepid water and leave them overnight.
Meanwhile I trace my design onto the matt backing of frisket paper.
This is special low tack clear plastic meant for this use.
I cut out my design ( remember to reverse it, I forgot the first time. DOH!!).
I then stuck it on my Stonehenge paper surface and made sure it was firmly stuck with no bubbles or creases.
Once the leads have dissolved you can feed them through an airbrush with no problem. I start off by spraying the lightest colour first and gradually build it up to the darks.
Doing many light layers rather than one heavy one, is the key so you don’t get buckled
paper or over-
I had cut a template to give me some form for the clouds.
Once the colour has dried. You can remove the frisket mask
Now all I have to do is draw in my guidelines for the plumage and I can pick up my pencils and start adding colour....
......the best bit !!!!
I am using Prismacolours in black grape, indigo blue, olive green, various cool greys for the beak
and french greys and putty beige for the pale grey back.
There are a few other colours too but I cant remember them all
And here we have the finished ( cropped ) image
The first point to make here, is that it is just as easy to use the similar liquid colour with a good sable brush, over a frisket.
If you are using a brush process, I would suggest doing the picture on a stretched watercolour paper like Fabriano 5, rather than on a print making paper like Stonehenge that Jo used, as the Fabriano is better for a wetter process and the stretched paper will ensure it stays flat at all times.
FIRST ! Don’t do this on your masterwork until you have tried the process out.
You will want to avoid sharp edges in the background and try to get the same fade into the colours,
lay down your frisket first and make sure it is secure and flat on the paper surface and then damp the visible surface of the paper, Being careful as you approach the frisket edges with your brush. The liquid wash pigment will flow more readily over the damp paper and you will be able to merge different colours on their meeting edges.
This is exactly the same as working with watercolour washes, but with the difference that you are using transparent pigment from a pencil source and also gives you the chance to get an even colour that you can manipulate.
Those who work this process with a traditional watercolour brush should make up their liquid colour in a slightly stronger mixture than if it is to be used in an air brush. Use a flat sable brush if you can for this rather than a round shaped brush.
I have also heard that the same process can be carried out using foam pads and sponges, though I guess it will get a bit messy, and the colour will not be as controllable. The advantage could well be that using a drier mixture and a dabbing motion to apply the colour, will be less likely to disturb the frisket edge as much.
IF you are trying to apply a background with a wet process to a picture already part completed, you are going to find the task far more difficult. If your subject has already been worked in dry point ( wax type ) pencil, then the colour will be more resistant to water. You will need to check it out by trial and error, but there is a chance that you would be able to carefully apply the liquid colour to the background up to the edge of the non soluble pencil. In this case the dry colour could well act as a frisket. Damping the surrounding paper first with clean water will give you more time to work the background colour into position.
This is all Coloured Pencil work on the edge of discovery, so any experiences you have and are prepared to contribute are very welcome. When I get time, I will do a demo of the brushed process and post it here, but don’t sit up waiting for it !!!!
Latest revision April 2010
AQUARELLES
AQUARELLE PENCIL TECHNIQUES 1 Eight ways of using 2 -
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Foliage in Watercolour Pencils 6 The Cottage Garden Tutorial