Ficus Elastica, colored pencil, 13 x 10½ (34 x 27 cm) This is the largest drawing I have done. I really loved working with this blue-green palette, which contrasted well against the black background.
My artistic style is about realism, detail, color, contrast and texture. I like to think of myself as a contemporary botanical artist. I was trained in the traditional style of botanical art, at the Geelong School of Botanical Art. The subject is usually a flower, fruit or vegetable. It is drawn from real life, to scale, on a white background, and is scientifically accurate. It is here that I learned the basics of drawing, first in graphite and then colored pencil. Although I have developed my own style, much of what I learned can be seen in my work. Now my emphasis is more on artistic interpretation and I do like to push the boundaries.
I found that I preferred to use photographs as a reference, and I liked to add a background, sometimes a dark background. I prefer a less technical method and like to blend colors into a ‘painterly’ style.
The technique of colored pencil is about layering and blending colors. You cannot mix color pencils in a palette, they are mixed directly on the paper. Many layers of pencil are required to build up enough saturation of color so that the “tooth” of the paper is filled in is burnished. After I have done three to four layers of color, I like to use a Caran D’Ache Luminance white pencil to smooth out the pencil strokes. More layers of color are then added. It is very important that the pencil has a very sharp point and only light pressure is used. If heavy pressure is applied, the tooth will be flattened and it will not be possible to add more layers. I like to use small, circular strokes which gives a smooth coverage of the paper.
This story is from the June - July 2021 edition of International Artist.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the June - July 2021 edition of International Artist.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Sign In
Intrigue in the ordinary
I've \"'ve never had any formal training always had a strong attraction to the arts and the practice of painting
Paper Textures
John Lovett guides us through the varying properties of different watercolor surfaces
Creating Ambiance
Mona Parker Weidner selects colors palettes and light sources that emphasize the mood of her interior scenes
Visual Depth
Blending and smoothing with solvents, Holly Siniscal creates painterly portraits in colored pencil
Sharp Precision
Working with craft blades and tattoo needles, Conor Smith etches realistic renderings of wildlife
The architecture of water
When Then I moved from Toronto to a tiny community in Nova Scotia, I became fascinated by the ocean, its reflections and endlessly shifting patterns of color and light
Saturated World
Emphasizing the beauty of nature, Joe A. Oakes paints landscapes with warm colors and imaginative compositions
Pure Bliss
Working alla prima, Andreas Liss takes on a loose, unbridled approach in his artwork
Sculpting the Paint
Using a palette knife allows oil painter Maria Iva to create clean colors and rich textures
Forwad MOMENTUM
Artist Lisa Gleim shares the evolution of her career and how she grew into her preferred medium of pastels