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Colored Pencil Painting Portraits: Master a Revolutionary Method for Rendering Depth and Imitating Life Kindle Edition
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Colored pencil painter Alyona Nickelsen reveals how to use the medium to push the limits of realistic portraiture.
Colored Pencil Painting Portraits provides straightforward solutions to the problems that artists face in creating lifelike images, and will prime readers on the intricacies of color, texture, shadow, and light as they interplay with the human form. In this truly comprehensive guide packed with step-by-step demonstrations, Nickelsen considers working from photo references versus live models; provides guidance on posing and lighting, as well as planning and composing a work; discusses tools, materials, and revolutionary layering techniques; and offers lessons on capturing gesture and expression and on rendering facial and body features of people of all age groups and skin tones.
- LanguageEnglish
- PublisherWatson-Guptill
- Publication date20 June 2017
- File size211620 KB
Product description
Review
—Sally Robertson, editor in chief of Colored Pencil Magazine
"This is a must have book for all colored pencil artists--not just those interested in portraiture but those looking to really understand and master the art of colored pencils."
—Ivor Harrison, The Art Gear Guide
"Colored Pencil Painting Portraits is a wealth of information and instruction, and it is a joy to watch how Alyona brings her rich, beautiful portraits to life."
—Australia Colored Pencil Association --This text refers to the paperback edition.
Excerpt. © Reprinted by permission. All rights reserved.
The colored pencils in my studio are amazingly resilient. They have successfully outlasted the many temptations presented by paints, pastels, inks, etc., and, umpteen years later, still hold the preferred position on my work table. I have used the vast quantity of accumulated knowledge about the properties of other mediums and incorporated the more useful ones to further advance and extend the benefits of the colored pencil painting process.
Through continuous research, experiments, and testing, the exceptionality of the colored pencil medium has become clear to me. Their precision and flexibility allows artists to achieve practically any desired effect. We simply need to understand their much overlooked properties and use them to our own advantage. As a result, even the sometimes cumbersome task of covering a large background is no longer a chore. If you know how, you can overcome such challenges in just a fraction of the time you may have come to expect.
In this book we continue the discussion started in Colored Pencil Painting Bible about the colored pencil painting process. However, this time it will be based on the example of the portrait genre. Since the publication of my first book some of the techniques I use today have been updated or modified, some tools were added and others abandoned, and some ideas have been adopted or rejected. But the fundamentals of my approach remain the same. I continue layering colored pencils onto a white surface producing finished artwork that resembles a painting rather than a drawing. We will be discussing all aspects of these practices in detail throughout the pages of this work. --This text refers to the paperback edition.
About the Author
Product details
- ASIN : B01LXNAFC2
- Publisher : Watson-Guptill (20 June 2017)
- Language : English
- File size : 211620 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Not Enabled
- Print length : 184 pages
- Best Sellers Rank: #255,039 in Kindle Store (See Top 100 in Kindle Store)
- #89 in Painting (Kindle Store)
- #1,366 in Crafts & Hobbies eBooks
- #3,925 in Painting Books
- Customer Reviews:
About the author

“It is time to start everything over!” said Alyona and she did it. New family, new country, new life, new Alyona...
Alyona was born and raised in Ukraine. Since childhood she has drawn for teachers and fellow students, published school newspapers, created posters, displays and entire art shows for various school events. "I guess I have always been an artist at heart. However, my art took a breather while I concentrated on completing my education and dealt with life’s various surprises", she says.
Her creative bent awoke again after moving to Southern California in 1999. “Before now, circumstances kept me from taking my art seriously. Now is the right time, thanks to my wonderful husband Tom for his support and patience. Everything that has been and will be created I dedicate to him!”
From the beginning Alyona’s favorite medium has been graphite and charcoal. However, colored pencils have now captured her inspiration and creativity. "I began to understand that a medium I had overlooked from childhood could do so much more than just sketch and produce a wondrous array of colors and tones. I discovered new systems and methods that changed my perceptions and molded the results into something more than I had previously thought possible", she says.
"A great influence on my work has been the talent of Hans Christian Andersen", Alyona says. "He could weave very innovative stories about the simple events in every day life and make them fascinating to listen to. I use the language of shapes and colors to do the same with my paintings. Capture the simple movement of a leaf caught in a breeze and, though it may happen the same exact way only once in all of nature’s complexity, it is saved for a lifetime when rendered by my pencils."
“People always ask me: Are you sure this is colored pencil?” Alyona’s paintings really don’t look like what you would expect from colored pencils. She applies numerous layers of color to give the drawing an oil painting effect. "Since colored pencils require long and tedious hours to achieve the exact effect desired it is critical to carefully and meticulously plan the process of creating each piece. Knowledge of the medium’s essences, constant improvement of skills and techniques, searching for new ways to use the medium and being open to experimentation are crucial keys for success. Hard work and passion brings results. I am enjoying my journey and looking forward to new challenges."
Alyona's work has been exhibited in many national and international shows, won numerous awards and has been displayed in many private and public collections throughout the United States. Alyona is a Signature Member of Colored Pencil Society of America (CPSA), Full Member of Catharine Lorillard Wolfe Art Club and Juried Member of International Guild of Realism.
Alyona devotes all of her time and energy by creating pieces that reflect her matchless views and sharing her passion with art lovers. Visit her website: www.BrushAndPencil.com
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Customer reviews
Top reviews from other countries

The difference between this book and her bible is that whereas the majority of the work in the first book promoted the use of layering, blenders and odourless mineral spirits in order to get a luminant and smooth, pencil stroke-free finishes to your work - and focused mainly on still life - this is about portraits and the tools you need. The effects are totally different and the subject is different so there is a need for some serious commitment on the part of the reader to buy into Alyona`s new techniques - and they are revolutionary for this field.
Different paper is needed, tools normally used for pastels too, in addition to Alyona`s own creations - further info. you can find on her Brush and Pencil website and available in the UK - texture fixative, final fixative, touch-up texture, titanium white powder and the amazing miracle that is the powder blender. I spent many hours watching different artists using these on Youtube before I even bought the paper I would need. (I opted for Uart 500 sanded paper to start with. I thought that would be much easier than using acrylic gessos). The key to understanding and enjoying all of this book is that you need paper with teeth! Using the powder blender first on your paper and applying very soft layers of coloured pencil, you can move the pigment around with pastel tools, creating an incredibly smooth blend of colour, and using the texture fixative you can add layer after layer, adding previously unthinkable depth and value to your image.
Alyona understands an amazing amount about colour theory and art history, but also about the science behind the application of pencil to paper, and all the products she uses are Brush and Pencil brand because a) she invented them! and b) there are no alternatives! As I work through this book, I cannot believe the art I`m able to produce... but it is very important that you understand that it is almost like learning water colour when you`ve only worked in oil; it isn`t that the knowledge you have isn`t helpful, but you`ll need to learn a new technique - from scratch. If you read the book, and understand the science, you`ll be amazed. But don`t think you can get these results without the understanding first, commitment second, and thirdly, prepare for some damage to your bank balance as you`ll definitely need to make some purchases.

To be very clear from the outset – this is not in my opinion a beginner's book and I found some of it heavy stuff to digest.
There's a lot of information in the book, a great deal of it technical, analytical and process-based; she clearly knows a great deal about her medium and it's all here, should one wish to avail one's self of it.
However, Nickelsen`s idea of realism is very photographic – as in working from photographs; now, if that's what suits go ahead, but although I have no problem with Photorealist or Hyperrealist art, those processes often uncover abstract and more considered aspects of depiction – the methods laid out here seem to be very subservient to the primacy of the photographic image – even involving tracing.
Realism means a lot of things to different artists, so I don`t wish to get into a disagreement with this artist's particular approach – suffice it to say that it is not mine, nor is it one I would advocate to my own students unless it was appropriate to an individual's requirements.
The “Look inside” option above gives a fairly accurate impression of the contents – one must decide for one's self if that is of value, but I found it ponderously technical and not at all useful to my own drawing/painting/teaching practice.

Edit. I’ve come back to add my experience with ordering the Textured Fixative from ‘Realism in Portrait’ based in the Netherlands, it’s a reseller on the Brush and Pencil website! They seem to ship to Ireland so I placed an order and paid (in stock item) I received an order confirmation. That was over a week ago and I haven’t received any shipping confirmation from them at all and they aren’t communicating at all after trying to contact to find out what is happening. I tried ‘again’ to contact Alyona Nickleson and still zero response nothing. It’s bad form to be honest, you publish a book and encourage people to buy your products but can’t be bothered to respond to help via any avenue and you provide details of a reseller in the Netherlands who is completely ignoring any messages about an order.? I’m going to have to start trying to get money back via PayPal now. Over €50 to get one can of spray, disaster.
Further edit: Realism in Portrait contacted me to tell me they cancelled my order because they can’t ship Aerosol internationally. I had to raise a PayPal ticket to get my money back.

Up until now I have mainly drawn animals in coloured pencil but my technique is terrible. Try as I might I cannot get my colour to look anything like the photographs in the instruction books I am following. Now I have an idea how to remedy the situation.
This is a marvellous book and her explanations are second to non.
