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Colored Pencil Painting Portraits: Master a Revolutionary Method for Rendering Depth and Imitating Life Kindle Edition
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.
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
- 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: #260,622 in Kindle Store (See Top 100 in Kindle Store)
- 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.
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.