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AL N IO T O M O PR
E U S IS
PROMO 2014
CO N T EN T S features 04
ART SPACES IN SMALL PLACES
08
MIXED MEDIA GUIDE
18
WHY GRISAILLE?
Creative solutions to limited studio space.
See how other mediums work with waxbased colored pencils.
Barbara Dahlstedt introduces you to a technique that establishes a monochromatic base to get a beautiful finished look.
departments NOTE 03 EDITOR’S Free digital sample issue
06 Q&A Answered by Amie! 08
M.Y.O.B.
Selling your art on Etsy
14 SKETCHBOOK New products and art news 16 GALLERY Artwork showcase 10 FEATURED ARTIST
Get to know our 2014 Art Competition judge, Joseph Crone and view the stunning work that makes him the authority on what makes great art!
2
ART COMPETITION 21 2014 Official entry form
23 ART CHALLENGE
Take a Monthly Art Challenge & win great prizes from our sponsors
PENCIL STUDENT 24 COLORED Check out our digest for beginning artists
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
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EDITOR’S NOTE FREE DIGITAL PROMOTIONAL ISSUE
Editor-in-Chief & Creative Director Sally Ford Copy Editor Kristin Small Contributors Missy Acker Joseph Crone Barbara Dahlstedt Autumn Ford Anna Hammer Julie Robertson Amie Talbot Sponsors Jerry’s Artarama Blick Art Supply Prismacolor Legion Paper
The Original COLORED PENCIL MAGAZINE Inspiration for the Passionate Colored Pencil Artist www.coloredpencilmag.com Each month brings fresh and insightful colored pencil articles & art, expert tips, and regular contests to get you involved! Available worldwide!
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3
M.Y.O.B ~ Mind Your Own Business!
ART SPACES IN SMALL PLACES With tight budgets and shrinking living spaces, artists have grown to be more creative in using the smallest areas to create in. We want to inspire you with solutions some have found for making a space solely dedicated to their art!
Closet Studio. . .
BY CHRISTINE SCHNITTKA When we lived in Virginia, I had a bedroom all to myself for an art studio with a lovely picture window overlooking the backyard. I spent many productive years working there while pursuing my PhD and could spread my work out all over an old kitchen table and hang it from all four walls. Then, we moved to Kentucky for my first academic teaching job. Thankfully, I had a loft all to myself with windows on three walls and with inspirational views o f t h e g a rd e n s . When two grown children moved home, my space was donated to the cause. I was able to secure the basement that only had a couple of small windows, but it had a good energy and lots of space. Three years later, a job opened up teaching in my hometown, Auburn, Alabama. We renovated an old house and I was able to carve out a small room for a working office, but there was no space for an art studio until I re-purposed a very small room. I cleaned out this closet that was formerly used for stereo equipment by a former owner. It has electricity and a nice work surface. It’s now my art studio. I’m officially the artist in the closet! The bonus, as usual, is that nobody has to see my works in progress. I just close the door. Now to get some painting done!
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So this artist came to us at the All Oregon Calligraphy Conference.
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l “This is perfect for me, I only have five square ma EEEEEEEEE s inches of space”, she said. EEEEEEEEEE by t in EEEE3 Ar She bought one of the first Orbital Easels we sold. EE')'E5EE') 4j6)WEEj www.orbitaleasel.com The Orbital Easel clamps to your desk or screws down to a photo tripod. PO Box 2024 Aberdeen, WA 98520 (360) 589 7473 • orbitalholding.com EEEEEEEEEE
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 4 E3 kEEEE5EEEEEEE
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EE www.orbitaleasel.
Wall-Mount Studio. . . Make use of wasted space with this multipurpose craft desk. It looks like an ordinary cabinet, but when you pull down the top, it turns into a desk for all your art & craft projects. The inside of the cabinet provides ample storage for all of your supplies. If you have an available wall, you have a place to create! This White Murphy Wall-mount Scrapbook Organizer Craft Desk Work Table is currently available at Overstock.com for around $200.
Temporary Studio. . . If you have very limited space, then an easy set up like this is just what you need! This portable table is sturdy and durable and is 36Wx25D. It is available in a white or glass top. The tabletop adjusts to a 35degree angle and comes with four removable side trays to hold all your supplies. What’s even better? No tools required! The Studio Designs Folding Craft Station is for sale on the DickBlick.com website starting at just $129!
Portable Studio. . . Transform any flat surface into your studio with this compact and portable table. Foldable legs allow you to lay it flat or at an angle with rubber grips on the bottom and a comfortable carry handle to take it with you anywhere you go. There are a variety of prices and sizes of this Alvin PXB Portable Parallel Straightedge Board available, from $77 for the 16”x21” to the large 31”x42” board for $135 at DickBlick.com
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Q&A Q: A:
Answered by Amie!
. . . . . . . . . .
I am afraid of using a fixative spray. Can you give me some tips on how and when to apply it and what is the best brand? As a former beginner myself, words like “fixative spray” can be scary, especially when you apply it to your drawings. Rest assured, nothing is scary about this. Even if applied incorrectly for the first time, no major harm can be done to your drawing. First, select a good quality commercial fixative. Some advocate the option of using a household fixative, such as hairspray, which is a fraction of the cost. However, given my experience with hairspray, this has only resulted in staining and yellowing of the paper, so not recommended! You have two options when it comes to choosing a fixative - regular or odorless. The difference between the two being that one eliminates the annoying smell that often is affiliated with spray cans. Most of these fixatives are made from acrylic resin dissolved in an organic solvent, such as lacquer thinner. The brand that I use is made by Prismacolor: Tuffilm Final Fixative. Fixatives are “workable” meaning that they can be applied at any time to the surface of your drawing so that the drawing can be reworked or added to. Without its assistance, it is difficult to apply additional layers of material and not disturb layers underneath. Fixatives also rid colored pencil drawings of the infamous “wax bloom,” which is a white haze that rises to the surface of your drawing over time. Here’s how you apply fixative. First, situate yourself in a well-ventilated area, not indoors. I prefer my garage with the door open so that I am somewhat sheltered from outside elements, mainly wind. Fixatives are toxic and flammable and need careful attention when being used. Always test your fixative first before applying to your drawing. You want to make sure your drawing is on a level surface (not on the ground as particles can make their way onto your drawing.) Stand at least 12 inches away from your drawing and spray in a smooth continuous parallel motion. You want to begin off the edge of the paper and end off the other edge of the paper, on the opposite side. The spray should be a light mist on the drawing. Fixatives dry quite quickly so, once dry, apply another layer. If I sprayed my first coat parallel on the drawing, I usually turn the drawing and spray perpendicular on the second coat. This ensures an even distribution of fixative. Inspect your drawing carefully to ensure that you are happy with the result. If the particles have sunken heavily into the tooth, you probably applied too much fixative – you want to avoid soaking the drawing. Two coats usually works for me, but you can always apply more if desired.
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COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
. . . . . . . . . . . . . . . . . Q: A:
I accidently colored in a small section that I meant to keep as the surface color. Is there anything I can do now? I find the big question associated with colored pencils is,“How forgiving are they?” As an experienced colored pencil artist, I have always been cautious about my application of color, mainly to avoid having to remove color that has been taken too far. But it was this past summer, after my daughter decided to add her creative touch to my drawing, that I was truly put to the test. I was beside myself! Heavy scribbles covering a large area – a true nightmare for any artist. But, thankfully, with A LOT of patience and some effective technique, I was able to remove all of it. One way to remove colored pencil from the surface of your drawing is by using a kneaded eraser. They can be molded to any size and shape so that you can erase both small and large areas. As you press the eraser into the desire area, color will lift from the surface and onto your eraser. You will need to mush the kneaded eraser around, so that the pigment that has accumulated on your eraser doesn’t accidentally get redistributed back onto the drawing. Also be cautious not to crease the paper from rubbing too vigorously. Sometimes this is a result of rubbing out mistakes without realizing how hard you are pressing down. Then you are left with a paper that has now buckled and creased, so use a steady, careful touch. Artist tape/masking tape/frisket film is another alternative to lifting colored pencil. You can cut the tape or film to any size and apply to desired area. After applying to a drawing, it is best to apply pressure or rubbing motion to the tape to ensure maximum removal of color.
My all-time favorite tool for removing colored pencil from my drawing is the electric eraser. If you’re looking for something to bring the paper back to its original color, this is your best option. Although a little costly, it is a very effective tool in cases of having to remove dark areas that would have been difficult by hand. If you are using an electric eraser for the first time, be sure to practice with it before applying to your drawing. That way you can get use to handling a battery operated eraser and figure out how much pressure you need to use. To avoid having to remove unwanted layers of color to your drawing, the best piece of advice I can give you is to slowly build layers many layers of color, rather than applying too much pressure.
www.amietalbotvisuals.com COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
7
Mixed Media Guide
Colored Pencil with . . . Let’s take a quick look at how other mediums work with wax-based pencils.
Watercolor
Gouache
Watercolor is a very popular choice to use with colored pencils. Using it can provide a nice, quick base that would otherwise be very time consuming, using pencils alone. Because watercolor is translucent, it is great for layering. With many brands to choose from, watercolor pencils are a convenient and growing alternative that can be used wet or dry.
This water-based medium is more opaque than watercolor and can hide pencil lines as well as create more texture. You can apply gouache under or over colored pencils and they generally work well together.
Oil
Markers
Oils come in the form of pastels, paint, and even pencils. Waxbased pencils may be used under or over oils. There are many Techniques -- from using oils as a glaze to using them as a base. Colored pencils can provide a clean edge and sharp details to an oil painting.
Broad markers can provide a great under-painting to large areas, while a fine-tipped marker can create nice line work. Markers can be used under or on top of colored pencils. Since most markers are alcohol-based, they will act as a blender when used on the top layer.
Acrylic
Ink
Although also a water-based paint, acrylic is more permanent and more opaque than gouache or watercolor and is excellent for adding light layers on top of colored pencil, as when doing whiskers or other details that can be difficult to achieve with pencils alone.
Ink has a hard edge and is permanent. You can use ink right from the bottle or from a pen. Derwent also has a line of watersoluble pencils, called Inktense, that produce a permanent intense color, but are more translucent like a watercolor pencil.
Pastel
Graphite
Pastels come in soft or hard form and can work in tandem with colored pencils, but they do have their pros and cons. The first rule is that you must use pastels UNDER colored pencils and not the other way around. Pastels are great for establishing quick coverage but can also easily smudge, so be sure use a quality fixative in a well-ventilated area and use a shield or piece of paper under your hand while working.
It is very common for artists to use graphite pencils with colored pencils, but there is a difference in the makeup of the two mediums. While colored pencils are sticks of wax, graphite is much looser and shiny but can be pressed to provide you with a hard lead for sharp details. A harder lead will also be less likely to smudge and will provide better results when used under colored pencils.
Before using colored pencils with other mediums it is best to do additional research on what the best techniques are for what you want to accomplish. Experiment and have fun trying something new! 8
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9
The Art Of Joseph Crone josephcroneart.com
Joseph Crone first became interested in the process of drawing at a very young age. He had a passion for rendering the world around him which he exercised daily. While attending Ringling School of Art and Design, Crone drew exhaustively from the human figure, but decided after two years to return to Indianapolis and study other media, such as printmaking, which introduced him to new methods and materials that he continues to use. “This is when I fell in love with the grouping of colored pencil and frosted acetate,” Crone says. “It was as if my passion for drawing was reawakened, bringing a fresh and stimulating clarity to my, at the time, unclear artistic path. Honestly, I think I remember this specific moment more vividly than I do my first kiss.” With an emphasis on drawing, Crone went on to graduate from the Herron School of Art and Design in t he summer of 2010 with a Bachelor of Fine Arts degree. From there, his intention was to further explore these drawing methods and g r itt y s cenarios that would allow him to create a unique voice within the art world, mainly the realist community. He continues on, “Although I’ve received my degree, I’m still in a constant state of learning, studying various techniques of established contemporaries that keep the stakes high. At some point in time I do plan on returning to school for my Master’s but, for the time being, I’ll continue to enjoy creating work on my own schedule.” Currently, Crone is working from two separate studios: the first being a quiet, cozy apartment that overlooks the Indianapolis Art Center gardens; the second a dedicated artist studio he acquired after receiving one of the two year-long residency positions awarded by the Stutz Artist Association. He adds, “I’ve been fortunate enough to have access to both spaces over the past few months since being a proud new parent. Our son, Jasper Finch, will be able to grow up with plenty to look at, play around, et cetera. We couldn’t be happier!” Not only does Joseph take advantage of these work spaces, mother and fellow artist, Britt Leiendecker, enjoys painting from home as well. Having an extra studio allows them the necessary space to create without jeopardizing the integrity of their craft.
Inspirations for Crone’s uniquely scripted pieces tend to reveal themselves throughout the everyday mundane, while conceptually focusing on the recesses and storytelling of the human mind. Visually speaking, his work often reflects moments of a hazy nostalgia or nightmarish delusion influenced heavily by the still intensity of Film Noir. “Multiple times through the day I’ll come across an idea whether I’m reading, watching a film, or relaxing. But the ideas that stick are those that repeat themselves in my mind like the lyrics to a song that I heard earlier that day”, Crone states. He then approaches the theme by carefully planning and developing each range of fluctuating emotion that will narrate the story. After scripted references of the figure are compositionally staged, they are then reenacted and recorded through the collaboration of a model and camera. Numerous photographs are taken in order to capture the ideal tension Crone seeks to portray, creating a sense of cohesiveness that runs throughout his work like chapters in a thought-provoking novel.
With the assistance of jeweler’s magnifying glasses and other varying techniques, Crone proceeds to use methods of colored pencil drawing on frosted acetate to recreate the finalized photograph that has seen its way through multiple stages of editing. Unlike conventional drawing on paper, the transparent quality of the acetate enables the colored pencil to penetrate the surface with a higher depth of contrast and saturation often seen in colorized photographs.
10 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
Inside Job (10x7 colored pencil on layered frosted acetate)
Crone goes on, “With the initial lines of the composition mapped out, I develop a layer of tiny, circular marks that act as an ‘under painting’. I then move on to the stage of detailed rendering, creating more clarity in each area by pushing and pulling the lights and darks, overall manipulating the mood of the final piece.” Crone works from a small list of materials that mainly consists of Prismacolor Verithin colored pencils, a Sakura electric eraser, and a glove to prevent smudging. In a vertical fashion, a white thermoplastic board is utilized as a drawing table that allows just the right amount of cushion between it and the acetate, revealing each direction of line made. Although a seamless pattern of mark making is essential to achieve this heightened sense of realism, accidental or stray marks are inevitable yet kept in order to demonstrate his drawing process. Finalizing the work, he chooses whether or not to move forward with color. He then adds, “By turning over the acetate I’m able to create colored flats through the same circular pattern technique or I simply add a layer of toned paper underneath to reinforce the overall mood”. Layering is an essential component within Crone’s process from start to finish, simultaneously joining the methodology and conceptual intensity of each drawing as complete entities. At the age of 30, Joseph’s recent accomplishments include the Robert Beckmann Emerging Artist Fellowship presented
by the Arts Council of Indianapolis as well as the Stutz Artist Association’s Residency Program. Crone had also received placement within the top 30 finalists amongst 2100 entrants in the Saatchi Online Drawing Showdown. Recent publications outside of local newspaper reviews include Strokes of Genius 2: The Best of Light and Shadow drawing book, BLUECANVAS Magazine issue #8, Studio Visit Magazine volume 15, and a figurative spot in January’s Southwest Art Magazine. He continues to show locally while seeking gallery representation and future opportunities that will further his artistic vision as an emerging artist.
Off the Beaten Path (7x10 colored pencil on layered frosted acetate)
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 11
Cain and Able (7x10 colored pencil on layered frosted acetate)
Decaying Consciousness (14x25.5 colored pencil on layered frosted acetate)
12 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
josephcroneart.com
Prisoner of One’s Devise (16x20 colored pencil on layered frosted acetate)
Fragments (5x7 colored pencil on layered frosted acetate)
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 13
SKETCHBOOK VALUE PACK SPECIAL! FREE $5 GOURMET COFFEE E-COUPON Purchase a Kona Classic Combo Value Pack (9” × 12” pad and 6” × 6” field journal) and receive a FREE $5 gourmet coffee e-coupon. The pad and journal each contain 40 sheets of 88 lb (130 gsm), acid-free, 100% recycled paper. Price: $25.98 $14.28 BUY: http://bit.ly/1jgWLLf
CALL FOR ENTRIES
UKCPS 13TH INTERNATIONAL EXHIBITION Open to artists working in coloured pencils Deadline for Entries – Wednesday 5th February 2014 Exhibition dates 28th April – 10th May 2014 At the Royal Birmingham Society of Artists Gallery, 4 Brook Street, St. Paul’s, Birmingham, B3 1SA Online entry form and rules at www.ukcps.co.uk
NEW BOOK! DRAW LIKE AN EXPERT IN 15 EASY LESSONS BY SHEILA COULSON Learn how to draw in 15 simple fun lessons with this easy-to-use easel format book, ideal for both complete beginners and more experienced artists who want to expand their skills. Containing clear instructions, reliable advice and friendly encouragement to unleash your creativity, it is perfect for any aspiring artist. Price: $19.99 $15.13 BUY: http://amzn.to/1dOE6FJ
14 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
SKETCHBOOK SPECIAL EDITION SET DERWENT COLOURSOFT TIN, SET OF 12 Open to artists working in coloured pencils The 12 new fashion colors in this limited edition Coloursoft set are fresh and contemporary. Includes Ivory, Lemon, Deep Powder Blue, Pine, Sorbet, Cinnamon, Henna, Aqua White, Seaweed, Dark Turquoise, Chartreuse, and Mars Black. While supplies last. Price: $24.39 $14.63 BUY: http://bit.ly/I1qVXW
SPEED DRAWING VIDEOS Heather Rooney is a self-taught 20 year old college art student creates and posts photorealistic drawings with Prismacolor colored pencils. on her YouTube channel for you to watch in high-speed. SUBSCRIBE: www.youtube.com/user/ZephyrHR
NEW PENCILS!
She draws a subscriber every Sunday! Email your favorite headshot of yourself to drawmeheather@ yahoo.com for a chance to see a speed drawing video of yourself on her channel!.
CARAN D’ACHE MUSEUM AQUARELLE Caran D’Ache has combined a high concentration of extra-fine pigments with excellent solubility to create Museum Aquarelle: watercolours in the form of a pencil. • “Intro Set”: cardboard box of 12 colours • “Landscape”: cardboard box of 20 colours • ”Marine”: cardboard box of 20 colours Price: $51.00 & $85.00 $48.89 & $76.49 BUY: http://bit.ly/1h72HtK Download Brochure: http://bit.ly/18tyb8F
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 15
ART GALLERY “Humble Jewel 3”
Colored Pencils, Acylic 9x12.5” Missy Acker freshlyhatched.com
“Tears & Rain -Namida Ame-”
Colored Pencil, Watercolor, Gold Leaf on Board 18x34” Julie Robertson juuriart.com
16 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
“Sukai”
Colored Pencils and Marker 13x22.5” Autumn Ford
“Heartbreaker”
Prismacolor Premier Colored Pencils, Black Gouache, and Black Fine Marker 15x12” Anna Hammer facebook.com/worksbyannahammer
COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 17
Why Grisaille?
Barbara Dahlstedt
Grisaille (griz-eye) is a technique that was utilized in the Renaissance period to establish a monochromatic under-painting. Artists used this technique to establish a light source and develop the form of their subject by using various shades of a single color, usually gray. Subsequent layers of translucent oil paint were applied on top of the under-painting and developed into a full-color painting. The same technique can be of great benefit to a colored pencil artist as well. By establishing a consistent shadow color, transparent layers of colored pencil can be applied to an under-painting, revealing the brilliant illusion of sunlight and shadow.
Reference Photo Choose a reference photo that has a good strong light source.
Draw your image onto white paper using a graphite pencil. I like to use Fabriano Aristico Watercolor paper. It has a nice tooth which allows for multiple layers and heavy burnishing. I use a grid on my photo to help me draw everything in correct proportion. Erase your grid lines when you are satisfied with your composition.
Choose a shadow color For my ‘mums, I chose Indigo Blue as my shadow color for a couple of reasons. Blue is opposite on the color wheel to Orange, so it makes the perfect complimentary shadow color. When I layer the orange colors over the blue, it made the orange in the flower less intense, which is what naturally happens in a shadow. Since the composition was predominantly warm colors, I felt blue would give balance to the piece. Too much of one temperature of color can be a little boring. So the blue can really help balance it out. It is important to only apply the blue in the dark and shadowed areas of the image so that the pure colors without blue under them will shine brightly in the sunlight. Think about what color will be created by layering. In the darker flower I saw burgundy in the shadows. I knew that undertones of blue with the reddish tones in the shadow would be perfect. If you are not sure, try it first on another piece of paper.
18 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
Apply transparent layers of color
Now that all the hard work is done, the fun begins! It is time to add the local color. Local color is the object’s basic color. I start in the upper left corner because I am right-handed. This prevents my hand from smearing my work. I render each petal, one at a time, looking closely at the colors in my photo.
What is amazing about this technique, is that you can layer right on top with various colors right over the blue. Using light pressure, the colors will visually mix to be the correct shadow color and keep the subject looking three-dimensional.
Burnishing
To get really deep, rich, vivid colors, I burnish with a lighter color, usually white. Burnishing requires quite a bit of pressure to eliminate any specks of paper showing through. Although the
white will lighten everything at this stage, it will blend your colors smoothly. Don’t be disappointed that you’ve lost the brightness or depth of your shadows. It’s coming…
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Add more layers and enjoy what happens Now that your subject is burnished, you can add depth to your colors. Because the paper doesn’t show through anymore, you can still apply more layers of color using mostly light pressure. Occasionally, you will need to press harder, especially in the shadows, to create depth. Look at your reference picture often, and take advantage of the unexpected. I like to call them “happy accidents”. I noticed that a lovely shade of blue was popping up on the edges of the shadows on my petals when my burnishing touched the Indigo Blue under-painting. Instead of covering them up, I allowed them to stay as an accent that complemented the orange in the petals and actually intensified the illusion of the sun hitting the petals. The result is eye-catching and dramatic.
Finished Piece “Mum’s the Word”, Prismacolor Pencils on 12x12 Fabriano Aristico watercolor paper.
Barbara Dahlsted www.dahlstedtart.com
20 COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com
2014 COLOREDmagazine’s P E N C
I
L
Art Competition
JUDGE: Joseph Crone - www.josephcroneart.com CONTEST: 12 Images will be chosen from artwork submitted or postmarked before September 1st, 2014 to appear in our 2015 CPM Calendar and will be awarded prizes as listed on our website. Your winning piece and website link (if applicable) will also be displayed on our website and featured in the COLORED PENCIL Magazine and COLORED PENCIL Student digest.
RULES AND ELIGIBILITY: • Online Image Submissions should be .jpg sent at 72 ppi, Minimum 10”- 20” Maximum width. (RGB color mode, do not convert to CMYK) • Chosen entries will be required to provide a clear, high-quality, 300 ppi image for print. • Artwork must be at least 80% colored pencil. (visit our faq link for definition) • Entries per artist are not limited. • Artwork must be in or cropped to a Landscape format. (horizontal) • All Artwork must be original and drawn from original reference material, or with written permission from photographer. • Entrants must be 18 years or older. • Submissions must not contain nudity or violence and must be for acceptable for general audiences. • Contest open to anyone in the world that meets these requirements.
To learn more, visit us at www.coloredpencilmag.com/competition COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com 21
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Each month we provide you with a copyright-free photo for you to creat your own original artwork from and then award prizes to the best in Advanced and Beginner categories. Take any of our challenges all year long!
www.coloredpencilmag.com/contest 311 Photo - “Girl in Grey” #1
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magazine COLORED PENCIL
Student
ALL AGES! This quarterly Colored Pencil Student digest is aimed at colored pencil artists of all ages, from beginner to intermediate! We’ve not only selected some of the best content from 2012 for our first issue, but you will find plenty of fresh articles and lessons throughout this 52 page booklet.
Digital Issue: $4.99 Print Issue: $9.99
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Prepared by MagCloud for COLORED PENCIL Magazine. Get more at coloredpencilmag.magcloud.com.
