Exercise 21: Exploring coloured media

Playtime!  Trying out various coloured media, and finding out how to achieve tone and colour through stippling and hatching.

coloured pencil 1

coloured pencil 1

 

coloured pencil 2

coloured pencil 2

 

Coloured pencil

• easy to blend, either through hatching, stippling, layering flat tones, or using washes

• good for linear work and detail

• applying washes creates a ‘fuller’ finish than the relatively ‘broken’ effect of dry pencil

• the colours are quite subtle by nature, compared with other coloured media

• can be time-consuming creating tone and depth

• washes don’t dissolve harder lines

 

marker pens

Berol marker pens

 

Fibralo marker pens

Fibralo marker pens

 

Marker pens

• strong, intense colours

• good for stippling tone and colour

• good for broadly drawn hatching… nibs too thick for fine work

• good for linear marks

• colour too intense to successfully achieve secondary colour through hatching

• create interesting effects when washes are applied

Biros & liner pens

• excellent for hatching, although achieving secondary colour is not wholly successful

• stipples well

• useful for creating tonal effects

 

water-soluble crayons

Neocolor water-soluble crayons

 

Water-soluble crayons

• strong pigment creates intense washes of colour

• break easily

• not good for detailed work (get blunt very quickly)

• good for broad expressive marks, such as loose hatching

• used on their side, they create broad sweeps of semi-broken colour, allowing base colour to show through

• hard to stipple with these (too blunt)

• good for short dash marks

• some granular residue when colours are washed

• washed colours can blend well, but need to familiarise myself with the varying intensity of different colours

 

Sennelier oil pastels

Sennelier oil pastels

 

Oil pastels

• found these hardest to use well

• point of pastel wears down quickly, therefore not easy to use for detailed work

• suit loose mark-making on a larger scale

• colour blends when pastels are over-lapped

• attempts to blend using finger resulted in a ‘dirty’ muddy effect

• good for bold lines

• depth of tone can be created via hatching, stippling, and layering

• look up videos on how to use oil pastels

 

hard & soft pastels

hard & soft pastels

 

Hard & soft pastels

I used Inscribe hard pastels

• crumbly, chalky, dusty, muddied easily

• good for medium-thick lines, rather than fine detail

• capable of stippling, broad hatching, dashes, and swirls

• used on their sides, they can create broad bands of colour and tone

• quite hard to blend colour well

I used Rembrandt soft pastels

• less crumbly than the hard pastels

• maintained an edge more than the hard pastels

• capable of slightly finer hatching and good depth of tone

• good for stubby stippling and dashes

• harder to blend by finger than the hard pastels (don’t smear so easily)

• reasonably good at creating secondary colour through hatching

 

ink 1

ink 1

 

ink 2

ink 2

 

Ink

• used ink on watercolour paper

• acrylic inks dry quickly, so blending needs to be swift

• interesting effects dropping ink onto wet paper, or different coloured inks

• good for fine detail or broad expressive marks

• wet ink can be dragged with a pen or tip of brush, or blown

• can be sponged or dabbed with tissue

• less predictable than many mediums, which makes it more exciting

• stippling with pen created tone well, but colour blending was harder

• colour stippled with a brush blended more successfully

• varying pressure with dip pen created variety of line thicknesses

Advertisements