colored pencil magazine 2014 promo issue

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PROMO 2014

CONTENTSfeatures

departments

Creative solutions to limited studio space.

See how other mediums work with wax-based colored pencils.

MIXED MEDIA GUIDE08

ART SPACES IN SMALL PLACES04

Barbara Dahlstedt introduces you to a technique that establishes a monochro-matic base to get a beautiful finished look.

WHY GRISAILLE?18

Free digital sample issueEDITOR’S NOTE03

06 Answered by Amie!Q&A

08Selling your art on EtsyM.Y.O.B.

Artwork showcaseGALLERY16

Official entry form2014 ART COMPETITION21

Check out our digest for beginning artistsCOLORED PENCIL STUDENT24

Take a Monthly Art Challenge & win great prizes from our sponsors

ART CHALLENGE23 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!

FEATURED ARTIST10

New products and art newsSKETCHBOOK14

COLORED PENCIL Magazine | Promo Issue 2014 | www.coloredpencilmag.com2

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CONTEST & GIVEAWAYS!

Editor-in-Chief & Creative Director Sally FordCopy Editor Kristin Small

ContributorsMissy Acker Joseph CroneBarbara DahlstedtAutumn FordAnna HammerJulie RobertsonAmie Talbot

Sponsors Jerry’s Artarama Blick Art Supply Prismacolor Legion Paper

Publisher Platte Productionswww.platteproductionspublishing.com

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EDITOR’S NOTEm a g a z i n e

FREE DIGITALPROMOTIONAL ISSUE

The Original COLORED PENCIL MAGAZINEInspiration for the Passionate Colored Pencil Artist


Each month brings fresh and insightful colored pencil articles & art, expert tips, and regular

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Available worldwide!

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M.Y.O.B ~ Mind Your Own Business!

ART SPACES IN SMALL PLACES

Closet Studio. . .

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!

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 t e a c h i n g j o b . Thankfully, I had a loft all to myself with windows on three walls and with inspirational views of t he gardens .

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!

B Y C H R I S T I N E S C H N I T T K A

So this artist came to us at the All Oregon Calligraphy Conference3

kThis is perfect for me5 I only have five square inches of spacek5 she said3

She bought one of the first Orbital Easels we sold3 The Orbital Easel clamps to your desk or screws down to a photo tripod3

by

PO Box ')'4 Aberdeen5 Wa 985')www.orbitaleasel.com 4j6)W 589 747j

Art in sm

all spacesIt0s just the thing forSo this artist came to us at the All Oregon

Calligraphy Conference.

“This is perfect for me, I only have five square inches of space”, she said.

She bought one of the first Orbital Easels we sold.

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




by


Art in sm

all spacesIt0s just the thing for




by


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Wall-Mount Studio. . .

Temporary Studio. . .

Portable 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 sup-plies. 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.

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!

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


Overstock.com

DickBlick.com

DickBlick.com


Q&AQ:

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?

A: 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 ele-ments, 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.



Q:A:

. . . . . . . . . . . . . . . . . . . .

www.amietalbotvisuals.com

I accidently colored in a small section that I meant to keep as the surface color. Is there anything I can do now?

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 accu-

mulated 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.

I find the big question associated with colored pencils is,“How forgiv-ing 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 cover-ing 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.

Artist tape/masking tape/frisket film is another alternative to lifting col-ored 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


Mixed Media Guide Colored Pencil with . . .

Let’s take a quick look at how other mediums work with wax-based pencils.

Before using colored pencils with other mediums it is best to do additionalresearch on what the best techniques are for what you want to accomplish.

Experiment and have fun trying something new!

PastelPastels come in soft or hard form and can work in tandem withcolored 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 establish-ing 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.

OilOils come in the form of pastels, paint, and even pencils. Wax-based pencils may be used under or over oils. There are manyTechniques -- from using oils as a glaze to using them as a base.Colored pencils can provide a clean edge and sharp details toan oil painting.

GouacheThis water-based medium is more opaque than watercolor andcan hide pencil lines as well as create more texture. You can apply gouache under or over colored pencils and they generallywork well together.

AcrylicAlthough also a water-based paint, acrylic is more permanentand more opaque than gouache or watercolor and is excellentfor adding light layers on top of colored pencil, as when doingwhiskers or other details that can be difficult to achieve withpencils alone.

GraphiteIt is very common for artists to use graphite pencils with col-ored pencils, but there is a difference in the makeup of the two mediums. While colored pencils are sticks of wax, graphiteis 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 usedunder colored pencils.

Ink 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 water-soluble pencils, called Inktense, that produce a permanent intense color, but are more translucent like a watercolor pencil.

WatercolorWatercolor 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 water-color is translucent, it is great for layering. With many brands to choose from, watercolor pencils are a convenient and grow-ing alternative that can be used wet or dry.

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.

Markers



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The Art OfJoseph Crone first became interested in the process of drawing at a very young age. He had a passion for render-ing 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 meth-ods 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 empha-sis on drawing, Crone went on to graduate from the Herron School of Art and Design in the summer of 2010 with a Bachelor of Fine Arts degree. From there, his inten-tion was to further e x p l o r e t h e s e drawing methods and gr itty sce-narios that would allow him to create a unique voice w i t h i n t he ar t

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 return-ing 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 hap-pier!” 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 conceptu-ally 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 composition-ally 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.

Joseph Crone

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 pho-tograph 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 color-ized photographs.

josephcroneart.com


http://www.josephcroneart.com


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 methodol-ogy 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 place-ment 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.

Crone goes on, “With the initial lines of the compo-sition 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 real-ism, accidental or stray marks are inevitable yet kept in order to demonstrate his drawing process.

Off the Beaten Path (7x10 colored pencil on layered frosted acetate)

Inside Job (10x7 colored pencil on layered frosted acetate)



Cain and Able (7x10 colored pencil on layered frosted acetate)

Decaying Consciousness (14x25.5 colored pencil on layered frosted acetate)



Fragments (5x7 colored

pencil on layered frosted acetate)

Prisoner of One’s Devise (16x20 colored pencil on layered frosted acetate)

josephcroneart.com




SKETCHBOOK

NEW BOOK!

CALL FOR ENTRIES UKCPS 13TH INTERNATIONAL EXHIBITION

Open to artists working in coloured pencilsDeadline for Entries – Wednesday 5th February 2014

Exhibition dates 28th April – 10th May 2014At 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

DRAW LIKE AN EXPERT IN 15 EASY LESSONS BY SHEILA COULSONLearn 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

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 $14.28BUY: http://bit.ly/1jgWLLf


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SKETCHBOOK

SPECIAL EDITION SETDERWENT COLOURSOFT TIN, SET OF 12

CARAN D’ACHE MUSEUM AQUARELLE

Open to artists working in coloured pencilsThe 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

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NEW PENCILS!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

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SPEED DRAWING VIDEOSHeather Rooney is a self-taught 20 year old col-lege 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

She draws a subscriber every Sunday! Email your favorite headshot of yourself to [email protected] for a chance to see a speed drawing video of yourself on her channel!.


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“Tears & Rain -Namida Ame-”Colored Pencil, Watercolor, Gold Leaf on Board

18x34”Julie Robertson

juuriart.com

“Humble Jewel 3”Colored Pencils, Acylic9x12.5”Missy Ackerfreshlyhatched.com

ART GALLERY


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“Heartbreaker”Prismacolor Premier Colored Pencils, Black Gouache, and Black Fine Marker15x12”Anna Hammerfacebook.com/worksbyannahammer

“Sukai”Colored Pencils and Marker

13x22.5”Autumn Ford


http://facebook.com/worksbyannahammer

http://www.dahlstedtart.com


Why Grisaille? Barbara Dahlstedt

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 illu-sion of sunlight and shadow.

Choose a reference photo that has a good strong light source.

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.

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 tempera-ture 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 layer-ing. 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.

Reference Photo

Draw your image onto white paper using a graphite pencil.

Choose a shadow color

Grisaille (griz-eye) is a technique that was utilized in the Renaissance period to establish a monochromatic under-painting.



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 pres-sure, the colors will visually mix to be the correct shadow color and keep the subject looking three-dimensional.

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…

Burnishing

Apply transparent layers of color



Add more layers and enjoy what happens

Finished Piece

“Mum’s the Word”, Prismacolor Pencils on

12x12 Fabriano Aristico watercolor paper.

Barbara Dahlstedwww.dahlstedtart.com

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 refer-ence 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-catch-ing and dramatic.


www.dahlstedtart.com


Art Competition2014COLORED

P E N C I L magazine’s

To learn more, visit us at www.coloredpencilmag.com/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.

• 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.

RULES AND ELIGIBILITY:


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I hereby certify that I have read and understood the rules and eligibility for consideration in the COLORED PENCIL Magazine 2014 Art Competition, and that my submission is my own original work(s), and that I am the sole copyright owner. I attest that my entry/entries do not violate or infringe upon the copyright and/or trademark of any person or entity. I release COLORED PENCIL Magazine, Platte Productions, and any other persons relating to such, from liability and waive any course of action, claims or cost in relation to any damage caused, whether intentional or unintentional.

I also understand the terms of use, and I agree to allow a non-exclusive, worldwide license, and rights to Colored Pencil Magazine & Platte Productions, to utilize the entry submitted, to modify, publish, crop, reproduce, display, and/or distribute to promote their publications, including COLORED PENCIL Magazine, COLORED PENCIL Student & the COLORED PENCIL 2015 Calendar, in both print and digital formats, without additional compensation to either party.

As the original artist, I understand that I retain the full rights to my image and do not give or forfeit exclusive or additional permissions, releases, or rights for my image(s) to be sold or reproduced on any products such as t-shirts, mugs, prints, etc. without additional consent.

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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.

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COLORED PENCIL StudentALL 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 through-out this 52 page booklet.

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Documents

art studio

great art

art stuff

monthly art challenge

art competition judge

passionate colored pencil

colored pencils

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