Get up to speed with Jennifer Slouha’s automobile artwork.
View these inspirational before and after’s from our Facebook followers.
MOVE INTO COLOR
Grace Fairchild shares her story of a unique pet portrait commission.
Read how John Lloyd recently made the leap from graphite to colored pencils.
Heather Rooney is an internet sensation. Her jaw-dropping photorealistic work has inspired countless new, young artists to try their hand at colored pencil. Read her story, savor her work, and renew your passion for art.
For Subscription & Purchase Information www.coloredpencilmag.com contact@coloredpencilmag.com P.O. Box
EDITOR’S NOTE
To kick off the new year, we are celebrating our recent growth with an expanded January issue. We are so grateful to all of our amazing contributors and sponsors but most of all to you our readers who buy, read, and collect this magazine. We’ve received incredible feedback from you and have great momentum headed into 2017!
If you are a print subscriber, you will notice a gift from Prismacolor included with your issue - a sample of their Premier colored pencil line. We have just a few extras that will be given first-come-first-serve to print issue buyers, so if you are reading the digital version hurry and order your print copy while supplies last!
I have been chomping at the bit for months to announce our new review section by Ivor “Harry” Harrison of The Art Gear Guide blog. If you are looking for in-depth, unbiased reviews on art products, he is your guide. Not only will he share articles written exclusively for COLORED PENCIL Magazine but also will link to videos so you can get a thorough look at the art supplies before you buy.
This issue features one of the hottest colored pencil artists on the planet - Heather Rooney. We requested a selfportrait for the issue cover and were blown away by her submission. Isn’t it great!? There is more where that came from. Open to the center of the magazine to find her article and gallery.
Also in this issue, Jennifer Slouha gives us a look under the hood of her car art talent. Grace Fairchild takes you through a charming pet portrait commission, and John Lloyd discusses his journey from graphite to color.
Are you overwhelmed by the different types of tutorials available? Barbara Sotiropoulos helps you find what’s right for your learning type. For his first review, Ivor Harrison shares the scoop on Caran d’Ache’s Pablo colored pencils.
Last month we asked you to show us your past and present artwork to recognize how much you’ve grown. We were amazed by the results and you will be, too. Thank you to everyone who got involved. We can’t wait to see how much you improve in the coming year!
NEW! Get 13 digital issues on the 2016 CD for just $24.99! www. coloredpencilmag.com/store/cds
I am a self-taught artist. My only formal art instruction was in high school. My parents moved frequently, and I attended many different schools as a result. I ended up with lots of different art teachers throughout my high school education, all of whom were very supportive. Since high school, I have studied other artists’ techniques to test what works best for my art, and like other artists, my style is continually changing.
I work at home and use an extra bedroom as my art studio. It provides the space that I need, away from distractions. Working at home can be challenging at times; it takes discipline to balance home life and art. I try to devote four to six hours per day on artwork or art related tasks. My husband is a disabled veteran and I homeschool my teenage son, so there are days when I put in long hours trying to get everything done.
Since I was a young child, I have always been interested in drawing. I began using colored pencils at an early age, and as a teenager I was gifted a box of Derwent watercolor pencils that I still have. To me, they represent the realization of what I dreamt of doing as a career.
I mainly work in colored pencil, graphite, and acrylics, but I have also worked in charcoal, ink, watercolor pencils, and oils. As far as brands of colored pencils, I prefer Caran d’Ache Luminance and the lightfast Prismacolors. I work on Strathmore 500 series 2- or 3-ply Bristol vellum. I really like Caran d’Ache Luminance because of their lightfast rating, smooth consistency, and color selection. The Strathmore Bristol vellum has enough tooth for all of the layers of pencil that I use, and it is very durable, especially the 3-ply. This combination works best for the effects that I try to achieve in my automotive artwork.
One of the benefits of using colored pencil over other media is that it is nearly messfree. I can set my pencil down and walk away from the drawing if needed, and I don’t have to worry about having to clean anything right away. I can use smaller blocks of time to be creative, which at times is a necessity. Another benefit of colored pencils is that they allow for more control. I am able to create much more realistic artwork in this medium than I can in acrylic or oil.
I have worked in a wide variety of subject matters throughout the years, but I really enjoy the technical aspect of drawing vehicles. My first vehicle commission was about ten years ago. A lady asked me to create a colored pencil drawing for her son of his red scooter. When I was finished, I realized how much I enjoyed the whole process. It sparked an interest that never left.
When they provide me with photos of their vehicles, many customers ask me to use artistic license to remove imperfections or make changes in what is shown. I work with them to provide the artwork that they have in mind. I rarely recreate a photo exactly as it is.
“1929 Cabriolet Cord” 9x11”
“1950 Buick Special” 10x12”
With a very complex drawing, I use the grid method to draw out the image. I then use a ruler and the same graphite pencil to make sure that all of the lines are precise. I find this to be a very important step in achieving realism with my automotive art.
I start each drawing with a photo that I take or that a customer provides. I choose subjects for my own work based on what catches my eye. I try to imagine what a certain angle would look like on paper or canvas as I photograph vehicles. Photo in hand, I create a sketch to assess the overall composition. Then, once I’m satisfied with the composition, I very lightly draw the basic outline on Strathmore Bristol vellum in graphite.
When the image is completely drawn out I start applying color. I try to work in small sections and complete each area before moving on to avoid smudging. I usually work dark to light, but it depends on the piece. After finishing the subject, I move on to the background and subject’s shadow. I spray the completed artwork with Grumbacher final fixative for protection, spraying several layers until I can wipe the drawing with a cotton cloth and there is no pencil residue.
“1972 El Camino” 10x13”
“1970 Chevy CST10 Truck” 10x13”
“El Camino and Camaro” 15x22”
I have been working on automotive acrylic painting commissions for the last two years. I really enjoy these, but I am looking forward to expanding my automotive series in colored pencil and graphite pencil. I was recently asked by several people to create tutorials for automotive artwork. I had never considered doing something like that before, but I think I will look into it further.
I am involved in the Columbia Art League’s Community Exhibit Program in Columbia, Missouri. In the program, I am able to exhibit my artwork throughout the city of Columbia. All of the artists involved rotate their work among the participating businesses every three months. I also have numerous artworks in private collections throughout the U.S.
“Beach Bug” 10x13”
“Another Sunset” 10x13”
Let’s start off the new year with some inspiration! On our Facebook page, we asked you to post your then-and-now images and were amazed at the progress we saw. If you feel like you will never be as good as your favorite artists remember that everyone has to start at the beginning and with hard work, education, and practice you can reach your goals. Remember to enjoy the journey and not be too hard on yourself. What will your past and present images look like this time next year?
Shana Rowe Jackson - 5 Years
Cass Hanley - 2 Years
Patricia Lagopatis - 3 Years
Barb Sotiropoulos - 21 Years
Ewelina Kuczera - 17 Years
Wendy Connors-Beckett - 2 Years
Karen Maley - 2 Years
Rebecca V. O’Neil - 1 Year
Veronica Borg Crockford - 3 Years
Jennifer Egista Milani - 6 Years
Marta Oiehoek-Samitowska - 8 Years
2008
2016
Joanna Gancarz - 2 Years
Maria Smith - 2 Years
Michelle Ripari - 2 Years
Suzanne Shoesmith - 1 Year
Pringle Poirot - 5 Years
Tracey Pinnington - 6 Years
Sean Johnson - 3 Years
View all these and more at:
www.facebook.com/ colorepencilmagazine
Lisa Ann Watkins - 3 Years
Jenn Sweeney - 3 Years
Deb Stanley - 3 Years
Carrianne Howe - 1 Year
Angeliki Xiarchi - 3 Years
Caitlyn Gehman - 1 Year
Featuring: Heather Rooney
As a child I always enjoyed creative projects, but I never expected that I would become a photorealist illustrator one day. I made birthday and Christmas cards for my family and friends, and now and then I would draw cartoon figures. At that time in my life, though, I never thought of myself as someone with a high level of artistic skill, especially with portrait and figure drawing.
“Maggie”
I admired the detailed and skillful artistry of highly realistic works. Yet, I never attempted it myself. It didn’t occur to me as something I could do since the few drawings I had done were not in the realism genre of art.
In middle school, when I began thinking of what I wanted to do as an adult, I thought maybe I would like to be a kindergarten teacher. The thought of being an artist or illustrator never entered my mind until high school.
I signed up for my high school courses the summer before my freshman year. When the first day of school arrived in the fall, I looked through my courses to see if I had been enrolled in the all of the classes I chose. I was surprised to see a drawing class on my schedule that I had not enrolled in. I did not think this would be a problem, however, since drawing was something I had enjoyed growing up.
Early on in the school year, I had an assignment to draw a portrait. The exercise was focused on rendering an image realistically. As I began drawing, focusing on detail, I found that I had far more skill than I expected. I was very proud with the result of my drawing, and it gave me a feeling of satisfaction unlike anything I had felt before. I began to love the medium of colored pencil, using color to create vibrant and lifelike drawings.
I became captivated with the challenge of photorealistic drawing with colored pencil and the meticulous attention to detail that it required. While the layering and blending of colors to achieve a realistic effect was very labor intensive, I loved the challenge, which gave me the desire to continue practicing and improving.
Throughout high school, I continued focusing on drawing. Drawing became my passion, and I began to feel that this was what I was meant to do with my life. The thought of becoming a kindergarten teacher didn’t excite me. I knew I wanted to keep pursuing drawing. I hoped I would one day be able to make a living following my passion. I decided to major in Studio Art at Emmanuel College in Boston, Massachusetts after high school.
I spent the majority of my free time in college drawing portraits with colored pencil. I was enrolled in some drawing classes, but my technique and tendency to focus on detail was not something most of my teachers wanted to see with the assigned work. I completed the assignments I had for my art classes the best I could according to what was expected, then I continued practicing the style of art I enjoyed during my own time.
“Ovechkin”
“Golden State Warriors”
Heather Rooney
Drawing became my passion, and I began to feel that this was what I was meant to do with my life.
“Harry Potter”
Being in the age of growing social media platforms, I decided to share my lengthy process online through time-lapse videos. I began drawing and filming portraits of people that a broad audience would be familiar with including celebrities, athletes, and public figures. To my surprise, my work began to attract a large audience with videos surpassing one million views. I continued creating the videos throughout my college career, generating a large global audience with over one million YouTube subscribers.
I am now pursuing a career in photorealism illustration. Colored pencils are my favorite medium. I look forward to using my Caran d’Ache Luminance pencils every day, and my desk is rarely found without an abundance of pencils scattered around a drawing in progress.
The challenge of bringing a drawing to life is what drives my work. I am grateful I found my passion as an uncertain freshman in an unexpected drawing class, and I feel blessed to now be able to do what I love for a career.
“Katniss”
Heather Rooney
“David Bowie”
“Rey”
“Cheif Hollow Horn Bear”
“Steelers”
Question: Answer: &Q A
Best Tutorials for You!
I’m new to colored pencil and I’m finding there are so many tutorials out there that it’s overwhelming. How do I know which ones are best?
First of all, welcome to the wonderful world of colored pencil! Learning how to use any new medium can be a little overwhelming at first, never mind trying to find the “right” tutorial. There are a few different ways you can approach finding which ones are best for you, but the first thing to do is determine your learning style. Knowing this will help you decide what types of tutorials to pursue. If you’re not sure what category you fall under, the overview below has some of the most common types of learners with which type of tutorial would most likely benefit them.
1. SOCIAL INTERACTIVE LEARNER
Some people learn best in a group or classroom setting. In this scenario, you can watch someone demonstrate in person, work on your own piece, and ask questions as you go along. These learners also benefit from the questions others ask. They enjoy the social aspect of learning with interaction, talking about art with other artists, and finding comfort in being in a group of a similar skill level.
Best type of tutorial: In person group or private class with a skilled instructor
Pros:
• Ability to ask personalized questions
• Hands on experience with others
• Meet new people and make new friends
Cons:
• Not ideal for people who may be shy in group settings
• Must be in range of class location
• Price ranges can vary into the hundred of dollars
Illustrations by
Barb Sotiropoulos
Pros:
• Flexible pace and schedule
• Watch the videos as many times as you want
• Little or no fees
• Books or step-by-steps still allow you the ability to study the photos or read a description of how a particular technique is executed
3. SOCIAL INDEPENDENT OR COMBINATION LEARNER
This type of learner has characteristics of both previously mentioned types. Their circumstances might prevent them from taking classes even though they love learning in a group setting. They might also enjoy working alone and at their own pace but want to be able to ask questions when they get stumped. Most people with some previous art experience tend to fall in this category. Their previous experience with other mediums makes them confident that they can learn a new medium mostly on their own, but they also have seen the benefits of a more formal in person learning experience.
Best type of tutorial: Craftsy or other online video skill sharing service that allows you to interact with instructors or on a community forum
2. INTROVERTED INDEPENDENT LEARNER
For some, watching a video and being able to pause and rewind at their own leisure is best. This type of person may prefer quiet focus over interactive groups. They may also have a schedule that doesn’t accommodate in person classes or they don’t live in an area that offers them. They like to go at their own pace and prefer to work alone. When they have questions they enjoy searching for the answer whether it be through blogs or by watching videos by artists with different styles.
Best type of tutorial: YouTube or other free or low cost videos or books
Cons:
• Can be difficult to find videos that have quality content with an instructor that you like
• Some limitations with asking questions
FINAL TIPS:
1. Find a teacher that is a good fit for you.
2. Look up reviews.
3. Ask for recommendations from other artists.
Pros:
• Quality videos and content with highly skilled instructors
• Generally more affordable than workshops
•Ability to ask the instructor questions or have class discussions
• Flexible pace and schedule
Cons:
• Delayed response time
• Varied class costs
• May require a credit card
• Refund policies may vary
4. Branch out to different places and people.
Finding the right tutorial for you doesn’t have to be overwhelming. Determining how you learn best can set you in the right direction Like anything with art, there may be some trial and error, but when you find the right fit for you, your focus can then be on improving your skills.
SKETCHBOOK
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Made of durable canvas with stitched leather edging, these handy, portable, roll-up cases hold up to 36 of your favorite drawing or sketching pencils. Features a zippered interior pouch for holding other small items.
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DAILY BOOK SERIES!
THE DAILY BOOK OF ART: 365 READINGS THAT TEACH, INSPIRE & ENTERTAIN
Includes a year’s worth of brief daily readings and lessons about the visual arts that entertain as they inform. Includes ribbon bookmark so readers can keep their place throughout the year.
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Truly enjoy any pencil by always keeping it sharp and shaped with virtually no waste of lead! A choice of five pencil points. Takes large diameter pencils. 4.5/5 Rating.
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VERSATILE SHARPENER!
The Story of a Pet Portrait Commission Kitties with Bow Ties
by Grace Fairchild
For a while, I struggled with whether I wanted to focus on gallery work or custom pet portraits. I think this process of determining a specialty is something every artist goes through at some point. Doing a few pet portraits and running a Kickstarter campaign helped me decide that pet portraits were what I wanted to pursue.
The story of this particular commission started when I contacted Catastrophicreations, an amazing cat furniture company, and asked them if they would like to do a giveaway featuring a free 5x7” pet portrait from me. They agreed and even kicked in a gift card to the winner, too. A wonderfully nice lady won the votingbased drawing, and she chose to upgrade her prize to a 8x10” portrait of her cat, Fish, and two other cats as well.
Fish:
After doing many layers of colors and grey shading, I used Brush and Pencil’s titanium white along with their colored pencil touch-up texture on the whitest highlights of the portrait.
I mixed the touch-up mixture in a water bottle cap and used a fine brush to control application. Once on the paper, I went over the rough edges with whatever color the mixture covered to smooth them out.
She sent me lots photos of Fish. It was hard to pick one because they were all so darn cute! We went for one that had the best lighting, angle, etc. After much deliberation, I decided to go ahead and try drawing the clothing he wore. I had never really drawn clothing at that point, let alone bows on an animal, but it ended up being so much fun that we decided to do all three portraits with bow ties.
Dexter:
My favorite bow is on Dexter, the way his red and white bow pops off the page. Being able to draw everything out and not worry about having the whites stay white was sure helpful. I painted the touch-up texture mixture onto the colors and then blended it to smooth it out and make it look natural. I tried using a white pencil and it just didn’t have the same effect, so I used the mixture on all of the highlights for all of the cats.
For the whites and glimmer of the eyes, I made the mixture thin and translucent and only used a little so that all of the colors showed through. On Dexter’s red bow I used the texture as an opaque mixture in the absolutely white areas. I added pale pinks and greys so it didn’t look flat. Then, getting all of the shadows as dark as possible by using red, browns, and greys really made the white glow.
For Sawyers happy face bow I used the touch-up mixture and then covered it with light blues and greys.
The mixture consistency I used varied depending on how translucent or opaque the area needed to be. But being able to use this to make white areas glow, shine, or pop saved a lot of time and effort because I never had to worry about keeping areas clear from other pencils. It could always be corrected!
LATEST & GREATEST GALLERY
“Great Lakes Great Rocks” 8x10” Prismacolor soft core pencils Susan Wattles www.susanwattlesart.com
“The Rose” 12x16” Light grey Pastelmat, Caran d’Ache Luminance, Faber-Castell’s Polychromos, Durer, and Pitt Pencils and a tad bit of PanPastel Kendra Nafziger
“It Tears Me Up” 9x12”
Strathmore Bristol vellum surface and Faber Castell Polychromos colored pencils Cecelia Wong www.facebook.com/CeceliaWongArt
(below)“Spartacus” 9x12”
Caran d’Ache Luminance and Faber-Castell Polychromos on Fabriano Artistico Hot Press 640gsm paper Deena Coulthard www.facebook.com/deenacoulthardartist/
Get YOUR artwork into the Gallery! Post your “Latest & Greatest” on our Facebook page: www.facebook.com/ColoredPencilMagazine
“The HOOPOE” 23x18cm
Watercolor pencil
Ajit Thomas
PABLO COLORED PENCILS
by Ivor Harrison
The Pablo Pencil
Before I begin with my review of the Caran d’Ache Pablo colored pencil, I’d just like to say how honored and privileged I am on becoming COLORED PENCIL Magazine .
I have been reviewing art supplies for just over a year now. Focusing on colored pencils, I have reviewed a product from nearly every colored pencil manufacture on the market. I believe I’ve earned the right to say that there is no pencil quite like a Caran d’Ache pencil. Be it Luminance, Pablo, Supracolor Soft, or Museum Aquarelle, the craftsmanship is immediately evident.
The Caran d’Ache Pablo has long been a target of mine to review, especially after purchasing a 76 Luminance set about eight months ago. It is my pride and joy. Waiting to get my hands on these pencils has been agonizing, so I tried to pass the time by researching the Pablo as much as possible.
In my research, I was struck by the constant comparison between the Pablo and the Faber-Castell Polychromos. Similarities were drawn between the hardness of the core and the amazing ability to obtain fine detail with the Pablo just as you can with the Polychromos. During my testing, however, I couldn’t find the likeness. The Pablo and Polychromos are two very different
Before I get into the performance, let me highlight the characteristics of the pencil. The Pablo is hexagonal. Every artist has their own preference when it comes to pencil shape. Normally, my ideal is a round barrel. The Pablo’s eloquence and beautiful balance, however, are enough for me to overlook this minor preference.
The perfectly formed hexagonal barrel is set at 6.9mm and sports the most buttery smooth 3.8mm core.
Emblazoned on the opposite side is the color name of the pencil in both Swiss and English followed by a numerical code which correlates to that particular color for ordering purposes.
Finally, close to the very end of the pencil, and thus the last bit of information to disappear as the pencil is sharpened, is the star legend that indicates the lightfast rating for that pencil. The end of the pencil is capped to protect the core and finished with a decorative gold band.
“Permanent Colour Pablo Caran d’Ache Swiss Made” is imprinted in gold leaf on the side of the cedar wood casing.
Pablo Performance
I’ll be frank, as I lifted the first Pablo out of the tin and began laying down color I was already in love. I knew immediately I had found my new favourite pencil, second only to Caran d’Ache Luminance. The Pablo defies all the laws surrounding other colored pencils. While the core is incredibly hard and durable, applying the pigment is like spreading butter. It should be impossible for the two to go hand in hand, and yet they do.
With the softness of the pigment you would expect a bit of
Many artists believe the Pablo is oil based and the Luminance is wax based. I contacted Caran d’Ache directly to confirm. As it turns out, the Pablo is wax based and the Luminance is soft oil based. In a way, this confusion only highlights the excellent crafting of these pencils.
bloom or tackiness when layering. This was not the case in my testing. Layering was effortless and blending was akin to watercolors.
The pigments’ vibrancy is something you must see with your own eyes. You can see the image of the swatch I completed which helps give an idea of the pigment royalty, but as with most incredible spectacles in life, experiencing it first hand is what counts.
Pablo Sets & Pricing
Caran d’Ache products are undeniably expensive. When you hold a Pablo pencil in your own hands will you begin to understand the old adage “you get what you pay for.” It gets me right in the heart when I realize it will take me the better part of a year to save for one of the larger sets. But that is a prize I am happy to strive towards.
Pablo tins come in sets of 12, 18, 30, 40, 80, and 120. You can also get a beautifully crafted 120 pencil wooden box gift set.
As with all Caran d’Ache pencils, the Pablo is also available in open stock. This is just one more reason to save up and purchase the 120 set, because once you have the set you have it for life, replacing pencils as you use them up.
In fact, I often sit and visualize the Caran d’Ache castle, nestled in the Swiss Alps, depicting a scene reminiscent of the great watch and clock masters. Luminance white haired old men sit with round-rimmed spectacles over a cluttered desk, painstakingly handcrafting each beautiful Caran d’Ache pencil. Fantasy, I know, but somehow not too far from the truth I believe.
As a colored pencil artist, it will be difficult to find a better pencil than the Pablo. Of course, the wonderful thing about the art world we surround ourselves in is that everything is subjective. We all have our own styles, so you personally may
Pablo Conclusion
I go out of my way to remain impartial in all of my reviews. Impartiality is important, however, honesty and transparency are equally important. With every Caran d’Ache product I review I work to find impurities and kinks in their armour, but this is near impossible to do. The excellent craftsmanship that goes into their products is obvious.
have already found your best pencil. I would still implore you to at least try a set of Pablo pencils. Some would try to pigeonhole it as a detail only pencil, but this is not the case. Yes, you can achieve amazing detail with the pencil, but you can achieve a lot more besides that.
Thank you COLORED PENCIL Magazine for this opportunity, and thank you to all the wonderful people who have supported me on my blog and YouTube channel. Without you none of this would be possible. I hope to see you all over at The Art Gear Guide!
If
Heather Rooney Approved
you’ve ever wondered what paper artist Heather Rooney uses, this is it.
Heather chooses Strathmore 500 Series Bristol Plate because the ultra-smooth surface is unsurpassed for detail work and smooth blending. It is also an excellent choice for pen, airbrush, and marker.
500 Series Bristol Vellum surface has a toothy finish that easily grabs pigment and is excellent with any dry media.
Created in 1893, 500 Series Bristol is an industry standard. This 100% cotton board has enhanced surface durability and archival properties that top artists have trusted for generations. Available in 2-ply, 3-ply, and 4-ply weights, and in pads or full-sized sheets.
Plate Surface
Vellum Surface
artwork by Heather Rooney
Move Into Color
From Graphite to Colored Pencils
by John Lloyd
Aren’t colored pencils just for kids? Not anymore. Adult coloring books have led many people to discover that colored pencils are not only fun but also relaxing, therapeutic, and not just for children!
In fact, it’s so popular that some colored pencil brands cannot produce pencils fast enough to meet demand, leading to a worldwide shortage of certain colors. It's as fashionable as prosecco, but without the headache.
I discovered colored pencils a year ago when I was looking to progress from graphite pencils into a colored medium. My two big passions in life are wildlife and art, and combining the two is a dream for me. I found, though, that whilst graphite pencil drawings can be great, I was completely missing one of the wonderful elements of nature - color. I knew I had to start using color. And graphite pencils to colored pencils is a logical progression, right? Wrong, or so it seemed.
I decided to buy myself a set of colored pencils and take the plunge. But wait, I knew nothing about color. Which colors mix well? Which turn to mud? I needed a tutor, so I booked a term of classes.
“Hummingbird”
I liked my colored pencils, though, and with the help of a great teacher I learned that, while they are very different to work with, colored pencils are fun! They take time, lots of time, but the results are satisfying. Why would you want to rush, anyway? There are no prizes for finishing a piece quickly. Take your time. Enjoy it.
So whether you’ve used colored pencils for years or have recently discovered them through coloring books, why not take them a step further and see what new, original art you can create?
Picking up colored pencils is one of the best things I’ve ever done in my life, ranking with the likes of travelling Australia, getting married, learning the guitar, and teaching my dog to collect the post.
When I arrived, pencils in hand, I was surprised to find that in the UK colored pencils aren’t very popular. Most people progress from graphite pencils to watercolor, oil, or acrylic.
www.instagram.com/johnlloyd_art
“Hooded Plover”
“Swallow Flying”
1. USE THIS PHOTO or go to www.coloredpencilmag.com/challenge to download the full size image.
2. CREATE YOUR OWN VERSION
Use your own style and at least 80% colored pencils. Take as much license as you wish as long as the challenge photo can be recognized.
3. UPLOAD TO ENTER
Upload your entry to www.flickr.com/groups/cpmchallenge for a chance to win one of the great prizes provided by our sponsor and appear in a future issue of COLORED PENCIL Magazine.
