Perfect Partners: Neocolor and Luminance

Recently I have been sharing a method in Facebook coloured pencil groups which has piqued the interest of some of my peers; therefore, I have decided to write a post about it.

My method is to use Neocolor 2; a water soluble wax pastel by Caran d’Ache (I use it without water) as undercoat for coloured pencil drawings.

Putting Neocolor onto the paper before coloured pencils are applied speeds up the process of the drawing – which is especially good if I am working on a large picture.  (The drawing shown here is 33.5 x 48.5 cm.)  Anyone who uses coloured pencils alone to render big areas like sky or still water knows how tedious it is.  Neocolor makes the process faster and more pleasurable.

The texture of Neocolor 2 makes a welcoming cushion-like base for coloured pencil to relax into.  The pencil glides over Neocolor so much more readily than it glides over virgin paper.

I find that complicated areas (such as Venetian palace facades) cannot help but be simplified when the initial layer is put on with Neocolor.  You can’t be too fussy with this medium because it is never super-sharp.  (I use a knife to sharpen the pastel but even at its sharpest, it is kind of blunt.)  Therefore it attunes my brain to the main shapes as opposed to fiddly tiny details.

I use very light pressure when putting Neocolor on.  It is barely there – and yet it makes SUCH a difference to the surface texture.

Work in progress 1:  undercoat of Neocolor 2 before any coloured pencil is applied.

Because I don’t like holding a crayon-length instrument, I use a Fixpencil 0012 (also by Caran d’Ache) to hold it with.  I find this longer length much more comfortable for my hand and it gives me added control.

Applying Neocolor 2 (held inside a Fixpencil 0012).

If you’ve read other posts of mine, you’ll know that Luminance is my number one pencil.  However in the photo below you’ll see I’m blending using a Derwent Blender.  This blender is hard and dry.  There’s enough wax already in the Neocolor/Luminance mix.  It doesn’t need added wax in the form of a wax-based blender, so the raspy dry Derwent blender makes the perfect tool.  Once I’ve blended, that isn’t the end of it.  I can carry on adding more colour over the top; no problem.

Enter the Derwent Blender

The final image shows where I’m up to currently with the drawing.  In my opinion, the partnership of Neocolor with coloured pencil gives a soft painterly aesthetic which, to me, is delicious.

Work in Progress – as it was on 13th January 2020.

Work in progress – as it was on 18th January 2020

My next post, in around 10 days’ time, will be of the finished piece.  Feel free to ask questions about this method in the comments or on Facebook.

See also Art Materials page

See also Brush and Pencil post

 

 

Look Out

“Look Out” – a drawing in Neocolor 2 and coloured pencils. December 2019.

I don’t fall in love with Rome until there is a thunderstorm.

We are exploring Palatine Hill, the two of us huddled under one umbrella.  As we reach a magnificent lookout, the deluge ceases.  Rome, freshly washed, is before us under a dramatic thunder-sky.  As usual I am exclaiming loudly in my excitement.

A yellow legged gull swoops up from below and places himself right there.  (Some people are scared by these enormous gulls – LOOK OUT!)  But I think they are beautiful.

As we regard one another while he poses this way and that, a plan for a drawing is hatched.

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A technical note:

Neocolor 2 colour mapped onto the paper, ready to be layered over with coloured pencils.

A light Neocolor 2 underlay makes a welcome base for coloured pencil work, adding soft richness to the drawing.  Only the sharply focused seagull is 100% pencil without Neocolor undercoat.

Fixpencil 0012 by Caran d’Ache fits Neocolor and coloured pencils.

 

Eventide

“Eventide”     Neocolor 2 and coloured pencils. 34.5 x 42.5 cm. December 2019.

Here we are, our first evening in Venice.  We emerge from a labyrinth of claustrophobic lanes to the grand  promenade of Molo.  Before us is a floating world which takes our breath away.

Love at first sight.

The drawing “Eventide” is from that moment of euphoric discovery.  Resting gondolas bob on the high tide, San Giorgio Maggiore perches erect in the distance: elements of Venice juxtaposed, enveloped in blue.

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I have made three drawings from the evening of 2 November 2018 (All Souls Day).  They are …

“Deep in Castello” – one of the paths taken on our walk towards Molo.

“Eventide” – as described above.

“A Room with a View”  – the view from a window of our Cannaregio apartment.

Love at first night.

 

 

 

 

An Italian Dream

“An Italian Dream” is drawn with Neocolor 1 and coloured pencils. 39.5 x 32 cm.  November 2019.

On a hazy Sunday morning in the northern spring of 2019 we sit on a park bench on Lido and look out over the lagoon.  A young seagull allows himself to be photographed and even gives me a minute  to studiously compose before flying away.  In perfect tune with the universe (compositionally-speaking) a vaporetto  appears.  In the watery distance San Giorgio Maggiore Benedictine church and campanile hover mirage-like.

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One hundred and seventy five years ago (in 1844) Charles Dickens took some time out from novel writing.  He and his family moved to Italy for a few months.  From this sojourn came “Pictures from Italy” (first published in 1846), an illuminating and witty account of his Italian adventures.  Charles Dickens was so hypnotized by Venice that he reminisces as if he had dreamed it all.   The Venetian chapter of the book is called “An Italian Dream“.  I trust CD doesn’t mind if I borrow his romantic title for my drawing.

I quote three paragraphs from “An Italian Dream“…

“The glory of the day that broke upon me in this Dream; its freshness, motion, buoyancy; its sparkles of the sun in water; its clear blue sky and rustling air; no waking words can tell.  But, from my window, I looked down on boats and barks; on masts, sails, cordage, flags; on groups of busy sailors, working at the cargoes of these vessels; on wide quays, strewn with bales, casks, merchandise of many kinds; on great ships, lying near at hand in stately indolence; on islands, crowned with gorgeous domes and turrets: and where golden crosses glittered in the light, atop of wondrous churches, springing from the sea!”

…and…

“In the luxurious wonder of so rare a dream, I took but little heed of time, and had but little understanding of its flight.  But there were days and nights in it; and when the sun was high, and when the rays of lamps were crooked in the running water, I was still afloat, I thought: plashing the slippery walls and houses with the cleavings of the tide, as my black boat, borne upon it, skimmed along the streets.”

One hundred and seventy five years ago we weren’t talking about climate change or rising sea levels, yet Dickens concludes his chapter thus…

“But close about the quays and churches, palaces and prisons: sucking at their walls, and welling up into the secret places of the town: crept the water always.  Noiseless and watchful: coiled round and round it, in its many folds, like an old serpent: waiting for the time, I thought, when people should look down into its depths for any stone of the old city that had claimed to be its mistress”

“I have, many and many a time, thought since, of this strange Dream upon the water: half-wondering if it lie there yet, and if its name be VENICE.”

 

Winter Rain

“Winter Rain”
coloured pencils, 24 x 20 cm. October 2019

The word fine is synonymous with sun – as if only sunshine can feel fine.  And what words do we dream up to describe rain?  Miserable, bleak, dreary, and dull are a few that come to mind.  “What a shame, it’s raining.”

NO!  Rainy days can be even more wonderful than sun-filled days.  Notice reflections of sky and electric lights mirrored, glowing and abstracted in wet pavements.  Look at the full-blown shapes of umbrellas.  (I like umbrellas.)    Wet objects gleam.  Watery colours are luscious.

Replace gloomy with dramatic, moody, even romantic; the poetry of precipitation, the wonder of wet-look.

The “Summer Rain” duo; Verona during a July thunderstorm.

 

 

Space Oddity

“Big Sky” oil painting, 1990  (Paraparaumu)

It occurs to me that each one of us has a universe inside.  There are light and energy sources – suns and stars.  Also plenty of space.  And black holes – awful negative nothingness which is another name for the bottomless-pit-of-need where you can never get enough validation or self-esteem.  Inner planets too?  Why not.

Positive energy (the sun) shines forth as one loves, receives inspiration, gives back, and puts ideas into action.

But it is hard not to be afraid of the black hole and of being drawn into it.  It is such a hopeless void.

Sometimes I blaze through my universe with rocket-fired determination – gladly constructing and carrying out ideas, projects and schemes.  At other times I languish, lost in space.

These are elements within my inner universe, and perhaps they are elements inside yours.   The universe isn’t only out there, but also in here.

I lay in bed early this morning thinking these thoughts before turning over and going back to sleep.

“Check ignition and may God’s love be with you.”  David Bowie

Undercover White

“Wafting” 36 x 28.5 cm. September 2019

During the previous fortnight while I worked on a commission of a Japanese lantern, I reminded myself of the principle of undercover white.  What do I mean by this?  The same colour (let’s say red) when mixed with white, results in a different pink/light-red depending on whether white is put down underneath the red, or over it.  The following diagram illustrates this…

The first swatch in the diagram is Caran d’Ache Permanent Red 061.  In the middle swatch I have put down a layer of Holbein Soft White 501 and THEN layered Permanent Red 061 over the top.  Notice how soft and glowing the result is – perfect for creating luminosity – as in lanterns.  The final swatch is the result of Permanent Red 061 underneath with Soft White on top.  This is the SAME red with white, but mixed in reverse order.  TOTALLY DIFFERENT!

In the above drawing “Wafting”  the entire area of the lantern has Soft White underneath.  White acts like a secret agent; Undercover White.  This method creates glow.

Four years ago I wrote a post about this use of white (which I taught myself) however after doing the current drawing, it seems like a good idea to repeat the lesson.  It is useful knowledge to have up your sleeve.

The delicate-red parasol in “Being There” also employed this technique.

https://juliepodstolski.wordpress.com/2015/02/12/the-power-of-glow/   –  the link to the first post on this subject in 2015.

“Good thinking, 99”.