The Easter Blessing

Have a blessed Holy Week and a wonderful Easter weekend!

Janelle & Jeff Johnson

This colored pencil design by Janelle is available through her website.

http://www.janellejohnson.com/products.php?cat=13

The pencil  painting has a special touch added with an inspirational wood cross by

David Krepel www.jandjwoodshop.com

We’re gradually penciling our way through the colors of the spectrum; this time it’s GREEN.

Jack-In-The-Pulpit © Janelle Johnson 2010

Prismacolor Colored Pencils needed for this project:

• Black Raspberry
• Canary Yellow
• Colorless Blender
• Cream
• Kelly Green
• Kelp Green
• Pale Sage
• Sand
• White

If you’ve recently registered for this blog reference to previous Free Monthly Instruction Packet category for the prep and final finish-up. If you scroll down the blog you’ll find the study of Orange and Violet.

You can find the other free From My Sketchbook studies here:
Study of Red
http://janellejohnson.com/news_july09.html

Study of Yellow
http://janellejohnson.com/freepattern_june09.php

Study of Blue
http://janellejohnson.com/freepattern_may09.php

Steps 1-4

1. Using the linear motion base in the light areas of the flower with Cream. Linear motion is applied in a back-and-forth motion of the pencil.

• The light areas are the base of the trumpet where it goes down into the stem and the five lines going up the body of the trumpet.
• On the inside of the flower base in the seven light lines.
• On the top that’s flipped over base in the five light lines and across the top going up and down in the linear motion.

2. Using the linear motion base in the remainder of the flower (except the stamen) with Kelly Green. Kelly Green will lay on top of the paper and have a rough appearance.

3. Using Pale Sage and the linear motion color over the flower with a very light pressure. This will blend the Kelly Green into the surface of the paper.

4. Apply the light areas again with Cream.

Steps 5-9

5. Using White apply the highlight areas using the linear motion.

• Highlights are placed at the bottom of the trumpet next to the stem.
• Up the light lines of the trumpet about two finger-widths from the bottom. Note the light value lines that are lined in between the main lines.
• The rolled edges are highlighted.
• The inside of the flower starting on the right side and moving toward the left. This area will taper off to nothing at the top left of the stamen.
• Highlight the lines on the inside of the flower.
• On the top rolled over area highlight through the center where it curves out the most; starting on the left and working toward the right.

6. Using Kelp Green apply the dark value in the “V” shapes and recessed areas of the flower.

• On the inside of the flower to each side of the base of the stamen shade the “V” shapes.
• On the inside of the flower where it’s rolled over.
• The top of the rolled over edge on the upper right.
• The tip of the rolled over top of the flower.
• The trumpet under the rolled edge.

The Kelp Green can be blended with Kelly Green or even Cream to soften the color into the surface of the paper.

7. Using the circular motion base in the stamen with Sand. Circular is around-and-around in small circles to fill in the area.

8. Using the circular motion shade the stamen with Kelly Green on the left hand side; not quite to the left outside edge.

9. Using the circular motion highlight the stamen on the right side with White.

Reference to the finished project at the top for the final steps.

10. Accent very lightly with Sand and Black Raspberry. Black Raspberry is a strong pigment so use sparingly. It’s easier to add more than to take away.

• Apply Black Raspberry to the left and right lower edge of the stamen.
• Apply Black Raspberry on the inside of the flower at the top left side.
• Apply Black Raspberry under the roll on the front of the flower.
• Accent with Sand on the body of the trumpet.
• Accent with Sand on the inside of the flower on the right side.
• Accent with Sand the rolled over top toward the pointed tip.
• Accent on top of the Sand with Canary Yellow – only smaller!

Base over the entire flower with the Colorless Blender. This will work the pigment into the paper and give a smoother finish.

The drawing is sized to fit on 3 1/4"x3 3/4".

For all your colored pencil supplies check out – www.janellejohnson.com

What does the color Violet, commonly known as Purple, mean to you?  In ancient times it was the color of fabric that was reserved for royals…I’m so glad those days are long gone! Don’t you love to wear violet! I also like to use touches of violet in almost everything that I pencil so this basic beginner project was fun to design.

From My Sketchbook – Study of Violet © Janelle Johnson 2009

Please reference to previous “Free Monthly Instruction Packet” category for the  prep instructions and final finish-up.

Supplies needed for this project:

Prismacolor Colored Pencils

• White
• Sunburst Yellow
• Pale Sage
• Kelp Green
• Lilac
• Violet
• Indigo Blue
• Colorless Blender no. 1077, do not confuse with the Colorless Blender in the marker form.

The size of the square outline is 3 1/4"x3 3/4".

Periwinkle Petals

• High Light/ White
• Light/ Lilac
• Medium/ Violet
• Dark/ Indigo Blue

1. Using the linear motion base in each petal with a light application of Lilac. Linear motion is applied in a back-and-forth motion from the tip of the petal to the base of the petal. This will cover the entire petal and will go to the graphite line.
2. Using White and the linear motion apply the light value around the center of the flower in the five-pointed shape. From each of the points draw a line of White into each petal. Apply a line of White on each side of the petal. If the line becomes to thick, skinny it down with Lilac. The point of the White pencil must be very sharp and you must stay up on the point of the pencil. If you can’t get the pencil sharp enough with your sharpener, rub the shaft of the point on a piece of sandpaper to sharpen it to a needle sharp point.
3. Using Violet shade on the petals next to the center and up around the white lifted edges. Violet is a strong color so apply very lightly. It’s easier to add more than to take away too much.
4. Using White and the linear motion apply a light value on each petal. The application of White will blend the colors underneath into the texture of the paper. Apply White in a lighter value on the outside edges of the petal where it lifts up.
5. Using Indigo Blue strengthen the dark value at the base of each petal next to the five-pointed center.
6. Using the Colorless Blender apply the clear wax over each petal. This will assist in smoothing and blending the colors into the surface of the paper. White may need to be applied again in the light value areas after using the Colorless Blender.

Five-Pointed Center

Sharpen pencils on a piece of sandpaper to obtain a really fine needle sharp point. This will aid in doing the detail on the center.

1. Using Sunburst Yellow, sharpened to a really good point, apply a circle in the center.
2. Apply Lilac around the yellow center and to the inside edges of the five-pointed center.
3. Using Violet shade around the yellow center and around the inside edge of the five-pointed center.
4. Using Indigo Blue shade around the inside edges of the five-pointed center.

Leaves

• High Light/ White
• Light/ Pale Sage
• Medium/ Kelp Green
• Dark/ Indigo Blue
• Accent/ Sunburst Yellow

1. Using Pale Sage and the linear motion apply the light value through the center of each half of the leaf. This will not touch the outside edges. Apply a thin, fine line of Pale Sage down the center vein line.
2. Using Kelp Green and the linear motion start on the outside edge of the leaf and stroke in and across the Pale Sage. The pencil will lift after every stroke; it’s not a back-and-forth motion, it’s a single stroke. Apply Kelp Green from the center vein line stroking into and across the Pale Sage.
3. The Pale Sage will probably need to be applied again.
4. Highlight the center of each side of the leaf with a light application of White.
5. Shade each leaf at the base where it goes underneath the flower petals with Indigo Blue.
6. Accent the outside edges of the petals with a small amount of Sunburst Yellow. This color is very strong so apply sparingly; it’s easier to add more than take away.

Speaking of taking away – if you need to remove unwanted pencil lay a piece of Scotch tape (red or green label) on the offending color. Use either your fingernail or a pencil and stroke over the top of the tape. The pencil underneath the tape will adhere to the tape and will lift off. Some color will remain but it will get you back to where you can begin again.

Thank you for your interest in my colored pencil designs! I hope that by introducing you to basic beginner projects this study will enrich your experience with this great medium. The next lesson in the “From My Sketchbook” series will be the study of green.

Blessings to you,

Janelle

For all your colored pencil supplies check out – www.janellejohnson.com

If you’re unable to use the link – go to the website, click on the menu item Shopping Menu, Browse All Categories, New Items.

Belly-Up! Red-bellied Woodpecker, Beginner Level

The photo above and the photo below are the same project just done on different color background papers. A good example how background color affects the actual penciling.

2-hour, 50 minute DVD, color copy, pattern & instructions included

What a great way to learn from home!

Orchids & Bamboo, Intermediate Level - I really like the unusual framing on this picture!

In Kansas we only have one hummer, the Ruby-Throat, but we have them by the dozens!

The photo above features the project on Burgundy Mi-Teintes paper and the photo below features the project on Maderia Rose collage paper. The woodpiece below was a wood clock that was purchased from Bill Chiles and a decorative paper was adhered to that then the collage paper on top of the decorative paper. The cool looking knobs were purchased at Hobby Lobby. Just love those knobs!!

A MUST HAVE to travel with to lighten up your area!

The photo below shows the wide beam of light that this little light creates!

Available in lots of colors!

All the items above, and more, are available on the website www.janellejohnson.com

Thanks!

This month’s study is about the color Orange. Color affects moods and orange is often used to create a feeling of happiness – it also represents the color of fall; which is upon us, where did the summer go?

The project is based on a photo by Heidi Conover, Okinawa. Thank you Heidi for permission to do a colored pencil project from your photography! A big thank you to Sharon Burkenbine, WA for sending me her daughter’s beautiful photo!

Prismacolor Colored Pencils & Prismacolor Lightfast Colored Pencil

• Cream
• Canary Yellow
• Orange
• Pumpkin Orange
• Lightfast Cad Red Hue – can substitute Crimson Red
• Tuscan Red
• Pale Sage
• Moss Green
• Kelp Green
• Denim Blue

Sharpen new pencils with an electric pencil sharpener; don’t sharpen off the color names!

Other Supplies

White paper to pencil on – suggestions:

• white hand-dyed paper from Janelle
• white sketchbook paper
• white Mi-Teintes paper

(Any paper that has tooth to it. Whatever paper you select will have it’s own characteristics and that should be considered when making your choice.)

My initial sketches and color swatches were done on sketchbook paper. I like it for quick color studies but not for a finished project. The paper is too soft, but if a backboard is put behind the paper it will help to strengthen it.

The following instructions will be for how I did the final artwork on white hand-dyed paper that has been adhered to wood boxes. You may select to do your pencil paintings in a sketchbook or on a large piece of paper. If so, then few of the following supplies will be needed.

• 12-3 1/4″x 3 3/4″ white hand-dyed papers available from Janelle -

http://janellejohnson.com/products.php?cat=21    You may need to copy and paste this link into your browser. One paper will be used in this lesson and the remaining will be used in future lessons. Future lessons will be sent free of charge by email if you signed up for my blog or through the mailing list www.janellejohnson.com.

• Wood boxes/shelf – Kingslan & Gibilisco Decorative Art –

http://kingslan.com/products.php?cat=39&pg=7    You may need to copy and paste this link into your browser.

• Lineco Neutral pH adhesive for adhering paper to wood boxes
• DecoArt Mint Julip for basecoating the boxes
• DecoArt Golden Straw, for trimming the lid on box
• Ceramcoat Autumn Brown acrylic for staining the shelf, the acrylic was mixed ½ & ½ with Plaid FolkArt Blending Gel to create a stain.
• 1″ sponge brush for applying the adhesive to the papers and boxes
• ½” synthetic flat for applying the acrylic colors on the trim sections of the boxes
• Krylon Workable Fixatif no. 1306 for spraying the colored pencils to set the pencils to the paper.
• Wet-n-dry extra fine grit sandpaper for lightly sanding after spraying the Fixatif
• JW’s Right Step waterbase matte finish varnish for a protective finish on the boxes
• Sue Scheewe’s graphite for transferring the design to the hand-dyed paper
• 4H drawing pencil to trace the design on tracing paper and to transfer the design
• Prismacolor hand-held pencil sharpener to refreshen a point
• Tracing paper
• Stylus
• Rebecca Baer’s Romantic Notions no. ST-804 stencil for embellishing the lid of the box available from www.rebeccabaer.com.
• Scotch Tape – red or green label for taping pattern onto paper and for removing excess graphite. If penciling on Mi-Teintes paper or other lightweight paper use a lighter weight tape such as Scotch Removable Tape – blue label.
• Factis white vinyl eraser for erasing smudges off the white paper.

Prep instructions – please note that I do not recommend sealing the wood.

A better bond is formed between the wood, acrylic and paper if the wood isn’t sealed.

1. Using the sponge brush basecoat the boxes and lids with two coats of Mint Julip. Allow drying between coats. The first coat may need to be sanded if it’s too rough.
2. After the acrylic has dried several hours the paper can be adhered to the box.
3. Using the sponge brush base the surface of the box with a coat of Lineco Neutral pH adhesive. Base the back of the paper with the adhesive. Lay the paper on top of the box and smooth the paper down. If you’re using the hand-dyed paper from Janelle any adhesive that oozes out can be removed with a damp paper towel.

It’s important to keep the paper clean (white is easy to get smudges on) so it’s recommended that your fingers be inside little plastic bags as you smooth the paper down.

1. Allow several hours to dry.
2. Transfer the design to tracing paper using the 4H drawing pencil. Lay the tracing of the design on the box and tape in place.
3. Slip the Sue Scheewe graphite under the tracing and trace over the lines of the design. The design should be as light as possible so lift the tracing to make sure you’re not pressing to hard. Adjust pressure as needed. DO NOT use graphite to transfer the vein lines in the petals.
4. Remove the graphite. Using a stylus transfer the vein lines on the petals using a bit of pressure. This transfers the vein lines by means of an indented line; this is call scraffito.

Lid of Box

1. The lid of the box is embellished with Rebecca Baer’s stencil and Metallic Gold. Keep the pencil really sharp and stay up on the point and fill in the stencil outline. So easy and adds an elegant touch!
2. The rim of the lid is painted with DecoArt’s Golden Straw using the small synthetic flat brush.

The size of the square outline is 3 3/4"x 3 1/4".

Hibiscus Petals

• High Light/ Cream
• Light/ Canary Yellow
• Medium/ Orange
• High Dark/Pumpkin Orange
• Dark/ Tuscan Red
• Accent/ Cad Red Hue

Step 1

1. Using the circular motion base in each petal with a light application of Orange.  Circular motion is a series of small overlapping circles applied using the back shaft of the pencil. This will cover the entire petal and will go to the graphite line. If the graphite line is too dark it may be difficult to cover it with Orange. You may need to remove a bit of graphite by laying a piece of Scotch Tape on the graphite and scratching on top of the tape with your fingernail. The graphite will adhere to the tape and most will come off the paper. As you pencil over the petals the indented lines will be revealed. Note: the top petal shown in Step 1 photo is completed.

Step 2

1. Using the circular motion and Pumpkin Orange start at the base of each petal and apply the first dark value of shading. This will be applied through 1/3 of the petal starting next to the center.
2. Using Pumpkin Orange apply a line in each indented transfer. The pencil must be really sharp or it will not fit into the indentation. If needed, you can sharpen the point on a piece of fine grit sandpaper for a needle sharp point.
3. Note the rolled edges on the petals. Don’t apply the shading color of Pumpkin Orange in the rolled areas, leave these the basecoat of Orange. This also includes the stamen that is between the top finished petal and the petal to the right of it as noted in the Step 2 photo.

Step 3

1. Using the circular motion and Tuscan Red apply dark value on top of the previous application of Pumpkin Orange. This will start at the base of the petal but will only be applied on top of the Pumpkin Orange about halfway.
2. Apply Tuscan Red with a sharp point in the vein lines starting at the base of the petal and coming out 1/3 of the length of the vein.
3. Using the circular motion and Cad Red Hue start at the top of the Tuscan Red and apply the accent color.
4. If any pencil application leaves a hard line and is not a smooth transition from one color to the next blend over the top with Pumpkin Orange in the dark areas, next to the center, and Orange throughout the rest of the petal. This is how colored pencils are blended – an application on top of a previous application. This also begins to make the petal opaque.
5. Note the shading around the stamen.

Step 4

1. Make sure the petal is pretty much opaque through the light value areas. If it’s not, apply Orange using the circular motion. Don’t use too much pressure or the petal will become too slick and the application of light values will not hold.
2. Using the circular motion apply Pumpkin Orange on the outside edge on the tip of each petal.
3. Using Canary Yellow and the circular motion, apply light value through the center 1/3 of the petal. Don’t let this overlap too far into the dark value next to the Pumpkin Orange or it will become a dull color.
4. Using Cream apply the lightest value on top of Canary Yellow. This will cover a smaller area than the Canary Yellow. Cream will also be the blending color and smooth the colors underneath and help in achieving an opaque petal.

Stamen

1. Using the circular motion and Cad Red Hue apply the 4 red dots on the top of the stamen. Outline them with a fine line of Cream.
2. Apply a small dot of highlight in the center of each of these with Cream.
3. Using the sharp point of Canary Yellow apply the yellow pollen dots through the center of the flower.
4. Using Tuscan Red apply the fine filament lines that connect the dots to the stamen.

Leaves

• High Light/ Pale Sage
• Medium/ Moss Green
• Dark/ Kelp Green
• Accents/ Pumpkin Orange & Denim Blue

Leaves

1. Using the linear motion base in the center of each side of the leaf with Pale Sage. This will not be applied to the outside edge or to the center vein. To the side of the graphite line that shows placement of the center vein apply a line of Pale Sage. Apply the stem line with Pale Sage. Linear motion is a back-and-forth line using the back point of the pencil. Hold the pencil at a slight angle, not straight up and down.
2. Using the linear motion base in the remainder of the leaf with Moss Green. This will overlap onto the Pale Sage. Apply a line of Moss Green to the side of the stem line.
3. Using Kelp Green apply dark value shading slightly to the sides of the center vein and on the back leaf where it’s a dark value.
4. Apply an accent of Denim Blue in the dark value areas. Blue is the complement of Orange and will assist in unifying all the colors.
5. Apply an accent of Pumpkin Orange on the outer edges of the leaves. Apply very lightly!

Final Finish Up

If you are doing the flowers on the other sides of the box protect from spray.

1. Using Krylon Workable Fixatif spray onto the pencil to set the pencils to the paper. This will also aid in keeping this side clean while you pencil the other sides.
2. Spray from all four directions. The top, bottom and each side so that the spray settles into the hills and valleys of the paper.
3. Allow to dry several hours or overnight. The surface of the hand-dyed paper will be fuzzy. Lightly sand off the nap of the paper with extra-fine grit wet-n-dry sandpaper. Use the sandpaper dry – DO NOT WET. Regular sandpaper DOES NOT work the same.
4. Apply two coats of JW’s matte finish varnish. Apply two coats only if using the matte finish; sometimes a third coat will appear cloudy.

Previous free lessons can be downloaded from these links:

http://janellejohnson.com/news_july09.html

http://janellejohnson.com/freepattern_june09.php

http://janellejohnson.com/freepattern_may09.php

This was my first cruise seminar and what fun it was! Mary Gibilisco and Ann Kingslan also taught classes so the students had a full 3-days of classes while we were out at sea. We also had island excursions to San Juan Puerto Rico, St. Thomas and St Maarten.

We’ll be doing another cruise seminar March 7-13, 2010 in the Western Caribbean – check the website for details.

Caribbean Cruise Classroom Setting

Donna & Corkie

Me, Ginny & Delores

Jean, Barbara, Jeanne & Kay

Polly

The photos below are from the excursions on the islands.

Lunch on St. Maarteen with-left to right-me, Helen Anderson, Corkie Dunlap and Kay Baranowski

Jeff (my husband) and me at dinner

Finished colored pencil painting

I’ve had this lantern for a couple of years and have always been intrigued by the glaze and how to capture it in colored pencil. Since the lantern was to be the focal point, I took probably 25 different photos to study, do the drawing and make a plan of action.

Next was the copper watering can. I chose copper because of the glaze of the lantern around the butterfly cutout. The actual piece is a pitcher, so a bit of artistic license was taken to turn it into a watering can. Also, the pitcher was quite large so the scale of the drawing had to be adjusted to be smaller than the lantern.

The third item to complete the design was a bit of a challenge. I really wanted a small object to set at the base of the lantern, but it just wouldn’t work with the design elements. What frustration! I tried a small glass bird, small candle, another copper object and the list went on and on. I finally set it aside for a day and came back to it with a different mind set knowing that I needed to make a sacrifice. I was sitting at the dining room table with the lantern in front of me and with my eyes unfocused I saw a pathetic looking plant in the background behind the lantern. TaDa, I had the other element in the design; something that was larger than the lantern!

I was so excited with having these three items that I didn’t even think about something to anchor it to until after I had these three pieces penciled. The river stones were an after thought that worked into the design later. Not a good plan, but it worked for me!