How can you create coloured pencil backgrounds when your pencil just draws a fine line? in order to lay down an even coat of colour as a background, we need to have some tricks up our sleeves.
We could "cheat" and use pastel, either from sticks, pencils or pans but what if we are thinking of entering a competition that insists on pure coloured pencil only?
Do you need a background at all? If you are a botanical artist then the answer to that last question is probably no. But how about if you do landscapes or still life?
The background of an artwork needs to site gently, half out of sight, and provide an appearance of what is known as aerial perspective - distance. It throws the subject into prominence and gives some illusion of three dimensions to the picture. For this reason we need the colours to be weaker than the rest of the picture, or the definition less focused, so that our main subject is the centre of attention.
It is usually best to work the background first with a low level of colour so that any foreground subjects can be worked over the top for a crisp edge. If you are working hair or fur, adding those flyaways is easier over the top of an already worked pencil background rather than having to draw around them if leaving the background till last.
Have a look at these work in progress images from Brandy Perez. They show a superb artist dealing with the problem of an out of focus, but strongly coloured background. This blended method is ideal for larger pictures.
You can see how Brandy sets out a general underpainting of her main subject (a Longhorn) and a deliberately patterned pencil background - like a Paisley wallpaper.
In this second view, she has applied a blending coat over the top so that the pattern fades away into a general out of focus area of colour. This darkens towards the edges of the picture.
In view 3 she starts to apply the light colours to provide a base for the detail on the animal.
In the final image you can enjoy the detail. Brandy uses a lot of pencil in her artwork.
Brandy's picture was worked with Prismacolor on Colorfix paper which has a sanded surface and will hold a lot of material. It is a large picture (16 inches x 20 inches) so the grain of the surface, while always important, is not so critical. When you are working a small picture, a smooth surface is necessary for this technique.
My recommendation is that you use a print making paper like Stonehenge, Canaletto or a smooth hot press watercolour paper for small images where a fine background is required.
Let's look at the difference between using a piece of plain white card and a piece of Stonehenge - the original images shown below are about the same size - 3 inches wide.
A layer of white coloured pencil has been put down first in both samples, to try to lighten and smooth the later blues. The grain of the card will make it impossible to get really smooth colour from the pencil point, no matter how careful we are to put the colour down with a light touch.
The second example is better, if not great, and you can see how the first white layer modifies the darker blue as we go further down the image.
However, there are faster and better ways of putting down light smooth coverings of colour for your pencil backgrounds.
One of these is shown on the clouds page. This uses a piece of white felt and a palette of strong colour laid down on a scrap piece of cold pressed watercolour paper. This rough surfaced paper is used to enable a lot of colour to be removed from the pencil point and form a dense pool of pigment.
There is a second method which is also an excellent choice.
This relies on taking powdered pigment from the pencil tip with the blade of a knife. The blade should be sharp and held at right angles to the long pigment strip, so that colour is scraped off rather than sliced from the point. You could also use a metal tea strainer and rub the point of the pencil on this.
You should get a collection of fine powder or particles - this will depend on the softness of the pencil you are using.
Once again we can use a small piece of thick white felt to work the powder into the paper surface. This will produce a less controlled colour than the first method described above.
If you use either of these techniques for your pencil backgrounds, it is better to apply the background colour first and add the rest of the picture detail later, as you will not easily get an accurate edge with either.
Clean off the edges (where you cannot work over the background colour) with a battery eraser and if necessary cut a piece of card to use as a shield to protect the background edge from accidental removal.
For real precision, use Frisket film as an ideal edge protection.
The Frisket comes in rolls, is low tack, cuts easily with scissors or a sharp knife and is quite economical.
Low tac Frisket is used for protecting the working surface during airbrushing and can be used in a similar way when applying a powdered layer of pigment in coloured pencil work.
I have found that whilst it will work in protecting an edge when brushing pigment onto the working surface, the low tac nature of the film tends to lift away from the paper if the brush is moved up to the edge. It is better to brush outwards from the film onto the paper.
A more satisfactory method is to use a rubbed in technique as described above. For this, we scrape a stock of pigment onto the working surface in the colours required and then rub the powder using an appropriate soft material.
I have heard of people using a natural sponge, but I use white felt. I use white to ensure that I can reuse the felt later for another picture as I can see the patches used for the "wrong" colours and avoid applying (say) red to the middle of a blue sky!
The example shown is a small ATC (Artists Trading Card) sized picture (3.5 x 2.5 inches) of a white nanny goat.
The stages are shown above in a series of images.
The subject was removed from the sheet of film, and the backing paper taken away leaving just the plastic goat. This was applied to the paper.
Powdered pigment was then applied by scraping the Polychromos pencils onto white Stonehenge..
This was carefully rubbed in to the paper with the felt, using outward strokes pressing the film down as I went to keep it in position. The film was then removed and details were added to the pencil background. Areas were darkened where required.
The subject (goat) can then be completed with a few light strokes.
There are several articles on this site which detail methods for Aquarelles using a wet process.
Using watercolours is the simplest method for backgrounds, but as it relies on you having an ability with watercolour washes many artists may prefer to stay with a dry (and erasable) method.
The example below uses a nearly dry method with watercolour pencils. Peter takes up the narrative...
In the Spring of 2015 I was developing a picture to use as a demonstration pice to a couple of groups and decided to attempt a bird portrait - something virtually unheard of in these quarters!
The original reference had a very out of focus background which highlighted the fine detail of the bird (a reference photo by the excellent Jo Goudie).
Having drawn out the image on to a sheet of Fabriano 5 cold pressed 300gsm watercolour paper, I then started on the background and picked up a selection of Aquarelles from Caran d'Ache (Supracolor 2).
I built up the layers of background colour with fine shading keeping it very abstract.
I soon discovered that the built up surface could be blended with a finger. The day was warm and the skin was moist but not wet, therefore the pigment responded to the touch. I was able to continue with building up and blending colour without having to resort to brush and water.
I had not taken any photos of the progress of the watercolour pencil background so I can't show you a step by step at this time. But I have posted a close up of the background as it was at the mid stage.
By the end of the day I had started on the bird itself and now had a good looking first step which I CAN show you.
The image above is of a picture approx 12 x 8 inches in size.
I went on to develop the background and give the impression of leaves and branches on a tree.
You can see from the final picture below, how the image finished up. I don't think that it is an ideal method, but it is an alternative and it plays to the particular strengths of watercolour pencil in being capable of being worked with a semi dry/semi wet finger.