Fur In The Paint

Catch - Water soluble pencil 15 x 18 1/2
Copyright by Mona Majorowicz

Catch Penny II
Here is the completed water soluble pencil painting of Catch Penny II. I had been holding off posting it until Carol got her painting. She had been following its progress on the blog, but had wanted the finished painting to be a surprise.

Prints are available, click on Catch’s picture or the title underneath, to view the details.

Catch is a 28 year old Morgan owned by Carol Eilers. He has been a Pony Club horse and has taken three youths to USPC Nationals. Two for eventing (he can jump just about anything.) And one for dressage. He “loves” kids and thoroughly enjoys being fussed over.

He is a dressage school master and still ridden occasionally on trail rides. Carol says, he has a naughty streak and can be ornery, but has a marvelous willing attitude when it really counts.

I may have over romanticized him a little bit in the painting. But Catch has always fancied himself somewhat of a playboy. I like to think Catch would approve of his Fabio like hair-do.

I thought I would do a detailed, step by step on doing horse hair using watercolor pencils. This painting is being done on Arches 140# hot press watercolor paper. If anyone has any questions, please don’t hesitate to ask.

Here, I applied the base colors dry. I tend to scribble with little thought, other than following the directions that the hairs run.

Colors used: Chocolate, Dark Blue, Indigo Blue and Violet/Wine

Note: The colors mentioned are descriptive names, NOT the actual names on the pencils. Why did I do it this way? Well heres an example, Sanguine. . . what the heck color is Sanguine? (It’s a ginger/pumpkin color for those who are curious.) Also, I usually use multiple shades (2 or 3) of each color listed.

Here, I added water and blended out the color. I tend to use small brushes (For this, I used a #5 round.) I prefer to use cheap brushes, as the scrushing action (not a real technical term) of lifting the pencil into a liquid paint, tends to ruin the brushes.

I select the area to work in by following the muscle shapes or shiny coat lines. I do this, so if there are any heavy lines of pigmentation around the edges, they work with you in laying in a denser color for the shadows. In this instance, I worked the main neck muscle up to the shoulder line.

I wet a small area at a time, working quickly, so there is a minimum of hard edges. Again, try to follow the hair growth. It will look a little patchy. But because multiple layers will be applied, how it looks at this stage is kinda irrelavent.

Note: You could use a larger brush. Just be aware that this will put down more water. You may want to consider using heavier papers or stretching your lighter weight papers if buckling becomes a problem.

After the paper has dried (approximately 1-2 minutes) I add the second layer, again following the direction of the hair.

Colors Used: Chocolate, Purple, Terra Cotta, Indigo, and (very limitedly) Black.

Then apply water wash as before.

Hair effects are created by scraping a sharpened pencil through the existing layers of color, while the paper is still wet. I generally don’t do this over the entire painting. On this painting, I will only use this technique for the extreme highlights on the face and crest of the neck, as this is where I want my attention to be. Most of the neck will be done with a dry pencil.

Here, along the crest (top of neck) the scrape marks are freshly done. While the scrape marks in the area of the neck have had additional color applied, with a dry pencil for more subtle blending.

Note: If your paper dries before you finish with scraping in hair, just re-wet the paper using your brush. A Q-tip also works well to wet, as well as to lift off areas of intense color.

The neck area is now half done. All of this work was done dry. I burnish in color until the paper no longer accepts more. Then if necessary, I go in and wet the paper again. This will allow me to continue to add more layers of color.

Colors Used in Shadow Area: Chocolate, Purple, Terra Cotta, and Indigo.
Colors Used In Highlights: Cinnamon, Ginger, Periwinkle and Light Blue.

This is pretty close to being completed here. I say pretty close because as I work, I tend to go back in and adjust coloring to fit the rest of the painting. Nothing is really considered completed until I have signed the painting.

Watercolor pencils look pretty much like colored pencils. The main difference being the water-soluble nature of the lead. They can, in theory, be used multiple ways. I say in theory because I have only found the first three ways as being really useful. I’ve included the others because in certain situations, they may be the way to go.

• Use them like colored pencils
• Color or draw, then add water for watercolor effect. (My primary way of working.)
• wet brush, then lift color off the pencil. (Occasionally, I do this, especially for putting in long hairs or signing my name.)
• wet pencil then draw. (I use this for putting in white highlights, such as in the eye.)
• wet paper then draw. (Not recommended for most situations. This puts far too much pigment down, and will hinder any blending.)
• Color on separate paper, then lift color with wet brush. (Never tried it.)

Watercolor paper
I thought I would take a moment to mention watercolor paper, as it goes hand in hand with watercolor pencils.

There are three types (surfaces) in watercolor paper, and what I use exclusively with watercolor pencils is Hot Press. The smooth surface allows for smooth blending and getting in all the little hairs. The rougher texture tends to grab more pigment off the pencil and deposit it in the divets on the paper. I could see this being a fun effect for some, but I am a woman who is set in my ways. Hot Press only for me.

• Hot Press. This is the smoothest texture
• Cold Press. This has more texture and is quite commonly used by watercolorists.
• Rough. This has the most texture with a very dimensional surface.

Watercolor paper also comes in varying weights. I have not experimented with a lot of different weights. Since I tend to work my pencils quite dry, I generally use #140 weight. Papers can vary between 90# to 300# and more.

I would suggest using a heavier weight paper if you are fond of using a lot of water, or if your finished pieces are buckling. Another option would be to stretch your lighter weight paper while painting, by taping or stapling it to a board. This will allow the paper to dry flat.

Faber Castell <-----> Derwent Rexell

Watercolor Pencils: What I Use
I have primarily two brands that I use. Rexel Derwent and Faber Castell. I haven’t been working with watercolor pencils for some time now, so I am sure there are loads of new high quality pencils on the market. Since these two brands are the ones I have the most experience with, they will be the topic of this post.

If anyone out there has any brands that they prefer, I would love to hear about them and why you like them.

Rexel Derwent
This was the first set I bought myself. They are a mid-range brand of professional pencil. Personally, I feel the colors are a little more flat looking compared to the Faber Castells. Other than that, I really like these pencils.

Derwent has recently added a new line of watercolor pencils called Signature. They are all made to the highest standards and all have the highest lightfast rating possible. There are only 40 colors available currently. If I continue to work regularly in watercolor pencil again, I will definitely be getting a set.

• Common in most art supply stores, so they are easy to get open stock replacement pencils.
• Dense lead offers a fine point with minimal breakage
• Pencil can be sharpened with most standard pencil sharpeners. (Note: Faber Castell have a bigger barrel and require a larger sharpener.)
• Large assortment of colors. (72)
• You can download a lightfastness chart off their website
• hexagonal shape minimizes rolling.

Faber Castell
My favorite brand because of their luminous color. They are a little more spendy than most, but they are of the highest quality. And the way I see it is, you get what you pay for.

• Dense high quality pigment with the lightfast indicator on each pencil.
• Extensive color range (120 colors)
• Large hexagonal shape keeps them from constantly rolling off my drafting table.
• Lead is SV bonded, meaning the color is glued to the wood the full length of the pencil. for added strength and less breakage. (Note: These are still more prone to breakage than my Rexel Derwent pencils.)
• All non-toxic and acid free (ph neutral.)

About Lightfastness
Both of these brands are tested for lightfastness using the Blue Wool (BW) Scale. The highest BW value is 8. Values of BW6 or higher are considered lightfast.

The Faber Castell system uses a star rating. This is printed on each pencil so you can tell at a glance just how lightfast the color is.

***maximum light fastness BW7,BW8 (100+ years)
**very good light fastness BW5,BW6 (25+ years)
*good light fastness BW3,BW4 (5+ years)

Again, to see Derwent lightfastness ratings for their pencils, you must visit their website.

Here is the outline drawing for my next painting, if it gets approved that is. I rarely (pretty much almost never) do much for commission artwork, though I get asked all the time. I think a horse artist could make a good living, just painting for hire. I . . . alas, don’t have the stones to paint portraits on an on-going basis. Frankly, I barely get the time to paint, what I want to paint, without scheduling it in. Let alone, work on stuff for others, and under their parameters. Kinda kills the creative juices for me. I sure respect those who can, though.

So, what is it that will get me to agree to do your horse’s portrait you ask? Well . . . in a nutshell, flexibility. You must have a willingness to let me do what I want and the fortitude to let me do it in my own time frame. (Yup, I’m not asking much huh? No siree, not much at all.)

The saint who requested this painting, is my editor Carol Eilers. She has been waiting patiently for almost a year. (Umm … maybe it has been a little over a year. I’ll have to check.) I think what has held me off for so long, (besides wanting to give it my undivided attention that only the off-season months can provide) is, I just couldn’t get excited about doing the traditional head shot. But once I let go of the idea of a head shot portrait. I got inspired by all the possibilities. If she doesn’t like this composition, I do have a backup plan. Something slightly more portrait like where the horse is in profile. But I love this composition, as well as the wistful look in his eye. I will probably go ahead and do this piece regardless.

This painting is to be done in watercolor pencil. I am kinda jazzed about this because it has been years (literally) since I have worked in watercolor pencil. I am curious to see how, what I have learned with oil pastels, translates over in the pencil artwork. We shall see. I will be posting work in progress (WIP) shots, so you can follow along and judge for yourselves.