Colored Pencil Magazine 07 July 2016

Giclee Printing
Dealing with
Cyberbullies
Tree Frog Tutorial
The Totem Project
INTRICATE INK
Featuring: Walter A. Foster

Platte Productions Publishing.com
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July 2016
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JULY 2016
CON T EN T S
departments
05 TREE FROG TUTORIAL
Brooke Stefanelli’s frog jumps off the
page, and she shows you just how she
did it!
18 INTRICATE INK
Combining his love for reptiles with
with his passion for art, Tim Jeffs creates
gorgeous reptiles that are available for
you to color in his hot new book.
30 GICLEE PRINTING
26 THE TOTEM PROJECT If you are thinking about selling replicas of
A piece of art inspired by an ailing cat launched your art, there are a few things you should
Jennifer Hawkyard’s artwork series. know about these archival prints.
14 FEATURED ARTIST
Walter A. Foster may not look like your typical artist type but his work reflects
his lifestyle as a fishing guide. Read how his fishing clients commissioned him
to immortalize their prize catches as art, helping him launch a second business.
2 COLORED PENCIL Magazine | July 2016 | www.coloredpencilmag.com

features magazine
04 EDITOR’S NOTE
Editor-in-Chief
The inside scoop Sally Robertson
Copy Editor
Kimberly Woods
10 Q&A Contributors
Lucia Blizniakova
Dealing with cyberbullies Nicolas Edgar
Walter A. Foster
Jennifer Hawkyard
12
Tim Jeffs
SKETCHBOOK Ute Kistner
Julie Marshall
What’s new and in the news Jennifer Egista Milani
Rosi Oldenburg
Brooke Stefanelli
Amie Talbot
Virrtu
Sponsors/Advertisers
Jerry’s Artarama
Staedtler
Dover Publishing
Publisher
Platte Productions LLC
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[email protected]
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31 ART CHALLENGE
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32 ART CHALLENGE WINNERS

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Copyright © 2016
Platte Productions LLC
COLORED PENCIL Magazine
app.coloredpencilmag.com google.coloredpencilmag.com All Rights Reserved
All rights reserved. The contents of this publication

Cover art by Walter A. Foster may not be reproduced in whole or in part without
permission from the copyright owner.
“A Cut Above”
COLORED PENCIL Magazine | July 2016 | www.coloredpencilmag.com 3

EDITOR’S NOTE
T o kick off summer, we bring you a piece of the outdoors starting with a fantastic tree frog tutorial by Brooke
Stefanelli. Use the photo reference to recreate it at home and replicate this 3D look! Our featured artist Walter A.
Foster continues the nature walk with his display of fish artwork. You will be intrigued to read how this fly fisherman
launched a successful second career in art.
On a more serious note, Amie Talbot speaks to an important topic - dealing with cyberbullies. No matter your age,
if you are online and part of a group you have either experienced this or witnessed it. I have personally been the
target of it, and it really took me by surprise to see adults who didn’t even know me say hateful comments, call me
malicious names, and wish terrible things on me. Know you are not alone and there are things you can do to help
the situation by following the advice in this month’s Q&A.
Also this month, Tim Jeffs shows us his reptiles in full color and shares how we can color with him in his popular
new book Intricate Ink. Jennifer Hawkyard has some personal animal art to share as part of her Totem Project. Find
out how a cat launched Jennifer’s project and how you can find inspiration to create a series yourself.
Lastly, for artists who want to increase their sales with museum quality prints, we discuss giclee printing - what it
is and what you need to know before selecting a printer.
It’s hard to believe, but the day this issue comes out I will be moving into my new home that includes a standalone
2-story building on 14-acres, which means relocating our downtown office into a larger facility. This is the start of
another great chapter for COLORED PENCIL Magazine as we continue to grow this publication and build our art
community.
We always love to hear your thoughts so drop me an email anytime with your ideas, suggestions, and comments.
Dover has a special offer, just for you!

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Tree Frog Tutorial Brooke
Stefanelli
MATERIALS USED:
• 12x12” olive green card stock paper
• Prismacolor colored pencils
TIME: 8 hours • Uni-Ball Signo broad white gel pen
Staedtler Full Page Ad
REFERENCE: Download available at:

www.flickr.com/groups/theclassroom
Personal photo of a tree frog that my family found

PROCESS:
Starting out with a very light
pencil sketch of the frog, begin
shading in an area that is going
to be the focal point (like the
eye). I recommend starting any
drawing at the focal point while
you are still fresh and newly
excited about the drawing. As
time goes on, you may be more
focused on finishing the draw-
ing than getting every little
detail as exact as you can.
Pay close attention that you do

not fill in areas where you will
be adding brighter colors later
while blocking in the darkest
parts of the eye. This way, you
will be able to get the brightest
and most saturated colors when
you fill in those areas.

Now that the eye is starting to
take shape, switch over to the
lighter colors. It is important to
define the lighter colors early on
since it is always easier to make
colors darker than it is to make
them brighter. Since the paper is
already toned, the lighter colors
instantly start popping off the
page. Be sure to use white spar-
ingly and only on the brightest
highlights. Add as many vivid
colors as you can rather than
relying on white and black.
Once the eye is completely fin-

ished start adding some shadow
and definition throughout the
rest of the drawing. Be sure not
to get too dark too fast, only
enough to map out the rest of
the frog. Switch over to some
yellows around the mouth, and
try to let the color of the paper
show through in the shadows.
This will help make the frog look
like he “belongs” on the paper.

Now that the mouth is starting
to look more defined the top of
the head needs to be balanced
out so that the brightest high-
lights can be established. Start
out by blocking in the darkest
shadows. Next, add color to the
shadow by blending in some
vivid colors. This will bring
out definition while giving the
appearance of reflective light.
Using a white or a very light

green colored pencil, start map-
ping out the highlights on top of
the frog’s head. Since you have
already placed color down on
the paper to create the shad-
ows the highlights are not going
to be very bright. Rub them
in as much as you can. Once
you have added in some of the
highlights, use a white gel pen
to place the brightest highlight
on each pore of the frog’s head.
This can get tedious, but be very
exact on where you are plac-
ing each highlight; you don’t
want the frog to look like he has
polka-dots.

TIP:
When working with gel pens on top of colored pencils, use the
gel pen as the last step for the area since it can get scraped off
very easily.
This drawing is a balancing act between the lights and darks.

Keeping any defining lines or highlights as crisp as possible will
keep the drawing looking clean and realistic.
Pay extra attention to any reflective colors on the skin. It is

important to include them so that the frog appears moist and
alive. Keep this in mind for the shadows beneath the frog as
well. Shadows naturally have lots of color in them.
Frog Study
12x12”
www.BrookeIllustrations.com

Q&A Answered
by Amie!
Q: I am part of an online art group and have received some really mean comments about the
supplies and techniques I use. How do you handle cyberbullying as an adult?
A: Thank you for your question! It’s no secret that cyberbullying, the use of electronic communication to bully a person,
has become a major issue in our technology driven world. Previously associated with school yard interactions, bullying
has now made its way into our online devices.
Some people call it hating, creating drama, gossiping, or internet trolling, but regardless of what term you use cyber-
bullying is serious. It can cause emotional damage and lead to tragic consequences.
Cyberbullying is not only prominent among teens and children, but also in adults. It is intended to humiliate, intimi-
date, and harass individuals. It is most often sustained and repeated and can be relentless. It can happen to anyone,
anytime. Most importantly, it affects a person’s self-esteem, reputation, and mental health.
www.AmieTalbotVisuals.com

DON’T . . .
Don’t respond:
The bully is expecting a response and feeds off of your reaction. Engaging gives them
power over you and will most likely escalate the situation. If you don’t reply, they may
lose interest and leave you alone.
Don’t sink to the bully’s level:

Retaliating out of hurt and anger can easily lead to you doing the very things the bully is
doing. Resist the urge to interact on their terms and avoid sinking to their level.
Don’t forward messages:

Forwarding offensive messages only serves to strengthen the bully’s influence.
Don’t blame yourself:

No one deserves to be bullied. Experiencing negative feelings when being cyberbullied
is normal. Learning to acknowledge and respond to these emotions in a healthy way is
crucial to your protection.
DO . . .
Do ignore:
Ignore minor teasing or name calling. Again, a reaction is exactly what aggressors are
looking for.
Do keep records:
Keep a record of any bullying communication you receive in hard copy. Online bully-
ing can usually be screen-captured, saved, and shown to someone who can help. If you
can determine who exactly is making the comments also document that.
Do tell the person to stop:

This is completely up to you - don’t do it if you don’t feel completely comfortable. But
if you feel up for it, make your position clear that you will not stand for this treatment
any more.
Do block and report:

Most social media apps and services allow you to block the person. Whether the bul-
lying is in an app, texting, comments, or tagged photos, do yourself a favor and block
the person. It probably won’t end the problem, but you don’t need the harassment in
your face, and you’ll be less tempted to respond. Also, report the problem to the service
so they can follow up.
Do protect yourself:
Last, but extremely importantly, if you’re receiving threats of physical harm call the
police. There are also many resources available for help when experiencing bullying
such as www.stopbulling.gov. Always know there are people who can help, so reach out
for any support and assistance needed to create a safe, healthy, and positive environ-
ment for yourself.
Send your questions to: [email protected]

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Illustration by Pawel Rokicki
Featuring
WALTER A. FOSTER
I would spend summers as a kid
fishing the small streams around
my house in Vermont, and it was
then my attraction to drawing fish
began.
I was fascinated by the spots and coloration of the small brook In college, I worked at Orvis in Manchester, Vermont from 1992-
trout I used to catch. My first fish art started with a mechanical 2000 while going to school full time. My free time to explore
pencil, sketch pad, and an issue of Outdoor Life magazine. I real- sketching and drawing slowly became less available and my areas
ized that I had an eye for detail as I tried to mimic each dot and of focus changed. Once I got my environmental science degree, I
detail of the trout. Every spot on every trout is unique, in the same dabbled in the corporate world, but I found myself working my
way that all fingerprints are different. way back to my true passion of fly fishing and guiding. After being
a guide for 20 years alongside other outfitters, I ventured out on
Despite no formal art training, I grew up around many different my own and began Park City Trout Tales in March of 2012.
artistic influences. In my early teens I expanded my interests and
started drawing portraits of celebrities. I’d show my sketchbook One day, also in March 2012, I started looking at some fly fishing
of characters to friends and they would instantly recognize the artwork on the internet. I noticed how amazing the detail and
famous person in each drawing. realism captured with colored pencil was.

That same day I picked up the largest set of Prismacolor pen-
cils I could find along with drawing paper from my local art
store. I went to YouTube and found some colored pencil tech-
niques and tackled my first drawing. That first piece took me
through the highs and lows of working in a new medium.
Through time and experimentation, I’ve been learning how

to layer colors effectively. I start with light colors, such as a
cream, to build the base of the fish, and then add an addi-
tional six to seven layers of colors on top. I use many different
shades of grey to capture the wet effect of the fish and the
water.
My fly fishing clients started taking notice of my work. In

2013, they began buying prints and requesting commissioned
pieces of trout caught on past trips. Suddenly, my Park City
Trout Tales business spun a second one and Fine Fin Art was
born.
Now in 2016, more than just fly fishing clients are enjoying
my work. Capturing a moment of time on the river inspires
me to keep challenging myself on the drawing board.
WWW.TROUTTALES.COM

WALTER A. FOSTER
“Bonafide”
“Swift Water Rainbow” “Networthy”
“Autumn Giant”

WWW.TROUTTALES.COM
“Nushagak Rainbow”
“Gator Brown”
“The Odd Couple”

INTRICATE INK
Drawing one colorful scale at a time
by Tim Jeffs
There are three elements of creating art that I absolutely love - drawing,
detail, and animals. I’ll break them down one by one and explain why
these aspects have become such a passion of mine, why I prefer to draw
in colored pencil, why for the past two years I’ve focused on challenging
myself to achieve a level of detail that pushes me beyond my comfort
zone, and lastly why drawing animals, in particularly reptiles, has been
my subject matter of choice.
DRAWING
I have always loved to draw. I can remember drawing animals in
elementary school and being completely and utterly consumed,
spending hours drawing them with as much detail as I could. My
uncle, Paul, was an art professor at Longwood University, and every
time he visited I was excited to show him my latest animal drawings.
He would critique them and encourage me to hone my skills until
the next time I saw him for more feedback. I took his advice and
pushed myself to be a better artist with each new drawing. Uncle
Paul passed away when I was young, but his challenges, creative
thinking, and encouraging ways have stayed with me to this day.

Why Colored Pencils . . .
I’ve worked in many different mediums throughout my 30+ years of creating art, but draw-
ing in colored pencil has always been the most comfortable medium for me, the one that I
gravitate towards. One of its biggest benefits to me is convenience and low maintenance. It
involves no preparation, no paints to mix or worry about drying out, no brushes to clean
or accidently destroy if you forget to clean them, and hardly any mess compared to work-
ing in pastels, watercolors, or charcoal. All you need are good pencils, paper, and a great
pencil sharpener. Also, I find colored pencils extremely easy to work with and blend. There
are so many varieties to choose from, and you can buy very reasonable pencils these days.
DETAIL
The second element of art that I
adore is detail, and by this I mean
extreme detail. I have always been
intrigued with ornate patterns and
complex line work. I find comfort
in detail and thoroughly enjoy the
repetitive action of drawing simi-
lar shapes over and over again. The
process of drawing detail becomes
meditative, the most enjoyable part
of the process, and never boring or
cumbersome. But this has taken
years to achieve.
People sometimes ask me how I have

so much patience for details. The
secret is that I take lots of breaks. I
draw in short, intense periods and
take a mind break whenever I feel I
need to. Plus, this gives me time to
step back and reflect on the draw-
ing. I’m sure many artists would
find my detailed style of drawing
extremely frustrating and too time
consuming. On the other hand,
I personally enjoy the long time
investment in each particular piece.
I usually dislike to see a piece come
to its conclusion.

ANIMALS
The third aspect that draws me to art is animals.
I have always had a fascination with animals.
Childhood trips to the zoo are some of my fond-
est memories. I never wanted to leave and couldn’t
wait until the next time I returned. I had to see
every exhibit and would always be there until the
zoo closed. After I got home from these trips I
would draw and draw and draw, all animals.
I think what attracted me to animals as a child was

the variety of shapes, textures, and detail the differ-
ent animals offered - elephant and rhinoceros’ skin
and all their incredible wrinkles, tropical birds’
complex feathers and bright colors, jaguar and
tigers’ fur with their elaborate stripes and spots,
and reptiles’ mind blowing geometric patterns and
endless scales!
Why Reptiles . . .
This brings me to my attraction towards draw-
ing reptiles. Reptiles are the ultimate subjects for
ornate patterns, wonderful color palettes, and
extreme detail, three features I crave. My child-
hood house in Rockville, Maryland had a large,
untouched section of wooded land behind it. My
brothers and I would spend endless hours catch-
ing box turtles, snakes, lizards, and frogs. That
gave me a chance to study and draw them up
close.
I know that snakes are a huge phobia for many

people, but if you put that aside and look at how
beautiful the patterns and designs are that adorn
a snake, you might see them in another light.

Photography by Harrison Jeffs
I usually start a drawing by doing extensive research on the par- One of my chameleon drawings, of a panther chameleon, turned
ticular animal I am planning to draw. I feel, when it comes to out to be the cover of my new book. This drawing meant a lot
animals, the better you get to know your subject the more person- to me because it was a piece that once again challenged me in
ality and likeness your drawing will have. I do this by first seeing so many ways. The book includes 50 of my drawings of all sorts
the animal in real life, if possible. I study pictures I’ve taken or of animals packaged into an adult coloring book that I pub-
pictures from other photographers. Next, I read about that animal lished this year with Pomegranate Communications in Portland,
as much as I can, gathering facts about its habitat, lifestyle, popu- Oregon. The book is called Intricate Ink: Animals In Detail and
lation, and if there are conservation efforts for it. I really enjoy this lets the owner color grayscale images of my animal drawings in
part of making the animal art, because the piece has a story to tell any way they can think up. It can be ordered at pomegranate.com,
based on this particular context of the animal. amazon.com, barnesandnoble.com, or in Barnes & Noble stores.
After the research, I start composing my piece by doing quick All along the way, I’ve been sharing progress pictures of my work
sketches. Working out a strong composition is something I espe- with followers on Reddit, Facebook, Instagram, Twitter, Pinterest,
cially savor. Creating the negative space that my subject lives in is and Tumblr. People’s feedback and love of animals and artwork
important, too. After that it’s on to the detail work. I usually start has been astonishing. I was surprised by the overwhelming
with the eyes because it gives my drawing life from the get go. response from adoring reptile lovers and pet owners.
When it comes to the details of reptile skin, I start my drawings by I have found social media to be a wonderful platform not only
laying down an undercoating of the general color that will appear for sharing my work, but also for meeting artists, learning from
on a particular area. Then I draw the detailed outlines of the other creative people, and teaching my techniques and drawing
scales. Last, I create dimension by adding tones around the out- skills. Other artists, art students, and animal lovers from around
side of each scale. This three-phase process is repeated with each the world have watched me draw and become part of a virtual
new line of scales. You can see this in the close up of my partially audience as my drawings come to life.
completed drawing of a veiled chameleon on the previous page.
In the end, I feel the most important aspect of creating art is that it
Lately, chameleons have become one of my most favorite reptiles comes out of something you are passionate about. No matter what
to draw. They offer endless opportunities in color and pattern element that is or what subject matter you choose, when you are
variation along with their unique eyes, bodies, and wonderful excited about it, it will show in your work. Animals are my pas-
curling tails to create fun compositions with. There are so many sion, and always will be. Enjoy drawing your passion!
different varieties of chameleons to choose from, too, including
panther, veiled, Jackson’s, Parson’s, and the list goes on and on.

“Iguana” “Ball Python”
“Bearded Dragon” “Parson’s Chameleon”
“Veiled Chameleon” “Green Tree Python”
“Tortoise” “Jackson’s Chameleon”

GET TIM’S NEW COLORING BOOK!
www.pomegranate.com/cbk002.html
50 Images for $16.95

• Casebound book with a special
lay-flat binding and sturdy, flex-
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• 108 pages with 50 images to

color on high-quality paper.
• Size: 8¾x11¼”.
• Coloring pages are blank on the

back so they can be cut out and “Panther Chameleon
”
displayed.
• Join the Facebook group!

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Finding Inspiration in Mythology by Jennifer Hawkyard
**The Idea**
Those who know me know that my art spans a wide range of sub-
ject matters and genres. I’ve never focused on one medium or
one subject. As a child I started out obsessively drawing horses,
then pet portraits, next people portraits (where I landed my first
few commissions), and from there my interests have continued
spreading.
After working in the digital realm for several years by honing

my skills with a Wacom tablet and Photoshop, last Christmas I
decided to return to my roots. In short, I needed a break from my
computer. As a professional web designer I spend my days glued
to a computer screen. To then come home and spend more time
in front of the screen wasn’t appealing to me anymore. So I dusted
off my trusty set of Prismacolor colored pencils and bought a
black Strathmore 12x18” art pad. I didn’t want to work on white,
I wanted to do something completely different from what I was
used to. Black canvas was just the thing.
At the time, my mum was visiting from England and her cat at
home was ill, literally on deaths door. Needless to say she was
worried sick and unable to do anything to help, being stuck in
snowy Canada. It got me thinking about animal guides and totem
symbology and the importance of certain animals in our lives.
I’ve always felt, for example, that the hawk has been a guiding
force in my life. For starters it’s my namesake, but I also see them
frequently on my travels, at least daily. I like to think of them as a
guiding or guardian spirit, wishing me well on my way. This may
all seem a bit airy fairy, but it was this concept that seeded the
Totem Project, a project that has produced my largest collection
of artwork to date. I’m up to 9 pieces so far, and I still can’t get
enough of them.

**Planning**
Naturally, the first totem I created was Cat Totem, inspired by my
mum’s own blue Siamese. I wanted to create something colourful,
pattern filled, and representative of the animal in a whimsical,
playful way. The totem would be isolated on the black background
with no other focal point. I would also keep the colour scheme
fairly restricted. (Only one totem thus far has broken these rules,
and since it was a commission I figured that was ok!)
After gathering reference pictures, I start all totems with a simple

pencil sketch in my Moleskin, usually just a few inches tall, to get
a sense of the shape. I aim to create unique silhouettes to enhance
the totems’ presence on the black background, so a strong out-
line is key. I also rough in the embellishments and decorations I
want to include. Then I copy the sketch with pencil onto the black
paper. It’s a little tricky to get it to match exactly. Good lighting
is key! Once I have shapes I’m happy with I start the fun part -
getting colour on the paper. I usually start with the eyes and key
features and work out from there. I begin with a sharp cream
pencil very lightly working in details where the planes of the face
break and capturing the ever important glint in the eyes.
**Colour Scheme**
After those lines are set up comes the scary part of picking the
colour scheme. With Cat Totem I knew I wanted blue as the main
colour with gold embellishments. With others I have brought in
key identifiable colours of the animal chosen and then embel-
lished with more symbolic colours. For example, Otter Totem
has brown to be accurate to otters’ coat colour and blue to be
symbolic of their relationship with water. Since these totems take
several days to complete, it’s crucial to set aside the colours I’m
using so as not to muddle them with other shades that would
create an inconsistent result. Sometimes the colour scheme is
intentional and planned ahead of time, in other cases it’s more of
an instinctive “winging it” process. Since it’s quite hard to erase
coloured pencil, I start working lightly, then if I’m happy with the
way the colours look together I increase the pressure.

**Texture**
By varying pressure, I create variety in colour intensity and tex-
ture, using the black background to help as well. Similarly, using
a lighter shade of the same colour can add dimension and depth.
I find a very sharp indigo blue pencil great for bringing out dark
areas or refining an outline that is getting a little lost. As of yet, I’ve
never used black in the totems other than the paper itself.
**Embellishments**
The totem animals are meant to represent or sum up that
chosen animal. In a way, I think of them as the king or
queen of the animal species, encompassing their traits
and implying a sense of wisdom and grace. There is
something mystical and magical about them. Naturally,
that means adding a bit of bling! Some totems carry a
brilliant jewel around their neck, others a golden neck-
lace. I try to keep the elements consistent throughout the
project so that the collection retains a sense of consis-
tency and reads as a cohesive body of work.

**Finishing Touches**
My favourite part of all totems is when the pencil work is done and
I can add the finishing touches. I pull out the finest paint brush I
own and a few tubes of acrylic paint, namely white, metallic gold,
metallic copper, and iridescent blue. Sneezing is not an option
when I place the acrylic directly out of the tube onto my brush.
No watering down in order to get the densest colour possible. The
key here is not to overdo it. Know where you want highlights to
hit and how the light is going to catch on certain areas. Whiskers
and eye glints come first, then gold on the fur, and finally embel-
lishments where necessary. Depending on the colour scheme, I
sometimes opt for rich copper or use both copper and gold. The
iridescent blue is sometimes used in the eyes to imply a sense of
the eyeball when the light catches it a certain way, or in blue areas
to add extra interest. It dries in no time at all, and then it’s done!
**Key Points**
• Study the animals. As with any representational work, knowing
your animal’s anatomy is key. I use reference photos for animals
I’m not familiar with, and this also helps me assess coat textures
and shapes which might guide my choice for colors and decora-
tive elements.
• Keep it loose. I try not to get overly worried if things aren’t

exactly symmetrical or I don’t know precisely where I’m going
with a pattern. One of the main reasons for doing this project was
to return to my art roots (doing things by hand instead of on the
computer) and also creative freedom. I didn’t want to be stressed
out by deadlines or a strict colour scheme. This project is purely
for my enjoyment, and I think that is why it has had so much stay-
ing power and why the list of possible totems just keeps growing.
**The Future**
So what’s next? As I mentioned, I have many totems on the list to
make. I’m waiting for one to muscle into my subconscious and
let me know it’s next in line. I’d like to do both mini totems (for
small, cute animals) and large totems (if I can find the paper big
enough) so I can really get into the details and not be quite so
restricted by the size of my current art pad. And, by the way, my
mum’s cat survived!
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Giclee Printing

The Totem Project

Featuring: Walter A. Foster

2 COLORED PENCIL Magazine | July 2016 | www.coloredpencilmag.com

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