One year after my first Monster Makers Camp, I’ve revised it with new reference images and lesson plan. This post will be updated again as I complete this week of Monster Makers in a current residency. Stay tuned for more updates!
This is a quick overview of blending techniques with colored pencils that I use in my colored pencils classes (and in my own artwork). These simple techniques can be used to create the basis of realistic and expressive artwork in colored pencils.
I use three different techniques for blending colored pencils to achieve blends of colors as well as desired textures.
Colored pencils can be blended by layering different colors on top of each other. For the most control and smoothest blend, start with light pressure, holding the pencil at the far end, and coloring with the side of the pigment rod (rather than the tip).
Add layers of pigment directly on top of previous layers, alternating between colors to achieve the desired saturation of color without burnishing the tooth of the paper (flattening the paper, which will make adding further layers of color or details more difficult).
Burnishing is an option for blending. This method creates heat, melting the medium (oil or wax) and allowing the pigment to mix on the paper. It also flattens the tooth of the paper to create a smooth surface.
A colorless blender is one tool for burnishing. This is a pencil with a rod of medium (wax in my example) and no pigment. Use it to layer over colored pencil, or use the tip to blend small areas.
A paper tortillon can also be used to burnish colored pencil for blending. Make sure your tortillon does not have any other pigment on it from previous use to prevent smearing and mudding color.
Blending with Solvent
Using a solvent to blend colored pencils may be preferable to burnishing if you want to add further layers of color and details ontop of a blended layer. An important thing to remember with using a solvent is to have enough pigment on the paper before applying solvent — if there isn’t enough pigment, the solvent will soak into the paper and create a grease spot.
Solvent is typically odorless mineral spirits, the same that would be used with oil painting. This is a flammable material and should be used and stored with care.
To blend with solvent, layer colored pencil on paper. Layer with more than one color if desired. Use a small paint brush to dip into the solvent, and a towel or tissue to blot the brush and remove any excess (less is better, more can be added, but too much will make grease spots!). Brush gently over the colored pencil you wish to blend.
Allow blended areas with solvent to dry completely before continuing to color or draw over them. The solvent can soften the paper and make it easy to tear, or get onto your colored pencil and make it muddy or soft. I allow my solvent blended areas to dry for 30 – 60 minutes before continuing to work on them. When the area is dry, you can add more color in layers or in details.
Those are the basics for blending colored pencils! From here, we can create so many cool, colorful images, with details and different blends of color! In the next few posts, I’ll focus on techniques for lighting, shading, texture and shaping.
For my colored pencils classes and my own work, I like to use a combination of wax- and oil-based pencils, plus some handy tools I always have nearby. Here’s an overview of a basic collection of colored pencils and tool.
Types of colored pencils
Colored pencils are pigments suspended in a medium, pressed into a rod and encased in wood (usually). There’s a lot of variation in types of medium, and form (color sticks, for instance are basically colored pencils!).
Wax-based pencils like Prismacolor are usually less expensive while still offering high-quality pigments. Their soft core means smooth texture which can easily blend through layering. Their tips are also easier to break, meaning these can be used up rather quickly.
One thing to note about wax pencils, when layering color, a waxy “bloom” can appear on work, creating a large shiny area.
Faber-Castell colored pencils are pigments encased in an oil & wax medium. Their pigment rods are harder than wax-only pencils, keeping their sharp tips longer and offering the ability to layer colors well without having to add too much pigment.
These pencils tend to be more expensive, but last longer with good care. These work very well with the solvent blending method.
Papers & Equipment
Paper is a matter of personal preference. I’ll typically use my beloved cheap watercolor paper in colored pencils classes, and for illustration studies. I like this kind of paper because it offers a sturdy surface and tooth that can grip the pigment in colored pencils really well, and also hold up to burnishing and solvent blending methods. I also typically like to use colored pencils with watercolor in mixed media pieces, for which this paper is ideal
I also typically use a lot of carbon transfer paper to layout designs I’ll use in my colored pencils illustrations. In classes, I don’t focus on drawing very much, and so this is a handy shortcut for getting designs onto your preferred paper and ready to color without first having to sketch or draw. I do also use carbon transfer paper in my own finished work, which allows me to sketch an illustration or deisgn on a separate sheet of paper that I can erase and make changes to, and then to transfer the illustration to a sheet of paper for the final work.
Tools-wise, I’ll most commonly use (in the image, left to right): a horse hair drafting brush to brush away pigment dust, low-tack washi tape, paper tortillions for burnishing, odorless mineral spirits for solvent blending, kneaded eraser, x-acto knife, embossing tool, paint brushes (for solvent), drafting pencil. I also value a high quality pencil sharpener – one that can anchor to the table or otherwise create stability is preferred. I use a Derwent pencil sharpener.
That’s the super quick overview of a colored pencils tools set up that I use. In the next post, we’ll get into blending techniques.
1 cardboard backed sketch paper pad, 9″ x 12″ (see prep notes above)
3 sheets decorative scrapbook paper
50% glue/water solution
Tapestry needle or curved bookbinder’s needle (recommended)
Ribbon or cordage for closure (optional)
Preparing the cover
You can make a cover for a sketchbook or journal from a basic sketchpad.
Step 1: Remove the binding from the paper pad. You can use a spiral bound pad or a glued pad. Hang on to everything, you can use all these pieces for the finished sketchbook.
Step 2: Use the cardboard back as the cover. Trim it down to the dimensions you want your final sketchbook to be. For this example, I’ll make a sketchbook that is 6″ wide by 9″ tall when closed. I trim down the cardboard back to two rectangles that are 6″x9″ (one for the front cover and one for the back).
Step 3: Next, trim down the sheets of paper. For a 6″x9″ book, I trim the paper to 12″x 9″. Fold four sheets of paper together to make signatures that are 6″x9″. Use a bonefolder to crease the signatures.
Step 4: To create a decorative cover with scrapbook paper, trim the paper to 2 pieces 1″ wider and 1″ longer than the final size of the book and 2 pieces the same dimensions as the final size of the book.
For this example, I cut two pieces of paper to 7″x10″ for the outer covers, and two pieces to 6″x9″ for the endpaper/ inner cover.
Steps for Coptic Stitch
As you bind the coptic stitch, it might be helpful to always keep in mind going around the previous stitch. That going around anchors each stitch, and holds each signature or cover to the rest of the text block. Here are step-by-step photos to follow along with (click images to open them and see the captions).
Hold the cover and the first signature together, making sure the binding holes in each line up.
I like to hold the signature and cover with the spine edge toward me so I can flip the signature open easily as I bind.
Insert the needle into one of the binding holes at the ends, starting on the inside of the signature.
Leave a 5″ tail inside the signature to help tie off the thread later.
Pull the thread to the outside of the signature.
Pull the thread around to the outside of the cover and pass the needle through the hole from the outside.
Bring the needle between the cover and the signature.
The signature and the cover are both threaded, but still really loose.
Pass the needle around the thread that’s going between the signature and the cover.
Pass the needle back between the signature and the cover, and back out again, around the thread.
Insert the needle back into the binding hole it came out of.
Pull the thread tight (but not too tight to rip the paper!)
Use a knot to tie off the thread with the tail you left inside the signature.
Move on to the next binding hole, passing the thread out from inside the signature.
All of the binding holes in this first signature and cover are worked the same as the first.
Pull the thread through the signature to the outside of the book.
Insert the needle into the binding hole on the outside of the cover to pull the thread into the cover, between the cover and the signature.
Pass the thread around the thread connecting the signature to the cover, toward the left.
Hook the needle under that thread from the right and pull tightly.
Insert the needle back into the same binding hole on the signature.
Repeat these steps for all of the binding holes on the first signature/ cover
For the last binding hols in the signature, begin the same as the other holes, inserting the needle in the hole from the inside of the signature.
Thread through the outside of the cover and wrap the thread around the stitch you’ve made to attach the cover and signature.
Instead of inserting the thread back into the same binding hole, insert the needle into the first binding hole of the next signature.
Binding the rest of the signatures
For binding the rest of the signatures, you’ll continue to go around the previous stitch to hold the signatures together.
After inserting your needle into the first hole in the signature, go immediately to the next binding hole.
Pull the htread through the binding hole and to the outside of the signature.
Insert the needle under the previous signature stitch (in this case, the stitch holding the first signature to the cover).
Insert the needle back into the same binding hole it came out of.
To keep stitches neat like little knitted V’s, pass your needle under the stitch starting from the side of the stitch closest to the end you started from and insert the needl back into the same binding hole.
Adding the Back Cover and finishing
When you reach the last hole on the last signature, tie a knot to bind off the thread.
Pass the needle with the thread through the binding hole to the outside of the text block.
Pull tightly to keep the thread straight.
Place the unbound cover over the text block, lining up the binding holes. Pass the needle through the cover from the outside.
Bring the needle and thread out between the signature and the cover to the outside of the spine.
Hook the needle under the thread holding the cover to the signature.
Insert the needle back into the same hole in the signature it originally came out of.
Bind the nest of the cover in the same way.
From the inside of the signature, insert the needle into the next hole and thread through the signature to the outside of the text block.
Insert the needle into the next binding hole on the cover.
Bring the thread between the cover and the signature to the outside of the binding.
Pass the needle under the theread connecting the cover and the signature.
Insert the needle back into the same binding hole.
When you get to the last binding hole, tie off the thread and tuck away any extra ends!
In Summer 2021, I got to work with some creative minds at The Arts Center in Corvallis, OR, in a Monsters Maker 4-day camp for kids.
In this camp, students created their own creatures using illustration, image references, sculpting and making considerations for where and how the creatures might live and what physical adaptations the creatures would need to survive. This camp ignited so much creativity and inventiveness among the students and encouraged sharing ideas, inspiring each other and joining their imaginations. While our focus was mainly on using the sculpting tools and being creative with our stories about our creatures, this camp can be adapted to meet more rigorous science and biology standards for early education.
In this post, I’ll share my camp outline and some of the resources and discussion we used in this camp. This outline can be adapted to different ages, contexts and physical abilities.
Set up & Goals
Schedule: 4 days, 1.5 hours per day (6 hours total) In-person
Ages: 6 – 13 years old (1st – 6th grade) Note: since this was designed as a summer camp, I kept the ages pretty broad to accomodate families. As a school program, I would offer this for narrower age ranges (1st & 2nd grade, 3rd & 4th, etc.) and make changes to my discussion points and objectives for different age groups. Keeping the ages broad meant that my focus was more on the skills of art-making rather than being specific to science learning, although there’s lots of room for adaptation and change with this outline!
Camp overview/ learning objectives: Students will:
Discuss habitats and physical adaptations of animals to exist in those habitats
Share their ideas with and respond to the ideas of their peers
Practice drawing skills with shapes and details
Work with polymer clay and special tools to create unique objects
Write about their creations as characters, developing a world for their character to occupy
Share their work and respond to the work of others
Materials & Equipment:
Drawing and coloring materials
Waterproof pens – (Micron 12)
Polymer clay (oven bake)
Polymer clay glaze
Aluminum foil (full roll)
Adult only use: Toaster oven, safely plugged in and placed in well-ventilated area
Optional: findings for jewelry, key chains to turn figures into toys
Adult only use: Epoxy glue for broken pieces
Environmental Set up:
Tables and chairs for each student to sit or stand comfortably & safely while working and interacting with others
Access to bathroom/ hand washing stations
Materials and tools for each student (clay, clay tools, paper, drawing tools)
Table for educator to demonstrate, visible by all students, or the ability to walk around, if needed
Extra supplies nearby
Toaster oven easily monitored by adults, in a well-ventilated area, safely plugged in
Space for cooling sculptures after they are removed from the oven
Introductions & Agreements
In all of my classes/ residencies/ camps, I’ll start off with student introductions and an overview of the class. For youth classes, I’ll also work on agreements for the class, which I’ll write up and have available to look at and review for each of the class sessions.
Student Introductions: Say your name, pronouns, and choose one place to live: the boreal forest, the rainforest, the ocean, a city, the desert, the savanna, the tundra, or somewhere else (tell us)
Bonus (to engage student experience and ability): What is something you could teach the rest of us?
Class Agreements: (These agreements help set the tone for the class, and are a useful place to return to when things start to feel “off track” in a way that might leave some students behind.)
Try – some things we do might be new/uncomfortable/ difficult or even seem boring, and our job is to try our best as much as we can!
Non-judgemental language – When we look at each other’s artwork and share our own, let’s avoid words like “Good” “Bad” or “Like” and let’s think about what we can ask the artist about their work, what their work reminds us of, and if it’s our art, what we might want to change or try that’s different.
Share – Be willing to share your work so we can learn from each other and get new ideas!
Experiment – Try something different when you can, be curious about the materials, tools, and find different ways to use them or create something new!
Observations & Discussion
In this first day of the class, we looked at examples of ecosystems in our opening, starting off the conversation with an idea that we’ll be creating creatures that would exist in an environment they were adapted for (even if the creature and the environment were both imaginary). We look at examples of boreal forest, rainforest, ocean, cities, deserts, savanna and tundras and ask observational questions:
What do you notice about this environment?
What do you think a creature would need to live in this environment?
What else are you curious about this environment?
We also looked at examples of real-life animals and imaginary creatures. I brought a set of reference images for the class to look over and started our discussion again, this time encouraging students to use their sketchbooks to sketch out physical elements (ears, tails, horns, wings, etc.) from the animals that they were interested in or curious to explore more. Students were invited to pick an animal from the pictures on their desks (the students had different collections of images) and talk about their creature:
What is something you notice about this creature?
Where do you think this creature could live, and what physical elements do you think help it to be adapted to its environment?
I try to dive in immediately with art-making, since that’s really the hook of the class: students want to MAKE!
When students are working on drawing, it’s my goal as an arts educator to preserve the organic impulse to create immediately. I encourage students to look again at the references I’ve provided them, along with any of the sketches or doodles they’ve made so far. After 10 – 15 minutes of leaving space for students to explore, I’ll begin to make suggestions for approaching drawing practice, while also still preserving room for students to follow their own paths.
Start with basic shapes: using a reference as an example, I demonstrate how to find the most basic shape that’s similar to the biggest parts of the reference. For example, I’ll show an image of a bunny and how the body of the bunny is round like a circle, and start by drawing that, making adjustments with my pencil and eraser as I go. As I go over the different parts of the bunny, I’ll find more shapes and add those on top to make a bunny shape.
Next, I’ll start adding details like eyes and noses, and remind students that this is where we can get creative with different features and think about where our bunny-creature might live (add wings for an aerial bunny? a flexible tail for a tree-dwelling bunny? big scooping claws for an underground bunny?). This is a fun moment to invite students up to the demonstration drawing to add their own elements and talk about how this changes where the creature might live or what it might be able to do.
Students use their sketchbooks throughout the camp, referring back to doodles as they create with clay.
Polymer Clay Practice
On the first day, I try to also get clay into kids’ hands as soon as possible so they can start to experience this medium and imagine ways to use it right away. I’ll encourage them to explore the medium first, share any observations or questions about it with each other and also share some guidelines. These guidelines will be repeated throughout the entire camp, so I try not to take up too much space at first by trying to say everything all at once.
The clay starts out hard when it comes from the package
Artists can warm it up and soften the clay with their hands by kneading it and smooshing it or using the roller (clay tool) to smooth it out. This is conditioning the clay
When we make something we want to keep, we’ll bake the clay in the oven. The clay will harden in the oven and stay that shape forever! But until we bake the clay, we can still change things about the creatures and objects we make.
Recommendations, Tool use
Use a small amount at a time
Figures can’t be too big or they won’t bake well – try to keep them to about palm-size
Don’t see the color you want? Try mixing colors together!
Like drawing, shape simple forms (balls, pyramids, cubes)
Use tools to attach with scoring
Use tools to smooth out finger prints
If clay feels sticky, allow it to cool on your foil
Things to consider with polymer clay: too thick, the clay might not cure evenly, too thin, the clay might be brittle and break easily when handling it
Details can be carved into the clay and then painted after being baked
Marbling colors is also a cool way to get effects
Wash hands before and after clay use
Polymer clay is not appropriate for food use
One of the first projects I’ll demonstrate to the students is to make figures using balls and snakes: by creating large or small clay balls and pressing them together (this is a way to make the body shape of some creatures), or creating a long thing clay snake that can be coiled or twisted for cool effects (like making tails or horns).
I also demonstrate tool use to create details and to join pieces of clay together by first scoring the clay in the spots where they will be joined. This will prevent the pieces from falling apart after baking.
Sometimes that falling apart happens, anyway, and so having a small tube of epoxy glue to mend broken pieces was very useful.
For baking times, I follow the directions for the materials I use, making sure to bake in my toaster oven that’s specifically for polymer clay pieces (I got mine cheap off of a community board), and kept in a well-ventilated area. I also make sure to keep the students aware of the bake and cool down times so that they know they can look at their pieces but they won’t be able to touch them until they’re fully cooled.
Some students wanted to make necklaces and keychains with their clay pieces, so I helped them prep their pieces before baking by adding holes for jump rings that we could attach after baking.
While students create and have their pieces baked, I encourage them to write and draw their creature’s environment:
Where does it live
What does it eat
What does it usually surround itself with (treasure, tools, other creatures…)
Students can illustrate their scenes on cards that we fold to create backdrops for their creatures. I also encourage students to create character cards about their creatures, which includes information about the creature:
What’s its special abilities?
What is it afraid of?
What makes this creature unique?
As a special element of the class, I also created stickers for the students using their drawings and my die-cut machine at home.
Outcomes, Further Exploration & Adaptations
As the week went on, the students became more familiar with the tools and materials and created some amazing pieces. The depth of detail and imagination that went into their creations was truly impressive. This camp could have been adapted into a deeper exploration into ecosystems in which the students’ creations lived and worked alongside each other.
Accessibility adaptations to consider:
The motor skills of the student: for some students a softer clay like paper clay may be more accessible. Paperclay is definitely different from polymer clay, and it can be wetted with water to make it softer, as well as baked in the oven. The use of cookie cutters or molds to help shape clay is a great way to also increase accessibility, where students can use those to get started and then add details on top.
The smell and tactile feel of the clay should be considered and may be offensive to sensitive students.
This was such a fun camp in the summer, and it’s an outline I’m continuing to develop for my other residencies and classes for kids. If you’re an educator or artist and plan to use some of these ideas, tell me about it! I’d love to hear about any changes you make or challenges you come up with in your experience!
This camp was made by The Atelierista and shared openly to make arts education accessible to everyone! Educators, artists and students are encouraged to use this description to explore and learn more about creativity and art-making. If you like this and want to support The Atelierista (and get updates and exclusive content access), check out the Patreon page and consider becoming a member!
This winter, I joined Lane Arts Council as a design mentor for Lane County youth. I had the privilege to work with four amazing teens in the Eugene area, discussing design work, personal expression, and market design strategies. We were definitely not without challenges in this project; our group met entirely virtually and we had to compete with our own hectict school and work schedules to prioritize our collaborative process. Through the experience, I aimed to mentor the youth with experience-based guidance in creative collaboration work, as we focused on a final presentation that wrapped up last Friday at the Eugene First Friday Artwalk.
The students came up with the focus of our project while I supported with facilitation and helping them determine objectives and deadlines.
Their focus was to create a fashion line that helped wearers express personal identities. In this work, we talked about the different ways folks identify themselves– everything from “food consumer” to “go-with-the-flower” and (my personal favorite) “challenger”. This conversation turned out to be a great way for us to get to know each other and begin developing genuine connections.
We also talked about the reasons for design work: for functionality, aethetics and communication. Being entirely virtual, we had the benefit to look around our own spaces and discuss the design of objects we interact with daily, creating comparissons between the different focuses in the designs of objects including utilitarian (functionality) to pure expression (aesthetics) to message-making (communication).
As our project clarified, the student designers focused on how to design fashion and accessories to tap into identity niches, which we dived into, fully imagining who our target fashion wearers would be and what their lives would be like.
Students designed sketches and drafts based on aesthetics and functionality for the target markets. They then worked with each others’ designs to create accessories and characters that captured those aesthetics plus ways to communicate to target markets about the designs created (marketing communication).
For the final presentation, we printed boards and stickers and students talked about their work with art walkers at Spark Labs during Eugene’s First Friday Artwalk. The stickers were super popular and really showed off the students’ work in graphic design to communicate style and person expression through aesthetics.
What is your design? My design is the logo(s) for the fashion brand Lovebun. The logos shown are for the brand itself and three of its fashion lines.
Who is your design for? Lovebun’s clothing and accessories are meant for young teens to adults so they can express what they feel makes them unique, whether it’s their aesthetic or their gender/sexual identity. Lovebun is “for everyone and anyone.” The people who are most expected to purchase from Lovebun are ‘alt’ teens who spend their time on tiktok or other social media and enjoy the products of similar brands.
What was your experience like in this class? Stressful at times due to school and other activities getting in my way, but overall it was a fun and great learning opportunity for me. I’d recommend it to others who want to step foot into a possibly new experience or want to learn what it may be like to go into a professional arts career. 🙂
Artist Statement: Lizzie
Describe your design: I drew 4 models with clothes I designed myself based on Harujuku streetwear. I also drew multiple mascot characters depicting different styles I’ve seen at school and on the internet.
Who is your design for? I based my designs around people I’ve seen around school and on the internet. I tried to recreate styles directed toward girls around 14-17 years of age. These people want to express their style and personality through bold, cutesy fashion.
What was your experience like in this program? I had a good experience. I liked seeing everyone’s different art styles. It did get a little stressful when I tried to take on too much work, but I’m happy with my results.
Artist Statement: Joyce
My brand is called Esteem by Eve, and it is made for women who needs confidence. It is a formal attire, high fashioned one piece dress, perhaps worn with gold earrings and bag with gold chains. The clothing brand is targeting women 20-40 who needs to wear formal attire in work or events such as performances or exhibitions
This summer, I set up some blankets in the park and got together with a group of young artists to create fantastical stories and explore new worlds!
Stories are at the heart of all art for me. Whenever I observe art, I’m always wondering about the stories being told: the one I imagine, the one the artist was thinking of, and what someone else, sometime and some place elese, might see. Stories hold important magic; when we share and listen to stories, we’re taking part in observing the world and ourselves, we’re sharing life.
One of the best things about teaching art is the opportunity to encourage people (of all ages) to think about the stories they like to tell and listen to; to use their imaginations and speak up and give life to their creations by sharing them. I’ve developed the curriculum over a few different iterations, including online virtual classes and in-person. This class is interdisciplinary, drawing on writing skills, drawing, and theatre arts, plus practice in presentation and embodiment.
Interested in taking the class? Check out the class page and sign up for the newsletter to find out when the next Story Makers class for kids, teens or adults (in-person and virtual) will be coming around!
In this post, I’ve included my class breakdown, with some downloadable writing prompts and story charts. For any educators out there, please feel free to adapt this class outline to your students’ needs, and let me know if you have any ideas for the class!