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THIS SECTION AMALGAMATES THE TOPICS PREVIOUSLY LISTED UNDER CP Techniques and also under Working the Surface in the Old Pencil Topics site You will see a full list of the topics on the navigation bar to the right. This gathers together all the various techniques for Wax based pencils and also some techniques which apply to all pencils ( like ‘Sharpening’ ) and one or two pencil based topics that don’t logically fit anywhere else. BELOW, I SUMMARISE WHAT IS IN EACH TOPIC
SHARPENING PENCILS A good accurate mark requires a good accurate point.  A blunt point produces an inaccurate and difficult to control mark. We look at the various ways to achieve a good working point on the pencil.  This can be by way of a craft knife with a sharp blade, a small cheap ‘block’ hand sharpener, or one of a wide variety of desktop sharpeners which may be manual or powered.  We also look at how they work and why some are better than others. Not always the most expensive are the best ! BACKGROUNDS The pencil point is not at it’s best when trying to produce smooth backgrounds.  There are several methods we can use to provide supporting background colour in a picture and we look at some of them COMPLEMENTARIES We can use the traditional artists colour wheel to aid darkening colours through using complementaries.  These are the colours on the opposite side of the colour wheel, and adding one of these will darken without having to use the dreaded black. COLOURED PAPER Gives us the ability to have a built in background to work over. Black paper also opens up a fresh set of options. STILL LIFE POINTS Many times CP artists will work from a photographic reference as the time taken to complete a picture makes it difficult to work from life.  Still life provides us with a range of challenges as we work from a three dimensional subject and have the problem of a changing viewpoint Now we come to a further connected range of topics  WORKING THE SURFACE We lay down colour on the paper in a variety of ways, but even then that isn’t the end of the story.  We may need to manipulate the pigment - move it around, remove it and work into it SOLVENTS By it’s nature, wax pencil resists water, so we resort to solvents to turn our wax colour into a liquid or semi liquid so that it can be blended and moved about on the paper. Here we look at some of the choices available ( and also some of the risks in using them ) BURNISHING AND BLENDING Apart from Solvents, we can use wax itself to move the colour about, either in the form of other pencils, or with using purpose made blenders Finally there are some points which may aid the working of Landscape pictures - here we look at particular subjects LANDSCAPE POINTS A collection of general landscape notes which may be helpful CLOUDS & SKIES A tricky area for CP work - much easier in watercolour pencil ! TREES and Foliage BRICK STONE & TILE and finally al look at that most useful area THE BOX OF ACCESSORIES all those bits and pieces that we rely on when we are working on our masterpiece, many of them accumulated over time and some never intended to be used for artwork