I think you have to know horses to understand that Pete and his buddy are playing, not fighting. I drew these guys on Grafix drafting film using Caran d’Ache Neocolor II water soluble crayons. I tried using a little water on the first layer, but the color pretty much washed away. I may have to use fixative on this as I’m afraid of what would happen if a drop of water hit the surface. I’m considering buying the water resistant Neocolor I crayons just to use on this surface, which I love.
This one of our Pekingese is also on Grafix, but the Dura-Lar version. I used colored pencils with Pan Pastels.
For both drawings, I used the grid method to draw the initial image. It felt like cheating as I’ve never used a grid before. It helps tremendously with proportions, but adding everything else is up to you. Because drafting film is transparent, I created the grid on a separate sheet of paper and can reuse it.
This is my second completed drawing using drafting film. Gracie, our Cockatiel, is such a sweet bird, so I tried capturing her image. It’s difficult to obtain a likeness, but we share a space, so she’s always there if I need to take a closer look.
I used diluted Ampersand ink on the reverse side to create the sky and trees. I’m keeping my fingers crossed that it’s permanent.
This drawing sped right along. I’m completing these drafting film drawings very quickly which isn’t a goal, just something I’ve noticed.
Where have I been? How have I missed out using drafting film?
It’s one of those smooth, unusual surfaces that I love. This one is 100% polyester, perhaps not as green of a product as mineral paper. Like mineral paper only a handful of layers of pencil can go down before the tooth is used up, but unlike mineral paper, drafting film is archival.
It’s also semi-opaque, which opens the experimenting door wide open. Because I purchased the two-sided variety (Grafix Duralar matte), I can draw on both sides, making darks darker, adding additional colors and details. If you can’t add more layers on the front, flip over the sheet and add them to the back. Adding different backings can add a totally new dimension to the final piece.
While I worked on this one, I put used a sheet of Bristol vellum underneath. The slight texture of the paper added a lot of detail when I was drawing the branches. When I didn’t want the paper surface to contribute, I slipped a smooth metal tin under the film.
I think the quality of this surface lends a dreamy look to the finished piece. The possibilities are pretty much endless with this discovery.
Another tutorial from the virtual instructor complete. I loved how it turned out. This one is a Bluejay on Pastelmat paper using Pablo colored pencils and Panpastels for the background. I think the instructor used polychromos pencils, but the only oil-based pencils I have are the Caran D’Ache Pablos.
I was once told that referring to colored pencils as oil or wax is incorrect because they all have both oils and wax in them. Some have more at different points in processing. It helps me to think about colored pencils in terms of being hard or soft. With the pencils I have, Pablos are the hardest and the Derwent Drawing Pencils are the softest.
Before this project, I wasn’t fond of the Pablo pencils at all. They seemed light, and I didn’t like how they layered on paper. But once I used them on Pastelmat, I realized how much I like them. With Pastelmat, you can layer a lot, so with using a harder pencil you can layer light over dark. It’s a very painterly effect. I did use a few Luminance and Coloursoft, too, as I only have a set of 12 of the Pablos and needed an indigo blue and a dark gray.
This was the second tutorial the Three Little Birds series. I may tackle the third, but I need to buy some black paper. We’ll see.