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.
I followed along to a tutorial by the virtual instructor, Matt Fussell, to draw this Kingfisher in colored pencil. I think it was the first time I totally focused on creating a finished-looking colored pencil portrait, and I’m really pleased with it.
As always, I struggle with perspective. My bird has a few issues, but I won’t dwell.
I used Strathmore 500 Bristol and a variety of colored pencils, mostly Caran d’ache and Derwent. He used Prismacolor, and the few I have are nearly gone. The course is called Three Little Birds, and there’s also a Bluejay and a hummingbird.