Botanical Painting with Coloured Pencils. Ann Swan

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      ∆ SUNFLOWER SEEDHEAD

       Helianthus annuus

      49 x 66 cm (19 x 26 in) Pencil PAPERS

      GRAPHITE PENCILS

      Graphite pencils range from the very hard 9H through to the extremely soft 9B, with an F for fine in the middle of the range. For botanical work you will mainly need pencils from 2H to 2B. There are many brands to choose from, but try to select a make that is consistent and non-gritty and that gives a good depth of blackness at the HB grade. Look for leads that are well centred in the wooden shaft and check the wood for any signs of splitting.

      The pencils I prefer are the Derwent Graphic range as they produce a good dense black tone at the HB and F grades. Some makes are quite pale and grey at this level, so you would have to use a much softer pencil to achieve depth of tone, resulting in a loss of precision.

      Graphite can also be used in the form of a propelling pencil. Again the range is wide, with the added variation of width of lead. Generally, good makes come in a range of 0.3mm, 0.5mm and 0.7mm diameter leads and a range of grades. I find the most useful is a 0.3mm with HB and H leads to handle fine detail and clean outlines.

      SHARPENING GRAPHITE PENCILS

      A sharp point is essential when drawing. Rather than using a pencil sharpener, which can produce a short conical point that soon blunts, sharpen graphite pencils with a scalpel for a long-lasting point.

      PAPERS

      For coloured-pencil drawings it is important to have a good quality paper on which to work. It needs to be at least 300 gsm (140 lb) in weight, to withstand the constant pressure to the surface with a sharp point; also the use of erasers and solvents will quickly wear out a lighter weight paper. The paper surface needs to be fairly smooth, otherwise work can look too grainy, but it does need to have some texture in order to hold the pigment on the surface.

      The type of paper I use is ‘hot-pressed’ (HP), which has a slight texture. Other paper types, called variously ‘rough’, ‘cold-pressed’ or ‘Not’ (meaning not hot-pressed) are generally too textured. Very smooth papers such as Bristol board will only take a few layers of colour before the pencil starts to slip and slide over the surface without depositing any further pigment. Whatever make or type of paper you prefer it needs to be acid free (that is, have a pH balance of 7), so that your work can be kept for many years without the paper discolouring. Non-acid free paper can discolour alarmingly in just a few months, spoiling your finished work.

      There are many quality makes of watercolour paper available, such as Arches, Saunders, Hahnemühle and Schoellershammer, all of which take coloured pencil well. Rising Stonehenge is a popular paper from the USA and a lot of artists working in coloured pencil prefer its softer texture.

      The make I use for preference is the Italian-made Fabriano Classico 5 hot-pressed paper. This white paper is available in sheets and in pads, called ‘Fat Pads’. Fabriano also make another, better quality 100 per cent cotton paper called Artistico, which is also good to work on with coloured pencil, but is creamy in colour. It comes in ‘white’, which is very creamy, and ‘extra white’, which is still cream coloured. White or cream paper is a matter of personal preference; however, as I shall be showing you later, white flowers are much easier to depict on white paper.

      ∆ A basic start-up kit should include graphite and propelling pencils. It is worth buying a good quality pencil sharpener with a spiral core and you will find a range of erasers is helpful, including a battery-operated one as well as plastic and kneadable erasers. A scalpel and eraser shield are also essential.

      WHICH SIDE TO WORK ON?

      Hot-pressed paper is made in a mould and in the manufacturing process it is pressed by rollers against a soft wire mesh, which can leave the often quite clear impression of the mesh on one side of the paper. This is not a sympathetic surface for coloured-pencil work, so always use the other, more uneven, side to work on. The manufacturer’s watermark will usually read on the right side, with the exception of Fabriano. Paper presented in blocks or pads needs to be checked with a magnifying glass as it varies depending on the manufacturer as to which way up the paper is presented.

      ERASERS

      For correcting graphite pencil work use a plastic eraser that is quite firm and so tends not to damage the paper surface or leave any unwanted residue on the paper surface.

      Cut off a small triangle from your plastic eraser and put the rest safely away in a polythene bag to keep it clean. This way you always have a clean piece, with sharp edges, to work with. When this small piece is dirty throw it away and cut a new piece.

      For lifting off areas of tone or highlights and generally cleaning the paper, use one of the soft, malleable types of eraser such as Maped’s dark grey kneadable eraser, Blu or White Tac or a piece of kneaded putty rubber.

      PENCIL SHARPENERS

      Invest in a good quality pencil sharpener for your coloured pencils. Whether it is electric, battery operated or hand cranked, choose one with a spiral metal sharpening core and not the type that just has a revolving pencil sharpener. This latter type quickly becomes blunt and only sharpens to a small conical point. Pencil sharpeners can become clogged with waxy residues, but regularly sharpening a graphite pencil in them helps to keep them clean.

      Always sharpen your pencils from the un-named end so that you do not lose the name and reference number of the colour.

      STORAGE

      There are many ways to store pencils, but it is a good idea to have a safe and convenient way to carry your pencils should you wish to work away from home. I use strong zip-up cases that hold the pencils firmly in slots and travel well. Pencil rolls and wooden boxes also provide good protection.

      The cheapest and simplest container for your pencils at home or in the studio is a cardboard wine-bottle carrier with six compartments, easily available from the supermarket or off-licence, with a large plastic pot placed in each compartment to contain a separate range of colours: one pot for greens, one for reds, and so on. Easy and organized!

      BLENDERS AND SOLVENTS

      Blender pencils are used for mixing the colours together on the page and for burnishing: that is, pushing the colours together and smoothing them into the grain of the paper to give a paintlike effect. These specialized pencils can also be used for resist work (see here).

      ∆ Useful extra materials include blender pencils, solvents and embossing tools. A handheld magnifier is invaluable, as are a lightbox and a clamp.

      Solvent melts the binder that holds the pigment in all forms of dry media and because it is not affected by any size or sealant in the paper it takes the pigment straight into the paper, in effect staining it. This then provides a good base for drawing as the solvent does not change the texture of the paper as water can.

      There are various types of solvent on the market that can be used with coloured pencil. You can use any substance that will СКАЧАТЬ