Roses And Apple Still Life: Coloured Pencil On Drafting Film

ROSES AND APPLES STILL LIFE

Coloured Pencil on Mylar

Some time ago I was asked to produce a coloured pencil still life for the book “Different Strokes.” I often draw on Mylar or drafting film as it is called in the UK so I completed the drawing on this surface. I like drawing on the drafting film. Because of its transparency I can build up the picture using both sides of the surface. When I had completed the drawing I was told that drawing on Mylar was too advanced for this book and could I redraw it on drawing paper. Following are some of the notes I made while drawing the original coloured pencil on Mylar.

INITIAL THOUGHTS

The Mylar (or drafting film) that I use is a transparent plastic film with a matte finish on both sides.

The reason for using Mylar for this drawing was that it is easier to produce sharp, intense colours, and I find yellows can be worked into without getting muddy as can happen on paper.

Mylar does not have the same amount of tooth that paper has, and will therefore only take 3 or 4 layers of colour.

It is best to start with the lightest colours, applied lightly, and blend darker colours over the top.

Dull pencil points work best. Sharp points can be used for detail and outline.

I have two main methods of working on Mylar, although both methods can be used in the same drawing.

1. To intensify the colour draw with similar colours on the reverse side.

2. Draw the subject tonally in monochrome on the reverse and glaze local colour on the front of the Mylar. This method works best with geometric subjects. As there is are a lot of organic shapes in this picture I decided to use the former method.

MATERIALS USED

Surface: Mylar – matte finish on both sides.

Pencils: Derwent Signature, Derwent Coloursoft, Derwent Watercolour Pencils.

Derwent Graphite Pencils 2H, B, 2B, 5B.

Erasers: electric, putty.

Stanley Knife.

Fixative.

QUICK SKETCHES

Drawing on toned paper using grade H graphite pencil and Coloursoft white pencil.

A few quick sketches, no more than three minutes each, not too accurate – getting the feel of the subject.

PENCIL STUDY

A more detailed study. Helps to work out the composition and embed techniques into the brain. I like my subjects to burst out of the sides of the picture so I slightly enlarged the apples and cropped the top of the picture slightly.

PENCIL OUTLINE DRAWING

I drew the subject to a larger scale onto white paper. I then laid the Mylar over the drawing and traced the subject onto the front surface using a 2H pencil.

STEP 2

Unlike most artists, who work over all of there drawings, I work from the top left and work my way down. I work each area to a finish before starting the next. As the drawing develops I keep going back and making adjustments.

This step, and all of the following steps start with light layers of signature pencils. I use a box of 36 usually taking out all of the colours that I think that I will need for the stage that I am rendering. For the orange rose area (top left) I took out all of the orange, red and light yellow pencils. The darkest parts of the drawing were made darker by working on these areas on the reverse of the Mylar.

STEP 3

I continue exactly as the previous step – taking out the colours that I think that I will need and rendering the drawing as best I can.

STEP 3 REVERSE

I have enriched some of the colours by working quite heavily on the reverse side of the drawing. Some of the modelling from the front can be seen.

STEP 4

Adding more colour – adjusting previous drawing.

The dark red rose (between the orange and yellow rose – top left) was far too dark. I used a putty eraser to lift some of the colour. It is best to use a putty eraser as other types of erasers make the surface slippy making it difficult to add colour. I also used a Stanley blade to scrape off colour right back to the original surface in order to create highlights. This is also a good technique for drawing the veins on leaves. A delicate touch is needed in order not to puncture the Mylar surface.

STEP 4 REVERSE

Dark green was used on the jar. When the drawing is turned over this will give a good base for the rendering of the jar.

The picture develops in the same manner as previous steps. When all of the Mylar is covered it is time to evaluate. Parts of the drawing that need strengthening, made lighter or darker are rendered using watercolour pencils, using just a touch of water. The blade is used to scratch out any highlights that are needed. I use an electric eraser to draw into the pencil also giving highlights. The spots on the apples were rendered using this technique.

The final stage can be dangerous! Because burnishing doesn’t work well on Mylar there should be no wax blooming and therefore fixative is not necessary, but I like to add fixative at the end in order to get a little more tooth to allow me to add final touches, usually with Coloursoft pencils. The picture has to be placed perfectly flat to prevent the pigment from running while the fixative is wet. I spray from about two feet away very gently. This gives enough tooth needed to add touches of colour.

The completed drawing is placed on top of a clean sheet of white paper. I have, on occasions, used a coloured paper as the base and even metal foil. The base colour shows through the Mylar. Different base colours can turn the drawing into completely different drawings.

The intensity of colour, and the organic shapes placed against the geometric background shapes hold the interest in this drawing.

THE FINAL PICTURE REVERSED

THE FINAL PICTURE

Tags:colored pencil,coloured pencil,coloured pencil still life,drafting film,drawing skills,Mylar,Roses and Apples Still Life,still life