It was a bit strange pushing pencils across a smooth surface; I had been used to textured papers with their “grip” for a long tome, but I did enjoy this new experience. Polychromos pencils worked well; they are hard and keep their point for a long time. If I was to work this way with Prismacolors I would experience lots of breakages. Last week I took delivery of a box (36) of Verithin pencils and I’m impressed with their hardness.
The result was that my work was loud and hard-edged, just what I wanted although the buying public didn’t agree, preferring my landscapes on the “quieter”, textured white paper.
Let’s be honest, art buyers prefer safe, quiet, non-offensive cp drawings. The art market here is and always will be conservative. I need to find a market for my work well away from Tasmania!
Why do I prefer coloured papers to white?
I find the colours on white papers to be far too strong for Tasmanian conditions. I also think that a lot of cp work I see on white looks more like illustration than painting. Yes, PAINTING; cp work where colour is laid down side-by-side IS PAINTING. Cp artists need to avoid “colouring in” where possible and give mood and feeling to their work. Coloured surfaces give you a much greater chance of achieving this.
White papers are the most popular surfaces for cp artists to draw on. I suppose it’s a matter of personal preference, one’s personality and a deliberate attempt to express an idea in the way it should be seen as to what paper you choose to work on.
For me, it’s coloured papers, or should I say coloured boards …