Tag Archives: Pencils

The story of a drawing


2018 sees the release of The Raven’s Wand Oracle Deck, featuring 44 pieces of my Wildwood art. I thought I’d give readers a look at what goes on behind the scenes during the creation of these works . . .

‘Can you draw me a man, but like a tiger?’ I can’t recall the exact wording but that’s how this character, Tiber, came to be. The brief was just that – brief – which suits me fine. And so I set out to draw a ‘tiger man’. At the time I was in the middle of a major commission elsewhere and had to break off for a week to complete this, which really put the pressure on. I kept looking at the clock, knowing I couldn’t afford to run over. I opted for a Siberian tiger, because I knew I wanted snow in the background, and I had great fun inventing Tiber’s little caravan. Despite all of this enjoyment, the pressure racked up. I remember it was January, and storm after storm rolled in, and the electric was on and off, and without light (and my trusty stereo) I can’t work. At one point the electric was off for 36 hours, and still the clock was ticking. I’d also just moved house, and the new place was grim and unwelcoming, and I was itching to get on with some DIY and make the place ‘mine’. So in the end, with all the odds against me, it’s something of a miracle that the image manages to capture the sense of stillness I was lacking when I drew it!



Coloured Pencils – handy things to know . . .

All of my Wildwood art is drawn in colour pencil, and for those with an interest in this particular medium here’s an article about getting the best from your pencils.

First I gather the reference photos I’ll need, ones I’ve taken myself or sourced from elsewhere. Then I visualise how I’ll piece them together. I always use Daler Rowney pastel paper. It has a rough side and a smooth side and I always use smooth. Most of the time I’ll use Platinum: a neutral mid-grey shade. It might sound odd drawing on grey paper but I find that drawing with colour pencil on white paper spoils the effect, as the pigment leaves all the tiny dips and depressions in the paper uncovered and you end up with a kind of ‘white noise’ behind the image that breaks up its solidity. But that’s just me – a lot of CP artists like white paper.

Graphite can dirty the colours you lay on top, but to start with I sketch up my image with a 2B pencil, and this can take up to a day as I try out different compositions. Once I’m happy I have a choice – if the colour scheme I’m aiming for is dark then I can draw on top of the graphite (with care) but if it’s bright and breezy then first I’ll ‘dab’ off the graphite drawing with a pencil rubber so that it leaves the faintest of lines. I could of course draw faintly to start with, but that’d mean using a HB or 2H and that can leave ugly scratch marks on the paper. Sometimes I draw out my composition not in graphite but with a colour pencil, that way it’s guaranteed to be absorbed by the overlaying colours. The advantage of this is that there’s no risk of graphite smudging areas of delicate detail, such as a creamy complexion on a child’s face for instance. The down side of sketching with a colour pencil first is that they don’t like being rubbed out! You’re dealing with pigment that’s got oil or wax in, and the rubber can’t always get rid of the lines as it can with graphite – so be warned. If I draw in CP first then invariably I’ll use ‘nougat’ which is a nice subtle brown shade in the Polychromos range.

So now the under-drawing’s ready and the colour work can start. I draw a lot of human characters and they can be tricky, so I always start with the face which is the hardest part. If it goes bad then I scrap the picture and haven’t lost too much time. I use a range of colours, finding they all have their strengths and weaknesses . . .

Polychromos by Faber Castelle keep their point well and have good opacity, great for fine detail.

Prismacolor (American) mix and blend better than any other brand I’ve come across. They are softer, and so not as good for crisp fine detail. Not easy to source in the UK.

Derwent Drawing pencils come in a range of 24 earth/natural colours. They are great for nature studies and their cores are quite wide so good for laying down large areas of expressive colour.

Derwent Coloursoft have a wide core and are like Prismacolor in many ways, but I find them a little ‘chalky’ and so I only have a small range, although some of them I wouldn’t do without – cloud blue and brown-black spring to mind.

Lastly on the subject of pencils, don’t forget to include a good range of grey shades. I’ll often add a hint of grey to skin tones, sandwiched in between other pigments. Relying on colours alone can give an artificial ‘Disney’ look to a scene. So don’t forget the greys. I rely on my range of French Greys a lot.

Accessories: I have a small battery powered rubber that’s very handy if you’ve got to alter a small detail in a crucial place. It’s also great drawing tool in its own right, removing colour rather than laying it down.

Pencil extenders – better than throwing 30% of your pencils in the bin! Don’t know why more people don’t use them . . .

Scalpel – always use one for sharpening pencils and for scratching the finest lines in pigment to draw hair or spider silks etc.

Fixative: I use fix not to protect the drawing, but to get rid of wax-bloom. Once your drawing’s finished you might find it looking ‘dusty’ after a few days and wonder what’s going on. It’s wax-bloom. The oils in the pencils are now seeping to the surface. It’s easy to remove, you can either just fix it to seal it and restore the drawing, or wipe it gently with a soft tissue, and then either fix it or leave it – but the wax might come back. As I tend to work heavy there’s a lot of pigment on my drawings and the bloom can be a problem, so I let them ‘rest’ a few weeks then dust them down and spray them, but never spray too much at any one time as it’ll permanently discolour the drawing!

And lastly – tea, plenty of tea . . .