Such blog neglect. I wish I had lots and lots of artwork to post, and it annoys me that I don't. (I did have a good trip to Melbourne though!!)
I can happily say that I've finally had a breakthrough in my hunt for the perfect drawing surface. Is it weird that I love to draw but I don't like paper? It seems pretty silly, but it's true. There's a very specific surface texture that I like, and I prefer to draw on something quite thick, so I'm never going to find that with paper. (And I've bought a lot of paper to try, with no luck. Stubborn enough?)
In my last post I'd said that I was about to try out Ampersand Pastelbord. There's a fair few coloured pencil artists out there who use this support and produce some pretty awesome artwork, and oh, I had such high, high hopes that it would work well for me too.
This is a piece that I started on a piece of sand coloured Pastelbord last week:
It's the full size version of the half-finished study from my last post. And that's as far as it's gonna get. Pastelbord too, goes in my pile of no-go's. It has a textured layer of grainy marble dust and clay sprayed over what looks like masonite. It is a really cool surface, but it just doesn't suit my artwork, but for all I know I'm not approaching it in the right way.
(The sunlight this morning highlighted the texture:)
But, I'd gone from too-little texture with the Claybord (a perfectly smooth clay surface with no marble grain, also from Ampersand) to too-much texture, with the Pastelbord. It looks great from far away but your drawing looks like orange peel close up - a prefect texture for some subjects, but not for a young female's face. And it's very hard to draw a fine line on the Pastelbord. The tip of your pencil just wants to skip around the grains of marble. Even with a very light sanding to remove the largest chunks of grain, I couldn't really fix this problem. Of course, it's designed to be used with pastels, when you won't want a really fine line anyway, so I can't complain! I'm going to come back to the Claybord and Pastelbord one day though. They're really great, high-quality surfaces. You just need to use them in the right way.
Then it was Canson Mi-Tientes Board, and, no luck again (the texture was too "patterny" - I know, just roll your eyes at that one). Then, my ridiculously expensive single sheet of Rising Museum Board arrived from America, and of course being only a single sheet it got pretty munched in the post, but the smallest amount you can buy in Australia is a box of 25 sheets. I've only had time to muck around testing on a tiny scrap of it, but oh, it's l-o-v-e-l-y. I can't wait for the weekend to roll by so I can get started on it. You have no idea what this scrap of incoherent scribblings means to me:
Me and my pencils are finally playing nice again. I will report back next week on how it goes. High hopes! High hopes!