Sanded Art Paper & Drawing Paper: 5 Differences

Have you tried sanded art paper with colored pencil yet?

If you haven’t, you may be wondering why you should. After all, isn’t it just like drawing on sand paper from the local hardware store? (And who wants to do that?)

That’s the way I thought before my first experiments with sanded art paper. I almost didn’t try it, because I just couldn’t see how it would work.

But I’m glad I took the plunge! There are a lot of differences between sanded art paper and traditional drawing paper. Some pretty big—and surprising—differences.

5 Differences Between Sanded Art Paper and Traditional Drawing Paper

Now that I’ve created several pieces on sanded art papers, it’s time to share with you what I’ve learned. Both good and bad.

5 Differences Between Sanded Art Paper and Drawing Paper

Popular brands are Ampersand Pastelbord, Art Spectrum Colourfix Coated Pastel PaperCanson Mi-Teintes Touch Sanded Papers and Boards, and UArt Sanded Pastel Paper. More recently, Clairefontaine Pastelmat has entered the market.

In another post, I described 6 basics of drawing paper, including the most commonly used papers for colored pencil. A subsequent article listed 3 non-paper, non-traditional drawing surfaces for colored pencil. One of them was sandpaper.

I’ve used only Uart and Fisher 400. Following are five of the biggest differences I discovered.

Paper Strength

This is a good difference.

Sanded papers are much stronger than most traditional papers. The substrate itself is heavier than most drawing paper. Combined with the coating of grit, it’s nearly impossible to accidentally damage the paper, so you can be as aggressive in applying color as you like.

Many sanded art papers are also available mounted to rigid supports for even better durability.

An additional upside to this is that you do not have to frame sanded art paper under glass if you don’t want to. It’s advisable, but not absolutely necessary, as is the case with traditional art papers.

Detailed Line Drawings

Transferring a detailed line drawing is difficult. You can’t use a light box because the paper is so thick. Transfer papers of any type are also unsatisfactory on some of the coarser surfaces.

I’ve found this difference to be less than ideal. I like detailed line drawings when I do portraits. For a while, that made sanded art papers a no-go for me.

But many artists use the grid method or a projector to transfer their drawings. Both are acceptable alternatives to regular transfer papers, and both give great results.

Another alternative is light sketching right on the paper. I usually start landscapes with just a basic sketch, so most of my drawings on sanded art paper have been landscapes.

August Morning in Kansas
Colored Pencil on Sanded Art Paper

August Morning in Kansas (above) is one of the most recent and it’s the best one so far. I’ve started all of them with simple sketches.

Sharp Pencils

You don’t need sharp pencils to work with sanded paper. In fact, sharp pencils can be a detriment. They break easily on the gritty surface, and even if they don’t, you get two or three strokes before they go blunt.

So forget sharpening. Use your pencils more like pastels. It’ll be a lot less frustrating.

Forget preserving your pencils, too. Sanded art paper quite literally “eats them for lunch!”

But that’s not as bad as it sounds, because most of that color is going onto the paper. Yes, pencils wear down more quickly, but you’re building color more quickly, too. The details in the trees in August Morning in Kansas are lighter colors applied over darker colors.

And just in case you’ve heard the rumors about pigment dust when you draw on sanded papers, it’s true. But you probably haven’t heard that you can use a bristle brush to push that dust into the tooth of the paper so it’s not wasted!

Show me another drawing paper you can do that with!

Pigment dust can be dry blended into sanded art paper.
Use brushes like this to dry blend pigment dust into the surface of sanded art paper.

Thick Color Layers

Thick layers of color work better than thin glazes. Even with the smoothest sanded papers, the tooth is such that getting an even color layer is next to impossible without solvent.

And light pressure? Forget it. Medium to medium-heavy pressure is going to be a lot more productive.

The best part? You can absolutely layer light over dark and it will show up. Try that with any traditional drawing paper.

Is this a good difference or a bad one?

I haven’t made up my mind yet. I have a naturally light hand so working on sanded art papers requires a definite adjustment in working methods.

But as I mentioned above, I can add so many layers even with medium pressure or heavier, that working on sanded paper is getting less and less frustrating.

Excellent Tooth

If you’ve ever had trouble getting colored pencil to stick after a certain number of layers, the tooth of sanded art paper is a good difference.

Granted, it will take a lot more layers to get fine detail if that’s what you’re after and you may find the extra layers not to be worth the trouble.

But if you take the time, the tooth will definitely work for you.

This little drawing (3-1/2 by 2-1/2) is the first drawing I did on sanded art paper. I drew it like I always draw and the tooth didn’t help. See all those dots in the sky? Paper holes. I wasn’t able to fill in the tooth at all, and although the result was very painterly, I didn’t like it.

Spring in CP
Spring in Colored Pencil
Colored Pencil on Sanded Paper

It took a long time before I tried colored pencil on sanded paper again, but the results were much more satisfactory. I was already learning how to use sanded art paper.

East of Camp Creek
Colored Pencil on Sanded Art Paper

Conclusion

If you give sanded art papers a try, be prepared to do some bad drawings for the first few. It’s a great drawing surface, but there is a very definite learning curve!

Even so, I recommend it to anyone who wants to try something different.

Interested in reading more? I wrote a good mini clinic for EmptyEasel based on that first, small drawing. I think you’ll find it useful. Read Using a Sandpaper Surface for a Colored Pencil Drawing here.

1 Way to Draw Realistic Landscape Greens

Is there a sure-fire way to draw realistic landscape greens most of the time?

Short answer, yes.

The question is, what’s the best solution for you?

I can’t answer that question for anyone but myself, but I can share with you the method that helps me draw landscapes that look like landscapes, no matter what shades of green, what time of year, or what the lighting conditions.

1 Way to Draw Realistic Landscape Greens

Landscape greens can be the most difficult colors to get right in any medium. Most of us have drawn landscapes in which the greens are too soft and muted or are way too bold and artificial.

My Favorite Way to Draw Realistic Landscape Greens

Over the years, I’ve used several methods to draw landscapes. My favorite method to draw realistic landscape greens is beginning with an umber under drawing, then glazing color.

The first few layers of color you put on the paper are called the under drawing. An under drawing can be a single color, two or three colors, a limited palette, or lighter shades of the final colors.

When the under drawing is in earth tones, it’s called an umber under drawing. You can use any earth tone, but the best choices are generally medium-value, neutral colors like Prismacolor Light Umber or Polychromos Nougat or Raw Umber. Once I discovered umber under drawing, my landscapes began to look like they were supposed to look.

Learn how the umber under drawing method compares to other colored pencil drawing methods.

Step 1: How to Begin an Umber Under Drawing

The process is simple. Develop your landscape first in all earth tones. Choose one or two browns—three at most—and draw the entire landscape with those colors.

I prefer Prismacolor Light or Dark Umber, usually use just Light Umber. It’s possible to get a nice value range with Light Umber simply by adding layers. The more layers, the darker the value.

You don’t want to get too dark too quickly, and you also want to avoid developing details too quickly, so draw the under drawing with several layers applied with light pressure.

You can also use a tinted paper, as I did with the drawing below. The paper is Rising Stonehenge in a very light tan color. The color of the paper provided the lightest values for the drawing.

Draw Realistic Landscape Greens Step 1
Use light pressure and a sharp pencil to begin shading values. Start with the shadows, then gradually darken values and add middle values layer by layer.

Step 2: Develop Detail & Values

Use a variety of strokes to mimic each element of the landscape. Short vertical strokes with a sharp pencil for grass, stippling (dotted) or circular strokes with a sharp to slightly blunt pencil for trees (use a sharper pencil in trees close to the foreground and a blunter pencil for more distant trees), and the sides of the pencil to lay down even color in the distance.

Define the center of interest early by drawing the darkest shapes near the center of interest or in the foreground and keeping other parts of the drawing more subdued.

Draw Realistic Landscape Greens Step 2
Keep the darkest values and sharpest details in and around the center of interest (the tree on the left.)

Step 3: Finishing the Umber Under Drawing

You can make the under drawing as detailed as you like. When I draw horses, I generally draw a more detailed under drawing, because I want the under drawing to look like a finished drawing on its own.

But with landscapes, I develop just enough light and shadow to define the landscape elements and to begin depicting the sense of space (pictorial depth or aerial perspective).

Glaze color over the finished under drawing layer by layer with light pressure. Most colored pencils are translucent by nature, so the umber under drawing tones down the greens you glaze over it. Even if you appear to totally cover all of the under drawing, its influence is still present.

draw realistic landscape greens
Spring 2012, 4×6 Colored Pencil on Stonehenge Paper

Want to See How I Drew Realistic Landscape Greens Step-by-Step?

I drew this landscape as a demonstration piece for EmptyEasel.com. To see the full, step-by-step demonstration on EmptyEasel.

How to Create a Colored Pencil Landscape Underpainting

Color Glazing a Landscape Painting with Colored Pencils

Which Paper is Best for Colored Pencils?

A short time ago, I wrote a post about the best colored pencil papers. Jana Botkin read that post and had a question.

Will you expand on the paper in the basic list? I use Strathmore 400 series Bristol smooth for graphite, but prefer the vellum for cp. Which surface and weight were you thinking of? The Michael’s in my county only carries 300 series, which has inconsistent grain, so I order from Blick. –Jana Botkin

Thank you for your question, Jana. I’d be glad to share my thoughts on drawing paper. There are a lot of choices available so I’m confident many of your fellow readers have the same question.

Best Colored Pencil Papers

Best Papers for Colored Pencils

The truth is, choosing paper for colored pencil work is as much a personal preference as anything else. So many things factor into those decisions. Jana mentioned the surface and weight of the paper and those are two important things to consider.

But they aren’t the only things, so before I get to my recommendations, lets take a look at a few “paper basics”.

Paper Basics

There are six things to consider when considering which paper to buy. Fiber, weight, surface texture, sizing, longevity, and color.

Fiber

Paper is made from plant fibers. The most common plants for paper making are cotton, linen, flax, jute, hemp, bamboo, rice straw or rattan. The size and shape of these fibers determine the type and sturdiness of the paper.

Cotton papers are made from cotton fibers, the longest fibers of all the plant types. It’s generally considered the highest quality paper and is referred to as 100% cotton rag. 100% cotton rag paper can withstand heavy erasing and drawing. The highest quality 100% cotton paper can last over 100 years, but not all cotton papers are the same. The shorter the fibers, the more the paper may tend to get “fuzzy” with use. Check the specifications on cotton paper to know what you’re buying.

Cellulose papers are made from wood pulp. Wood pulp papers are usually less expensive, but they’re also usually less archival (long lasting). That’s because wood pulp contains a natural acid that breaks down the fibers over time. Buffers can be added during the manufacturing process to neutralize the acids. Look for the words “buffer”, “buffered”, or “neutral” when deciding which cellulose paper to buy.

Weight

Paper weight is a measurement of the thickness—or heaviness—of paper. Traditionally, it’s been measured by weighing 500 sheets (a ream) at a standard size. The more a ream of paper weighs, the thicker each sheet is.

The thicker a sheet of paper is, the more color it can accept without buckling (if you’re using wet media), tearing, or falling apart.

Tracing paper is a light-weight paper. Strathmore 300 series papers are heavier. Card stock papers are still heavier.

Papers used to always be measured in pounds. 300-pound watercolor paper, for example.

But many art paper manufacturers have converted to a grams per square inch (gsm) measurement. A 50-pound paper is the same as an 81gsm paper. Many art retailers show both forms of measurement.

Surface Texture

Surface texture is properly known as “finish” when discussing art papers. How the paper is dried during manufacture determines the finish.

Paper with a rough finish is allowed to air dry without being smoothed or pressed. The resulting finish is very textured and is best suited for water media and pastel.

Cold press paper has been pressed before it dries. Handmade papers and machine made papers are pressed in different ways, but the result is the same. The surface fibers are “pressed down” somewhat. Since the pressing is done without heat, the paper isn’t completely smooth. Cold-press paper is the most popular and versatile and is suitable for most media, depending on its weight.

Hot press paper is made by pressing newly made paper through heated metal rollers or plates. All texture left after manufacture is pressed out of the paper. This paper is excellent for highly-detailed illustrations, printmaking, etching, drafting, sketching, and drawing.

Sizing

Sizing is added to make paper more water-resistant. The paper doesn’t absorb as much moisture or pigment, so watercolors and inks stay brighter and lines stay crisper.  It’s less important for papers used for dry media. Sizing also can affect a paper’s archival qualities.

Internal sizing is added while the paper pulp is still in a liquid state. It becomes part of the paper.

External, Surface or Tub sizing is applied to the surface of the paper after the sheet is formed and dried. Some paper is both internally and surface-sized.

Longevity

Also known as being archival. Archival papers have a proven history of stability over time. They don’t yellow or fade. They’re also more likely to be acid-free, which means they contain little or no cellulose acid natural to wood pulp papers.

Many sketching papers are wood-pulp based papers and are not archival. They’re perfectly suited for sketching, but if you want your drawings to last a long, long time, use higher quality papers.

Color

Some drawing papers come in only one color. White.

But many others are available in a range of colors. Working on colored paper can be both fun and frustrating. Paper color does affect the way colored pencil looks, but it can also provide a good foundation for your drawing and reduce the amount of time it takes to complete a colored pencil drawing.

What I Use & Why

I buy the best-quality papers possible for colored pencil work because many of my drawings are portraits. Portraits or not, I want all of my best drawings to  look fresh and new for years.

My favorite papers are Stonehenge, Canson Mi-Teintes, and Bristol Vellum pretty much in that order.

Stonehenge

I’ve used Stonehenge for years. It’s a cotton-based paper suitable for watercolor (in limited amounts), drawing, and printmaking. It has enough tooth to take a lot of color, but is smooth enough for drawing details. It’s available in several sheet sizes, in pads, and rolls, and comes in white and a selection of light colors and black. It has no sizing (that I’m aware of) so the surface is relatively soft, almost velvety.

It’s my go-to paper for large and small drawings. For smaller drawings, the 90-lb (250 gsm) is very good, but I prefer the heavier 120-lb (320 gsm) paper. It’s also available as a rigid support, which I haven’t yet tried.

The biggest disadvantage to Stonehenge is that it can be difficult to find locally. I order mine from Dick Blick.

It also should be handled with care, since the surface can be easily impressed. Flat storage for sheets is recommended.

Canson Mi-Teintes

Canson makes Mi-Teintes paper for pastel artists, so it has quite a bit of surface texture (tooth) on the front. The texture is also mechanical in nature. Lay a little color over the paper and you see a pattern of hexagon shapes.

But the back is less textured and the texture is less dramatic. It still has more texture than Stonehenge, but it’s great for colored pencil work of all types.

What makes Canson Mi-Teintes one of my favorite papers is that it handles solvent blending and a moderate amount of water media work with ease. Make sure it’s taped securely to a rigid support and you can do several solvent blends in a single drawing.

Bristol Vellum

Bristol paper is a more economical paper. Usually acid-free and generally heavier than other papers, it’s often referred to as “Bristol board”; usually 100-lb (270 gsm).

It comes in two surfaces. The smooth (or regular) surface is very smooth and somewhat slick.

Vellum finish has a little more tooth and is ideal for drawing. I have a pad of it in my paper drawer and use it for article illustrations, but layering a lot of color can be difficult without the use of solvents or workable fixative.

Bristol comes only in white and is available from a variety of manufacturers. I currently am using Beinfang Bristol Vellum because it’s available in 146 pounds.

Colored Pencil Basics for Beginners

A few weeks ago, I talked about what you needed to buy if you want to get started drawing with colored pencils. This week, let’s take a look at a few colored pencil basics.

Colored Pencil Basics for Beginners

There’s so much to learn with any art medium that it can quickly get confusing. Confusing isn’t what I want to accomplish, so let’s stick with just a few of the essentials. Papers, pencils, pressure, and more.

Let’s begin with paper.

Colored Pencil Basics for Beginners

Colored Papers

If you’re thinking of using a colored paper, choose a color that works well with all parts of your artwork. The color of the paper should ideally provide a base color for the artwork.

For example, for a landscape on a rainy day, light gray or a light gray-green paper is ideal. Gray paper provides an excellent base for a gray sky or misty air with very little work. Gray-green paper provides a good base for the greens in the landscape but might be more problematic for the sky if the sky is light.

For this little landscape, I used light gray paper. All I had to do was add the colors for the sky (white and light gray) and the landscape.

West of Bazaar
West of Bazaar 5×7 on Gray Mat Board

This is not to say no other paper color would work. I drew a more recent “gray day” landscape on very light tan paper for a slightly different look.

White paper is also a good choice for both landscapes, but would have taken longer to draw.

The color of the paper affects the drawing, so choose a color that adds to the atmosphere or tone you want to set for the drawing.

Hard Lead Pencils

Using a pencil with a harder lead can be helpful for beginning a new drawing. Prismacolor Verithin pencils are much harder than Prismacolor Soft Core pencils. The two red pencils are Prismacolor Soft Core. They’re what people usually think of when they think of Prismacolor pencils.

Prismacolor makes a soft, thick lead pencil (top) and a thinner, harder leader pencil (bottom.) Combine hard and soft leads for best results.

The two pencils on the bottom are also Prismacolor pencils, but they’re Prismacolor Verithin. The leads are thinner and harder because they contain less wax binder.

They hold a point longer, and lay down less color even with heavy pressure. They are subsequently easier to lift or erase if you need to lighten an area or remove color altogether.

Oil-based colored pencils are generally harder than wax-based pencils so they’re also a good choice if you want to lay down a lot of layers, but don’t want to fill up the paper’s tooth too quickly.

Use light pressure in the early stages no matter what type of pencil you use.

Applying Pressure

It takes pressure to put color onto paper. Pressure is usually measured on a 10-point scale, with “0” being no pressure at all and “10” being burnishing pressure. Normal hand-writing pressure is generally considered to be “5” on the 10-point scale.

In most cases, it’s best to begin with light pressure and gradually increase pressure as you add more layers. It’s easier to correct or conceal mistakes drawn with light pressure.

It’s also easier to avoid getting too dark too quickly if you add layers and colors little by little.

Sharp Pencils

It’s important to keep your pencils well sharpened. The surface of most papers is made up of tiny hills and valleys. The difference between the tops of the “hills” and the bottoms of the “valleys” is what is called the paper’s tooth. The rougher a paper, the bigger the difference between the hills and valleys.

The deeper the tooth of the paper, the more layers or pressure it takes to fill in the “valleys.”

The sharper you keep your pencils, the better they reach all of the parts of the paper and the better they cover the paper.

You can also combine sharp pencils with heavier pressures to get good coverage on papers. Just don’t do this too early in the drawing because it flattens the tooth of the paper. That makes it more difficult to add more layers.

Sharp pencils are also ideal for drawing detail.

Blunt Can be Useful, Too

Blunt pencils are not always a bad thing. More paper shows through when you use blunt pencils, so color will appear more grainy.

Glazing color (applying a very think layer of color to tint color already on the paper) is best done with blunt or dull pencils in my experience. That’s because so much of the previous colors show through.

Top to Bottom: Very Blunt, Blunt, Dull. All three points can be useful in colored pencil art.

Using heavier pressure takes care of those paper holes (if you don’t want them.)

This method works best if you don’t plan to use a lot of color layers, since heavy pressure adds more wax binder as well as more color (assuming you’re using wax-based colored pencils.)

Getting Dark Without Getting Too Dark

Values are the most important tool you have to use. It’s more important to get the values right, than to get the color right.

It’s also important NOT to get too dark too early. Every layer of color darkens the shadows and middle tones.

It’s always better to stop short of what you think is the proper darkness. It’s much easier to darken shadows later than it is to lighten them.

Working On Everything At Once

Working the entire drawing at once (as opposed to finishing each area before moving on to the next) allows you to make adjustments throughout the process and keep the composition unified.

It’s not necessary to work in this fashion, but it can be helpful in establishing the initial layers of color.

One of my problems in my early drawings was avoiding seams. I always worked one section at a time and even when I used the same colors from one section to another, I could often tell where the two sections met—especially if I was working in an area of uniform color, like a grassy field. The best way I found to avoid this was to work over the entire area, one color at a time.

To Turn Your Paper or Not to Turn Your Paper

Turn the drawing if necessary to make it easier to apply color. Orient the drawing in a fashion that is most comfortable for the area you’re working on.  When doing large amounts of grass, for example, turn the drawing upside down so you can stroke toward yourself (which is more natural for most artists than stroking away). This will also reduce hand stress and give you a fresh perspective on the composition.

Reviewing Your Work

It can be productive and helpful to give your artwork a periodic check throughout the process.

Also try viewing it in a way other than normal. Ways to do this are:

  • Viewing it in a mirror
  • Looking at it upside down
  • Viewing it from a distance
  • Setting it aside and looking at it after a couple of days

Imbalances in drawing, values or colors can more easily be seen when you look at your artwork in a way other than the normal.

Photographing or scanning your artwork and viewing it on your computer screen can also reveal problem areas or areas that are not quite complete.

There’s a lot more to creating beautiful colored pencil art, but these colored pencil basics are enough to get you started. Master these and you’re well on your way!

How to Rework a Background

Can I rework a background? I’ve tried erasing at least a little bit without much success…Thank you so much. Have a beautiful holiday season. Mirian Bertaska

Mirian asks a great question. I’ve wrestled with this very thing many times, so let’s take a look at a few possible answers to Mirian’s question.

How to Rework a Background

Mirian very kindly included her drawing and gave me permission to share it with you, so you could “see” what we’re talking about.

Mirian has good color saturation in her drawing. Her color choices make the bird stand out from the background.

But she is right about the background. It doesn’t convey enough distance. It looks like the bird and the background are all at the same distance.

Kudos to Mirian for seeing that. Knowing what’s not working in your art is key to improving.

Suggestions about How to Rework a Background

Whether or not you can rework a background depends on how much color you already have on the paper, what type of paper you’re using, and whether or not you’ve burnished or blended with solvent.

Mirian’s drawing is on Bristol. Bristol is excellent for colored pencils, but it is limited on the number of layers you can put down. However, it’s also very good for lifting color if the color has been applied in layers with light pressure.

Try lifting color to push the background into the distance.

Scotch tape is probably the best way to lift a little color. Lightly press a small piece of tape to the drawing, then carefully pull it up again.

Mounting putty is another good way to lift color, especially if you want a blurry look.

For small areas or detailing, an eraser may also help lift color. The ideal place for eraser work is around the bird.

Read Two Neat Tricks for Erasing or “Lifting” Color from Colored Pencil Drawings at EmptyEasel.com.

Add lighter colors to lighten the background.

Softening the colors with a light blue or cool gray is a good way to push the background further into the distance. Color can either be added over the existing background, or after the background has been lightened by lifting color, as described above.

Use sharp pencils and light pressure to layer lighter colors. Choose colors that are not only lighter, but cooler (tending toward blues and greens, rather than reds and yellows.) Try combining a couple of colors, too, so the background doesn’t become too uniform in value or color.

Add color one layer at a time, then review the drawing. Keep adding layers until the drawing looks the way you want it to look.

Try a soft blend to dissolve wax binder and “sink” color into the tooth of the paper.

If you’re willing to experiment a little, try a soft blend with odorless mineral spirits. Use a soft brush and blot the brush after you dip it in odorless mineral spirits. You don’t need a lot of solvent for this type of blend.

If you don’t want to try odorless mineral spirits, or don’t have any, but you want to try blending, try rubbing alcohol. Dampen a cotton ball with rubbing alcohol, then rub it on a corner of the piece. That should give you a nice, soft blend that pushes the background further into the background.

Even if that doesn’t work, the rubbing alcohol could break down the binder in the pencils enough to allow you to add a little bit more color.

Don’t get your paper too wet or it could buckle.

TIP: Layer color onto a scrap piece of Bristol until you have a similar look, then try blending that first. If it works, great! You can blend your drawing. If it doesn’t work, you haven’t damaged the drawing.

How that Worked for Mirian

I asked Mirian if she would let me know how her experiments turned out. Here’s what she had to say.

Hi Carrie,

The painting wasn’t accepting more color, so I … layered violet blue on a little piece of each, and the alcohol one looks better in my opinion.

Mirian layered Violet Blue on the left side of the illustration below. The rubbing alcohol blend is on the right side.

The portion above the line is the original drawing.

How to Rework a Background - Rubbing Alcohol

Neither solution is ideal, but Mirian was satisfied with the rubbing alcohol blend.

Leave the background alone and work on the bird to bring it forward.

The final possible solution is to leave the background as it is, and increase the values on the bird. Make the highlights brighter and darken the darks.

One of the things that gives a picture “depth” is the value range. The greater the contrast between the lightest lights and the darkest darks, the closer the object looks.

Here’s Mirian’s drawing in black-and-white.

How to Rework a Background - Original Drawing in Gray Scale

As you can see, the value range is fairly close. When the background and the subject have pretty much the same values, the result is a background that’s not in the background.

I used GIMP (free photo editing software) to select the bird, then increased the contrast. The bird now “leaps” forward in the drawing.

How to Rework a Background - Gray Scale with Contrast

This tip doesn’t apply to reworking a background, but sometimes the solution involves the subject, not the background!

Thank you to Mirian, who was willing to share not only her question, but her artwork.

Thanks, Mirian!

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The Challenges of Colored Pencils

Every artist who has ever picked up a colored pencil with the intent of creating art is familiar with the variety and number of challenges of colored pencils.

But let’s face it. For those of us who are die-hard colored pencil artists, the challenges of using colored pencils are part of their charm!

The Challenges of Colored Pencils

I’ve been making art with colored pencils for over twenty years. They’ve challenged my will, my problem-solving skills, and my discipline more times than I care to admit.

It often seems like every drawing presents a new challenge of some kind.

The Challenges of Colored Pencils

Here, in no particular order, are some of the challenges of colored pencils I’ve discovered (and sometimes overcome.)

Blending

Do you know what search engine word is used most often in bringing people to this blog? Blending.

And do you know why? Because it’s so difficult!

Colored pencils blend beautifully by layering one color over another. That’s because they’re translucent. You can see through the various layers no matter how many layers are on the paper. All those colors combine to make new colors and it can be glorious!

But it’s also time-consuming (see the next item.)

So artists are always looking for better, newer, and faster ways to blend. Some are great. Odorless mineral spirits and powder blender, for example.

Some are good only if you’re not making fine art.

But there is now and probably always will be an avid search for the perfect blending method because blending colored pencils is such a challenge for so many!

Especially blending methods that are faster or more thorough than simply layering.

Speed

Let’s face it. Using the words “speed” and “colored pencils” together is rather like pairing “speed” and “turtle” in the same sentence. The thought just doesn’t compute.

Colored pencils are a slow medium. There’s no way around it. Even with solvent blending, it can take weeks to complete a large, complex piece. Think about it. You still have to put color on the paper one stroke at a time.

And it’s not like you can make bigger strokes by using a bigger pencil. Colored pencils aren’t like brushes. There isn’t a “wash” pencil, for example. No #20 colored pencil or a half-inch shader pencil.

Nope.

Colored pencils are all like #000 Liners. Made for fine details. Not broad washes!

If you’re going to use colored pencils, you have to be prepared for s-l-o-w.

Permanence

The fine artists among us are concerned not only with creating great pieces, but creating pieces that look just as bright and vibrant in twenty years or more as they look the day they’re finished.

That can be a challenge depending on the pencils you buy and the colors you use.

You see, some colors are fading by nature. Pinks and purples are notoriously bad for fading across almost all brands. There are a few brands with light fast pinks and purples, but they’re the more expensive brands.

While some brands of pencils are more reliable, with fewer fading colors, they all have some colors that are less permanent.

Finding ways to work with those colors and minimize potential damage is one challenge facing many colored pencil artists.

Finding ways to work without those colors, is the challenge for many of us.

Framing

Framing is another challenge for a lot of colored pencil artists. Because colored pencils are usually used on paper, the artwork needs to be protected. The means a rigid back board to protect the artwork from behind, and glass or something similar to protect it from the front.

You want a spacer between artwork and glass, so that also means at least one mat and sometimes two or even three.

Then there’s the frame.

All of that costs money, especially if you’re framing for an exhibit. The challenge here is finding the right balance between a professional frame and a reasonable cost.

Selling

Selling any kind of artwork can be a challenge. Most of the time, it’s not what most people consider “necessary,” so if finances are tight, art is among the first things to go.

Selling colored pencil art can have additional charges if all people think of when they hear “colored pencil” is grade school.

And then there’s the added cost of special framing (see above.)

Selling any kind of art is a challenge, but selling colored pencil art sometimes seems to have its own unique set of challenges.

What About You?

Those are a few of the challenges of colored pencils that have confronted me over the years. Maybe your biggest challenge is on that list.

Or maybe it’s something else altogether? If so, share your biggest challenge in the comments below. Maybe someone else can show you how to overcome it!

Are Prismacolors Right for You?

There’s been a lot of back-and-forth about Prismacolor pencils over the last several years. Some artists love them; some hate them. After all the debating, you have only one question. Are Prismacolors right for you or not?

Are Prismacolors Right for You

Last week, I shared reasons you might want to try colored pencils.

This week, it seems appropriate to answer some of the more common questions about Prismacolor pencils, and give you tips for deciding whether or not Prismacolor pencils are right for you.

A Little Bit of History

I always like to provide a little background for discussions like this, because background can provide insight into present day problems. Don’t worry. It’s going to be brief and personal.

I started using Prismacolors back in the 1990s, when they were Berol Prismacolor. There was no better pencil so widely available (in the US at least) and at reasonable prices. They were a high-quality pencil and problems like breaking leads, split casings, and off-center pigment cores were unheard of.

At least I never heard of them.

I had no problems with the pencils. They were perfect for the work I was doing, which was almost exclusively horse portraits.

Sometime since then, Prismacolor changed hands. Berol sold the brand to Sanford, which subsequently sold the brand to Newell-Rubbermaid. Manufacturing changed location and artists began having problems shortly afterward.

I used Prismacolor throughout all those changes, and to be honest, I had very few problems with them.

One batch of Indigo Blue pencils were so gritty I couldn’t use them.

Some pencils did break during sharpening or drawing, and there were a few that broke so much, they were useless.

I did discover (or maybe started noticing is a better way to say it) that quite a few pencils had off-center pigment cores, and I learned still later that sharpening problems often result from off-center cores.

More recently, I started finding pencils that were warped. Fortunately, I usually buy open stock from a local suppler, and learned how to check for warped pencils, so that problem was solved.

But overall, I’ve had relatively few problems with Prismacolor pencils.

Then came the spring of 2017.

The Case of the Fugitive Pencils

Early in 2017, I started hearing a word that aroused concern. Lightfastness. Specifically, the poor lightfast ratings of many Prismacolor pencils.

I believe I mentioned that I was using colored pencils almost exclusively for portraits, right? Portraits people were paying a good amount of money for.
I’d also started doing landscapes, which I hoped to sell.

So it was discouraging (to say the least) to discover that some of my favorite blues and greens, as well as a number of other colors, were fugitve. They faded over time, even in the best conditions.

How permanent were all those portraits I’d created? Would I start hearing from clients about disappearing portraits? It still gives me a twinge of concern thinking those thoughts!

So I went through my pencils, and sorted out all the fugitive colors. The pile of safe colors was almost the same size as the pile of fugitive colors, but I confess I erred on the side of caution. I threw out everything rated III, IV, or V.

I still use the other colors and I still love the way they go onto paper and the effects I can get. I also still miss colors like Sky Blue Light, Light Cerulean Blue, and Limepeel.

But I refuse to use them for anything except sketching and filling in my monthly habit tracker.

All of That to Say This….

What does that mean to you?

It means that what I’m about to say is being said from the standpoint of personal experience. Nothing more, nothing less.

You want to know if it’s safe to use Prismacolor pencils or not, and I’m here to tell you it is.

Depending on what you want to do with your art.

Reasons to Use Prismacolor

So how can you know if Prismacolors are good deal or not?

You Color for Fun and Relaxation

If adult coloring books are your thing, then by all means invest in that full set of Prismacolor pencils.

I don’t do very much in the adult coloring book line—I don’t have much time, to be honest—but I have read plenty of articles about the subject written by artists who do. Almost to the artist, they recommend Prismacolor because of the smooth color lay down, wide variety of colors, reasonable cost, and availability.

Are Prismacolors Right for You - Adult Coloring Pages

I do, too, and for all the same reasons.

In fact, when I doodle with a coloring page, I often use those fugitive colors.

You’re Crafty

You’re making greeting cards, coloring in adult coloring books, or doing crafty things. Color permanence doesn’t concern you.

Color selection, ease of use, and price do.

Prismacolors are probably your best choice. There are over 150 colors altogether. They lay down like a dream, and blend beautifully. You can get them almost anywhere in the United States, and in most cases they’re a good value.

Are Prismacolors Right for You - You're Crafty

They’re also artist-grade, which means pigment quality is high. That means you’ll get a lot more color per pencil than you’d get if you purchased student-grade pencils.

You’re New to Colored Pencils

You think you’ll enjoy them, but you don’t know. You’re not interested—right now—in making art for sale. You just want to draw.

You also don’t want to spend an-arm-and-a-leg on something you may not enjoy.

But you want to try the medium with the best quality tools you can find.

Prismacolor is the answer. They offer students and beginning artists the best combination of quality and value around. Yes there are better pencils, but they’re more expensive.

Are Prismacolors Right for You - You're New to Colored Pencils

And there are cheaper pencils, but they’re lower quality. Even if you get them at a bargain basement price, you may soon find they don’t put much color on the paper or are a struggle to use for other reasons.

Prismacolor is, in my opinion, the only way to go if this describes you.

You Make Fine Art, but Sell Reproductions, Not Originals

The fact of the matter is, you often keep your originals yourself because you like them so much, or you give them to family members or friends. What you sell are reproductions.

Most reproductions are made with lightfast inks, so the lightfastness of the pencils does not matter. At. All.

Use every pencil in the set, lightfast and not-so-lightfast. Get top-notch photographs or scans of the finished pieces, and sell reproductions to your heart’s content!

Then give the original pieces to whomever you like, or hang them on your own walls.

Just make sure to advise friends and family to frame those works of art under UV resistant glass and never, never, NEVER hang the art in direct sunlight.

So Are Prismacolors Right for You?

Prismacolor pencils are perfect for uses like those described above, as well as many others I didn’t touch upon.

By the way, the same applies if you make art mostly to teach others.

In other words, if you don’t care to sell your originals, it doesn’t really matter whether they fade away with time or not. It seems a shame to me to put that kind of time into something that will fade whether you sell it or not, but it’s really up to you, the artist.

Have a question about Prismacolor pencils I didn’t cover? Click here to ask me by email.

6 Reasons to Try Colored Pencils

There are lots of reasons to try colored pencils for fine art or fun art. I started using them mainly because they’re easier to travel with than oil paints (and cleaner, too!)

But the longer I’ve used them, the more reasons I’ve found to recommend them to others.

6 Reasons to Try Colored Pencils

Today, I want to share six of the best reasons (in my opinion) you should try colored pencils if you haven’t already.

(Or to give them another try if you tried them before and weren’t sure they were for you.)

6 Reasons to Try Colored Pencils

#1: They’re Relatively Inexpensive

You can spend $4 a pencil if you want to, but you don’t have to. And if you’re just getting started, you probably shouldn’t.

For most people who want to try colored pencils, the basic Prismacolor pencils you find at Hobby Lobby or Wal-Mart are an excellent place to begin.

Reasons to Try Colored Pencils - Inexpensive

You don’t need the full set, either. A set of 12 gives you enough colors to try. You’ll be able to see how they feel to draw with, how they go onto the paper, and how they look when you layer various colors one over another.

And even if the colored pencils you’re looking at seem expensive, take a look at the get-started supplies for oil painting, watercolor, or acrylics!

#2: You Can Get Them Almost Anywhere

Most Wal-Mart type stores carry colored pencils in some form.

So do most office supply stores and even some print shops.

And of course colored pencils are a staple at most hobby shops, art stores, and crafting supply stores.

You can even buy them from eBay and Amazon if you don’t mind paying for shipping.

#3: You Don’t Need a Bunch of Special Equipment

No fancy easels, canvases, or dozens of brushes. No paint thinners or drying retardants, and no varnishes or fixatives.

Reasons to Try Colored Pencils - No Fancy Supplies

Just pencils, paper, and a sharpener.

What could possibly be easier?

#4: You Don’t Need Solvents or Other Toxic Materials

You can use a wide range of drawing techniques with colored pencils without using smelly or toxic solvents. Many artists, even advanced artists, don’t use any of those tools and they produce vibrant, real-to-life works of art.

You can use those things if you wish. They can be time saving tools if you decide colored pencil is your medium.

But if you’re just getting started, leave those things on the shelf.
Get an extra sheet or pad of paper instead!

#5: They’re Clean

Colored pencils are a dry medium. They go on the paper dry and they stay dry. You don’t need to worry about cleaning up afterward, unless you spill shavings out of your sharpener.

Reasons to Try Colored Pencils - Clean

I mentioned above that you don’t need toxic solvents or other materials to use colored pencils.

The even better news is that most colored pencils are also non-toxic to use. Just don’t eat them, chew on them, or suck them.

(Yeah, I know. You’d think that warning shouldn’t be necessary, but I can’t tell you how many times I’ve found myself with a pen or pencil in my mouth while pondering something or studying a drawing. NOT a good idea!)

#6: They’re Portable

This is the primary reason I took up colored pencils years ago. They’re portable. Because they’re clean and dry, you can travel with them and use them almost anywhere without worrying about leaving or making a mess.

I took them to horse shows and other venues, and was able to work on a piece while on site. They were a lot easier to travel with than the oil paints I’d been using for years.

That’s why I now use them almost exclusively. Even in the studio, they’re mess-free.

Bonus Tip: They’re Great for the Kids, Too

If you have kids and are looking for an art-related activity you can do together, there is no better medium than colored pencils.

Reasons to Try Colored Pencils - Kids

You and your budding artist can use the same pencils without worries about messes, unsafe materials, or the other cautions required with many other mediums.

And if you find colored pencils aren’t for you, turn them over to the youngsters in your household.

I’ve put together a list of Basic Drawing Lesson Materials & Supplies that you can download for free, then print it and take it shopping. It includes not only the items you need, but my recommendations on brands and size (when applicable.)

I hope you find it useful.

And I hope you also enjoy your adventure with colored pencils, no matter where on the journey you may be!

More Basic Colored Pencil Terms for Beginners

Last week, I defined some of the basic terms relating to colored pencils and drawing paper. This week, I want to continue that discussion with more basic colored pencil terms, but this time, lets talk about method and technique terms.

More Basic Colored Pencil Terms for Beginners

Before we go any further, let me assure you there is no “right way” to draw. The methods and techniques I’m about to describe are just a few of those that are available to artists.

Some of the technique terms apply to colored pencils no matter what methods you use. Some of them are applicable only to specific methods or techniques.

More Basic Colored Pencil Terms for Beginners

Method

Let’s begin with the broader subject of drawing methods. The following definitions are very basic. For more information on any of them, read Comparing Colored Pencil Drawing Methods.

Direct Drawing Method

When you use what I call the direct drawing method, you begin with the same colors you end with. There is no clear difference between the first layers of color and the final layers except perhaps in the vibrancy of the colors, and the level of detail.

More Basic Colored Pencil Terms for Beginners - Direct Drawing Method

This is the most common drawing method.

It’s also the most intuitive. It’s natural to begin drawing a tree with greens and browns, after all. That’s the way I started drawings (and paintings) when I first started doing art.

Complementary Under Drawing Method

With the complementary under drawing method, you start drawing with colors that are on the opposite side of the color wheel from the final colors. The complementary under drawing for an orange is going to be blue.

More Basic Colored Pencil Terms - Color Wheel

The complementary method is excellent for landscape drawings because the complementary under drawing automatically keeps the greens from getting to bright.

Umber Under Drawing Method

The umber under drawing method begins with an under drawing that’s brown, like those old-fashioned sepia-tone photographs. Values and details are developed in brown no matter what color the subject is.

The shade of brown can vary from subject to subject. You can choose a warm brown such as Prismacolor Light Umber (my preference) or a cooler brown such as Dark Umber or Sepia.

You can also mix browns, using a combination of light and dark browns or warm and cool browns to create more interest and contrast in the under drawing.

But with this method of drawing, the under drawing is always only shades of brown.

More Basic Colored Pencil Terms - Umber Under Drawing

Monochromatic Under Drawing Method

One method I haven’t mentioned here, but that I have talked about elsewhere is the monochromatic method. With this method, you create an under drawing in a single color or, sometimes, with a single color family. For example, you might choose to draw an Indigo Blue under drawing.

The reason I’ve not described this method further is that I haven’t used it in years. Why? Because the colors I most often choose for a monochromatic under drawing are either earth tones  or complementary colors.

I tried Indigo Blue once and didn’t care for the result. Most other colors don’t result in the look I want for my work, so this method has fallen out of favor.

More Basic Colored Pencil Terms for Beginners - Monochromatic Method

But that’s no reason for you not to try it. The fact is, it may suit your choice of subject and your drawing style beautifully!

Combining Methods

There are other methods of drawing, and you can combine elements of these methods in a single drawing. For example, I’ve used an umber under drawing for the trees in a landscape, but drawn everything else using the direct method.

As mentioned previously, there is no right way to draw. Every artist needs to find the method or methods that work best for them.

But understanding the basic differences and characteristics of each method helps you make better decisions.

Technique

Under Drawing/Under Painting

The first layers of color you put on a drawing are called the under drawing or under painting. No matter what method you use, these layers are the foundation of the artwork.

The colors you use for the under drawing are determined by the method you use, as described above.

More Basic Colored Pencil Terms for Beginners - Under and Over Drawings

This sample shows a complementary under drawing.

Over Drawing/Over Painting

The over drawing or over painting refers to all the layers of color you put over the under drawing. Some of the methods I use have very distinct beginnings and endings. Others do not.

Layering

Layering is the process of layering one color over another, or adding multiple layers of the same color. You can use light, medium, or heavy pressure to add color. You can also use sharp or blunted pencils, and hold them vertically, horizontally, or somewhere in between.

Glazing

Glazing is the same as layering, except that the layers are thinner, so that the colors that are under the new layer are still clearly visible. The term comes from oil painting, a medium in which you can thin paint so it’s very transparent, almost like laying a piece of colored plastic over a painting to tint the colors.

Most colored pencils are translucent by nature, so almost every layer you put on a drawing is technically a glaze. But when you glaze a color onto a drawing or painting, you use very light pressure, and barely add any color at all. I usually glaze with the side of a pencil held horizontal to the paper.

More Basic Colored Pencil Terms - Glazing

Pressure

Pressure is the amount of force you put on the paper with the pencil. It’s often measured on a scale of 1 to 10, with one being the lightest pressure and ten the heaviest. Burnishing is the heaviest pressure you can use. It’s most used at the end of the process.

When you glaze a color, you’ll most likely be using a pressure of one or two.

Blending

When an artist uses a wet medium such as oils, acrylics or watercolors, they mix two or more colors together to get a new color.

Colored pencils are a dry medium, so they can’t be mixed the same way. Instead, colored pencil artists create new colors by layering one color over another color on the paper. Since colored pencils are not opaque, every color influences every other color in some way.

This is called blending, and there are different ways to do it.

More Basic Colored Pencil Terms - Layering

Dry Blending

Layering is one method of blending and it’s the method most artists use because it requires no additional tools or smelly solvents. I drew the sample above with multiple layers of yellow and blue. The green results from alternating layers of each of the other colors.

Other methods of dry blending include rubbing a drawing with paper towel or tissue, or using a colorless blender.

Burnishing is another form of dry blending in which you use very heavy pressure to “grind” layers of color together. You can use either colored pencils or a colorless blender to burnish.

Solvent Blending

Solvent blending is a method of blending in which you use a solvent or paint thinner such as odorless mineral spirits to break down the binder. Once the binder is dissolved, pigments mix and blend more like paint.

Solvent blending is often faster than dry blending or blending by layering, but it also requires some caution, due to fumes. It also requires drying time.

Conclusion

There are, of course, even more basic colored pencil terms to learn, but they can wait for another post.

It may seem confusing now, but once you understand each of these terms and how they apply to colored pencil art, you have a great foundation. Most other art terms—and colored pencil terms—build on these basic terms.

Basic Colored Pencil Terms for Beginners

Let’s talk about basic colored pencil terms today.

A lot of readers are new to this blog, or new to colored pencils, or both. Whichever category you fall into, welcome! Welcome to the blog and welcome to colored pencils!

If you haven’t already, you’re going to hear a lot of terms that make no sense. That’s my bad. I’ve been doing colored pencils so long, I tend to forget what it was like when I first got started!

I also know there are a lot of budding artists out there who already love the medium, but are confused by the jargon.

Basic Colored Pencil Terms for Beginners
So today, I want to go back to square one and define some of those confusing-but-basic colored pencil terms.

Basic Colored Pencil Terms Explained

To make things less confusing, I’ve arranged terms into four separate categories. We’ll begin with the two most basic: Pencils and Paper!

Basic Pencil Terms

The following terms apply to your colored pencils no matter what brand you prefer or the quality of pencils in your pencil box.

Wax-Based

All colored pencils are made by grinding pigment, then mixing it with a binder. The binder allows the pigment to be formed into the core of the pencil, holds it together while you use the pencil, and allows the pigment to lay down smoothly on the paper.

Wax-based pencils like Prismacolor and Caran d’Ache Luminance utilize a binder that’s mostly wax.

Wax-based pencils generally lay down more smoothly, and are softer. They also tend to break more easily if you press too hard with them.

They’re great for laying down lots of color quickly, but can be more of a challenge in drawing details.

Wax bloom can also be a problem, especially with dark colors.

Wax-based pencils are the most popular and the most widely available.

Oil-Based

Oil-based pencils have a binder that’s mostly oil, often vegetable oil. They do contain some wax, but not usually much. Faber-Castell Polychromos and Rembrandt Lyra are oil-based pencils.

Oil-based pencils are harder and sometimes more brittle feeling than wax-based pencils. That makes them great for detailed work. Smooth layers of color are possible, but aren’t usually as easy to achieve. They hold a point much longer, too.

Wax bloom is not usually a problem with oil-based pencils, even if you tend to use heavier pressure when drawing.

Wax Bloom

When you draw, you leave color on the paper, but you also leave binder. The harder you press on the paper with the pencil, the more color and binder you leave on the paper.

Wax binder eventually rises to the surface of the color layers, giving them a foggy, misty, or gray appearance. This is normal with all colors, though it’s more obvious on darker colors.

The cloudy right half of this sample is wax bloom. The left side shows the natural color after the wax bloom has been removed.

Basic Colored Pencil Terms Explained Wax Bloom

Wax bloom is easily removed by wiping a drawing with clean tissue and light pressure. It can be prevented by sealing a finished drawing with final finish; preferably one designed for colored pencil work such as Brush & Pencil’s Final Fixative.

Framing under glass will not prevent wax bloom.

Grades of Pencils

Colored pencils are manufactured in three grades: Scholar, Student, and Artist. Scholar-grade pencils the least expensive and poorest quality. Artist-grade pencils are the highest quality, so are usually more expensive.

Artist grade pencils have a higher ratio of pigment to binder, so they produce better color and results with less effort. They’re often more fade resistant.

Scholar grade pencils have more binder and less filler, so the color they produce may be weak or pale.

You can make great art with any grade of pencils, but will generally get the best results with higher quality pencils.

Lightfastness

A pencil is lightfast if it doesn’t fade over time.

If a color fades over time, it’s also referred to as fugitive. The color “runs away and hides” if exposed to light. Sometimes it may disappear altogether, and sometimes very quickly.

Pencils are rated differently in the US than in Europe and other parts of the world, but all brands are tested in some form, and many companies provide color charts that include lightfast ratings.

Watercolor Pencils/Water Soluble Pencils

These are watercolors in pencil form. Many artists consider them to be colored pencils, others don’t. Since many colored pencil manufacturers also produce watercolor pencils, I tend to think of them as colored pencils that just happen to dissolve in water.

Instead of a wax- or oil-based binder, they use a binder that dissolves in water. You can draw with them dry and mix them with other colored pencils.

You can also draw with them dry, then wet blend them with water, or paint with them by dampening the pigment with water and using a brush.

Paper

The following terms apply to drawing papers of all types.

Basic Colored Pencil Terms Explained Paper

Support

The surface you draw on. For colored pencils, that’s usually paper, but colored pencils can also be used on wood, pastel papers, mylar and other similar films, and mat board, just to name a few.

Some paper manufacturing companies also produces papers mounted to a rigid support. The drawing surface is still paper, but the support itself is rigid. Many sanded art papers are available as sheets and boards, for example.

Tooth

Tooth refers to the surface texture of papers. The toothier a paper is, the more texture it has. Sand paper has more tooth than inkjet paper.

Tooth is important to the colored pencil artist because of the way colored pencil lays down on different types of paper. In most cases and for most methods of drawing with colored pencils, smoother papers are better.

However, there sanded art papers are one notable exception. The grittiness of sanded art papers would seem to make them unsuitable for colored pencils, but many artists actually prefer them to traditional drawing papers.

Basic Colored Pencil Terms Explained Tooth

Weight

The weight of the paper refers to the thickness. A 98lb paper is thinner than a 140lb paper. Paper is measured this way because the “weight” is what a standard ream of a particular paper weighs. A ream is 500 sheets, so a ream of 98lb paper weighs 98 pounds.

The actual process is quite complicated, since the weights assigned to papers are assigned based on the standard size for each type of paper, and the type of paper (bond paper, card stock, etc.)

All you really need to keep in mind is that the higher the pound weight, the thicker the paper is most likely to be.

This is important because you don’t want to use a drawing paper that’s too thin (light weight.)

Basic Colored Pencil Terms Explained Paper Weights

Most pads of drawing paper include clear labeling on the weight of the paper (see above.) Most full sheets are also labeled, though the information may be more difficult to locate.

Conclusion

Those are our basic colored pencil terms defined for today. There are a lot more terms relating to both pencils and papers, so if you encounter a term you don’t understand, send me an email and ask about it.

Next week, we’ll talk about some basic colored pencil terms concerning drawing methods and techniques.