I’ve talked a lot in the past about Stonehenge paper. More recently, I’ve talked about sanded art papers. So today, I’m comparing Stonehenge and sanded art papers.
Here’s the reader question to start the discussion.
Can you discuss the differences in using Stonehenge 90 or 120lb vs sanded paper for colored pencil portraits?
Several years ago I completed a colored pencil portrait of my son’s family dog using sanded paper. They have asked me to do portraits of the two dogs they now have and want to group the portraits together.
I loved the velvety look of the finished project on sanded paper. However [I] found the paper difficult to work with. I’ve also evolved in my style and technique. While I want them to be somewhat similar in style I would prefer a different paper. I use a lot of layers and prefer color saturation. These two dogs are very light in color where the previous portrait I did was a very dark color. I usually keep my backgrounds very simple and prefer a monochrome color palette.
Thank you, Sharon
Before I go any further, I want to thank Sharon for her question, and especially for the background on the question. It’s always helpful to know where a reader is coming from.
Comparing Stonehenge and Sanded Art Papers
There is a world of difference between sanded art paper and Stonehenge, no matter what the subject.
The most notable difference is the surface texture. Stonehenge is soft and almost velvety in feel, while sanded art paper is gritty.
Consequently, color goes onto each type of paper differently.
In the illustration below, I used a sharp pencil and light pressure to draw each of the lines. The left half is Stonehenge, and the right half is Fisher 400 sanded pastel paper.
The pencil left marks on both papers, but the marks on Stonehenge are much lighter, while the marks on the Fisher 400 are darker, even with light pressure.
The top two lines were drawn with the tip of the pencil. I held the pencil in a more horizontal grip and used the side of the pencil for the bottom two lines.
It’s easy to develop strong color on sanded papers because the grit of the paper almost seems to “grab” the color from the pencil. This is true with all of the sanded papers and pencils I’ve used.
Pencils layer differently, too.
The samples on top in the illustration below show shading on both papers. The color is not smooth on either paper, but it’s smoother on the Stonehenge than on the Fisher 400.
I shaded the bottom areas with the side of the pencil, then used the tip to draw hair-like strokes. The strokes on the Stonehenge (left) look more like hair than the strokes on the Fisher 400. That’s because the Fisher 400 flattened the tip of the pencil with the first few strokes.
it is possible to layer enough color on both papers to get rich, saturated color. But you can add more layers on sanded art paper than on the Stonehenge.
Sanded art paper is quite solid and gritty. It takes a lot of layers, but it also takes a lot of punishment. You can use any kind of pressure on it without damaging it.
Stonehenge can take a lot of layers, but it’s a soft, velvety paper, so it’s very easy to damage. I’ve often said that looking at it cross-eyed can leave a mark!
Many of the same drawing methods can be used on both papers, but their effectiveness varies.
But as you saw above, even light pressure on sanded art papers produces darker color layers than the same amount of pressure on Stonehenge. The first time I used sanded art paper, that seemed like a negative. I have such a naturally light hand and have gotten used to drawing that way that I was put off by the results of the lightest layering on sanded paper.
But I soon learned that I could add so many more layers to the sanded paper that the pressure I used didn’t matter as much.
One thing you can do easily on sanded art papers that you can’t do on Stonehenge is lift color. In some cases, you can also get back to the color of the paper with mounting putty when you draw on sanded art paper.
This piece is an older piece on Fisher 400. One of the first pieces I did on sanded art paper. When I decided to rework it, I needed to lift color. As you can see, repeated use of mounting putty removed a lot of color. The lightest areas in and around the tree are the paper showing through.
I can also lift color on Stonehenge, but I cannot remove color back to the paper. Lighten it, yes. Remove it, not without risk of damaging the paper.
You can layer light colors over dark colors on Stonehenge, but all you’ll accomplish is tinting the darker color. It’s next to impossible to create bright highlights over darker colors on Stonehenge or other traditional paper.
But you can add light highlights over darker colors on most sanded art papers. This illustration is on Clairefontaine Pastelmat. I drew these ears by alternating strokes of dark and light colors. That’s pretty much the same method I’d use on Stonehenge.
When I drew the small portion of visible neck, however, I shaded the area with dark colors, then went back and “flicked in” the lighter marks. I was able to do that because there was still plenty of tooth on the paper when I finished shading the base layers.
Both types of paper take a lot of layers, as already mentioned.
But you can layer with light, medium or heavy pressure throughout the drawing process when you use sanded art papers.
Stonehenge requires light pressure for as long as possible in order to get the maximum number of layers. Of course you can use heavier pressure, but you will fill up the tooth of the paper. You also run the risk of scuffing the paper.
You have no such worries with sanded art papers. I reworked the background on this piece several times. This illustration shows just three phases. I could have worked the background yet again after finishing the horse if I wanted to because there was still plenty of tooth left on this sheet of Pastelmat.
Comparing Stonehenge and Sanded Art Papers: My recommendation for Sharon (and you!)
Sharon is right. Sanded art papers do produce lovely, velvety textures AND they are difficult to work with. I don’t blame her for wanting to try something different.
I encourage Sharon to try Stonehenge, but I also suggest she do something for herself first. Get a feel for it. Push it to its limits and see what kind of results you get.
That’s the best way to try any new paper. If you like what you see and the paper makes your work easier, then by all means use it. If you don’t like it, no harm done. You haven’t ruined a portrait!
I hope that’s helpful. The problem with paper is that no two artists work exactly the same way, and what works for one artist may not work for another.
If it seems like I prefer sanded art papers, it’s because I do. After years of using Stonehenge, I’ve discovered I can produce better work on sanded art papers, no matter what I draw.
But that doesn’t mean it’s the best paper for everyone else.