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Polydraw Film and other surfaces

Comments are taken from Lesley Crawfords survey of UKCPS members unless otherwise stated.
These are personal opinions and should not be attributed to the UKCPS as a whole.


Bob Ebdon adds these two papers which did not appear in Lesley's survey:
Specialist papers - Polydraw drafting film - known as MYLAR in the US. This is a clear plasticised tracing paper that takes cp like a dream - but only a few layers. It has the great advantage that you can work both sides on it! Bob Guthrie, US artist, uses it a lot, see for example pages 116/7 of "Colored Pencil Explorations" by Janie Gildow. Our own Eleni McLoughlin entered two pictures on this in our 2004 exhibition, and describes below how she uses this unusual and interesting support.

Eleni writes that she purchased this from John E Wrights, which is a Print and Graphic design shop with stores in Derby, Nottingham and Leicester. She continues: "The drafting film I use comes in three thicknesses, 2 thou at £3.05 a metre, 3 thou at £4.46 metre (22 inches or 560 mm wide), and 5 thou. The 5 thou is not available this way. I was told that I would have to buy a whole roll worth over £100.00. The PH is neutral, and the firm making it has tested and states the film is suitable for most archival purposes. Also available is Frisk Polydraw, which is only 2 thou. and comes in pads of 15 sheets in 3 sizes - A4 £16.40, A3 £26.44, A2 £29.50. Rachael, at the Derby store, is their technical advisor, and has said she is more than happy to answer any questions from anyone about products. Her Tel.at Derby shop is 01332 344743.

The pictures I entered in our 2004 exhibition were painted on the 3 thousandth. I find working on this surface that the colour pencil glides effortlesly leaving a rich creamy colour. Most important thing is the pencil pressure we use to deliver the right amount of pigment on to this support. A lot of practice is needed. It does not take many layers so I work on both sides of the Film. The method I use - I do the final drawing on a piece of tracing paper the same size as the drafting film,and mark my shaded areas with graphite pencil. I then place the drafting film over it and trace the drawing lightly with corresponding colour,i.e green for leaf. I turn both drawings face down, placing the tracing paper under the film. Now you can see why it was necessary to mark the shaded areas first. I can see exactly where to start shading my work. I start to apply the shading on what will be the back of my picture. It sounds complicated but when you try it you will find that it makes sense. I then turn film over with the tracing paper underneath,and I also place a piece of hot press paper under both for background. Tips - Do not apply fixative because it will smear. Do not burnish because it will remove pigment. If using wax pencils bloom will not develop. Mistakes can be removed completely using a plastic eraser. Be careful not to crease the film otherwise it leaves a permanent white mark. "

Eleni McLoughlin, Squashes The two pictures Eleni entered for the 2004 Exhibition are shown here. Both are on Drafting Film.
Eleni McLoughlin, Strelitzia
Pastelcard - like sandpaper, eats pencils, but gives a great intensity of colour very quickly. Kitty Wallis, a US artist makes what is becomimg the standard in this type of paper, and Jackie Simmonds is selling her paper in the UK. Also try Tim Fisher's Fisher500 paper, and Art Spectrum Colorfix - both a similar type of paper with their own peculiarities. 
Other Support media - watch this space!  I have been sent a piece of PastelBOARD - as used by Nicole Caulfield. I have not yet tried this, but Nicole uses it wonderfully. It is a wooden surface with a primer applied.

Back to Previous support media Back to Support gateway


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