I hadn’t realized that you are using copy paper, Ricky. Have you ever tried actual drawing paper? My experience was that my art leaped to a new level when I did that because the paper was developed specifically for artists meaning the graphite would adhere much better and erasing was significantly easier AND safer. Copy paper is designed especially for printers and not artists. And art papers really aren’t expensive – especially as compared to other art mediums like oils. Give something better a try and I think you will be pleased with the results.

Hi Ricky. OK … I hadn’t realized the copy paper is just for the initial line drawing. That’s fine. I assume you mean Strathmore Bristol Smooth … what series? Bristol is a type of paper referring to how it’s made – not a brand name. They call it Bristol because that is where it was developed initially. The smooth part is the surface type but the series tells me what the paper is actually made from. With Strathmore series 300 is partly rag and partly wood pulp. Series 400 is more rag and less pulp while series 500 is 100% cotton rag. (I think 500 is only available in plate surface but then that series comes in plys which is thickness). It’s all a bit involved in a way – I wrote a thread about paper some time ago that I think de-mystifies it somewhat.

Armin does use illustration board but I do not know any more than that. And he doesn’t recommend that anyone else use it. I guess we all have our own quirks. I don’t use a line drawing but just start around the left side eye, take each sitting to near completion and work outward from there each time. I don’t suggest anyone else use this method as it is tedious, slow and prone to serious and MAJOR mistakes. But it’s how I learned and within my comfort zone – like your line drawing on copy paper. If it works, why fix it?

I use mellotex paper but it’s no longer made. I have a limited supply left. Even when I could get it I had to import it from the UK as it simply was not available on this side of the puddle for some reason. In fact I had to buy mine from Mike Sibley over there but it’s all gone now. Mike found some other brand of paper he likes a lot but I haven’t done a drawing in a while so I haven’t tried that yet. I used to use Strathmore Bristol Smooth Series 300 which I found useful for my animal/fur drawings. I used Strathmore Bristol Plate Series 500 4 ply for portraits. I didn’t like the 2 ply as much as it was lighter weight but plate is not a good surface for most because it is far too difficult to work up darks. It is, however, nearly impervious to erasure so I think you could use a jack hammer to erase and not damage the paper. have also used Stonehenge by Rising in the past which is also good. I found I liked the Strathmore Bristol Smooth better though. I also did and still do like Fabriano Bright White 300 lb. very much – especially for older men. Not for women, babies or even fur though – at least for me.

The thing is everybody is different and we all have to try things and see what works and what doesn’t. Using the papers you do works for you so don’t go out of your way to change just because you hear something else somewhere. Try things now and then because you never know till you do, but no paper is “THE” paper in some magical way. All have pros and cons – you just have to find out what they are FOR YOU. For instance, many, if not most graphite artists seem to like Arches Hot Press watercolor paper on the back side. I dislike it quite a bit. I have tried it several times and cannot finish a drawing on it because I cannot get along with the surface. That’s just me. It’s neither right nor wrong … it just is what it is FOR ME. You may love it. Kenny Chaffin years ago preferred it above all others and he produced very good drawings. It’s completely an individual preference. Just like pencils or even erasers in this medium. I like to draw with my paper completely flat on a table. Mike Sibley uses an architects table tilted slightly. Armin puts his paper on the wall and draws on that. Of course he measures his drawings in square feet and works on 1 for an entire year sometimes. But again, that’s personal preference and should never be used for comparison with your own.

To be completely honest here, materials and techniques are of minimal importance. What counts is the end result. That is how we will all be judged over time. And it is the culmination of all those techniques used along the way that determines our individual style which becomes more and more evident the more we practice. I’ve been here for what seems centuries sometimes but I can recognize many individual artists with just a glance at their work here. Most haven’t got their style defined or sometimes even remotely visible but they are just starting out. As time goes by I can clearly see their unique style emerging. You are in that category to me .. except you seem to be in the habit of taking a few steps forward and then turn around and go back to an earlier place. That’s because you don’t finish a lot. Shame shame shame! :rolleyes: But you seem to lose confidence in your ability or you nit pick something to death and stop. Try to avoid that, Ricky .. really. Your work isn’t going to be perfect – ever. Accept that and just do your best. Some drawings are going to turn out well – you can often tell that right from the start because they just “feel” good. Others – perhaps most – are just not going to work out so well but it’s important to do your best to work through all the frustrating areas and carry it all to completion. That old saying – when the going gets tough the tough get going – is true for a number of reasons – not the least of which is building character. The same is true with drawing.

Things happen and go wrong – and every drawing has place(s) where it gets downright boring. And worse, things can happen to the paper as you go along and you have to figure out how to work around it. For instance, I was working on this cat and all was going well enough till I got to the near cheek. It was a HUGE expanse of boring fur that seemed to take forever. But I resisted the urge to rush through and kept at it for about 20 hours, tediously moving forward a few hairs at a time. But then one day a black mark appears on the paper. I could not remove it. It did not erase or even scrape off with a razor blade. It was permanently part of the drawing … and by then I had invested nearly 100 hour or so into the work so I didn’t really want to trash it by then. So I made some adjustments to the markings to cover it. It could have been in the middle of a human forehead which would have been far worse but I still would have figured out some way to hide it as best I could. In the end it still shows and I will always see it, but unless you know it’s there it’s been covered well enough. Even for a commission I could have got away with this unless the cat was pure white. I never figured out what caused that mark or what it was but that’s a draw back to working on 1 piece for over 120 hours as I usually do. Things happen.

To give you a sense of scale … that’s a 2″ brush. Also notice how razor sharp I keep my pencils. Somehow I can get more detail with a dull pencil than I can with a sharp one. Go figure. Again … personal preference but it all works into my particular style.

Food for thought …

Well, your fun is looking really good. 😃

Rickycorbet – your Elizabeth is just beautiful… She looks pensive, as if she is making a big decision…

Sparrowhawk, I really disagree that everyone is here for ego. I am always hoping someone would give me advice… a bit of honesty… If I draw badly, I expect someone to say so.

I have followed suit on this site and just say uplifting things, which I get is sort of right because encouragement is positive.

But in class, I shook the teacher and forced her to be critical… otherwise, I cannot understand and I shall not learn?

Ricky, I’m loving this! The expression shines through…so pensive, so sad. Perfect for drawing!:thumbsup: