The word “support” simply refers to the kind of surface you will choose to work on. There are many options available; we will look at some of the most popular here.
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PAPER
Paper is by far the most popular and available of supports for coloured pencil. Papers vary tremendously in quality and type, and there are a few things you should know in order to choose the best for your work.
Acid-free
Whatever you decide, you must always be certain that the surface you work on is acid-free, at least if you want your work to be permanent. Acid in the support will cause it to deteriorate over time. Most art papers will be listed as “neutral ph” or “acid free.” Acid free is preferable: the term “neutral ph” indicates that the acid in the paper has been neutralized by a buffering agent. There is no guarantee that any acid formed over time will not exceed the buffer’s capacity.
Rag vs. Wood
The best and most permanent art papers are usually made with cotton/linen rag pulp rather than wood pulp. Rag is more stable, while wood pulp tends to yellow with time.
Weight
The weight of the paper is important. A paper’s weight is determined by how heavy 500 standard-size (usually 22 x 30”) sheets are. Professional-quality paper is usually no lighter than 90 lb. and can be as heavy as 300 lb. – or even heavier. The heavier the paper, the thicker and more substantial the individual sheets. If your technique does not involve a lot of dense layering, you may prefer the lighter weights. If you tend to pile on the pigment, you will probably find it much easier to work on thicker papers, as a paper that is too light will curl up under the weight of the layers of pencil.
Endurance
Be aware that papers also vary a great deal in toughness. Some papers have a fragile surface, while others will take more abuse. Surface fragility has nothing to do with the inherent quality of the paper. You may have a delicate technique and find that you do little correcting, in which case you do not need to worry about your paper disintegrating under heavy erasing; others may need a more forgiving surface. As your technique evolves you will gravitate toward the surface(s) most suitable for you.
Sizing
Many art papers contain sizing. Sizing hardens paper and affects how absorbent the surface of the paper will be. Sizing can be either mixed into the paper pulp or else applied after the sheet is formed. Watercolour paper is generally softer, but still contains some sizing, because otherwise the surface would pill when scrubbed with a brush; an important consideration when you are using solvent or water-soluble pencils.
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PAPER CATEGORIES
Watercolour Paper
Watercolour paper is a superb, long-lasting surface. It works well with solvent. It generally comes in 3 grades of texture (or “tooth”): hot-press, cold-press, and rough.
- Hot-press paper is very smooth and is suitable for delicate, detailed work, when you don’t want the texture of the support to interfere with the textures you are trying to create. However, many artists find that such a smooth surface will not always stand up to repeated layers of pencil, especially if applied heavily.
- Cold-press paper has a distinct, noticeable, irregular texture. It grabs the pencil well and can stand up to a fair amount of layering, though you may find it more difficult to achieve the highest amount of detail.
- Rough paper has the roughest, most aggressive surface. It is excellent for a looser, more abstract approach and can hold a lot of pencil. Complete coverage may become difficult, with all those pits and hollows to fill in – but there are plenty of ways around this!
Drawing Paper
There are many excellent drawing papers available, for pastel and charcoal as well as graphite. Many are rag and very durable. Always check that the paper is acid-free and of a suitable weight. Drawing papers are generally smoother on the whole than watercolour papers, although you can get slightly rougher surfaces if you like: “vellum,” for instance, refers to a slight tooth as opposed to “smooth.”
Professional drawing papers can be as thick and heavy as watercolour papers. “Sketching” papers are not always intended for finished work, so they tend to be lighter, though they are often of high quality: instead of buying paper in separate sheets you can buy a good drawing pad or sketchbook, especially if you prefer a smaller size. Drawing papers often come in a wide range of colours as well. Feel free to experiment with coloured papers, as you may enjoy the challenges and benefits of working on a tinted surface. Remember, though, that the pencils are translucent. You may have to change your tried-and-true techniques a little in order to get the effects you want.
Matboard
Another popular support is matboard. Cheaper matboard generally contains acid; you must check to make sure you are getting acid-free. Matboard is rigid, about 1/16” thick, and comes in a wide range of colours and textures. Sometimes its texture is very distinct and regular, more like canvas weave than cold-press. You may enjoy incorporating this into your work. Matboard does not have a particularly tough surface (erasing will often change its texture completely), although its softness can be a pleasure to work on. Just be sure that if you are using a coloured matte board that it is also lightfast.
Museum Board
Museum board is a paper that is 100% rag and is used as a barrior board between artwork and any backing material in museum grade framing. It is available in single or multiple layers up to and including heavy 8 ply matboard. A lot of artists love this very soft velvety surface.
NON-TRADITIONAL AND UNUSUAL SUPPORTS
By no means are you limited to traditional surfaces. Feel free to experiment! As long as a surface is treated properly you can try whatever you want. The following supports have all been used successfully with coloured pencil.
Unconventional Papers
There are endless unconventional papers available – handmade, with all kinds of unexpected textures and colours; sandpaper; papers made with bamboo, papers made with bark, papers made with banana peel … you get the idea. Remember that the paper MUST be acid-free if permanence is an issue – but if you just want to experiment with something new and different, go for it!
Masonite
Masonite is made of wood pulp pressed together into quarter-inch sheets as hard as wood board. Because it is made of wood pulp it is highly acidic, but you can cover it with a coat of acrylic gesso if you want to work on it. It is extremely inexpensive and can be cut into any size you want.
Mylar
Mylar is transparent plastic, with a frosted surface. Because it is plastic, there is no need to worry about acid content. An unusual surface, but certainly durable – try it and see what you think!
Slate
Coloured pencil looks particularly rich and deep on slate. Handle with care, as the oil in your fingers will stain the slate.
Wood Panel
Wood, because of its acidity, should be covered with a coat or two of acrylic gesso before you work on it.
