A Simple Gift Becomes A Milestone
by Farideh Afshani
When I received my first colored pencils and a coloring book at the age of six, I never expected that my passion for art would become an integral part of my life. Despite facing obstacles and long breaks that slowed my progress, one key motivation brought me back to this passion: a call for a group exhibition of colored pencil art on Instagram. This opportunity marked a new beginning for me.
To prepare for this exhibition, I purchased a set of Prismacolor pencils to add to my existing collection: Faber-Castell Polychromos pencils, Derwent Studio pencils, and Lyra watercolor pencils. The next step was to select an appropriate surface and a reference photo. Therefore, I decided to draw a colorful bird on Steinbach paper (155 gsm), a non-textured surface that facilitated pencil movement and allowed for the application of multiple layers. For other artwork, however, I preferred using a whiter surface rather than Steinbach’s cream-toned paper. Consequently, I created a piece titled “The Polished Rocks,” based on Sally Robertson’s reference image, on Strathmore Bristol Vellum 300 Series, a textured paper that enhanced both the glossy effect of the stones and the color saturation. This piece won the Advanced Winner prize in Colored Pencil Magazine’s August 2019 Art Challenge.
Advanced Winner in Colored Pencil Magazine’s August 2019 Art Challenge
Gradually, I expanded my collection of colored pencils and papers by reading about the experiences and recommendations of professional artists.
My current materials include:
Pencils: Caran d’Ache Luminance, Caran d’Ache Pablo, Derwent Lightfast, Derwent Drawing (Chinese White and Ivory Black), Holbein, along with individual Faber-Castell Polychromos pencils.
Papers: Stonehenge White, Arches Hot-Pressed watercolor paper (300 gsm), Fabriano Artistico Extra White watercolor paper (300 gsm), Clairefontaine Pastelmat, Strathmore Bristol Vellum 500 Series, Rising Museum Board, and Grafix Drafting Film Matte, 2-Sided .005.
However, when it comes to colored pencils, there is always room for more. Among a wide variety of options—based on binder (oil, wax, or water-soluble), quality grade (student or artist), and lightfastness—I prefer working with a combination of high-quality colored pencils. I typically begin each piece with the first layer of Polychromos, followed by Prismacolor to blend the pigments. For subsequent layers, I mainly use Luminance to build depth, then return to Polychromos to add fine details.
Comparison of colored pencils on Stonehenge White; from left to right Holbein, Caran D’ Ache Luminance, Derwent Lightfast, Faber-Castell Polychromos and Prismacolor
Based on this technique, I require surfaces capable of holding many layers, such as Stonehenge paper, which also offers archival quality (acid-free, 100% cotton).
Beyond pencils and papers, I rely on two essential tools—erasers and sharpeners—to create specific effects or even reverse certain processes.
I use three types of erasers:
Faber-Castell PVC-free eraser: A standard eraser that allows me to remove layers of pigment without damaging the tooth of the paper and to prepare it for correcting mistakes.
Faber-Castell kneaded eraser: This type of eraser can be shaped into different forms to create texture or lift subtle layers of pencil.
Derwent battery-operated eraser: When I want to create intense highlights in the painting, such as reflections on water droplets or in the eye, this eraser is particularly effective.
My Three Essential Tools: Sandpaper Block, Electric Eraser and Manual Sharpener
For sharpening pencils, I use the following tools: Kum double-hole wedge sharpener, CARL Angel 5 Royal manual sharpener, iPoint Halo electric colored pencil sharpener, and a sandpaper block.
Electric, manual, and regular sharpeners may sound similar; however, depending on the core diameter or the composition of the wooden casing, I choose among them in this order. I use the CARL sharpener for Polychromos and especially for Prismacolor to prevent repeated breakage; the iPoint for thicker pencils such as Luminance; and the Kum for Derwent pencils.
I also use sandpaper to keep my pencil points sharp while preserving the length of the pencil.
Overall, my journey in colored pencil art is an ongoing process of learning, experimentation, and growth. Recently, I have focused on how different surfaces affect color, layering, and texture by comparing colored pencil charts. This comparison helps me better understand materials and improve my artistic practice.
Farideh Afshani:
Farideh Afshani graduated with an MA in Social Communication Studies. After winning a colored pencil art challenge in August 2019, she truly believed this was her path forward. Therefore, she has decided to organize a solo exhibition featuring one of her country’s iconic cultural handicrafts in the near future.
Instagram: farideh_afshani