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Originally Posted by Jonathan Hardesty
I accidentally put the drawing paper on backwards when I did this so that contributes to the scratchy look of everything. Was interesting to draw on the wrong side but I don't think I'll do it again.
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Jonathan,
Not to worry, there isn't a "right" or "wrong" side. You use the side that works for you. I was taught to use the smooth (or "wrong") side of Canson paper, though I suppose that had to do with the level of finish that was required of us on so-called long poses -- that is, perhaps it was thought that you retained more control on a less "toothy" surface. (The long pose in my
"Nudes with Values" post was done on the "wrong" side of the paper. If you get blocked by the password request in clicking that link, the password is "critique" [without the quotation marks].)
However, if memory serves (and more and more, it doesn't), I believe that when Daniel Greene did a pastel demonstration during one of his workshops, he made a point of mentioning that he also used the smooth side of the paper. Though it seems counterintuitive, he said that his experience was that the smooth side would hold more pastel and take more working without breaking down. (Once you work and re-work a toothed surface, the tooth breaks down and the area looks discouragingly different from the surrounding area, which call upon some more sophisticated techniques to "fix.")
For quicker, less "finished" sketches using softer charcoals, I'd likely go for the side with more tooth, as the effect would probably be more in keeping with the intent. It's all about what you're after, and you'll sort out the methodology simply by experimenting.
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