Step By Step A PASTEL STILL LIFE
A PASTEL STILL LIFE DEMO BY EMMA RALPH.
Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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INDEX
Introduction How To Use This Book Chapter 1 - Preparation Chapter 2 - Tools For Painting Bonus Chapter – Making Your Own Tortillon/Paper Stump. Chapter 3 - The Grid Chapter 4 - The Sketch Chapter 5 - It’s Now Time To Paint Acknowledgments
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Introduction Before we begin I do want to make the point that, if you have purchased the set of the Step by Step books, then some of the information, especially at the beginning, you will find repeated. This is because the preparation and getting the sketch down are things that I do each time I do a painting. They are very important steps, and the more you paint, the easier they will become. Even though the information is the same, some of the text is altered to suit the particular subject, so, please do refresh your memory even if you just skim over it. It is wonderful if you are able to use your own photo, as this will give you more confidence with your next painting. However, please feel free to use this one. All the photos I work from have been taken by me and I give full permission for you to use them for your art. If you are using your own photo and there is detail in the background, I suggest that you exclude it. Keep this particular painting as simple as possible….no lace cloths on tables, or potted palms in the background, just focus on the subject and make the background a plain color. If your subject is light, then a dark background, if your subject is dark, then a light background. You also do NOT need the same brand of pastels or paper as I'm using and your color choices will be based on your photo. However, I do suggest that you keep the number of different colors to a minimum. During the course of this demo, please use your own artistic intuition. Every artist is different and if you "feel" you need to press harder or softer please do so - this demo is just a guide to get you started and familiar with using pastels. Lastly, what is demonstrated here is the way that I use pastels when I paint. There are many different techniques when using pastels and each artist has his/her own way. I am sure that you will also develop your own style. Most of all – have a wonderful time…..Happy Painting!!
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How to Use This Book. Before you begin taking out paper and pastels, let me suggest a couple of things. First and foremost, read through the book a couple of times so as to familiarize yourself with what’s going to happen. Then, having read through each section, make a note of which pastels are going to be used and where. With your own photo, have a good look at what colors you think you will need. For example the background colors, the colors in the objects. Some groups of pastels may be used in more than one section, so you will need to make a note of those too. A good idea is to have some little plastic boxes or dishes in which to put the different groups. If you put some paper towel at the bottom of each box it will give a little protection to your pastels. If you take the time to set these little groups of pastels aside, this project will go much more smoothly for you. Please note: Please be aware that computer screens and printed matter can vary in color and definition from the original painting in this book. If you are doing this particular subject then choose your pastels and pastel pencils based on what you feel will suit.
Let us begin
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Chapter 1 - Preparation Choose A Photo. Choose a photo that is simple with not too many colors if you can. You can work with the one here if you like, or you can create your own still life by following the instructions in the Bonus Book “Still Life Composition” If you do decide to create your own, make it simple. As you can see with this photo, I have only two components – the flower and the eggs. Also there are not too many different colors, so not only will it be a limited palette of pastels that I’ll be using, but it gives a lovely continuity of color. In this photo the background is dark and plain, again, making it easy. If you are going to use an existing photo and not creating a composition, then look for one that has good distinctive light and dark areas. One last thing - it's best to have two of the same photo, you’ll see why later on. You can have one actual photo and one printed onto paper in black and white, more on that in the next chapter. Once you have decided on your photo, or you’ve created your own composition and photographed it, it’s time to set up your mini “studio”. For those who are new to art, or have very little space, I am showing you how you can easily set up your work on the kitchen table. I’m not even going to use an easel and I’m trying to keep this as inexpensive as I can in order for you to just “try before you buy”. If you enjoy using pastels, then you can happily go out and purchase more pastels and quality pastel paper, but if you decide that it’s not for you, then you can just put it down to a fun experience at little cost. On the next page is the photo I will be working from.
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You should be able to make this photo larger by “zooming” in. Follow the instructions on the next page if you wish to print it out.
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To print out this photo from your computer: 1. Use the “zoom” to get the photo as large as possible on your screen. 2. Take a “screen shot” – if you don’t know how to do this, type the words, “how to take a screen shot”, into Google, along with your type of computer and you should get the how to. 3. Once you have the screen shot. 4. Open up a Word document 5. Go to the “page setup” which is usually under “file” in the tabs at the top. 6. Change the orientation to “landscape” (in other words turn the paper so it goes across the screen).
7. Insert the photo and resize it to fit. 8. Print it out. You will need one in black and white and one in color. It may be a bit fiddly, but worth it. End of Chapter 1 Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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Chapter 2 - Tools For Painting Now that you have your two photos you are ready to begin the process. However, there’s still a bit more preparing to do and tools you will need to set up. So let’s begin with the obvious. • The Paper. I'm using: A piece of A4 (approximately 8.5” x 11.5”) pastel art paper which I purchased from my local art shop for $1.50. I bought two pieces. You'll also need to have a "spare" piece of paper by your side. You will use this to "test" colors and it's important that this piece is the same tint color as the piece you are going to be working on….hence the reason I bought two pieces. More on the Paper. There is one other thing I want to mention here about the paper. Choose a paper as it has a good “tooth” which is needed to grab the pastel. With the method I’m going to teach here you will need a heavier weight paper so go for around 65 lb or 130 gsm. Also, if you’re getting pastel paper check by feeling that the texture is not sandpaper type …. You will be doing a lot of “smudging” and “blending” with your fingers and the sandpaper variety will take the skin off!!!! and cut through gloves. • Two of the Same Photo, or, if you are using my photo then I recommend that you also print out, or photocopy the photo for you to draw on. • Ruler. • Pastel Pencil For The Grid - You may need two, one light and one dark depending on your photo. • Pastels. – In this demo I’m using a mixture of pastel brands – Sminck, Rembrandt and Mungyo. Make sure you have enough white pastel. You can have the mid-tone of the base color and lighten it with white or darken it with black. Have a look at your photo, which hopefully won’t have too many different colors, and choose what colors you are going to need. If you do have to purchase more colors make sure you take the photo along with you to the art shop and a piece of paper to test the colors on. You will discover that colors, when applied to paper, don’t necessarily match the Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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color of the actual pastel stick. Please, be very careful when testing the pastels in the shop as they can be fragile…so only use a light pressure and only a little. • Pastel Pencils - You won't need many of these. Again check your photo - are there any really fine areas that will need the fine edge of a pastel pencil? See if you're going to need any special colors other than black and white. • Tortillons or Paper Stumps. The small or finer pointed ones are really good for getting into the parts that are too small for your finger. They are used more to "press" the pastel in as well as to "blend" but done with gentle pressure. A bit of sandpaper comes in handy (medium grade) just to "clean" the stumps. However, the sandpaper can't be used with the home-made variety.
If you don’t have commercial paper stumps - don't worry, at the end of this chapter I’ll show you how to make your own. • Surface. - You'll need a surface to paint on regardless of whether you have an easel or not. So a board is good. If you're using the table and the paper is from a pad, then keep the paper in the pad and you won’t need the board. If you're using an easel or just one piece of paper, then you will need a board and some tape or clips to fix the paper to the board. An excellent board to work on is called Foam Board, again, you can purchase a sheet of this from your art shop and it’s not overly expensive. This is what I’ll be working on. When working on a table I lay a shower curtain over it …. works well to protect it.
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• Plastic Sheet. - You can get these from a print/photocopy shop. They are often used as a cover when binding documents etc, and are quite stiff. They can be clear or colored, makes no difference. Exceptionally good to place carefully on top of an area of the painting you've done so you can then "lean" on it in order to work on another area. I use this frequently, more towards the end of the painting when I see parts that need adjusting. You can lift it straight off and the pastel hasn't shifted. • Disposable Gloves. - You don't have to use them and I didn't at the beginning of my pastel painting adventure, but now I really like them. There are three main reasons I use them: 1. Pastels can be toxic and, because the dust is so fine, it can be absorbed into the skin. 2. The oil/sweat from the fingers can be detrimental to the painting. 3. They keep the hands clean and quick to take off if the phone rings or I need to "drop and go". I do have two or three gloves on the go at the same time, switching as I change colors (especially dark to light or viseversa), and, I always put in extra talc. • Extras.- Apron, Rags and a container for pastels, (more on that a bit further down.)
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Shopping List • Pastels • Pastel pencils - black and white and any other colors you may need. • Paper – Your choice. • Tortillons or Paper stumps - about 4 of the finer sized ones (suggest you can get a mixture of medium to fine …. you'll soon get to know which size you like). • Board and Clips - if necessary. • Shower curtain or other washable table cover. If using a stand alone easel the shower curtain is also a great cover for the floor under it. • 2 Plastic sheets from print shop. • 2 packets Disposable gloves - I use the "Disposable Vinyl Gloves, pre-powdered and latex free" – optional. • Talc - if getting the gloves.
End of Chapter 2
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Making Your Own Tortillon/Paper Stump. Equipment: Makes one One sheet of paper towel. One toothpick Saucer of water Dry tea towel Scissors 1. Cut the paper towel into quarters. 2. Take one quarter piece and wet it by laying it into the saucer of water. 3. Carefully place onto the tea towel.
4. Fold the tea towel over the top of the paper and press gently so it absorbs some of the water.
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5. Place the toothpick on the corner and start to slowly roll.
6. When all rolled feel where the end of the toothpick is and cut just above it on the diagonal both sides to create a point.
7. Squeeze, pinch and roll to form a more closed point.
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8. Allow to dry completely before using.
End of Bonus Chapter.
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Chapter 3 – The Grid It is really important that you get this part right. Not so much the detail of the picture, but the layout of where everything is. In fact the less detail you put in the better, so don’t worry about your sketch being really basic. Measuring: This is such an important part of any painting. It's a bit like a house builder who takes care to make sure the pieces of wood are accurately measured before nailing them to the frame. If you don't get this bit right, it can be disastrous later on. So it pays to take the time and do the fiddly stuff first before you even pick up the pastel. Start with your two photos. Let's call them A and B A = the working one (in my case the printed version one) B = the good one which you’ll refer to while painting. The idea of having two photos is that you will be drawing on one of them and the other will be your guide for colors and detail when you are actually painting. You'll see what I mean in a moment. By having the photo printed out in the A4 size, the transferring from photo to paper is going to be much easier. However, it is exactly the same method if you are working from a smaller to larger size. What I’m going to show you now is my version of a “grid”, which helps me to position the subject on the paper, as well as get the proportions right. If you have another way you do this, then that’s fine, go ahead and do so, but have a read of this anyway, you may be able to combine yours and my ideas. Oh, this is where the ruler comes in and you will need a pastel pencil either light or dark depending on your subject. I have used a light pastel pencil.
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Take photo A and measure with your ruler horizontally about where you think is ½ way down. Using a pastel pencil make a mark at the ½ way point. Now, using that point as a guide, place the ruler vertically and find the ½ way point - mark it. This 2nd mark is the middle of the photo (rub out the 1st mark).
Draw a line down that center point. Now measure from the middle dot to the top, find the middle of that and mark it. Do the same from the middle down. Make sure you can see those marks. The next step is to break those two halves into half again. Do exactly the same except go from the center line out.
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You end up with 3 lines and 9 dots or marks. This is your measure or grid. You can make it more if you like, but I find it's perfectly fine. We're only using this for the sketch.
You can turn these lines into pen lines if you like …. If you are drawing these on a photo you may like to use a pen once you have the lines where you want them as the pastel does tend to rub off photos very easily. Now we put the grid onto the art paper. However, before you start putting in the grid you need to mark a border or margin. The border area is used for framing and a real must because you don't want to lose any of your painting. I usually mark out my border in such a way that the inner part is in easy to divide numbers….I’m really no good at math and like to keep things simple. I start with the top line, then one side and go from there. You're going to have to trust your artistic "eye", but it won't really matter as the sides or top/bottom can be adjusted later. Again use a pastel pencil and make it a fairly light one in a similar tone to that which you will be using. Measure exactly as you did with the photo - only this time do NOT put Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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in the lines - just put in the dots and make them as faint as possible. (Mine are dark only so you can see them in the photo).
End of Chapter 3
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Chapter 4 – The Sketch Using a light shade pastel pencil and, using the "grid" on the photo as a guide, start to lightly sketch your subject beginning with where the dots are. Don't worry about any detail, you just want to mark in the major points, e.g. rough outline, flower, stamen, eggs. There's no problem if you make a mistake, just rub lightly with your finger to "blur" it and start again …. you can see mine is not perfect! Please DON'T use an eraser or be heavy handed with rubbing. This can cause the tooth of the paper to weaken and the pastel won't adhere properly….in other words, it is likely to be noticeable in the end painting.
The last job before you begin painting, is to sort out the pastels you are going to be using. You may have already done this at the beginning, but if not, now is the time. Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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On your spare piece of paper and with your photo beside you, begin by picking out the colors that match. Once you have done this it’s a really good idea to group the colors together and put them into plastic containers, (I picked up some microwave dishes from an opportunity store for about .50c each). Before I put in the pastel sticks, I write down what they are for on a PostIt note. As you can see – not many pastels at all!!
End of Chapter 4.
IT’S TIME TO START PAINTING
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Chapter 5 – It’s Now Time To Paint! If you’ve followed all the above you should have in front of you, your paper with the sketch all done, your good photo and your measured photo/print for reference. Before we actually put the pastel onto the paper, there's one more thing I want you to do (you don't have to if it fazes you too much). I want you to snap each pastel in half. Whoa I can hear you say break my pastels? Well, the reason is simple….more so if your paper is less than 500 cm or 20 inches.
1. It's so you can use the side of the pastel if you need to. 2. It won't snap when you put some pressure on. 3. It will fit in your fingers better.
Note: If you are using the ½ sticks (usually come in sets), then you won't have to break them - it's for full size sticks only. You should end up with two sticks around and inch or so long. If the full sticks are shorter than 2 ½" or 6 ½cm then you probably won't need to do this. Now we're going to start with the background….or at least a little bit of it. This is just so you can get some pastel onto the paper and start to feel o.k. with it. I want you to take a look at your subject and pick out a color that you think is going to suit. I'm going to have just one color on my background and it is going to be dark. It’s not black but an extremely dark brown so it will give the illusion of black without the severity. Normally, with pastel painting, we start with the darker colors, then go to the lightest. If your subject is light, then choose a dark color, if your subject is dark then maybe a light color. Your Pastel Adventure © 2012 Emma Ralph – All Rights Reserved. www.paintingwithpastels.com
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If you’ve got this far without touching the sketch, congratulations, you’ll thank me later for all this preparation work.
Pastel artists work differently and you will probably find that you will eventually work out which way you like to work. I work my paintings from top left, across and down as a general rule, however, I will chop and change depending on what I want to achieve. That way I can control the dust a little better.
TIP: A good idea is to have a rag to wipe the tip of the pastel (lightly) as well as a sheet of newspaper to tap the dust onto …this can then be folded up and disposed of. Also it may pay to wear an apron.
SO HERE WE GO!!!
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Beginning at the top left corner and working across the top, I put on the first layer of pastel using a light to medium pressure. I’ve also used the side of the pastel trying not to get too close to the edge of the flower.
I've smudged that in using the circular motion, which I’m doing here in this photo, and tapped the pastel dust off onto my newspaper. It’s uneven in color and density, but that will be fixed next.
Another layer of pastel, like the one above, is applied. As you can see, I’ve started to smudge or blend these two layers together and, as I do so, the coverage is much better, and, when finished, no little bits of the paper will show through.
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I have blended all the dark background and taken it down a little on the left hand side. I hope you can see from the photo that I’ve not taken it right to the edge of the flower yet.
Taking the mid-tone pink color, and with the pastel more on the edge, I begin to put in the first petal. Pressure is very light as I’m working with quite a soft pastel, however, this is something that you will work out with the pastel you are using. The thinner or lighter the layers, the more layers you will be able to apply, and you do need to have more than one layer.
I smudge that first layer in with my little finger using a very small circular motion. Then I put on another light layer and blend the two together. This gives a good coverage but still thin enough for more layers.
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It’s now time to bring the dark to the pink edge. With the paper upside down, I take the edge of my dark pastel and, very carefully, (almost like drawing), go around the edge of the pink. It will help considerably if you do this first on your test paper.
Now it gets interesting. I’m about to do what I call “The Swipe”. You need a clean glove or clean finger to do this and you will have to re-clean each time you lift your finger off. Place your finger on the start of the pink and dark pastel and, in one fluid movement, (pressure medium/firm), swipe or wipe going around the two colors.
This should have given you a clean edge. You will now be able to fill in the bits where the paper is showing through without a problem. Also, don’t worry about the curly part on the edge of the petal, we’ll get to that later. But, for now, you have joined the two together. I’ll be referring to “the swipe” later on, so you now know what I mean.
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I’m now going to work a little on this particular petal, mainly to get the shape so I know where I am with it before I start on the next one. With the light pink, and following the photo, I begin by putting in the lighter color. This is done very lightly, with the edge of the pastel and with short strokes.
Once that first layer is blended very carefully in, I continue building on the petal using both the dark and light pink and also introducing white. Use the edge of the pale pink and white to get the shape around the top edge which is the beginning of the curl of the petal. You can now begin to see the shape taking place. It’s really important to refer to your photo often.
Little by little I build up the petal. This takes time, so be patient. The strokes are small and light and any blending is very light and delicate. It’s not going to be an exact copy of the photo – if I wanted that I’d keep the photo and throw away the pastels. So don’t be too hard on yourself. What you do want is for it to look like the flower.
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The next thing to do is the top edge. The curly bits. For this I use my pastel pencil. Now, what I want you to do is use the pastel pencil really, really lightly. What you want to achieve is to just ease the pink pastel out of the way. So, as you create the little “v”, come down into it from the dark pastel, kind of “pushing” the dark pastel in and covering up the pink. It’s quite difficult to explain it, so use your spare piece of paper. Do you still have the test of The Swipe still there? Well, add a little bit of white and blend it a bit, then have a go with the pastel pencil. You should end up with something like this….
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The next step I’m doing is beginning to fill in the background of the next two areas I’m going to work on. This will be done exactly the same as before.
You can use your paper stump to press any excess pastel dust into areas your finger can’t go in. This will help you to get close to your sketch line.
I have started to apply the mid pink color (see where I’m pointing to in the photo), however, looking back at the master photo, I actually want that part dark.
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Easy to fix. Using a brush, I carefully brush away, (going down the paper), the excess pink color. Because it’s not yet been smudged into the paper it really is quite easy.
Because the pink is lighter than the dark I’m wanting to use, it doesn’t matter that there is a slight pink discoloration to the paper. It’s a little harder to fix if it’s the other way round. Also the pink dust going down is fine as that area will be pink to.
I go back in with the dark, using the edge of the pastel, and mark out where I want it then fill in. Finish with smudging that little bit into the paper.
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As you can see I have a very sharp edge to my pastel, this was because I had snapped the pastel in half, however, you can also get a similar result by using a piece of medium grade sandpaper or a sharp knife.
Once the pink and dark are as close together as I can get them, I “Swipe” the two lines in small bits, making sure that my glove is clean each time my finger goes back onto the paper. Once done I tidy up the edge with both the pink and the dark (sharp edge) colors to get the shape I want.
I’ve now continued with this area using my light and dark pinks to get the form of the petals. As I work away at the painting I use a dark red pastel pencil for the really fine areas. I will finish this section off with doing the curly edge exactly as I did before.
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As I’m working I have the photo which I’m constantly referring back to.
This section is now complete. I have used a dark pink, a mid-tone pink, a light pink and a white along with the dark red pastel pencil.
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I’ve kept working away at the painting. What I’ve done so far is worked a bit towards the center of the flower, over to the top of the eggs and now I’m continuing down the left side.
Now it’s time to start the center of the flower. I begin, using my pastel pencil, to draw out the shape of the base of the petals.
Now that it’s outlined I am going to use my pastels to create the shape and colors of the petals, as well as part of the stem.
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For this center part you will need a lot of patience and to GO SLOW!
The center is painted by laying on small amounts of pastel, keeping the edge of the stick sharp, and blending in. The key is to continually blend and use small light strokes. I also use pastel pencil for the dark area as it is so small and I want to get it right.
With a really sharp edge, I have put dark pastel, (my background color), into the center of the dark bits. With my little finger I have blended extremely lightly, just a little bit, making sure my glove/finger is clean each time I touch the paper. You can see how using the pastel has made the stem of the petal stand out more.
I have continued to work on that center area, referring constantly to my photo for the different tones of color. I am happy with it for now and may come back to do some tweaking once the whole flower is finished. The next step is to begin on the eggs.
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With a pastel pencil I sketch the outline of the first egg.
Next I fill in the gaps of the petals and bring the background down a little further.
Starting with the back egg, I lay down a light layer of my base color.
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After carefully smudging that first layer into the paper and Swiping around the petal edge, I put a layer of white on. I then blend those two layers together.
Giving it extra little bits of both the white and the base colors in certain areas, I’ve got the color how I want it, making sure I’ve checked the different subtle tones. To get the smooth look I’ve used a small circular motion when blending.
The last thing is to really tidy up the edge of the egg. I’ve used pastel near the edge which I’ve then lightly pressed the dust in with a fine paper stump. Note: You may want to see my “Note” on page 43 where I talk about the dark tones of this egg.
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With a black pastel pencil I mark in the design on the egg. I’m not keeping to the exact design that’s in the photo, but I am making sure that each pattern I make is the same.
For this next part I’m using square shaped pastels in black and white, these are a medium/soft grade. You could also use charcoal, but make sure it is a good black color, (some are quite light). I’m also going to use a thin paper stump.
I have put on the black pastel very carefully in the center part of each little area. They look like little paw prints
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With my paper stump I rub the side of the black pastel to loosen up the dust.
Using the paper stump, press into the pastel dust and, with pressing movements apply it onto the design to get the edges straighter. You will probably have to blow the small amount of dust away as you do this so you can see where you are going. Keep repeating this process until it’s all done.
With the corner of my white pastel, I put the lines of white on in one fluid movement. Between each line I wipe the pastel clean.
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Fiddling around with the white pastel and the black dust covered paper stump, I tidy up the designs. This is very much a slow and patient process, so don’t hurry it. Use the clean side of the stump to gently grab up any pastel that is in the wrong place.
Egg number 2 is now sketched in and the top line between both eggs has been laid with pastel and Swiped. It’s now time to put in the flower stem and the petal at the bottom.
Using the pastel stick and with gentle blending I complete the stem. The little stamens at the top are done with the edge of the pastel, but not blended.
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The little dark red stalks that are coming off the main stem are done with very small flicks of the edge of the pastel. Start at the stem and go out with the flick then add some extra small flicks, these won’t matter if they are not joined at the stem. Finish off with a dot using the corner of your pastel.
For the next part, the yellow pollen sacs, you will need the yellow pastel and a craft knife, or a knife with a good sharp pointed tip.
With the tip of the knife gently touch the pastel and the dust will fall off. Note: Try this on your spare paper first.
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With your clean finger lightly press the yellow into the right area. Then it’s best to blow the excess away, rather than tapping it onto your newspaper. Add more if you need to.
I have now finished off the petals and now begin filling in some of the plain color on the 2nd egg.
I’m now going to start on the rest of the design.
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I have filled in the top design with white and gently smudged it in. Now I am going to use the sharp edge of my black pastel to “draw” the black part. Again, test this on your spare paper.
Once the pastel is down, I gently press it in. Next I will go gently round it with a black pastel pencil to smooth it out.
Does it look like the photo? Not exactly, but this is my interpretation of “hibiscus with eggs”. If I’d wanted it to look exactly like the photo I would have just blown up the photo.
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After filling in the rest of the egg with the base color, I lightly lay down a little dark on the shaded areas. It’s important to look closely at your photo to see where the darks and lights are.
I have added to the dark a little at a time until I’m happy with the different tones. I’ve also put in the “shine” just using white. I may brighten that a bit more once the painting is finished. I have also added a little dark to the back egg. Note: This could be done when you are doing the back egg…….it may be easier for you.
The last thing I do is the design on the base of the egg. This is done in exactly the same way as the top design. I have used the sharp edge of both the black and white pastel as well as the black pastel pencil to “tidy up”.
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I have now added depth to the dark eggs just to give more shape. It’s start the third egg.
a little more areas of the them a little now time to
I first sketch out my design which I’m keeping rather simple.
I begin by putting one layer of the base color of the third egg on the top and left side. Then I fill in the dark between the two eggs. At all times I use the “Swipe” method to get the pastel into the paper
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Each little bit is done very carefully using the sharp edges of the pastels and, either a gentle swipe or a press. The bright blue does go over the dark really well without losing color, so I am able to get the dark in first slightly over my sketch, “Swipe”, then add the bright blue and “Swipe”.
With the egg just about finished, I add to the right side with the background. The next step will be to use my pastel pencil, (light color), to draw in the curly design. The pastel pencil is as sharp as I can get it. Test this on your spare paper so you know the pastel pencil will show over the dark. If it doesn’t, then I suggest you leave it blank.
In the darker parts I have applied the pastel pencil very lightly.
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So now, after putting in the rest of the background and adding the little bit of petal showing under the 2nd egg, the painting is finished. However, before signing it, I will leave it propped up for a few days as I’m sure there will be little tweaks I’ll want to do.
Over the following few days I did make some adjustments to the painting. In order to work on the painting without smudging the pastel already there, place the piece of plastic down over the top of and near the selected area. You are then able to lean on it and make the adjustment. When finished, take the plastic off by lifting it directly up from the paper. Note: Make sure your plastic is clean before laying it down on your painting.
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I begin by deepening the red in the center of the flower and adding more white to the left mid section of the petals. I create the veins as I go along.
Next I work on the center with the dark pink/red to deepen the tone.
I keep working a little more with the petals until I’m happy. Every time I use the pastel it’s with a very light touch, the same applies to the blending
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To finish off, I work on the eggs, laying a brown color to the shadow part of the 2nd egg, tidying up the black and white designs and brightening the highlight. I have also put a little of the 1st egg’s color in between the two front eggs. Although this is not in the photo, I want to “ground” that egg and give more depth to the painting.
Just to give you an idea of what I mean by “testing”…. I still do it and this is my test paper for this painting.
Finally I sign the painting……it is finished.
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I put a border round my painting, (made from a piece of watercolor paper taken from an old pad), to make sure that when it is framed there are no areas of paper showing. I add a little more of the background color if there is.
And here is the painting.
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Acknowledgements I would like to thank my family for giving up the dining table and having to have meals at the kitchen counter all in the name of art. Special thanks go to David Chamberlain, England, who has followed me with each book and been an absolute whizz with the proof-reading. Thank you to you, the artist, who has used this book. I truly hope that it has been of great help it getting you started using pastels. If you have any questions or wish to “show” your paintings on my website, please get in touch by email:
[email protected]
Happy painting
Other Books: Step by Step With a Pastel Scene Step by Step With a Pastel Portrait Pastel Painting Secrets Visit my website http://paintingwithpastels.com for more details.
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