With the sky in place, we’ll move on to developing the middle ground. A light application is used here without much blending. Then, we’ll revisit the clouds on the right side of the image and strengthen the highlight with a light orange.Īfter the shape of the clouds have been defined, we can go back to the sky and apply additional applications of light blue to refine the edges of the clouds. To create a sense of volume, we’ll add a slight highlight with a light yellow and a subtle shadow with a dark grayish purple. These clouds are very muted with very little contrast between them and the sky.Ī middle gray is used to define the initial shape of each of the clouds. With the clouds on the right side of the picture plane defined, we’ll work our way to the clouds on the left side. Highlights are developed using the warmer yellows and oranges, while darker purples and grays are used for the shadows.Īs we begin to define the shapes of these clouds, we can go back and refine the edges with the light blue that we used for the bulk of the sky. This means that we’ll see highlights on the side of the clouds that face the light source and areas of core shadow on the opposite side. At this point, some experimentation is at play as we try to find the right colors for the work. Light pinks, grayish purples, light yellows, oranges, and grays are layered and gently blended. The upper right cloud has the most color associated with it, so we’ll start here.Ī series of colors are added to gradually build up depth. The clouds are rather muted in this image and we’ll reflect this in our drawing. Again, this application is gently blended to create a gradation. A bit of a very light yellow is also applied to add a little warmth. Using a much lighter blue, we’ll bring an application up to the middle of the sky, again lessening pressure as we work upward. We’ll bring this application to the middle of the sky, lessening pressure as we go. To make the top of the sky slightly darker, we’ll apply a darker blue. The top of the sky is slightly darker, while the bottom portion is slightly lighter and warmer. We’ll then blend this initial application with a finger or chamois. We’ll begin by applying a base application of a light blue to the entire sky, bringing the application down past the horizon line. Doing this prevents us from having to go back and fill in areas around the dominant trees which could lead to inconsistencies in the color of the sky. This means that we can work the background, in this case – the sky, completely before moving on to the middle ground and foreground. Colors can be applied directly over previous applications without the colors underneath showing through. When applying pastels, the thought process is very similar to that of applying opaque paint. See also: Pastel Landscape Painting – Winter Scene Begin with the Background We’ll leave out the snow in this case since it may not translate well in the finished work. You’ll also notice that this is a winter scene with a few bits of snow visible in the foreground. We’ll pull out and exaggerate colors and use directional stroking to make our drawing more interesting than the reference. As you can see, the reference on its own is rather simple. Because they are so hard compared to other brands, they are best suited for finishing touches rather than covering large areas. These pastel pencils sharpen easily in a traditional pencil sharpener and produce sharp lines suitable for detail work. The pastel pencils used in this demonstration are the harder pastel chalk pencils by General’s. You are free to use any brand that you prefer, but you’re likely to see better results with higher quality soft pastels. An assortment of Rembrandt soft pastels are applied to most of the drawing. Stick or traditional soft pastels are used for the bulk of the drawing, but details are added with pastel pencils. The orange toned paper provides strong contrast against the blues used for the sky, but harmonizes with the dominant yellows and reds in the foreground. This versatile paper is great for accepting multiple, layered applications of pastel. We’ll work on the heavily textured side of Canson Mi-Teintes pastel paper.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |