This document provides an overview of techniques for painting with soft pastels. It begins by listing the basic supplies needed, including different types of pastel sticks and supports. It then discusses various techniques such as using different grips and strokes, layering color, blending, and correcting mistakes. The document also covers principles of color theory and creating harmonious color schemes. Three artists then demonstrate their methods for landscapes, still lifes, animals and portraits in soft pastel. Readers are guided through the entire painting process from initial sketches to finishing details.
Oil pastels can be used in a variety of techniques including stenciling, blending, impasto, hatching and cross-hatching, parallel brush strokes, using fragmented colors, and scratching. The stencil technique involves using oil pastel as a backdrop covered by an ink wash, watercolor, or diluted acrylic paint, allowing the pastel to show through. Blending involves mixing colors using fingers, stumps, or solvents. Impasto creates thick, dense lines that bring out texture and intensity. Hatching and cross-hatching underline relief and create varied hues and textures.
The document discusses three types of figure drawing: gesture drawing, contour drawing, and volume drawing. Gesture drawing focuses on capturing the pose quickly without details. Contour drawing emphasizes awareness of outer edges and looking at the model more than the paper. Volume drawing studies the human form through values without lines, noticing how clothing drapes and joins the body beneath. Examples are provided of each type of drawing.
This document introduces different types of drawing techniques, including blind contour drawing where the artist only looks at the subject and not the paper, modified contour drawing where the artist looks mostly at the subject and briefly at the paper, and cross-contour lines that show the three-dimensional form of a subject across its shapes. It also discusses gesture drawings that capture movement through quick sketches, and using value, or light and dark shades, to convey form in two-dimensional drawings. Famous artists like da Vinci, Rembrandt, Picasso, and Escher employed various techniques.
A still life is a drawing or painting of inanimate objects arranged by the artist. Setting up an effective still life composition requires choosing a location with good lighting, including architectural elements for direction, and selecting interesting objects to demonstrate value and composition skills. When creating a still life drawing or painting, artists should plan the arrangement of objects, sketch the composition lightly, add value gradually to define shapes rather than using hard lines, and aim for a full range of tones. Proper drawing position and taking time to plan the composition before rendering details are also important tips for developing still life works.
The document discusses color theory and how color is created and used. It explains that color is the product of light's spectrum being reflected or absorbed by the human eye and brain. Color theory principles and diagrams can be used to create color combinations. The color wheel is a visual representation that arranges colors by their chromatic relationship and shows how primary, secondary, and tertiary colors are formed by mixing others. Color schemes involve using groups of colors and how they are combined impacts moods and meanings conveyed. Color systems refer to how colors are produced digitally with monitors using RGB and physically with printers using CMYK.
Gesture drawing involves rapidly capturing the form and movement of a model in a short time period (2 minutes or less) through loose lines and shapes. It helps train hand-eye coordination and understanding of proportion and form. The process involves determining the line of action through the spine and adding volume around this line to define the major body sections and joint positions. Artists should practice different styles like continuous line, line and circle, or using a thick brush to find their preferred approach for gesture drawing.
While pen and ink drawings cannot technically create tonal values, there are techniques that can create the illusion of value through hatching, crosshatching, and scumbling. Hatching uses parallel lines to fill an area and appear darker from a distance. Crosshatching layers lines at angles to each other. Scumbling uses small, varied scribbles to build texture and value. These techniques allow pen and ink drawings to suggest light and shadow through line work alone.
Oil pastels can be used in a variety of techniques including stenciling, blending, impasto, hatching and cross-hatching, parallel brush strokes, using fragmented colors, and scratching. The stencil technique involves using oil pastel as a backdrop covered by an ink wash, watercolor, or diluted acrylic paint, allowing the pastel to show through. Blending involves mixing colors using fingers, stumps, or solvents. Impasto creates thick, dense lines that bring out texture and intensity. Hatching and cross-hatching underline relief and create varied hues and textures.
The document discusses three types of figure drawing: gesture drawing, contour drawing, and volume drawing. Gesture drawing focuses on capturing the pose quickly without details. Contour drawing emphasizes awareness of outer edges and looking at the model more than the paper. Volume drawing studies the human form through values without lines, noticing how clothing drapes and joins the body beneath. Examples are provided of each type of drawing.
This document introduces different types of drawing techniques, including blind contour drawing where the artist only looks at the subject and not the paper, modified contour drawing where the artist looks mostly at the subject and briefly at the paper, and cross-contour lines that show the three-dimensional form of a subject across its shapes. It also discusses gesture drawings that capture movement through quick sketches, and using value, or light and dark shades, to convey form in two-dimensional drawings. Famous artists like da Vinci, Rembrandt, Picasso, and Escher employed various techniques.
A still life is a drawing or painting of inanimate objects arranged by the artist. Setting up an effective still life composition requires choosing a location with good lighting, including architectural elements for direction, and selecting interesting objects to demonstrate value and composition skills. When creating a still life drawing or painting, artists should plan the arrangement of objects, sketch the composition lightly, add value gradually to define shapes rather than using hard lines, and aim for a full range of tones. Proper drawing position and taking time to plan the composition before rendering details are also important tips for developing still life works.
The document discusses color theory and how color is created and used. It explains that color is the product of light's spectrum being reflected or absorbed by the human eye and brain. Color theory principles and diagrams can be used to create color combinations. The color wheel is a visual representation that arranges colors by their chromatic relationship and shows how primary, secondary, and tertiary colors are formed by mixing others. Color schemes involve using groups of colors and how they are combined impacts moods and meanings conveyed. Color systems refer to how colors are produced digitally with monitors using RGB and physically with printers using CMYK.
Gesture drawing involves rapidly capturing the form and movement of a model in a short time period (2 minutes or less) through loose lines and shapes. It helps train hand-eye coordination and understanding of proportion and form. The process involves determining the line of action through the spine and adding volume around this line to define the major body sections and joint positions. Artists should practice different styles like continuous line, line and circle, or using a thick brush to find their preferred approach for gesture drawing.
While pen and ink drawings cannot technically create tonal values, there are techniques that can create the illusion of value through hatching, crosshatching, and scumbling. Hatching uses parallel lines to fill an area and appear darker from a distance. Crosshatching layers lines at angles to each other. Scumbling uses small, varied scribbles to build texture and value. These techniques allow pen and ink drawings to suggest light and shadow through line work alone.
The document provides instructions for creating a tints and shades color wheel by starting with a white circle and adding incremental amounts of blue to subsequent rings, mixing thoroughly between each ring and getting progressively darker, until reaching the corners of the page.
The document provides information about pastels including their origins in the 15th century and early use by artists like Leonardo da Vinci and Federico Barocci. It notes that Rosalba Carriera was the first artist renowned for her pastel portraits in the 1700s. Later, artists like Degas championed pastel, raising it to the brilliance of oil paint. The document also describes the composition of pastels, types including soft and hard pastels, techniques for working with them, and surfaces used.
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Gesture drawing focuses on capturing the essence and movement of a subject quickly before the moment passes. It is not meant to be a precise representation, but rather a way to depict the overall form through loose, quick lines that show weight and energy. Gesture drawings help practice capturing an object's movement and energy in a short time period without details, making them useful for warm-ups before more serious drawings.
The document discusses contour line drawings and provides instructions for a contour line drawing project of a snarling animal. It defines contour lines as clean, connected outlines that emphasize the shape without shading. Students will first practice contour line drawings of hands, then draw the contour of a snarling animal face brought from a photo. They will then add "wrappings" to show volume and finish it with ink, colored pencil and marker.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
This document provides information about still life drawings, including their composition. It defines a still life as a painting or drawing of objects that cannot move, like bottles, bowls, fruit, and flowers arranged on a tabletop. The composition of a still life uses principles of design like pattern, balance, movement, and unity to organize elements. Analyzing a still life involves identifying the overall shape, center of interest which draws the eye, and how the composition moves the eye through the work. Artists often use pyramid formations or contrasting values and colors to emphasize focal points and guide movement.
Value drawing uses ranges of tones from light to dark to create a three-dimensional illusion without outlines. Key aspects of value drawing include using a range of tones from white to black to define shapes, eliminating outlines in favor of using value differences to describe objects, and thinking in terms of shading areas rather than lines. Successful value drawings use light and dark tones throughout the entire composition.
The document discusses still life drawings and paintings, which depict arranged inanimate objects like fruit, pottery, and flowers. Still lifes allow artists to control composition unlike landscapes. They are a good way to practice observational drawing techniques and developing value scales from light to dark. The tips suggest pretending objects are new, focusing on realistic shading over symbols, and lightly sketching shapes before adding value with techniques like hatching or blending.
The document discusses color theory and the color wheel. It explains that primary colors cannot be created by combining other colors, secondary colors are made by mixing two primary colors, and tertiary colors are a mix of a primary and secondary color. It also defines neutral colors that are not on the color wheel but used in mixing, and describes values like shade, tone, hue and tint which relate to the lightness, darkness, and mixing of colors.
The document discusses texture in visual art. It defines texture as the surface quality or "feel" of an object, describing tactile texture as the actual 3D feel and visual texture as the illusion of texture. It provides examples of texture in nature and art, and discusses different techniques artists use to create the illusion of texture in 2D works, such as using lines, folding paper, stamping, and collage.
This document provides examples and guidance on using contour line drawing techniques. It discusses how contour drawing uses varied line thickness instead of shading to define shape and form. Several masterworks are shown that demonstrate effective use of thick and thin lines to depict shadows, surfaces, and details. The document emphasizes using harder or softer pencils and pressure to vary line darkness. It also stresses the importance of strong composition, such as following the rule of thirds, in contour line drawings.
The document provides instructions for blind contour line drawing and check-back contour line drawing exercises. For blind contour drawing, the goal is to draw the outline of a subject like one's hand without looking at the paper. Specific instructions are given to move slowly and follow all curves and details of the subject. Several hand positions are listed to practice blind contour drawing. For check-back contour drawing, the instructions are similar but allow looking back and forth between the subject and paper, spending 80% of time looking at the subject.
Mrs. Davis introduces charcoal types and techniques, how to use a toned ground and tone your own ground, how the value of the ground you use plays with the value scale.
The document discusses color theory and different aspects of color including:
- The color wheel which shows the primary, secondary, and tertiary colors. Primary colors are red, yellow, and blue.
- Color values which are the lights and darks of colors created by mixing colors with black or white. Tints are lightened colors mixed with white, and shades are darkened colors mixed with black.
- Warm colors are found on the right side of the color wheel like reds, oranges, and yellows. Cool colors are on the left side like greens, blues, and purples.
- Different color schemes including monochromatic using one color, complementary using opposite colors, analogous using adjacent colors, and
The document provides tips for caring for acrylic paintbrushes to maximize their lifespan. It recommends: 1) Never letting acrylic paint dry on the brush, 2) Avoiding getting paint on the ferrule, and 3) Not resting the brush bristles-down in water. In an emergency, it suggests quickly rinsing and squeezing out the brush then leaving it resting across a water cup rim. Proper cleaning involves removing excess paint, massaging the brush in warm soapy water, rinsing, then storing the dry brush flat away from heat.
Pastels are a drawing medium made of pure powdered pigment and a binder. This tutorial provides instructions for using pastels to create portraits by first laying down a base layer of color and then adding details through layering, blending, and shading different values of the same color. The goal of the tutorial is to teach basic pastel techniques for drawing portraits.
This tutorial provides instructions for drawing faces using pastels. It teaches techniques for creating portraits using the soft, powdery art medium of pastels. The artist Robert Chełchowski presents methods for applying pastels to capture facial features and expressions.
The document provides instructions for creating a tints and shades color wheel by starting with a white circle and adding incremental amounts of blue to subsequent rings, mixing thoroughly between each ring and getting progressively darker, until reaching the corners of the page.
The document provides information about pastels including their origins in the 15th century and early use by artists like Leonardo da Vinci and Federico Barocci. It notes that Rosalba Carriera was the first artist renowned for her pastel portraits in the 1700s. Later, artists like Degas championed pastel, raising it to the brilliance of oil paint. The document also describes the composition of pastels, types including soft and hard pastels, techniques for working with them, and surfaces used.
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Gesture drawing focuses on capturing the essence and movement of a subject quickly before the moment passes. It is not meant to be a precise representation, but rather a way to depict the overall form through loose, quick lines that show weight and energy. Gesture drawings help practice capturing an object's movement and energy in a short time period without details, making them useful for warm-ups before more serious drawings.
The document discusses contour line drawings and provides instructions for a contour line drawing project of a snarling animal. It defines contour lines as clean, connected outlines that emphasize the shape without shading. Students will first practice contour line drawings of hands, then draw the contour of a snarling animal face brought from a photo. They will then add "wrappings" to show volume and finish it with ink, colored pencil and marker.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
This document provides information about still life drawings, including their composition. It defines a still life as a painting or drawing of objects that cannot move, like bottles, bowls, fruit, and flowers arranged on a tabletop. The composition of a still life uses principles of design like pattern, balance, movement, and unity to organize elements. Analyzing a still life involves identifying the overall shape, center of interest which draws the eye, and how the composition moves the eye through the work. Artists often use pyramid formations or contrasting values and colors to emphasize focal points and guide movement.
Value drawing uses ranges of tones from light to dark to create a three-dimensional illusion without outlines. Key aspects of value drawing include using a range of tones from white to black to define shapes, eliminating outlines in favor of using value differences to describe objects, and thinking in terms of shading areas rather than lines. Successful value drawings use light and dark tones throughout the entire composition.
The document discusses still life drawings and paintings, which depict arranged inanimate objects like fruit, pottery, and flowers. Still lifes allow artists to control composition unlike landscapes. They are a good way to practice observational drawing techniques and developing value scales from light to dark. The tips suggest pretending objects are new, focusing on realistic shading over symbols, and lightly sketching shapes before adding value with techniques like hatching or blending.
The document discusses color theory and the color wheel. It explains that primary colors cannot be created by combining other colors, secondary colors are made by mixing two primary colors, and tertiary colors are a mix of a primary and secondary color. It also defines neutral colors that are not on the color wheel but used in mixing, and describes values like shade, tone, hue and tint which relate to the lightness, darkness, and mixing of colors.
The document discusses texture in visual art. It defines texture as the surface quality or "feel" of an object, describing tactile texture as the actual 3D feel and visual texture as the illusion of texture. It provides examples of texture in nature and art, and discusses different techniques artists use to create the illusion of texture in 2D works, such as using lines, folding paper, stamping, and collage.
This document provides examples and guidance on using contour line drawing techniques. It discusses how contour drawing uses varied line thickness instead of shading to define shape and form. Several masterworks are shown that demonstrate effective use of thick and thin lines to depict shadows, surfaces, and details. The document emphasizes using harder or softer pencils and pressure to vary line darkness. It also stresses the importance of strong composition, such as following the rule of thirds, in contour line drawings.
The document provides instructions for blind contour line drawing and check-back contour line drawing exercises. For blind contour drawing, the goal is to draw the outline of a subject like one's hand without looking at the paper. Specific instructions are given to move slowly and follow all curves and details of the subject. Several hand positions are listed to practice blind contour drawing. For check-back contour drawing, the instructions are similar but allow looking back and forth between the subject and paper, spending 80% of time looking at the subject.
Mrs. Davis introduces charcoal types and techniques, how to use a toned ground and tone your own ground, how the value of the ground you use plays with the value scale.
The document discusses color theory and different aspects of color including:
- The color wheel which shows the primary, secondary, and tertiary colors. Primary colors are red, yellow, and blue.
- Color values which are the lights and darks of colors created by mixing colors with black or white. Tints are lightened colors mixed with white, and shades are darkened colors mixed with black.
- Warm colors are found on the right side of the color wheel like reds, oranges, and yellows. Cool colors are on the left side like greens, blues, and purples.
- Different color schemes including monochromatic using one color, complementary using opposite colors, analogous using adjacent colors, and
The document provides tips for caring for acrylic paintbrushes to maximize their lifespan. It recommends: 1) Never letting acrylic paint dry on the brush, 2) Avoiding getting paint on the ferrule, and 3) Not resting the brush bristles-down in water. In an emergency, it suggests quickly rinsing and squeezing out the brush then leaving it resting across a water cup rim. Proper cleaning involves removing excess paint, massaging the brush in warm soapy water, rinsing, then storing the dry brush flat away from heat.
Pastels are a drawing medium made of pure powdered pigment and a binder. This tutorial provides instructions for using pastels to create portraits by first laying down a base layer of color and then adding details through layering, blending, and shading different values of the same color. The goal of the tutorial is to teach basic pastel techniques for drawing portraits.
This tutorial provides instructions for drawing faces using pastels. It teaches techniques for creating portraits using the soft, powdery art medium of pastels. The artist Robert Chełchowski presents methods for applying pastels to capture facial features and expressions.
This document provides a tutorial on pastels. It discusses techniques for working with pastels by Polish artist Robert Chełchowski. The tutorial aims to teach basic skills for using pastels to create art.
This tutorial provides instruction on the use of pastels as an art medium. It was created by Krystian Robert Chełchowski to teach basic pastel techniques. The tutorial covers topics such as the different types of pastels available, proper pastel paper selection, blending techniques, layering, and creating texture.
This tutorial provides instructions for drawing daffodils using pastels. It was created by Robert Chełchowski to teach basic pastel techniques. The tutorial guides the reader through shading, blending, and highlighting to realistically depict the yellow flowers.
Robert Chelchowski - Tutorial of pastels - this is kitschRobert Chełchowski
This 1 sentence document appears to be stating "This is kitsch" without any other context or explanation. It provides very little information to summarize in just 3 sentences or less.
Pastel Evolution is a business management software used by over 170,000 companies in over 50 countries. It provides integrated accounting, inventory management, payroll, customer relationship management and business intelligence features. The document shares success stories from several companies that implemented Pastel Evolution and saw benefits like improved efficiency, productivity and visibility into their business operations. It allows capturing all business data in a centralized database for a holistic view of company performance.
The document discusses pastel drawing techniques for still life subjects like fruit. It explains that soft, oil, and stick pastels offer portable and mess-free options for experimenting with color. Impressionist artists used pastels to capture spontaneous effects of light through loose strokes and layering of bright colors. Pastels are well-suited for conveying a sense of movement and fleeting light in subjects. The document provides instructions for creating a still life pastel drawing using light outlines and layers of color blended together.
This document summarizes a course on drawing and painting with pastels. It covers techniques such as layering pastels to build color, using complementary colors for shading, and limiting the palette. It also discusses composition principles like balance, focal points, and using repeating shapes, colors and movement. The goal is to provide students new to pastels with guidance on materials, techniques and concepts to create richly colored and expressive pastel paintings.
Before painting with watercolours, it is very important to consider some elements of painting, such as the materials to use, the composition of the color, the perspective and different washes for painting.
The document discusses various techniques for mixing and layering colored pencils to create depth, texture, and realism in drawings. It explains that all color mixing uses primary colors of red, blue, and yellow, and secondary colors are created by combining primaries. Various layering techniques are described such as hatching, cross hatching, scumbling, burnishing, and directional lines to build up color and texture through overlapping layers. Examples of drawings demonstrate how these techniques can be used to render different surfaces and textures like fabric, wood, and fruit.
This document provides instructions for four oil pastel techniques to include in an art journal:
1. Apply a thick layer of lighter colored oil pastel, then cover with thick black paint and carve a pattern using a paper clip or nail.
2. Start with a thick coating of color and continue outward with an analogous color, blending with a lighter color or your finger.
3. Apply various colors thickly and use tape to rub or paint color, peeling back the tape for a sharp edge.
4. Create pointillism by adding dotted colors on a background to create value and texture by mixing on the paper.
This document provides instruction for students taking a creative industry course on visual art. It covers the key elements of color, form, and space. For color, it defines the properties of hue, intensity, and value. It also explains color schemes using the color wheel and complementary, analogous, split-complementary, triadic, square, and rectangle schemes. For form, it defines form and how to render form in 2D using values, highlights and shadows. For space, it defines positive and negative space, open and closed space, shallow and deep space, and 2D and 3D space. It provides instructions for completing plates demonstrating color wheel, complementary colors, warm/cool colors, types of form, and rendering form with
This document provides an overview of watercolor painting techniques. It discusses the basics of watercolor paints, including different types of paints and how pigment interacts with water. It also covers tools for watercolor painting like brushes, palettes, and paper. Specific paper types are described along with their properties. Brush types are defined and brush care is discussed. The document serves as a beginner's guide to understanding watercolor materials and techniques.
The document discusses the color wheel and color theory. It explains that the color wheel shows the relationships between colors and is used by artists. The primary colors are red, yellow, and blue. Secondary colors are orange, green, and purple and are created by mixing primary colors. Tertiary colors are made by mixing primary and secondary colors. Shades are made by mixing a color with black, while tints are made mixing a color with white.
This art project combines a plaster cast of two arms with a painted canvas. The plaster arms symbolize holding oneself back from potential. The painting depicts a wave, moon, and dark sky to symbolize hope and light within darkness. Colors like blue represent trust and faith, while black represents fear. The artwork aims to express longing for something better by overcoming fears. While the plaster had some imperfections, the conveyed message of growth and potential was successful.
AS 90019 involves recording information from subject matter to demonstrate basic drawing and compositional conventions, and control of wet and dry media in recording information.
Paper Craft Planet and Stampendous team up to bring you this weekly series on the Basics of Rubber Stamping.
This is lesson #5 -- embossing and painting with powder techniques
This document provides tips and techniques for applying acrylic paint as an underpainting or base layer on a canvas. Some key points covered include:
- Using pure turpentine to thin pigment for underpainting layers to allow it to blend seamlessly with subsequent layers.
- Applying a light tonal ground first if an area will remain exposed to avoid a stark white canvas.
- Avoiding too much medium in initial layers to prevent cracking and peeling as the painting ages.
- Suggestions for cool transparent purple hues to use for overpainted warm layers in shadows, as well as color mixing tips.
- Different approaches for underpainting like blocking local colors, contrasting colors
The document provides instructions for creating a religious icon. It describes applying gesso to prepare the canvas surface. Then painting the surface and edges brown. Carefully ripping religious images and text rather than cutting them and gluing them onto the canvas. Additional techniques include adding texture by gluing pieces of wallpaper and lace to the background. Gold leaf is applied over shellac to highlight parts of the icon. The entire surface is finally sealed with another layer of shellac.
This document discusses different color schemes including monochromatic, analogous, complementary, split complements, and color triads. It provides descriptions of each scheme, noting things like monochromatic uses one color, analogous uses neighboring colors on the color wheel, complementary uses opposite colors for contrast, split complements add two neighbors of the complement, and triads use three equally spaced colors which can be difficult to balance. Warm and cool colors are also mentioned, with examples like sunshine being warm and ice/water being cool. The document ends with activities involving designing initials or names and coloring them using one of the color schemes.
Here are the key points of one-point perspective:
- The horizon line represents the viewer's eye level.
- One vanishing point is selected, and all lines going back in space recede toward this single vanishing point.
- The sides of objects parallel to the picture plane remain parallel as they recede toward the horizon line.
- Objects above the horizon line appear smaller than objects below the horizon line.
This document provides a list of materials, tools, art elements, and techniques for use in art projects. It includes various types of paper, cardboard, fabric, paint, glue, and other common art supplies. It also lists tools for writing, cutting, taping, and other tasks. Basic art elements like lines, shapes, colors, and textures are defined. Finally, it outlines several art techniques such as collage, drawing, painting, modeling, and weaving.
This document provides information about color schemes and effects in visual art. It defines six color scheme terms: monochrome, harmonious, complementary, subdued/minimal, realistic, and earthy. For each term, it provides the definition and examples to illustrate the concept. It then prompts the reader to identify the color scheme used in various example images. After answering these questions, it instructs the reader to create a drawing applying the six color schemes to different sections to practice distinguishing between them. The document teaches key concepts of color theory and schemes through definitions, examples, and an interactive exercise.
The document discusses the key elements of art - line, shape, form, space, texture, value and color. It provides details and examples for each element:
- Line can be horizontal, vertical, diagonal and expressive or constructive. It is the path a point takes through space.
- Shape is 2D while form is 3D. Geometric and organic shapes are discussed.
- Value uses light and dark to add realism using techniques like cross-hatching and stippling.
- Color uses the color wheel to understand primaries, secondaries and how temperature conveys emotion.
- Texture can be tactile or implied to depict how surfaces feel or look.
- Space
The seven elements of art are line, shape, form, space, value, color and texture. These elements are the essential components, or building blocks, of any artwork. Any good artwork should consist of these 7 ingredients.
This document provides biographies of several artists who contributed work to the book The Art of Basic Drawing, including Michael Butkus, Walter T. Foster, and Michele Maltseff. It also includes an overview of the tools and materials useful for basic drawing, such as pencils, erasers, and different types of paper. Finally, the document introduces basic concepts of perspective that are important for creating realistic drawings.
This document provides biographies of several artists who contributed work to the book The Art of Basic Drawing, including Michael Butkus, Walter T. Foster, and Michele Maltseff. It also includes an overview of the tools and materials useful for basic drawing, such as pencils, erasers, and different types of paper. Finally, the document introduces basic concepts of perspective that are important for creating realistic drawings.
This document provides biographies of several artists who contributed work to the book The Art of Basic Drawing, including Michael Butkus, Walter T. Foster, and Michele Maltseff. It also includes an overview of the tools and materials useful for basic drawing, such as pencils, erasers, and different types of paper. The introduction describes how the book covers a diverse range of drawing subjects and techniques to inspire readers and provide lessons from different artistic perspectives.
Barbie Movie Review - The Astras.pdffffftheastras43
Barbie Movie Review has gotten brilliant surveys for its fun and creative story. Coordinated by Greta Gerwig, it stars Margot Robbie as Barbie and Ryan Gosling as Insight. Critics adore its perky humor, dynamic visuals, and intelligent take on the notorious doll's world. It's lauded for being engaging for both kids and grown-ups. The Astras profoundly prescribes observing the Barbie Review for a delightful and colorful cinematic involvement.https://theastras.com/hca-member-gradebooks/hca-gradebook-barbie/
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
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Introduction
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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1. personal tips and methods for painting a number of capti-
vating soft pastel subjects—from landscapes and still lifes
to animals and portraits. Each artist guides you step by step
through the lessons, starting with initial sketches and end-
ing with the finishing details. You will also learn a variety
of techniques that will give you a new appreciation of the
medium, inspire you to explore the creative possibilities that
pastel has to offer, and allow you to create your own works
of fine art!
Introduction
P
astel is a wonderful painting medium. The
colours can be rich and vibrant or soft and
subdued, and you can create many inter-
esting and varied textures by blending and layering
pastels. By twisting the pastel stick or using the tip
instead of the side, you can produce anything from
precise lines to broad strokes. And because it’s dry to
begin with, the colour won’t change after it has been
applied; nor will it fade, crack, or yellow over time.
In this guide, three accomplished pastel artists will share their
2. Tools and Materials
SUPPLIES Since 1766,
Reeves has been manu-
facturing excellent quality
paints and brushes and
has long been established
around the world as a
wonderful source of art
material for beginners.
Pastel Supplies
You don’t need many supplies to paint in pastel; unlike oil
or acrylic paints, this medium doesn’t require additives or
brushes. All you really need is a set of pastels and a variety of
papers (or supports). And if you add a few additional materi-
als described on these pages, you’ll be ready to explore the
range of possibilities pastel has to offer.
Soft Pastels
Pastels are available in several forms—including oil pastels
and hard, clay-based pastel sticks and pastel pencils—but
chalklike soft pastels are a popular choice and are the type
used for the projects in this book. These sticks produce a
beautiful, velvety texture and are easy to
blend with your fingers or
a cloth. If you are a
beginner, you may want
to purchase a preselected
set of colours.R eeves offers
three convenient sets, each
in a different quantity. When
purchasing pastels, keep in
mind that pastel colours are
mixed on the paper as you
paint, rather than pre-
mixed on a palette.
Therefore try
to buy a wide
range of colours
in various values
(lights, mediums,
and darks; see next pages)
so you will always have the
colour you want readily at hand.
Pastel Supports
The texture and colour of the paper you choose
to paint on will affect your results. Because of
the delicate nature of soft pastels, you need
a paper that has some tooth, or grain, for the
pigment to stick to. A rough support, such as
pumice board or sanded paper (both made
especially for pastel application), will “break
up” the applied strokes and create texture, while a smoother
surface, such as velour, canvas, or watercolour paper, will make
the unbroken colours appear more intense. Pastel supports are
also available in a variety of colours; you can choose a colour
that offers a contrasting background tone or one that is in
the same colour range as your subject. (For more on using col-
oured supports, see next pages).
Other Necessities
In addition to pastels and papers, a few other tools will come
in handy as you paint. Use scissors to trim your supports
and vine charcoal to sketch your subjects. (Charcoal is easy
to erase and can be painted over with pastel.) A sandpaper
block works well as a sharpener, and a razor blade is great
for breaking the pastels cleanly. Sometimes you may wish
to stroke over your base coat with denatured alcohol on a
soft brush to wash the colour thoroughly into the paper.Y ou
will also need tools for blending, such as a foam brush, a
soft rag, or a paper blending stump. (See next pages for more
information on blending.) You may
want to purchase spray fixative (see
next pages) and acrylic or water colour
paints and brushes for underpaint-
ings. And to protect your finished
artwork from smearing, always
store your pastel paintings between
a board and a cover sheet: Purchase
artist’s tissue paper by the roll
and cut it to fit your
painting; then affix the
paper to the back of the
support with low-tack
artist’s tape.
Work Space
Your work area can be an elaborate studio
or just a corner in a room, but two elements
are absolutely essential: comfort and good
lighting. Natural light is best, and you’ll
want to work in a place where you’ll have
few distractions. Also include a supportive
chair—when you’re comfortable, you’ll be
able to work for longer periods of time, and
you’ll find the overall experience more pleas-
ant. When you set up your studio, keep all
your materials within easy reach, and make
sure you have adequate artificial light if you
work at night. It is also helpful to sort your pastels by colour
and value (see next page) to make it easier to find the colours
you want while you are painting.
3. The pastel surface is clogged and will not hold any
more pastel.
Below is shown (A) an unclogged surface, (B)
a surface filled, and (C) a surface clogged,
too compressed, and slick.
(A) An underpainting done in acrylic on canvas
can sometimes get too slick to hold pastel.
(B) Water -media used on pastel paper or flimsy
water colour paper causes buckling.
LIGHTWEIGHT
PAPER: (1) Brush
off excess pastel
and (2) spray
fixative lightly.
STURDY PAPER: (1)
Brush off excess pastel,
(2) press down sticky
side of masking tape
and lift, and (3) spray
fixative.
PUMICE BOARD: (1)
Brush off excess pastel,
(2) spray fixative heavily,
and (3) apply a mixture
of pumice and matte
painting med ium.
(A) Mix pumice with matte medium, and apply it to the
clogged area. Let it dry. You can then add more pastel.
(B) Soak the paper in water for five minutes, place it on
a wooden board, dry off the edges of the paper, and affix
the paper to the board with tape or staples.
Tape Staples
A B C
(A) Pastels get so dirty that you
cannot tell one from another.
(B) Pastel dust goes everywhere,
tickles your throat, and makes
you cough.
(C) You are not satisfied with the
painting and cannot figure out
what to change.
(A) Put your pastels in a box of sawdust
or uncooked rice, shake them up, and
they will be as clean as new.
(B) Use aluminum foil to make a gutter
below your painting to catch dust.
Don’t blow on the surface too much. If
you are work ing indoors, you may need
to wear a mask.
(C) Gain a new insight into
the design by looking at it
in a mirror or by turning the
painting upside down.
Problems Solutions
Problems Solutions
Problem Solutions
4. Knowing a little about basic colour theory can help you
tremendously in painting with pastels. There are three
primary colours (yellow, red, and blue); all other colours are
derived from these three. Secondary colours (purple, green,
and orange) are a combination of two primaries (for exam-
ple, mixing red and blue makes purple). Tertiary colours are
those that you get when you mix a primary with a second-
ary colour (such as red- orange, red- purple, or blue- green).
And the term complementary refers to colours that are directly
across from each other on the colour wheel.In addition, there
are other terms to remember when mixing colours:Hue refers
to the colour itself (such as blue or purple),intensity means
the strength or chroma of a colour (in pastel, usually gauged
by pressure applied), and value is the lightness or darkness of
colour. For more information on colour properties and values,
see the examples below.
Colour eory
SMOOTH BLEND Here side strokes of yellow
are layered smoothly over blue to create a
bright green, which has more life and inter-
est than a manufactured green.
UNBLENDED STROKES Choppy, unblended
strokes of yellow and blue create the impres-
sion of green. Instead of blending the colours
on the paper, the eye visually mixes them.
MIXING THREE COLOURS Here strokes of
lavender and turquoise are layered over blue.
This creates a richer colour than a mix of just
two colours does.
Surface Mixing Pastel Colours
Cool
Warm
PROPERTIE S OF COLOUR In the standard colour
wheel shown above, you can see four prop-
erties of colour: (1) value (colours drop in value
from yellow toward violet); (2) hue; (3)
chroma (colours become grayer toward the
center); and (4) temperature (warm versus
cool colours). The so -called warm colours are
the reds, oranges, and yellows, and the cool
colours are the blues, greens, and purples.
CHROMA OF COLOUR The diagram above
shows the position of various pastel colours
on the colour wheel in relation to their
chroma: The farther from the center of the
wheel the colour is, the higher its chroma. For
example, raw umber is a low chroma yellow,
and burnt sienna is a low chroma red -orange.
Permanent red and turquoise have more
intensity, so they sit farther from the center.
PRE SSURE AND VALUES On toned (coloured)
paper, pressure is a key element in determin-
ing values. Here you can see how two values
of the same colour appear when applied with
di rent amounts of pressure. From left to
right above, light, medium, and heavy strokes
from only one light or dark pastel yield at
least three values. (See next page for more on
how using toned paper can a ct your work.)
Light
pressure
Medium
pressure
Heavy
pressure
Light
pink
Dark
pink
Light
pink
Dark
pink
Light
pink
Dark
pink
Y
V
R
O
G
B
Yellow
Gold
ochre
Raw
siennaOlive
green
Raw
umberTurq.
blue
Perm.
green
Burnt
umber
Cobalt blue
Ultra
blue
Blue -violet Red-violet
Carmine
Perm.
red
Burnt
sienna
Orange
5. A
B
C
A
White
Black Red Orange Yellow Green Blue Violet
10
8
6
4
2
0
Values
CHARTING VALUES Although the value scale on this chart goes from 0
(black) to 10 (white), most pastel sets have only three or four values; this
is not usually a problem, since you can create your own mixtures by adding
black or white to the pure colour.
Choosing a Range of Values
The colour chart above approximates the range of pastel colours
you should have in your set. For example, when you reach for
a red (column 1), you should be able to locate at least three
values of red: a light tint (the colour plus white), a pure hue,
and a dark shade (the colour plus black).These colours corre--
spond to the gray scale at the left of the colour chart.In addi--
tion, you should have several intensities of red. The red in each
row in the chart gets a little grayer from left to right—these
are your “earth colours.”This chart is also helpful for visualizing
various colour schemes, such as single- colour, or monochromatic
schemes (all colours in one column); similar, or analogous har--
monies (neighboring columns combined), or complementary
harmonies (skip two columns; for example, red and green).
Ovals A, B, and C show how three different analogous colour
schemes were applied to the three sketches of the same view
shown at right.
Using Analogous Colours
Analogous colours are those that are adjacent to each other on the
colour wheel, such as yellow, reddish yellow, and yellowish red.
Example A to the right shows a warm analogous colour harmony
with an accent of violet (autumn colours).Example B is an analo-
gous scheme with more natural colours and burnt sienna accents
(a summer scene). And example C shows colour harmonies like
those at dawn or dusk. Experiment with different colour har-
monies and try some additional studies of your own.
(A)
(B)
(C)
6. Soft Pastel Techniques
USING THE POINT Grip the pastel stick near
the back end and use the point (or the edge of
the at tip) to create thin, fairly even lines for
linear textures, such as long grasses or wood
grain.
USING THE SIDE Place the stick on the sup-
port, press down on its length, and stroke
either lengthwise or sideways to create thick,
overlapping, hap hazard lines, as for back-
ground textures.
USING THE END Hold the pastel stick verti-
cally on the support, and grip it near the tip.
Then use the end to make thick, rounded
strokes for elements such as cobbled roads
or brickwork.
Grips
Working with soft pastels allows you to apply colour directly
to the support, without any type of tool or brush to “trans-
late” your strokes. This means that the way you hold the
pastel stick (overhand or underhand), where you hold it,
CUT THE SHAPE Begin by drawing the shape
on a piece of tracing paper and cutting it out.
APPLY THE COLOUR After painting the back-
ground, apply the mask and then add colour.
REMOVETHE MASK Carefully peel away the
mask to reveal the crisp shape underneath.
Masking
When working with soft pastel, the dusty nature of the
medium sometimes makes it difficult to create clean, hard
edges. One solution to this dilemma is to use a masking
technique to create sharp edges. If you need a straight line,
you can use the edge of a clean piece of paper as a guide.
and the amount of pressure you apply will affect the stroke
you create. Although there is no “correct” way to hold your
pastels, it’s a good idea to experiment with different grips to
learn what types of strokes each one will help you produce.
Just lay it over your support, secure it in place with artist’s
tape, and apply the pastel over the edge. When you’re done
painting, carefully peel the top sheet away to avoid smudg-
ing. For a clean-edged shape, you can create a special mask
with tracing paper in any shape you like, as shown below.
7. Strokes
Pastel can be applied with sharp, linear marks or soft, broad
strokes of colour and texture, depending on the effect you wish
to create. Here are some examples of strokes you can practice
as you explore the possibilities of working with pastel.
SIDE STROKES Use the entire length of the pas-
tel stick to quickly fill in areas of broad colour, as
for skies and water.
FIRM STROKES Use heavy pressure and the tip
of the pastel to create thick, bold strokes for
linear elements, such as stems and branches.
TAPERED STROKES Apply more pressure at the
bottom of the stroke and lighten the pressure as
you end the stroke for animal hair or feathers.
RANDOM STROKES Use random, scribbling
strokes to convey texture (like that of distant
foliage) or to create shading. Hold the pastel
stick lightly and keep your wrist loose.
SQUIGGLY LINE S Create free -form, squiggly
lines with the end of a large pastel stick to help
convey the look of waves or the movement of
running water.
VARYING PRE SS URE Use heavier pressure (at
left) to make thick, dark lines for reflections in
still water, and use lighter pressure (at right) to
create thinner, broken strokes for ripples.
CROSS -HATCHING Lay one set of lines over
another (in a different direction) to imitate a
pattern, depict texture in cloth, or cover a large
area without oversaturating the support.
POINTILLISM Use a series of dots to build colour
for back grounds or other large areas of colour.
Viewed from a distance, the dots appear to
merge into one colour, as the eye visually blends
them.
FEATHERING Layer feathery, light, diagonal
strokes of various colours to create the rough
textures of stucco or rock, an uneven ground,
or a swift -moving river.
8. Correcting
Mistakes
There are a number of techniques
you can try to correct any pastel
mishaps. If the pigment hasn’t been
applied too heavily, use a kneaded
eraser to lift off some colour. (Just
take care that you don’t rub the par -
ticles deeper into the support.) You
can also use the tip of a craft knife
to gently scrape off pigment, but you
must be very careful not to damage
the surface of the paper underneath.
Another approach is to use a combi -
nation of techniques, as shown here.
REMO VE COLOUR First use a stiff
bristle brush to brush off the colour
you wish to correct.
REAPPLY COLOUR Then reapply the
pigment to the area using a differ-
ent hue.
LIFT OFF THE REMAINDERS Use a
kneaded eraser to pick up and lift
off any stray particles.
Blending
Learning how to blend and layer soft pastels is essential because, unlike other paint-
ing media, the colours are not premixed on a palette. You must apply the hues directly
to the support and mix them there. You can blend the strokes thoroughly to create
a solid area of smooth colour, or you can leave visible strokes of various hues if you
want more texture. You can also use your fingers, the side of your hand, or any num-
ber of blending tools to achieve a variety of blends, ranging from rough to smooth.
BLENDING WITH A TORTILLON For soft blends,
gently rub a paper blending stump (also called a
“tortillon” or “torchon”) over the pigment.
BLENDING WITH A RAG Use a soft, lint-free
paper towel or rag to blend large areas of colour.
Take care not to wipe off too much of the
pigment.
BLENDING WITH YOUR HAND Use your fingers or
the side or your hand to work the pastel deeply
into the tooth of the paper.
BLENDING WITH A BRUSH You can use a bristle
brush (either synthetic or natural hair) to break
up the pastel particles and spread the colour
evenly on the support, as shown above.
9. Using Coloured Paper
Pastel papers come in a variety of colours; if you choose a co---
loured paper that shares a dominant hue in your painting, you
can create harmony among the colours in your painting and
BEIGE PAPER On the beige paper, the dark
center has a greater visual impact.
BLACK PAPER The contrasts are the most
dramatic on the black paper.
GRAY PAPER On the gray paper, the green
stem has less strength.
Using Fixative
Many artists use some type
of spray-on sealer or fixative
to set their work and prevent
smearing. Some artists fix
their paintings as they go, be-
ginning with a thick layer of
initial colour.T hen they spray
the first layer with sealer,
which can be painted over
with subsequent layers with-
out the risk of smudging.
Varnish, however, may darken
and thicken the pigment. An
alternative is to lay a piece of
tissue paper over your paint-
ing and cover it with a board.
Then apply firm, even pres-
sure to push the pastel parti-
cles farther into the surface
of the paper so they adhere
better.
FIXING STAGE ONE To decide whether the fixative you
have will adversely affect the colours, make a practice
test by laying down a thick layer of pigment on a piece
of pastel paper.
FIXING STAGE TWO Spray the piece with an even
layer of fixative. If the colour stays true, you can varnish
your work as you go, painting over each fixed layer
without the risk of smudging.
save a significant amount of time, as the coloured paper provides
a medium value on which to build colour.N otice how the colours
of the papers below affect the same image in different ways.