I did the follow-along sunset from Marla Baggetta’s course on the Canson Touch paper and also the Pastelmat paper, without doing any more of the underpainting than the light touch test I did on the papers earlier.
Sometimes doing the NuPastel thing doesn’t make sense to me. I noticed on one of my follow-along courses that the suggested paper to use was dark blue Pastelmat, and the suggested underpainting was to be done in Blue Spruce NuPastel. But the instructions in the form of a PDF clearly showed a taupe-colored paper, because Blue Spruce doesn’t really show up on a dark blue paper!
In any case, I tested the NuPastel by using a light touch on two different papers: the dark blue Pastelmat (where it went on “like butter”) and gives more coverage, even without rubbing it in, and the twilight Canson Touch, where it was hard and scratchy, and seemingly added no value at all!
I later attempted to brush it out of both papers, and failed. All it did was smear and grind in. Ugh!
Two of the things I recognized as being at issue with my follow-along painting from Marla Baggetta’s Sunsets in Pastel course are: my heavy touch (which led to “mud”) and my poor job at the underpainting.
The original picture is below on the right. To counteract the muddiness, I experimented with removing excess pastel in the ground area as well as the upper sky by using an inexpensive bristle brush.
The brush-off showed yet another problem — the underpainting which amounted to nothing more than a scribble. I should have done a wet wash, or a dry wash and not leave the scribbles!
That said, another thing was that I used the Blue Spruce NuPastel on Pastel Premier paper (320 grit); I had difficulty moving the hard pastel around.
So I decided to make a second attempt at the scene, being careful to keep a LIGHT touch.
This project was based on an image by MustangJoe from Pixabay. I used Colourfix Smooth in Blue Haze all three times, as well as using the same palette.
All three efforts were failures, but at least I learned a few things.
Attempt #1
First time around, I did an underpainting (of the dark areas only) using a Blue Violet NuPastel. Using this color was a BAD idea! Why? Because I would later add a dark gray-green, and a reddish brown on top of that blue violet, which made mud. Ugh!
First time around, I also used too heavy a hand, in effect scribbling with the pastels trying to cover the paper. Bad idea — too heavy a hand can ALSO create mud.
First time around, the pine trees were cartoonish. But I was so frustrated with the mud mess I didn’t care at that point!
Attempt #2
Attempt #3
I need to try colors with more purple and less green and brown. I may need to experiment with papers which have more grit.
Today I did two landscapes using the same reference photo, and the same pastels, but two different papers and underpainting.
The reference photo was from an image by Tomasz Marciniak from Pixabay. I made it grayscale to verify there was sufficient difference in values.
The pastels I used were Great American, Blick Artists’ Soft Pastels, Richeson Hand-rolled, and Blue Earth.
The first painting was done on Canson Mi-Teintes (smooth side) in the Red Earth tint. I did an underpainting with NuPastels (212 – Deep Orange, and 378 – Erin Green).
The second painting was done without any kind of underpainting, and using Pastel Premier paper in Italian Clay, a 320 grit sanded paper.
Here are the 3 pictures in grayscale: the original photo, the pastel on Canson paper, and the pastel on Pastel Premier.
Here are the three images in color (same order):
This pastel painting was based on an image by Nadine Doerlé from Pixabay.
I used one of the assorted gray shades from my pack of Canson Mi-Teintes paper (the smooth side). I used graphite for the drawing, and pastel sticks from Blue Earth, Unison, Blick, and Sennelier.
This is the first time I’ve done a pastel of a human figure.
This pastel painting is based off an image by MustangJoe from Pixabay.
I used ArtSpectrum Colourfix Smooth in Blue Haze. My underpainting was done with willow charcoal, and I used Blue Earth, Blick, Richeson Hand-rolled and Sennelier pastel half-sticks.
Today I watched a “Drawing Together” ArtistsNetwork video on YouTube about drawing hair, which is something I have trouble with — I typically draw “spaghetti hair” which, of course, is totally wrong. Now I’m learning to more accurately draw hair by drawing the shapes and masses, then just adding striations.
The reference photo is here.
This study was done on Strathmore drawing paper, using only medium willow charcoal (Winsor & Newton) and my trusty kneadable eraser. I used a paper towel and my finger for blending. Willow charcoal, it turns out, is awesome! So easy to erase or rub out and start again!
I was not focused on replicating the profile, but rather getting a sense of the hair mass.
I used a Hahnemühle non-sanded pastel paper from my sampler set to draw the pair of ornaments taken from my fireplace decorations.
I took a photo of the entire easel scene; you can see the reference objects on the left. I also took a photo of the ornaments, and the color palette I used.
I was painting from life rather than the photo reference; the photo looks somewhat bluer and I was standing at a slightly different position taking the photo than when I was actually pasteling.
BetterLateThanNeverArt 