![]() The extra tooth or texture of the paper will allow us to make multiple layered applications of oil pastels. For this image, I’ve decided to work on Canson Mi-Teintes pastel paper, applying the medium to the heavily textured side of the paper. The surface that we’ll work on is also important. This characteristic exaggerates the look of brushstrokes and it’s for this reason we’ll work with Sennelier oil pastels to complete the landscape. However, Sennelier oil pastels produce an almost impasto surface texture, with the material raised off of the drawing surface. Some artists will prefer the control they get from Sakura oil pastels while others will prefer the painterly look produced by Sennelier.īoth brands of oil pastel mentioned above are capable of producing a “painterly” look. For example, oil pastels made by Sakura (Cray Pas) behave differently from those made by Sennelier. Each manufacturer has a different approach which leads to a broad spectrum of characteristics across the same medium. Oil pastels, like all art media, is produced by a variety of manufacturers. Once I'm somewhat satisfied with this look, I'll start working on the transitions in the sunlit middle section before focusing on the intricacies of the foreground.The brand of oil pastels that we’ll use for this image is especially important. At the same time, I'm trying to create the soft essence of the ephemeral cloud formations that typify the Smoky Mountains in the early morning light. I'm working on the background trying to soften and neutralize colors and subdue and eliminate contours to make these areas recede. ![]() There comes a time in every painting when you have to set the stage in one area in order to create a contrast for the remaining areas. Lights applied over darks, effecting a misty look, are shown in this detail. This close-up shows how I put down my darkest color values first before advancing to lighter ones. I'm also refining the contours of individual shapes, solidifying the colors, and suppressing some of the brighter colors in the background by adding their respective complements to "gray" them down and make them recede.įoreground detail. ![]() Whatever simple revisions need to be made, now is the time to make the foundation changes. Blocking in the lightest lights, at this point I make my first evaluation of overall color relationships. At this early stage, just try to get in the "ballpark" with colors you can change them later as often as needed. I'm not worried that I might be choosing a "wrong" color. Continuing my color block-in with smaller, more concentrated patches of pigment, I use a combination of hard and soft pastels, saving soft ones for last. The only exception to this rule is that the very darkest colors should be made slightly lighter to allow for the final use of black when revisions in deep shadows are made in later stages. This approach will produce a richer contrast basis for lighter revisions. ![]() I recommend that you establish your primary color value a little darker than it actually is. In this underpainting stage, I make no attempt to create volume, light, or depth. Squinting helps to eliminate specific components and details, thereby letting me view color and value in their simplest forms. Working from dark to light is standard procedure with opaque pastel colors. To decide which colors I'll underpaint first, I squint my eyes while looking at the scene I've selected, then block in some of the dominant dark masses that I see, using the side of the pastel stick.
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