Chris Saper's Prud'hon drawing technique
 

I

I

Chris approaches everything she does with considerable panache. These are powerful drawings. I take full responsibility for posting these images hoping and expecting the technique to fire many of you up. My apologies to Chris. She will probably have to take time and answer questions

Bill,

Your posting and comments about these drawings are generous beyond words. Thank you.

Having devoured Rebecca's excellent and painstaking tutorial on the Prud'hon technique, I was mezmerized by the quality of light these drawings impart. The cool, silvery brilliance of a full moon here in the night desert is incredibly beautiful, and it never before occurred to me that I could paint that kind of light.

At first I tried using Canson, as it was the only blue-gray paper I could locate. As I have a heavy hand, it took very few iterations of hatching and stumping until I tore through the paper. But the Wallis Sanded Pastel paper can take a real beating so I grabbed all the old scraps I've kept (those that were typically too small for commissioned work). Crumbled pastel/broad strokes can easily be "melted" into the surface with a brush and acetone. I like irregularity in surface quality, but you could easily stain the paper with smooth wash instead.

I stained the paper to an average tonal value that aproximated the mid-point of the value range in the drawing I planned to execute. I used vine charcoal for the preliminary sketch, then switched to black NuPastel and white charcoal pencil for the remaining hatching work, leaving white NuPastel for the highlights at the very end.

Unlike Prud'hons carefully placed and interwoven hatch, my strokes are pretty haphazard. Perhaps one of these days I will feel consumed with patience, and try a slower, more disciplined finish. (But I doubt it.)

Very nice

I don't know how they could be improved with a "more disciplined finish"

Will both grades of Wallis Paper handle rough treatment? And do you think there is any physical advantage in using melted pastel versus a wash of some kind?

Hi Chris
 

I'm fascinated by this technique, and am impressed by your version. I tried this awhile back after being introduced to Prud'hon by Marvin Mattleson in another thread. I literally destroyed the paper! It's time to try it again on the Wallis sanded. Could you explain more about the use of acetone with pastel and your "melting" technique?

Jean

Chris:

These are really stunning! Very fresh and vibrant. Bravo! :thumbsup:

What are the sizes?

Jim,

I only use the museum grade Wallis paper, so I don't have any personal experience with the regular grade. I guess that for the few dollars a sheet difference, it doesn't make any sense to pinch pennies, and makes no difference in a pricing structure.

However, I did see some regular grade paper this morning, and it seems to be very tough as well.

The reason I use the pastel, as opposed to another medium for a wash, is that the pastel stick I use for the underpainting is also available to use in conjunction with the white and black sticks. This lets you smooth out irregular areas in the middle values, if you wish (particularly if you might be painting a child or woman with smooth skin quality), correct errors, and restore the surface if you end up "lifting the underpaintng, for example by "erasing " with acetone.

I like the acetone in general because it dries immediately and leaves no residue; as I alluded to, it can serve as an erasing agent, just like a kneaded eraser or stump. When I use it, I go outdoors (very strong vapors) and use surgical gloves to protect my skin from contact with the acetone.

However, you could certainly use a wash made out of another medium, so long as you were happy with the surface quality for your middle values.


Jean,

All I do is make haphazard broad pastel strokes across the paper, happily crumbling some particles, and scrub it into the Wallis paper with an old bristle brush (Home Depot, $.59)I may smear it quickly with a gloved hand, or blot it with paper towel.


Michael,

They're small. The first piece is 14" x 12", and the second about 12" X 10". And thank you.

Chris,

Stunning! Masterful. They are glorious pieces.

Peggy

Gorgeous!
 

You should play more!

Sincerely,