Learning how to pastel

Geary Wootten · 01-22-2005, 02:08 AM

Hi Carolyn,

Really great capture of a likeness. I like the chromatic reflections going on over 99% of it. The only place that pops out at me as a bit askew are two teensy areas.

On her lower right jowl area there's the yellowish white spot that creates an slightly unseemly bulge. The other spot is the smear on the bottom of the line of the jaw. Both of these things makes that jowl area sort of distorted.

Geary

Carolyn Ortiz · 01-22-2005, 04:27 AM

Hi Geary,

Thanks a lot for your response. I'll work on that area and hopefully take some new photos. These look way to saturated with color. It really doesn't look like this in real life.

But I guess maybe there is too much color in it anyway, have to buy more pastels I think.

David Draime · 01-22-2005, 03:37 PM

Hi Carolyn!

I really love your handling of the medium - very fresh, honest.... beautiful edges. I agree with you that in some places the color seems a bit intense. Beyond that, I can't find fault with it. I just started my first pastel yesterday and can already see how challenging it is. Have you been working in pastels long?

-David

Carlos Ygoa · 01-22-2005, 04:39 PM

Hello Carolyn,

I have nothing negative to say about the way you handled the figure. I like everything about it, the fresh handling that David spoke about. I also like the "landscape" format, and perhaps this is where my only comment lies: I would add some colour to the right side of the paper if not a minor object or element altogether, just to balance off but not detract from the face which, I repeat, I would not touch.

This did take long to do? I haven't worked in pastels for eons although I do remember how much fun it can be. I used to know someone who would work in pastels but with a brush and he would come up with very highly finished portraits. Personally I like the fresher, more spontaneous look.

Happy new year to you too.

Carlos

Sharon Knettell · 01-22-2005, 06:04 PM

Carolyn,

I think you have done a REMARKABLE job with the very limited amount of sticks at your disposal. My first set of pastels was done with a beginners set of 300 colors, and I found that difficult.

I don't mind the blue, little patches of a color surprise don't bother me as long as they are the proper values as yours are.

I have two areas of concern, the first is the yellowish patch on her jaw line. You don't need it it, it jumps. The other part is her arm, the upper part is too narrow. You don't in my opinion, need anything on the right of the picture.

You seem to have a natural aptitude for pastel, it must be in your genes as the greatest pastellists of the past were French, like de La Tour, Jean-Baptiste Perronneau and Jean-Etienne Liotard.

However, not to be chauvinistic in these delicate times, I find the Great American Pastels superior than the Senneliers in color sequencing and softness.These features are important to the figurative artist and they do not crumble. They are also now available in France.

I really think you should add to your collection of pastels. You are off to a really wonderful start.

Steven Sweeney · 01-22-2005, 07:10 PM

Carolyn, long time no see -- and our loss. Please keep coming back -- from wherever you are this week. You may be one of our more peripatetic members. Please go into the Cafe and tell us how you find yourself in Nice, and what you hope to make of it in terms of your artistic bent.

This is beautiful, thoughtful work, without the addition of any 20th-Century neurosis medium or technique. Just the genuine, spontaneous article, very fun to see.

Pastels built upon pastels yield amazing mixes. The impulse is often to go for the big effect. Sometimes you can sneak up on mystery and joyful surprise.

Steven Sweeney · 01-22-2005, 07:33 PM

Okay, compulsive guy comes back...

Never neglect your major value areas. Do not -- Do not -- put lights in your mid or dark value areas that are the same as values in other areas of your work. (Okay, there are exceptions; they're not invited to this party.)

I usually charge $100 for this (ha-ha, we artists are such cards) but here it is, free: SQUINT

Squint at your source (live or photographic) and at your rendition. You WILL see a correlation, and much more importantly (if you're really looking), a difference. Eliminate that difference, and you will astound the roman forum. That's a good thing, as Martha says, since a thumbs-down gets you a sword through your ambition or a quarter-drawn episodic character.