Background or not? - Page 2

Sharon Knettell · 10-20-2002, 05:31 PM

Beth, you have already received so many helpful comments, I hesitate to add anything else. What I first noticed about this piece was that it lacked a feeling of light. To me one of the outstanding aspects of pastel is its ability to capture light.

The right side should be darker so the facial elements (i.e., eyes) become part of the form, and so the light on her cheek becomes more effective. The features have a tendency to look as they were all concentrated on and drawn separately.

Step back more often from your work so that you are more aware of the form instead of the details.

Quick adaptation of "the Boston School" method. Get photo to size of the artwork. Place reference side by side with work. Stand up when you are working and far enough back so the form is more important than the details. You can quickly see the disparities this way. I work 15'+ away, 5'-6' is good for a small head. Use a mirror for corrections.

Elizabeth Schott · 10-20-2002, 08:27 PM

Oh Sharon, that is a great point.

I am so used to working on my computer blowing it up to 500%. I find myself taking my reference photos and putting them under my 6X loop for the details.

Hopefully I can post the changes Monday, and you guys will LOVE - okay, like - them.

Sharon Knettell · 10-21-2002, 07:59 AM

Beth, I think you have gotten a great 101 in pastel here, one more thought. Pastel is messy and, on paper sometimes unforgiving, so I do quick color studies before I proceed. I rough them out quickly on the same color background I wish to use. I then work on them until the have a feeling of light and a good basic color harmony. I then take lines to various areas of the study and mark the color used. They are quite unlike the beautiful old master studies I have seen before, but they are a great help.

Sometime when I am stuck for value or color, I take a scrap of pastel paper and with a smudge of color on it, hold it up to my figure, photo, whatever, to check it out.

Elizabeth Schott · 10-21-2002, 01:40 PM

Taking all the wisdom above, I have brought this piece to more of a finish. Dealing with the background I tried to fade the edges of the hair as suggested by Chris, into the paper. I didn't think this was enough so in keeping with my color scheme, and if you look closely at a sheet of the Moonstone color of paper - I tried to pull the colors out and fade them in an unintrusive way. Here is the main image:

Elizabeth Schott · 10-21-2002, 01:47 PM

One more time...

Elizabeth Schott · 10-21-2002, 01:48 PM

Here is the detail:

Elizabeth Schott · 10-21-2002, 01:50 PM

Linda, here is the crop you suggested, which is, as I explained above, what I shot it for in the first place:

Sharon Knettell · 10-22-2002, 08:05 AM

Beth, it is really very lovely. You are making great steps. She really is adorable.

Here's the howevers. Tiny ones. The left side of her hair, towards the top could be rounded out a bit.

Squint at the reference and check your values. The light on the left side of the chin is as bright as the right. Also check the values on her forehead in relation to the light on her cheek, nose and extreme right forehead.

All and all a very good job! You should be proud! Go do another one!

Sincerely,

Linda Ciallelo · 10-22-2002, 01:21 PM

Yes, nice job Beth.

Sharon's right about doing a practice color work up, before the real thing, on the same colored paper. That is where I make my errors. I am forever changing my mind about what colors to use. I end up erasing huge sections, and it affects the texture of the paper. A coat of workable fixative will bring back some of the tooth of the paper, but doing it right the first time would certainly look better.

Mai Ly · 10-23-2002, 03:35 PM

The painting looks really beautiful Beth! And same with your daughter.

Mai