Replies to This Discussion

Permalink Reply by Angelina Whittaker Cook on April 13, 2012 at 22:42

An excellent and informative article. Pastel is one of my favorite mediums.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 6:36

"Art is contemplation: the pleasure of the spirit that pervades thenature and discovers that she has a soul. It is the mission most sublime of man, it is the exercise of thought that seeks to understandthe universe, and make the others to understand. ".. Angelina. Hisbeautiful painting, pastel is the magnitude of brightness, this simplicity of beauty .... I loved it! .... Feel free to show their works, I'llput some more techniques would be happy to help form theframework for exchange of experiences .... big hug .....
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Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 6:40

The technique of the grid was and is widely used by the artists want to play with greater precision the objects or figures who want to paint. Especially popularized by artists photo-realistic, this technique is to use a grid overlay will original photograph as a means to reproduce distances and proportions on a larger scale.

The image preparation:
• Choose a clear image with good resolution. It is recommended to scan or copy this file in order not to damage it. Be possible, should be expanded to a size A4. 
• Decide the size of the raster. 
The cover small enough to allow the largest possible number of reference lines, but not so much that you can make room for confusion. 
To set the size of the photograph , make a grid of 1x1cm or 1.5 × 1.5 cm

The work on paper:
Using a pencil make a fine grid on the paper making sure that this is proportionately greater the original photograph two, three or four times, depending on the intended final size for reproduction. • Begin sketching the figure of photo on the graph paper, starting methodically up and down or form of your preference, but always following the right order so do not miss any detail. • The intersection points of the figure or image with the grid on the photograph, references will be to locate the image or picture on graph paper. As you advance in the design can go blurring the lines of the raster carefully so as not to also delete the figure.

Then you can give shade to the design and volume. 
If you prefer you can go sketching and drawing reference lines simultaneously taking advantage of the grid provides.

• for the process outlined, should use a pencil thin and sharp, such as HB. Do not use a pencil very hard as the F why leave creases in the paper. 
• Si become difficult and confusing to identify each square within the grid generally identify such top lines with numbers and vertical lines with letters, and each square of the grid generally will have an identification number composed of a letter and a number. You can also try to cover part of the original and work in sections. 
• If you are drawing a still life eg live, will also result a great help make a square and place it as a backdrop in their composition. Do not forget, close one eye (always the same) and observe always from the same distance, to avoid the effect of distortion produced by the different views of each eye.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 6:44

• Crayons: Burnt Umber, Burnt Sienna, Light Siena and various shades of blue for the eyes.
• Pastel: Various shades of Burnt Sienna, Raw Sienna, Gold Ochre
• Canson Mi-Tientes for pastel color: Light Tan

• As is known, with the biscuits we can do for color mixtures, therefore we must acquire as many colors as are necessary to obtain the desired shade
• Regarding the paper used, we must choose a shade that closely matches the skin tone that we draw, so it will be easier to achieve realism in the portrait in pastel

-Step 1 and Step 2-
In the first two steps, outlined the shape of the face with the basic lines that define the face. 
These lines should be light, otherwise it will be difficult to disguise them later. 
Then do the shadows that help to define the shape of the face, without creasing the pencil or apply too much force.

Step and Step-3-4
-In Step 3, draw eyes, eyebrows, define and apply the shadows on the lights. 
Next, draw the hair and scarf around his face. 
With a little imagination we can enrich the design , making the hair flying freely and creating a composition full of movement

The finishing touches
More lights, more shadows, a scarf ... and the picture is done in pastel!.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 6:47

There is in fact a certain reason to choose color paper.
The use of the proper color of the paper surface on which it intends to make the drawing, positively or negatively may affect the final result. 
If the aim is to create contrast, we choose a tone paper shade opposite the main color of the object that we paint. If instead we want a harmonious scene, we should choose a neutral tone or similar object to draw.

In the above examples can observe the different results obtained with the same design in different colors of paper. Observe, analyze and draw your own conclusions. In the drawing below, the result obtained in the finished work based on the correct choice of paper, confirms the importance of considering this aspect when carrying out their work in pastels.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 6:55

Today we have great roles in a wide variety of textures and colors.

• The role type "Ingres" which has a nice texture to the touch and a wide range of colors.
• The role type "Fabriano" also has a range of 15 to 20 different colors and textures very different.
• The paper "Velutte" texture like peach skin and especially suitable for painting in oil pastel.
• The paper "Velour" with a smooth finish similar to velvet recommended especially for soft pastels.
• The most heavily used, known and easy to find is "teintes of Canson Mi-."

The choice of color and surface texture of the paint, will depend on the theme colors of paint and more relevant. 

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 7:05

Painting Landscapes - The Pastels

The pastels are the main medium for the realization of this technique of landscape painting.
But what are the crayons? ... basically, they are pure pigment powder mixed with water and a little (or no) amount of glue "tragacanth" to help solidification in the form of solid bars.

In Europe when it comes to biscuits, we usually refer to the pastels, since there are also oil pastels. 
Within the range of pastels, there are varying degrees of hardness. Depending on the marks and the amount of adhesive added to the mixture crayons may acquire a greater or lesser hardness. The cakes made exclusively with water, but are the most soft and delicate.

Among the best known brands we have & Faber Castell Pastel and Nu are the hardest market. Rembrandt pastels are of medium hardness and Sennelier, Schminckes, American Art, are the softer market. This variability in the purity of crayons, also has repercussions on the price of the same, being the most expensive, those whose membership is mostly pure pigment.

The different brands and textures can be used together in the same painting. The choice of a particular brand or type of pastel mostly depends on the artist's taste and adjust the material, but also the type of paper being used.

The fact that the technique does not allow the mixture to obtain each color of other colors, as with other techniques such as oil, causes that we have acquired many different bars of pastel colors. Some professional artists have in your palette more than 400 bars and various shades of pastel shades.

The ideal start, is to acquire a set of 36 colors. With these colors may begin to make drawings and paintings of any kind. Eventually they may get more colors, different brands and different hardness. 
It is also recommended for the design of details acquire pastel pencils.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 8:02

"Techniques of Painting" - Pastel

The Pastel is an art supplies for painting / drawing existing bar, cylindrical sticks and even pencils. There are two types of Pastel: The Dry Pastel andOil Pastel . These two types of pastel have different characteristics, both in composition as the visual component.

 

 

Pastels

Dry Pastel is an ancient material, first noted by Leonardo Da Vinci as an elegant material to "paint dry". This material can be used on almost any paper, but has a drawback in its use, once used as the support can become a challenge partially Pastel Dry erase without a trace.

Pastel Oil has been around since the 60s of the twentieth century and its manufacture is similar to but with oil pastels, a component that will eventually give name to this material. Pastel Oil can be diluted to the bracket using a brush and, unlike the pastel is a material which is easily corrected, since with the help of tools, such as an x-act or a knife, can simply withdraw the mistake.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 8:17

 1 - Choosing the proper material and paper suitable for painting pastel dry. Here is a basic list of materials for this type of painting.

• 1 box of pastel colors with a minimum of 12 pastel and pencil.

There are many good brands of pastel, but this kind of artistic material is a bit expensive, so everything will depend on how much you can afford to take your case. Here are a few pictures for those who never saw this painting and chalk are the ones I usually use.

Some colors, if you need it because it is not the case, you can buy in bulk. For more accurate outlines the ideal is to use pastel pencils.

• A good fixative for pastel, following are some examples:

• A sheet of paper with a weight of 200 or more. 

If you want a soft pastel painting, then a 200gr paper is enough. But remember, the surface should be able to retain the color pigments, asssim your paint will have more durability. There are colored papers (Mi-teintes) that gives wonderful effects when applying the pastel. Paper, watercolors are also welcome, have a texture that facilitates adherence of the pastry. Anyway, you can use a good fixative to give the final touch to work and avoid the loss of pigment over time. These are some papers I use for my paintings in pastel, graphite, colored pencil and oil paint even to .  

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 8:29

These are the Rembrandt pastels

Also, Square Cakes brand Studio Basics , which are much cheaper, give very good results for the painter that begins in this cake.

These are the cakes Studio Basics

What role do you use? Ingres paper or cardboard colored Caslon. Once I used black to paint a white horse and was somewhat complicated, do not.

Before we start fixing their role in a table or flat surface. I would recommend beaten his role in a table. In the photos you are about to see will notice that I'm painting on an easel, the truth I did only because I have much space, but if you have a table where no one hand goal is a safe place for his painting, is what most recommend. The cake is pure dust, then you better be placed in an entirely horizontal.

1. Basic structure of the head

The cake is not so important that the initial drawing remain 100% perfect, we can move forward forms to be corrected and refined. I like to make a white cake structure with a very subtle fade in case you need any unwanted line.

Important: on the cake using gum is very rare. The cake is removed only at the dawn fading with fingers or a cloth.

Many people prefer to use esfuminos to the fingers, to me the truth I do not like how will not want to feel the paper? But also use it for some details.

Like my previous post here we draw the basic structure of the horse's head should ever get something like this. Watch as a parade of lines, but at this point it matters little.

Umm in the photo comes out a pencil, I do not remember having used it, ignore it.

2. Start from the bottom front

Basic rule: on the cake, always starts painting the background, but we run the risk of staining the drawing in the foreground.

Second basic rule: it is highly recommended to start with dark colors and end gaps. For this horse, the background is clear, so I had no choice but to say so.

My horse will eventually be black, but if I venture at this point to put black, could not possibly include other colors as shades of brown, blue or green, which would make the painting was perceived very flat. For that reason I will book for black near the end, like the pure white.

3. Feather colors

Now that we spotted all areas of the most fun part comes when the cake begins to take shape: the blurring and merging of chalk. With the finger performs this action and the first results are these:

4. Critical Moment: Integrate plus spot colors

Since we have our first base with a better idea of the horse, now begins a critical time where many people are frightened because you think that the paint has gone bad: the moment come, when we integrate darker colors on which we had blurred and integrated before. Would look like this:

5. Difuminemos again

But do not worry, when you blend the cake is going to be a little less stressful:

6. More layers to add volume

Now comes the most interesting, we will integrate more spot colors between blue, green, brown, etc.. The road is easier and less satisfactory to use the direct black, but not recommended. In fact, my painting teacher forbade me to this point in the paint: p

See how the horse now starts to look more black, at this point the only 100% black is the one I used in the eye, but everything else is dark brown, blue and even very dark tones of green and some other purple.

The eye of the horse, is one of the most fundamental elements, gives expression, so do not despair if you stand long on it, I get to this point several days later.

7. Rest

In the cake, as in most traditional techniques of painting, it's good to let it rest a while from our sight. As we reach a point and we already got used to him and did not find a way forward, what to do is stop and unwind a bit of it for a few hours or even up the other day.I think at this point I left as 1 week without playing, I also had a few weeks something heavy for that.

Here we go so far:

8. The details at the end

Now all that remains are the details of the strings, this kind of details are left to the end because it often involves placing light lines or black or white dots that are not going to fade at this level do they use these colors. Here the before and after detailing the ropes and buckles:

9. Bottom line

The bottom touch him again because I did not like you got so flat in cream, was a bit complicated because the cream cake polvito superimposed on the black horse. For this reason always work quite the background before going into the foreground.

And that's how it was in its final stage:

10. Maintenance What to do to complete the picture?

The cake is a very fragile and if they want their paint to retain, the best option is to frame it with glass . Do not use the famous spray fixative that chalk does not fall, the troops really are very expensive and almost anywhere they sell. Those who will find in art stores are quite common and will only darken the colors or the worst case will leave traces of drops into the role at all will be well. I blew it and several things haha.

Well I hope you liked it, paint these things is not easy, but the cake may be an excellent door to enter the world of painting. Being able to feel the colors and texture of the paper will give a sense of volume that will be reflected in your horses or whatever you want to paint.

Permalink Reply by lucia mesquita bleasby on April 14, 2012 at 19:45

Pointillism is a style of painting in which non-primary colors are generated by the visual effect produced by the proximity of points on the screen painted with primary colors.

Originally developed by Neo-Impressionist Georges Seurat, the movement is also associated with Paul Signac and Henri-Edmond Cross. 
When the works are seen from afar, from some distance, the points with which the paintings are made, you can not tell, instead, it produces a visual effect that makes us perceive other colors.

This means that with the same set of primaries, pointillists can generate a range of different colors performers when compared to using traditional colors or color blending techniques.

The result is sometimes described as glossy or beneficial since it is the eye of the observer who makes the mixture, and not the brush. 
This effect can be explained beams knowledge of color theory and effects of additive and subtractive. 
Usually when colors are produced by pigments mixed physically, we speak of the theory of subtractive color work. 
Here, the mixture of pigments the primary colors produce less light, so if we mix pigments red, blue and yellow (subtractive primaries) , we obtain a black color.

Here the mixing lights of three primary colors produce more light, so if we mix red, blue and green light (additive primaries) we get something that looks like white light.

The glittering effect in pointillism increases from the fact that the subtractive mixing is avoided, and produces a mixture closest to the additive effect is obtained through the same pigment.

The type of brush used for making of pointillism is at the expense of the traditional brush could be used to delineate texture.

To clarify a bit more this style of painting and only from an illustrative point of view, we can make a likeness of pointillism with television sets or computer screens both LCD and CRT, which are based on tiny dots of primary red, green and blue are mixed together to form a wide variety of colors.                                                            

As with any art movement, other areas of the arts are also affected and influenced. Thus, the term pointillism was later borrowed by musicians to describe a style of composition first seen in the works of Anton Webern and used by his followers such as Pierre Boulez through the 1950s and 1960s, in which sounds of different pitches carefully chosen, each apparently working in isolation, rather than binds to more clearly interconnected melodically produce component parts and great.

Permalink Reply by lucia mesquita bleasby on April 15, 2012 at 6:01

Procedure to choose your composition. -

Take the frame and slide it over the photo to find the scene you want to paint, the composition of your choice. 
Then keep sliding and discover how you can find the most interesting scenes in the same picture. 
The frame eliminates unnecessary elements to distract attention the observer to help you focus on the point of interest. 
It also helps us to train the eye of the observer to recognize the best composition. 
If you have a scanner, you can enlarge the selected area and edit the values and colors in a photo editing program.

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