Introduction to Pastel #2: Markmaking: Broken Color

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I’ve chosen objects with texture so the marks to make are obvious.  Looking at the scene I decide on orange as my dominant color. The split complement of orange is blue-violet and blue-green, good for reflections and shadows.

intp2Pure orange, tint of orange, shade of orange, blue-violet and tint of blue-violet, and a tint, tone and shade of blue-green plus light, med and dark gray. I may not end up using all if these variations but most hues will be mixed on the pastel surface.

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Tone your paper a hue from your palette. I’m using orange plus gray to dull the orange. You can use factory tinted paper also.

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Take a good look at the still life. Very lightly map in a few proportional measurements-to stay on track though the drawing.

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In this exercise we use only the pastel stick to make marks; blend, drag, scumble, shade, stipple, hatch. We are not smearing, smudging or blending with fingers, rags or brushes.

Our examples include the drawings, sketches and prints of Da Vinci, Manet and Degas:

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intp17Da Vinci

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Manet

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Degas

intp8Work up the drawing with bits of each color as they become apparent. Pay attention to reflected light and shadow.

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Don’t forget to fix.  This will darken the work a little so spray more at the beginning of your work, less as you near completion.  Make changes to the composition as necessary throughout the process.

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intp12Tap on the image for a close up look at Degas’ varied mark making.

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