Monday July 10, 2017
Gateway Pastel Meeting
Michele Wells started the meeting with a few notes about upcoming meetings
Costs $550 (GPA members get first shot at registration) $50.00 to hold your spot
(Update: as of 7/11/2017 the workshop is full, however there is a waiting list, contact Vic or Michele to be added to the wait list. Most often there are cancelations since we are so far out)
Several artists brought paintings to have group offered critiques and encouragements.
Michele Wells brought in her pastel she had done plein air at Augusta. She submitted and was accepted in the Enduring Brilliance show in New York City this fall. Less than 180 paintings were chosen out of 1298! She is going to the show in New York. Way to Go Michele!
Lisa is nationally recognized artist specializing in Children, Adult, Corporate, and Pet Portraits. Tonight’s demonstration is on how to do pet portraits. Her next St. Louis workshop will be in October on portraits. To find out more, please visit her website or http://paintstlouis.org/ for more details.
Products list Lisa uses in her Pet Portraits
Most pastels are the harder pastels; NuPastels, Mount Vision, Caran d'Ache Pastel Cube
UART Paper - 400, 500 and 600 grit are her usual paper choices (sometimes she tints background with watercolor)
Latex Gloves – gives her the best control
How Lisa approaches her dog portraits: She looks and works from photo references, breaking down her steps, always referring closely to her reference photo. Lisa works on drafting table that is angled up, she uses glassine to keep under her elbow as not to transfer unwanted pastel. She also uses a latex glove when working.
Step 1: SKETCH - Sketch the animal, always referring to the reference material to get correct. An accurate sketch is a must to get the likeliness of the animal. If portions are not right, then dog will not be represented correctly.
Step 2: IDENTIFY ALL THE MEDIUM VALUE OF LOCAL COLOR - Look closely at reference photo, pick middle value in each of the local colors ( i.e.: brown, gray, white, black etc.) Cover the entire area of the shape with this middle value. Blend, smudge and push into paper. Remember these are just flat local color shapes at this point. (Generally when applying the gray value, it is usually cool) Apply background, it goes in as well at this stage. Note; the background will affect and should relate to itself in a cohesive way. You must build the painting equally, so portions match the. Most background she picks are neutral. Most times she is unaware of the pet owner’s decor. Using neutrals, is always safe and does not distract from the pet. (i.e.: cream, gray, brown, blue, and tan)
Black and White are the exception of this middle value rule.
She adds NuPastel Black for nose and smudging it a little outside the outline of the nose. (NuPastel is the blackest black for the most part)
She also adds eyes in. She colors (using NuPastel Black) in the whole eye and smudge this in too.
Step 3: FIND AND ADD SHADOWS - Review the reference materials, isolating the shadows within each of the local colors. Making your strokes in the direction of the way the hair grows. Using a light touch, vary your strokes, continuing to make marks in pattern of the furn. Look closely at reference photo.
HOT TIP #1: the animal’s fur on the face grows in a starburst pattern out from the nose area.
Step 3: BEGIN TO ADD DETAILS – Pick colors which are slightly lighter than your middle value local color a (i.e.; Using Brown local color you may want to add a lighter reddish brown, pink, etc.) Using 3 or more different colors in this step on each of the local colors. She also lightly taps her fingertip to lightly blend in some areas, not all areas though. Continue to do this with each of the different local colors
If fur is white, you will not want to start with white. Most times she uses gray, lavender and pink. (cools colors) Working her way up to highlights of white. When adding your stroke, the start of your line (where pastel first meets the paper) will be heavier and taper off as you lift at the end. This too will add realism to resemble hair
HOT TIP #2: Lisa had an empty Altoid tin that had a plastic honey comb grid inside which was drywall screen. (Screen was near top of the bottom part of the tin, with the space underneath the depth of the side of box) Holding the pastel flat against screen she rubs back and forth to sand pastel, getting a flat top again and with four sharp edges/sides. The screen allows the pastel dust to fall to the bottom and capturing all the dust. Now she can continue to make fine hair like strokes.
Step 4: LIGHTEN UP COLOR MORE – Select local color selections that are a slight lighter color than you used in Step 3. Repeat the same processes. 3 or more colors, follow direction of the fur, vary strokes.
If you find you have put in the wrong value you can always smudge and add new strokes over it or you may erase the area and start with correct value.
HOT TIP #3: Lisa has found an eraser that will take off pastel back to the UART paper without leaving a residue. It is called “The General’s Tri Tip Eraser” and can be found at Hobby Lobby and many other art stores – to clean the eraser just wipe on paper towels
Step 5: LIGHTEN UP COLOR AGAIN – Look for areas that are slightly darker than what the highlight areas are. Sometimes Lisa will use the local colors from her gloved finger tips to tap into the white areas. Often she will add and vary color in hard pastels using Caran d'Ache Pastel Cube which is slightly harder and grittier than NuPastels allowing to make thinner strokes (hair). She varies the strokes thinner and thicker by pressing harder.
Step 6: BLACK NOSE – The Nostrils are the blackest part of the nose, so do negative painting picking areas in the nose that are lighter (look at reference photo) Also the nose has a bumpy texture and can be achieved by tapping pastel, working around the nostrils.
Step 7: CREATING THE EYE – Cover the entire iris area with NuPastel black and smudge in. Review your reference photo(s) Notice that Eyeballs reflect light source – this is where Lisa sees the most problems that eyes are not done correct. Find your light source, the light will pass through the eye and the highlight will be opposite of the light source because it has passed through the eye. Always leave a black rim around the outside of the iris. Will need to keep this in mind and exaggerate it. Grab a pastel pencil to put in the whites of the eyes. Where does the highlight hit on the surface? If one eye is in shadow use Blues or Greens DO NOT make the eye in shadow as bright white as the other eye. Try to mirror placement but not as white, it will not read correctly. NuPastel white for the highlight – push hard to get highlights in.
Step 8: ADDING HIGHLIGHTS – Review the photo reference and find all highlights – press heavier and harder where lights are. Make sure to wipe off your finger tips to not contaminate the white color.
HOT TIP #4: Lisa said using NuPastel white is not the whitest white available. Use Terry Ludwig white or her favorite Diane Townsend #10 white. These are must softer pastels and you will not believe how much whiter these are.
HOT TIP#5 - Put highlight on the bottom lid this and the eyeball highlights will make your portrait pop!
Lisa uses white artist tape to tape down her paper and she usually paints on oversized paper so that she can trim to correct finally size. It gives her extra room to work.
If you find you have started too light – blend into the paper and with the same local color but a shade or two darker with your strokes will correct the problem.
If you have black dog then start with overall NuPastel blending in the whole area – you will just need to leave minimal lines so you don’t lose you’re drawing and work areas up to highlights like any other local color. The more contrast and value range you achieve keeps the animal looking real. Giving allusion of tuffs of fur
You can use dark blues in the blacks to add visual variation and cool shadows
DO NOT SPRAY THE FINAL PIECE – Using hard pastel you will have little pastel particles that will fall off.
Gateway Pastel Meeting
Michele Wells started the meeting with a few notes about upcoming meetings
- August 7th – Carl Judson will be here with his van of goodies to be purchased
- September 2017 – there will not be a meeting
- October or November 2017 - Also in the wings – possibly in October or November Garry McMichael will offer a program to photograph your artwork for a small fee. There will be a signup sheet. Also possibly present different framing techniques will be demoed as well. More details to come.
- IT OFFICAL - Richard McKinley MAY 2018 workshop!!!!!!!!! -
Costs $550 (GPA members get first shot at registration) $50.00 to hold your spot
(Update: as of 7/11/2017 the workshop is full, however there is a waiting list, contact Vic or Michele to be added to the wait list. Most often there are cancelations since we are so far out)
- There are new items in the Library and please return any items you have checked out
Several artists brought paintings to have group offered critiques and encouragements.
- brought her painting from last month to share what edits she had done from the previous critique. She used a soft tool
- http://www.sofftart.com/products.html) to manipulate/remove sharp lines – pretty awesome tools. The piece was beautiful – great job Mary!
- brought in a portrait she had done and stated she was unhappy with colors of flesh and was looking for guidance – Lisa Ober said she uses Mount Vision pastels for portraits.
Michele Wells brought in her pastel she had done plein air at Augusta. She submitted and was accepted in the Enduring Brilliance show in New York City this fall. Less than 180 paintings were chosen out of 1298! She is going to the show in New York. Way to Go Michele!
- had a landscape with marsh area and sky – she had a beautiful sky with blended dark to light and somehow got a line or mark in her sky and wanted recommendations on how to remove or cover it up without ruining her whole sky. Many different ideas – best was to darkened the corners of her sky blending into the existing sky and also to smudge her dark strip of land to keep the eye from going off the page.
Lisa is nationally recognized artist specializing in Children, Adult, Corporate, and Pet Portraits. Tonight’s demonstration is on how to do pet portraits. Her next St. Louis workshop will be in October on portraits. To find out more, please visit her website or http://paintstlouis.org/ for more details.
Products list Lisa uses in her Pet Portraits
Most pastels are the harder pastels; NuPastels, Mount Vision, Caran d'Ache Pastel Cube
UART Paper - 400, 500 and 600 grit are her usual paper choices (sometimes she tints background with watercolor)
Latex Gloves – gives her the best control
How Lisa approaches her dog portraits: She looks and works from photo references, breaking down her steps, always referring closely to her reference photo. Lisa works on drafting table that is angled up, she uses glassine to keep under her elbow as not to transfer unwanted pastel. She also uses a latex glove when working.
Step 1: SKETCH - Sketch the animal, always referring to the reference material to get correct. An accurate sketch is a must to get the likeliness of the animal. If portions are not right, then dog will not be represented correctly.
Step 2: IDENTIFY ALL THE MEDIUM VALUE OF LOCAL COLOR - Look closely at reference photo, pick middle value in each of the local colors ( i.e.: brown, gray, white, black etc.) Cover the entire area of the shape with this middle value. Blend, smudge and push into paper. Remember these are just flat local color shapes at this point. (Generally when applying the gray value, it is usually cool) Apply background, it goes in as well at this stage. Note; the background will affect and should relate to itself in a cohesive way. You must build the painting equally, so portions match the. Most background she picks are neutral. Most times she is unaware of the pet owner’s decor. Using neutrals, is always safe and does not distract from the pet. (i.e.: cream, gray, brown, blue, and tan)
Black and White are the exception of this middle value rule.
She adds NuPastel Black for nose and smudging it a little outside the outline of the nose. (NuPastel is the blackest black for the most part)
She also adds eyes in. She colors (using NuPastel Black) in the whole eye and smudge this in too.
Step 3: FIND AND ADD SHADOWS - Review the reference materials, isolating the shadows within each of the local colors. Making your strokes in the direction of the way the hair grows. Using a light touch, vary your strokes, continuing to make marks in pattern of the furn. Look closely at reference photo.
HOT TIP #1: the animal’s fur on the face grows in a starburst pattern out from the nose area.
Step 3: BEGIN TO ADD DETAILS – Pick colors which are slightly lighter than your middle value local color a (i.e.; Using Brown local color you may want to add a lighter reddish brown, pink, etc.) Using 3 or more different colors in this step on each of the local colors. She also lightly taps her fingertip to lightly blend in some areas, not all areas though. Continue to do this with each of the different local colors
If fur is white, you will not want to start with white. Most times she uses gray, lavender and pink. (cools colors) Working her way up to highlights of white. When adding your stroke, the start of your line (where pastel first meets the paper) will be heavier and taper off as you lift at the end. This too will add realism to resemble hair
HOT TIP #2: Lisa had an empty Altoid tin that had a plastic honey comb grid inside which was drywall screen. (Screen was near top of the bottom part of the tin, with the space underneath the depth of the side of box) Holding the pastel flat against screen she rubs back and forth to sand pastel, getting a flat top again and with four sharp edges/sides. The screen allows the pastel dust to fall to the bottom and capturing all the dust. Now she can continue to make fine hair like strokes.
Step 4: LIGHTEN UP COLOR MORE – Select local color selections that are a slight lighter color than you used in Step 3. Repeat the same processes. 3 or more colors, follow direction of the fur, vary strokes.
If you find you have put in the wrong value you can always smudge and add new strokes over it or you may erase the area and start with correct value.
HOT TIP #3: Lisa has found an eraser that will take off pastel back to the UART paper without leaving a residue. It is called “The General’s Tri Tip Eraser” and can be found at Hobby Lobby and many other art stores – to clean the eraser just wipe on paper towels
Step 5: LIGHTEN UP COLOR AGAIN – Look for areas that are slightly darker than what the highlight areas are. Sometimes Lisa will use the local colors from her gloved finger tips to tap into the white areas. Often she will add and vary color in hard pastels using Caran d'Ache Pastel Cube which is slightly harder and grittier than NuPastels allowing to make thinner strokes (hair). She varies the strokes thinner and thicker by pressing harder.
Step 6: BLACK NOSE – The Nostrils are the blackest part of the nose, so do negative painting picking areas in the nose that are lighter (look at reference photo) Also the nose has a bumpy texture and can be achieved by tapping pastel, working around the nostrils.
Step 7: CREATING THE EYE – Cover the entire iris area with NuPastel black and smudge in. Review your reference photo(s) Notice that Eyeballs reflect light source – this is where Lisa sees the most problems that eyes are not done correct. Find your light source, the light will pass through the eye and the highlight will be opposite of the light source because it has passed through the eye. Always leave a black rim around the outside of the iris. Will need to keep this in mind and exaggerate it. Grab a pastel pencil to put in the whites of the eyes. Where does the highlight hit on the surface? If one eye is in shadow use Blues or Greens DO NOT make the eye in shadow as bright white as the other eye. Try to mirror placement but not as white, it will not read correctly. NuPastel white for the highlight – push hard to get highlights in.
Step 8: ADDING HIGHLIGHTS – Review the photo reference and find all highlights – press heavier and harder where lights are. Make sure to wipe off your finger tips to not contaminate the white color.
HOT TIP #4: Lisa said using NuPastel white is not the whitest white available. Use Terry Ludwig white or her favorite Diane Townsend #10 white. These are must softer pastels and you will not believe how much whiter these are.
HOT TIP#5 - Put highlight on the bottom lid this and the eyeball highlights will make your portrait pop!
Lisa uses white artist tape to tape down her paper and she usually paints on oversized paper so that she can trim to correct finally size. It gives her extra room to work.
If you find you have started too light – blend into the paper and with the same local color but a shade or two darker with your strokes will correct the problem.
If you have black dog then start with overall NuPastel blending in the whole area – you will just need to leave minimal lines so you don’t lose you’re drawing and work areas up to highlights like any other local color. The more contrast and value range you achieve keeps the animal looking real. Giving allusion of tuffs of fur
You can use dark blues in the blacks to add visual variation and cool shadows
DO NOT SPRAY THE FINAL PIECE – Using hard pastel you will have little pastel particles that will fall off.
