Showing posts with label hills. Show all posts
Showing posts with label hills. Show all posts

Friday, July 31, 2015

Stormy Skyscape

Stormy Skyscape
7 1/2" x 9 1/2" pastel on paper, 
stormy sky above low hills, row of pines, wind-tossed lake

This painting took me two months to create from start to finish. Intended to become a demo, I'll sort the images and post it on Rob's Art Lessons in afew days. Right now I just finished after a long day and I'm so glad it's done!

Pastels used: Cretacolor Pastels Carre' for underpainting, then 120 Unison half sticks for nuances in cloud values in muted colors, a few final details on land with Caran d'Ache Soft Pastels including my signature.

I love that sky and want to do more cloudy sky scenes! I had so many ideas for it that I finally quit fiddling and moving the clouds around. I can just paint more cloudy skies after all!


Sunday, February 8, 2015

Wildflower Scene with Stages

 Wildflower Scene 
5" x 7" on Uart 400 Sanded Pastel Paper

Today I did something a lot like a painting lesson. It was an experiment in several ways. Would the palette of Terry Ludwig's 14 Best Loved Basics be a good landscape palette to do a scene with hills, trees, a wildflower meadow and a beautiful blue sky? I'm happy to say yes, the results are above!

And I took some progress photos to show how I did it.

 Stage 1 Alcohol Wash In Progress

I tried something I've seen in several videos and blogs by serious pastelists. An alcohol wash like the ones Karen Margulis uses. I've long admired her results and she's a mad expert for painting wildflower meadows. Mine's just a crude attempt in her direction, she is much more concise and has the practice to say in two strokes what takes me six.

From what I saw in her examples, it doesn't take much pastel on the paper to do an alcohol wash. The alcohol should be 70% Rubbing Alcohol, the kind you get at a drugstore. Not the drinking kind even if some artists use vodka. Put the vodka in the artist and the rubbing alcohol swished on the painting with as big a brush as you've got. If you can't tell the difference, stop drinking. Do not store these in unlabeled containers for that reason.

Just swish the liquid around over the pastels within the area to be washed that color. Really don't worry about edges. I was too careful here and treated it more like a coloring book but I wanted to keep the rough abstract shapes of my bands. Karen would've slopped it on and let it drip mingling some colors for cool effects down in the meadow. That's practice for you. This is my first go. It actually will still work done this way.

 Alcohol Wash Complete

Here's how it looks with the wash in all over the painting. Now I'm not using plain beige paper anywhere. The color has gone deep into the crevices of the paper and maybe soaked in between the sand grains. It's not going anywhere. Any flecks of paper that show between my strokes or in a broken color passage will be the color of the underpainting.

The trees band is brown and the meadow band pink because these warm colors will make the green sticks in my Ludwig set pop and look greener. Since those three greens are nearly brown, I thought that was seriously important to try to give an impression the forest wasn't dead yet.

Background areas done.

Work back to front, which in a landscape like this is top to bottom. I painted the sky first and forgot to take a photo of just the sky in. There are three shades of blue in the set plus a very pale yellow nearly white. I used all four of those colors to gradate the sky. I could have blended it more to give a smooth gradation but I liked that look as if wispy clouds were blowing up in the distance.

The hills were mostly the light and medium dusty violet in the set with a bit of sky blue in the shadows to lighten and harmonize the darker violet. 

The trees I used all three greens, the gold stick and the deep dark violet. Yay for the deep dark violet in the darkest shadows at bases of trees. It helps define them. They are too small and too far away for me to put in trunks and branches but in a larger painting I might have brought some trees and bushes forward into the meadow band too to help give scale and those might get shadows and trunks.

Here's the finish again so you can see the meadow up close:
Finished painting

I did not pick out any grass blades or weeds with leaves. Most of that area I just used blocky vertical strokes with the ends of the pastels, the shorter side. I put a little green in over the gold and a touch of brown then started adding flower passages with the corners of the flower colors. At the end I added some white and blue flowers. I deliberately scumbled over the distant ones with the pale violet to push the middle ground back into the distance and cut down into the meadow area with the forest colors again. Then signed it.

A cool little experiment that worked. I might try this again with a good photo reference and see what I get, since I still have the other piece of Uart 400 to play with. Small paintings like this are fun to use to try different things, you can always try again if there's something about it you don't like!

Friday, April 13, 2012

Storm over the Hills



Storm over the Hills, 8" x 10" Pan Pastels on light gray Strathmore Artagain pastel paper.

Yesterday's bright colorful sunset began as a storm sweeping across the land. I liked the way the orange paper set off the clouds and hills so I let the painting evolve into a sunset. I like it, it's cheery and warm. Today's is dark and dramatic. I used a reference from Johannes Vloothuis, in the General section of his Reference Photos pack (available from North Light Shop).

So this painting is tighter and more detailed. I deliberately split the area of the painting 1/3 land, 2/3 sky to keep it in my skyscape series but moved landscape elements and changed their relation to each other.

I bought the Artagain pad in curiosity to see how well it compared with Canson Mi-Tientes, my usual pastel paper. I love the colors - they all have flecks of darker fibers in them for a beautiful look. The biggest difference is that the surface is smooth, almost slick. I think the smooth side of Mi-Tientes is softer but the Artagain holds color just as well so it's toothier than it felt. Definitely a good non sanded pastel paper, available in pads or in full sheets.

I used my 10 color Painters Set again, but also used the colors in the 5 Tints set and 5 Deep Dark Shades set. I've mentioned those are the most convenient of the convenience colors - three primary and two secondary colors each in tints and deep dark shades. It's pretty easy to blend a deep dark shade with the pure tone to get the original Shades, easier than judging exactly how much black to use to darken an area. I could have done this entirely with the Painters, but found I was right about the convenience tints and deep darks.

Because I bought an extra 10 color tray by mistake it was easy to pull just those colors from my full range set and keep them handy too. So I've now got the short stack of small trays nearby for a whole series of Pan Pastel cloudscapes. Each one should have a very different mood and feeling.