- PART 2 OF ALL WORKSHOPS & TUTORIALS
- ART CLINIC
- COLOUR MIXING
- PAUL'S GALLERY
A. Solid colour can only be achieved
by forcing the pastel into the texture (tooth) of the pastel
paper. These soft, dark areas of solid colour are an excellent
foil to the staccato highlight strokes. Keep unfocussed so that
the highlights can be seen sharply against them.
B. Stark black becomes more acceptable
when overlaid with other colours. Different pressures on the
overlaid colour determine the degree to which the black shows
through. Even when heavily covered, its presence darkens the
C. The secret of transparency is
simply to allow colours and values to show through from behind
the glass. Highlights thenestablish the sharp reflective edges
of the cut crystal.
D. Allowing the pastel to ride the
texture of the paper, rather than pushing it fully into its
bed, encourages the surface of the paper to become a textural
feature. The colour of the paper, peeping through, is also
allowed to play its part.
E. White works as a colour against
the coloured pastel paper. Here it provides a sparkling light,
which defines the edge of the glass (negative drawing - a drawing
of the space rather than the object).
F. Definition along the silhouette
edge of the glass varies from hard to soft, dark to light.
The glass is hard, but the surface at the edge is moving away.
Should the edge become too hard, the glass will 'lift' from
its background. Too soft and the hard material will seem like
range demands use of black for accents.
|Black is enriched
by overlaying middle value colours.
solidifies colour blocks...
colour layers - black re-emerges.
value colours to once again add richness to the black.
gently into surface gives soft lights (surface mixing).
highlights need real pressure to adhere - often causing
shape or size of highlights to distort.
|If so, scratch
away excess with erasing or pen knife.
TO THIS WORKSHOP