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MIXED MEDIA -
This Step By Step Exercise will develop over the next few weeks and will try to show the techniques for using Pastel Pencil as the starting point for a scene on black paper which will be finished using traditional wax type (Dry Point ) pencils. This technique will be featured in my Knuston Hall Intermediate CP course in March next year (2012) and will be based on old black and white photographs
First the reference (below) to give you an idea of what is proposed. It is a black and white photograph taken by a superb photographer, Edwin Smith, who died in 1971. Edwin was a major architectural photographer in the 1950’s and 1960’s and with his second wife, Olive Cook, compiled several books. Samples of his work can be seen on the website of the Chris Beetles Gallery ( http://www.chrisbeetles.com/gallery/artist.php?art=2860 ).
and copies of his masterwork on English Farmhouses and Cottages are still available from Amazon.co.uk.
The Photo was taken in the 1950’s and is of a cottage doorway at Underhowe near Grasmere in the English Lake District. The Image is Copyright but I do not have any details of the current copyright owner. You are not in breach of copyright using the image for study purposes, but may not sell any copy of the image you may make.
For this exercise, I am using a sheet of black Hahnemuhle Lana pastel paper, a small selection of pastel pencils, a can of spray fixative and a set of Faber Castell Polycromos pencils.
The majority pastel colour used will be white, with some tones of grey and brown and also some cream and green.
An essential component will be black in both Pastel Pencil and CP.
After establishing the centre line of the picture ( both height and width ) I have drawn in the blocks of light with a white pastel pencil and adjusted where necessary using the black.
If you get a line wrong and need to remove any of your white lines, lift off the powder white off first from the black paper with
a tacky pad of Blue/white tac, or alternatively use a kneadable eraser, or -
Once the base lines are in position, you can build up the blocks of light. The major area is the polished floor and you need to establish the correct positions and shapes for the two black cats and try to keep the ‘cat ‘ areas clean of any pastel.
Perhaps a bit trickier are the lines of perspective that you see from the dresser on the extreme right hand side, the bookcase shelves on the left and the nearer left hand side shape of the grandfather clock. I think it is the front edge of a chair on the left, sticking out a bit near the door.
Going to the extreme left of the picture there is a window that could perhaps be made a little smaller, and what I believe to be the slope of a bureau or writing desk front just behind the clock.
I will probably change this shape.
There is also a small piece of floor showing light which helps establish the overall composition.
Outside the door is a stone wall ( dry stone wall, as is common in Northern UK ) and some mixed vegetation which I guess will need to be greens and browns. The colour coming in through the door and window openings will be virtually the only colour in the picture. I will be working the light and shadow areas inside the cottage in white, cream, grey and browns -
Having worked the base of the picture, I have blended ( pressed ) the pastel into the paper and then fixed the picture. This first fix kills most of the light tones, but this is not a problem. We can carry on building up a stronger base coat and then do a final fix of the pastel before starting with the wax pencils
Drawing freehand, You finish up with your own version of the scene. The cats are not identical, the clock is different, and you can see I have made the window smaller. The effect is similar to the photo though. I may change to outline of the mat on the floor as we do the next stage.
Image Number 2
After the spray with fixative, the picture looks like this (left)
You can see how the pastel has been ‘washed’ into the paper, and the brown colour of the mat and the stone wall outside has disappeared. The next layers of pastel pencil will bring this back and will fix, leaving a better result.
Image Number 3 shows the return of Pastel Pencil to the surface after the first fixative spray.
This time the pastel goes down with a much denser layer and forms a solid base for future work.
Some of the light areas have been simplified, but the detail will go in later -
Image number 4 and a further spray of fixative has taken the lightness back again -
Image number 5 and we can now apply some base colour to the scene outside the door.
You will see that I have added a chair in the window of the room to the left, and put some shadow into the light floor of the hallway to show the uneven nature of the polished floor.
Stonework has been included in the wall outside and also there has been some foliage added and some red and yellow to represent flowers in a small garden outside.
The mat inside the hallway has had a layer of warm grey to help outline the two cats and some shadow has been applied to the clock to show the door to the case.
A front door has now been added with catch and a small window.
This image is now about ready for a final fixative spray before we start work with the traditional oil based Coloured Pencils which will give us more controlled detail.
Our aim will be to keep colour to outside the cottage and only modest colour inside -
IMAGE No 6
I have now started with the Oil based Coloured Pencil.
The brand of choice here is Faber-
I have started on the scene outside the door to establish the main focus of the picture -
With a protective sheet of clear plastic over the bottom half of the picture, I first worked over the beams above the doorway and defined the door opening. I then put some colour on the door using a lighter brown for the area nearest the light and a darker brown for the side of the door away from the light. I sharpened the edges of the cat in the doorway with black, and then steadily built up the wall from the ground level, working in layers, stone by stone using a mid grey pencil. I then added a strip of light across the wall top and picked out spots of light catching protruding stones ( see detail image 7 ). Darker shading was added nearer the wall base and some grey/greens and mid browns were introduced to the stones to give more warmth.
Random scribbles in green and green/gold were added to the area of foliage and the bright feature colours of red and orange re-
Image 8 may not look as if much has been done, but I spent a whole day demonstrating ( and talking ) about Coloured Pencils using this on the drawing board.
As you can see there was more talking than doing !
I have added light outlines to the cats and worked on the entrance hall furniture in Polychromos CP.
Some of the white areas will go darker as I add more detail with greys on the top and the floor will have further treatment.
You probably can’t see it in the image, but there is also a slight pattern in the mat. The bookcase to the left has also had some attention.
Reference Photo : Cottage Entrance
Image 1, Initial Pastel Pencil drawing
Image 2, First Fix
Image 3, More Pastel Pencil
Image 4, Second Fix
Image 5, Final Pastel Pencil layers
Image 6, First Polychromos layers
Image 7, Exterior detail
Image 8. More CP colour added
We come to image 9.
This picture is virtually completed.
The white furniture has now had a touch of colour, the outside view has been built up further using Luminace soft wax pencils, and edges have been sharpened up using a sharp pointed white and a sharp black from the Caran d’Ache Luminance range.
There may be some final touches to the picture when it is about to be mounted and framed, but for now, this is the finished picture.
It shows the effect of using black paper and a pastel underpainting with oil based and wax based finishing pencils.
The effect of the polished floor is down to the surface of the Lana paper. I am not too happy with some of the perspectives in the furniture, but the principle of using the pencils has worked well and I am happy to go with the finished picture.
Step By Step
Pastel with CP
|Glossary of CP Terms|
|Introducing step by steps|
|sbs basic shapes|
|sbs fruit bowl|
|sbs polperro B|
|sbs rectory garden|
|The Bowerman Stone|
|sbs to come|
|Price and Content|
|Papers for Wax type pencils|
|Papers for Watercolour pencils|
|Papers for Pastel pencils|
|Papers for mixed media with CP|
|Black Paper Fade|
|Non standard papers for wax pencils|
|Application of colour|
|Density of Colour|
|Results on Different Papers|
|Ways of using Aquarelles|
|Why Underpainting ?|
|Backgrounds with Aquarelles 1|
|Backgrounds with Aquarelles 2|
|A Brush with W/C Pencils|
|Foliage in W/C Pencil|
|Step by Step - Coventry Canal|
|Cottage Garden - Step by Step PDF|
| Italian Street step by step 1|
|Italian Street step by step 2|
|Brokken Bridge Step By Step PDF|
|Coventry Canal 2|
|CP & Pastel|
|CP & W/c Pencils|
|CP & Other media|
|Archway - Mixed Media sbs|
|Cottage Entrance Mixed Media sbs|
|Annecy Reflections 1|
|Annecy Reflections 2|
|working on coloured paper|
|Still Life Points|
|BURNISHING, Blenders and Burnishers|
|Landscape Tutorial- Grand Union|
|clouds & skies|
|Brick, Stone & Tile|
|Brick stone and tile 2|
|Colour and complementaries|
|Boats & Water|
|Form & Space|
|Drawing from Life - introduction|
|using a camera|
|transfering an image|
|keeping a record|
|printing 2 - layout|
|Life Drawing 1 - the basics|
|November 2011 Landscape SBS|
|July 2012 - Kitten Step by Step|
|Old Blog Posts as at Dec 2014|
|Aix En Provence series|
|New input ( from Dec 2014)|