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In hard pastel and pastel pencils
The next stage is to work the windows and shutters on the white building right of centre.
This is slightly away from the main focus of interest so the detail will be less pronounced and the contrast in tones also lower.
The other matter to bring up here is the essential of keeping a fine point on the pastel pencil and turning the point regularly as you work. This keeps a good sharp point for fine detail
In the next image we can see the roof line completed.
The working daylight was different here with more sunlight and thus warmer colours, but I haven’t adjusted the photo.
I have included a detail of the windows and shadows on those upper levels so that you can see that the pastel is effective even though the line is not as sharp as you would get with a wax coloured pencil. This doesn't matter, as this part of the picture is away from the main focus and we just need to give a valid impression of the architecture.
Now to consider the problems of perspective
If you look again at the original photographic reference you will see that the eye level was about 1.75 metres above the pavement – natural eye height
I have, however, changed the foreground and brought the railings round in a wider curve. The position of the railings, as they now show in the picture, are well below the previous level and we now have an assumed eye level of about 3 metres or more.
For this reason, I have changed the perspective in the nearest building on the right and our eye level is now much higher – the top of the window blinds need to have a different angle and we are now looking from a point nearly level with the first floor of the buildings.
This will also give me a better opportunity to compose the detail of tables etc. outside the cafés.
I think the changed view will also suit the picture better.
In the first step of this part of the picture I decided to colour the first sunshade green to enable it to provide a sharp colour contrast with the red blind above. This worked too well ! The effect was to bring the focus of the picture sharply over to the blinds from the arch of the bridge, which is not what I wanted.
I lifted the green pastel using a block of tacky putty and replaced the colour with blue as you now see.
The effect is still too pronounced and I may well darken the blue before I finish. See a detail of the working of this area below.
I will leave the lower edge of the blue sunshade incomplete for the present as I may want to make some changes later
I have now carried on working round the pathway area in front of the buildings and included a couple of people walking away from the camera. I have limited the detail here as I don’t want to too precise and attract too much attention to this area.
I have also blocked in the shapes of the flowers on the railing so that I can begin to get a feel for the way the final picture composition will work.
Yes, it is starting to come together.
The area in front of the railings in the bottom right hand corner is a little bare, but I don’t want to include any more people -
The final picture may well be cropped off on the right and made narrower, so there may not be too much open space to worry about. I will develop the tables and restaurant detail a little more and also develop the flowers on the curved railing, and then make a further decision on the bottom right hand corner
I have included some white boards -
A little more work in this area and I can make a start on the water and the reflections.
Remember that there is still a major stage to come once all the details are in place, to balance the lights and darks and get the appearance of the picture right. The pastel will then need fixing lightly and the highlights put back in after the fixing spray has darkened everything.
With the overall details now in place and the reflections in the water starting to be established, we can see the picture coming together.
It is essential to work from the actual picture itself to put in the reflections as the original reference has been varied as the picture has been worked.
All reflections have to be exactly vertical to the elements they represent so a constant comparison has to be made between the picture above the water and the reflections -
Some more work is going to be needed on the flowers and railings as well as the water surface incorporating more shadow.
We must also remember that many features which are reflected in the water will be much darker than the originals as the view seen in the water surface is effectively that from a much lower level (about 3 metres under the water ) and more shadowed elements will feature in the building facias.
The latest stage of the work may not appear to show much result, but among the areas worked on have been :
1/the left hand building which has had some darkening and detail in the lower part of the wall alongside the river
2/ There has been work to the flowers along the rail with areas of shadow inserted.
3/The railing has been defined and shadow applied to the footpath on the lower right.
4/The advertising boards have been completed,
5/The sky re-
6/ The reflection of the buildings and the river wall in the water have been almost completed. Further work will be done to reflections and ripples in the the water after fixing.
There is one more step to be taken before fixing the picture, the roof-
I have cropped the photo of the picture back to get an idea of the final proportions of the work.
I think that the reduction on the right hand side is about correct and the darker footpath surface now provides a better base for the composition of the picture with the reds on that side balancing the blue of the reflected sky in the water. It is now more inviting to take a walk down that path !
I am still undecided about the light area under the bridge arch. It does what I intended in providing a focus, but is it the best option ? A solution may be to work up an alternative to the light area under the bridge on a piece of card, cut it out and lay it on the artwork surface under the bridge to see what the effect would be..........
Time to apply the first level of fixative.
This is a light varnish spray which is designed to hold down the loose powder of pastels, though pastel worked on a grit paper is fairly secure anyway.
The problem with fixative is that it tends to darken the colours of the pastel.
In this case the pastel has darkened
very little between the two images
The lower one has been fixed
The image you see has had some final working after the fixative has been applied. The left hand side windows have been re-
We now have a triangle of focal points between the arch of the bridge, the reds and blues of the blinds on the cafes and the foreground flowers/water.
Completed commissioned picture
29th November 2011
Notes © Peter Weatherill 2011
The finished work copyright is owned by the commissioner, Caran d’Ache.
STEP by STEP
|Glossary of CP Terms|
|Introducing step by steps|
|sbs basic shapes|
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|sbs polperro B|
|sbs rectory garden|
|The Bowerman Stone|
|sbs to come|
|Price and Content|
|Papers for Wax type pencils|
|Papers for Watercolour pencils|
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|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)|