We had an interesting discussion this past week about realistic (or hyper-realistic) painting vs. realistic
painting with fantastic elements. A fellow student shared some of the hyper-realistic paintings of Charles Jeong from South Korea. I shared Allen Williams’ If Beauty Were a Book, done in graphite.
I realized while I like representational art, I prefer works that convey emotion or story more than complete accuracy.
In our final assignment of the class (costume figure), I decided to change it up a bit and use color and value changes, and even changes in the model to alter the mood.
It great to get back painting again. I combined a gouache underpainting with transparent watercolor and then Faber Castell Polychromos pencils and little touches of Sennelier pastels for highlights. It was nice to see that all of the media seemed to work together.
Had a great time with the critique group through SCBWI last weekend. Now I have a week off before starting Concept Illustration.
It’s been another busy week, but learning a lot more what CarbOthello pencils can do. I really like the medium although I have a lot to learn about making color blends. This past week had our usual gesture drawings, 2 hand drawings in pastel, and then a costumed figure drawing. Sanded paper like UArt or Wallis can receive more layers than Canson Mi-Teintes or other pastel papers, but they will eat up your pencils quicker.
I found I like the soft rich blacks of Nitram charcoal. It also doesn’t have as much dust as General’s.
I’ll also post the three examples of pastel paintings that I posted in this week’s discussion. Pastel offers such a wide variety of expression. I really like the medium.
The first is a rendering of Ophelia from Cuong Nguyen who worked as a successful web designer for many years until he got working more as a streetchalk artist, then became a full-time fine art painter. I learned from him that skin tones can be mixed with a green underpainting (verdaccio) and flesh tones.
The second is an illustration from Paul Howard from a Jill Tomlinson book called The Owl who was afraid of the dark. I like the soft luminous quality Howard was able to get from his use of pastels.
Finally, there’s The Guardian by Fiona Tang. It combines chalk pastel with charcoal and acrylic on a paper backing. The different textures of the various media used for this piece this piece contribute to the overall effect in different ways; the chalk pastel in particular is important to the trompe l’oeil effect, helping to differentiate the “three-dimensional” stag in the front from the more “two-dimensional” background charcoal elements, with the white tone of the pastel “light” against the natural brown color of the paper.
This coming week is my final one for Life Drawing IV. We’ve got a watercolor assignment, the first I’ve had since I’ve been in art school. Also this weekend, I’ll be going to the Great Critique-nic through the Western Washington Society of Children’s Books Writers and Illustrators. It’ll be the first one that I’ve ever gone to. People bring their illustrations or writing and split up into small groups where they critique and be critiqued.
I had a great time in a 1-day pastel workshop at the Cole Art Studio. I used Nupastels on LaCarte paper for this painting of a dik dik, a small antelope that lives in Africa. I worked on this in the afternoon.
In the morning, I painted an African hornbill.
Pastels seem almost effortless. I’m looking forward to doing more.
Meet Moorehead (left) and Doubleday (right). They’re a work in progress. I haven’t completely decided their back story yet. The sketch was colored in with CarbOthello pastel pencils (I like them) on Canson Mi Teintes paper. I just got a pack of La Carte and also Sennelier soft pastels and will be experimenting with those too.
I’m going to take a one day pastels workshop with Janis Graves this weekend through Cole Gallery and looking forward to it. I’ll paste a sample of her art below.
The Guild of Natural Science Illustrators also posted the group mural that I worked on at the Santa Cruz Conference.
There were 3. Here’s the one I drew a little egret (corner right) catching a fish. It’s on exhibit at the Sanctuary Exploration Center that’s part of the Monterey Bay National Marine Sanctuary. It was a great conference.