Friday, June 14, 2013

Painting a Woman in Water - Part 3 by Carmella Jarvi : Pastel Painting Presented by Cheap Joe's Art Stuff

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At this point I'm not going to worry about individual fingers, but suggesting this hand coming around.

There's a little bit of skin underneath this fabric so I want to go ahead and show that color underneath. I can already tell that it's going to be most difficult to show this arm wrapping around because her shoulder is out of the water, then the elbow goes in the water and her hand comes back out.

So I've locked in that basic skin color. Now I'm going to come in with some highlights so I want to find a color that's a lot lighter but not white.

This is what I've talked about where you need to paint or draw what you see, NOT what you think you see.

There are some artists who will cut their pastel down or use sandpaper to get a point. I don't worry about that. Sometimes I test on my scrap paper to see which corner of my pastel I need to use for smaller marks.

I can feel myself getting tighter as I start to do this. It's really important that when you feel yourself do that, to step back. Then really look at how that's working.

Painting, especially pastel painting, you're trying to show something realistic. You're painting light against dark. So I'm suggesting this is a jaw line here and I'm just showing that this is a jaw line by utilizing the dark shadow next to it.

Again if I go too light or too dark, I don't stress I just put more pastel over it in the correct value or color.

As I'm laying in her highlights, I don't want to fix anything immediately, I would rather lay in the next color or value.

Now what I want to do is go back in with the dark. Some people have a tendency to go for the easy colors for lights and shadows. Instead I'm going to use a darker green or blue-green. This is when having small pieces works even better.

I want to help the shape of her head a little bit more and I will add her brown later, but I want the shape of her head better.

I made her head a little too big so I'm going to cut this back a little bit by using the water to come in.

Now you can see how this is really hard-edged, so I can take a clean finger and blend a little like that.

On the face you're looking for shadows and highlights, not details like eyelashes and such.

Just think about form.

If I work on an area for too long I have a tendency to overwork it. So if I rework something more than 2 or 3 times I try to move on to another area because the overall painting will be better.

You can see how she's starting to pop off a little bit more on the paper. Again, anatomy is so important.

What's going on with the neck here is really tough to show with just my little marks, but if I show the light and dark, I will have a piece that looks like this woman in the water.

You can see how she's starting to become a little more feminine. I'm almost through with this segment.

At this point, I will go back to my studio and finish it. It will probably take another 2 or 3 hours and I won't work on it all at one time. Instead I'll work a little bit, put it away, and come back to it when I'm fresh. I hope this has helped you both with water and the figure in pastel painting. Thanks for joining us!