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Down East Sunset, page 3 |
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I fixed the image again. Now I was ready to add the sailboat.
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 The template. I did a lot of sketches of boats on it first, trying to determine the right size. |
Because the velour is so soft, you can't get a really crisp edge just by drawing one with a pastel. So, taking a piece of used laser paper, I cut out the shape of the sailboat, creating a "template". I laid this template down over the area where I wanted the boat to appear, and firmly applied white pastel all around the edges to create the shape of the boat.
I used another template to create the slivers of color between the sails. Then I carefully hatched golds and purples into the sails and the hull to create reflections and shadows. I used a stump to blend the colors. |
 The finished sailboat. | ||||
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I used the same approach to sharpen the edges of the waves in the foreground, then reworked both the sky and the water again to "bring up," or make brighter, some of the colors. Then I fixed the painting again (for about the fifth time) and I was done. | ||||||
Here's the finished piece...
 Down East Sunset Pastel, 12x20" |
Colors used:
All of them! Seriously, I don't try to use a limited palette when I'm working with pastels, I simply can't get the blends I'm used to if I do. Nevertheless, this painting was fairly limited. For the water all I used was the full range of pthalo blues, plus a couple of ultramarines and a mid-value violet. (For those not familiar with pastels, you don't get just one of a hue; you get the whole "range" of values, from lightest to darkest.) In the sky I used the same blues and violets at the bottom and top, but blended bottom up with: red violet, then permanent rose, permanent red light, deep yellow, and lemon yellow. The last 3 were all high value colors; the others were mid-value. The only "shade" I used was ultramarine, at the horizon and in the foreground. Finally, I used white in the sailboat. All of the pastels were Rembrandts. |
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