Jessica Crabtree

(Click for larger view)

My latest pastel is about halfway finished. Next I’ll be working on the armbands and hands, and finishing his leather vest. After that, some detail work and a few finishing touches and I’ll consider it done.

A quick trick I learned for imitating metallic objects, like the silver-studded border on his vest:
use a plain white colored pencil.

Colored pencils are terrible on suede, but they come in very handy for this one purpose. I use them wherever I need to indicate points of light or very small areas of brilliant white. It’s so much easier than trying to achieve this with chalks. The best part is that the combination of textures works very well – the pencil won’t smear on the suede, so I can cover it with chalk and it still shows up well. Besides, I like the effect.

More to come…

Chiaroscuro is one of the most important and fundamental techniques in art, particularly in any style that makes use of realism. The textbook definition for chiaroscuro (Italian for “light-dark“) is simply the use of value (shading) to create an illusion of depth and volume on a two-dimensional surface. More commonly, it refers to the use of strong contrast or unusual lighting to create a strong dramatic effect.

A painting or drawing, even if it is proportionally correct, looks flat and lifeless without shading. Chiaroscuro is an essential element, especially in portraits and still life, where it is not only functional – giving the shapes depth and definition – but a potentially explosive means of conveying drama and emotion.

The basis of chiaroscuro stems from the observation of the way light behaves on surfaces. By reproducing this behavior accurately on paper or canvas, you can create an image that is visually authentic to the eye of the viewer. We all have an intuitive grasp of how light interacts with the world around us – for instance, we all expect to see an area of brightness where light reflects off an object, or a patch of shadow where light is blocked. But light sometimes behaves in more subtle ways of which we aren’t always conscious. The artist can take advantage of these subtleties to create a convincing chiaroscuro effect.

Image: University of Evansville

Adding the dimension of color creates a whole new set of complexities in working with chiaroscuro. Because the level of intensity in the lighting changes the way we perceive a given hue, color chiaroscuro is more challenging for artists to work with than just black and white or gray-scale (more on light and color here). But black and white is the best way to learn chiaroscuro, since it illustrates how powerful a tool it is even in the absence of color. With a little study, it is a simple and effective application of the comparatively difficult science of optical physics.

Chiaroscuro first came to prominent use during the Italian Renaissance. An especially popular form known as tenebrism, pioneered by painters such as Caravaggio, used exaggerated lighting contrast for heightened effect. This was a favorite style of painters like Rembrandt and El Greco and heavily influenced later styles of painting in the 19th and 20th centuries.

It is interesting to note that many of the famed artists who made the strongest use of chiaroscuro were also great draftsmen, having first mastered the use of shading through drawings in mediums such as pencil or silverpoint.

Rembrandt, The Philosopher in Meditation

More on this subject:

Chiaroscuro in Painting: The Power of Light and Dark – illustrated article from Empty Easel

WebExhibits: Color Vision & Art – fully interactive, with lots more on the history of contrast & color in art

HINTS OF COLOR: Light & Color

TOP 3 ELEMENTS THAT DRAW THE EYE

1. Contrast
2. Gradient
3. Pattern

The primary goal of art is to draw the eye of the viewer in order to capture their attention, and then focus it on the detail and meaning of the piece. Since this principle is the same whatever medium or genre you work in, it’s good to be familiar with the fundamentals of aesthetics.

Generally, we are most attracted to things that display these elements:

► CONTRAST:
Contrast, next to color, is possibly the most striking feature in visual art. As a rule, the stronger the contrast, and the sharper the dividing edge, the higher the visual attraction.


Photo: interfacelift.com

► GRADIENT:
A smooth gradient from one color to another, or between tints (color > white) or tones (color > black) suggests light and depth. The sense of texture it creates is a powerful and appealing visual element.


Photo: US Fish & Wildlife Service – public domain

► PATTERN:
Patterns – including implied patterns, such as broken lines – create symmetry and direction for visual interest.

They’re found everywhere in nature (a good example is fractals, for instance) and our brains are hard-wired to recognize them – so unless you’re working in something completely abstract, it’s important to work some kind of pattern into every composition.


Photo: Wikimedia Commons

You can take advantage of these simple elements to make any artwork more compelling.

Click on the “Artist’s Tip Bag” tag below for more posts like this one.

My series on the color spectrum is complete! Click on the links to view each post.

Red

Orange

Yellow

Green

Blue

Purple

Really nice interactive website from WebExhibits – explores the historic use of pigments, the science of painting, and color theory. One of my favorite reference sites!

WebExhibits: Pigments Through The Ages

A few sample screenshots (click for larger view):

Q: How do I put a signature on a pastel on suede painting?

A: When I first started with pastel on suede, there were a lot of small details I found I had to work out, where traditional painting methods didn’t apply. One of these was the seemingly simple matter of how to sign my pieces. It was really a process of trial and error to find out what would work and what wouldn’t. The main issue was finding a medium that would stick to the suede, would show up well, and if possible could be applied over top of the chalk.

Here are a few tips.

WHAT NOT TO TRY:

Ballpoint pens: It’s absolutely impossible to get an ink flow trying to write on suede, or over the chalk for that matter. At best you will only scratch your name into the pile.

Fountain pens: These have two main problems – too much flow, or not enough. The chalk will usually clog standard metal nibs, leaving you with no flow at all, or worse, with ink blotting.

Markers: If you try signing with any kind of felt-tip markers, the most likely result is that the chalk will cover the soft felt tip and stop the flow. As with a fountain pen, a marker with a high flow will bleed out into the suede.

Paint: Any kind of liquid that is not extremely viscous will bleed out when you try to apply it. You will not end up with a nice clean line that looks like a signature. I would strongly advise against using paint, unless your signature is a really, really simple logo, like a symbol or initials.

Chalk: I’ve tried a few different kinds of chalk for signing and none of them work really well, including pastel pencils and hard pastels which I would normally use for hard, clean edges. The problem with these is that you just can’t write with a fluid hand, so the signature looks choppy; if you try using certain chalks on top of the finished painting, you risk it not showing up at all, or ending up with half a signature that you can’t finish.

THE SOLUTION:

After trying all of the above (and considering the alternative of not signing at all) I finally found an acceptable solution. The best results came from a signing pen that I swear by, made by Pilot.

Dick Blick: Pilot Metallic Marking Pens

This marking pen will supply an even ink flow over almost any thickness of chalk (or almost any surface for that matter) so I can sign on the suede effortlessly. It is also ideal for signing pastels done on paper. To prime it, just shake and press down briefly on a scrap piece to test, and you’re ready to sign your masterpiece. Each pen is good for a couple of hundred uses, and I haven’t had any trouble with blotting except when the pen runs empty.

I generally use the silver with the extra-fine tip, which shows up beautifully on all but the lightest backgrounds. It’s also available in gold. For only a couple of dollars, it’s a welcome solution to a frustrating conundrum.

Tip: If you want the metallic ink to show up on a white background, for instance, first make sure the ink is dry after signing, then dust the signature with some darker chalk and brush it away. It will leave a nice subtle outline that makes the signature stand out.

Purple is the most mysterious and elusive color in the spectrum, and the rarest color found in nature. The expense of purple pigments is responsible for its association with royalty throughout history – a distinction for which it is best known. Garments dyed with the Tyrian purple manufactured from murex snails were a status symbol throughout Europe and Asia, and for many centuries were worn only by the wealthiest tier of society, including kings and queens, giving rise to the name “royal purple.” For the Phoenicians who originally produced this dye, the color became a national signature; their name comes from the Greek “phoinikes” meaning “purple.”

Elsewhere in the world, the indigo and purple shells of certain clams and whelks were ground into wampum beads by Native Americans of the eastern seaboard. These beads were woven into belts for record-keeping purposes and for legal and ceremonial contracts.

Purple combines characteristics of both cool and warm color groups, making it balanced and tranquil. It is easily incorporated as a secondary color anywhere black, blues, or browns are used, and is best balanced by accent colors with opposite characteristics, such as yellow or orange.

Q: What’s the difference between purple and violet?
A: Purple is a color, the combination of blue and red. Violet is a light signature or a range in the light spectrum. It marks the far end of the visible light spectrum and has the lowest wavelength and the highest frequency humans can see short of the ultraviolet range. True violet can’t be reproduced through the primary color scheme, so for all practical purposes, we use purple.

National Geographic Photo Gallery: Life in Color – Purple

Top Chalks for Portraits

Over time I’ve worked out my favorite combination of chalks to use for portraits (see examples below) in order to achieve a rich skin tone with some highlighting and dark, dramatic shadows. Here’s my list of must-have chalks:

Black
I always apply black first. It helps outline the portrait and gives a boundary to work with, and still shows up even after several layers of blending. I use my Prismacolor Nupastel black for this (I always keep two boxes just of this black on hand, since I go through them so fast) because they are semi-hard and you get a firm clean edge, good for outlining. But you can use really any texture of black for the under coat.

Sennelier #004 (“Red Ochre”)
I use this as a wash over the entire flesh area. You don’t see this in the final product, but it serves two important purposes – 1) it keeps the matboard from showing through (especially important if you use dark suede) and 2) it acts as a base coat when blending the chalks, to keep the tone from looking washed-out. I’m told this typical of the oil painting process – which I wouldn’t know, not being an authority on oils, but it makes complete sense for any medium that uses heavy layering. The bright red wash looks bizarre in the beginning, but it’s well worth it.

Art Spectrum V552 (“Burnt Umber”)
This is the other under-layer or chalk. I apply this very light color wherever I want to show areas of strong highlight or reflection. If you are layering your chalks, DO NOT PUT THE HIGHLIGHT COLOR ON TOP; using white or light-colored pastel over the skin tone to add brightness only makes it look dull and pasty. Apply it as an undercoat and blend the flesh tone over it. This way it shows up very smooth and gives a nice subtle glow, rather than looking chalky. The stronger or brighter you want the light, the thicker you apply the umber, so it doesn’t blend away when you apply flesh tone.

Sennelier #3712 (“Gamboge”)
This is my second choice for highlighting, but I use it sparingly because Sennelier’s soft pastels are so thick and clay-like. Too much and you risk filling up the suede pile and not being able to layer. I use it only where I need some very dense highlighting.

Nupastel #353-P (“Cordovan”)
This is one of my favorite colors for dark flesh tone. It is semi-hard but extremely smooth so I can blend over several layers of chalk with it. A good coat of this really starts to bring the face to life. It is especially useful for shadows where you don’t want the black chalk to make the skin lose its color (skin under a shadow looks redder, not grayer).

Nupastel #273-P (“Tuscan Red”)
A second shade of flesh tone that’s little lighter, a bit closer to pink. I layer this over much of the face and use it to transition between the darker areas and the bright highlights. Because these chalks don’t go on very thick, the pigments are not as intense as they appear in color swatches, making them much more flexible. They can be as solid or as subtle as you want, so at this stage I start working with the texture in much more detail.

Of course you’ll need a few other colors to finish your portrait, but these are a pretty good starting combination. My Sneak Peek: In Progress category shows portraits in various stages of completion, so you can get a good idea of the process.

Both of these finished portraits, Lummi (16×20) and Crow (24×30) were made with the same assortment of pastels (click to see full-size images.)

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I’ve started a new portrait, Acoma, on 18″ x 24″ black suede board, from an Edward Curtis photo of a Pueblo man. Below is the same portrait one day earlier. It’s still in the first stages (face first, then hair, clothing/accessories, and final touch-ups), but I’ll be updating with photos as I go along.

Check out my Latest page to see them all step-by-step.

The Eyes Have It

When painting a portrait, don’t put in the eyes until the rest of the face is more or less complete. As tempting as it may be to show the whites of the eyes early on, or the bright reflection that really makes them “pop,” you’ll just end up having to touch them up or even do them over when the white is dulled by chalk debris. Bright whites (including teeth) and the twinkle in the eye really should be last-minute touches.

And just to be clear, remember that “white” areas are rarely pure white; diffused light gives them a colored cast, often blue or pink, and subtle coloring helps to give shape and depth to an otherwise cartoonish white surface.

Close-up of “Lummi,” 16×20 pastel on suede

The copper compound azurite is the oldest and most widespread source of blue pigments. In modern times, both cobalt and Prussian blue – one of the first synthetic pigments – have been in great demand by painters. Like purple, many organic sources of blue pigment used for making dyes are extremely rare and have been highly valued throughout history; thus the association with royalty or divinity. Tekhelet was a blue dye prized by ancient Israelites for ceremonial uses, and although its source has been lost over time it is believed to have been a specially prepared formula derived from a cuttlefish.

Blue is the color of the deepest things we know, the sea and the sky, so it has come to represent truth and wisdom. Blue tones have the most soothing effect, which may be why it is the most common favorite color. Because it is calm and clean it is a popular color in professional design.

There are almost no drawbacks to applying blue in artwork, as long as you know what you want to convey. It’s hard to overuse this color, but be selective of which tones you use to avoid a washed-out or dismal look, as some can appear gloomy – or “blue.” It contrasts well with orange and warm or golden browns.

National Geographic Photo Gallery: Life in Color – BLUE