Jessica Crabtree

It’s finished! This is my first half-length portrait; normally I opt for a closer head and shoulders view. The original photo, as I mentioned earlier, was an old black and white taken around 1870 (public domain). As far as I can determine no one has been able to identify the photographer. However it is known that the subject’s name was Rabbit Tail and he was one of the Shoshone scouts serving in the US army under Captain Patrick Ray.

Incidentally, there is an oil painting by Joseph Henry Sharp of a Shoshone of that name, leaving many to speculate whether it is actually the same individual. The painting dates to a period when the young Rabbit Tail would have been a middle-aged man. Based on the comparison, I see some similarities, maybe even enough to make the two relatives, but I’m not convinced they’re one and the same.

JESSICA CRABTREE NATIVE AMERICAN PORTRAITS & WILDLIFE: Shoshone

Shoshone, 14×24 original pastel on suede. (click for larger view)

About the Shoshone

The Shoshone people were originally part of a very large extended family of nomadic peoples in what is today the American West. Their traditional territories centered in the arid Great Basin region, where they migrated seasonally hunting wild game and harvesting wild foods. Each of their main bands identified themselves after the staple food they followed.

Migratory bands of Shoshone were among the first Native Americans encountered by European fur traders and adventurers who ventured West in the early 1800s. Perhaps the most famous Shoshone individual of all is Sacagawea, the young woman who worked as a guide and translator for the Lewis & Clark expedition in 1804-1806.

(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…

I’ve just released the 2010 edition of my digital portfolio. It’s powered by the Issuu publishing module, an incredibly sophisticated script that converts standard media documents into digital magazines. The function and appearance are similar to Flash, but the load time is minimal.

Click here to view it as a magazine in full-screen mode.

Click for screenshots:

Please check it out and leave your feedback!

My latest finished painting (click for larger image), now available on my Gallery.

Acoma, 18×24 pastel on suede matboard.
The original photo was taken in 1905 by Edward Curtis.

JESSICA CRABTREE NATIVE AMERICAN PORTRAITS & WILDLIFE: Acoma

About the Acoma

The Acoma people, who call themselves “Haaku,” are one of nearly two dozen Pueblo communities in northern New Mexico. Their pueblo, known as “Sky City,” is built on top of a mesa where for centuries the only access was a single staircase carved by hand out of the sheer sandstone walls. Thanks in part to this defensive position, Acoma is possibly the oldest continuously inhabited constructed settlement in North America.

From its remote perch on the steep white plateau, the Acoma pueblo has witnessed the rise and fall of the Aztec and Maya empires (its trading partners in ancient times), the incursions of Spanish conquistadors, and the American conquest of the Southwest. Today, the Acoma still live in their ancestral fortress, where they continue to practice traditional arts, ceremonies, and farming.

More on Acoma history:

Acoma Sky City

Pueblo of Acoma

Meet Bandit, 15×18 pastel on suede – the latest addition to my Gallery.

(Click to enlarge)

My reference photo was from the Fish and Wildlife Service database (which are all public domain). I used mostly Nupastel chalks for the fur and birch trees, and a white pencil for the accent hairs, whiskers, and other fine details. You can click one of the tags below to see the step-by-step photos of this project.

See more of my wildlife portraits and pastel paintings here.

Here’s a look at my latest pastel in progress (15×18). I call him “Bandit” – an obvious name for a raccoon! Click the image to enlarge:

It’s finished! My latest portrait, Zuni, 14×14 pastel on suede.

JESSICA CRABTREE NATIVE AMERICAN PORTRAITS & WILDLIFE: Zuni

Now I can add the signature and it will be ready for my Gallery. You can see the painting in various stages by clicking the “Latest” tag below, or “Sneak Peek” on the menu.

This portrait is based on a 1903 photograph from the Edward Curtis collection. A huge portion of this work is dedicated to images of the Southwest, particularly the Pueblo regions where this man is from. (continue reading…)

Zuni, 14×14 pastel on suede: Click for larger view

Almost done with my portrait Zuni. I need to touch up a few areas on the face and the headscarf, then complete his shoulders & heishi necklace.

I used mostly Nupastels for the flesh and hair, since they are smaller and firmer and work well in small spaces. For the base coat and highlights I use my Sennelier soft pastels because they blend so smoothly. To make the reflection appear glossy, I rub a little of a pale pink soft pastel on top of the base coat, then apply a light layer from a darker Nupastel; this prevents a dull chalky look. I love the deep furrowed wrinkles in this expressive face; to achieve realism I have used the shadow color directly against the highlight tone, so the strong contrast draws the eye and creates depth.

Click the “latest” or “sneak peek” tags below to see the step-by-step photos of the portrait.