Jessica Crabtree

Moving along, but still a ways to go. You can see how I’ve added the “shadow effect” to keep the figure from disappearing into the backdrop (compare to the first stage photo where you can see the original suede color).

I’m using a blend of brown chalks in both the robe and the background, with sepia as the dominant tone (Nupastel 293) – it suggests a warm, almost dreamy atmosphere. Wide, lengthwise strokes with the chalk are especially good for texturing and shading.

More to come soon…

Stage #2 of my portrait of an Atsina girl – roughing in the first portions of the buffalo robe and buckskin dress. Click the photo to enlarge:

The first shot of what will be a full-length portrait, Atsina, on 16×32 suede. (Click to zoom.)

For the face I started out with an initial layer of black (for shadows) and my favorite Sennelier red ochre. A little bit of Nupastel 353 (“Cordovan red”) and it’s beginning to look a bit more human. I’ll add the highlighting on the cheeks and nose last. I also added the some of the same red tones to the hair, to indicate reflected light.

In the original Curtis photo, the girl is wearing a gorgeous floor-length buffalo robe. The color of the buckskin will stand out against the suede backdrop once I’ve blended a darker color around the edges for contrast. A little background shadow will add depth and pull the picture together.

More coming soon!

Close up view:

Painting a Wolf in Pastels – Part 4

(Click for larger view)

JESSICA CRABTREE NATIVE AMERICAN PORTRAITS & WILDLIFE: Mexican Wolf

Ok, NOW it’s done. I’ll be posting a photo of the finished framed painting shortly. For now you can see it up on my Gallery.

I saved the finest details for last, for instance you’ll notice a few whiskers and claws (plus the sparkle in the eye), but no major changes.

As far as the background and rock setting, I randomly blended some dark greens, blues, and browns into the black suede to give indication of a natural setting; nothing distracting. The rocky ground was also straightforward; I used some of the browns from my wolf’s palette (Nupastels 313 and 283) and the side of a black chalk to block in some craggy textures – no underpainting here, I wanted to keep the texture rough.

Last of all I’ve added my signature using my trusty Pilot marker (for more on this check out my Artist’s Tip Bag post How to Sign a Pastel on Suede Painting).

The latest view of my Mexican wolf painting: click for larger view.

Not much to add since the last time I worked on it – the further along the picture gets, the slower the going is, because most of the time is spent working in finer detail. You can see from looking at the last shot that I’ve roughed in the rocks and an indication of a backdrop, and added some finer detail to the fur around the head and shoulders.

I find that a lot of time in this stage is spent stepping back and looking at the overall picture (especially in the mirror), making last-minute adjustments and a few touch ups here and there. (A word on finishing…)

See the project from the beginning with the following posts:

Sneak Peek: Mexican Wolf – Day 1
Painting a Wolf in Pastels, Part 2

Coming up next: the last installment (finally finished!)

Painting a Wolf in Pastels, Part 2

(To catch up on the project from the beginning, check out this post:
Sneak Peek: Mexican Wolf – Day 1)

Now let me show you how we got this far – lots more in-progress photos below (click any of the pictures to enlarge)

I left off work last time with a good start on the head, so I’m moving on to the rest of the body.

Just like I did before, I start out with black, shading in the darkest areas. (More on the advantages of this later.) When this done I can come in with a base color, in this case one of my primary browns. I go over lightly and blend this first layer in with my fingers.

For each color that appears in the fur, I apply another full layer so it doesn’t show up in isolated patches. Blending together the browns, reddish-browns, yellows, grays, and beiges (like the ones you can see laid out in the photos) makes it much easier to recreate the texture and color diversity of real fur. I can just draw out whichever tones I need to emphasize in a particular area.

Notice again, I’m working from dark to light, as I mentioned before. Only later, after the other colors are blended in, do I apply anything like white or beige, because I find it really hard to work with. If used correctly it can come across looking soft and fluffy, the way I’ve tried to show here.

You can see the layers really starting to come together in the following pictures. I’ve added Nupastels 253 (cocoa brown) and 223 (burnt umber) to my palette for undertones; 233 (raw sienna) for golden highlights; charcoal gray; and 276 (buff beige) as the brightest layer. This project has a fairly limited color range – in all I won’t need more than a dozen or so chalks.

Right: The blunt edge of a Nupastel is perfect for making the short, choppy strokes that imitate layers of thick fur.

Another advantage to this kind of layering is that with the darks underneath, anytime you mess with the chalk you’ll get some nice rich undertones showing through (that’s why you’ll want to choose your base coat carefully).

One of my favorite techniques – particularly when doing hair or fur – is using a tortillion, or paper stump, to pull the darker layers out between the lighter hairs. This is much easier than trying to add dark chalk between the light areas to make them stand out, and running the risk of blurring the edges.

Think of it as a kind of “reverse pencil.” In general, I like to use tortillions in lieu of my fingers in any places too small for me to work.

Left: A well-loved paper tortillion.

Next up: A little closer to the finish – finishing the fur, paws, and small details.

Painting a Wolf in Pastels

By popular demand, I’m finally doing a wolf on suede. It took me quite a while to find just the right shot (thanks to April King for a gorgeous photo of a Mexican wolf – read more here).

My matboard is 16×24 black suede and I’m using mostly Nupastels. This is what it looks like after the first day’s work.

(Click on any of the pictures to see them larger.)

I’m taking a lot of stage shots of this one (compared to the usual 3-step photos) so I can use it as a kind of demonstration piece for my pastel series. So many people are interested in the pastel blending process that I thought this particular project would serve as a good illustrated tutorial. (continue reading…)

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.