![]() Although it may be tempting to use white for this, a light value of a color is a better choice. A very light blue is applied to define the shapes of the clouds. Once we have our initial applications of blue applied to the sky, we’re now ready to add the clouds. A slightly darker blue is applied to the top of the sky, while a couple of lighter blues are applied adjacent to the horizon. We’ll begin with a medium light blue, leaving open areas for the shapes of the clouds. In this case, our background consists of the sky. Working in this manner, and in this order, ensures that we don’t have to work around objects in the foreground to develop the middle ground and background like we have to do with other drawing mediums like colored pencils or graphite. This means, that like with opaque painting mediums, we can work from the background to the middle ground and finish up with the foreground. ![]() Pastel applications can completely cover previous applications. Even though pastels are a drawing medium (since they are applied dry), the thought process of the artist is more closely related to that of painting. Pastels are similar to the opaque painting mediums of oils and acrylics. Once our loose sketch is in place, we can turn our attention to the background. This is drawn quickly without regard to any details. A dark brown pastel pencil is used to apply these marks. At this stage, we want to map out the subject on the paper and have an idea how we plan on moving the viewer’s eye through the work. We’ll begin by first quickly sketching the composition using loose lines. This will keep the image looking natural while increasing contrast and interest. This means that a secondary color scheme of purple, orange, and green makes sense for this image. And if we look closer, we can see hints of purple as well. In the case of our subject, we can clearly see that orange is already a dominant color. Or, the artist may choose to intensify certain colors so that they create a subtle, but noticeable color scheme. The artist may choose to completely manufacture colors, but keep the values accurate. As you may imagine, there are lots of possibilities when incorporating a color scheme in a painting. Here’s a look at the photo reference used in this painting…Ī color scheme is typically a limited palette of colors that have a defined relationship in terms of their locations on the color wheel. Our painting should not be a direct copy of the image, but rather an interpretation of the subject. However, during the execution of the painting, changes are made and the reference is loosely followed. ![]() As you’ll notice, we use the photo reference for the layout, textures, and value relationships. The photo reference used in this painting comes from. ![]() (The following links are affiliate links which means that I make a small commission if you purchase without an additional cost to you)… The surface has a huge impact on how the medium behaves and the final result. Keep in mind that the surface in which you choose to work is just as important as the medium. As a result of the texture, colors can be easily layered while keeping the dust to a minimum. This paper features a tooth similar to ultra fine grit sandpaper. This work is painted on PastelMat paper (light gray surface). Rembrandt pastels and Carbothello pastel pencils are used in this case, but any brand can be substituted. Mostly pastels are used, but the pencils come in handy for details. Both traditional stick pastels and pastel pencils are used to complete the desert scene.
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