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Ole Mejlvang Hedeager

Grønnevænget 6

8765 Klovborg

Tlf; 29938877

e-mail; ohedeager@gmail.com 

 

Karikatur eller portræt 

En karikaturtegning eller portrættegning, er den perfekte gave til f.eks fødselsdag, bryllup, konfirmation, polterabend, messe, butiksåbning, jule gaveide, dyrskue, 

storcenter, arrangement, Åbent hus, fest,  personale,

o.s.v ....

 

Tegning af dyr/kæledyr

og illustration.

Tegneren Ole Mejlvang Hedeager har lavet alt fra realistiske portrætter til humørfyldte karikaturtegninger. Bladtegning. Satire. Bogillustration. Logodesign. Maleri. ...

 

 

 

 

 

 

 

 

 

Velkommen til Unik-Art, Pastel Art

PORTRÆTTEGNING, PORTRÆTMALERI, KARIKATUR TEGNING, LIVE KARIKATUR TEGNING, LIVE PORTÆTTEGNING, TEGNING AF DYR, ILLUSTRATION, PASTEL KUNST OG MALE KUNST....UNIK ART!

Ole Mejlvang Hedeager, international prisbelønnet tegner og illustrator for bl.a. Ugebladet Hjemmet, specialiseret sig i foto realistisk pastel kunst og malerier

 

 

 


the portrait painters top sites

 

 

"Tutorial"

Fra Wikipedia, den frie encyklopædi

 

 

En tutorial er en guide eller vejledning som punkt for punkt fortæller dig, hvordan du fx skal redigere et billede, eller opsætte en hjemmeside. En opskrift er en form for tutorial, da den punkt for punkt fortæller dig hvordan og hvad du skal gøre for at lave en bestemt ret"

 

En sådan gratis tutorial, har jeg lavet til dig som nettop fra punkt til punkt, vil lave en perfekt foto-realistisk portræt tegning i pastel på pastelpapir. Check out..
 

(Jeg ville oprindeligt lave en tutorial mere end der anført i videoen nr.5....men you got the point!)

God fornøjelse....:)

 

 

 

 

 

 

 

 

 

 

 

 

En tutorial i hvordan man laver portræt maleri i olie på spansk

 

 

 

How I Draw a Realistic Portrait in Pencil

Many people have their own way of drawing a pencil portrait.

Some of them start by drawing from top to bottom, some start by drawing from left to right… for me, I have two slightly different ways to start when I’m teaching my students to draw.

For teaching beginners in drawing pencil portraits, I will demonstrate by drawing the eyes, the nose, the mouth, the ear, the hair, then only the face. This is because it’s easier for beginners to focus on just one area to another. Plus, I won’t ask beginners to add shading on the entire face because it will become very complicated that’s why I draw the hair before the face.

For teaching advanced students in drawing pencil portraits, I will still demonstrate by drawing the eyes, the nose, the mouth, the ear, the face, and lastly the hair. The reason that I draw the face first is because for showing advanced students in drawing, I fill up the entire face with shading. It’s easier to draw the hair later on.

The pencil portrait below is the example that I demonstrate for beginners without shading on the entire face:

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The pencil portrait below is the example that I demonstrate for advanced students by shading on the entire face plus adding more details:

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So in this report, I’m going to show you how I draw a realistic pencil portrait for the reference picture below.

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(Please note that this report isn’t a step-by-step guide on drawing a pencil portrait, but more about how and which steps I go first when I draw a realistic pencil portrait.)

At first, I will start to draw outline of the facial features, hair, and head with a 2H pencil. I always put a blank and clean paper underneath my hand so that it won’t dirty my drawing.

Then, I start to draw the eyebrow of the left eye. After finished drawing the eyebrow, I go on drawing the iris with a 5B pencil, then only I start to draw from upper eyelid to lower eyelid and the skin under the left eye with 2B pencil. After finished drawing everything, I draw the eyelashes with a 5B pencil.

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After that, I go on to draw the right eye with the same steps of drawing the left eye.
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portrait clip image004

Once I’ve finished drawing both the eyes, I then add shading on the nose with 2B pencil starting from top of the nose bridge to bottom of nose bridge. Then I draw left side of the nose, right side of the nose. And lastly, I draw the ball of the nose in front with the highlight on it. I also observe some details to be added on nose.

portrait clip image002 0002portrait clip image004 0000

After that, I go on to draw the mouth and the teeth with 2H and 2B pencil. I start by drawing the upper lips. Then I draw the teeth individually from left to right. And lastly, I draw the lower lips with some highlights on it.

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After finished drawing the mouth, I then continue to add shading on both side of the ears with 2B pencil. I start by drawing from the left ear, then only to right side of the ear.

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As you can see, drawing facial features realistically makes the portrait come lifelike.

After finished drawing the eyes, the nose, the mouth, and the ear, I started to add shading on the face with 2H and 2B pencil. I always start to draw from the skin around the left eye. While shading half way, I also observe some details to draw.

portrait clip image004 0001

I focus on drawing the face area on the left eye. Then I continue moving downwards to the cheek and beside the mouth.

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I continue drawing the jaw and skin above the mouth. Once I’ve finished drawing the skin around the mouth, then only I draw the shaved moustache around the mouth.

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After that, I start to draw right side of the face, starting from the skin around the right eye. Again, I observe the details around it and moving downwards to the right cheek.

portrait clip image004 0002portrait clip image006 0000

Usually, I draw the forehead last for face drawing. I focus on just one area then to another area from left to right.

portrait clip image008 0000

And now, there’s only hair drawing left. I begin to draw from the bottom of the left sideburn by moving upwards to left side of the hair, to middle, then moving downwards to right side of the hair and the right sideburn. I use 5B pencil for hair drawing. Sometimes I use also 8B pencil to achieve some really dark part of hair.

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After that, I draw the neck and the coat to complete the realistic pencil portrait drawing. Lastly, I observe the reference picture again to see which area should be darker and darken them.

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That is how I draw a realistic pencil portrait.

Instead of looking at the whole picture to draw, focus on drawing and complete one small area then only move on to another area. In this way, not only you won’t miss out the details, you will also fasten the whole process.

Take your time to draw a realistic pencil portrait and don’t be rush. Drawing should be a relax activity and not a stressful chore. icon smile

To Your Drawing Success,

portrait clip image013

 

 

 

Free Photorealistic Pencil Drawing Tutorial

Step by step advanced graphite drawing techniques

 

Warning: May cause severe headaches! Consult a doctor before attempting. Requires moderate to strenuous concentration (Just kidding! —well, I suppose you can get a whopper of a headache if you over do it.)

 

First, purchase a large sheet of watercolor paper, about 80 lb. weight. Because of what you are about to undertake, the paper will take a beating, so thick watercolor paper will help prevent crinkling and other damage. Turn the paper and use the back side which should be smoother. If you are drawing a face, the smooth side may have just the right texture to help you simulate skin.

 

Purchase some cheap mechanical pencils, the kind that you can buy at the grocery store (see below).

 

Mechanical pencils good for photorealism

 


As you can see, I'm using 0.7 mm lead. I will also use a 4H, HB (#2) pencil and a Kneaded eraser (also known as putty rubber) for picking up graphite particles. These tools will give you precise control over what you draw.

 

Photorealism evolved from Pop Art in the 1960's. It was a reaction against the ubiquitous use of photography in media and abstract expressionism in art. I happen to enjoy both realistic and abstract art and don't see a reason to compare. Everything is cool on some level, I suppose. The one thing realism is particularly good at is reaching a broad audience with the clear message: nature is beautiful. In photography, even a tragic image can be breathtakingly beautiful. In photorealistic art, sometimes the same can be achieved, but with an extra human dimension. With this in mind, always strive for a little tension and conflict. You can save all the drama for your momma, but in art, go ahead, pour everything out --and in the end perhaps you'll capture something ineffable or at least your very best.

 

Okay, let's start:

 

The human face is probably the most difficult subject to render accurately. It takes years of practice to develop the skills needed to capture proportions and subtle features that make for a convincing resemblance of a person. If you're not a portrait artist, you can still use these techniques to draw other subject matter. A piece of machinery or tree trunk or still-life of any kind can be a beautiful and impressive work of art. If you feel that you have little artistic talent, you may want to try a simple exercise to shift your consciousness to the right side of your brain. Take a photograph and turn it upside down. Then try to draw it. You may be surprised at how well you draw. However, an artist doesn't necessarily have to be 'right brained.' You also don't need to be left-handed (I'm right handed).

 

Ideally, work from a very detailed, high resolution photograph with good contrast. If you have a graphics editing program, such as Adobe PhotoShop, crank up the levels until all the details are dark enough to see. Use your computer screen to zoom in on the details. Being able to see a close-up of a particular facial feature makes it much easier to draw something with photorealistic detail.

 

The first stage is the hardest part of the drawing. You are solving a difficult problem: how to create a two dimensional representation of a three dimensional object. This example is particularly difficult since it is a three-quarter view, and will depend on careful observation.

 

With an HB (#2) pencil, very lightly scribble the forms that create the illusion of volume. Draw, erase, redraw and erase again. The thick watercolor paper will serve you well as you erase many times. The key is permitting yourself to make a multitude of mistakes until you begin to see progress. If you look at an old drawing by a renaissance master, you may notice many stray lines, which reveals the great struggle that sometimes takes place as the drawing is developing.

 

Remember, this is not a classical drawing. You'll have to betray all your artistic notions about the creative method. Instead of organically building the composition up as a whole, photorealism requires that you work mechanically, This early stage of the drawing is the closest you'll come to a melodic artful approach. It may even look like a gesture drawing, loose scribbles, until something forms and emerges from the chaos. As you activate the plane with energy, use this time to express movement and emotion.

 

drawing number 1

 

Once you've made the drawing of the face, you've essentially completed the portrait. If you wanted to, you could frame it and invite others to appreciate the weight and linear continuity of the composition. It might not look out of place in a museum of modern art hanging next to a drawing by Alberto Giacometti. So feel free to admire it for a while, appreciating all the interesting lines and what might look like accidental or random marks.

 

All right, this is a photorealism tutorial after all. Let's get to it. Here's a close up of the right eye (image below).

 

It's been said before that art is a discipline of awareness. The most important activity that we'll be involved in for the rest of the drawing is observation. To put it simply, notice, notice, notice, interesting shapes. The more interesting the shapes seem, the more you may want to exaggerate slightly so others will notice them. It may seem silly, but the greatest joy in drawing can be falling in love with shapes. Shapes are formed by positive and negative space. Tiny details are like hidden treasures that you look for and find, drawing circles around them like word search puzzles. Below, I start off with an exquisite find: a rectangle and a couple of lines within the iris. Also notice that I've begun using the mechanical pencil for darker lines.

 

Early stages of drawing: right eye

 

Here are some cross-hatch lines to create the eyebrow (below). I'm shining a bright lamp on the drawing so you can see the direction the lines are going --so there is some glare.

 

Because this is a graphite drawing, try to work in one area, slowly expanding to others, being careful not smear the graphite with your hand or wrist.

 

realistic eyebrow hairs

 

Now listen very carefully Baby Puppy. You're about to perform a magic trick. Take the 4H pencil, which is a hard lead, and draw some lines with firm pressure. You'll be pushing hard enough to actually dig grooves into the paper. These will serve to create lighter areas that the dark mechanical pencil lead will not be able to penetrate. This effect will be similar to the negative space in fingerprints..

 

More work on the eye

 

Now for the graphite technique you'll be using most in this drawing. With a slightly worn mechanical pencil lead (just scribble on something for a moment), use the dullest part of the point to shade with tiny ovals. The ovals should be built up gradually, so that the shading goes from light to dark like a photograph developing in a dark room over time. Go slow, be patient. Use the grain of the paper to aid you in creating the illusion of skin texture. You have to decide when you've reached a shade that makes the best use of the paper texture and the graphite technique.

 

Graphite over 4B technkque

 

As you shade over the eyelid, you'll notice the grooves that you've created with the 4H will now begin to stand out (see below). These are the beginnings of wrinkles that you'll soften and add more detail to later. The skin around the eyelid is extremely soft and thin. With a youthful looking person, the eyelid wrinkles don't usually make the person look old. Most people are accustomed to seeing wrinkly eyelids, and won't question your rendering of wrinkles..

 

photorealistic grahite technique

 

Back to shape finding. I zoomed in on the eye and noticed more interesting shapes. These are reflections of lights and objects. They will help me to shade the eye, like drawing within the lines of a coloring book. And who said you had to grow up?

 

Drawing of eye.

 

Next, we add eyelashes by creating careful strokes with the mechanical pencil. You will want to apply firm pressure, so be careful not to slip, since a kneaded eraser will not remove impressions in the paper.

 

Shading detail with the drawing of the eye

 

Using the mechanical pencil for darks and the HB for light, shade the rest of the eye (below).

 

Drawing of the Iris

 

Prepare the lower lid by digging down firmly with the HB pencil. This will create the same effect as the darker lead not entering the grooves in the paper. The lower lid is not as wrinkly as the upper lid.

 

HB preperation for darker graphite

 

Shade the lower lid with the mechanical pencil (draw over the grooves created with the HB). Continue to darken the eyes.

Being careful not to smudge the drawing, shade the forehead with the same tiny ovals.

 

Drawing of two eyes

 

Gradually build up the side of the face with shading (see below). Be patient and sensitive.

 

Shading the side of face

 

Over the left eye, shade the forehead, combining the 4H (light pressure) with the mechanical pencil oval technique.

 

Graphite shading over eye

 

Since she is wearing a hat, it will creates shadows on the forehead. Take your time and make gradual transitions from dark to light with your shading. Since I'm right handed, I'll be drawing generally from upper-left to lower-right. If you're left handed, you'll do the opposite.

 

The lamp I'm using will be on my left so that my hand doesn't create a shadow over the area I'm trying to draw. In this photograph the light source is different only for the sake of the camera.

 

Photorealistic shading over the eyebrow.

 

Although the shading in the forehead is finished (below), I will go back later and even out the spotty areas with the kneaded eraser, redrawing some parts if I erase too much. I've shaded enough to draw the left eyebrow with firm pressure (with the mechanical pencil). Do not draw the hairs over white paper. Make sure you've shaded underneath first. Take your time and draw each hair with great care (hey that rhymes!).

 

Realistic eyebrow hairs.

 

Again, we will be digging hard into the paper with a 4H pencil (see below). This will create larger pores and wrinkles to be revealed by the dark soft lead of the mechanical pencil going over the 4H marks.

 

Photorealism technique:  HB before mechanical pencil

 

This part of the face is reflecting light,so you are trying to simulate a complex effect, a highlight on porous skin with tiny wrinkles. Use the grain of the paper, the pencil graphite and the kneaded eraser (all working together) to render this until you're satisfied with the result.

 

asdf

 

You may even want to draw thin lines around the pores with the 4H pencil to create more contrast and detail.

 

Creating more contast and detail in the drawing

 

Dig hard with the 4H pencil to prepare the shading of the eyelid.

 

Dig hard with the 4H pencil to prepare the shading of the eyelid

 

 

 

 

 

Shade the eyelid and draw the eyelashes with the mechanical pencil and begin shading the iris and pupil. Notice the complexity of shapes within the eye. Do not assume that anything is symmetrical. Observe nature. Study the symphony of patterns.

 

Shade the eyelid and draw the eyelashes with the mechanical pencil

 

Again, I used the 4H pencil to press grooves into the paper before shading with the mechanical pencil. Then I shaded with the darker lead (mechanical pencil) and added eyelashes. The whites of the eyes are not white, but in a slight shadow (4H pencil).

 

 

Begin shading the nose with soft graphite ovals. Notice the shadow of the nose on the right side of the face (her right). Please excuse the glare of the lamp over the left eye.

 

Drawing the nose

 

Apply hard pressure with the 4H pencil to create long highlighted hairs. Although the subject has dark hair, the highlights will look natural and not like gray hairs. The key is to create the impressions in the paper first and then later go over them with the darker, softer lead of the mechanical pencil. This effect works really well with blondes who have fly-away hairs visible in front of dark backgrounds.

 

Drawing highlight hairs

 

To create hair, draw long lines with firm pressure with the mechanical pencil. Notice the highlight hairs appearing.

 

To create hair, draw long lines with firm pressure with the mechanical pencil

 

Continue to use the oval technique for the skin, and the dark lines for the hair. Carefully shade the ear, sensitive to the subtle shapes visible in the skin. Think about the cartilage, fat and skin that causes the skin to contour and catch light.

 

use the oval technique for the skin, and the dark lines for the hair

 

Although the paper is glaring because of the light, you can get an idea of how the hair is drawn using both the HB pencil and the mechanical pencil. Notice the highlight on the nose and the general direction the drawing is still taking, upper-left to lower-right. Again, this will help to keep your wrist and hand from smudging the drawing.

 

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Below is a detail of the hair showing the effect of soft lead over the impressions left by an HB pencil. Continue to darken.

 

soft lead over the impressions left by an HB pencil

 

I've create a highlight on the cheek with very light shading transitioning out into darker shading with the mechanical pencil.

 

very light shading transitioning out in darker shading with the mechanical pencil

 

Here's a close-up of the mouth. I've turned up the contrast so you can better see the lines and shading. Notice there are no straight lines in nature. All contours are melodic. Try to imagine these shapes as islands on the horizon. Squint your eyes and see an archipelago in the pacific.

 

close-up of the mouth

 

With the 4H pencil, push hard against the paper to create wrinkles.

 

With the 4H pencil, push hard against the paper to create wrinkles

 

Now shade with the soft lead of the mechanical pencil. Continue to discover interesting shapes and patterns. Notice that part of the lip looks a little like an E.K.G. rhythm strip. Also notice the little nicks around the edge of the lip and how there are dramatic differences between the lights and shadows. The teeth are not white, but in the shadow of the lower lip.

 

 

Here's an even closer view of the detail (below).

 

closer view of the detail

 

Add in some dark wrinkle lines with the mechanical pencil (below).

 

dark wrinkle lines with the mechanical pencil

 

Shading the lower lip (below).

 

 

Shade the rest of the face. Observe the light reflecting off jawline (below).

(Note: this photo is slightly distorted)

 

 

Here's an extreme close-up (below) so you can better see the graphite oval technique.

 

 

The hair is almost finished.

 

 

Closer view of the hair (below).

 

 

After spending quite some time darkening the hair and patting down the face with a kneaded eraser, the skin still looks a little spotty (below). At this point one has to decide if they want to move beyond photorealism into hyperrealism. My personal taste is that the drawing should still look like a drawing. I leave a hint of the shoulder with a single line, and shade the hat with simple diagonal lines. As for the blotchy skin, I can smooth away for days in the chasing after perfection, but I think that the human quality is worth the unevenness.

 

 

How long did it take to draw this face? If I add up the hours, perhaps one full day. If you liked this tutorial or would like to share anything you've done, you can find me on facebook.

 

Cath Inglis is a wonderful pastel artist specialising in wildlife. In this free video she begins painting a hare. You'll learn about how to build up your layers of colour to create fur, and how the different types of pastels will respond to Cath's unusual choice of working on sandpaper. This really is a masterclass and even if you're still a beginner there's loads you can learn!

 

 

 

Jeg blev meget inspireret af denne kunstner, der maler med akvarel på sin helt egen specielle måde, stil og stor talent....blive inspireret ligesom jeg og se videoen...se evt. mere på Deviantart; http://agnes-cecile.deviantart.com/

 

 

 

How to Paint Fleshtones for a Portrait | By Artist Tom Root

 

Fleshtones and No Predrawing
by Tom Root

I started this painting as a live model demonstration for a Friday night open house at the Root Studio School. The sitter was one of my students. My surface was a medium-weight linen, primed with clear acrylic gesso to show the natural tone of the fabric. (Sometimes I use this as a quick alternative to my preferred toned, single-primed oil ground.)

 

flesh tone, portrait painting, Tom Root art


1. First I mixed with my brush a color approximating the middle tone of the flesh. Because the sitter was lit with a warm incandescent lamp, the fleshtones were rather yellow. Roughly, I scrubbed this light, warm tone onto the canvas in the shape of the lighted skin of the head and neck. Without guidelines, I blocked in the main passage of light, keeping the edges loose and undefined, as I looked for placement and the general shape. I used barely a drop of M. Graham walnut alkyd medium—I wanted the paint to remain fairly sticky so I could go back into it without lifting it.

Next I took a brush mixture of light red and Winsor & Newton Prussian green and started lightly drawing into the wet paint the darker accents of the face, starting with the eyes and moving on to the shadow under the nose and the shadows of the lips. I can get quite a bit of subtle drawing and modeling with very simple means by taking advantage of blending wet into wet. I painted the darks a bit lighter than I saw them, knowing they would naturally appear darker when I built up my lights. I took my time doing this, trying to stay relaxed and to put down only what was well-observed and truly felt.

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flesh tone, portrait painting, Tom Root art

2. I continued with my drawing and massing. For the darks of the hair, I introduced Winsor & Newton Prussian green and Lefranc & Bourgeois strong violet. For cools in the skin, hair and background, I added Gamblin Torrit Grey mixed with white and Naples yellow. (The violet and gray aren’t my usual colors; I was given them and was just using them for the fun of it.) Most of my painting and drawing at this stage was done with a Robert Simmons Signet natural bristle filbert No. 6. I’ll use the same brush to scrub in masses, or I’ll turn the brush on its edge for lines and hold it parallel to the canvas to gently stroke into wet paint.

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flesh tone, portrait painting, Tom Root art

3. Because my sitter was unavailable for another evening in the following days, we had to work in the daytime and try to re-create the conditions by blocking the windows. This was only partially successful. Using the sitter and my previous work as a guide, I mixed with a palette knife the fleshtones for the face, using the same colors as I had for the previous session. I didn’t try to find a single “correct” fleshtone, but rather preferred to make several lines of colors in descending tones. My next step was to develop the form of the head by modeling with light tones. Because of the lamp lighting, I felt that the shadow shapes, particularly on the neck, were too strong as I saw them, so I raised their tone in my painting so they wouldn’t upstage the form.

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flesh tone, portrait painting, Tom Root art

 

4. I adjusted the tones of my masses as needed for directing the eye in the painting. I tried to make the darks of the hair seem dark without actually presenting a distracting contrast with the rest of the painting. I continued to refine my drawing, redrawing the neck and the hair and headband. I decided that the ear needed to be raised and brought forward just a tad, which meant totally redrawing and repainting. If I’d had more time, I would probably have done some other things: I feel that the modeling in the head could have been simplified—and the hair better designed. But sometimes it’s good not to have more time. I like the restrictions presented by painting from life. It keeps me from fussing and niggling.

Visit Tom Root’s website at www.tomrootartist.com, and get your copy of the April 2012 issue of The Artist’s Magazine to read the feature article, “Simple and Profound.”


Jeg har på nettet fundet disse billeder i hvordan man fremstiller sit eget "lærred" på træ til netop pastel tegning og maleri....det er billigt, og kræver lidt knofedt og bestilling på forskellige varer, men til gengæld får man et resultat uden sidestykke og i lige netop den str. du ønsker det....der er 15 billeder i fremstillingsprocessen.....god fornøjelse...

 

I have found on the net these images in how to manufacture its own "canvas" on wood just pastel drawing and painting .... it's cheap, and requires a little elbow grease and ordering of various products, but in return you get a result without unparalleled and in exactly the size you want it .... there are 15 pictures in the manufacturing process ..... enjoy ...

 

 

 

 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Step by Step Soft Pastel Painting From Start to Finish

(Click Thumbnail Images For Larger Views)

I am using a picture of my dog for this demonstration. First, I cut a piece of suede matboard to the desired size (in this case, 10″ x 20″). I always tape the matboard to a stiff piece of cardboard so I can move it easily without touching the matboard while I paint.

Next, I print a good quality picture of the reference on photo paper, then tape it above my matboard. I’ll be showing you pictures that include the reference because it is key to my process to see both the painting and the reference at the same time. I often walk away to take a look at the painting from a distance to check my values and the accuracy of my drawing.

animal drawing tutorial 1

Now I’m ready to paint.

First, I pick out two pastels: a light and medium value.  Starting with the light, I rough in the areas where the highlights are in the reference photo.  When I feel I have the lights reasonably correct, I take the medium value and do a loose drawing using the lights as a guide.

soft pastel demo 2

Now I pull out a couple of pastel pencils and define the drawing a bit better.

pastel drawing demo 3

Next I block in the background above the dog.

soft pastel tutorial 4

I then take a few pastels in different values and scribble in the direction of the fur.  Basically I’m just working on my drawing right now.

soft pastel techniques 5

I decide the drawing is accurate enough at this point, so I block in the first layer on the collar.  Then I start working in a darker value pastel.

pastel drawing ideas 6

Now that my drawing is relatively accurate and I know where my dark areas need to be, I take a medium-light pastel and go over most of the dog.  I want to make sure there is a base of pastel all over the fur area.  I use a very light touch on some areas so I don’t lose my drawing.  Then I lightly rub a finger over the whole thing to blend it.

pastel drawing tips 7

Next I’m going to do a little glazing with pastel pencils.  I want to add an orange tone to some areas.  I turn the painting on its side and lightly rub the side of the pencil tip in the areas I want to tone.  Sometimes I do this with pastels, sometimes with pencils, depending on how much color I want to add.  I usually have a lighter touch with pencils.  I work a bit around her eye, over her nose and paw.  Then I rub over those areas with a finger, working the pastel into the matboard.

drawing pet portraits 8

Next I work on correcting the shape of the ear and adding some definition to it.  I use a combination of pastels and pencils, layering to make it look like an ear.  I also go back over the dog with more pastels, making marks in the direction the fur is growing.

pastel painting techniques 9

I push the values a bit more.

pastel painting tips 10

I decide I need a more yellow tone to the fur, so I pull out the appropriate color and add it.

soft pastel tutorial 11

I smooth that out with my finger, then work on adjusting my values again.  At this point, I’m almost finished with the dog.  I flip the painting upside down because I’m going to scrub a bit on the background and I don’t want the background color pastel falling into the fur.  I reapply the original color.  Then I take the same color the next value darker and paint around the edges.  I take a paintbrush and scrub the pastel in a round motion, blending the colors together.

soft pastel lesson 12

Next I paint in the carpet.  Then I paint the light areas on the dog.  I just want to add the suggestion of fur.  I don’t want to draw in every little dog hair and overwork the painting.

pastel drawing tips 13

Now I pull out my Terry Ludwig dark pastels (love them!) and paint in the dark areas.

soft pastel lesson 14

Then I sharpen a dark umber pastel pencil and use it to blend the dark pastel into the lighter areas.  Since I want it to look like fur, I drag the pencil in the direction the fur should be going.

soft pastel techniques 15

This next step is not for the squeamish.  Use it at your own risk!  I pull out the vacuum.  Holding the nozzle about an inch away from the painting, I wave the nozzle over the entire painting.  This pulls up all the loose dust, and little hairs and fibers that fall on the painting.  (I also use the vacuum to remove pastel when necessary.  It works well with suede matboard, but I don’t know that I’d have the guts to try it with any other support.)

drawing pet portraits 16

At this point, I look over the painting to make sure nothing needs fixing.  I decide it’s good enough and sign it.

soft pastel tutorial 17

Finished!


I hope you enjoy this step by step soft pastel painting lesson by Artist Karin Kari Tirrell.

Please follow this link to visit Kari’s Website

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Jeg tegner fortrinsvis med pastel og graphit på specielt tegnepapir. Der herefter bliver fixeret, således, at det kan bevare farverne og stregerne i mange år.