Pastel Painting Atelier: Essential Lessons in Techniques, Practices, and Materials

Pastel Painting Atelier: Essential Lessons in Techniques, Practices, and Materials

Ellen Eagle

Language: English

Pages: 192

ISBN: 082300841X

Format: PDF / Kindle (mobi) / ePub


Revel in the luminous and vibrant qualities of pastel with Ellen Eagle’s essential course in the history, techniques, and practices of the medium. In this comprehensive yet intimate guide, Eagle explores pastel’s rich but relatively unexamined past, reveals her own personal influences and approaches, and guides you toward the discovery and mastery of your own vision.   In Pastel Painting Atelier, you will find:

   • Advice on basic materials: guidance on building, storing, and organizing a collection of pastels; choosing the right paper; and the importance of experimentation
   • Studio practice suggestions: ideas for creating your ideal working environment and recipes for making your own pastels and supports
   • Study of the working process: lessons on proportion, gesture, composition, color, application, identifying and correcting problems, and recognizing when a work is finished
   • Meditation on subject: cues for extrapolating the subtle details, presence, and temporal features of whatever you choose to paint
   • Step-by-step demonstrations: Eagle’s acute insights into her own works as they progress

 

A magnificent selection of works by masters such as James Abbott McNeill Whistler, Rosalba Carriera, Mary Cassatt, and Eugene Delacroix augment this guide, as do works by contemporary artists including Harvey Dinnerstein, Elizabeth Mowry, and Daniel Massad.  Aimed at serious artists, this guide enlightens, instructs, and inspires readers to create brilliant and sensitive works in the historic medium of pastel.

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makeup of pastel that is clear is that very little is clear. And to make matters more complicated, manufacturers sometimes change their formulations. A committee within ASTM, the American Society for Testing and Materials, has been working for several years to establish industry-wide testing standards by which manufacturers would identify the lightfastness of their products. Such testing standards are in place for oil paints, watercolors, acrylics, and colored pencils, and it is very important

touching the surface of the painting. When I work on a small painting, I find the mahlstick to be ungainly. In those instances, I hold the right edge of my painting with my left hand and use my left wrist to support my working right hand. Because of the influence of our pressure on the quality of our marks, it is important, if you are working on paper, to fasten your paper tautly to your backboard. It is not possible to register a strong, bold mark on flaccid paper. You do not want space between

featured in my second painting of her, Pigeon Glancing. I also had the idea to paint her with a lovely headscarf, but when I saw how it looked, it did not work. I always abandon an idea if it does not look convincing to me. No matter how thoughtful the concept, it has to work visually. session one My first concern was establishing a pose that would exhibit Pigeon’s grace. First, I had her sit facing me. Then I turned her, and asked her to bring her hand to her upper arm. Sometimes when I

featured in my second painting of her, Pigeon Glancing. I also had the idea to paint her with a lovely headscarf, but when I saw how it looked, it did not work. I always abandon an idea if it does not look convincing to me. No matter how thoughtful the concept, it has to work visually. session one My first concern was establishing a pose that would exhibit Pigeon’s grace. First, I had her sit facing me. Then I turned her, and asked her to bring her hand to her upper arm. Sometimes when I

to distinguish those tones from the warmer flowers. I lightened the ledger, and all the light shapes, simplifying as I went along. I eliminated linear edges where there should be none. I added the threads and reinforced the swatch of fabric. Ellen Eagle, Dried Flowers, Garlic Skins, Fabric, and Threads, 2012, pastel on pumice board, 6¾ × 8¼ inches (17.2 × 21 cm) This may appear to be a lighthearted still life, but the arrangement elicited a great deal of feeling as I worked on it. bee

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