Step1:I beginonCansonMi-Teintespapercushionedwith
a stackofdrawingpaperthatmakesit moreresponsiveto
changesinpressure.I startwitha vinecharcoaldrawingthat
introducestherhythmandlyricismofthepiece.It alsogives
mea roadmapforblockinginvalues,temperaturesand
color.I establishthegestureoftheshapesandthethemeof
thepiece.I observethatthemovementofthispaintingfollows
theletter“Z”ora reverse“S,”andI’llwanttosupportand
reinforcethatmovementasthepaintingdevelops.Step2:I typicallyusea neutral-coloredmiddle-valuepaper
(arounda 6 ona 10-stepvaluescale).Witha mid-tonedpaper,
lightsarelighterthanthepaperanddarksaredarkerthan
thepaper.I addlinesonthefiguretoshowtheboundariesof
theformshadow,andI beginblockinginandlinkingshadow
shapesusinghardRembrandtandNupastelcolorsthatare
relativelycoolanddark.Step3:I introducewarmnotestorepresentthelight.I think
ofvaluefirst,thentemperature,thenhue.Littleinnatureis
fullychromatic,andthemostchromaticnotesaretypically
inthemiddlevalueswherelighttransitionstodark.I keep
thingsdialeddownchromaticallyfornowandfocuson
shapeandcomposition.demonstration Follow the Leader
Step 4: I start to consider the negative space as it relates to
the central figures, choosing value and temperature to rein-
force the edges of a shape or to connect the foreground and
background so the viewer can move through and around
the painting easily. I tone down the blue-violet of the form
shadow on the girl’s torso and arm by scumbling over them
with warm complementary ochre.1
45
6
23
48 Pastel Journal AUGUST 2019