The local art center's gallery director is also a working lady artist. The artist is a resident of the Hempfield Township who discovered her talents in high school, honed them by majoring in art from the Indiana University of Pennsylvania and has been active in the local art club since 1970. Her work is regularly exhibited at the art center. She says she works in oils and pastels and does some silk screen printing.
When another art club invited her over, she demonstrated how a landscape pastel painting was drawn from a photograph. She says that for a beginner, working exclusively from photographs is not a wise choice. The nuances of light and shadow should be experienced by everyone is her recommendation.
Working outside allows painters to absorb details, sketch the scene and click pictures, later on they can refer to them. This is how she normally does it. Using several photographs she also creates composite landscapes. This technique becomes very useful when the customer asks for elements that aren't present in just one photograph.
Adjusting something in the photograph that does not appeal to the painter is an advantage of using photographs as a reference. It should be decided by you as to what becomes the most important part of the painting. It is easier to decide how the painting would look like when it is finished by using a photograph.
Using an enlarged photocopy of the photo clicked during fall at the Slippery Rock she paints a pastel portrait. To stop the frame from covering up any part of the painting, the drawing does not happen edge to edge. By painting on the wrong side of the pastel sheet that has low textures, she is able to use her technique of layering in colors.
By using red and blue shades, she evokes dark logs and branches rising from the water. By adding bits of red not visible on the photograph she is able to put emphasis on certain parts of her painting. Her exploitation of the fact is careful that pastels are as close as an artist can get to using pure pigment.
She says that at certain times you should ponder over the color values. Using too much light too soon is not a good idea. One does not need to worry about conserving white areas like in water colors and can layer lighter values over darker ones in pastel painting. Your way with the pastels just needs to be felt.
But she says that color ranges should be used with caution. A major advantage of today's wide range of color choices is the number of colors that can be used without having to necessarily mix different shades. One advantage pastels have over most media is that if you're not satisfied with a result, you can merely brush or wipe the color off and start over. It is a rather easy going medium.
When another art club invited her over, she demonstrated how a landscape pastel painting was drawn from a photograph. She says that for a beginner, working exclusively from photographs is not a wise choice. The nuances of light and shadow should be experienced by everyone is her recommendation.
Working outside allows painters to absorb details, sketch the scene and click pictures, later on they can refer to them. This is how she normally does it. Using several photographs she also creates composite landscapes. This technique becomes very useful when the customer asks for elements that aren't present in just one photograph.
Adjusting something in the photograph that does not appeal to the painter is an advantage of using photographs as a reference. It should be decided by you as to what becomes the most important part of the painting. It is easier to decide how the painting would look like when it is finished by using a photograph.
Using an enlarged photocopy of the photo clicked during fall at the Slippery Rock she paints a pastel portrait. To stop the frame from covering up any part of the painting, the drawing does not happen edge to edge. By painting on the wrong side of the pastel sheet that has low textures, she is able to use her technique of layering in colors.
By using red and blue shades, she evokes dark logs and branches rising from the water. By adding bits of red not visible on the photograph she is able to put emphasis on certain parts of her painting. Her exploitation of the fact is careful that pastels are as close as an artist can get to using pure pigment.
She says that at certain times you should ponder over the color values. Using too much light too soon is not a good idea. One does not need to worry about conserving white areas like in water colors and can layer lighter values over darker ones in pastel painting. Your way with the pastels just needs to be felt.
But she says that color ranges should be used with caution. A major advantage of today's wide range of color choices is the number of colors that can be used without having to necessarily mix different shades. One advantage pastels have over most media is that if you're not satisfied with a result, you can merely brush or wipe the color off and start over. It is a rather easy going medium.
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Browse more paintings articles at senior portrait artists. Further information on paintings can be found at portrait painting by photo.
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