Just a small glimpse of the wedding stationery made for recently married friends. Designed by hand from the initial Save the Date to the Order of service. Want personalised stationery? With your own flowers of choice? A group portrait of the wedding party? Get in touch! Printing and design assistance provided by InHouse Design 🙂
Before persuading an art style, I think artists should really practice drawing from life first. I’ve been going at it for a few years, on and off, and I still feel I haven’t quite got it down. But then, art is a process and you’ll never stop learning. Best have fun while we’re at it!
In December I was given some pastels and at first I was not sure what to do with them. After a few tries, I realised how nice it is to work in a medium that gives your the freedom to change your drawing again and again. Unlike watercolours and ink, nothing is final in pastels and the pigments easily move across your page.
Some of you have been asking about my approach to portraits in pastels, so here is a little step by step tutorial on how to create a portrait.
This is my end result… the lovely Benedict Cumberbatch, star of the BBC show Sherlock.
Step1. Find reference with good contrast.
Go online and decide on a face that grabs you. You’re going to spend 4 hours looking at it so make sure you feel inspired. Benedict’s face will never bore me and one day I will make him mine. Don’t forget: there needs to be a strong difference between light and dark in your reference to make the drawing (process) more interesting.
Step 2. Establish light and dark.
First of all, think about where the light comes from in the scene. Using just two pastel crayons, start blocking out the darkest and lightest shapes of the face. You will see this gives your drawing a sense of three dimensionality. I decide on the forehead as my first point of reference and I lay this shape down on the empty sheet of paper. Scary! From there on I measure the distances of the new shapes against the length and width of the forehead. Remember: no details, just blocking in shapes! Just use scratchy lines at this stage of the drawing, blending happens as you go along. Also, nothing is final at this stage. The pastel can be moved around the paper easily with your finger.
What makes Benedict… Benedict? His lips stand out: the upper lip has some serious pointy shapes and the lower lip catches the light as it’s protruding a bit. Really engage your eyes and try to find the planes that make up his facial features. The cheeks, the chin and even the lips can be broken down in these flat, angular shapes. Trust me, Andrew Loomis is better at explaining this.
At this stage, I also adjust the colours. The browns I used for the shadows on the left side are too warm, so I’m adding a cooler grey / blue tint on top and blend with my fingers. Make sure you have a cloth to hand to keep fingertips clean. Then, add some mid tones to soften out the light and dark planes. Use an eraser to rub out mistakes.
Step 4. Bedding it in
The neck and shoulders are very important indeed. We don’t want a floating head in space. Block these shapes in, measuring the distances and relationship between the facial features. Take a step back and be critical of your work. Does the figure fit on the page? Are the proportions correct? Is the forehead to small? In this case, yes… it is too short. And I didn’t even notice it. You see, drawing is a never ending story of learning and practice. Now also add the light and dark contrast to the hair without adding detail.
Use pastel pencils for the smaller accents of the face. There is a white line where the upper lip catches the light. Add detail to the eye and nose, all the while thinking about light and dark to promote the 3D element. The sun comes from his left so, the highlights must appear on the right side of his face. The pastel pencil doesn’t need blending so much, just use thin swift lines to block in shapes.
Take a step away again. Have a drink. I notice that the eyes on the shadowy side of his face should be a lot darker. What amount of detail will the eye need when it’s in the shadow? It’s trial and error. I don’t have to be afraid to go over it all with a black piece of charcoal as it easily rubs out again. I blend and blend until I have the right darkness.
Step 7. Finalise your drawing
Voila… I’m going to call this done soon. As a final touch, I add the littlest of detail such as the little crinkle in his brow by building it up with a white, black and red / brown pastel pencil. It’s up to you as an artist how much detail you put it. I’m not going to add Benedict’s wrinkles. Stuff like that just doesn’t matter, we have megaturbo pixel cameras to take 100% accurate images of people!
Golden tip: Don’t you ever use hairspray to fix the drawing. Official pastel fixation spray is also a nightmare. I have ruined quite a few pictures trying these out. Leave it as it is, scan it and take it to Photoshop to push the contrast and repair mistakes.
Please share your work with me by adding links below or message me directly!
It’s a true scientific fact that drawing from selfies is a nightmare. The angles are all weird and the resolution is usually bad, leaving the artist to make up details (like noses and jaws) as they go along. In my case, usually fluffing it up.
Still, I keep doing it. Guess it’s me all over. Stubborn. Wanting to do things the difficult way. But who can resist this gorgeous, glamorous candid snapshop… and that contrast!? Like she’s emerging from the darkness. Very film noir actually.
Meet Sarah Elizabeth Orchard! This hilarious, pretty lady blogger often has me in stitches when posting about the slightly awkward things that happen to her. Like me, she was recently involved in a freak (what I call) British standoff. You know the situation: bump into someone, you go left, they go left, you go right, they go right. The stranger in question was… a pigeon. I get this with manky Leeds pigeons all the time!
Head over to her awesomely named “And this is why I will die alone surrounded by cats” blog if you want to know what it feels like to be a single girl artist and painter of crazy pictures that don’t even make sense.
I used to be little once. Back in the mid-eighties when mainstream music was still good. Don’t be fooled with my big smile though. I was quite a handful.
Back then I was pretty creative as well. But with walls and my mother’s lipstick instead of crayons or drawing pencils. I have also been known to involve green beans and 5 cent pieces in my performance art. Please don’t ask.
Another one in pastel and pastel pencils, it took me about 5 hours. Obviously, it has been donated to the parents.
My life is all about fluffy bunnies at the moment. This little painting is for a nursery, for a baby yet to be born. Made with acrylic paint on a boxed canvas, this bunny will hopefully soothe the little one through the quite traumatising nappy changing process.
Furthermore, I visited this famous rabbit who has an entire square dedicated to him (her?) in Utrecht, The Netherlands. Nijntje (called Miffy abroad) was born in Utrecht to a clever illustrator man called Dick Bruna in 1955. Starring in more than 30 books, Nijntje has sold over 85 million copies to kiddies worldwide.
With a slight fever and a throat infection, I present to you my homage to Bettie Page’s iconic Christmas Playboy shoot. Merry Christmas! *shuffles off to bed*Again in pastel – crayons and pencils – in about four hours. Click the above link for the reference, but beware of…. BOOBS!
At my company we don’t do Christmas like most companies. This year we were treated to a bunch of dark cabaret acts, including a female fakir called Missy Macabre.
I was very taken with Missy’s nail and hammer to the nose act as well as her striking face. For this pastel drawing I used this Missy reference.