|
|
 |
This
demonstration is based on a photo of the Taos mountains
taken in the early evening from El Prado, a suburb in
the northern part of Taos, New Mexico (Fig. 1).
|
|
 |
For this
pastel painting I worked directly on white Wallis sanded
paper. I drew the basic forms loosely but accurately
with a carbon pencil establishing the most important
shapes, directional lines and some value relationships
(Fig. 2). As always, I determined my center of interest
at the very beginning and made sure that every element
of the painting supported that center of interest. For
example, since the white adobe building is the center
of interest, I silhouette it against the dark, colorful
bank of trees to increase contrast and combine those
two strong aspects of the scene. This stage took about
30 minutes.
Whether
I am painting or teaching, I stress the importance of
a systematic process based on a well thought out set
of priorities. By following this process I can be sure
of the success of the painting from the beginning and
actually get a feel for how the finished painting will
look at an early stage. In my painting workshops I help
students overcome discouragement at the early stages
of the painting by teaching how to plan and follow a
consistant step-by-step procedure. The first part of
the process is to pick a subject that both satisfies
most of the seven painting priorities I have developed
and is reasonably within the painter's skill level.
Beginning and intermediate painters would eliminate
a lot of frustration if they would follow this process. |
|
 |
| When
working in pastel or oil, I usually work on a surface
that has an even 50% neutral color tone. In this demo,
eventhough I begin on a white surface for my drawing,
I quickly give the surface a variable color tone that
reflects the final colors of the painting but at a somewhat
darker value. This is accomplished by lightly applying
hard pastel in the appropriate colors and locations (Fig
3) and then washing over the pastel with a brush loaded
with odorless turpentine (Fig. 4). To many, this is the
most enjoyable part of the painting. Starting with the
lightest colors first, using very loose and free brush
strokes, I create the variable toned working surface,
unconcerned with staying perfectly within the shapes.
Depending on the subject and my mood, some of this under
painting may show in the finished work. This process takes
advantage of the wonderful flexibility of pastel. The
turpentine underpainting has a look and feel of water
color but can be applied with abandon because the opaque
pastel will cover most of it, leaving only the "wash"
where it is most effective. This step takes about 20 to
30 minutes. |
|
 |
| With
the underpainting complete, a marvelous thing happens.
Stepping back a few feet I can get a very good idea of
how the finished painting will look. All I need to do
is to follow the design established at this stage as I
apply additional layers of pastel. |
|
 |
| Since
my under painting has established the overall color and
value pattern of the painting, I can go straight to the
center of interest and bring it to virtual completion.
This is very important. The center of interest must work.
If the center of interest is not successful, no matter
how effective the rest of the painting is, the painting
will fail. Working in roughly concentric circles aroung
the center of interest, I bring the rest of the painting
to completion. All though I do work back and forth over
the entire surface to some degree, I am careful to not
skip around too much. Because the perception of value
and color of a given shape is greatly affected by what
the shape is next to, the painter must apply the major
colors and values in a linked fashion. At least one edge
of a given shape should be in contact with a value and
color that has already been established correctly. This
helps keep the the valule and color relationships consistant
thoughout the painting. It is somewhat like the difference
between building a bridge beginning on one side of the
river and continuing step by step across to the other
side. The bridge is mutch more likely to be solidly linked
and consistant than if it were built beginning from both
sides of the river and meeting (presumably) in the middle.
The finishing stage of this painting took about 1.5 hours. |
|
BIOGRAPHY:
Mike paints from
what he knows best: the colors and people of Texas, Northern
New Mexico, and Mexico. His landscapes, portraits, and slice-of-life
vignettes depict a taste for the unusual scenes, expressions,
and moments that most of us miss. His impressionistic style
adds depth and a surprising realism of light and shadow to
his paintings.
Recently emerging
from a successful career as the owner of a commercial art
and photography studio for 24 years, Mike is now pouring his
many skills into a full-time fine art career. Notably, he
has been honored to know and study under several internationally
recognized artists including Ben Konis (pastel & oil),
Kim English (oil), Judi Betts (watercolor) John Budicin (oil),
and Albert Handell (pastel & oil). His 28 years of experience
in commercial art and photography, including several years
as a motion picture film animator, have served him well as
he demonstrates excellence and versatility in the media of
pastel, watercolor, oil, and photography.
|
