Pastel drawing. Master class for beginners

Master class on drawing with pastels of the picture "Visiting the fly agaric".

Kotenkova Ekaterina Anatolievna
Place of work: educator MBDOU Kindergarten No. 1, Staroe Melkovo village, Tver region, Konakovo district.

The master class is intended for educators, teachers, children of senior preschool and school age.
Target: to introduce the technique of drawing with pastels.

The purpose of the master class: the creation of a drawing to decorate the room, the development of cognitive interest.
Tasks:
1. Acquaintance with the technique of drawing with pastel pencils.
2. develop children's cognitive interest,
3. cultivate the desire to see the beauty of nature.

Each artist knows about many techniques and tools in which and with which he can work, but everyone chooses something different for himself. It can be painting or graphics, oil or watercolor, pencil or pen, or maybe ... pastel.

Many people have heard this word, but rarely can anyone clearly say what this drawing tool is. And pastel is not one material, but a whole group, and it is used both in graphics and in painting. Pastel can be easily recognized by the form in which it is produced - bars (crayons or pencils) of square or round section. There are four distinct types of pastel: dry, watercolor, wax and oil.

In this master class, I used dry pastel. She is solid. Does not actually have a binder, easily crumbles, breaks. But she draws very softly and velvety, perfectly shaded.

PROGRESS:

Stage 1. For work we need: pastel pencils, a sheet of A4 paper.

Stage 2. Let's get to work, draw the approximate outlines of our fly agaric and spruce.

Stage 3. Add the outlines of the grass. Add recognition to mushrooms.

Stage 4. Add (in a chaotic manner) to the grass of a dark green color, and boldly blend with your finger.

Stage 5 We designate hats in red.

Stage 6 We paint the legs in gray, shade with a finger. From above we paint the hanging branches of spruce.

Stage 7. We begin to designate needles to the branches.

Stage 8. Draw to the end of the needle dark green. On the trunk of a tree we apply dark brown strokes, leaving glimpses of white.

Stage 9 Then we paint over the white places with a light brown color, blend with your finger.

10 stage. Randomly add light green needles to the needles.

There is shading again.

11 stage. With white color we add recognition to fly agarics.

12 stage. In dark gray or black, without pressing, outline the hats, legs, draw the ribbing under the hat of a large fly agaric.

13 stage. Circle the dots in the same way. Adding the mystery of the forest. Shadow, shade the remaining white places on the sheet with a dark gray color.

Welcome to fly agaric!
The drawing is ready! Good luck!

How to learn to draw with oil and dry pastels for a beginner painter? First of all, it is important to learn that the basis of the technique is close contact of the hands with the paper. The strokes applied to the canvas are softly shaded, creating a complete and unique picture, surprising with its depth and juiciness. You can depict anything on canvas - from classics to impressionism.

History of technology

Dry pastel drawing as an art form appeared back in the 15th century with the filing famous artist and scientist Leonardo da Vinci. The master painted pictures with pure pigment chalk. Many Renaissance artists also used this technique. For example, Maurice de La Tour, John Russell, Jean Etienne Lyotard, Ingres. In combination with gouache or watercolor, chalk helped create stunningly vivid landscapes and still lifes.

pastel types

It is difficult for a beginner to determine which pastel is better for him - oil or dry. Therefore, drawing lessons for beginners necessarily begin with an introductory course in which the master talks about the types artistic material.

What is the pastel like?

Concentrated dry. Dry chalk is easily shaded and erased with an eraser, you can change the tone of the lines, make clear strokes.

Oil. First of all, professionals work with her. The material requires a refined technique.

Wax. Wax crayons are best for beginners. It is easy to “adapt” to them, the pictures are bright and expressive.

What kind of paper is best for drawing with pastels?

Pastel requires a special textured surface that can hold paint pigments. Which paper is better for pastels is a moot point, but experienced painters recommend choosing sheets with a small grain size. Then the pictures will be "deep", and your work will be preserved for a long time.

Pastel drawing paper:

Mi Teintes by Canson. Made from bonded textiles, it has a neutral pH and a soft, silky finish. On such paper, you can draw with charcoal and chalk.

Ingres. Pressed paper. It has a dense structure and is sold in a wide range of colors.

Velor and sandpaper. Differ in a soft structural surface on which the pigment lays down well.

Sanfix. Produced from particles of cork tree bark, does not require the use of a fixative.

Charcoal. It is made from a special coal composition, has a rough surface. Very handy for pastel sketches.

Which side of the paper to paint with oil pastels? Typically, artists use the smooth side, which is ideal for strokes. To work with dry pastels, velor paper or Mi-Teintes with a fabric structure is suitable.

Erase pastel from paper is more difficult than pencil or charcoal. It is best to make corrections in the early stages of creating a drawing. Excess pigment can be brushed off the surface of the canvas with a thick brush. We recommend getting a nag eraser - it will help to lighten and carefully adjust pastel and charcoal drawings. The stationery is inexpensive, while it removes dirt from tracing paper and film, has easy-to-clean rubber and does not smear the pattern.

How to fix drawings

The second stage of learning the technique is to learn how to fix the drawings. Crayons crumble during operation. This can significantly affect the quality of the picture, since some colors are poorly absorbed by the paper. Fixing is sometimes the only way to preserve the brightness of the color. Linear drawings that do not have layers can be treated on one side with a special aerosol or spray water.

Additional tools for the job

In addition to crayons, you will need additional tools for creativity: paper tape that sticks to the easel, cotton buds for shading hard-to-reach places, a sharpener, stationery knives for pastel pencils, erasers for removing crayon pigment from paper, and wet wipes for cleaning hands.

Pastel sketches should be done in a pictorial manner, the strokes should not be applied randomly, but according to the form. Then the work will differ in volume and expressiveness. It is important that the highlights fall on the main background. To do this, first apply a darker tone and gently blend it, and then a lighter one.

Oil pastels are very different from dry pastels. In fact, it is familiar to many wax crayons - binder linseed oil acts as a pigment. People who do not know about pastel in general often come to the store and buy oil pastel because of its bright colors and beautiful crayons.
I bought myself a box for experiments. It turned out that there are a lot of ways to use these beautiful multi-colored crayons. I have Mungyo pastel 36 colors, excellent shades from acid to natural. Here's what they look like. Good for samples, if you want something even better, you can look at Van Gogh and Sennelier.

Drawing on plain pastel paper

It is better to take light-colored paper, because most likely it will show through the strokes and give a shade to the whole drawing. I took a dark gray sheet and regretted it, because dark shades are lost, and the bright ones are almost invisible. Oil pastel is difficult to rub with your finger, the crayons mix right on the paper, giving a smooth color transition. In some places you can scratch individual strokes with a sharp one. If there are pellets left after drawing, I just brush them off carefully.

Drawing on sandpaper

A heavenly paradise, because the colors become saturated and a firework of shades is obtained. The rough base holds the pigment well and sometimes it turns out even to make accents with light crayons, although it is better to follow the sequence from light to dark. It is assumed that the pattern covers the entire surface of the sheet. When choosing sandpaper (sold in A4 sheets in hardware stores), look at the number. The smaller it is, the better. From 800 it is better suited for dry pastels, it is more convenient to rub on it without erasing your fingers. I drew at 280 and I liked it, in principle, you can safely take up to 400.

Solvent painting

Some convert oil pastel into a painting medium using a solvent. Turpentine, pinene and white spirit are mostly suitable. According to the written, they are carried out with a brush with a solvent, due to which the pastel becomes liquid, similar to paint. As a result, we get a kind of underpainting, similar to dark watercolor painting. In the shadows, we try to match the tone end result, and in highlights and midtones it is better if the underpainting is a little darker. In the future, the underpainting in the shadows will remain, and the shadows will turn out transparent. You can blur with a brush, a finger wrapped in a cloth. You can dip the crayon itself in the solvent and run it over the paper. You can also use canvas as a base.
I myself have not tried this technique yet, so I will show an example from the Internet of how a pastel blurred with a solvent can look like.

Sgrafitto

A magical technique similar to engraving. First light tone the entire surface of the sheet is covered, then it is shaded with black chalk, and then the drawing is scratched with a sharp instrument. The contrast between light and dark creates an image. I like the fact that it looks like linocut and allows you to make very thin lines. Again, I can’t show my works, because I painted in this way for a long time, back in the art school. Therefore, an example from the Internet, what can be the result

Encaustic

Painting is done with paints in molten form (hence the name). A variety of encaustic is wax tempera, which is distinguished by its brightness and richness of colors. Many early Christian icons were painted in this technique. Originated in Ancient Greece.
Today, encaustic paintings are painted using an iron. Here is a video that shows the process of work. Even highly detailed works can be drawn in this way.

Finally, a few features of oil pastels.
Over time, the oil is absorbed into the base and the pattern becomes a little darker. If the drawing was based on white paper, yellowish stains from oil may appear on it, so it is better to use colored paper or cover the entire surface of the drawing. There are still cases when, over time, the oil appears as droplets in the picture, you just need to carefully remove them with a solvent.
Oil pastels, unlike dry pastels, do not require fixing. Sometimes oil pastels are varnished, but I think this is redundant. Pastel should be stored in a folder carefully so that it does not stick to anything. It is best to keep the drawing under glass. The glass must not touch the work.

On the whole oil pastel It seems to me very bright and lively material. It is suitable for "careless", generalized in style, paintings. For those who like to tinker with details and smooth undertones, oil pastels are most likely not suitable.

I'm going to paint this still life with oil pastels. I work in realism style and use mixed media. This still life was installed in my studio, and I also photograph my still lifes, because. drawing often takes too long. This tutorial will show you my approach and hopefully help.

I use warm-colored dark blue paper, as well as a pastel pencil, a palette knife to remove excess pastels from paper, paper blenders of different sizes. This is the color of the paper I'm using. I like to choose colors that harmonize and complement the still life, and the effect of colored paper helps the colors of oil pastels to open up. For those using dry pastels, I recommend primed paper, and for oil, I need a surface that absorbs particles and does not have texture (I do not like the indentations of textured paper)
I use Holbein and Sennelier pastels.

I start the drawing on another piece of paper, later I will transfer it to the working one. When drawing with pastels, I like to start with a precise drawing, so I start on paper where I can erase, fine-tuning the lines.
I make a drawing on a piece of paper with an HB pencil, refine it with an H pencil and delete all unnecessary lines.

I turn over the paper and reverse side I draw all the lines with white chalk, then I place the sheet on blue paper and go over the lines with the H pencil, without pressing too hard so as not to damage the paper. Chalk printed on paper

I followed the traces of the chalk with a white pastel pencil so as not to lose the image. I didn't put in all the lines of the tablecloth and seeds and decided to do it later (which turned out to be a mistake and made it difficult to work) When I start painting with pastels, I put a piece of the same paper under my arm to test how the colors will look on paper

To begin with, I put the base colors of local objects. I like to work on the whole drawing at once, rather than piece by piece. Starting with Sennelier n18, brilliant-yellow-on foreground, Holbein cadmium orange - on the back melon. I sketched the plums in 4 shades of red and started the tablecloth.

Now I started to refine the melon. Here I use my finger for grouting. I also put cadmium orange on the yellow part.

I rub the front melon with my finger (it's hard to take photos with my left hand)
I start the seeds from the top of the front melon. The color between the melons (dark orange) is Holbein Sennelier n 200 mandarin, nuance 1. I add more red to the back plum and rub it with my finger. Also working on the edges of the plate

I continue to work on the melons by adding yellow and tangerine to the front melon, rubbing with my finger. Adding color to the second melon using Sennelier Mandarin. Moving on to the seeds, the main thing is to think of them as three-dimensional forms with light and shadow falling on them.
I continue to apply Sen.Yellow n 18 and Cadm. orange n 4 in the center. I'm starting to work on the color of the peel - the base coat of Sen. N 94, I add a little sen. 99 and a little sen n 28.

then I rub the border of the peel and pulp

Adding some white to this area
(author's note - for tangerine, ordinary orange is also suitable)

Here I worked on the back melon and the tablecloth behind it, also the back plum - added red tones and white highlights, blended the edges of the plum. I put a Sennelier bluish gray on the darker parts of the plum because they seemed too bright. Sometimes when working with the blend, it takes a lot of color on itself, so I put a little burgundy on the blend itself and work it over the plum. I added orange to the back melon and darkened the skin near the pulp.

I rub the edges, transferring a little dark green to the pulp by mixing so that the cut does not seem so sharp.

I put a little more tone in the back melon seed zone without using new colors. Next, I work on grouting plums and shadows on the tablecloth next to them.

Basically here I rub with my finger.

Today I'm working on the background. Using the same colors of orange and yellow to finish off the seed area, I've rubbed in small areas with paper blender.

I put Senn N84 under the plate and rub it in the shape of the arc of the plate. I turn to work on the seeds of the first piece, I remove the excess pastels with a palette knife.

I use the same yellow and orange. I rub mostly with my finger.

I tried to refine the seeds falling from the front piece of melon. I also darkened the front piece. Used orange, yellow and white.
I rub under the seeds.

I move on to the shadow under the melon and work on the inner arc of the plate.
Right under the melon I put Sennelier N8 Holbein and indigo N1. I mixed them together by rubbing with my finger and cleaned the arc of the plate with paper blending.

If I make a mistake, I scrape off the first layer of pastels with a palette knife, then dip a washcloth in mineral thinner and wipe off the residue. When it dries, I redo the failed place.

I'm working on the cells and this photo shows what color I used

At this stage, I rub the edges of the cells with blending

I put highlights on a plate so that it is glass

Here I have refined the tablecloth and the shadow of the front plum.

I'm working on the shadows under the melon and the seeds on the plate. Decided to try a solid color mixer.

I use flat to soften the squares and sharp to blend the color of the seeds on a plate

I work on the edge of the plate and the tablecloth in this place, added shadows from the seeds on the plate.

Right now I'm mostly working on the shadow under the melon.

Finished the shadows under the melon

some improvements

Finished work!

Pastel takes its name from the Italian "a pastello". This was the name of the drawing technique when a black pencil and red sanguine were used at the same time. In some cases, other colors could be added. Pastel became an independent technique in the 18th century, when such masters of painting as Francois Boucher, Maurice Quentin de Latour, Delacroix and others began to use it. Then, gradually, interest in it faded, but in mid-nineteenth century has been reborn. Today, pastel remains one of the promising trends in painting. And many ladies in needlework courses choose this particular technique for learning.

How to draw with pastels

Photo Shutterstock

Pastel attracts artists with the fact that with its help you can easily and quickly achieve a fresh tone. In addition, it is quite fast in work - making a few broken strokes with a pastel is a breeze. If you learn how to use pastel correctly, you can create real masterpieces.

Types of pastels

Today there are three types of pastels: - dry; - oil; - wax.

Oil pastels are made from a special pigment combined with linseed oil by pressing. The method of making dry pastels from the first version is practically no different. Only when creating such pencils, oil is not used. The wax version of the pencils is kneaded on wax High Quality in which coloring pigments are added.

Usually dry pastel is used to create full-fledged paintings. Oil, as a rule, is taken for educational purposes, but at the same time it remains in demand for artistic purposes. Wax can also be used for training and for creating a canvas. Each of these types has its own characteristics of work. And in order to draw correctly in the pastel technique, it is necessary to take into account all the nuances. It is advisable to study the step-by-step drawing advice. To do this, you can watch a video available on the Internet.

Dry pastel

Working with dry pastels is easy. After all, it is this version of the crayon that has great variability, i.e. you can use a wide variety of working methods. The only thing - it should be borne in mind that the pencils in this case are very crumbly. So don't put too much pressure on them.

It is desirable to carry out a preliminary drawing for work with any chalk, which in tone will not differ too much from the tone of the paper where you are going to create your masterpiece. The best option is to use gray chalk. If the paper is very light, you can draw the outline with charcoal. The hand at this point should be very confident.

It is better not to use graphite pencils when drawing with pastels. Firstly, the crayon must be easily brushed off with a dry cloth. Secondly, pastel lays down very badly on graphite.

Having prepared the basis, you can proceed directly to drawing. To do this, you need to break off a piece of chalk desired color- about 2-3 cm long. Start applying the main tones. Change the crayons depending on the tone of your painting.

When finished with the main tones, proceed to the so-called refinement of the details. At this point, you need to work out the shape and fragments of the picture, give volume where necessary. To make the drawing more contrast, use flat strokes. It is also recommended to work on the picture by drawing dots, lines, etc. with pastels. Then carefully rub the pastel, this will make the transitions smooth, natural and almost imperceptible.

For shading, a special device is usually used - shading. It can be bought at the store. Alternatively, you can use your own finger. Just don't forget to wipe it when changing from color to color.

Experts recommend playing with color, not making it flat. For example, first apply a substrate of one color, and then draw strokes of another on it (it is advisable to choose a contrasting option to make it look more interesting and profitable).

People who begin to paint with dry pastels usually expect their paintings to turn out bright and contrasting. Actually it is not. This is due to the fact that in the manufacture of such crayons, ordinary white chalk is taken as the basis.

At the end of the drawing, the pastel must be fixed. Moreover, it should be borne in mind that it is impossible to paint over the dry version. Such a picture can be fixed only by placing it in a frame under glass.

Sometimes there is advice to fix dry pastels with hairspray. But you should not blindly trust this method, as the pattern from the varnish darkens.

oil pastel

Working with oil pastels has a number of differences from drawing with dry crayons. It is best to use light paper for paintings with oil pencils. Remember that oil pastels are much worse than dry ones, so be sure to take care of additional tools - a thinner and a brush.