- Lesson details
In this lesson series instructor Sheldon Borenstein shows you how to work with a variety of drawing and painting media. You will learn how the general principles of art apply equally to all media and specifically how to work with each individual medium while employing the appropriate techniques. In this video lesson Sheldon will teach you how to work with pastels.
- Conté Drawing and Sketching Pencil – Sepia
- Toned Drawing Paper
- Rembrandt Soft Pastels
- Prismacolor Charcoal Pencil – Hard
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of drawing and painting media. You will learn how the general principles of art apply equally
to all media and specifically how to work with each individual medium while employing
the appropriate techniques. In this video lesson,
Sheldon will teach you how to work with pastels.
are a drug. The issue about pastels that’s so frustrating is that it doesn’t work well
with the starving artist. To get a really solid pastel set you’re looking at about
$300, and to get one that you’re really working professionally with, you’re looking
at a couple thousand dollars. It’s ridiculous. The way it works—I asked a friend of mine
who owns an art supply store. I go, what’s the story? He said, okay, you get paint. You
can mix paint. Now, I mix pastels. But you can mix paint. You know you might spend $7
for a tube of paint. Well, that’s one pastel. Because what it is, it’s pure pigment. Remember,
painting is the pigment with the binder. So with the pastel it’s just pure pigment bound
and it just goes on like butter. Well, with the pastels, what you need is this pastel
and then the saturations, and this pastel and the saturations so it gets less and less
and less pigment and then more and more pigment. And it’s just insanity.
But the fun part about pastel is you get to paint with your fingers. It’s really fun.
I think pastel is a drug. I just started collecting them. I’m lucky because I can kind of walk
into an art supply store and say, okay, how much for me. But you know, you work hard to
earn that. You know I’ve been doing this for a few years.
We’re going to demo for you pastels. This is what we’re demonstrating here. Again,
flat wash, gradated wash, the sphere, the box, and the cylinder, and how to put it together.
This is probably too much. This is a simple scene. This one here is probably easier. This
is a box shape, cylinder shape, and these are box shapes. Okay? We always, Leonardo
da Vinci said learn all your anatomy and learn everything; forget about it all, and just
draw three shapes. So it’s kind of a weird thing. You go all the way to learn everything
and then go simplify it, and that’s when things start to happen for you.
So we’re going to do pastel. Pastel is opaque, which means like acrylic you can build it
up. Sometimes people start with the very dark. I wouldn’t because you don’t want it to
get muddy. I’d probably go middle to light, middle to dark, whereas in watercolor you
go light to dark. Acrylic you can go dark to light. I usually try to go middle because
you always get afraid. Sometimes I’ll go perfectly black or dark, dark, dark and then
turn on the light, and it’s really exciting because when you start putting in your midtones
and your lights on that really dark part it really just, you feel powerful
like you’re putting light down.
Painting is a celebration of light. And I think that’s one of the things I’d like
you guys to start thinking about. Everything else is drawing. All of your gesture, your
shape, your structure. It’s all drawing. Then the painting part is celebrating how
light falls on form and the color and the values. There’s a wonderful book—I think
she might teach for your guys, I’m not sure. But in the book they say—I read it to my
class all the time. I’ll check it out and let you know. I think she teaches here.
"With the exception of the handling of the paint and the color, everything else is drawing.”
That’s why I want you guys to stay really tight to the fundamentals we’re doing here
for you guys, those fundamental videos because they really break down the drawing.
So, are you ready? Buckle your seatbelt. Again, we’re just trying to show you how the technique
works. Definition of technique is anything you can predict the results of, even a candy
bar. But, we’re not trying to do a finished full-blown painting. That would take hours.
Okay, I just want to get through the techniques. Are you ready? Let’s do pastels.
Okay, so the same things we do on the figure drawing, everybody. You want to do gesture.
Gesture just means story.
We’ve chosen a subject that is simple.
Everything is just shapes.
Three shapes. That’s the key.
If you want the eye to go this way, draw an arrow.
This is your Cal-State cool. If you don’t know what that is, go back and take
a look at the fundamentals. Bring it around this way.
This is a box shape.
This is fun cause it’s coming this way so this is what’s supporting us here.
The weight will be right over here.
That’s figure drawing.
So yes, the trees are also figures. That’s
why we draw a lot of trees, I think.
It’s the same tools as your figure drawing.
Box shape. The cross-contour is what tells you your shape. Box shape, box shape.
You can actually say it out loud, you know? People think artists are weird anyways. This
is a little shape here, cylinder shape. Box shape.
And then this is a cylinder shape.
It’s going away. It’s that simple. I’m going to make this tree go all the way. Then
I’ll make this one—I’ll make it come towards us a little bit and then go away.
People like to make the art world super complicated.
And I think that’s important. I’ve been
giving a lecture a lot in my classes lately about, you know, how the work is leaving our
country and is going away and stuff. I think what’s happened is we’ve given our work
away. You know, if you’re talking to the client and they ask you how to do it, say
talent. Don’t tell them how you do it. That’s ridiculous. You want to get paid for this
stuff. But I think what’s happening out there is that people are, you know, they’ve
given it away. How do you do that? Photoshop, Maya, ZBrush. Then people just go learn it.
Alright, here’s our pastel set as we’ve been talking about. I like this one. This
is Rembrandt. Good, solid pastel set. Pastels are not for the starving artist.
This is about a $300 set.
I’ve got sets that are worth $500, $600, $700. I find myself always going
back to this one. It’s a good solid set. I’ve got to start using the other ones because
I have them. I don’t want someone else to use them after I’m gone.
Alright, we start from the back, go to the front. I want to put in some clouds. I’m
going to use the blue as my local color, and then I’m going to pull out of that. Let’s
just go ahead and put some cloud in. Use the blue as the background. So again, this is
going this way so I’ll bring my clouds the opposite. Sort of like that. I did it differently
on the watercolor. These are the edges of the clouds. The blue is the background.
They're coming across. Light is hitting that. Light is going to come. Actually the light—it
has to go this way. So remind me, you guys, this is the light. This is the light.
Now, by having these lines coming this way it gives us energy. You know, if you have a line and
you cross it, it gives it energy. It’s like running across the finish line. So that works.
So how have you guys been? Everybody doing good? It’s been raining in L.A. Really fun.
I was at my school and was looking out the door in the parking lot. It was just coming
down like—I mean we don’t get that kind of stuff here in L.A. Now, with pastel you’re
allowed to smear it like this. A giant boat came by. There was an old man on a boat and
he said I’m looking for Sheldon. Hey, what’s up? We’ve got all our animals two by two.
We just need a guy. They’ve been asking for you. You want to come? I said, nah I’m
busy. I haven’t got time for that stuff. I don’t know. I may have missed an opportunity.
I have saved an opportunity, but I didn’t have time.
Okay, so here I’m going to push that back. Remember our cheerleader. Push it back. Push
it back , way back. But with the pastels, you get to work opaque and you get to go,
I like to go midtone to light and dark. So let’s have some fun.
I’m going to green on the background here.
I’m going to work my way forward. So I’ve got this green here.
It’s pretty dark. I like olive green.
I’ve been having fun with my art supplies.
Some of you guys know I’m really into bags. I’ve got over 60 bags. I’m looking for
my docking station, and all the other bags can dock to that one station, you know, that
one bag. But I need ones that’s light enough and can carry just a lot of supplies.
So I thought, whoa, dude. Army men, you know? They carry lots of supplies.
So I looked up Army stuff and found this Army
surplus store, and it’s really close to where I have
breakfast with my mentor, Dave Master, who was my mentor and very best friend in the world.
We have breakfast every Monday morning. It turns out this is right next door to it, like a block
and a half away. I went in there and they had so many bags. It was really cool. I picked
out one. It weighs a billion pounds, but it’s okay because it fits on your back really good.
It’s okay if something weighs if something weighs a million-billion pounds cause if it
fits on your back really good then it doesn’t feel like a million-billion pounds. So then
I went to my class on Friday, and there is one of my students who is an Army guy. He’s
real important. His name is Brian. He’s a real important guy. He goes, he says he
has the same bag, which made it valid. So I’m really excited.
I’m just having the greatest time.
So that’s pushed back. Now, here is our rock, and the rock is going to have lights.
We’re going to turn on the light. We’re going to be powerful. So this is our light.
Are you ready? Here we go. Let there be light! Okay, so here’s our light.
See and it comes this way.
So as I was saying before I so rudely interrupted myself, so I have this bag and
it’s green. But the cool part about the military is that they’re really good in
coding, you know, color coding. So all of
it’s green. I have all these wonderful green
in it. You know, it’s like thank you. Those guys are very good. They’re very fashionable.
So thank you, military. I don’t have to worry about not matching. I just walk around—I
like green. I like it for a very specific reason. I like it. Somebody can say to you,
so why’d you use green? Cause I like it.
Alright, now here we’re going to put contrast. This is where it’s going to turn. Now remember,
this is our core. In a box shape you don’t really get a big solid core. That’s going
to happen in the spheres and in the cylinders. So in this case we can hit this edge. And
the eye will go where there is the most contrast. I’m setting up a center of interest here.
That’s coming this way.
Let’s reflect some blue back into it just for fun.
This is cool cause it’s a little bit stronger than the blue of the paper. Remember the paper
is key in this. It’s kind of a blue-green.
Alright, so we got that. I’m going to have fun. I’m going to put a purple. Dude, you
can’t put purple down! I know. That’s why I’m doing it.
going to put in like a yellow-brown.
So the reason why you can play with this is cause
you want to be thinking temperature and value.
Then I’m going to really punch this cause
I want to get some center of interest. I’m going to put in orange. See, your eye is just
hitting that, land it’s going to come here. I’ll put orange on the corner here. So it’s
going to be a very bright rock. I’ve got orange against blue against purple. Man, that’s
nauseous. I know. But, you can’t do that! You’re playing with our heads, Sheldon.
You’re weird. I know.
Okay, then we’re going to go here, put in this brown.
It’s really hot. Ooh, you’re so hot. That’s going to be here.
But, as it goes back we’re going to use our cheerleader. It’s going to go push it
back, push it back, way back. That goes here, and we’re going to soften that edge.
Leave that alone for right now because we’re going to come back and put some more. Then you have
this right here. Soften the edge here. I’m going to put some light in here later.
Do you see it your head before you start?
Kind of. I would say kind of. The reflected light,
let’s go with the green. That’ll be here. Lost edges into our background.
Lost edges are good. They take you in and out and around.
They’re really cool. We’ve got that.
I want to put in my light. I want to be pretty warm. So the light is going to hit here.
So this is kind of warm. I want to hit some warms here too. This is where we’re going to stop,
slow down. Really feel the textures of the tree.
Wrap around. Feel the form.
It's coming around.
So you feel that? So now you’ve got this definite light and dark side.
I want to hit a core.
We’re going to go warm.
I want to go pretty warm on that core. Warm and dark.
Now, this is a very important part.
Your core shadows give you form.
This is the inside of this light right.
See, the light is hitting on the inside.
The core is the only real shadow. This is reflected light
and this is light. You want to take a look at the fundamentals videos. They all work
together. My stuff kind of—because I teach college a lot the stuff has to work. It has
to progress. Okay, so with me you’re getting kind of a college type feel here.
So we've got that. Now, I want to push it back. I’m going to use some blue. See how strong this
blue is, though? That is going to push it back because it’s cool. The problem is because
the chroma is so strong, the hue, it actually comes towards us.
So remember, cools go back
and warms come toward us, but you still need to be conscious of the chroma, the hue. That
means the real pure color.
The way you do that is grab a gray
and throw that on there.
I pushed it back. Alright, we have that. This is the strong part here. So we’ll
use some, put some of that here.
Now, when you’re doing pastels you go thin to thick. So you want to be careful, cause
I only brought this one brand of pastel, you can go to really, soft buttery pastels and
keep loading it. But, I just brought this one brand so I have to be careful how I put
it down. What will happen is it will start caking up on top of itself, and it won’t
work. If I bring in a softer brand and put that on top, that’ll work.
This is a harder pastel right here so it doesn’t work.
This is softer. The pastels have their own personality.
So even within your set of pastels you have to know their own personality. Some of them are soft.
Some of them are hard. You want to be careful because the hard ones are just going to fight you.
Texture. Push back the green. You can push it back by adding some lights.
You don’t always have to go darker. You can go lighter.
Guide the viewer’s eye through here. Just pull it.
You’ll notice some similarities like pull it and pull it and tuck it.
Those are Vilppu things. Some people said, you know, similarities. Well
yeah, he’s only been my mentor for 34 years.
Okay, here we go. One thing about mentoring—let’s talk about that a little bit. Mentors are
good. But you want to also get your own voice. So even though I’ve had so many teachers
over the years—I really cherish my teachers—I’ve always been able to find my own little voice
and how I like to do it. That’s really important. I think Glenn like that, that I’m very much
a Vilppu student but I’ve found my own way of doing it.
I always like to give him credit
because he kind of made my life. Okay, here we go.
Get the lights here.
I’m pretending like this is the light, and the light is kind of hitting the tops. Then
that pushes the green back. Soften an edge. So we’ve got that. We’re not done yet.
So you see it’s starting t come to. Let it fade back a little bit. Then we’re going
to come back in with our tree, the foliage.
This is the side plane. You want to guide
the eye. This is Sheldon, and this is a Coca Cola Classic in the bright red can.
That's our side plane. It’s taking the eye. It’s guiding the eye.
I’ll bring it back like that.
Now, we’ll put the light side on.
That’s the top. That’s what’s catching the light.
Hitting the light.
Remember, the leaves break it up. You’re really going
to tell a lot when you’re dealing with painting by the edges.
You don’t want to paint every little leaf. Some people do.
But if you notice when you go to museums sometimes you look at a painting and it’s so rendered
out, and then the one next to it is not as rendered. People, you know, I watch them and
they kind of move somewhat quickly by the ones that are all rendered, and then they
go to the ones that aren’t quite so rendered, which gives the audience a chance to become
part of the painting and kind of finish the painting. Those get most of the attention.
It’s really interesting. Leave parts open for the audience to become part of.
This is casting a shadow on here. So this branch is casting a shadow on this branch.
So we put that in.
One thing that Vilpuu is talking about on his video is that you have to be able to work
out of your head. It’s a combination of the two, of taking what you see in life but
adding to it, you know, your own. You know, if it exists I don’t need you. I’ve spent
my whole life working as a professional artist, hired so many artists in my life, and the
reality is I need somebody who can draw out of their head. I had one time at Warner Brothers,
this employee came up and said what are you doing during lunch. I said I’m going to
the art supply store. This employee says, you know, I’ve got a scene that’s got
a lot of hands in it. Why don’t see if there’s a book on hands because I need to find this
one hand. I said, well, why don’t you come by after lunch, and I’ll teach you how to
draw hands? I guarantee you, if I find a book that’s 101 Hands, the one you’re looking
for is going to be the 102nd one. It’s just not going to be in the book. She says, no,
find me the book. I’m like, wow. That’s not a person I want to hire again. You really
want to be understanding that you have to be able to work out of your mind.
You gotta be able to.
The nature and the photo reference is there
for you, but it’s only as a reference.
of it, and it’ll look like it’s elevated.
It’s an illusion. It makes it look like it’s coming out.
These are all little techniques.
Here’s your corner.
Reflected light shouldn’t be as light as your halftone.
Now if this is all cool, we can throw in some warm reflected light if you want.
Not too much though.
We’ll cool it back.
Want to keep it a family. If I have green here I want to put green here.
Green here. Green here.
If I have purple here I’ll add some purple here and here.
Put a little purple in here.
Keep it moving as a family.
I call it a conversation. I want my color to have conversations
with all the other colors.
What it does is it keeps it together.
If you’re around a table and everybody’s
talking you got one person not talking.
You want to have everybody having a conversation
with each other and working it around, a nice happy family.
We’re going to hit some edges. So I have all this warm over here.
Well, put some warm in the tree. Why not?
Brings it together. It’s going to come toward us, and that’s okay.
That’s what we want.
Add some darks behind this.
Guide the eye through with the warmth.
So the pastel gives you a lot more freedom than a watercolor.
The watercolor, man, you gotta really plan.
The pastel, you can erase a little bit,
cake it up a little bit more.
Watercolor is fun, but it’s a challenge.
Also, notice how when I’m working—see this is my palette.
Lay the pastel down at an angle so you know which one you’re using.
Really, really important.
Little gray coming in from the background.
I can push some gray in this way from offstage.
That’s from another tree coming this way.
How about some clouds in the background?
I’ll warm the edges.
I really love looking at clouds. They’re so fun.
Alright, so I’m putting in some cloud shapes way in the back there.
I want to put contrast against my bushes.
Draw some edges here.
So come back to gray.
This is fun. Lost edges here.
I want to nail these clouds, maybe a little thundercloud back there.
It’s coming this way. It’s hitting that side of the cloud.
Underside of the cloud here.
Okay. Now we’re going to punch it.
This has to support that.
We have our flow.
Here, here. This is just black.
Pushing back the areas I don’t want the eye to see.
If I hit a hard edge right there then that’ll be an area.
Hard edge right there. The eye will go there. This is soft. The eye won’t go there.
We go hard edge like this.
The eye will come here and go right there. The eye will go there. The
eye will go where you have the sharpest edge, the most contrast.
Pastel is fun. It’s like painting with your fingers, which is really fun. You don’t
have to worry about the brush. Sometimes the brush doesn’t do what you want it to do,
but your fingers always do.
Bring the eye back up here.
Balance. Lights bouncing off of here
into there. Just like to think of it as a conversation.
Just have everything talk to each other.
Shoot your eye up.
There we go.
It’s just to get you guys going with it.
I can spend hours working on these things.
I want to tighten up those clouds a little bit.
Okay. Simple. Very simple.
Have fun. Don’t forget to make mistakes.
Do a million-billion of them.
We’ll end with this.
I’m going to open a business. It’s Sheldon’s
Golf Business for People who Golf Good.
What it is, it’s a place where you can go and hit balls.
I don’t know why you want to do that,
but seem people do. I think it’s kind of silly. So when you get there I’m
going to give you a bucket of ball.
You’re going to get one ball in the bucket.
It's going to cost you $20.
People we say, why are you giving me one ball?
I’m going to say, well, I thought you were good.
When you go to one of those batting cage places where
you hit, you know, the rocks with the stick and you get to hit a lot of rocks with that
stick for your five bucks or whatever it is. But in art they expect you to get it the first time.
No, lots of time. Okay?
I want you guys to do lots of these.
Don’t forget to make mistakes.
Do lots of bad drawings.
You’re never going to get the good ones unless you do the bad ones.
Put in some cleaner shapes here.
Guide the eye.
Okay, eye is going to go here.
to go back and take a look at the fundamental videos cause that’s the stuff you’re going
to be using all the time. Think of it as martial arts. Okay?
You can jump to a black belt, but you’re going to get hurt.
The white belt you use all the time.
Then you move to all the different colors.
I’m going to do a bunch of different mediums for you.
Painting is all the same. It doesn’t change. Shape, edges, value, and color.
Drawing is scribble, shape, form, gesture, construction, anatomy, technique.
The painting comes in at the technique stage.
So this is going to be for our flat wash, our gradated wash. We’re going to do a sphere.
We’re going to do a cube.
We’re going to do a cylinder. Then we’re going to piece
it altogether down here. We’re going to do
just a simple little study, simple landscape.
Now, we have all the necessary tools we need. We’re going to start with pastel.
In another video with watercolor, another one with acrylic.
I really want to get into doing marker down the road.
One of the things I love to do is I like to do acrylic with pastel on top.
That's a lot of fun.
But the most important thing we have going for us today is that I just got back from
lunch and I have a large Coca-Cola, and that will help us get through the day.
This is a flat wash. It’s flat.
Flat means no variation within tone.
So if I say to you I want a flat shape then
what I’m looking for is something that has no variation of tone inside.
If I say I want a gradated tone then you put the tones inside.
Okay, that’s flat. Okay, flat
The next is going to be gradated. And so this would be probably down here, this tone.
Gradation means from light to dark. If I say to you, I want a gradated tone this might be the light
one right here. Then we’re going to go all the way to black down here. Just lay these
tones down. Now because pastel is opaque we can go ahead and
lay these tones slightly over each other.
Now, this would be done with planes. You can see how it goes, you can see
how they’re kind of subtly moving on down.
Come over here and grab a white.
I can go from white—look at this. Okay, so this will be a gradated tone. I like to tap with the
pastels. The reason why is if I put my finger all the way down and up
I’m going to get gradation.
You want to get it as subtle as you can. So what is a gradated tone? A gradated
tone would be your value scale that you look at while you’re squinting.
So if your value scale is working right, and you squint,
now you have a gradated tone.
tone, gradated tone. When you start to paint you want to do what I’m showing you. I had
the greatest painting teachers throughout my career.
One of my favorites, name is Brian Eastman. I’d like to know what he’s doing.
So Brian, if you see this video out there call me. I miss you. Anyway, I asked him one day, I said, Brian, why do you paint when
animation is the ultimate art form. He goes I feel the same way about painting. Why don’t
you take my class? I could cause I got to do whatever I wanted because I was one of
the teachers at the school, and I helped start the school. I had this cool grandfather class.
That school was really amazing. That’s where I met Vilppu. I started painting, fell in
love with it. It destroyed my animation career because I actually liked painting better than
animation. And I love animation. So painting is fun. So there you go.
So that’s your gradated.
Now what we’re going to do is we’re going to do the sphere. We want to get a local color.
Let’s grab a local color. Let’s go with this brown right here. The local color would
be the color of the piece not in the highlight. Not in the shadow, right at the midtone.
There we go. So you want to think of it as kind of cutting it out of construction paper or
working out of like a paint-by-numbers. Notice when I’m working with pastels, which we
saw, when I’m working with each one and I’m done with it I don’t lay them back in.
I lay them at an angle so I know which colors I’ve used. So far I’ve used all
these grays and I’ve used this brown. It’s just a way of organizing your palette.
One thing about pastels that kind of sucks—for people out there that don’t know what that
means, sucks means it’s a bummer. If people don’t know what the term bummer means, it
means it sucks. What sucks about pastels is you can’t really mix them really well, so
you have to have a lot of pastels. You know you can paint with three colors of four colors
and really do a great job. You know a lot of people when they do pastels they have these
ranges. You know they have the color and then they have all the different saturations. Saturation
means the intensity of the color. If I say
hue or chroma, that would be your saturation.
Here’s my core shadow, and as you know from the fundamentals it’s where it turns.
See, like that. Okay, so now what I like to do is I like to go warm on the top half of my core,
and then I like to cool it turning, so we can grab a—oh I don’t know, let’s
go with a purple. Purple is hot. I’m going to go with the blue over here for my reflected
light, and that’ll give me a direction to go. Now it’s starting to turn because we’ve
got the blue here. Okay, so we’ve got that,
and I can go with the darker brown here.
Then we have our shadow down here, cast shadow. Now, when you’re working with your pastels
let’s go ahead, and I’m going to be, you know, I’ve already introduced them to you
in the opening, you know, what pastels we’re using. I like to go with a midtone and work
my way from there. You have two shadows. You have a contact shadow and a cast shadow.
Okay, so now here’s our core shadow here. I like to go hot, bring it close to the camera.
Then we move into our halftone area here.
Again, we’re going—I like to go from the
middle tone out. So middle, light; middle, dark.
So here’s my middle, and now I’m going light.
Alright, so we’ve got that. Really go ahead and you can hit, like sometimes
I’ll put a black in the core right there. The eye
is going to go where there is the most contrast.
We have that. Tap it.
Then I start thinking about the background. This is pretty warm. Let’s go ahead and
cool down the background a little bit.
Start with the green. Here’s where we start our conversations.
We have green here. I’ll put green over here too. Keep it talking back
and forth, back and forth.
Alright, so I have this here. This here. I have this blue here,
kind of a blue-gray. Let’s go ahead and put some more blue over here. Let these guys talk.
See? So we have these conversations going back and forth. See how strong the color
is, but on my finger is green. Green will be—we’ll gray it back.
There we go.
Now, I get to lose some edges. We’ll pull this color in. Lost edges are really, really important.
A definition of a lost edge as you saw in our fundamentals is when the color or the
value of the piece matches the background. You want to use lost edges.
Take a look at the Renaissance. Take a look at good movies. One of the ones I’ve been
showing my classes a lot lately is Fiddler on the Roof. Just beautiful, beautiful cinematography.
Great acting. A lot of the kids today haven’t
really seen that. So it’s a fun way of introducing
them to really good theatre. I have this orange here, and maybe we’ll put some orange over
here and have it talk to each other. Then
I’ll throw some orange over here and then
it’s just balancing out the peace. We get to this, you know, when we do our final little
study how the conversation really helps.
Now, the big contrast is going to come
here when we put in the light.
There’s your highlight right there. See how pretty that
is? It really pushes it. Nice and soft.
I like purple.
I think what I like about it is that it’s so dangerous.
Sheldon Borenstein, thrill seeker and purple user.
You know, who uses purple? But it pushes it. It makes it vibrate.
It’s fun. I’ll throw a little purple in there. If you notice with the contrast
right here on the core shadow it really pushes it forward. Then we go cool here. You’re
reflected light should not be as light as your halftone. If you’re reflected light
is starting to get as light as your halftone you want to push that back. Push it back is
a technical term for having the cheerleader over your shoulder that’s saying push it
back. Push it back. Way back.
If I want to bring this area out, I’ll just put some blue really sharp on this side.
There we go. Boom. Now, one thing that’s really important. If you notice when I’m putting
these strokes down I’m following the circle. Don’t do that. Now we’re going to go back
and go with some horizontals. What happens is your eye starts to look at those round
strokes and doesn’t look at the ball. Let’s put in some horizontals and some verticals
and break up that round shape. Now, if you notice, our eye is going back into the sphere.
I notice that a lot with the students. I think it’s just the way, you know, you’re trying
to get that line around the subject. What happens is it starts to mirror it,
and you don’t want to do that.
It’s kind of a nice, moody sphere.
There we go.
So pastels are a little bit more forgiving. What they usually do is they say go from thin
to thick. I did bring some thicker pastels. Thicker means softer.
I’ve got to remember to grab those before we’re done.
Just hit it when it’s done. It’s really fun.
One of the things I want to talk about a lot during this whole thing is I haven’t really watched
the Olympics. They’re just started. You always notice the people, immediately they
become experts. You know you hear them talk, and they’ll say, wow, that guy did a perfect
double latte espresso, and the other guy goes, yeah, well, I think the guy over there did
an all-beef patty super-size, and they’re talking like they really know, you know? Like,
well, have you ever done it before? No. They become instant experts. And I think that’s
where a lot of what I’m seeing right now in education is I want to know it now.
Well, you’re not. Okay? It’s going to take a lot of practice and a lot of time.
Here we’re doing pastels.
But, there’s a Harvard Study called Flexible Performance Capabilities which will help take
care of you, and that means once you get good at one thing you can go ahead and do the next.
You’ll get pretty good at another thing. You can apply it. We had a woman come into
our school. I teach at two universities; San Jose State and Chapman.
I own my own school, Sheldon’s Art Academy.
We deal mostly with kids. This woman came in, and she goes I want
to sculpt. I said, alright. I saw Eric do a little bit of it so now I’m an expert,
right? I said, no, no, look; we teach the Florentine School here. The Florentine School
is a sculpting school. It’s really fun. It applies. Now, am I as good as these guys?
No. But it applies. It’s gesture, shape, and form. Once you get pretty good at one
part of it, you’ll be able to apply it to the next and the next and the next.
This is our beginning. Highlight, halftone, core, reflected light, cast. It almost has
a song to it, like a ring. Highlight, halftone, core, reflected light, cast. [singing] Highlight,
halftone, core, reflected light, cast. Your core shadows are soft.
Your cast shadows are hard.
Go back to the fundamentals video, and you’ll see that.
Let’s move on to the box. Now, same thing. We want to find our local color and local
value. This will be the halftone side right here.
This will be the light side on the top right here.
I think one of the things that, there’s an old ism in our industry,
and it goes back 500 years. Back in the olden
days the Florentine School, which is what I teach. This is Chiaroscuro. But the Florentine
School, they were very linear. So the painters
used to say to them, well, you don’t exist
because there is no such thing as line in nature. I said, okay. But the Florentine School
people used to say to the painting people, yeah, but you can’t draw. Man, if that doesn’t
still apply today. So this is painting. In painting there is no line. A line is just
an area where light can’t get to. If you notice, I’m hitting edges. I’m going to
keep working it. It’s one value against another value. This is all in midtone right
here. I haven’t pushed too hard. Now, let’s go ahead. I like to hit my core. You don’t
get a lot of core shadow in a box cause it turns. It goes down. But I can put a warm,
sharp edge right here where the light is going to turn.
Our sphere is looking a little moody.
I like to kind of hit the edge here.
So the Florentine School was pretty interesting cause they’re really into defining the form.
You have to know what you’re drawing.
The Chiaroscuro really is into shapes.
Those people really knew their form too. I mean you look at the drawings of Rembrandt, oh my God.
But then all of a sudden recently they’ve really started separating it. I have to be careful;
I’ll get in trouble here. Everybody tries to separate it. Well, you’re a painter.
You’re a drawer. Well, you’re silly. You can’t separate drawing from painting. If
you notice right now I’m really focusing
a lot on working with just shapes, light, tonal shapes.
Painting again is shapes, edges, value, and color.
We also want to have our conversations.
We have green here. I’ll put the green over here.
See how warm this area is here so that
blue really pops it. That’s temperature.
Now, temperature if you’re let’s say a yellow or an
orange, that’s like the color of fire. You’re
raised young, you know, and think if it looks hot don’t touch it. That’s why people
don’t usually shake my hand a lot because I always have this hot look to me, and I’m
just like hot. They go, God you’re hot. I said, I know. It’s hard to be a sex symbol.
I’ve been kind of getting tired of it so I try to hide it a lot. But when you’re
hot, you know, you kind of go forward. So the warms come toward you. They’re warm.
They come towards the camera. Cools would
be like blues, green, and they have a tendency
to go back in space. So warms come toward you. Cools go back. Warm comes toward you.
Cools go back. Warms go towards, cools go back.
Now, sometimes I’ll see a student, and they’ll say I put a blue in the background. Yeah,
but the color was severely saturated, a lot
of chroma, a lot of hue in there.
That brings it forward.
You want to kill the chroma to push it back. It’s temperature and saturation.
See, watch: If I want to bring this corner forward I’ll go like this,
and because this color is so hot, see what happens?
It really pushes it forward. I can hit that edge like
that. It really brings it forward. Then I can come over here and take this blue and
complete it and look at that. It pushes it back. It’s a strong blue, so if I tap it
with this dirty finger, now it pushes back.
This tone up here, I’ll answer it with this tone down here.
Now look, this is really fun. Take a look.
I put this light over here. I put that light
over there. It kills my depth of field. Depth of field will be the distance from front to
back. We have our foreground, our middle ground, and our background. If the value and color
is the same in the background as in the foreground then it destroys or depth of field. What I
need to do here is grab some gray and push it back.
Look what I get.
See that? It’s really fun.
Painting is a trip, you guys. Once you start painting, you understand your
painting, a whole world opens up. If you have your drawing down because a lot of times people
say what’s wrong with my painting. Nothing. There’s nothing wrong with your painting.
There are problems with your drawing. That gets frustrating. Once you get your drawing
and you start painting, oh man, life is good.
A good friend of ours just bought a place, she’s moving out, which will be good. She’s
close to my wife. She’s a family friend who is moving to our area. We have a lake
by our area, and she bought a place that’s right by the lake. My wife says, look Sheldon,
here’s where you can sit and paint. That’s a strange for me because I believe anything
worth painting is worth googling. I don’t usually go outside. You know these people
that plein air painting. I do plein air inside. If I want fresh air I google it. If I want
to see beautiful scenery, I google it. Anything worthwhile is worth googling. But I’ll go
sit there and draw. It’ll be fun.
Alright, so now this is starting to get a little messy. Since we know where we’re
at we’ll clean this up a little bit. We’ll grab—I want to grab this tone.
Let’s grab the orange.
Clean up our shapes.
Okay, see that?
There’s our core.
If I want to make this warmer I’ll put the blue behind.
It’s just this balancing act. When I was a kid
I used to go to my grandmother’s house, and she had plastic on her couch. Have you
ever fallen asleep on a couch that has plastic on it? Your skin sticks to the plastic.
It's horrible. So somewhere out there is this couch with plastic on it. But another thing used
to happen at my grandmother’s house. There was no good TV. All the shows that you watch
at home didn’t seem to make it to grandma’s house. They had one show that was always on.
It was call The Ed Sullivan Show, and I know I’m dating myself. I don’t feel that old.
On The Ed Sullivan Show was this guy, and he had these poles, these wire poles and he
would take these plates, and he would spin them on these poles. Then he would put them
along the stage. He’d be spinning these plates. I used to think to myself this guy
is a schmuck, you know, who is this guy? He looks like an idiot. He’s sweating and running
back and forth because once he gets over to here, these plates over here start to wobble.
Then he gets these ones going and all these are wobbling. He’s running back and forth,
and I’m thinking this guy is getting paid for this. Only when I started painting did
I realize he was a painter. What happens is when you get your values and color working
really good on this side, these fall apart over here. Then you get over here and you
get this working, and these fall apart. You want to constantly be looking at your painting
and adjusting your values and color and temperature throughout the painting. Don’t just focus
in one area only, because what’s going to happen is you’ll get segmented. I call it
partitioning the painting. You’ll get really, really unhappy. If you notice I’m working
the entire painting the entire time. Keep it balanced, okay? Then you too can be like
that poor schmuck who had to run on the stage to make a living. Could you imagine? What
do you do for a living? I spin plates. Oh okay.
Alright, so we have that there. If I want to push the contrast I just take a darker
tone and hit the edge. See that? Boom. There’s your contrast, brings it right out. Now, we
have our cylinder. Cylinder is kind of cool. Here’s our core.
All of these are usually pretty long.
Long core shadows. Here’s my core.
Here is my value.
Here’s my light.
Don’t be like me, who sits in his studio and paints. Get out there. Get some sunlight
and paint outdoors where there is sunlight
and fresh air and bugs and heat and bugs and
fresh air. It’s disgusting. It’s horrible. I mean when I rough it I get on a cruise ship
and sit in the shade, and when I’m really roughing it on the cruise ship I go for a
late dinner. Some people like to get out there and really paint. It’s important that you
see the colors. I have kind of weird memory. Like, I’ll look at something really pretty
from the inside of my car and I’ll memorize it. Then I’ll go back to the studio and paint it.
I’ve never been the outdoors type.
Sometimes I go outdoors, like when you drive
to Starbucks and you decide not to drive-thru, and you have to get out of the car and walk
in there to get your mocha. I mean that’s outdoors, right?
I think that works.
Then you want to get back to your studio. The sunroof of my car is only used at night.
on? Until we get the background in there really isn’t anything going on. Love opposites
when applied. So I can dark back here and really pop out the cylinder.
Remember, color is saturation. There is a story I like to tell. You’ve got this couple. They meet.
Red meets blue, right? They’re loving each other and life is so good. Then all of a sudden
one night you’ve got red and blue and they get married and they have a baby and it’s
purple. Then one night the car pulls up. It’s like 2:00 in the morning. What comes out of
the car? Orange. Oh no. Orange goes in. The next day purple goes to school and doesn’t
seem so happy. Then all of a sudden another cross-town you’ve got blue and yellow. Oh,
they’re so happy. They meet and they have a baby, and that baby is green. Awe, what
a cute baby, the green baby. Then one night around two in the morning a car pulls up.
Oh no, what happens? Purple or red comes out.
Oh. The next day the little orange baby at
school is looking a little gray. What’s wrong? I don’t know. Nobody seems happy
anymore. But you know what’s interesting, it’s works out okay. It turns out those
cars that were coming, they were nice. They were nice colors. They’re still pure colors
because they’ve been mixed with pure color.
But one day a car pulls up and black comes out. You know what it grays the color and
it also dirties the color. Black will kill your chroma, will kill the color, but it makes
it dirty. Sometimes you want that. You know, you want that. I like dirty painting. I like
my painting dirty. I like that. It’s like, hey painting, talk dirty to me. You’ll add
some black to it. People always go don’t paint with black. Look at Sargent painting.
A lot of black is in there. But the black will kill the chroma. It will kill the saturation,
push the color back. It will kill the chroma. It will kill the color, but it will also make
it a little bit dirty. Sometimes that’s desirable. You kind of like that. If you want
to kill the chroma and keep it pure then add the complement. Complement is just on the
other side of the color wheel. If you want to kill the chroma and keep the color kind
of muddy it up a little bit then just add some black.
If you want to have black and have it work within a blue family, put blue down first
and put the black on top. What that will do is it will kind of come through. You can put
a warm down and put a black on top. There are different types of blacks. There are warm
blacks and cool blacks. It’s fun. I just usually add a color to the black, and it works
out pretty well. I’ll be demonstrating that for you a lot. Alright, so you see how soft
that is? If I want to tighten up the edge, see this is warm, I’ll put a cool on there
and I’ll pound it out. Look at this, watch; I’ll really pop it.
Now, we have this orange that we’ve been using, so let’s grab some of that orange.
We’ll put it over here.
This talks to this. Put a little bit there. Have a conversation.
Keep it talking. Keep it moving.
I want to bring out this edge. Feel really warm.
You can do that too. You can make your cast shadow go warmer as it comes closer to the camera.
That’s fun too. Then you can actually even bring it in like that. Alright, so these are
our three shapes. This is going to make up everything we do. Then what you do is study.
That’s what I was doing. I was studying. I looked up and I went, oh man, is that pretty.
Now, this tree right here is really fun. It has a really nice design. We’ve got this
straight and this straight, coming across. I’m going to push the narrative of the
base of the tree here.
This is like figure drawing. Think of a tree as like a human body. Say
hey tree, stand here often? Then we’re going to have mountains in the background. Have
this coming this way. It’s going to have a top and a bottom. Light is coming the same
as here, this way. It’s a box shape.
Another box shape.
Have this little road coming this
way. A nice little S-shape. Have a curve here. I’m going to put a little bush right here.
Have it connect in this way. Connect your darks. Connect your shapes. Don’t have them
just floating. Tree is coming this way.
There are some trees up here way off in the distance.
Fun mountain right here. Then I’m going to put in some clouds here.
Cal-State cool with the tree. Everything has to work. Notice how I have this nice figure-8
happening. It ties everything together.
Okay, that’s our lay in.
Now we can start putting in our tones.
We’re going to put in blue. We’re going to build it up. I want to kind of silhouette
the clouds. Take a look at that.
So now the negative space is pushing the eye. Think of
it as water flowing. So it’s flowing from behind the tree here, coming around, hitting
the clouds and coming back this way. So it’s like water. If you think of these shapes as
like flowing water then the viewer’s eye will do the same.
Keep the rhythm. Keep the flow.
Again, pushing the eye.
See how strong that is. It’s really, really strong. You
can enter in your gray. [grandmother voice] “Oh no, not the gray!
[deep voice] "Yes, the gray!"
"Oh no, anything but the gray.”
The gray will push us back. Here we go.
Alright, so you see how this is flowing? It looks like
waves of water. We’ll leave that for right now. We want to start putting the shape of
the tree. The tree is going to be like the box shape right here, a top and a side. We’ll
grab our magic green. That’s the top.
There’s the top.
Then we’re going to jump down to
this right here. Boom. Jump over here. There’s the top of that tree. Then we’re going to
walk on over. You want to connect your darks. Walk on back. Come on. Don’t just sit there
by yourself. Don’t be a loner. Come back over here. Connect.
Then jump on down here.
These are all the top. For the bottom I’m going to use this little purple. No, you can’t
use purple. Yes, I can. No, purple is bad against green because they don’t like each
other. Yes, yes they do. Oh no, you’re using purple? That will destroy the world.
No, it will vibrate and give me a center of interest. Remember, it’s temperature and value. That’s
what we’re looking for. I want to put this n because I’m going to float in some blues
and all kinds of other little colors in there. Have some fun.
Now, I have a lot of fun with color because I learned early on it’s really
about saturation, value, and edges.
I taught a color class. I did it with three principles. That was it, just three
things. I freaked out the students. What did we learn in color? You just did. So it’s
contrast and affinity, which means: Affinity is smooth, awe. Contrast is bold. Then it’s
coincidence and non-coincidence, which is like this, flat and no detail. Value, dark
to light. Color, which is the different color schemes, which we’ll get into when we get
into color. Not hard. Piece them together
and hey you’re walking. I like the movie
Stripes when they go “right, left, right, left,” and Bill Murray says, “Hey, we’re
walking.” Same thing here. All of a sudden say, hey, we’re painting.
Just a local tone here for the base of the tree.
here, and then I want to bounce it over here.
I want to put some in the clouds later on. Okay, so I have that.
Here’s our green.
I have all this green here, and it walks along.
Now look, we have a Cal-State cool.
So come this way, this way, and a wave.
It doesn’t look like much. This is where you
have to have your confidence because you're
doing your lay in. Man, they can get kind of tough.
Now I really want to be able to play with my contrast so this green moves around.
Get rid of some these trees. We can put some in if we want. Just want to get the
big story down. Make sure it flows. This comes around this way. Goes across the street.
Comes on this way.
Come around, comes back.
Then it goes up on top along the mountains here. Way back here.
Something that’s kind of cool with this is that our local value, the local color of
this painting is green because we’re on a green paper, so that kind of helps.
Alright, now comes the fun part where I get to put in this contrast.
Really careful. Alright,
so it’s taking me around here. Now, we’re going to step up into the mountains
way over here above the trees.
Come down below the mountains here.
Down and around, and then the foreground.
There is our land. Okay, that fun?
I have fun.
Now, the next thing we’re going to do is let’s get in there and start putting in
our details. Light is coming this way. Start with the clouds. We’ve got green here, so
I want to put some green up into the clouds. Remember, everything talks.
Now, I’m being careful with my shapes.
A little bit reflected into the clouds. Grab some warm.
This on the dark side of the cloud.
I want to Cal-State cool the tree. I can put a little tree over the cloud later,
but I want this to have a rhythm like this and then around.
Underside of the cloud here. Taking us on a journey, coming back this way.
Now, we’ll get some warms of the lights hitting the top here.
Come right down to the
mountain area, behind the trees. Bringing out the trees. Soften our edges.
One of the fun things about pastel is you kind of get to paint with your fingers.
When you get quiet and your working you kind of get lost in it. Alright, so you see that?
That’s the cloud in the background. We’ll go back to it.
I want to have some fun with this tree here. Hit the contrast.
Now, there is a little saying.
You either lower the river or raise the bridge. Either way, the ship can get through.
So I either want to work in the negative or the positive. I’m going to go with the negative first.
Really want to cool this back.
I want pretty shapes. Definition of pretty shapes—
take a look at the videos of fundamentals. Straights against curves and uneven. Complex, simple.
Pull this into a triangle shape.
Try to connect your darks and your lights as much as possible.
Do not copy.
Light is coming this way. We can use the same tone. Put shadow on the tree.
You can use the same tone down to the ground and put a shadow on the ground.
There's a big tree over here. Let’s put a shadow that’s pointing to this tree.
Right now I can hear you. I hear you. You’re saying what about the local value behind the shadow?
Don’t worry, I’ll put that in. Just want to get the narrative down.
This is just like figure drawing. We have that.
I want to stay with the grays here. Really don’t want this
to be the center of interest, so we’ll push that back. It’s just a road,
but the shadows on top of it. That’s the big deal.
Alright, so we’ve got that. Get that darker later.
Let’s get our lights on the tree.
You want to build that up probably two values.
We're still in the lay-in stage, everybody.
Don’t leave the room because it comes together
fairly quick if you get your lay-in down.
Now, if I was painting with a brush right now I’d be killing the chroma on this, but
because it’s a pastel I can’t just mix a complement to this,
but this is the value I want.
I’ll come back later on and knock the chroma back, which means kill the saturation, or
I want it to be. Now I’m starting to think about where this shape melds in with my shadow shape.
So this is figure drawing. We’re hitting this part of the tree. This will fall
a little bit away from the light, and then we’re going to hit this part.
Just like figure drawing.
It’s coming around here, just hitting some of the edges cause it’s getting further
away from the light. I haven’t hit the darks down there yet, though.
Now this light is coming down. It’s also hitting down
here. Now this is casting a shadow on here so we’re
going to be on the other side of that shadow. If you want to know what shadows are take
a look at the fundamentals,
and then walk on back here in front.
Okay, so I’ve got my light side and my dark side,
my light side. I need to put a dark on that tree.
This is treating this as if it was a cylinder.
So it’s this turned right here.
If I have it here I can also put it here. I also can put it here and over here.
But not back here because that will kill my depth of field.
Okay, so we’ve got that.
Still haven’t hit any real contrast yet.
We have this here.
Let’s put in some clear shapes for that.
We want to push that dark.
This is where we start thinking. Purple? I don’t know.
Brown is too dark.
I guess we could—I want that staying green. Let’s try it.
If you notice, now we’re starting to pay more attention to the actual shapes.
Again, completely relaxed. We are in the panic stage of the painting.
This is where you panic, but why? Pull it together.
So we’re going to come in here. We cross the street.
Cross the street again. Look both ways. Cross the street again. We’ve got that.
Way in the back. Going to gray that. I use a lot of gray when I paint. Oops, that’s too strong.
There we go. Let me tell you a secret. When I’m at home painting or if I’m working in the
studio I don’t talk to myself. What I do
is I go into a zone and get lost in the work.
But here I’m teaching. I have to kind of
explain what we’re doing. That doesn’t help with the zone.
Zone for the artist is where you literally just flow.
Go away, go to that other place. It’s a great place.
Too much contrast. Okay.
I don’t sing myself songs when I’m at home working. Just float away.
Put some music on, the TV.
Alright, see that’s really pushed back.
We can bring that out with some blue under the clouds.
Start getting subtle with these cloud shapes. So you’re working positive and negative shape back and forth.
That’s the other side of the cloud.
We’re going to lose an edge down here. Bring the clouds in.
Down this way and up.
Okay, so we have that. Now we’re going for finished on the clouds. I want to put in the lights.
I study clouds a lot. I really look at them a lot. I love them. They’re so fun.
The problem is when you live in L.A. you don’t get to see a lot of clouds.
Be careful in the freeway when you’re studying clouds cause then you also get to study the
bumper of the person in front of you.
The light is hitting the top.
It’s just like doing figure drawing.
This is the anatomy of the cloud. Notice how the family is starting to help.
The fact that we’ve put in all these tones, they all are related to each other. It helps.
I’m going to grab some of that light brown that we used.
Put that in here, and that will warm the core.
Clouds have cores.
Get lost in the tree.
See how it’s pushed back?
Now I want to bring it forward.
Remember I still have those other pastels I have to go grab, which are softer.
That’ll really punch it.
I fly a lot. You see these really beautiful clouds.
Every now and then you get that gorgeous cloud,
and you go "Hi, little cloud," and then all of a sudden the mom cloud comes over and says,
“I told you never to talk to people that are on those planes.” And they take the
little clouds away, and you go “bye little cloud.”
Alright, that’s creepy. I know.
Okay, so we’ve got that. We’ll come back. A little bit more down here. This is going
to be showing. The negative space there could be a mountain in the background cause it’s
warm against the cool of the mountain, so that’s fun. A lot of color in here.
You can do that with pastel. Don’t be shy.
and that’s going that way.
Bring this around.
Again, pastel is kind of fun because you get to paint
with your fingers. Remember, if you look it’s really pushed back. There’s not a lot of
contrast back here. We’re going to use that over here. Alright, you’ve got these rolling
green mountains. We’ve got to warm them up a little bit. Light is hitting this side over here.
I’m going to turn this into a mountain.
This is what we had by house today,
a mist coming over the mountains. It’s really fun. I live by Malibu, mountains up in the hills.
Mountains up in the hills—you guys can tell I’m getting tired.
Alright, come around here.
Okay, so we have that.
Alright, now let’s get to that road. We’re going to go back.
I want to start accenting the sides of this road.
Warms come towards us. So we go like this.
Tying these shapes together.
Okay, now I’m going to go with some strong color here in the foreground because it’s all pushed back.
I want to bring the eye over here. This is where it’s all happening.
This is where it starts to come together.
Cross the street. Come over here. There’s the same grass.
Break it up a little bit in front of the tree.
See how strong that is. So we’re really now starting to focus the eye here.
I’m going to take a really dark gray and put in
that shadow from offstage.
Push the contrast here.
Remember you can put color in your black.
Let them talk.
We’re going to go to a lighter color.
Behind the tree. Come up this way.
Notice how we stop and we go to the other side cause I want to see where the light is
hitting the tree. Not the tree but the back here. The little hill.
I’m just cutting a path for the eye to see.
Keep talking. Maybe we another cloud here. Take it down. Tie it together.
This is talking to this. See why we’re doing conversation now?
Then off in the background there are the clouds that are casting a shadow on the ground. This
is what I love about cruising. You know, you’re out in the middle of the ocean and you see
the shadows from the clouds onto the water. It’s just so pretty. I just sit there for
hours and stare at the water and stare at the clouds cause I’m on my vacation.
The cool thing is that for a living I continue to do the same thing
even when I’m not on vacation.
Let’s go back here, get some light inside. Break that up a little bit.
Now the fun part.
Let’s go back. Remember, while we’re doing this we’re only thinking of what we did
up on top. That’s why we’re doing it all in one piece. We’re only thinking of the
flat wash, the gradated wash, and the
three shapes or any variation of.
Edges are really important.
Notice how I’m softening a lot of these edges. The eye is going to go where
you have the most contrast comes from the edges.
Light is hitting down here so we pull up the eye.
Okay, we have that. I want to get some contrast in that tree. I’m going to go warm. We’ll
go into black later. Let’s warm that up a little bit.
I’m now being more conscious of the shapes.
The way to do this is just physically move the medium you’re using
through the object as if you’re actually doing it in real life.
That way it’ll look real.
You really are physically moving through it.
doing. You’re lost in the subject. You’re just in it. You’re having fun.
Now I'm into the bark. Bark is anatomy. When you’re doing bark you need to think of the same rhythms
that we talked about in the figure drawing pulling the rhythms.
Go take a look at the videos on figure drawing.
The best in the world on that, of course, is Glenn Vilppu.
I’ll get you there, and then go with him. I’ll get you started. I can get you even
more than started. I’ve got students in every studio in the country.
Kind of. A lot of them.
I like to think of dancers when I’m doing this. You know, they’re kind of dancing.
Now I want to get some contrast. I’m going to grab that orange.
The light is hitting the tree.
It’s not on that side. It’s on this side.
Okay, see that? I want to get some real contrast
in there. I’m going to use some black, just in little areas.
It’s fun shadows.
Shadow in the tree.
Sometimes I get so relaxed when I’m demonstrating for my students in the college classes
I'll actually kind of doze off.
Again, really different than the lectures that I do where I’m jumping
all over the place and singing and dancing and all that kind of stuff.
Light is hitting the top.
Now take an escalator down to the 2nd story of the mall.
Okay, hit a midtone.
We have some sharp edges in front of the clouds that’ll push the clouds back.
Push this into the tree.
You can keep going and going and going.
Once again, because it’s an opaque medium, it gives you a lot of freedom.
Watercolor not as much unless you start scrubbing,
which is moving the paint around with an oil brush and building up, which I will demo for
you at some point. I’m not sure today, though. We were going to do some watercolors.
Taking this warm in the clouds into the tree.
Pastel goes hard to soft. This is all hard pastel, believe it or not.
What we’re going to do now is hit this stuff.
These are very soft.
These are about $8 a piece, these pastels.
They’re handmade and pure pigment.
Each one of these Schmincke is like a tube of paint.
What I did is just picked out ones that I thought would work as a good highlight,
you know, highlight and lowlight.
Remember, notice how I’m doing—I keep reinventing the rhythms. Once you lose the
rhythm in your painting it’s really hard to get it back.
Okay, nice and soft.
This is the center of interest area, right here.
Okay, I’ve got a nice little green here. God, I love olive green.
I’m just going to hit--See, this just melts.
See that? It really gives us a nice finish.
Again, pushing the rhythm.
Okay, so we’re pushing that around.
Okay, so like that. Look at this: It breaks so easy.
With the blue let’s hit accents here.
Now, if you want to buy a full set of these Schminckes, just refinance your house.
Sell your house, sell your car.
You know, it’s very simple. Pay for Schminckes or pay for a wedding.
God, they’re so expensive.
I didn’t pay for these because I’m spoiled. Okay, so now we’re going to come down this
way. Really start hitting some of these accents.
Pulling the eye. Same rhythm.
Okay, so we’ve got that. Maybe we’ll put a little bit here. Pull the eye.
Alright, so we’ve got that.
We’ve got these fun colors. I just went through and picked out what I thought we would
use a lot. A little glow here.
I don’t really, I’m not a big fan of these really, high-saturated,
what I call cheeky paintings. But here, I don’t have a lot of time, and I don’t
want to do a 10-hour painting.
See? Really can hit the contrast because they’re so soft, they’re like butter.
So you’re looking at a set of Rembrandts, retail about $300. Then the Schmincke here
you’re looking at about $8 a piece. I’ve got 3, 6, 9, 12. I’m not good at math, but
I now that’s more money than I get for an allowance.
So make sure before you go too crazy buying
buying these that you work on the fundamental part first so you’re not
getting frustrated and wasting time.
So next thing I would do is probably let it sit for a day, stare at it a lot. Try to figure
out, you know, where the shapes aren’t working, and then just keep tightening up those shapes.
Hopefully, this gives you an idea. The answers will be found in the fundamental parts of all your videos.
That’s close enough.
Again, when you’re working on your paintings you’re usually by yourself. You’re not
talking to yourself. You really do need to get lost. That’s one of the most important
things. The reason why we paint and we draw is we really get lost in our work.
People say I’m long-winded, you know, because I’m getting paid to teach a class. It’s really
funny. I’m getting paid to teach. Well, you talk a lot. No, you’re paying me.
But when I work I mean I really get lost, especially if I’m animating. I’ll go for days without
speaking. Nobody ever sees that because you’re alone.
Again, it’s kind of difficult to do really serious painting and talk a lot because you have to kind of get lost in it.
So I hope this helps you guys, and I hope it helps you to understand the process.
Then we’re going to do it in watercolor.
Alright, step back and take a look.
That’s it. That’s our cheeky little road.
All the contrast is here. With pastels don’t be afraid to put down a lot of color.
Have fun with it.
My teacher, Mr. Vilppu, says it takes two people to do a painting; one to do it
and one to take it away before you ruin it. I’m about ready to ruin this,
whatever it is, so we’ll stop.
Watch the whole lesson with a subscription
14m 52s4. Blocking in the clouds
7m 20s5. Final touches and accents
5m 34s6. Creating gradients and geometric solids
15m 55s7. Creating a sphere in pastel
14m 59s8. Creating a cube and cylinder in pastels
14m 44s9. Laying in the landscape scene
15m 49s10. Laying in the background and environment
15m 35s11. Detailing the landscape
16m 43s12. Adding cool tones and developing the landscape
16m 37s13. Adding contrast and additional details to tree
8m 50s14. Final Touches