The above sketch was done in about one hour using a wet into wet technique. No preliminary drawing was done. Although initially it looked chaotic to the group I was demonstrating to, I was, even at the earliest stage, planning and allowing for my highlights to be preserved. If things go wrong there is still the possibility of lifting out with a sponge or tissue.

The same approach was used in this sketch. Having established the position of the features I started to build up the depth of tone. At various points I dried the painting and went in with a dry brush technique, as in the eyes.

The above was a preliminary sketch I did for a more finished portrait. Again this was completed in less than an hour.

“Mary.”     A portrait in watercolours.

This more finished portrait took considerably longer, requiring as it did layer upon layer of transparent glazes to achieve the detail I wanted.

I find watercolour the most amazing medium and one which offers a luminosity and delicacy unrivalled by others.

In a later blog I will demonstrate a watercolour portrait from start to finish and will describe the materials, techniques and colour mixes I use.

They have a relatively short history, being popularised in the 18th Century by artists like Quentin de la Tour, Perroneau and Chardin. In the nineteenth, Manet, Degas and Mary Cassatt were the leading proponents.

In this blog, I will demonstrate how I develop a pastel portrait and also show you a few other samples of my pastel work.

I work on tinted paper, the colour usually determined by the complexion, and character of the sitter. I initially block in with willow charcoal, trying to establish the likeness.

When fairly happy with that, I begin to apply colour.

I usually start with hard pastels, working boldly. It can be a little daunting, (particularly for the sitter), when this patchwork of bright colours appear. But I am thinking ahead, planning what I will overlay to modify them.

Here, I use a variety of techniques. I cross hatch, allowing the original colour to show through. At other times I apply solid pigment and blend with either my fingers, a torchon or soft cloth. As you will see I am now introducing a background, earring and jumper.

The process continues as I modify and adjust the colours and tighten up on the accuracy of my drawing.

” Mrs. Pat Motherwell”

In this final stage, I added stronger highlights and reflected lights on the nose, a bit more detail in the hair, and more modelling on the chin and neck. All that remains is to finish the jumper and necklace.

The following are pastel demonstrations or sketches  I have done, usually in about an hour. “The Commander”

“Young girl”

Chris

Pastels are also lovely to use for life drawing. “Peter”

Or, as I demonstrated in an earlier blog, for landscape also.

A pastel drawing of Kirkcudbright Harbour. I did this as a short demonstration in the pastel medium for the group who came on one of our Painting Holidays in the town

” Kirkcudbright Harbour”

Tips.  I use a combination of both hard and soft pastels. The general principal is that the soft are applied over the hard. Any areas, like the eyes where I need a fair amount of precision, I will use only hard pastels, pastel pencils, or conte chalks.

As a result , it is a very forgiving medium allowing one to proceed with the minimum of planning, to easily make amendments and to paint light over dark.

In this particular painting I am working on Bockingford watercolour board and using Winsor and Newton designers gouache.

With a large hog’s hair brush I have very rapidly blocked in the general composition, the sweep of the river, the distant hills and indicated the position of the trees in the foreground. It has taken around 30 minutes for this initial stage of the painting.