Reclining again...

Here is another pastel on "tobacco" Mi-Tientes pastel paper. There is something quite special about red hair, I think. One problem with drapery is that it isn't quite the same after the model takes a break- so you have to block it in and then just go with what you have. The same goes for a slight shift in a hand position or similar. We have been fortunate to discover a few new models lately. Not that we don't have some long-standing favourites, but it is nice to work with a new model too. It keeps a person on their toes. I've been enjoying soft pastels for getting the softer effects of skin. They cover and blend more easily than hard pastels, I find.  It is possible, however,  to work hard pastels in underneath touches that bring more depth to the pastel. I'm still really enjoying working with pastels for figure work. On the other hand, plein air work speeds up the painting process so maybe one of these days I may just paint a figure and get it done while the model is posing- because- of course- no photography allowed . Therefore, no reference for "finishing" later.  Then again, piles of paper take up less room than canvases and figure studies are not a popular subject to sell here on the West Coast. I just like to do them as part of the ongoing learning process. I have been posting them on my Pinterest site under "Life Drawings" (what else?). I am amazed at some of the beautiful and extensive Pinterest sites that so many people seem to have. It must take a lot of time to accumulate all those Pins.  I'd rather draw and paint!

Reclining Nude

Reclining nudes are a very traditional subject - but always different each time. At the Art Centre, we don't have a couch or even room to store one so we have to improvise with cushions, benches and drapery. So, this pose was put together with what we have, following the inspiration of a pose from a book. Of course, once all the cushions are piled, we end up with something different--- and the comfort of the model has to be considered as she can't end up in a pose where, say, circulation got cut off to an arm. Drapery is always a challenge as the model, of course, must take breaks - and then the drapery is never in exactly the same folds. I find that once I've got the drapery blocked in, I have to stick with what I have -in spite of any changes- so I try to get the basic shadows and highlights in quickly. Again, I used Mi-Tientes "tobacco" colour pastel paper and a mixture of hard, soft, and pan pastels. The pan pastels are good for blocking in light and shadow to start with, I find. I really like pastels for skin tones and am currently mulling getting some more soft pastels plus a different box to carry them in.... and then I need a different box, other than my old tackle box which is just too big and has unusable space, for my acrylics.  I'm always thinking, as I trundle my supplies, that some people could probably go on a world-wide trip with less stuff!