Using soft pastel on suede paper, Janelle took some photos of her youngest, Quinn, when he was three days old. “I remember that beautiful night, when having fallen asleep in my arms I laid Quinn on our bed and photographed him. I thank myself often for pulling out the camera when I too should have been sleeping. A memory beyond measure preserved.”
MATERIALS
• Paper Art Spectrum Colourfix suede paper – Tasman Sky
• Pastels I use pastels of the following brands – Art Spectrum(AS), Rembrandt (R), and Faber Castell. And pastel pencils – Faber Castell and Derwent. Colour list
• Skin Dark: Mars Violet R 538/5, Burnt Umber R 409/3, Flinders Blue Violet AS D520, Caput Mortuum Red R 343/3 Middle: Burnt Sienna AS T548, Caput Mortuum Red R 343/7 Light: Burnt Sienna AS V548 and AS X548, Caput Mortuum Red R 343/9
• Fabric Dark: Flinders Blue Violet AS D520, Mars Violet R 538/5,Mouse Grey R 707/5 Middle: Raw Umber R 408/7 and R 408/9 Light: Yellow Ochre AS X540, Yellow Ochre R 227/10, Warm White AS P501
• Pastel pencils Faber Castell 1122 – 199 Black 122 – 177 Walnut Brown 1122 – 175 Dark Sepia 1122 – 193 Burnt Carmine 1122 – 169 Caput Mortuum Violet 1122 – 132 Light Flesh
STEP ONE
I work from reference images I’ve photographed either printed as photos or on my computer. I draw the image on white paper, and transfer it on to my final paper with tracing paper. I use white pastel pencil on the underside and trace the image with a graphite pencil. I do this gently as I find the suede readily indents, but need the graphite point to produce a fine line. The benefit of drawing then transferring is I can see the proportions and composition and can be confident of these prior to placing on the final paper. Once the image is transferred I pack the lead pencil away so I don’t accidently use it!
STEP TWO
I begin with the fabric surrounding Quinn and define the darkest areas first. I also draw the darkest shadows of Quinn too. I then add middle colours and the reflected colours I see in the fabric. I then add light colours, joining the areas of colour previously laid down. Once I’ve defined all the dark, middle and light colours I blend. As I do I am mindful of the forms I am creating. Minimal blending in the lighter areas preserves their boldness and keeps them “clean”. I repeat this process to define the finer creases and reflections in the fabric.
STEP THREE
When the fabric is mostly complete I shift my attention to Quinn. I begin with the darker colours. Skin is highly reflective, and I see many colours in Quinn’s skin and include these in the foundation (eg Mars Violet, Flinders Blue Violet, Burnt Umber and Caput Mortuum Red). Then I add the middle colours, laying my strokes at various angles to express the form. I then add the lighter colours. These are not my lightest colours yet.
STEP FOUR
I blend the colours I have laid to create the foundation of the skin. I then repeat this process (dark – mid – light) to develop the forehead. Using sharpened black and brown pastel pencils I define the hair, using gentle strokes. Baby hair is very fine. I sometimes like to do the hair before I’ve finished the skin as it allows me to see the face in context with the hair.
FIVE STEP
I then work with the mid and light skin colours to add more detail to the contours of Quinn’s skin, and bring more warm colours to the skin (ie less yellow and more red).
FINAL STEP
I apply colour, then blend, repeating this process until I’m satisfied. The completed piece. I can leave Quinn to sleep.
