MATERIALS
• Any reasonable pastel paper, white or slightly coloured (grey or ochre).
• 4B and 6B woodless charcoal.
• White charcoal pencil.
• Art Spectrum soft pastels including: Warm Grey, Cool Grey, Blue Grey, Ultramarine Blue (Light), Australian Grey, Raw Umber, Titanium White, Yellow Ochre, Spectrum Red Deep, Burnt Umber, Burnt Sienna,Light Red and Pilbara Red.
• Art gum eraser.
• Fixative.
• 2B pencil.
STEP ONE
When attempting to play loosely with drawing media, I allow for as little distraction as possible. I find it vital to have all the necessary materials and nothing else (especially unsuitably coloured pastels) close at hand. A quick study of the reference to be ‘copied’ will dictate suitable colours. A number of sheets of paper, erasers, and a few woodless charcoal sticks are laid out. Water and Jasmine Tea are within reach. Music is playing in this case, the electric guitar genius of Steve Vai and his band – loud).
STEP TWO
Using a 2B pencil (so as to be easily erased or dominated by later scribbles), I outline the basic shape – concentrating on reasonable placement of (and detail in the eyes and beak.
STEP THREE
I find that the eyes and beak are best drawn in quite fine detail; these are vital when capturing the ‘birdality of the particular subject. This is why I use woodless charcoal – it can be sharpened to a near needle-like point for detailing; whereas willow charcoal, even in pencils, will usually break before a point is sharpened. Why not graphite? I like the darkness and crumbly feel of charcoal.
Having to stop to photograph each stage of a work disturbs the flow and can contribute a certain ‘stiffness’ to a drawing. For this reason, I have photographed one attempt in stages and made other drawings of the subject as end products. I find this is often valuable anyway: Each attempt can capture another aspect of the bird’s essence.
STEP FOUR
I like to play with basic form and (to a lesser extent) tone, in charcoal, before adding colour. I try to be as free as possible, allowing ancillary lines to emerge that don’t necessarily conform to the shape of the bird but hopefully enhance the overall image. This is not the last time that charcoal is used – it becomes an integral part of the use of colour and line in later stages.
STEPS FIVE AND SIX
This process is difficult to describe. It entails an intuitive, seemingly random, use of pastel and charcoal wherever it feels suitable. I have no idea which colours are used (certainly not all the colours listed, which were simply chosen as a guide for what to have at hand if needed).
Occasionally a tortillon (paper blending stump) or finger is used – to blend colours or thin out layers. I try not to use fixative spray until the image is almost completed, allowing the colours to merge. Colours should merge without becoming muddy, if correctly chosen.
I also use white or very light grey pastel as a tortillon, especially if certain parts need a softening in intensity as well as blending.
STEP SEVEN
When almost completed, I spray the drawing with fixative and put it away for a while. This allows for a fresh viewing later on when nuances of the image are forgotten. Often, areas previously ignored (but now requiring further attention) become obvious.
FINAL STEP
I repeat the whole process again, putting away the first attempt (no cheating) and seeing if different aspects of the subject can be captured.
I try not to be too disappointed if few (or any) attempts seem successful at first; I just keep playing and enjoying. I believe that your personal artistic ‘voice’ will undoubtedly emerge if you employ this philosophy … with results that will continue to delight and surprise!
