Canson Paper with Pastels
All right, let's work on cancer. On paper, it's to a perspective using that paper. My students in class, you guys can follow either with some of you have cancer on paper, you can work on that, or you might have a black and white copy. You can work on that. Us. Well, um, So what I have here is two examples using blue paper. I have one that is very loose. More likes catching. And this is actually thinks I did for a demo. Sometime I go for some students, and this is another one that I did off, actually, our own kitchen. So when we work with this paper, you can get very good results. But we need some. We need to just pay attention. First, we need to find the right material, um, toe work with it. And at this point, I would like to introduce a new material that we had We have not worked with just yet. Um, and that is pastels. So I have over here a pastel said I bought new pastel, which is a brand that you can find in most art stores. No pastel and U p a pastel. So we have a dominant color. I...
n this case, I have blue and then we have an example Over there in brown. This is going to be your dominant color. Um, would you do This is how you work better with Castel, you have a sector knife or just the regular kitchen knife and you scrape some pastel onto a surface. The next thing that you dio Yes, if you want to use either for touch up work, you would use a Q tip or you can use a, um um, a little pad. Right? You can just grab one of these, Thesis said. These are actually makeup pants, so you can just take one folded in half, and then you grab that color and then you apply to the paper to get an overall tone. And I added, over here, some white. So they say, if you want to get an overall tone to the scene, if you don't have that powder is fine, we'll work with the next face. This is one way of working toward lighter colors. Now how do we work towards darker tones the same way that we would dio just regular markers. For example, if I wanted to use like a would tone for the top. I would just using my markers. And you guys can feel free to start working with those from the perspective that is provided just toe break the ground and then have some fun. The main thing here would be to use Palin strokes took over again the entire surface. Now, um, the example that we have over there, we have brown paper, which is great. The reason why we have brown paper and then blue paper is because I want to bring a good point if I want to have a yellow piece of furniture. But I have blue, blue and yellow Makes what? Green. Right. So do I want to have a green counter? No. So you just have to be careful. Well, no. And yes, it depends. So it's still say OK, I'm stubborn. I still one yellow over here, but I'm gonna have blue wolves hot I work with around that. So what? I dio trust me. It will all work out at the beginning. In my love green. So I worked with panels strokes just to cover the main area first. Okay. And the same thing that happens when you paint your wallet in your house. The color first starts when you apply it first. The paint it appears darker and they said, Dries, it gets lighter, so don't worry. We'll get a bit lighter. So you work with your caller using again parallel strokes. This time I'm not gonna paint over my range. I want to keep it that same color. So I just do an overall pass with those colors. And then what I would dio is And this is the trick. Use pencils, pencils to get in a Paige tone. If I think that I get I got two purple, I mean to green tones. All right. Markers are transparent by nature. Pencils are opaque. So, um, I can use some pencils on tops. That's why I said no. Or yes, you can get lighter tones, more opaque tones to bring the yellow counter on the yellow pain to the kitchen If I think it went to green. Okay, defending it all depends on the type of color that color base that we have on. Obviously the finishes, the materials that we pick