I was frustrated, wanting to paint, but feeling uninspired. The humble apple always gets me (if there are no pears around...lol...). I think my frustration comes through a bit with this one, the application of pastel is thick and juicy, and that's what I do when I'm frustrated, I apply the pastel heavy.
Also, this was an experiment of sorts. A dear friend of mine gave me three metallic pan pastels (he knew I wanted to give them a try). I toned the paper with some pan pastels, using the copper and gold metallic colors along with the plain janes. After doing the background, I pretty much lost the metallic pans, so I went in again over the sticks with the pans. They are holding pretty well, I must say.
Also, this was an experiment of sorts. A dear friend of mine gave me three metallic pan pastels (he knew I wanted to give them a try). I toned the paper with some pan pastels, using the copper and gold metallic colors along with the plain janes. After doing the background, I pretty much lost the metallic pans, so I went in again over the sticks with the pans. They are holding pretty well, I must say.
A new series, I'm calling it "An apple a day.....sort of....."
Translation: "An apple a day......sort of......because I know full well I won't be able to paint one every day....., life just gets in the way". That's my story, and I'm sticking to it!
Wallis Pro Sanded Paper toned with Pan Pastels
I used Giraults, Mount Visions, Great Americans, Schmincke and Terry Ludwig pastels. I must say that Ludwig Gray set is indispensable, especially for backgrounds in still life.
Translation: "An apple a day......sort of......because I know full well I won't be able to paint one every day....., life just gets in the way". That's my story, and I'm sticking to it!
Wallis Pro Sanded Paper toned with Pan Pastels
I used Giraults, Mount Visions, Great Americans, Schmincke and Terry Ludwig pastels. I must say that Ludwig Gray set is indispensable, especially for backgrounds in still life.
© by Christine DiMauro, all rights reserved
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