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Author: Marc_R._Hanson, Contributing Editor
 | Here I have the basic shapes of the scene established. In the next steps, shown below, I'm blocking in the sky value and color. That requires that I adjust some of the value in the landscape shapes as well. The large tree shapes are where this is most obvious. |
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| I'm now beginning the start of the pastel 'block-in'. At this stage, I use an open stroke and not applying the pastel in a heavy layer. As you can see, there is a lot of the paper's surface showing. This is important so as not to fill up the tooth of the paper at this early stage.
Masses are blocked in as accurately as possible, but without any modeling or detail. Some indication of light and shadow is indicated, although in this piece light and shadow are mostly just shifts in the temperature of the hues. As the block-in continues, each mass is scrutinized for value, hue and edges. |  |
 | I'm almost done with the block-in of the major passages.
In the detail at right, you get a good idea of just how 'open' the stroke is. The intense color in the detail is a result of my photography. |  |
| At this point I use the 'Viva' paper towel to unify all of the pastel previously applied, and to fill in the spots on the paper that were bare after the open stroke block in. To use the towel, just roll, fold or crumple it up into a shape that you need to do the job. Edges are considered and can be dealt with to some degree. This is especially useful when working on a subject with deep transparent darks where you might want to layer a variety of tones within the darks. When you wipe an area it leaves a fair amount of pigment but in a more transparent state. When more pigment is applied on top of the area a lot of depth can be created, it's kind of like using a glaze in oils or acrylics.
Following are some details showing the 'Viva Rub'. |  |
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