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Phyllis Franklin
06-23-2000, 10:46 AM
Still having a good time learning, but I am moving on to my next one. I don't want to fiddle with this anymore. http://www.wetcanvas.com/ubb/smile.gif This is another pastel using a painting by Monet as my inspiration piece. Could you just tell me my stong points and weak points? Tell me what would improve my work as I begin my next one. Thanks much for your help. <IMG SRC="http://www.wetcanvas.com/Critiques/User/pview2.jpg" border=0>


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Yep this is Phy...llis
Sounds like Lizz.
P.S.
Visit the Virtual Cafe Guerbois Today! (http://www.artistnation.com/members/paris/cafe)

sandge
06-23-2000, 06:38 PM
Great job, llis! You're really taking to pastels like a natural.

I particularly like the way you have used pastel with small, sharp accents of light on the foliage and flowers. You have worked in a beautiful range of colours using these tiny marks and this repeated texture gives a lovely unity to the piece. Another favourite part is the sky showing through those very dark trees right at the top - a lovely use of negative space as the sky really says something about those trees. Perhaps you could sharpen up the patches of sky which seem to have gone a bit blurry towards to centre of the painting.

Watch out for the extreme darks as they are looking a little dead (on this monitor, anyway) particularly amongst all that colourful light foliage. Did you use black? Try to work in some other dark colours. Blues and purples are generally good for shadows. Darks can be tricky in pastel. There are plenty of light and mid value colours but there don't seem to be so many dark colours. You have to hunt about to build up a collection. It's the main reason I work on dark colour paper - it does some of the work for you.

The only other thing I would like to mention is the lady in the white dress. She's standing out a little too much. Did you use white for her dress? If so, this could be the reason. I try to avoid white on its own as it is difficult to make it harmonise with the whole. It's better to use the very lightest shades of the other colours then it will link with the rest of the painting. If you have them, perhaps use some very light ochre/yellows where the sun is hitting the dress strongly and some light blues/purples for the areas not directly hit by the sun. I think you can safely take her down a shade and her dress will still appear white.

Well done! Thanks for sharing this painting. http://www.wetcanvas.com/ubb/smile.gif
sandra

Phyllis Franklin
06-23-2000, 11:09 PM
Thanks Sandra, this is exactly what I need to hear.

I did use black, a dark purple and a dark green to make the darkest darks. I started out on light green paper, which was a mistake. I like your suggestion about using darker paper. As I progress, I want to find some of the better papers that you and others have mentioned. Right now I am using charcoal paper which is in a spiral bound book containing light assorted colors.

Yes, I did use white for the lady and I do understand what you are talking about. Next time, I will try the yellows. Thanks for your help.
http://www.wetcanvas.com/ubb/biggrin.gif

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Yep this is Phy...llis
Sounds like Lizz.
P.S.
Visit the Virtual Cafe Guerbois Today! (http://www.artistnation.com/members/paris/cafe)



[This message has been edited by Phyllis Franklin (edited June 23, 2000).]

sandge
06-24-2000, 09:52 AM
Happy to help.

As a general rule, it's a good idea to try to avoid using black and white because they don't behave in the same way other colours do. Black, in particular has a very flattening effect. (Like all 'rules' this can be broken - such as when you want to exploit their special properties.)

best wishes
sandra

Phyllis Franklin
06-24-2000, 09:57 AM
You know, Sandra, it is so much fun to learn this way. Much better than reading a book about pastels. This way I feel as if I have you and all the others right here with me. Thanks for your help.

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Yep this is Phy...llis
Sounds like Lizz.
P.S.
Visit the Virtual Cafe Guerbois Today! (http://www.artistnation.com/members/paris/cafe)