1. Pastels
&
color

2. COLOR

3. Color The element of art that is derived from reflected light
Symbolic, stands for ideas and feelings

4. Can you think of a natural color spectrum?
When light passes through a prism, the beam of white light is bent and separated into bands of color, called Color Spectrum
The Color Spectrum is always in the same order: red, orange, yellow, green, blue, and violet
Can you think of a natural color spectrum?

5. A RAINBOW is a
natural Color Spectrum

6. Contrasting Colors
A combination of colors that stands out when placed side by side
Warm color – cool color
Bright color – dull color
Road signs use contrasting colors
Can you think of some examples?
   
   

7. Hue Primary Hue (or color): Red Yellow Blue
Almost any color can be made with these primary colors and black and white!

8. Complementary Colors
Complementary colors are colors that are opposite each other on the color wheel
Red & Green
Blue & Orange
Violet & Yellow
These colors, when combined, are vibrant and demand attention

9. Red & Green

10. Blue & Orange

11. Yellow & Violet

13. Warm & Cool Colors
Warm Colors: usually associated with warm things (sun, fire) and tend to move toward viewer
Red
Orange
Yellow
Cool Colors: Usually associated with cool things (ice, snow, water, grass) and tend to move away from viewer
Blue
Green
Violet

14. Cool Colors

15. Cool Colors

16. Warm Colors

17. Pastels

18. Pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as those used to produce all colored art media, including oil paints; the binder is of a neutral hue and low saturation.

19. Dry pastel media can be subdivided as follows:
Soft pastels — This is the most widely used form of pastel. The sticks have a higher portion of pigment and less binder, resulting in brighter colors. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Drawings made with soft pastels require a fixative to prevent smudging.
Hard pastels — These have a higher portion of binder and less pigment, producing a sharp drawing material that is useful for fine details. These can be used with other pastels for drawing outlines and adding accents. However the colors are less brilliant than with, say, soft pastels.
Pastel pencils — These are pencils with a pastel lead. They are useful for adding fine details.

20. Pastel art in art history
The pastel medium was first mentioned by Leonardo da Vinci in 1495.
During the 18th century the medium became fashionable for portrait painting, used in a mixed technique with gouache.
In the United States, initially pastels only had occasional use in portraiture. However in the late nineteenth century, pastel (like watercolor) became more popular]. The Society of Painters in Pastel was founded in 1885.
Pastels have become popular in modern art because of the medium's broad range of bright colors.

21. Fixatives
Some artists protect their finished pieces by spraying them with a fixative. Abrasive supports avoid or minimize the need to apply fixative. A pastel fixative is an aerosol varnish which can be used to help stabilize the small charcoal or pastel particles on a painting or drawing. However, fixative will dull and darken pastel's beautiful colors. It is also toxic, therefore it requires careful use. It cannot prevent smearing entirely without dulling and darkening the beautiful colors of pastels. For this reason, some avoid its use except in cases where the pastel has been overworked so much that the surface will no longer hold any more pastel. The fixative will restore the "tooth" and more pastel can be applied on top. It is the tooth of the painting surface that holds the pastels, not a fixative. Pastels must be framed under glass to prevent damage.

22. How to Use:
pastel is made by letting the sticks move over an abrasive ground, leaving color on the grain of the paper, sandboard, canvas etc. When fully covered with pastel, the work is called a pastel painting; when not, a pastel sketch or drawing. Pastel paintings, being made with a medium that has the highest pigment concentration of all, reflect light without darkening refraction, allowing for very saturated colors.

23. Drawing With the End of a Pastel
The simplest way to use a pastel is to draw with the end, holding it as you would a pencil or pen. The resultant line has great expression, conveying a sense of the gesture you made.
Drawing With the End of a Pastel
Alter the thickness of the line by varying the pressure you’re applying to the pastel. The harder you press, the more pastel you’ll be putting down on the sheet. For thinner lines, press more gently or use the edge.
Tip: Use your whole arm, not just your wrist, as this encourages broader, looser drawing.

24. Using the Edge of a Pastel
If you want to work quickly, creating large blocks of color, use the side of a pastel stick. For optimal results break (yes, I said break) a stick in half and use that -- remember, even the smallest fragment of pastel is still usable.
Using the
Edge of
a Pastel
Altering the pressure will create different degrees of texture on the pastel paper. When the side of the pastel has worn down, giving two sharp edges, it can also be used to create fine lines.
Tip: This is best done with semi-soft or soft pastels.

25. If you've done any drawing then this technique will be familiar -- in fact it is best suited to pastel pencils or hard pastel sticks. Hatching is simply a set of parallel lines, preferably fine lines (hence the pencil) drawn closely together. Cross-hatching is just the next step, drawing a second set of lines at an angle (most often at right angles to the first set) .
This method is especially useful in pastel painting for the initial blocking in of a painting -- it allows you to experiment with color and tone in a loose, flexible way without fully committing to a final composition.
Tip: You can use this method to create a sense of form and shape by varying the direction of the cross-hatching.
Hatching
Cross
&

26. Unlike other mediums, pastels are not mixed before putting them on the paper. There are two ways to create color and tonal variations -- optical blending, which is achieved by having colors in close proximity, and blending, where the pastel is mixed on the paper.
You have a wide choice of tools to use for blending, although the traditional one is the finger Also available are: the side of the hand - useful for large areas of blending, but not good for precise results; paper tools such as the tortillon, and paper stump, cloths, and cotton balls.
Tip 1: If using your finger (or hand) remember to clean it regularly to avoid contamination of the painting with colors previously blended. I keep a box of wet-wipes handy at all times.
Tip 2: Paper stumps and tortillons can be cleaned up for further use by unwinding a layer at the end or by removing the end surface with a pencil sharpener.
Blending Pastels

27. One of the great advantages of pastels over other mediums is the vibrancy you can achieve with color. Possibly the best method for getting this is by scumbling –
- after a layer of pastel has been applied, and fixed, lightly drag a soft pastel on its side across the top. This creates a broken covering of the new color over the top.
The result is visually stimulating and very textural, and careful choice of colors will produce amazing results.
Tip: This method works best with the softest soft pastels.
Scumbling Pastels

28. Feathering with Pastels
Feathering is a fine-tuned form of hatching using short strokes. The result is rather like scumbling -- it can give a vibrancy to a painting.
Feathering will also work for optical mixing of color (like with pointillist paintings) where the eye mixes the colors together rather than blending them on the paper.
Tip: This method is especially good for giving the appearance of iridescence of fabric, feathers, and scales, or for creating atmospheric effects with light.
Feathering with Pastels

29. Steps to Pastel art work
Begin with a sheet of paper suited to working with pastels. Tape it to the drawing surface on all four sides so the tape covers the edges of the paper, making a natural frame of white paper that will be revealed when you remove the tape. (If using Boarder you do NOT need)
Step2
Sketch the picture you want to create using a hard pencil and light pressure. The pencil marks should be completed covered by the pastels. You may need to use a kneaded eraser to pick up the pencil marks as you work.
Step3
Create a "wash" of background color by shaving the pastels to create powders and then rubbing the powders into the paper.
Step4
Layer the foreground colors on top of the background, using the pencil sketch as a guide. Use your fingers, a tissue or a cloth to work the pigment into the paper, and use a kneaded eraser to pick up any pigment that is in the wrong place. For smaller areas of pigment, use a paper stump to work in the color.
Step5
Use a black pencil, conte crayon or charcoal stick to create crisp outlines and dark shadows to finish your picture.
Step6
Set your picture using a workable fixative spray so the color doesn't smudge or wear off