This pastel drawing Golden Lilac – 07-02-21 is based on a previous graphite pencil drawing ‘Nude – 13-01-16’. Once in a while I realize I draw in graphite more often than in pastel or oil. Obviously the first has become my weapon of choice and I always have a work in progress on paper. However, lately I felt the need to develop my skills in pastel and oil. Besides that, I also am curious to see what challenges I may face once a A4-size drawing is transfered to a bigger scale. As explained in the statement of my oil painting ‘The Restoration of Bettie Page – 01-04-20’ scaling up creates trouble. You can read about it when you click the link.
Inasmuch the scaling problem did not cause the necessity to show more forms, it certainly created a color challenge. I had it in me to do a series in which gold and all varieties thereof play the leading role. Yellow as a dominant color I did not use very often in my works. Therefor it was time to dive into the realms of this dire color. I already explained my regular model of Indian descendance show this range of yellow golden hues, so why not? Scaling up forms was easy-peasy because I already invented the forms. Time for the continuation of a study of color relations.
After setting out the predefined forms I started to lay some patches of my Schmincke gold pastels. They looked great on the grey Pastelmat sheet but I felt I had to show more. In my pastel ‘Golden – 01-02-21’ I rubbed my fingertips sour until my thumbprint could not be recognized by my iPhone. This was not the only reason to skip the rubbin out for a while. I also wanted to show something different.
These patches I wanted to replace by hatched strokes maticulously grouped together so they match tonally and show soft gradients. And so this pastel became a piece wherein all colors (pinks, yellows, blues, greens and purples) are all balanced out. The yellow plains complement the purple ones. On a more subtle level the hatched green strokes are entwined with the red ones. This way they cancel their color saturation at a distance but tickle your eyes up close. It is a combinations of different techniques I employed in the past really. Pointillistic divisionism meets cubist styling.
Pastel drawing on Clairfontaine Pastel Mat paper (69.4 x 49.8 x 0.1 cm)
Artist: Corné Akkers