Pan Pastel Drawing: an Egret | Joan Mansson | Skillshare

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Pan Pastel Drawing: an Egret

teacher avatar Joan Mansson, Joan Mansson Pastel Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 10m)
    • 1. Introduction

    • 2. The Tracing and the Sky

    • 3. The Leaves of the Tree

    • 4. The Branches of the Tree

    • 5. The Body of the Egret

    • 6. The Beak and the Clouds

    • 7. The Eye

    • 8. Using Colored Pencils for Fine Detail on the Body

    • 9. Using Colored Pencils for Fine Detail on Crown and Beak

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About This Class

Using Pan Pastels and Derwent Colored Pencils I will share with you how to draw a pastel drawing of an egret. The reference photo I used was one I took myself so it's included below along with step-by-step photos and a line drawing to use to trace the image if don't wish to draw free hand. The supplies I used are included as well.

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Joan Mansson

Joan Mansson Pastel Artist


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1. Introduction: Hello, I'm Joan Manson. Manson fine art. And I thank you for joining me today as I show you how to create this intermediate project of a PAMP pastel drawing of an egret. I've included a photograph of the egrit. I've created a line drawing for you which is attached below. A list of all the materials I'm using is also below. The panned pastels, pastel pencils, the pastel mat paper, the blending tools. And when you're finished in this intermediate class, you will have created your own beautiful egret. Now if you haven't used pan pastels before, as I said, this is an intermediate class. I advise that you check out the link I have below to an earlier class in which I demonstrate how to blend and use the application tools, how to mix pan pastels, and how to create new colors with various techniques. I do hope that you'll join me in doing this project and I look forward to seeing the images of the work that you've done. If you have any questions at all, please make notes in the comments for me. I'll be happy to respond to you as quickly as I see them. Thank you. 2. The Tracing and the Sky: Lobbyist failed blue, chromium oxide, green, yellow okra, and red oxide along with titanium white. And of course, the colorless blender. To work from this photograph to create today's project, I worked on pass down that paper. The color I chose is white. This is 9.5 by 12 inches. I've traced the image of the regret from the photograph on to standard tracing paper and additive tree branches and some leaves. To start with. I'm adding colorless blender to the surface. I know that it's a very faint for you to see, but I have traced the image of the grid onto that paper and I'm moving in and adding the Scott. The blender were in the areas where the sky is. And then I'll be using the philo blue light or tint. And again, the past on that paper has a very good tooth, will hold up to several layers of additions. And here comes the blue. Again, this is the tint which the hue as had white added to it by the factory. And I'm just laying the blue out around the outline of the tree branches and the grid itself. However, in doing this, I am overlaying the outline of the tracing. So I will add a little after this, have to go back and retrace because I'm using chromium oxide. The color that I used for the tracing was the chromium oxide, excuse me. The red oxide. The wonderful thing about patent pastels and other pastels as well, is that you can easily bring other colors on top of what you've laid out. So if you've gone too far in with your pastel, you can just go back and fill in whatever areas the b with the colors that you choose. Okay. As I said, I use the red oxide. I'm just adding a little bit more. And I'll turn this over. Now in the area of do what I say, not what I do. In the event is happens in the future. What you should do is taped down your tracing and folded aside when you started to work and then when you inevitably have to retrace areas because you've lost the definition. You won't have to wear count as I'm doing here, exactly where I need to set up my lines. Again. I'm using embossing tool. And rather than using an embossing tool, you can use a standard pencil. You can use a mechanical pencil where you have retracted the lead and just press down and follow. I'm just making sure I've gotten it to the right area. And as I said, if you wisely tape the tracing paper in place and let it be hinged. Once you start your work, you will have to do this. But it all worked out beautifully. And what I'm doing is just going to the areas where I know I've missed. I don't actually have to redo everything. And while you're doing this, if you're worried about the red oxide, it doesn't smear onto the paper. And even if some of it does, you'll be covering it up. But only the areas where you're at using the embossing tool or a pencil, is the ox Red Oxide going on to the past on that paper. And I simply chose to use a color that was going to be in the palette. I wouldn't have used a black or gray unless I was having black and gray in my drawing. And I'm checking back and I can see that it's there in coming up. Unfortunately, it's very faint. If I were if I were doing this with a darker color would pick up better but not that much. Okay. I have everything that I need now this piece is correct and collect and Don and excuse me. Just give you a little close-up. I know it still faint, but you can see that I actually do have the image of the grit on the paper. 3. The Leaves of the Tree: And we're back. This is what I completed originally. And you can see better the outlining that was done on the egret the second time around. Now, I'm going to work on adding the leaves to the tree using the chromium oxide green and the chromium oxide tint. And the shade, the shade is the green hue with a little blue black added to make it a little bit darker. And the tint is where White has been added to make it a little bit lighter. I'm using my square tool so that I can outline the edges of the leaves using the edge of the sofft tool, and that is soft spelled with two Fs. Again, materials that I have used will be listed at the bottom or the end. Of this lesson, you'll be able to take note of them all and I will add a little bit more blending so that it will come on more smoothly. I'm working around the edge of the branch. When the pan pastels are applied to the paper, they're always soft and misty looking. You can add hard edges to them. especially when you're working with various shades of the hue. And you'll see some of that a little bit later. But the really lovely effect that comes with pan pastels, it doesn't come with other pastels. Is the softness. There's a sort of atmospheric appearance when you finish doing a background or even a foreground using pan pastels. And what I like about this particular tool is that you can draw straight edges and work away. It's not the best tool for everything. But when you're working with wanting to get straight, edges filled in there its an excellent tis an excellent tool. And I'm not that concerned at the moment with whether or not this green is even. It's not going to stay just the color of the chromium oxide green shade. I'll be adding the hue to it and I'll be adding yellow to it. And again, in order to clean off your brush, all you have to do is wipe it on a paper towel. I do have a beginning class on pan pastels, and I will give you a link to that page on in Skillshare so that you can take a look at the beginning of that if you wish to see how I use these tools and how they work. And now I'm adding the green tint just here and there. I'm creating the illusion of leaves. What I'm not creating specific leaves. I am giving you the idea that there is movement and various shapes within that nice pile of green. Now I'm going to use the ochre yellow and highlight the area of leaves. And you don't have to be neat in this, at this stage. What I'm interested in doing is laying out the color. I'm mixing the green with the yellow tint to give me a variation on that green, give it a lighter look. And now I'm using the oval tool, which works really nicely as the closeest thing they have to a paintbrush. And I'm creating some hard edges by creating shared out using this particular tool. And the oxide, Green, excuse me, It's a mouthful. The oxide, green shade. And I'm just dabbing it in and move it and dragging it along creating edges. So you can see the application of the dark with some hard edge creates a hard edge and creates the light and the shadow. And a variation that you're looking for when you look at a painting or a drawing and the illusion of leaves. I'm adding colorless blender to the tintand the green. And I want to create just a little bit more highlight in the areas where I don't think that I had enough. And you work on this until you think you have it done. I'm just using the colorless blender to blend down the edges of the leaves. 4. The Branches of the Tree: And now we're going to work on creating the branches in the tree. I'm going to be using some of the green and some of the yellow and some of the oxide red. And I'm using the rounded edge brush, or sponge, Excuse me. Adding a little bit of a blender to make it run down more smoothly. And then I'm going to bring in a square edge brush so that I can do the edges of the branches and the trunk little bit more efficiently. The reason I'm using green with red or the oxide red is because it'll create a brown. But it'll tone down the red very nicely. And not be, not stand out so, so much. I don't want that much contrast within the tree, in the branches and the leaves. The main focus of this piece is the egret. And I want the colors to be there to support the egret, not to stand apart from the egret. But for the sake of consistency of work, I have a limited palette and every color that I'm using here in the background, I will also be using the egret. Just switching to the old brush again to bring in some more. And a little highlight. There is reflected light coming from the sun, coming from the bird itself. I'm going to start working on that larger branch to create creases and shadow within that larger branch. That's the yellow ochre tint to create some more highlights. This is the triangle tool and I'm just using it to get that light blue closely around the features of egret. 5. The Body of the Egret: Now we're going to get back to work on the body of the egret. Going to start using the oval tool and I'm working on the crown of the grit using that oxide, red or red oxide. I keep twisting the title of that. But half of colors I use are listed at the end. So you can figure out what you want to use and you can use burnt sienna, you can use raw umber and add oranges to it. The color choices in the end actually are you always use. You want to reflect what you see in nature and what you see in the image. But you could pay them all shades of blue if you wanted to. Again, this is your project. And the colors that I've chosen are really guidelines for you. And you may not have some of these colors in your collections, have pan pastels. But you want to try the project anyway. So feel free to experiment and use other shades, other tents, other hues. Again, I am using the colorless blender to help lay down the red onto the chest. of the egret. And I'm blending it in because I do want to be sure that it's soft and appearance. The coloring on the egrets chest is, doesn't stand out, it's soft. Now I'm using the tent. I just want to lighten it up. Now. I'm going to use yellow, blue, and the chromium oxide green cues to create caret. And we're going to apply with a very dark line color. And it'll look like I'm totally destroying this beautiful drawing on the grid. But you'll see in the end. Then most of that is obscured by lighter colors. And rather than adding black or a Payne's gray to my hue, or working in shades of gray. I'm working on creating grays and browns using my color palette. It gives me greater cohesiveness in the work. And it helps to make that eager at a part of the surroundings. And I don't want it to stand out. Although I do want it to be in the forefront of the image. I don't want it to stand out and apart and not seemed to be a part of the nature that it's surrounded by. And going through and I'm creating the facial features. The sense that musculature underneath the skin of the bird. By applying that shade. Now I'm going to use watercolor brush number 2. Just want to add and blend in a little bit of white. Then I'm blending in to lighten my gray. And doing the same around the eye. A little bit of gray. By blending and enter. And I'm using the brush again to add more white to those wings that are come on to the neck. The watercolor brushes that I select for doing this are the ones that come to a point. These are by Delgado. And now I'm bringing in the white. And I'm bringing in the o. And mostly the white is now it's time to cover up those darker areas to create more subtle shadows. Same here under the wing. I have a hard edge and a dark shadow, but then it creates gradients into a lighter shadow by adding that white and just softly blend it in. You can see as I'm moving along that most of that dark gray is gone. And it's become subtle and easy. And you may ask, well, since I'm doing that, why did I add so much? Well, the simple answer is that I simply didn't know how much of that gray I wanted to add for leave. And I didn't know until I was applying in the way. Now I'm adding in white to create the Bind feathers. And very fine white feathers that move down along with chest. And they had tubs of feathers along the inside of their wings. But because I have that dark background, I'm able to create contrast and the illusion of topsoil wings. Using this oval brush. I keep calling it a brush. It's a Spanish art is absolute magic. It is the height of conjuring. Just laying down lights and darks. We create three-dimensional forms. I think when you're looking at this, you can see that the grit stands apart of and before the branches, even though the one branch is ahead of, in front of him. And that's because of the use of the red, the red oxide in the very beginning and in the hair stands apart. It stands forward from the green and the muted browns of the branches. Now if I just use that same brown on the chest of the bird, he wouldn't have had that push forward in the imagery that we see. 6. The Beak and the Clouds: And in this section, we're going to be adding the beak. I'm using yellow okra and the oxide tent, dragging it out for the coloring this beneath the eye or in front of the eye. And I'll draw it into the beak. I'm using the oval brush, the oval sponge. I see a lot of yellow in that Beak along with the reds, oranges. And I can create that with these two colors. I'm bringing in my number two to God, a watercolor brush. And I'm adding in a little bit Hope color in small sections, the nostrils or the beak with the side hue. And it touched the green. And then blending it down. I won't be using the brush bigger and much more. I just want to get that small site and I cannot get that with a soft applicator, or I can get it with a fine brush or a pencil using a little white. Now I've decided that I want some clouds in the background, and this is decision that we made Midway before I finish doing the beak, but I didn't want to finish doing the beak and then cover it up with white clouds. So I'm just adding clubs of titanium white very softly to the background. And really they're barely visible because I've used the tint of the blue, not the actual blue when I was doing the sky. But I thought that I needed a little more, a little bit more interest behind the grid. And this is how I came up with that. And that's the sort of thing that you can while you're working, you may decide you want an autumn tree back there and you want that egret at living in New Jersey. All these things can be changed. 7. The Eye: Okay, I'm going to work on the eye now. I've zoomed in so you can get a better close-up of what I'm working with. And I am only working with three of the Derwent pastel pencils. I'm using French gray dark and process yellow and titanium white. And I'm using a blending stump number 3, although I'm sure you can use a smaller 1. First thing I'm going to do is lay in the yellow. And then I'm going to bring in the French gray. They have a dark rim around the lid. Little bit of creasing going on here. And of course there's the pupil. Now, I'm going to bring in my blending tool. And I'm going to blend in that French gray onto the yellow because I want to create shadow in the eye. So I'm just going to be moving back and forth. I just go back over again and darken the French gray lining. Little bit more bright yellow above and below and in front of the pupil. Just want to add a little more French gray. It's a little too bright. I needed to be a little bit darker. There we go. That's a little bit darker and I'm going to bring the wider and have some white at the top. And in the front to lighten it, a little dot. And the pupil well reflected light. And the truth is whether the refracted light is they're not putting it in makes it seem real, more real. So you are free to take liberties with your reference photo because the photo, the piece of art you're creating, your piece of art, it's unless you're doing hyper realism, it's an even then it's not intended that you completely copy the work you're supposed to be making it yours. This is your interpretation of the animal or the scene or the landscape. It's always your interpretation. Yeah, that's much better. Alright. And the I is now complete. 8. Using Colored Pencils for Fine Detail on the Body: And now it's time to bring in the colored pencils. I'm using a titanium white pastel pencil by Derwent. And I'm just drawing in fine lines, fine feathers. I wanna get the software details. And I can't get this kind of detail with the pan pastel applicators, but I can't do it with the brushes. I can create finer shadows and greater dimension. And I'm using a, umber to create some shadow. And using a blending stick or blending stump, excuse me, to blend that in. Then when they made an area darker, I bring in the light pencil again so that I can drag those fine feathers across the shadow. Because in the end it's those finer details, those finishing details that bring your piece to life. Now if I were going for something that was truly more painterly, I wouldn't bother with the pencils. I would be just fine having stopped where I was before. But in this particular piece, I want those buying feathers to be obvious. I want the shadow to be clearly defined, small. But I could easily have stopped before I brought in the pencils. Just using the blending tool and really use the blending stick with the blending stump. Whatever colors you blended will appear, it will remain on the tip of that stuff. And you can use those to draw in as well and add muted colors to your drawing. No matter how your bird's feathers level in your photograph, is always to have a few stray feathers coming from the bird's body. Because somehow that's an indication that there's a little bit extra going on with your bird, maybe a little motion. This is yellow ocher. I'm adding a little bit of color and shadow to the leaves and then I'll be bringing back in more white. Then I'm trying to create a little greater feather, shadow, tiny feathers. And we're using our handy dandy blending stump. The blending stump, if you're not familiar with it is made of rolled paper. And to clean it, you can clean it off the tips with an eating eraser. You can send it on sandpaper. You can shave it with a blade. Or you can leave a completely alone because if you're only using it for dark colors, then it'll do beautifully for you. If you're only using it with whites, it'll do beautifully for you. It's only if you have a mixture of colors going on on. You're afraid that you're going to create mud on your piece, that you really need to clean them. And sometimes you do need to trim off the edge because the paper buses up and you have a little ball of files on the end of your stump. Now we're back with the white pencil to short strokes. 9. Using Colored Pencils for Fine Detail on Crown and Beak: I'm going to be doing fine detailing on the birds crown and on the beak. I'm just going to lay that glycine in place so that I don't get the grease of my hand on and smudge the sky. A little tricky issue was doing the crown. I couldn't match my pencils to the pan pastels. So I'm using on VR and a little orange and a little bit of white because he has fine hairs coming from the crown. And I want those to be apparent. So I'm not doing any single area completely one-color another, I'm just doing strands of hair, varying colors from section to section. And I'm blending in with the blending stump. This way. I'm bringing that color down into the oxide. The red oxide that I had originally. Yes. When you're working, you find out that your pencil set does not have every color in the universe. You have to adapt. And I don't have the 72 pencils that I have the 36 pencil set. But I'm not sure that they have burnt sienna. I did look for the individual colors and I wasn't able to find burnt sienna. See you and I just got some umber. And I'm adding little highlights of white. That'll soften those red or tones that I've added to the crown. Music number there, just to have fine strands of the feathers coming up from the scalp. So they don't just sit on top of his head like a wing, like a wig. I'm adding a little white in between the strands. It is just a little too thick. So I'm adding white and between the strands to blend the color of the clouds to come through so that they're with others on its head. Don't look to come together to work on that and give it a little bit more highlight. Just choosing a titanium white for this. And this is where I get to go through the entire process to see everything I've done and try to catch any mistakes I think I've made or add anything I think needs to be added. If your work may not actually be done when you're say it is. The only thing worse than not going as far as you need to as going too far and turning it to mud, which is why I will leave a work alone for a day or two and then leave it out and come back and look at it and decide if maybe I need to change something. But we're done. So I'm taking off the masking tape that I have resting on the washi tape. I always lay down the washi tape and the edges I create a border. And then I hold the paper down on my clipboard with masking tape. This way the masking tape doesn't affect the paper. The washi tape doesn't tear the paper. Although I'll tell you the washi tape comes off while you're using it, which is why it, it's now a great tape to use to hold your peace down to the board when you're working. Just have to be careful that you're protecting your paper. There we go. Now I have a half inch border around this 9.5 by 12 inch drawing. We can see there is an absolute resemblance between the two birds. The only difference That's the significance is the fact that I've used trees instead of stainless steel and stucco. I thank you for joining me. I hope you've enjoyed this project. Well, the eagerness complete everything that you need, including the photograph of the completed piece and the photograph that I used for reference are at the bottom. And I look forward to seeing any projects that you've done to see how you've completed at what changes you've made to this bird. And I have also left a link to the first training video that I gave on Skillshare that does include information about blending with the tools from pad pastel in case you're not familiar with them. Thank you so much for joining me today and I look forward to working with you again.