Dear friends, we continue our talk with pastelist artists, and this time Vladislav Tatarinov shares secrets of his skills with us. Vladislav told us about the choice of materials and demonstrated the stages of the art process.
I use sandpaper for pastel works. This technique has many minuses: a significant consumption of materials, erased fingertips, heavy tablets to pull paper on. But sandpaper allows you to work in a multilayered technique and erase mistakes with a regular dish brush. Or maybe I just like to overcome the resistance of the material? The other pastel paper is so gentle...
My first set of pastels was bought to me more than thirty years ago. It was pastel set by the Podolsk factory of art materials. The box still lies in my studio. I left a couple of triples in memory. Now the basic set mainly consists of Mungyo pastels; they have a good line - Extra fine. Koh-I-Noor pastels, some scattered pastels of domestic brands. I use them in the main layers of the work when there is a large consumption of the material. Rembrandt pastels are suitable for delicate parts, as well as for dense fragments in colour. Sennelier, Schminke are excellent in glaze; however, you don’t follow schemes in the heat of the work and often grab something situationally.
Let’s analyze my artwork using the example of the May landscape with cherry blossoms on the veranda.
In the foreground will be a vintage washstand. I like the warm evening light. It is of compound colour, and it is effortless to fall into pop pink and orange; you need to restrain yourself. Sandpaper immediately sets a dark red-brown tone, so at the beginning, we highlight the lightest areas. We plan the drawing.
2. We take a clean white colour for the brightest place of the artwork - the veranda columns. The pastel’s main fascinating feature is this multilayer and spatial mixing of colour, micro pointillism, so we always make substrates keeping the following layers in mind.
3. We plan the sky. The substrate is warmer than the final version. And compound colour. If you put straight blue, it will look not good from under the upper layers.
4. We’re working on cherry flowers drawing. The washstand moved to the right; this happens sometimes. Pastel allows you to move objects.
5. Shadows. I made them with the dark brown colour in the first layer. Both in the depths of the veranda and on the grass. Then dark blue strokes appeared on the grass. I will lead them in this way, alternately warm-cold.
6. We scumble the columns with cold reflexes from the sky and warm solar ones. We draw cherry flowers; at the same time, we sculpt their shape. We introduce cold into the sky: blue and greenish.
7. We are working on light spots on the veranda, complicating shadows, accurately raising cold tones in shadows. We make shadows from branches on the patio.
8. We finish the picture, working on the details. Check all tones and shades. And most importantly, we try to look at the artwork as someone else’s eyes and understand if you could convey the mood of the May evening.
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