The Challenge in Pastel Painting from a Photograph

Working from photographs can be a challenge. There is a clarity of the overall photo and in the lines which are difficult to attain with pastel. There’s a vibrance to a photo that cannot be replicated with pastel. (Framed and under glass helps with this.)

Then there’s the fact my eye is often drawn to scenes darker and moodier. To paint it that way makes the painting too dark unless you happen to have the properly lit wall space to show its beauty.

(Original reference photo courtesy: Wanda Santti)

I suppose, too, this could just be another aspect of learning for me. After all, there are always chances to learn.

It’s funny how often I’ll make notes of tips and discoveries, but when I’m at the easel, all those notes, along with any comments I made from the previous progress photo, and thoughts I had on what to fix disappear as soon as I pick up a pastel and turn to the painting. I just start working at whatever feels needs to be done to the painting in the moment.

(Latest progress photo of the pastel painting "Softly Comes the Dawn. And when the original photo is more panoramic than the painting size, the scene gets bunched.)

Am I always pleased? No, and some things do need to be fixed. But, too, how much of it is being picky? I keep saying I’m not trying to replicate the photo, yet is the disappointment because the painting is not exactly like the photo?

I say, too, that I am not a perfectionist, but is there that part of me that strives to have a perfect painting. Well, yes. I want the painting to be stunning and beautiful. I want others to love it and want to buy it.

However, in the end, there comes a time to call it done. I can always look at my paintings and find something I should’ve done differently, but it’s not good to keep second-guessing. I have to force myself to stop, step back, and acknowledge the painting is beautiful. (OK, I do have a list of things to fix.)

You know, maybe it’s like us as people. No one is perfect. We all have our unique qualities and goodness. Perhaps we should look at paintings this way.

Painting, Progress, and Realizations

“Softly Comes the Dawn,” 10 ¾ x 14 ½ in progress using a variety of pastels, unframed.

Original photo reference courtesy: Wanda Santti.

Yesterday, after days of intense stress, I was able to slip back in the studio. I tackled what I’m thinking is an apple tree on the left. The original photo had dark leaves, but with the all the other foliage greens, they don’t show up with the pastel. I want more vibrancy, so I chose a mustardy yellow-green to pick up aspects of the sunrise.

I didn’t like the branches on the right side of the tree and tried to redo, which meant I also had to redo the background behind it. I have too many upright branches.

I worked on background trees, too. I added darks, then used the same color as the leaves of the apple tree to highlight treetops in the back behind the small field. Then I added more highlights to the trees just behind the apple… but I think I did too much. The tops need to be more subtle.

I added darker greens to the fields. Still too early to work the closest foreground.

Oh, I’ve made quite a few notes on what to fix, ha-ha. And, too, once I get to the right-hand side foreground trees, the entire scene will really start coming together.

I realize I can’t match the pastel to the color in the photograph. My paintings tend to come out dark. I, personally, don’t mind as I like the moodiness and the mystery, but I also know, the more colorfully vibrant the painting, the more appealing it is.

How many paintings has it taken me to come to this conclusion? Oh, I’ve kind of known it for a while and have even talked about making my paintings brighter, yet I still ended up with a darker painting. I wonder if it’s how my eyes see.

It’s not my intent to match the photo exactly, but I still strive to recreate the beauty. 

The Struggle of Deciding on a Title – Again

The permission to use this photo came from Wanda Santti in June. In July, I finally started to work on this scene setting it up to be painted, its working title, “Breaking Dawn.”

However, a few weeks into working, I realized I’ve already used that title before, and I don’t want to repeat. I’ve now spent three days playing with words to come up with a fitting title. I’ve tried: In Dawn’s Calming Stillness, Dawn’s Tranquil Light, Vibrant Dawn o’er a Tranquil Valley, Dawn Bursts o’er a Tranquil Valley, Light on a Tranquil Dawn, Explosive Dawn, and Tranquil Valley. Not one of them feels even close to being right.

I work on another project, then the painting calls to me. Should I let myself get upset because I allow myself to easily get sidetracked? I return to the current work, but if I get an idea or a thought comes to me, if I don’t stop to write it down or work on it, it slips away and I totally forget about it, or I can’t recall it when I’m ready to shift gears. So, the interruptions continue to happen.

Yes, it can be frustrating. When there are too many interruptions and distractions, I get confused and lose my way. Where was I? What was I doing? It’s also why it takes so long to finish one project because I’m bouncing around like bees to flowers.

But does that have to be a bad thing? I like that my brain gets ideas. I don’t get so focused and not see other options. Also, doesn’t it show I have a highly active working brain?

I also know there are times when I just have to wait for the right words to come. I can’t force it; that just runs my brain in circles which I’ve definitely been doing. Maybe that’s why after stirring the pot the last couple days, this morning’s calmness allowed the right words to come in: “Softly Comes the Dawn.”

Of course, then my brain immediately jumps to, “Is that what I’ll still feel when I finish the painting?” Wait and see.

Current progress on the painting.