Cynthia Hayes Art: August 2016

Recently I received a new friend request on Facebook. Soon after that my new friend shared a photo I had posted a few years ago with the comment "That's me, love it." His compliment was really encouraging especially because it is often difficult to meet a portrait sitter's expectations.

I hadn't immediately recognized my new Facebook friend Aaron, but certainly remembered the drawing session he had modeled for. Aaron posing with the work in progress is pictured below.

I've had extensive years of experience figure drawing, but this was the first "portrait" session I ever attended. I tried to capture the essence of a noble spirit with the upward, optimistic, determined gaze.

Aaron

30" x 22.5"

chalk pastel & oil paint on printmaking paper

An artist working at the local Utrecht's Art Supply Store had organized a series of portrait sessions. He'd ask interesting looking patrons of the store if they would be willing to pose. An exciting variety of people agreed to model. Our models ranged in age, ethnicity, gender, personality types, etc.

Flame

30" x 22.5"

chalk pastel & oil paint on printmaking paper

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One of my favorite portrait models was this gentleman named "Flame". So much fun to study all of his long grey hair and beard with its loose spiraling curls. Flame held his faithful friend for the entire 3 hour sitting. Amazing how patient this little dog was!

In this photo, we see the setup. Temporary foam core walls were propped up to give a backdrop, and to block the art supply store shelves. The model was raised high on a tall stool so that everyone could get a good view. Gallon buckets of gesso were stacked to the right height to give a place for the feet to rest, and also to hold the chair in place. The ambient overhead florescent store lights were the default lighting situation which was not as dramatic as is often preferred by figurative artists.

Portrait of a Young Woman

30" x 22.5"

chalk pastel & oil paint on printmaking paper

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Bringing several sheets of painted paper to the session, I select one with colors that may work with the model's clothing, skin tone, or even mood. The underpainting greatly influences color choices as the work progresses.

I covered many sheets of printmaking paper with oil and enamel house paints years ago while living in the Caribbean. Nonobjective, brightly colored paintings were prepared to be used as under paintings. In this drawing much of this paint remains untouched. Shapes inspired by orange coconuts and green palm leaves mingle with a turquoise color paint ubiquitously used on island homes.

There was no color in the model's clothing or backdrop. Rather than filling in a black background, I utilized the vivid color, and created a blonde, beach wave hair style to match the imagined environment.

A few more examples of chalk pastel portraits on painted paper -

Karen

30"x22.5"

chalk pastel & oil paint on printmaking paper

The following images are of chalk pastel portraits done on 30"x22.5" white printmaking paper.

For this final portrait, my friend Kristin posed outdoors on her patio one beautiful summer evening while the sunlight faded into sunset. The changing light made the process challenging, but added drama. Kristin's eyes appear closed because she was looking down at a book she was reading. I wish I had asked her to look up for a few minutes so I could get her eyes.

Krisitn

30"x22.5"

chalk pastel on printmaking paper

I hope you enjoyed visiting my blog.

Some of the drawings pictured are for sale online at my Etsy Shop CynthiaHayesArt. Prices for the others are available upon request. If inquiring, please email me at Cynthia.S.Hayes (at) gmail (dot) com

In my last blog post, "Pastel Figure Drawings: Part I" I recounted many years of drawing from life on Friday nights. The first three illustrations in this post are all of John, one of my favorite models who posed throughout the years at those Friday night drawing sessions. A yoga and meditation practitioner, John was able to hold dynamic and challenging, often contorted poses for much longer than any other model I've ever worked with.

The underpainting for this pastel drawing is muted and earthier in color when compared to the vibrant examples in my last post. The limited palette forces one to focus on color temperature. Cool turquoise highlights reflect off the warm skin tones illustrated with shades of rust, brown, maroon and plum.

John I

chalk pastel and oil paint on printmaking paper

22.5" x 30.5"

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This underpainting is applied leaving wider gaps between color blocks, allowing some white paper to be exposed. The painted marks have an open airy quality similar to that of the hatched chalk marks of subsequent layers.

John II

chalk pastel and oil paint on printmaking paper

22.5" x 30.5"

Monochromatic gestural paint marks underlie the third pastel drawing of John. These marks activate the space around the introspective figure.

Blue substitutes for black in the very limited palette. The cooler hue to contrasts with the dominant warm sepias and burnt sienna browns.

The strong pyramidal composition of this piece lends stability. The model's downward gaze directs the viewer to follow the longest diagonal line.

John III

chalk pastel and oil paint on printmaking paper

22.5" x 30.5"

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The following pastels are also drawn on monochromatic painted grounds done with gestural marks which allow white paper to remain exposed. Dusty rose or mauve colors give impressions of the warmth of the live bodies. Immediately the figures seem more alive than if they were drawn directly on a white background. The middle value of the mauve provides the opportunity to work with highlights as well as shadows, working out from the center value in both directions.