Pastel portrait step by step

I made this Pastel portrait, step by step, a few months ago.

It is the third portrait commission I get from this family. This time my model was a beautiful young girl dressed in ‘faralaes’, something very characteristic of southern Spain. I only had at my disposition low-quality photos, taken from afar and with a mobile phone. At first, I thought I might not have enough references in order to paint the portrait.

However, by going through the images over and over again, I became fixated on one of the photographs where the girl was posing next to two other women. The three of them, dressed in their stunning colorful dresses, made a really natural composition where the older women’s gaze focused on our girl who just happened to be at the center. I was charmed by her facial expression, the slight turn of her head, her gaze… I cropped and edited the image in Photoshop in order to highlight the details as much as possible. I readjusted the colors and the lights and, with that done, I had a much better image and a burst of inspiration to paint!

I chose a sheet of Canson paper, 50x65xm (19×25 inches), in my favorite color for portraits: a slightly neutral soft ochre. This shade is incredibly kind, never imposes itself and it helps me quickly choose the colors I most need during the painting process. It is equally helpful with the lighter and darker shades of my palette, or with the warmer or colder colors.

I started tracing and sketching the outline with a graphite HB pencil and, after that, I focused on drawing. As always, I used a thoroughly sharpened Stabilo CarbOthello pastel pencil in a warm tone. I find it very pleasant to work with this pencil as the line it leaves is soft and doesn’t damage the paper but is sufficiently firm and allows me to do a detailed drawing. It is important that this stage is made with a pastel pencil, as, later on in the process, it will be absorbed slowly without any issues.

Sometimes, the paper gets humid and expands slightly, beginning to bend. Because of this, I don’t like taping the sheet to the table. Instead, I use pegs that I can readjust when necessary to flatten the paper again.

My palette is always by the portrait’s side. It is a strip of the same Canson paper I use for the portrait, to which I turn frequently in order to figure out the colors. I also use it to make my own mixes whenever I do not find the exact color I need in my boxes of pastels.

Once done, I’m eager to start the work!

The pastels are awaiting me. After my last portrait done, I´ve cleaned up and putt some order, so everything is ready to enjoy the process now!

I choose various soft pastels, thinking of the light. I work a great deal with Schminchke, especially when using skin tones. This brand has a buttery and dense texture, a great deal of luminosity and it allows me to use the colors one by one without changing them after.

Quickly, I have outlined the lights and, suddenly, I’m already in the medium tone shades that are rapidly beginning to bring the shape to life.

I focus on analyzing the face and neck shades and tones… Although in general all of them are warm I have to decide whether it is a warm tone that resembles orange, ochre, yellow and green or rose, violet and blue. The key is to detect the color’s temperature and, without thinking too much about it, put it on the canvas.

Right from the start, I am handling some strong colors. The shades are daring, nearly orange at cheekbones but in between lilac and dark brown where the eyes and chin area. However, I am confident in what I see and continue with the process.

I quickly have to mark the lips as their color dominates profusely and has an influence on everything else on the face while connecting all features together. Because of my pastel collection lacking this exact shade, I proceed to search for it by mixing colors on my palette. I pick out three or four intense shades, some cold reds and other warmer and darker. I mix them all with my pinkie finger and, using it as a brush, rapidly trace the lip’s shape leaving plenty pigment just where desired.

I’m careful so as to not uncontrollably stain the teeth and by now, I think, it is time to start on the eyes too.

For this, I make another mix on my palette. This time it is a brown shade: roasted coffee. I proceed to take some of this brown again with my little finger and trace the eyes and eyelids and a bit of the brows.

Now I feel the urge to give some light to the eyes and, taking advantage of the fact that I’m already using the white pencil, I also define the light on the eyelids and work on the teeth, lips, nose… I basically go all over the face with the white pencil and, once again, I find myself in the eyes defining the direction of the girl’s gaze. From now on, the whole painting will depend on it… Without realizing I’m already wondering. What is she seeing? What is she thinking? And like that, I spend my time with her. It always happens when I paint people…

Every aspect of her eyes starts to intrigue me. I start to define them with my dark sepia-toned sharpened lead. I pay attention to the eyelid’s shape, its thickness, her pupils, their exact size, their direction… Does she look upwards to the distance or only slightly upwards? I continue with the eyebrows in the direction that the hairs take, then the eyelashes… What’s their shape? I try to avoid exaggerating them too much. I also define the nostril’s shape and, with the same mechanical pencil, I continue through the mouth’s details shaping the teeth, the smile…

Once again, I go back to her gaze. It needs a glimmer, some contrast: a very dark black pencil, a sharpened Conté 3B, to define and adjust everything again… That’s better – it starts to have personality! Now I have to justify the color excesses in the skin and submerge the figure in the intense background, which surrounds it.

I think about it… Is it worth it to invest myself in the background or is it better to leave it less-packed and revisit later? I decide to focus on the background – what is happening around her?

They are surely strong colors and lines. I’m careful with the face’s oval and also with the depth around her. The colors that seemed raw at first start to look sophisticated. I use the pastels like wide brushes. I refrain from softening the colors with my fingers but, if necessary, I use the pastels themselves to soften. This time, I use my whole arsenal of pastels and all my brands… Unison, Rembrandt, old Grumbachers…

Here, I have also marked where the hair is, starting from medium tones and then the lights in the hairstyle’s direction. I trace the shadows with care and adjust the hair once again finally…maybe a light detail, some more shadow…

Now I must work on her dress…

Here I create the equilibrium that I desired so much… some ultramarine blues, lilacs… I love the little flowers stamped on the dress, they’re feminine and juvenile. I enjoy them, putting different colors all over and, with a bare two strokes to define them and another two to blend them into the dress’ material. The fringe of the dress, which starts with a rustic lace, is also very interesting! It gives character and rhythm to the whole painting. I adjust the details… I like the brooch… those cute little stones that give small color pops… and now the pleasure of being able to paint that plastic fuchsia earring! With all the honors, oh, everything changes!

Lastly, the flowers in her hair, so characteristic of an Andalusian girl! Colors, a lot of colors!

I join the background with the figure, a stroke here, and another there. It needs more space…

I make the background bigger, more air and proceed to sign it.

Much better!… I could tame the painting! It had a rebellious phase haha… but now everything is in equilibrium.

It has been a great experience… Thank you for trusting me with making such a beautiful portrait!