Sample. A = the working one or the one to draw on B = the good one which you will use as a guide for your painting, or the one you will draw from.

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1 Beginning Sample Sample Method Two: Measuring and the grid. This is such an important part of any painting. Before you pick up a pastel we are going to make sure the sketch is as accurate as possible. If you get this part right it will take the guesswork out of the painting and you ll know that everything is in proportion. Start with your two photos. Let's call them A and B A = the working one or the one to draw on B = the good one which you will use as a guide for your painting, or the one you will draw from. If there is part of the photo that is not going to be included in the finished painting, then it s a good idea to remove it. I m talking about around the edge. Now is the time to cut that away to get the photo to the correct size that you will be painting from.

2 The Portrait Sample smudged in. Before taking the black to the edge of the head I've laid down a dark brown on the right and my yellow base on the left, following the photo for approximates of where they go. This is only one layer at this stage, but it is Now I m adding in the red color to the base. Because the light is falling from back left across my subject I am going to "lighten" the left side of the background. As you can see, I start with laying down a bit of the red, blend that in then add a bit more.

3 You may not be able to see it in the photo as I've not lightened it too much, but chances are I'll lighten it further later down the track and may even bring in another color. it s wait and see time. But I m happy so far. The Scene Sample I now add spots of the medium green to the hills and blend them in.

4 Next are random spots of the light green, also blended in. I ve also used a bit of pale brown to add some interest. I m not going to put in the clearing that is up on the right hand side it s not necessary for this painting. To give some texture to the trees I do a technique called scumbling. This is a great technique to use for giving the illusion of trees in the distance. You can also use scumbling over water for a dapple effect, especially where there are shadows cast by trees. You need to use a hard, black pastel, or charcoal stick for this, and it needs to be small in order to control where you are putting it. I prefer a square stick.

5 The Still Life Sample With your clean finger lightly press the yellow into the right area. Then it s best to blow the excess away, rather than tapping it onto your newspaper. Add more if you need to. I have now finished off the petals and now begin filling in some of the plain color on the 2 nd egg. I m now going to start on the rest of the design. A LITTLE MORE ON THE NEXT PAGE.

6 hard maybe you should test??? black edge of the frame. The hair across the face is done with the edge of the pastel, swiping round that s the best way I can describe it gently blend. The pressure is firm, but then my pastels are medium to soft, so if your pastels are soft then don t press as It s now time to add the base color and blend that in. I ll continue with this, exactly as I did the other areas where there s an edge, by adding small amounts of pastel and working the dust. When it s done I ll tidy up the This should have given you a clean edge. You will now be able to fill in the bits where the paper is showing through without a problem. Also, don t worry about the curly part on the edge of the petal, we ll get to that later. But, for now, you have joined the two together. End of Sample