You know, sometimes if you're having trouble finding inspiration for your paintings, all you have to do is look outside your window.
And for some of us living here in the Virgin Islands, all the inspiration and elements are right here to create a masterpiece.
So let's recreate a scene just like this one.
Let's read the number.
Of course we'll be doing it using pastels.
See you when we come back.
Welcome back to our studio.
And welcome to the show Painting of Pastel.
As we mentioned earlier, sometimes it's great to see a painting inside a painting or what you can do to make this happen.
You can put a frame.
How can we do that?
Well, step with me to the board here and notice we're using again the 18 by 24.
We putting it on the side.
We're going to put the painting at the center there.
But it's as if we're going to be looking through a window.
Well, let's see here.
We could make it a straight window, which would be a bit boring.
So let's give it some sort of an arch.
And for you to accomplish this, just let your hand flow freely.
You don't have to worry.
Well, is it straight?
Well, you can step back to look at it to see if that's straight.
If not, you can work it over until you get what you want.
Basically, this is going to be the side of the window that I'm looking through and it's going to come down this way.
Again, I'm using the side of the pastel just to bring it down straight.
If you need help, use a ruler or something that than that can help you get that straight edge.
But again, this is art doesn't have to be exactly on the dot for you.
I think I'll stop right here because I want the window to be a work of art by itself, to right there.
Now, I want it to be one of those old structures, really thick walls, because that's going to be part of the charm for it.
Following the same line here, so I could make my line straight down in here as well.
It looks like open windows, but it's not.
This is all part of the Windows structure.
We're not doing shutters or anything like that.
And it's okay if the line don't reach exactly where you want.
You have the pastel.
You can work on it and make it happen.
And there we go.
A step back.
I see a little bounce here that I don't quite like, but it's okay.
We're going to fill it in.
Now that I have this, that I'm looking out to.
I'm just going to fill it in with White.
And again, the smaller piece of the pastel works out great, because I'm using the side and it's just about the side of the wall, the size of the wall for me.
So I'll leave that here like that.
Just like this.
Just filling it in.
Now that I have this and I have the outline, I'm going to use the small stick of pastel there.
Remember, we say that with this you have more flexibility with the texture.
So what I can do with this marking decide, because this is just the window.
And now with the white inside of the house there that I'm looking outside and there's so much we can do with this.
And you'll see in a second notice, although I'm applying white, I can still see my line.
So the inside of the house, I like this yellow for it here, so I'll just apply that over the way using the side of the pastel to cover large areas and then going over the frame of the window.
I can blend later.
Now that I have this here, this is the white and I don't want to mix it with anything else at this point.
So I'm just blending the inside just so remember the lines that we did with the small, hard pastel.
I can use that to keep my sections not too hard.
And that separates the sections for me.
I keep them separate just, just.
And there there's so much that you can do of this here, because we promised you a painting inside.
A painting and a window frame.
And so it still has to look like a masterpiece.
So from this you can basically add crack marks as if it's broken.
From some earthquakes, perhaps give it that age.
Look again, it's not a straight line.
It's just like the tree branches that you would have normally.
And you can do that in several of the space.
So if I do that here, they're just like that.
Now I can blend the yellow, but I don't want to do that just yet.
I want to do something that I'm looking at outside here.
So my the blue blue sky would be a great start.
And at this point, we still don't know what we want to put out there yet.
So 100% so I think the sky will ends right here and then we'll have the ocean right here.
We'll decide what we want to put there.
So at this point, I'm assuming that's you've mastered doing the sky.
Remember, you can add it dark blue, your light blue.
And then we just blend.
Be careful not to touch the edge of the window because this is looking outside.
So I want a smooth blend right here so I can blend it all together.
That is fine.
I would like darker blue for the ocean here, but as we get closer, I would like some of that green that we do see in the water here.
And I'm going to mix that of the blue just to give me that perfect Caribbean look.
So I'll do some blending here.
There we go.
Just like that.
Notice I've saved this space here because I wanted to try something there instead of just looking at the sky and the ocean.
What if we added a mountain on the other side there?
It's one of the small islands that are closer to home, and we can do a lot with it.
Sparsely adding the green with the pastel stick.
Here we're using the side again.
I've gone over the window and a touch of purple.
Purple is always so nice.
I think it has a touch of seriousness to your painting.
When you add purple, try it at home so you can say I'm officially an artist at Purple.
It's my painting that makes me legit.
So we add this to the island is close enough.
There's a lot of we can see to it.
We can find actually see the beach right here and from the beach we can even see the waves.
And even then here where we can do, we could just add some of the structures that would suggest some of the boats docking there, not as there are no shapes to them yet.
You notice that what I can do, I can just go back with the small pastel stick there and just suggest that these are boats.
They're all right.
That makes it so easy that you don't have to draw all of them.
And I can just at the push of my finger, making them all look like a boat, and I can go back.
You have a little red here.
Look at this.
And we have a boat.
And of course, the mass makes it official that these are boats just standing there.
I could do the cell wrapped around it.
And there we go.
And of course, we have the cell reflecting on the water.
We could do the water dance with the rhythm of the cell right over the water.
And we add some waves.
Is this an island that does not have anybody living in it?
Or are there people living in it?
You see, you have the jack in your hand.
So I could add some houses on the mountainside.
And that is so easy to do the pastel.
You cut a small enough piece and you just push down on it.
Yeah, I can go back, do a little road that takes some from there to there.
I can do all that.
Also for the roofs, I have this red here.
I can just add the top of each of them.
There we go.
I have a view outside and it's looking kind of beautiful on advocates on higher up and maybe a few clouds work on the shape of your clouds.
Look outside and see what you see differently.
I remember learning about all the shape of the clouds, the cumulus, the stratus.
Applied those on paper.
See how you can do that as they get closer bigger.
And that suggests a perception to you down on paper and some disappearing beyond the window down you notice you have white yet it's different from what is on the paper now I have a nice outside of the window.
I can just go back and blend the inside of the house again.
I'm being very careful as not to touch my window frame because I don't want to lose the whites that I have on nests.
So just so system of walls, I'm not putting any bricks or concrete blocks.
Do it just so just, just there we go.
Well, you know, once you get to a certain point, you can always decide, do I want to stop right there or is that going to be too much?
Well, let's see.
You know, let let me just add a little potted plant right here, seated right on the windowsill.
And same principle.
You can mask the background with duck.
That way, whatever you put in there is going to come out.
Now, use some of that to green second to be too much because I have green in the water.
No, because I'm going to come back and add some more to it.
I'm going to add some yellow to it to tie it in with the outside.
Now, I just add this here, and that makes all the difference in the world for me.
And right at the center, I can do this.
I think that brings it home for me right there.
And of course we will need the shadow on it if you ask me.
What kind of plant is that?
So, okay, right.
I don't know.
Could be whatever I want it to be.
Name of the friends you know, plant.
It's my world.
There we go.
I'm liking this.
You can accentuate with the shadows and give texture to every corner.
They more cracks want it to be an old building looking outside.
And please don't ask me also, what island is this?
Because again, I don't know.
It's in my mind.
So wild place in my mind.
There we go.
So I have all that all set now, basically all that is left for me is to put my name right here.
A window to another world.
I like it.
How did you fail of your painting?
See how we were able to take an 18 by 24 and.
And we put a window, and outside the window we put a view.
A very nice view.
Did you like what you did?
We hope you did.
Because if you did not, that's not the end of the world.
You can join us next week as we take on into another challenge painting with pesto.
See you next time, my friends.
I'm Frantz Coulanges and I hope you had as much fun as I did with that last painting.
Although the show is over, the fun doesn't have to stop.
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