Welcome visitor Julie Freeman! I’ve recognized Julie’s work for a few years and all the time marvelled on the depth of life that appears to vibrate from each bit. I’ve written about her work twice earlier than, in 2018 and 2015, and I’m now delighted to have her as a visitor blogger on HowToPastel.
Earlier than we get going, a wee bit about Julie Freeman.
Julie Freeman Bio
Julie Freeman, a self-taught hyperrealist artist specializing in pastels, has refined her abilities over time. Her dedication to realism is obvious in her work, which has earned her worldwide recognition. She holds many prestigious titles together with Grasp Circle Standing with the Worldwide Affiliation of Pastel Societies (IAPS/MC), Grasp Pastelist with the Pastel Artists of New Zealand (MPANZ) and Australia (MPSA). She can also be a Signature member of the Pastel Society of America (PSA).
And now, right here’s Julie!
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What follows is an introspective look into the evolution of my creative identification and artistic expression. It’s my journey of self-discovery, from the early years of experimentation with varied mediums to the revelation of my true creative calling. It’s a celebration of my distinctive voice and imaginative and prescient, emphasizing the significance of authenticity and keenness in creative expression.
My journey with pastel began in 2009 when working in an artwork provides retailer. I had dabbled with acrylics, graphite, and colored pencil in earlier years, however discovering pastel was a recreation changer for me. The medium’s versatility, immediacy, and mixing capabilities enable me to realize a stage of realism that I attempt for. A bonus is that pastels require no drying time or solvents and have minimal clean-up, permitting me to go away and return to the identical picture with out interruption. Utilizing pastel pencils and comfortable pastels, I can utilise the qualities of each, the detailing with the pencils and the extraordinary color and ease of mixing with comfortable pastels. This ease of use and the power to create intricate, lifelike particulars make pastels my medium of selection.
I just lately had a revelation whereas studying in regards to the variations between photorealism and hyperrealism. I had by no means felt comfy calling myself a photorealist as I’ve all the time felt that my work transcends mere photographic illustration. Since childhood, I’ve been pushed by a need to infuse life into my topics. Whether or not engaged on animals, seascapes, florals, or nonetheless life, my objective is for the viewer to expertise the work by all their senses.
Listed below are the definitions and why I now will name myself a hyperrealist.
Photorealist
The style of Photorealism originated first within the mid-20th Century and got here from the USA. The first objective of the photorealist artist is to breed the 2D {photograph} (normally in paint) and distance themselves from including intent or feelings into their paintings.
Hyperrealist
Hyperrealism against this is about extra than simply approach and permits for a much less restrictive interpretation of reference photographs. Hyperrealist artists will infuse their paintings with emotions (emotion) and/or a narrative (narrative) and work throughout all kinds of mediums (together with – pastel, watercolour, oil, acrylic, graphite, colored pencil, and even sculpture and printmaking amongst others).
Wikipedia says this:
“Hyperrealism, though photographic in essence, typically entails a softer, way more complicated give attention to the topic depicted, presenting it as a residing, tangible object. These objects and scenes in hyperrealism work and sculptures are meticulously detailed to create the phantasm of a actuality not seen within the authentic picture. That’s not to say, they’re surreal because the phantasm is a convincing depiction of (simulated) actuality. Textures, surfaces, lighting results, and shadows seem clearer and extra distinct than the reference picture and even the precise topic itself.”
I like creating textures of animal hair that you may really feel, the motion and rush of water in a wave, and the style of a freshly peeled orange. I would like my work to hit a word, to elicit a response, or to have an emotional connection for somebody.
Persons are all the time asking me how do I obtain realism? Properly, I might say many hours on the easel, learning my topics, feeling the textures, and having a ardour for my topic/style – all of them undoubtedly play an element. I’m a perfectionist and I believe most hyperrealists are.
The truth, nevertheless, is I don’t know whether or not I can pinpoint a definitive reply, what occurs from my mind to my hand appears intangible. Each artist has their very own approach of working, their very own mark-making, and their very own passions, that’s what makes us distinctive. We have to take heed to our internal voices in the case of the model of labor/topics that give us essentially the most pleasure to create.
I’m a studio artist. I benefit from the consolation of the area and I share it with my husband Michael (additionally an artist). My time within the studio can range relying on deadlines ( if any), so anyplace between three hours and eight hours a day is typical.
There’ll all the time be occasions once I’m busy with different issues, however there’s all the time a must get again to the studio whether or not it’s to work on one thing for myself or on a fee. Some days might be quiet and peaceable, engaged on a brand new piece, sorting pastels, or tidying the area, whereas others are busy and damaged up with educating.
A lot of my inspiration comes from highway journeys, so I carry my digital camera nearly all over the place, all the time able to seize any alternative or spark that may come up. I all the time use my very own photographic reference – it’s an integral a part of my course of and my imaginative and prescient and it offers me the management over composition and the small print that I would like. I may take a whole lot of pictures and solely discover one or two that I can join with or visualise as a completed pastel portray. The exception could be commissioned work, after which I additionally want to take the photographs myself each time doable.
Whereas many artists, significantly these within the impressionist space, will do thumbnails and notans as a part of their planning, I take quite a few pictures from totally different viewpoints, starting from intently cropped to wide-angled photographs, to make sure I seize as a lot element as doable. I additionally mentally word explicit colors from the scene in the event that they aren’t captured within the reference. This meticulous course of is essential as a result of as soon as I go away a location, it’s not straightforward to return for extra data. When viewing a specific topic, I’m doing it by the lens, that’s what I’m seeing. Typically the picture isn’t what my eye sees and may give me a brand new perspective.
The detailing in my work depends closely on the knowledge I collect. I select what I wish to present, the must-haves, and the not vital. I is likely to be pleased with the general composition, or I’d take out or insert parts, whereas I’d push color and distinction. These are all selections I make. Very hardly ever would I be fully completely happy about a picture with out some adjustment. I don’t essentially put in each element – I can nonetheless obtain the realism and the sensation with out being exact.
My digital pictures uploaded to my pc present the pliability to experiment. In design programmes reminiscent of Photoshop, I can manipulate these parts, create totally different compositions, and regulate colors and values. It permits me the chance to refine my work. The mixture of images and digital design instruments allows me to discover new artistic potentialities and push the boundaries of realism in my artwork.
My material is diverse, encompassing a variety of themes. I do work in a sequence with a few of my topics, however they don’t seem to be all the time accomplished consecutively. I want to combine them up a bit, to maintain my curiosity and enthusiasm, and finally, to provide higher work. I’m significantly drawn to color, texture, and lightweight in my topics.
My creative journey is intertwined with my love for nature and wildlife. Highway journeys supply limitless inspiration, and this fixed publicity to various environments fuels my creativity and informs my creative decisions. Whether or not it’s the feel of an animal’s fur, a stormy seascape, or the intricate patterns of leaves, every ingredient contributes to the richness of my compositions.
Extra just lately. I’ve been exploring Nonetheless Life and organising my very own compositions. This can be a very totally different approach of working, as I’m creating compositions with chosen objects somewhat than discovering an current state of affairs and cropping to swimsuit.
I get pleasure from utilising shadows in my compositions, so taking part in with the sunshine supply and seeing what works and the attention-grabbing shapes created, all add one other dimension to the work. I’m additionally occupied with materials and compositions which can be not ordinary for a nonetheless life, so will proceed to discover this extra.
I wish to transcend direct photographic illustration, deciding on parts of photographs to create a brand new and distinctive composition. My kelp sequence was one such instance and my references proceed to supply inspiration. The alternatives that pictures supply when underneath shut commentary might be many, discovering colors and particulars not all the time seen en plein air. Sure, I perceive a few of the limitations of pictures with blown-out whites, shadow areas with no depth, and foreshortening, however these might be overcome with expertise and data.
I significantly get pleasure from producing work that blurs the traces between realism and abstraction, working realistically however the topic may also be seen as summary. Though all paintings is summary, it’s our brains that simply recognise acquainted topics and make the connection.
When selections have been made on the subject of the picture and composition, I lay down an underdrawing in pastel pencil. Relying on the complexity of the reference, I usually both draw freehand or with a grid.
I’m utilizing Clairefontaine Pastelmat nearly solely however will sometimes work on Artwork Spectrum Colourfix. They’ve totally different colored surfaces after which there’s additionally the power to go greater with the Colourfix primer which you need to use on any floor. Generally I’ll set my underdrawing with a small moist artificial brush, going over the road work, as pastel is water soluble and this creates a non-erasable drawing. I wish to fill in areas of darker values and even lighter ones, creating shapes somewhat than simply line work. This makes the piece far simpler to learn. I’ve not explored underpaintings but however would undoubtedly wish to strive that approach.
Color matching is an space I really feel very comfy with and it’s improved over time. I can see whether or not a color is a tint or a shade, and I discover that extraordinarily helpful when working with colors and values. I’ve a wide selection of soppy pastels and pencils however there’ll all the time be a time once I can not fairly discover the color I’m searching for, so experimenting and mixing with colors is one thing I do frequently.
I work methodically, shifting from left to proper, high to backside, and from the background to the foreground. I exploit a color reference on my pill, which permits me to zoom in for superb particulars. I additionally hold a black-and-white printed model close by to frequently verify values and measurements. I nearly all the time use a daylight lamp as I discover it important to cowl the home windows, particularly within the afternoon, to stop glare on the display screen. I’ve observed that the color temperature on the display screen shifts from morning to afternoon, so I’m conscious of this and sometimes select to work both within the morning or the afternoon accordingly.
I’ve made it a behavior to frequently file my course of, whether or not by pictures or video. I frequently share these on social media as followers get pleasure from seeing the behind-the-scenes work. The time I spend on a chunk can vary from six to 100 hours, relying on its complexity. Documenting the progress can also be a worthwhile instrument for college students, permitting them to evaluate every stage of the method.
When my pastel is accomplished, I’ll take a ultimate {photograph}. This can be utilized for social media or competitors entries. I all the time be sure the picture is an correct color match to my piece. If I resolve to provide signed restricted version prints, they are going to be taken to my printer who will professionally {photograph} them. I’ll verify the giclee print for accuracy of color and hold that in my recordsdata, however typically there’s no want for any modifications. My printer can even have the file so I can print on demand. He’s solely 15min away so fairly useful for me!
I’m additionally fortunate to have a framer close by who is aware of the right way to body pastels and who has set parameters (body and mat) so I can carry a chunk in, verify the size, and it’s rapidly sorted.
Past my private observe, I get pleasure from sharing my strategies and insights with others. I supply workshops with my husband Michael and personal tuition from my studio, serving to aspiring artists develop their abilities and uncover their very own creative voices. My educating method emphasizes the significance of commentary, the advantages of digital instruments, and the enjoyment of experimenting.
My artwork is a steady exploration of the world round me, captured by my lens and reworked on the canvas. Pushed by this ardour and dedication, I goal to transcend the boundaries of mere photographic copy, providing viewers a richer, extra immersive expertise. By merging conventional strategies with trendy know-how, I attempt to create items that resonate with viewers and evoke a deeper appreciation for the wonder and complexity of our pure world.
Thought course of for the paintings “Empty Nest”
I found a fallen nest in our yard, full with remnants of eggshells. The attractive colors and shapes of the shells instantly impressed me to create a brand new pastel paintings. Having labored with eggshells earlier than, I’m significantly drawn to their colors and shapes, particularly when damaged.
Preparation and Questions
To start out, I thought-about a number of questions:
- What viewpoint ought to I exploit?
- Portrait or panorama?
- What color background could be greatest? Darkish or mild?
- Outside setup or studio lighting?
- Might I add any extra parts?
Setting Up the Photoshoot
I made a decision on an indoor setup, so did a photoshoot in our eating room with a daylight lamp, initially utilizing a darkish fabric background to create distinction in opposition to the sunshine nest. After taking about 15 photographs, I discarded a number of. Upon reviewing the totally different viewpoints, I discovered that the overhead perspective was the only option. It showcased the form of the nest enveloping the eggs, the splayed grasses, and the shadows, including extra curiosity to the composition.
Background Choice and Additional Changes
I wasn’t happy with the darkish background, so I opted for a extra harmonious one which associated to the eggs. I discovered a prop styling board that my daughter makes use of which seemed a lot better. I took extra pictures, being attentive to the shadows, particularly the big forged shadow from the nest, the thinner ones from the splayed grasses, and the distinction contained in the nest in opposition to the eggs. I rearranged the eggshells to create a light-against-dark impact for added curiosity. I significantly preferred how the composition drew the viewer’s eye to the centre of the nest, specializing in the eggshells. To melt the sides of the forged shadow, I adjusted the sunshine supply.
Extra Components and Format
I added feathers to the composition as they’re a part of the narrative and I had been keen to make use of them. As a substitute of a portrait format, I selected a sq. one to scale back unfavourable area and create a unique visible impression. Reflecting on the birds leaving the nest, I made a decision to incorporate silhouettes within the background.
Last Selections
Whereas I may have used the inexperienced hues from the reference, I selected a bluer inexperienced color from Unison Color pastels. The ultimate piece was created utilizing a mix of soppy pastels and pastel pencils on Pastelmat, measuring 40cm x 42cm.
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WOW!!! All I can say is Julie Freeman should have a LOT of persistence! Extraordinary work don’t you suppose??
It’s time to tell us your ideas and questions so do please go away them within the feedback beneath.
Till subsequent time,
~ Gail