Swallow
​Soft Pastels Tutorial

Written: February 2020

Artistic level: Beginner- Intermediate

Welcome to this tutorial showing you how to create a Swallow using Unison Soft pastels. This tutorial is for artists of all calibre and none with step by step images and written sections showing you how to create this bird using soft pastels alone which offers a looser interpretation of the subject however, I have added an additional section at the end for those who prefer to increase the detail in their portrait using pastel pencils (Faber Castel PITT pencils are used here). As Unison pastels are one, if not the, softest pastel out there, it will create thicker lines, but this brand is highly pigmented and gives immediate results. If you are using another brand that is harder in texture, this will achieve a more defined drawing than the base version seen here before pastel pencils are added and you may wish to keep your drawing loose.

The support used here is the Ampersand Pastelbord which is very much like Colourfix or Mi-tientes 'Touch' paper, so if you are unable to source the Pastelbord or have some other pastel paper/board to hand, you can use that instead. Results may differ slightly to ours, but you are encouraged to deviate somewhat and change the background colours should you wish or simply create your own style - we would love to see it and feel free to email us so we can add it to a gallery on this page!
​
The reference image can be found below, which you can screen grab and print out or view on a tablet whilst reading the instructions on a smartphone or computer.

​I hope you enjoy the tutorial!

---

Reference image

Product requirements & colour chart

Set of soft pastels, Blender sponges, Face cloth, Hand Towel.  
Pastel pencil range (optional)
The damp cloth is used to wipe the pastel of hands between use and the hand towel is to dry hands before 
Paper Used:  Ampersand Pastelbord     Pastels Used: Unison & Faber Castell PITT pastel pencils

---

Colours Used:
​Blues: BV10, BV17, BV18, A49, A50, A51
Greens/Yellows/Greys: Y18, GREY 25, GREY 28 (white), GREEN 15, GREEN 17, GREEN 18
Reds/Browns: RE11, RE12, BE14, BE5, BE16, BE34 
​

If you are using a support like Pastelbord with a noticeable tooth, you will find that this can be somewhat abrasive on the fingertips during blending and recommend you use a sponge (a make up sponge is ideal!) when blending and avoid using your fingers wherever possible. 

Use the colour charts above to select your own pastel tones for this tutorial (either Unison or another brand). Unison have around 400 colours available so you may own some of the colours above but not all and so just select the colours closest to those you see above, but do not worry about them being an exact match.

---

IMPORTANT TIPS:  
* Keep your pastels and pastel pencils clean by wiping on a tissue in between applications, especially if applying over other tones
*  If you are working on a flat surface, pastels can easily get smudged by your working hand and it is recommended that you place a piece of clean paper beneath your hand and the surface to avoid this. You may need to change it regularly to keep it clean and avoid transferring pigment around your drawing.
* Rub the edge of your pastel on a sheet of sandpaper to shape into a thinner edge and use for adding finer details if you do not have pastel pencils.​

---

IMPORTANT NOTE:
Soft pastels create dust so you may wish to wear a face mask whilst you work, which will protect you from inhaling dust particles. We highly recommend this for those who suffer with asthma or other respiratory issues. Soft pastels may not be suitable for everyone for this reason.
If you work with soft pastels on a regular basis, we recommend that you invest in a HEPA air filter.

BACKGROUND

UNISON pastels
​Colours Used:       Grey 28/White   -   Green 17    -    Green 18    -   Y18 (Lemon Yellow)    -    BE34 (Moss Green/brown)

Build up your base layers using Green 17 + 18 plus Y18. Apply in circular motions and add the darker tone (BE34) in small patches around the outer edges. Do not apply darker colours too heavily or they will muddy the lighter tones up.  Blend together. You may need to spend a little time getting the tonal balance to your liking before adding any highlights (if needed)

The best way to fill the tooth on a surface like Pastelbord is by applying  and blending in circular movements. The best sponge for this is one without edges (as seen above) This is actually a make up sponge that can be purchased cheaply from most beauty stores or online.

For the highlights, apply circles of varying sizes, using Grey 28 (you can use white instead) Blend with the clean edge of the sponge to avoid lightening already placed tones. You may need to overlay a few times to ensure you get the right balance. The highlights are concentrated around the outline of the bird and below the belly.

---

HEAD - CAP

UNISON pastels
​Blue colours used:       BV17    -     BV18     -    A50

Before continuing on, ensure your background is smoothly blended. To soften harsh edges, the circular sponge will help to achieve this.
You can view samples of blending sponges at the top of this tutorial. Both the pink and blue blenders would be ideal for this situation.

Once the background is finalised, time to move onto the cap. So the outline isn't lost, it is best to work on each section separately. Using the BV17 & BV18, apply loose lines in the direction of the feathers in the photo. Finish by adding a few shadows using A50. Do not saturate the board with pastel at this stage as blending will do that.

When softening harsh lines, a wedge shaped sponge (straight edges) works best and allows far more control, particularly in small areas. Blend using the corner of the sponge, smoothing out gently. Avoid blending beyond the outline too much as you may muddy the background.

---

FACE & BIB
Unison pastel colours used:       RE11   -   RE12  (Reds)  -    BE16 (Beige)
Stabilo CarbOthello pastel pencils used:      Black (750) and Light grey (720)

Using the russet tones RE11 and RE12, apply the RE 12 in the darker areas and the R11 in the lighter areas. Again, apply loosely so that the gaps are filled during blending, minimising pastel overload.

Blend the two tones gently before applying some highlights to the areas using the BE16 tone, the markings are placed to create the effect of lighter feathers in the area. Soften these too but avoid blending too harshly as the lines need to stay noticeable.

Using a pastel pencil, fill in the pale grey areas on and around the beak and eyes using the PITT pastel cold grey (230), follow this up with the Black (199) around the beak and the eye. Note I soften the black application as I move towards the eye itself as I do not want to create a solid block which will look flat and blend with the eye.

---

NAPE
UNISON pastels
​Blue colours used:       BV17   -    A50    -    BV10

Using the A50 tone, apply some loose markings over the back of the head. Avoid applying too thickly, leave spaces in between for the next layer of BV17 in between A50 lines and add BV10 highlights concentrating at the base of the nape more than the rest of the area.

Blend the tones using the wedge and reapply any darker shading using the A50 should you need to define the shadows a little more. Avoid dragging the pastel outside the outlines as it will easily smudge and could damage the background.

---

---

Related articles that may be of interest
​

Ampersand Pastelbord review

Starting out with Soft Pastels

About the Unison Pastels

About the Stabilo CarbOthello

---

BACK

UNISON pastels
​Blue colours used:       BV17    -     BV18     -    A49    -    BV10

Once the head is defined and all base tones have been applied, we next move to the birds' back. As before, apply individual markings first using the BV18, followed by A49 to add darker shading. Follow with the BV17 and finally add the highlights using the BV10.

Once you have applied all your tones, gently soften  the lines with the corner of the wedge shaped sponge. Ensure the surface of the paper is fully covered ready for the next stage.

As you can see in my example above, the lines can still be seen, enough to add definition but the edges are softened a little more and the grain of the paper is covered. This plays an important part of the base for those wishing to add finer details later using pastel pencils.

---

BELLY
UNISON pastels
​Colours used:       BE 14     -    GREY 25    -    GREY 28

You will note that some of the wing feathers have been filled in, however I recommend that the belly is completed first to avoid any smudging. Lay the first base tone down using BE14, creating the dark underlayers, follow up with GREY 25 to create the cream coloured feathers over the top. 

Next apply individual strokes using the GREY 28 to create highlights. Ensure the tones on the belly do not blend into your background - if they do (as mine did) you may need to darken the background a little.

Using the wedge blender, soften the edges of the lines but don't blend together. Soften the application so they look as soft as feather down. Gently blow the dust away that is left behind after blending.

---

WINGS
UNISON pastels
​Colours used:       (Blues)  BV17    -     BV18     -    A49    -    A51    -    BV10    -    GREY 28

For this section, apply thin layers of A51 as a base for each individual wing feather. Add a thin highlight to each using BV10 followed by A49 to create the shadows between each feather. Do not worry that the layers may look quite messy at this stage.

Once you have applied all the tones, you can gently blend and fill in the grain using the tip of the wedge sponge again. Ensure you do not blend colours together or lose the outlines of each feather. 

Soften the edges of the darkest outlines made by A49 earlier (avoid blending into the lighter tones placed on the belly earlier). Doing each section of the wing in small parts will ensure you do not lose the shape and definition. 

---

You can now start to fill in the rest of the wing feathers, the small ones that overlap the longer ones. Apply a loose layer of BV18 which acts as the base tone of each feather. Follow up with highlights using the BV10 and create shadows using A49.

To add a tinge of grey to the feathers, apply a fine layer of A51 before gently blending the tones together using the wedge blender. The application is left quite loose but defined and the shading should offer a 3D effect.

Soften the edges of the A49 shading using the blender but avoid smudging the paler tones on the belly. At this point, roughly fill in blank areas of the surface that you may have missed between feathers.

---

To finish the last section of the wing, apply a base tone of BE5 in the areas shown above and blend the edges gently. This base ensures the brightness of the white feathers over the top of this area.

Start by applying individual lines using the A49 tone, follow up with the BV18 and then add the BV10 highlights. Apply the white feathers (beneath the red bib) using a thin pastel point (pencil or sharpened edge of a pastel)

Using the wedge sponge, gently soften the edges of the lines but do not blend together. Gently drag the sponge down each line so the pastel is pushed into the tooth of the paper.

---

STUMP & FEET
UNISON pastels
​Colours used:       BE5   -   GREEN 15   -     GREEN 17     -    A51    -    GREY 28
PITT PASTEL PENCILS:   White 101    -      Black  199

Finish the base tones by adding the last section of white feathers on the back. Soften any hard lines using the blender but avoid over blending.

To finish the portrait, create the highlights on the wooden post using the GREY 28 (or white) follow this up with GREEN 15 and then GREEN 17 for the moss. Add in some shadows using the BE5. Gently blend.

At this point, create the feet using the A51 and the BE5. These are simple marks on the paper in preparation for the finer detail with pastel pencils helping to define the shape of them. The next section covers this bit.

PASTEL PENCILS - FINE DETAILS

Colours needed:
​Black (199), White(101), Light Ultramarine (140), Walnut brown (177)

You may need to re-darken the brown shadows before applying the cream and white highlights. Have a tissue to hand so you can keep the tip of your pastel pencils clean when you are applying over darker base tones. Using the black (199) and white (101) pencil to define the details in the feet and add the shading and finish by creating the claws.

---

Using the black pencil (make sure its sharpened), I define the eye and mark out the dark areas on and around the beak. In preparation for the lighter tones, I apply a few individual marks in both the red and blue areas. I apply individually for best effect. ​

---

Starting with the black pencil again (and a sharp point), I apply individual lines over the top of the wing section to create a base layer in preparation for the next stage. To add highlights, I used the Light Ultramarine (140) and finished by adding the brighter highlight using the white (101) pencil. The initial black application helps to create more definition before adding the highlights.

---

Onto the back next and I use the same process as previous. When applying the shading, I do not worry too much about neatness as much of it will be softened under the lighter tones, the importance here is creating depth and shape. I create my highlights again using the Ultramarine (140) and white (101) which is concentrated more at the base and the edge of the outline where light hits this area the most. 

---

Working on the long wing feathers, I apply a black outline against each individual feather. This will help define both the shape and the depth, creating some very effective shadows. Using the Walnut brown (177) I apply some warmer shading to the base of the wings, (there are some purple tones in the wings too, so you may wish to add in a little extra colour), before following this up by applying singular markings on some of the feathers using Light Ultramarine (140) to create the chevron look that gives the realistic finish. Avoid uniformity, you do not need to apply this to every single feather or it will look unnatural. Finalise the tips on some of the feathers with the white pencil.​ You may wish to define the stump a little more using pastel pencils. The PITT pastels have a good collection of greens and browns that will help you achieve some good effects, however leaving the stump details looser can minimise any distractions away from the main subject - this is purely a personal choice.

---

You do not need to use pastel pencils to create highly effective pastel art, simply by shaping the tips of your soft pastels on a surface such as sandpaper, you can still achieve fine detail. Soft pastels have a higher portion of pigment than binder, hence their flakiness, where as hard pastels and pastel pencils have a higher portion of binder and less pigment. If you have used Unison pastels for this tutorial and are struggling to apply your pastel pencils over the top, applying a layer or two of aerosol fixative such as Loxley over the top before continuing can help. Give it 5 - 10 minutes to dry before continuing and avoid spraying too closely (minimum 12" space from surface to can will suffice) This is entirely optional as some artists complain that fixative can darken the colours on their pastel portraits.


I hope you have enjoyed this tutorial and feel free to Email your finished drawing to me via [email protected] so I can add it to a gallery on this page.

View our other Soft pastels tutorials

Soft pastels for beginners

Layering with soft pastels

Violet flower and water droplets

View all other tutorials >>>>