The Member's Minute: Episode 570
A Thoughtful Pastel Critique of a Chimpanzee Portrait
In this edition of The Members’ Minute, Matt offers an in-depth critique of a beautiful pastel drawing of a chimpanzee created by member Mary. Working on a fine-grit sanded surface with pastel pencils and soft pastels, Mary has created a compelling wildlife portrait that demonstrates both confidence and sensitivity with the medium. Throughout the lesson, Matt carefully analyzes the artwork while highlighting the strengths of the piece and identifying opportunities for growth that can help elevate future pastel drawings.
Understanding Composition and Focal Point
The lesson begins with a close look at the composition of the artwork. Matt explains how the eyes of the chimpanzee naturally become the focal point because viewers are instinctively drawn to the eyes of living subjects. The placement of the chimp’s face near the center of the picture plane helps strengthen this focal area, while the positioning of the fingers subtly directs the viewer’s gaze back toward the face.
However, Matt also discusses how the composition could become even stronger by considering the empty space in front of the chimpanzee’s gaze. Because the animal appears to be looking toward an open area of the composition, adding a subtle object in that space could create a stronger visual story while improving the balance of the overall design. This discussion demonstrates how thoughtful composition can transform a technically strong drawing into a more emotionally engaging artwork.
The Importance of Value Relationships
One of the most valuable parts of this lesson focuses on value. Matt explains how value—the lightness or darkness of color—is essential for creating form, depth, and realism. By temporarily removing the color from the image digitally, he reveals how the contrast between light and dark areas affects the illusion of three-dimensional form.
Matt points out that some transitions between light and shadow appear too abrupt, causing portions of the chimpanzee’s body to feel slightly flat. He demonstrates how smoother gradations of value can help create a more convincing sense of volume. This section reinforces how careful observation of value relationships can dramatically improve any pastel drawing.
Using Color More Effectively
Beyond value, Matt explores the use of color in the portrait. While Mary has captured the local colors of the chimpanzee successfully, he explains how introducing subtle complementary colors into the highlights and shadows could make the drawing feel even richer. Slight warm tones in the light areas and cooler tones in the shadows can create more visual interest while maintaining realism.
This portion of the lesson helps artists understand that realistic color often involves more than simply matching what is seen. Strategic color choices can enhance the mood, strengthen contrast, and create a more vibrant final image.
Encouragement for Growing with Pastels
Throughout the critique, Matt emphasizes the importance of continued practice with pastels. He praises Mary’s directional strokes, layered applications, and texture handling while encouraging her to keep refining her control of the medium. The lesson serves as both a technical critique and a source of encouragement for artists exploring pastel for the first time.
By studying composition, value, color, and mark-making, viewers gain a deeper understanding of what makes a successful pastel portrait. This lesson offers valuable insight not only for Mary, but for any artist looking to improve their skills with pastel drawing.
Founder of The Virtual Instructor, artist and teacher. Matt makes learning art easy to understand and enjoyable.
Hi Matt.
Thank you for this thoughtful critique. You’ve given me a number of things to think about. Sometimes when looking at a piece for a long time I can become oblivious to its errors, e.g. after you pointed it out, I see that the angling of the eyes isn’t quite right.
One thing I will mention because it has to do with my “relationship” with the image. Obviously, I was working from a photo. The photo, obtained online, extended the empty green space much further to the left than I drew and I cropped quite a bit off in preparing my reference. You recommended cropping off even more and while I explored that possibility, I rejected it for a reason. I saw the chimp looking over its hand and off beyond the picture plane, either to another chimp or to a person. The raised hand to me appears to be a beckoning to this unseen other to “come here”. Perhaps that is fanciful of me but chimpanzees are very relational and so I stick by my interpretation!
Thanks again. I always consider it an honor when you critique any of my art.
Mary
Hello Mary,
First thank you for sharing your artwork with us. Your chimpanzee brightened my day! He/she looks like it is a baby and it would be fun to just cuddle him/her.
Matt’s critiques don’t only help you but all of us. Mary, your artwork I learned so much of working with pastels. A medium I would not comment on as this is one of the mediums I find turn out amazing artwork, I just have not found the success as you have here.
I did have a couple of other ideas. Many photographs of chimpanzees they have a long stick or straw. They are used to scratch their ear or chew on., Also I could see a banana or other fruit. Your chimp looks like it could take a bite out of a banana If I picked a flower as Matt suggested I would pick a dandelion. Maybe with a few of its seeds flying off the top corner, but just 3 or 5.
I do hope that if you make any corrections that you will share them with us so we can see more of your adorable cuddly chimpanzee.
Teri (Artsy)
Matt,
Thank you for the email link to this video. This is my first time watching the members minute. I thought the art was beautiful. I would be very pleased if this was my art. I definitely learned a lot from your critique. When making art sometimes it feels as though I forget all of the things I have learned. I would of done things very similar to Mary (sticking to the reference exactly as I saw it), but with experience such as you have (and we all hope to learn) a piece can be more successful if we add more value, complimentary colors, and contrast to our art. Also, the flow of the piece. I have seen other artist describe the composition or flow of the piece as you had with the triangle. I have been serious about art for a few years now and am still learning new things. I started out just sketching and then trying different art mediums. I can say it is a great journey to be on. Mary thank you for being brave enough to submit your art.