Pastel Class: II

 The big emphasis (by which I am surprised) is VALUE, VALUE, VALUE.  That is,  after one has drawn the basic object, emphasize the darkest dark(s), lightest light and a medium dark.
For this exercise we started with black charcoal and then worked with grays and neutrals.  I tend to be so enamoured by HUE, that I don't notice what is darker or lighter.

 Emphasizing the darkest darks. "The great thing about barns is that they always have a light side and a dark side."

 Carving out some lights.

Blending and erasing to get more mid-tones and (sometimes) sharper edges.
"Pastels have a wonderful dreamy quality," which implies that hard sharp edges aren't always required.

 Demo II:  Outline for darks, then dark hues added.

 Some medium tones and lighter hues

 "Grasses are so fun.  And they should show movement."

 I worked from a spotted computer print of a painting by  Robert Cardinal, from Provincetown. He's worth studying! 

(Reference at top; my almost black and white version below.)

My second attempt with color.  During the class I couldn't see how my colors weren't as dark or as light as the reference image (and I wasn't sure how much I wanted to copy, anyway).  Plus, it turns out "they" are right:  you can never have too many colors of pastels to choose from.  I wish I'd had an even darker purple/blue/maroon for the shady side of the barn.  And a softer lighter orange for the light side of the barn.

 I am looking forward to learning better tonal variations AND having soft pastels that I can let dance across dark shapes to add spark and surprise.

Must research Mount Vision and Unison brands of pastels.  Guess I know where the kitchen money will be going for a while!