I have been invited to teach a couple of pastel workshops this summer and I'm very excited at the prospect of sharing my love of pastels with others.
The first will be for the Livingston Art Group in Lakeville, NY, in the beautiful Finger Lakes. The date is July 28th. Please contact Sally Moses for more information at 585-243-3305.
The second will be on August 12th for the Coonley Ward Artist Community, in the "Gaslight Village" of Wyoming, NY. For more info, contact Diane at the Handyside Gallery in the Village of Wyoming.
If you are interested in attending either workshop be sure to contact them to register.
In both cases, I will discuss "everything pastel", give a demo and then give you dome time to try your hand at creating with pastels as well as answer your questions about the medium. Please bring any materials you need to work in pastels.
I am looking forward to these wonderful opportunities to demonstrate this terrific medium.
Friday, July 3, 2009
Monday, April 27, 2009
Buying Used Pastels
I belong to several art organizations here in Rochester where I have met many wonderful artists who work in all kinds of mediums. I was recently approached by another member artist and friend who decided that pastels were just not working out for her. She does amazingly tight colored pencil drawings which are much more controllable for her. As a result, she decided to sell her collection of pastel sticks and paper. Two other pastel artists and I met with her and purchased her stuff at a very reasonable price. Her pastels and paper were high quality Schminckes and Rembrandts. I really appreciated her contacting me, as I am sure I will use them and somehow, I can never have enough pastel colors!
The moral of the story: Pastels, unlike some mediums I have tried, are usable no matter how old they are. If you know about pastel prices and if you are looking to build your general color selection, you can find some real deals out there on some used sets. Once you have the chance to work with what you currently have, you can go to an art supply store and purchase the specific colors which you may decide that you need to fill in the holes in your collection.
Watch out, though! Getting just the "right" pastel color can be addicting. After all, I don't think any manufacturer has yet developed just the right shade of "winter marsh grass on a really sunny early winter morning on Lake Ontario" or the allusive "purply-bluish-gray with a little yellow on the underneath of that cloud in late October just before it gets really cold" color. Somehow, I always find myself having to make due with ochres, blues, violets and grays. I know that every day and every season brings changes in the scenery and to the colors out there. My palette can never keep up. Nevertheless, I keep trying to fill in the colors I am missing! It's a losing battle, I know. But it's still fun trying.
The moral of the story: Pastels, unlike some mediums I have tried, are usable no matter how old they are. If you know about pastel prices and if you are looking to build your general color selection, you can find some real deals out there on some used sets. Once you have the chance to work with what you currently have, you can go to an art supply store and purchase the specific colors which you may decide that you need to fill in the holes in your collection.
Watch out, though! Getting just the "right" pastel color can be addicting. After all, I don't think any manufacturer has yet developed just the right shade of "winter marsh grass on a really sunny early winter morning on Lake Ontario" or the allusive "purply-bluish-gray with a little yellow on the underneath of that cloud in late October just before it gets really cold" color. Somehow, I always find myself having to make due with ochres, blues, violets and grays. I know that every day and every season brings changes in the scenery and to the colors out there. My palette can never keep up. Nevertheless, I keep trying to fill in the colors I am missing! It's a losing battle, I know. But it's still fun trying.
Wednesday, April 15, 2009
Hot Off the Presses! My Newsletter
I have recently developed a newsletter which I have emailed to anyone interested in what is happening with my art. If you would like to receive future editions, please send me an email and I will be sure that you name gets added to the mailing list. In the meantime, just click on this image and the current newsletter will come up full size.
Friday, January 9, 2009
The Results Are Finally In!!!
I've been trying out different paper and pastels and wanted to give you my opinions on them all.
PAPER
Uart paper in the 500 grit is too smooth a surface for me. It seems too regular. I like the slightly irregular texture of the Wallis paper more. The Uart paper also seemed to eat up pastels faster. Now, that being said, I do have a lot more experience with Wallis paper and I am very used to it, so maybe this is just a case of not being able to teach an old dog a new trick. I also really like the color of the Wallis Belgium Mist. The white Uart paper is difficult for me to deal with, so I will stick to the Wallis paper. In fact, I am going to trade my white Uart for some Belgium Mist Wallis with an artist who has problems dealing with the gray Wallis paper. It really is a matter of sticking with what works best for you.
PASTELS
I also had the chance to try the variety of different pastels which I bought .
To me, Unisons are about the same as the Mt. Visions that I love so much. As a result, I will stick with the Mt. Visions. I like the colors and texture (a little gritty from pumice in the pastel) of the Mt. Visions and the price is great.
Although I have tried them in the past, I just don't like Giraults. They feel too small and don't seem soft enough for me, (probably because I use a lot of Mt. Visions).
Rembrandts and Windsor Newtons are kind of unspectacular and chalky in the way they feel when I use them. They seem a bit hard.
I still like Senneliers for their softness. Unfortunately I have gotten some Senneliers that were inconsistent in texture in the past.
I also had the chance to try Terry Ludwigs for the first time. Although the colors were really nice, I don't care for the texture of them. They seemed to drag across the paper, rather than glide smoothly.
I didn't try the Henri Roches. The colors which I had (reds) are something I'd probably never use and will sell them instead.
However, the pastels that impressed me the most were the Great American Art Works. They are beautifully soft with amazing coverage and color saturation -truly buttery in feel. I really liked them and would love to get my hands on more of them if I can. They tend to be a bit pricey, but I usually buy only a couple at a time so I'll hope to add more of them to my collection over time.
PAPER
Uart paper in the 500 grit is too smooth a surface for me. It seems too regular. I like the slightly irregular texture of the Wallis paper more. The Uart paper also seemed to eat up pastels faster. Now, that being said, I do have a lot more experience with Wallis paper and I am very used to it, so maybe this is just a case of not being able to teach an old dog a new trick. I also really like the color of the Wallis Belgium Mist. The white Uart paper is difficult for me to deal with, so I will stick to the Wallis paper. In fact, I am going to trade my white Uart for some Belgium Mist Wallis with an artist who has problems dealing with the gray Wallis paper. It really is a matter of sticking with what works best for you.
PASTELS
I also had the chance to try the variety of different pastels which I bought .
To me, Unisons are about the same as the Mt. Visions that I love so much. As a result, I will stick with the Mt. Visions. I like the colors and texture (a little gritty from pumice in the pastel) of the Mt. Visions and the price is great.
Although I have tried them in the past, I just don't like Giraults. They feel too small and don't seem soft enough for me, (probably because I use a lot of Mt. Visions).
Rembrandts and Windsor Newtons are kind of unspectacular and chalky in the way they feel when I use them. They seem a bit hard.
I still like Senneliers for their softness. Unfortunately I have gotten some Senneliers that were inconsistent in texture in the past.
I also had the chance to try Terry Ludwigs for the first time. Although the colors were really nice, I don't care for the texture of them. They seemed to drag across the paper, rather than glide smoothly.
I didn't try the Henri Roches. The colors which I had (reds) are something I'd probably never use and will sell them instead.
However, the pastels that impressed me the most were the Great American Art Works. They are beautifully soft with amazing coverage and color saturation -truly buttery in feel. I really liked them and would love to get my hands on more of them if I can. They tend to be a bit pricey, but I usually buy only a couple at a time so I'll hope to add more of them to my collection over time.
Saturday, September 6, 2008
New Stuff
Recently I was lucky enough to purchase the stock of pastels belonging to another artist who was leaving the area. In it are a lot of brands which I have never used before including Unison, Terry Ludwig, Diane Townsend, Girault and, the Cadillac of pastels: Henri Roche. They are some of the more expensive brands which I don't usually like to spend the money on. My feeling on the subject is that the most expensive pastels in the world won't necessarily make up for a lack of painting ability, so I'd rather not spend a fortune on materials. I'd rather concentrate on improving my ability to paint in pastel. However, I do like good quality materials. One thing I have learned over time is that student grade stuff will never give the descent results one wants and in fact just adds to the frustration of trying to produce good work using inferior materials. I will try them all though, as I decide which ones to keep and which ones I want to sell.
I also bought some Uart paper, in the 500 grade. It's got a nice smooth finish to it, but it's a buff color and I hate using the whiter papers. I like the neutral gray of Wallis paper, but could see the merits of the off-white if I was to use a wash of some kind, such as watercolor before I begin to paint in pastel. This particular paper doesn't seem to have the toothiness of the Wallis paper, but it is very smooth. On the 2 paintings I recently did on it, I filled the tooth surprisingly fast. I very rarely fill the tooth on the Wallis. So I will have to experiment and try the Uart paper a bit more before I would be able to give a real comparison of the two. I did notice something else about the Uart - it's tough stuff! I often tear large sheets of Wallis paper into smaller sheets simply by creasing the paper and folding it over in the same place repeatedly until the fibers in the paper break down some, making it easy to tear along the fold. I tried to do the same thing with the Uart, but it still didn't want to tear. That surprised me.
I will be trying out all of these variables over the next couple of weeks to see what works best for me.
I also bought some Uart paper, in the 500 grade. It's got a nice smooth finish to it, but it's a buff color and I hate using the whiter papers. I like the neutral gray of Wallis paper, but could see the merits of the off-white if I was to use a wash of some kind, such as watercolor before I begin to paint in pastel. This particular paper doesn't seem to have the toothiness of the Wallis paper, but it is very smooth. On the 2 paintings I recently did on it, I filled the tooth surprisingly fast. I very rarely fill the tooth on the Wallis. So I will have to experiment and try the Uart paper a bit more before I would be able to give a real comparison of the two. I did notice something else about the Uart - it's tough stuff! I often tear large sheets of Wallis paper into smaller sheets simply by creasing the paper and folding it over in the same place repeatedly until the fibers in the paper break down some, making it easy to tear along the fold. I tried to do the same thing with the Uart, but it still didn't want to tear. That surprised me.
I will be trying out all of these variables over the next couple of weeks to see what works best for me.
Sunday, August 3, 2008
Painting Supplies
Julian plein air easel - full box size, very stable
drawing board - a sheet of masonite approximately 2' x 3'
I carry a lot of other things with me when I paint. I carry them all in a kid's book bag which one of my daughters never used. I like it because it has several pockets to hold all the stuff I carry. Some of the items I use are listed below.
my pastel case full of pastels
A visor - I don't like hats, but need a way to shade my eyes in the sunlight. This old visor, which is a dark color keeps the light from shining in my eyes, keeping the light constant.
Sunscreen - SPF 50. I stand in full sun pretty regularly and burn very easily. Even in the winter, the sun is still able to give a sunburn, especially if it is reflected off of snow. I also know that the sun reflecting off a body of water will give me a sunburn. I use Chapstick to protect my lips, as they have gotten sunburned too. I wear flip-flops a lot in the summer, so I have to remember to put sunscreen on the tops of my feet.
Insect repellent - for mosquitoes especially around dusk and biting flies.
Swiss Army knife - I need to tighten up the screws on my easel pretty regularly.
cheap house painting brushes - 2" for brushing away bad paintings, smaller old brushes to use with water or alcohol for liquifying pastel sketches into a "wash".
pencils - for sketching out a design before I put down pastel.
small box -I use an old Tupperware container to hold the pastels I am using. I find that as I paint, I go back to the same colors which I have used earlier in the painting. It saves me a lot of time and trouble when I have to find a color again.
masking tape - for taping a piece of paper onto my drawing board.
baby wipes - great for cleaning up after a session.
Umbrella - this green and gray umbrella clamps onto my easel. I use it to shade my drawing board and pastels when I am getting uneven shadow areas on the painting surface as I work.
Miscellaneous things for my comfort - I don't like to be distracted while I am painting and so I come prepared to have what ever I need on hand.
food: Because if I'm hungry, I can't concentrate.
a bottle of water: Being outside makes me thirsty.
small first aide kit: a ziplock bag with Bandaids, ibuprofen, something for an upset stomach...
Wednesday, July 23, 2008
Paper Size
Now, for the most part, I am a plein air artist and I constantly battle the changing light and how it effects a scene. Time is my enemy. That being said, I have recently discovered that although the thought of painting a large painting is very exciting, it may also be impossible for me at this time.
I recently bought eight 18"x24" sheets of Kitty Wallis paper to try out, thinking I could really get loose on a larger sheet of paper. I tried it out on two different occasions and found I had a difficult time covering the whole sheet and still make it work. First, I failed to make the main subject large enough to fill the whole sheet. As a result, there was a lot of foreground which wasn't fully utilized. I can trim it if I want, but more than likely, I will either reuse the paper or try to work it to a point of completion. Second, I'll need to work quickly and decisively.
After doing a lot of less-than-ideal paintings recently, I did a pretty good one today. I find that if I am not able to fully concentrate on what I am doing, I might as well stay home, and recently I haven't been able to focus on painting at all. It had gotten pretty disappointing at times. Going back to a 12"x18" size of Wallis paper today is a good thing for now, and I definitely felt that I was in control.
Of course, being in a great setting (on the shore of Lake Ontario) at a friend's house didn't hurt. I could paint that lake every day of the year.
I think that in the future I will be able to conquer the larger size. I'll just need to be very focused and will have to remember to use the whole sheet when I sketch it out initially. And then I'll work REALLY, REALLY FAST!
I recently bought eight 18"x24" sheets of Kitty Wallis paper to try out, thinking I could really get loose on a larger sheet of paper. I tried it out on two different occasions and found I had a difficult time covering the whole sheet and still make it work. First, I failed to make the main subject large enough to fill the whole sheet. As a result, there was a lot of foreground which wasn't fully utilized. I can trim it if I want, but more than likely, I will either reuse the paper or try to work it to a point of completion. Second, I'll need to work quickly and decisively.
After doing a lot of less-than-ideal paintings recently, I did a pretty good one today. I find that if I am not able to fully concentrate on what I am doing, I might as well stay home, and recently I haven't been able to focus on painting at all. It had gotten pretty disappointing at times. Going back to a 12"x18" size of Wallis paper today is a good thing for now, and I definitely felt that I was in control.
Of course, being in a great setting (on the shore of Lake Ontario) at a friend's house didn't hurt. I could paint that lake every day of the year.
I think that in the future I will be able to conquer the larger size. I'll just need to be very focused and will have to remember to use the whole sheet when I sketch it out initially. And then I'll work REALLY, REALLY FAST!
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