The Pastel Pointers Blog

Seeking Shade

2008-07-15T18:27:31.0350000-04:00

One of the issues faced by every artist when working en plein air (on location) is shade. Not so much for ourselves, although that can be important, but for our painting and palette. Finding a balance between too much and too little shade can be hard in ever changing situations. What we hope for is something between those extremes, with a bit of consistency.

While in Montana recently for a workshop (see photo), I observed many students struggling with a variety of lighting situations and painting-umbrella setups. Since I have had my share of struggles with the same issues, I thought it might prove helpful to share a few observations. The perfect scenario is to find a large area of open shade that provides an equal amount of light on the painting surface and palette. By having consistent light on both, selecting the proper pastel stick for the desired task, and having it look the same on the painting surface, will become easier. What needs to be avoided when looking for this situation is the “cave effect”—too little light, or the “blast”—too much. If there is too little light, the painting will become overly light and bright. Too much produces a dark dull finished painting. Finding that balance can be a bit tricky.

It is best to position yourself so that there is open space behind you with shade being provided from either side. If you have to work in an exposed setting, it is advisable to turn your painting surface so that it is not receiving full sunlight. Take time to figure out in which direction the sun is traveling. Then turn your easel so that the direct sunlight won’t creep onto the painting as time goes by. These exposed situations often leave our pastel palette in full or dappled sunlight. This is when an umbrella setup can become invaluable, providing a soft cast shadow over the palette. The other option is to work in full sunlight, placing both the painting surface and palette in direct light. Remember that it is very easy to make bad value/hue choices in this situation. One tip that has always proved helpful is to frequently take the painting down from the easel and analysis it under different lighting. This scrutiny may save hours of misguided value and color choices.

Overcoming the abundance or scarcity of the lighting situation can take years to master. Even the best of us make poor choices from time to time and have to deal with the consequences. Finding a painting umbrella setup that works for your individual needs is not always easy. Just like the perfect easel or palette box, we are always
looking for the most compact, sturdy, and affordable model available. In the next blog I will share a few observations about the ones with which I have a history.

The Importance of Neutrals

2008-07-07T14:42:46.6360000-04:00

Nearly a year ago in the August 06, 2007 blog, I addressed how important a section of “neutrals” is to my pastel palette. These are weaker intensity hues, often looking greyer than the pure intense hues of their origin color family. (Since most of our pastels come from Europe, you'll find the British spelling of “grey” instead of the
Americanized “gray” being used.) These greyed tones are the backbone of most of my work and I can’t stress their importance enough. Smaller commercial sets of pastels are often made up of intense colors. These are visually appealing and sell well, but can lead to a lot of repetition of pure hues in our pastel palettes. These intense palettes easily produce overly saturated paintings, which lack the comparative beauty of greyed hues in juxtaposition with intense hues.

When selecting neutral tones for your pastel palette, consider where they'll most often be employed. For the substructure, a harder stick will work best: Girault and Rembrandt are good choices. On the other hand, if being used for final accents, a softer stick might work better: Schmincke and Unison make excellent choices. Check the color charts of the brands you're interested in. Brands that offer a large selection of colors usually have the widest range of greyed tones. In the course of many workshops, when singing the praises of these “neutral” tones, I'm often asked if there is a set or brand I recommend. Two brands that I have had considerable experience with and which offer a wide, well-organized assortment of greyed tones (neutrals) are: Girault (a harder pastel, but not too hard) and Schmincke (a soft consistent pastel). Girault has made it easy by offering two sets, one of 25 greys and the other consisting of 50 greys, which I highly recommend. (The set is pictured here along with a few individual Schmincke and Rembrandt pastels.) Schmincke offers as individual sticks a range of greyed hues at different values: grey-green, grey-blue, grey-violet and so on. Supplementing these with a few individual neutrals from other brands completes my palette.

No matter what brand you prefer, find those lovely subtle neutral tones and put them to work in expanding the tonal range of your work. The brighter colored accents in your paintings will be happy you did.

Getting Ready for a Gallery Feature, Part 2

2008-06-30T11:13:34.4880000-04:00

In the previous blog, I started a discussion on preparing for a gallery feature—having just recently prepared for one myself (see photo of the gallery interior at left). Here are a few additional pointers on the subject:

Make sure to give yourself adequate time to photograph and catalog the paintings. In other words, don’t paint up to the evening before delivery. You need to schedule time to shift from the painting mindset to the business mindset to be organized when delivery is made. Have images ready as far in advance for the gallery as possible. This allows them to begin pre-sales and advanced advertising. It's far less stressful to arrive at an opening with a couple of red dots, signifying sales, than to stand around all evening eagerly anticipating that first sale. There's also a psychology of success that stimulates other collectors to commit if they see works selling quickly. If the gallery has images and prices in advance, they can begin the process of contacting previous collectors and potential collectors, and generating excitement. Showing up at the gallery organized and prepared will make their job easier and endear you to them. The happier they are with you, the better they'll promote you to their clients.

Also, think about the framing well in advance, allowing plenty of time for the materials to be ordered and assembled. Communicate with the gallery to find out what their recommendations are. They know their market and can prove to be a valuable guide in presenting your work to its best advantage. If a large body of work is required, a degree of consistency might make for a stronger statement. Not that every painting needs to be framed the same way—something often associated with a museum show—but a little cohesion will unite your work and tie the exhibit together. Don’t over frame. Flatter the painting but be prepared for many collectors to want to reframe the piece. An elegant presentation that shows the work and not the framing, allows the public to appreciate the art without being turned off by the frame. Sales are often lost due to an unflattering frame, one that's either under- or overstated.

Provide your gallery with updated biographic information and publications in which you've been featured. Having these on hand allows the gallery to better promote you to their patrons, and helps educate the sales staff about what you have been doing. The better they know you, the better they can represent you. Collectors want to know about the artist. It helps to personalize and validate their purchase.

Even though I've practiced these guidelines to the best of my ability, I still over commit at times, leading to late blurry-eyed evenings trying to meet deadlines. But the rewards of seeing the paintings elegantly hung and beautiful illuminated makes all the effort worthwhile.

Getting Ready for a Gallery Feature, Part 1

2008-06-23T12:20:54.5600000-04:00

One of the most artistically rewarding accomplishments is to be accepted into a prominent gallery and eventually be the featured artist. Seeing our work beautifully presented and appreciated by the public is a reward. (Pictured are photos of a gallery interior from a recent feature of mine.) It validates all the hard work and effort involved in creating something that connects with another human being.

When approached to be the featured artist, it’s easy to be flattered and say yes without fully understanding what’s required in making it a success for you, as the artist, and the gallery, as the agent. Most of us aren’t painting for business reasons, and most galleries are; each needs the other. We provide the work and they the venue. By being as prepared as possible, the experience can be one of mutual fulfillment.

Plan as far in the future as possible—don’t set an unrealistic time frame. Each of us works at our own pace and it’s wise to honor our individual process. Depending on the number and size of paintings needed, this can require a considerable amount of time. Set paintings aside and don’t compromise. Our most recent works are always our favorites. They’re the ones we’re the most attached to, and it’s easy to over commit them to a variety of events. If you discipline yourself to set them aside, you’ll undoubtedly have your best works when it’s time to deliver the show. Think ahead and note upcoming exhibits you may want to enter. That way you can have a painting set aside without borrowing from your feature. Don’t convince yourself that it won’t sell, so it’ll be OK to go ahead and use it. Testing this fate has put many a painter in an awkward position, damaging their reputation.

If possible, paint with a theme in mind. It’s never advisable to show everything you’re capable of doing—it might impress your painting friends, but the public will be confused. A little consistency will go a long way in being remembered. All of us associate themes to artists and galleries have an easier time marketing someone who has a style and theme. The intention is not to be held back, or limited in scope. Hopefully, all of us will continue to grow and expand as artists, but who doesn’t associate a certain theme, or style, to any famous artist? Honor what’s up for you—what motivates you to paint. If clouds are your muse one year, and buildings the next, go for it. Everything doesn’t have to be exactly the same, but a reoccurring theme will unite the exhibit, making it far more memorable.

Make an effort to attend the opening or reception. Even if this is the most painful aspect of the exhibit, it also may be the most beneficial. You’ll hear the feedback of others, gain perspective on your work and be available to personally interact with those interested in who you are and your working process.

I’ll continue this discussion in my next post.

Finding Inspiration

2008-06-16T08:34:54.4240000-04:00

A Photograph of the stream.

As motivated and excited as most of us are to paint, we all go through periods where the muse is hiding. The time is allotted, the pastels arranged, the surface prepared, and the inspiration is just absent. When this happens, a surefire way of recharging those batteries of inspiration is a road trip. As a landscape painter, and one that loves working en plein air, I find exploring new territory and allowing for serendipity, will lead to enthusiasm. This adventure into the unfamiliar always stimulates the senses, allowing new ideas to form. Departing from a preplanned agenda and letting ourselves explore, opens our creative eye to the possibilities lying in wait.

Recently, I found myself in a state of low motivation. A series of deadlines and major painting commitments had taken their toll on my energy and had left me uninspired. Fortunately, I had a couple of artist friends who came to the rescue. We gathered one morning and wandered into a remote area of Central Oregon’s high desert. One of the friends was familiar with the region, so we at least had an idea of what might lie ahead - always wise to know if there is gas and an occasional rest stop along the way. As we headed off, we began to visit and even vent a little about the state of the art world. This is our artistic therapy session and something I highly recommend. What is
said within the confines of the car stays in the car – so freeing. As we ventured into what was new territory for me, one of the artists made a comment that really resonated: “it's impossible to really see the potential of an area until you pull the car over and wander into the surrounding area.” With this in mind, we took the first pullout that allowed for the car to be off the road to put this theory into practice.

Once out, with cameras and sketchbooks in hand, the adventure began. Right in front of us was a beautiful stream, filled with brilliant blue reflections and the stunning contrast of the warm earth complementing it - wow - this was great! Before I could say “Sennelier,” one of the artists had headed off following the bank of the stream, it was as if we were all being drawn to follow it on its journey. Each bend held a new fascination. Cameras clicked and notes were taken as we continued on our mesmerizing journey. Hardly a word was uttered; we were transfixed by the visual scene unfolding before us. After a considerable amount of time, I realized we had wandered a great distance from the car, leaving the doors wide open in our enthusiasm. As I headed back to secure it, I found my energy restored; so many compositions, exciting color combinations, and textures had done the trick. I can hardly wait to see where this newfound inspiration leads.

Dealing With Green

2008-06-09T14:43:17.4240000-04:00

This time of year it's hard to miss the green. It's everywhere. As spring rains lead to those summer flowers, green is a major part of the package. One of the most frequent questions I receive in a workshop is how do you handle green in your paintings? As an artist friend once said when asked about working with green: “I avoid it at all cost."

The thing is; with green, a little goes a long way. If you want to use greens well and keep them in harmony with the landscape, my tip is: “orange is the secret and violet the friend." Adding a touch of red to the mixture of yellow and blue (green) will complete the triad of color, helping to relate it to the other warm tones within the scene. Placing a little violet of the same value next to a mass of green counteracts the harshness of the green, making it appear a little more yellow, again pulling it toward a warmer appearance due to simultaneous contrast (see previous blog post for more on that). We often think we only see blue, green and variations of gray, forgetting that light is made up of all color. The pigments we choose to paint with merely represent what the eye sees. The leaves, for example, are not viridian or cadmium; those are pigments. We see non-absorbed light reflected off surfaces and associate colors. Pastel artists have an especially difficult time because so little blending is utilized in producing individual hues. We rely on hundreds of sticks while a wet painter might have as few as four tubes of paint. Most green pigments, in their raw form, are too blue (cool) and over saturated (bright) to work well unless combined with another pigment. Pastel manufacturers like Unison, Terry Ludwig, Girault, Sennelier, Mount Vision, and Great American have an assortment of greens that are a mixture of pigments. When purchasing individual sticks, don’t select them based on their pigment name. Look at them and ask yourself: Does this stick represent something I would mix if I were painting with wet paint?

My best advice is to acquire those blended green pastel sticks, the warmer the better. Add orange, (the secret) and violet (the friend) to those large green masses (as shown in the image of color swipes at right), even if it's in the underpainting, and embrace the beauty of those natural greens. Soon they will become golden yellow—another story.

Pictured above: See how green is handled in this detail of my painting, Layers of Light.

Sharing the Experience: The Importance of a Painting Buddy

2008-06-02T16:58:39.9965004-04:00

So much of our painting experience is done in isolation. We work alone, lost in our thoughts, one-on-one with our subject and surface. This provides the undistracted focus most of us need. Our studios become private places that others are only welcome to visit upon invitation. When working on location we avoid the intrusion of passersby, often wearing headphones to avoid interruption. But as nice as it is to work unencumbered by the outside world, it is also rewarding to share the experience with someone that understands the process, someone that belongs to the same tribe—a painting buddy.

Sharing our painting adventures with another artist has its benefits. By planning to work together, we know someone else is relying on us. It is a commitment, forcing us to show up and paint instead of letting life’s little distractions get in the way. Seeing how others interpret a scene helps guide us in our own choices. We get valuable feedback and the shared experience of having worked in the same environment. Isn’t it more rewarding to share a sunset with someone than to admire it alone? So too is the painting experience. After working the better part of a day on a painting, receiving the feedback and observations of someone else is a pleasure. The validation derived from sharing these experiences helps to strengthen us as artists. As a friend once said, “ We often wonder if anyone else hears the mermaid singing?” Since nothing is created in a vacuum, it is always more rewarding to laugh and cry together. The shared camaraderie of the experience fulfills our need to connect, providing motivation, validation, and sound guidance along the way.

I have been fortunate to have a few close painting buddies in my life, friends that have shared the experience of painting with all the rewards and setbacks involved. Sadly, I have lost such a buddy and the pastel community has lost a giant. Glenna Hartmann left us on Sunday, the 25th of May. Glenna was a plein air painter in the truest sense and a dear friend. She shared her beautiful home territory of Santa Barbara, California, with me. It is a region she loved and painted with beauty and passion. I was able to introduce her to my favorite—the Central Oregon Cascade mountain range. Getting to share these locations was a pleasure and something I will always treasure. The evenings spent talking art and just sharing a laugh only added to the experience. Her sensitive and beautiful tonal painting quality has left its graceful mark. The pastel world will now be a lonelier place.

Pictured above: Glenna painting her native California landscape. The artist was represented for 18 years by the Easton Gallery in Santa Barbara. For a full obituary, see the post at The Pastel Journal Blog.

Shipping Pastels, Continued

2008-05-27T16:11:09.9440000-04:00

Since there was so much to discuss concerning the safe shipment of a
pastel, I wanted to pick up where I left off in last week's post.

For added protection when packaging a framed pastel for shipment, place it in a strong clear plastic bag. This provides extra moisture protection and helps protect the frame from abrasion. If you're using a homemade box, add thick cardboard sheets to the front and back of the painting. Make these slightly larger than the frame for extra puncture protection.

Before sealing the box, make sure you have enclosed all required information. For an exhibition, this might include the entry form, fees, return information (return label and shipping forms), and any pther special instructions. Place these in a manila envelope and tape it to the plastic bag covering the painting. This makes it easy to find. If you have a box that you wish to be returned even if the painting sells, make sure to note this in the enclosed information.

When labeling the box, print legibly and be sure to include phone numbers. Mark the top/front, in hopes that the carrier will transport the painting face up or in a vertical position. Be sure to note that the contents are fragile and should be handled with care (See photo above of a package with shipping labels and paperwork).

If you plan to frequently ship works, set up an account with FedEx or UPS. This makes return billing less of a hassle. Expenses will be charged to your account, allowing the shipping agent to simply affix the label to the return package and arrange for pick-up. Personally, I find FedEx to be a pleasure. I spend the extra amount for air service, providing prompt efficient service with less time for a package to be bounced from truck to truck.

Insurance can be an issue. Some carriers will not insure works under glass, while others restrict the value to the creating artist to no more than $500 per box. Educate yourself in advance as to the liabilities of your carrier. If you plan on shipping works frequently, it might be advisable to acquire separate supplemental insurance to cover your paintings. In this modern age, it's easy to follow the journey of the painting as it makes its way to the final destination by using the tracking number from the shipping label. Having an account allows me to receive an email notification automatically when shipments have been delivered. I print this out and file it with the entry information.

Accidents will happen. That is why we have insurance. However, a little effort on our part to pack our painting well and organize our information goes a long way in helping to facilitate a painting’s safe arrival. Who knows, maybe it will sell and all you’ll have to deal with is the return of an empty box; it happens!

Shipping Pastels (A Fragile Matter)

2008-05-19T14:18:37.9600000-04:00

This topic will be broken (no pun intended) into two blogs: the first
One will concern boxing a painting for shipment; the second will cover record-keeping and other considerations when a painting leaves your hands.

Shipping artwork is always nerve-racking. If you want to participate in national and international exhibitions, you’ll need to employ a suitable shipping method to accommodate your precious pastel paintings. Having helped with the intake of artwork for some of these exhibits, I could tell you more than a few horror stories of artist’s work showing up with broken glass, damaged frames, and pastel dust all over the inside surface of the mat and glass. Pastel artists have worked for years to gain the respect afforded the other mediums. Exhibiting work that shows any of these problems does a huge disservice to the pastel community’s reputation, and reinforces the public belief that pastel is fragile and not as permanent as other media.

Since pastel must be protected with either glass or Plexiglas, the container should be rigid enough to withstand the rigors of shipping. Commonly, cardboard is utilized and occasionally plywood. The advantage of cardboard is its weight. If the painting is at all large, plywood will become quiet heavy and ends up being prone to mistreatment by the carrier. Some shippers are now adding a surcharge if wood containers are used. If you’re shipping to exhibitions, you will want to invest in something that can be returned at the end of the exhibit if the work is unsold. There are companies that specialize in making boxes for this purpose, producing strong, easy to use, returnable boxes (see my packaged painting in a box by Airfloat Systems in the photo above, for example).

If you plan on make your own case, put some thought into the ease of opening and repacking, in order to make things easier for the volunteer helping on the receiving end. Make sure, whether your box is commercial or homemade, that it has at a minimum of 2 to 3 inches of space around the painting to adsorb shock. Bubble wrap works well, but foam sheets available at upholstery and fabric stores are even better. Packing peanuts should be avoided as they are difficult to deal with when unpacking and repacking a painting.

Many exhibitions are now requiring Plexiglas (plastic), avoiding the possibilities of glass breakage. Plexiglas is prone to warping and on a large painting can easily be pushed against the surface of the pastel. Try to allow as much space as possible between the painting and Plexiglas to prevent this situation. Plexiglas also suffers from electrostatic cling. The act of cleaning the outer surface can produce considerable static, lifting pastel off the surface of the painting. There are plastic cleaners or polishes that help relieve the static buildup and are recommended if Plexiglas is utilized (Novus 1 Plastic Clean & Shine, for example). Check with your art supply store or local glazer for more information. It is worth noting that Plexiglas, because of its flexible nature, can easily become dislodged from a frame if it’s not fit tightly to the inner frame rabbet, especially on large paintings. If glass glazing is used, it is helpful to use a glass-skin over the outer glass layer to protect the artwork in the event of breakage. This is similar to the protective film found on most new appliances when purchased and is available from many shipping supply companies (such as Airfloat Systems). It’s easily removed with no effect to the glass, and it helps to hold broken shards of glass from falling against the pastel painting should the glass becomes broken in transit (Note that this is not advised for museum glass).

Be sure to check back next week for Part 2 of this discussion.

Keeping Things Clean

2008-05-12T11:58:13.8120000-04:00

Pastels are messy; there's no way around it. The pigment creates dust and easily migrates to other surrounding surfaces. Just as a variety of wet pigments produce gray (or mud) when over-mixed, so too does the pastel dust. Since I don't appreciate the deception of a pastel stick appearing one color and ending up another, I've developed practices that keep my sticks as clean as possible.

The two biggest factors involved in this are one, the storage/carrying box, and two, our hands. If a pastel storage container allows for movement, the sticks will inevitably bump into each other, creating contamination. The more stable your pastel case, the cleaner the contents will be. This is another reason for segregating your colors and values into close relationships. With the variety of travel pastel boxes available, it's easy to find a strong case capable of sandwiching your pastel sticks securely, providing a minimum of movement when transported. Another storage method is plastic containers with airtight lids. Fill these with a moderate amount of rice or corn meal and place the individual sticks in the container. The grains act as a cushion and natural cleaning agent. This is also employed for cleaning pastels that become contaminated. Place them in the container with the grain and gently shake the contents. When you remove the sticks, they'll be clean.

Since I use a travel pastel case for my pastel palette (click here to refer to my previous blog on my palette), I experience little migration of pigment, meaning infrequent cleaning. A useful method, short of removing all the individual sticks, is to place a window screen (available at most hardware stores) over the open case and gently vacuum (see photo). This pulls the loose dust up and out of the case, helping to keep the contents fresh and bright. Make sure the vacuum has a micro-filter and doesn’t blow the fine pigment dust out the exhaust. Airborne pigment is the major health concern for pastel artists, so use caution.

Another useful habit is to keep a Viva-brand paper towel in your non-painting hand. When finished with an individual stick, tap it against the towel (gently cleaning its surface) before placing it back in the palette. Then wipe your hand on the towel before picking up the next stick. This diminishes cross-contamination from your hand, keeping the sticks clean.

By utilizing these two procedures, I find it necessary to remove all the contents of the pastel box only once a year for a thorough cleaning. And I have the added benefit of knowing what the pastel stick really looks like; no wolves in sheep clothing for me!

An Artist's Signature

2008-05-05T11:36:58.4810000-04:00

Placing your John Hancock on a painting is the ultimate statement of pride and ownership. Some artists choose to prominently display it for the whole world to see, while others opt for a subtle approach, making it barely visible. Like so many aspects of paintings, it's personal.

The signature is a natural part of the visual composition and should be thought of in those terms. The main things to consider are placement, size, value, color, style and content. Traditionally, the lower right-hand corner is the spot for the signature. When we read a written page, we end at the bottom right; thus this location feels like a natural end-point in Western culture. If, due to the content of the composition, this isn't a suitable location however, look to the lower left, and then consider the upper right and left corners. Remember to consider the matting or frame when positioning; otherwise, you may be cutting it off or setting too close to the edge.

The size of the signature definitely makes a statement, and moderation is recommended. You want the viewer to see and appreciate the painting before your name. If it can be read from across the room, it might be too large. The value and color of the signature should complement the painting. I recommend choosing a value either slightly darker or lighter than the surrounding area. For the color, I prefer something neutral that pertains to the dominant color scheme of the painting. Historically, a popular color choice was red, which could be near the value of the area upon which it would rest, yet stand out and be recognized. It was especially useful for the illustrative market as red photographed darker in black and white, making it stand out when reproduced.

The style of a signature also makes an artistic comment. The two extremes are the signature as handwriting and block printed. A beautifully hand-scripted signature relates the flair of the artist it represents, just as our individual signature does. The simple block printed signature makes for an unobtrusive, easily read, statement of authenticity. I have used both, migrating to the simpler blocked style over the years. Placing your full name or just the last name is again a matter of personal choice. What is advisable is to never use just a first name or nickname. This informality lowers the viewers respect for the piece. In the past, due to gender bias, many women used just their last name as a way of increasing sales and desirability, as the market would accommodate higher prices for works by men over women. Hopefully, this is no longer a concern.

When signing our pastels, a few methods may be employed. Pastel pencils offer a ready tool in a variety of colors and values. Harder pastel sticks can be sharpened to a fine point facilitating easy application. Even a simple carbon pencil can do the job (The photo shows a drawing pencil, pastel pencil and hard pastel sharpened to a point; all good options for your signature). If there is a heavy build-up of pastel in the area where you wish to sign your name, you might have to use a softer pastel stick. This isn't easily accomplished when a delicate aesthetic is desired. A light spray of fixative to the signature area, or a gentle scraping off of some of the pastel may prove helpful.

Whichever style or method you choose to use for signing your pastels, do it with pride. You deserve the credit for having created something for the whole world to enjoy. Bravo!

Check out my latest "Pastel Pointers" column in the May/June issue of The Pastel Journal.

Seeing Red

2008-04-29T13:42:21.4780000-04:00

One of my favorite sayings about art is: "Color gets the glory and value does the work." Most of us love color. We're drawn to it hoping to accomplish something expressive in our paintings. However, if the value structure (the relative lightness and darkness) is wrong, all the pretty colors housed in our pastel cases won't work, and the painting will fall short. If you're one of the fortunate painters that has a keen eye for value—congratulations! If, on the other hand, you're among the many that work diligently analyzing value ranges, I have a couple of tips that might help.

First, convert your reference to a value scale. If you're working with photo reference, you can digitally convert it to a gray scale and remove all traces of color. This will instantly show you the value relationships of all the individual elements in the scene. Another option, if you have a color photograph, is to scan it into your computer and then convert it to gray scale or go down to your local copy center and use one of the better copy machines. This isn't as accurate as converting your own digital files but still serves a useful purpose. Remember that any photographic reference has its limitations; value ranges are never exact to what the human eye is capable of seeing. Shadows are often extremely dark and lights get blown out. So use these black-and-white representations as a generalization.

Second, when you're working from life, employ a piece of red plastic. Red has its limitations but serves well for most outdoor situations. The majority of landscapes are saturated with green, blue, and gray, allowing the red plastic to neutralize the color and producing a monochromatic image in appearance. When painting in the Southwest, which has bright reds and oranges, green plastic is useful. Holding this up and scrutinizing the scene, as well as your painting, will help remind you of the relative value range. This allows us to use all the color we wish without compromising the structural form. For travel, I clip a square of red plastic onto a plastic viewer (see photo). These viewers are available commercially. The versatile “Picture Perfect 3-in-1 Plus” viewer can be found at www.pictureperfectviewfinder.com.

Though far from 100 percent accurate, these exercises serve as helpful tools in removing the stimulation of color, and have helped many a value-challenged artist produce strong sound work. With practice, you'll acquire the ability to intuitively access value. In the meantime, “seeing red” can really help.

Check out my latest "Pastel Pointers" column in the May/June issue of The Pastel Journal.

A Little Black Tape and a Signature

2008-04-21T11:27:31.2760000-04:00

Even with the best of intentions, it's easy to overwork a painting. We become so involved in the process with new ideas emerging, we over fuss and miss the best stopping point. Clever methods can be employed to put the brakes on. Here are a couple of my favorites.

The first is placing a signature on the painting when it reaches a point of having merit. This simple act can have a profound effect on how you view the painting as you continue to paint. It makes a statement that you are proud of the piece and are accepting ownership. Because we work in pastel, it's easy to grab a pastel pencil or even a drawing pencil and place your mark. Later if you wish to move it or change its appearance, it's easily smeared and lifted, allowing for adjustment.

A dear artist friend of mine, Marge Levine, exposed me to the second tool one day during a plein air workshop I was giving. After making the rounds a couple of times, I noticed that her pastel painting had acquired a clean black border. I was amazed at how my attitude towards the painting changed when I saw it presented cleanly, much the way a slide is presented in a juried event. The dirty smudged and ragged edges were gone and the painting felt finished. Marge explained that it was pH neutral masking tape and was available from most fine art stores. If there is a slight margin around the painting, it's easy to run a strip along each side, quickly representing a framed appearance. In the past I had relied on studio frames when working indoors, old knock-a-rounds that could easily be placed for a finished effect. With the tape, however, it's easy to pack a roll to take out on location and have the same experience.

Both of these tools have become an intrinsic part of my working method. When I feel a sense of accomplishment with the painting, I stop and place my name. Then out comes the pH neutral black masking tape (The painting pictured here shows the black tape, and features a simple pencil signature). Suddenly, a clean presentation is before me. I look at the painting differently. Its context has changed and I find I'm near completion. The exercise reminds me of an advertisement for insurance I saw years ago. It was a two-page ad. The first showed a messy attic with items strewn around in varying stages of disarray. In the corner you can make out a painting falling out of its frame and covered in dust. On the next page you see the inside of a fine museum with the same painting hanging elegantly on a well-illuminated wall with the caption: “It is all about the context in which it is viewed."

See my latest "Pastel Pointers" column in the May/June 2008 issue of The Pastel Journal on sale on the website this week, and on newsstands May 13.

Pushing Around Pastel

2008-04-14T11:12:56.2800000-04:00

"Ay, there’s the rub." —Hamlet

To rub or not to rub is a personal artistic choice. Different surfaces, pastel brands and tools will create varied results. Experimentation is always recommended. When choosing a tool, many simply use the most convenient—the hands. If you do use your hands, you should employ some precautions. Sanded surfaces can be especially brutal, often leading to major skin abrasions, and you want to avoid any chance of assimilating any toxic pigments into the bloodstream. Artist barrier creams, such as Gloves in a Bottle, are helpful and should be applied in advance of a painting session. Latex gloves are another popular solution. Personally, I've never been able to get use to the feel of gloves when painting, so I opt for the barrier creams and frequent hand washings.

Other favorite tools for rubbing include a leather chamois, foam packing peanuts, plastic grocery store bags, foam pipe insulation and paper towels (see photo above). When using a leather chamois, you'll find that it responds very similarly to human skin. Since it becomes dirty easily, frequent cleaning is a necessity. Holding on to one corner, beat it against a rigid surface—and be careful not to inhale the dust. Foam packing peanuts, foam pipe insulation and plastic grocery bags share a commonality: They don’t pick up a lot of the pigment; they tend to push it into the surface, instead of wiping it off. Artist Terry Ludwig, maker of Terry Ludwig pastels, introduced me to the foam pipe insulation a few years ago and it has become a personal favorite. Simply tear off a little piece (a tube from the hardware store will last a lifetime) and push the pastel around as if you were using a brush. A general softening will occur with minimal dusting.

Paper towels have been another favorite of many artists and, without a doubt, Viva brand is the most popular. Once the towel is allowed to pick up a little of the pastel off the surface, it becomes a very useful tool for softening and smearing the pigment into the surface. I keep a piece in my left hand at all times and gently tap the pastel stick I'm using against it before returning it to the palette. This habit has helped to keep my sticks clean.

The physical action of pushing, smearing and rubbing pastel can create a soft, ethereal quality often associated with the medium. For this reason, many shun the practice and prefer layering one pastel color on top of another, producing considerable vibrancy. Just as wet paint worked with a brush produces a soft, melted appearance that can easily become muddy, so too can an over-rubbed pastel. Yet, there are times when a softened appearance will strengthen the finished statement and serve the purpose of an underpainting. For these reasons, pastel artists will continue to experiment with an array of objects to spread, smear and rub the pastel around their working surfaces, often leading to fascinating techniques and beautiful outcomes. If you have a special way of pushing the pigment around, please post a comment. (To post a comment, click the Comments link below. It will prompt you for your email address, but it isn't required to submit.)

When Homemade Is Best

2008-04-07T13:28:25.2260000-04:00

We're fortunate to be painting in a time when there are so many wonderful pastel surfaces commercially available. In the Dark Ages of pastel—not so long ago actually—it was a necessity to know how to make your own, especially if you required a sanded surface. But even with the proliferation of available surfaces today, there are times when a homemade surface fills the bill.

To create a homemade, sanded pastel surface, you'll need the a substrate and the ground components (binder, grit and, optionally, a tone):

Substrate: This is the surface that the abrasive material will be adhered to. The major consideration here is the archival nature of the product. Heavy paper or hardboard surfaces are favorites. When choosing a paper, make sure it's strong enough to withstand your technique and the wet application of the sanded grit. If it's too thin, it will buckle and warp. This can often be remedied with a thin application of acrylic binder to the backside. Watercolor and printmaking papers of 100% cotton-rag content work well. If a rigid surface is your preference, wood-fiber hardboards or Gatorboard will be more to your liking. Both of these substrates should be sealed first with a coat of acrylic to protect the surface from acidic migration over time. A quick coat of acrylic gesso or painting medium will suffice. Apply the sanded grit and you've produced a rigid pastel sanded board that's easy for travel and easy to frame.

Binder: An acrylic polymer works well. Strong, yet flexible, it holds the grit and dries quickly. Acrylic gesso produces a white surface that's nice for most underpainting techniques, and acrylic painting medium can be used when a clear solution is preferred. These can be used full-strength, producing more textured results or thinned slightly with water to smooth. Many artists enjoy using creative brush strokes when applying the ground mixture, as they utilize the brushstroke texture in their finished work.

Grit: Traditionally, pumice or Rottenstone powder have been the grits of choice. Pumice comes in varying degress of coarseness: 2F, 3F and 4F are the most widely used. Experiment to see which works best for you. Pumice can be found in most hardware stores and many art supply stores, such as Dakota Art Pastels. Marble dust (calcium carbonate), also available at most art supply stores, can be used when a softer grit surface is desired.

Tone: Toning the surface is achieved by the addition of any acrylic color. Remember that acrylic dries slightly darker than it appears when wet. Mix colors together until a desired result is achieved.

Finding just the right proportion of the above ingredients in your ground mixture is an individual choice. I recommend starting with 1 cup of binder and adding 3 tablespoons of grit. Weaken this with as little water as necessary; too much water and the binder may be broken, compromising the adhesion. Test this result, and then adjust the proportions to suit your needs.

The mixture may be applied in a variety of fashions. A smaller paintbrush will produce more brush tracks and texture, while a larger brush will provide a more even application. Bristles brushes tend to create a slightly uneven appearance while nylon brushes produce more uniformity.

My favorite homemade surface is on Gatorbaord using a ground made up of acrylic gesso and pumice, toned with either a warm brown or a warm green acrylic (see photo of materials and finished boards). If I need a black surface, I use acrylic medium and black acrylic paint with the pumice. I prefer to brush it on using a soft bristle brush, alternating the application direction between layers. This produces a soft woven appearance similar to portrait grade linen.

Feel free to experiment. Try new surfaces, binders, grits, and tones. The bonus to a homemade surface is it allows us to accommodate our individual style, and we don’t have to worry about them being out of stock or discontinued!

If you'd like to read more of my thoughts about choosing supports and my favorite recipes for ground mixtures, see the special report "From the Ground Up" in the August 2006 issue of The Pastel Journal.

Using a Color Wheel to Make Color Choices

2008-03-31T11:22:07.3130000-04:00

We all love color. It's one of the most seductive components of painting. When used with understanding and sensitivity, it can lead to successful results. When left unchecked, on the other hand, it can easily become disturbing and appear artificial.

As I discussed in previous blogs, pastel artists can gain considerable color confidence by experimenting with mixing paint, and studying the science of color theory. This is not to encourage a dependency on a mechanical system but rather to better strengthen the intuition we use when painting.

When we look at our subject matter, things share a relationship. Objects relate to each other, sharing the same light source (see my earlier blog on this). This produces a natural harmony and a sense of rightness. Since painting is an illusion, a trick if you will, we have to capture that natural sense to the best of our ability, and we're hindered by visual prejudice. We associate colors to objects and let that symbolic association guide us when making color choices. Skies are blue, trees green, and people pink. A color scene, arranged from a color wheel, can help in making harmonious color choices.

Many commercially available color wheels have common color arrangements indicated, such as analogous, complementary, triadic, and split complement (discordant). By choosing a dominant color for the painting, and selecting it on the wheel, we can quickly see these relationships and make our pastel selections accordingly. However, the color wheel is not the absolute truth, telling us what colors we must choose, but a tool. By employing these color schemes, color confidence will be built—leading to a heightened sensitivity for the natural color harmony all around us. Many of us remember the first time we painted a hillside with the guidance and influence of an instructor. Our eyes were opened to the variety of greens before us. After that experience, it became easier to witness these subtle variations.

By employing a color scheme derived from a color wheel, you'll be able to strengthen your natural intuition and, after time, be able to simply experience the scene and make wise choices. This will lead to a successful harmonious outcome.

My painting, Fall Textures (above; pastel 12x16), used a color scheme of split complement (discord). Dominate colors are purple, blue-purple and red-purple. Complementary colors are yellow-green, and split-complements (discords) are blue-green and yellow-orange.

Which Color Wheel to Use?

2008-03-24T09:58:12.5380000-04:00

As discussed in the previous blog, understanding color theory and how it applies to our paintings is invaluable. I'm not going to attempt to explain every theory associated with the study of color. What I would like to share is an explanation of the basic artist's color wheel and how it can be used to strengthen our paintings. Since pastel artists don’t have to mix individual pigments to achieve a variety of hue, value and chroma, it's easy to ignore this information, often leading to disastrous outcomes.

Arriving at the art store and confronting the color wheel choices can be daunting. The most prevalent is the simple Triadic wheel with its three primary colors. It has worked well for centuries and is a good place to begin. Its primaries of yellow, blue and red are easily understood and simple to apply. There are many commercially available Triadic wheels on the market with most showing complementary, analogous and split complementary (or discordant) color relationships.

The other color wheel you'll run across is the Munsell. Around the turn of the last century, a problem occurred when printers attempted to reproduce a full spectrum of color in printing. They simply couldn’t do it with the three basics from the Triadic wheel. This led Professor Albert H. Munsell, through study of “human visual responses to color," to create what's referred to as “a color space,” consisting of three-color dimensions: hue, value (lightness) and chroma (color brightness or purity). He concluded that to represent color accurately, there had to be five primary colors: yellow, green, blue, purple and red. This led to the adoption of cyan, magenta, yellow and black (CMYK color space) for printing. Cyan is a blue-green, magenta is a red-purple, and with yellow, they represent the five primaries he advocated. This is still the system used in all press run printing today.

Whether you choose the Triadic or Munsell color wheel, acquiring an understanding of color relationships will prove a worthwhile exercise. In the next blog I'll discuss color systems from the wheel and provide a few tips for using them to create stronger paintings.

The Triadic wheel (shown in the photo) is available from The Color Wheel Company (Tel: 541-929-7526, www.colorwheelco.com). The Munsell Analogous Color Wheel from is available from Art Video Productions (Tel: 877-227-8843, www.artvideo.com)—sold by Dakota Art Pastels.

Color Confidence

2008-03-17T17:01:59.5960000-04:00

Pastel by its nature facilitates a spontaneous application of color. Being a dry medium, mixing is achieved by layering one color over another. This dry mixing is incapable of duplicating the subtlety and variety of wet paint. For this reason an assortment of individual colors, chromas and values are needed. Otherwise we’re limited in our ability to accomplish the full spectrum of other art media.

As pastel artists, it’s in our best interest to acquire knowledge of how colors interact when mixed. The first step in gaining color confidence is to develop an understanding of the color wheel. It shows the relationship of individual colors derived from light (Sir Isaac Newton in the 17th century proved scientifically that light held the full spectrum of color). Today there are two common wheels in use: the “Triadic,” which consists of three primary colors, and the “Munsell,” which consists of five (I’ll discuss in-depth their individual characteristics in next week’s post). A few of the relationships we need to understand are: analogous, complementary, split complement, and discordant. Having an understanding of these and how they create different effects in our paintings will help us to better control the appearance of color and create color harmony in our paintings.

Even if you never plan on painting with anything but pastel, it’s advisable to experiment with wet paint. As any wet media artist can attest, learning how to mix individual hues to arrive at specific tones takes trial and error. Individual pigments have their own personalities and, when mixed with others, often lead to exciting outcomes. If you’ve never worked with a wet medium, I recommend oil. It stays wet and allows for prolonged mixing and experimenting. Buy a minimum of four tubes: yellow (cadmium yellow light), red (cadmium red or napthol red), blue (ultramarine blue), and white (titanium or a mixed white). Other combinations may be used, but these colors work well and are readily available at most art supply stores. Place them on a palette; glass works well and is easily cleaned. Then, experiment—play and mix with abandon, taking note of the effects. Over time you’ll become more comfortable with the characteristics of color, leading to a stronger intuitive response when next you work with dry pastels.

In the photo above, I’ve arranged mixed colors that represent the color wheel on a glass palette. I mixed them all using one yellow, red and blue. I added white around the perimeter and colors were mixed across the wheel in increments to show the natural graying of complementary colors.

When There Is Simply No Replacement

2008-03-10T10:39:49.8410000-04:00

We're fortunate to be painting at a time when there is a wide variety of pastels available. Being able to select from the diverse offerings of many manufacturers allows for considerable flexibility within our individual techniques. Organizing brands for storage and keeping track of our individual sticks within a working palette is when the problems arise. One brand of blue can look very similar to another. Finding an exact replacement when a stick wears down can prove to be very frustrating, leading to many hours of searching—time that could be, and should be, spent at the easel. I've implemented a few simple procedures into my pastel workflow, which has made things a little easier.

To begin with, when placing a new stick of pastel into action, break it into a usable size (refer to my September 3rd blog entry) and keep the remaining piece within its wrapper. (See the photo showing drawers of half-stick pastels with their original wrappers.) Most pastels come with a label identifying the pigment by name and by a numeric code. By retaining the other half of the stick, it's easy to match the little piece in need of replacement. Since some pigments are very similar in appearance, and some sticks come with a slightly off-colored outer-shell (due to the migration of binder to the outer surface during the curing process) it's helpful to make a mark on a paper surface for a better match. Another strategy is to acquire the printed brochure for the pastel line and mark the ones in use. Spending a few minutes highlighting the pastels in use makes them easier to track down when replacing. Since these printed brochures are rarely accurate, a handmade color chart becomes an even better form of identification. Dakota Art Pastels has done the hard work for us by selling handmade color charts of the major brands (see photo).

Another tip is to heavily weight your pastel palette to one brand. If a palette consists of a full set of one brand, make note of it, then supplement with the other brands to fill in the missing pieces required for your working style. Make note of these extra additions on a piece of paper with the brand, individual stick name, and code information from the label. When you notice a stick wearing down, start the search with the majority brand. If not found there, refer to your extra pastel notes for the others. After working with a specific palette, you'll find favorites, which you'll rely on more than others. If a specific pastel becomes a favorite, or you notice that it's being utilized a lot, it's wise to buy duplicates. Having a few of these old friends set aside in case manufacturing changes occur will keep your paintings flowing, uninterrupted. I'm not recommending you hoard pastels—although you may want to watch for the yard sale to be held after my demise.

Turning the World Upside Down

2008-03-03T12:07:38.9030000-05:00

One of the issues we deal with when painting is allowing ourselves to see without prejudice. Our eyes work in unison with the mind, and other senses, compiling visual information into something understood. Think of the eyes as the camera and the mind the processor. The eyes focus and adjust to varying lighting conditions allowing a visual arrangement of shapes, values, and colors to be processed by the brain. Once recognized, the brain associates something known to these images and we relate our understanding to them. This is where our experiences join with our emotions to form prejudice. The older we become, the more our brain (the hard-drive of our beliefs) becomes filled with bits of information. Children’s brains, having been unexposed to visual bias, see things fresh and anew. We glace at something and without even pausing, associate a definition to it whereas a child will pause and ask: What is that? Our symbolic association leads to overstated detail and exaggerated definition in our work; we paint what we believe is there instead of really seeing.

To clean up our mental hard-drive and allow our internal computer to work efficiently, try this simple trick—look at things upside down. By observing subject matter in this way, the mind is unable to quickly associate its prejudices to the visual symbols the eyes are sending. This allows us to see the simple shapes, values, and colors, leading to a stronger painting that relates better to the natural world. When painting from printed reference material, turning the reference upside down easily facilitates this. Working on location, or from life, is harder unless you're able to bend over and look through your legs for prolonged periods of time (something I gave up years ago). This is when a mirror comes in handy. Often used to look back over our shoulders to reverse the painting, it allows us to see lateral distortion (another big issue). It can be placed against our foreheads and angled so that when we look up into the mirror we see what lies in front of us, upside down. I use an automobile clip visor mirror found at most auto/variety stores. Inexpensive and portable, this mirror goes with me when I work en plein air as well as back in the studio. With practice, we internalize this simple visual information and become less dependent on a prop, evolving into the intuitive painter we all aspire to be.