The Pastel Pointers Blog

Seeking Shade

Tue, 15 Jul 2008 22:27:31 GMT

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

Mon, 07 Jul 2008 18:42:46 GMT

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

Mon, 30 Jun 2008 15:13:34 GMT

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

Mon, 23 Jun 2008 16:20:54 GMT

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

Mon, 16 Jun 2008 12:34:54 GMT

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

Mon, 09 Jun 2008 18:43:17 GMT

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

Mon, 02 Jun 2008 20:58:39 GMT

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

Tue, 27 May 2008 20:11:09 GMT

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)

Mon, 19 May 2008 18:18:37 GMT

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

Mon, 12 May 2008 15:58:13 GMT

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

Mon, 05 May 2008 15:36:58 GMT

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

Tue, 29 Apr 2008 17:42:21 GMT

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

Mon, 21 Apr 2008 15:27:31 GMT

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.