Many painters like to listen to something while working. Many find classical music to their liking, while others prefer a wide range of musical genres, ranging from folk to country-western. A few even prefer hard rock or rap (a bit extreme for my painting needs). The tempo of the music helps with the application of the medium and sets a mood. Besides music, talking books, talk radio, or television playing in the background can provide sensory stimulation. These non-musical background sounds may help distract the analytical over-thinking part of our brains, allowing for a more intuitive response to our paintings.

There are reasons why one works well for one person and not another. We are all different. We have different attention spans, different temperaments, and different ways of painting. These audible influences can play a big part in our work, providing energy, rhythm, mood and distraction, which translate into our finished paintings.
 
When working en plein air, the surrounding sounds provide the stimuli. Birds chirping, water gurgling, and the wind whispering all add to the moment. Only when the outside noises distract from that environment, like a busy roadside or crowds of people, does the need for artificial sound become necessary. If you don't want to be disturbed, wearing headphones (even if the player is turned off) can prove helpful. With the proliferation of digital music players and online music archives, it is easy to travel with your entire music library in the palm of your hand. No more records to change, CDs to switch, or tapes to untangle.
 
Experiment with a variety of sound influences. Over time your individual working style will emerge. You will find what works best for you. Master pastelist Albert Handell often listens to opera in his studio. When I painted with artist Glenna Hartmann on location, she wore a small digital music player and listened to folk music. Personally, I prefer classical music, with a bent toward the Baroque and Romantic periods. Chamber music fits better than high symphonic. Even the individual instruments can have an effect. The piano relates to the “stroke” application of pastel, while string instruments, like the violin and cello, are better suited to the “swipe” of the pastel stick. Occasionally, contemporary dance music of the “trance” genre gets me going by providing an energetic beat. Other times a background movie on a TV provides the cerebral distraction I need to avoid over-thinking. It all depends on the day and individual painting.

What do you listento while painting? I encourage you to share your personal sound choices by posting a comment.

I received a message via email from a beginning artist out of Pueblo, Colorado, looking for advice on stain removal:

"I became enthralled with pastels last April. Being a beginner, I had no idea that once pastel hit clothing (or practically anything else) it was pretty much there for good. So, several weeks after I converted a guest room to a studio, and after dropping two pastels (fuchsia and dark turquoise) and crushing another (the darkest purple) into the carpet with my studio chair, I have a concentration of brilliant color on my carpet! Vacuuming with the hose attachment brought up a lot of the loose chunks and dust. But now I’m afraid I’ll ruin the carpet if I try any liquid to remove the rest. And then what? Is tearing out the carpet my only solution?"
 
Every pastelist has felt like Lady Macbeth at some point. Lost in our world of painting, we overlook that shard of pastel that has fallen onto the floor or not noticed that smudge that has soiled our clothing, leading us to the desperate plea of the Scottish queen. The best way to avoid this is to protect the floor (especially carpeting) or our clothing in advance. Cleaning these pastel incidents can prove to be a chore. Pastel is almost pure pigment. Some are dyes and capable of intense staining. The first consideration is to pick up as much of the pastel as possible. A good vacuum will suffice. If one is not at hand, try using a strip of strong masking tape. Fold the tape over, sticky side out, and dab. The adhesive will lift a considerable amount of the dust. When using a vacuum, make sure it has a good filtration system; otherwise, the exhaust from the vacuum will blow the minute pastel particles back into the air, creating a health hazard. If the pastel is ground well into the surface, try gently brushing the area after lifting with the vacuum or tape. A fine soft toothbrush or even a paintbrush will work well. Once loosened, lift the dust again with whatever procedure you are using.
 
After working on the stain dry, a wet means of cleaning may have to be employed to further lift the stain. With clothing, this is a simple exercise. Be sure to read the fabric care label for precautions before treating anything valuable. Treat the affected area with a stain remover in advance of washing. The best I have found is Mona Lisa Pink Soap. I acquire this locally from an art supply store. It has removed almost all pigment- and paint-related stains. Wet the area and gently apply a liberal amount of the pink soap. Let this sit for a few minutes and then wash the garment before the soap has a chance to dry. Carpeting is a more complex issue. It is easy to permanently set the stain into the surface, requiring carpet replacement. It is best to employ a professional carpet cleaning service when dealing with carpeting. They are trained to deal with complex situations. If you wish to attempt the stain removal on your own, I recommend using a procedure similar to clothing. Wet the area and apply the pink soap, gently brushing to loosen the pigment. Blotting with a damp cotton rag or sponge. This may have to be repeated quite a few times before the stain starts to lift. Another option is to use a small wet/vac designed for carpet cleaning. Bissell makes a couple of units that are designed for small carpet stains, usually associated with pets (the Spot Lifter 2X and Spotbot Pet). These units work very well. The carpet cleaning solutions they employ are very efficient at lifting most stains. The nice feature of these units is they have the added effect of lifting with the vacuum power while wetting the area with cleaning solvents. There is no guarantee that the pastel will come out completely, but with a little precaution in advance and good stain removing skills, Lady Macbeth may be kept at bay.

As we begin a fresh new year, a year of tremendous change, I would like to share some thoughts and observations. It seems that the shortest days of the year here in the States make me introspective. This is a time of year when I like to review the previous year's artistic endeavors. What went well and what could use some attention? What are my goals for the future? Glancing in the rearview mirror allows us to see what we have passed without taking our eyes off of what lies ahead.

As I ponder these questions, I'm reminded of some thoughts culled from an old art book I frequently review, The Painter in Oil, by Daniel Parkhurst, published in 1898. Even though, as the title indicates, it was intended for the oil painter, this book is filled with great information that pertains to anyone who paints. Here are a couple favorites: “There is a theoretical and a practical side to art. The business of the student is with the practical. The ideals of art are for the artist—not for the student. Talent is only another name for love of a thing.” When I read this again, I was reminded that to express myself well artistically I need to be able to see things accurately and to be capable of conveying them so they can be recognizable to others. Fancy techniques won't be enough to produce a good painting. I have to keep the eye and hand practiced, to be the constant student, keeping myself in artistic shape. Only then can technique express the ideas I wish to express. Talent is not a gift but a desire.

As the worries of the global economic problems unfold, it's good to remind ourselves of why we paint. As a dear art friend once stated, “If I never sell another painting, win another award, or get accepted into another exhibit, I will paint.” When we internally embrace that statement is when the real work of painting begins, reminding us that something much deeper motivates us to make marks for others to see. It becomes more than decoration, there is a purpose to it that fills our life. None of us wish for rejection. We want to sell; we want to experience the gratification of someone opening their wallet and parting with hard-earned currency. We revel in the exhilaration of being acknowledged when excellence is obtained, and we feel validated when our peers accept us into their circle. But, if these never happened again, we would still paint.

Historically, in times of crisis, art has been of great benefit. Whether as a form of escapism to help in dealing with everyday stresses or the realization of what an important aspect it plays in our common humanity, art serves a purpose. Even if it's a few hours a week spend enjoying the pleasures of raking a pastel stick across a surface, reading the new issue of The Pastel Journal, or 
visiting an art museum, we all feel better having art in our lives.

With this in mind, I offer this New Year's wish: May you continue on your journey to your artistic goals, enjoying the process as much as the end result.