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Author Archives: Richard
Pastel Pointers | Choosing Your Pastel Palette
One of the most frequently asked questions of any pastel painter involves the pastel palette and palette box. Somehow, we all assume there is some method that holds the secret to painting success. While this is far from the truth, a well-appointed palette certainly can make the task of painting what we see, and wish, much easier.
Pastel Pointers | Getting Started With an Underpainting, Part 2
One simple way to create a value underpainting is to use permanent India ink, consisting of carbon black, gum and shellac. Utilized since the Renaissance as a means for creating a permanent drawing in advance of over painting, a pastelist can dilute the ink with water to produce a variety of value washes. Once dry, various colored underpainting techniques can be applied without altering the underlying value design. If you plan to use water-based techniques over the value underpainting, be sure to obtain the permanent version of India ink.
Pastel Pointers | Getting Started With an Underpainting, Part 1
Starting a pastel painting with an underpainting is one of my favorite methods. It sets the stage for the subsequent applications of pigment and provides something upon which to respond. An underpainting can be both utilitarian and serendipitous in its intention. One focuses on blocking in the large value and color relationships, making it easier to respond with detail. The other provides a more accidental/spontaneous happening, which often leads to new creative possibilities. Marrying these two concepts into one application can be a frustrating procedure. Either a solid value/color ground is achieved and creative spontaneity compromised, or an exciting spontaneous underpainting is achieved and a solid value/color structure is lacking. With practice, though, these two concepts can come together into one underpainting but until that technical ability is achieved, there are a couple of techniques that can be employed that will provide a solid value foundation upon which a serendipitous application of color can be applied.
The Two T’s of Painting | Theory and Technique, Part 3 | Points of Interest
In addition to the essential topics of atmospheric perspective and the contrast effect, I want to discuss points (or areas) of interest within the confines of a paintings composition. Often referred to as focal points, these represent a center of activity, attraction, or attention in a painting—a point of concentration. They are a place where the viewer’s attention pauses before moving on. Without them, the viewer will not know where to look and quickly lose interest.
The Two Ts of Painting | Theory and Technique, Part 2 | Atmospheric Perspective
The Two Ts of Painting | Theory and Technique, Part 1 | The Contrast Effect
Learning to paint representationally can be separated into two basic studies: theory and technique. I like to refer to these as the two Ts of painting. “Theory” encompasses an understanding of the physics of the natural world around us, how we visually perceive it, and how best to represent it when painting. “Technique” encompasses the mastery of the necessary methods required to work with a specific medium, like pastel, which are as varied as there are artists. In a series of postings, I will revisit some of the major aspects of the two Ts. Part One will begin with the theory of Contrast Effect, which includes the visual phenomenon referred to as Simultaneous Contrast.
Posted in Art Demos & Techniques, Articles, Blogs, Medium, Pastel, Richard McKinley's Pastel Pointers Blog, The Pastel Journal
Tagged Pastel
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Pastel Pointers | Mitt Romney and a Lesson On Scale
The United States is firmly entrenched in another election year. Every four years, the nation endures nonstop ads, debates and policy speeches as it chooses the person it wishes for the highest office of the land, that of the presidency. While the majority of the rhetoric is easy to overlook, I couldn’t help being fascinated by the repeated statement from Republican candidate Mitt Romney, during the Michigan primary, about the trees in the state. “You know, the trees are the right height,” he stated, while referring to the nature of things in Michigan. As primarily a landscape painter, this got me thinking about the relative size of objects and how we relate to them. What is it that made those trees just the right height?
Pastel Pointers | At Work in Multiple Media
When artists first decide to paint, a decision is made as to what medium to use. Just like elementary school band class, a student is often encouraged to start with an instrument that will prove less intimidating, allowing for advancement as confidence is gained. For many aspiring painters, their first “instrument” is watercolor. Its ease of storage, cleanup and ability to be applied to inexpensive paper make it a great starting point. Some find watercolor fulfilling and never venture into another medium. Others eagerly move on to acrylic, oil, pastel and various other forms of expression until they find their personal favorite. Just like picking a subject major in college, it is good to experiment a little before settling down. No matter which medium you start with, there is something to be learned form the others. Even mature painters who are content with their chosen medium should still allow room for media experimentation. The nuances and techniques gained from the experience will ultimately improve their abilities and encourage discovery.
Posted in Art Materials & Tools, Articles, Blogs, Landscapes / Seascapes / Cityscapes, Medium, Oil, Pastel, Richard McKinley's Pastel Pointers Blog, Subject, The Pastel Journal
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Pastel Pointers | The Limits of Photography for Painters
As I was cleaning out the studio the other day, I ran across a page from an article I’d saved from a February 2006 issue of Time Magazine. The article, “Twilight of the Bad Boy,” was about artist David Hockney. Many years ago, I was fortunate to see an exhibit of his work in the Los Angeles County Art Museum and have been interested in his various projects since then. As I reviewed the single saved page, I was reminded of what had caught my attention. It was his feelings about the shortcomings of photograpy when it comes to representing the visible world. “The camera can’t see space,” he says. “It sees surfaces. People see space, which is much more interesting.”
Posted in Art Demos & Techniques, Articles, Blogs, Medium, Pastel, Richard McKinley's Pastel Pointers Blog, The Pastel Journal
Tagged Landscapes, Pastel
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Pastel Pointers | Shipping Pastel Paintings, Part 2
It is often said that paintings are analogous to children. Since we artists are the parents, sending our artwork/children out into the world, it is imperative that we bundle them up safely, worry just a little, and then patiently await their safe return. Accidents may still happen. That’s why we have insurance but hope we never have to use it!
Posted in Art Demos & Techniques, Articles, Blogs, Medium, Pastel, Richard McKinley's Pastel Pointers Blog, The Pastel Journal
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