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Tag: Pastel Art Techniques Painting Landscapes & More
One of the events mounting excitement for the Pastel Society of America’s (PSA) “For Pastels Only” exhibition is its painting raffle, which offers the chance to win an original masterful pastel painting by one of today’s top artists in effort to raise funds for the PSA School. Find out where to get your tickets here.
The conversation on stretching and mounting paper continues with a couple of methods of mounting pastel paper that avoid an investment in heat press equipment or a trip to a professional framer, which can prove to be expensive.
Today I had the pleasure of visiting our studio to take a sneak peek at the latest Artistsnetwork.tv video-workshop-in-progress: Stephanie Birdsall is filming demos in pastel and oil! Readers of Pastel Journal will be familiar with the artist’s subtle and stunning pastel still lifes, plein air …
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.
With an eye toward the spaces between forms, Angela A’Court creates pastels that are minimalist, modern and mesmerizing. View a gallery of her still lifes that didn’t make it into the June 2012 issue of Pastel Journal.
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.
Whether you’re eager to watch the new video workshops featuring Liz Haywood-Sullivan or get your hands on the gorgeous coffee table book, Art Journey America: Landscapes, or reader-favorite Pastel Pointers by Richard McKinley, there’s a pastel bargain waiting to be claimed.
At the end of last year, I posted a couple blogs about “Homegrown Surfaces” on December 12 and December 19. These covered the topics of substrates and the components required to make a homemade pastel ground. With the ever-increasing popularity …