Pastels are usually framed with a mat and spacer so why did I tape the border? I like a white mat around my pastel work. Normally, I would cut a mat and use a spacer to allow pastel particles to fall behind the mat and not ON the mat. But my new studio isn't set up yet and my Fletcher mat cutter is in storage so how to get the look of a mat without cutting a mat? Tape the edges and put the pastel directly against the glass. See the video.

underpainting

 I love this as a finished painting! 

But it is a detail shot of the upper right corner of an oil-wash foundation... 

the preparation for a pastel painting of the Pacific Northwest woods.

See the complete underpainting below.

spellbound

This painting is on blue Canson Mi-Teintes paper.  I prefer the "soft" side because I don't want the pattern of the paper to be a part of my painting. Canson Mi-Teintes holds much LESS pastel than my favorite sanded surface, Wallis. There is not much room for playing around with colors and shapes because the tooth of the paper is full before you know it and won't hold any additional color. When I taught workshops, this is the paper I started my students on and using it again was a good exercise for me because I was forced to work slowly and more thoughtfully.

june

This painting began as part of the five-artist demo at the American Art Company Gallery. I have been looking at it on my studio easel for a week. There was a one square inch area that bothered me (unfortunately, I don't have a photo of how it looked) so last night I began to paint on it again. The longer I worked on it, the more I felt the life of it slip away. I don't know how else to describe the feeling...it wasn't alive to me any longer - it was just a surface of unrelated marks and color so I washed it off and began again.

I wouldn't say I brought the original painting back to life, I would say a new painting, with a new message, was born.

This morning I ran across an explanation of painting on fb that rings true for me from artist Dan McCaw:

'I think about painting like sculpting, you add, you take away until you feel some connection, something that feels right, something that helps tie one thing to another and starts to hold your interest, something that surprises and makes you engage.'

pswc demo

I'm back from my Leap-of-Faith Abstracting Demo for the Pastel Society of the West Coast at the Haggin Museum in Stockton, CA. If you are anywhere in the area, I encourage you to see the show - every piece is worthy of an award, I'm honored to have been included in the show and to have received the Atlantic Papers Award.

34 to go

One down, 34 hometown marshland thumbnails to go....oh, maybe not really that many but enough for a series of paintings from this photo shoot.  How many is a "series?" Maybe it is however many it takes to get bored with the subject. "Hometown Marshland," 13 x 13 inches, pastel on paper.

added color

It poured down rain all day today as I painted in my studio. Maybe that's why this scene is more colorful than the subdued hues I talked about in my last post - the one with the reference photo.  Overall, I think it is improved but it isn't as loose as the plein air version and loose is good. If you want to see the workshop version, scroll down to August 3.

framing day

Every once in a while I have to stop painting and frame completed pastels. I love to see the work all lined up, ready to go to shows and galleries. It is a good time to clean up my pastels, vacuum the studio and start again - maybe in a different medium for a while.