Indholdsfortegnelse for May/June 2019 i The Pastel Journal

Once upon a time, I thought I wanted to be a history professor. Sometime in my second year of graduate school, I was talking to a friend who could tell I wasn’t happy. “Is this really what you want to be doing?” he asked. It was a simple question, but to this day I’m not sure that I would’ve ever stopped to ask it if he had not. Once I did, I promptly redirected my plans accordingly. So much of my life is spent busily checking things off my to-do list that it’s very seldom that I take time to pause and consider: Is everything I’m putting on this list actually important? In order to do any sort of evaluation —whether it be a review of one’s life or perhaps…

Red is effective for modifying colors in the green family, because the two colors are complements. On the left, I’ve taken two values of red—a dark, warm version, and a light, cool one—and have used them to modify two different values of a yellowish-green. The first row shows how a dark warm green can be modified; the second, a light yellow-green. On the right, I’ve taken the same two values of red and have used them to modify two different values of blue-green (Blue Earth’s turquoise). The first row shows how a dark turquoise might be modified; the second, a light turquoise. Using one value of red to modify the same value of green results in a smooth, optical blending of color. On the other hand, using one value of…

• Terry Ludwig pastels (270 sticks) • Heilman pastel box • Manfrotto tripod • Joshua Been upright panel holder • Easel Butler • 9x12 Ampersand Pastelbords (200). To avoid carrying 200 boards, I arranged for packs to be shipped in advance that I could pick up at stops along the route. • Under the Weather pop-up photopod • One set of clothes plus one extra base-layer, 2 extra pairs of socks and underwear • Two pairs of trail shoes • Camping equipment (minimal) • Radical Wheelie V Traveller. The total weight of my supplies exceeded my original estimate and was getting well above the weight that I wanted Dupon to carry, so I purchased this hiking “trailer.” With it, we were able to pull 80 pounds of gear. My husband…

As the 2019 Annual Exhibition wrapped up for The Pastel Society UK (the society’s 120th), the growing strength of entries became clear to President Jeannette Hayes: “Submissions are always strong, and this year’s were particularly so. Selection is difficult, and hopefully we get it right.” In the end, 281 artworks were on display, 101 submitted by nonmembers, and 18 awards were given. Hayes says there was representation from international artists, emerging artists and artists doing large-scale works. The exhibition took place at the Watts Gallery Artists’ Village in Surrey, England—a significant location for the society, as G.F. Watts was both the founder of the gallery and one of the founding members of the Pastel Society in 1898. The current director, Alistair Burtenshaw gave the exhibition’s opening speech. One of the…

I wanted to paint big. As an architect-turned-artist, I continue to be fascinated by large manmade objects: buildings, bridges, earthmoving machines, trucks, trains. My ambitions were at odds, however, with my chosen medium—pastel. The heaviness of the protective glass, to say nothing of the cost, made large pastel works impractical. And then there was the transportation issue: I drive a MINI Cooper. I found the solution to these problems in the ages-old tradition of the polyptych, broadly defined as a multipaneled painting. As I later learned, the tradition arose in part as a practical response to the same problems I was facing. In the Middle Ages, for example, altarpiece paintings often were hinged to fold shut for protection (in Greek, “ptych” means “fold”) and to facilitate relocation from one place…

In pastel workshops, I like for participants to experiment, to explore the difference between good quality and budget quality, between pastels that are soft and buttery and those that are hard. I want them to discover the difference between cartridge paper, sandpaper and textured paper. Everyone has his or her own preferences. It’s about giving students the opportunity to experiment and discover. I never impose my own methods or say, “This is the only way to work.” 1. Experiment with different brands of pastel, paper and card. Each will affect the outcome. 2. Try and keep your colors clean. 3. Group colors together. I have separate boxes for mid-greens, light greens and dark greens, for example. 4. Keep a spare sheet of the same paper or card you’re using to…

• Your idea should be one that you believe in with your whole being. • Start planning at least six months before you launch a campaign. • It’s vital to communicate the idea clearly. • Offer great value and tiered rewards. • Identify interested groups and find the best ways to reach them and with the right message. • Form a small “mastermind” group to help you in your efforts. • Be prepared to work long hours during the campaign to keep up the communication with your target market. • Ignore all your doubts and keep going!…

The International Association of Pastel Societies’ website describes its biennial convention as “the biggest pastel party on the planet.” The convention will be held from June 4-9 in Albuquerque, N.M., where a pantheon of well-known pastelists will teach workshops and offer demonstrations. A trade show, known as the “candy store,” will showcase pastel goods and new products from enthusiastic suppliers. Five workshop scholarships, awarded by the Urania Christy Tarbet Legacy Scholarship, will be announced at the convention. For more information on registration or the class schedule, visit the association’s website at iapspastel.org.…

Step 1: I begin with a notan or simplified value sketch and transfer it onto UART 400 paper mounted on Gator Board. This helps me to begin to see the composition in terms of large shapes, a focal point and the directional marks that will attract and keep the viewer’s attention. I want to ensure that the fall of water doesn’t direct attention off the page or beg the question of its origin. I don’t need to include the entire fall from top to bottom in each composition, but I do need to design a scene that’s interesting and will keep the viewer engaged. At this point, I spend time thinking about the reference source and deciding what to keep, what to simplify and, on occasion, what to add. This…

When asked to describe what it is about pastel that draws her to it, Loes Botman says simply, “The colors.” She continues, “When I was about 11-years-old, I got my first box of Rembrandt pastels from my mother for my birthday, but when I was at the Art Academy we had to paint with oil and acrylic. I didn’t like it, but pastels weren’t common and were almost taboo. The teachers didn’t want to teach me how to draw with them. In the last year of school, when I had to prepare for the exam, I made my own pastels and made drawings 79x79-inches large.” Botman remembers needing to stand on a ladder in order to complete them. She decided to focus on pastels after her time at the Academy…