Indholdsfortegnelse for September/October 2019 i The Pastel Journal

Simplicity. To take a complex idea or vision and reduce it down to its clearest form. That’s a goal that drives all kinds of creative thinkers—from writers and philosophers to scientists and inventors. Albert Einstein. Henry David Thoreau. Earnest Hemingway. Steve Jobs. They all had something to say about it. And it’s no different for the painter. Winslow Homer once said: “Never put more than two waves in a picture; it’s fussy.” Artists learn quickly that there’s a lot of power in simplicity, and strive—as they compose and create—to follow the familar adage: Less is more. How astonishing it is, then, to discover just how difficult simplicity is to achieve. “In mathematics the complicated things are reduced to simple things. So it is in painting.”—THOMAS EAKINS In this issue, we…

Erin Krakow is well known as one of the stars of Hallmark Channel’s “When Calls the Heart,” and I’ve drawn her many times. For this demonstration, I use pastel pencils—and the guidelines shared earlier—to render her likeness. Step 1: Transfer the Sketch I usually transfer the initial rough sketch using a projector, light table or transfer paper so the surface—in this case, Sennelier La Carte Pastel Card paper—is left undamaged from the early steps. Using cold gray 4, white and burnt umber (see “Palette,” opposite), I create the contour drawing framework upon which to build the portrait. Step 2: Identify the Key Features Once I’ve achieved the likeness in the contour stage, it’s important not to lose it, so building the key features first, such as the eyes, nose and…

These general guidelines apply to the proportions of most faces, and they allow us to measure the space between features and create a sort of road map to the face. Study the lines in the photos and the listing of key features to understand the basics. In this side-by-side comparison, the model is in profile as well as straight on. Closely examine the lines placed over these photos: the relationship between features such as the brow and lips, and that of the hairline, eye line and base of the chin. If you look at the lines indicating the top of the head (note that if your model has thick hair, this can be just below the hairline) and chin, you’ll see that the eye line is almost halfway between those…

“The first painting I did that had a lasting effect on me, from an emotional standpoint, was done in pastel. I’m sure that experience stuck with me and began my love for this medium,” says Illinois artist Michael Latala. “I was going to art school and living at home when a tragedy struck my family, utterly devastating my mom. The first thing I thought to do was to pick a rose from the yard, put it in a vase and paint it. I did this with the intent of giving her some comfort, and that has always stayed with me. I think, subconsciously, I paint to give people comfort by showing them what I perceive as beauty.” A Firm Foundation Having taken the advice of one of his junior college…

• Don’t be afraid of the dark. A lot of artists are afraid to put in those super darks, but they’re what add dynamism to a painting. Extreme contrasts draw the viewer’s eye. • Know the consistency of your pastels. It’s easier to work the harder pastels first. A soft, creamy pastel will go on nearly anything for those last touches of light, but fills the tooth of the paper much quicker. I favor Unison and Rembrandt because they’re in the middle range in terms of consistency. • Avoid overfilling the tooth of the paper. Sometimes less is more. It’s what you leave out that makes a painting. • Composition is key. Ensure it’s accurate before you begin painting. Also, keep in mind that angles create energy and movement.…

Selection jurors for the 34th Juried IAPS Exhibition included Liz Haywood-Sullivan, Sally Strand and Aline Ordman, with Andrew McDermott serving as the awards juror. French artist Liliane Desmaret chose awards for the 5th Master Circle exhibition, which was selected by jurors Frederick D. Somers, Terri Ford and Nancie King Mertz. “Because the work was master-level, selecting the pieces that truly shined was a difficult task, as each piece had its own merits,” Mertz said. “Thankfully, the three of us were very like-minded in our decision-making, leaning toward works that offered a unique exploration of the pastel medium, or work that pushed the drama or color.” Speaking on behalf of the panel, she added, “We ended our final three-day jury session with a sense of pride in our selections and a…

Many elements go into creating a successful portrait. But while we often spend a great deal of time and effort focusing on individual features, it’s the placement of those features that’s the most important principle in achieving a likeness. If you find yourself fixating on the details of a nose or mouth, stop yourself and remember that it’s the overall shape, form and placement of these features that are more important. This is why you can still recognize a friend from a distance or when she’s wearing sunglasses. It’s why, when your neighbor grows a moustache (or shaves one), you still know it’s him. We see overall shapes long before we see singular features. Detailed Features/Inaccurate Placement This portrait looks a little like Sharon, but in alien form. Surprisingly, the…

“I’M CONSTANTLY TRYING TO SIMPLIFY WHAT I’M OBSERVING, AND CONSIDER VALUE AND COLOR TEMPERATURE TO BE KEY COMPONENTS IN MY WORK.” Step 1: Using a linear approach with a light touch, I first apply Terry Ludwig pastels, loosely outlining the figures. Then, concentrating on the faces, I put a cool base of violet in the shadows. I like to establish strong darks in a composition early, as evidenced by the placement of dark green and burnt sienna. Step 2: Paying close attention to color value and temperature, I add more linear strokes in green and violet to the heads, and I use side strokes to establish clothing and background. Step 3: I introduce more light warmth and saturated colors to the faces, arms, my wife’s hair, and to accentuate our…

Q: Have you always wanted to be an artist? A: My childhood was more athletic than artistic, but I was always attracted by the act of creation and occasionally made drawings. I discovered pastel in the late 1990s. As I recall, it was in order to introduce color to my drawings. With time, my pastel practice has intensified and steadily progressed. Q: To what extent are you self-taught? A: I undertook no formal study, no internships, no training whatsoever. On the other hand, being something of a perfectionist and having a passionate nature, I’ve read a lot, taken notes and visited many museums and exhibitions. Q: How long have you been a professional artist? A: Even though I’m registered at the Maison des Artistes and have a SIRET number (a…

Award winners in the 5th Master Circle Exhibition included: Prix de Pastel—Brian Bailey, Listen Gold—Jane McGraw-Teubner, Stepping Out Silver—Stan Bloomfield, Autumn at the Rim Bronze—Margaret Larlham, David Paused Maggie Price Award— Sally Strand, Beginnings Albert Handell Award— Lyn Asselta, A Momentary Peace Honorable Mention— Aline Ordman, On the Pond Honorable Mention— Richard McKinley, Pink Echoes Honorable Mention— Gwenneth Barth-White, Turquoise and Emerald Honorable Mention— Cindy Crimmin, Nantucket Beauty Award winners in the 34th Juried Exhibition included: Prix de Pastel—Tracy Ference, Winter is Coming Gold—Olga Abramova, Winter Breakfast Silver—Corey Pitkin, Surfacing Bronze—Mandy Ellard, Old Road, New Journey Founders —Fubao Ma, Rhyme of the Sea Maggie Price—Michael Freeman, She’ll Bee Right! Honorable Mention— Anderson Flanders, Portrait of Liliane Honorable Mention— Denali Brooke, Musings Honorable Mention— Adrian Giuliani, Reflections of an Artist Honorable…

As beginning artists, we often struggle with drawing, values, color temperature and edges, but after many hours of practice, our skills and understanding improve. Unfortunately, that’s when a new frustration may set in: Our work seems competent but boring. We envy our peers who seem to have a boundless wellspring of creativity while we’re slaves to the literal, unable to break free from the subject before us. Many artists think, “You’ve either got it, or you don’t. Creativity can’t be taught.” I dispute that. Of course, not everyone will develop a paradigm-shifting discovery like Caravaggio’s chiaroscuro or Monet’s broken color; however, each of us can grow and nurture our own creative energies. What we refer to as creativity is a mind-set characterized by fearlessness, a seemingly boundless repertoire of ideas,…

Moments of everyday life that are familiar but often pass by unnoticed—these are what I like to paint. The inspiration for my pastel painting, Pause, came about during a summer vacation in a rented beach cottage where I had plenty of time to observe the daily activities of my family. Later, I used two photos of my niece to compose this painting. I rarely paint from just one photo, preferring instead to build compositions from a variety of sources. In this case, I used the two photos at right, both taken on the fly on my iPhone. The abstract shapes of the food in the refrigerator were pure invention. What intrigued me most about this scene was the contrast between the artificial light in the refrigerator, the darkened bedroom beyond…