I need to remember when working on a pastel in winter I should cover it up before I transport it from the classroom to home. When I left for the class this morning, there wasn’t much precipitation that I thought about what I should have when bring the pastel home.
When leaving class it was lightly raining. Of course, my pastel was taped to my drawing board and I had nothing to keep it dry. I tried turning it upside down exposing the back of the board to the elements. I thought that was a good idea.
Turns out, during the steps from the classroom to the car, I must have brushed up against the pastel. There were slight streaks that would need to be fixed. I have in the past had water drop onto the pastel during, which makes for a glaring mistake.
I need to remember bringing a sheet of glassine to tape over the pastel to protect from both the elements and from my winter jacket.
Yesterday I attended an art critique. A local group has put together bi-monthly critiques open to the public. I’ve participated in group critiques during classes and workshops but I haven’t attended critiques open to artists working in various mediums. A critique allows you to gage whether or not your artwork connects with an audience.
It was a small group working in Oils, Fabric Arts, and Pastels (me). As with any critique, you have to introduce the work. You give a quick background (why or how you came to be an artist) and discuss the work displayed. Some artists depicted realistic subject matters and others worked in abstractions. It was interesting to see the various styles.
Overall, the feedback for me was positive. I showed two works from June 2017 from the Minuteman National Park near the Old North Bridge. One participant knew before I said it that the area was near the bridge (the bridge was not featured in either of the two pastels).
The main questions about my work involved composition, mats, and frames. Ironically, the current pastel class I’m taken is all about composition. I’ll apply what I’m learning to future works. Perhaps the one thing I need to do to make my compositions stronger is to sketch out various compositions before working on the larger piece. I don’t normally make many small sketches of one scene. With the small sketches, I can determine if I need to focus on one area more than another or if I need to zoom in to find the best composition. I need to get into the habit of making smaller sketches to test things out.
Mats and frames are always hard for any artist. Many times when you submit artwork into a juried competition, you use a standard white mat. When you are displaying your work in a non-juried exhibit you may choose any color. When working with a professional framer he or she may suggest certain mats (colors and surface texture). The framer may suggest a color that will not detract from the artwork, a color that is the primary color seen in the artwork, or a color that will enhance the over piece. My framer suggested a color she thought worked well with my landscapes. A mid-tone violet was suggested as violets where used in the underpainitng and could be seen peeking through the greens of the landscape. Those attending the critique wanted to see seen a lighter mat.
At the critique, they were not sure about the frames I chose. Frames are always hard. You try to be either consistent with the frames used or work within your budget while still trying to use frames that will work best for the artwork. Ironically, while this group wasn’t to sure about my frames a few people who had seen my exhibit in August commented how they liked the frames and thought they worked well with the pieces. It just shows everyone has their own opinion and it’s hard to get a 100% consensus.
I think one thing is certain from this exercise. I need to work on determining mid-tones values. Ultimately, I should purchase a few mid-tones of various colors.
While the study isn’t perfect, I wanted to apply it to an actual photograph of a landscape. Does have the right values make a painting work regardless of the colors/hues used in the artwork. Below is the pastel using the various colors in the new Value Study
Do those colors work? This scene depicts pine trees along a small lake. In the reflection you see the trees as well as the sky. Here’s the original black and white photograph. Tell me does the colors from the Value Study work?
At work, it was decided we would do presentations or quick demos on Facebook Live. It would be a great way to interact with our customers, we could inform everyone about the products we have to offer, and we could do quick demonstrations.
I was asked to do the second Live segment—Introduce our customers to the various pastel products available at the store. I began thinking back to a college course I took on public speaking. I decided to do an outline and begin practicing.
The outline came together easily in my opinion. I had an open (introducing myself and the topic), a middle (discussing paper, pastels, and various tools), and an ending (reminding everyone of our weekly Live presentations, where to see our calendar and where we are location for those new to our Facebook page.
A day or two before, I practiced using the outline in front of me. Soon I realized just winging it with the outline and not having real dialog would not work for me. I fumbled words and had a few seconds here and there where I didn’t speak. Working on sentences helped me determine what I wanted to say, helped me memorize important information, and minimized those areas where I blanked out on works or phrases
Now I’m practicing for the next Facebook Live segment —Creating a Pastel on Sanded UArt paper.
The segments we will be doing on Facebook Live can be found on Albright Art’s Calendar page
I thought I’d share the working process of my recent textured pastel.
After creating the first textured pastel in class, I wanted to try it at home. I used a Gessobord instead of cutting a foam/gator board to a specific size then applying gesso to it. I created an underpainting of the scene then I dripped acrylic paint to the areas where I wanted more texture to appear. One classmate worked on her textured pastel at home as she wasn’t in class for the application process of the acrylic paint. She specifically used different colors for drippings depending on their location in the image. Many of us liked that idea and I thought I would try it on this one. When the acrylic paint was dried, I applied the acrylic ground so the pastels could adhere to the toothy surface.
I started on the background and slowly moved to the middle ground. After a while, I started working on all parts of the pastel but soon realized I had a problem. The colors started becoming muddy looking especially in the trees. At this point I thought I’d try what my teacher once suggested—if it’s not working, wash off the pastels and start again.
I had done it once before and thought I’d try it again. I washed off the textured gessobord and let it dry.
Looking at the artwork, I decided more texture was needed. Once I washed off as much of the pastels I could, I let it dry then dripped more acrylic paint in some areas.
I started applying the pastels again after a few days break. This time it was working and I really liked how the trees were looking.
Once the trees were set, I worked on the remaining sections. The middle was coming along nicely but I wasn’t happy with the stream and reeds in the foreground. My teacher had recently sent an email about her new blog entry. She discussed how she washed off a section of a pastel that wasn’t working the way she had hoped.
While I had all pastels matted and framed by Sunday night, there were few small things that I needed to complete. I updated my biography and artist statement, created gallery tags for each piece, and finalized a price list.
I arrived half an hour or so after the library opened to hang my pastels. I met with a library staff member who helped me get the hook over plain rods for each pastel. Many gallery spaces uses these rods so that no nail marks are made in the wall. I was informed the gallery tags I created could not be taped to the wall. I hadn’t received any specific documentation about exhibit guidelines so it was a good thing she mentioned it to me.
Assemble Pastels into Groups
I laid out the pastels on the floor getting an idea which areas had the greatest amount of space allowing pastels to stay within a specific group. I have a number of pastels on a few National Parks, some pastels based upon a national wildlife refuge, other historical local areas, and land from a botanical garden
Once I had the space planned out, I began hanging each piece. Luckily I had help from a family member, which made hanging the exhibit even easier. Overall, from the time I arrived to the time I left the library, it took only a little more than 2 hours.
The experience of hanging an exhibit wouldn’t be complete without realizing I had forgotten something. I forgot the postcards I created and a guest book. Later in the afternoon, I came back with the postcards and guest book.
Forgot Something Again
When I dropped off the guest book, I added the exhibit title and dates to the book. What I didn’t realize was that I forgot to leave the pen I brought with me for everyone to use. Fortunately for me, a friend came to the exhibit and left a pen.
Let the week countdown to the 7-week exhibition begin. Last week I mentioned 23 pieces were matted and framed. Now there are 25 pieces framed and ready for the exhibit. I finalized the piece I was doing last week so it brings the total number of artworks to 26.
When I mentioned to my classmates I have an upcoming exhibit,they asked me how many pieces I would display. I responded by saying 24 pieces. They were all surprised by the amount of work I have ready to display. Another friend was surprised at the amount of pastels. I don’t see it being a huge amount; I’ve been working on pastels since September 2015.
I’ve always been inspired by landscapes so whenever I’m in a class my main subject matter has been landscapes. Last year when I knew I would have an exhibit in Stow, I made the conscious decision to have all those pastels connected by imagery of open spaces such as National Parks, National Refuges, and Botanical Gardens. I continued that imagery as I took classes or worked on pastels on my own.
As I was speaking with a friend today, I said I had two other pastels I could include but I hadn’t thought of framing the pieces. She thought I could and should include them. My brother thought the same thing. He said it’s better to have too many pieces when I go to hang the exhibit then to think to myself, “I wish I had framed those pieces as there’s still space to display work.” Also, it’s much easier to bring home a piece if there’s no room then to rush around matting and framing an artwork at the last minute.
Yesterday and today I had some time to mat and frame a few pastels for my upcoming exhibit. I finished framing the textured pastel. I’ve done a quick video discussing how I positioned a channeling mat between the artwork and the mat that would be against the glass.
Most times when picking out a frame, people look at the style and make of the frame (e.g., how it looks and if it is made of metal or wood). As I work on the framing, I had to remember to take into account how the artwork fits within the frame. Frames have a depth of measurement inside the frame called a rabbet. When you are framing a piece, you want the glass, the mat, the artwork, and backing board to fit within this area. If it is too big, you will not be able to secure it into place.
In the textured pastel, I had to make sure the glass, mat, channeling mat, and artwork fit within the rabbet. The frame I purchased had a depth of frame as 5/8″ with a rabbet depth of 3/8″. Yup, all the pieces together just made it. Phew!!
It was actually my video of how to mat a textured pastel that my sister suggest I create a blog. I had thought of it a few years ago when I was learning WordPress but I didn’t have any ideas of what to do for a blog.
I posted this video to my family and friends showing them how I came up with an idea of matting and framing my textured pastel.
I’ve been taking pastel classes since 2015 (originally it was few classes and workshops). At the end of 2016, I became a regular member of a monthly pastel class. In May 2017, our teacher had the students work on trees as the subject matter for our works.
She wanted us to try an experimental piece to get us to think beyond our usual ways of creating pastels and to push our comfort level to experience new skill set as artists. Our teacher read an article about an artist who wonder what it would be like to apply Jackson Pollack’s drip paint method to pastels.
We began with a piece of foam core or gatorboard, which we applied a thin layer of gesso. Once the gesso was dried, I drew an underpainting on my foam core. I blocked out areas on the image where I didn’t want to have the dripped house paint. Next we dripped acrylic house paint on the underpainting making sure to have gestural lines (hoping to mimic trees and leaves).
The acrylic house paint dripped lines needed time to dry. Once it was dried, I applied the fine pumic gel to the surface. Adding the fine pumic gel would give the surface a texture or tooth similar to Mi-Teintes Touch paper or Uart paper that pastel artists use.
Now I was ready to use my pastels to create my image. Below is a detail of my textured/drip method pastel. This detail showcases an area of trees.