A plein air painting in 20 minutes? Why not! Ever had a burning urge to paint, to sit down and paint something, anything? I know the feeling really well! Yet so often we succumb to the excuses we’ve made like not having enough time. It’s amazing how we create obstacles to prevent ourselves from painting.
I’m back from a wee holiday in our favourite village of La Manzanilla. This getaway was all about taking it easy, swimming, reading, catching up with the locals. Aaaaaaand, I also hoped to do a couple of pastels. As you probably know, laundry is a favourite subject of mine so our beach towels on the
Ambiguity in art: art work having several possible interpretations or meanings; of an uncertain nature. And why am I bringing this up? Think of the Mona Lisa’s smile. It’s ambiguous- we don’t know why she’s smiling and there are so many possible stories we could create. She’s kept us intrigued all through the centuries and
I was asked recently why I don’t use black paper. My preference is for a mid-tone paper. Nowadays though I mostly work on a light value paper on which I create a three-value dry underpainting. The reason I’m not that keen on black paper is that I can’t go lighter AND darker on the paper.
Recently, in my neck of the woods, we were treated to a lot of snow! Many artists took the opportunity to create snow paintings and a couple of those people asked me how I use colour under white, specifically under snow. So I made a small quick pastel sketch to show you how I ‘push’
I used to think that there were only two ways to go about making abstract art. The first is to abstractify something from reality. The second is to put pastel on paper and follow where it leads. But recently I discovered a third way. And this is what it is: use a visual seen in
One of the questions I’m often asked by beginning artists is, “How do I paint the background?” This says to me that the background is being considered only after the main subject has been rendered, namely, it’s an afterthought! In fact, the background is as important to the painting as the subject itself. Really. The
I’ve just returned from teaching two different still life workshops to members of the Southwest Florida Pastel Society (SWFPS). I had an amazing time with a bunch of committed artists who were warm and friendly, and who put up with my insistence on them doing thumbnails! Naturally, I encouraged them to use a viewfinder to
I’ve just finished the HowToPastel’s 31-pastels-in-31-days Challenge. This year I decided to use only my Unison Colour 36-set of pastels. In the end, I created 29 pieces with this set. Only two pieces weren’t: the first day’s pastel which I did prior to making this decision to use the Unison Colour 36-set; and one created
I’m deep into painting for the 31-pastels-in-31-days Challenge. My first painting was a small vase filled with ageing flowers. I painted it. I liked the subject and the tall format and wondered what it would be like to explore a single subject in more paintings. Suddenly I was flooded with other ideas for painting this
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