HowToPastel Archives

Showing Results for: painting process

Lynn Howarth, ‘Her Coat of Many Colours,’ 2019, soft pastel on PastelMat, 50x70 cm.

Lynn Howarth – Portraits That Capture Likeness And Soul

I’m delighted to bring Lynn Howarth to the HowToPastel blog! I’ve been following Lynn’s work for years now. I’ve always admired her portraits and it’s these that are the focus of her guest post here today. I also appreciate the way Lynn manages to push her work, exploring new territory. An example of this was

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Seeing Colour In Greys – “Sipping Patrón”

If you know me, you know I LOVE colour! I love painting with bright colours and then, when needed, layering pastels to create greys. This de-intensifies the saturated colours. Seeing colours in greys can sometimes be tricky. It all just looks grey! With time, deep looking, and the tips below, you’ll see the colour that’s

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The imperfection in plein air painting Gail Sibley, "Brown's Island," Unison Colour on UART 400, 9 x 12 in. Available

Embracing The Imperfection In Plein Air Painting

I’m recently home from a wonderful and relaxing getaway to Ontario (yay to a bit of travel!!) where Cam and I spent time with family and friends. Part of our trip was a week at the White family cottage on Big Rideau Lake where I planned to do some pastelling en plein air. I hadn’t

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Making a statement with you art: Gail Sibley, Demo pastel painting of a single toilet paper roll, Unison Colour pastels on UART 400, 6 x 5 3/4 in.

Making A Statement With Your Art

Sometimes you may have the feeling that you’d like to make a statement with your art, something about the times you’re living in (like the time of the COVID-19 pandemic!), or some specific event, or some political issue. But you don’t necessarily feel comfortable making an overt statement or perhaps you just don’t know how

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Shows a detail of a demo painting I did

Focus On Process Not Outcome

Before every workshop I teach, I have students read a blog I did some time ago called the 14 Ways To Get The Most Out Of A Workshop. I ask each participant to choose one of the points that they know will be a struggle for them. At my most recent workshop (in Gibsons, BC,

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Ambiguity In Art – How It Can Benefit Your Own Work

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

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Using black paper: Gail Sibley, "We Three," Unison Colour pastels on UART black 400, 12 x 9 in - detail of shoes

Using Black Paper For Pastel Painting

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.

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Painting an overcast day: Gail Sibley, "View from Calella," Sennelier pastels on UART 320, 9 x 12 in. The few tweaks I made were: to tone down the blue in the water, to tone down the lighter green highlights on the tress (remembering the diffuse light of an overcast day), and the addition of the sailboat seen a little while before.

Tips On Painting An Overcast Day

Although painting an overcast day is not something I generally do (I definitely have a preference for sunny days!), while in Spain teaching a plein air workshop at the beginning of May, the weather was more often overcast than sunny. So what could we do except go with what we had? Painting an overcast day

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