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
Oh my gosh! Why oh why did I set myself this challenge? Ah yes, to get me into the studio more! The challenge of which I speak is this: to be in my studio for 15 mins a day in 2020. It doesn’t matter what I do there, I just have to BE THERE! So
You know when you’re painting and it just isn’t working out? Then perhaps you get a sudden impulse to do something, make a mark for instance, but your mind stops you saying, “No, no! not a good idea.” I want to encourage you to trust your impulse! Let me tell you my story of doing
I was delighted to be invited by Ed and Gary to demo at the Schmincke booth at the International Association of Pastel Societies (IAPS) Conference again this year. What to paint? I had a few possible reference photos collected but just before I left home, my mum, excited about some Iceland Poppies that a neighbour
As you probably know, I’m a big believer in the power of thumbnails. I create three-value thumbnails in black, grey, and white, namely, I use the extreme ends and mid-point of the value scale. In this way, I produce a very clear, high-contrast map of what I’m going to paint. Students, however, are often confused
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
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
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