Pastel Pointers: Top 100 Secrets for Beautiful Paintings by Richard McKinley

025a6d25b4e98a2-261x361.jpg Author Richard McKinley
Isbn 9781440308390
File size 18.5MB
Year 2010
Pages 128
Language English
File format PDF
Category design


Pastel Pointers Richard McKinley TOP SECRETS FOR BEAUTIFUL PASTEL PAINTINGS Cincinnati, Ohio Z8076_i_001-009_FrontMatter.indd1 1 8/12/10 3:57:39 PM Z8076_i_001-009_FrontMatter.indd2 2 8/12/10 3:57:48 PM Z8076_i_001-009_FrontMatter.indd3 3 8/12/10 3:57:51 PM Cascade Glow–detail (cover), 22" × 28" (56cm × 71cm) Summer Color (page 2), 12" × 18" (30cm × 46cm) Spring Rains (page 7), 18" × 15" (46cm × 38cm) PASTEL POINTERS. Copyright © 2010 by Richard McKinley. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by North Light Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236. (800) 289-0963. First Edition. Other fine North Light Books are available from your local bookstore, art supply store or online supplier. Visit our website at About the Author 14 13 12 11 10 5 4 3 2 1 DISTRIBUTED IN CANADA BY FRASER DIRECT 100 Armstrong Avenue Georgetown, ON, Canada L7G 5S4 Tel: (905) 877-4411 DISTRIBUTED IN THE U.K. AND EUROPE BY F+W MEDIA INTERNATIONAL Brunel House, Newton Abbot, Devon, TQ12 4PU, England Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 Email: [email protected] DISTRIBUTED IN AUSTRALIA BY CAPRICORN LINK P.O. Box 704, S. Windsor NSW2756 Australia Tel: (02) 4577-3555 Library of Congress Cataloging in Publication Data McKinley, Richard Pastel pointers : top secrets for beautiful pastel paintings / Richard McKinley. -- 1st ed. p. cm. Includes index. ISBN-13: 978-1-4403-0839-0 (pbk. : alk. paper) 1. Pastel drawing--Technique. I. Title. NC880.M39 2010 741.2’35--dc22 2010028709 edited by SARAH LAICHAS production edited by MAIJA ZUMMO designed by JENNIFER HOFFMAN production coordinated by MARK GRIFFIN Z8076_i_001-009_FrontMatter.indd4 4 Richard McKinley has been a professional artist for 38 years and has more than 35 years of teaching experience. He writes a weekly blog for The Pastel Journal titled Pastel Pointers that has appeared on since 2007, and he’s written for the periodical since 2003. He’s taught and participated in national and international workshops for more than 30 years. His work is shown in several national galleries, and he is an Artist Member of the Salmagundi Club of NYC, a Signature Member and 2010 Hall of Fame inductee of the Pastel Society of America, a Signature Distinguished Pastelist with the Pastel Society of the West Coast, a signature member of the Northwest Pastel Society, and a member of the Oil Painters of America. His work has been included in several North Light Books including A Painters Guide to Design and Composition, Painting with Pastels by Maggie Price and Pure Color: The Best of Pastel. Richard has also produced two instructional DVDs on pastel painting for Visit his website at and blog at Metric Conversion Chart To convert Inches Centimeters Feet Centimeters Yards Meters to Centimeters Inches Centimeters Feet Meters Yards multiply by 2.54 0.4 30.5 0.03 0.9 1.1 8/12/10 3:57:53 PM A Gentle Rain, 15" × 18" (38cm × 46cm) Acknowledgments Everything shared in the pages of this book comes from the applied lessons of those gracious artists that have provided knowledge and inspiration to myself and other aspiring painters over the years. A special thanks is given to all the students I have been fortunate enough to interact with. Far more has been learned from them than any other source. Credit must be given to: my mother Beneva McKinley, for instilling a sense of artistic wonder in me at an early age; to my high school art instructor James Snook, for seeing potential and challenging me to use it; to my first artistic mentor Margaret Stahl Moyer, for providing guidance and discipline; and to master painter Albert Handell, for giving permission to listen to my inner artistic voice. Heartfelt thanks are given to Janie Hutchinson and Maggie Price for having the vision to found The Pastel Journal and for allowing me to first publish in its pages. Gratitude is owed to the wonderful team at F+W Media: publisher Jamie Markle and editorial director Pam Wissman, for having proposed the project and guiding it along to completion; to editor Sarah Laichas, for all her patience and hard work in the laborious task of pulling together all the years of writings; to all the editors and editorial staff I have been fortunate enough to work with: Maureen Bloomfield, Chris McHugh, Jessica Canterbury and Sarah Strickley; and most of all, the one person that deserves the credit of dual authorship, Pastel Journal editor Anne Hevener, for making my words coherent and sound so good over the years. Dedication This book is dedicated to all of my painting friends for years of artistic camaraderie and to Don Robertson for his unwavering support of my artistic journey. Z8076_i_001-009_FrontMatter.indd5 5 8/12/10 3:58:10 PM Contents 8 Introduction 10 30 40 56 68 82 98 110 CHAPTER 1 Materials CHAPTER 2 Composition CHAPTER 3 Light & Color CHAPTER 4 The Underpainting CHAPTER 5 Techniques CHAPTER 6 Plein Air Painting CHAPTER 7 The Business of Pastels CHAPTER 8 Fun & Lifelong Learning 124 Conclusion 126 Index Z8076_i_001-009_FrontMatter.indd6 6 8/12/10 3:58:13 PM Z8076_i_001-009_FrontMatter.indd7 7 8/12/10 3:58:20 PM Z8076_i_001-009_FrontMatter.indd8 8 8/12/10 3:58:23 PM Introduction I WAS HUMBLED BACK IN 2003 TO BE ASKED TO WRITE FOR The Pastel Journal. What did I have to share? Little did I know it would lead to over twenty-five columns and become one of the most rewarding experiences of my artistic life. In 2007, editor Anne Hevener approached me with the idea of doing a blog about pastel. I didn’t even know what a blog was. With encouragement from the staff at F+W Media, the weekly posts began, covering topics from palette choices to what we listen to while painting. As the material accumulated, the idea of a compilation ensued. Then the herculean task of organizing began. With the considerable help and patience of editor Sarah Laichas, it has finally come together. My introduction to pastel began in 1975 when a fellow artist that admired what I had been doing with oil paint handed me my first set of pastel sticks. Instantly, I was hooked. The immediacy of its application and its forgiving nature made it a pleasure to paint with. Even though I continue to work in other media, pastel will always be a major part of my artistic expression. Teaching has allowed me to become more analytical, something that comes naturally to my personality. By attempting to communicate the concepts of why we do what we do when painting, I have had to spend considerable time researching the theories of representational painting. This research is evident in the concepts expounded in the Pastel Pointers columns, blogs and now within the covers of this book. Thus many are not my original ideas or concepts, but retold through my experience. What I hope to share within the pages of this book is not the formula of how to paint a pastel painting, but a pool of information that may provide some tips to help you make your paintings better, the process easier, and inspire you to enjoy all of the diversity that is pastel. The Cove, 14" × 14" (36cm × 36cm) 9 Z8076_i_001-009_FrontMatter.indd9 9 8/12/10 3:58:35 PM Materials Z8076_i_010-029_Chapter1.indd 10 8/12/10 3:58:47 PM 1 Evening at the Malheur 12" × 16" (30cm × 41cm) 11 Z8076_i_010-029_Chapter1.indd 11 8/12/10 3:59:07 PM Picking Pastels Every pastel painting begins with the pigments in your palette. It’s from this source that you make the choices that produce your final statement. Having a good system facilitates an efficient relationship between thought and choice of pastel stick, leaving you better able to accomplish a successful outcome with less frustration and distraction. Palette Basics The palette needs to include every color family, represented in a whole range of values from dark to light, as well as neutral tones that represent these values mixed together. Whereas painters who use a wet medium might have as few as three primary pigments and white on their palettes, pastelists need considerably more to be able to reproduce what lies in front of them. Hue, Chroma and Value To work well, the palette needs a logical system that represents the three aspects Understanding Color of color: hue (the individual color famChoosing pastel sticks can be a daunting ily), chroma (the intensity or saturation of experience. A working knowledge of hue, said color) and value (the relative lightness value and chroma makes this much easier, or darkness of said color). Having colors and this begins with a solid understand- laid out representing a color wheel clariing of the color wheel. When it comes to fies their natural relationship, facilitating understanding color, even someone who more harmonic choices. Placing values never plans to paint with anything but pas- with light at the top and dark at the bottel can benefit from some experimentation tom allows for quick selections within a with wet paint. As any wet-media artist can variety of hues of similar value. attest, learning how to mix individual hues to arrive at specific tones takes trial and error. Individual pigments have their own personalities and, when mixed with others, can create some exciting outcomes. E XPE R I M E NT WITH O I L S TO U N D E R STAN D CO LO R I recommend using oils to strengthen your understanding of color. As a wet medium, oils stay wet long enough to allow for prolonged mixing and experimentation. Use a minimum of four pigments: yellow (Cadmium Yellow Light), red (Cadmium Red or Naphthol Red), blue (Ultramarine Blue), and white (Titanium or a mixed white). Place them on a palette (a piece of glass works well and is easily cleaned). Then, experiment; play and mix with abandon, taking note of the effects. Here, I’ve used just four oil colors—blue, red, yellow and white—to mix colors that represent the color wheel. The perimeter shows the colors with the addition of white, and in the center, you can see the natural graying of complementary colors. 12 Z8076_i_010-029_Chapter1.indd 12 Pastel Pointers by Richard McKinley 8/12/10 3:59:19 PM Arranging Your Palette A pastel palette should be regarded as a working palette rather than a one-brand assortment. Even if only one brand is utilized, it should be arranged in a way that represents color and value relationships. The Setup My palette is set up for a right-handed painter. It begins with yellow on the left, and progresses to green on the right (a left-handed painter should reverse the placement). I segregate a selection of neutrals, or grayer hues, on the right-hand side of the palette. These provide a visually pleasing representation of the possibilities of weaker tones. The neutrals are often overlooked if placed within their original color family. By setting them aside, a painter is better able to see the individual possibilities they provide. Making Selections There’s a shared misconception among pastelists that simply acquiring more pastels will make things easier. And while it’s true that working with a palette that’s too limited can be frustrating, it’s also true that too many sticks can be confusing, leading to disjointed paintings that lack overall harmony. When selecting pastels for your palette, therefore, think of it as you would mixing wet paint. Consider what colors, values and tones you would most often utilize, and then weight your palette accordingly. Make sure a full spectrum of color and value is represented. Since pastel shares a kinship with oil, it works well to apply this principle to pastel paintings and palette selections, utilizing harder pastels in the initial dark, dull and thin beginnings before migrating to softer, luscious pastels for the lighter, brighter and thicker final applications. Keep in mind that individual pastel brands have their own characteristics. Some are very soft and velvety, while others are slightly hard and gritty. Building a palette ultimately comes down to individual choice. There are so many wonderful brands available and so many duplicate colors between them. Individual taste has to be honored. Experiment with as many brands as possible before committing resources to a major expenditure. H OW I S E PAR AT E MY PALE T TE I use the layout of my palette to help me control the value and color in my paintings. I start by separating pastels into color families. Yellow begins on the far left, followed by orange, red, violet, blue and green. Then I further divide the pastels according to value. The lightest value pastels are at the top; the darkest at the bottom. I also separate the grayed, more neutral colors from their color families and relegate them to one side. Thus I’ll have gray-yellow, grayred, gray-blue and so on. Finally, I segregate pastels according to their physical makeup; i.e., harder and softer varieties. Hard vs. Soft Pastels When choosing between harder and softer pastels, remember this old oil painters’ mantra: thin to thick, dark to light, dull to bright, and soft to sharp. This guideline has been the foundation of most representational painting over the centuries. Materials Z8076_i_010-029_Chapter1.indd 13 13 8/12/10 3:59:29 PM Studio vs. Field Palette In the studio, it’s much easier to set up large areas for pastels and have a variety of sticks at arm’s reach, but in the field a painter has to travel light. Fortunately, there are pastel travel palettes available that make this much easier. I’ve had a good experience with pastel cases from both Heilman Designs and Dakota Art Pastels. Both companies offer wooden cases in a range of sizes that make travel much more efficient. The cases open like a briefcase to provide storage on both sides, which allows for easy arrangement of the individual pastels. For travel, I find it’s best to mix brands to create a working palette. Mine consists of harder pastel brands weighted towards the darker, neutral areas of the palette, along with softer, buttery pastels that fill in the lighter bright areas (see the photo of my travel palette). My palettes, both in the studio and field, have become a natural extension of my mind, eye and arm. By using a consistent arrangement, I never have to second-guess what I’m looking for; my hand simply goes to the right area of the palette, which frees me to concentrate on the mental chess game of painting the picture. Regardless of which brands you eventually commit to, it’s paramount to have a systematic arrangement. If your palette is arranged differently for field painting, you’ll find your concentration broken as you hunt for that specific hue or value. MY FI E LD PALE T TE My traveling palette is much more compact and contains about Tracking and Replacing Your Pastels 260 pastel sticks broken in half. It is arranged like my studio palette Replacing a pastel stick can be a problem in a palette of mixed brands. It can help to label a palette with the majority brand, if there is one, and then make notes with handmade color swatches of the supplemental brands. This way, when you notice a stick wearing down, you can start your search within the colors of the main brand first. If you can’t find it there, then you can refer to your pastel notes. to keep my work flowing smoothly. My studio palette contains 14 Z8076_i_010-029_Chapter1.indd 14 about 600 pastel sticks broken in half. Pastel Pointers by Richard McKinley 8/12/10 3:59:40 PM Holding the Pastel We each come into our own technique with time and experience. Mine is to think like a wet painter and apply the pastel as if it were a brushstroke. A nice side effect of this is that my oils and pastels are hard to tell apart because they both retain a similar application, which represents my style. The Surface Every surface accepts the pastel differently and only through experimentation will it be clear how best to apply the pastel. The Brand Some brands of pastel flow like butter onto the surface and others scrape across it in a gritty fashion. For this reason, I prefer to have an assortment of brands at my fingertips. T H E T H R E E - FI N G E R H O LD To hold the pastel stick, I use a three-finger hold. I came to pastel having worked in oil for a number of years and this influenced my technique. I want the pastel to go onto the surface The Application like a brush applying paint and I’ve found that by holding the stick between my thumb, fore- The third factor is how much pressure will be used, and this is the thing we have the most control over. Inherently, we might have a light touch or a heavy hand, but with practice, we can learn to control the pressure applied. Facilitating a varied touch will allow for a variety of applications. finger and middle finger I can utilize its side for broad strokes. If I rock it up slightly, I create a hard- and soft-edged stroke. If I tip it up even more and work with the forward edge and dab it, I create smaller dashes. These motions all relate to common brushwork I’d been using in my wet painting that have stayed with me all of these years. Selecting the Right Pastel Stick Size Selecting the right stick size varies depending on the size of strokes desired. Most of the pastel pieces in my cases range from a third- to a half-stick (for an average-size major pastel brand, about 1 to 1½ inches [3 to 4 centimeters]). For a larger painting I would use larger pastel sticks. This may be why most of my paintings range from 9" × 12" (23cm × 30cm) to 18" × 24" (46cm × 61cm), as the sticks I have allow for strokes that work well within those sizes. Materials Z8076_i_010-029_Chapter1.indd 15 15 8/12/10 4:00:01 PM Cleaning Your Pastels No matter how neat you are, or how tidy you keep your painting equipment, pastel dust will eventually contaminate the outer surface of individual sticks in your pastel palette, making them hard to identify. If you frequently work with extremely soft pastel brands or tend to apply heavy applications of pastel above an open pastel palette, you have seen how quickly the dust accumulates, making all your sticks appear grayish. We expect a stick to make a mark that represents our intentions. If the outer surface of the stick is contaminated, this can prove difficult. One of the best methods of cleaning pastels is to place them in a lidded container containing course grain, and then gently agitate. A simple household plastic container will work well. For the grain choice, a common rice or cornmeal will suffice. Since this quickly becomes contaminated with pigment, there’s no need to purchase the pricier organic or name brand variations. Depending on how many pastels are to be cleaned, the container can be small or fairly large. Some artists even travel with their pastels in these grain containers. Before painting, they remove the sticks and arrange their pastel palette. When done, all the sticks go back in the container for safe, clean transportation. No vigorous agitation is required to accomplish the goal of cleaning the outer surface of the pastel stick. If you frequently clean a large volume of pastels or plan to use the containers for transporting pastels, a makeshift strainer can be fabricated out of mesh, making it easier to fish the sticks out of the grain. Another consideration is to purchase a strong pastel palette box that prevents the individual pastel sticks from moving around in transport. As they bump together, dust is produced, leaving varied pigment deposits that hinder identification. Frequent hand washing will also help. As we change sticks, we carry pigment on our hands from one stick to another. Over the years I have acquired the habit of holding a soft paper towel in my non-painting hand. When I set a stick down, I automatically wipe my hand on the towel before picking up a new one. Placing a catch trap under a painting is also helpful. The dust from the pastel will migrate down into the trough instead of into your palette. Note also that there are some artists who enjoy the spontaneity of the “surprise color.” It’s become a part of their technique. They become motivated by the challenge it provides. If you’re not one of those adventurous souls, it will serve you well to occasionally clean your pastels to allow the true pigment of the stick to re-appear. CLE AN YO U R PA STE L S I N G R AI N Place your sticks in grain and agitate to remove unwanted pastel dust. 16 Z8076_i_010-029_Chapter1.indd 16 Pastel Pointers by Richard McKinley 8/12/10 4:00:18 PM Recycling Leftover Pastels Quality pastels are expensive and I hate to First, place the pastel fragments and/or waste even the littlest sliver. Over time, our dust on the mixing surface and carefully precious sticks wear down to tiny nubs, grind it by flattening the putty knife blade crumble when the paper label is removed, into the pile. Keep reforming the mound or turn to dust that accumulates below our and repeating the grinding procedure until paintings (which I carefully collect into no more grit is felt and the pastel fragments jars). All of these leftover pastel fragments have been pulverized into a pile of pigment. can be reworked into viable forms. This can take quite a bit of effort and repI keep it simple, because I don’t want to etition. If you leave too much grit, there produce pastels from scratch; I just want will be surprise flecks of color in the stick to redeploy my leftovers. For health rea- you produce. Create a small cone shape (a sons, wear a mask that covers your nose volcano-mountain shape) out of the pigand mouth as well as surgical gloves to ment and make a crater in the center. Next, protect your hands. Never blow the dust slowly add water, a drop at a time. It’s better around; instead, use a damp rag to wipe to add too little than too much. Since you’re up any messes. Along with the pastel frag- working with what was once a pastel, the ments or collected dust, you’ll need a large binder and preservatives are already part smooth surface for mixing (a marble tile or of the mix. Allow some time for the water ¼-inch [1cm] picture glass surface works to soak in and then slowly fold the pigment well), utensils for grinding the pigments back into the mix until a paste is created, together (a 1¼-inch [3cm] putty knife from much like a heavy dough. the hardware store will work), distilled or Pick up with your fingers the amount purified water, and paper towels. you wish to form into a shape and gently roll this out on a paper towel into a stick form. (Some artists like to pat the paste into pillows or other shapes, rather than a log shape; feel free to experiment.) Leave the pastels on the towel to dry (usually a few days) and then place them back in service in your pastel palette. You can mix different pastel colors to obtain interesting colors or mix a lot of fragments and obtain grays (neutrals). But don’t fall too in love with the stick you produce, since it’s one of a kind! Another way of utilizing these tiny pastel bits is to grind them down along with a white pastel stick and create tints. A little piece of strong pigment will go a long way in making a lighter tint. TO O L S FO R R EC YCLI N G YO U R LE F TOV E R S TH E FI NISH E D PRO DUC T To recycle pastel, you’ll need a pile of pastel fragments, the pulverized Here is some mixed paste, the formed pastel stick (on the paper pastel dust (here shaped into a mountain), and a few mixing tools: towel), and an example of finished dry leftover pastels. marble tile, water, a putty knife and a palette knife. Materials Z8076_i_010-029_Chapter1.indd 17 17 8/12/10 4:00:23 PM Pastel Dust Safety By its very nature pastel is a dusty medium. • Depending on the brand of pastel you work with and the surface you choose to apply it to, dust can be minor or heavy. Harder, less toothy surfaces tend to produce more dust, while sanded surfaces tend to hold • more of the pastel particles. These minute pastel fragments are often toxic and can be hazardous to your health. Here are a few healthy habits to practice to avoid inhaling the pigment particles: • Work with your paintings in an upright • position, allowing the dust to settle gently to the bottom of the painting. • Work in a well-ventilated studio workspace; cross ventilation is very helpful if a mechanical means of pulling air away from the easel is not utilized. Use a damp towel to clean up around • the painting area. A damp towel will hold the dust instead of stirring it up. This is also useful for wiping your hands frequently while painting. Avoid the bad habit of blowing on the pastel to dislodge the dust. This removes • the pastel that has not been well adhered to the surface but also makes it airborne. If you must blow, take it outside and immediately stand back. To better collect the dust below your painting, create a trough, something to hold the dust until it can be dealt with. Otherwise dust will fall down onto your workspace, creating a considerable mess. If you plan on disposing of the dust at the end of the painting, wide strips of tape with the sticky side facing up can catch the dust, making cleanup very convenient. If you want to collect the dust, a hard trough is more suitable. Experiment to find what works best for your needs, then get into the habit of using good dust hygiene. CO LLEC T DUST WITH A M E TAL TRO UG H In my studio, I use a formed metal trough that runs across the bottom lip of the easel tray. This collects the dust that I carefully scrape into a container. When traveling or working on location, I use aluminum foil. It is easily folded and stored in a plastic zippered sandwich bag, taking up no room in my travel case. To attach the aluminum or reversetape trough to your painting surface, adhere it to the back and fold it to the front. If tape is used for the trough make sure the sticky side faces up. Often a folded strip of mat board is useful, making the trough more rigid. 18 Z8076_i_010-029_Chapter1.indd 18 Pastel Pointers by Richard McKinley 8/12/10 4:00:29 PM Protecting and Transporting Unframed Pastels Due to the fragile nature of pastel, it’s important to employ extra caution when storing and transporting paintings— either home from a day of painting or to the framer. One method is to attach the pastel surface to a drawing board support that’s larger than the painting, and cover the pastel side with glassine paper for protection. Glassine is the barrier of choice due to its anti-static nature. When it’s removed, minimal amounts of pastel are affected, leaving no noticeable alteration of the painting. If glassine is hard to obtain, tracing paper can be substituted (most retail art supply stores carry tablets of various sizes). Some artists, when traveling, transport their paintings between the pages of tracing paper within the tablet. Avoid plastic as a protective layer; it has a high static charge and tends to pull considerable pastel off the surface. Long-Term Storage Place unframed paintings that require longterm storage in large flat files with glassine protecting the pastel surface. Or, sandwich them together and place in archival photo boxes (available at professional photo supply stores). I like to reassess these stored paintings once a year, destroying some and reworking others. Having a secure system for preserving the paintings allows for them to be as fresh as the day they were set aside, even if I am not! Transporting Paintings When working on location, a wet panel box is great for transporting paintings. These hold the drawing boards that the paper is adhered to, allowing for travel with multiple supports and ready to employ in an instant. My cases and drawing boards are 16" × 20" (41cm × 51cm) and 18" × 24" (46cm × 61cm). They hold 6 panels each and are stored in the rear of my vehicle, providing easy access. If you work on rigid panels like Ampersand Pastelbord or Richeson’s pastel panels, you can acquire a case specific to the size of the panel. For information on transporting pastels on a flight, see page 96. A PROTEC TE D PAI NTI N G Pastel painting protected by glassine. WE T PAN E L BOX A case transporting pastels painted on location. Materials Z8076_i_010-029_Chapter1.indd 19 19 8/12/10 4:00:35 PM

Author Richard McKinley Isbn 9781440308390 File size 18.5MB Year 2010 Pages 128 Language English File format PDF Category Design Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Top Secrets for Beautiful Pastel Paintings Richard McKinley has been a professional artist for over 35 years. Factor in nearly as many years of teaching experience, and that adds up to a whole lot of know-how to share. In Pastel Pointers, he lays it all out: information on tools, materials, color, composition, landscape elements, finishes and more. Compiles the best of McKinley’s popular Pastel Pointers blog and Pastel Journal columns Covers frequently asked questions (“How do I achieve natural-looking greens?”) and simple solutions to common problems, such as excess pigment buildup Includes a chapter on “The Business of Pastels”—tips for framing, shipping, preparing for gallery shows, and otherwise representing your work in a professional manner This book covers everything from the fundamentals to get you going (how to lay out your palette, create an underpainting, evoke luminous effects) to inspirations that will keep you growing (plein air painting, working in a series, keeping a painting journal). Whether you’re a beginner or an experienced painter anxious to explore the expressive possibilities of pastel, this is your guide to making the most of the medium.     Download (18.5MB) Drawing and Painting Beautiful Faces: A Mixed-Media Portrait Workshop Strokes Of Genius 8: Expressive Texture Portfolio: Beginning Watercolor Green Guide for Artists: Nontoxic Recipes, Green Art Ideas, & Resources for the Eco-Conscious Artist Paint Mojo – A Mixed-media Workshop Load more posts

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