Monday, October 05, 2015

Touching Up a Demo...The Importance of Fresh Eyes

'Blue Ridge Memories'               16 x 20                   pastel                 ©Karen Margulis
painting available $250
  I think I am going to make it my mission. I will find a way to make sure I evaluate every painting with fresh eyes. I will also make it my mission to make sure all of the artists who study with me do the same. I have some ideas and I will share them in a future post.

Stepping back  and getting a fresh perspective is one of the most important things we can do to have better paintings. Most of us don't step back enough. 

It happens easily. We are concentrating on the painting and everything else goes on the back burner. Or maybe we are sitting or maybe our space is too small. It happens to me when I am painting a demo. I often don't have enough room to step back and I am so busy talking that I forget!

just after the demo...before the finishing marks
Stepping back allows us to see the painting in a new way. We are no longer on top of it and the whole design of the painting becomes clear. We can more readily see things we should remove, soften, add. Stepping back gives our eyes a break. Fresh eyes see better.

The demo painting in today's post needed fresh eyes. Caught up in the narration of the painting I neglected to step back to evaluate the painting. That is fine for a demo since I was able to use it for my lesson. But it needed a bit more work to be called finished.

Once I returned home from the workshop I was able to take the time to figure out what was needed. Time away made it clear. Fresh eyes told me what to do:

  • Break up the steep diagonal line of yellow. I wanted the yellow flower mass to lead us into the painting but it was too steep and too direct.
  • Fix the big dark blob of trees. Add some lighter, warmer greens to give the tree shapes form. I also used the meadow color to carve into the trees and make them more interesting.
  • Simplify the flower masses and add a few thoughtfully placed detailed yellow flowers. Reminding myself to keep it simple!

the reference photo
 How well do you do at stepping back form a painting? Do you have any tips to share?

This 16x20 demo painting was done in the plein air workshop I just did with Marsha Savage in Blue Ridge Georgia. Despite the rain we had an amazing time. I am putting together a review which I will be posting so stay tuned!

Friday, October 02, 2015

Quick Studies on Canson: A Recipe for Fun!

'Mushrooms Ahead'              9x12               pastel             ©Karen Margulis
available $150
 All you really need is a piece of paper and a few pastels.  Sometimes you just want to keep things simple.  I love the versatility of pastels. I love all of the wonderful techniques we have. Who would have believed we could paint with vodka and pastels!  But we can...and it is a lot of fun.

Our choices can be overwhelming. And sanded pastel paper can be expensive. Wouldn't it be great to sometimes just take out a piece of Canson paper and a few pastels and paint a quick painting?  No big plans. No messy underpaintings. No big expense.  Just pure expression on paper. Like today's painting....a few pastels on Canson paper.

I like to go back to basics sometimes. I like to do quick studies on Canson Mi-Teintes paper. Just for fun and for practice. I am always trying to get in my Miles of Canvas!  In my latest digital Demo Download I share my approach for a quick study on Canson.   The demo is available in my Etsy shop for $6. You can view in online as a PDF or print it out and follow along.

a screen shot of the Demo download

Here is an excerpt from the demo:
Like many artists new to pastels, I first started with Canson Mi-Teintes paper, someNuPastels and some Rembrandts. And like many I struggled with this combination. Icouldnʼt get the rich colors that I admired in so many pastel paintings. Mine were muddyand dull. Once I discovered sanded papers and softer pastels I didnʼt buy any more.Canson paper. I decided I didnʼt like it. I am so glad that I decided to give it another tryafter seeing the work of several artists who do beautiful work on Canson.  

A photo from my demo
If this painting looks familiar to you from my recent YouTube video it is the same scene!  I painted two versions. The first was for the YouTube video and the second one was done as a Time Lapse video for my digital demo download.  You can see the time lapse video at this link:

The pastels I ised for this painting
I am excited to share these demos with you. I never have enough space on a blog post to share all I would like so these mini lessons allow me to share even more! Thank you!

Thursday, October 01, 2015

Tips for Working on Canson Paper

'Forest Reverie'             9x12             pastel             ©Karen Margulis
purchase here $150
 It's the paper we love to hate. It is often the paper we use when we first discover pastels. Canson Mi-Teintes paper. It is inexpensive and readily available. We often choose it over sanded paper because of these reasons. It is the 'training' paper of choice. But when we discover sanded paper it is often hard to go back to Canson.

I happen to love Canson Mi-Teintes paper. It wasn't always the case. I struggled with it. It seemed as though my colors weren't as fresh. I filled the tooth too quickly and my paintings quickly turned muddy and dull. I stopped using it and turned to sanded papers.

Curiosity and seeing other wonderful work done on Canson encouraged me to give it another try. This time I was ready for it. I had learned more about pastels and refined my touch. That was the key! Now I understood how to get the effects I wanted. I loved the soft feel to the paper. It is now one of my favorite papers.

Give it another try! Here are 3 tips to get you started:

 1. Choose the correct side.  Canson has a smooth side and a bumpy side. The official correct side is the bumpy side. Most pastelists prefer the other side which is smooth. If you like a regular texture throughout your painting then you want the bumpy side. If you don't want any texture choose the smooth side. TIP: Hold the paper under a light to better see the little dimples of the bumpy side then tape it down right away! (before you forget which side you want)

2. Work with a LIGHT TOUCH. Canson paper does not have much tooth or grabbing power. It is easy to get too much pastel on the paper. When that happens you are finished! The more you try to add the muddier the painting will be.  If you start the painting with a very light touch and whisper your pastel strokes you will be able to build more layers. Let the tone of the paper show through. If you can't see the paper in your beginning layers your touch is heavy. For more layering... whisper don't shout.

The heavily applied pastel looks thick and muddy. The lightly applied pastel looks light and airy.
3. Use Softer pastels. You can certainly use hard pastels such as NuPastels and Rembrandts on Canson but they don't give you the same look as the softer pastels. I have more success with softer pastels such as Terry Ludwig pastels.  Diane Townsend pastels work especially well since the pumice in them opens up the paper.

A light touch with softer pastels on the smooth side of the paper is my recipe for success.

Bonus tip: Try lightly sanding the surface of the paper to rough it up some and provide more tooth.

Here is some information about Canson Mi-Teintes from the Canson website:
Canson® Mi-Teintes® is a pulp-dyed colour paper that has won worldwide recognition for its qualities. An authentic art paper: it is gelatine stock-sized which limits the absorption of pigments in order to show colours at their best.
It has the highest cotton content (more than 50%) on the market, combining mechanical resistance and a sensuous feel. In addition to its qualities as a drawing medium, Canson® Mi-Teintes® complies with the ISO 9706 standard on permanence, a guarantee of excellent conservation.
Furthermore it has the advantage of having a different texture on either side: a honeycombed side characteristic of Canson® Mi-Teintes®; and fine grain on the other.
It boasts the richest range of colours on the market, with 50 light-resistant tones.

Wednesday, September 30, 2015

A New Way to Tone Pastel Paper

'Summer in Finland'             5x7             pastel              ©Karen Margulis
click here to purchase $75
Sometimes I just don't want to think. I don't want to think about underpainting colors or the best way to start a painting. Sometimes I just want to paint underpainting. No thinking.  I find that a middle value paper makes the best choice for these times. A nice warm toned paper allows me to paint directly without worrying about covering up a light or white paper.

I find that the light bits peeking through my layers can be distracting and a mid value toned paper helps me avoid the light bits!  If bits and pieces of the middle value tone peek through it is more pleasing. In fact it can unify and harmonize the painting.

Of course we can buy colored pastel paper and I do. But sometimes I want to use my favorite paper Uart, but I want it to be more of a middle value. Now I can!  

Art Graf pigment square....unusual and amazing!

I was introduced to this new product at the recent IAPS convention. My friend found them at the trade show and insisted that I have a look. I am glad I did and I am glad I bought the set.  These squares of rich water-soluble pigment create a most wonderful toned paper. And a little bit goes a long way!

They are thin square shapes like tailor's chalk only they are not chalk. They are not pastel either. In fact they feel a bit waxy. But they work like a dream to tone paper. Read more about them here:

It takes very little pigment to create a rich tone.  I tested all 6 colors on Uart sanded paper. I used the side of the Art-Graf to color the paper....lightly!  A brush and some water is needed to liquify and spread the pigment. It took some practice to figure out the right amount of water. More water equals a lighter tone. I got some drips and bubbles on some of mine because I was impatient. I liked the effect though!

I even mixed more than one bock on the same paper to make a custom color.  It was great fun and I loved the results.

 How does pastel react to the toned paper? I am happy to say that it was a great marriage. The pastel responded perfectly. The painting at the top of the post is on the sepia toned paper.  The pigment of the Art Graf did not fill the tooth of the paper. I am thrilled!  I am looking forward to using them to tone paper for my upcoming plein air workshops!

Tuesday, September 29, 2015

A Quick and Easy Start: Pastel Painting Demo

'Simple Beauty'                 5x7              pastel                  ©Karen Margulis
click here to purchase     $75
I needed to do a quick painting. I was testing a new technique. More on this tomorrow. I am in the middle of packing supplies for two workshops. I didn't really have time for a larger more involved painting. So I turned to one of my favorite ways to start a pastel painting. It is quick and it is easy. Enjoy the demo photos and commentary!

I begin on a piece of toned Uart paper 500 grit. I am working small, 5x7.  I do a quick sketch with a piece of dark blue Nupastel.

Normally I take a few minutes to choose my palette. This time I decided to use a tray of pastels that I had used for a larger painting last week. I had not yet put them away and they looked like they would work for my subject.

I begin by blocking in all of the dark shapes with a dark blue Nupastel #305

Next, I block in all of the light shapes. In this case that would be the sky. I use a pale peach.

Next I block in the area of the most intense color. This would be the bright section f golden marsh grass.

The next step is to fill in the rest of the paper with a medium value color. I chose a burnt orange to give some warmth to my Autumn marsh.

At this point I have blocked in the entire painting with the extremes. I know what will be dark, light , middle value and intense color. I develop the tree first with some cool greens in the shadows and warm greens in the sunlit side.

Next I develop the sky with a few light pastels....I use blues and peaches and creams. It is hard to see in this photo. I use the cream to make a few sky holes in the tree.

I decide to spray the foreground with some workable fixative so I can get a little texture. I want to suggest the scrub grasses and bushes with just a few strokes. Now it is really dark!

In this photo you can see where I am placing some lighter greens and peaches over the darkened foreground. I added some layers to the distant golden grasses including reinforcing the intense gold of the underpainting. I also add light to the tree with some warm yellow greens and oranges.

As usual I forget to take a photo as I am finishing the foreground. It was just a matter of adding a few grasses and some marks to indicate blooming weeds. I thought I was finished so I signed the painting. I put it in a frame to evaluate it and felt that the tree holes were to regular and the foreground needed a few more spices. I put it back on the easel for those final marks and then I was done!

Monday, September 28, 2015

When Less is More....Choosing a Limited palette

'High Tide'              12x18               pastel                ©Karen Margulis
purchase $165
Do you ever feel like you don't have enough pastels? Does there always seem to be a color missing? Do you worry about keeping track of your favorites and running out? Is the answer is yes then know you are not alone! Surely there is some kind of chemical in pastels that cause us to crave more.

I have hundreds and hundreds....(maybe thousands :0 ) of pastels and yet I just ordered a few more. It seems we can never have enough.  But we really don't NEED as many as we WANT. Sure, it is nice to have every color available to us but we can paint a good painting with a very limited palette.

The key is Value. As long as we have a range of values from dark to light we can paint anything. It might not be the exact color palette we would have liked but the painting will still 'read'.

Here is an exercise to help prove this idea. I allowed myself just 17 pastels for a painting.

17 pastels comprise my limited palette 
  • I limited the value range for a simple marsh landscape to just four values: dark, light, middle dark and middle light.
  • I choose just four pastels for each of the four values. I selected the pastels primarily by value. I did select some warms and cool colors in each section but this was actually not planned. I was trying to choose random colors.
  • While the colors I chose were somewhat random I did try to choose colors that might work for a green marsh. Being limited to 16 pastels made it challenging.
  • I selected one extra pastel for my spice. (the bright yellow-green)

Painting with a plan = a more painterly painting 
Before I began the painting I did a small black and white thumbnail sketch. I wanted to simplify my subject into a few masses and assign each shape a value. This made it easier to decide where to place my 16 colors....darks went in the dark shape, lights into the light shape, etc. It was as simple as following a map.

An interesting thing came of this exercise. I did two paintings with the same 17 pastels and even with this limited palette I was able to create two different looks to this same marsh.

'High Tide II'           12 x 18         pastel             ©Karen Margulis   $165
 Sometimes Less is More. This  exercise will prove it. It is a good lesson to know we don't need as many pastels as we want.....but don't let that stop you from placing your next order!

Sunday, September 27, 2015

Whisper and Shout....Making Marks with Pastels

'River Crossing'                 18x24               pastel               ©Karen Margulis
available $450
"It sounds like you are no longer whispering" a student observed as I worked on this demo. It was a great observation. I was no longer applying the pastel with a gentle light touch. I was forecfully pushing the pigment into the paper. I was no longer whispering with my pastel....I was shouting.

At the start of the demo I stressed the importance of applying the pastel with a light touch. My focus is on remembering that the right touch is a light touch. Applying the pastel with light whispering strokes will allow for more layers and more interesting build up of color.

Whispering Mark
Most of the marks I make when painting are with this light touch. I pretend like I am painting with a feather....if I press too hard the feather will break so I keep the pressure light. A light touch allows the colors underneath to show. Our eyes can then blend the colors to make an interesting passage. Look at the photo above....the light layers of blue allow the purple underpainting to provide interest.

Sometimes a light touch is not enough. Sometimes a heavier touch is needed. A shouting mark is called for.

A Shouting Mark
 As my student noticed, I had shifted from my whispering marks to more powerful heavy marks. These are marks applied with heavier pressure. The paper underneath is no longer visible.  I use a heavier touch only when I know it will be the last layer or mark in that part of the painting.

Heavier marks can be done at any stage in the painting but they are typically my finishing marks....done at the end of the painting . Shouting marks often create harder edges. They are often my spices....marks of an intense color, or a darker or lighter mark and often near my focal area.  When I make a mark with a heavier touch I make sure I make it with authority. I shout!

Mark making in pastel is like brushwork in oils....we all have our own unique personal calligraphy. I like to whisper and shout with the side of my pastel. What types of marks do you like to make?

Saturday, September 26, 2015

How to Create a Mood with Pastels

'The Many Moods of the Marsh'                 9x12                pastel           ©Karen Margulis
click here to purchase   $145
The marsh was very moody that year.  It was chilly even for late October. A cold front was hanging out causing dreary weather all week.  At least it would be considered dreary by many. I found it to be moody and I embraced it. As long as I had my warm clothes and a heated cottage to return to, I was fine exploring the many moods of the marsh.

I was drawn to the quietness of the marsh under it's blanket of mist. I was drawn to the softness of the colors. I especially loved seeing how the muted colors of the sky allowed many overlooked colors to come alive. But how to capture these colors in a painting? I wanted to paint this moody marsh!

a muted underpainitng 

You've probably heard it before. In painting, value provides the structure and form but it is color that provides the emotion in a painting.  I would need to find the colors to express the moodiness.  We might think that dreary gray days would call for gray pastels. That is a way.

I think of gray pastels as GRAYED down colors. That is colors that are neutralized or muted yet still retaining color. I avoid any gray pastel that is made with just white and black which is not a very interesting gray.

To paint a moody marsh I would need to choose muted colors! What colors would work?

Back to the idea of value doing the work. I could choose any colors as long as the values were right. So all I had to do was choose some muted colors in the value range of my scene and I should get moody! I selected 4 values of pink/mauve for the underpainitng. It was the perfect choice. The neutral. grayed down pinks gave me the mood I wanted and allowed the touches of green to really pop.

What other underpainting colors would work to create a moody landscape?

Friday, September 25, 2015

Inside My Head: Thoughts about a Painting

'Take Me There'               9x12               pastel                 ©Karen Margulis
 Inside My Head: This is the name of my new blog segment. Once a week I will attempt to share a painting along with my thoughts about it's development. I'll share the things I think about when starting, working or resolving a painting. I hope you will enjoy!

Today's painting began as a demo for a private student. She is a very talented portrait artist but wanted to include landscape backgrounds in her portraits and figurative work. She needed some quick landscape basics.  My goal for the demo was to illustrate the principles of Aerial Perspective...creating depth in a landscape and ways to suggest details rather than paint them in a detailed fashion. The goal was to give her the tools she needed to have a suggested backgrounds that do not detract from her figures.

I selected a photo which depicted a simple landscape with a few big shapes. Sometimes the simplest landscapes are the trickiest. Deciding how to make it interesting without putting in too much detail is the challenge.

I decided to use Canson Mi-Teintes paper in Moonstone for this painting and blocked in the shapes with 4 values of red orange. I knew that I would have to exaggerate the effects of aerial perspective in this scene to create depth. If I copied the colors in the photo my painting would most likely look flat. Notice how the colors in the photo appear the same from front to back. I made the field in the distance lighter and cooler, even adding a distant blue landmass. I staggered the trees using slightly different greens in each tree.

I stopped the demo at this point (see above photo) but I knew the painting was not finished. I worked on it for about 30 minutes after the student left.

I decided that the painting needed more texture. The foreground was a big uninteresting shape. I wanted to make an interesting lead in to the painting with out overdoing the grasses and other foliage.

  • I sprayed the foreground and trees with workable fixative. This allowed me to build more layers of pastel. I put in more darks and added some peach and lavender.
  • I revisited the background. I felt that it needed more punch and few distant bushes or trees. I added a nice heavy mark of yellow orange around my focal trees.
  • Then back to the foreground. It still needed something. So I sprayed more fixative letting it dribble. I love dribble texture. 
  • I added some light flowers...actually dried weeds. I placed then in a way that helps direct the viewer to the trees.
I was now pleased. I always forget just how much I enjoy working on Canson paper. It has a nice soft touch which lends itself to quiet landscapes.

Thursday, September 24, 2015

My Favorite Tips for Painting Foregrounds

'A Moment of Silence'            9x12             pastel            ©Karen Margulis
purchase on etsy $145
I am often asked about handling foregrounds in a painting. How do we paint an interesting foreground without putting in too much?  Working from photos makes it even more challenging. We see all of the grasses and 'stuff' so it is hard to know how much to simplify.
Foregrounds in a landscape can give me fits.  I don't want to make the foreground too busy and detailed  or it might stop viewers from moving beyond it.  I want to invite viewers into the painting.  In my hesitation to put too much stuff up front, I am often left with a big boring foreground area. How much is too much?  It is a dilemma. But I have a few tips!

  • Plan the foreground area. I try to visualize what I want to happen in the foreground. How will I break up a big empty space? How will I arrange the elements?  How can I use these elements to lead the viewer through the painting?  If I wait and try to wing it I don't have as much success than if I had an idea of how I will treat it.  I sometimes like to block in a path of dark that will get covered up but will subtly move the eye back into the distance. Water and pathways can be designed to lead the viewer into the painting.
  • Less is More when it comes to grasses and flowers and other bushy stuff. Keep in mind that our brains will fill in the missing pieces if we suggest just a few. A few blades of grass or flowers placed in the right places are more effective than worrying about putting in every blade of grass. Be mindful of where you plant things. Avoid putting in random flowers. Put them where they add to the painting. Place your grass blades carefully....every mark needs a purpose. 
  • Let the underpainting do the work.  I love leaving the underpainting showing in the foreground. Letting this area stay a bit unfinished only helps to draw the eye into the inner part of the painting. The edges can be left unfinished.
  • Don't give up on a foreground that isn't working. Some of the foregrounds I am most pleased with come from the second or third attempt. If my foreground ends up too busy I will often brush it out or spray it with fixative or wet it and try again. This often gives me a textured look that suggests grassy stuff without having to paint them!  (I sprayed this demo with workable fixative)
Do you do anything special to deal with a boring foreground? I'd love to hear about it!

Wednesday, September 23, 2015

Tips for Painting Large Pastels

'Surrounded'                18x24                   pastel                  ©Karen Margulis
click here to purchase on Etsy  $350
 It's fun to be the teacher. I get to ask my students to do things they might not otherwise do. I remember that one of my  college professors did this. The class was children's literature. He assigned us a project that involved interviewing our family and writing a family history. He admitted it had nothing to do with the course but he knew we would value the results. I cherish the interviews I did with my grandparents and I cherish my book! I am grateful to that professor.

So I hoped my class wouldn't be too mad at me for assigning a day to paint large! I was also hopeful that they would value this exercise! I was excited to see everyone come to class with their 18x24 paper attached to big pieces of foamcore. This was going to be fun!

2.5 x 3.5  quick color study
I have a very talented group of artists and I had faith in them. I knew that they would do well with a larger scale painting. Some had never painted larger than 8x10. I was right. Midway through the class the paintings were taking shape and looking great.  And within an hour and a half, most were just about finished. The paintings were awesome and I think I have some big painting converts!  Here are some of the tips we discussed:


  • Planning is the key! Don’t begin painting without a plan: concept and black & white thumbnail, then color choices.
  • Choose your palette in advance. 
  • Do a small color study to test your palette
  • Start with an underpainting to get a head start and use less pastel. I like Mount Vision pastels for large painting block-in.
  • START BIG: paint the big shapes first. Keep things big and simple for as long as possible.
  • Save the details (decoration) for the end
  • MOVE! Allow your arm and whole body to get into the painting. Think Big bold strokes.

Permission to stop after about 20 minutes

Evaluating the painting and writing down the changes to make

I have not addressed the mechanics of painting large pastel paintings.....what kind of support? To mount or not to mount? How to frame?  I am compiling information for a future post so I'd love to hear from you large scale pastelists! Please share your tips if you'd like!

A hard working and talented group of artists!

Tuesday, September 22, 2015

Simplifying Trees

'Secret Grove'                8x10               pastel              ©Karen Margulis
painting available $145
 It suddenly hit me yesterday when teaching a private pastel class. We often make things more complicated than they have to be. From everything to setting up and starting a painting to the actual painting process is always a challenge to keep things simple.

Take trees for example. I avoided painting trees for years because I believed them to be too hard....too complicated. I didn't know how to simplify them. I didn't know how to simplify anything involved with painting. I wish I had pictures of the huge cart of supplies I would haul to pastel class! Live and learn!

Trees don't have to be complicated. They are just shapes after all. Once I learned how to simplify a tree into a basic shape and then carve and mould it like it was a lump of clay, painting trees became doable. Now I enjoy painting trees. Starting and keeping things simple has been the key.

2.5 x 3.5 color study   pastel

Ideas for Simplifying Trees

  • Look at the overall shape of the tree. Is it oval? Square? Round? Triangular?  Does it have lots of little section of foliage?  Block in this big simple shape.
  • Pay attention to the silhouette of the tree....If it was just a big flat shape what would the outer edges look like? 
  • Make sure the shape you block in for the tree is an interesting shape. You want an interesting positive shape as well as have the shape around the tree (negative space) be interesting.
  • Don't let the symbol your brain has for a tree cause you to make a plain, boring and orderly shape.
  • Observe carefully. Be a good observer of trees. Pay attention to how they grow, what kind of foliage do they have? Where do their branches come from?
  • Practice, Practice and practice some more. Don't avoid what frustrates you. (but don't obsess about it either, balance practice with difficult subjects with subjects you have success with.)

Painting notes:  Today's painting is on Uart 500 with a value underpainting/alcohol wash. I used Terry Ludwig pastels. The texture is the result of workable fixative.

Monday, September 21, 2015

My Thoughts Behind a Workshop Demo

'Violet Mood'                18x24                pastel                ©Karen Margulis
purchase on Etsy $450
I might as well have been in my studio. I paint demos the same way as I paint for myself in the studio. It doesn't matter if there is a big crowd or just a private student.....I go through the same steps.  I plan the painting, I choose my pastels and then I just paint....but I also talk.

One of the things I strive to do in my demos is to be very clear about everything I do in the painting. I want to share my thoughts about each mark I make and each color I choose. So as I paint I am conscience about sharing everything I am doing. It is easy for me because I do the same thing in my studio!

I have a dialog with myself during every painting. I don't talk out loud though. It is a dialog inside of my head. I go through the steps I want to take. I ask myself questions. I remind myself of the basics and not so basics.  Here are some examples of the things I talk about with myself:
  • After the darks, next comes the lights. Work on the sky. 
  • What kind of sky do you want?
  • Make sure you put the colors in the water.
  • Where is the light source?
  • Have you created depth? How can you exaggerate the depth?
  • It's not light enough, how can I make it look lighter?

I admit, when I am in my studio I sometimes  get to a point in a painting here the chatter stops and I just respond to the painting. Having the plan and knowing where I want to go helps. I pick up the dialog when it comes time to make the finishing marks. This inner dialog helps me express what I am doing out loud when I need to!

planning board for the demo painting
 Today's painting is the first demo I did for my presentation and workshop for the Piedmont Pastel Society. It was so much fun to interpret this scene in a new color palette! Painting done on Uart 500 with an assortment of Terry Ludwig, Mount Vision, Diane Townsends and NuPastels.

preselected pastel palette
 Do you talk to yourself when you paint? How does it help?