Judy is a pastel artist who is behind a blog iwant2draw and a youtube channel with many pastel tutorials. There are many interesting subjects, and if you like Yoda from Star Wars, Iron Man, Manga characters or want to know how to enhance your pastel painting with a Photoshop, check the blog. Her video below is a pastel drawing of Canadian pop singer Justin Bieber.
I have posted links to all the pastel blogs that I have being collecting for the last year or so. If you are the pastel artist and want to be listed, please go to the Link Page and add your website or blog to the list. I will neither review nor judge your art but I will need to check your site in order to avoid spam entries.
Once again I’d like to thank Casey Klahn who notices the problem with links the first time I published it.
During my stay in Tuscany, Italy, I was very happy to meet Kelly Borsheim and see her in action on the streets of Florence. When you come to a new town it is almost impossible to see exhibition of pastel works, but thanks to Kelly’s blog post I found about her exhibition in one of the Florence galleries and found out about her streetpainting that day. Click on the image on the left to see how Kelly and her friend Johnny are painting one of the Raffaello’s masterpieces (original painting can be found in the local Uffizi gallery). Kelly is a sculptor, pastel artist and a streetpainter who lives between Florence and central Texas, USA. Her artistic journey and attraction towards her “first stone sculpture teacher”, Michelangelo, took her to Italy and Florence where she spends as much time as she can. Kelly has a very interesting blog and a website and I invite you to explore and enjoy her work on your own.
Liz Haywood-Sullivan is talking how to clean the anti-reflective or museum glass – by using mix of plain water and alcohol. Blog. Casey Klahn is giving us several methods how to reclaim Sennelier La Carte pastel paper. One of the ideas is to use Turpenoid – It’s not that I don’t trust Casey but I will first have to try this one out. The painting in this post shows Casey’s work in Pastel & Charcoal on re-claimed La Carte Paper.
An interview with popular instructor Richard McKinley will appear in the July/August 2010 issue of The Artist’s Magazine. The portions of the interview that didn’t fit in the print version of the magazine are posted on the magazine’s blog.
On the blog Artist in Pastel, there is an example of how to use Photoshop as a tool for analyzing a complex photo, and simplifying the painting process.
Thanks to you, our readers who gave support by acknowledging and appreciating our work, this blog has succeeded to reach #100 post today.
What follows is a brief summary of last 3,5 months:
posted6 posts related to Old Pastel Masters
presented8great pastel artists as “Featured Artists”
used opportunity to present12very useful pastel demos
mentioned close to 30competitions and challenges (held or to come)
collected 15 video clips
averaged 5,76 post per week after going public on January 1st, 2010
more than 350 Facebook fans, almost 60Google Friend Connect followers and over130 daily RSS feeds
linked toover 100 pastel artists.
The numbers above are here to talk a little, the blog itself says much more, but the best of all is that we have learned so much and established contact with many great artists which we admire and who give us the push to work more. This is just one stop to turn back and see how much we did and to say: “It’s worth it and there is more to come… :-)”
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The blog Artists in Pastel by Irish artist Oldenbroke has almost daily posts where he presents soft pastel artists. The blog has just passed 100 presented pastel artists. Here is what he says about the blog:
“This blog aims to be a comprehensive, international list of artists who express themselves wholly or substantially in pastel. The format is a short dataset of essential details about the artist and the site, with a type image of their style. It does not attempt to critique the artist or his/her work, but it does have remarks to make about ease of navigation, labeling of artwork, and image download – an essential learning tool for the student of pastel.”
You can repeatedly hear question whether pastels are painting or drawing medium. In his blog Richard will not answer the question but rather give you arguments for both.
“Line is the one thing that man has created that does not exist in nature. We see light as it falls on form. Line is a type of calligraphy, or handwriting, that we created as a means of communication. Since pastel is a dry medium, kindred to charcoal and chalk, it is easy to see why it is so often associated with drawing. Many painters enjoy its ability to easily produce line and use it in a fashion closely associated to drawing. Others choose to work with it in the fashion of paint. This makes pastel a very versatile medium, providing a gamut of possibilities…” read more on Richard’s blog
Whenever color is concerned, it’s best to begin with the color wheel. By studying the relationships of individual colors and how they interact with each other, we develop a better understanding of why certain colors work when placed together. This is a powerful tool in choosing what to place in a painting. Nature works. It shares an atmospheric relationship and a light source that creates the natural appearance we accept. Our paintings, on the other hand, are created “artificially” with pigments on a flat surface. We have to create the illusion of reality and harmony… Richard McKinley blog
A few years ago while I was on a painting trip with legendary pastel plein air artist Glenna Hartmann, the question of how to handle green was posed. After a perfectly timed pause, she quietly responded, “I avoid it at all cost.” The ensuing discussion was very interesting. It seemed that every painter there had an issue with green.
As the discussion unfolded, it boiled down to a few issues. One of the most mentioned was the pigment used to make green pastels. What we see in nature is light reflected off of a surface. It shares a relationship with its surroundings as well as the bias of the light source. In our paintings, we’re creating an illusion of what’s real. Since we’re incapable of placing real light on a surface, we have to use man-made colors that reflect light back to the observer, representing what we see. link