Monday, February 20, 2017

Does Pastel Paper Matter?

'Late Afternoon Impression'        8x6      pastel      ©Karen Margulis
available $95
 Of course it matters. Even when we are just practicing or doing studies. Paper choice makes a difference in the outcome of the painting. And I am not only referring to the idea that you get what you pay for and professional, more expensive papers lead to better results. That idea has some truth although all paper can be used to create wonderful paintings....it depends on both the artist, the pastels and the technique.  I believe that paper choice matters for a different reason.

The paper type can influence the way we paint and the kind of marks we make.

I have noticed this before but never really gave it too much thought. Mostly because the difference in paper and mark making is pretty subtle. But today it was clear to me that the type of paper I was using was having a strong influence on the way I was painting.

The block-in on Pastelmat....I kind of like it the way it is
I was doing a few smaller studies for potential larger works and without thinking I had selected three different types of paper....they were at the top of the pile. I spent the morning on those three studies and while I was painting I realized that each type of paper had a subtle effect on how I painted. When I got to the last piece of paper (pastelmat) it really was obvious.

The Pastelmat paper with its smooth velvety feel allowed me to lay the pastel on like I was frosting a cake. It felt natural to block in big chunky areas of pastel. It felt great! I didn't feel the need to get too fussy with the first layer since the coverage was so smooth and even. After the block in I decided that I kind of liked how it looked. Almost an abstracted landscape. I knew it needed more but I was compelled to keep it very simple. I continued with the chunky strokes until I made myself stop.

The paper had influenced the way I felt about the painting and changed it's direction.  (I've noticed this before about Pastelmat ) Paper choice does matter!

TRY THIS: Try a simple painting on a few different types of paper. Pay attention to how it feels and how it influences the way you apply the pastel. What do you like best?

Sunday, February 19, 2017

Sunday Studio Live Demo: Painting a Marsh and Playing with Color Schemes

'Changes'           12x18       pastel        ©Karen Margulis
available $165
I finally had a chance to do another Facebook Live demo painting. I had fun sharing my Color Recipe Worksheet and trying a Tertiary Triad color scheme. I put the unedited video on my Youtube channel so you can watch at your leisure.

Watch this painting from start to finish on Youtube. Click here for the link.

Here are a few photos of my planning steps before the painting. I explain all about them in the video.

The worksheet in action

testing the colors to see how I would use them

My palette.....Tertiary Triad of red-violet, yellow-orange and blue-green
Please share the video if you like it! And if you haven't tried the Color Recipe Worksheet here is the link. It is a 99 cent download. click here.

Saturday, February 18, 2017

More on Color Schemes: A Challenging Scheme

'Mystery 2'          12 x 18         pastel       ©Karen Margulis
available $165
 It should be easy.  All you need to do is choose 3 or 4 neighboring colors on the color wheel. This makes up  an Analogous Color Scheme. How hard could it be then to pick the colors and get a good painting?  Not as easy as it looks.   We all have our favorite colors and color schemes (even if we don't know it or label it)   In looking over my work I have discovered that I never use a purely analogous scheme.

Analogous Color Schemes are restful. Since the colors are next door neighbors to one another they are harmonious and pleasing to the eye. This color scheme is often found in nature so it it a perfect color recipe to use for a landscape painting. Paintings using this scheme are serene, peaceful, calm.

But I find a pure analogous color scheme to be a bit too calm and serene.....they can easily become a bit too boring to my liking. When I find myself using analogous colors I tend to incorporate the complement and some discords for some color surprise.  This is known as Analogous-Complementary scheme and it is probably one of my favorites. I love using an the Analogous Color Wheel to help me.

How can we make a pure analogous scheme work ? I challenged myself to give it a try. It was difficult to stick with my chosen scheme of yellow, yellow-green, green and blue-green. I so wanted to take out some red- violet! I exercised restraint and in the end made it work. Here is what I learned:


My chosen colors are yellow, yellow-green, green, and blue-green


  • Choose one of the colors in the scheme to be dominant. I chose Yellow-green. 
  • Choose a second color to be a support color and use it in a smaller amount. I chose Yellow.
  • The third and fourth colors are used in an even smaller amount. These colors are accents. I used blue-green and green in the smallest amounts.
  • Contrast becomes important in an analogous scheme. Make sure the contrast of dark and light is strong enough.

My reference photo

This is the same scene using a Tertiary Triad color scheme
Changing the color scheme can totally change the look and feel of a painting. Have fun with color and take out a color wheel and challenge yourself this weekend! Pick the scheme that you never use and see what happens!

Try my COLOR RECIPE WORKSHEET to help keep track of your colors. Click here.

Friday, February 17, 2017

A Simple Tool for More Harmonious Color in Your Paintings

'Find Your Way'          12x18           pastel         ©Karen Margulis
available $165
I love color. I was just discussing this with a friend. We decided that we are both drawn to pastels because of the ease of obtaining color. No need to mix....just select from a box. (which leads to pastel addiction which is another post!)  Having color at our fingertips is wonderful but it can also cause problems obtaining pleasing and harmonious color. It is too easy to have too many colors in one painting or too many unrelated colors leading to color chaos.

I shared color problems and solutions in my recent workshop on color and I'd like to share one of the exercises we worked on with you. One of the ways we can move beyond  uninteresting local color and achieve more interesting and harmonious color solutions is to work with the color wheel and choose a color scheme for the painting. I like to call them color recipes.


My painting with planning tools....thumbnail, color worksheet and color map

Color schemes/ recipes are combination of colors based upon their relationship on the color wheel. They are balanced and work well together. There are simple color schemes such as complimentary using just two colors but they can get more involved with triads and tetrads. And even more complicated. How about an Adjacent-Complementary Tetrad?  Working with color recipes are fun but I find it challenging to keep the colors in my recipe in my mind. I need to see my color choices! Especially as I move into the more involved recipes.

I came up with a solution...a COLOR RECIPE WORKSHEET.

Read on to see how it works.




My Color Recipe Worksheet

  • You need a color wheel to help you choose the color recipe you want to use. If you aren't familiar with color theory or working with color schemes I recommend you get a good book. I highly recommend Nita Leland's books on color: "Exploring Color Workshop 30th Anniversary Edition" and "Confident Color" These books are my go-to books on color.
  • Once you have selected the recipe or scheme you want to use it is time to pick your palette of pastels that fit the scheme. This is where it is easy to get confused. I find that if I make little marks or color swatches I have a visual reminder of the colors I can use in my scheme.
  • I like worksheets. They keep me focused, organized and on task. They make me PLAN rather than skip over or forget an important step. I created a worksheet for using color recipes/schemes. The worksheet gives me a place to make marks of the colors I will use and I can refer to the worksheet as I paint making sure I stay true to my scheme.
  • TIP 1: The worksheet allows you to choose your main colors and gives you room to make swatches of the variations of these colors. A color scheme can include a variety of values and intensities of each color. For example if blue is in your scheme you can have pure intense blues as well as grayed blues....light blues to dark blues. This adds variety to your scheme while keeping  color harmony.
  • TIP 2: A scheme should have unequal amounts of each color and usually have one color as the dominant color.
  • Once the colors for the scheme are selected I like to make a quick and very rough color map to show how the colors relate. See below.


Rough color map using the colors in my recipe

I'd love to share my Color Recipe Worksheet with you. I am always looking for ways to help me plan my paintings and I have enjoyed using this worksheet. I am making it available in my Etsy shop for just 99 cents as a PDF download. You can download the worksheet and make copies for your color recipe explorations. Click here to purchase the worksheet: https://www.etsy.com/listing/499438924/color-recipe-color-scheme-painting

Thursday, February 16, 2017

Finishing a Workshop Demo: Back to the Plan!

'Drama in the Afternoon'           16x20         pastel         ©Karen Margulis
available $250
 You really never know how it will turn out. Painting in front of a group of artists and trying to be in the zone while at the same time trying to verbalize what you are doing is challenging.  Sometimes the demo goes as plans but sometime it takes on a life of its own. Sometimes it becomes only a teaching tool and then painting is not really a painting but rather a visual aid to help explain concepts.

I am always happy when a demo painting is successful and especially when it finds a good home with  someone in the workshop. The demo paintings that come home with me are usually finished after some time and evaluation.  Today's painting is a finished demo from my recent Florida workshop. On evaluating the demo I realized I had strayed from my initial plan.

The  painting as it stood at the end of the demo.
I like to start a painting with a plan. "Make a Plan and Plan to let Go" is my mantra. In the workshop. I go through a variety of techniques for making a plan. As I paint sometimes a painting strays from the plan. Sometimes that is a good thing. I like to listen to a painting when it starts changing. It might be a better solution. But often the plan was solid and getting back to it will improve the painting.

I decided that the demo had moved away from the plan slightly. It wouldn't take much to bring it back. I made notes about what I needed to do. Have a look below at the plans.....The reference photo is at the top. A 2.5x3.5 inch color study is below. The two value NOTAN thumbnail is below. My concept for the painting was the contrast of the light behind the dark trees...the drama of light and dark.  The demo painting had become too light and bright. The drama was missing. Here is what I did:

  • I sprayed the trees and ground with workable fixative to darken these areas.
  • I used a couple of dark value pastels to darken the foreground. (burgundy and blue)
  • I added a dark tree shape on the left increasing the area of dark vs. light.
  • I added more interest to the trees with some darker and warmer greens.
  • I kept the light on the grasses confined to a smaller area on the upper left rather than allowing the light to extend to the bottom of the painting.
  • I added more bight spots of light behind the dark tree trunks making the negative spaces more interesting.



The planning stages for the painting

After spraying a darkening the foreground and adding a dark tree on the left

Wednesday, February 15, 2017

Mini Pastel Demo: Light on a Meadow


'Beyond the Tangle'        8x6       pastel      ©Karen Margulis
available $95
I made time today for a quick daily painting. But it took me longer than I had  planned. Sometimes that happens. Actually it happens more often than not. I start out with a plan and good intentions and sometimes the plan doesn't unfold without a struggle. In this case I struggled with the bits of snow on the ground of my reference photo. In the end the snow decided to become spent wildflowers...white puffy seed heads. Here is how the painting evolved....


It began on the right track. I was using a piece of pastel paper that I treated with clear gesso to give some random texture. I blocked in the shadowed areas with cool (blues) and the sunlit area with orange.


I continued working with warm and cool to keep the feeling of sunlight on the grasses and trees in the distance. I used pale orange and pale blue to block in the bits of snow on the ground. I added the tree trunks. So far so good.


I continued the warm and cool layers. I liked the texture of the gessoed board.


I painted  the blue sky and carve the distant tree. I haven't yet worked on the field or snow.


I added some violet to the grasses for interest and darkened the area around the snow pieces.


I started to add the grasses and this is where I ran into trouble. The snow didn't look like snow. It kept wanting to look like flowers. I brushed out and sprayed and tired again....and again....and again. There are no photos because I was too busy trying to resolve the snow in the foreground.  I was getting frustrated but determined to make it work!


At one point I thought I was happy with it but it seemed confusing to me. Was it snow or flowers?
I tried once more to make it snow. No luck. The bits of white fluff wanted to be flowers or seed puffs and I wasn't going to stop it any longer.


Since I was committed to redoing the foreground I  decided to place them in a more pleasing arrangement and added some darks and some stems. This quick daily painting was finished!




Tuesday, February 14, 2017

Let's Paint with Red

'Love Red'         7x5       pastel       ©Karen Margulis
available $75
I love red. It isn't my top favorite color but I enjoy painting with red. There is something special about pushing a soft piece of red pastel into the paper and getting a rich vibrant mark.  So in honor of Valentine's Day I decided to paint with red.

I had a scrap piece of Uart paper that I had done a quick poppy bloom demo for a student. I decided to take some water to brush in the pastel. I had some watercolor handy from another project so I added a bit of red watercolor. Then just for fun I sprinkled some kosher salt all over the wet pigments.
The result was a cool underpainting. Perfect for some poppies.

The underpainting with watercolor, pastel and salt
 I really like the underpainting so I didn't want to cover it all up with pastel. I decided to paint the poppy blooms first then see what the background needed.


I still like the underpainting background!

 I decided it didn't need much so I very lightly scumbled some peach pastel keeping with the red theme. I added hints of a few stems and called it finished. That was fun!  How about painting some poppies? Here is a tip:

Progression of color for a red flower

  • Instead of using just one red pastel for a poppy consider building the bloom from dark to light and cool to warm.
  • Start with the darkest value violet or cool red that you see. I like to use purple and brick red for the shadowed part of the flower.
  • Increase the intensity and warmth of the reds as you layer the petals.
  • Use the side of the pastel to paint larger chunky petals.
  • Paint the petals in the direction that they would emerge from the center....how they grow.

If you like these tips and want more poppy tips have a look at my PDF demo available in my Etsy shop for $6. Link here:https://www.etsy.com/listing/263334117/pastel-painting-lesson-demo-pdf

Monday, February 13, 2017

Keeping a Daily Painting Habit part one

'A Beautiful Winter Day'        6x8        pastel       ©Karen Margulis
available $95
I got off the plane from my workshop in Florida this afternoon with thoughts of a nap. It was a fun weekend but very busy and the couch was calling my name. I brought my suitcase of supplies down into the studio and my easel stood there waiting for me. I was torn. Couch or easel?

I chose the easel. After all I had just told a group of 13 artists  that they needed to make time to paint more often. A daily painting is the key to progress. I issued my daily painting challenge to them. And yet I wasn't going to paint!  That wouldn't be fair! I should practice what I preach.

So I put up a piece of Pastelmat paper (really liking it more and more) and pulled up one of my new Florida photos on my phone. I spent about 30 minutes painting these scrubby little palm trees. I was tired when I got started but quickly got lost in the painting and started feeling energized.  When I was finished it felt great. (like a good workout!)  I was happy that I decided to paint while this image was still so fresh in my mind. And I am happy to set a good example for the artists who were in my workshop!

close up detail
Note: I loved all the scrubby stuff I saw in Florida. Of course the beach was beautiful and the skies were fantastic but it was the scrub that excited me. So of course I chose to paint what I love. It is much easier to paint when you are excited about your subject. More on this later!

Sunday, February 12, 2017

Workshop Report


It's been a fantastic weekend! I just finished teaching a workshop at the North Port Art Center in Florida and I had a wonderful time. We had a great group of artists who are very talented and a lot of fun!  I love a workshop when everyone works hard and has fun. We had some great laughs and great paintings! 


The workshop theme was 'Cooking with Color' and we tried four different ways to start a painting as we learned ways to solve potential color problems. The photo above shows some of my demo paintings. I'll be back home tomorrow and will resume my regular posts.

 

Thursday, February 09, 2017

#Painttime2017 The Project Continues


'Spring Lace'         8x10      pastel       ©Karen Margulis
available $145
I am still working on my project!  Last month I started a project for 2017 which I called #Painttime2017. The idea was to choose a favorite subject and paint it once per week for the year. The painting could be any media or any style. It didn't have to be the same reference photo just the same subject. Fir example someone is doing a series on barns. Another artist chose bird nests for her subject. I chose my favorite wildflower: Queen Annes Lace. So far I have done 5 QA Lace paintings this year. I am sharing one of them today.


A Dry wash underpainting on Uart paper
I am starting the series by painting the flowers in every season. This is my Spring version. I did find a patch of QA Lace just starting to bloom in a parking lot late last spring. They were so fresh and bright!  I began the painting with a dry wash underpainting. This is the easiest way to start a painting. I chose some warm colors.....orange and red in a hard pastel. I used Nupastels. I blocked in the flowers and background and rubbed in the pastel with some pipe insulation foam. It gave me a nice dreamy underpainting with no mess or fuss!

 I will share the summer version soon. How are you doing with the Paint time project? It isn't too late. to join in. All you have to do is choose a favorite subject and paint it once a week. Then share it to your own social media accounts using the hashtag #Painttime2017. Let's have some fun with this!




Wednesday, February 08, 2017

An Important Tip for Painting Reflections

'Easy on a Sunday'           18x24        pastel      ©Karen Margulis
available $450 
The sky is not always blue. I love working from bad photos that have overexposed skies. This gives me permission to invent the sky color. I enjoy creating my own mood for the landscape and the sky is a key player in creating this mood. The sky provides the light and thus the mood of the day.

It is fun to play with the color of the sky but there is an important thing to remember. Whenever you make a change to the lighting of the landscape it is important that you stay consistent in every aspect of that landscape. The sunlight and shadows must be consistent everywhere in the landscape. Reflections should also be considered.

Important tip:  If you change the color of the sky be sure the new color is reflected in the water. In other words if the sky is YELLOW the reflection will be yellow and not blue. It is easy to over-generalize about water and think that it is always blue. It is not always blue! Water reflects the colors of the surroundings so when water reflects the sky be sure it is the right color!

Color in the water is YELLOW

The water reflects the YELLOW sky

Tuesday, February 07, 2017

Color Inspiration from a Plein Air Study


'Peaceful Interlude'           8x10         pastel       ©Karen Margulis
available $145 
I have color on my mind this week. I am headed to Florida on Thursday to teach a workshop at the Northport Art Center. The focus of the workshop is color. I am excited about the demos and lessons I have planned on the better use of color. So color is very much on my mind!  

One of the important things to do when planning a painting is to plan the color....not leave color to chance.  Color schemes are fun tools to use for inspired color. But there are other ways to get inspiration for color. Today I was inspired by an older plein air study. The study had sold and as I was wrapping it for shipping I was struck by the colors I had used. They weren't exciting necessarily but they were a real response to the colors I had experienced. I was inspired to use them again in a similar landscape.

5x7 plein air study from France sold
I chose another piece of my Wallis Belgian Mist paper. Next I looked at the colors I used in the study and pulled out similar colors from my big box of pastels.  I limited myself to using just these few pastels for my painting. It was a great exercise. I started the painting with a two value dry wash underpainting. Since I now had my composition, values and colors planned all I had to do was enjoy the experience of putting pastel to paper!

Lesson Learned: Look at previous paintings and studies for color combinations that you enjoy. Use them for new paintings. Inspiration is everywhere!

my limited palette for today's painting

two value dry wash underpainting

Monday, February 06, 2017

A Fun Way to Start a Pastel Painting

'Garden Delight'        9x12      pastel       ©Karen Margulis
available $145
I've been wanting to try this. I have been reading about watercolor techniques to give me a better understanding of the medium . I love using watercolor for my sketchbooks and I want to become more proficient with them. Not only will it help my sketching it will enhance what I do with pastel underpaintings.  So today I took out a piece of watercolor paper and had some fun.


watercolor, Brusho crystals and cellophane wrap
 I wanted to create an interesting washy looking background for a flower painting. What I discovered is that I need more practice in creating those wonderful ethereal washes I see in books!  My wash was awful and the more I added the worse it got. But I am not one to give up. I took out my box of Brusho crystals. These are pigment crystals that can be mixed with water and sprayed on or just sprinkled. They explode with color.

But  I went too far. I sprinkled too much and the effect was ruined. OK. Another lesson learned. So I took out some cellophane wrap and arranged it on top of the painting and let it dry. The result was an interesting background with a feeling of texture. Now I had something to work with! To give the paper some tooth for pastel I quickly brushed on some CLEAR GESSO. This gave the watercolor paper just enough tooth for a few layers of pastel.

The result after the cellophane wrap

Now I had an interesting background for my flowers. As I developed the coneflowers I made an effort to leave some of the background alone. At the very least I used pastels of the same color and value as the background. Even though I didn't have immediate success, I enjoyed playing with watercolor and seeing what would happen. It was fun and freeing. Now I will go back to the books and practice!

Start drawing the flowers

Begin with the centers